The Branding Masterclass for Graphic Designers: The Entire Process

1. Brand Design Masterclass Course Intro: The branding masterclass. This course covers all aspects of the brand design process, from sketching to portfolio presentations. There is not one thing this class leaves out. It is massive covering topics such as understanding client briefs, learning to ask the right questions, client and competitor research. Finding a target audience, creating a customer persona, finding a style direction, finding a brand's position in the market. Word association exercises, word mapping and other brainstorming activities. How to start sketching and sketching out different concepts. The select concepts for further development, the entire logo design process, picking the right typeface, gridding in a finalizing our logos, creating a logo system, creating a typographic system, creating a flexible color system. Understanding color psychology and its effect on brand design. Working with projects and mock-ups to further develop color palettes. Applying our brand systems to real-world projects. Creating and writing your brand voice and language, creating photography rules for brands, developing a full client presentation, creating a Behance portfolio case-study, understanding the basics, a brand standards and brand guidelines. And so much more. The brand development process plays a critical part of the marketing and success of a company. I want to show you not only what successful brand design looks like, but also how to brainstorm those concepts and ideas to finally turn that spark of an idea into a fully finished project ready for the client presentation, your portfolio, and the world. So this class gently guides you through this process with a practical real-world branding project. Using a case study for a sushi restaurant and delivery service. I created this course so you can start to offer branding packages to land bigger, higher paying clients and propeller to the next level in your design career. This course gives you the tools to know how to spark creativity, ideas, concepts, and put them into motion. We go over several tools to help prevent creator's block and to make it easy to come up with ideas that are relevant, authentic, and meaningful. Looking at blank pages never has to be scary again, you'll feel confident filling those pages with Finish Polish content that will wow your potential clients. We will work on building a finished case study presentation for you to start building a strong portfolio. We will work on creating both a client presentation and a brand guidelines manual to help people know how to use your brand design and identity system you developed. This course has a nice balance of theory and practical software projects. This classes for those who have taken any of my software courses or have basic knowledge of Adobe Photoshop and Adobe Illustrator and Adobe alternatives, as we will not cover beginner level software basics. This course comes loaded with a 50 page brand design guide that details the entire class and the easy to read accessible PDF. This course comes with a style presentation, Adobe Photoshop template and Adobe Illustrator brand presentation template and an Adobe Photoshop be hands portfolio template and more ready to serve. Charging more elevate your design offerings and changed the direction of a career. When to be a designer that understands both the business and design aspect of the branding process to craft strong brands. I will see you in the first lesson. 2. Course Guide and Student Facebook Group: Welcome to the course. I'm so glad you decided to join me for this adventure through the entire branding process. I wanted to quickly bring up a few important things. First of all, I have a new student Facebook group. This course has its own private group. I have around 20 thousand students in my man graphic design group, and it can be a bit busy in their this way with a smaller group, we can post our projects and have more personal branding related discussions. You can find the student Facebook group by typing in the branding masterclass student group and the Facebook search bar, you can post your progress there as well as in the Q and a and Discussion sections of the course. If you don't have Facebook, that's okay. Those community and discussion areas of the course we'll do just great. You can also tag me on Instagram at Lindsey marsh design so I can see your work that way too. I'm also active on Behance. So when we get to the Behance case study at the end of the course. I'd love to see your work there too. Secondly, the course project. I'll talk a little bit about this throughout the first section of the course. But I want you to do one of two things for your student brand design project. I want you to either download the sushi club client brief document and work through your own version of sushi club for the class and put your own spin and research with it. Or you can decide to use another client brief or make up your own. Ibm had students work on real paid client work throughout my courses as their student project. Either way, the goal is to have a nice portfolio case study for you by the end of the course. Lastly, downloadable resources. There's some pretty important downloadable resources in the class. Make sure to download them as you work throughout the course. We will start off with some theory and introduction sections and then move into some practical software portions of the course. I will use Adobe Photoshop and Adobe Illustrator in the course, but you can use Affinity Designer or Affinity Photo as your alternatives. If you feel like that works best for you. There may be some Adobe specific tools I referenced, but most projects you can still work through with affinity tools. So let's get started with the course and I'll see you in the next lesson. 3. Introduction To Brand Design: The brand development and brand design process plays critical parts of the marketing and the success of a company. I want to show you not only what successful brand design looks like, but also had a brainstorm these concepts and ideas. First of all, a simple question, you might think you know the answer to what is branding. The word branding comes from branding and animal. So a farmer or caretaker can take claim of their stock. This would include a series of numbers or another way to identify the cow. When you saw that number, everyone knew where that Cal belonged, even if it was found miles from its home. The same as the case for modern branding. You can take a look at any company asset like fliers, mobile websites or social media posts, and perhaps already find yourself familiar with the company that created it. We know this by looking at very memorable brands like Apple with their distinct Apple icon. But we also recognize Apple products and their user interfaces by its simplistic design and distinct look and colors can play big parts of this recall or brand memory for viewers, which, for example, uses his very unique bright purple colored icon. It only needs to be that purple icon on its homepage for w0, instantly identifiable, even without the company name being next to it. We mostly think of branding or identity design as the following items. A logo, you know, maybe a color palette, and some various marketing materials like letterheads and business cards. And while all of those play big parts of the overall brand design process, they just show the outer layer of the many layered brand onion, if you will. There is also brand language that needs to match the visuals. For instance, Ben and Jerry's ice cream, they have a heavy focus on social issues and sustainability. You cannot unwrap their visual branding from their brand language because they're one and the same. The headlines, words and phrases they use in their advertising's, and posters and flyers and social media are equal in importance to their appearance. We communicate with the viewer with both types. One, your brand language or how you write and communicate to the viewer and your visuals, which is going to be your graphics in your design. And this is why as a designer you need to think about this brand language. Because working with the client to write it, or crafted, or working already with written copy is important to be able to do so. All these are developed in tandem and they both harmonize. Along with a text and language that appears with the visuals. There's also emotions that brands evoke with their visual branding. Take for instance, the popular home exercise company called Pilloton. A quick review of their website and brand presentation gives us a higher end clean look, which caters to their target audience, which is mostly those with the ability to afford the almost $2 thousand bike and the monthly subscription fee. Notice the whitespace used throughout their layout. I noticed even their bike design is simple and clean and their videos are packed with quick transitions and energy. So the brand needs to echo that energy and all of their visual branding. In some cases, brand packaging can be very effective at communicating the brand's emotions, feelings, and language. This can be done by having a unique package size or form. Take for instance, the language they use on this. Can. I loved this brand? And they have a cute little simple phrases at the top and sides of the can that gives you this kind of youthful and playful vibe. Experience can play a big part of branding. The big unboxing craze that hit YouTube Many years ago, perfectly explains how important this experience can be for consumers. Take for instance, the unboxing of a subscription box. What does the outside of the box look like when I open it? Is there a greeting card that kicks off the unboxing experience? How is everything wrapped up? What type of paper do they use? Designers are the ones who help the crap all of these items and being able to develop and adhere to the brands feel and ethos is important. The quick takeaway to all of this as brand design, as multifaceted with so many different factors at play outside of just how it looks and what you as a designer to be able to think about and focus on all aspects of branding process. So you can be effective working on a team to do this, or crafting brand designs all on your own. We just reviewed how brands are more than just the logo and tagline. There's a brand language, there's product presentations, there's user experiences, and there's just so much to think about. The roles most graphic designers take in this process is the visual branding and trying to communicate the brand language with visuals. Your final deliverable or what most clients will expect from you, is a standard, predictable assets like logo design files, but it could range from package designs, marketing materials, the entire social media campaign. We're gonna take a look at fantastic looking visual branding examples to give us a little bit of inspiration Before we get working on our own example for the course. Most strong brand campaigns includes something called a unifying theme. That means all visuals are connected somehow through words, language, colors, shapes, or patterns. And take for instance, this one for a mall called River Mall. All visuals share a similar pattern throughout all the materials. What's great about this particular brand design example is they created a flexible design system that can adapt to so many different projects, sizes, and types. Instead of eliminate, limiting the client to a restricted set of usable assets, they expand that out to an infinite array of possibilities. You can see the unifying theme throughout this brand presentation. Not only does it feature set color palettes throughout, it has a geometric shape system they use to create patterns and shape of any type of size or surface. You may find that some designers even developed a custom icon set like for this coffee company brand. There is consistency in the thickness of the lines throughout the icon set that matches the more thin typeface used for the main logo type. The style of the logo can also echo and other design elements as well within the same brand system, this restaurant has a typeface as their main feature of their company. But it can also exist with a visual element, the chicken. It can exist as a vertical presentation or a horizontal. When a designer starts to extend the brand onto other items like menus or the interior wall design here, they need to have other brand elements to incorporate and tie everything together. Solid brand design has both structure and guidelines. You can see here with his clothing store company the rules of how to properly use the type size with a subheadings being set to 54.5% of the main header type size. There's some structure there. They call these brand guidelines for reason, it helps other people who may be involved with the design of future items for the company to know how to properly use it and to stay true to the original brands design, LFOs. We had a chance to see some great examples of brand design. And we're going to get more chances to see inspirational examples as we move throughout the course. We're going to be working with the entire Boolean design process. So make sure you download the 40 plus page guide. There'll be super-helpful for those who like to learn with offline materials or like to have something nearby to reference. The brand design process can be intense, but fear not. There are logical steps we walk through to go from this. Just an idea in our heads. Does something like this. Where it's welded together, it's finished, and it's ready to be executed. And we're going to walk through an example brand design project using a mock sushi restaurant called the sushi club. And we'll start with a good amount of research before we get started with any type of visual design work. 4. Introduction to Brand Design - Continued: I believe that some of the best concepts and ideas are not thought up at random. It, it's not like you can sit around a table and just brainstorm the perfect idea in the first five minutes. Well, maybe sometimes it can happen, but mostly it's about asking the right questions and receiving proper feedback from the company. And it's required to get that feedback to have a successful branding campaign. I encouraged deep and intense research into the industry and company before starting the brand design process or even touching the visuals. This gives you data to work with ideas and at least a general starting point. Without gathering proper information from your client, you will mostly find yourself guessing what they might like. When you guess you assume and fill in the blank with improper information. Research can go even further, especially in industries which you may not be entirely familiar with. Knowing what the company's competitors do can help you find those unique approaches to the visual branding that can help you stand out. Also understanding the unique proposition or unique offering the company has can help you spin your visuals and language to show off that advantage. We're gonna go into more detail on this later, but I love to visit or experience what my clients competitors offer firsthand. For example, are sushi restaurant example or work through throughout the section, I visited several different sushi restaurants in my local area. This was not to copy or emulate what they do, but to experience their process. In this case, experiencing the sushi consumption process. There are some enjoyable parts of the research base that could be nice surprises. If you allow yourself to be open and the experiences. You should never be expected to come up with an idea from thin air. There's always helpful starting points that can be generated by brainstorming. But most importantly, that research, there are several steps you can follow to gather enough research to start the brainstorming and concept development stage. But first things first, let's get the information we need from the client directly so we can move forward. And how the process usually works is one of two different ways. First of all, the client could have already done their homework and provided you with a fully written client brief that details a history of the company, some goals, perhaps a mission statement, maybe some desires and expectations for the brand design and development process. You could answer some of your questions before you even have to ask. That's great, but not all clients have this all figured out yet. There might be some clients that have just one person startups, or they could be the first time they've ever gone through this process. In that case, I like to send them a series of custom tailored questions that help to fill in any information gaps about the company, the goals, their missions, their desires, and their expectations. Questions will be different for each client. Sometimes you'll start off with some prior knowledge of the company if you already know it or it's already well known, or you may not have any information at all because the company hasn't really gotten off the ground yet. The goal of the questionnaires to ask questions that help you get familiar with what they offer, why they're different, discover possible target audiences, and any detailed information that's required like taglines and other unique situations. For example, we need to know if the client does not want us to use the color red. We do not know this. If we do not ask, imagine going through this whole brand design process with intense research to finally found out during the presentation that the CEO hates the color red. And guess what, you used red. Without gathering this information, we're making a tougher sell for us. There was a great show that streamed on Netflix called the pitch. And it was about two competing ad agencies pitching their brand concepts to a client that had a long history in the adult beverage industry. The owner told both agencies in the brief to not change the shape of their historic bottle design. It was very important to maintain that history and their package design. Let's just say one of the agencies pitching totally ignored the client's request for that. And they pitch this cool, wonderful looking advertising campaign and brand refresh. But they totally changed the brand's packaging bottled shape. They went against the one thing the client requested to remain the same. And let's just say they did not get the job and it didn't go well, you gotta listen to the clients. It's important and it's the only way to know what they're looking for is to simply ask. So now that we establish how important is to get that initial information from the client, let's go to our mock sushi restaurant client that we will work through throughout this entire class and ask them a series of general questions so we can go ahead and get started. 5. The Client Brief : You can download this client brief as an example in the downloadable resources in this class. So let's get started. This is the client brief, and this is a series of questions I asked to get some further information from the client as they did not provide a formal breed. So simple one, what is the company name and how would you like it to appear on your logo? Sushi club, authentically prepared. And it's kind of important to understand, authentically prepared is a little less important of the logo then the sushi club, it's kinda like a tagline and that's something we need to establish and get back with the client just to make sure authentically prepared isn't official tagline and not part of the full company name. Also, what industry are you end? We plan to start out as a full sushi delivery restaurant. We went to open a physical location shortly after launch to complement our delivery service. So that's really interesting. So they're going to start off as a full delivery restaurant. They hoped to be able to have patrons inside of physical store. So it's really important to kind of think of this branding process, of thinking about how important the delivery will be for them in advertising a delivery service. So we gotta think about in-store branding, but we also have to think about how they're to go items are going to be branded as well. So it's kind of a little bit more complicated and I'm glad we have that information. So they'll offer Mackey, shisha, Amy, and Nigeria style sushi along with traditional sushi side complements like at a mommy. So they're going to have a pretty simple menu. They sent us a sample menu. That's another great thing to ask for. What is their, they have a restaurant, you know, ask for a menu. If they're an online company, asked for the list of products. So it's really good to kind of know what they offer and become pretty familiar. So if I didn't know what Mackey was, you bet I'm going to Google that and figure out what's the difference between Mackey shushing Amy and Nigeria style. And it was able to find out that Mackey is the sushi roles that you traditionally associate with sushi. And she, she me is raw fish without any rice. It's just raw fish on a plate. And the jury style has the raw fish on top of rice, usually wrapped with seaweed or sometimes not wrapped it all depending on the style. So the next question is a standard question I put in all questionnaires because I think sometimes the client doesn't even know what their unique selling point is until you ask them and they have to think about it sometimes they know right away, but you really have to find this information because I think it really plays a huge part of positioning the brand design. So what is the unique selling point of your product? What makes them different? They say we promote a more authentic way of eating and preparing sushi that you might experience in Japan. We would like to bring that more authentic sushi preparation to American consumers. This is a great article that details some ways in which Eating and preparing sushi, the Japanese way, might be different from what you might have seen or practice yourself. So that's pretty cool. They gave us a nice detailed article. You bet I'm going to read that entire article. And it really kinda do some research about different ways you call sushi different ways to prepare it. This is the type of research that we need to be involved in. We really need to absorb ourselves into the Client Product and the industry and what they're offering. It's all a normal part of the research process. We will also prepare a sushi using Japanese made high-quality sushi knives called Inaki. Here's a basic website that details the look in function of the special knives. Okay, so there's another awesome article. And it's also nice if you don't know about the industry, you know, just just be blunt. Ask the client. Okay. I don't understand this part of your industry. I'm not familiar with it. Be honest. Let them educate you because they're the ones that are going to be able to educate you the best about their product. Sometimes if you go straight to Google, you're gonna get some misinformation. So it's better to go right to the client for that source. And the fishes freshly source to maintain quality everyday of operation. So when I'm reading this, I'm reading the feedback. I'm also starting to notice trends and common words that continue to prop up. And we're gonna get to some word mapping next. And we're gonna be able to take a lot of the words that the client is saying over and over. And we're going to be able to do this word mapping to help us find connecting words. And it's going to help with our overall brand design process. But I can already see authentic is obviously a word I'd like to explore further. And fresh. I've seen fresh, fresh, authentic to starting to see those kind of themes in their feedback. This is another required question of mine, is the target audience. And if you don't know who you're designing for, you're not going to be able to know how to properly put everything together. Is this going to be young millennials? Is this could be Gen X, Gen Z, all those different kind of generations. Is this an older population? What is your target audience? How much money do they make? What kinda discretionary income do they have? What do they wear? What? All these different things we want to know about our target, target audience. It can only be helpful. So they said their target audience is those who want good Japanese style sushi. Mackey, she, she, me and a jury style. They prefer the taste of fish over the flashy extra stuffing. We do not offer volcano roles and I've, I'm no sushi really well, but if I did not, I would definitely google volcano roles and find out that they're not really authentic Japanese sushi. It's just almost like a tomato sauce poured on top of sushi. It's very Americanized and silly. But they taste good. But that's not who they're trying to target too. So they don't offer volcano roles. And they, they, which is what you think of when you think of sushi. We do offer rice-based roles, but they will be made with simple ingredients and never more than 31 role. So visiting and doing research and go into different sushi restaurants. I discovered that they do kinda pack their sushi with lots of different ingredients. Which is usually kinda complicates the taste and you can't really taste the fish anymore. So that's kind of a unique selling point that I'm starting to see more with their target audience answer. Another good one is what is your price point? That also helps determine our target audience if they're super high price point than they might need to have a different reserved, higher-end, simple, elegant brand presentation. If there are more casual and they're the cheapest in their industry, is probably going to be kind of more fun, bright, casual kind of presentation. So this is important to kinda know where do they fall price point wise. So they said, we spend a good amount of money making sure we source organic fresh fish. And I'm noticing the word fresh again, so I am just making a note. Okay. They mentioned the word fresh a lot, but also soy, ginger, and other required ingredients to maximize the tasting experience. It's interesting they use the word experience and definitely going to take a note of that. This means we need to charge a slightly higher price than most other places that prepare sushi. That makes sense. I would say we do not have an ultra high price point, but higher than most. So they're not going to be the top and the industry, but they're going to be up there. Since we deliver, we're able to pass along the savings of low overhead to the consumer and still maintain our high-quality standards that sets good. They're gonna be competitive with other restaurants that might deliver, but they might be maybe 10% more. So we're not talking about a drastically expensive price points, so that's good to kind of consider. So another question I'd like to throw out there because he never know what the client's good to give back to you. They may not answer a question that happens a lot. But sometimes they answer and they, they, they give you some good feedback. But in this case style preferences. So they said we have no clue. We love a very traditional, simple, elegant look, but we also fear we will be seen as pretentious. So they're worried about looking to high-end and two, unaffordable and too expensive. So that is a very interesting statement they made. So I'm already starting to eliminate certain design looks and feels and experiences because they said that we can go this ultra sleek, simple look, but they're also don't want to be seen as too expensive either, so we have to be careful here. So they say they want to educate and offer this experience to all consumers interested regardless of their knowledge on the matter. So it sounds like they kinda want to be approachable. Approachable would be like a really good idea were to kinda think about. So as I'm reading this, I'm highlighting words, I'm copying and pasting into a document all these words and writing little notes about it. So I'm just going to write down that word, approachable and eye-catching. Of course, every client wants to be eye-catching who doesn't. So that doesn't help us too much. But perhaps when you present concepts, you can try out two different approaches so we can see what might be the best fit for us. So it looks like they're wanting to kind of have us experiment with styles a little bit to kinda see what they look Sounds like. They really don't know where they wanna go. Which can be a little challenging because we have to figure that out before we move too far into the process. So it sounds like I might need to develop a couple of style escapes are a couple of little style presentation. So they can kind of figure out where they land or where they think they belong style wise. So we have some work on our hands do and that is not a problem. So number one, they want to try a bright hip, fun, kinda like a power when you see it. We are delivery service and will most likely attract a younger crowd with this more fun, vibrant look. They're kind of dropping some hints about style ideas. Number Two, more reserved black used SIL graphic, something that would cater more toward our traditional routes. So those are two totally different styles and I think they're still trying to figure out where they land. I would love to find one in between to that can really cater to both 12. I think we can find and compromise on something like that. I think that they can have their cake and eat it too. And I think that our job as a designer is to find the right fit. So it might not be one, it might not be two, it might be a blend of the two. And I think I'm going to be the one to help them figure that out. So I know these two are totally different styles, but part of the branding process we go through with you will also help us shape our marketing strategy, price point, and other business decisions. So it sounds like they're at the very beginning of this process in terms of opening this restaurant. And we are going to help them figure out a lot of things already. So there's still not a 100% finite on everything about the company. And that's okay because that happens. What I like to do is I'd like to turn the tables and I want them to brainstorm a little bit too along with me. It's not just me that's responsible for brainstorming. I want them to get involved in the process as well. So I asked them words you think of when you think of your restaurant concept. So they went ahead and got back with the word authentic, which doesn't surprise me because I've seen that throughout the answers and it's a part of their tagline. So that's going to be an incredibly important word when we come up with their ideas and concepts for the logo design preparation. So the process, I guess the process experience, I guess would be a better word for prep. Preparation. Taste over quantity. Once again, I'm noticing the word taste come up again. So I'm going to write notes about the word taste. Fresh. Again. Stay authentic and fresh and taste are repetitive words. Delivery. So convenience and then less is better. So maybe not too crazy of a design, maybe kinda more of a simple look. Maybe just kind of started to think out loud and think through, through all the answers that they've given us. Outside of the logo and kind of some brand ideas, what else will we be needing? But they said menus for sure. Our menu will also need to be online, but also eventually in a printed form. So we gotta make sure we design a menu that's flexible for both formats. I would love to have an infographic detailing the authentic way to eat and prepare sushi. Maybe a bit of an education and different styles and names of sushi. Okay, that's interesting. Maybe in a format where we can place it on social media, but also on our website. I will want to see the brand on chopstick wrappers we have accompany already that can place the graphics on these, as well as other items that will come with a delivery kit, like boxes, bags, and napkins. So it sounds like we need to really work on some delivery branding. So bags, boxes and those chopsticks on that could be where we can test out our logo design once we get that finished as kind of a presentation for them so they can see it on the things that they need the most. So I already have some raw ideas and information and be able to write down from all of this. So I'm going to keep that on the side as I continue to gather more and more research to add to this. So next I like to kind of study the industry a little bit more. And the best way to do that is some competitor research. We talked about this before, how maybe visiting sushi restaurants would be a great way to experience this. But if your company isn't online company, there's fantastic ways to do some competitor research by just simply Googling the industry or Googling their name if they're already a business and finding out can comes up second, third, on Google. And kind of going through their competitors process. If they have an online checkout process, go through that online checkout process, you need to really be able to know what they offer and how maybe you can present something different for the client that you're doing. So competitor research is incredibly valuable. 6. Conducting Research : Experiences are a funny thing. Sometimes you can use a company's product or service and be able to quickly drum up interesting research. Sometimes you have to go out and just soak in the experience yourself. There's nothing like a holding a product in your hands and feeling the texture. Notice how it feels. Isn't heavy. Is it light? What does the packaging like? Is it rough? Smooth? Let's say we have a client that sells body wash. What other body wash bottles, what do they look like? Standing back into IL, which one catches my eye first. What flavors are they using? Cents. Am I seeing a theme among other bottle shapes? Do they use photos of the flavor or sent? If so, how big are those photos in relation to the rest of the bottle? How about, for example, a clothing brand? What does the fabric feel like? How did they place the logo on the TAC? What colors do they use? Recycled tags, plastic or the tags high gloss. How? Because the company name on the labels or the tags. This can also be applied to research in companies that are purely online. For example, a client that is creating a new streaming service that caters to dog lovers. I may browse One of the bigger, more successful video streaming services like Netflix. How's the experienced browsing and watching videos there? What does the logo look like on my phone? How does it compare to the experienced dreaming on TV? These give us clues to types of branded items we may need to produce for our client. And may also want to research web sites that cater to dog lovers to see how they presented their colors, logo, and brand elements. Combined together, we can find a way to create something blended and unique to our client. Since our sushi restaurant in delivery service will eventually be a physical store location. Let's research by visiting several restaurants to see how they handled their brand design and visuals. And, you know, I'm going to enjoy this process. One of the first things I like to notice is the restaurant signage connect easily read it from the street. Do I know what type of store or restaurant it is? Just by looking at their signage. What type of other visual aids like posters, wall silage are there on the outside of the store. What type of physical materials do they use for their interior design? Wood, bamboo, steel, concrete. Is it a dark or light facade? When I walk in, what is the vibe I get from the restaurant? This one, for example, had some beautiful architecture that really became a neat centerpiece. This one also had an online only menu with no physical menus present. And it is that most Asian restaurants had fairly complex menus and our client will have a much more simple menu. So I'm keeping track of all these different observations. This one had a really neat full color chopstick wrapper with a logo and some social media information on it. Most to go or take away bags I received when I order sushi online where the standard white plastic bags with no branded visuals on there. So I'm starting to see a really neat opportunity to add something to our delivery bags to make our experience more visually exciting. I'm also seeing the importance of a digital fully online menu as well as most places we're switching to a touchless menu system. Another sushi restaurant had a very unique concept that I've visited there called Cow fish burger. And funny enough, they serve both sushi and hamburgers. This is quite the opposite of our client, who wanted to just focus on sushi and keeping it peer and authentic. The dish I got was a bento box with sushi and other familiar items, but with a big burger in the center. It was odd, but it was an interesting experience and it was good to check out what others might be looking at when they Google nearby sushi places. Once again, I'm noticing the chopsticks had a wrapper to them and it was an online menu only as well at this restaurant. So I'm jotting down some of these notes and observing and both of these places in my notebook that may be land on my final restaurant to visit. It's a sushi place called becasue. It seemed like they took their sushi much more serious and it seems to have a similar ideas. Our client, they had a wonderful, slick-looking menu with reflective simple logo on the top. The inside pages, the menu used a special paper that had a really glossy, pearlescent quality to it. It was a very stunning and very nice. The price point was higher just like our client, but it wasn't out of this world. Hi, I'm really taking notes at this place. Their logo seems almost contemporary with a stretched out look to their lettering. And it gives it a very unique look from the road. I would not know it was a sushi place by just looking at the sign though. And I'm not sure how I feel about that. It could be a disadvantage. Our client has the name sushi in the name. So I feel like we're not gonna have that problem. The sign had very interesting topography presentation with that super long stretched out condensed looking custom typeface. The reddest striking from the sign and I liked how the black and red stood out. The great thing about Googling these restaurants is Google remembers your searches and it tries to re-target you with online ads. This means we'll get to study some of our competitors. Restaurant Ads are what people are looking for when they're looking for sushi or they enticing, do they work? What can I do different to make mine more appealing and focus on our unique approach to the authentic fresh tasting fish. I'm already starting to think about what type of photos with matcher unique concept as well. So let's do another competitive research example. Let's say we have a client that has an expensive restaurant that caters mostly to professionals that want to have a nice place to meet for business lunches. I'm gonna visit similar restaurant types and take notes. I happened to visit this one place for lunch and has the most stunning atmosphere. I notice there are many design, the typography in the layout of it. They also have really amazing cookies. Overall, the food match the brand design and I come away with a great perspective of what it might be like at my clients restaurant. This helps me put ideas together by brainstorming process. Remember ideas and concepts are never developed at random. These little nuggets of information we gathered through this research project process will all come together to form wonderful ideas with ease later on. 7. Target Audience : This next research idea can be optional and it's heavily used when doing user experience and user interface design, our UX UI design. But there's something we can do to help us establish our target audience. And that is to create a user persona, or in this case, a customer persona. We want to take the information the client gave us to put together and profile that lists basic stats about this potential customer, as well as possible goals, likes and dislikes. Being able to put a name to a face helps when we get to the concept and brainstorming phase. When we create a brand design, we always picture ourselves looking at the logo, but the client's product and services may not be for us. I think it is important to recognize that we may not be our client's target audience. I think a lot of designers assumed this role, but we need to step back and realize who we are designing this for. I want you to be as detailed as you like with these customer persona's. They need to feature possible age and job titles. A big question I get from people is due just make all this up. Well, you're going to need some data and hopefully your client has provided you with some or you can ask for it. If not, you can always research trends and certain age demographics as well. You can do surveys, you can make calls to those you know, who might be close to this target customer? Multiple user persona's? Yes, you can have multiple different customer types. Therefore, it's natural to add multiple user personas that help you better represent your varied target audience. The goals for these user personas, or in some cases, you can call them a customer persona or a client persona, depending on your client's industry. It's to help us see a person behind our design decisions later on. Our brand design is meant for someone or a group of people. And it's great to be able to visualize them. And it goes a long way. I am here in the brand guide and I'm gonna go ahead and get into this page that talks about defining your target audience. We talked a little bit about the user persona's and how it's great to develop a couple of them before we get started into the brainstorming process. But I wanted to talk about mood, just showing you kind of an example of a user persona in action. And I almost always like to put a photo on these because I think it's important to be able to put that visual to a name so that when we start to brainstorm, we can just have them in her head and have them in our mind. So you could just go on pixels.com or on Splash.com and just find someone you feel like would connect well with the brand after you've done some research. So of course, with a photo, I like to put a name, give them a name, but give them a name that's popular among their age group or, or, or whatever we want to do there. And also loved to give them a title. What are they, you know, and it doesn't always have to be a job title. Sometimes it's nicer but a job title, but sometimes it could just be the kind of personality they have. In this case is it's the professional foodie. So she just loves to kind of go out and write about food experiences. She loves food. But it may or may not be an actual title and could just kinda be a personality type. So I like to list some general facts. So she's has an age, she's 36, she's single. Her occupation. She's in banking, and she makes a pretty decent income. And that's really important because people who are making under 20 thousand a year, they may not be our target audience, and those making over 200 thousand a year might not be your target audience. So we need to figure out who are we targeting. It's gonna really help when we're coming up with marketing campaigns and when we're coming up with social media campaigns, who are we targeting? This can be really helpful to try to figure this out. Location. She's in the United States. Our restaurant is going to just start out in the United States. So it's kinda, kinda helps narrow things down for us. Education's important. So she has a bachelor or greater, and that kind of matches up with our income. I mean, none of this is set in stone for her, but it's this kind of helpful to guess kind of the education level she might have. That doesn't mean that we're stuck with only targeting people who have a bachelor's degree. That's not the case at all. There could be multiple user personas and this, this is just one example. So another thing I like to do is talk about their goals in life. What are their goals? This is when it gets a little bit more creative there you're kind of writing a story for her. You're, you're writing it's more of the Xi's is more than just facts. She's more than just statistics. There is a real person who has goals, insights, and passions in her life. And this is where we want to kinda write and craft that story. So for goals, just an idea is a professional who wants to reduce time cooking and preparing food. So she's she's busy. She doesn't have time to sit here and have a really good food. But she's a foodie and she wants high-quality food, but she may not have time to cook it. So that's where this kind of restaurant can really help her, especially with their delivery service. She desires a high-quality fresh food. Notice the word refreshes and there you're starting to see these words used repetitively on purpose. She has a desire for sushi and visits a sushi place at least once a week. So she's already kind of a fan of sushi. She understands it already. It's not new to her. She is a foodie by the way. So it all kinda connects values. So she wants to have work-life balance. And so being able to get fresh sushi delivered or go for a quick bite to eat at lunch is valuable to her. She also likes health and nutrition and raw fish can be some of the healthiest food in the world, along with rice and the other side items they offer on their menu. This is a very healthy place to eat. Food is an experience, and it's not just for sustenance. So this kinda goes back to her personality being a professional foodie. She eats food because she really enjoys it. She doesn't eat it just because it has a certain amount of calories she needs each day as an important part of her life. And some people are built that way. Some people just love to eat food and I'm one of those people, I just enjoy the eating experience. And so this really helps us figure out who this person is and some of the motivations behind her going out and getting sushi. So everybody in life has problems, and that means they have some problem-solving opportunities. These are problems that we can solve with our unique concept and product or service. So if you have a client that walks dogs and you have a problem of not feeling like your pet gets enough attention when you're gone at work. Well, that's a problem that I have, that you have a solution or product for that can solve it. So that's how you have to think what these problem-solving opportunities. So she wishes she did not have to spend so much time preparing and cooking meals as she already has just a few hours of the evenings to hang out with friends and she didn't have a lot of downtime. So we're going to be solving that issue by providing a delivery service. She loved sushi and visits to fantastic places in town she thinks has the best sushi. She feels like she is missing the quality component of the sushi she eats. So she's eating at these places that have really Americanized sushi. And our place has that unique idea of just really focusing on really high-quality fresh fish and now putting a bunch of junk on it and, and all these other ingredients just really focusing on high-quality sushi. So that would definitely solve one of her problems. Another opportunity is she would love to have great quality fresh sushi delivered, but she's a little wary of trusting a local place to deliver it. There's the idea that delivery sushi is not going to test taste as fresh as visiting the restaurant. So this could be an educational opportunity for us when we're developing our brand language, we're writing our ad copy. Perhaps we can position our company to resolve this idea that delivery is not going to be as fresh. And so we have to find some way to maybe think about that in the future to say, okay, we are fresh, even though it takes 20 minutes to get to your door, we can use an app called door dash, which can really get your order super quick to you. And the fish is still going to have a slight chill to it. It's going to be nice and fresh. So that's kind of an education opportunity that we discovered by kind of walking through this user persona exercise. So why did we take the time to put all these user personas together? I like to craft it in a really nice professional way because when I do my presentation to the client a little bit later on, I think this really helps to add professional layer to my presentation because once again, I'm proving to my client I'm more than just a graphic designer. I'm thinking about the whole marketing branding strategy piece and that's what makes me different and that's why I can charge a little bit higher prices. Because I worked through all these different steps that other graphic designers are just not doing with their work. So if I can provide this, this is what ad agencies go through all these little detailed steps. It seems like a lot of extra work, but you can charge more money, can get bigger clients this way. This is the kind of stuff when you start to get large clients. This is expecting and this is what big ad agencies tried to do as well. So I'm just trying to show you this little bit more expert level presentation. I think this goes such a long way into to proving to the client, you're really thinking through this, that you're not developing concepts at random, that there's a process and there's a little bit of order to your creative process. 8. Finding Direction : If you're lucky, the client is very detailed in how they describe what they're looking for. But in our case, our client pretty much admitted that they don't know what they want and they don't know what they're looking for style wise, which is very common. It's gonna be up to us to help guide them through figuring out what they want. And as they say, clients do not know what they want sometimes until they see it. And this is where something called style escapes. Our brand style presentation was come in handy. You may have also heard the name brand boards, mood boards, and inspiration boards. All of those basically are the same thing, that they quickly and clearly defined and show a particular design style. The presentation is simple and almost always shown with one large image or page. At this stage, we have not tackled any sort of design tasks ourselves. What we need to do is curate our photos and items from other sources. This is mostly just between you and the client to find a general direction on style and look. So legally, I would not encourage you to use other people's work without giving them proper credit or post to get publicly. I get asked this question a lot by students. If they can use their inspiration boards or mood boards used with other artists work. And they say just for internal use to be super safe or give the proper credit for each piece of work used. I can even take my own photos and incorporate them into my style scape or style board if I'm worried about it, but I would definitely keep it just between you and the client. And if you do decide to put it on your portfolio as part of your presentation, make sure either give proper credit to the artist for each of the items you used in your style scape, or tried to find alternatives that you created yourself or you have the rights to use. And as I've said many times before, I like to find photos from free stock websites first, like pixels.com and splash and pixabay, to build out my style scapes or my brand style presentations. So let's look at two brand style presentations I put together quickly for a casual fashion brand. These are two totally different styles. And one seems more simple and clean and sophisticated, and the other one more casual, bright and fun. And if the client was struggling trying to find a style direction, presenting these two different style options may allow them to give you valuable insight moving forward. They may want to have a blend of both. They may want to see another style represented. They may fall in love with one. And that gives you a huge head start in coming up with your own logo topography system and brand colors later on. So how many of these should I put together? I recommend two or three in different styles to be the most helpful. Offering. More than that can start to confuse the client and bring up more questions than answers. Offering just one will not give the client a chance to choose between different styles. Based on your research, you should already be able to pick two or three different design styles you think the client might resonate with. Since you're using other sources of the client does not connect with the style you send. This can prompt them to bring up suggestions to you. This gives you a chance to quickly present a different style. You should not spend too much time putting these together as it's still firmly in the brainstorming process and nothing final husband said. There are also style escapes for finished concepts. After you move through the entire brainstorming phase and come up with different logo ideas. There is no wrong time to present a style scape or a mood board or inspiration board. Sometimes earlier on in the process, it's necessary to establish a direction with a client that may not know what they want. And it can be helpful and deciding between two different styles they might want to go for. Also for presentation and portfolio presentations, you can take everything you're going to create throughout the class and put it into one final style, border style scape presentation like this, for example. And we're going to work through that project and talk about key characteristics of strong presentations a little bit later on in the course. So don't worry, we're going to walk through this and we're slowly working our way through this. What feels like a long research process, but I have just a few more direction binding activities we could do to further establish our style direction. And once we do a couple of these projects, we're going to be very close to one of my favorite parts of this entire process. And that is the brainstorming and sketching phase. So please hold tight. I have a little extra student project for you if you want to participate. If you decided to use the sushi club brand, great. Or if he decided to use your own different company or client brief, that's great too. But I want you to practice creating a couple of different styles, scapes or style presentation boards, mood boards, inspiration boards, whatever you want to call them. I want you to pick a hero image, somebody to kinda represent the target audience or the user persona that you came up with. I went them to be the star of your style scape and the center of your style escape. I want you to build the whole presentation around that user persona and deriving colors from the photos as inspiration. I also want you to think about a main typeface example. So you can see in this style scape, I have two different typefaces chosen. And I think each one helps to tie along with kinda the styles of the photos as well. Everything's kind of connected. As you can see, the first style has a san serif type face, but it's a more FUN, youthful look. And then the other one is a Serif typeface. It's an, a more traditional look and as well for these two different high fashion brands. So I want you to do the same thing. And once you find your user persona image, put her or him right there in the middle and build everything else around it. You can go on Behance.com, find some great example logos. Maybe put a series of different logos on there that you think have a similar style that you think the user persona would really resonate with. And same thing, you go to pixels.com, go to find some inspirational photos to kinda help build this and put it together for either the different client brief that you're using or if you're going to go along with the, with the sushi club and do kind of your own brand building with this. So hopefully I look forward to seeing your work. You can just post it. I would love to see it on social media. Look to see what it looks like. 9. Putting Together Our Style Ideas: Welcome to Adobe Photoshop. We're gonna take the next ten minutes to create and brainstorm some of these style scapes, inspiration boards, just a way to help our clients pick out a style. So I wanted to walk through this technically how I did it in Adobe Photoshop. So I like to do these in Adobe Photoshop, but you can use any photo editing program. You can even do these in Adobe Illustrator, but I just prefer Adobe Photoshop because its easy to modify, crop, and isolate images. What size do I make these? Well, as you can see, a lot of style escapes comes from the word landscape, which means kind of a horizontal presentation. Which can be nice if you were ever to print it out on a foam board and bring it to a client to show off. And it could be even nice if they have a tablet, if they're viewing it on a tablet or they're viewing it on a desktop. Because all of those screens are mostly kind of a horizontal orientation. But I've seen a lot of great brand presence style presentations done vertically. You see a lot of mood board, inspiration boards done vertically as well. So don't feel like you have to do it horizontal. You can do it in any way as long as it's easy for the client to see the style at first glance, they don't have to scroll a whole lot to see at all. They can kind of get a good idea of the style. Quickly make a determination on whether they like it or not. So let's get started by opening up a new document. And I have one right here. It's 4 thousand pixels in width by 1200 and height that seems to be kind of a nice ratio, gives you enough space horizontally to put stuff, but it's also not so long horizontally that they're gonna have to sit there and scroll to really see the entire style. So I'm just gonna do 4 thousand by 1200. I like to keep it in a nice high resolution. You never know if he might need to print these and bring it to a client presentation or if it's just going to be a digital presentation. Always nice to do higher resolution. Here we are, and we have a blank canvass and I think a lot of people freeze and they get a little bit of a panic attack because they don't know where to start and how to start. What do I start with? I feel like I can't come up with a style if I have nothing to go on, but just some data that we've gathered so far. So the client and the client brief said they had two different styles that they were still trying to figure out. One was this really pop, bright Pao. They said they even used the comment, I want it to feel like a power when they see it so they can bright vivid colors, more fun, soft topography, maybe even illustrations. I'm not sure we're going to see how that looks. And they also wanted to see a reserved one with maybe a seal graphic, just reserved colors. They even mentioned the color black. So it'll be easy to determine between the two styles because the clients already kinda given us little bit of a direction. So let's get our art board tool and let's create two art boards. Are going to go here and click on new work to be able to pop a second one, ride on there. So we have our two our boards. Let's start off with a fun, bright pop of color. So when we get started with these, the way to fight that panic of, I don't know where to start is to start out with your user persona. You might have Howard who haven't image of her or you can find a like image, doesn't have to be exactly her. Find a similar image, similar age, demographic. And possible titles. So let's go ahead and get our user persona outlets find someone very similar to the r star. So Amman pixels and I'm going to type in professional woman. We're going to scroll through and we're going to try to find someone who matches our user persona. So this is going to be a bright fun one. So I want to see if I can't find somebody with a smile. So it has a nice smile, very inviting and very warm. So I think I found the perfect one. She kinda has some clothes that are more casual, but yes, she's professional chances Smile, tour. She seems about the right age, kind of inner Thursdays. So just try to match that as best as I can. So I'm gonna bring her enemies going to copy and paste her right into. Let's go ahead and put them in the top art board. Let's right-click. Let's go ahead and make this a smart objects so we can make are smaller and larger and not worry about pixelation. And I'm going to press Enter and I'm going to quickly select her. I'm going to cheat. And the newest versions of Adobe Illustrator, I'm gonna do select subjects I can quickly masker. I'm gonna go down and masker really quickly down here, layering mask. And just like that, she has her background removed. I love that option in the newer versions of illustrator, it's worth the upgrade if you guys have an older version of Photoshop and don't have that, so she's going to be the star. I like to do it in the center and everything kind of fan out around her. So the topography and some of the other photo choices around her, but that it's not always the case. I've seen people do style escapes and they start off with, these are persona like they're reading from left to right and they kind of tell a story as they move over to the right. So there's no wrong way to build these, but I'm gonna go ahead and start off with her living maker a little bit bigger. Just like that. I don't want to make are so small that you kind of lose her and the background. So let's go ahead and put a nice bright vivid background art on her. I'm just gonna get the Rectangle Tool. And I'm just gonna put a pop of color here. Let's do a nice bright vivid orange. I'm going to put this in the background. And with his bright fun version, I also want to maybe add a little angle. And don't spend a lot of time and doing your own style here, or spending time on design because it's really just giving them an idea of a style direction. It's not at all making any recommendations for what it, what it's going to look like, just kind of a general idea. So now that we have our hero image, I like to start with topography. What typography choices are we thinking is going to work. So there is a couple we can just go through maybe some current type choices that we have in our software. Or if we want to explore different type styles, we can go to Google Fonts and kind of get an idea of style. So I'm thinking fun when it comes to typography choices. I don't want a lot of sharp, pointy right angles. I want to have some soft, rounded fun angles, but I also want to have it be chunky, easy to read. So very chunky typeface. So we can go up here to font properties and We can go ahead and increase this thickness and see what some of the thicker type choices are and kinda scroll through. So there's a couple of sans serifs. There's commit. Commit looks really good. So that can be something I can easily download. So you can download that font family. And you can even type in a headline. To kinda help you see, well, what is the name look like, what Islam company named look like in this topography choice. A lot of people show their font choice and they show the entire alphabet and how each letter is shown. And that is okay when you're doing branding guidelines and you're doing kinda some more final stuff. But for this, we're just going to kind of keep it some nice simple topography, maybe a little headline. And this case I'm talking about the style, the bright, vivid one, number one styles all about that pop of color and vibrant color. So I feel like the clients could connect more with that than they are seeing every letter of the typeface that doesn't really connect with them. They're not graphic designers. So you're designing this for non designers. So keep that in mind. So I'm trying to continue to define bright color palette doesn't have to be perfect. So another thing I can do is bring in some local designs that are from other designers that I thought would have the style that I want to go for. So I'm going to go on Behance. And I'm just gonna type, I'm going to start really broad and just type in logo design. And we can get more specific about what kind of logo design after we start to see some examples. So I really like these bright colors. Let's check this one out. All the colors are fantastic, but not all the typefaces are things that I think would resonate like that, not at all. It's two traditional. So there might be just one logo design out of this whole bunch that I think might match. And that's okay because we could just take a quick screenshot. And what I'm gonna do when I take a screenshot, I'm also gonna go up and make sure I copy and save who the artist is. Sometimes I like to get the link and I can go up here and I can have a whole series of different links to everything I'm using so that if I need to put a little credit, I can put a credit to the artists because you never want to take a logo and assume that it's yours. You always wanna make sure you give proper credit to people, especially if this is going to be made public. But once again, I prefer this to be just between you and the client. So I've collected a few logos. Let's go ahead and see what else we find. This one has kind of a lot of fun kind of shapes and angles to it. It's got this monoline. Look too at motto line, meaning, meaning single thickness. So it's got the same thickness throughout his feels very uniform, but it's got a lowercase presentation which is softer and more approachable, which we'll kinda go with their bright and fun look. So I'm just gonna take a quick screenshot of this. And I usually like to cluster the logo designs together so they can kind of see all of those together to get an idea on style. I'm just doing that right now. But it's also nice to see it on something very practical, or mockup or product. So restaurants, what would be something that they needed for the restaurant or every restaurant needs and would like to kinda see what a style looks like, a menu. So I'm going to specifically look for a menu that would be in this bright fund style. And I did this a little bit last night and I had a really hard time finding a menu that really matched our particular style. I found things that kinda were bright and fun. But they had this kind of illustration on it. And I didn't want to go into illustrations with this particular brand, so I had a hard time finding the right one. But after about ten minutes, I even typed in yellow because I wanted to kinda get something that had yellow in it and was bright. And so this is when you can start to be very specific about what you're looking for. And I liked kind of the simplicity of it, but I had that nice pop of yellow. Took me about ten minutes to finally find the right style that I thought would match everything. But sometimes some things are easier to find than others a logos I've found really quickly. So let's, I also ran across this topography option that I thought was also fun. It is a little bit different than kind of what we have here, but it's good to kind of introduce that because you're trying to get feedback from the client. They may go, I love the hand lettering, we want to have that. So it's nice to kind of throw something that's in the same category. It's bright, it's fun, but maybe a little different style that you think could work. So just kinda presenting all these in this fashion. I think also adding a little more bright color. Let me get a background here. Of course, we can modify these colors at anytime. It's very easy to do. Let's see if we can't find a little inspiration from her shirt. We can even help her pop out so she doesn't look like she's lying. She's a standing up against nothing. We could do some little small effects. Once again, don't spend a whole lot of time, but this doesn't take too long. I'm just gonna do some shadows is creating a layer underneath her. And I'm gonna paint with a brush tool, soft around brush. I'm just gonna paint on a little bit of shadows. So it looks like she's standing up against that background. And I'm going to reduce the opacity quite a bit. So it's a sick, a little shadow. So that's kinda before, after, just kinda adding a little bit of realism and pop here, let's add pictures of sushi, the kind of food photography we feel like we want to use with this style. So it's going to be bright and fun. Sushi photography. So let's go to pixels and let's look at sushi and try to find one that I think is very vibrant. See these are kind of washed out looking, so I'm looking for lots of color. Maybe a pop of the red and the orange. So that one looks really, really cool. So this got a lot of color to it, a lot of vibrancy. So I'm going to bring that went in. And remember, we need to use photos that's going to resonate with our target audience and with a kind of held that the client wants to be portrayed. So they make sure you don't get the volcano roles or the, the american ice sushi get very simple sushi because that's what the client is asking for. So when you do a style scape, getting the type of sushi they're gonna make or the type, the more traditional, simple sushi like this would probably be a more desirable photo to use than something like that. So I am just bringing this photo in. This is really just to set the mood for your style board. I want to do one or two more things here. I feel like something's missing. I wanna get to know this person a little bit more. She's probably what, mid-thirties. And this is kind of moreover, as almost feeling like more of a retro pop early nineties, almost kind of vibe would if we were to bring in some, something fun from that era. That is, just, just try to add a little personality. So I thought, what if I did a cassette tape? And this one's kind of fun. So I'm going to download that, see the bright colors that are used even on this and even on the cassette tape, just thinking out loud. So here's our cassette tape. Let's bring this in. This will be very easy to isolate. It's already smart objects. I can make it smaller and do our little cheat. And do select Subject that'll select it super quickly. And let's just do a layering mask. I'm going to bring this down to the layering system. I want it to be covered up by the logo, maybe just like that. And maybe there's a second one kinda floating around. Let's make her a little bit bigger. I want people to really get to know her. She is our hero of the day. So making her a little bit bigger and just doing some small tweaks to kind of finalize the presentation. And there's an opportunity to bring in maybe another logo over here or some kind of different type style with sushi cloud is kinda seeing what we could do with this little extra space. So that style one. And you know, spend about ten to 30 minutes on each style. And so maybe an hour total with two or three different styles. So let's tackle the other one. It's going to be way more traditional and reserved. So we're going to call it the reserve provided. 10. Finishing Our Ideas: So for this one, we want to kinda keep our same user persona and will want to find a different version of her. So it doesn't have to be the same exact woman because you're not going to say find the same model, but she could find someone very similar age wise. And for this one, she's more serious and she has more reserves. So it's going to match the overall style. So we're going to build everything around this woman. So I'm gonna do a select Subject and quickly masker. I think I even wanna make her black and white because this is not a bright, fun, vivid one. This is more relaxed. So let's see if I can go to adjustments and add a black and white layer, my black and white layer. And it's gonna do a quick Black and White. And I'm gonna go and mask this black and white. So it only affects the layer below. So I'm just holding down option. Holding down option. You see that little arrow and I'm just going to connect this Black and White Adjustment Layer is connecting it down there below, so it only affects that layer. Let's make our tiny bit smaller so we can have some room for some topography. So let's bring in our type choice. Let's see what kind of type choice might work well here. And you don't have to just use Google Fonts. If you have the Adobe subscription, you could do Adobe fonts and do the same thing. And has a little area where you can do the thickness and thinness of the topography. You can browse fonts and they have all sorts of cool tags that might be helpful for brainstorming different types of typography. So we can go to font properties may be reduced the thickness quite a bit. Woo Monserrat is really nice. There's a Montserrat, It has a lot of different weights. So the more font weights you have, the more flexibility you have a love a typeface that has lots of different fall weights. So I finally ended up with the typeface for tomorrow, PT. I used a light and I also showed contrast by using a Dhimmi bold. So just doing a simple headline, the reserved one, elegance and sophistication with a focus on tradition. So i'm describing what that is, but also showcasing and tight choice. So let's do the same thing and put her on a background. Let's do a nice dark background for this. Let's expand that over the entire document and bring that down below. When I also want to do, is when you doing styles, there's also talking about textures. So for this, I thought maybe a gold texture would match really well with the black and kind of this color that I've picked out. So let's see if I can't go and type in textures and pixels and gold texture, so you buy, can't find something I could put over the typography. So let's first try out this one mixture here. So I'm gonna do the same thing on my texture on top. You'll hold down Option and clip it to the topography choice or the topography layer below it, flip it. And then I think that's a little too bright orange. So I can simply do a simple adjustment. Bring down that saturation a little bit, just to bring in more of a deeper rich gold just like that. So it's not as orangey. It a little bit. So I thought that added a little texture to that. We wanted to play around with texture for a style. So let's do the same thing. Let's bring in relevant photography. So this photography might feature darker backgrounds and might feature slate materials that sushi is resting on it might feature of our stone. So I found two photos on pixels that could really fit. This is that slate stone that it's resting on that I was thinking about. And here's another one that focuses on that traditional sushi fresh. It's expensive, it's valuable, that type of look. So we can arrange these in a certain way to kind of you're really telling a story here with these. So however you feel like you can best tell the story. I'm going to bring that in the background. And I don't want this sushi to distract too much. Let's see if I can't bring her up a little bit so that the type is not covered up too much. And let's start to pull maybe a few colors. So let's get a rectangle tool. I'm just going to cut. This is a good area to maybe add some color boxes. And I want to do kind of a darker gray. And I'm just gonna hold down Option and drag and its gonna get another copy of this. Let's bring out some of the gold color that we used. And let's make another copy. What other color, maybe kind of a cream, light gray color. We can even adapt something from the sushi colors that could be a possible inspiration for colors later on is bringing out the color of the sushi. So just kinda showing a, a brief little color palette here. We can also go for some logos that's going to match the style. So let's go to Behance and they talked about SEO graphics. And so I'm going to search for that right away, kinda see what kind of options we have come up. So here's an example that uses gold. It doesn't feel like a sushi place does. This feels more like a Steakhouse. So you just need to be careful about what we're choosing to make sure it matches. Gonna take you a few minutes to kinda find something. This is interesting. I really like the line art here and everything has the same thickness, so it's kinda monoline. And this has a wonderful seal graphic. So I'm going to scroll down here. There is an excellent example here that I can use. And you can just take a screen shot like a, just like a little screenshot to give the client and idea of the look and style. And once again, make sure you give this person credits. So Kevin Kraft, I'm gonna go ahead and copy his link and have that nearby so he can get proper credit for this awesome look. Since I like the monoline luck, I went ahead and typed in monoline logo and I found one that I thought would look really good as well. So among these seal graphics, I thought this one kind of had a nice traditional seal look to it, as well as this one kind of the circular topography presentation looked really nice and professional. And I want to bring out that gold idea too. So gold foil logo. So gold foil is kind of that gold that you see printed. And it shines its an actual foil that they can imprint just like this. That's kinda of gold foil stamping. So that could be an example that I can show and my style presentation. And that one's a great example too. It would be great to find one with black used as well. So I spent a few more minutes and found a couple of logos I thought were kind of seal graphics and also some really nice type treatments. I thought all kinda went well together. This, this should take less than an hour and you can even come up with a third one if if that's your client's needs, you may feel so confident you can skip this stage entirely if you feel like you really know what the client once, but sometimes clients say what they want, but they don't really mean it until they see it. So this can save you so much heartache by doing this and sending it to the client. You'll be surprised what they say. They always surprise me with their responses and go on. I like this style and you weren't even thinking of that as an option and they really just fell in love with it. So this is so helpful, it's gonna make the brainstorming process so much easier. So instead of having all these different style possibilities will really hone in on a particular style. So we don't have to sit here and sketch thousands of logos and wonder if they're going to like it. We're going to know, have a better idea that they are going to like it and have some direction. So that's the whole point of this section is to find a direction so we can start sketching and brainstorming. 11. Finding a Brand's Position : Capturing a brand's position, find ways to rate and quantify certain company characteristics and personalities. So sure some of this might be very subjective, but all these exercises can still be valuable in helping you find a style direction isn't required. Absolutely not. But each activity brings you closer to having definitive reasons for making certain design decisions. So you pick rating scales that pertain to the company, industry or target market. What's important to them? Client interaction and feedback can be very helpful in gaining valuable insight into the company. Is the company cleaning company would a rating scale that shows where they stand on price. It might be very meaningful when you're doing competitor research. Sharing these scales with a client and discovering where they land on the scales could end up sparking great conversations that can lead you down the path of certain design styles and decisions. So we're gonna do a quick example using our sushi club. And their scales can be made up depending on the industry. So like I said before, if it's a cleaning company, price would be really important to show. And so for this example, we're talking about a restaurant, we're talking about sushi, we're talking about takeout and delivery. So a lot of things are matter. So one thing could be how fast they are at delivery. Are they going to be faster than their competitors? Are they going to be slower? Then you're not gonna be able to find the perfect position on a scale. So some of that is subjective, that's okay. This is just generating conversations and generating ideas. So that when we go to the brainstorming process and we will finally get there, I promise. When we're brainstorming, we have these scales in our head, you know, so price point, where do we fall based on what the clients already said? They're not the highest, but they are a little more expensive than average. So I'm gonna put them a little bit higher on the price female. Another thing is talking about our target audience. Do we wanna be more masculine, feminine, gender neutral? So that's a really good question. Our user persona happens to be professional woman, but that one person doesn't represent everybody that could be our target audiences, just kind of a helpful visual for us. So that could be a client question, you know, do you want to go more masculine with your design? Do you wanna go more feminine? And a lot of these are being challenged today in our new world where, you know, we're, we're challenged to ourselves to be more gender neutral with everything we do. That it's really important. A really interesting discussion that you can either have with your client or have with yourself. Kind of figuring out where you think this this company would be best suited. In terms of that style, I worked for a company that had a 100% of their audience were min. So obviously I had a more masculine style. I used grunge. I know I hate it that a US grunge, but hey, it, the client liked it and that's kinda what they use. Darker colors, richer color. That's kinda what I did for them. So you will have some clients that will only target women and only target men. And it's good to know that. Okay. So here's another one is entry-level or retired. Where are they professionally? That that's a great question for us. Is when are they going to? Who's going to be most interested in delivery people that don't have a lot of time. So that's going to be probably people that are going to be kind of in-between. Some are going to be retired, some are going to be entry-level. I would honestly probably put this closer in the middle of kind of a career path because our user persona, she's in her mid thirties. She's kinda just starting to get some extra income. So style, this is another good one. So you have modern, transitional and traditional SO transitional is right there in the middle. You're not modern, you're not traditional. A lot of this, you can even have a home design and interior design. This is kinda some tags that they like to use. So do you wanna go more modern and fresh and simple and clean or traditional unreserved. And that's exactly what we were trying to figure out with our style scape and brand presentation. So I think they're gonna kinda sit in the middle and then it's not going to be super helpful for us, but it's good to know whether they're going to be ultramodern are also traditional. That would kind of change how we approach the brand to. And you don't have to use these for your client. I just picked these because I thought they would be relevant to my industry. So Bolden, reserved style, design. Are you going to be reserved? Are bold and that's exactly what the style scapes we're helping us figure out. So bright or neutral. Once again, that's another style. If he were to present and have the client rank these and put it on a scale one to ten. And trying to figure out where they are, this could be very, very insightful. So desired audience characteristics. Who do we want to be our client? Not who is our currently our client, but who would we like to be our client? Or they could be rule-breakers or rule followers. So that would change your whole design. So if you're a useful clothing brand and you want to target young people who are interested in changing society and going out there and just kind of being a rule breaker in a positive way. That would be an interesting care insight to the audience. What if they're rule followers and what if it's a financial institution? And then you have people who feel like they do all the right things and they're going through all the right steps. So this is all very open-ended and open. This is a way to open discussion. So risk-takers and risk averse. So that'll be interesting in the financial industry, Ru, have risk-takers who are going to be getting into investments that are very risky, like cryptocurrencies. Or you have people who are risk averse and they are scared to invest in the stock market. How we design using colors and color psychology might really get some good ideas of how to approach color two and psychology and making people feel safe with cooler colors, cool tones for the risk averse and for the risk-takers using some of those, Brett bought bright vibrant greens and oranges. We even have one for extroverts are introverts, are these people that are social or they kinda keeping to themselves, well, this is a delivery service, so you might have a little bit of introvert, introversion here. But this is just, once again, this is a lot of subjective stuff. But anything helps when when coming up with the brainstorming process. Do you have to do this? No, I'm just giving you a set of tools to use. You can choose to use all of these tools. You can choose to use just a handful. Whatever you feel like is going to be useful. 12. Word Association : So we are getting ready to do our word mapping exercise, which will be the precursor to sketching. So when we do a word map were coming up and generating words that neither the client has mentioned that member we wrote down in the client brief how repetitive words like fresh and authentic kept coming up later, some great word bubbles to start off so we can branch out and come up with other associated words to those main words. But if you don't feel like the client really provided you with a lot of content. Sometimes you have to kind of generate some of these words on your own. So we're gonna do this quick word association exercise to kind of generate some other words so we can help brainstorm associating words. So then we can get some concepts jotted down. So one thing I like to do is have two columns, list tangibles. So these would be things he can hold, touch, or see in your client's industry. So for an example, a home improvement company, some things that you can touch see hold. When you think of home improvement is a hammer, roof, maybe a work truck, tape measure, blueprints plans, a hardhat, just coming up with things very quickly. Wood, stone, brick, just kinda of raw materials. A house because a lot of these people are going to be improving their house, yard, a construction zone. So just kinda listing some tangible words is helps me brainstorm some words. Uh, we sketch. I got a couple of things in my mind that I can start to sketch. So there's also intangibles. These are gonna be experiences and feelings and emotions. So how did we come up with that for home improvement company? Think about when you improve your home or your apartment, or wherever you are living and you get something to make it better. How does it make you feel? Does it make you feel overwhelmed? Because when you walk in a home improvement story like wow, what do I, where do I go? What do I do? How do I even do this? Lots of people in my house doing construction work, just kinda writing down general ideas. Loving my home and liking how it feels after I put all the hard work into it or have other people come in and do the work for me. There's also homeownership pride. You know, I'm proud of my space and I'm proud that I'm able to make it better. And also owning my space. If you own your own home, which most people who go to home improvement store, they either own a home or they're trying to eventually their own home or apartment. So this is just a really quick word association exercise. We could do the same thing with our sushi restaurant. We can write sushi, wasabi, soy sauce. Just kinda brainstorming things right off the cuff. Intangibles will be the experience, how it makes me feel the rich, deep texture of the fish. How it feels to connect with people in an intimate space. Those type of things would be good examples. Words we can brainstorm. So with some of the word association exercises we did and some of the repetitive words that kept coming up that the client mentioned that we went ahead and jotted down earlier on in the class. We're going to take all of those words and we are going to make the map. We're going to do a word mapping exercise. We're going to take all those were bubbles and try to find associating words. 13. Word Mapping : There is not an exact science when it comes to work mapping. I've seen it done different ways. I do like to start off with a main word. Bubbles that are best associated are commonly used when describing the company. And those are my first words. But from those words, I can dig deeper and come up with additional words associated with those first few main words. You can continue to branch off as much as you'd like, or even come back and write down another main word, bubble as you think about it. So down the rabbit hole we go. The brainstorming process is a series of jumps you make from one idea or thought to another. You cannot get to the final concept without working through several steps. First, it's like jumping across stones of a pond. You can't skip ahead to the final stepping stone. You must slowly work your way through Vinny stones. Before that final idea becomes clear. Think of word maps as pathways to concept ideas. For instance, we write a life coaching here as the main word found frequently and the client brief for this life coaching company. What do we think of when we think of life coaching? Words begin to appear and from that additional words can branch off from those ideas and so forth and so forth. So let's write our sushi clubbed right there in the middle. What is the word that is not only in the name of the tagline, but something that came up really frequently in our client brief. Well, that was the word authentic. That's going to be a very easy word to start off with because it was so obvious. So when we think of the word authentic, know what other relative words are. Words that are also associated with authenticity come up? Well, I think a lot of traditions and history. So I think of a history. There's a reason why it's authentic is you have to have a history first for something to be traditional and authentic. And of course, traditions with the sushi place, there's certain traditions that they do where they keep the fish as the focal point. And they're trying not to Americanize the sushi. So there's a lot of traditional there and the type of knives and the way they prep the food is very traditional. So those are just some quick words that are coming up. So when I think of authenticity, I think of timeless. So something that we're drawing from her history. So I'm just going to write down the word timeless. So branching off from history. So now I can go to those secondary bubbles and start to brainstorm branches off of those secondary bubbles. So what I think of history of the word rooted cups to mind. So we're rooted in history. So all of these are starting to be connected and we're starting to kinda see some themes. So another word I'm thinking of outside of traditions is a ritual. So we're thinking of the ritual of sushi preparation. And that goes back to traditions, and that goes back to the word, all this stemmed from the word authentic. So the other word that kept coming up was the word fresh. So I'm going to jot that down as a, another second main offshoot of sushi club. So that'll be this Odin bubble. And so what I think of when I think of fresh, in our case, I think of raw. So fresh equals raw, it's not cooked. There's something very nice about that. Also, it's healthy. And going back to our user persona and how they kinda more of the healthier crowd of fresh, raw sushi can be very healthy. Lastly, a word that comes up is safe, that was also brought up as a problem-solving opportunity for our user persona or customer profile is safe. They want to make sure it's fresh and, but also it's safe to eat because we are talking about raw fish and it's important that, you know, we feel safe eating it. So that brings us to another word I jotted down after reading the client brief and that was experience. So I'm gonna type in experience. What does, what is part of the sushi experience? Well, you know, the first thing you do is you open up a packet of chopsticks. Either you have your own chopsticks that are nice, or you open the package that the delivery comes with, and you snap open those chopsticks. So that's kind of part of the first part of the experience. I think about slow food. Sushi is not something you rush. It's something, you know, you take your chopsticks and you just eat it one bite at a time. And that also popped up. Another word in my head is savour. So we're savoring or food, we're taking our time, it's slow. Food. And remember the list of tangibles and intangibles we just talked about. I just wanted to jot down some some tangibles. So some wasabi, it's part of the experience that's definitely different. You don't really see that in any other type of food that you eat and also soy. So always plays a big part of sushi where you have the soil and the salt from the soil. So just kind of writing down some simple items that are also relating to it. So another main word, bubble or ideas preparation. So there's a preparation that kinda came from me thinking about experience. There is a preparation process of preparing sushi. So I'm thinking, okay, they have the sushi knife, which are going to use really expensive, high-quality sushi knives to do all the preparation. They have really good high-quality ingredients. There's rolling and cutting of sushi. That's kind of part of the preparation process. So I'm really thinking and MR. To starting to kinda conceptualize some ideas and already kinda thinking of a sushi knife somehow involved in possible sketch or a logo, symbol or idea. You can also go back and add bubbles as you think about it. So I'm gonna go back to authentic and going to just write down Japan because I'm thinking we might want to study or bringing something with Japanese culture history into the logo. That's also a possibility. And I lastly thought of flavor, which I think would probably fall into the experience bubble. So I wrote that down and I feel like after about ten minutes or so I have some really good words, associated words that can really help to form some sketches and concepts. How do we turn these words into real concepts? So we have all these words that relate to the company name, the brand, LFOs, the client brief. But how do we translate these just words and shapes and symbols and to ideas for our logo and our brand design. So sometimes connecting several words together helps you to form a concept. For instance, if I came up with the word exclusive or high-end are rare, it might start to shape how I present the brand. I could have it be clean and simple and exclusive with simple symbols and elegant typography. This can also help us in picking out our color palettes later on down the road to. So I'm just gonna go through each main word bubble and see if I can't find a symbol or a topography treatment. We can start to sketch out and I'm just going to write these ideas down. So for the easiest one I think is the experience. I see chopsticks and that's the first part of the sushi going experience as the first thing you do. So I think people associate chopsticks, sushi. So we can explore that as a possible idea. Some square write down chopsticks and gonna start are researching how chopsticks look and how I can best sketch and draw those. So another thing is, let's go up to preparation. So the sushi knife, they even mentioned that in the client brief was kind of important to them. So when if I went and I studied sushi knives, I have no clue what they look like or how they differ from other knives. So I'm gonna go on Google and just kinda see what those divs look like. I think they even supplied us with an article and kind of study that and take a few, grab a few photos that I can use as references. When I go to sketch sushi knives, I can figure out how to work the sushi knife and the name together to see if I can intertwine them somehow and make it really cool. So when I go down to fresh, I see raw, healthy, and safe. So none of those words are really drawing up any concepts to show visually. And those are kind of more abstract. But I'm going to keep those in mind when doing it Healthy. Might be interesting. Do something with health, with leaves. I don't know. I'm gonna kinda keep that in the back of my mind and then safe. So perhaps having a logo that, that shows confidence. So maybe some bold typography, really chunky topography that makes you feel confident and safe, authentic we have, we can look at the Japanese history or culture. What about using a circle? As, you know, that's the Japanese flag. I don't know if we can explore that or not. Maybe we can look at Japanese characters that mean the word sushi or have something with like maybe the word authentic in Japanese characters. That's something we can explore, that's really neat. So I think that's something I'm going to write down and figure out. Okay, so I have some rough idea is we have a knife. I also want to play around with the word sushi Club and also want to play around with the first, almost like a monogram and take the first letter of sushi clubs, so SMC and want to play around with that knife, play around with the Japanese history and culture, and play around with chopsticks. So I have a couple of sourced images I can use as reference points. So when I go to sketch, I kinda know what chopsticks like already and you kinda know what the sushi light knife looks like. So I could just get sketching. So yay, we're finally here. All the hard work is over and now it's going to get really foreign. So I'll see you in the next lesson as we start to really sketch all this out. And we're going to first start doing some practice sketching exercises to get your creative juices flowing. 14. Sketching Warm-up: We're gonna do a couple of brainstorming activities in terms of helping us get ready to sketch. And so these are to be very basic worker to study letter forms. And we're going to just write down a letter and kinda see what we can form out of that letter. Lots of different things. We're not going to really do one specific company. We're just kind of brainstorming ideas here just to get us started for when we're ready to sketch. So let's start off with the letter a. So we're gonna do a. And so we kind of have this crossbar in the center and two legs going down the right and left side. So trying to see what can we make out of an a, what are different ways we can sketch an a and it's still maintain its readability. So what if I were to fill in this top triangle? Does it still read as an a? Would if I were to have one leg go down and have the crossbar go all the way across. Kinda reminds me of the Aerosmith logo, but that's where they kind of came up with that. So what if we stopped the a short it filled in the triangle and we didn't complete the other leg or we did complete the other leg, but you just see the bottom. So there's kind of some negative, interesting space there. That could be an opportunity to put a letter B there. I mean, there's all sorts of crazy stuff and come up with what if we did like a really thick side? And we did like a really thin side. And then we were to overextend the crossbar. We can make that overextension of pointy thing or we can take our eraser tool and flatten it out a little bit. What if we were to take the letter a and fill in the bottom half? Would it still ciliary doesn't a I don't know. We can take the a make him really thick legs. We could take our Eraser tool and do negative space where the bar would be. When it's still read as a. Let's take the crossbar, make it go out. Like this. We can even have this go ouch. Can make a wavy crossbar. That kinda gave me an eight aware I got to the wavy crossbars. I kind of went up on this one right here. And that kinda gave me the idea of wou would if we do kind of this really interesting wave. So see how one idea kind of leads to another. But didn't quite look as good as I thought it would. But I think for some time I can work on that one. So this is just the letter a. And we can keep going and going and going. And this is just some little sketching exercises to kinda get me started because the worst thing to do is look at a blank canvas and be like now what? But if I can take some letters and explore letter forms and kinda see what I can come up with a cotton gets my creative juices flowing and gets me a little bit into sketching, assist a little exercise to help get you excited and into sketching. We could do the same thing with the letter B is what makes a b a b. So we have kind of the straight leg and then we have these two closed counters. Are these two closed areas? They're completely closed. So you can challenge that a little bit and still maintain its readability. What if we were to fill in the bee completely, but it's still look like a bee. What if we were to separate the two areas? Would it still look like a B? There's a lot of wonderful negative space opportunities with the letter B two. Because we have all this open area to build something that can even put like a heart. And the letter b, just like this. Okay, let's try it with the letter C. Here's a letter C. What makes a letter c? L, letter C. Well, this little open gap right here, you have to have that R. It looks like an O or some other RQ or some other letter. So we can push the boundaries of that. Pushed the boundaries of that. So that starts to look like a g when I do that. So you can keep going with these if you'd like. But whenever you feel ready to start sketching, let's go ahead and get to our sushi Club of sketching ideas. I'll see you in the next lesson. 15. Sketching Our Concepts: So this is the most intimidating part of the sketching process because we're looking at a blank canvas and it's kinda scary. But we've done a lot of research so far. We've already have some words that an items and symbols we can start to research and sketch. So it's really not that scary. So a couple things I want to do, a lot of times I just like to write the name and maybe even write a monogram of the name. So Sushi club is sc. So just kind of getting an idea of the lettering to see what kind of opportunities might arise. Just writing out.s. And then C is kinda seeing what opportunities might arise from that. And another thing I'm gonna do, sometimes having grids on can really, really be helpful. So I'm in an app called procreate, which is a digital sketching out, but you can use Adobe fresco. You can use all these different digital sketching apps. You can even do pen and paper, and pencil and paper as well. And you could even get grid, gridded paper or a dot grid paper, which can be helpful in keeping your lines a little bit straight. But I'm a messy sketcher. I want to kind of get out concepts quickly, so I am not super precise when sketching. A lot of people like to be, and they're very, they took a lot of time writing the perfect sketch. But to me I end up vectorizing it and Adobe Illustrator and retracing over the whole thing. So I end up doing really rough sketches as feel like that's kind of my personal process, but yours could be different. So I'm just gonna go over to Canvas. And I'm going to do the drawing guide. And I'm going to edit my drawing guy because I like to have a nice tight grid. And I went out to reduce the opacity so it doesn't get in my way of sketching. I can also switch my pen or pencil if I want to, to get something bigger. Let's do, let's try out a few here, c, which would spill, right? That one feels pretty good. So let's see what that one is. That is the HB pencil. So let's, let's start sketching with that. I'm going to use my grid now to be able to make little bit more even letters. So just following it down to the grid, keeping it about the same thickness throughout. So notice how having the grid was so much helpful and making that see a little bit better. So I'm saying, see you just kind of exploring monogram ideas. I could even put, you know, kind of a big sushi item or really a and the jury, which is a big thing of fish with seaweed and the rice on top of it. And I could take my eraser tool and go back and erase all. That's what's so great about digital sketching, sketching apps, it's not as messy when you erase. So if you have an iPad or a way com tablet, digital sketching is usually really good. So undo the striations of the fish. We can even draw us and get some pictures of Nigeria online. See if we can't illustrate a little one. Just to kind of explore that. Notice how I'm kinda hopping one thing to another. It's just whatever my brain decides to work on at the moment. Follow that. Don't feel like you have to go 11 and some kind of order. There is no order when it comes to brainstorming. I mean, it got some helpful hints. But really it's you just getting everything out of that brain as fast as you can. And also have some chopsticks we can look at. Let's take a look at these chopsticks. So what if I did the S and the C? And what have we had like chopsticks coming, like a cross coming down C, that has some potential. So now I can do that again and maybe sketch it a little more clean. We can also just try the S on its own and then try the chopsticks to make it more clean, I guess, because it looks a little starting to look a little busy. Let's take the letter S and see how we can incorporate perhaps the letter C And make almost like an emblem. Monogram, monogram emblem. So I see kind of this little empty space. There were a C could go. So it's kind of like a really interesting shape that it's creating. There's also an opportunity for a C here. And I'm exploring the letter forms. The letter forms the shape of a letter and just kind of seeing opportunities. And so that is interesting how, how the S and the C can intertwine like that. So I might want to explore that a little bit more. Maybe make a nice long S and see how a c would wrap up in there to see that my, I might need to do a FAQ S. I get real wide. Then I can maybe get an opportunity to make the C defined because you wanna make sure you can define all the letters and your monogram. It'd be a shame if one letter was unclear because then your logo would be pointless. So that could be really neat if I had an S, head of S And then I did the sea, then I can get my eraser tool and have all areas where it crosses over. So I'm just gonna erase that little area. Kind of give it a shaded look. So let's go back to our keywords because we're right now we're just having a little bit fun with it and exploring the letter form. Let's go back to some of our words if we get a little lost and like okay, I'm starting to run ideas. Let's focus back on the chopsticks a little bit more. Let's continue. Let's do r, s. And let's see if we can't get a chopstick incorporated by just using one of the letters. So what if we had a chopstick that went all the way through the S, almost like a snake wrapping around the chopstick. But then again, this is one stick doesn't relate. It looks like a dollar sign to me. So we can incorporate another chopstick. And the kind of realized, well, that didn't quite pan out like I thought it would not as defined, that's okay. That's why we're sketching. We can even make an S Adam chopsticks. But I don't think that's really strong. It's kind of a weak S. I don't, I don't see that as a standalone symbol, looking really modern and trendy and traditional. So let me do the S over here. And you know what I'm starting to see? Remember when we said the wasabi bowl and the soil where you put your soil. What if this bottom of the S and almost kind of reminds me of a bowl, maybe a bowl holding, something could be holding with Asahi bowl. But once again, that's kind of that's hard to show and define for users. If I can't tell, that's a bowl, that's going to be a hard story to tell. So let's continue to have these crossed chopstick idea. I think that has a lot of promise. And let's see if we can do kind of a monogram, do the SNCC. And then what if we put the year it opened? So let's say 20202020. And then maybe down here it feels kinda empty. So I thought maybe we could put like a little Sushi. Sushi roll down there, super rough, but we can probably go to a new page and do some different iterations of that one to clean it up and to think about that one more, we also have kind of this round shape that a sushi mix when you look at a top-down view of a sushi. And we have kind of the seaweed wrapper. And what if we were to have that kind of be the seal? And then we had an S and C existing inside a little sushi roll. What if we did crisscrossing chopsticks? And what if we did the S and the C on the top? And what if we researched and found some character or some Japanese characters going back to the heritage that can exist on the left or right. So we could do a little bit of research on that. And you might want to run it by someone you know who speaks Japanese just to make sure it's correct. There's also the seal graphic and let's go ahead and toggle off this layer. I'm gonna do a new layer. So I'm keeping this all in the same document at as kinda need a fresh start, a fresh layer. So I still have all that other stuff saved. And I want to try the seal graphic. So, you know, seal graphics are basically circular in nature. So what if we had, if we had sushi club and we had our crossed sticks here, we completed our circle somehow. And we have like different types of sushi. So have Nigeria, we have she, she, me, we have the Mackey sushi roles. So that's a possibility. So as you can see further down in this process, this and can take a couple of hours. So I'm not going to show my entire process. But now I'm exploring the knife, the sushi knife. I went online, read that article trying to figure out what a sushi night looks like. I tried sketching that. I wanted to find a way to incorporate the knife and maybe the chopsticks all in one logo. That might be too complicated. So as you can see, I was starting to explore different ways to incorporate the knife and the letters SC. I wondered if I can do the knife and have the intersecting chopsticks and the sc and be able to clear out some negative space that the chopsticks create when they intersect the knife to kind of create this one. And kinda shading and end to show color. And as I was drawing the sushi knife, I noticed an interesting shape that the top of the blade created and I can see how you can form an S out of the blade. I continue to see if we can make some kind of icon. I can go on a lot of the branded materials by forming that ass out of the blade. So this was me trying to figure out how do I incorporate an S in a C and also make it a blade? And I started to realize when I started to work the Sea into the blade, it got too complicated at I kinda had to stop. But I think there is some potential and maybe this one with the with just the S and the blade, it could maybe if I turn it horizontal, it can be kind of a really neat compliment to the logo. So within about 45 minutes I'm filling out all this extra space with as many iterations as I can think of. And then I got to this one when I was starting to draw out the name sushi and I was using this really condensed long kind of topography. And I thought, hey, that's an interesting idea. See how the S and the middle of sushi looks like the knife, the sushi knife. So that was kind of the catalyst to get me to this next idea. So I started to sketch out that idea and thought, hey, I can't even fit club underneath sushi. So this would be really something that we're not going to know if it's gonna work until we vectorize it and see kind of how it looks. Vectorized. It looks kinda really cool is a sketch, but is it going to be readable? Is the topography to condense to looking as it get a read well, when it's really small. So this is something I think is a really interesting concept, but I just wonder how viable and workable It is. So we have some really interesting ideas and we have a kind of a couple of pages of sketches. And what I wanna do is start to circle the ones I think have the most potential because I don't want to waste any time vectorizing any of this artwork unless I think it has a shot at being liked by the client, but also being readable, legible, and matching up with our target demographic. All those have to have green lights. So when I'm looking at all these, I definitely want to take of that idea with the knife in the S. I want, definitely want to see what that looks like because I feel like that could look really awesome, but it's gotta be executed, right? So I definitely want to give that one a try. I feel like I want to give kind of this seal graphic with the chopsticks, a try with a monogram, because I think that kinda hits everything that client was looking for. It's simple. We can easily put it on chopstick wrappers. We can easily do little symbols and icons out of that. I think that's a very flexible logo. I think it could work. A lot of these are just too complicated to work and I just have to let them go. And we can't we got to pick out what we think will work and let some go. I think this is interesting with the S and the knife coming down through it. That has a little bit of potential because it's pretty simple, simple and sleek. And it has a sushi. But it also has the S of the first name of the company. You can also make sure you post these on any kind of graphic design or logo design forums you are part of and say, hey, what do you think? You might get some really interesting feedback that can help push you toward one direction or another that she just didn't think about before. So let's grab the five or six different final sketches and bring those than to Adobe Illustrator. 16. Logo Design Section - Getting Started: Welcome to the software portion of the course. I'm going to be an Adobe Illustrator for the next couple of lessons. But you can use any vector creation software. So you can even follow along with me and Affinity Designer if you'd like as well. And this is not going to be, of course, is gonna focus on how to use the software tools, some of the basics. Hopefully you'll already know if you're in this class, but I will go over some more intermediate or advanced tools as I run across them. But the whole goal for the next couple of lessons is to go through how I take these sketches and how I vectorize them to make them work as a logo. So sometimes you have these really great sketches, but when you start to vectorize it, you lose some details or you lose some qualities. And so there's kind of an art to be able to take a sketch and to vectorize it. Sometimes it's up, it's more complicated than just tracing over it. Because there's textures of the lines and different strokes and different things we have to think about. So I'm going to take all the sketches that I got. I just took a picture of my procreate screen and I brought them over here in Adobe Illustrator. So I'm going to open up a new document. When it comes to sketching. There's not really a urine, a vector program. So size is not really a big deal right now. So I would make sure you just do an 11 by 8.5 inch or you can do horizontal, you can do vertical, however you best like to work. I'm just gonna do horizontal. It's not a big deal. So we're going to create and we have our blank document. And just to make sure our screens match, I'm gonna go up to window workspace and I'm going to reset my layout. I'm gonna do a layout workspace. And I'm just going to reset that. So if you're curious to see kind of how my tools look, I'm just going to reset that so our screens can match. So here we are just pasting in some of the various screenshots we had. So what do we want to work on? First? Let's go to our first sheet and figure out what was one of the concepts we wanted to see how it worked. Let's try this concept are right here, so I'm just going to bring it over, make it a little bit bigger. And I can go over to my Layers panel right down here. And I am going to just make sure I lock it and then add a new layer on top so I don't have to mess with anything. Pop it around. So here we are. I'm going to get my pen tool and I can even reduce the transparency on this layer. I might have to unlock it to reduce the transparency. Let's get my transparency window. I don't know why that's not on there by default. That's no problem because I can add it and just reducing the opacity so I can kind of see a little bit more of my vector work. Relock that layer and let's begin. So this is going to be, we did a lot of study of chopsticks. I got to hold them and feel them. I got a couple of packages of these to go. Chopsticks. I can kind of understand what's the thickness of them? What do they look like? So I'm having that in my head to get even download a photo of chopsticks to trace over. And what I wanna do is I make sure this is some crazy bright color. I can able to see what I'm doing. Maybe just stick with the black. And notice how that one's a little bit longer than the other one. I didn't want it to be too symmetrical because I didn't want it to look fake either. And I went to round out those sharp edges. So I'm just gonna select both of my chopsticks, get my Direct Selection Tool along a, see if I can't round those sharp edges a little bit. And might have to do them individually, select one of them, Direct Selection Tool around that edge. So just going through all of this to try to vectorize it the best I can't I'm making, it's not going to be exactly like the sketch. There may be things about the sketch that aren't perfect that I want to try to address. Okay, so let's draw a little sushi roll. I'm going to get a picture real quick from the internet. So here's my little sushi reference photo too. So I can get an idea of kind of the main characteristics of a sushi roll. So let's kind of see what we can do here. Let's see if I can get the Rectangle tool. Just make a rectangle shape. And let's see if we can't get the curvature tool to help bend it down both lines just like that. It's clicking in the middle and bending down. Now I can go ahead and add the circle. And we can take our direct selection tool that is loved around those alleges. Maybe just round the bottom 2S. I'm gonna click twice. That bottom left. Click twice around the bottom right, just kinda adds a nice smoothness to it. And we can think in that line because you see how thick the, the rice is here. It's a lot thicker than kinda had the idea I had in my head. So let's look in that. It's good to our Stroke panel. I might have to do something in the middle, 1.5.8. And what I can also do is instead of it being this perfect little circle, we can get our curvature tool. Make it a little less of a perfect circle because it just looks almost too perfect. Sometimes you have to zoom in and get the right block. There we go. So there's our little sushi roll and now we just need to do in S and C. So I can sit there and try to trace an S by hand. Or I can see if I can't find a typeface that's going to be pretty close to that style of an S. I remember when I was doing my studies and I was looking at some font and typography choices a little bit earlier in the course. There was one I ran across that had a lot of different font weights and I kind of enjoyed kind of how it looked. It was called Montserrat. So Montserrat, let's try a medium and let's go thicker. Let's see, you know, a little bit thicker. So maybe extra bold. I think black. That could be too thick. It might take away from the readability, but this extra bold seems to be nice and chunking I know we talked about, and this is really when we're making these kind of decisions, these design decisions. We've already gone through all that research. So when I'm doing all this in my head, I'm thinking of the client persona. I'm thinking of some of the research stuff we've already established and came up with something in that bold, thick, confident chunky choice might be good for the typeface. To all that hard work has been done, analysis meters, making it come to life. Okay, so looking at this roughly, I want to also firing move these. You can see how there's a little bit of a shadow cast there as they crossover. I can emulate that easily. Let's make sure this ones on the top. And what I'm gonna do, I can even do probably easier to draw an area that I'm going to cut out with a shape builder tool. So I'm just gonna almost cut out that the shadow area like that, a different color so you can see. So I just drew a little box here and I'm gonna take this one right here and select my little box. Take that shape older tool, you'll hold down Option or Alt and just clip all that out. So what that does, that little cash shadow without having to cast a shadow. And so what I see here is in my sketch and this is why sketching and vector art sometimes needs to be tweaked. So that looks great as a sketches close it as, as it is. But now that I have a little bit more of a wider typeface, see how this is more condensed and shorter and width and this one's a little bit wider and length. When I do that, when I took it really close to the object that seems very almost too tight and it needs to have a little bit more space and breathing room. So because of this, because it's a much more stronger character here, I'm going to move this slightly over from the object. And that is going to create just enough of that extra space to let the element stand on their own. Of course, you don't wanna do it too much or it's just gonna feel disconnected. So it's trying to find that right. Tweak space and sketches or guide. You don't have to sketch over it perfectly. It's just there to give you the concept idea in this case. So now I'm doing a visibility test and I'm slowly zooming out and saying, okay, can I read the SC, Can I make out the objects? Can I tell those are chopsticks. So far it's passing the test. And I almost wonder now that I'm zoomed out here. Just going to try the black. Just gonna try the black which is the thickest to see how that works out. It might even be better that I'm doing a visibility test. So there's one concept down. We can do lots of different versions and iterations of this later, let's move onto a second concept. I know we wanted to try one with a knife. So is there one down here with a knife we wanted to dry. 17. The Knife Concept: So this one with a knife coming down through, it was interesting. Let me see if I can't find a typeface that might match that. Let me do a capital S. Let's try Montserrat and tries going to be a lighter weight, maybe irregular. But it's going to be it's a lot more condensed, so it's going to be taller and lower and less than width. So let's see what else could match that S strand to make life easier on us, we can hand trace that S if we wanted to. Looking for a nice condensed S NEW quicksand, that S could work. So what I'm gonna do is I'm gonna hold down Option and drag Create a Copy and see if I can't find something even better. When for a nice. And I want to have that. See how the S kinda comes over here a little bit more. It doesn't stop early. So if I do this S, So this S kinda wraps down and this S kinda ends. So the terminal is right here and it doesn't bend down like this one does. So that's how I know that that's not what I'm looking for. I think that one's a nice match because we can always round the edges, are self. And I like the little bit of a thicker presentation. So this is virus ends book, just happened to be firings sands book. I only have one way to that. Let's see how that looks when I put this over top, it's not an exact match. But let's see if this concept is viable. So we also have this sushi knife. I can go get a picture of a sushi knife. I'll be right back or is a sushi knife I found? So I'm just going to get it in the right orientation. I could even trace over the basic outline of this and that could be helpful to getting the most accurate night. You can see my sketch. It probably put more emphasis on the length of the blade. That's okay. I'm, I might've seen another sushi. There are a lot of different styles of knives. So let me get my pen tool and see if we could just do a very rough basic trace of this. We really want to simplify our objects. We never want to be so detailed in our logos at those details get lost when a logo is really small. So that's why we want to simplify complex objects. We never want to get too detailed. So clicking at the apex and dragging, just doing my pin tool practice that I've done all these years, clicking and dragging. So trying to do it in the least amount of anchor points as I need and I can go back and tweak this real quick in the direct selection tool. So there's a rough outline, let's make it a solid. So there is our knife and there's our.'s. And what I'm gonna do instead of sitting here and trying to use the shape builder tool to cut all around here, all these little edges. I kinda want the S to look like it's a wrapping around. So what I'm gonna do for right now is I'm just going to add a white Stroke. It's adding a white Stroke and putting it on the outside. So Align Stroke to the outside. So now there's an outside stroke. So I can get an idea of how these will interact and look together. And I kind of prefer a longer blade. I think the longer blade might look really good too, but let's just see what we can do to trace over the longer blade. So now we have a long blade and a little bit of a shorter one. In looking at sushi knives are kind of all over the place in terms of blade length. So it's not like there's one specific one that wouldn't we'd have to use. So we're kind of a little more open-ended. So which one has better balance? I feel like the handle on this is just so big. It put so much emphasis on the handle and not necessarily the blade. But I do feel like this one is softer. It doesn't seem as now the one on the right seems like it's a murder weapon. It's this long, intense, sharp blade. And this one on the left feels more like a cookie knife. And I think that's a really interesting perspective and I think it's worth showing it to some colleagues, just kinda see what they think. We don't want this to look like a murder movie either. We want it to look like a restaurant. So that could go and determine what blade length or blade type we use. We can also, if that is an issue, we can take our Direct Selection Tool, double-click on this and just round out our really, really sharp corners. So it doesn't look as much like a murder weapon. It looks more like something approachable. So just kinda surrounding those corners. But there's something I'm concerned about what the concept that we'll continue to explore. So let's see if I can't wrap this S going in and out are weaving in and out somehow. So I'm gonna do that next. Went back to the skinnier As here with the quick fan and dusted a little modification to it. I felt like with a thicker one when I tried to weave it in and out of the knife, it was almost too thick and it was kind of covering the thickness of the stroke was covering up too much of the knife when I received it through. So you can tell what it was. So decided to go with thinner looking S. So let's have the knife handle B on top here. So that means this could reverse and be on the bottom here. So how do we cover this up? What we're gonna do is we're going to outline this path. So I'm going to go up to Object path outline stroke, and I can right-click and I should be able to Ungroup this. So I've ungrouped now I have the main knife and then I have the strokes of the fill. And the stroke is separate elements. And this is going to really help when I want to be able to use the shape builder tool, took, took, cut out an isolate items, get the shape builder tool and we'd hold down Option or Alt. I gotta punch out this smaller areas it is punching that out, punching it out, punching all this stuff I don't need out. So it's gonna look like it's going to come through the knife. Not gonna touch this because I want this to kinda come on top of the knife. Gonna go down here and punch this out. And you just want to have one in colour used. That would be really nice with a logo design, very flexible that way, or punching all of that out. And now we want to look like this is covering, this is going on top of this is going, if the knife is on top here, we want the night to look like it's on the bottom here. So I'm just going to remove this. We did not cut that out using the shape builder tool, so that would work there and see how a very One distinction of the blade is covered up. And when you have it all as one object now, it's really just one main color. I'm not seeing that really defining part of the blade. And so it doesn't, it's not defined that the blade is not standing out from the F. Let's try something a little bit different here. I'm going instead of doing a stroke around it and cutting it out. Here's what I'm gonna do. I'm gonna make these two different colors to show contrast and give it a layered look, because right now it looks like it's just running right through the night. There's not this layered look where the S is wrapping in and out of the knife. So let's make this a little bit of a lighter gray color. Just to give it some defining characteristics, we know where the S is in relation to the knife. And here's what I'm going to do. I'm going to duplicate this nine because I wanna keep the original knife. I'm going to copy and I'm just going to go up here and do a paste in place. So it's gonna make a duplicate, but it's going to paste it right on top. So now I have two of them, and one is right here on top. Now I'm going to select the s And I'm going to take the shape builder tool and I'm going to punch out the top and everything about that top one, but leave this little section there. I was just interested in getting this little shape right here so that I can make that gray and give it this instant weaving in and out effects. You can see I may have the knife here fully intact. And I have my S here with just this little extra item on top. Draw little shape I'm, all I'm doing is I'm intersecting objects, so then cut out. So it looks kinda complicated. But in the end I'm just trying to get a nice little shape. I could have just drawn that with the pin tool, but wanted to be precise automatic casting a little bit of a shadow there. So that means I would cast a little shadow along the blade so I could just use the pen tool for this one. I got my smart guides on. You can always go up to view. Put your smart guide on, it'll help you snap a little better. Two objects. So I'm just clicking and making a similar shadow. Make sure I have a nice curve to everything. Make it look like a realistic casted shadow. So just little shadow casting details that I think make a difference. We can also try this on black just to see how it translates. So we'll bring this over, just giving it a copy. And I can go down and do a little trick. I can go down to Edit, Edit Colors. And I'm just gonna do a quick Invert Colors. And what that's gonna do, it's gonna make my blacks whiten my Whites Black. So it's going to reverse everything out for me. And I might need to tweak my shadows a little bit and make that slightly darker than the gray it's resting on. Kinda seeing how that looks on white. We could even get the c in there. And this was not part of the original sketch. That's okay. This is when we're still concept doing some concept developing. So I can even get the pin tool or even take that same font and see if I can't do a lowercase c. And somehow work like a C in there. Somehow in that space. I can even right-click and create outlines and then add a similar color. Stroke. Groping gonna increase my strokes and make it thicker to kinda match the thickness of the.'s. 18. Seal Graphic Concept: So this is what I finally came up with. I did the same method of cutting out, just made a duplicate of the sea and brought it down slightly to make it look like it's a cash shadow onto the blade. And just change the direction of the shadows a little bit to cast on the right and then cast down. So just trying to create a weaves in and out effect, just seeing how that looks on dark background, seeing how it looks and white backgrounds, and seeing what kind of AES works. So let's take a pause on this one. We're spending a lot of time on this. We probably should continue to move on to other concepts. So we don't spend too much on a concept that's not net may not even work. So low, we have two of them developed so far. So it'd be interesting to challenge, do this one, this knife right here. And what's great is we already have sketched a knife. Let's get this one so we can copy and paste it. Some of the hard work's already done. And we have our little knife here. We already have crossing chopsticks. We already have crossing chopsticks right here. So that part's already been done. This is really just a same concept, but it's a different arrangement. And we have an essence. See already. Let's get that back to be a full shape. Right here. Let's move that out of the way. And it looks like let's make these a little bit more of a crossing position. And it looks like on the original sketch that I would carve out this little section using the shape builder tool. And that gave you kind of an open space to kinda lock in the monogram. And let's bet one seems really strange. Now that I look at it, it looked really cool on the sketch. And let's see you maybe is there something I'm doing wrong? It's just not quite translating really well, so I'm going to abandon that one. That concept is over. So let's see what else we have. And this one looks really cool because I researched kind of sushi in some characters that I can draw. So what I'm gonna do is I'm going to redraw this one. We have an S. Let's try to find a different typeface for this one. Let's try to find something really uniform. So let's go in similar to the S that I sketched. Have a near looks pretty good. Let's lighten, whiten it a little bit. Let's do and did my bold, did my bold Avenir. And sometimes you can modify yourself so what I could do, and I'll make a copy. And I'm going to take the original, going to right-click it. And I'm going to create outlines so that I can then soften all those edges. Ok, so let's just quickly go over these characters. And I want those to be nice, straight. Lines. So I'm gonna click, I'm going to hold down Shift and then click again. And I'll be able to turn the corner. And as holding down shift gives you that perfect line here and just kinda unify that. I would like to round all of these little edges here so I can select all my Strokes, go to my Stroke panel and around those caps. So the rounding the caps, I can even round the corners to that softens everything a little bit. And let's do the same thing with this character. Click to a nice angle to that. Once adapter, Same Stroke thickness. Click shift. I'm gonna hold down Option click off and then I can have a new line. I don't have to sit there and go all the way up here again. Well done option click off and then I can start a brand new line without having to go anywhere. Those are my characters. Let's see how that looks when I take away the sketch Player, I did that on a black background, so I'll have to reverse the colors here to see it. So lots a little tweaking things I can do. I can even add the shadow here. Intersecting the chopsticks. Who's drawing a box, just doing it really quickly this time. And now I can make it a light gray that look like it's a shadow cast. And just make sure I get my Direct Selection Tool and I'm a perfectionist. Just go and make sure all that looks good with the direct selection tool. So let me do a matching typeface here because I don't think those were matching up. Like I thought they were. I didn't like the c of the first typeface I used. So let me just go back to Montserrat so that both of these match. So I'm gonna make sure they have the same height. All these little things that you go back and forth on in logo design. So when I go back, the balance is completely off. So these characters probably need to be thicker and stroke. So let's increase the stroke on that, but not quite as much. It'll split the difference. And let's make these characters bear because right now these characters are too small compared to the other characters. And the highlight of the show is sushi clubs. So S and c should be slightly more prominent than the other characters. So we wanna make sure that lines up nicely. It's getting a sense for size. We can perfect it when, if it ever gets chosen as the concept, we can really get nitpicky, but right now I'm just trying to see if it's viable. So you can see two different typefaces I explored. I also decided to do a cold cocking. And even if that's the right way, say it, but that's how it's spelled. Decided to, to explore a Serif typeface as well to see how that, IF that made it a little bit more elegant or traditional, I'm not sure. So I have two different kinda aversions happening here. So I'm gonna keep those to the side and it's making me want to move on to another concept that's similar, where we have the different sushis all the way around. And we can have different varieties of this as well. So kind of more of a seal graphic where sushi Club is going to be around in a circle. So let's take this concept is already developed, so I can just take a copy of this, bring it down here and make it happen. Let's eliminate the S and the C. Let's put these two characters together. They're supposed to mean sushi in Japanese, but that's another thing I'll need to research even more and put those on the tablets. Come up. We have the three right here. I have four different sushis, but really the client talked about three and a jury, Shi, Shi, Mi and Mackey. So let's see if we can't find some pictures on the Internet that we can trace over. The great thing is, Hey, we've already done some work on this. We already have a Mackey role. Let's bring that Mackey role in and I might need to do some adjustments on color. And so let me, that's a, that's a path. So let me just go and do an outline of my path. So outline stroke. So now they can all be united as one thing. Let's get my shape builder tool and just, just bringing, making that all one little object. And I can just get the eyedropper tool and make that white. So I have my Mackey at the bottom. So this is very similar to the other concept, but we're going to draw a little Nigeria and a little fishy me on the right. So let me go find some good reference photos. I'll be right back. 19. Logo Typography : A chance to study what nigeria looks like. I'm seeing some half seaweed wrapped around the middle. And they have a pretty big block of rice there on a thin little piece of fish. So I'm getting an idea to studying what it looks like. I think I like the idea of seaweed wrapped around that I think I can create an icon that looks like just like this one right here. I think we can do something like that. So let me keep that reference photo. Let's make a so this is very simplified. So let's do a very simplified version of this. So let's get our rounded rectangle tool and do our bid of rice. And that's a pill shape so we can extend that out to make that a little less like a pill. We can take the curvature tool that's a kind of an unnatural shape. So let's kinda make it a little more natural looking. And then we can do a piece of fish and do the rounded rectangle two on top. And it'll be a little slice of fish. What's around those corners, but not a whole lot, just a little bit nice square piece of fish. And now we need to do the little seaweed wrapper. So we could do the seaweed wrapper can go right over top. And that could be the same color as the background, just like this. And this up and out, we can always use the shape older tool to carve that out. We could do horizontal lines to indicate the striations. You see an Ra sushi. So creating a diagonal line and just holding down option and duplicating it. Because before it didn't quite I really want it to look like and the jury I don't want it to not look like that. So this is a straight line. Everything has a slight bend to it. So let's keep the same curvature tool and just add a little bit of a, just a tiny little bin. So it looks more natural light gets curving around to wrap around the sushi. And so when I zoom out, here's the problem. I'm zooming out those little details, the striations on the sushi, they look almost you can't even tell what it is. It looks like a mistake. So it was, it's almost as not too simple. So what we need to do is probably get rid of that little detail. So what I may have to do is since that's not looking at all like Nigeria, I'm going to have to go to a fixed stroke kind of illustration just like this right here. So instead of doing a solid shape, see if I can't do a stroke and get the top, I need a little contrast between the sushi on top and the bottom. So let's add a stroke there. So just changing it to a stroke kinda helps define the outlines a little bit. Let's make the seaweed smaller. So there's no jury. And then we need to do she she me, which is really just fish. It's just fish. So that's going to be a little bit harder to illustrate. We could do it a couple of ways. We can get our pin tool. And we could do it like this. So you have these different icons and we just need to make sure everything. Feels balanced with them, that they're all appropriately sized with each other. That may mean making some of these smaller AND tucking it inside. And making these all a little smaller compared to the chopsticks. So now we want to do sushi Club around it. So we're gonna get, we're gonna do that next. And we're gonna get our Eclipse tool. And we're gonna do our type on path. And let's type out sushi flow. So one thing I noticed is this feel so tight up top. So let me just kind of change the angle of these just lightly. I think that looks better. And let's change the shadow that's casted. Let's have this be kind of a diagonal. Almost like drawing a triangle. And it looks like the shadows, the shadows casted down. So let's do our topography. We did a ellipse tool and we just did a simple type on path tool and I just wrote out the name sushi club. So let's figure out typefaces. So let's try a slab typeface. What I love about slabs is they have equal contrast throughout the characters. And I think it adds a nice consistency. I think it would work really well with this brand. So there's one I can even go to my filters and filtered out. There's my slabs. There's one I really like in its robot to see if I can't find it. Well, let's do it thick enough where we can see it. So let's do a slab bold. And so there's a lot of things we can try. We can try all uppercase. We could try wide spacing between the characters. Let's see what an all caps with wide spacing looks like because that's a very nice when you put white spacing with large capital letters, it gives it a nice elegant look. So let's do a nice white spacing. Let's do something really dramatic. Let's try 500. And we need to go up and go to Character and do our dropdown menu and make sure it's all caps. So that's very, very dramatic. And what's great about having wide spacing between all cap, all capital letters as I can make it a lot smaller so that the type does not overwhelm. The type size doesn't overwhelm my icons because we want everything to be balanced. And instead of continuing to type on this line, I want to create a new circle. Because if I were to type on this line and keep going, the keeps going along a line, it'll be upside-down. So let's just duplicate this. And I teach this in my basic masterclasses, but I'm going to go through it again. I'm gonna go over here, I'm going to reverse it. So instead of being on the outside, it's going to be on the inside of the circle. So I'm gonna go around and see if I can find C, that little arrow down there. I'm going to click and hold and bring it on the inside. So now I can do our little tagline. And I decided to keep with that Montserrat typeface that we've been using just to kinda be consistent on once you like a typeface for a brand and just continue to use it until you're told otherwise. So I thought that could look good. And I wanna make sure these circles make a complete circle when put together. So I'm going to have a base circle can make it a different color. Just making sure these match up really good. Right about there. So now I can bring in my little elements and make sure I have the right balance between everything. With everything I love to duplicate it and tweak and find the right balance. This is what I had before. I thought that was the right balance, but once I increased the company name, I felt like that was being able to be seen first and then authentically prepared was seen more as a tagline, which is the truth. So I felt like the one on the right worked better because sushi Club was way more prominent. Even though I kind of like the icons. I did two different versions of each icon just to kinda see what I can do. And I kinda like the icons on the left better so I can probably make a combination gets icons on the left with the topography treatment and seal of the right. So we have a couple of great concepts developing. Let's do one more. There is this one with a knife I thought was really interesting. I didn't know if it was going to work or not. But let's try the one where it's just the knife and the S. And then let's try to do the one where it's kind of it's own kinda typography based logo. So let's start off with a knife. So we're gonna get the pen tool and start doing the handle. And I'm making sure I'm adding lots of curves to the handle. And now I'm going to trace around this S, clicking and holding and getting my corners and getting my s. And then I'm going to need to get a stroke. And then change the thickness may be it may get thicker and round the cap and round the joint. I do that quite a bit. This gives it a nice soft appearance, so that looks really cool. Just real quickly sketching that out. The one I've thought with the sea and it looked neat, but I didn't think that it was gonna look too busy. So that's why I ended up picking this one. This is interesting because I think we can do something with the topography we haven't S here. And we can put sushi across here. We could just have this as an icon. So let's go ahead and take, let's do a sushi club. So if I had the company name. So the problem with this, this is very tall. I probably have to eventually do the topography like this to be able to balance it out so it didn't look, there was a Washington, a whole lot of white space on the top and bomb fell more balanced. And this could end up being a totally different type face and just doing something really quickly. So that's interesting. I don't know if it's worth pursuing further. I want to try this one before I move on. So this one will be a little bit more challenging. I might need to get the grid on this one. So what I'm gonna do is I'm going to turn on the grid view show grid. You'd have my grade on. Just want to get a general idea, I'm going to see if I can't line it up on the grid, the illustration itself. And it was taken a screen shot on the grid, which is going to be kind of confusing. I don't want that old grid. There we go. That's pretty lined up. So here's what I'm gonna do. I'm gonna hold down, shift, just kinda trace all of this. Make sure that's a stroke. And I got my round cap and round join on. Let's do you Let's do this S. And then club could probably just be topography doesn't have to be hands gash. So let's see if I can't find one that has some good characteristics. So here's what I ended up with. I softened all the corners like I have been doing consistently through all these other concepts. And just put a little wedges was called literally dial Alito one as a, a nice chunky contrast to the thinner strokes of the sushi. I think this is interesting. Once again, this has to be really obvious that that's a sushi knife. And I just, I don't think it's obvious. I think there's ways I can maybe try to get that to work as more of a knife right now, I don't think it's working. Perhaps this also needs to be a different color so that people really focus in on the knife like this. I think even the handle, See the handle. I want to close up that Handel make it look more like a sushi handle. That's all great. It looks more like a knife, but then you lose the S. It's not a nasa anymore and needs to be very readable as, as, as cools. I think it's making a great t-shirt, but I don't think it's gonna make a great logo. And that's kind of the difference between being able to distinguish what's a good logo and what's a good illustration. And sometimes things are better off his illustrations. And other times it's better to be more simple with the logo. So as neat is that was I don't know. We can continue to look at it for right now. We have some very basic things outlined. This kind of process of what we did together. This is what I did when I was doing some planning for the course. As you could see, I was really trying to explore the knife concept more. I tried to even do a different version where the AES was way more obvious and it can have a more distinct handle right here. And I even try the one with the C. I pretty much vectorized everything, just kinda see which concepts I wanted to do. And what was great is once I sketched out a couple of knives and a couple of characters, I was able to combine a lot of those things to come up with a different versions and variations of the same concept to see if they would work. So you could see how I did the laid, laid down the knife with the S and tried to do a presentation here. And you can see how I did this kinda more youthful, funky topography up here and then decided, having some nice contrast between the lettering worked a little bit better to make it look more polished, which I think would be our target demographic would appreciate. We always got to think of that target person we did not develop, did all that research for nothing. We've gotta continually ground ourselves and remember, we're not designing something that looks cool. We're designing something that's going to work for the target audience. So you can see all these different versions and iterations. Here's kinda the S that we discovered with the C. And then the.'s. You can see different combinations. That was actually a sketch I did and realized that would be really cool to watermark. But as a standalone symbol, I felt like that wasn't translating. So now that we have all of this, all of these vector assets that we can do. We need to be able to take our concepts and to refine them further to see which ones make the cut. Because with the client would want to present two to three great concepts. And I'm gonna go over in the next lesson. When do we know which ones are the right ones to present to a client and how do I go about choosing those? It's a very important question and we're going to address that next. 20. Choosing Between Our Concepts: So before we spend the time to refine our concepts, we need to keep in our mind that we need to have two or three different concepts that we can present to the client before we move forward to other branding exercises and activities. So how do I choose and present the concepts to the client? Clients need a choice, but not too much choice. Choose two to four design ideas to present to the client. And we will bring the client in several times before heading deeper into the branding work. Clients do not know what they want until they see it. I tried to pick three different concepts there. First one is a safe choice. This concept, you know, aligns perfectly with a client expectations, feedback, questions, and all the research you've done. Second, I like to do a pushing it concept. The starts to challenge what is predictable and safe for the client. Lastly, a more extreme left field concept that really challenges what they thought they needed. A lot of times those out there concepts do not get picked and the safer concept decisions are made. But there are cases when clients felt drawn to the more extreme concept because it was something that challenge what they thought they needed, bringing in fresh new perspectives, which is why they hired you. You are a creative person, right? And remember you didn't lots of great research already. So all of your concepts are based on data, meaning and client appeal. Ready? So now that we know we need to kinda get three different types we want to present to the client as we continue to refine four or five main concepts we have, let's think about what final three might be. Which one might be are safe option, which one might be are pushing IT option in which one might be one that we're going to be a little bit more testing them. But it's going to be something that could start some great conversations. So let's get started with refining our concepts and getting those presentations ready for the client. So let's take each one of these concepts, work through them one by one, make sure we have some final typography choices before we show these to the client. And remember, we're not mess with color too much. We're just going to show them the idea and the concept. So let's go back to basics and once move all of this out of the way. And let's talk about our first concept here. This is the chopsticks and the SC. Well, this is going to need a full company name and a tagline as well. So I'm gonna go ahead and type in sushi club. And let's go ahead. I believe this is Monserrat. So let's go ahead and take the eyedropper tool and see if we can't make that consistent. And let's just do a quick duplicate and put our tagline. And our tagline is to be a lot smaller than our main name. So it needs to be, it's the tagline, it's not learning the main name and the domain name is a sushi club. So now's the chance that we can really see what kinda typography choices might work. So let's make this a lot smaller. Let's duplicate this. I do this in a lot of my classes, but this is the process is the same, no matter what logo you do, it is the same process. So let's try and all caps. Let's try in all caps for the subtitle. Let's also make that a thinner awake because we wouldn't have some nice contrast somewhere because all that is the same weight and it all blends together. So let's separate this through changing our weight. And we can even have this all be all caps. And let's do this all lowercase just to see what that looks like. It's all lowercase can be very approachable. So you see how this looks almost like you're yelling authentically prepare. You already have sushi club all caps. So if you make authentically prepared all caps, it just seems like both of them are screaming at you at the same tone. So if we make this lowercase, it softens it and really helps to soften the top as well. Don't worry about alignment yet. We'll get to the grid and all of that once a concept is chosen. So weird, sticking to this typeface that we discovered earlier in our research process, but we don't have to stick with that typeface. We know we want a chunky typefaces. It's going to be kind of an easy choice. Rubato slab was one that we used with another concept. So it's worth taking a look here. And I have a lot of students who use really thin waits for small type and logos, but they don't do the visibility test. And they zoom out and if I can't read it, I can read this one really well. But I cannot read that one really well. So you gotta be careful with using super thin waited typefaces that are going to be taglines or something really small, save it for something bigger. So we can go to our filters and say, we definitely want a heavyweight. I think a condensed typeface CL condensed is shorter and width. That could work really well because we do have kind of a skinnier width icon. So if you have a really skinny with ICANN is, it'd be nice to have a nice condensed typeface. And I think I want to continue to do the san serif, so just kinda helping us filter that out. So I don't feel like we have too many font choices to cycle through. That one is interesting. I wonder how that would look, all caps. So switching that to all caps and making that bigger. So that's a condensed liquid. Look how much taller the topography is. And it really helps fill out that vertical space because you have this very vertical icon. If you look at how vertical that is, it's not a square, it's not horizontal, it's very vertical. So pairing a vertical typeface with a vertical icon really kinda works well here. If we were to use this as well. So we have. Two very similar typefaces here. That is a lot, that is a lot going on. My eye is having a hard time differentiating between these two line types and there's only one weight of din that I have hearing condensed anyway. So let's see if I can't soften that by using a different type face. Perhaps a lowercase would work really good. Even at a metallic might look, our script could even look good there. Once continue, we have our filter on silicon, so we have a lot of our typefaces already filtered. So I only have a very short list here that matches everything that I selected. And this one's called omnivorous condensed. So omnibus condensed, that's almost a little too childish with almost two rounded of the edges. And I worry that that's not going to resonate with kind of the higher end. Slightly more expensive than average price of our product. So as cool as that could look for that more bright, fun, vibrant Look, I want to kinda kind of split the difference between those two styles and do something that's not too fun and not way too reserved. Something right in the middle, which is what the client wanted. So sands, it's always a tried and true one. Will see if I can't keep it in the same font family for the tagline, who had lots of different font weights, which makes me excited. Let's see if an metallic looks good here. And a little worried about the thinness of that type. But I do like how it pairs well with a thicker on the top. We're doing media metallic if I'm too worried as do medium. And just making sure I have enough space and breathing room between everything. So there we have it. We have a couple of really good options for this first concept. And I feel like this would be our safe option. This is very safe. You have an S and a sea of chopsticks. You have a Mackey role and you have some very safe type choices. Of course I need to center align all these at some point. So for our safe option, maybe we should stay pretty safe with their type choice. I think there's something a little bit missing. I can go ahead and eliminate some that I don't think are working really well. So let me just eliminate the, I think the all caps for the taglines not working. So but I think this works really well here. This is kind of too thin. It doesn't have that strength to it or that confidence. So I'm gonna get rid of this one. The serif or the slab serifs, I think compete with icon. We have nuts, not a complicated icon, but there's, there are some things going on with it. So when you have a slab, its it also competes. There's different elements going on in the topography. It makes it more complex. So in this case, maybe not a slab. A slab might work better in the seal graphic. And the lowercase doesn't feel as strong on the main name. It feels too strong for the tagline, but for this lowercase, it's feeling very weak. So I like the idea of staying all uppercase with. The name and lowercase with a tagline. And I like the contrast here between the main name and the tagline. So I think we got things, some things narrowed down, but I'm not happy with it yet. So let me make a duplicate of this. And let's see if I can't make this a thinner wait, let's do regular. And I'm just trying to find contrast opportunities. And what's great is you would say, oh, that looks like one word. But when you have such a high contrast between two words, it almost gives it its own separation that way. But I do want to have a little bit of a separation. And this is one when I did this entire process, before I did the class to plan it out. So I kind of knew the general direction I was going, so I didn't look like I was lost. And I this is the one I ended up going with in my own personal journey through this whole process before filming class. But this one is interesting. This is kinda one I discovered while I was doing this again with you guys, is this more condensed typeface? I like the way this looks. The only problem is you have a mismatch between the letters up here in the letters down here. So I mean, one thing you can do is get the same typeface so that there's at least some consistency here. Between the top and the bottom. You don't want to use two totally different typefaces when they're sitting right there next to each other. I think it's interesting. I would love to even bold if there's a boulder, wait, there's not. So let me see if I can't right-click. I'm just creating outlines. I'm just adding an artificial thickness to it. So what I'm gonna do is I'm going to go to stroke panel and then adding some artificial thickness two just by adding a stroke to see how that looks. So that looks a lot better, just those couple of tweaks I did with making the typeface consistent and also kind of artificially thickening the typeface. So now that I'm looking at these, the condensed makes a lot of sense because you have a very condensed icon, a very condensed. So there's not as much of a difference in ratio between the width of the typography and the width of the icon. Here you probably have more bigger of a ratio. So let's say that one is wider. And this is more narrow. So yeah, you can tell the difference between there's a lot more space on the left and right here. And this seems more even. So when it comes to this, this is one concept. This is our safe concept that were presented to the client. So we don't want to confuse them too much. We don't want to say, well, here's one concept, but two different versions and here's another concept and five different versions. And so we need to simplify what we present. So if we really are having a hard time here, and we're just down to 22 variations of one concept. I would present these on the same page to the client. So I would make sure to put a lot of separation between the two and present them like this and say, You know what? I'm not a 100% sure which direction to go in, but I really, the concept, you can look at all the research I've done. The concept is strong. I'm having some trouble deciding a specific typeface. So if I were to present all of those different versions I had that would overwhelm the client and they get frustrated. It's up to you to make those choices of what to present to the client and it's a lot less, a lot less is better. So if I had any kind of choice, I would, I would love to present one concept for the safe version and not have to present two versions. So anyway, I know that's complicated, but this is how I would present it. Very simple. I would put it on an 8.5 by 11, just a one page PDF document. And I would tweak it slightly and just tell them, hey, it's not the final version, we're just exploring concepts here. Showing the original sketch. You can show them all of your research that you've done. You can write that out. There's my profile that I developed here, some brainstorming word mapping words. These are the associated words that I came up with like authentic and fresh and ended all the stuff we did. We can kinda put that in a couple paragraphs of an email. We can even attach the user persona you came up with. You know, there's a lot of ways to present this concept to the client. So this is going to be our safe version. We're going to come up with one that's pushing it a little bit, maybe incorporating the knife. And then the more extreme option, which will most likely be the one that I felt like was really hard to work with. But let's see if the client likes it, if they want to pursue it. Great, if not, we can easily eliminate that and narrowed down to our final choice. 21. Refining Our Concept : So for this concept, we're a little bit more finalized with all of this because we've already worked in some topography work, but we're never done. So let's make some copies and see how we can make it a little bit better and tweak it. So let's try. We have this rubato slab, which is kind of inspired us to play around with the last one. But let's, you know, there's thinner weights that we can work with. And there's other slaps, aerobes. There's also serifs. And what makes things even more complicated is you can even change the spacing between the characters more. So let's edit the tracking. Let's do 200 this time and we can make it even bigger. So I'd probably do this for about a page. And what we need to determine is which won a writ would resonate best with our target audience. B, be the most flexible logo that we can create. And C, be very readable and of course liked by the client. So all these decisions we may like the elegance of the top one, but maybe the sushi cloud is not strong when you zoom out. These other three are strong. So it could be that we stick with the original and present that as our kind of pushing it concept, although this is kind of a little bit more on the safe side, but the fact that we're using all these little icons, perhaps it's a little bit different than what they originally expected. There's also the fact that we can put this and to more of a seal orientation. So right now it's a seal graphic. But what if we were to add a border? Would that change? The strength of the logo would be more obvious from a distance? Would it feel more like a complete logo if we had had it in the traditional seal. And there's even the option of duplicating this. And instead of just having a straight line, what if we added a little bit of a wrinkle edge? So we can go up to Effect, go to distort and transform. So effect distort and transforms a really cool trick. I teach this in another one of my classes, but I'm going to show you here. I'm gonna go down to zigzag. And we're going to be able to create a really neat, rounded zigzag. So instead of a corner, I want to do a smooth and I want to reduce the size. And I want to increase the segments of that. How many little ridges there are? I just want a little bit of a bump, which is like that. So that could add a little character. We can go back through and continue to do different iterations. So let's eliminate 1s two then that's not going to work. This one doesn't seem to have the flair of personality and the typography. And this is when the clean chunky san serifs aren't working because we have this wonderful details here. And then there's a very detailed logo. So the font is not matching with that detailed nature. So I'm just going to eliminate this option. And there's kind of a big difference between these two. There's only, I mean, the differences, their spacing between the characters here and it's smaller. So this is more readable like I see sushi club quicker. So that's good, but it loses a bit of its elegance and grace when you put it so tight together and so big. This one seems more balanced so you can see like we, it doesn't feel so top-heavy. This one feels more balanced. So for that case, that one's gone. So for this one, we really just have a difference between straight are without a border, with a border with a critical border. We really just have these whales all the same concept, all the same consciousness. The second concept, this is are a little bit more pushing it concept. But when I present anything to a client, I like to put space between them so that they really are defined as separate items. They don't get distracted by looking at the other one. They can see them all. And there's enough ample whitespace here. So this would be probably a really good way to present it to the client. And hopefully through this whole process, you have brought the client in on some of this. You've been asking them questions, you've been going back and forth. So when you send these logos, hopefully they've already kind of seen some of the research you've done. Maybe they've even talked to you about the user persona. So all that you've both on the same page. So when you present these, There's not going to be as much explaining to do. You're going to be able to tell them about the concept and why it is the way it is, and what are the characters mean and why you're doing these three sushi as well as the three main items and why this type choice. But you don't have to go in too much detail because you've already been on this journey with a client. So it should be a very simple presentation. We have the first one, safe. We have this one a little bit pushing it is still within the boundaries of what they're expecting. And then the third one is going to be that really pushing it. You never know if they're going to like it, but it's worth doing it to start those conversations. So we're gonna do a third concept and then we would have three almost totally prepared concepts to send the client. They're going to get this down to one. They're going to be able to pare this down to one. So that moving forward, we start doing brand elements and brand language and really start to get into this where argued to have a logo kinda picked out. And so that's going to help us. So I had some time to submit my ideas to a group of other fellow designers in a Facebook group. And I got their ideas on what they thought of the three concepts I picked so far. They did mention that this concept looked a little too busy. And after some thinking about it for a few days, I can kind of agree with that. We need to go back to something more simple and clean as always. So I had an idea. We have a couple of these elements we could combine together to create a better concept of present to the client. So what I'm gonna do is I have a knife here. Have a knife here that I got from this other concept. And I'm going to take one of these chopsticks. And so I have a chopstick and I have a knife. What if they were to crossover? So it's the combination of the preparation and the combination of the experience of eating. Coming together, crossing over and becoming one entire experience. So that was the thought process about this, but I really want to continue to keep it simple. Let's have the blade be down. So I'm going to have a crossover this way. And let's do the chopstick. Crossing over this way, just make like an X. And right now they don't feel like separate units. So what I can do is simply add. But the pin tool kind of cut out this area. We can add a shadow or we can cut it out entirely. What I like about cutting it out entirely as I can keep it one ink, if you were to draw a little shadow here, just like this little shadow and make it a little bit of a darker gray. It'd be a great shadow. You see Nali look like they're crossing over. But it's two inks. So I have a gray ink and I have white. Well, as simple as you can make logos the better in terms of how many colors you have to use. So if I were to take this little object and get the good are shaped builder tool and cut out that tiny bit. Now it is one and color, which of course will be much more simple to use just one in colors. That's kind of just thinking, how can I make a logo simple, as simple as possible? And then instead of having the monogram S and C here, let's try to simplify because that was the problem with the last logo is all low. The icons and stuff were kind of cool, is too complicated. Well, we already have some topography that we liked in a circular seal version. So why not adapt that and save a lot of time? So we have this seal logo. We can even do the same variations that we did before. So that would be really easy to do. We can just de-select all de-select the borders and see how it looks with these various borders. Here are some final modifications to that logo. I think it is. Still got a little bit some elements in there, but I do think it's a lot more simple and loved the idea of the crisscrossing knife indicating preparation, mixing with experience of eating. So I think this is a great idea. So what I'm gonna do is I'm going to use this one instead and present this to the client just like this. But really at this point when you're talking to the client, it's about the overall concept. There. They know they're gonna, you're going to clearly communicate this is not super final orbit of really perfect whenever concept it is. Later down the road, we're just getting an idea thing like the general shape and elements and typography and below bill. So we have a lot of Logo options here. So I wanted to kinda do a bonus section because a lot of people have seen on social media when I was planning this class, they saw my kinda copper gold kinda colored mockups to present the logo. And I wanted to show you how I've gone about doing that. 22. BONUS - Logo Mockup: So I'm really very graphic burger.com, which I recommend to my students a lot because they have a lot of great free to use mock-ups. And there is this gold foil business card that I absolutely love the gold texture that they use here. So I'm going to use that to basically modify this mock-up to make it a logo presentation mockup. So I have that opened in Photoshop, so I'm in Adobe Photoshop. Unfortunately, if you have Affinity Photo or for using affinity products, it's a little bit harder to find mockups, but you can still do, make your own very easily. I'm just really kinda borrowing the gold texture a little bit and modifying it. So this is great gold texture. Let me see if I can't find it here. I believe it's under effects there, it has gold texture. I wanna copy that layer. I'm just going to open up a new document. And so when I do a logo presentation, I'm gonna make this a little snazzy. It's not just going to be solid colors is just a little way to elevate the presentation a little bit. I like to keep it as high resolution as possible. Let's keep it in a nice square format for right now. It all depends on kind of where you're going to present the logos. But I'm going to just do a 3 thousand by 3 thousand pixels because most of the time clients see it digitally these days used to be able to print things out and they would look at them, but things have changed and everyone is kind of viewing things digitally. So 3 thousand by 3 thousand. And let's do RGB. Don't do CMYK yet. That's later. Let's bring in our logo. Air in the middle. I want I want to bring in this color too. I thought this grey colors really nice. So let me unlock that layer. And bringing in kind of it's not black and it's not grey. It's kind of a really, really grayish black color kinda adds to everything. I want to paste. That gold texture in there. I just bar, you can grab any gold texture from pixels.com or anything you find haven't been able to find a gold texture quite like this on some of the free photo websites. If you find one, please let the other students and community now because I just really find this texture quite realistic in nice, I'm going to bring the gold texture on the very top. And I am just going to hold down option. And you can see what you would hold down for windows right here on the upper right. And I'm going to just hold it down and you have this little clipping arrow or you can clip the top texture down to the bottom. So I could click it in. It's going to clip it down and it's going to be able to just show on whatever's on the layer underneath, which is our sushi club logo. So there it is. I can continue to make it a little bit smaller of a texture, have more details. And I can even change the texture color. So this is kind of gold, and I'm right here on the Gold texture. I can go up, I can go to hue and saturation. And what if I want to make it more like a copper color? I can do that. I just reduce the hue a little bit and kind of added more kind of reds in there. And you can make this a little bit smaller. I'm not a big fan of having. So this is your presentation space. A lot of students, they will do a logo this big. And unlike here's my logo. But it doesn't have a sense, doesn't have that clean margins around the edges. And it doesn't have that professional look because no one is going to have this logo this large. So what I end up in one given space. So I like to kind of make it a little smaller right here, maybe, maybe a little bit bigger right about there. And that's it. It's as simple as that you can switch out the texture. And if you ever wanted to unclick a texture, you just do it again. Hold down Option and you see the little kind of diagonal line over the arrow. Now, now you click it and it's removed. And now you have your layer back and flip it back. Holden option to the layer you want to clip it to. I just love clipping. Clipping mass. They're so easy to use. So you can see how you can do this over and over with a lot of different combinations of concepts that you developed. It just gives it just a little extra polish isn't necessary. No. But I know I'll have some students asked WHO had you had did you add the texture there and how did you kind of put a little polish on it for presentation purposes and that's how you did it. 23. Third Concept : So far our final concept that's really going to challenge our client is this one. And this one is a little bit harder because it's not super obvious. We have this kind of knife, blade that also kind of is in the shape of an S. So I've already vectorize this and tried out different orientations based on our sketch. So which one do we think would work? And I did the same topography process I did with the others. And I even adapted almost the same exact typography choices and presentation with these, since I've already feel like I've gone through that process with the other concepts. So I adapted some similar choices. So as this was really, really quick to put together, I can already say I've already talked about that one. I think that it's almost a little too playful. So just kind of getting rid of that one. As I talked about earlier, I think trying to get the C and the S all making up the blade no longer looks like a blade is not working so good. Eliminate that option. This one looks like a really high-end steakhouse, but it doesn't feel like a sushi place. So for that reason, I just have to, To eliminate it. And so now it's the orientation of the knife. We have the knife line down. You can still tell it makes up an S, but it's not super obvious. And then we have to sit there and tell the viewer about the story of how an also shaped like an S. And there are some educational stuff we'd have to do to let them know that shape is in there and we need something really easy to understand. I didn't like the balance of this one. I think it's got a lot of empty space on the top and the bottom. So it's a little clunky. So see you later. I've tried many ways to get this to work standing up and I couldn't and the only way I could get it to work standing up as if it was part of the name itself. So the name in the icon was together. This is a typography based logo. This one had the handle within the S and I felt like it was harder to show what the S looked like when it was all the handle is wrapped up in there too. So having a separate Handel made it more obvious that it was a knife. So for that reason, I think maybe this one could work. I love the way the type is split here by the blade. I hate to see it go, but it's really about the concept and how viable it is. Does it matter how cool it looks? We can always do something else with it a little later on. So that's how I drill down to this aspect and let's make a duplicate. So once we get kind of a final approval from the client, and there's a couple things that are gonna happen. They're gonna come back and say, We found one, we love it, it's the second one or it's the first one. Let's just go with it On edited. But most likely they're going to come back and say, okay, this is not fitting right? With my brand. I really loved number one with tweaks. So there could be a total, I love it. There could be, I love it with some tweaks or some modifications. And sadly there could be a third response. And that is, I'm not feeling any of them, which will not be the case most likely for you if you've gone through all of these different steps with me, with your brand, because you would have done so much research, you would have done so much sketching, you would have done so much brainstorming that all of that presented with these, you're gonna sell your concepts so hard to the client with data and facts and research that they're gonna have to say yes. If you were just to do some logo designs, like most graphic designers, they don't go through any of this process. They just create what they think looks great and they send three options. Yeah, that's a lot quicker, but the client is going to go back and say there's no story to these theres, no those there's no origin. There's I mean, where did you come up with the idea outside of just sketching? What is, what is your reasoning behind your concept? Because you've gone through this process and I know it's been tedious and hard and maybe a little bit boring at times. But if you've gone to this, I can guarantee you that that third response at that client has where they say they don't like any of them is probably not going to happen to you because, uh, but it's still can't because clients can just be awful sometimes, but most of them are going to go on board with you with your recommendation. It was a resounding choice of the first one. And it's because it's because it's simple and it's because we can break down the symbol and this is what we're gonna do next. We can break down the symbol and adapted to different variations of the logo. So we can have a responsive logo that can scale down and work really good in mobile environments. We're going to have a detailed logo that can look really good on a menu with gold foil stamping or whatever we want to do. So we have this amazingly flexible logo that can become a really flexible brand. And we're gonna get really deep into this with color selections and being able to get brand elements and packaging all this together. We haven't even talked about brand language and, and in an ad copy and all these different things that we're going to end up putting together. So this is just at the very beginning of the process and I'm excited about where it's going to go. 24. Logo System - Perfecting Our Logo : So we have an update from the client. We said three strong concepts to them and we crossed our fingers and we were definitely nervous about how they would respond. And the whole time through this client, I actually have somebody else that's the client that's a business partner in mind and he's acting as the client and he's doing it based on a client situation. I a real client situation I had a few years ago. So he's kind of acting in the same and interests to try to make this project class project as realistic as possible. So it's not me saying, oh, the client pick this. It was someone else who had some opinions and tried to make this as realistic as possible. So what they determined is they liked this one the best. It was probably the more simplified version of all of them. They love the seal idea, but they were just afraid of how does that seal adapt to digital stuff. They're going to have online ordering app, all these kind of things. And they just didn't see it as a very flexible logo for the seal. And for the other concept, they thought it was really trendy. They thought it was really neat from a design perspective, but it didn't feel like it really connected with him personally. So he's the owner of the company or the Pretend don't or the company in this case. And this is the one they decided to go with. And I'm happy with that. It's not my personal favorite pick. Most of the time, a client will not pick your favorite. And there's a lot of great reasons why we get really into our designs and sometimes we lose perspective and we forget that it's about what the client needs and connects with, not what we think is the best. But the great thing about this is save all of your declined, denied unused concepts because you could end up using some of these elements for another client project later down the road. I've done that many, many times where maybe they didn't like the knife, but I needed, happened to needed knife or some other type. A little illustration and you can adapt it. It's all yours. You're the one who created it. So now we're going to spend a while. We were not perfectionists before we were really brainstorming and coming up with some general ideas for the client. Now we need to be perfectionist because we need to get a logo ready. And the logo will be the basis of our brand and everything will build around that. We're going to be coming up with typography systems, color systems, photo systems, all these different systems that's going to help us build our branding standards manual. But right now we need to perfect this. We need to put this on a grid. We need to find out the spacing between every all the elements so that we can start to maintain and get a logo system going. The end game for all of this will be to develop an incredibly flexible logo system. This is what a logo system looks like. You could see horizontal and vertical presentations as well as square. You can also see mobile application usage as well. So a really tiny icons. How can we take our full logo with the tagline? And reduce it down without the tagline, how do we reduce it down to just the topography? How do we reduce it down just to an icon? And finally, how do we reduce it down to something that could fit on an app icon or anything like that. We also want to find out alternative presentations of the logo. So will the logo exist on top of a circle, for example? So it can easily be put on packages for delivery. Will we need to have a different version that's really skinny and vertical. So once again, we can put it as a sticker on top of bags are on the menu or all sorts of different things. It's going to be really nice to have options because with this logo, it's great. But what if we want to put it on a chopstick wrapper? We need to have a logo that can fit on narrow spaces, wide spaces, tall spaces, small spaces, large spaces, different spaces on busy backgrounds, on simple backgrounds. So we need to develop this entire system so the logo can be used anywhere. So let's get started developing our logo system. We're going to perfect our original Logo presentation right here. We're going to perfect that by putting it on the grid. And then we'll keep going and reducing that logo down further and further. So on the left is where we last left off. This is what we came up with. We didn't find tune any of the details yet. We haven't put it on a grid yet. We haven't perfected it yet. The one on the right is where we're going to end up. You can see the differences of the size of the icon and the size of the topography. They seem more matched on the right. And that's something that is part of this process for getting ready to go through. How do we size the logo mark and the logo type together. Also any kind of sharp edges and tiny little things. When I zoom in, am I happy with the sharp edges of the S? Am I happy with how this is curving? We're gonna zoom in 800% and really perfect all the edges. Also the difference between the spacing here. So you have some spacing between the logo mark in the logo type, and there's also spacing between the logo, Maine company name and the tagline will let's determine that spacing. There's a grid system and a spacing system we can set up to determine and help us determine how much space can be there between all those different type and symbol elements. Let's get started. Make it this logo as perfect as we can. So one thing we need, zoom in, zoom in and take a look. What you wanna do is you want to have consistency with your edges. So if these are sharpen, these around, those aren't very consistent. So I just want to add some subtle roundness to all of these elements. So what I'm gonna do, because I'm getting ready to create outlines on all of this topography. So I'm going to right-click creating outlines. So that will give me a chance to go in and modify this a little bit. So let's get our direct selection tool. I wouldn't wanna do very small, very small corners. And you notice up here on corners, you'll see a radius. So this is how much it's curving. So I can increase the radius and make it really, really almost like a pill shape. Or it can go back to how I had it, which is 0.0077 inches. I'm an inches. So you might be in centimeters or another type of measurement. But what I'm gonna do is I'm going to copy that number. And if I want the C to be the same radius, I can simply get my Direct Selection Tool go over here to my corners. I can paste that in there and I have matching radiuses. Let me go ahead and paste that in there. After I did Ball did all those. And same thing with our logo. We want everything to be consistent. Just click once and dragged. It will do all of them for you. And then I can go back up here and paste that in so they can all be SO that S right there as the same radius or angle. We can also ungroup these. Think about spacing between sushi and club, and think about all the spacing between all these little elements. And so let me do one more thing really quickly. Let me just kind of soften. This one will be much, much softer of a radius, just barely, just kinda cleans it up, mix it to seem more polished. There is probably something I could do to fix the curvature there. Let me get the curvature tool. If I can't get a better unifying looking. And also the sushi needs to be fixed. Let me make sure I've outlined the path on here. Outline any paths you have to outline stroke and see if I can't combine these elements together. Or if I can get the direct selection tool that just want to make sure everything is a smooth edge. And moving over here smooth edge. And if things are the light color like this, you want to see if you can't combine these two different, these are two different. That's a circle and that's kind of a shape below it. If I can't select both and try to see if I can't combine elements to simplify them. So instead of having two overlapping elements, I now have this one and that'll make life a lot easier for you later down the road. But how do we feel about the spacing between the characters? So we have automatic tracking here. Do we want to reduce the tracking and close that spacing or do want to keep it at the default 0. We can manually do the tracking by isolating each letter and changing the spacing between each letter, that's called kerning. We can current this manually too. So there's a lot of different options. I like it a little tighter and spacing. So I wonder if I tighten it just a little bit, maybe a negative ten or negative 25, I think that looks really little more cohesive. Are we happy with the weight? We have a lot of weight options. Regular, medium, semi bold. And it makes me wonder if medium semi bold. I think we would have a problem if I did a visibility test on this that is really thin. It wouldn't hurt to increase to semi bold. It really would not hurt in this case because it looks much stronger as a semi bold and sizing. How do we think about the size compared to sushi club? If I were to make this much smaller and tuck it underneath, you lose it. And it seems like an afterthought or looks like a small print. So we can't have it be too small. If I make it bigger than the one below, it starts to fight for sushi club. And we don't want off that. We want authentically prepared to remain a tagline. So I think in terms of sizing, I think that was probably the Goldilocks right there in the middle size, not too big, not too small. And we can manually Kern these Now that we created outlines and we right-clicked and we ungrouped these, these are all separate characters now. So we can go back in and find out, is there any kind of manual kerning we need to do, define kinda some really good, consistent, consistent spacing. So if I were to make this a really bright color and make it a stroke. And you can see how the S is in the way of kind of starts to encroach on this little space. If everything were to have the same spacing, it doesn't look like it is, but because of the weight of each character. So in h is a really balanced character, has the symmetry. So h assymetry, so it's easy to put symmetrical letters with the same spacing between them, it looks correct. But when you have letters that are not symmetrical, so if you were to draw a line, Unfortunately, we don't have a lot of asymmetrical characters. An L, If I were to draw a line right down the ELL, it is way more left heavy than it is right heavy. And so you have to be careful when you have a left heavy. So this is left heavy in This has nothing here. And so if I were to put the same as x spacing to the left and right, it would still, it would have that left heaviness. So when you manually Kern typography, you're helping to balance that awkwardness of asymmetrical letters. So if I were to put the same distance here, so this would be a very small tweak, perhaps nudging this very slightly to the left could help. It doesn't have to match perfectly this way because then you're gonna start getting that awkwardness. So this is where doing some optical adjustments really helps. So optical adjustments is how does it look and feel to your eye? It's a little bit less technical. Okay, I'm moving it over ten pixels. It's a little bit more how it looks. And this is sometimes has to be done because characters are not all symmetrical. The computer's not gonna be able to align this perfectly for you. So it's nice to kinda see your spacing because sometimes the default spacing does a pretty good job. But with this whole, I think this is a different type. Wait, so what we wanna do here is kinda have consistent spacing from the leftward sushi to the right word. So maybe this needs some adjustment. And this is where kerning comes into play. So remember L was an asymmetrical left heavy character. So that may mean instead of having the same spacing of the C and L, having the same spacing twin, the L and the U. Perhaps I might need to over adjust and bring this U0 over a little bit to make up for that kind of gap you have in this asymmetrical letter. So the spacing might even be more narrow. So let's take this default. This is asymmetrical letters here. Will be, is not symmetrical. It's very left heavy, but it's also very balanced on the right. So it's not like one's knowledge, like an L, Let's totally unbalanced. But this has weight on the right, Similar to the left. So now there's similar spacing between these characters. And you can kinda see that here, that asymmetrical, it's a, such a gap here. And it makes me want to move that closer in sleep. I can't bring both of these letters over just a here to make up for that awkward gaps. And now feels this feels more tucked into the hill, making up for that, that gap. So there's a really, really small details, very, very small details. And also making sure everything is has the same x-height and Cap Height. So this is your cap height where your capital letters go across this top. Wanna make sure that is consistent and it is. And also your bottom tour that is consistent. So it looks really good. 25. Logo System - Gridding : Now it's time for the grid. So let's put the grid on, you. Show grid. We're gonna do the default grid, but if you ever wanted to modify your grid, just go up to Illustrator Preferences and go to guides Ingrid. And you'll be able to modify how many subdivisions there are within your box and how many grid lines there are. I'm going to use default. So whatever's on your default options, that's what I'm going to use for now. So what I like to do is adapt this to some kind of box or line, kind of grounded, if you will. I'm going to ground it right here just to give me an idea of spacing. And let me make sure we grounded on the main element, which is sushi clubs. So let me just put the baseline of my main name right down there on the bottom of the box. I mean, this is not a science. You can align it however you'd like. Let's figure out spacing. Do we want to have equal spacing here? This is a three-by-three grid boxes here according to this grid system. So if we had three spacings, here are three little rows here. I can bring this down a little bit to come down it intersects and maybe the bottom of the sushi roll determines the baseline here for the logo mark icon. And this one could be to two grid boxes. And we also wanna make sure this is center aligned. So this would be the center point. So we have 412345 columns. That's perfect. That means this the right in the middle. So this right here is the center of the logo right here. That is the central point. So we wanna make sure our icon, since we have a centre aligned icon, kind of aligns to the center. And we also want to make sure this the same spacing on the left and right sides. So we're just going to say this six boxes. And we do want to be perfect. We can always snap to the grid so we can go to view snap to the grid and that'll help us snap a little bit more easier. Helps us to be a little more precise when we snap to the grid. Okay, so let's see if we can't do six boxes on this side. So you can see how it was a little off just going into the D, which is no big deal because I can make this a little smaller. There we go. So now we're getting some nice consistent spacing. What we can do now is we want to have and what we'll do when we do our branding guidelines as we want to be able to show people where, how much white space or margin do I need to leave around the logo and not put anything else on the grid. So if this is one x, we get this basically determining a measurement. So this is one x, the width here, so three boxes, it's one x. So 2x will be double this length. So it will be six boxes. So if this is three boxes, this'll be six boxes. So 123. So if we do 2x border, which is kinda standard to double, double the width or spacing between your element and the topography. Having that be your margin, having a 2x. So if I want to have this much margin, what I can do is we can put this as a margin around the logo. And that'll be like a clear space where no one is allowed to put anything around it so it doesn't make the feel of the logo feel too close to other objects. So that would be 2x, this would be one x. So this would probably even be a different color. And when we're going to be needing to show this in our brand manual, brand style manual to show people how to properly place the logo. So that would be blue and this could be pink. So that could be kind of your margin. You want to at least have I can't put anything within that little border. That's the breathing or in the margin around the logo. Because it would be a shame if he did all this work and he realized, oh, it's not perfectly center, it's not, something is wrong. And then you've produced 50 different files for the for the client with this logo and that would be a shame if it happened to me where I didn't tweak something perfectly. And I realized that after I made 50 different file formats with this logo and had to go back and change them all. It was a headache. So really be a perfectionist here, we also need to look about spacing between the S and this little chopstick area too. I think that looks pretty good and also making sure the S and the C aligned perfectly so I can go up to my align and do a vertical aligned top or a vertical allied bottom. Just make sure they have the same baseline. This is going to be your baseline right there. Okay, so we're ready to go. We have our first logo ready, this is great. We've already put it on the grid. So now that we have this, we're ready to create the logo system. We have the first item, this is the full logo. In the full formal presentation, I'd like to call them a formal presentation. It's got the tagline in it, it's got everything, but we're going to need a version without the tagline. We're gonna need to condense this down to just topography as well. So we're gonna do that next. Let's continue to develop our logo systems. So let's make a duplicate. And this'll be a version without the tagline and it will be the easiest one you do because it's going to be as simple as ungrouping and removing the tagline. It's not going to be a whole lot going on there. So that's the version without the tagline. Let's duplicate it and let's do a new row. And now we need to do a version that is horizontal. So what happens if we have this narrow space that we need to put it in a horizontal space. So this is going to be a little bit of a challenge because we have a very vertical icon though. Let's see what we need to do here. Let's bring this up here. And this is when we're developing the system. So do we have to have a horizontal, horizontal version that also has the icon the way it is. Not necessarily it can condense down differently. It can be a topography only presentation. We can stack this. And so what we have here is we have an S and a C, which is a monogram. And that's next to the name that it's almost too close. The S and the C and the sushi Club, it's just repeated, it's right here. So it could be a opportunity to have a type typography only version of the logo that exists as just typography right here. It could adapt the sushi roll right next to it. So we're trying to, this is the system we're trying to figure out the system of if it needs to fit and this type of ratio of space, this is how it condenses down. It's almost like building a responsive website. You have a website that works on a desktop and then you scale it down to a tablet size and then you scale it down to a mobile phone. How does the website condense down? How does it get categorized from a big photo down to a small photo? How does it condense down? So you're doing the same process with the logo. So what do we do? Do we center align this like this? Do we left align the topography, Reno, you don't want to write a line too much, but she could. But let's try a left alignment feels natural making this bigger to fill out that awkward space that's created. And so we don't have to center alignment, we can just make that bigger to have it be a natural stacked. So let's condense this down further. We have a topography only presentation, but what about a symbol only? What happens when we don't have topography and we just want to have the symbol hanging out is a really neat symbol that we can use as an icon. So that will be one of the simple things to do because we don't think we need to modify that at all. And so now probably comes the hardest adaptation. How do we condense it down to a small app icon or a small little 50 by 50 pixel box. Because that will need to happen especially in the digital environments. How do we make this a responsive logo where it can condense down to very small sticky menu header at the top of a mobile website. How can we make this happen? This is kind of awkward when it comes to a small box. If I were to put this in a small app box, that's our little pretend app icon. And I'm trying to get this in there. Like this. It's a very tall It's not like an equal square ratio. So it could work. But when you zoom out, yeah, I'm losing some of the details. So it's an opportunity to create something different, creates something new for in the same system. So what I could do is I can eliminate the chopsticks and have the monogram S and C there. And maybe make it bigger. And let me take it out of the app icon for a second and do black and white. So I want to make it, I don't want it to look like this. I wanted there to be some kind of interaction between the two monogrammed letters. So what I could do is I can slide this to make it overlap and I can create a stroke. So I'm just gonna do a white Stroke for now. And let me get my Stroke panel and make sure it's on the outside. So Align Stroke to the outside. So it almost feels like they're married together. And what I like about this is the S kinda coming here to the end of the sea almost like a nice little way to end cap off. The kinda feel like they're hugging each other and a little bit. And so if I wanted to make this final, I can do what I've done a couple times. Go to object, path, outline that stroke. I can right-click on group it. I now have separate, a separate, let me see, make sure it ungrouped. A separate stroke and a separate little fill. So now I can select everything and I can get my handy dandy shaped builder tool, hold down options, going to carve that out. And then I don't need this outline of the stroke anymore. And look at that so I can put this on any background. It's already been isolated and knocked out. I guess knocked out would probably be a better term for that. So now we have a very responsive condense down logo where you can till you have the monogram and the company could tell what it is. I think it works a lot better than this and we can eliminate that. And so here's even more condensed version. And let's reverse this out and make that a solid color. So we're showing just really quickly. We can of course present these with nice spacing and do all of that. But really quickly, we were able to condense this and make this a very responsive logo. We can even explore alternative logo usage and alternative logo example. So this could be a seal graphic. I know we client, when they originally thought of what they wanted, they thought about a seal graphic. It's not too late to incorporate this and make a seal version with typography that they can put on almost like a stamp on something. That could be an interesting way to explore maybe their tagline. So if we wanted to take a we've already did this before. We already have a logo and already had a logo that we did this kind of round typography. So we're going to just copy and paste. We have another way to show this authentically prepare with eyedropper tool. How could we do a little seal graphic here, and we can even put the icon in the middle. So authentically prepared goodness. So we kinda have, we're gonna get to brand language here soon. So we've developed a logo. We have a very basic concept, but we're gonna really get into Brand Language, which is going to help us write our ad copy or advertising copy. It's going to help us put all that together and pick our photography and make everything really easily. How do we talk to the consumer? And what language do we use? When do we use the tagline? What, what kind of phrases can we use along with our designs? And we're going to even go, we're gonna go in depth and developing a brand language a little bit later. 26. Logo System - Alternative Presentations: Some of this may not be able to be explored until we start to do some real items. We start to do a bag design, a delivery bag menu. All these different things that we're going to be putting together. Sometimes it takes us doing a real project for us to figure out what type of logos that we need. But I can foresee us maybe thinking about a sticker that we could put on the top of a bag. Trying to think of a way to get this to be in as many different situations as possible. So perhaps a really busy background. How can we put this on top of a shape so that we can easily have it as a sticker. So I love the idea of continuing to play with the circle, not only for the Japanese heritage, but also if I look at a circle, what am I seeing? And this is going to help us come up some brand assets later down the road. But I see the top of the Mackey, see the top of the sushi roll. So there's a lot of ways a circle can really be a shape that can help us extend our brand moving forward. So what we could do is we could put a version of the logo on there. So let's get this one without the tagline on there. So it can easily pop into the circle and go on top of a busy background. No problem. We can even develop a kind of a vertical tag. So let's say we have a little tag here. And we can take our little sushi club, pay sang it a hold down shift, and I'm going to be able to lock it into a perfect 90 degrees. I just held down a shift when I went to the corner and I'm able to kind of rotate it easily and lock it into 45-degree angles. What if this is where we can start to really have alternate options? So this would be an example of a little tag and it's already on a colored background. So we can put this as a sticker. Once again, it's another option. It's got a little bit of the authentic little Japanese characters. It also has the icon. And we're testing this out. We're trying to see, well, how does that icon look really small? And this is a great exploration of that, to test our logo and push it to the limits to see. So I think we've done a lot. We've grid it out our logo. We've got the right spacing. We have a logo that can condense down to a small icon. There's alternate presentations as well. So what we wanna do is we want to put together the logo system and we want to be able to clearly define the client what type of logo this is called. So you're going to be sending them a ton of files and they're going to need to know what the name of this one. When when do I use this? When, when don't I use this one? And that's really going to be explained in the brand guidelines manual later on. So we're already starting to work a little bit on that. So the full logo presentation, this will include the logo mark, logo type, but also any taglines. This is considered a more formal presentation used for official documents and a letterhead. And then we have a standard logo presentation. So this will probably be the one that they will use most frequently. A little to be displayed on consumer focus products. So T-shirts, menu's tags, can consider it a little more informal because of the lack of the tagline. There's also text-only. This format works well with the logo marker symbol cannot be easily used so that, so what you're doing is when developing this logo system, you're putting a little small paragraph that defines has a title what it is, and the paragraph defines what and when to use it. So you also have the icon only. So this is used in tandem with the consumer already is aware of the company name. Mostly used further as watermarks and background graphics and patterns. And our responsive logo, every company needs a responsive logo. These logos are used in sticky headers on mobile websites and other small, super small areas can also be used as the basis for an App Store icon or other small profile photos for social media, these take up the least space. If you want to go back and see all this explanation that I'm explaining right here in this video. Make sure to download that 50 page, a brand design process guide. I have all of this in there for you if you needed to have a reference when you do your own logo system page. Also you want to have any alternate logo presentations if you want to have a paragraph that describes when do you use the circle, when do you use the seal? When you use the tags and bears, and you don't have to, sometimes it's self-explanatory. Some brands are more open when it comes to how they allow you to use their stuff. Some have very tight guidelines and they say they are very clear on when he can use it. We're gonna study these brand manuals and some studies, some examples later on in the course, and we'll get there a little bit later. So we have our system brand. But what we wanna do is we wanna create a new art boards. So just going to edit art boards. I'm going to go up here and add a new art board right up here at the top, I'm adding a similar sized our board. What I wanna do is I want to create a layer and I'm going to make it dark. Everything is black and white as you notice, we haven't addressed color yet and I can duplicate everything. Could take all this hold down Option duplicated, bring it over to a dark background. And I'm gonna do a little trick here. I'm going to go up to Edit, Edit Colors. And I'm going to be able to inverse the colors. So invert colors. So it's going to take everything that's dark and make it light. And I can even tweak that and make that all white. So if I go up, select any of the gray color. So let's say this is Gray. I can go up and select similar colors. So Select Same And I think it's saying fill. So I'm going to select the same fill. It's going to go through out the whole document, select everything that's grey. And I can go over here and I can make a white just like that. Very simple to make that change. And that's another test if your logo has a hard time adapting to a different colored backward or higher contrast background, then you know that your logo is not flexible enough and needs to be able to adapt very quickly, just like I did here. So we were able to make sure that it can go on light and white backgrounds. I think now it can officially go everywhere. I don't think there is a place you can't put this logo. So now that we have this together, we, the client has approved the concept and we can show them how it can adapt to so many different ways. But we could probably polish up what we have here and show them how flexible and adapt, adaptable the logo is. But what we need to do moving forward is a brand is way more than the logo design. We have to start thinking outside of the logo box now. So we have a great logo, we even have a type choice chosen. So when it comes to type choices, we are going to start to develop a menu. We're going to start to develop a website. All of these different things we're going to need to have done for this brand. Whether it's now or whether it's later. And we need to give them a guide of how to do that. We've got the logo files, but how do they make a menu? How do they know what's the size of their menu? Options? What's the size of the description of the menu items on their website? How big does their body copy need to be on social media ads? How big does our header? 27. Typographic System Introduction: Developing a typographic system, topography plays a big part of a brand overall feeling. Typography choices can help to support a brand story and style. As you can see, there are small but important differences between different font choices. Even among those that seem the same. Study your font choices in detail, and find out if there are characteristics that seem to echo the brand style direction better. Sometimes it could be more involved than just picking out a Sarah for a san serif typeface. Sometimes you need to pick among the similar san serifs. For example. I want you to look at the differences between these four typefaces, but only 72, a bill fat base, Dido, liberate Baskerville. These are all serif type faces. But if you take a look at the g, for example, you can see very small differences between the G. Let's go ahead and look at a Brill. And Bodoni. A brill has this really chunky thick lines. It gives it a lot of confidence and there's all these little tiny characteristics in it that are fun and playful. Bodoni is more traditional. It's got these nice thin close counters and the top and the bottom of the G. And it looks really nice. There can even be differences between how the g is constructed. So for example, in a Brill fat face, you have this gap that's created between the tail on the bottom. And it's not really a closed counter. It's not a completely close. There's a little bit of a gap there. And that's the opposite is true for Dido. It has a complete closed circle at the bottom of a lowercase g. And for example, when you study the a's, you can see how the ball terminal on this type choice is really round. And the one on the other one is more kind of a teardrop. Look. So if you look at these little small details, you can make a big impact on the font choice that you decide to choose. For your brand. You could be choosing one. You could be choosing two or three different typefaces to use for your brand. So make sure you study each character and that you liked the characteristics of all these little details and you feel like it matches the brand style. Also take a look at the t. There's a thickness to this t, and there's a thinness to the same exact lowercase t and a different typeface. You can also see different characteristics. And the top of the T, this one creates a bowl shape. And this one creates kind of this really nice slope shape. So you can see total differences between these. A lot of different flavors and characteristics are echoed in your type choices. By just studying the characters, you can really get a good idea of what type choice might work for you. Not only do type choices matter, if there's also a psychology of typography. So along with font choices, how you display your typography can also add to the presentation of a design. Typography is an extension of your branding. So take for instance, these wide arrangement, different topography layouts. So we have a risky, so we have something that's not aligned perfectly. We have shy. It's kind of in the background. It has low contrast. We have romantic, which is playful with its lines. We have bold, which has a different orientation of its characters. It has characters that don't have to, all words that don't have to exist all on the same line. So it's a little bit more unconventional. We have traditional, it's easy to read. It's a Serif typeface. It has a period at the end. Everything is following all the rules. Urgency, it's thick, nice thick, the mines there. And there's a sense of urgency. Com, lowercase, approachable, some spacing, I spacing between each character. Nostalgic. So we have typefaces that bring up memories of certain decades. So if you think about art deco and some of the typefaces that could bring up memories of the twenties. Tired, lowercase, wide spacing between it. It feels dated, feels tired. There's playful with not a lot of spacing between the characters or maybe even overlapping characters. They play with each other and they interact with each other in really interesting ways. Let's do our typographic steady. So this is a good example of Montserrat used that as the main typeface that we chose during the logo design process. So what we need to determine is how does all of this come together? If we were to have a menu and it had all the same sized topography, it would look awful. There wouldn't be a sense of type hierarchy where one thing is more important than the other. There's an order, an elegance to all of this. So we need to determine what is the exact point size that we use for the largest heading. What is the point size we use for the next heading down? The body copy and any kind of small print. And that's what we're going to determine by doing a typographic study and going ahead and getting a typographic system setup. So when we start to do everything, there's not gonna be any question to what's the size of the main headline and the next subheading, What is the, the ratio or difference between sizes? And after all of this as established, creating everything will be so easy because there won't be any questions on how to set up the topography and the paragraphs. 28. Typographic System - Examples: Take a look at a couple of typographic systems from other designers to get an idea of how they crafted. There's, so this one's a really complicated one and it's why developing typographic systems is important. So they have this almost spherical presentation of their different topography. And there's a way that they structure or a system that they came up with to help them determine the spacing and where to how to present it in the circular fashion. So if we go down here, you can see how they set up the system and how they have all these different circles and different heights between how they were able to put, put, put the logo system. So you can see how they have examples too. They're able to kinda work through this and determine how, how their system plays out on real items. So once they set up a system, they're able to adapt that to a wide array of different items. And you can see the overlapping circles so they know how to present the system. This is another great system that was put together. So you notice with this particular brand, they have a headline, it's all caps. They have determined the spacing between each line, the spacing between each character. They've determined whether any kind of topography overlaps photography. They also have a subheading. So we have a main heading and we have a sub heading down here. And you can see how this translates onto digital and mobile applications as well. And also having some different contrast with using color. And here's another example of how they extended that topography and to different sizes. And they have this wonderful, beautiful serif typeface. But the problem with serif typefaces is when you have these small details like menu options, you're going to need to have another font pairing. Another font pairing that's a serif or sans-serif typeface that's going to be more easy to read. And so further down in the system you'll be able to see what they did. They're even doing different spacing using pixels for their website. They're determining a system of What's the spacing between elements and kind of setting up a grid system for the typography. So here's the serif typeface they used. It was silk serif that you can see how they show each character in each letter member. How just a few minutes ago we saw the differences between different typefaces and each character. So they kind of are doing a little bit of a study with that by doing all caps. And notice how they don't show any lowercase because they're not doing lowercase. They decided to not do lowercase and their headings. So they're, they're establishing that rule. And once again, they have a font pairing. So they paired this wonderful detailed heading. With a more practical san-serif called Gotham. So now they'll be able to have a nice readable paragraph copy. And you could see how that looks right here. It's a lot more clean and they can use this for their big headlines. And they can use Gotham for your kind of bigger blocks of smaller information and smaller paragraphs. So you can see great examples of this in this presentation. So we have a headline which is kind of your largest type base. You have a next step down, a smaller heading. And then you have kind of your body copy and you have small print. So this is kind of showing type hierarchy and action. It's giving an example of how to use the type system and that's exactly what we're gonna do. We're gonna go ahead and go through this process of creating a system. And then we're going to create a menu. Because sometimes we don't know how, what size to make all this until we have a real project to show it off on. So we're going to create the very basics of our menu for sushi club and be able to develop our topography system at the same time. So let's get started. So we did a little bit of my homework, and I have Montserrat, we already have that as our logo. That is our main logo type face. And it had so many wonderful weight options. If you look at all these different wonderful weight options, we have so many weighed options, we may not need to pair it with a second font, but that can be different with yours. You could have a very decorative main typeface and you're good and need that very basic sans serif typeface like the last example, to have four readable copy readable text. In this case, I think we can get away with using one type base, but we're going to need to use different weights. So there's no way we're going to use all of these. So our type typography system is going to tell people these are the selected weights that are approved to use for the brand. We're only going to use black, we're only going to use irregular, we're only going to use light, for example. So what I like to do is create a block of copy that has a main big headline, your biggest headline, then a sub-header below it, which is good, a, B, probably half the size. And perhaps even another headache that's going to be half of that size. And then a block of copy that several sentences long. And sometimes you can make it even longer than this example. And of course, some small print right here. So this is going to be the very basics of setting up our topography system. So we have, I've labeling it, does it. So this is an extra bowl. Thus the boldest Gothic black as the boldness, but extra bold was what was determined to be a right thickness for the headline. And it steps down from there. We have a Montserrat medium for the subheading and then a regular for the for the body copy which is very normal, very standard, and an italic for anything that's small copy. So notice what I did. I typed out each letter. So all I did was I typed in a put a couple of spaces taped, didn't be typed in C. Just so I can study each character and see how the numbers look, how all the different characters look. And so that's why can take a lot of time to pick the right typeface because you make go in here and go, you know, I don't really like how the numbers look. I don't really like how the queue looks here. You know, you're gonna find something you don't like about each typeface, but you're gonna find what you think is the best match. Same thing for medium, and same thing for all the different weights that we decided. We're going to be the ones that we were going to use. 29. Typographic System - Menu Project: It's nearly impossible to develop a typographic system without using a real-world project as kind of your playground. So what we're gonna do is we're gonna do a menu, since that's definitely something we're going to need to put together. We know that we have this typeface of choice and a couple of font weights chosen. But let's see how that applies to our menu. So what I'm gonna do is I'm just gonna take this little quick hierarchy we put together and let's bring it into a minuss is. So what I'm gonna do is I'm going to open up a standard 11 by 8.5. I'm gonna do a horizontal presentation. You may use an a for I just wanted to do a standard single-page format as kind of a rough start size for a menu, it could end up being a totally different size. But we're just exploring typographic elements in size. Also, this is about the size that you would be able to print a menu on site to be able to use as a disposable menu. And during my research phase, I realized a lot of restaurants we're using disposable menu. So this could be something that could end up being the final size anyway. So here's a blank canvas. And we have a little bit of our typeface here. When we do headlines, are we gonna do lowercase? Uppercase. What's the spacing between the characters? What's the spacing between each line? Once we establish what feels really good after we do a very basic menu, we're just doing the topography part of them and you know, graphics. Then we'll be able to save character styles and paragraph styles for future use. And we're basically developing our brand guidelines as we're kind of crafting our brand. I have a sample menu I can download in a Word document that gives you kind of the basic menu items. So if you wanted to create your own menu in your own layout, you can using a whole different typefaces we'd like or apply it to a different restaurant type, but just giving you some basic data that we're going to work with so we can do this project together. So let's start at the top and work our way down. All of this information needs to somehow end up on the menu. So let's go to our logo system that we developed. And we have everything we could possibly need. And we don't know which one to use first. We don't know what, how we're going to use all these, when to use them. We're still working on that. The more projects we do, the more we can start to establish usage of all of these. But we can get our basic logo for now and took it up. Another thing I like to do when I'm doing layout is put on my grid. So I'm gonna go up to view show grid. I'm also gonna snap to grid so elements can easily snap as I move around. I'm just gonna kinda snap that into nice box there. We have some basic information about the restaurant, so a phone number and a website, and a physical address. So we can bring that in with the Type Tool. And we know we want to do are typeface of choice. And we already kinda developed a body copy that would be 7.57. So here's a thing when it comes to developing. Typographic system, it's really nice to have rounded numbers. It just makes life a lot easier. So if I have this 7.57, let's make it easier and rounded up to 7.6 or 7.5, just to have nice round numbers. And I know with our logo system, we have a little bit of vertical orientation for one of these logo types. I think that could be something we can explore with brand elements is doing some vertical topography. And that's the great thing about doing projects, is you get to figure out what looks best by doing real-world stuff. There's no way can figure all this out in isolation. So let's try that in a totally vertical. Let's put it down at the bottom. I don't want this to take away from the logos. I can put it here, but now that's the leg was more important. Let's put it on the bottom right because just contact information, we want to have it available to people, but we don't want it to be in the way either. So what about uppercase for this little copy here, let's try uppercase. It's gonna put on all caps for that to see how that looks. That looks a little bit more uniform and like how that looks. So we want to have the word menu so we can have menu or we can have menu. So when I talk about the psychology here, I'm going to turn off grids. The psychology of both of these items. We have uppercase, very strong, lowercase, very soft. What matches with our brand and our research that we've done so far. And I feel like the top is very masculine, but it's very serious to, I feel like a more modern brand would have this lowercase presentation. So let's see if we can see how lowercase looks. And a lot of times we're going to have to figure out how that looks with longer phrases. So if I say a headline goes right here, and then I do, a headline goes right here. So this is a great way and we're going to do a social media add real quick that's going to, after this, that's going to help us determine this two. So a headline goes right here. What is going to work? Is it going to be uppercase, R is going to be lowercase. So putting together a very quick social media ad, I don't quite know all the brand elements that I need to use and the right logo, but just kinda taking what I have so far and putting something super, super simple together, knowing that I wanna use a circle, knowing that there's all these different logo presentations I've developed. You can see the differences between the six of these topography presentations and the effect of the tone and the voice of the ad, as well as the emotional impact of the topography. The difference between the all uppercase and the lowercase are quite striking. That Uppercase can seem angry as a bold weighted headline, but it appears softer When the font weight is thinner and the lowercase feels more approachable here while the uppercase seems to work well as a subheading. So all these different ones, they all have kind of a different feeling to them. And it's great to do the same ad, but to tweak each of the heading and the subheading to figure out which one needs to be uppercase and to figure out spacing is the spacing, okay? Do I need to do something that's not at a right angle? Is this this lighter weight? Is that too soft? It are you not able to see it as a headline? What about trying different font weights for different parts of the headline like this one where it's fish so fresh you can eat it raw. Maybe bringing out certain words and kind of finding something I think matches really well with this brand is this middle one right here. I think lowercase for both the subheading and the heading seems to be working the best. So knowing that and all this was, was a simple Instagram post example with photo I found online during my research, a circle and the topography. That is all it is. I'm not taking this too much more in depth, but I'm able to try out how this topography is working and what's working and what's not working. Knowing this, I can start to go back to my menu. And no, to maybe try and keep some of the boulder bigger headlines, lowercase. 30. Typographic System - Menu Layout: So let's try this lowercase a, let's say menu lowercase. Let's continue this theme of the left are the up and down vertical alignment. Let's see how that works. Let's pop on my grid for a moment to see if I can find some good alignment here, have it snap to the edge and like to have lots of margin. And that's another thing when you're doing this projects, is having consistent margin around the edges and it's going to set the pace for all the other projects we do. So we're doing a lot of homework here. So what else do we need to have on our menu? Looks like we have a little phrase here that they want to include. Let's do our box or rectangle box. And let's do a area type tool. So you're just going down to my area type tool, clicking in the top left corner and pasting in what we have from the Word document. This seems like it would be a good subheadings, so it probably be bigger than this, but not quite as big. So let's get our eye dropper tool and sample. This is our biggest headline size. But that might be as a pretty large block of copies. So we're going to need something smaller. So let's make it a bit smaller. And let's reduce the spacing between lines here. So just changing our letting and notice how, and this is why we're doing all this is to figure out how it works. This is competing with the, the menu and the main title. So this needs to probably be a little bit of a lighter weight. Perhaps medium are same. I bowled, let's try medium and let's make it even smaller. Let's try 14 and then reduce the letting go a little bit to make it work. And I like the idea of this vertical topography here on the right. So wonder if we get a different logo here and go back to our logo system and get one of these tags, as we call them a banner. Let's slide that right here. So click-through right in there. So you notice how it's the width of one of these boxes is kinda nice how everything is matching up to the grid. So now we have some menu items to put in there. We have Mackey is going to be our first. So we can get our eyedropper tool Start with a sub-heading. And we don't want to have this entire thing be the same font weight because this is more background information. It's kind of a descriptor. So we need to make that descriptor smaller. So we need to kinda come up with an even smaller font size. So you see our starting big and we're getting smaller and smaller and smaller would try to get that type hierarchy and differentiating type. So everything that everything kinda stands out in the best way possible. So we can try eight points. They're changing the letting, tightening that up. And now we've got a list all of our menu items. So let's see what we have here. We have a couple of prices and a couple of items to this obviously needs to be bigger, but not bigger than Mackey. So perhaps making Mackey 16 and making this 14 or even 12. And we need to have more spacing between. Or a little bit more letting kinda what that breathe a little bit. Let's try nine for that. Because we got a lot of menu items so we can't make it too big. We have to kind of really balance all this out to fit everything in nicely. Let's make Mackey a little bit bigger. Let's make that 22. And once again, with type hierarchy, we need to emphasize certain parts of a phrase or sentence or paragraph over the others. So this, this kind of descriptor here. So this is macrolides describing what Sabah is. Let's make that a metallic and also a lighter weight. So there's differentiation between the description and the listing item. So we're gonna do that with all of these skinned my eye dropper tool and sample it. This kind of kind of finding ways to differentiate certain items. Same thing for the price. The price gets lost when all this is the same font weight. So let's see if we can't make that extra bold just like our headline. And we need to make sure we can fit a couple of different columns of information that'll also help us determine our font-size to. So it looks like we have two rows here. We need to fit in. Duplicate, but the same spacing between the columns. And I'm just gonna go ahead and fill in this information, some of the other items. So nigeria, that's next. We also have some small print that we need to bring in that's going to be right down here. It's basically the consuming raw or undercooked meats. Mandatory line that you have to include. We have kind of the small body copy here, that's italics and small print. And this is going to be, let's see, what size is that? Six points. And I don't like to make anything much smaller than six points. Or it's gonna be really hard to read on a printed menu. So Let's also change the letting. So we're really starting to get a nice layout for the menu. Could toggle off grids and see what we have. Let's say we want to bring that circle idea in mind. We wanted to kinda emphasize a circle because it's the shape of a Mackey role and kind of put a little headline or something kind of fun in there. And when we get to brand language, we get to really do this a lot more. But let's take our sub-heading and let's take our eyedropper tool. I just wanna see what this main heading looks like in this little bubble and lunch. We're not worried about color or any of that right now or any other thing, but topography here. And let's bring in a little phrase. Need a break. Chopsticks need a break. So just something funny and clever in the middle. So do we want to do, we need to do a much smaller, we haven't needed much smaller headlines size. So we need to figure out what that might be able to try 2222 appear to. But we can still make this bold, tightened letting. And we can also see if a left alignment looks good and this little circle, or maybe perhaps a center alignment. So what ended up working well was a 14.93, so we'll end up rounding that up. So we have a nice even numbers whistles make it 15 even 15 points for that to work because anything more than that, it was not fitting in the circle with enough margin. See kind of this nice clear margin I have here. Kind of that seems to be the theme is having nice clean, lots of extra margin, especially right here. So what if we were to add little or no, we're just doing typography. But what if we were just to add a couple of separator lines here? This was what I came up with. I say about 15 minutes of typography exploration happened here by creating a simple menu. And it taught me a lot about the sizes that I need to make things, to make them readable and to make them work in practical projects. But now I have a basis for body copy, for subheadings, for headings, for slogans and sayings and contact information and small print and logo size. Like all of this has been explored by doing kind of a sample venue. So now I can go on each one of these and figure out what size I'm going to need for each typeface so we can get our system going. So next we're going to put all that together in one sheet so we can be able to easily present and let people know. And what is R type scale. And time scale is how topography scales. So you could have your headline. Will your subheading. What is the difference between your headline and the subheading is at a 20% scaled down. What is your type scale? And that's kind of what you're figuring out. Does it scale down perfectly? Does it scale down according to the golden ratio? Or does it scale down according to how it looks good, which is kinda what I'm gonna do. How does it look on the menu? What's the practical way it can scale down and all the different options I have. Because we don't want to say use this typeface and use it however you'd like. We need to set up that system so they know OK. If I need body copy, I know I need to use this exact size. I need to use a 9 medium weight. And there's no there's no room for error. It's all spelled out for them, so we're gonna do that next. 31. Typographic System - Type Scale: Let's build this out. We have a main item here. This is going to be easy. What I'm gonna do is I'm going to save this. So I have this as a different document. And I'm gonna save this as a new document. And we're gonna be able to put all this together later into brand standard manual. But we have our heading. So this is our heading that's been determined as 38 points, Montserrat extra bolds, that's kind of the biggest that we got. That is our biggest one. Let me see if I can't slide that over here to the right. We have kind of a subheadings is going to be your next size. So I'm just going to sample this, create a new size is going to be kind of our sub-header. Our next one down, I guess you would call this kind of Your H3 or your third smallest headline. When you do web design, you have the headers H1, H2, H3. So that is kind of your subheading. So that's going to be a step down. So that's 21. Let's make sure those are nice rounded numbers. Let's do 21. And that's 22, says not a big step down. And what is our next smallest size looks like we have here kind of a a smaller headline. This is nine points but it's bold. We also have the smaller descriptor type, which looks to be 6 bold. So it's kinda your small descriptor. We have some small print here. We can bring that small print right in, That'll be down at the bottom, that'll be your smallest. And so we don't really have any body copy yet because we don't have any big blocks of copy. We have this, but we need something a little bit smaller than that, but bigger than our small print. So let's make a duplicate here. And let's give it a standard eight points. Let's give a nice 10-point letting. Let's do a left alignment. Let's make it a non-metallic. We wanna make this irregular and we're gonna do some other projects, will be able to figure out, tweak some of the body copy there. So this makes no sense because they're just random letters. So what we need to do is label these. So heading and small. And that can be subheading large. That could be subheading, extra small subheading, descriptor. And you can kind of title these however you'd like. We have this as body copy and that as small print. So we want to take a look at all these. That is basically what we have. Let's do heading goes here. Let's make this a little bit longer. Let heading goes here. And the reason we want to make it longer, as we want to be able to show them the spacing between lines and a headache. So that's pretty tight. See how the G and the H are kind of overlapping each other. So in that case, we might need to change the letting a little bit so we don't have that issue moving forward. We also want to determine, do we want to use hyphens or not? If we don't want to use hyphens, we can go up to paragraph. We can just make sure they're the hyphenated button is unchecked. So it's important to start to establish all those paragraphs rules in character rules. And it could be we need a little more differentiation between subheading large and subheadings small. So this one's 22 and this one's 21. Me, my opinion is, is there needs to be some more differentiation there. So what if we made this 19 just to kinda have a little bit more of a step-down, a natural gradual step down. So we can label all these and say exactly what it is. This is extra bold and we have it at 38 font size, and we haven't had a 39 letting. So if any other graphic designer where to take this, they would know exactly what kind of character style and paragraph styles to use for this. You'll also know it's a left alignment. And so we need to set up those rules for them, labeled them accordingly. So we have a logo system and we also have a typographic or topography system. So think about all the things we can start to create. Think about how quickly we created that menu. And now that we have all these different logo variations, also know what typefaces to use, how big they are and when to use them. We can create so many different things so quickly. But there's one really critical thing missing. And that is color. Color plays huge parts of brand perception, nude, tone and voice. And we're going to tackle that in the next section. We're going to talk about the psychology of color. And we're going to be able to develop three different color palettes and figure out which one we think would match with everything we've done so far. And the research. 32. Color System - How to Choose Color: Now that we're moving on to color, it's time to select our color palette for our brand. And there's more than one way to find your color palette. Outset of typography and colors, the biggest component of strong identity design. And just like a logo, they have to be able to work well in many different situations. We need to set up an establish a color palette system for the brand. And I'm going to go over several ways you could start to brainstorm these colors. Elections. Remember the brand style presentations or style scapes we put together a few lessons ago. We can use those as a JumpStart's for helping us select her final brand colors. We can pull out colors from these photos using the eyedropper tool or going to a website called color dot adobe.com and selecting colors from the photos that way as well. And picking out colors can be really easy for you. But finding the right array of colors and the entire color palette, including secondary colors and other shades and tones, and might be a challenge for you. But there's a really great resource. It's totally free that color dot adobe.com website. If you go over to explore, you'll be able to explore a lot of different color palettes put together based on certain keywords. So remember all the keyword research we did before. This is why we do it now we have some words to go on. So let's go ahead and type in fresh, see what comes up. So there might be some really interesting fresh color combos. Some of these are bright and some of these are not so bright. So this one's kind of more one that is derived from nature, which is not really what we're offering. We have sushi and I'm not seeing a lot of green. And what we offer. There's also some that are not necessarily based in nature. So it's interesting to kind of look, maybe this one right here. All of these, ooh, this one's really nice. This ones, I wouldn't necessarily call this one fresh. But I love the muted colors. It has a very traditional, nice vibe to it. So as I'm going through these, I'm getting some ideas. You can even save these color palettes. You can download it as a jpeg and use the eyedropper tool and any program that you use to be able to sample the colors. You can even add it to your library. If you are in Adobe subscriber, you can add it directly to your library, which is really helpful. So what are some other keywords? Authentic? This might be hard. I don't know how many tags will be when color palettes of authentic, but we're gonna give it a try. So authentic, what, the biggest thing I'm noticing is a lot of deep, rich colors when it comes to authenticity. Darker colors tend to be more stable. They're more stable. Yellow is more energetic and bright, but unpredictable. And then colors like deep colors like blacks and grays, they're more dependable and stable and consistent. So this is interesting. I think I would like to incorporate kinda some darker color pallets into my design. And sue you could see I'm making notes, jotting down notes just like I did with sketches for logo design and doing it with color. There's any one particular color I like. So this kind of like a darker color with a blue. That's nice because blue, if you look at the psychology of color chart and you can download this as well in the course. Is blues tend to have a lot of trust. And remember trust being one of our words as well. And I bet you never thought that picking color palettes words would be the best way to pick color palettes, but that's exactly what we're doing. We're using words to help us derive and think through color palette selection. So I think maybe a darker blue might somehow be involved. So we use authentic, we used fresh. What's find another word to use? I'm going to do a word that's more directly related to what we do. What about food? And all of a sudden, the color choices get really vibrant and really bright. And I almost wonder if we can type in sushi. This is be direct here and type in sushi and see if anyone else has come up with other palettes that relate to sushi. Oh, this is interesting to see what this looks like. What a bright, fun, vibrant color palette here. You can even see the inspiration right down here of where they got the colors from. And it's interesting, this is a great idea, is deriving a couple of colors from the raw sushi flip colors themselves because if you look at Ross sushi, they're very colorful. There's a lot of different colours when you look at sushi presentations and plates. And I think that could be the source of some of our color palettes for our color template. Just like we did with the logo concept, we need to brainstorm and study our competitors colors. What have they done? What does the industry as a whole do is there are certain colors that are associated with your industry. So for example, the color green is associated with finance and read as a super popular color to use with food because it stirs up one's appetite. If you study color psychology, read is used by tons and tons of fast food restaurants because it does entice and increase one's appetite. So it's interesting to think about that aspect of color too. There is some kind of psychological reason for your color choices. And once again, it's not developed at random. So they look at some competitors as typing in sushi at Behance, I also went to several sushi places and I noticed a theme of the color red. It was read, read, read, read, read. I'm like I went to a sushi place that didn't have read as its major color. And that's interesting because I do associate rare sushi restaurants or Japanese restaurants with the color red. The Japanese flag, red entices appetite. It's a very strong color. So I'm going to take a look at some of these competitors. That's a really, really neat, lovely illustration they used here, but they kind of have they not using white, they're using an off-white. And what it does is it doesn't make it a stark contrast to slightly lower and it adds a soccer field to it. So study using bright white, they used a cream off-white color. And notice they're not using black, they're using a very dark Re, again, kinda helps to lighten the color palette. Here's another one, Japanese kitchen call RY. And they're using kind of a dark color pallet choice paired with a red fiber choice. And loving these illustrations as well. So getting some ideas for brand assets that we're going to have to do here later in the course. See how they did this pattern and what we'll go over this a little bit more detail, how to expand your logo design, to have inspiration, to find some of these little assets that we can use his brand assets to create menus. So very high contrast, so you have really bright colors with release stark white and black colors. Here's another example of red being used and kind of a dark gray or black. Love what they did with the sushi items down there. Very, very, very high end. Even more so than our brand will be. As you can see, red, black, red, black, dark gray. I'm seeing tons of red, so makes me go. Do we need to stick with the red because it's commonly associated with sushi. When you think a sushi think of red and something to think about, I'm going to write that down in my notebook. All of things we've just kind of discovered. I have a couple of color swatch ideas including a very, very dark blue and now maybe perhaps a red. And also the thought of deriving my colors from Ross. That could be interesting if I downloaded photos of all the role sushi that's on the menu and see if I can't take the eyedropper tool to find a whole color palette that way. 33. Color System - Psychology of Color: How does color affect the mood of the viewer? What kind of emotional impact does it have on that person? How did they feel when they look at colour in general? And another way to start your color palette searches and taken account that psychology of color and its effect on the viewer. So we talked about this when we were looking at some of the examples. And this is Color Psychology chart you can download. And in my graphic design masterclass, one of my very beginning level three courses, I talk a lot about the psychology of color. And they might even include that lesson after this one as an extra bonus lesson if you didn't get a chance to watch that lesson in that course. Fantastic less Michaud, lots of examples of color and its impact on the industries there in, let's take a look at a few examples to see color psychology and action. If we were to pick a bright super hot pink and neon color palette, it sparks excitement and energy Based on this chart. But it's not a good color palette for a retirement community where you went to evoke a sense of both calm and safety, may be sticking with calmer, cool tones might work better. What about an online investment company and targeted toward Generation Y or millennial generation ages 25 to 37. Green is associated with growth and money. It does make sense to explore that color. But also what if I skewed that green choice a little bit to incorporate brighter hues, but also still maintain the green hue to add a little bit of a youthful punch would if it was for a different target demographic. Let's say it's an exclusive online bank account for those 55 plus who are successful professionals. What our color choice? B, different, perhaps more muted colors. A, black with blue undertones, and blue has trust and stability, something the older generation with money and a BankAccount is looking for. And maybe some neutral tin gold colors to compliment those darker hues. The psychology of color InDesign. There is power to color and design. And there are emotions that are sparked when we view certain colors. In colors can give you a sense of columns that can move or Spark on motions of happiness and joy. Colors can remind us of something simple from childhood or make us feel hungry. How we pick and choose the colors we use in design are greatly influenced by the type of emotions you went to bring about in your viewer. I created this downloadable resource called the psychology of color chart. It lists common emotions associated with colors. So taking a look at this chart, your warm colors, reds, yellows, and oranges, are going to bring more energy and vibrance to your design, with reds being especially powerful. This is why warmer colors tend to be harder to use enlarge area of designs because of this energy and draw it has especially reds. There could be a good reason to draw your eyes to a design to gain the attention among the crowds. Red is a great color to use to draw that attention and increase alertness. Right, is commonly used on buttons and called actions to pull your eye toward that area. Reds can easily be overused, used too much in it can drown design and too much attention. Reds tend to increase your appetite. So there's a good reason why fast food restaurants tend to favor read in their logos and adds. Red should be used intentionally and with a purpose. Reds can also evoke a response of anger and fear as well. So keep that in mind when considering using this attention-grabbing color. As we move along the colour wheel, we run into oranges. Oranges keeps some of the enthusiasm and excitement of red, but it also starts to combine the energy of yellow. Since they take a little bit of the edge off of red, you can find more ways to use orange and your designs, but also keep that same bright energy. Oranges work wonderfully with cooler colors like blue. They tend to be compliments on the color wheel. And it shows, as you see, orange being that bright highlight in a sea of cool colors. This balance works well and design because it provides a sense of contrast. Now as we continue to move along the warm colors into yellows, the energy is undeniable with yellows, but it can also be one of its biggest weaknesses. Along with pinks, yellow is the least use color and design because it can easily be overused, but it can be a great compliment color alongside other colors. Were the alert, other colors feed off the brightness of yellow. The only downside is yellow can be hard to see and read when printed. So I try to avoid using it with type unless it's very intentional and very readable. Yellow does have a place in design, but wielded carefully and sparingly. This color can evoke happiness and give off a youthful vibe. And a might be why you commonly see it used in children's products. Yellows can evoke anxieties as well. And it might be why you don't see a lot of yellow used in the healthcare industry. It's now time for green. We start to move towards the cooler colors. And there's a reason why green is the color of choice for mini cleaning industries. Green equals clean and fresh. It also reminds us of nature. It reminds us of fresh spring days when this bright green leaves start to bloom on the trees after a long, dark, bright winner. Green can also be used heavily by the financial industry to show positive gains on wealth and status. We see the stock market highlighted in green. We know it was a good positive Day on the market. And there's no wonder why banks commonly use green in their branding. Why not remind viewers of this positive increasing stock market days? There's no wonder that alongside blue-green is one of the most commonly used color palette choices and design. Cyan as a unique color, not as commonly used as some other colors like green and blue. But it combines greens organic cleaned feeling with blues, calm feeling to create its own unique blend of the two. And you may commonly see biotech startups use science to show optimism. Blue is most commonly used color for brands worldwide. And there's many reasons why, because it evokes emotions like stability and calmness. And banks love to use the color blue for that reason, especially with banks losing trust since the 2008 recession. You also see it used by industrials and those in the manufacturing industry. And you see it also in the healthcare industry. Blue is a grey color to use for large areas of the design background, for example, especially ones that have shades of blue. Blue can easily stand on its own with less of a need to depend on other colors to tame it down. Blues chill nature makes it one of the most versatile colors on the color wheel. Next we move into purple. Purple mixes a bit of stability and calmness of blue with a compassion and vibrance of pink, and starts to take on a bit of warm tones, giving it a little kick. Purple is commonly associated with royalty and sophistication. It's also commonly used in the hospitality industry for that very reason. They want you to feel like royalty. We also see use by the health care industry as well. And it has a sense of love and passion that mixes with the stability and trust of blue. Purple is another color that can easily be used in larger areas of the design, yet add a little bit of that energy from the warmer tones. Purple is a rich, it's silky, X is luscious, and when used right in a design it can feel wonderful. Purples are having a bit of a renaissance in the design world with a huge resurgence of its use in youthful, vibrant brands. You see purple used as Duo tones or gradients and as, as overlays on photos, giving photos a richer retro vibe. Purple and vibrant yellows are compliments on the color wheel. And you can see that combination of energy happening every time you see these two colors together. Purple can take up more space in your design more than the yellows. And your yellow should always just play a highlighting role being used a little less often to highlight certain areas of the design. Pinks are a bit tough to use because of their strong past association with femininity. But don't count them out too soon as at stereotype is slowly evolving and changing. Pinks can remind us of romance and love. They can also remind us of a simpler time when no one was afraid of wearing pink, like my favorite decade, the eighties. Pinks are similar to yellows and that they can be hard to use, enlarge areas of the design. Lighter versions of pink tend to do better with this than those hot, bright pinks which have the same problem is yellow because they're too strong. Pink's work best in tandem with calming counter colors. Take for instance this example, where the pink draws your eye, but the cooler color calms it down just enough to take it all in. And now we've come full circle back to Reds. Feel free to download this resource as a guide when thinking about how the emotions of color effect or color picking decisions when doing logos and creating brand color palettes, this should come in handy. Outside of typography, color can move mountains. When it news right in design, it could change your design from dollars to inspiring with a few clicks of a button. Use colors wisely and carefully and with intention. As designers, it takes time to find the right color combos. And the best way to practice this is by creating your own color combos. Try creating a series of your own color combinations. Try just combining two simple colors. Then try three and then work your way up to four. Think about how the colors you put together make you feel. Remember that contrast and color can work well with a cooler color and a warmer color together. But also analogous or colors that are similar in who can create a common harmonious effect? What emotions do you want to evoke with your design? How does changing the color and your design change how you feel about the design? 34. Color System - Flexible Color Systems: How do we create flexible color palette systems? Selecting one or two main colors for a brand can feel like a step forward. But now we need to have a wider variety of color, shades, tones, and options to make our color palette versatile. When we start to craft our branded items like t-shirts, mugs, annual reports, app icons, will quickly realized that one or two colours restrict our ability to properly create our designs for all situations. Make sure to create color pallets with different shades. So shades mean it's the same hue. But adding black and tones, which is the same hue, but adding a little white. This ensures you give yourself color options when designing materials. And every strong color palette needs a series of neutral colors. Bright colors are great. But what about colors for backgrounds and areas of a design where you do not want a distraction. I would suggest picking a few neutral colors, so creams off whites are graze to complement any type of bright color palette you may have. For this retirement community example we talked about just last lesson. We came up with two primary colors based on color of psychology and some other industry research. But those are very limited when you try to put things together and those are the only two color choices you have your extremely limited. And it's gonna be nice to have much more color options for different situations. So adding a little bit of black and adding a little bit of white to each color. And in some cases, adding a little bit of gray can change the hue slightly to give you a wider color palette. So you can see here how we took the two primary colors and we're able to create different shades and tones of that as well and also see the neutral complements. So we recreated a warm tone to counterbalance the cool colors that were picked. But we kept it neutral. We kept it muted. So that if we have these bright colors and we needed to have something muted to use along with it. We can. And not to complicate matters, but I don't want you guys to forget about your color harmony options. And I went over color harmonies a lot in my beginner level design masterclass. But in this case, we have analogous colors, which are colors at stay together, which tend to really have a nice color palette. There's also complimentary, so these are gonna be opposite on the colour wheel. So if you have purples, usually a yellow is a nice complement. These are very often used by brands because they have high contrast to them. You have monochromatic, you have triad. So visit this, I'm just at color dot adobe.com. If you have a certain color palette you wanna put in there. And he went to find an analogy, analogous color or find the complimentary color. This is an easy way to do that. So we have several things in our arsenal. We have color harmonies, we have color psychology, we have mood board, photo inspirations where we can sample photos. We also have a research where we can type in certain. Trending color palette combinations. And lastly, we did some competitor research and found out what other people are doing. So based on all those different factors, were able to give us a lot of help and a push toward the right direction. So I'm going to take a lot of the notes that we developed and I'm going to start to create a couple of different color palettes. We're gonna be able to create our first finished project, which will be chopstick wrapper design. That's definitely something the client requested that we do. And I thought it'd be a great project to do because we already have the logo finished and our typographic system developed, so we're ready to create that first project. It'll be a great way to test out our different color palette choices. Do we wanna go bright? I didn't wanna go traditional Duolingo, subtle, muted. I'm not sure I think this first project were really help us apply color to a real projects situation. So finding color inspiration from a product or service. So sometimes that spark of inspiration could come from studying the company's unique service. For example, are sushi restaurant. I found inspiration from various varieties of fresh raw fish they use. Their unique product offering is that they use only super fresh fish and they do not hide their fish among other common sushi ingredients. So we wanted to really bring out that unique aspect of the brand by focusing its entire color palette on a series of raw fish colors. I found the shades of colors using a combination of different photos I found online. Of course, you can see a neutral color used that complements the more vibrant color options. So that's where I thought of that dark, rich blue shaded black. So we want to have more than one color palette to show on our projects. So there is the stat, really bright, vibrant option the client was exploring in the client brief in terms of style. And we put together that style scape that had those yellows and very bright poppy colors. So I went to color dot adobe.com and tried to find a really nice color palette just to get some ideas. And then I decided to create my own that used a wide variety of really vibrant high saturation colors. So that's where the inspiration for this palette came from. Once again, the client is really going to be able to tell us what direction they wanna go when, when we present our chopstick wrapper project. Lastly, a third option we want to make sure we present is the more traditional subdued color palette. So loved The Color Purple here, because color purple is associated with royalty. And I thought that tied in really nicely with tradition. And also a nice compliment to purple is kind of more of this warmer, deeper goldfish color. So in terms of color harmonies, I used a little bit of complement colors to kinda pick these two out. So all three of these are going to be really interesting color palettes to test out on our product. What we're gonna do in the next lesson is we're gonna create our sushi wrapper using our logo system, we developed using our typographic system. And now applying lastly our color palette to see what really comes out as the winner. 35. Chopstick Wrapper Mockup: Mock-ups are fantastic ways to test out your brand design on something real and tangible, especially when you want to show a client how it's gonna look in real life. I teach a class where I go through the entire process of creating custom mockups. But in this course I'm going to move through a project just like I teach in that class. Because I searched everywhere for a really good chopstick and for lockup, and I could not find one anywhere. And this is when knowing how to create your own custom mockups comes in handy because now I have the ability to take a photograph. I took myself when I did some of my sushi restaurant research. I just took this with my regular iPhone ten camera and brought it right into Photoshop. I'm going to be able to isolate the wrapper from the background. I can also eliminate the previous brands information on there and just have a blank sushi wrapper that I can put our own design on it. So let's go ahead and get this ready and then we're going to be able to do our design and illustrator and bring that into Photoshop. So first things first, I'm gonna go ahead and unlock this layer. I want to be able to isolate this from the background. That's the only way I'm going to be able to change the rapper color. So let's see what our little cheat select subject does for us. So just doing a quick select subject actually did a really good job. But we don't want to bring this shadow in with us at this time. We're going to redraw the shadow ourselves later on. So just get the polygon tool is do subtraction and subtract that selection. We're just interested in the rapper itself. So what I'm gonna do is I'm going to copy this and paste it on its own layer. So I have this ONE layer right here and now it does have the background. And now what I can do is I can slide this out. I got the rapper information and I want to be able to draw very similar shadows myself behind it so I can be able to make duplicate copies of this and have it casts a shadow all the way on any background I want not just this wood background. This is where it gets a little bit more tricky. I'm going to create a new layer, and this is going to be my shadow layer. I'm going to hand draw some shadows here right underneath this new copy that I made. I'm gonna try to emulate the shadows here. So I'm gonna get my soft round brush because it's a nice soft indirect lighting source. And I go over this a lot more detail in my mock-up creation course. But we're going to do a quick example here. So let me make it a little bit smaller so I can make that same shape. And let's do a black and reduce the opacity so it doesn't come on super-strong. So maybe 33%. Let's see if I can't draw this. And I also want to draw it up and down the sides too, because that's going to really add a sense of realism to my shadows. And you can tell already it goes from flat to more dimensional. When I start to draw the shadows. And it doesn't look like there's any shadows cast over down here because your shadows are cast it to the left and not down. So you won't need to add any shadows on the right side, just on the left. But for right now, for this background, I think it works. You can't really tell which one is the real photo, which ones not. So now I can bring in my own background and I found another texture on pixels.com and it sure is really close to the one that table that I took this on. Look, I'll close if a match that is. So I'm going to extend this out. And now what we need to do is if you were able to find a blank chopstick wrapper, great. You don't even have to do this step. But in my case, I couldn't find one without ordering one special online. So I wouldn't need to remove this previous brands information because we don't want to have any of that on our brand. We want to do a completely new rapper. We're just interested in the photo of the wrapper itself. So we can do some of the content aware Options and Adobe Photoshop, or we can use the clone tool if you're in Affinity Photo to slowly clone all this out. So the Content Aware Tool is really going to come in handy. And I'm gonna do a content aware fill. And it's gonna give me a chance to find out what's the sample areas could automatically fill it in for us. And that's gonna take samples. The green area is the where it's going to take a sample. But you notice how it has all the shadows, is taking shadows from up here and it's replicating it and filling in that empty area. Well, we don't want to have that so we can delete some of the shaded areas so it doesn't take that sample. So you see when I did that, it automatically removed all though that sample, so it no longer is taken as dark pixels. So we can just have a very small, we don't want to have this guy in there, so we'd take him out. And we don't want to have these dots either, so we can remove that from the sample. So it's only going to take samples from that little sliver right over here. Doesn't have any shadows or anything to it. It's pretty close and we click on OK. And it's like magic, all that, all that is slowly disappearing. I like to do this in small little doses so I can take the littlest sample I can. And we could do the same thing, go to content aware fill. And if you ever have to go and fine tune this, you can get the clone stamp tool and do this manually. So you would hold down Option or Alt and take a sample and then color over here and slowly do it. This is what we had to do before we had content aware fill options. We had to do all of this manually using the Clone tool and it took forever to get all this done. And now it kind of has an algorithm that fills everything in for u, which is just fantastic. So I'm just taken as little samples is I have to, I don't want the algorithm to have to fill in anything it doesn't need to. Let's do it one last time. Content aware, Phil, and this should be pretty good right off the bat. Great. And voila, just like magic, you wouldn't even think it was there. So now we have this blank wrapper that we can color. So how do we change the color on this? We don't want it to just be white. I think we want to add a lot of different color options using our three different color palettes. We wanna change the color here. So all these different layers were created because we did the content fill three times. So I'm just going to fuse this all together as one. Do Command E. I'm making all of that one layer because we just, we just need that as one layer now. So this will now be wrapper. And that's our shadow layer. So we have a shadow, a rapper, and a background, and we don't really need the original photo anymore. So how do we change the color? Once again, in my mock-up course, I go over this in way more detail, so don't feel too lost. And always take that glass if you really want to be able to, to make your own cost custom mock-ups on any sort of thing. I wanna do the Rectangle Tool, and I'm going to draw a rectangle tool over the area of the product. So simple rectangle tool. And to make sure that's on the top and we can change its color to anything. Let's try right, bright, vivid red. And what we're gonna do is we're gonna do a blending mode. And this is going to be able to show the color, but still have the highlights and shadows on it as well. And one that is used frequently is Linear Burn is one multiplies another. Let's go ahead and do multiply. And what we wanna do is we want to be able to clip this because we don't want all this excess square part of that. So we are going to clip this to the rapper. We're gonna take this color, maybe call this change color here layer. And we're gonna hold down Option and we're going to clip it to the wrapper. So we're going to clip it. And it's only going to be since we isolated the rapper. It has that shape and it's going to clip it to it. What's really neat about this is all we have to do is double-click this layer. And now we do that. We can change this to any color we'd like. How cool is that? You could do like a dark grey. All of these different color options. If you ever are not happy with how the colors looking, you can simply change your blending mode. Multiply is one, depends on what product it is, what Blending Mode looks the best. Multiply is a big one, but also color, color burn if you went higher contrast. And now we can add our design. So this is the last step of this process. And we are going to do the same thing we did before. We're just gonna do a rectangle tool. And we want to have stuff all the way down. And we're gonna do our design here in a minute. But we want to have like a big rectangle where we can put our logo and maybe some words, something there. So we're just gonna do a simple rectangle tool. And we wanna make this a smart object. So as you know, smart objects allow you to scale, scale things up and down, add items to a layer, but also be able to remove items from that layer without it being destroyed permanently. We wanna make sure this is a smart objects. So we're gonna do a Smart Object right-click Convert to Smart Object. This little new rectangle we drew. What's great with that is I can double-click any smart object and it's going to bring it into its own window. That's the magic of smart objects. And I can bring in any kind of information here so I can bring in our little logo that we finished. We put that down here at the bottom. It's like a little seal or Put that here at the bottom. We can remove this background color. We can have it be transparent so it adapts to whatever color is there. So we have our little logo here. When else would look really neat there maybe our tagline. So we have this authentically prepared goodness. Tagline or just even just authentically prepared. Let's take that. And let's add a text box here. And let's turn it on its side. Remember when we did the menu and we had the topography along the side vertically. We're basically sticking to our topography system, our typographic system we developed, and we're sticking to the same method. We also have all that saved or so we have Montserrat and we can go back to that menu example. And we have all of the setup. So now we can borrow from this. We go OK, 7.5 points medium. And we can even look at spacing and just kinda adapt that this is an Adobe Illustrator, but you could do the same thing in Photoshop and have the same thing. So this is do authentically prepared with leave out the word goodness for right now. And when we look at our logo system, one that we developed to work really good on very narrow vertical spaces is this banner. So I think we can take, do a modified version of this and take this topography part of the logo and bring that in. And what we could do is we can quickly make this all a lighter color. It's doing a colour, just a quick little conversion all to white. So we did all that. Now we can close this window and save it. And when we close the window and save it, it's gonna do the smart object thing and automatically populate on there. So just like that, we were able to make this all happen. We can always double-click this layer. So let's call this change graphic here. So we can double-click any smart object and we can go back and modify it and maybe add more margin. And we're just getting a general idea for a design or just to present colors. Hey, that looks pretty good. We can now modify the colors and get some color ideas so we can always copy and paste and put either RGB. We can copy and paste hex codes here. So if we have a color palette already there, we can copy and paste our color palette here. And we can even put all this in the same folder. So I'm taking the shadow layer, the wrapper layer, the color layer, and a smart object layer that we created. I'm selecting all four of those and making a folder, just going right down here and creating a folder group. So this is sushi or chopstick wrapper. One weekend duplicate that entire wrapper. And we can have two of them. And we could do it again and have four of them. And I'm going to provide you with this as a downloadable resource for you in the resources where you can have this fully finished Photoshop mockup ready for you to apply your sushi wrapper design. So what we wanna do is now that we have this setup, when we can start to explore colors, we can start to apply our different main color palettes. 36. Wrapper Layout design: So we have the main element we need to show off or colors on a real product. So let's explore our wrapper design more. We kind of did something really quickly just to kinda get her mock-ups that up at, let's create a couple of different versions using some things from our logo system and our menu that we developed. So a lot of these typographic elements and also the logo, we could put that together for a rapper design. So what I found interesting as I got to a size, kind of a long rectangular size that I got from measuring a real wrapper. You can also go online to online printing companies to see if you've combined ANY that cell or print chopstick wrappers to be able to find a measurement that you can design on. But we just need to be really close for right now. We can be precise a little bit later in the project. So let's make this darker. And let's bring in some of those elements before. Let's do the one we did before, which was very similar to this banner that we did. We could do a couple different combinations to see what we think would work the best. And I like this vertical typography so we can bring that in and do our authentically prepared. We can even have social media. I remember doing my research and they put social media on their chopstick wrapper. So it depends on what the client would rather have on. There could be contact information, could be social media, it could be the tagline authentically prepared. That is why we are going to be developing a couple of different wrapper options. So we can have it without characters. We can split the so instead of it being so top heavy, we can split all this up like we did on the one in the sample. And we can put our little icon, could put it at the top, lead with our icon and then have sushi club at the bottom. And then have authentically prepared. Here. We have our authentically prepared. We already have our type typographic system, so we don't have to sit there and wonder what size should I make it? What orientation should I make it? We can see about spacing here and making that go down more vertical, making the, maybe the name a little bit smaller. And trying to balance out these elements, I can flip this around and put the symbol down at the bottom. And we've already determined that we like to have ample margin around. So I'm not trying to put anything too close to the edge. Just like this are too close to the edge here. And I think it'll help reduce viewer anxiety. If we have lots of ample whitespace, we can put different tagline. I like the idea of a little bit more spacing here. And the vertical type that works really well in terms of filling out that vertical space. So I'm already kind of not liking that option. We could have separators or dividers. If we wanna do a quick separator to separate the elements, I don't think we're going to stop there. We could try one with social media So it can bring that in. We can put the social media icons with it. There's a lot of places you can go and find free social media PNGs or icon vector icons to put there. So let's just say Facebook, sushi club. So it could be a social media advertising for them. And we can put this SC, this very responsive logo, condensed logo. We can take just the white SC and bring it on the top to, to kind of make that more obvious, sushi Club is not on here. It is all the Facebook stuff so that it is the name is on there. So you can take that chopstick and identify the company name. That's very important. If we didn't have the social media icons in there and we're just at sc, then there's no brand recognition yet because it's not a super famous company yet. So it's good that we have the social media icons that identify the company name because what have they found these in their drawer. Oh, what was this from? What place was that? Well, if you don't have any way to identify the company name, there May not remember. This is kind of a form of advertisement, a chopstick rapper, because you may see these everywhere. And just like we did with logo concepts, we copy, we repeat, we try to refine which one could look good. So we can use that on our chopstick wrappers when we start to apply color. And that is why we developed the system. See how easy that was to put all these together that would take a while if we didn't already know different ways, we can arrange topography and the logo. And you could even create the other, another contrast of these. And we can even duplicate all of this and do my cheat and do go up to Edit, Edit Colors and inverse. And now we can see what a lighter profile looks like. And we can change all these to white. And just like that, we could see what kind of the other contrasting color would be. So those are sushi wrapper or first, final design. I'm gonna go ahead and bring it into our mock-up on good a source colors. I am going to take colors for my color palette and bring it in and change the colors to see if I can't find a really good way to combine these colors on a real project. So we can get some feedback from the client. 37. Color System - Different Versions : When we create are brand guidelines manual. This'll be a very important part of the brand guidelines. So our homework that we're doing in this section, when we come to do are brand guidelines manual, 90% of the work is already done and it's just all us putting everything we've done together. So this seems intense, but please hang with me once you go through this entire process, once you'll be able to do this with clients and charge so much more than what you're charging now because you're able to add so much to the process. So here's our four primary colors. And what I wanna do is I want to be able to select and identify each color with numbers and identifiable stuff. So there are four main color profiles we wanna select. That's RGB. So we want to have a digital version and then find out the numbers for that color. We want to have a CMYK, so that'll be anything for print. We want to have a print profile colors. We want to have our web hex code number. So whenever the web developer goes to, to create the website, they have all of these numbers, hex code numbers for, for to be able to extend the brand outwards. Lastly, it's optional is a Pantone color. So it's nice to have a matching pants him color for each color. Pant tones are special inks. When you get printed with offset printing process which is using CMYK, you can add a fifth color plates, so there's four color plates and CMYK, cyan, yellow, magenta, and k equals black. K is black. But with Pantone, you're adding a fifth color plate that is printed on your object or on your printed item. And it's the same color, it's guaranteed to be the same color every time they use that. So you can have a specific color like Tiffany blue. And the company that the jewelry company Tiffany uses this beautiful Tiffany blue. They have a Pantone color assigned with that blue. So they can have that same blue consistent throughout all of their printed projects. And it's not always necessary because not all clients can afford the extra cost. It takes to create that a Pantone color. Each pan tone color you use in a print job is an extra cost. It's an extra plate. So if you have five Pantone colors used on a CMYK, Print Project, CMYK, that's for printing plates for Inc.'s. This is how they apply the ink onto your printed project. You would add five more. So you'd have nine different color ink plates that would be printed on your project. They have to create these big metal plates that come down and stamp that color. So it's a lot of extra cost involved. So usually, usually larger companies will be consistent by using Pantone colors, or they'll just use one or two pin tone colors and a big, large document. And they'll do everything in one pan tone color or to pin code tone colors to keep costs down. So we're going to discover which ones those are. So here's our four main color swatches that we came up with. So it's really easy to identify CMYK RGB because you could just double-click on the swatch down here and you can easily identify which colors those are. Also hex code is here. So just copy my hex code and paste it on the side. I'd also find my CMYK color inks, which is good. Sometimes you'll have it where you pick a color and it's 18.5%. And we don't want to have any of that. We want to have nice even rounded numbers. So just kinda round it to the nearest number and just have nice numbers, easy numbers to remember. Same thing RBG is right here, RGB. You have your RGB right here that you can type in. The only thing missing is Pantone colors. So there's a little trick to find Pantone color match pretty quickly. And it's gonna take bringing it into Photoshop. So I'm gonna open up Photoshop. I am just going to bring this in really quickly. Whenever document I have opened up, it's going to bring it in. And I'm gonna get the eye dropper tool. Who's gonna sample that color is clicking and sampling that color. Now I can double-click the swatch and Photoshop and there's a really neat thing called Color library. So I'm gonna go to color libraries and it's going to load all of my pan tone inks and associated number. So I wanted to have all different kinds of Pantene summer coded, some are uncoded. And coded means there's a certain glossy code that goes on top of it. So it depends on if you're getting like a glossy print or for getting a matte finish which would be uncoded. But I like to stick with kind of a standard pan tone plus solid coated. So I'm just gonna do a pan tone solid coat coded. And it's going to automatically select the closest pan tone colors could have highlighted for me. So now I know it's 703 c, That is the Pantone color I would use if I wanted to select that. So pant on 700 3C. So if I go back up here, I wanted to make this a Pantone color. If I want to assign this as a Pantone colors, instead of being CMYK, I want to have this be printed as a pinto color. I'm going to spend that extra money to get it printed. We're gonna get your swatches panel and we're going to go down to libraries and an Adobe Illustrator. This is where the Pinto numbers are kept as in your library little icon right here. And we're gonna go down. They have a special one called pan tone. Eager to find that by going into color books. So if you go down to library coloring books, you'll be able to load your parent tones. And so if we wanted to do coded right here, parent o and plus solid coated, we can bring that in and type in our number which was let's go back to Photoshop. It was 700 3C 703 Cs is 73. See, I believe that is it right here. 703 C. And now it's assigned that pinto color. That's the closest Pantone color to the, to the CMYK color we came up with. So just like that, when you get this printed, anything that you assign, this watch right here is the Pantheon color. I can always drag this into my color palette too, so I can easily access my Pantone colors. Wanted to talk about Pan town because I have a lot of students ask questions about that. I don't use Pantone colors a lot. But if I do a big large corporation and they have Pantone colors as a part of their brand guides and their brand colors. I'm going to probably need to stick with Pantene. So if ever needed to assign and find a pantheon color, that's how you do it. So I found it in Photoshop, found the number. I'm able to assign it using the color books in libraries, color books. And then I selected whatever pn tone color book, booklet and it's ROM and that's going to be solid coated. I am going to move through all four of these and make sure I have the right numbers. Now we're going to create a flexible color palette. So what I wanna do is I want to create a few varieties of this one, color, hue. So I'm gonna create a new box. It's going to make it a perfect square. And I have this as the same color. And what I wanna do is I want to double-click. And I can either add white, i can add Gray. I can add more saturation to the color by using my, my Hue cube. So I'm going to, what I wanna do is I want to add a little lightness to it. So I'm just bringing it over more toward my white. The almost kinda have a Pink color. So what I'm gonna do is I'm gonna do a duplicate and I could do the same thing, double-click and even go lighter. And I'm going to go lighter. And I'm going to go really light because I want to have some really nice off-white options. Is there kind of where you're neutrals are gonna start to come from? Your neutrals are going to be coming from one main color hue. I can do the same thing with this darker. This is black, actually has a little bit of blue in it. So if I double-click that, you can see how this is from originalists is the most saturated whew right up here. And you can see where it has a little bit of blue in it. So I'm gonna get the eyedropper tool, sample it, move it over, and you can even go darker too. If you have a really light color, you don't always have to keep going wider. So I'm going to bring in key blue, but bring it just a little bit lighter in color, just a little step higher. And I can even go darker as well with this. So if I wanted to take this darker color and go deeper, I can maybe add a tiny bit more blue. So just getting some complimentary colors so we can go dark to light to maybe we can even go darker and do a very dark, almost black as well. So it just depends on what you need for flexibility in your brand. You can see what I ended up developing here. We also titled the colors. So I think when you use brand guidelines, it's nice to have a, a name to your color. Instead of having just red and orange and black. We have burt marshmallow, raw Sam, you know, we have kind of some kind of name that helps us better identify the color. So in this case, I did Rall tuna raw salmon, raw Yellowtail, stone gray. So those are kinda, kinda some color names. And we can even name at some of the lighter colors too. So we have a system here. We have the pier hue, which is raw tuna. And then we have tuna light, tuna lighter, and tuna lightest. So it kinda of the names match kind of where it's going from the hue. Same thing with raw salmon, salmon light salmon lighter salmon lightest, and salmon light salmon, lighter salmon lightest. So we have a very flexible color palette finalized. So now we have all of the main elements we need to start putting together some work. But we have a couple things we wanna do. We need to figure out how do we use color? What are certain color combinations that work really well here, because we have a lot and what colour combinations will not be allowed. So in our brand standards guide, we're going to be able to show people good examples of color combinations with using our color palette. And I'm going to show them color combinations they should not be using. So for example, these putting all of these colors together, finding out this has really good readability and contrast. And these over here to the right, they, those color combinations are not working because you have a really flexible color palette, but people can take advantage of that and combined colors that should not be combined. And this is a good exploration for ourselves to figure out what colour combinations are going to work. So when we start doing design work will already have ten color combinations that we can use very quickly to put certain topography and backgrounds together. So now it's time to move on to something really important because we have all the basic design elements. As a graphic designer, we'd be ready to go. But we're trying to offer more than just graphic design. I would love to help the client right through brand language. 38. Applying colors to our Menu: Now that we have a flexible full color palettes system, we can now test it out on a real project. Remember the menu we put together and our typography section, we're going to start to take our color palette and apply it to our menu as a way to test out colors to see which ones pair well together. And while I'm doing this, I'm also thinking about my branding Standards Manual or my brand standard manual, where I'm gonna be listing lots of different ways which you should combine color, but also list ways that I shouldn't combine colors. So having some examples of two color combinations from this color palette, then we're not suggested but also suggested. So I'm thinking about that while I'm testing out different colors and writing those notes down. So when we come to do that, the standards manual, it'll be very, very quick process. So here we go. So what do we think here about colors? What do we make the background? Do we make it a darker background with lighter typography on top or switch it around. I'm going to try dark background first because I think the darker blue, the stone gray can add a lot of that richness and tradition and all of those good words that we used in our research. Let me draw a box and make it a darker color. We're gonna make it the stone gray. So I'm just gonna be using my eye dropper tool. You could also drag these into your swatches subscript of mixture. My swatch menu is open. And I can build my own swatch library with all of these different colors so we can quickly assess them. But you can also use the eyedropper tool as well. So sending this to the back, and I might put that on its own layer and locket so it doesn't get in the way. So adding a new layer, going to paste, bring it down and Lockett's and now that's not gonna get accidentally moved. So now what we have super high contrast with, with white and the stone gray color. So what I wanna do as have this pop out with a really, really strong color. What would you say is our strongest color in this palette, red. So I'm gonna take the eyedropper tool and sample a red color. And this is when we need to really make our color palette choices because there's really small differences in this. So this is white. But what if we used an off-white? Who remember the example we studied a couple lessons ago about how using that kind of slightly off-white kind of made it more subdued, but in a really more professional looking way, we'll get to seemed more put together and polished. We're gonna do the same thing. Instead of just leaving this white, I'm gonna take the eyedropper tool. And Steve, there can't be one of these off whites that could work really good, maybe salmon lighter or salmon lightest. So let's see how that looks at the difference between those. Let's do these side-by-side as an example. So this would be white. So they're yeah, just kind of softens it just a little bit. And since both of those are warm colors, they kind of more analogous thing. They kinda there on the same side of the color wheel, so it works. So what about this big banner across the top? I don't want that to be the one thing that stands out. I do want menu items to stand out as well, and we're eventually going to have to make all those a lighter color. So let's see if we can't make that also the same off-white color. And you can see I'm starting to put in some watermark elements from our logo system that we developed, just using some of those small assets to has kind of background. We can change this to. Instead of making that the same color, it's going to need to stand out. So what if we used is the lightest color or salmon dark one of those colors. Just so as long as the typography is easy to read. Let's change these menu items. Let's keep all of these right now the same. And we got a lot of options here. We could do Salman lightest, which is our closest thing to white. We can do it a little bit, kind of bring out the colors in the banner so these are consistent. When you do colors, it's nice to have a theme. So if you're using colors up top, you want to try to use it somewhere else, at least twice in a design. If you have had that opportunity to kind of unite them as kind of that YOU unified color palette. This chopsticks needs a break that also needs to really pop out. So we have a couple options. We can make it orange and let our color palette be more varied. We can keep it red and just kind of use a few of our color pallets. We don't have to use every single color. That is not a mandatory law. We are developing those laws right now as we speak, as we're doing these design projects, we are figuring out what are the laws that we need to set for ourselves to make everything else we do from here on out consistent. So we set the laws or rules for typography and now are setting for color. So we can say, okay, you have to use all three primary colors here. All three of these main colors have to be used or use one, make sure you use the secondary colours and stick within that one color for that particular piece. You know, these are the rules we're setting. I like the idea if I did orange, I just feel like it's a little bit disjointed here between the two. I like it a little more unified. So let's use a little less color selection, but still use different colors within that same hue. So what if I were right now, all of this topography blends together. I can't really see the menu headers. I mean, I can tell because it's a bigger topography size, but color is a great way to bring out something important, which is the headers of the menu. So we can see what would look good as menu headers. So we can even do this lightest tuna color, just doing tuna lightest. There are so many ways, so many different combinations of colors we can use for this. All I did was I switch the main header with the banner and switch those. So this one's now red and this one's now lighter. And I'm also going to make this red to tie these two colors together. And of course the red is down here, so everything feels unified. We can try this different combination kinda direction we were going. It's softer. This one's a little bit. More kind of a reserved color palette using just the red and the dark. And you can saw, so you can see how all these different combinations change the mood and the tone of that piece. So you have to make sure that that matches whatever color combinations you use matches everything we've done so far with research and our keywords and everything we've done so far doesn't match with the emotions and the feelings and the psychology of color. Doesn't matter when you look at this. Does it give you the emotions that you want the viewer to have? Do you want them to feel welcomed? Do you want them to feel safe? Do you want them to feel like they're in this really special sacred place. Those are all things we need to think about when you're doing all because you can have 50 different color combinations. We have a very varied palate so that the colour combinations are feel endless. But you need to make sure you're matching those colors with how you want the viewer to feel when they look at it. So here's an example of kind of a lighter palette and you can see both of them put together. They have very different feelings, very different makeups. And there could be practical ways to choose color. It could be that they print these menus in house and using a dark ink with their printers is going to waste a lot of printer ink. So switching to a lighter color might just be a more practical approach and that these are conversations you have with the client. I don't think people realize how much you need to communicate with the client to properly do all of these things. It takes a lot of communication. It's not like you go into a cave for 50 hours in New York, emerge with everything chosen perfectly for their situation is lot of back and forth conversations and you're, you're starting to understand that as you're moving through this class, how many times we're bringing the client inner asking them a question that's very normal and very natural. So we were able to create a chopstick wrapper and be able to narrow down our three color choices. Were able to kind of pick the one that we wanted through client feedback and also through our colleagues feedback. We're able to post on Facebook and Instagram and figure out kind of what people were, were really resonating with as well. So through all that, we're able to pick our colour wheel to show two different finished projects with color applied. So we have a logo design and the logo system. We have a typographic system where hope to merge all of that with our colors to create, to finished products. And the logo design. We have a lot. We are almost ready to present to the client, or almost ready to present the client. But we want to talk about one thing. And this is something that not all graphic designers or people who are in the design industry do when they're approached by clients. But I think if you offer this service, it'll, it'll help you compete with ad agencies, where they ad agencies do its next level stuff. We need to talk about brand language, and we're gonna talk about that in the next lesson. It's really going to set you apart from everybody else if you understand and know how to do this. 39. Brand Language : Brand language. So what is brand language? It's how and what we communicate to the viewer through voice, tone. And so anything that is a piece of communication. So let's say a headline on an ad, our body copy for an article. This is everything we write to the viewer that will be viewing anything we're, we're creating in the audience. Could be anybody, it could be someone we're advertising too. It could be in our brand standards manual where we're talking to whoever will be using our brand. It could be internal communications within the company. How do we talk to each other? How do we talk to the viewer? What is our voice and our tone, and what is our purpose? So who comes up with all this written copy? It's not always up to a graphic designer, but I want it, I want you to be able to think that way and to be able to do this if you are ever asked to do it, to be able to figure out basic characteristics that the company has when they write their language. Because a lot of this is connected with design and advertising. So if you're a graphic designer and you're creating an ad campaign, part of writing the copy and How You Sound, what's your tone in which your voice, as just as important as the design and to be able to be one person that can understand both sides of that and merge that together into effective advertising is so critical. So just like personalities, companies can have complex personalities that may not fit nicely and just one category. So sometimes it can be a combination of two different characteristics are voices that created a nice balance in your brand language. And sometimes it can be just one. So I'm going to go through several different ways to write one piece of headline copy to show you this in action. So let's say we had a typical social media ad similar to the one that we developed when we were testing out our topography. There's a lot of different headlines are a little quirky things we can say to represent our company in our mission, our goals, and our values. So let's say funny. If I wanted to be funny, I can say my chopsticks need a break. At first didn't sound like a big deal, but when he started to think about it, my chopsticks need a break. Most of the time when you open up a sushi or a chopstick wrapper, you break it apart. It needs a break and you personally need a break. So it goes back to kinda being more clever or funny. And another one for clever is fish. So fresh you can eat it raw. Well, you're eating sushi, it's raw. It's so fresh. You can eat it raw. So as kinda being a little clever, a little bit of a play on words, you can also have a serious kind of personality to your brand language. So let's say authentic and fresh every day. It's serious. We're not trying to be clever. We're not trying to tell a joke or straight to the point. And we're just straight shooters where authentic and fresh every day. So you might see a grocery store have a lot of serious tones because they're just straight to the point where just a grocery store, you know, here's our food, come enjoy, be part of our community. You know, it's a very straight down to earth approach. You can even have gentle or romantic. So date nights just got easier. So you're focusing on romance, love, connection, community. You can kind of have more of a romantic type of flirting, personality. You can have a cautious personality or approach. Only trust the freshest source and town. So it goes back to when we were doing our client brief and they were worried about making sure people knew that they had fresh fish. And even though they're going to be doing delivery, it was still going to be fresh even though it was raw fish they work that they were handling because they were going to take it seriously. So they were cautious. So only trust the freshest oh, it's only trust you having that word trust in there. You can have a very caring personality. So we support whatever charities that you wanna support. So you like Tom's Shoes is a shoe brand where every time you buy a pair of Tom Shoes, they give a pair of shoes to somebody in need in another country. So that's kind of a very carrying personality, caring, brand language and everything they write is about the charity in it's a less about them, a very carrying brand language. You could be whimsical, where tastes becomes an experience. So you're thinking way beyond what the product or service is. And you're thinking about what it does for you. It's whimsical. This is where it becomes an experience. You're starting to think about how things make you feel. So these are all ate, totally different personality descriptions you can have, but there are more personalities in life or characteristics to people, just like there are different characteristics to companies. You don't have to fit perfectly in one of these categories. Like I said before, you can be a combination of funny and confident. So what I want you to do is think about these categories. But I also want you to think about other types of personality characteristics or categories. It might be more than just the eight that I came up with. Might be unique to your industry as well. And to help assist you come up with these words. There's a three word technique for developing your brand language. I wanted to talk about, I want you to look at your prior research to source possible words that help describe the brand or company. And client feedback can help. Again here, this can play a big part in how we write the copy for future menus, packaging, advertising. So I want you to think holistically about the company, what they want to be, and what do you think their main characteristics are and who they want to be portrayed as? So this is an example of what I came up with sushi club. So I'm listing on the left some characteristics and values I think they have, so I think they're authentic and genuine. Their very generous, they're gonna be very generous, of course, talking with the client. And they are loyal. So we can easily write a description. So for authentic, you can say there is no doubt about our commitment to real authentic sushi experience down to the fish we source. And notice how I'm writing this description. I am writing it in first-person. It's I am talking and writing this on behalf of the restaurant. I am I am them. It's a first-person. We spend extra time and effort and money making sure we. True to our roots and provide fish that does not have to be hidden by flashy ingredients. So there's some rules to this, how these characteristics and brand language. So do we share our joy and enthusiasm and our attention to detail in how we craft our food. We talk about the extra time we spend making sure qualities kept tie. So when you're riding all the content or you're working with an editor who's going to help you write some of this content for the brand? You're telling them how to write. You're telling them, share the joy. Have attention to detail, but how they craft the food. Mentioned that a lot when you're writing some of the ad copy and keep talking about the extra time they spend on their quality of their food. Who kind of setting the standards of how they're supposed to be writing content for, for the brand. Of course, with every Do we have a Don't. So we have the rules. There's rules. We follow those rules. We don't break. So don't be honest or dishonest. There'll be dishonest or misleading about our ingredients are how we prepare sushi products would be very transparent and open. Hide, don't hide our unique preparation process and where we source our fish. So we need to be honest. We get our fish from this market. We get our fish from 20 miles away. That's very important that you are very honest and transparent about your fish sources or telling them to do that. So that's authentic and genuine. So there's generous. We love to help those in our community, but also loved to be generous to those who work for us. So Duce continued to contribute to our community and active ways. Also not focused on just profit all the time. So we don't, we're going to ignore employee requests or suggestions for better work environment. So we, we, we don't want to ignore that. So we care about our employees a lot. And that can come out. That could be something to think about when we're creating our brand and our brand language or employees are awesome and we really care about them. So it could be that we feature employees often in our, some of our Facebook posts or Instagram post. We have a kind of almost an employee highlighted the month. You know, we really want to focus their, not just their chopping up your sushi. They are real people that have a history, especially for paying more for the preparation side. We're probably paying them more to, they're going to have probably some interesting stories. Maybe they studied at a really neat culinary school and want to highlight that. Secondary thing for don't, is don't give to a charity Under Pressure, give because we care. So there might be a certain charity that they really believe in. Maybe sustainability of fishing, you know, something like that. Lastly, I want to talk about loyalty. So loyal is one word that I selected. We love our patrons not only because they order from us and keep us running, but we love to see their faces when they finally get to experience the taste of super fresh fish on our menu, we are loyal to a fault to our customers, making sure their experience is great every time. And we take customer feedback very seriously. So this even goes beyond just writing advertising copy. This can be applied to how they run their business too. So if they take customer feedback very seriously, you better believe that somehow going to be talked about somewhere could be a suggestion area or just a way to just be available to people who review the restaurant. So don't, don't overbook ourselves and provide a less than expected level of service. So once again, this is more than just writing words. This is helping us kind of think about the kind of business they are and who they want to be. So I wanna talk about how do you explain this brand language once you feel like you establish some personalities and some words and maybe some, some rules, some do's or dot's to how to write or how to, how to have that kind of b as a company. There's some fantastic ways to present this brand language, voice, tone, and direction. This could be writing a few sample advertising, posters or flyers or ads, maybe social media posts, for example. You can describe in short detail the main characteristics of your brand voice like we just did in the three word study. And you can also list a series of headlines and statements that you're allowed to use. So you'll see this when we start to study brand standards manuals. You'll start to see they, when they do talk about brand language that we'll have examples of how to talk. So they may have examples of headlines you can use for anything you want. They may have very open, flexible standards, are going to have very tight standard and say you must use the series of headlines below and nothing else. So it's up to you to decide how strict to be and what's great is. In the next section we're going to talk about setting photography rules and photo rules. Which photos Can you use and which photos can't you use? What type of photos to use? So you could start to intertwine those two. What photos can I use with what headlines? You can also write key characteristics, every brand voice as just simple list of words. So in this case it's authentic, clever, bold, memorable, and playful. And you can write a little descriptor. There are brand language used throughout our advertising. Local packaging, and external communications are bold statements that are balanced with a pinch of playfulness and they are memorable and not easy to forget. So just even knowing how to write your manual and how to set the tone and the voice and the personality. It's all kind of thought about before you get to writing all of it. And so for examples, it's, it's how it came up with a couple of these slogans. So I've already talked about my chopsticks need a break. But what about no volcano roles served here? So it's bold, it's clever. That's being authentic and playful. So all these kinda main words that I just listed off, all of these kind of fall into that category. And it's very short and simple. It's not a long drawn out phrase. So remember when we talked about earlier, they are not going to serve volcano roles are about fresh, simple ingredients. We'll, we're just kinda being playful here with the headline. Also fish, so fresh you can eat it, Raul. We kinda talked about that earlier. And your favorite part of the day is here. So I can imagine these as stickers on the delivery bags. Kinda just little playful sayings that we could put on circular stickers to go on bags. And this can help lead us developing this brand language. When we start to do delivery stuff like the bow, we're going to get to doing a delivery back and we're gonna get to doing t-shirts to when we do that, we now have a brand voice. We now can say, ooh, we can write in a certain way now, and we know how to write certain stuff. And we have a whole list of several lines of copy that we've, we've written that we can use for t-shirt for example, and also for stickers for a bag. So we're, we're taking just doing your typical graphic design stuff and we're taking it to the next level. Or thinking about not just the visuals, but we're thinking about what is being communicated and what is being said. 40. Photography Rules: So we developed our brand voice or ran language. We develop our logo system. We're getting a lot of visuals completed. There's one more thing we want to set up before we really get started doing some additional projects. And that's setting rules for photo usage. What photos do we use? What type of characteristics to those photos have? Is there a certain library of fixed photos we want to draw from? So photos communicate the brands message, tone, and language as well. Make sure you explain the types of photos that will be supportive of the brands, narrative and story. Once again, going back to research to find keywords will help us define the photos we use. Create a portfolio of sample images the company can use along with the new brand assets that we're going to be developing soon. Depending on your client's budget. This can be photos you take yourself. If you happen to have photography as a part of your skill set, great, use it. You can hire a photographer to take these new photos and you can act as the creative director to make sure they're the way they need to be to match with brain language and with your branding. So far, you can use an existing library of the clients photos, perhaps they already have photos available, which would be really the best-case scenario. You can use paid stock photography. I've done that for clients that are smaller and they don't have the budget to hire photographer. That's okay. You can buy very nice premium stock photos. You can use free stock photos if the budget is super low and they wouldn't be going through this process at their budget was super low. But you can find free stock photos on all the free stock photo websites I've recommended so far. So it's really good to establish rules just like we did with everything so far of what type of photos we choose. But also if we hand this brand off to somebody else, they will have a rulebook to follow to say, okay, the photos need to have this is the focal point. They need to have this feeling and mood and tone. So for example, for sushi club, these are some of the rules I established for photos. The fish feature should be clear of extra on an unnecessary toppings. So that's just true to what they serve and true to their product. The focal point of the photo will mostly be fresh fish, shushed Amy and a jury with less of a focus on sushi roles. Sushi rolled in C, we call Mackey. So our logo does kind of present the Mackey. But that's the most in America, we understand that a sushi and that's what we do serve. But with photos, we want to really help to educate the viewer or the potential customer about this kind of new way to eat sushi, new way to Americans where we're eating just a big, wonderful slice of raw fish. So photos are supplied in a Google Drive library and only these photos can be used for external advertising. So we have a set amount that I selected as the Brand Master. I guess you could say I've selected these 30 photos. This is a great library. If you wanted to add more photos. These are the rules for adding photos. And you can kind of give them a link. And you could do this in the brand standards guide, given them a link to where they can get the, the photo library or have it on their website and like a media PR page. Lastly, make sure to only use two photos in any one design. This helps photos to adhere to our higher end authentic focus. So when it, that's a great rule as a designer when we do everything going forward. I know that, you know, using one or two is acceptable, but using five or six, it starts to change the way we want to present ourselves, right? The focal points lost on the fish when you have all these different photos, a lot of restaurants tend to have billboards and they put all their food on there and it's just too overwhelming. They have five different dishes and I kinda looks on appetizing honestly. So we're setting those rules. So what I want you to do for the brand you're working on, or for this class project. I need you to pick about ten to 20 different photos. You can take them yourself. You can go on pixels.com, which is what I did here, and go anywhere to source these photos. And I want you to pick them based on the rules that you set for the photography to match the brand and to help you select your photo choices. Focus on three main characteristics of photos that you want them to have. Do these words align with the brand's ethos and style? So for example, I have three simple, they have to be simple, rich raw colors. So they all have to be raw fish, not cooked sushi and professional people. So professional sushi chefs preparing it because we really have a focus on our sushi chefs and the preparation. So preparation is another kind of keywords you could throw in there based on those key characteristics. When I'm looking for photos, I haven't in my head. So this could be an easy process to find photos because I've narrowed it down so much to what I want to use. And notice there's a lot of blacks and dark colors used in the photos I selected. They all have a theme to them. They kind of have that dark background and it kinda matches with some of our color palettes that we've been doing so far. So it's going to be very easy to integrate these photos and our designs. What's great about this is when you set these rules, not only does it make it easy for you to find these photos to use for the designs will do later on. But they're essential part of a brain and Guidelines Manual is setting the rules for photography. So we're doing, we're riding this manual as we're going through this branding process. So when we get to that point, you're, it's not going to be a whole lot left to do, which is great. So we've set the photography rules, we've set the rules for brand language. We already have some projects under our belt. I think it's time to take a break and to put together a few more projects. Because what we wanna do is we want to create a couple of great projects to present, so we can do a final client presentation. This will be the final presentation to say this is what we've done this entire process and get everything approved so we can send you files and kind of start to be done and to start to work on the standards manual. So the client presentations are big. So what we already have a couple of great things to present, but we want to present just a couple more to really show off the brand on real products. So I thought we would do a T-shirt design. We can do lots of different t-shirt designs, some with some slogans, so with maybe some logos, try some different color palette out on it. We already have our color palette done, so that'll be very quick and easy. And I wanna do a delivery bag because that's going to be an important part of our restaurant when they first start out, they're gonna be delivery. They'll eventually be a restaurant, but we want to have it and they got a menu that chopstick wrappers. Let's do a bag. So let's do a bag, t-shirt. And then we're going to put this all together, everything that we've done to present it to the client. But not only that, we are going to craft this into a presentation that we could put on our portfolios so we can show it off. So if you're doing this as a mock company, something you're doing for fun. It's not a real client. We can end up having a wonderful portfolio presentation, everything you done so far, so you could put on your portfolio and get that client. That's what I want this class to all be about is helping you get clients, land clients, and make, and get bigger, bigger clients. So we're going to focus on that next. 41. T Shirt Design Project: T-shirt design, who doesn't love a good t-shirt? I think every brand needs a great teacher designed. There's gonna be a great way to show off Donnelly are colors, but a little bit of her logo as well. So here's a T-shirt mockup. We created this together and my mock-up creation course. But there's so many free, awesome t-shirt mockup. So you can find on a website called graphic burger.com. So you can go in there, go to mockups, type and T-shirt. You can download any of these mock-ups. We just went somewhere to put some thing to use to put our stuff on there so we can make it look awesome. So what I'm gonna do is this is the mock-up I had from the class. I'm just gonna take that offer right now. And what I wanna do, I'm just take a screenshot of this. I'm just gonna bring it into Adobe Illustrator so we can test out some different logos to see the right sizing. So I'm going to bring it in and look at what we have so far. We have lots of different arrangements of her logo, so this should be pretty easy process. We also have our color palette handy as well. So I'm going to bring in our t-shirt. So we have our T-Shirt right here. What type of logo would look good on the t-shirt show? We're going to test this out. We're also testing balance and size of it, so we don't want to have anything like this that's a little strangely large. And we don't want anything like this unless you wanted to have like a little polo shirt with the emblem on it. So you need to figure out what's the right sizing, where do you want it to be placed here? This could be really cool if they had maybe like staff or something on there so that they can have employee shirts. So that's something to think about. Do you want to, are you doing a shirt for an employee or you're doing a shirt for someone to buy because they're just a big fan of the brand. So you gotta think about who, who is it going to be any could develop a series of shirts. You can develop a staff shirt, and you can go a side-by-side and develop one for a client to buy or a customer to buy. So we can go in here and put staff. Have a cool staff shirt. You don't even have to say staff, you know, you can kind of think about what what that would be. You know, if we're clever, if you go back to our brand language, were bold and clever and all that stuff, they maybe can write something that's not just staff, it's kinda boring, right? You can write sushi Slayer or sushi maker or maker of dreams come true. It's absolutely ridiculous, but you know what I'm saying? You know, you can think about brand language here, but we already have our topography rules set. So don't be afraid of going back to your typography rules that you've said a while ago. And to be able to adapt. Maybe this, this kind of lowercase. And we'll just do something really, really basic for now. So we can do all white and align that to the side. So now we have our topography rule set. We know we're doing lowercase for headlines. So we know that's an easy, easy rule to follow. So let's say we want to do that's a staff shirt. And what if we want to do something cool on the back? This could be the back. Of course we'll have to get a different mockup that has a back on it. I don't have one handy right now, but we'll just have to use our imaginations. That that's the back of a T-shirt. And we already have kind of the symbol here. And I can even make this smaller now that I know that's going to be a little stature. And because we have the chopsticks on the front, let's put something different in there. You know, you don't want to just repeat the same thing. Let's take, take our chances and, and do something a little bit more fun and playful on the back. So we could take, take this version we have with the seal that we put our little SC, monogram in it. And since this is a staff shirt, you might want to say something and the brand language here. So right now have your favorite part of the day is here. Well, that might be good for a delivery bag, but for a t-shirt, you know, this is something somebody wears, it's something you represent. So you're representing the company here. You wanna say something maybe a little bit more different and a little less advertising. It's a little bit more at the heart of the issue. So no volcano roles served here might be something kinda more fun and memorable for the back of the t-shirt. We wrote a lot of this down already when we did our brand language. So we have some things that we can pull from. So fish, so fresh, you can eat it raw. That would be really good for a stature. My chopsticks need a break. That's kind of more of a consumer focused. One. That would be more for advertising, a little less on a t-shirt. So let's do if no volcanoes role he served here, either one of those are good candidates. So just trying to follow the same rules that I've set. So in this case I'm using lowercase, I'm using the same headline copy, and I'm using the brand language that we set forth in our lowest systems also in there as well. So this'll be a staff shirt. This would be the back. Colors are not final. We're just trying to get things and a nice finished vector format. And just putting it on the back of this T-shirt just to give us the idea of size, those that'll eventually be deleted when we export these files. So now what I wanna do is I want to test it on the mockup so I can kind of see how colors look. So its home. A lot better to do that when I can switch out the color of the t-shirt. So we could bring this into our mockup and Photoshop and give it to test. And eventually when you do export t-shirt designs for the printer, you would not need any cinema pictures. Show them size so they can know how big to make the graphic. But you pretty much just need these vector files. And you would go ahead and just do maybe some different art boards here and just kind of encapsulate them in their own Mar Board. You would export that as an EPS, which is a vector. You can do a vector PDF as well. And you can also do it as a Illustrator document or if you're an Affinity Photo, sometimes it's best to export as a EPS just in case they have a different design program. But that's easy, that's simple to kinda do the T-shirt design. You just give them a vector format. I would do Save As and I could do an EPS and I'll save the EPS and kidneys aren't boards that'll crop it for you and you're done. So let's test it out on the mock-up. I'm going to bring it in. So right here, my mock-up, usually these red layers indicate where you would be able to change something. So let's double-click. Change t-shirt colors. There's the pattern illustration, so let's double-click on that and just replace all of this. Let's bring it in about the right sizing and do this one for right now. And let's take out the old one, monolithic. We need this layer anymore. Narratives. And let's not have a color, lets us have it adapt to whatever it is. Let's just make it an all white for right now, we can always change the color later. And let's change the sizing here. So we just double click on the layer, make it a lot smaller. And let's see how that looks. It's the right position or pretty close to it. And we bring it up a little bit closer to the chest. We don't want it in the middle, the shirt as much as we kinda want it across the chest. So springing up slightly. Alright, so color, obviously grace not going to work. So let's go to a color palette. Let's borrow some of these. Let's try the, the red that seems to kind of be your primary color we're developing. I'm just going to copy this hex code is just a quicker way to, to get the color across. And I'm gonna go to change the t-shirt colored in a double-click and pop it, pastes that hex code. And when it comes to mock up, sometimes you have kind of some textures and things that could darken your colors a little bit. So you might just need to do some manual adjustments to try to get a color that better matches what you have. We can go back in and find a really good secondary pillar. So maybe one of these tuna light colors, maybe a little bit lighter. So it can make a readable copy. You could see all the different color combinations we can do. This is another great exercise and color exploration. And it's good to do this before we present everything to the client because we may discover a couple of color rules or color combinations that we find are a little bit more primary or a little bit more easier to use and just feel better to use. So we're developing this color rules as we're continuing to work on additional projects. So let's continue. Not now that we know how to show it off on our mockup, we can continue to do more of these. So we have staff shirts, you know, we can do a lot more than that. What if instead of a circular pattern? What if we tried something different? We can take one of our headlines and nova volcano role served here. We can always do it as typography cross the shirt. So this is kind of two different ways to different styles. So we have volcano role served here. What if I did that as two lines? Let's make sure we have the same letting. So this is the same slogan, same typography, but a different breakdown of the different lines. This one has more ragged lines broken into much smaller narrow column. And this one's more understated. So you can see the differences here just changing the topography size. So no volcano roles served here. It's really small and understated, but it kind of makes you want to look at the shirt from a distance. You want to read it. You can't read something. You want to kind of go up and say, what does that shirt say? You know, it's kinda softer like no volcanoes roles served here. We have this bigger one, which is more of a big statement. No volcano roles served here. It kind of screams at you a little bit more. So it could be that you have a brand that has a very strong message that is passionate, that g1 to have the right. You could have something like us who just wants to be a little clever and funny, but we don't want to scream at you. We don't want to yell at you. So we're going to make it a little smaller and understated. So you can think of all the different things you can do here. You could also take this little SC. And we can put this as kinda on the background and as a watermark underneath. So put that on top. And this could be a color that's really close to whatever the base t-shirt colour is like that. And that would look a lot better on the mock-up, but just kinda showing a way to extend the graphic a little more without having more words. Let's keep going because it's kinda fun to come up with T-shirt stuff. We have the logo in some different presentations. It'd be interesting to try this. One. Of course is just a plain gray t-shirt on the widest, didn't do read, I guess it could have done read. So let's try this example. Just brainstorming, haven't planned ahead on this. Something like that. And this could be the same color as the base colors. We could plug into, punch in that out. This could even be kind of this off-white color. This could be red. That could be interesting. Let's try that on the mockup really quickly. So I'm going to bring that tag in. I want to punch this out. So I'm going to bring this over. And actually a better way to do that, shape older tool, it take a long time. So let me do the Pathfinder tool for this one. This is when the Pathfinder tool will come in handy because it lots of delicate little items. So what I wanna do is select both items and I went to punch the gray out from the background. I can go to my pathfinder tool and do an exclude. So I'm going to exclude it and you can see how it punched everything out that was selected. So if I do my eye dropper tool, you could see how it cut everything out. Alright, so let's bring this into our mockup. Put it in the middle. Let's definitely size that down quite a bit thinner right there in the middle. We can change the color of that two. I get softer. So that's, that's an interesting, interesting option. So it's great to be able to have that mock-up handy to test out colors on your t-shirt designs and see if they'll work. As you can see, there are so many different cool t-shirt designs you can come up with. I would pick one or two that best represent the brand, everything that we've talked about so far. And you're going to use that in your client presentation. We're gonna do one more project before we get to the client presentation. And that's going to be a delivery bag. So I'll see you in the next lesson. 42. Delivery Bag Concept: Because our sushi restaurant is going to be a delivery at first, I felt it was wise to stick with projects that are going to relate directly to the industry and that will be a delivery bag. So I was able to find a mock-up of a delivery bag on graphic burger.com and I'm going to use that. But I first need to come up with some ideas and layouts just like we did with the T-shirt design. So for right now I'm just gonna do a size doesn't matter too much because we don't have an official printing imprint size for the bag yet. Eventually the printer, whoever's going to be printing the bags for you is going to give you a size that she would design on so that you can do the bag design on. But for right now we're just gonna do a typical 11 by 8.5 or an A4, just a standard rectangle. And I just changed it quickly to have a vertical presentation and so horizontal. So we've done everything. So it's a matter of slapping everything together. We've already done the hard work. So let's do the thing where we put the slogan in the circles. Here's I already did a little bit of research with color combinations using the same color palette we used the flexible color palette we developed. I spent probably ten minutes just going through and putting each color combination together and going well, can't read that. Nope, that doesn't work together. And trying to find ones that I thought were high enough contrast or read. And these are the, the color combinations that I came up with. For example, if I have this and I made this orange, even though those are two primary color palettes that does not greed will at all. So those were kind of something I know not to put together and something we can put in our brand and standards manual later on. So I have some great slogans. I have a bag here, and I also have a Logo System. And I thought it'd be neat to stick with the sticker, kind of round circular logo. For this. We have two different contrasts. So let's borrow both of these. We don't wanna put sc, the go back to our logo system. We don't want to put Sc here because we need to have the logo name. We want people to be able to identify it immediately because it's a delivery bag and we want to average the delivery bags are great advertisement of vehicles. So we want to make sure that we have sushi Club very visible there. So depending on the color of the bag, and then which one we use. So let's say with the menu, we established a dark background. So we can establish the same type of dark background using our stone gray color. So we've already done a menu that way. So let's stick the, stick with the same direction. With this, we can ungroup this. And notice how that's black. We can now officially changed that to stone gray. We get our color palette and and make it red. When everything, whatever we think would stand out. We can also have our name here. And bring in a couple of our sayings like do the sticker idea, where my chopsticks need a break. That's kinda more of your fun advertising slogan, my chopsticks need a break. Or maybe your favorite part of the day is here, that would be another good one to use. So we have this circle up here, and we have a circle down here. So we have very similar shapes and they are the same so that the same shape, they're competing against each other. So what if we didn't fight with the two element? We want this to be the main focal point right here. And want people to read the bag and kind of chuckle a little bit. Let's get the logo. That's in the banner situation. And let's put that up on the top. So this way, you don't have competing shapes. So all of a sudden you see the logo. It's very visible, but it doesn't take away from the main focal point because now they're different shapes. So you kind of see how I kind of thought through that. I also want this to be lots of margin. I don't like putting things too close to the edge. So I'm just adding a bit of breathing room and margin there. So this could be as simple as buying black bags and then having to stickers. One that goes up here and wraps around the inside. And then a circle or a circular sticker he could put on the bag. And what's great about this is it makes it a lot cheaper and easier to get the bags printed because all you're doing is getting two series of stickers printed. And then you can buy any black bags. So you could buy a bunch of black bags on one of those restaurant websites where you can order restaurant stuff in bulk. So you're making it cheaper and easier for the client. Or you can decide to have this all be printed and not do the stickers and just have it be printed on a bag. And it's really good to talk to the client price set out because it could be a lot cheaper to make these stickers instead of a whole bag printed design. So be kind of thinking about that as you do this. If you were to export these as stickers, you do the same thing as the t-shirt. You'd put this on its own. Art board, viewed export it as a vector file. It can EPS and make sure you create outlines so they don't have to have this topography installs a right-click. Create outlines. You'd have an art board. It's doing art bore due to, due to due. And they may have certain size or an imprint area that they want you to put the sticker on. So maybe 44 inches by four inches. And so you would have a four-inch by four-inch and you would size it, size it accordingly. Sometimes they even supply you with templates, which is really nice when they do that. So let's see what this looks like on a mock-up. So here I am on graphic broker.com. They have some great mockups. These are for Photoshop, but you can find Affinity Photo mockups of fear using affinity products. You can even make your own mockups, kinda like what we did when we can take a picture of a blank bag and then Popular go on there. And my mock-up class, I kind of walked through that and both Affinity Photo in Photoshop. But let's find a bag that would be really suitable for sushi delivery. So the paper Bad might be good, it might be a little bit too big. But we can see what options we have. It looks like that might be the best one. Some of these are shopping bags that's not going to fit. So let's try this brown paper bag mockup. And let's download it and I'll see you in Adobe Photoshop. Here we are in Adobe Photoshop. I have the mockup open. I'm going to double-click the red layer so I can go ahead and load our idea in here. Let's do it right, they're big and center. Let's delete what was already there. And let's see if we can't get our little tag here in kind of a similar sizing here. So let's close it up. And kinda seeing it on this bag, it makes me want to adjust the sizes a little bit. Maybe make the logo slightly bigger. And also this slightly bigger. So you may just have to readjust after seeing it on a real product. This is why we have mockups to figure out how it looks. You may go back to your design and tweak sizes based on what you discovered. We don't want to use a brown bag that so one original and we want to do a really cool branded color. So what if we did a black bag? So we have this paper bag and you'll find mockups like this all the time. We get to have to customize them to match your brand because they're not going to be perfect every time they're going to want to have them be a certain way and they're not. So let's see if I can't that is just the paper bag right here. Let's see if I can't make this black somehow. So see if we can just do a quick adjustments to saturate. And let's see if I can't maybe change brightness contrast, maybe like reduce the brightness quite a bit. That's turning it pretty black, isn't it? Increase the contrast? And we got ourselves a black bag. And I don't like this heavy texture on top. So what we could do is it looks like there's some kind of shading overlay here that adds that on top. We can change it from a Linear Burn blending mode. What if we change it to something softer? And it may be that we just have to reduce the transparency of it. So maybe multiply and let's just reduce the treatment would just not make it strong by reducing the transparency just like that. We could also change the background. So we have this texture background here. But what's something that can be branded, that be kind of cool? And this is going to lead us into some other things. We're going to develop brand assets. What are some textures of backgrounds and thing Right now we have a circle and we have some of our slogans, but we don't have a lot of like repeat pattern or something to put on the background. So we need to kind of establish that we can put a picture of sushi in the background. We could just make it black. Let's take our circle here. Let's bring it in, see what we can do here. Have a very interesting just trying to take brand elements we have so far and continuing to have them even as background elements. So in this case, we can make this background black. And you know, what we have kind of this is not quite black. What we use, it's kind of a kind of has a little blue, you see with a stone gray sky and a little bit of that blue in it. So let's see if we can't make sure we stay true to our brand colors. And make sure that and what we could do is we can swap out some of our savings and maybe do some different colors. So we can show this as a series. And you can kind of show off your varied color pallet. And you can show how versatile the brand is color wise, you're not just stuck with red, you're not just stuck with the saying that this kind of comes together as a set. So there's her bag design. So we have a bag jumpsuit crackers, a logo, a t-shirt. We have enough to do a basic presentation for the client. So we're going to be putting that together. We're gonna talk about different ways to present to the client, and we're gonna do that next and the next section. Okay. 43. How to Present Your Work Introduction: Let's talk about client presentations. Selling your hard work to the client as best as you can is a no-brainer. But there's so many wrong and right ways to approach this. In this final section of the course, we're going to talk about three different ways to present your brand design work based on three different audiences. How you tailor your visuals and text will depend on the audience, and therefore it might be different each version for each presentation. First off, there's the client presentation. It's all about selling the idea. With client presentations, you want to have one main goal. That goal is to sell the concept you work so hard with the client to create. It will be heavy on describing the reasons why and talking about your design and how it supports the overall company story and narrative. For years to come. Common formats for client presentations are but not limited to slide decks, PowerPoint, Google slides, PDF, and website pages. This kind of presentation is for you and the client. Your goal is to convince the client that not only did they make the right decision in hiring you, but to give you all future design work and branding jobs that they'll have. It's to start that conversation of now what, what's next? Obviously, as time moves on, they will need to expand this brand and hopefully you can sell yourself as the one to do that. Another goal for a client presentation is to properly present your research findings and final concept thing, give it a final stamp of approval on all related items so you can start to prepare and send those final files to them. Lastly, the goal of the client presentation wood to make sure they understand the style and the brand that you're bringing forth. They need to understand your thought process behind all choices so that they continue to foster their newly developed a brand Esau's and even help you tweak anything. So make sure it aligns perfectly with their hopes and dreams and goals and desire for their company. The audience for this one is you in the client. So the way you craft a client presentation is solely based on the conversations you had with them. It will answer questions they had and show them that you were really paying attention to that client. Brief. Client presentations tend to be a bit more text heavy as explain more of the behind the scenes thought process. Think of this presentation is answering all of their why questions. Why these colors, why the type choice, why these photos, et cetera. The second type of presentation is a portfolio presentation, and this is about selling yourself. And the audience for this one is anyone interested in hiring you, are checking you out. And since portfolio presentations are more about pitching herself to future clients, they tend to show off more mockups and practical applications and they're a little bit less wordy when it comes to talking about the details of the Brainstorm and concept development stages. Portfolio case studies need to be brief and be tailored to impress quickly with wow images to pique the potential client's interests. There may be a bit of research and data shown, but it should never overwhelm the viewer because they're looking at hundreds of these types of projects. So with these, you must keep their interest with bigger, bolder visuals. Common formats for portfolio presentations are, but not limited to website portfolio case studies, Behance.com or other third-party websites, social media. After you crafted a client presentation and or a portfolio presentation, you may be tasked to create a more formal document called the branding guidelines manual are brand guidelines manual has a lot of different names. This is our third type of presentation. This is usually an added task and the brand design process is not. Every company will request one or have the budget for one at first. Make sure this is an extra item you charge for, as it can be a very time-consuming process to put one of these manuals together. The good news is, we've already worked through this entire process. So it's just a matter of taking these different pieces we've done and putting it into a concise Guidelines Manual. We've already established our guidelines for photos, topography, usage in color. We now need to put it in a PDF form for download on the company's website. And of course go into more detail than what we've gone through so far. In these guideline manuals are written to show anyone how to use the brand design and identity design. The brand guidelines is written to a different audience altogether. So the way you write it will be focused on teaching others how to use the brand design you have developed. This will mostly be other designers, web developers, media and PR folks, or anyone inside the company that needs to create any sort of media for the company. This will be written as if the client or company is speaking directly to the reader. So for example, XYZ company believes in bringing families together. So you're riding from the perspective of the company, you're writing on behalf of the company when you write this and we'll go into more detail about this later. So your audience for these manuals could be marketing managers, social media marketers, company employees, other graphic designers that are working with the brand. Web developers are really gonna need to have, have this, especially the hex code numbers and topography stuff. Media companies and ad agencies, if they plan to ever deploy an ad agency, or anyone interested in knowing more about the story of the company. We're going to talk more detail about all three of these different types of presentations. So we're gonna start off with the client presentation for sushi club. And we're gonna take a look at some really good examples so we can get inspired to start her. 44. Client Presentation Examples: So let's put together our client presentation for sushi club. What is the basic anatomy of a solid client presentation? I'm going to take a few minutes to study some strong examples first. So I'm right here on Behance.com and I wanted to kind of look through and study lots of different client presentations to see how they do things. And on this, on Behance, you're gonna see a lot of portfolio geared presentations which are going to be a little bit less about the theory and the ideas and the concept in a little bit more about showing off the brand on practical applications. But I did find a couple that would work really well as client presentations, which as I said in the last video, is a little, has a little bit more background in detail about why you chose things. What was kind of the reasoning behind that was kind of showing off some of the research you did two. So in this case there's one called, This one's called accommodation. So you could see they started off with the basic logo. They don't have it on anything. It's, it's pretty simple there kind of setting the stage of what this is for. And what I really found interesting is how they broke down the different shapes. And they went into kind of the reasoning why this is a great example. So what makes up the iconic image? So they haven't broken down into 1234. So all those shapes can converge together and kind of creates that icon on number four. But not only that they go into what are the shapes mean. And with our sushi Club, we have, you know, what are the chopsticks symbolize? And that's something we can sit down and write together. So in this example says it all started by understanding the brand environment and its audience. We visualize the brand image to be different, attractive, and unique. Assemble that explains itself clearly, but yet in an abstract way and brings positive feeling to the audience. The symbols designed from three core elements that makes up the accommodation icon, iconic image. All elements resemble a unique identity. So little one is for space and room. So it's kinda representing a room to, for a door that swings open. Like when you look at blueprints, how it swings open, it kinda mix that door. Three, a smile for a symbol. So you see how they explain their entire concept in just one single little page. It pretty much set the stage. It's not very wordy. It's just worthy enough to get across how this is broken down. So you notice how early it was in the process. We need to show our logo, explain why the logo has what it has in it, whether there's symbols or typographic elements. We need to explain that right away because everything else will be meaningless if we don't understand why the logo is the way it is. This is taken from my logo client presentation template that I have in a lot of my courses. Just kinda, what I did is I showed a couple of things here on this page as I showed the basic shapes I was playing around with. I have a little sketch image. Then there's this little paragraph that explains, well, why is there y, is there the M and that there's actually the m and the a for the museum and for art. And that was fused together as one icon. And you can see the, the exploration of that in this presentation. And I'm trying not to be very wordy, I'm trying to be very matter-of-fact here. Here's the concept. This is kinda how we came to the concept. This is why it is the way it is. So just find ways to kind of do very brief explanation of the concept. So going back to the presentation, here's a little bit more descriptions of the brand. So the word marque features a soft yet modern structure with sharp ending tails. We wanted to highlight the youth in a mature way. So they're even going down to the details of the roundness of the typography. So if you had any kind of special customized typeface or you did something interesting to the topography of the logo. They even talked about why they made those choices. So they made those choices to have a useful but still a mature type base. So they just wanted to add a little usefulness by rounding the corners. And they explained why that is. I mean, if you kinda go into if you don't mention that the clients never going to know those little details unless you bring those little details up. And they even go into what the symbol stands for. This symbol stands for a new and happy experiences. May even go into how the icon was inspired by two elements, the smile and space. And so there's elements converge together. And they're just going into more detail about where that is because it's a predominant part of this brand and they need to make sure you understand that there was a reasoning. There wasn't just a cool looking geometric shapes, but together there is a purpose to everything and that's how you should have approached. We've gone through this entire process. You should have approached it in a similar manner. Everything has a meaning. And you want to show off what that meaning is because there's a lot of research that went into what we came up with. And he went to get some credit for that. I mean, we this is not random stuff we came up with. There was a meaning and purpose behind it all. And this one even talks about the flexibility of the icon. So, and I love this line of copy here. It says no matter where we can fit anywhere. So it's talking about the flexibility. You know, how we want the logo to look good on black and white. This is explaining that, but it's doing it in a very succinct manner. Very simple and nice little playful headline that goes with, with the icon. It's very well done. It's very simple, it's not too wordy. So the next thing you want to talk about is color. So you've talked about the logo system and we're going in the same order that we did in the course in terms of our presentation, you know, kind of the concept, the logo system. And then we moved on to color, and then we moved on to typography. So it's kinda the same way in a client presentation, you're going to walk through all those steps that you did, but you're going to put it in a more simplified presentation and take out all the details that they don't really have to know. You're just going to present what they really need to know. So why did we choose the colors we chose for sushi Club? And in this case, they presented this really well. So the primary colors to give us our character and reminds us of who we are and how we feel. It talks about their primary colors as they named them pumpkin read, arsenic and white. We kept it simple to allow our complimentary colors to delight a whole visual experience and bring the brand to the next level of communication. So you notice the word smithing there. They really tailored this to have a single voice, their writing in the same style throughout all of this. So in our case with sushi Khloe, we can talk about what was our inspiration and that was the wrong colors of Ross sushi of raw fish. And so that can easily be explained in a very simple paragraph like it is here. And it even goes into their secondary colors. And it even goes into the entire color palette. So we have the secondary colors, these primary colors, and they all fused together to create this entire flexible palette, which of course we did on our own. So we can show off our entire palette, the secondary colours and the primary colors. And so now they're moving from color onto typographic elements and typography. And we already did this with sushi club is we came up with this entire system. We picked out a typeface and we picked out what weights and sizes and kerning and letting. And we've already kind of went through that entire process by doing that menu designed. So what we could do is we could pair the menu design with some of our typography choices, enrolls. In this case, they did it really simply and they just have a couple lines of type on the left and they label it. So this is Carl Ross, soft font-family. And notice how they say meat, meat it is kinda more playful and how they're the kind of writing in the same voice throughout. I'm noticing that. So our goal in selecting the right typeface is the branding was to highlight a tone and voice and mood. So there's all this starting to sound very familiar. So to see how quickly they were able to describe why they chose that particular typeface. They also showed an action. So you can show a project that features a lot of variety of different typefaces. You're typeface being used so smaller and larger, perhaps a social media ad. In our case, we can show the menu. In this case, they just show the different weights that are available to use. And they also use a very font family that has a lot of different weights to it. So remember how I talked about finding a typeface or font family that has lots of weights. And this is why it's very flexible. So you can start to see practical applications. So we talked about Logo System, typography, color, and then they start to show it on mock-ups. They start to show it in real practical applications. So in this case, a sticker on a laptop and a flag. And they even broke down the symbol into the grid. So they're kind of, it's not just it's kind of integrated. There's a lot of photos, photos with tight, they're kinda telling a story. So think about yourself sitting down next to the client and telling him everything you've done and some kind of order. You're telling them a story, you're writing in crafting a narrative. And that's how you have to think about crafting your client presentation as a narrative. You're sitting next to them explaining all this. You might actually be presenting it yourself live or over a zoom call. Or they could be looking at it and you talk through them with it on the phone. So you can kind of see the practical application. So that was a great example. Let me, I have another one. I'm going to go ahead and present and we're gonna do that next. This is our second client presentation I wanted to kind of show you. I thought it had some very similar characteristics to it. There is a theme to a lot of the ones that I've studied. This one starts off a lot like the other one did, and it presents the logo kind of a very simple way on a solid background. It's not super busy, it just kinda presents it. There it is. There's the identity, there's the logo symbol right there. And they have it presented in a very clean manner. And then they start to go into details as he move about. So in this case, they decided to do a practical application because it is a product. So it's kind of a special little hanger. Can attach so, so a part of the biggest part of this brand is the packaging. It is integrated. So the package design is so important that they decided to put that a little bit higher up in the presentation to kind of show you immediately the entire product is packaged. Design is a big part of their job of the branding process. So you can present colors and all sorts of different ways. You can present them as swatches and a color wheel as the last presentation did. Or you can be creative and kind of put them on different backgrounds like you do here. Are there so many right ways to present color? You don't have to just have the swatches are circles with colors on them. You could be fun and playful with how you present color, like they did in this case. And what I love about this is they go into a little bit, the strategy, which is what makes client presentations different than portfolio presentations, because you can go into little bit more that these details. So it's talking about that there's a lot of purposes to this hanger. So it's for traveling, it's for home. It's starting. This was part of their research phase where they tried to figure out, well what is the three goals of the, of the product? What makes it unique member, the unique selling proposition we talked about earlier in the course. This is where they're trying to present those findings. And so they even talk about brand voice or brand language in terms of the messaging. So this is kinda them writing that, that mission statement and going the next level, the brand design process. This talks about brand assets. So brand assets could be the logo, color, swatches, icons, backgrounds, textures, all those different things can be brand assets. And they decided to present all of them together in one page, which is a little bit different than the last presentation. As I said, there's no wrong or right way to present everything. So what I like about this is they kinda, you get to see it altogether and all work together. So this is a very interesting, unique way to present it. But as you can see it, it's effective as well. You can spend one-page on each one of these items like topography in the logo or you can put them all together. They are starting to break down the concept here and they're showing, why did they have angles? Why do they use the j and the j and bodies the product because it's the same shape as the product. And once again, this uses the same settle curved corners to kinda show off the product. It's not like a sharp angle at the end. Says each character features a curved corner just like the products. So they're talking, they're integrating the product within the logo letter character itself. And they're just talking through that. Because if you didn't say that, you would just think, Oh, well, that's the letter j. But if you show the intentionality with everything you choose, it makes it such a better, rich presentation. They even break down in the grid. They show kind of what it looks like on the grid that these things are not arranged at random. There was a reason why the j breaks down below the baseline and they're talking about that. And it's meant for legibility. And they even developed an icon set and talks about a little bit what, how, why the icon set is the way it is. There's simple and to the point there clean, line-based icons. And they even show their entire array of icons. And this is what's cool, is they're using their icons. They kinda lead into their icons to present their color palette. And then they go into detail about their Killer palette here and noticed how they named their color palettes. That seems to be a very popular thing to do. Naming those color palettes is not just blue or, you know, a certain number, because I think colors are more than just a number. It means more when you are naming these things according to maybe some of your brand voice or brand language. And this is showing how colors can be combined, which will do a lot more in detail in the brand guidelines manual. But in this case, they're showing how it's such a versatile color palette and it can be combined in so many different ways. And what I like about this is I like to show a digital application for every brand presentation I do, even if they're not an online company, I still like to show off just one or two little small digital assets. So in our case with sushi club, we were able to condense our logo down to a small little icon or app icon. I would love to present that on a little mobile website mockup, and we could do that a little bit later, because I think everything is digital. So you have to have, you have to address that and every brain presentation you do. Because it's showing how you're thinking about the future of the company and how it's could adapt to digital situations. You have to have it, even if the company is not an online company. 45. Client Presentation - Sushi Club: I am in Adobe Illustrator and I spent a good maybe five hours or so putting together a client presentation the way I feel like would follow a lot of the rules that was set forth that I found in research and just the rules of kind of the hundreds of client presentations I put together in the past. Kind of that basic overall structure where you're presenting the concept and then you're just telling them why you chose colors and topography and then also seeing it applied to a final product. So following that same basic formula, this is kinda what I put together for sushi club. And what I love about this is I decided to turn this into a template for you guys so you can download it and you could put your version of your brand, whatever brand you are working on throughout the class, whether it's sushi cloud or something else he decided to do. I want you to take that and see if you can maybe make a presentation. Here's the template. So here's the template. You can download it. I've left some of the sushi Club on there so that she can kind of know where you might want to place items are very, very basic template. It's not super detailed, but it kinda gives you an idea of maybe an order for recommendation of kinda some things to talk about. So I love to do a cover photo, especially when you're going to do a PDF or a slide deck, you want to have some kind of very simple cover photo because there's going to have to be that transition all you don't want to start right away with something that's detailed, you want to slowly move them into the presentation. So when you're doing a presentation, you want to have the screen up for a while, while you're introducing yourself to the clients, you're introducing the project. Same goes for a PDF presentation. You want them to open it up and gently be invited into the presentation. You're not throwing a lot of information at them in the first slide or the first page of the pdf, you want it to be very simple and have some very basic brand elements echoed throughout that page. So in this case, instead of putting the full logo, I decided to put just the chopsticks. And I decided to also in the same typographic system that we set up earlier, I'm doing kind of a lowercase brand presentation and just having the name. And then decided to do the circular typography because that's a lot through some of our examples I wanted to have that echoed in the front. And also make sure you state your name, especially if this is going to be a PDF, you want to get some credit for all that. So heavier logo down on the bottom right. There's a lot of different ways you can do this. All with a lot of the other examples. I decided to start off with a breakdown of the anatomy of the logo and the meaning behind everything that meaning behind the concept. I threw in a little sketch. But if you wanted to do a presentation that had lots like maybe a couple of different sketches that kinda showed how you slowly got to the final concept or what else you explored as well. I wouldn't put too many images that it's distracting. So just maybe put a couple. In this case, I just did the one sketch, just kind of a little background watermark to kinda just a little. Hint of where we started from and where we ended up. And I described the chopsticks. So why chopsticks? So in this case, I wrote some copy here. The chopstick icon featured predominantly in the logo represents the intersection of what people expect of sushi and the a more authentic experience we deliver. So I'm using keywords from our research. If we didn't go through that extensive research stage at the beginning of the course, I wouldn't be able to write this really well. But since we spent so much time with the brand, this was very easy to write because I'm just writing everything that I discovered and what it means. So it was the intersection of what people expect. So, so have authentic experiences is one side of the chopstick and what people expect from sushi kinda intersecting. And is also an icon that is simple to understand and connect with sushi, making it easy for people to quickly identify you and your specialty. So you notice how I used the writing to the client directly. This is almost like writing a letter to the client. So instead of writing to a broad audience, I'm writing to one person or a group of people. So notice when I say it's easy for people to quickly identify you and your specialty. I'm using them, talking to them directly the way I'm crafting. You know, when you do a portfolio presentation, you're saying this is what we did. This is what we did as a design agency in this case, this is saying, this is kind of a different way to write. So I just threw in a few little colors in there as an introduction to perhaps some colors. And we'll get an I present colors a little bit legged later. So just kinda very, very simple. And I wanted to talk about kind of the research stage next because we already presented the logo then now we have to define who they are, what they are. This would probably not necessarily always be included in a portfolio presentation, but these are important for the client to understand. So in this case, if you could sum up the sushi club in three words. And so I have authentic, generous, and loyal. So when we did the three word association exercises, and these were the three characteristics that we came up with. And I just went into a little bit more detail. You can have a sample of this as a PDF if you want to download and be able to look along with this and read all the details. And you'll notice something when I'm putting together this presentation. You'll notice I'm using the same Montserrat typeface. So I'm using Montserrat and I'm using the same sizes that I set up in the typographic system so that my presentation matches with the brand. So I'm presenting in system I set together, and so I'm using lowercase throughout the headline as well. So I'm kinda keeping, I'm kind of showing off a little bit of the brand within the presentation itself. I'm also using this dark slate color as well and the background. And also with our circles that we have as brand assets. When we have our brand language, we put everything in these little circles that represent the mapping or the sushi. I'm also using those shapes to encapsulate some of my design elements and text. So once again, I'm extending the brand out into the presentation itself. I'm making them integrated and don't be afraid to use photos. I just kind of use this photo quickly to just kind of set the mood. For that particular page. And this is one of the photos I selected, one of my ten to 20 photos that I selected for the library, for the brand as well. So I'm solely introducing those photos. So everything has some kind of reason and story. So I'm kind of sneak peek of the photos and a sneak peek at some of the brand elements and the colors, they're all kind of sneaking out and the presentation itself. So this is another thing you might not always include in the portfolio presentation, but I think it's really important if you went through this step to present it to the client, they need to know that you went into all the research and detail to develop a user or customer profile or persona. They need to know what you discovered. And that she went through this process because that's pretty intense and you want to be able to get that credit to show, Hey, this is who I'm designing this whole thing four and talk about them. And I just did a very simple header. So your feature Customer, and notice how I say You're like I'm talking directly to the client. Your future customers educated lives of full busy life and loves the experience of food. So I kinda surmised everything into one quick little paragraph, just talking quickly about them so that they can, if they want to see more details, they, they can, but it kind of encapsulates who were trying to design this for. So with the next page, I wanted to talk about style direction and how we had a couple of different style boards that we put together, style escapes. And these were the two that we wanted based on the client brief. They wanted two different styles to show and that's what we came up with. But the brand that we came up with was really right down the middle. We combined this poppy bright style with a reserved one to come up with what we have, which has some of those dark, deep rich colors, but it's got pops a color and fun in it as well with the brand voice and brand language. So just wanted to present that you could have one style scape or style or mood board, any of those things that you developed, you could have three. And so that's what I said, a convergence of styles combining tradition and elegance with a bright fun undertone. So this was the ethos and the beginning and the thought process behind style. Great quality and solid presentations is finding a way to present two things at once. So this way, we're presenting the characteristics of our brand voice or brand language, which is authentic, clever, bold, memorable, and playful. But we're also applying it to a real application via a mock-up. So we're able to show it off, show off the logo or showing off the brand language. We're showing off the colours. And we're talking about our brand voice all at once. And so it's combined, finding ways to talk about these things and merging a few of them together. So I feel like this is a really good example of that. I also showed some other examples of brand language. And so you can download this and read through some of the little details, but it says delivery made fun. So just kinda quick, I like putting headlines on every page to break everything down for them. These are fun phrases to decorate the delivery bags. Most sushi restaurants have plain boring white plastic bags. These Bragg's will feature a sticker featuring clever phrases that are sure to make someone smile. And so at the end of listing the key characteristics, I say the brand language developed and used throughout different advertising, local packaging, external communications are bold statements that are balanced with a pinch of playfulness. They're memorable and not easy to forget. So I'm starting to talk about what the brand is in terms of their characteristics. They might be a little bit more playful and fun. So one of my favorite pages to present is presenting the color palette. So I wanted to have one big headline that surmised how, what was my inspiration for the color palette? And that was colours inspired by the untouched beauty that is fresh raw fish. So the vibrant fresh pallet as an ode to the various raw fish and seafood that sushi Club will serve. The force strong primary colour hues and several secondary color options provide a deep, versatile color palette with flexibility, sound familiar. We wanna talk about how flexible this palette is. We have four primary colors and we have lots of secondary colors. And doing my research, there are so many cool ways to present it. Color pallets. So there's really not a wrong way to present color, but you definitely want to talk about how flexible your color palette is. In this case, I have little swatches and I went into procreate. And I was able to hand write some of these words so that I can give it a little bit more of a crafted look. So i wrote down too, and I wrote down Sam and I wrote down Yellowtail. And I saved that as a PNG with a transparent background and I just put it in Photoshop to create these little kind of extra, it's like an extra little graphic here that I have a little PNG that kinda added. I felt like it kinda help to tell the story and support the narrative. I also put my mood board, my photo mood board there because that's where I did the eyedropper tool to source these colors and I wanted to do this so you can see how it's crafted as a story. There's these couple of elements put together that helped to set the stage for explaining color. 46. Part 2: You want to tailor your client presentation to your client. So that means the template may not work perfectly. There may be one page or two pages in there that it's going to be unique to your client because the client brief, they're all different. And in our client brief, they talked heavily about the importance of their menu and that they wanted to see a menu design that was part of the client brief. So we wanna dedicate a whole page to that because it was obviously very important to the client and we are recognizing that importance. So I decided to do a page that showed off the color. Also it showed off the topography system. And we're starting to show hints of other projects. So what I did here is I took the menu that we have, and I also took the mockup of the chopsticks, and I just copied that chopsticks from the mockup and I just pasted them on top of the menu. And I did some custom shadows here. Does true custom shadows like we did before to make it feel like they were laying on top of the menu. So I'm starting to tell a story and you see this a lot with flat lays, which is top-down photography. And you'll see a lot of brands do that where they kind of show multiple items, kind of playing around together to create kind of a unique presentation. So you're not just showing off. Here's one project. Here's to project and there's another separate project. You're integrating multiple projects together, so you see them as a set. You see that go together, that the menu is placed on the table as well as the chopsticks. So they're seeing that an action, they're seeing them interact, being together. I said menus made for keeping just a simple short little headline. After lots of research, we found that most menus and the postcode error are disposable. We wanted to create a menu that can be included and delivery that can be worth keeping with its dark rich colours and thick quality paper. So not only am I presenting the design, I'm also talking about what materials I'm suggesting. So I'm suggesting a thick card stock like material where they're not going to want to just throw it away in the trash, they want to keep it. So I can't tell you how many Japanese or sushi places that I keep their menus in my drawer for later, i want them to be able to keep this people. And I'm talking about why, why did I do up black, dark menu? And this was y. And also, I like to, as I said before, show off some digital applications. So in this case, I condensed my menu and I found this little iPhone, I guess. And this is a phonographic from Pro Studio. I got this from a website vec TZ. I think that's how you pronounce it, but I get a lot of free vector artwork there. You just have to make sure you give credit to that. If you use the graphic there, if they say they need you to give credit. But I used this as like a separate graphic, just brought that in and then I just designed on top of it this menu. So I just kinda brought in some elements. This is a digital version of the menu. It's not like a final design or anything. It's just to kinda show off how that menu could adapt to a digital environment. I love to show off some digital applications throughout presentations. And just also showed more little icon that we did in our logo system. That'll digital SC icon, how it's a responsive logo and how it can condense. So you notice how it kind of all of these are layered and stack. So have a menu, chopsticks, I have a digital menu and then else have an app icon there, kind of the layered on top of each other. So you kind of seeing everything together, using everything as a set. You wanna talk about your photos. So photos that keep us yearning for more. We have curated a library of photos that match with the brand language at those personality and voice. They all have the following characteristics. Simple ritual colors and professional level food prep. So I'm showing you an example. I just did it in a gallery form, but you can just show a couple of photos. Just showing that I there was a lot of intentionality between photo choices and I wanted it to match what we've done so far. Just so just just like with topography system and color system, there is also a photosystem you developed. And after color, we wanna talk about typography. So in this case, I'm presenting everything, all the different font weights. I'm talking about the, or at least mentioning the typeface name. And you could even go into why I chose the typeface. You can have a simple paragraph about why we chose this typeface because Montserrat was a versatile one. And you can have just a small little paragraph talking about typography. What I like about this presentation is in the next slide, we're going to have a menu or going to be showing off the topography news because we've already done some projects that use a wide variety of, of this type scale. So we'll be able to type hierarchy. So we'll be able to show that off in the next slide. So we don't have to get too detailed because we're gonna be showing that off and some of our practical projects. And we did our T-shirt design and we did it on the mockup earlier. And it just took that mockup and I, you can literally copy it. So let me kind of show you what I did here in Photoshop. So here's an example of kind of some t-shirt mockups I was putting together. And this is just the mockup itself. And if you go down to select group up here at top. And so that is one group. You can copy groups and move them around and you can make multiple, you can kind of stack your t-shirts. So they're not just in a row. You can kind of find ways to stack them. So that was this layering, copying the t-shirt and changing out the colors and just being able to present it in a way that's not boring because I could have just taken all eight of these that I did. Made him really big like this. And just said, here's the t-shirts. But I'm not, I'm not snot a narrative as a story is this here it is as, as kind of unoriginal. It's not putting it together deliberately. So I picked out a couple that I thought related to the logo, even put even some, some of the icons on it's own here. And I have a little playful headline, a gear you want to put on. So there could have been a hat in here too, that's draped over here. So just think about how you're laying out your mock-ups. So you're not just saying here's a mock-up and it's Honk really put in a way that it's telling a story or and you may not even want to show them all off. But since this is a client presentation, we do want to show them each t-shirt design that we did do and a portfolio presentation I would probably even be happy with just presenting something like this and arranging the icons this way because he wouldn't want the portfolio presentation to be even more clean, the client presentation. So here is my digital applications page. So once again, I got the same little phone graphic and I downloaded online and I was able to go in and kind of create a very simple menus, have little hamburger icon I just put together in Adobe Illustrator and put some of our icons here to, to create something really simple like a landing page. Because I wanted to kind of show off what are these photos and all these things look like in a digital atmosphere. And also what I didn't walk will go through this in a minute as we're going to create all of this basically sticky menu headers for app icons and also some of these icons as well. And this is great that we're starting to show off color combination. So we were able to spend ten minutes putting together all these color combinations and finding out what works. So we're going to take a quick detour and I'm going to work through this and sets a project that we have not done yet. We're going to take about ten minutes to do that, so I'll be right back. 47. App Icons and Misc Projects: I want to take that and create some very quick digital icons and assets with it. So I'm just going to bring it in here. And I want to be able to find some really good color combinations with us. So I'm going to duplicate this a couple of different times. And this is another great color combo exploration is developing different kinds of icons that we can have in different colors. I'm going to take this base color and I'm just gonna start to, to find combinations of these. So just going, it's taken a sample to see what works. And try orange. And let's see if we can't do maybe some of the lighter salmon color. And as a nice look to it, instead of just doing a stark white, what would pair well with Brown will read and Brown don't always go super well together. So you can see that is not a very good color combination. I'm going to save this. You just took it off to the side. That could be great for our brand guidelines manual and we talk about color combinations not to do. We can have a couple of examples of ones that we found that did not work really well. So save the ones that don't work so that you can use those. So let's see if we can't use it in the same family, a lighter one. And that probably works really well. So what would go good with a dark color? See red wouldn't go. That would be another combination. That doesn't work very well, but I bet the lighter version, lightest or the lighter does work well. So you just have to have enough contrast for everything to be readable. So this is exactly how I came up with that example I just wanted to show you. I did not forget. So that, that goes well together. That's in the same family. And the combinations can be really unless you just want to show, tease them with examples. Ooh, that goes really well together. It's more subtle. It's not as high contrast, but it's still readable. For sticky menu headers. I'm just going to take the rectangle tool and you do a sticky menu header. I'm going around just the top left and the top right to do the bevel of the phone. Just doing the top left and top right. I can create a very quick hamburger menu by doing the Rectangle Tool. And I'm just gonna do three rectangles and I'm going to round each one. And also going to do a circle to complements is that little hamburger menu's UC and mobile websites. And you can also find a PNG for free online tool that's quicker for you to put a little more distance between him and do a distribute, Vertical Distribute Center Align option. And then now under the spacing between all of those is equal. So there was a very quick hamburger menu icon. We have our responsive logo. We can just take right here and bring in. And we can take our topography for my topography system, which is right up here, we can take one of these Montserrat mediums and bring it in. And just as a quick little menu order now or place order, whatever you think would best apply. For a sticky header for a mobile website. And what you're showing is that this brand can expand to digital projects. The colors and the topography and the icon can handle it. So I'm just gonna do the primary Hughes for this. And that's how I kind of came up with this while I also did explore the topography only logo as an option too, so that people can see you get some brand recognition with the company name. I thought that was important too. And notice how I put a photo on the right just to kind of if we didn't have this photo, it's just I don't know, just kinda feels like these photos are helping to support the narrative. Once again. So just finding a good place for a nice clean photo that is part of our photo library. And lastly, we want to be able to end every presentation to a client with a call to action a. Now what a so what kind of phrase? So in this case, there is still so much more to discover. Let's continue on this journey of brand-building together. So this isn't it, this is a presentation to get things approved. But once it's approved, there's going to be so many things we can do for them and they're going to need a website. They're going to need if they do any kind of delivery stuff, they're going to be way more than what we've done so far. So we want to support them moving forward. We want to get all the jobs we went to handle everything for them, so we're selling ourselves that way with his presentation, there is a call to action. Let's continue on this journey together. And I do not recommend doing what I have here. This is not my signature. This is something quick. This is a script typefaces that I use core Dato. But please handwrite your signature, take a picture of it, and try to make it a transparent PNG and bring in your own Signature, please do. I love signatures because it's buried custom. It's very personal. I couldn't find my signature, so I just use this quickly, but, but try to use handwritten script if you can. And you can even start to show off different combinations of brand assets. So in this case, this was just an experiment of me playing with circles. And I just did the circle of the sushi club and I went to up to Object path, offset path. And I just did an offset path over and over to create kind of an equal expansion of the circle and also adapted the color palette to it. This isn't anything finalists, distant exploration of other ways we can expand the idea of the circle. And it could be something that could end up being a texture or an additional brand asset that they can have access to. And same thing for this pattern. So I wanted to kind of show you how I did this pattern really quickly. Just one more detour. This is a great way to explore additional brand assets to create textures and patterns out of the very simple ideas and concepts that you develop so far. So one idea and concept is the shape of the Mackey role. It's also an owner logo, it's just a simple circle. We've also put our brand voice and brand language stuff in there. So what if we experimented with a pattern that kind of did repeat circle shapes just to see if we can't have something fun for the background. And this could be squares, it could be any other kind of geometric asset. It could be something from the logo that you repeat over and over. It could be custom little illustrations that are made in a texture or a pattern. Like in this example, these are all different ways to kinda help you develop this extra brand assets. So in this case, I'm just going to put the grid on. And I'm also gonna make sure I have snapped degrade because I'm using geometric shapes. So in this case I'm just going to go to View snap to grids. Everything's gonna snap to that grid. So I'm just gonna make a pattern that I can repeat. So I'm going to take a simple circle. This is kind of our idea here. I'm gonna make it a fill, and let's make it a different color here. Let's make it our red color. So I just need to borrow it. And just need to borrow our red color. Let's do the lightest one for right now. And what are some other ways we can make several shapes. We can do a stroke and we can take our stroke. We can take our Stroke panel. We can make it go on the inside of the stroke and make it a little bit bigger. We can even go up to path an outline that stroke. So now it's just a solid shape. We could duplicate that and continue to take our shapes and make additional shapes. So for in this case I'm taking square and slicing this and I go over some of this and I have a design trends lesson that goes over how popularity is geometric patterns and posters are. And this is kind of something that we do. And then you can duplicate that, turn it on its side. You can take this and do a solid circle cut out. Doing the same thing and just trying to find ways to have some kind of inspiration from our idea of circle. That's all we're doing. We can even duplicate this, make it smaller. So all of this just comes from a simple circle. And you can even go, hey, look at that and makes little smiley face. You know, that could be an interesting pattern that we make. And then you can make this a repeat pattern by going up to Object. Make a pattern. And once we do this, we can put spacing here between the different elements to easily create kind of a repeat pattern. You can even do a brick by rho, and you can even do a hex column. Maybe put some spacing there, just trying to come up with some kind of texture really quickly. So many things you can do if you just experiment with a core idea and see what kind of pattern you can come up with. It could be as easy as taking your logo symbol and being done with that. So I made a pattern. So now I just need to create some kind of area and then go to my swatches and apply that pattern. So here's my pattern. Anytime you do a pattern, it saves right here and your swatches. And it can make something a pattern. And you can even take a background color. Let's do a solid color. We have our color palette here, and let's sample a darker background color so that kind of pops up. That's kinda silly with a smile. I don't know if that's too silly for our brand. But just kinda showing you kind of the process of crafting something like a, like a background texture. And I love studying examples of brand assets that other people have done, especially when it comes to customer illustrations. People have so much talent for that. If you have a talent for illustration, this is where it can really come in handy, can see as you really neat applications of, of brand backgrounds and textures. It could even be textures that you take with your own phone or ones that you find on the Internet. You can even go on procreate and do some custom brushes to create your own little backgrounds that you can use for the brand or banners or different elements. There. 48. Client Presentation - Exporting: So there we have it. It's the very basic structure of a client presentation. It could be longer, it could be shorter than this. Depends on the unique needs you and your client have that you can download the pdf as an example to get some inspiration. You can also download the template. This works in Adobe Illustrator. Could see if it can open in Affinity Designer, it might open up with limited options, but still open up good for you. We have a great client presentation. I like to export this as a PDF. I find PDFs to be a more universal format to present and send a client. So you could do it on an email, you can do a Dropbox or a Google Drive and send it to him that way I find it to that it retains a higher-quality than exporting as jpegs. Jpegs is fine for a portfolio, but for a presentation you and have it be high resolution, it might be a bigger file size, but it's all about presenting it in the best way possible. So I would just say that as a PDF. And since I use different art boards here, I use different art boards for the client presentation. It'll save it all in order. And if you ever want to know, I just wanted to talk about this for a few minutes, especially if you use the template and you want to add or subtract pages. If you want to add a page into an art board system like this. So let's say I want to add a page or right after the style scape and add a different one. What I'm gonna do is I'm going to go up to file documents setup, I'm just editing aren't bored. So it's going to give a chance for me to delete or add it art boards. I'm going to click on the new art board icon. So it's going to add a new art board. And so there is an art board panel. And if you don't see your art board panel, you can go up to a window and go down two art boards until load it. But this is your art board panel and you can change the order here. So this is titled art board 16. And I can move it up to be before this or after this one. So it's going to be after five. So I'm going to drag it up to be after five, like this. And it's not going to change the order, but you can go up to rearrange and it's good to file them all back in order. So I'm going to rearrange right up here at the top. And I could do kind of a left to right arrangement. And for columns. And you could do whatever spacing you want. And I just make sure move outward, work with art board, you want it to all stay together. Click OK, and then all of a sudden it's filed back into place. So I now have never not taught that before how to add and subtract. When you're doing a big presentation. If you're doing more than 20 or 30 pages, I highly recommend checking out Adobe InDesign or affinity publisher. And those are both great layout programs that are great for really long documents. In this case, I feel like I have more control and an, a vector program and affinity designer, illustrator. I have more control over all these little, fine little details I'm putting together. But if it's really big and it starts to really, the performance is low. I highly suggest anything past about 20 pages. I would I would encourage you to use InDesign, but anything before that, you can't. Illustrators, art board system can handle it. Let's save this as a PDF. So just gonna do File Save as a PDF. And I wanted to be, I want it to be pretty high-quality, but I also want it to be it's probably going to be seen as a digital document. Most likely they're probably not going to print it out. Some, some do, some don't. So I'm going to do the smallest file size, but I'm gonna make some modifications. I'm going to go down to compression and I'm just gonna make sure it's 300 dpi, which is a really good solid resolution for them to see that in. So just making some modifications so that it has a smaller file size, file size, but I'm kind of increasing the resolution to make it nice and good. So that's it. That's all I'm doing. And I'm going to optimized for fast web view because there's a good chance they're going to probably see it on the web. So you can click OK. And this is our presentation and the end. Here is our presentation in PDF form. So let's look at all the pages and we can work through them. And we want to kinda go and order is clicked down and go in order and send this to other people. See if it makes sense. You might want to switch the order of a slider to based on feedback or remove the slider, add a slide, so just send it to somebody else. Makes sure the story or the narrative that you're setting in the order that you have it in make sense. And that if you needed to add anything you can. So there it is, kinda of including everything in there. There's a kind of final call to action. And that is the very basics of a client presentation in terms of doing a big branding project like this. So now that we've done this, what's next portfolio presentation? We're gonna put together a portfolio presentation of this very project using a website called BDS. We've been, I've been showing you examples of people posting on Behance. That's where I've gotten all my examples so far is where I do a lot of my research. Super popular website to post your design and branding work. So we're going to post one using Behance and work through that process briefly to create a portfolio presentation. 49. Portfolio Case Study: So welcome to enhance. This is a popular place for designers alike to post their design work in branding projects. And we're going to create and post one right here on Behance using everything we've put together so far for the client presentation, we're gonna tweak it slightly to make it a better portfolio presentation. So we talked about the differences between a portfolio presentation and the client presentation. It's going to be a little less wordy and it's going to be a little bit more showy, I guess you could say, because he went early, want to wow people. You don't want to have too much readable type. You want to have a little bit of explanation behind your concept. Absolutely, but you wanna kinda keep it brief. And let's study a couple of quick examples of what we see on here. So I'm going to type in a simple word. Let's do brand design and it's kinda see what kinda presentations pop up. For a lot of times you'll have a little bit of a brief introduction. So in this identity system in package design project is a little, just a brief paragraph that talks about kind of the concept and what the project was. What did they satisfy with the client brief, just a quick little kind of introduction. A lot of them put this after maybe a while photos. So they'll put like this, wow. Almost like a cover photo in the front. Then they'll put kind of this paragraph of information. So everyone kind of does a little bit differently. But as I scroll through this, you see the product design, you see the logo presentation. You're seeing these very clean pages and everything is very clean and simple. They're not throwing a whole lot at you there. It's almost like they're telling a story as you move down. You know this how it's less Talking about the user persona. It's not really talking about all that stuff. It's kind of just presenting it in a very visual way. So this is a really fun branding project that they have a kind of have introduce it with the logo and they kind of move down and then they show it right on a mock-up. So you see how quickly we move to the practical application part. In terms of a portfolio presentation, that happens a lot sooner. There's not all that background. So this is just different topography elements. And they're showing the topography in action in a more visual way. So instead of saying, well, we're using this and it's 22 points. It's kind of showing it in more practical applications and then showing a real project photo. So they did a lot of custom type work here and they're showing it off. So this one starts off like I mentioned before, with kind of a well photos. So you get to see the logo and the topography here on this little tag. And then it goes into a little description of what it is. You can't leave that out. You have to have some kind of description of what it is you're doing. We can't just put a bunch of sushi club mockups and say, there you go, have fun. If there's not a story or a A setup, if you will, then it's good to just be a couple of meaningless mock-ups. So it's not going to have some of the background that we need, but see how kind of brief it is. And you can even intertwine this so you can have a little bit of information and then have a photo, and then have another little place of information here between the photos. So there's a lot of interesting ways to, to say a lot of background, but without having this big old paragraph of copy either there's ways to integrate that slowly in the presentation. So this is a really neat way to show their colors as well. To do kind of more visual way to show it. And they're showing a process photo, which I think is important for any portfolio presentation to show a process photo, a sketch, or a brainstorming session to some kind of visual to help you do that. And also another great portfolio pieces to do, kind of one of these kind of where you are arranging multiple projects. So remember when we did the client presentation, we had the chopsticks, we had the menu, we had a phone, we had a kinda had these layered items. And when you see them altogether, they seem like a more unified branding set. So I highly encourage you to kind of incorporate at least one of those in your portfolio presentation. So what we're gonna do is we're going to create a series of different art boards were in Adobe Photoshop. You could do this in any program. The only reason I'm using Adobe Photoshop instead of, let's say, illustrator and other program is because this is gonna be a very mock-up, heavy presentation. And so a lot of mock-ups are RN Photoshop or I created them in Photoshop. So it's going to be easier to integrate and layer all these things together using Photoshop. But we can always go back into Illustrator and our client presentation to be able to drag things in that we're going to need. So I have several series of art boards here that we're going to create the sizing of a Behance portfolio presentation. They say it's 1400 pixels in width. Scroll through it, but you can click on the image and it zooms in a little bit. So because of that, I feel comfortable making it 1600 pixels in width. So I'm gonna make it 1600 pixels in width. You can even make it bigger because it'll just size it down for you. But I like to keep that horizontal presentation and do like that horizontal presentation. I'm going to keep these super high resolution. They support really, I think up to 50 megabytes per image. So you can do these really high res, which is what we wanna do and keep it in RGB color mode. So just create. And I gotta go use my art board tool. Right here in art board tool, I'm going to add several art boards moving downward, just like you would see in a Behance portfolio presentation. It just be a downward movement of the art boards. So you can click up here to add, says add new art board. I'm going to click one right here and just go down, down. I don't want to make these two long you see some really epically long ones on Behance. I don't want to keep it that long. I'm just gonna do eight. If I can't fit it all in eight, then this is too much. I'm going to do eight for now. And for the first one. So for the client presentation, we had kind of a gentle introduction to the brand by using the logo. I wanna do the same thing. I wanna do what I think is the full version of the logo and all its glory like the examples, just a simple logo on the front. So I can take my logo system here. I got everything I need to put this together. Let's put it on black. So we're just gonna take this white version, bring it in, and let's get the Rectangle Tool and do a darker background color. Let's sample. We have everything here ready that we can give all of our colors here. So let's just sample the hex code health color here and paste it in. I love this cool texture. And it was from this graphic burger mock-up right here. I'm just gonna borrow this from my presentation. Make sure to give credit. If you need to give credit, Take a look at the the credentials that you need to give credit to the artist for this, but I don't think those needed, but just double-check. So I'm just going to be able to hold down Option or Alt and be able to clip that to the logo. And the reason I did that is I just wanted to add a little, a little pizzazz to that, to that kind of introduction. Sushi club, that little gold elements in it. It's not something I would put in the client presentation because that's not the texture that we use. But this isn't for client approval. This is to show off what we did. This is where portfolio presentations start to be different than client presentations. I can manipulate this how I feel I would want the brand to be. So if I want to see it and goal like put it and goal, that wasn't what I did with the client, but this is where we can tweak it if we feel like we want to make it better because this is based on what the client wants. The planet presentation, this is based on, you know, what I want to see, the brand would be like this is my most desired version of the brand. I can even use a different concept if I wanted to. Well, this is your, your project, your presentation, this is what you're putting on your portfolio. So you wanna make sure that you have it, how you want to present it. And also just one little side note, just make sure you have permission from the client to use their name and their brand on a portfolio presentation. Sometimes they might have an NDA or I do not disclose packed. Maybe they that's a company that hasn't been launched yet and they're secretive about maybe a brand refresh. So you just need to be very careful if you use a real client project that you have permission to use their what you developed online. Because I thought that looked really good on that slate color. So this is what I'm gonna do. I could just present the logo like this, like we've seen before and just have a simple so she club maybe there's a background black and white image that we can use. Maybe do that circular text, some, something we can overlay here. You could even bring in a mockup of an iPad and kind of integrate a photo of some sort. You can put chopsticks, I think have some chopsticks. I took a picture of. These are chopsticks. I took a picture, I went, I was doing my research and I cross them over to be the same shape of a logo. You know, just kind of finding little elements to make it rich. So in this case, I'm going to bring this rounded portion, bringing in as little watermark here. Just like this. And I might need to make it a little different of a colour so it stands out. And just kinda, I basically copied and pasted my chopsticks here so that I can kind of lay them. It's kinda of you because you're seeing some of the brand elements on, on it. It's kinda showing it off as well as presenting it with the logo. So just some different ideas. Could be that a photo looks really good. So I can go into my photo library that I have. 50. Part 2: And bring in a photo. Maybe the raw sushi at kinda helps tell the story of the Authentically prepared. So see if I can't kinda lead with a photo as well. In this case, I wonder if I can use a blending mode so that the photo doesn't take away from the logo because we want the logo to be the focal point. We just want this to be kind of a background kinda image whose going to add a glaring mask and just do a manual feather with the brush tool. That a brush on black to slowly get it, make it a 100% slowly kinda feather it. Reduce the opacity, whether it out, make it look more natural. Do blending mode, maybe luminosity, and also reducing that transparency. We just want it to be kind of a background photo that's not going to take away from the Logos. See how that very subtle when we sharpen it. Nice, crisp image. So there we go. We kinda, kinda setting the mood and tone with the logo, putting the golden, they're putting the matching, kind of introducing our colors and then having some kind of photo to also help introduce everything. So now next, what do we do? We still got these chopsticks we could somehow integrate into our story. We have a couple of projects. So what I'm gonna do is gonna bring all my projects in and figure out the best way to arrange this in the best order to present it in. But what I wanna do first before I get too heavy into projects, let me go ahead and slide this down. Is I want to have some kind of concept introduction just like we did when we broke down the logo. But in this case, we can maybe talk about our sketching process. It's kind of the the, the process photo, if you will. So let me go back to my sketches, see if I can't bring some of those in and introduce it in a really interesting storytelling way. Starting to bring in some typographic elements and trying to get the size so that I can, if I need to explain my process, I can have a header and some body copy that has a good sizing to it. So how can I describe my concept brainstorming process here? I have a couple of things we did. We did this map which might be interesting or might be a little bit too detailed to show for portfolio presentations, definitely part of the process. So it could be that it's hard to tell the story which is one photo. So it could be that we have to show lots of, lot of our brainstorming process with visuals. So it could be more than just that because we have some sketches, so we can bring in some sketches research. Here's a really good sketch page. And it could be that we integrate this. And maybe we put kinda some final logo icons up here to hear some of the vector icons we came up with, we wanted to show maybe. A couple of them that we were almost about to select to kind of show some of the other concepts that we're developing. And this is mostly to show potential clients that we didn't just come up with one final concept, but we came up with several other ones that were also good. So you just kinda wanna show off and you can pick out whatever one, not even the ones who sent the client, the ones that you feel like could really show off your design skill set. This is your portfolio, you craft it, how you want to craft it. So is able to write a brief paragraph. I could probably even cut this by a sentence or two to keep it even more brief. But I wanted to go and write another custom paragraph for the portfolio to talk about more about what was my thought process about other concepts that came up with as opposed to the client presentation where it has talked about the final one. So in this case, I said after working through several keywords and word mapping sessions, I wanted to bring up the fact that that is part of my process that focused on words like fresh, authentic, and experience. We landed on the idea of the sushi knife as an important part of the preparation. So I wanted to talk about why it came up with the alternative logos. After visiting over ten sushi restaurants to take in the experience ourselves, the first thing we were given were chopsticks. And want to explore the idea of chopsticks and the logo is one of the first interactions one has with eating sushi. So it talks about, okay, with this is why we came up with these other ideas and that, and the one we ended up coming up with, you kind of know why we picked that one. So I just showed a little bit of our mapping process, a little bit of the sketching process. You may not wanna don't overwhelm this page with too much in this could probably even be tailored a little bit. I can even zoom in on the sketch that we have of the chopstick right here. And instead, so if I wanted to bring this in from our client presentation, remember this little, this little icon here, let's bring him in. That's what that would look like with just the simple one there. So it's however you wanna do your presentation if you want to show them all, show just a handful. You can just kind of copy and paste which ones you think are worth showing or if you want to show that whole sketching process. So we want to tell people that we have a process that we worked through, that mapping process. I think we did that here. We kind of didn't introduction. We're showing them that there is a process and now we want to show off, okay, so a little bit of our color palette or typographic system, but instead of showing it how we did before, where here's just a bunch of type. Let's show him some great examples along with it. So we're gonna do that with this one. This is just the chopstick mockup we worked on earlier. And the menu that we might want to show off all of these together. Because right now we're showing off our topography. We can also integrate a different color. So you, since the menu is so dark, what if we went back to our color palette and picked out a lighter color, so maybe the salmon lighter colour, and put that as our background. And it's also nice on Behance when you're looking at a presentation and you see a change of background-color instead of everything being the same color, it switches it up. You see that in web design a lot where they'll have one background and then you scroll down and then it kind of switches on. You kinda keeps it fresh. So not everything looks static and stale. So right there kinda brightens it up. We can integrate these somewhere. We don't have to use these chopsticks anywhere. But so we could do was also showed the digital menu, just like we did earlier in the client presentation. So we're going to start borrowing some of these items. So let's borrow this item is trying to tell the story and we can copy and paste this text down here, keep it consistent, keep it the same size and which can indeed it switch out the colors. I brought in the same text that we use for the client presentation because I thought it worked really well here too, very simple and short. And I'm showing almost four different projects here in one page. So I have a menu, I have a digital application, I have an icon, and I have some of the chopsticks kind of shown again. And I thought this was a great way to kinda say here we are, this is what it looks like. And now that we've kind of shown the process, we've shown a couple of our real-world projects. We can start to talk a little bit more in detail about color and topography here. So I thought we could talk about the color and the next page. So color is going to be probably one of the easier ones to talk about because I feel like with our client presentation, it's really great the way it is. We already had some kind of storytelling elements with all that put together. So could just be a very simple drag and drop. That'll be a very simple way to tell color. You can see on Behance how there's lots of different ways to show and percent color. And you can see how it is little bit of a different orientation, a little bit of a different, more wide size. So that's going to be easy because I can just break these up into different elements so I can make sure it fits. So I'm just going to bring in I can rearrange this a little bit to bring this in as a separate element. Maybe in the middle. I like this as a storytelling element. This can even go behind. It doesn't have to be exactly how you did already. And we could even split up the colors so we can bring in stone gray. And let's bring in the others as separate elements. Now that we've got them all in here, we can select them all and her Layers panel just to make them all the same size. We can even do to put our two brightest use on one side. And a nice came in as vector objects, so it should stay nice and sharp. I just came up with a new arrangement for the portfolio presentation a little bit less focusing on all the detailed color information that's not quite as important as the names and the inspiration part. So I put more of an emphasis on these thumbnails of the colors rather than all the little technical details of the colors. And in some cases, you might not even need the text on his little colors because it's not, it's, you're presenting an idea as a little bit less on actually using those hex code, colors and so forth. So it's just kind of finding ways to figure out what's more important to a potential client to see is the ideas and little bit less the technical information. So we have color, we have examples, we have brainstorming, we have the front cover. So let's kind of see what the next couple pages could look like. Things that we wanna talk about. 51. Part 3: When showing our typography, I thought this would translate well to the portfolio. I just put typographic system there and trying to use that vertical type, which is something that we do in the brand as well with our banner. And I also wanted to show off some different color combinations. We've already done a lot of dark. We've done this cream and shaking it up since we have red up here, also shaking up the background. So we have some changing backgrounds. We're demonstrating the brand's color versatility when selecting background images or background colors. So what I wanted to talk about in the next slide was I want to talk about the brand voice or brand language. And I thought about having just taking what we already had in our brand presentation or our client presentation, put that in there, but I wanted to rearrange it to be more simplified for the portfolio presentation. And last time I put the bags along with it. But I think for this, I kinda wanted to have a more gentle introduction to the brand voice and have it be really clean and show some examples. You can even have five more examples on here because he have kind of that room in that space to breathe where before there was a lot going on. And I just wanted to clean this up and have its own slide dedicated to brand voice. And so that means with the next one, we can really focus on the delivery bags and just have a slide dedicated to that. So basically taking what we had for the client presentation and breaking it into two different slides. So for the next one, we want to have our delivery bag and we have a chance to just show that. So delivery made fun and we have the mockup that recreated in the class. I'm just gonna take this entire mock-up. I'm gonna copy it and paste it in this art board seven. And let me size it accordingly. I can make it a lot bigger now that I don't have a whole lot of type on there and that's another good thing to do. But let's make it really big and focus in on, we don't really need to focus on the arm so much so we can cut that off. And now we can arrange this a little differently. So delivery made fun. We can bring in this topography from our client presentation. Let me just make it the right color. And if there's a way to reduce the amount of text, that's great because with portfolio presentations, you want to avoid being too wordy. So if we read through this, we want to reduce the, this is not a lot of text. But if a had much longer, I'd find a way to maybe make it less wordy if I could. So you notice how that looks a lot different. Then this. So this was great when you had a lot of words integrated in it. We really need to explain it in more detail. And this one gives us a chance to show off the bag detail. And I wanted to talk about, I wanted to have a slide in here for brand assets. We didn't go into too much detail on brand assets in this particular course, like creating patterns, we did do that little quick smile icon, but I wanted to show you if you did have one for your brand. This is a good way to kinda presented. It's very clean. I have a simple paragraph that describes kind of the two inspirations for this particular pattern or shape. One has a smile, so you get the smile underneath and one is the Mackey role, and we derived all of this from. The inspiration of just the simple circle and kind of expanding on that. We did that in the earlier lesson. And I took the pattern from Adobe Illustrator and drug it in here. And what I decided to do is kind of changed the angle just to add something really different because we have a lot of straight lines. So just changing the angle here to kind of differentiate it from everything else that we have so far. Just a little angle, a little interesting things happening there, and just kinda labeling everything. So if you have something with your logo that you need to break it down just like we studied before. This is just kind of the slide I would do it with. So digital applications definitely want to have one dedicated to that. So here's all of our digital applications. I can just take this right, right from the client presentation and bring it over. This one was pretty simple. I can probably leave it as is. This could be a good place to put an Instagram post or social media post. I'm just bringing these n individually so I can have more control over them. So I'm doing a little bit of a different arrangement. I even added the fourth primary color just to had, had more variety. And I feel like with the portfolio presentation, I have more freedom to show more variety because now I'm not worried about the client being overwhelmed. I can do whatever I want. I can show a whole lot more variety things that I wish I could have combined. So I'm going to go back into Illustrator and I have these icons, and I think I'm going to take these icons and double the amount of color combinations just to show how versatile the color palette is to the potential client before I just did a select amount to not overwhelm, but now I want to really show the flexibility of the palate. So we're going to take all these, bring these in. And I can even keep going more, but I think that pretty much gets the job done. So I'm going to bring these in in a different arrangement. I feel like this will fill out the space a bit better than the other stacked arrangement I had. So that really shows off our versatility. I can go back and make sure I have the right spacing between all those icons. Good, I don't think they have their right spacings I can select all aligned at the top. Makes a big difference is little. Make sure everything you have is aligned, how you want to have it aligned. So you may think you have it right, but when you do the alignment tool, you realize, oh, they weren't perfectly set up. We're able to get all this done. Look, I'll quickly we were able to kind of put all this together because we have all this ready resistor rearranging and in a different way, that's all we're doing. So with photos, what we had in the client presentation was this kind of gallery of photos that was did a good job at showing a wide variety of photos. But what I like to do for a portfolio presentation is dressed it up a little bit and have the photos be different sizes. As we studied with focal points in graphic design, if you have everything the same size, there's no sense of focal point or hierarchy, which is not necessarily a good thing. It's a good thing here because we were showing the client a lot of different photos that were in the gallery. But in this case it's more of a presentation. So we can make them different sizes. So what I'm gonna do, I'm an Adobe Photoshop. I am just going to get a couple of containers here. This is the frame Tool. And I'm just gonna do a couple of framed different size boxes. So I'm going to just do different sizes. Some big, some small. I think having a wider variety of different sizes will help maintain a sense of hierarchy in the space. I have several of these photos I can bring in, so I'm going to drag them in based on the orientation. And Photoshop is going to do a good job at automatically cropping these for me when I can do that manually later. So I'm doing a nice mixture of food and people. And you also want to have a nice mixture of tight, close shots zoomed in and then further out shots. So you want a lot of contrast between the type of photos you use. So this is a nice zoomed in shot. This is a people shot. We can even zoom in more on this one. So I'm just going to double-click so I can crop more onto what he's doing. Same with this, these are very similar, so let's zoom in on him. Same thing with this, it's hard for me to make out the details. So let's really do a tighter shot here. Line nose to the top and make sure everything has equal spacing. So another thing I want to do is integrate some of our alternative logos throughout all this as well. So that's why I brought in this circular version and put it right there in the intersection here where there wasn't a whole lot going on with the photography. So just kinda finding a place to put that as well to tie it together. So lastly, we want to be able to exit the presentation with a bang. So we thought we would come up with a little clever tagline. See you at the sushi bar. And I make this all lowercase to keep with our brand consistency. So see you at the sushi bar that's got a little bit of an emblem on there. I thought it would be neat to integrate one of our chosen photos. Here's a photo thought would be framed really nicely with the type setup we have. So I'm going to bring, bring this down. And we're going to have to crop this. So we never want to put something over someone's face and news. It just looks awkward. So we're just going to have to arrange this. So we have as face nicely cropped but not covered. And I think I want to that I'm not seeing the brand colors really coming through there. So why don't we put the photo on top. I have this red layer underneath. I'm going to take the photo into a blending mode, maybe a soft light, and maybe reduce the opacity just a little bit, just to kind of have a little subtle hint, little smile there. Kinda helps with this. I don't necessarily have to have such a strong drop shadow, so let me reduce that. Don't like you think strong drop shadow is just enough to push it out from the photo. And so you're putting this nice soft end to your presentation just like a little hint of your brand throughout, there is a lot more art boards and photos that we can use, but I think this is a nice length. We have 11 different pages we can put in our Behance presentation, we can add some, we can subtract sum. That's so easy to add and subtract. So what we're gonna do is you'll see and be hands. A lot of people do these big long images. They basically have one big document, super long, like 8 thousand pixels. And they'll save it and they put it on there, but they're not leaving themselves open to easily changing it. So I like to export them as individual photos. I think it loads better when they look at it. Because the images load one by one instead of this big gigantic image. And what's great about this is I can easily put this on my portfolio website too, so it's just more versatile sizing. So that's why I have it separated into separate pages or art boards as opposed to that big long image that sometimes you see people put on Behance. Plus this gives us a chance to put live text in between the different images if we wanted to. So let's export these. And upon further research and testing out different sizes on what looks the best on Behance. I decided to change the size and make it a little bit bigger. It was before, it was only 1600 pixels in width. Now have made it 2 thousand, and it was 1000. And now I making 1300 and height. And it was really easy to change. I just highlighted the art board, changed it and then resized it. Everything was a smart object or vector, so it's scaled nicely. I didn't nothing pixelated when I had to make it bigger. So I'm going to export this, could export as we could to export this as a.jpeg. And if you want to put on copywriting contact info, you can embed kind of some copyright protection for your photos because when you post them on a third-party website, anybody can take them and say it's your, so it's nice to have some of that embedded in your photos. So I'm gonna go ahead and click on export. 52. Loading Our Case Study on Behance: Here's my Behance portfolio. You can see some of the other branding projects have done this one. I even put a video at the beginning. Which video is amazing if you have some video editing skills where you can put this on and have a video presentation. But in this case we're just going to stick with the photos. So we're going to add a new project, create a project. We're going to add our image. We'll start with image1. And he had this ability. It says give the image some breathing room and add padding. So if you want to have padding, this'll be padding and you can change the background color as well. If you go into styles on Edit Project, you can change the background color. We could even take a background color from our palate. So our stone gray color. And that's why we have HEXACO colours. Because we just pop it in 33 for B. And you can add more spacing or less spit spacing. So in my case, I kinda like it without a border because I feel like it looks a little bit more clean that way and more full screen. So I'm going to leave it all the way expanded out with no border. So there's Page one. Let's go ahead and add another page. I'm gonna go down here to insert media, right? When I go down to the bottom and I'm going to enter another photo. Could enter number two. If I need to put any type live text between these, I can. But we've already had that on our presentation, so we're not going to need that. And I'm not I don't have any spacing between these two. So it looks like one big long. It looks like there might be a little more spacing, so let's just make sure I want to collapse that spacing. I wanted it to be one continuous image. So if you go up to Styles, you'll be able to collapse the spacing CC, the spacing right here, it's gonna collapse when I reduce it. There's absolutely no spacing now. And I can just add my photos. So let's say I loaded all this, but I've got out of water and I wanted to add a new. And the great thing about having these as separate images is I can just go right here in between the two photos and insert an image in between. So it's very easy to do that. You can also answer to video or embed anything, any kinda YouTube video. So let's go ahead and we can save it as a draft. And what I'm gonna do is I'm going to go into Settings, which is right here in your edit project area, and we're going to type in some stuff. So give your project a title, be as descriptive as you can. You want people to be able to find your work and potential clients. So project tags, it can have up to ten. These are keywords that are gonna help people discover your projects. So branding, brand design, brand process, logo design, logo design process, mockups, brand development, brand strategy, just kinda coming up with things with the word brand and its. So that's 12345678. And I got two more. I'm going to put graphic design in their graphic design. So tools used so we can type in whatever we use a fuse affinity products, so you can type those in. As Affinity Designer, that is an option, used to not be an option now it is. I used illustrator, pretty much just kinda stuck with those two programs. I also use procreate to sketch, tag as many programs that you used. I would categorize this as a graphic design project, but you can view all fields. And there's one of branding, which I would consider it a branding project as well as art direction. Those are probably the three main categories I would choose. And you can go down to license, and this is where I'm not illegal of experts. So I'm not gonna give any kinda legal advice or I'm going to stick with default where others cannot use your work without permission. So I'm going to save it as a draft and not quite ready to publish yet. Because I want to be able to have a cover image. So right now it's going to use my first as an automatic cover image. But you gotta really think hard about what is going to be your best cover image. You can even add a new photo that's tailored directly toward doing a cover image. Instead of taking something. Here like this is going to be too busy to use. So even this front one might be a little bit too busy. I could zoom in on it, really focus in on the logo. And that might be my best shot. And there's a little preview of it too. So I'm going to crop it. And I'm pretty much ready to publish. I'm just going to save it as a draft for now and we can preview this. So if you go down to this area, you can view as a preview. We're going to click and view it. And we can see what it looks like when we get on there. So here we are. We have the photo, we have some elements. It's really tying together. It's nice and it's a nice simple introduction. We get to find out more about the process. The only thing I don't like about this part is these colors are very similar and it gets chopped up there. So it could be that I changed the color slightly of this background image to have a little contrast there. So I'm just critiquing my own process here, but see how that's a nice transition. I was going down feeling good. It's about an experience you're scrolling down. How does it feel when you're scrolling down? Is there a page that doesn't fit really well? Is there a background color I can tweak or change as there's something that's not right. And see you at the sushi bar and they can like and appreciate it and share it. So that's the very basics of creating a little portfolio on Behance, a little case study, you would probably follow the same method doing your website. You can just pop those images on there. Make sure if you're on your website that you use live text and some of your descriptions. So it could be that you put a picture and then you put the text below it in live text just so it's indexed by Google and you don't want to miss out on any indexing on Google if you have a website based portfolio. So just a little tip on that one. So yay, we are done with a lot of stuff here. And I only have one more thing left to do. And that is going to be the brand standards manual. That's going to be a little bit more intense. It's going to be the most detailed version because we're going to teach people how to use the brand, not just what it is or how it looks, but how to use it. So I'll see you in the final section. 53. Behance Template : I've decided to provide the Behance template and Photoshop for you for download. So I have the AARP board set at a size that I used for the course, which is 2 thousand pixels in width and 1300 and height. And I have 11 different pages. I'm going to remove some of the photos to keep the file size down, but I'm gonna keep all the topography there. So you can be able to just to kinda load all of your stuff in there to create your own a little bit quicker because you have kind of a jump start with this template. 54. Brand Standards Manual Examples: Why are brands Standard Manual so important? First of all, they tell the company's story and they share their values. They break down when and how to use symbols or icons and details. The meaning behind them. They communicate the brands voice and language. They tell you the do's and don'ts of the logo usage. They talk about how and when to use the logo palette, fonts and photos. And they offer a central place for you to download their brand assets. So you're going to be the most detailed document you'll create during this entire process. And I wanted to show you some examples of some that I found online that would give me an idea of how these might be a little bit different than what we just did. This is the LinkedIn brand and has really awesome brand standards manual. And a lot of these that I'm showing are online, so they were able to create a web page or a landing page and integrate some of their images in there. So it gives them a chance to download logos as well and have links to resources. So that's one way to craft. One is kind of building a landing page and just putting on images showing them how to use it and then having a download button to download any kind of resources that they're going to need. We're going to create a PDF version. I'm going to show you how to do that. But let's look at some of these examples. So this is LinkedIn. You have a chance to download assets. So they have different local variations. And so our case that we're going to show all the different logo variations that they can use and supply them with files were also want to make sure they have scale. So it shows the grid that we made up. All we have all this done, we just need to kind of arrange it in the right way. And he kinda trademarking that we need to do. Ours is not registered or trademarked, but that's something to think about. Here's one for Spotify. If you scroll down, you can kinda see the logo. You can download it. Icons, you can download it. Here's an exclusion zone, which is basically the spacing and margin that you want to have around the logo. That's more of a technical term for it is exclusion zone. There's minimum size. So you can set how small you can make it and you can't make it smaller than 20 pixels in width and all that kind of stuff. So you can get really, really nuts and bolts and very detailed in our case, we're not gonna get quite as detailed with usage, but you can do as many rules as you would like. Here's a good example of Logo misuse. So don't use the old stack version of the logo. Don't apply a gradient, don't rotate the logo. These are all very obvious, but you have to have at least a page dedicated to things you shouldn't do or focus very much on supplying them with the files. And you can say only used the supply files, don't use anything else and then then they won't be doing all this stuff to the logo to say you're not allowed to modify the logo, you'd have to use the files unedited. So there's lots of different approaches you can do for logo misuse, representing the colors, and they're also providing hex code colors. What I like about how this is online as if I'm a developer or I'm a graphic designer. I can go by and I can quickly kinda copy and paste this information because it's live text. If I were to just have a PDF of this version, you can also kinda highlight it as a PDF. So I kind of like being able to do that as opposed to a JPEG, which won't be have live text or text, I can highlight and copy and paste. So here's rules with colors. We already kind of did that a little bit earlier in the course. Kinda some ways to use colors. They show lots of really good examples. And they have different icons and widgets, restrictions on naming logos. This is a very big company, so they're going to have way more details and probably we would per our little company. And this is 1 first Skype. And they did this as a PDF so that you can access the PDF by clicking on a link and it shows the PDF. So this is how we're probably going to end up doing. Ours is a PDF. So you can kinda scroll through it. And they haven't index page because it's so massively long and no, you don't have to make them this long only for doing a big corporation. So there's talking about different versions of the logo. It tells a little bit about the story and background of the logo. I just have a print logo and a screen logo. These are different versions. They have a detailed version and they have a simple version there to show you which ones those are. Do's and Don'ts. They kinda, Instead of having visuals, they just kinda talk about it with texts. I kinda like having visuals. And there's the visuals Good. I figured they would. So they're talking about the typeface. They'd say what it is, what weights can you use? We've already done all this. We just have to put it in a booklet form. They even have an online typeface to use, which is web safe. And this is talking about their colors. So they have the primary colors and kind of a neutral color. So there's kinda spacing or exclusion zones around the logo. And here's kind of some brand voice brain language. Let's talk. These are kinda some international taglines. They talk about one of their assets, which is the cloud, how to use those brand assets? They get really intense about the clouds, how was the cloud made? And they have some golden ratio type things here where they, that's how they made up the logo. And it's also how they made up the cloud. And there's lots of ways to not use the cloud. And ways you can use the cloud. So you can't have a too much of a complicated cloud structure. You have to have it be simple. So this can get really nuts and bolts. They even supply you with illustrations and you can download these illustrations to use. Let's check out another one. This is for marble, which does comic book superheroes, movies. They do a lot of stuff nowadays. So this is their style guide. This is their color schemes. Are there going to be able to copy all these hex codes? What I love about this is you can hover over it. You can copy the hex code and paste it. So if you're a developer, this is very handy, very nice. They even have all of their neutral colors, the UI colors, light and dark. You go down. I like how they have a whole menu. So that's basically its own websites. So they have menu options where they can cycle through topography and other options. So they list out there topography like we did before with our Montserrat and different block sizes. They're doing the same thing we did, but they just have a website version of it. So now that we had a chance to study what some other style guides are there so many different ways to do style guides, I can spend an entire class on style guides. We're going to do a more simplified version because our company is not a massive corporation. It's got limited use in terms of where it needs to go. So we're going to be pretty short with ours, just kinda have a quick example to work through. So with branding guidelines, I like to have a cover photo. So in this case, I kind of shown some correct ways to use the brand assets. So this circular version of the typography, we have this banner presentation kinda showing some good examples of the use the cover photo. So not only is it a cover photo, it also acts as examples of how to use brand assets. And so this is what I like to do with my brand guidelines. I'd like to have just one page that really describes a history of the company, their goals, their missions there, ethos, everything we helped to develop. I just want to have one page to really educate people on the company. Not just when they were founded, but why they exist, what's their dreams and desires for their clients and customers, and who is their customer? Just usually one or two pages. You don't need to spend a lot of time on this. You just want to give them some general background so they'll help them use the brand and help to position the brand when they start to work with it. So in this case, I have a simple, a focus back on taste. And one of our favorite things about going out for some good sushi is the taste of raw fish. We love it, crave it. It's a part of our DNA. And you notice how I've written all of this. I've written it as I am the client talking to the viewer. So I am not writing it as me as a designer. I'm writing it as I am the client. I'm speaking on behalf of the client, so I'm using I we us language. I'm not using other language where I'm the designer, I am speaking on behalf of the client. And that brings up a really good question. Who writes the copy and text for the manual? This can be written entirely by the client or you can come alongside to help them write and craft their copy for the manual. You've spent so much time with them during the research phase and brand design process, you should be fairly comfortable being able to communicate and write this on their behalf, but help is always welcome. You could work with an editor or a writer to help you if you feel like copywriting is not your gift. You can also have the client produce all of the written copy for your manual and you just put all the details together. 55. (The template is in the download section of the course) Brand Standards Manual - Sushi Club: Unfortunately, going out to eat sushi in America has become a show of how much junk we can stuff and associate roll. How many toppings we try to fit on top of a once unadorned, beautifully tasting fish. It was no longer about the freshness of the fish, but about ingredients we deeply feel do not belong anywhere near it. So you kind of hear the passion behind the writing voice. Traditionally Nigeria Mackey and she shimmy or eaten with an emphasis on taste of fish. We want to make sure Americans, sushi lovers, this is kind of the mission and the goal. Get to taste real authentic sushi the way it was originally intended to eaten. Raw, fresh, simple, and flavorful. This is where we decided to step up and take on this mission. And sushi Club was born, so there's a mission and the goals all explain their little story. So I wanted to also go into why the name. So people need to understand why is it even named the way it is. Sushi clubs, a quick, straightforward and easy to remember name. The word Club was used to denote a sense of exclusivity as an only those who truly enjoy the authentic Sushi Eating experience can join the club. Our tagline, authentically prepared, has our favorite brand word, authentic to explain our single-focus on our unique, original presentation rooted in tradition and freshness. So a lot of those keywords, they've all been used at least two or three times already in this first page. So to kinda be aware of that and kinda teasing them with a usage. And I've since changed a lot of this sense that bag is now a different design. That's not as big. But I did this when I was planning the course. But yeah, kind of showing a little bit of excitement on the right, like some kind of positive usage of the brand. And so we want to be able to sum them up in three words. And this is a little bit older. I have now done the circles, but I wanted to talk about those keywords of authentic and generous and loyalty characteristics or personality traits. Just kind of mentioning that quickly in a page. We want to get right down to business. We want to talk about the logo. You can break this down like we did in the presentation and say this is what this means and this is what this means. But really this is a manual of how to use the brand so we don't wanna go in too much presentation of here's our brand, it's more, this is how you use very technical how we use it. So that's why in this next page, we have all the different local possibilities and maybe we're providing all of these logo files. So right here I've, you can download the logo files here at a certain website. So it's kinda pointing them toward where they can find the files. Or if this is online, they can just click a link and go to it. So it is showing all the different varieties. We didn't do this in our presentation because it was just too detailed. But this is where we get down to details and nuts and bolts. So this is where we show every single version of the logo that's allowed to be used. You can also in the next page, do the do not use and use. So this is kind of the US page. Please use these if you want to dedicate another page to how not to use a logo, you can. And definitely talk about Logo spacing. So you saw an every all the other examples we looked at the shown. What's the spacing around the logo? You wanna make sure you can be very specific and have a pixel size or an inches size. But I'm just doing something really simple by putting it on the grid and making sure it's spaced equally. And the space between the logo type and the logo mark is the same as the space you need to put around it. So it's a simple 1X equation. So I wanted to show positive uses of the brand and how you can integrate some of those logo possibilities into real projects. So this is just kind of ways to use the different logos. So this is kind of the banner version. This is the full logo version. There's even a letterhead. I might need to change that color. Change that color to do something else. Kind of some ways that I did some type treatments. So I even came up with a quick little letterhead because I didn't have anything outside of the menu to show. So I thought the letter head would be a good way to show maybe this vertical presentation of the logo. How does it look on a website kind of showing our digital icons? We have our colors. And the most important part of this is being able to give them the detailed information. What's the pan tone color, what's the RGB colour? This is even, could even be bigger because this is the most important part of this entire page. So you can even make that bigger so that that is more prominent, prominently featured. I like to also show the colors and use with an image. Or you can keep this plane and make that bigger and use it that way. With typography, I want to introduce people to the typeface of choice. We only use one type face. Some brands use two or three different typefaces. You need to introduce each one. It's also nice to show different weights that you're going to be using and how they look with numbers and letters, just kinda like this example. And also this is where this little chart will come in handy because they're going to need to know the letting the tracking and the size of all the topography, and also talking about brand language and how to use it. So showing an example of a social media post and talking more detail about brand language. I just adopted this directly from the presentations of some of this is already written. But I changed how I wrote it. So instead of we did this, it's our brand language. I'm writing on behalf of a client, so I might need to change the perspective of who's writing it. So our Bryan language used throughout our advertising. So it's our my advertising, my company, I'm writing on behalf of the client, so it had to tweak some of the way I've wrote it. So it didn't sound like I'm writing it as a designer or brand crater. I'm writing as behalf of the client, talking to people how to use the brand. So photography guidelines, we had a lesson on this already. So this is where you would show it to. You probably noticed in the portfolio and the client presentation, we didn't have this at all because it's just a little bit too detailed for that. This is where it belongs. It belongs in the brand standards guide, but this is the little details of how to use the photography that we want to set forth. And also kinda presenting which photos are in our gallery. And it also teaches you how this is things we're borrowing. You notice how I'm borrowing a lot. This is the last thing we're doing. We've done so much already. We're kind of borrowing a lot and adapting it. Also want to talk about brand assets. We have the one with a smile that developed later. So you might want to tell people how to kinda use the pattern and how big can the pattern B. In this case, we have the circle and I was able to show not only the circle asset and how to use it, but also different color combinations that are good. So I'm not using any color combinations that are bad. So it's kind of a way to show both. So I just kind of brand assets. So Circles are simple and you can use them in so many ways outside of the logo and the accompanying variations, we have the use of the simple circle inspired by the shape of the sushi Mackey role, we decided to make this our unifying theme. So in these little bubbles, I said, Don't be afraid of circles. They are easy to use for headlines. Lots of different ways to use them. Lots of different ways to color them in phrases with a period, some kinda saying rules, but also kinda being fun and whimsical to some of these are kinda roll usage rules without being kinda boring. So instead of just having a big column that says do and don't, I'm kind of telling the story of how to use it in a more fun, interactive way. And then lastly, it just feels more final. So in phrases with a period, It just feels more final. So that's kind of something you do when you do a headline with this brand is you end it with a period. So that's kind of a rule that we're introducing. And you want to end every brand guideline with some kind of thing. So we did the sea with the sushi bar. We can use that same exact page. So I wanna go in more detail brand guidelines in another course because it gets really, really detailed. But you wanna take everything we've done so far and put together the rules for typography, for color, for the logo system. Everything we've done set the rules, make it very clear and concise, how to use the brand. We never want. We want to make this manual timeless. So we want to be able to hand this off to the client. And even if they were to hire some sort of crazy ad agency, they would be able to take everything you've crafted and emulate that to the best that they can. You want to be able to give the client that flexibility to expand their brand with or without you. Obviously, you want to be a big part of it. But this branding Standards Manual leaves a legacy as for you as a designer to make sure that they treat the brand well. They don't mess up how they represent the brand visually and it makes you look good long-term, five years from now they're still using the same standards. Everything's consistent. They're gonna look great. It's gonna make you look great as a designer to, and being able to offer this as a full service branding item is really important too, because you can start to do big, big clients, national level clients, where this is kind of standard for them to do a branding guidelines manual. So this is it. I can't believe we're done. This has been a joy to be able to teach you this. I wanted to create a class. This was the most exhausting class I've ever created. I feel like there was so many working parts to this. We had style guides, topography systems, color pallets. We even had three different kinds of presentations to put together. That's very intense. I'm so happy you're listening to this. That means you made it to the end. I'm very proud of you as a student. I want you to be able to take everything you've learned to use the templates, watch the videos. I want you to create your own brand project. And I want you to do all these different types of deliverables. I want you to create a standards manual. I want you to create a Behance portfolio or a website portfolio case study. I want you to do a client presentation. I want you to work through all the details so that you can have something that'll help you land jobs. This is as detailed of a branding process in C can go through. So if you can do this, you can do almost anything in terms of graphic design and, but beyond that marketing, ad agency, strategy, brand strategy, all of that stuff, higher-level stuff, more better-paying. That's why I created this course. I want you to get big paying jobs. I want you to not just find jobs and I want you to be successful and make more money than you're making right now. I really wish that for you guys because this is a very in-demand thing. And I think as graphic designers were not just logo designers. We are way more than that. And I want this class to be what teaches you that you are not just a graphic designer, you are just much more than that and integrate business and marketing and strategy and design altogether and research into one final thing. So anyway, I guess this is farewell. I have a lot of different classes. If you want to go into the mockup class that you teach how to create those custom mockups free portfolio. I also have a digital design masterclass that goes into a lot more detail about digital projects, app design, icon design, which goes along with the branding process. I have that course. So just check out my other stuff and I just so happy to have you as a student. Thank you.