The FULL Logo Design Process Step By Step | Lindsay Marsh | Skillshare

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The FULL Logo Design Process Step By Step

teacher avatar Lindsay Marsh, Over 500,000 Design Students & Counting!

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.

      Class Preview


    • 2.

      Client Brief and Getting Started


    • 3.

      Brainstorming and Sketching


    • 4.



    • 5.

      Manually Adjusting Type


    • 6.

      FulL Details and Typography


    • 7.

      Picking your Final Concept


    • 8.

      Grid Work


    • 9.



    • 10.

      Adding final details


    • 11.

      Exporting Files


    • 12.



    • 13.

      Logo Design Client Presentation Template


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About This Class

NOTE: You can download the Logo Design Worksheet in the PROJECT tab of this class

Have you ever wanted to follow the full concept and logo design process?
This class is very structured and will follow a 10 step logo design worksheet as we work through each main important step of the logo design process.

  • This includes sketching and concept development
  • Vectorizing sketches or ideas in Adobe Illustrator
  • Refining the small details and fine-tuning our typography 
  • Learning how to select concepts that are working and further exploring options
  • Working with gridding our logo to create proper spacing
  • We will even learn how to present a logo idea to a client
  • Exploring Color and presenting color ideas to a client
  • Adding and exploring branded elements that add to the overall concept
  • We will talk about exporting logo files and what formats are most commonly seen and needed by clients 
  • And more.... all with a given client brief and student project. 

This class is a very deep and extensive dive into intermediate level logo design. Working knowledge of the tools in Adobe Illustrator are required to fully enjoy this class. I go over the very basic tools in Adobe illustrator in other courses, but this one will focus purely on the detailed logo design process, step by step with a client brief. So let’s get started with brainstorming our logo idea! 

Meet Your Teacher

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Lindsay Marsh

Over 500,000 Design Students & Counting!


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

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

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Level: Intermediate

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1. Class Preview : have you ever wanted to follow the full concept and logo design process? This class is very structured and will follow a 10 step local design worksheet as we work through each main important step of the local design process. This includes sketching and concept development, vector rising sketches or ideas into the Adobe Illustrator refining the small details and fine tuning or typography learning how to select concepts that are working and further explore options. Working with gritting our logo to create proper spacing, we'll even learn how to present a local idea to a client. We'll explore color and presenting our color ideas to a client will add and explore braided elements that add to the overall concept. We will talk about exporting local files and what formats are most commonly seen and needed by clients. We'll do all this and more with a given client brief and a student project. This glass is a very deep and extensive dive into intermediate level logo design. Working knowledge of tools in Adobe Illustrator are required to fully enjoy this class. I go over the very basic tools of Adobe Illustrator and other courses, but this one will focus purely on the detailed local design process, step by step with a client brief. So let's get started with brainstorming our logo idea. 2. Client Brief and Getting Started: welcome to the intermediate level logo design section. In the section, we're going to explore the entire local design process from sketch to finished exported files. We're going to work through a client brief for a mock video sharing company called Video Flux. We need to work through our sketching and brainstorming process, but we also need to make sure our local is flexible and adaptable to many different situations. Will also work with color and will add that final bit of polish. This is an intermediate section, so they'll be some focus on intermediate level tools and workflow shortcuts. But the main focus of this section will be working and learning the logo design process and more detail, and also how and windows and work to clients. At the end of this lesson, I'll show you a quick two minute client brief so you can get an idea of what this mock client is looking for. Some of you may recognize this client brief as a recent student design challenge, but also as a student project in my previous beginner level masterclass. But this time will work side by side, learning how to create something the client will be happy with. Also, I created a step by step downloadable Adobe Illustrator local design file that will walk you through the entire process with you with tips, tricks and more. As we work through this together, feel free to use your own logo design and ideas if you really want to push your creativity a bit further. So the goal for this worksheet is I wanted to create one concise document you can use to work through the entire logo design process and Adobe Illustrator from sketching to exporting your logos. You'll notice two layers in this document that could be toggled on and off. One layer contains the example logo video flux as I worked through the entire process, and you could toggle that layer off and on to have a clear space to put your own local design work. And what's great about this worksheet is by the end, you can export this a separate J peg pages, or is one concise pdf that you can share with colleagues, students, clients and others. Remember, the logo design process is complex, and there's many ways to approach this process. This is just one method that helps you break it down into more manageable stages as we covered in a prior lessen. The act of sketching and brainstorming plays a super important part of this process, and finding logo inspiration could be tough. I'm also going to include a couple of websites to visit to help give you a little bit of brainstorming juice. Great ideas come sometimes to be found by accident and also be found with time. Do not rush this creative process. Some ideas come quicker than others. Here's the quick two minute client brief for the project. We're gonna work on together after watching this. We're going to head on over to the logo design worksheet and start off with our brainstorming and sketching process so we could start to get some ideas on paper. Congratulations. The client selected you to be the one to create a local design for them. Your task for this challenge is to create a local design that not only matches the clients desires and requests, but also matches the company's target demographics. So here is the client brief. Your client is wanting to create a new short format video streaming mobile app similar to Tic Tac and Snapchat. They hope to capitalize on the popularity of the short format video apse, where shorter videos become popular, share a ble and viral. Their name will be video flux. They may just go by flux in the future as a shorter name, but the word flux is a synonym for motion. They were asked the following question. What key words or short phrases would most likely describe your app? They said. Trendy, youthful, hip, edgy, dynamic, high energy, out spoken, a voice and platform for the younger generations. They want the logo to be simple enough toe look good in small spaces, like the header of a mobile APP design similar to Facebook and Instagram. They're not looking for a mascot or a very complicated illustration to go with it. When asked what type of style or look they're thinking about, they sent the following examples. Their competitors will be closer to TIC Tac and Snapchat, where they're mostly be interested in promoting and hosting. Short form videos are videos that are shorter than 30 seconds long. YouTube caters to longer and shorter format videos, so they'd be less likely a competitors for them. They will also only be available on a phone and will not feature a desktop version. The client has not developed the APP yet, but hopes your logo design will help when pitching to tech investors in the coming months to gain that funding to start development. They want something that looks polished, professional and ready to be used in the development stage of the APP. So are you ready to take all this logo design challenge? I would love to see one solid concept, but if you wanted to show up to three concepts you can. I also like to see your brainstorming process and the lie behind your concept decisions. This could be a sketch showing how your concept evolves are just a few sentences explaining your direction. Good luck out there, and I hope you in this pretend client can build a long term relationship. You never know if you do good on the logo. It could turn into a branding package job in the near future. If they do gave funding. Remember these design challenges Air Fantastic portfolio building opportunities to take advantage of them 3. Brainstorming and Sketching: welcome to Phase one. The brainstorming process, as we saw before, said the sketching process is an incredibly important part of the concept development stage . What it does is it helps us get through our rough ideas on paper. It also helps us quickly decide if a concept will work or not, making this a huge time saving step. We can hop right into Adobe Illustrator with some ideas, and I've done that many times. But sketching out ideas first as a quicker way to jot down those ideas. An illustrator can take a little bit of time to create these concepts compared to sketching , as they say to each his own and hope. Hopping right into illustrator in the brainstorming process is, of course, still allowed, If that's how you feel most comfortable when struck by an idea or inspiration that can come immediately upon getting a question answered back from the client, it could come one day later. It has been known to strike you in the middle of the night. In some cases. This time I was ready to start sketching out ideas. It was when I was attending a conference and sitting there listening to a boring speaker. I took the nearest piece of paper I had and just started to sketch out our letters. F L u X, The client brief did indicate that flux could possibly be shortened and be a nickname for this app. But eventually we do need to find out how to work the word video in there. In terms of concept, I felt like the word flux, and those letters needed to be where the core of the concept resided After sketching out some ideas in the morning, there was another moment in the afternoon where I explored more ideas with pen and paper. It's not about looking pretty here. It's all about the idea. Adobe Illustrator will help us perfect her lines make them straight, so don't worry about that until later in the process. Further in the process, I hopped into the procreate app to sketch out the Aero Play icon concept. With the letter, F X was starting to be ah, harder letter to work with because things started to focus more on the back of the word than the front of the word. Also, with bringing X out more than the other, it started to sometimes read like flu X and not flux, with those issues starting to arrive. After sketching for 45 minutes or so, I started to explore the possibility of working with a simple play button arrow and work that into the F. Somehow I am trying out many different arrangements, since sketching only takes around 20 seconds per f. I'm able to work through a ton of these arrangement and sizes to find out the right feeling and the one that I think will be the most readable and flexible. Procreate is great because once I sketched all these out, I could simply export it as a dot p and G with a transparent background. Bring it right into Adobe Illustrator. No need to take a photo and bright in the photo and photo shop. Let's head over to our first page in our local design worksheet. I'm going to bring in our pen and paper sketches. I first need to go to Adobe Photo Shop and lighten these photos up a little bit. I increase the brightness level and also the contrast level on these photos. Until I was happy. The procreate sketches were a little easier, and I'm just bringing in a dot PNG file of my sketches. After seeing all of these sketches together in one place, I could start to assess which ones might work and which ones I need to explore in more detail in Adobe Illustrator. This is the point where we need to narrow down our options to maybe just 2 to 3 main ideas or concepts. In this case, I'm going to explore the negative space I saw between the U in the X that creates this natural play. But narrow. This could be done in a simple, professional way, and I think it's worth exploring Mawr and Vector format. For the second concept, I want to explore the same play arrow idea, but on the character f, perhaps even replacing an arm of the F with the arrow. And with two main ideas or concepts selected, I'm ready to move into face to the process, which is the vector rising of her sketches so we can play with a further work with live typography and easily switch out colors and war 4. Vectorizing : So now it's time to take the two main ideas we have, and we need to vector rise this so we can continue to play with the anchor points and really customize and find out some different variations of these two men concepts we like. So the first car, except was the idea of the arrow in front of the F or part of the arm of the F. So these are the sketches I just brought over, and I just put a clipping mask on him so I can simplify that image. And weirdos could have vector rise this. So sometimes you have, ah, sketch. That's perfect that you want to trace over. And in this case, we wouldn't mind doing that. So what we want to do is we want to be able to have some snap to grids on, and we want to maybe even show a grid. So let's go and show a grid, and then we can kind of use this to kind of create this perfect shape that we already sketched out. So in this case, I'm going to get the pen tool and I am going to, since this isn't a transparent background I'm going to just reduce the transparency a little bit. And I'm just gonna simply trace a lot of times having your, um, snap to grid will be really important. So snap to grid just kind of make it a little bit easier to get out. Our idea. Get her direct selection tool. It's kind of perfect that a little bit. Let's do our arrow. And sometimes snapping to grid or using the grid may not be for your concept if you have a lot of curves and bends just doing it for this concept, So there's kind of a quick vector rising process we can eliminate original sketch. We could flip this to a Phil. We could even soften the corners on this. Just attached a very small little bit so it doesn't seem so harsh. So that was kind of a quick way to bring in that idea. And then we need to kind of sketch out the other characters as well. There's also something called image trace that I wanted to bring to your attention. It could be good if you have a very illustrative, hand drawn typography. I'm gonna talk about image trace really quickly. Just for those who have, who really want to keep that sketchy, raw, organic feel to their logo. Let's talk about image trace for just a few minutes. So this is a hand brush typography that I didn't procreate, and I brought it in as a transparent background. So there's no background on here. It's just transparent. And you have this brush lettering. Let's say I want to do a hand written typography for my logo, and I want to be able to vector rise this very quickly. Let's use image tray. So have our image selected. We're gonna go up to object image trays, and we're going to make and expand, so it's gonna make an image trace, and then it's could expand it so we could start to edit and look at the little individual anchor points it creates. Okay, so you can see when you move in that there's definitely some changes that they had to make to be able to emulate that brush lettering. And this is not perfect. Results are gonna be varied, but it did its best job at hand, tracing that brush look, and it looks pretty good from a distance and looks pretty good up, just just up close. You can see the little bit of jagged edges, but you can always smooth that out a little bit later. But it does a good job of getting the really basics outlined for you, and it saves you a lot of time. So let's take the direct selection tool. We don't need the background box anymore. Now, if you highlight all this, you could see all those little anchor points. And we can even simplify the amount of anchor points we see. We zoom in. Let's get a direct selection tool. You could see how it's created quite a bit. Anchor points to create all those different jagged edges. But look how much time we saved. And there was some concessions made. We don't get to keep all that texture and grittiness, but we at least got the basic outline there. So I just wanted to demonstrate that really quickly for you. For those who doing a different type or style of logo and let's say the hundreds and hundreds of anchor points that this image trace created, we wanted to simplify the amount of anchor points that are used to create this. Where there's a simple way to do that. You can simplify the amount of anchor points used by going upto object path. We're gonna go select simplify. This is gonna give us a little range where we can simplify you. Notice how it kind of made it more smooth and we can change us. What it's doing is it's taking the hundreds of different anchor points and trying to simplify and eliminate anchor points so that they doesn't need as many Acker points to create the shape. So this could be one way to smooth it out so you can get it very simple arm or come complex . And what if we have a concept that has some really rough, chunky lettering and it's not worth tracing because that's kind of worthless. It's not very exciting. So how do we bring this in? And how do we create kind of this simple typography? This one's gonna be a little bit different. We can trace over this F, but instead of using the grid, I'm just gonna toggle off the grid here, toggle off any snap to we're just gonna kind of do this with the pen tool. We're just gonna trace roughly R f try to get a rough idea of what this f will look like this tracing it over. We can always perfect it later. But when you have some time, wouldn't he have kind of some characters or lettering that reminds you of another tight face or another font? Sometimes it's nice to bring in what's called a base font. We're gonna bring in a base font and manipulate that to make it what we want to make it. So I'll show you an example. So this is kind of how the originals is quicksand typeface. And I found that this had the same thickness of my sketches and had the same kind of idea and thickness and everything of the characters, and I wanted to retain that nice thickness. So I'm using This is a base font, and when you zoom in on this particular type of type font choice, you'll notice a lot of imperfections or things that I don't think really take on the character of the simplicity of the logo I want to go for. So you'll notice how the U looks. How has this really strange bending, Uh, right here at the leg of the letter, and it also has some inconsistent thickness. So you have a lot of contrast here. So you have kind of a thinner line here and a thicker line here. So all that contrast is really making this a unique you, but not really anything I'm very excited about. I kind of definitely want to eliminate that. And we're gonna do that by customizing this same thing with the X. You have this really unique flair about the character, but we want to create our own, and I want to have a little bit more of a simple kind of angle and same thing goes for the F you notice is really wonky. Weird how this kind of it's a little bit thicker up here that it is down here and it creates this almost Ah, childlike look. And I don't want to We want to go for a child like look, But we can go ourselves and change the anchor point. So this has that part of that character is eliminated so we can eliminate all the imperfections that we don't want for our brand and make it our own. And this is what we're gonna end up with. I'm going to do this with you for just a few minutes to kind of show you the process of how you do this. But this will be what we end up with. We would have removed the weirdness of the top of the F and the we would have changed the contrast. So it's more even throughout. So you have this nice, bold, even contrast throughout all of the characters and the X, All the strange little dips and things or been eliminated and has have been made a lot smoother. This is the overlay of both you can. This is on the worksheet. If you wanted to look at it yourself, the the original is the kind of the scion blue green color, and the modified is black stroke outline. And you could see I also adjusted the Kern ing or the spacing between each character to make it tighter and more concise because before it's pretty loose and it didn't feel as connected, and just evening the spacing and bring them tied it tighter. Together, I think, makes a more cohesive word, especially with a very nice, thick, bold characters. So let's do this by hand. I'll show you how I did this just for a few minutes 5. Manually Adjusting Type: So I have this typeface. I'm gonna go ahead, right click it, create outlines. We don't need it live anymore. So now let's go ahead and take her pin tool, curvature, tool, shape, builder tool if we need it and carve out and make this our own. So let's first start off with the X. So we want to kind of smooth that out of it. So I just taking the direct selection tool, and I could even I can delete as well so I could go to my pin tool a race and points. I can even take a curvature tool and just bring it down. And if you double click the coverage or tool, it'll make it a point. So just kind of a simple way to kind of make that a little bit more to our liking. I always take that direct selection tool. There's gonna be some slight imperfections, and that's where having the grid on will really help you be able to do this. Because sometimes it's hard to eyeball this and make sure that straight it may look straight, but when you put it on the grid, it may not be straight. That's always really simple to toggle on the grid and check our work. What we could do is we could switch this to stroke and make it pretty thin. I kind of see how everything is laying out on the grid. So let's go ahead in line all of our items on some kind of baseline. So this could be our baseline of the type right about here, right there on that line has kind of helps us make sure everything is straight on the baseline and also the top line. Well, it's going to go in and just make sure it dips down about the same amount. And there could be character that you add to your typography. So it is not perfect, and you may want everything to be perfectly aligned. Or you may want everything to be off a little just to add character to it. It just depends on the style of logo that you're looking to do. So I feel really happy with the X, and I'm gonna keep it as a stroke because I feel like I could really see it a lot better with the grid. So let's go ahead and change is really strange you how it kind of bends and has this really small contrast in this really big contrast just looks kind of comical a little bit that we would have a more of a serious look. So let's see what we can do here. We can probably eliminate an anchor point here, and that automatically solves that issue. But now we need to thicken the space here. That's what we could do is get the direct selection tool. Just pull it down. And we're just hand sculpting this taken are handles and probably to bring that down quite a bit, huh? No one need to zoom out, kind of make sure we're making the right decisions. We can bring this. You up is well, so it kind of stays along the baseline. That might help us. Well, so all these little things can help make this character a little bit better. And don't forget about the curvature tool. It can really help in these situations. Workers really need to be perfect. So what we could do? Let's go ahead and eliminate that anchor point that's getting in the way. And let's do the curvature tool and see if that can help us kind around these corners out a little bit better than what we had before when we can always double click and change it from around two a sharp when you have the curvature tool. Look how much we're bringing this down. It used to be such a small with and now it's a lot. And maybe it does dip down below the baseline. Not everything has to fit perfectly. Sometimes that could be a normal typography choice. Okay, so we corrected the contrast there, and I think that looks a lot better than it did. And we could always make the decision to bring that up at the baseline. But with some characters, it's okay to go past the baseline or the top line. Que the l is very easy. That looks great. And then we have the f This is gonna need a lot of work. We have this really strange wonky top, so let's see if we can't do the same thing we've been doing and change it. Let's take let's start off with the current your tool first. All right, so let's bring this in and straighten it up. And don't don't be afraid to erase anchor points and rebuild it. That's what this is all about. You do what you can to make this shape, even if you start from scratch and do the shape. If it's just way too far gone or you can't find a typeface that works in the situation, you can always create your own. It's a little bit harder to do, but if you have a sketch, that's a way to make it a little easier. So just kind of shifting. This was making sure we have more, even contrast with stroke all throughout this curve. What's even thinking this up and match all of this together. So the thickness of this bottom of the stem of this F Let's continue that all the way. Let's bring it up here, And it's also nice to have smart guides on. Please put your smart guides on. It will help you snap to certain positions when you're moving and shifting things around to have my spark guides on from what I thought was a little bit more of an immature tight face and made it a more mature one by kind of doing the kind of things we did. So what? We're gonna do next is I'd love to round the corners on this because when I look at this and I go ahead and flip this into a Phil and I zoom out, I see a lot of harsh corners, and that's fine, if that's the look you want to go for. But I do want a softer look. If you look at the Instagram logo, the Snapchat logo, a couple of these Legos, even tick talk, they kind of have a little softness to them. So I'm just going around these corners very, very subtly. So I'm gonna select all of them and it's get are direct selection tool have, ah, a recent version of the Illustrator, but most people have this rounded corner option. I'm gonna just click and hold. It's gonna do all of the quarters for me. And if you have problems sometimes with different characters, it'll have issues if you try to do them all at the same time. So in some cases, yet angel individually select the letter, so it's ungroomed this and do it one at a time. So let's go ahead and click, and we're just doing a very small amount. So you see how little I'm doing. There's kind of chopping off those harsh edges and making it just a little smoother. You can always go up and check the sizes on each one. So you're doing them all the same. We're pretty much just doing a 0.1 up here in your corners. Okay, so just kind of rounded it just a little bit. I don't want to over exaggerate the roundness cause then it starts to look cartoony and immature again. So we have this done. We also now want to adjust the spacing between the characters and to make them a little tighter. We adjust our Kern ing. So if he ever heard occurring, this is exactly what we're gonna be doing. We need to tighten the spaces here. The grid is gonna help us a lot with this. So let's kind of line it up, and we won't have the same spacing between characters. And sometimes that changes. Sometimes there's certain characters that are heavy on one side that may need tighter spacing. So this is really about what looks good to your eye, what looks like the best space into your eye. You don't have to be a computer and be like every space needs to be the same size. This is when your eyeball can really override certain decide design decisions. So I'm just gonna take my arrow key, and I'm gonna make sure everything is on the baseline. I'm just making sure characters are moved down so they rest on the baseline just like that . And then now I'm just gonna take my arrow keys. It's kind of Nedum. So I think would be some good spacing. And this is we're gonna be exploring some negative space. So maybe now we'll have to figure that one out. But I'd like to have similar spacing. They don't all have to be that way, but it's kind of a general guide. So let's say it has one column or one square. Let's go ahead and bring that over. Let's have some similar spacing between these two characters, and same goes for this. Just kind of using that. It's very simple. And now they have some similar spacing. Zoom out and we need eyeball it. Is it too tight? Is it too loose? This is the time when we can adjust our current ing to make sure it's not too tight or too wide. So now for this concept, we're missing the arrow. So what we want to do is we want to bring that arrow in and what we're gonna do with this as we're going to take the direct selection tool words could eliminate these anchor points right here. And of course, we could use the shape color tool instead. That might even be a cleaner. Look, let's get our little rectangle tool. Let's just shave this part of the arm off. We're gonna put the arrow in its place. Shape, pillar, tool pulled out. Option. Erase all of it. So that was a simple way to get rid of that. We can always go back in with the tool and do these small little changes. We can even delete that anchor point because we don't need it. Let's draw arrow. And in this case, with an arrow being a triangle, let me see if I can't Snapped. Agreed on this one that will help me create a more perfect triangle. And let's also around the era because we've rounded the characters. So let's be consistent. So the same 0.1 rounding of the corners. And so now we need to figure out there could be contrast here. And right now we're working in just in black and white. But that doesn't mean we can't do shades of gray to emulate color in the future or contrast . So in this case, I'm gonna do a light grace who can kind of see how that overlaps bl We're just slowly getting our concept to come alive and riel vector format. 6. FulL Details and Typography : So now we're ready for phase three, which is getting more into those details like the arrow which is created and figuring out, should our font be slanted, should it be closer for their part, far pairing. This is working to be exploring those different type choices and arrangements. We also have to work in the word video. So we have two words here. Let's do some font pairing to see if having some different font styles will help. Really? Ah, let this logo stand out. We're gonna type in video here. We gotta work this word into this logo somehow. So the most important word of this will be flux because that's gonna be what's going to be the most memorable part of this name. Video is video. It's not a throwaway word. It's still important to the logo and identifying the company name. But if the company is eventually gonna be known, it's flux. And that's how people are gonna shorten it. You know, we it doesn't have to be quite as big. So when we think about the concept and what the client wants and what they showed us Ah, we can that could definitely help direct how we make the size and what font choices we choose. The examples that they shown us are very simple typefaces there. Sand Saref. They're not really fancy, so we need to find something that's really simple as well. So let's kind of find the right size if we can always use the grid and you have this nice spacing that's created have this lower case F and look at this wonderful spacing that's left over. This would be a great place to put the word video, so we're gonna kind of put it right here. And I'd love it to extend out a little bit more. So it's not so condensed because we have a very nice condensed typeface here. There's not a whole lot of huge gaps or spacing. So what if we put a little more spacing on the paired font to have contrast between the two ones? Tighter ones looser. So I'm gonna change the tracking. Let's try 200 for now, and I'm getting an idea for size and spacing before I start to mess with with font choices . So zoom out, do visibility tests at all times. Can I read it? Can I read video Canary Flux. How are things looking in terms of being able to be looked at it a very small size so far? It checks out, and I like how we have this nice, thick, tight face. And then video could be a little bit more slender and thinner. Once again. Contrast works really well with with far peering. So if I had a bold typeface for video, let's see if I can find that. So let's say use the same type base I use is my based on for flux, so you'll notice that they kind of compete with each other and I consume out so you can see they're kind of competing a lot because it's the same thickness throughout the whole entire logo. But when you make it thinner, it kind of helps break up those two words for you to make it a little more readable. So let's find a good tight face here. And this is when if we find something we like, we can start to make different iterations or versions of that. So I'm just gonna take this hold down option shifted over and continue as I find different ones, I think, could fit, and this process can be repeated over and over as many as you feel like would fit. We're gonna eliminate a lot of these quickly, so feel free to try out as many as possible. We're gonna eliminate these very quickly. A few of these, I did, just to show you examples of bad tight pairing off aren't parents. So let's go ahead and zoom. And you could see how. Just a slight change in that video typography changed the entire feeling of the logo. Some of these work really well, some of them do not. So this one on the top, right and has this kind of playful, hand written typography. But you have this very stable, thick text, and it doesn't really go together their conflicting styles. So we can just easily eliminate some of these same thing with this. We have this nice, thick, bold typeface, and we have another thick, bold typeface. But it's just different enough for there to them to not flow very well together. They're fighting and competing against each other. So you know, you can easily eliminate that We have this San Sarah for the serif typeface paired with a sans serif typeface, which normally with headlines and magazine covers and a lot of different graphic design Things can look really good. But for this logo, it deceives a little bit inconsistent because this seems very traditional and high end, and this seems more casual and fun, So once again, they're just not pairing well together. Same thing for this one. This one has almost a childlike curves, and it's not going with. It's got more dramatic curves and the ones we created and they're fighting against each other and competing so easy to eliminate some of these. The spacing here bothers me, so I'm just gonna bring it down. But you have this very tall Ah, typography with is very kind of normal height. Typography, I guess you could say and those were fighting against each other again. We have this one, and this kind of has this slab serif kind of look see of these chunky slabs. And once again, you have almost this Ah, conflicting styles here is well, because you think of that newspaper and different things when I think of a slab serif like this. So we're left with just two mawr and I definitely kind of know the one on the bottom is gonna be a better fit, because it's then it's got some roundness to it. But it's also thin enough to have enough contrast between the two. It's a very simple style, too. Let's eliminate that, and we kind of have our typeface chosen ends up being quicksand. So we have quicksand, and we have this antique typeface were kind of picking out what are font pairings were gonna be, and we can figure out sizes of video a little bit later. I'm liking how this is coming together, but we need to really assess everything about it. So we have our arrow. I like the position of that. We have some nice font parent going on. We were able to work in that second word, But what can we do to make this more have more movement and have more character? Because right now it seems good, but it's missing an element of motion movement youth, and we need to incorporate that somehow. So let's create some different versions to see if we like it this way, or maybe even slightly slanted to show movement. So this is part of the concept process. In my sketch, you could see how I tried some more angled typography. And I want to kind of try that here in Adobe Illustrator as well, because those came up in my sketches once again. Another reason why to go back to your sketches and see if you were starting to work on kind of some styling there how we could do that in Adobe Illustrator. So in this case, I want to slant everything, not video, but just flux. So let's use our warp tools. We're gonna go upto object, envelope, distort and let's we could see if we have a default warp option. But let's do Ah, let's make with mesh and let's do a very, very simple mesh. Just one point for row and column. And we could preview that, get a direct selection tool and just kind of select this one and shifted over. And let's line that up. Let's make this a nice straight bend. We'll do the same angle here. Nice straight. Bendis adjusting This warped. I kind of have to adjust our other typography here, so I think that added a lot more motion to everything so you can kind of see before and we can compare after right here we have before and after. I don't have the arrow on the top one, but you can kind of get idea of the basic typography. And I definitely think the one down below is the way to go. And this is how you slowly refine your logo. It's one stage at a time. It's one change at a time. So you noticed how we spent some time on font pairing and now we're spending time on style , and then we're gonna be spending time on color. So all these come in stages. You can't do all of this at one time because you have to process each stage to make it more digestible for you. As a creator, you're not like what colors do I choose? What? You don't worry about that yet. Just do this one step at a time and eliminate ideas that aren't working and keep the ideas that are working. That's the whole idea of this entire worksheet is to take a lot of ideas. Find out the ones that work refined them, continue to refine them, eliminate things all the time so you can get to that final local concept that you need. That's all what we're trying to do. And right here you can kind of see this is on the worksheet that you can download is just playing around. I also decided to eliminate the left arm just to try a different version. Why not? And I've realised it looked like upside down J. And it wasn't really working really well because the F no longer became an F. Since we already changed the right side of the F When we eliminated the left side of the F it, it started to lose its identity as an F, so I quickly was able to eliminate that idea. It also changed the size of the arrow because I felt like the arrow wasn't coming out enough. So the big size made it look kind of clunky, and I decided to eliminate that option as well. Also decided, put spacing. So instead of having that overlapping arrow that we had in the first version, I wanted to create some spacing so that it didn't overlap, and that ended up being a mistake, because now the F is all by himself over to the left, and there's just way too much inconsistency with spacing that I had to eliminate that option as well. And we also need to explore this second concept. So that was the first concept we've been working on. And now we have this idea of the arrow. There's this natural, wonderful white space that's created between the U and the X, and I know I wanted to explore that. So I had combined a You in the X is one character and filled it in with just a simple shape over top that will eventually punch out. So then I tried different positionings, and so I decided, well, instead of just putting it where everybody would expect it. What if I put it also one on the outside to create kind of this double arrow movement to the right, and I saw it. It might be a little busy that way, and the fact that you have an arrow pointing this way in the air, pointing that way. This part bothered me because I felt like there was this this poll of direction to the left , into the right. It didn't feel smooth. It felt conflicting. So then I reversed it and said Okay, well, let me go with the movement. But now we have arrows going left and right, and it starts to lose. The idea of being a play button is a play button only exists pointing to the right doesn't really exist pointing to the left unless you want to go reverse. And so I just wanted to keep it just is one arrow And so I went with what would was my first idea, and that's okay, That was part of my sketch, and that's okay. If you didn't evolve it anymore, that's OK. I think it worked the way I sketched it out. So where these two concepts now and you could see the refinement process, how he slowly worked through some ideas, made things bigger, spacing to be able to come with something that I think we can refine to the next level 7. Picking your Final Concept: Now it's time to move into Face four, which is picking your final concept, and we're getting pretty close to bringing the client into the decision making process with us in your goal at the end of this page is to choose the final concept and variation of that concept so you can explore more details like color and arrangement, adapting the logo to smaller spaces like horizontal, vertical and square spaces. It's gonna be very helpful of determined in terminating which logo is the most flexible, adaptable and viable. This page is all about finding out your logo flexibility, and locals that do not adapt very well for the long term may need to be revisited in terms of concept and structure. So here we are. Phase for this is the time where we start to apply this to square spaces. We start to make the logo very small to see. How does it translate as a very small logo? Can we read everything? Is it flexible? Is it realistic? This is the page where we're gonna test this out of two different concepts, the one on left and the one on the right, and there's a little variation of the first concept in the middle, and this is where we need to start eliminating ideas and let's do that spy adapting it to a square icon. That's gonna be a mobile app. So eventually this will have to be translated to a smaller squarespace. But even if it wasn't an app, it still needs to be able to work in square spaces cause there's a lot of digital media profile picks that all existence square spaces. So if your logo can't fit in that space, you might need to find a way to do this so we don't have to put the entire logo into a square space like this. So let's take this example. We're gonna copy it, put it in your typical squarespace. So a lot of people could do this and their logo could get away with it. I think here you start to lose a little bit of the arrow there, and we're gonna have to figure out a solution for that. But this could work. But if you have a long name, rarely two people fit the entire brand name on this little square icon or app. A lot of times they use a symbol or they use a brand asset from their logo design and bring that into the icon to represent the company. So in this case, instead of doing this, we could take this f symbol, and that could be the symbol that helps represent our logo. So we're starting to kind of think about branding at this point and let's make that a little bit different contrast to show that that would probably be a different color. So I think that works really well here. Let's see how the other one looks. So this is the one where we eliminated the arm on the left side and it looks like upside down. J, this is confirmation. This is kind of why we adapt the logo two different sizes because it helps us in our elimination process. So because of this, I just don't quite see it as a standalone f. We're gonna completely eliminate this version. So now we're down to our two final concepts. We only have to tow work with here, which makes life a lot simple when it comes to figuring out color. Here's the problem you have with this version. So you have this Matt vice natural spacing between you and the X, the negative space, they call it and were able to get the arrow in there. But to be able to capture this whole idea and concept, we're gonna have to bring this entire block in to test it out. So let's make that a little bit of a lighter color. So as you can see, it looks like you X. It doesn't look like flux, so that's an issue. And if we were to bring the whole logo in here, let's bring it in and do the whole law because not a really long word, so I could get away with it here. But you can't always get away with it now. You can see it, but it's It's pretty small when you zoom out. It doesn't have the same impact as just that simple f with the arrow. So because we were able to do this, were starting to realize that perhaps the left concept is stronger than the right concept because of this flexibility of having the standalone icon and symbol that could be used as a brand asset later, let's do one more test. Let's bring both of these low goes down, let's make him really small And can we can even zoom out more? Can we make out everything? Can we read video? Yes, we can. Can we read every single letter? Fl ux fl ux. They both worked really good in small levels. So this is not eliminating anything for me. But it does help me figure out it Does video need to be made larger, more legible? Is there a problem with reading a particular character? I need to fix an address. That issue right now. So we've done a couple of tests here. We did a visibility test, so we made her logo very small and we tested it out. We did a flexibility test. Can it adapt to a square environment? And eventually we're gonna need a have a horizontal logo. The logo fits in this nice vertical space, but we're going eventually need a horizontal logo if we need to put it in really narrow horizontal spaces, especially in the top of an app or a website, we need to kind of be able to adapt that. So that's another adaptation we're gonna need to be able to do down the road and so there's one more test We did a visibility. We did a flexibility test. There's more more tests to do. Does this logo mark and logo type doesn't hit the target market or satisfy the clients desires? So does the logo fit with what the client was requesting in the brief? Does it fit with the target market of the client's company? If you don't know this information, you need to work with the client to be able to figure out what their target market is. Age demographic are. They could be mostly male female. If the style you feel doesn't match with what they're looking for, you need to go back and modify it a little bit before presenting to the client. This is probably one of the things that I think a lot of designers skip is. They get excited about how cool the logo looks, how flexible and trendy it looks. But they forget to go back and go. OK, what did the client request? Did they send examples to me of the kind of style they like doesn't match up with the style that they are expecting? Because the client has a certain expectation and if you fall flat or fail on that expectation, they're gonna be disappointed. It's gonna be a struggle to continue to get the logo approved. So we also need to keep this client requests and mind anything that they've request today. I don't want a mascot. I don't want this. Make sure that that you're following client requests, but you're also hitting their target market. That's really important, because if the logo can't hit the target market, it fails. It's not converting new customers. It's not making new sales. So this is when we have to be careful that our logo has to look really good, has to be flexible. But it also has to translate to more money, more profit for you or your client. Whoever you're designing the logo for, it has to be a positive impact on the brand in the company, and that's gonna be hitting that target market. So in this case, we have a young demographic, you know, 18 to 35 or so. They're gonna be mobile. They're gonna have their iPhones. They're gonna be very video driven, very image driven. So I think we have something really simple, but also it's not necessarily gender specific. I think it's gender neutral Cirque, and it kind of reminds me of some of the examples they supplied us in the client brief. Just really simple San Serif typography. There's nothing fancy or high end about this brand. It's a very approachable brand, so it's passed a couple of tests, or at least my own personal tests, and that test can be different for you as well. But these are the three that I really, really focus on, and we have this one issue before we move forward. And this is where doing that flexibility invisibility test really helps us. This is the issue. So remember when we had this issue about this overlapping arrow in the L, I feel like it gets lost. And so I had a solution prior, shifting that f over to give more space. But it looked really awkward, so we're going to need to figure out a solution for this. So let's figure out a solution off all this concept. Just one more step, and I think we'll be ready for color. So let's make a copy of this so we can always look at our original for comparison. I had an idea. What if we were to kind of displaced this or remove an area here in the l and have it be cut out? And that way, when you have a little white space there with the arrow, it's not gonna be overlapping the black and it's gonna have its own little carved out area . So what I want to do is I wanna basically cut this out perfectly. So I'm going to use the path offset path tool to do this. So I'm gonna go upto object path gonna offset the path here. It's to a preview, and we want to do a positive. So gonna erase that negative sign subtraction sign. That might be the right thickness, but we're gonna have to test this out. So let's do a 0.3, maybe something in the middle of two and three. So 25 inches. Course, he might not be in inches. So now we have two shapes here. We have our original shape and it expanded the path or offset the path. So now we have this bigger shape and I can select the l and get thes shape color tool. It's hold down option. I'm just gonna erase that particular area of the shape. So now we have this nice, beautiful cut out that follows the same shape and curves as the arrow. So let's compare the two. What do we think? Works better? We have the top one and we have the bottom one. I think the top one is a better improvement because it's ableto have that cut out space, and there's no overlapping of a color on black or whatever colors we decide to use. They're not going to be overlapping, which could give us a lot more flexibility when we apply our color. 8. Grid Work: way. Have something a little more final here. So we have this. Ah, we have everything slanted to show movement. We have zero cut out. We have the type choice, all selected. And now it's time to grid this because right now we did a lot of grading before to make sure the currently or the spacing was good. But let's really grid this out so we can really refine this a little bit and this is kind of bonus. So I have This is a bonus section. You can use grids and really get down to little small details if you want. Or if you want a more natural organic feel, you can skip grating altogether and have something a little more interesting. But since this is a pretty everything kind of lined up pretty nicely, let's just apply it to the grid to really just make sure we have the correct spacing between elements. So I'm just gonna put on our grid. I could adapt this to the grid, putting the bottom right about here. I just kind of just putting it on a particular spot here. I like to start with the baseline down on the bottom So now we can go in and go. Okay, that's baseline. We can even take some of these elements and even do an alignment down at the bottom, so we know they're all aligned. It might have to do some hand stuff. So let's go down. Bring this down. See how this overlaps the baseline. That is okay, in this case, typography. There's some parts of the typography that can come down and escape that baseline, and that's probably a good case there. Let's make sure everything on the top and sometimes you just take a square. It's going to make sure everything's aligned properly, taking a box kind of my cheap, cheap, quick way to do it. And we know there's equal spacing here because we did the pat offset path tool and was able to carve that out perfectly. And, you know, you can even check the distance between these two items. So I'm just drawing a simple line, and I'm going to duplicate this and to see how it compares over here. Is it the same sizing? Does it need to be adjusted? A little bit Looks like, and I'm probably making these different colors will help to So you could see there's a little bit of a difference here. So what if I move this over? And these were just really small, almost down to the pixel adjustments. But just little things to think about when you start to really make this really big on banners. Thes small little details really matter in terms of spacing, and we can start to kind of draw some lines here. So I'm just gonna get kind of generic line. I'm gonna hold down shift after I click once, and I'm able to make a perfectly straight line. This is just gonna help me visualize everything, and we could just duplicate that. I'd like to put it right here on this, a sending line. Let's do our cap height right there. And that extends outside. That's okay. That's kind of the similar way this you dips down and the F dips over. That's a very common typography thing. You see, not everything bumps up because if we were to have the f come down here, then all of a sudden the Ellis dominant and we don't want that, and that's why we have that little bit exceeding over the top and you can get really detailed. This is really up to you to help you find areas. And I'm just kind of seeing how the width of that can match maybe the width of some of these strokes not going to do some diagonal because we have a lot of diagonal movement here . So I'm just gonna make a line. And if you had a very curvy symbol or logo, you can do this with circles as well. You'll see that done frequently, bringing this over, and I'm just kind of doing each line, just making sure they're all the same all the way across. They have the same angle course we did an envelope warp, so they're all going toe match because we did the same warp effect on all So, so far, everything's lining up really well with this particular one. Let's do this. You could even do the shape of the triangle. But I already did that with the grid, So I know that's kind of a perfect triangle shaped with an angled the same way that the characters were. So now when it comes to placement of video, that wasn't really necessarily finalized. We had a great carved out space for it. But now we can find out the perfect spacing for this using the grid technique. So what I'm gonna do is I'm gonna draw a box here, Gonna fill this in. Let's try like a pink or something that we haven't used yet. And we're just gonna reduce the transparency so you can see everything and this is gonna help. Died replacement. So we have this nice angle here of the U. Let's angle the tip of the V right here to right there. Let's see if we can't extend that up, right? Just bump it up right there to that line. So now we have kind of some lines that we can use as guides. There's also this nice align here on the grid that I could put the bass line of the video on, and you could even get crazy and even have a letter in each slot. But I think I like the spacing already between the lettering. We could extend this, go out and have a bump up right up. Against this end, we were able to frame video and a great way because we're able to use a couple of these diagonal lines when we created it out. The grid doesn't look pretty, but we can carve all that off and use the shape builder tool to make all those lines, even for presentation purposes, because it's great to show this to a client because they can really see that you took serious effort to make sure there was alignment and that there was a purpose between the size and the placement of particular characters. So you may end up with something like this is showing that there's equal spacing between characters and we found placement for the video using the horizontal lines. So we're able to take that really seriously. And now it's time to do one of my favorite parts of this whole process that's gonna be getting down to color. So now that we have everything gritted out, we feel very happy with everything. Now it's time to bring the client in on this decision before we get into color, because when you give clients a lot of options, they hesitate. They have a hard time choosing. They go back and forth and they add a lot of revisions to early on. So you wanna present one solid concepts, sometimes two solid concepts to the client, but one to do this on one nice, concise page, and we want to show him the horizontal presentation, a vertical presentation and a square presentation, mostly because we need to show how adaptable the logo is. It's not just a really cool logo. You can put this on all products and digital and print mediums, and now is the time we need to reverse our logo and see how it works on a darker background for presentation, because we want to show them how it looks on lighter backgrounds. But it's realistic that a logo is not always gonna be on white. There's times where it's good to be on different colored backgrounds and photography, and we want to show how flexible it is on darker and lighter environments. So in her presentation, we want to have something just like this. We have a column on the white on white in a column on the dark, and we're showing the flexibility, and this is just one concept. Never put more than one concept on one page, because just confuses them. So what you want to do if you have two concepts. You have two pages and you dedicate that whole page to present the logo in all these different situations. So do I present this in black and white? Yes, because color is gonna mess everything up and we're gonna get approval for color next time . We're to send that a different round of revisions to the client. That's gonna include color options. That's for another time. So is this it? Why don't I present all these flashy mock ups? Well, that's more down the line in the branding process. When it comes to a local design, you need to explain to the client in the email where you send this J peg or a PDF high resolution, Of course, that this is more about getting down to the root concept. It's about the concept over all these flashy things, and we can make it look amazing in the future with polish and drop shadow. Great. Whatever you want to add to your logo, we're gonna get to that later. But just explain to the client it's about finding the core deep value, adding parts of the logo. This is where the core of the logo will be approved and presented. So as long as they understand that that color's gonna come later, that the final polishes and extra stuff that go with it, the more of the branding side of things will come a little bit later. But they just need to be happy with the concept with the idea of the arrow with the idea of the F, and if they're happy with that, we're gonna move on to the next stage. So what I want you to do is this practice. I have this client presentation. If you're doing a different logo throughout this process, put your own logo in all these different variations and in this case added a horizontal presentation. And I was able to use the grid to find out some nice the nice placement for video and a horizontal presentation. And that was his finding kind of a thickness the same thickness as the arm of the F. I thought that looked really good. They're not sought. The site sizing was really good, because video is just not the most important part of the word, and it kind of matches the balance that we have on the vertical presentation. So that's how I came up with that, but I want you to be able to put together what you whatever you're working on now, whether you're working on the same video flux idea or you're doing it told Different Logo, I want you to be able to present this in one page, exported as a PdF or JPEG, an RGB format that's really important to have RGB perform at because seem like a It can look really strange on a client's computer if they're not opening it, opening it up in the right program. So keep everything an RGB for presentation, and this is also a digital based logo, so we're keeping it RGB for now. 9. Color: Let's say the client got back to us and said, We love the idea of the arrow and F We're ready to move on to the next phase if they're not ready to move on or they didn't feel like the concept was strong or they have some ideas for another concept, you're gonna need to go back to the sketching process and start again or to modify the current concept if they're happy with it. But they just had some ideas and changes. That's part of how the SCO's it doesn't always go in this nice, perfect order. Sometimes you have to go back and repeat a couple steps to satisfy the client, and that's very normal. So now that they've approved our idea, now we need to figure out color. And this takes a little bit longer than you think is color combinations. This could come in such a wide variety of color combinations. Which ones do we choose? How to even start to think about color? So this is face six color exploration. And remember, when we're discussing color, it has to work on a dark background in a light background out, and that's why this has two columns because they need the color needs to work on both different situations and so color inspiration could be found by creating a mood board, which is collecting a series of photos together that remind us of the target demographic and things that they would resonate with, and using that as an inspiration for color. Bringing that into color dot adobe dot com and just kind of finding some color combos. That way you could look a trending colors and trending color palettes that you think would be fresh. Or you can figure it out manually by using some of the colors, watches and Adobe Illustrator and just finding combinations on your own that you think would work really well. And one thing I wanted to bring up is you'll notice I don't have any drop shadows. I don't have any Grady INTs. I don't have any Bev ALS. I don't have any layering effects on any of this stuff right now. The logo is still a flat logo, doesn't have any of those effects, and that's on purpose. We're gonna play some really cool effects to this for a different version of the logo later on. But right now everything needs to stay flat because every logo needs to be able to be a flat, simple shape for embroidery, embroidery on T shirts, embroidery on hats. You need to have this simple logo. So it's great to start at the most simple form of the logo, and you can add details later if needed. So what? What I did here is, instead of going the mood board route, I did a mood board kind of just to get some inspiration for sketching. But I'm not gonna use the mood board for color. I do that a lot in some other logo designs. I got to try something a little bit different. I'm gonna go the manual route, and I'm gonna just pick some colors and my color swatch palates. You can download pallets, color palettes as well. You go into your library and look at all these different color palettes that you have access to. You have art history, color books. All these things could be used as color inspiration for you to test out different combinations. And one of the reasons I'm going this route as I know I want to have a dark grey or a dark color for flux. And I'm really just looking for one single color for the arrow and for video. So we're not talking about a really complicated color palette, So I'm gonna try some manual colors out, just kind of get a feeling of what they look like. So this is the example I've tried out kind of kind of a greenish blue color than I tried pink because I thought that b a very strong color for a youthful brand. I started to get worried about spending way too much to one gender over another. Is this natural when you use the color pink so far, orange is really working out Well, my only concern about orange is started to kind of remind me of Halloween. So Halloween is naturally orange and black, and I looked a little bit too close to that sun like Okay, I may need to gravitate away from the dark gray for flux, and that's when you start to change and have two colors. Now you're trying to figure out so you have a base color for flux in a highlight color. So in this case, I thought the purple worked really well here And of course, I'm also doing a different version here. And the only problem with the purple is when I adapted the purple to the dark background. Let me see if I can do that here real quick for you. It's gonna eyedropper tool. You notice I can't quite translate it perfectly. And so this is why you might need to have a different version for the dark color. So in this case, a white would look really, really good here, so it kind of translates a little bit better. You still have this Halloween look, though, so you could even bring out a lighter, lighter purple, which is what I tried down here is bringing out the purple. So you're just testing out all these combinations to see if they work on both environments . I even tried dark purple with a lighter purple, but I thought it looked a little bit to the It wasn't brought out enough. The concept of the arrow was hiding in a similar color palette. So these air in the same family purple family and I felt like we needed to have opposite color to really have that arrow pop out. So continue to play with color and finally kind of deciding on some different colors here. So we're landing on this bright orange high contrast highlight color in a deeper purple so that we can kind of move away from that Halloween color palette that I thought was popping up when I used darker A. So we're making some color decisions that we're gonna present to the client. So what we need to do is now bring the client in on this decision making process and say, Here's the selected color palette. I think as a designer, as expert that I think would work best with your brand, and you can present multiple pages. So do one page for each color palette, so this would be one page. And if he wanted to percent another option. You can present another page on its own page with a different set of colors. But in this case, we're just gonna present the one page because I feel very confident about these color choices because I have worked through a lot of other color combinations already. So what we want to do is we want to present this in a really professional way, so one way to do that is to get our hex codes are RGB and R C m y que ink colors set up. So what we're gonna do is we selected our This is our vivid purple and I like to name colors too. Is a part kind of the branding process there. So we have vivid purple, just kind of a name I picked out for it and you can double click this watch and an illustrator. You have access to all this information right here to the right. So we have our hex code number, which is great for digital stuff in website design we ever seen? Why k for printing and we have our RGB colors. So you just kind of copying that down to these columns. So you have a little bit more of a polish look like you've really spent the time picking out these colors that were not chosen at random. We have orange rust and also Emma starting to explore Grady and options for that added effect. And I am very scared to use Grady INTs that are very strong because it can look dated very quickly. So this very smooth, radiant, and if you look at the Grady int, right, He'll go ahead, bring it out. You'll notice is all in the same color family. We have a dark, medium and lighter hues of purple, but they're all in the same same color family and makes it a very smooth settle. Grading. It's not harsh. It's not two totally different colors put together that can look dated very quickly. So I wanted to also provide some Grady and options to add a little bit a possessor right here I have. This is a greedy int. I just want to took my Grady int tool has tried to find a nice, long extended radiant to really kind of give it a little more of a shine in a three d Look , of course, we're always gonna have a single color option available to the client if they need something flat in single color for printing. So this is where adapting it and showing different colors is really important. How does it look on this purple Grady int background? Since we kind of this is our color palette Now, we're gonna work with just these colors. How does it look on a purple background? You know, what we reverse out this with or would keep that orange. And we have this be white. Also, alternative backgrounds, maybe wanna wanna have that bright orange, be a part of a background for the logo and a part of the brand. This is where you're doing the logo design process, and when you pick out colors, it's almost impossible to avoid the branding process. There's gonna be some branding in anything you do logo design, especially when you talk about color. So this is a little bit of the branding part. Even if you're not tasked with doing the branding, it's impossible to do a logo without thinking about branding. It's a part of what did it what what you do. So we have three different environments. A logo can exist on darker environments and lighter environments and present this to the client. I would not move on to the next stage until you have client approval on color, because clients could be the pickiest about color. Let me tell you, they will want you to explore color combinations that are just not fitting with the brand, and you have to give him those options. You have to work with the client. The client requests blue and gray. You're going to need to give him a version that's blue gray, and hopefully they'll see that and realize the choices that you chose as an expert designer will be the way to go. But it's up to the client. Whatever they choose is the colors you need to work with. 10. Adding final details: So we're almost done. We have two more phases left. Phase eight is adding effects and refinement. So if we wanted to explore more effects, Grady INTs three D shadows. This is exactly when we add there's a final polish touches to the logo. This is after we get approval for colors. So we have approval for the concept from the client. We have approval for colors. So now we can really kind of spices up a little bit. And we need to create an icon that goes along with this because that's part of the local design package for this client little app icon and also the logo itself. So we need to create these in tandem with each other, so we have our colors already picked out for a flat design. I wanted to try out a couple of Polish versions of this logo, and let's focus on this APP icon. We really wanted to pop out because right now it's just flat and we can add a little bit of style to this. So let's do a version that works really well on white backgrounds so it can explore Grady and options here, or the logo just kind of a top down lighting and let's make this orange. And we have all of our color palette saved years we can easily access. Those was creating a slide, radiant to give the effect of highlights and shadows. And so one thing I wanted to explore with this and let me get the grating and at the right angle here, have it be a little bit more top down. I really want this arrow to pop out quite a bit. And what I thought we would do is have a version that had a three D element to the arrow because you have this nice, carved out space. So what I'm gonna do is I'm gonna go up here and I'm just gonna do use my three D tools extruding the ville, and we're gonna go over this. I have isometric class where I go over isometric designs and we do a ton of three D work. So we're gonna go over that in more detail in that isometric design section. So for right now, we're gonna do something really simple to get out of very slight rotation to this and do a preview. We want to have the extrude depth. Be a lot smaller. Just like that. I want to kind of have an upward angle so you can kind of see the three D elements of dis moving my cube. Getting a custom rotation. I couldn't even reduce the extra debt just a little bit more, just like I just want a little pop out of color and it can change your highlighting as well . Great. So just adding that little three D element helps. If I ever want to expand this, make it a finalize shape because right now I could go back to my properties panel and double click on this, and I can change it anytime. But let's say I'm ready and I'm finished and I'm ready to put the final touches on it. You can always go up to object. We can always expand your appearance. That'll kind of outline the three D Bovell effect and kind of lock it in, just like creating outlines. So now it's blocked in, and I can even now that I have expanded the appearance. There's two separate shapes now, so it's just like if I were to draw it with the pin tool by hand, so Now I can take this, apply our color here that we selected and take this color and do the same thing. It's adding little polishing effects. Still have that flat version of the logo, which will be very needed by the client. We can even add a little stroke here was adding a little slight purple stroke, making it really thin. Maybe just 0.25 points. Just add a little bit of outline and we can even make that a radiant tube we wanted to or make it lighter just like just adds a little bit a dimension. We could even do a slight drop shadow. Remember, this is just an extra version that has effects. You still have that nice, flat version you can use. And what drop shadows? Probably if you take in my classes before I love to do very small ones. I don't like these Harsh drop shadows have a lot of students who do that. You do this big, dark shadows and it does tend to date designs. Make them look like they're a little bit older. So notice how we're just using 9%. We're gonna have a tight shadow, tight blurring just enough to help it kind of pop. You see, everything's starting to kind of be a little more rich, a little bit kind of popping off the page, do the same thing with video Bingo, even crazier. And he could do a three D Bovell on this type as well. Weaken Group This together go up to three D, extruding developed to a very small one, but we're going a little bit too crazy here, but just kind of showing you some things that you could do. So let's add. We got this pretty good down. Pretty good. So let's take our simple icon here that we created. Let's make it three d. We want everything to match. Let's also do a drop shadow on this. We already have it on the arrow, but we don't have it here. We could make this one a bit stronger cause it's on a colored background. Maybe not quite that strong. So now we can add a border to this to make it more dynamic. So I'm just gonna copy this background, make it a stroke, make it a little bit thicker, and bring it on over. Mike over app. Icahn designed in more detail in my digital design master class, where we developed one from scratch and size it perfectly to a template. We're just getting the idea right here for this one. That's a great Ian. So let's see if we can't shift this around, add the right angle to it. Now, what we want to do is we want to have to borders, and we're gonna create almost a three d effect with this by creating another one. So we're gonna take this and we're going to do an outline stroke. So it is outlined the border. So we want to have two copies. We want to make this one a different color. So let's reverse everything here, and this is a lighter shade was gonna reduce it just a little bit and just bring it backward into the layering system. And let's do an all outline stroke on these two so we can have more control of ingredients . It's got a path outline, er, stroke. Now they're just objects. Now I could have a lot more control of ingredients. Let's have this be light and go dark on the bottom. And then the one on the inside well, have the opposite, so it's gonna go from dark to light. Do you notice? It creates kind of that cool three d effect. So it just kind of reversed Just basically to strokes outlined the past. I'm just reversed the shadows Highlights to create that cool shadow. Look, office looks like a shadow cast here, and we could fix this up a little bit later. You could see how we're adding little pizazz and we could continue to go down the line. We got a couple of their backgrounds we have to work with. So a lot of these we can just copy and paste and then adapted to the new background. So in this case, we wanna have white. We could use our little Grady int option that we already kind of developed here, even angle and then switch out these colors. You make that a nice bright orange or keep it purple, whatever we want to do. So you to continue that process until you work through all three and you'll notice a couple of different design elements we have here. And that's something where it starts to get a little bit more into the branding process. So if you're hired to do the branding, then this is a great time to start incorporating other branding assets. So what is a branding asset of reigning Asset is anything that exists outside of the main logo to complement the logo or complement the brand. So in this case, his background is a brand asset, and this little triangle thing is a brand assets. So I'm gonna teach you real quickly how it kind of came up with the idea of the triangle original Slanted arrow. It's an aspect of the logo. I thought we could expand further and kind of have created the school background effect. So I took this and I want to make it a stroke and maybe don't make it quite as thick. And all I'm gonna do is go to object path, offset path and do a positive. So it couldn't erase the negative and make it a little bit smaller. So maybe 0.5 inches and even smaller than that, let's 2.2 And then I took the outside shape and did the same thing, and then you do the same thing. You just keep doing this over and over until you get this really deep at going effect. You can kind of see it in action here. You can also see how I'm applying it here as a kind of a brand aspect to really spice it up . And this is the point where if you're just doing a logo, design some of these extras air not gonna be required. But when you want to create craft a logo for a portfolio presentation, sometimes these extra brand assets go a long way in helping you present this in a really neat, polished manner. Take, for instance, this marbled background. I created this easily in adobe Photoshopped by creating a purple document purple color and then overlaying a couple of lighter purple color rose went and use the liquefy tool and did some liquefying experiments and created my own marble texture. This looks really good, as opposed to dis using plain purple as a way to add motion and almost a sense of animation with the background asset. It just makes the presentation overall more rich 11. Exporting Files: We have a lot of different versions of this logo, and let's say we have final approval and client loves the simple flat version and you have this Polish version that they can use for other kind of areas. We have a lot of versions here. We need to export this conjugate very tedious. So be prepared. You're gonna be creating a lot of different files. We have a horizontal version, a flat version, a icon square version. We have black and white versions that we need to be able to supply as well. We also want to present single color ones for embroidery on hats and polo shirts. There's a lot of reasons to have so many different options to give to the client went exporting your files. Not only that, we have to think about supplying them with vector files. So original vector files like this file you're in right now. And Adobe Illustrator. There's also a dot GPS, which is another more universal vector file and also a press ready PdF, which can also be technically, um, a vector file. You also need to think about Web or digital files like J Pegs and P and G's with transparent background so they could start to put this on Web assets like a website. You also need to supply files that work on dark backgrounds and lighter backgrounds. We have her different variations, which which I just went over. We need a black and white version, a flat version with no effects or drop shadows a detailed version if they decide to add three D or do some extra effects to it. You also need a horizontal, a square and a vertical version of every logo you do. And, yes, that is a lot of different files, and they're gonna be over 50 plus files by the end of the process. I like to keep my final local files and folders to export to the client and zip it up So all of a vector folder and then I'll have a digital folder, and then it's further broken down by subcategory sub categories, by variation or type so black and white flat, detailed, etcetera. This will make it easier for you to maintain and find a specific file. If you decide to go further with this client, it's also gonna help the client know. OK, so this folder is digital. This is for print, and then it will be a lot easier for them. Remember to use art boards as a time saver. If your version of illustrator supports our boards, is the great time to use them. Create several art boards and put one logo version in each art board so you can export a lot of different variations at one time instead of having to do one per file, which is what I had to do before they came out with art boards. So make a checklist of the different files your need for your logo package, and this will vary for each client. And make sure you get client approval of the logo before you start to export. Can you imagine exporting over 50 different file types and they decide to make a change? It's happened to me before, and it took me hours to go back and re export all the different files for them because they wanted to do a simple change. So exporting should be the very last thing an interaction you should have with your client For this particular local design project. I made a little sample checklist for what I would probably need for this project. So please feel free to look at this phase Face number nine in the guide to kind of get a little bit more detail about what? How, how this process works. And it's very tedious, and there's a lot there to do. And you may not need every one of these for your particular logo for your client, so you could have half the amount that I have here. Or you can have twice the amount, depending in all the different versions they may request or need. So how do I How big do I make these file sizes? So for vector files, there's not really a specific size because they're all scalable in their vector formats. So I like to keep. But I like to keep him in a standard page size. So if I put AH logo on a 8.5 by 11 inch, I like to do 1/2 a page. So if I can create an art board that's a bunch of half page sizes and export that way, it just just this more of a standard size. But it's not required size because it's scalable. It's vector it could be scaled up and down, so the file size is not quite as important with vector files with Web and digital files. Thes do need to be a specific size, and I don't want to make him too large, because if you make him really large for digital or Web, the file sizes will be too big to use. So with P and G's, I do at least 1200 by 1200 pixels for a large size, but it also export a smaller size, maybe 300 by 300. But remember, these dimensions can change if it's a horizontal or vertical logo, it's just a general size I shoot for, And J Pegs could be smaller than 500 by 500 pixels. It could even go lower than that if the client needs or requests a very tiny digital pixel based logo. So we're pretty much done with the entire logo design process. And if the client wants to continue to go further with branding, this is when we could take our logo and do some different things with it. To continue that branding, I took this hero, did some things with it and This is where we continue to get some really good ideas. Here, have this last one is an example you, but this is also good. If if the client doesn't want to go with the branding process, then you could even create these on your own for portfolio purposes. Yeah, this could be a made up company you're working with, and you could put it on T shirt mock ups. I did instagram Post. You could even do a log in screen for the app and have everything. There's well to kind of show the application of the logo in a real world situations. So there's lots of amazing mock ups you confined on graphic booker dot com. There's so many resource is of places to find these mock ups. I like using Photoshopped mock ups because I can customize them quite a bit. I can change the backgrounds out, and this example. I changed it to our little orange custom made background image, but she could even change the color of the phone if you want to do wanted to do that. And so I just feel like Photoshopped. Mock ups for the most flexible one to use for presentation. So if I wanted to present this on a online website of mine for a portfolio, I can if I want to put on be Hance. Um, something that's helpful along with all these wonderful riel application images is you can create a presentation video, and that's exactly what I did for this. And you're gonna be able tow, Watch that full here in a minute. But I just used a very simple video editing software. It's called Screen Flow. This is how I kind of created it and kind of just brought in certain things. I wanted to have a little animated logo, so use something simple called Screen Flow. And this is a very, very simple video editor for Max courses Kim Tasia, which is for Windows. There's after effects if you really want to go to the next level and animating your logo and doing something really neat like that. Aftereffects is amazing, although it's quite a learning curve to learn. But it's great a great program to learn because it's a part of the adobe sweet. So you have creating a presentation video for your Be Hance just kind of kick off your whole presentation really helps. Video's amazing. It's not something I'm gonna teach in this class, per se I'm gonna teach in other classes are future classes. It was kind of nice to have a little video editing skills to really, really present your logo in your brand and the best way possible. So we went a little further than just the logo design process. We kind of had it a little bit of branding elements, but I'm really happy with kind of how things turned out. We have all of her files exported, ready to package it up in a ZIP file, ready to send it off to the client. We have a happy client who was involved a few times in the process. We're able to sketch out all over ideas, so we feel like we've explored the ideas that are worth exploring. And I feel like this process is complete as a designer, and I could feel confident moving on to the next local design process. And eventually you won't even need this guide. You'll just know it, and you'll just be able to do it intuitively, and you'll be able to cut your time in half How much you spend doing the logo design like this, and then you'll be able to cut it in half, but yet could still charge the same amount and even increase your rates as well. So it's all about just getting used to this process and practicing. 12. STUDENT PROJECT! : So here's your student challenge. I want you to take a logo, and I don't want you to copy what I did. If you did that through the class, that's totally fine. But this for your student project, I want you to take a brand that you really like or appreciate or a real client project. Or you can make up a client project, and I want you to walk through this entire process. I want to skip see your sketches. I want to see how you've evolved the logo. I want to see you picking out and weeding out the right concepts. I want to see you work through the color process, the color selection process, and I don't need to see your exported files. But I want you to practice exporting files and all those different formats and having a nice file system for that. I love to see your logo applied on real world situations like a T shirt, instagram post, whatever that is. Your student challenge is a big challenge if you choose to accept it. I've had a lot of students do this challenge, and I can't wait to see what you come up with. - How much 13. Logo Design Client Presentation Template: I get asked this question a lot by students. How do I present my local design work to clients or in portfolios? I wanted to create a template that can guide you step by step through this process. You confined the files for this template and a downloadable ZIP file at the beginning of the course. First off, there's the template I crafted this toe have several different loud options for various presentations. This is pages representing color palettes, local variations, grid typography, usage and more. This template is meant to be customized to your unique client or logo presentation needs. You can craft shorter 2 to 3 page presentations showing multiple concepts are go more in depth with more detailed local presentations in the folder you confined a sample. Pdf of when I put together for a logo design for a museum that shows it in action. If you open up the Adobe Illustrator template file, you'll notice you have multiple layout options for certain pages. Simply toggle on and off the sample layer to remove the example logo and place your own logo stuff. There. You can add and delete pages to your liking. And yes, this could be open using an updated version of affinity. Designer to you can toggle off the sample layers by going into each page and turning them off. It does open a bit differently, an affinity designer, but most of the file remains usable. There is a detailed guide on how to use the template in the file in the same folder called How to Use Logo Presentation. Pdf. This file gives you tons of great tips and tricks for crafting professional logo design presentations. There are tips on how to export and send the presentation to the client how to handle multiple concepts. Presenting your work that uses golden ratio are grids. How to present color differences between a local presentation and branding guidelines and more definitely worth the read. I hope you enjoy this added resource. I wanted to create something that gave you a head start on your logo and branding presentations, something I wish I had when I first started to do client and professional level