The Logo Design Expert Course in Adobe Illustrator CC - Learn to Generate Incredible Logo Ideas

1. 1 Introduction: Hi and thanks for checking out this logo design master course. This course is appropriate for you if you want to learn logo design and be a master at it. We're going to be using Dub Los to to explore logo creation in this course. And you don't have to be scared if you're not familiar with Ilostrito because we're going to be having a crash course on Ab Lotto. In this logo design master course, we will start by gaining some fundamental knowledge on logo design. We'll learn about the categories of logo design, logo design techniques, and logo design principles. We will also look at a lot of popular logo designs as examples, we will then learn about color theory and how to select the idea colors for our logo design projects based on the brand we are designing for. After this, we'll have a crash course on Adblosreto. But feel free to skip the module if you already know how to use Ilustreto. We will learn how to use the Fibonacci Goodin ratios and Geomet to create really unique logo marks and chips. We'll learn about the creative process and we'll learn how to generate incredible logo design ideas while working on our first logo design project, which is a logo design for an online food vending company. After this, we'll learn how to present our logo ideas to our clients. We'll learn how to use Photoshop, Mokops, and I'll show you how and where to get the pest Macops for free. We'll also learn how to create a unique and organized presentation of our logo idea, which will guide our viewer through our design process. Finally, we work on our final logo design project. You'll be required to bring in all that you've learned so far. I will also work on this project and I'll share my processes and results with you. If you enroll in this course. You'll not just learn so much, but you'll get access to a lot of design resources and files which will assist you in your journey as a logo designer. You'll have access to future updates to this course as well. By the end of this course, you'll have learned all you need to know about logo design. And we'll have created several designs of your own. Good luck with the training and I'll see you in the first lesson. 2. 2 Module Intro: In this module, you'll learn about the fundamentals of logo design, categories of logo design, logo design techniques, and principles of logo design. Kindly download the downloadable resources for this module. Before you continue, please reach out to me via message or in the Q and E section. If you have any questions, I'll love to make this a five star experience for you. See you in the next video. 3. 3 Logo Design Fundamentals: Hello guys and welcome. In this video, we're going to be learning about logo and logo designing. Basically, we're going to be having a foundational knowledge of what logo design really is and how to get started creating really professional logos. What's a logo and what is logo design? A logo is simply a symbol that represents a brand, a company, or an organization. Logo designing is, of course, the process of creating or designing a logo. A logo plays an important role in attracting customers to a brand or a company, And the logo basically sets the tune for how a brand is perceived and by its customers, while playing two vital roles which are recognition and memorability. Now, a logo generally consists of two parts, a logo mark and a logo type. The logo mark is basically the logo symbol, while the logo type is the type phase of the logo, which is usually the name of the company or organization alone, or in some cases, added with some other details. Some company logo designs are logo types alone, and some of them are displayed on the screen right now. It is, however, very uncommon in logo design to see a logo mark existing totally on its own, without a type phase, even though there are some types of logos which we are going to be learning in Fd lessons, which the logotype and logo mark are fused together as one. However, a good logo design will be one that can have its logo marks stunned independently and still make sense even though the popularity of the brand or company also plays a vital role in this, as logo marks of popular companies can usually exist on their own, independently of the logo type and still make perfect sense, use the Apple logo in this case. As an example, we can only see the logo mark represented here and it makes perfect sense. Of course, because we know Apple as a brand we're familiar with. The process of creating a logo is in itself a very critical process as it entails the designer to bring in play a lot of dexterity in combining a lot of things ranging from design principles, methods, client requirements, customer preferences, and lots more. We're going to study the process of logo design and every nature grit in this course. But three things to consider in order to achieve a very powerful logo design are balance and memorability. Simplicity is a major element of good logo design. Simplicity should be seen in all areas of your logo design. Ultimately, a logo must be simple in order to communicate effectively. Of course, communication is the main objective of a logo. Simplicity should also be experienced in the coloring of a logo. A logo should not be too dependent on colors. It should be able to be in black and white and still make perfect sense. Take for example this UPS logo. It has its colors but still makes perfect sense in black and white colors. Simple and the best representation of the brand's purpose. Simplicity should also boil down to a logos, physical makeup, composition, and arrangement of elements. Character, fountain, and most importantly, legibility. Yes, legibility, a good logo should be legible. One should be able to take one good look at it and understand what it's saying. Your audience should basically be able to read what is written simple. These are some good examples of lo good signs based on good and bad. Legibility balance. Yeah, balance is key. Balance as simple as it may seem can be that very slim line between an ugly and beautiful logo design balance is simply the distribution of the physical width of objects, colors, textures and space in a logo. It's very important to make your logo design balanced, balancing affects details like spacing between characters in a type phase and elements of logo design. Contrast in coloring and arrangement of elements in a logo hierarchy, between elements of a logo in terms of size and lot more. All these and more play a major role in achieving the ideal logo design memorability. This goes hand in hand with simplicity. For a logo to be memorable, it first of all has to be simple. The designer should make the logo as easy to remember as possible. Consider the Nike logo, which is just a simple. Consider also the Apple logo, which is just a bitten apple. These are very simple, yet memorable designers have been able to use visual analogies to make the logo stand out and also be simple and memorable. A visual analogy establishes a direct relationship between a design and something that exists in real life, such as what we can see in the Nike and Apple logos. Hopefully, this was a good introduction to the concept of logo designing and how designers should think and also approach the problems of logo design going forward in subsequent videos, we will learn about the types and techniques of logo designing, the principles of logo design, and lots more. See you there and by. 4. 4 Categories of Logo Design: In the design world, we have several categories of logos which the designer or organization can choose from. All the logos you see today fall under at least one particular type or category. As a professional logo designer, in order to do design properly, we need to know these categories of logos and also how and when to use them. In this video, we will be learning nine categories of logos. The monogram or letter mark logo, the word mark logo, the Pictoral mark logo, the abstract logo, mark logo type, the mascot logo, the combination mark logo, the emblem logo, the letter forms logo, and finally the dynamic mark logo. A monogram logo or letter mark is typographic as logo that's comprised of a few letters usually accompanies initials. The letter mark is all about simplicity by utilizing just a few letters. Lettermark logos are effective at streamlining any brand if they have a long name, for example, how much easier is it to see and remember? Nasa versus the National Aeronautic and Space Administration, IBM, HBU, CNN, HP. All these are the initials of a few famous businesses. Rather lengthy names with two or three words. Remember if each turned to using their initials for brand identification purposes, similar to a letter mark? A word mark or logo type is a font based logo that focuses on a business's name alone. Think Visa and Cocacula. Wordmark logos work really well when a company has a very distinct name. Google's logo is a great example of this. The name itself, catchy and memorable. When combined with a strong typography, the logo helps to create strong brand recognition. Also, like with the letter mark, logo typography will be an important decision since the focus will be on your name. You'll want to create a font, or picker font, that captures the essence of what your business does. For example, the fashion libels tend to use clean, elegant fonts that feel high end, while legal or government agencies almost always stick to traditional, heavier texts that feel secure. A pictural mark, or sometimes called a brand mark or logo symbol, is an icon or graphic piece logo, Probably the image that comes to mind when you think logo, the iconic apple logo, the Twitter bird logo, the Instagram camera logo, Each of the company's logos is so emblematic and each brand so established that the mark alone is instantly recognizable, a true brand mark is only an image. Because of this, it can be a tricky logo type for new companies or those without strong brand recognition to use. The biggest thing to consider when deciding to go with a pictural mark is what image to use. This is something that will stick to your company, its entire existence. You need to think about the broader implications. The image you choose. An abstract mark, is a specific type of Petrolar logo. Instead of being a recognizable image like an apple or a bird, it's an abstract geometric form that represents your business. A few famous examples include the Posh Petroleum Star Boss logo, the Pepsi divided circle and the Strip Y Adidas Flower Like all logo symbols, abstract marks work really well because they condense your brand into a single image. However, instead of being restricted to a picture or something recognizable, abstract logos allow you to create something truly unique to represent your brand. The benefit of an abstract logo is that you're able to convey what your complete does symbolically without relying on the cultural implications of a specific image. Through color and fam, you can attribute meanings and cultivate emotions around your brand. The mascot logos are logos that involve an illustrated character, often colorful, sometimes cartoonish, and most always fun. The mascot logo is a great way to create your very own brand spokesperson. Think of them as an ambassador for your business. Famous mascot logo include the Mr. Peanuts by Planters, FC's Colonel and Disney's Mickey Mouse. Mascots are very great for companies that want to create a wholesome atmosphere by appealing to families and children. Think of all those mascots at sporting events and the great dynamic decreed by getting involved with the audience. A combination mark is a logo comprised of a combined word mark or letter mark and a pictural mark, abstract mark or mascot. The picture on the text can be laid out side by side, start on top of each other or integrated together to create a single image. Some well known combination mark logo. The King Boger, Lacust and Tos because the name is associated with the image. A combination mark is a versatile choice for both the text and icon or mascot working together to reinforce your brand with a combination mark. People will also begin to associate your name with your pictural mark or mascot. In the future, you may be able to rely exclusively on a logo symbol and not have to always include your name. An emblem logo consists of a font inside a symbol or an icon. Think budges seals and crests. These logos tend to have a traditional appearance about them that can make a striking impact. Thus, they are often the good choice for many schools, organizations, or government agencies. The auto industry is also very fond of emblem logos. While they have a classic style, some companies have effectively modernized the traditional emblem look with logo designs fit for the 21st century. Think of iconic mermaid emblem or Holi Davidson's famous crest. Because of their lean towards high detail, an intricate emblem logo design won't be easy to replicate across all branding for business cards. A busy emblem logo may shrink so small that it becomes too difficult to read. As a rule, keep your design uncomplicated and you will always walk away with a strong bull look that will make you look like the consummate professional letter forms at the minimalist cousins of monograms. Of course, this logo should be bold and beautiful since it's difficult for a letter alone to convey a clear message. They are also perfect for brands with complicated or long names. Just like the letter Maak, logo typography is also very important in letter forms. Therefore, you want to pick a font or create a font that captures the very essence of what your business does while also hinting at your business name. Just like the Pat logo does to symbolize speakers, letter forms are very scalable. When your logo is just one letter. You can stick it anywhere and have it look equally as good. A successfully designed letter form will subconsciously invoke the full name of your brand in people's minds. Examples include the Mac Lunar logo, the World press logo, and the Yahoo logo. You can see dynamic marks, new H logo. Unlike other logos, this logo adapts itself to the context in which it's used. This means that rather having one standard phone color text combined in your logo. These elements can change, whether on the Internet or on different branding materials. You can be as creative as you want because there are just so many mediums through which to build your brand. You can modify your logo to fit any scenario or make a slew of impressions on potential customers. Also, dynamic logos, keep things very interesting. Your audience will be waiting on the edge of their digital seats to see what you come up with next. The dynamic mark a option for brands in entertainment, media, or creative industries. If your business will have a number of different branches like F, then a dynamic market, a changing color will be a great way to differentiate those parts to your customers. Great inspirations include Nickelodeon, EOL, Fedex, and Google. Now that we've learned about the categories of logo design, we're next going to learn about the techniques of logo design. See you in the next video. 5. 5 Logo Design Techniques: Logo design techniques are simply styles which designers use to represent the logos they've designed. There are lots of techniques in the logo design world, and as many techniques get created by designers, many of the old ones keep phasing out over time. In this video, we're going to learn about 11 popular logo design techniques that have lasted and stay relevant over the years. Negative Spice is a trending logo design technique that tends to spark a lot of excitement at first sight, also known as White Spice. Negative logo technique involves the usage of alternative colors in a graphic to bring forth a dual imagery. In fact, a fair share of designers worldwide believe that this is one of the best logo design techniques. A purpose behind the use of the negative spiece technique is to surprise the viewers. There is an image hiding in this piece which the viewers find out a little meta. This surprises them, and it's the elements that makes such logos stand out and memorable. A flood logo design is one that is two dimensional, simple, and silhouette driven, often designed without highlights, shadows, or intricate details. Flood logos are uncluttered, modern, and simple to understand. Simplicity also means that flat design logos are easy to scale up and down. A company logo has to look good on everything from a business card to a letterhead to a mobile app icon. Thanks to its minimalist element designs and colors, flat logos are perfectly suited to be transferred between medias of all sizes. Not only is flat design incredibly practical, it's also one of the most popular graphic design trends of lead simplified two dimensional designs go hand in hand with minimalism, Another popular design philosophy. Many companies that want to refresh the brand identity choose a minimalist flat logo design, help them get a modern feel. A Hund logo is one that appears to be drawn out manually by the designer. It can help an organization appear more personable or approachable, much like a signature. A Hundn logo makes it seem like someone in the company took the time to personally inscribe a product or a piece of merchandise. Products with Hydron logos don't just bear the mark of their company. They can also look like they've been personally inscribed. Use a undrawn logo to project a down to earth low rustic brand identity. One that suggests old fashioned methods of craftsmanship. Keep in mind that 100 logo has to do with everything that the functional business Lugo does. It has to be scalable, look good in color, green skill, or black and white. And it has to work on everything from digital materials to T shirts, stickers, and business cards. Sometimes 100 logo stands in for a business name entirely and it should also be recognizable in an instant. If you've planned accordingly, your logo will be able to do all these things and also it will communicate to viewers the business it represents. The line art logo design technique is considered by many graphic designers as one of the coolest logo design techniques. Line art is mostly preferred for creating simple logos. This technique involves only the use of line and notinals. This makes such logos unique and memorable. The line art is an image that includes both street and curved lines, and these logos usually display a great deal of minimalism and simplicity. These lines are drawn with tools like the pen tools in a to be illust. Yet another logo design technique that has been doing rounds in the design community and among design jigs is a dynamic letter purse. It's a technique that involves the use of lines that progress from thick to thin, adding intricacy and appeal to the objects Within the design, the designer depends on the line elements to create these logos. There are many thin and thick lines that dominate the logo design. These lines create an image also in the logo. A strategic use of lines makes the logo design outstanding and unique. Often this technique is a good option to create a retro effect in a design. A geometric logo is unique in its focus on simple, clean shapes. They can also feature complex patterns of interconnected circles and squares. Alternatively, there are plenty of simple geometric ship logos too, like the Red Cross logo. The great thing about using logos with geometric ships is that they are often flexible, simple, and versatile. It's easy to adapt a geometric logo for any screen. And a range of colors plus the logo is usually easy to remember because it's built. With familiar ships. Though geometric logo ships may seem simple, they frequently have a lot of deeper meanings to discover. The use of geometric ships in logos helps companies to tell a story with their logos without creating an image that is too complex. The gradient mesh is one technique that has taken the art of logo designing to a new height altogether. This technique involves the use of twisted or bent lines layered over one another to bring forth a sophisticated three dimensional effect. In this technique, a wide array of different vibrant colors are used to indicate how colors change when layered over one another. Graphic designers physically involve this technique to create high end, catchy and useful vibes in a logo. Quite contrary to its complex name. Polygon Abstract is a relatively easy yet interesting technique. It is a triangular shapes and colors represent a full let paper effect in three dimensions without the graphic actually being intrigued. The polygon abstract technique is one of the most common trends in logo design these days. This design technique is the best for brands that believe in redefining the mores of ingenuity and invision. And this technique gives a sense of depth and complexity. The overlap technique involves overlapping of elements in a logo designed to create a three dimensional effect. Color and shading are used in this technique to create the illusion of a dynamic interlock on a three dimensional field. Think be the purpose behind overlapping the letters or other design elements may be to create a sense of the crowd in the Be logo. The designer perhaps wants to represent the effect of the crowd of shoppers in a market. Second known in popularity, the Golden Ratio technique utilizes the Fibonacci Golden Ratio circles to create outstanding logo ships. The intersecting circles which follow the Fibunacci Golden Ratio principle, when arranged together, can create really splendid looking ships and figures for our logo. The golden racial principle to create logos tells your client that you followed a scientifically and artistically proven system. And therefore your design has a sense of purpose and an organized method of creation. A double meaning logo design is a logo that has two distinct interpretations. The logo could have a literal meaning and a hidden meaning that is only revealed when closely examined. The hidden meaning can be a play on words, a hidden message or a pawn double meaning. Logos are often used to convey two different ideas simultaneously and to create a strong impression on the viewer. Memorability is key in achieving a solid logo design. Now that we've learned about the techniques of logo design, we're now going to learn about the principles of logo design. 6. 6 Principles of Logo Design: Logos have become the only way brands can distinguish themselves from all the noise and competition of the logo. Design principles help us organize ideas, concepts, and visual elements to create effective logos. As a designer, you need to create logos that are able to convey the brand's identity, purpose, and nature effectively. Before we fire plus redo and start creating some logo design concepts, you need to understand the principles of logo design. In this video, we're going to learn about seven of them. The most important principles of logo designs are simplicity, relevance, longevity, memorability, scalability, and focus. Now let's look at these principles in more detail. A simple logo communicates effectively. If you can learn only one principle of logo design, it should be simplicity. The principle of simplicity is present in all the other principles of logo design. Because simplicity allows a logo to be flexible, focused, and memorable, a logo must be simple in order to communicate effectively. Of course, communication is the main objective of a logo. The easiest way to achieve simplicity in your logo is probably only words you need and the elements that convey the intended meaning. In the most powerful ways, relevance, a relevant logo connect with the brand's purpose and essence. You achieve relevance by looking at your brand in depth. And this can only be done by researching your brand extensively. To achieve a relevant logo, you must ask a lot of questions about the brand. Questions like who are the brand's customers? What values does it cherish or promote? Who are its biggest competition? What does it wish to accomplish? And many other questions alike. A relevant logo is able to represent and reflect a brand's most important values and ideals in the most direct way. Longevity. The longevity principle in logo design refers to a logo capacity to work well over time. As a general rule, a logo must be able to stand the test of time. A logo design and features must be able to remain relevant while maintaining a timeless quality. Simplicity is a great ally of longevity, and the reason is that the simpler a logo is, the best it can to the pass of time. In other words, the more complicated the structures of the logo are, the less likely that logo can adapt to changing trends or aesthetic values over time. Distinction. Today, everything is branded and we increasingly rely on images to make decisions. Logo must be able to effectively distinguish itself from the competition. The Pepsi logo has achieved distinction. By differentiating itself completely from calcula, distinction can be achieved in diverse ways depending on different factors such as the brand itself, competition, or the market. You cannot distinction to a logo through the strategic use of color or by using a specific style or design. Trend distinction is all about differentiation in relation to other brands, trends, customer expectations, and strategy memorability. A logo that is memorable is effective at promoting and identifying a brand. Memorable logos make use of clever visual analogies to stick to our memory what the use of a logo if it doesn't stick to your head. Memorability especially goes hand in hand. Some of the other principles such as simplicity, relevance, and distinction. I'll give you an example. If you're driving at 50 miles per hour on a highway, you only have a few seconds to glance at the billboard As you drive by, will you be able to remember the brand you just saw? A memorable logo? Helps a brand or message get into the viewer's memory. The best strategy to achieve memorability is probably the incorporation of a visual analogy in your design. A visual analogy establishes a one to one relationship between an image and something that exists in the real world. A visual analogy is really good at summarizing, a log incorporates a visual analogy helps it become more memorable. The Amazon logo is a good example of memorability. The hidden smile in the Amazon logo symbolizes friendliness. These visual analogies can sometimes take a second or two to discover, but once you discover these hidden icons, you'll never forget them. Scalability, the principle of scalability refers to illogo's ability to adapt to different sizes and contexts. A logo should function well in both small and large formats. Illogo should look awesome and convey its meaning in both a tiny embroidery on a T shirt or business card and also on a massive billboard or the side of a triller truck. In other words, a logo must be adaptable. This is what scalability as a principle is all about. Focus, a good logo is focused. It doesn't cramp up multiple competing attributes in order to communicate complexity. An effective logo only features only one or two different visual elements or attributes. An icon, a color, lines, a complicated font, and effects such as gradients all count as visual elements and can potentially clutter up and negatively affect the focus of a logo. Want the viewer to have the burden of considering too many elements or attributes. When the glance at a logo, you want them to see that thing or two that makes the logo stand out and become memorable. To sum it all up, an effective logo entails so much more than just a drawing or concept. You must follow sound principles of logo design if you want your logos to be memorable and distinctive. Once you really understand how these logo principles apply to effective logo design and learn how to apply them, then you'll be able to see you're a professional logo designer now, and that's all we have on logo design principles. See you in the next video. 7. 7 Module Intro: In this module, you'll learn about the color modes in design, color theory, and color psychology in design and branding. Kindly download the downloadable resources for this module before you continue. And please reach out to me via message or in the Q and E section if you have any questions, I'll love to make this a five star experience for you. See you in the next video. 8. 8 RGB and CMYK: Color plays a very vital role in our work as designers. And your proper understanding and usage of it as a logo designer can affect how much value your work gives. Color affects how brands are perceived and a host of many other things. Therefore, it's very important to take a deep dipe into the intricacies of color in design. Before we start learning about color theories and principles in details, it's best that we understand the moods in which we can be able to interact with colors as designers. Therefore, in this video, we'll be learning about color modes. There are two color modes, the RGB color mode and the CMYK color mode. Correct understanding of these color modes and how and where to use them will definitely make you a better designer. What is RGB? Rgb simply stands for red, green, and blue. Computer screens show color in images, texts, and designs with different combinations of red, green, and blue colors. Light is also present in these colors. Therefore, it's not just red, green, and blue, but red light, green light, and blue light. Therefore, anything designed for a screen, from smartwatches to phones to computers should be designed in RGB. Colomde screens display images with hundreds of pixels. Each of those pixels have three subpixels, a red light, a green light, and a blue light. These subpixels light up in different intensities based on the color the pixel ultimately displays to produce a result. The screen you're watching this video on is made up of hundreds of pixels. And these pigxels come together to display the words and images that you are presently seeing. Rgb values are displayed in a range 0-255 meaning that there are 256 levels of each of the three colors that can be combined together to create a color on spectrum between black and white. There are over 16 million possible colors in the RGB color mode, and that's a lot of options. For example, the RGB value for the color black is red zero, green zero, and blue zero. This simply means that there is zero red light, zero green light, and zero blue light. In other words, there is a complete absence of light resulting in to create white. In the RGB color mode, a designer should impute red 255, green 255, and blue 255. This is the highest possible value for each color, meaning that red, green, and blue lights are 100% bright, resulting in the maximum presence of light, which in turn results into the white color. Another way to think about RGB columude is by referring to red, green, and blue as additive colors. This means that RGB creates other colors by adding quantities of red, green, and blue together. Cmyk color mode, not everything we design can be put in front of bright lights. Therefore, designs that are intended for print should be designed in Ok color mode. The name CMYK come from the four colors that make up the model. Ion Margenta, Yellow and key here represents the color black. Since B is taken by blue in the RGB model, the last letter of the word block is used instead of the first block is used in this color mode, because even the purest combination of ion, argenta, and yellow cannot create a fully black color. Cmyk uses subtractive colors, not additive. Adding colors together in MYC mood has the opposite effect on the result as RGB does. The more the color added, the darker the results. Therefore, colors are taken away or subtracted to create light results. This is because the MYC colors absorb light, meaning that more ink results in less light. Combining can margenta and yellow will create a deep brown. It isn't until key or black is added, color is removed completely. The MYC values are measured in percentages. For example, to make the CMC color white, the values should be entered into the design software. As can 100% margenta, 100% yellow, 100% and key 100% In summary, the difference between CMYk and RGB is CMYK is color mode intended for printing with ink such as business cards and poster designs. While RGB is the color mode intended for screen displays, such as displays on smartphones and computers. Rgb colors are more energetic and vibrant because of the light ingredients in them. When we begin to work in a to be ilos crito, we will learn how to choose what color mode to use and how to convert our designs from one color mode to the other. In the subsequent videos of this module, we'll be diving deeper into colors and we will learn a lot about colors in design. See you there. 9. 9 Color Theory: Color is one of the most powerful tools for visual communication. It can influence our emotions, our mood, and behaviors. That's why it's so important for designers to know all about colors, including how to use them. In this video, we'll be learning about the color theory, which encompasses a plethora of concepts and principles which can guide our use of colors. As designers at the helm of color theory is the color wheel, which you might already be familiar with. It's basically an organization of colors, circular structure. The color wheel consist of primary colors which are red, yellow, and blue. Three secondary colors which are colors created through the mixture of the primary colors, and they are green, orange, and popul, and finally six tertiary colors. And these colors emit by mixing primary and secondary colors. Such colors include blue, green, red, yellow, yellow, orange, and many others. Throw a line through the center of the color wheel, and you will separate the warm colors from the cool colors. Examples of warm colors are the likes of reds, oranges, and yellows. While cool colors include the likes of blues, poples, and greens. Warm colors are generally associated with energy, brightness, and action. Whereas cool colors are often identified with calm, peace, and serenity. When you recognize that color has a temperature, then you can understand how choosing all warm colors, or all cool colors in a logo can impact your message. Using the color wheel, designers have been able to develop color schemes such as the complementary monochromatic, analogous, and triadic color schemes to help them create a generous park in color usage while tackling design problems. Complimentary colors, Complimentary colors are colors which appear on the opposite side of each other on the color wheel. For example, red and green. Because there's a sharp contrast between the two colors, they can really make your image pop. But over usage can be troublesome. Using a complementary color scheme in your logo offers a sharp contrast and differentiation. This theory works better if we combine hot and cool colors, like blue, yellow, or red green. It's like a contrast in harmony. When using complementary colors for your design, it is important to use one complementary color more than the other. One of the two colors must be dominant. The other color should simply be a complement, monochromatic colors. A monochromatic color scheme uses a single color, but with variations of tints, sheets, and tunes of that color. This scheme is very easy on the eyes, since the colors literally go well with each other. A monochromatic design is perfect for creating visual cohesion. There are many design elements that go into creating a visual identity. But color will play a major role in defining the brand. When chosen, the color starts, of course, where anything marketing starts, which is knowing your audience. You've got to choose a color that will resonate with the intended audience as well as communicate what the brand stands for. Applying a monochromatic technique to brand identity is a great way to create unity and will make designing anything for the brand that much easier going forward, as all the colors have already been chosen. A monochromatic palette is the perfect solution for honing the beauty of simplicity. It makes the design process itself simpler, and you don't need to combine different colors, and it communicates simplicity to the eye. Even a bright and vibrant monochromatic scheme is simple for the fact that there is no stock variation in color, offering a sense of unity that's inherently uncomplicated and effortless. Analogous colors, analogous colors sit next to one another on the color we. Red, orange, and yellow for example, When creating an analogous color scheme, one color will dominate, one will support, and another will ascend. Analogous colors can give your design a cohesive, monochromatic look. Designers gravity towards these colors because they are simple and pleasient. Using an analogous color palate can create a low contrast design that is easy on the eyes. These designs flow naturally and look immediately cohesive because all the colors go together effortlessly. Analogous colors make great logo combinations because of the sense of harmony. Using cool colors or warm colors deliberately in your analogous designs can create a uniformity that will help your design look perfectly curated. For a warm analogous scheme, you can use red, orange, and yellow, and various hues of these warm colors combined. For a cool analogous scheme, you can use blue, green, or a purple or a mixture of the three triadic colors. The triadic color scheme is very attractive visually and it counts on three colors that are equity stand on the color wheel, for example, blue, yellow and red. They can bring a very interesting visual effect. This option is really popular between artists because it brings high contrast and maintains color balance. Actually, it's not as contrasting as complementary colors, but has more balance and harmony. A triad of secondary colors will look more neutral, and a triad of primary colors will create a vibrant and lively color scheme. When creating a triadic color scheme, it's important to choose one color to be the lead color, and let the other two colors function as supporting players. This keeps the design from being too frenzied and helps create pathways for directing attention where you want it. The red, blue, and mustard of the Firefox logo is a classic periodic example. This color scheme evokes a feeling of contrast, competition, daring, and dash. Yet it presents a harmonious and appealing look. It's completely in alignment with its brand name, signifying the fire of competition and leadership. This color wheel graphic is available as a downloadable resource in this class if you want to take the time to study it better. Another great resource that's available for you online is Color Dot.com This can be an immensely useful resource in helping you create amazing color pellets for your projects using the principles of color theory, which you've just learned. Now we know a lot about color. We know the theories, the guidelines. And we've even seen several examples of how designers have used these principles in various branding we interact with on a daily basis. Now it's time to take a deep dive into color psychology to learn why professional logo designers and branding use the color use. See you in the next lesson. 10. 10 Color Psychology: Plays an important role in how a brand is perceived. Whether it's a fashion brand trying to connect to a youthful audience, or a medical store trying to strengthen its customer trust. The ideal colors can help attract and connect the ideal customers. Color psychology can be used to help build a strong relatable brand. And as local design experts, we must be fully aware of that even as we embark on various design projects. Color has a powerful psychological influence on the human brain with representing different meanings and different emotions. While there are no universally accepted meanings, there are some general feelings that color evoke. For most people. Red color, marketing colors like red can capture attention. The red color meaning is associated with excitement, passion, danger, energy, and action. You might have noticed that some brands use red color for other noun, buttons or for their packaging as a way to stand out on the shelf. In color psychology, red is the most intense color, thus can promote the strongest emotions. Red can also trigger danger, so you want to use the color sparingly. Red is iconic color, used for brands like Coca Cola and Youtube. The colored tends to encourage appetite. Hence, why brands like Coucacula use it often in their branding. They also use words like happiness in their branding, so they can use the colored to build excitement. Youtube likely use the colored due to excitement of watching videos online. Notice how the red part of their logo is the plea button, which can help compel someone interaction. It encourages you to a press plea on the videos. Orange, color in color. Psychology. Orange represents creativity, adventure, enthusiasm, success, and balance. The color range adds a bit of fun to any picture, website, or marketing material it's on. Despite its attracting color, it's not as commanding as the color red. Many marketers still use the color for call to actions or areas of the website that you want to draw the eye to. Orange. Columbine shines through in logos like Nickoldeon and the Home Depot. Nickelodeon is a children's channel, and so the color accurately represents the creativity and enthusiasm that the children show will need through its playful orange color. The Home Depot sells products that can be used for your home. Many do it yourselves. Head to the Home Depot to buy product to renovate their home or make adjustments. The orange color here also represents creativity. Yellow color. Yellow represents happiness, attention, and warmth. Yellow denotes a sunny disposition, and when combined with black, it will quickly command attention. The color yellow is used by brands such as Ferrari and Char. Many people dream of driving a Ferrari. The Lori brand is associated with this feeling of happiness, summer, and a carefree lifestyle. The K brand also uses the color yellow Inter branding. What does buying furniture have to do with happiness? Well, let's look at who's lightly buying those products. Many people who have just bought their first home or are moving out for the first time will need to head to K to buy products, to furnish their home. This milestone is usually filled with lots of happiness and optimism for the new chint, making yellow a great color to associate with the brand. Pink color. Pink is color for brands that primarily serve a female audience in color psychology. Pink color meaning revolves around feminity, playfulness, immaturity, and unconditional love. Some brands have chosen to use the color pink for their product packaging, especially for girls toys. Whereas other brands highlight the color pink in their logo, website design, or to highlight key messages. Since the color meaning for pink includes feminity, it's no surprise that brands like Victoria's Secret and Barbie use the color so heavily. Victoria Secrets even name one of their brands pink on their website, they use a combination of pink, black to highlight key marketing details. Their logo and certain marketing messages also use the color pink on burbs website call to actions are in bright pink color. Their top navigation and drop down menus also shortly use the color. Of course, their product packaging and logo reinforce the feminine pink color in their branding. Green color in color Psychology. Green is highly connected to nature and money growth, fertility, health and generosity as some of the positive colomaning for the color. The colomining for green also carries some negative associations. Such as envy. Green is a great colloption for the health and fitness industries. The use of green is made popular by brands such as John Deer and Roots. John Deer's entire branding revolves around nature. Their product line centers around landscaping, agriculture, lawn care equipment, and more. The color green is so ingreened into the branding that even their equipment is the same shade of green as the logo. That way when someone sees their product, definitely know it's Johnde Roots is a fashion retailer, however, when browsing their banner images and marketing materials, you often find their models in natural outdoor. Their green logo blends well with their natural imagery and helps them attract outdoor enthusiasts as their target market. Even if your product doesn't necessarily tie to a niche, it can use color to help you attract a specific demographic. Blue in color psychology. Blue color, meaning ties closely to the sea and the sky. Stability, harmony, peace, calm, and trust are just some of the few feelings customer may feel about the brand when blue is integrated into its branding. Conversely, you can also carry some negative color meanings such as depression and can bring a sense of coolness and loss of appetite. Some retailers add their guarantee trust, certification, or free shipping icons in the blue color to strengthen the trust aspect. The color is known for tech brands like Facebook, Twitter, and Skype often use the color blue in their market. But retailers like Walmart and RL B also use the color. The blue in the Walmart logo can help position the brand as trustworthy, reliable, and relaxing. After all, Walmart is a place where you can buy groceries and do shopping all in one convenient location. Orlb on the other hand, is a dental health brand that sells toothbrushes. Healthcare companies like Oral B typically use blue in their branding to help people associate the brand with a quality, reliable, and safe product. Purple color in color. Psychology, purple is a rural color. The color meaning for Popul is connected to power, nobility, luxury, wisdom, and spirituality. But avoid is in the color too much as it can cause the feeling of frustration. Some perceive its over use as arrogant. Purple is a color brand like Hallmark and Yahoo use when browsing a website. You'll notice that pop is an ascent color on Hallmark. The logo and the top navigation are popul, but the rest of the website uses a variety of other colors. On Yahoo, the logo, top navigation words, and Yahoo icons like Meal use the popul color. White. Color in color. Psychology. White showcases docent goodness, cleanliness and humility. Designers typically choose this color to suggest a product safety, especially for medical equipment and high tech products. White. The color Asos Adidas used in their marketing on as the words in the header, logo, and background are white. When the background is grey or black, the front is white. And when the background is white, the front is black. On Adidas's online store, the top navigation is black. The use of a white logo helps Crete contrast. Since their background is white, they've chosen to use green as a background for product photos to add another tone to the mix. Many brands we have white as a central color. Tend to pair it with black or green. Black color in color psychology. Black, show kisses, power, sophistication. And try most brands limit black to the text and accents as a primary color. Black may be prominent on fashion websites to convey a feel of luxury. Black is a color retailer such as Channel and Nike use Channel uses black for their logo and has several black and white images on their website to maintain a consistent look. Once you start browsing their website, a thick black top navigation background appears. They use a black font on their graphics for images and for their text. Noticeably, their call to actions are also black. Many retailers in the fashion niche especially use black. Call to action contrast well with white background. Nike also uses a black, white and green color scheme for their website. Their log and front is black throughout their website, thus making the website easy to read, like channel. Their color actions are also black, which draw visual emphasis to add the item to your card. Grey color in color Psychology, green represents neutrality and balance. Its color meaning comes from being the shade between white and black. However, gridos carry some negative connotations when it comes to depression and loss. Its absence of color makes it dull. Green can be used for font color, headers, graphics, and even products to appeal to a mass audience. Apple is an example of a brand who uses the Coloque. Their branding after all, many of their laptops are in green or Cibo tune. As its neutral color doesn't put anyone off on their website. They use the coloque for their header to contrast against a white logo. However, throughout their branding, you see a balance between white, black, and green, which can help maintain a clean, neutral look, age and color. It also plays a role in color preference. Faber Barn, the author of color psychology and color therapy, found that young people tend to prefer colors with longer wave lengths, such as reds and oranges. While older people like colors with shorter wavelengths, such as blue. Johalock'sim study on gender and color preferences confirmed Byron's findings, but also found that many H groups prefer Pop. Now that you've learned what color psychology is and what the most common color meanings are for each color, it's time to apply this knowledge to your work as designers. While many niches have common colors used, such as blue for health care, you don't always have to follow the rules. Consider choosing colors that represent what you want your brand to be all about or what you want your customers to feel when they interact with your brand. In the project section of this course, we'll use all we've learned about colors and we will create some really nice logo designs. 11. 12 The Interface: Hello everyone, and welcome back. In this module, we're going to be having an introduction into Adobe Illustrito. Okay, so this is a logo design course, but we're going to be using Adbllustrito for logo design. So we have to have an understanding of Adb Illustrito. Now, Adpustrito is a design software made by Dub, produced by Dubay. And you can go to your website B.com to learn more about their software. Okay, they're also the producers of B Photo Shop in case you do not know and many other B software, B Lotto is effector design software and it's good for stuff like logo design illustrations and so on and so forth. Okay, we're going to have, we are going to be having an introduction to B Illustrito. If you're familiar already with Plotrito, do well to skip this module, and let's meet in the next one. If you're not familiar with a Lstrito, then we're going to have an introduction into a Lostrito and its tools and what we're going to be using in this course, that's in this module, okay? You can get a Orito from their website, like I said, or you can get it anywhere online. I'm using a DBsrito 2022 here. Okay. But things we're going to be learning will work pretty much in any version of a Bloustrito. When you open a Plotrito, you're going to see an interface like this. This is the interface of Lotto. And you're going to see here where it says create new document or create new. Where you can create a new project, You can open an existing project. You can use this template, okay, or the presets. If you click on this preset here for the letter, it's going to create a document with this size that's 612 by 792 points. Okay. Then we have this one for postcards. We have this one which says, come on, We have this one for phone X. Okay? With the screen size, we have HDV which is 920 by 108. And we have even more presets, which you can look at here. Okay. You can see that we have several presets. We have the mobile presets, we have the web presets, we have the print presets, we have the film and video preset. We have the art and illustration. Okay, whichever one you select, you'll be able to modify the options here. You have the sizes, we have the heighten width, we have the units of measurement, We have points, we have pixels, we have pickars and so on and so forth. And we have quite a number of things here, we're looking at some of the later on. Okay, so I want you to just come and click Create New Document here. And then we're going to choose this one, this preset that four. We're not going to edit any other thing here. We're just going to click Create and wait for Illustrator to create our project. Now you can see this is the four size like we choose in the preset. And we see now the interface of Illustrator. Yours might not be looking like this, but what I want you to do, you just come here to Windows, come to work spaces, and then come and choose Essential Classics. When you choose Essentials Classic, you're going to have it like this in case you've messed with some of the panels here. You can still come to work spaces and then reset Essentials Classic. He's going to reset everything to the default template for Essentials classic. Okay, now we have some panels here. I'll just come here to library. I'm just going to drag it out like this and just delete it. And come and click here where it says layers. I'm going to drag it out like this. You can click here to take it back. I'm just going to click here and drag it to this point. And then when I see this blue outline like I'm seeing here, I'm just going to release it. And now we have our layers here. Okay, So we have properties, we have layers, We have properties, we have layers. Okay. So that's it for how to kind of dock our panels. Okay? Or customize our interface. Okay, now when you look at your left hand side here, you're going to see these things. Now these are what we call tools in to be Los Frito. Now we use tools to perform tasks, to perform various tasks in to be Los To. And we're going to look at a number of them during the course of this lecture or subsequent ones, okay? Now we have quite a number of them. We have the selection two, we have the direct selection tool. Now I'm going to click the other one, which is thectangle two. I'm going to come and track a rectangle here when I click selection tool rather. You can see that I am now able to select things to move things out. Okay, in my viewpot'm scale things up, scale things down, scale things, move them, routes like this. That using this selection to now I just hit control Z four on two. Now we have this direct selection to now this direct selection two is used to select what we call co points. Now these are co points. We see that as we have a rectangle here, we have four points. We have one through 3.4, These are the anchor points. You can use the direction action to select them, to move them, to even edit them using this icon here. So that's how we modify our ships using the direct selection to delete the. We are going to come here. When you come here, you're going to see that we have all of these grid out now. That's because they're all here. That's because they have all been added here. They are already here because we have selected the advanced tool box or toolbar. If we take the basic, we'll see that some of them are no omitted when we come here. We can see that some of them are no grid out, while some of them are no active. Now that means that all of these tools are on our bar here. Not all of them are on our tool bar here. Now the ones that have been grid out are on our tool bar, but these are the ones that are still here are part of the advanced tools. But these are not really important things right now. We can just click here to take it back. Now when we have something selected here, right click, we can see some options. Then we can see the Group option. Now with this group option, we can actually group a number of things when we select them like this and right click. And you cannot see that we are now moving them all together, all together as a group. If we want to select them individually, we'll have to use our direct selection tool and click and drag. Or if we want to use this, it means we will have to enter into our group. Okay, so how do we enter into our group? We have to right click and come to isolate selected group. Now we've entered into our group and we can now move our things or our objects inside our group. Okay, when we click, when we click here and click again. We will now go out of our group and now act as a group just like before. So I'm just going to select the advanced tool here. I'm just going to check some more options now. We have other options. We have the transform options where we can move, we can rotate, we can reflect, we can scale our shapes, our selected objects. And all of these things we're going to work with in the nearest future. We don't need to look at them right now. Now, we also have this one which says range. We can send an object, let's ungroup this, we can send an object to the park. Now when I drag this one here, we can see that this one is approved, this one. But when I read, click and go to arrange and send to pack, you can see that it then comes behind this one. Okay, so that's what we can do with that. I'm just going to go through our properties panel here. Now. This properties panel should gives us properties of what we select. Now, we don't have anything selected, so it has automatically selected artboard. This is our board. Is our artboard selected? Our art board. Now these are the properties of our art. Now we have the document units, which is in point. We have the bow, the number of art boards. We only have one artboard. We can click Edit Artboard. Now when we click Edit outboard, it gives us the ability to reduce the size of our board, increase the size of our artboard, rotate our artboard, We can rotate our output, but we can do a whole lot of other things with our Casie, how it is in the size. We can even duplicate our board when you hold down Alt, and click and hold, and then drag. Okay, also holding down Shift, I'm dragging it straight to the right hand side. It's aligning very perfectly with the one with the original output. Now we can see that we now have two outputs when I select Y two. Here, come here. We can see that we have two at both here at bot one, which is this one, and a bot two, which is this one. Okay, Then we have rulers and grids. We have guides, we have snap to points. We have other stuff here which we are going to look at as we proceed in the course. Okay, for layers we have layers. In adblostreto, you can create your designs based on layers. You can have layers containing different stuff. Okay, different stuff. When you create indosto, automatically everything is created on layer one. But you can add layer and then create your stuff okay, on a new layer or add new stuff on a new layer you can. Let's select this one and come to edit and cut. And then create another layer. And then come here and then come to edit and piste. You see we have now pasted what we copied or what we cut from our own layer into this new layer. So that's how layers work in adbulotreo. And we can actually delete our layers, selecting them and delete. We can delete, we can add, and you can delete. You can select everything and delete. Let's select our ship tool here and drag a ship. And then select the ship, and then come to properties and see some of the properties of our ship. Now when we select this ship down, we can see that we have only here which is called appearance. Okay, first of all we have here which is a tan and that's the name of the ship is a tank. Have transform properties of this rectangular ship. We have the X, we have the W, which is the width and the height. And then we have the Y, okay? And then we have the rotation. We can rotate our stuff here, as you can see. Now we also have appearance. And we have here which is called field. Now this is the color inside the ship and the stroke is the color at the edge of the ship. So as I increase the stroke here, we can see that the color at the edge of the ship is increasing. Now for feel, when I click here, you can add color, can add a color, can add the color here for the stroke. When I click here, I can add a color, add the color. This tool, this color tool is what we call switches. Switches, and you actually look at them here. Also, the Awwches contain color templates, We're going to look at that later on. We have here which is the opacity. Then we click here, the opacity panel will get open. But we don't want to deal with this for now. We can click here to reduce the opacity of the ship, or to increase it. You can see here we have here, which will help us add effects. We will look at this later on and click here. We go to the appearance panel. Now this appearance panel contains our effects and every other thing that deals with the appearance of our selected ship. Now as we select this ship, now we can see that we have stroke. We have the opacity, which is default. Now all of these things are dealing with the appearance of our ship. When we add, let's see effects. We come here and add, let's see Effects. Okay, now we added effects. You click on the appearance panel, we will be able to see, okay, I can't see my effects here. We are actually supposed to be able to see our effect. Okay, Now you can see that the effect was added to the stroke, right? You can see that it's been added here. Okay, so you can see that this is our effect under the appearance, this effect, the one we just added, which is the glue. This effect. We can click here to edit the effect, or we can delete the effect. Okay, so that's what the appearance panel does. It helps us control whatever we see as an appearance of our ship. So we can just delete. Now we can take a look at the menu bar. Now this is the menu bar. And I'm just rushing this because this is just more of an introduction, just so that we can use this tool to create our logo designs. Right? So this is more of just an introduction, so I'm not going to go in depth. Okay, now this is our tool bar. This is our menu bar rather. On this menu bar, we have men, we have menu. Now we have the final menu. On this fin menu, we can actually create a new document. If you click here, we can create a new document. We can close the existing document. We can close all documents. That's all projects. We can see if we can see that we can save a copy. That save an extra copy, we can export. We're going to look at all of this and work with them. Do not worry. We can export. We can load scripts. We set up our documents. Okay, we can exceed, we can print now edit. We can copy, we can piece, we can undo, we can redo piece in front, we can piece and back piece in front is pisting an object in front of another object. Okay, so when I, for example copy have copied this guy, right? When I come to edit and piece in front we have just piested it in front of the copied guy. When I come to edit and pierced in back we have ped behind it as you can see. Come to edit pic in place. We'll place it in the original place with the selected one. When I copy this again in place, you can see that it has placed it in the same position as the original. Yeah, it for this one. Then for objects, we're going to look at objects also in later video. For type, this will deal with our type tool and our type feature which we're going to look at. Also we have the select, we have the effects, we have the view, okay, we deal with our viewport. Actually, this is our viewport and this view helps us to manipulate our viewport. For example, we have zoom in, we have zoom out. Okay, Let's say we're working on a design and we have some of some elements cutting across coming outside our art port. Our viewport. Yeah, when we come to view and we come to trim view, we don't see that. We can only see them inside our art port. Now the other parts which are unneeded have been trimmed out. So these are some of the little things we can do on the view menu. We have other things. We have some tools. We have the perspective tool, we have the green tools. We have many other stuff here which you can actually check out on your own. Okay, we can actually check out on your own to see how to use them. So I'm just going to delete everything here and come to Windows. Now, Windows is a menu. That's the same menu which we looked at in the beginning of this video. Okay, where we added a panel and reset. We didn't add the panel, we actually edited our workpiece. Okay, where we edited our workspace and we reset our workpiece. Let me just going to reset essentials. With this menu, we can actually enable other panels which we can't actually see here. Now when I come to, let's say Align, we can see that we have a plan Align panel. We use this panel to align objects to our and to each other. For example, I am on artboard one, select this object I come to here. It's now aligned to the center horizontally. And when I click to align it to the center, or it won't align it to the center, it actually vertically distribute to the center. When I do this, when I do this, we can see that it has now aligned to the right hand side. When I click here, we can see that it's now aligned to the top. And this one will align it to the middle. Like this guys, this is just now, we can click here and click here to perfectly align it to the middle of our art board. So now this is the align panel, and there are many other panels. We have the gradient panel, we have the graphic styles. Now, some of these panels are hidden here. Okay, we have the magic one panel. We have many other panels. We can actually enable hidden panels, which we cannot see on our viewpoint right now. And we can choose from different work pieces. Okay. We can choose different work spaces. We can reset our work spaces, and so on and so forth. Let's just try other work spieces. When you come to workspace and choose Auto Mission. We can see that now have our panels changed. Now we have actions here, we have library here, we have links here, we have document info and many of the panels here. So that's the automation workpiece. Let's see, the painting workpiece. For this painting workpiece, you're going to see that our brush panel is here, Our color swatches are here, our color panel is here, our color guide is here, and so on and so forth. These work spieces are designed to enable us work on what we want to achieve. If you want to achieve painting, you can choose the painting. If you want to achieve Treacin, we can choose the Treacin panel. If you want to achieve, let's say, general work. We can just have like the essential panel or the essentials. Okay? It's going to just activate the basic tools we need to be able to learn and use a illustrato universally. Okay. Now in the next one we're going to be learning how to start drawing out some basic ships in a Illustritoka. Ll be it for this one. And see you in the next one. Bye bye. 12. 13 Drawing Out Basic Shapes: One on. Welcome back. In this lecture, we're going to be learning about growing tools and techniques in Adb Illustritok. We're going to start growing out shapes, growing out concepts. We're going to learn tools which we can use to trese out concepts, to throw out concepts all here in ad illustrito. This is our art board, like we saw from the last video. We're just going to go through a few short cuts, a few navigation shortcuts, which we didn't look at in the last video, that you get familiar with them, okay, because we are going to use them in this video and subsequent ones. The first one is the zoom, okay? You should be able to zoom as easily as O. That's what I'm doing when I hold down Alt and then use my mouse wheel. When I scroll in and screw out, we can see that I'm zooming in and zooming out respectively. All I'm doing is holding down my A key on my PC or you can hold on your Option key if you're on the Mac. And you'll be able to zoom in. Zoom out like this, okay? And then when you hold control, when you hold control, you'll see that you are now able to go right and left. Okay? Halt. Zoom in. Zoom out, control right and left. Okay? If you hold down shift, you you able to move faster. Faster. If you hold down or sorry, control and go right and left. Okay. Hold down shift. You can see that you're not going faster. If you just use the mouse. We, without holding down anything, you can see that you, you are panning up and down. Of course, holding down Alt again, we make it faster. If you hold down your Space bar. Down the space bar and click on the mouse and move. Now we can see that we are panning around our ship. We are moving around our ship. If we are working on a project and there are little details which require us to zoom in and work on them, we then need to use this. We can zoom in and then use in our mouse and just try to properly okay. So these are some of the very basic navigation shortcuts, which are very important for you to know. We start by using the rectangle to. Okay, from the last video we saw the rectangle to. Now when you click here and hold down left click and hold, you then see this drop down menu come up. Now these are the other options under this one. Apart from the rectangular two, we have the rounded rectangle two. Then we have the ellipse two. We have the polygon tool we have the start to, and we have this other one which is the flare. This one will enable us draw out a rectangle or square, just like how we saw from the last video. While this one will enable us draw around that rectangle, you can see that our edges now around. Not like this one. Okay, When we select our ship, we see icon here or this get here when you click on it. And we can see that we are now adjusting the round deadness of our edges. Now we can click and drag down to make it more round. And we can, I just hope to make it less round. Okay, These are what we do with these we jets, they also work here. Also basically work on every ship. Okay? Even if we were to draw a custom ship, we will still be able to use these with jets to adjust the sharpness of our angles like this. Okay, let me just delete all of these so we can look at other ship tools. Okay, now when I can still come here, right click, we can see the ellipse. I'm just going to shift. And we can see that because I held down shift, I was able to draw a perfect ellipse. Okay, That's pretty much how you draw out. Even this will actually work with every other ship tool Also, let's assume we select this rectangle tool and shift. We can see that we are drawing a perfect square. Okay, back to our ellipse tool. Now, this tool can be used to draw out ellipses. Very simple. Very simple, okay? Then we select it. We can see that it's just a normal ship. And we have the same options as we've had with the rectangle to. Right now we have the polygon to now we can use this to draw out polygons. Polygons. Click when I click. All right, Click when I just click. We can see that it gives me the ability to put in the size or how many sides rather for our polygon. And also the Dutt hit seven here. We can see that we now have a seven side dead polygon when I click also. And then we have, let's say we have it. We can now see that we have been able to create an eight sided polygon or an octagon. All right. An octagon is an eight sided polygon like we all, basically, all you need to do is put in the site and we're going to have them like this. Let's see, we have 20. We're going to see that it's gradually coming closer to an ellipse, right? Let me just try 50, and we can see that it's gradually coming closer to an ellipse. Let's put 100. We can see that we basically have an ellipse, different ankle points like this. Okay, So basically that's for the polygon to. We also have the star two. We can use this to create stars as you can see. We now have these jets also which we can use to adjust the sharpness of our edges or our angles, right, just like how we did before. As you can see, we are also using this here. And we're also using this here, perfect. So for the start, also when I click, I am able to put in the number of points for my star and also the red. We have reduced one. We have reduced you, But I'm just going to allow you to play with this on your own. I'm just going to play with the points here. So let's put six and, okay, now we see that we have a six pointed star, right? Let's, let's make this nine, and see we have nine points. Let's make this 15. We have 15 pointed star. Basically, that's how this thing work works. Okay, let's go to the flare. It creates a flare, but I really do not use so much. It's going to be useful when you want to clear create that sun flare effect. Okay? Just like this. Okay? Basically, that's the use of the flare. Okay? We can see that it has options here. Basically, that's it for this to. This is our shape tools. Right? We also have some other tools which use to draw basic ships which are the ones. Now we have here the line segment two. We can use this to draw line segments just like just like what you're seeing, That's the use of this two drawing line segments. Perfect. Now we also have the two which can be used to draw. I'm holding down shift to get this look. Without shift you can see what. You can see that you have a greater control, this tool, that's the two. We have this other one which is the spiral two which creates the spiral ship click. When you click here, we can see that we have many other options, but I'm not going to mess around with any of these. You can check them for yourself. Okay? All I will do is just show you the ships. Now these tools here all create ships with lines. Okay? They are basically line ships. Don't really have a field color, only have a stroke color. Okay. Now we have this one which is called the rectangular grid tool. And we can actually adjust the grid here. We're going to look at this tool very much and use it very much in later videos. Okay, when we learn how to create logos with grids, okay, it's a very, very popular technique to create logos with grids. When we're going to learn about this tool very well, but basically you just have to know that this is what the tool does, okay? We also have this Polar grid tool, which is also a grid tool and we're going to learn about it. In little views. Okay guys, I also want to learn about something else. Let's just give this field color here. I want us to learn about something else. That's the stroke options. Remember, we learned about our field color here, then our stroke color here. Now I want to learn about stroke options. When you come here, you see that it says when you click here, you see that the stroke panel then comes out. Right now, I'm going to click and drag, drag it outside like this. And I'm going to close this one. We can see that we have our stroke, Now we have the width, or the width of our stroke, we can increase and reduce. Now when we come here, we can see Show Options. Now when we see Show Options, when we click Show Options, it gives us many more other options. Okay, now we have the cup. We have different options for the cup, different settings for the cup. We have the corners, we have different settings for the corners. As you can see it's updating. Right? And then we have this align stroke. And then to align stroke to either center or to either the inside of the ship or the outside of the ship. Basically you can see what we are achieving this, right? Of course here is also the width of the stroke, right? And we can hide options, or we can go ahead and see other options. Now we have the, if you click here, we will then see that our stroke has now been turned into a, a stroke. Okay? We can reduce this like this and see the effect, okay? Or increase it effect. We can. Let's just reduce our stroke guys. This three, okay? Now we can see what we are coming up with here. All right. You can see what we're coming up with here just by adjusting the stroke. Now we also have this one which creates strokes within strokes, or rather dashes within dashes. This one and this one, and this one, and this one, all of them will just make the whole thing more complex. That's how they work, basically. That's it for now. When we come here, when we hit or come to our pen. Now this is our pin write. Click. When we click and hold, we will see other options to write. But let's just walk on the P. For now, we click on the Pinto and now draw out a custom ship like this. Come here and then Reduce. Remove our, we can also remove our Sk here. Let me just do, so that it's not too confusing. Let's assume we have our shape like this, right? And we want to remove the stroke. We can click and then come here and when you see this N, this one here with the line across it, just click here and we have the field color removed, right? While selecting it, we can see that we now have more options here. We have more options here. Remember why selecting this one? We don't have options here. But why selecting this one? We now have more options here. Now we have the arrowhead, and when you click here, you are now able to choose an arrowhead and then an arrow tail. Okay, head and the tail. You can make this known so that it points towards this direction or you can give this one ahead and give this one the tail, right, so that it points towards this direction. We have many other presets, many of the arrow heads and arrow tails that we can use instead of just using this one. Okay, perfect. So you can give this one, now we can see what we have now achieved using this. Of course, we're going to come to look at this pin very much and very soon we have the skill here. Some of these options are really not important, really. I don't use every option and you don't use every option in the Blustrator course, we're just trying to learn the basic things so that we can start creating our logos. All right, now when I select this one here and come to Profile, we can see that we have a number of profiles we can assign to our our line segment or to our ship right now when I click on it and then give it this profile and just boost stroke size like this. You can see that we now have our ship or line copy this profile and click this one. We see that it copies this one. And click this one, you can see that copies this one, and so on and so forth. And you can see that with this option here, we can flip the point the direction basically. That is it. Is it for the Sk options, You can delete everything here, close click, delete. Then now let's come and look at the pin two, right? The pin two. Select the pin to the start to draw. Start to draw. Now you can see that what our Pinto does is it gives us the ability to create custom ships, custom ships. This one has a field color color. Let's just remove the field color. You see what we've created? We've created just a custom ship. All we need to do is to click on the first place and then come to the second place and click. Then we will now have this sharp edge. You can click, click, or you can click and drag, And click and drag. Instead of a sharp corner, we are going to have a curved corner like this. So we can click and drag. Click in Drug. We can basically use this tool to trace out drawings or concepts. We can use it to trace out drawings or concepts. We can see imports a concept for example. I can just come here file then come to please, which is shift control. When I come to please, I'm just going to come to the Projects folder, which is B Illustrator overview. I'm going to select Twitter logo. It's going to be made available to you also to click please. Now we have please our drawing. Now I want to use the pencil to demonstrate drawing or tres, our Tretal logo here. What I would then do is I'll have to create a new layer and then lock this layer so I don't select it. And then I'll draw on this new layer. When I select my Penton in Ok, click on the first place, click on the second place, and drag to copy the curve profile. It mustn't be perfect, but you get the point. So I can come and then want to continue my drawing, but because of the fact that this was a curved one, we see that we now have a cove in order to make it sharp so as to draw what is required. We just have to come back to the same point which we just left and click. Now when you come, you're going to see that this icon appears beneath the pen tool. Okay, beneath the tool. When you click, we can see that it's now toned to an angular point. Okay, It's now an angular point, a sharp point, not coved point any longer. With this, we can continue clicking, dragging, clicking, and dragging, basically. As you can see, we are now treating out our drawing basically. We can also come back and work on the ones or on the point we're not satisfied with because of the settings I did before the story. I closed my stroke panel. I'm going to go to windows and then because of the settings I did here, that's the sentence. We can see that I was not having sharp edges here like this. I was having these edges. I was going to take it back and have my sharp edges. Let's assume I want to work on some other points here so as to make the whole drawing bed look better. I can just click and drag and fit it more perfectly. So that's what you can achieve with the pen. I don't think I'm going to finish up this drawing. Should I finish the drawing? Maybe I'll just finish the drawing since it's not something hard. You can see it's quite simple to use this two. If this is your first time with this two, you only need a little bit more practice before you become perfect. Using this two, I'm going to use my direct selection to and the coveness of this path like this. Take my two and continue drawing out stuff, Draw it out like this. They just come and do this. Take a pencil, click, Click here. Of course we need to work on here. But let me just finish it up like this. Perfect. Now, for this one, I can just like this. Perfect. Now, as you can see, we now have drawing here. We've successfully drawn out our Twitter logo using the P. Now we have this other tool also which is called the Covet to this Coverture is quite similar to the Pento, what it's used in drawing Corps. Click, click, click, click, click. We can see that we've drawn a perfect ellipse using our coverture. Let's try drawing stuff here. When I click here, all the needs to come here and click. Now, see that when I do this, we can see that we now have this. Okay, I'm just going to undo and click again. Let me click instead. Click. Now when I double click, instead of having it curved, we're going to have it sharp. Then I can just continue clicking, clicking, clicking, Clicking. It's easier to create perfect curves with this ship rather than using the Pin tool. As you can see, without having to stress myself, I am able to create an even more perfect curve using this curvature tool with less stress than I did here. That's just a demonstration of how these tools work. I'm just going to delete this and I'm going to look at some of the stuff. Now, I'm just going to show you one more tool, which is called the Pathfinder Tool. I'm just going to give this guy a field color. Then I'm going to draw another ship and ellipse on top of this ship and give different color. What the pathfinder does is it cuts our ships depending on how we want to cut it. Okay, we have to have more than one ship, we have to have more than one ship overlapping on each other. And then we are going to be able to cut out our ship. So we can cut an intersection, we can cut outside and do a whole lot of things. Let me just bring it up. Come to Windows, the part find. Now this is the part finder with this part finder. Now when I select the boot of them and I come to unite, for example, when I unite, we can see that it has united the boot ships. When I subtract minus front, it's going to minus the one in front like this. We have this one which is intersect. It's going to cut out the intersection between the two ships. We have this one which is going to exclude the intersection this. Then we have the other ones also. This one is going to actually divide the ship and now we can actually take out individual parts. If we group, we can actually take out individual parts. That's what divide do we have this other one which is stream, it's going to trim on group. We can actually holding out like this. Okay? Basically you can check all these other ones yourself. Okay? But that's just what I want to show you right now with the part final two. I'm just going to close this panel and delete everything here. Now the next thing we're going to take a look at is the pinto. So we read the pint brush tool, and the pin brush tool is used just like a pint brush. Okay? When I draw out and I just select it and draw around on top, my view pot or my art board, we can see that we are now having a brush top. Okay, when I click and hold, we also have this one. You can check this one on your own, similar to this one, they have the differences For the brush brush tool. This is just what it does, right? It gives us the ability to draw out stuff. It also has its options. Click on it. We're going to have the paint brush tool options. We have this one which is called the Fidelity. It's either accurate or smooth. When it's smooth, it's going to smoothen out our drawing is going to smoothen out our drawings like this. When it's accurate, we're going to get just what we have drawn. Let's see it's accurate now, and we see we are now having very little smoothing. Basically, we have other options here which I'm not going to look at. O, remember this is just a round up. A quick round up. I'm trying as much as possible. Make this video as short as possible. We also have the pencil to the pencil. Two can be found here on this ship two. Okay, Now this is the pencil to physically similar to the brush to you can increase the stok. It also has its options. You can increase the fidelity to make things smoother just like how we saw with the brush to or leave it at very accurate. I am actually done with this one, but I just feel like showing you something very quick. Now, this is the brush pan. Let's assume I have a brush, I have a brush Shook. I can play around with my brush Shook using the brush panel. Let's click here and bring out the brush panel. Now we can see that with this panel, we can apply different presets. So let me just increase the, so can apply different brush presets. Now this was the original one. The original one. We have different other ones, different brush presets. Now we see this one is more of a calligraphic pin. This other one, this other one is dramatic, it's a more dramatic graphic pen. We have this other one which give us rough edges like this. We have the other ones, and the other ones, and the ones, we have a lot of brush presets. Actually we have a lot of brush presets. We actually call them brush libraries. When you come here, you're going to access these brush libraries. And a lot of them, I'm not going to look at them so that we don't waste a lot of time, but you just can look at them, right? You can discover them for yourself and see the various things you can achieve with them. So you can reduce the shop size and then give it preset. Basically guys, that's it for drawing out our ideas in basic ships which are to be illustrated or in to be illustrator. Okay, so in the next video we're going to look at even more interesting stuff. We're going to learn even more interesting stuff in to be illustratokayit for this video and see you guys in the next one. 13. 14 Color and Gradients in Illustrator: Hello everyone, and welcome back. This lecture is more of an introduction to colors and color usage in B illustrito. Also looking at color in a broader sense when it relates to design. Okay, now we're going to be learning how to use the color tools, how to apply colors, and how to use different coloring techniques in a illustto. First of all, I want us to look at color modes. Okay? In case you do not know, colors have moods. Okay? Color have moods. In design, we have two color modes in design. We have MY K columude, which stands for Ion stands for magenta, Y stands for yellow, and K stands for Key, which is black. Okay. Then we also have the RGB columnude, which is the red, green, and blue Columdek. The RGB columude is used when designs are going to be interacted with digitally. It's good for designs that are going to appear on screens, and basically that's it for RGB. It's when designing for screens, when designing for the web, it's good to design in RGB column mode. Why the CM K is good for print media when you're going to be printing posters, cards, stationery, and so on and so forth. You are going to be using the CM column mode because that's the column mode that the printer understands better. Again, even though there are printers, there are new generation printers that understand the RGB column mode as well as they do understand MQ column mode. The RGB column mode is more of a more bigger column mode. It can perfectly fit into digital media that's on phones and on screens and it can also fit into some printers. Okay, that's RGB Columude for you. Why? The MQ Columude is strictly for printing. Strictly for printing. Okay. That's basically a round up of what the RGB and CMake columotes are, what they are used for in Adbloto. We can actually use either of these column moudes for our work. Okay, Depending on our purpose, depending on what we want to achieve. If our design is going to be interacted with just on a screen, we will definitely be going for the RGB color mode, while if our design is meant for printing, we're going to be going for the CMIQ column mode. Okay? I'm going to start by trying to create a new document here. When I click new, you're going to see these templates, right? And we looked at this from the first video of this module. When you come to mobile, for example. Now when you come to mobile, for example, you're going to see templates of mobile. Now when you come here, see color mode and what do you see? Rgb. Any of these ones you select, you keep seeing RGB. That's because it's a template and it's going to be interacted with on a mobile device. Okay. That's why we all have them here as CMYK. If you also come to web, because you visualize the web on the screen, you're going to also see here CMYK. Okay? Anyone I select, you keep seeing M. But when you come to print media and you select any of these templates M, I mixed it, all of this, you see RGB, rather RGB. And then when you come to print, you're going to see CMYK. Okay. For letter, you see CMYK. Cmyk. It means you're going to be using the CMYK to design in your design, okay? And it's meant for print. If you come to film and video, you're going to see RGB because it's going to be visualized on the screen, right? And also art and illustrations. Also RGB. B Illustrator understands this and enables us to choose accordingly. Now we can as well, if we wanted to use this template, this for still use RGB, it's possible to use RGB. We can just come here and then select the RGB. And you can see it's giving us a warning here. You can come in and select the RGB, and then you're going to create our document. Now we can see that this one I have here has RGB. How did I know we can see this here? It's titled, titled right Then bracket, you're going to see RGB. If it's CMYK, you're going to see CMYK instead. Let me, let me just create CMYK documents. Now you're seeing CMYK here instead of R. To RGB and CMYK. And it's actually possible to convert RGB to CMYK and CMYK to RGP, an RGB document to a CMYK document, and also vice versa. How do we do that? Let's assume we have funny design here here with our colors, and it's presently CMYK. Let's just assume we have it here instead. Let's just give this random colors. Okay, so basically we want to change this document from M, from RGB to CMYK. So how do we do? You just have to come to file. Come to file, then come to document color mode. Now you're going to see that's currently RGB, right? So when you click CMYK, you're changing it to CMYK, now it's CMYK. Okay? So that's just how you can change from RGB to CMYK. From CMYK to RGB. Okay. So that's about RGB and CMYK. So the first thing we're going to look at here is the swatches panel. And like I told you before, swatches panels here. And we use it to select colors. We can create a shape to come here and then give it a color. This one will give you new color, white. This will give black on and so forth. You can actually delete a switch. Actually delete a switch, you can create a new swatch. How do we create a new, let's assume we come here to the color pica. Create this color and give you this color. Come here, we can just click and be able to create a new swatch. Maybe let new Swatch, okay. And then now you see it here. It's now called new Swatch, right? So it means if we had a different design or a different color applied and you just select the stuff and come to our switches and then give it this color. Now we can see that now we have this color applied. Right apart from colors, we can also apply other stuff using the switches. We can apply ingredients. Okay. Can see ingredients, we can apply ingredients, We can apply patterns, patterns. Also, there is actually a library for all of these. When you come here, come here, you see that a different libraries of colors, okay? Under this library, we have different switches, so we have different options. We have, for example, this one, which is the art history. If we click ancient, for example, we're going to see the colors under this. You see them. Now we can select and apply, apply, apply, apply. And you can see that we are applying our switches and there are many others. In fact, we can go through all of them for time sick. Okay? They basically will help you in your design. Okay? Like we see this one, it's named Beverdges. The colors are derived from beverages. If you're doing a bag design or a design for a breviage company, we are going to be using these ones. It's going to make sense if we use the ones, okay? This watch, we have quite a number of them. We also have patterns. For example, we can see textile. Textile, we can see nature and then come to flowers for example, Okay, this is actually showing us colors to. Ok, just get this pattern. Okay? When you come to patterns instead, not Michel. Just come to patterns and then you come to patterns, you're going to see different ones. Now you see the niche, right? So we have niche foliage. We have neutral and animal skin, celestious animal skin. And now you can see that we now have animal skins here, so we can apply them depending on the kind of design we want to achieve. Okay, basically that's a round up of what the switches do. Okay, let's just delete this and create something different, give it a color. Now, apart from switches, we also have the Colpo. This is the colopica which we just looked at the other time. Just boost the stroke, the colopica. If you come here, if you double click, you're going to see the Colopica. The Colopica allows us to choose color or more creatively like it gives us more control. As you can see, we just move around and you can see the original color here and the new one we are creating, right? You just have to move this around. This also. You can move this around the slide. It's going to mix colors. You're going to be able to come up with very coul colors again. Now if you click okay, you see that the color has been applied. We have this here, which is the color code. This color code gives us the ability to achieve this exact color on different computer or on a different design altogether. Let's see, we copy this color code. Okay, we copy this color code. And we just come and maybe create something else and give you the different color. All we need to do, all we need to do now to select this guy. Click and then come here and our color, good. Okay, now you can see that we now have the same color here. Okay, so that's the color picker, tod for you. Here we can see color swatches. Instead, it's going to show us color swatches. It's going to show us color swatches. We can adjust like this. We want color modes, okay? We can select only web colors. And it's going to give us a more definite control, okay? As flexible as this other one, you're either choosing this one, or this one. Or this one, or this one. Okay? That's about color car tool. I'm just trying my best to go through all of this quick so that you understand. Now there is a feature I just want to look at here which is the swap feature. Now with this feature, we can be able to swap between the field and strep color, okay? We can make the color color, the field color in the field, color the str color just by clicking here, okay? And it also has its shortcut, which is shift x. If you do shift shift x, you're seeing that we're swapping between the field color and the str color. Okay, That's it. And we also have here where we can select or remove the color altogether. Okay? So that's just a round up of this. Okay? And then we also have the color option here, the color to the color two. Okay? Now, this color two is a color to, right? It's used to select colors. Okay? They have a spectrum of colors which you can select from. Okay? Spectrum of colors which we can select from. Now we can just drag it like this to give it, to make it bigger. And then we can simply just select colors just like this. Just like this, We also have more options. You can come here and choose the color mode here, it gives us more color mode. We have the green color mode. You can choose a sheet of grey from the green scale. We have the RGB, I selected it. We have the RGB, which shows RGB spectrum. We have the HSB. Then we have the CMYK. The web colors like we saw before. We can even invert the color. We can even complements the color. Okay. Yeah. Basically, we can even create a new swatch, so we can create a new swatch like how we saw here. Okay. So these are the simple things you can do with the, with the color to the color two. Let's see RGB. Then let's see Show Options. Now if we click Show Options, we now see that we have more options. Now we can actually use the sliders to further edit our colors. Okay? We can use the sliders to further edit our colors. Now you can see the great colors we're achieving here. We can remove the color. You can give it the black, we give it the white. Basically do things. Here are the coloqu, coloque, just like how we saw with the color to. Okay, basically that's it for the color. We also have one more really important tool which is called the color guide tool. Now, this is the color guides tool here, and all of these panels, you can actually find them here, right? You can actually find them on the windows like we saw before. This is the color guided tool. And what does this tool do? The color Guid tool is it helps us in our selection of colors. It guides us in our selection of colors. Let's assume we come, give this different color. Let's uncheck this, give it this color, right click. Okay. Now immediately you see that our color guide two changes. Okay? The suggestions here change. Now the color guides two suggests colors for us based on the selection we have done. Okay? Based on the color selection we have done. Now, these colors will actually complement our colors in different ways. Okay, So the color guide too, is basically using color harmony rules. Okay, color harmony rules like we looked at in the beginning of this video. So we have to Triad, We have the homologous colors, we have the monochromatic, and so on and so forth. So the color guide tool is actually using these color wheel tools rules. Actually create suggestions for us. So now we can see that here we have the color which we selected. Okay, now this is the initial color which we selected. And then we now have it getting darker. And then, and then the color changing. Right when we go to the left hand side, we are going to see that it gets darker. That's why it named shades here. And when we see that, we go to the right hand side, we can see that it gets brighter, that's why it's named tiny. These are the mid tones are the highlights. And these are the shadows in. Okay? And then these other colors will actually complement our color better commitment or color better. And we're going to look at an example of what I'm seeing. An example of what I'm seeing under here. You can actually select different color harmony rules. And you're going to have different options, different color options to choose from C and C. This will actually help you a lot in your logo design. Remember we said color is very important in logo designs. Also, even though your logo should be able to exist as black and white and seen makes sense. But in many times we often want to use colors. This tool will help us a lot in trying to achieve or select the best colors, the best color combinations our logo. Okay, so basically that's what the color guide tool does. Now I have one little tool which I want you to learn, and that's the drop to the drop. Two is a tool that is used to select colors. Okay, let's assume we have this ellipse and we do not have this, let's say this color we created, right? This custom color we created. And we want to apply this color to this object. How do we do that? We have to select the object, then select the Dropper tool and then come and sample our desired color. Now we can see that it has copied the color and the stroke. Okay, so if you're going to be selecting an object, it's going to copy all the properties of that object, right? That's what the Ydropo tool does. So it's a very simple tool and when you hov around the tool, you actually see a preview of what it does here. Basically, we don't need to spend so much time trying to learn these things. They are quite simple, very simple. When I select my ship, all I need to do is to select the desired color. Now you can see that it has applied the color, Select this color, select this one, and so on and so forth. So basically that's what color picker, or rather the hydro two. Those now we've learned about the color guides two, we've learned about the color two, we've learned about the drop two. Then finally, I think we should be learning about ingredients also, apart from selecting solid colors. Now this is what we call a solid color, solid color. We can also be able to select ingredients, like when I come here and see I select this one for example. Now this is an example of ingredients. Ingredient is a combination of two or more colors. It's a blend of two or more colors. Now we can see that this ingredient has two colors. When I select the ship and come here under the gradient panel, if it's not here, you can find it here. This is the gradient panel. Now we can see that this gradient panel has basically two colors. We can see that it has actually more than two, but all of these are just sheets of this colors. If we delete this colors, we see that the whole thing will not change so much. Basically, this is what we had and we still have with two colors. This is the first color which is yellow. Okay? So this is the first color which is yellow. And when you double click, you see that the opacity is 100% You can reduce it, okay? You can make it 100% And we see the RGB channels now for R is 251, for G is 238, okay. And there for B is 67. And basically that's it. You can also see it here, right? You can select a different color if you want, Okay? And you can do a whole lot of things now for this other one. For this other one, we also have this color. R is 232 is 62 and B is 57. And this is the coloqde. We can basically see that this ingredient is a mix of two colors. Okay? While selecting it, we will see that there is type here. Now, this is what we call the linear ingredient. We also have a dial predent. Okay, Now, this radial ingredient. We blend them in a circular or in a dial manner. We have this one which is named the form ingredient. Now, this is a more complex form of redient. I won't really go into this. Let me just brush it a bit. From gradient is the gradient that is more complex, right? It's just gives us points to place colors in. Okay, So we can put random points on our ship. Okay? This is 0.1 0.2 0.3 0.4 We can add even more points, these points. Now we can give them colors. Okay? We can give them colors. And then we can see how the hooting please out, right? So we can see that we give you this one blue. Give you this on red orange. Let's try giving this one yellow and see this yellow. We can now see that we have a blend. This is a more complex of gradient. We are not going to look at it too much here, but the ones we are more interested in are the ones, the linear gradient and the dial ingredients. Now if you click at ingredient, you're going to have the gradient to selected here. With this two, you can actually manually adjust your gradient. Bally guys, that's it for we can see basically addressing my credent can see the changes are updating. Here we have the opacity, we have the location, basically. That's it for this tools. I actually want to demonstrate the usage of the color guide to in a very simple manner. I'll just come here file and open. Then in the module three, that's Illustrator overview, we're going to see this three D I file. Just open it now. This is the file. This is just a three D representation of the letters. And we're going to be using the color guides to select very good color combination for this. Okay? For this design to come up, we have to have some parts darker, some parts brighter, right? So let me just try to give it a single color and you understand what I'm talking about. Okay, Let's assume we want to give it this color. Okay, Let's just give it this color. And you see that we cannot really say this is I, okay, basically giving it a single color, it means some parts have to be brighter, some parts have to be darker because of the action of light on the object. Okay, now we can see that light is coming from this direction. Okay, Let me just keep this shift x for ingredient. Give this guy an arrow. Let's see. Light is coming from this direction to light is acting from this direction. It means places like this will be brighter, right? Places like this will be darker. Let's select everything and come to our color guides tool. Now, the color guides tool has done the majority of work for us. It has selected colors that will blend with this design or with this red object. Right now, we can see that this color is this color here. If we go to the left, we'll have it D to the right, we'll have it brighter for the darker parts. We can select these parts then give them, so you select this one, will shift, select this one, then give it the darker parts. For this one, we'll make them brighter, so we can make them a bit brighter. And now we can see that everything is blending well right then. Now for this one, we could make it even darker than what we have here. For this one, maybe just play around and see. Yeah, we can then leave this dark. For this one, you can select our Ydrapertol, then come on, select this one here. We can see that just by using the color guide tool, we have basically sheeted our design here perfectly that assuming light is coming from here, Just delete this guy. And then take a rectangle and grow a rectangle as the background of this guy. I'm just going to click here to give it the field color. All right, click and then arrange send to back. Then when I select this guy, now you can see that I can now have different other colors. The background and everything will blend properly. So the color guide tool has not just helped us to select colors that will make this three D design common life, it has also helped us select the color, blend the colors rather That'll blend well for the background. Now we can see that all of these colors are basically blending perfectly with the background. Okay? Basically blending perfectly as the background, especially the lighter colors, right? So basically guys, that's what the color guide tool does for us. So I'm just going to have file here for you. I'm going to just leave it like this so that when you come to work on it, you're going to choose a different color. Okay, that's it for this video on color and color tools and techniques in order to be lost to. That'll be for this one and see you in the next one. 14. 15 The Width Tool: Guys and welcome back. In this lecture, we're going to be learning about the tool. Okay, the tool lost to. I'm going to start by creating a new document. Okay, I'm going to use this one with the RGB again and then create perfect. Now I'm going to come to my artboard two, this is my artboard. I'm going to increase this a bit perfect. Now this is the width tool here. This is the width to what does this we tool does if we hover around it, we can see a preview of what it does here. Okay. The with too helps us create a profile or the width along our path. It, the width along our path. Okay. That's what the tool does, helps us in editing the width along our path. This is, for example, an example of a path. First of all, we can take this 0.5 size, okay? That's the shot size. And then come on, select the two. We select the two and then come to our path. Then click and drag. Now we can see that we are now able to increase the width. Okay, the width of our part. We can actually select it and drag it down here like this, for example. Then maybe leave it here. You can see what it now turns to, right? We can add multi multiple points. We can adjust them accordingly. Adjust them accordingly, okay. Basically, this is what we use our to do. This is what we use our using a drug to duplicate the shape. Okay. I'm going to create another one. We're going to give the lowest stroke size and then set my weight too and just come to the middle or around the middle. Just increase the size like this. Now we can see that we have now been able to create this profile. Okay. We have not been able to create this particular profile. This particular profile. Remember this profile we looked at? We've not been able to create it, just using the. Now, when you select this one, come here, you're going to see that it's a custom profile. It's a custom profile. It's not even here. Okay. That's what we can use the wo to do. It's basically simple. That's just as simple as it goes. Okay, maybe I'll add one more, may increase the size, add one, increase the size a bit, then add one and reduce the size like this. Okay, move this. I'm not really creating anything specific, just working randomly to create something just Grammatic with the with we can see what we've created now. We can see the preview here. All right, perfect. That's it for the, and that's how the works. And I'm going to now, and then I'm going to import or open an existing file. If you come to the folder, you see Leaf, just click on it and open. Now this is a illustration which I just did to furthermore illustrate or show you what can be done or achieved with the. I'm going to let everything here and I'm going to use the smallest stroke size. Okay? Now I'm going to use the add details to our leaf illustration. Let the guy come to the, come here and creates a profile like this. Come to this one, Come here, create a profile. This, come here, The profile like this, I did, it come here. The profile increase here like this. And also here like this. Okay, perfect. This one also, we start by increasing the size here. You can move it down a bit and then create the one here. And create the one here. This other one can actually create a size like this, Like this. Perfect. And maybe for this 12, maybe for this one we can actually, we use a size like this. Yeah, I think this is perfect. Now I think this is perfect and we can work with this. Okay. So as you can see now we have been able to create this with the. Okay. What I should have done initially is duplicate the illustration before I use the W. Okay. So that you can access it by yourself. So let me just try. It's not working. What I'll just do is I'll undo everything. Okay? So that you can have access to this particular file. Okay. I'm going to halt and drag it here. Date, basically. Let me just redo what I did, having this one as a backup, okay? To select the guy. The th one. This one then this other ones. The ones will not have to be too big. This is okay. Yeah guys. Basically you can see how easy it is to create this to That'll be it for this lecture. You can just come here and find this one and practice with it, right? So, see you in the next one. Bye bye. 15. 16 The Shape Builder Tool: Hello guys and welcome back. In this lecture, we're going to be learning about the ship builder tool, not to be Illustrator. We're going to start by creating a new document. Going to choose RGB and Create. Now what is the Shipbulol? What does it do? This is the ship builder tool. Here again, the ship bul tool. And what it does is it helps us create ships. It helps us create ships. Okay, let me demonstrate what I mean. Apart from creating ships, we can actually select colors the ship build to also, apart from helping us in Cretan ships, you can also help us in selecting colors. Let me just add, Shane, give you this color, this one, this color perfect. Let's use the ship build two Now when I select all of them and I select the shipbuilder which is two, I am now able to select the ship and add it with this one. And now you can see what we now have, right? Select this one. Add it with this one. Now you can see what we now have. Let me just do we have the original that without holding anything, just clicking on my mouse where you see this plus icon on the mouse, puss, if you see that, all you need is to click drug, drug and drug. Drug and drug. To add all the ships together undo. One other thing we can do is hold down Alt or Option on the mark. If you hold down Alt, you can actually, instead of adding, you can actually subtract. If I click here, we can see that have subtracted this from the selection. Now here is an empty spiece, that's why it's white, right? When I bring it here, we can see that it's empty. Okay, just down all down at select it first before holding down Alt, We can use this to cut like this. Now we can see that we've cut that out. We can cut this like this. Cut that out. We can cut this like this. Now we can see that we've used the ship to build this custom ship from the ships we had initially. Okay. Yeah. That's basically what we use the ship builder tool to do. We can add ships together once more that once more and add ship together this or we can subtract ships from each other. Okay, That's what we use the shipbuilder too for this. Just depending on what you want to do. It's not only ships. We can even use paths. It must not be a complete ship. So let's assume this is the part we want. We want to remove the sh, or rather the field color. We want to remove the field color and then have this like this. Now we want to then select them and then go to the ship two. Now we can see that when we do this we can add them like this. We can even use Al maybe to delete the whole outline meaning. Now we can see that we've been able to cut the ship along this path. Okay, Perfect. At, apart from cutting or building ships, we can actually use the ship two to add colors. Also, when we select everything, then come to the ship two. Okay, we can then come and select a color. Let's say I select this color. Now select this color. Come and click here, and it's going to add the color. Select this one. Come and click here, it's going to add the color. This one, click here, it's going to add the color to what do we call it? My switches can come add this one. Select this guy at this one, then select this one. At this one, you can see how I'm randomly choosing colors. Okay. This one. Add this one. Yeah. You can see what I have now been able to achieve using the shape to. I've been able to now add colors. Okay. There are different colors added here. Now, while I'm able to do this now, I'll be able to cut or remove out separate individuals like this. The colors, I'm going to be able to remove them like this one after the other, one after the other after adding the colors to the different intersections. Okay. Basically that's what we use the ship, the 24. That'll be it for this video. In the next video, we're going to learn something else, okay? So see you guys in the next one. Bye bye. 16. 17 Transform Options and Expand: Hello guys and welcome back. In this lecture we're going to be learning about the transform options and expand option in order to be illustrative. Okay, start by creating a new document. Create. I'm going to just shift to set my two increase the bits. The first one we're going to learn about is the transform options. Okay? The transform options help us in doing transformations to our objects. For example, we have this object, we have blue right now, we can come to objects, then transform. Now we can see that we have move which will enable us move our object as adjust the horizontal value. Here you can see a highlight of the original and highlight of where it's going to be. When I click okay, we have been able to move our ship. Now we have the rotate which we can use to rotate our ship. Just as simple as this. Then the reflect, which we can use to reflect our ship, we're, we see reflecting our ship or twisting our ship, okay? Of flipping our ship. Rather, When I select this, for example, I just created this so we can see how it works better, Transform and then reflect, we can see how it works better. We click copy. We have two copies, one with the original and one with the reflected version. Okay, We can select both of them and delete. Apart from reflect, we also, we also have scale which we can use to scale our object. But uniformly and uniformly, if we do it uniformly, the horizontal and the vertical will scale at the same time, okay? But if we hit non uniform, we're going to be able to scale the original separately in the vertical, separately. Perfect. Now we also have this other one which is the shear. Okay. This is what it does. Okay. Perfect. Then we also have this one which says transform each. Now, this transform each enables us to transform our ships Individually. Individually. Okay. That what I mean by individuals, We are able to transform the scale and also the move and also the route all on this please also reflect an other transform effects on the two, if L, okay, you'll see that it's now taking our new transform properties. Basically, that's all about the transform properties. Okay, I just want to create something cool. Right now. I just select the star two and created a star shape. I'm just going to centralize this. Align it to the middle, it's aligned to the middle. I'm going to remove the ingredient, the stroke. And then then my points like this make it a little bit smoother, it is perfect. Then I'm going to apply a ingredient to this. I give you the gredentive, the radial ingredient. Come to this place, choose a color. We can see that perently at green scale, come here and give it RGB. I'm just going to choose a color here. So this color the color. And for this other part, I'm going to give it another color. Let's see, let's try different colors and see how they work. Right? So I'm thinking I should go with this color. Perfect. Okay, perfect. So this is the color I have chosen. Maybe I should make this one to darker. Okay, perfect. This is the color I've chosen. So let me just do something comes to object, transform the transform each. Now I want to reset everything here. Let me just bring everything 100, okay, 100. And set 200, 100. Then for the move, let's give it zero and seek. Perfect. Now I want to leave the rotation at 15, then for the horizontal scale, I want to give it. And then for the vertical scale, to give it a, I'm going to click copy it. Click one new version with the new scale properties. Now that's what we call transform again, which is control D. Now this will repeat the transform effect on the current object. Okay, we have the new object selected. If I click transform again, you can see that the new object has been affected, okay? When I keep doing control D, transform control control control D, and keep doing it. We can see that at the end of everything, we have been able to come up with a very nice design, a very nice flowery design, flower like design. With this effect, we can select everything and come here to our gradient mesh tool and then click here. We have now succeeded in reversing our color. Okay, what I would do is I'm just going to shift okay, for my artboard tool and then put down all to the right hand side. For the first option, I'm going to have it, I'm going to have the ingredients, the present gradient reversed. We have the darker version and we have the brighter version. That's one of the things we can do with the transform option. Then the next thing we're going to be looking at is the expand option. I'm just going to shift again to bring this one here. Then delete this guy. I'm using V to select the selection. I'm just using shortcuts. And for the selection two, for the direct selection two, I'm going to talk on short cuts in the end of this module. You know some of the shortcuts which you can use to speed up your workflow. Okay, for now you can use V for the direct selection to and for the selection two and for the direct selection to expand. What does expand? Expand does is it normalizes effect added to our object. Let me explain. Let's assume we have this guy here. This is a rectangle. We don't give it a stroke, Let's give it a stroke of one increase the size. We can see that this is a, is a stroke effect. Okay. I'm just going to apply the expand option to this ship. Okay. And we'll see what it does to expand the appearance. And we're going to have the stroke as a field color. Let's just come to object and expand. This is expanding, okay. We can now see that when I select it, we do not have any stroke. It has turned the stroke to a field color. When I select it group, I will now be able to kick out the stroke like this. This is our field color and this is a true color. And you can see that because of the expand effect, the field color, since it's gredient, it was now subdivided into several ships. Now if we expand or try to open this ship which has the gredient, we'll see that this is now several ships which have now been been added together with several colors to produce this gradient look. So as you can see as I hover around, you can see that several ships are highlighted when I select the guy and release clipping mask. And we're going to learn about clipping masks later on. And then grab this guy to the left hand side. You can see that this is a solid color and there are several of them here. There are several of them here. Okay. What are to be Illustrator has done it has to this Gredentlid ship. Okay. We have different gradients. We have a lot of ships, a lot of ships which have now come together to form the redent. We can see if we keep doing this, we'll keep removing them, one after the other, one after the other. Depending on how complex the gredent is, it depends on how complex the gredent is. This is one of the things that expand can do. Also an also works with effects. If we apply an effect and we apply expand, expand is going to try, it's best to make the effect be part of the ship. Okay, that's basically what expand does. It works with the appearance of the ship. You can expand, expand appearance. Sometimes you see that this expand appearance gets enabled and you can use it if you want to expand the appearance of the expand, something very common that designers use in Abt. We're going to see how to use all of these things when we start working on real projects here in Atto. I'm just going to save this file. Okay, Expand. Or rather let me trans form to run form options and expand. Thank you. Expand. I already have this expand here. I'm just going to see this in the folder so you can also have access to it. Okay, basically guys, that's it for the expand and the transform options here in a B Illustrator. That'll be it for this lecture. In the next lecture, we're going to learn even more interesting stuff. Okay, see you guys in the next one by. 17. 18 Shape Blend and Envelop Distort: Hello guys, welcome back. In this lecture we're going to be learning about ship blending and the envelope distort effect all in Db Illustrator. Okay, Right now I'm just going to click open and come to the folder and where you see Shiplenvelopestort. I file this a Illustrator file. Just open it up. Now we have this, right. So first of all, I'm just going to maybe move this to the right hand side and I will just start to look at the ship blending. Now what is ship blending and what can we achieve with ship blending? What ship blending does is it blends between two or more ships. Okay, so let's assume we have ship one here, ellipse with the blue color. Then we have ship two, which is a star. Okay, so let's use this particular star here with this color. We have ship three, which is a poll gun. Remember the sites 100. So let me just make this four. Okay, I'm sorry. Let me just make this six and see. Yeah, So let's see. We have this 16 and we have it with a different color. Okay, So now we have the three colors. And let's see, we have the final one which is a square. Okay, let's do it like this and see we have in a different color. Let's give it this color perfect. So these are the ships we have. And we're going to use the ship blend effect to blend between these ships. Okay. First of all, we can do this in two ways. We can either use the ship blend tool, which is the two. Okay, so we just need to see, as you can see, a blend these ships together. I'm just going to do one other way we can do this is using the ship blend option here. Come to object, select the two of them. Come to object blend, then make. Now we can see that we have made the blend. Okay, now this. Okay, let's, as we actually did the blend, let's do it this way. This time let's assume actually did the blend. We can furthermore edit our blend. Selecting the blend, we can go to the two. When we double click on the two, we'll see that we have here which says pacing, right? It's smooth color. This is the blending smooth color. We could make it specific steps. If we make it specific steps, be able to blend the ships in steps. Okay, we'll be able to blend the shipping in steps. Right now we have to eight steps. We can make this 100 steps. You can click okay. Now immediately you see that the blending is more smooth, right? Let's make this 500 steps and see perfect. Now you can see that the blending is very smooth this time, okay? So that's ship blending for you. We actually can use this effect to create really cool stuff. Cable. I don't want to go into the details of this whole thing. You can actually still manipulate your, your ships like this. Okay? So this is something you can actually do also. Now there are some other options on the blend. We have revised pine. Okay? Which we reverse the whole blend thing. Okay? We also have this other option which is to replace pine. Okay? Now, this one. Okay? Let me just demonstrate how that one works. First of all, I'm just let, let me release the whole thing. I'll just do a more simple blend between two ships this time. Okay, let me just, this one is created. Let me just select this one. And click here so that we only have the blend here. If we want to use that replace pine option, we will need to have a path. We need to have a path like this. Then we need to select the path and the blend and go to options blend, then we replace pine. If we do that, the blended shapes will follow the path which we just created. That's how to achieve this here in a illustrate to basically that's it about blending and there are a lot of cool stuff we can achieve with this. Fat blending is a very popular trend in design, but this is logo design and we don't want to go into the details of ship blending, we just want to have a basic idea of how this holding works so as to get familiar with Blustto to be able to do our work. I'm done with blending. Now I'm just going to delete everything. We're going to briefly look at the envelope distort effect. Now that's where this ship we have here will come in handy. We have distort writing, but as you can see, this is not a text. We've not looked at text, but this is not a text. This is a ship. Okay. These are ship objects. Okay? Basically to do this, I just typed the word distort and then expanded it. You remember expand? I just expanded it to tone the texts into ships. Okay. How does the envelope distort effect work? Now the envelope distort effect is found here. This is envelope distort. Now there are different ways to handle this. You can either with wrap or mesh or make it with top object. And we're going to look at each and every one of these. When I click wrap, you're going to see what's going to happen. Now, it has given it a rap effect. Now this rap effect makes our object here, a specific ship. Okay? A specific ship. So as you can see, this is the style or this is the profile. So we can see that our ship has taken this profile, right? So we have the vertical. Vertical can increase the bend or reduce it. Okay, This can come handy. And good design also. Okay, we have the vertical, we have theta are some of the things we can achieve with this effect. Let's make zero the vertical. We can increase it. Okay, so let's just leave it like this. Now we have other wrap effects. We have the arc, and this is the arc. Let's make this 10. Let's make this zero. Okay? Now, this is the arc. If we increase the bend like this, you can see the effect affecting the shape here. Okay? Now we have the arc, We have the lower. Now this is the lower, the effect it gives us the upper, which is the opposite. We have the, we have the bulge. Okay, We have the shell, lower shell upper. You can just keep checking them out to see how to behave. Okay, basically that's what we can achieve with that particular type of wrap. I'm just going to delete this. I'm just going to hood out and drag to the artboard so as to work on the other types of distort effect. Now we have distort mesh. Now if we click this, it's going to create a mesh on our object. If you click okay, we're going to see that now we have mesh. And if you come and take our direct selection two, we can actually select points here and move them, select points here and move them, select points here and move them. Basically, this is what we get with this, Basically this is what we get. This, as you can see, you are now able to manipulate them in a custom way, okay? You don't need a profile or a preset like we saw with the other ones or with the last one. That's basically what you get with this one, this type of envelope distort. Let me just walk on the last one which is, which is top object, right? I'm just going to create an object here, ellipse. Yeah, I'm just going to create it on top of our text. Now, this is what we have. In order to use this particular type of p distort, what we need to do is to select the, boot them to object, then go to envelope distort, then go to Top Objects. If you click top object, we can see that our text now fits into this object. Like this, it fits into it perfectly. Basically, it takes the shape of the object above. This can work with different other objects we can. Let me try, let's see. We have this with three sites. That's a trip. Let's try using a triangle. See if it's going to create something es select the good of them to objects. Envelope, dist, top object basically is what we get. This can also come handy in logo design. Okay. Yeah, that's it. I'm just going to delete this one and bringing this one back in place so that you can have access to it and work with it. Right. So I'm going to see, basically that will be it for this video on the ship blend effect and also the envelope distort effect here in to be lost. Three to see you in the next one by. 18. 19 Clipping Masks: In this lecture we're going to be learning about clipping masks to be lost. Clipping masks to reveal or hide parts of a design or an object. Okay, and it's pretty much very popular. Popular, very popular stuff. Like I said, clipping masks help us reveal or hide parts of an object or a design. Let's start by placing a design or a picture, rather, this is a picture we're going to be using. Come to the folder for this module and you're going to see this image. It's titled Pets. And then some numbers to select the image in please. Now you can drag. Now we have the image here. Now we're going to be using this image to create a clipping mask. Like I said, a clipping or clipping masks want or can be used to reveal certain parts of an image while hiding the others. Let's assume we want to review just the head of this guy. All we need to do is to create a ship around the head. This let is what we want to achieve. Want it to be in circular format. The next thing we do is to select the ship. You have to select the ship and you have to select then the image. Then write click. If you do not want to write click, you can also go to Object Clipping Mask and is what we have. You can either do that or you can write click then Clipping mask. Okay? Or you can use the shortcut instead. That's control seven. If you do control seven, it's going to mask out that ship. So as you can see now, all other parts of the picture is hidden. We only have the head revealed. Okay, so if you double click, you actually go into the clipping mask and you can actually it top, you can select the image and move it. Okay? You can move the image or you can move the ship. Okay? You can move the ship. Okay, so that's how we work with clipping masks. In order to use clipping masks, you have to have, first of all, a vector ship. The vector ship has to be the one that will be on top. Okay? So it has to be the vector ship on top and then an image or another ship under it. In this case we have an image. And then we have a vector ship. We can have it like this, select all of them, and then clipping masks as you can see, now we've revealed this guy. Okay, now what if we want to have more than one part of this image marked out? What if we want to have more than one parts of the image marked out Like let's say we want to have this one and we want to have this one like this. Maybe you want to have the parts select everything now, Click, then make clipping marks. Now we can see that it's not working right. It's not working because there are separate shapes. So I just did it. The only way to do this is to make them a compound path. Select all of them. Selecting white wooden down shift. Okay. Then come to object, then come to compound path. And it's also control, you can use control eight for compound part and then control seven for clipping masks. But now they are a compound parts and now they're like a single ship or a group. Okay, We can actually go into them, adjust them individually like this. We cannot select the compound parts and then select our image and right click and make clipping masks. Now you can see that now we have different parts of our image revealed that about clipping masks we can release. And now we have our images, our image pack and our ships back. Basically guys dads it about clipping mask. In the next lecture, we should be learning about texts and how to use texts in how to be lost tweeter. 19. 20 The Text Tools in Illustrator: Guys and welcome back. In this lecture we're going to be learning about the text tool in a illustrito. We're going to be learning how to manipulate how to work the text tool here in Austto. I'm going to create a new document. I'm going to choose this one shift for my artboard to increase the size a bit. Yeah, Now, in order to access the text tool, where we come to now, this is the text to where you see this is the text to, if you click and hold, you're going to see that there are different types of text tools. Okay, we didn't just have one type, we have the type two, we have the era type two, we have the type on the path to, We have the vertical type two, we have the vertical era type two, We have the vertical type on the path to, we have the touch type two. Okay, Let's start with this one. Now. This is the type two. Right now there are two types of types, okay? We have the area type and we have the points type. If you select this guy, just come and click on your Dboard. And then select back your selection to and maybe skill you have succeeded in creating a point type. Okay, this is a point type, let's do this again. Let's select the guy. Instead of clicking on your Artboard and just releasing, just come and click and hold, and D, then release. Now you have succeeded in creating what we call an era type. Okay, this is a point type and this is an era type. Now a point type can skill when you skill the bounding box. Now this is what we call the bounding box. This line you see around it. So it's a bounding box. When you scale it up and down and holding down shift, you're actually scaling of the type, okay? But for this one, if you scale up or scale down, you're not really scaling the type, you're just reducing the area, okay, that's the container. You're reducing the container. So you're not really scaling the text up or down. Okay, if you reduce the container, you're going to have this red widget here, or icon here, or whatever you call it. Now this one will enable you to continue the write up somewhere else. Now, this one tells you that this container contain, should contain more text than is here. Okay? It means there is more, there is left out. Let's assume we hold them out and drag to the left. And then just come here and click here, and then click it here. Now we can see that it continues here, okay? Continues here, because we see this line. We select them, we see this line, okay? Now it means that it continues here to this point. Let's see, I increase this to this point, it's actually much. Let's say I adjust this one also. You'll see that it's adjusting here also, It means they are connected. Means they are connected. Basically, that's about the area type. You can actually edit or convert the area type to the point type and also the point type to the area type. All you need to do is to select the area type and double click here. Yeah, when you double click there, you see that you have now changed it from an area type to a point type. Now when we reduce the size, the font is actually reducing, okay? Same also with this one. You can actually convert it from the point type to an area type. How do we do that? We just come here and double click and now it's now an area type perfect. The guys that is about the two types of type tools when you select your type or when you create your type, you can scale it up when you ski it up. You then come to Properties and you're going to see the character panel here. Now this character panel enables us to edit our text. Okay, now we have here which is the please for the font type. So we can access the phone type. We can change the phone type here. We can also do the same thing here. Okay, I'm just going to use the Properties panel here so we can see that we have a lot of funds. Let's choose this one. It's more dramatic with this font. This fund is called retropharetrophilia. You can download it. It should be a free font. Can just go on Google and type Retrophilialoa. You're going to get the opportunity to download this fund. Okay guys. Now we can see that with this please, we are now able to change the fund. From one font to another. Okay? So it doesn't have to be the default font. We don't have to use the default funds. Now for this one we are going to be able to increase or decrease the font size, okay? So we can reduce or increase the font size. Let's just select the type to here. And then make this smaller, make it 14. Then come and create an era text. Now this is an era type, and let's give it a different font. Let's give it this font so as to be able to see some of these options. Now, this one will increase or decrease the spacing between each lines. Okay, between the lines. It's going to either reduce the spec like we've seen now or increase the spacing like we've seen now. Okay. This one will increase the curing. The distance between each character, okay? The distance between the characters. If it's bigger, we can see more space. If it's smaller, we can see less space. Okay? If you actually come here to Windows, you can actually get and then come to type, actually get the character panel. It's basically almost the same thing as we have here on the Properties panel and it's for the editing of our text. Okay, But when you come here, you are going to be able to see shoe options. Now when you click shoe options, you're going to have more options than you have here. You're going to have more options than you have to have this one which increases the size, will I see vertically? And then this one which increases the size. Reason, tally this. Then you're going to have this one which routes the whole thing, basically. You're going to have a whole lot of other options. We have this one, and this one, and this one, guys. You can just explore these options for yourself. Okay? For yourself. Come on, the here you're going to have where it says paragraph now. This is the alignment to the left. We can have it to the middle, we can have it to the right. We can have these other ones justify with the last line aligned to the left. You can do this for the middle, for the right, and then Central. Just a whole lot of options to choose from O. You can just explore all of this on your own, and I'm selecting back my guy here, my main text. And then if I come here, I'm going to see that I have some other things here. I have filter, okay. Now I can actually filter the funds based on the category of funds I want. If I click this one means I'll only see the suns funds. Okay? These are the suns funds. Because you can see we didn't have the caligraphic funds any longer now. We also have other ones. Guys. Other ones. Other ones, okay. So you can check all of this for yourself here. That's how to filter the fonts, basically. That's all I want to show you here. That's all I want to show you here. We're just going to look at some other type of fonts. We have the area type two. Now this one creates a type within an area, okay, have a ship here. And then select the area type two. And then just click inside. And we can see that the text takes the ship of this object. That's why it's called the area type two. Everything is within the area of this circle. Okay, that's about this one. For this text on a path to it actually creates text on a path. Let's just hit shift X, Give it a slow and then come on, select the text on a path to just click on the path. And let's see, Blue. Good design, let everything you can increase this. Okay. Now we can see that we have our text on a path like this. On this path, okay? We can actually do a whole lot of other stuff with this, okay? We can actually do a whole lot of other stuff with this. Okay? We have options now. We can see that with this you can actually move the text. Okay? If you com