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 come here, you're going to see this icon. It's hard to select type. Now when you see this icon beneath the cuso means you've selected it. Now you can actually move your text along the path, along the path that's the text on a path to. We have the vertical type two, which is just a simple type tool like this, but things vertically. We have the vertical area type two, which is similar to this area type two, but creates text vertically. Then we have the vertical text on a type tool, which is basically a text on a type to what creates text vertically. Basically, guys, that's all that there is for this. I'm going to delete all of this and we're going to look at one last text, two, which is the torch type tool. Now this one enables us to transform our individual characters very flexibly. Now when I come here and click on M, we can see that we now have a bounding box around them. And we can increase the size. We can route. We can actually move it down. We can route route. We can actually rotate like this. Either can select this one, move select this one. This one up, this guy ski up like this. Basically, that's what we can do with this to type tool. Okay. Yeah, that's it for the touch type tool. We have some other options here. These options here. That's the type options. Now, all these type options, you can check them for yourself. Nothing more. Chair, nothing too serious. You can check them for yourself. These type options will affect our type or will help us, furthermore, edit our type to okay, like we have where we can actually choose fonts. I don't want to go to it now because it's going to slow down the computer because I have a lot of fonts. We have many other things here which we can, we can change the keys, can make this upper keke, title keys first letter or each first character capitalized can make the lower keys and so on and so forth. Key basically guys, this is a round of the text tool to lose tall. That is it for this video. In the next video we're going to be learning about shortcuts, I think. Then we're going to look forward to rounding up this module very quickly. Okay, because this is just an introduction. That'll be it for this one and we'll see in the next one by. 20. 21 Shortcuts: Welcome back. In this lecture we didn't be learning about shortcuts in a dub illusdo as advanced or pro lenners or intermediate leners. We have the desire to create works, but not just to create works, but to create them in the quickest time possible. Okay, We like to take shortcuts. We like to speed able workflow. Hence, the use of shortcuts. These shortcuts will help us speed double workflow and get us creating amazing stuff in new time. In order to start, I'm going to create a new document. I'm going to choose one of these presets here, the article two, to just reduce the size. I'm not comfortable with the big size here. Now this is our new document. The first shortcut we're going to be looking at in this video is the move to move to. There's a shortcut to selecting the move to. Let's assume we have one of the other tool selected not to go to the move to. All you need to do, is it okay when you hit, you have the move to selected. I need to create maybe some ships here and then just use the squelion to okay, let's say I've been working on the quick selection two. Suddenly I want to go to the move to select the whole stuff. Okay, the whole ship. All I need to do is to hit V And I'll be able to access the move two immediately, so that the first shortcut. The second one is the direct selection two. In order to select the direct selection two, all you need to hit is when you hit keyboard, you need to select the direct selection tool. This too, of course, enables you to select on points. Okay, now the next shortcut I want us to look at is duplicate shortcut, which enables us to duplicate the item we have. The easiest way to do this is to just select the item and then hold down Alt and Drug. Select the item, whether with the direct selection to or the move to do at the, and you have a duplicate of that object A and Dell's quickest way to duplicate your object. And we're going to be all of these shortcuts in subsequent videos. Right. I strongly advise that you take seriously. Okay. And I'm going to provide you with a PDF file with these shortcuts written down so that you can just take a look at the PDF file and recall the shortcuts. Okay, so that's one of the documents you're going to have attached to this video. The next shortcut, we're going to be looking at the shortcut for opening a new file, for creating a new file. What that shortcut? It's control plus n. When you hit control plus N, you are then brought to this place where you can now open or create a new document. You just select a preset or put in your custom settings with the name of the document and of course the height, the units of measurement, the orientation, the amount of art boards and so on and so forth. The color mode, the raster effects, and so on and so forth. And then you click Create in order to create your new document. When I hit Create, you're going to see that we now have a new document. Okay, Yeah, that's the shortcut control plus n for a new file. Now we have the next shortcuts control for. Let's see, you have your work done and you want to se, hit control and you are now able to see the document. Okay? Now the next shot is the X. Is letter X rather. Okay? Letter X is used to select either the field color or the stre color. So if I hit X right now, we can then see that we now have the stre color selected when I hit X. Now we now have the field color selected. So just keep hitting X to switch between the St color and the field color. Okay, let's assume we have a field, we give it the field color of red and Str color of blue. Okay, let us increase the Str. Okay, We have a field color of red and strclor of blue. We want select the field color. Okay? Because the shoe color is selected here. If you want to select the field color, just hit X And then we can now edit the field color to maybe blue or green. As you can see, now, the field color has changed. If you want to select the shoe color, you just hit X again and you are now able to select the stroke color. We have another short cut for swapping the field color with the stroke color and also the shoe color with the field color. That control is control X. Or rather shift X rather, we have shift X. If you hold shift and then hit X, you can see that. You're now swapping the field color to the shoe color and vice versa. Okay, let's say we're drawing the ship out and then let's say we didn't have a shoe color, but we only have the field color and we just kept drawing. Let's say we're tracing a drawing, okay, from a undrawn document. Okay? And then we have the field color, obstructing our view. Right? We want to get rid of the field color so as to see what we are creasing out properly. What we just need to do is to hit shift X, which will now turn the field color to the shot color. Okay, then when we're done, we've achieved what we want to achieve. We can now hit the shift x pack to bring back the field color. That's one of the application of this shortcut. Let's delete everything here. And then we now have the next shortcut which enables us. Let's say I have a drawing here and we have a field color to eat. Or let's say we don't have a field color to eat. Okay, we have the next shortcut which enables us give our ship a field color. Okay, now this is the comma key on your keyboard. Okay, When you hit comma, you can now have the field color applied. Okay, hit comma, you now have the field color applied. And then we have the next one, which is the period or the full stop, which then gives our ship red feel. Okay, The full stop gives our ship ingredient feel okay. We have it as the gradient field, and then we have the next one, which is the four slash, which gives it now feel okay, no field. And also remember that if we have the stroke activated, instead we're going to have all of this happen to the stroke instead of the field. So it means if no hits the period or the full stop, our ship is then given the stroke. Okay, that's the gradient stroke. Okay, because we have the stroke activated. And if we then hit the comma, sorry, if we didn't hit the comma, let's say we increase our stroke, then we then hit comma. We didn't see that our stroke is being given a color. Okay, that's just for you to know. The next shut we're going to be looking at is short cut for ingredient to. Okay, let's assume we have ingredient added to the field here. And then we want the ingredient too so as to be able to edit ingredient. Right, all we need to heat is G, which will then bring up the ingredient to. And with the ingredient to, we can now edit our ingredient. It, ingredient rotated, expanded, and so on and so forth. Okay, that's letter for the ingredient to. Now, the next shortcut we're going to be looking at is the rectangular two short cut. That's this two. Okay? That's when you hit letter M keyboard. You are then able to select the rectangle two. Then we also have a shortcut for the ellipse two, which is L. If you hit L in a keyboard, you all to select the ellipse to. So for rectangle two, L for ellipse two. For rectangle two, L for ellipse two. Okay? The next short code for pin two, which is this two here. Now the short code is you hit P on your keyboard. You'll be able to select the recton Gl to, Ok, select thetan Gl to perfect other shortcuts. Let's say we hit P and we have the pin two selected. And we just draw out ship like this. And let's see, now we want to add an Ancho point or subtract Ancho point. Okay, now we have a shortcut for that. If you want to add an anchor point or into heat is the plus key on your keyboard. And now you can see that the Ancho point Pinto has been selected. And we can now add new Ancho points to our ship. Okay, What if we want to subtract points from our ship? What we need to hit is the minus key on the keyboard and we can subtract points from our ship. That's using the subtract or delete anchor points two, sorry. Perfect. Now the next two we're going to be looking at is the rule to. Okay, rule to. Now the short cut for the rule two is control R. Okay? This is control R. Then it brings up the rule to now you can measure your stuff. Using the rule too. When you just come to the ruler tool like this and click and drag. We can see that these lines then come out. Now with the lines, we are able to measure stuff out and align our design properly. Okay, we can drag them out from here. Drag them out from here. Okay, that's the rule to perfect. Of course, the ships guides will not be rendered out if you export a design with them on the design. Okay, but you can just delete them. When you are done, you select and keep. Delete, Select. Delete. Delete everything that was going to delete that after of course you're done using it. Now, the next two, the next short cut rather we're going to learn is the copy shortcut which is control C, okay? Control C and the piste, which is control V. Control C, control V. Then we have the piste, which is control, sorry, the piece which is control V. Okay? Apart from the piece, we have the piece in front which is to control. If I control control, it's going to piste in front, going to piece what it has copied in front of the existing or the original copy. Right? And then if you want to pit at the back, you have to control C and control B. Okay. It's pieced it at the back of the ship. When you change the color, you see that it's actually at the back of the ship. Right Then we have the Ydroper two, the drop two. And this tool can be activated by just clicking the litter. Okay. So you can just click the litter and have the Ydropa two selected if you, uh, conversing with Illustrator. You know what the Dropper tool is used for, even though we're also going to use it practically in other aspects of this course. But the Dropper tool is used to sample colors, right? Sample colors. So you can sample this color, color, color, that color, so on and so forth. Okay, that's what the Hydropat is used for. And just heating eye will activate the two on the next two, or rather the next shortcut is the pan shortcut. Okay, Moving around your design. We achieved this by holding down the space bar and clicking the mouse so you can cool on the space bar. Click and hold the mouse, and then just move around. Okay, zoom in, hold down the space bar, and just move around. That's the pan. Now, in order to zoom in and out of your ship like this, how easily I do this? I hold down the Alt and of course use the mouse wheel. Okay, hold Alt and use the mouse wheel. Then we have other aspects of the zoom control which we can explore with the control plus control minus control. Control minus control plus to zoom in. And control minus to zoom out just plus to zoom in and control minus to zoom out. We also have the zoom too, and it can be activated by hitting Z. When he click the mouse button and click Drag in and drag out, you'll be able to zoom in, zoom out using the zoom to. Okay. Then for fitting your artboard to the screen, you can just click control plus zero. Control plus zero. Fit your artboard to the screen to your view. Okay, let's assume you're working on a big project. And let's say you are outside a place like this. All you need to do to zoom on your artboard is to control zero. When you control zero, then zoom in or you fit the view to your artboard. Now to check the preferences, you just hit control key for preferences. Now these preferences are settings that control the way your illustrator works. Okay, let's hit control key once more to bring up the preferences. And then we can see where it says keyboard increments, right? And it trans at one. This will control how far you can move your item using the direction keys. Okay? When you direction key, when you hit the left direction key, you can move your item left, hit the right one, you can move your item right. Hit or hold down the directional key on your keyboard. You can move your object up. And then for the down, you can move your object down, right? Then when we hit control key and adjust the keyboard increments, let's make it ten and hit okay, and try to move our ship. Now we can now see that it covers more speed, moves faster, or covers more room than the previous time. Now let's just make this 100. So you see the difference clearly when I select the guy. And now move like this. As you can see, now it's moving. It's covering more space. Okay? It's covering more room. More move room. Okay. So just keep it at one. Okay? Then I have another short cut. Let's assume we have lots of objects here. Okay, let's assume we have a lot of objects here, all in this shape, all in this layer. Okay? We have all of them in this layer. And let's see, we want to select all of them. Okay, when we select one, we see that it's highlighted here with this blue icon here. Select this guy. It's highlighted here. It's hard to select all of them at once. We can just maybe, maybe click here and then will control click, click, click. Then if we have a lot of them, you can see that it's going to be Pin. As to try to select them all. The easiest way to do this, click Hold Alt, and then just click here just on A and click on the Layer, and everything will be selected. And click on the layer, everything will be selected. Let's assume we have another layer, then we have some other ships in the layer. Let's assume we have this guy blue. This guy is blue. Okay, we want to select everything. All we need to do is control everything in both layers will be selected. That's control. But if you want to select the guys in this layer selected. So the next shot cords will be probably the last one which I usually use to to select items or objects which are behind, which are behind another object. Let's, let me just give you a demonstration here. Let me just create different objects here. Let's see. We now have a bigger object here. And let's say this guy is popular color. And we want to select the objects behind this guy, right? We want to select one of the objects behind this guy. Let's just reduce the opacity to make the items a little bit visible. So this is the guy, and then we don't want to hide the ship. We don't want to hide it. We don't want to delete it. We just want to select the items behind the object without hiding it. Without deleting it, distorting the position, the present position, right? All we need to do is hold down control, then click on the object we want to select. So let me just hold down control and then just click click. Now we can see that we are now able to select the object, this layer. From there on we can maybe increase the size T. Select this guy again, all we need to do is just come here and double click. We now have the guy we can move the ship. Can move the ship by coming to the edge here and just dragging it. If you try to move it from the middle here, you are going to select the ship in front. Just down control and club, click multiple times in case of just double clicking once it's not working for you. Okay, right click and do other stuff. Maybe you want to transform it, maybe you want to, let's say share it or something like that. You can even do that. Okay. Yeah, that's the last shortcuts. I of course, like I said before, I'm going to provide you with a PDF file attached to this video so you can just look at the shortcuts and revive your memory. With this, we've come to the end of this lecture. See you in the next one. 21. 22 Module Intro: In this module, you'll learn about the Fibonacci Gulden Ratios in logo design. How to use the Fibonacci Gulden rates to create unique logo marks. And how to use geometric grids to create incredible logos. In order to be ilos Fido, 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'd love to make this a five star experience for you. See you in the next video. 22. 23 Fibonacci Golden Ratios Origin: Hello guys and welcome back. In this module, we're going to be learning about Fibonacci and how to use Fibonacci in logo design. And we're also going to be learning about grids and how to use grids in logo design. In this video, we're going to be learning about the history of Fibonacci and what the Fibonacci thing is all about. Okay, why designers love it so much? White designers tend to use it a lot in logo design. Fibonacci. First of all, I'm going to open my browser here. I just Google Fibonacci Sequence History. Okay, so we know the history of Fibonacci. This guy, his name is Leao Fibonacci. He is the founder of Fibonacci Sequence of the Fibonacci thing. Okay, He's a mathematician from Europe and he's an Italian mathematician. And he found a set of numbers. The numbers were 1123, 5813, 2013, 4505, and so on and so forth. Okay? The characteristics of these numbers is when you add the first number with the last number, you're going to get the next number. Okay? One plus one is 22 plus one is three plus two is 55 plus eight is 13, 13 plus 21, 50 13 plus eight is 21, sorry, 13 plus 21 is 34, and so on and so forth. So, these are the Fib Naci numbers. These numbers were found to be present in art, in design, in everything relating to beauty and no. Okay? Even in biology and so on and so forth. Okay. So these numbers were found to be present in all these things. Okay. So that's why designers use these numbers. The concept of Fib in design, and I'm going to show you how everything is being done in regards to the Fib. I have searched face sequencing design. Let me just come here. Okay, Fach sequencing design. If you come to images, you're going to see that we have this thing here. I'm just going to open this. Yeah, the thing is designers found a way creating this spiral. You see this line? They call it the Fibonacci spiral. This spiral thing is based on the concept of Fibonacci. For example, we start with 1.1 If we add one to one, we have two, we have two plus one, we have three, we have three plus two, we have five. Okay? I'm also going to teach how to create this thing because there is more intricate detailing in the creation of this thing. Okay? Because if we look at 1.1 we have one box, we have one box. Add this, we have two boxes, We have 1212. Okay? If we add 1.3 we have three boxes. We have one to 31 to three, okay? And so on and so forth. So we're going to actually create this later on. Okay, let's just take a look at this thing. For example, this spiral. Now we can see that in a painting like this, designers have been able to please this spiral here. So we can see how the whole thing goes. So like I said, anything that has to do with beauty, you can actually fit in the Fibonacci concept in it. So let's look at Fibnacci in nature, right? The Fibacci sequence can also be seen in the three branches form or split A in truck will grow until it produces a branch which creates two growth points. Then one of the new stems branches into two, while the other one lies dormant. This pattern of branching is repeated for each of the new stems. Let's look at images and we can see this one. We can see that the fib pi has been placed here. And we can see that this is mature, right? And it plays out perfectly in mature. We can look at all of these things also. For example, this one. We can see glaring here. It's more glaring here. This is a shell, I think. You can see that. It's more glaring here. And you can see the beauty. You can see it here also. So let's look at these three branches which we read about here. So let's just click on this one. Now we can see how typical three forms, right, remember we have the numbers as the sequence. We have 12, sorry, 112358. So let's look at how the three branches form here. We have the first branch here, that's the stem rather, then after it goes up, we now have 1.1 and then after it goes to the next level, we have one, and this one splits into two. This is typically how three branches form. Okay? Typically, this is how it works. Typically how it works, okay? We have this one, we have 12345, we have this level 12345678. And just keep going up, okay? Basically guys, if you take a very close example and look at these things, you see that these things appear very well in niche. Very well in niche, we can see them here. Even the trunk of an elephant. Okay, This is it. We can place the Fibonacci perfectly here. We have this shell. See it? We have this one. We have the milky galaxy. Yeah, we can see that. We can see that the Fibonacci rises or the Fibnacci numbers can be placed perfectly here. So let's also look at Fibonacci, Fibonacci Sequence in the human body. Okay, we can see that the bones of your fingers, including the bones from your knuckle to your wrist, follow the Fibci sequence. We have eight fingers in total, five digits on each hand, five bounds in each finger, two bounds in one thump and one thump on each hand. Can you see how this folting works? Many flowers also exhibit the Fibonacci Sequence. We can see examples, examples, all of these are Fib naci, even though not trumps, okay? You can see how this hoolting works. That's fibacc for you. It appears just naturally, it's neutral phenomenon. We also have Fibonacci in design. In design, we see some examples here. We can see this. We can see this, this was designed with Fibonacci. We can see the Apple logo. We can see the Fibonacci circles here. These are the circles and we're going to learn how to create were created using the spiral. We created using the spiral. See this is the first second box. Box to box 358 and so on and so forth. Use this circle to now create this logo. That's how we basically use Fibonacci logo design. We can see some examples here, some more examples here we can see them. You can see even the Twitter logo. The Twitter logo was created with this concept. Then we see this other one here, let me just write Fibonacci sequence in logo design because we are specific to logo design, right? You can see this one, how this designer created the Fibonacci and we're going to create a lot of cool stuff with the Ficchi. We can see this other one. Whenever you create logo designs and logo marks with the Fibonacci, you achieve this unique, unique look of beauty. That's why designers love it. That's why designers love it a lot. That's it for the history of Fibunacci. In the next to, we're going to be learning how we use the Fibonacci Good ratio in logo design, okay? How to create the Fibnacci spiral, the Fibonacci circles, okay, Which are then used in logo design. That'll be for this one, and see you in the next one. 23. 24 The Golden Ratios Used in Logo Design: Guys and welcome back. In the last lecture, we learned about Fibonacci. We had a brief introduction and we learned about the origin of Fibonacci. We learned about the application, how it appears in beauty, in nature, in biology, and so on and so forth. Okay, we also saw how designers use it. In this video, we're actually going to be doing two things. We're going to learn how to create the Fibonacci spiral, which is the first one. And then the second thing we're going to do is we're going to learn how to create the Fibonacci circles. Okay? Which designers use to create designs to the fibnachiespiral is what we looked at here, spiral. We use it to compare things like nicho, okay? Like this. Things like this. We use the fibnachipiral, the fibnachipiral. We're going to learn how to create it and also how to create the Finachi Circus, which designers use in logo design. Okay, The first thing I'll do is of course create my new project. Yeah, I'll create the shift. Zero shift to create a big board, right pan my artboard like this. Okay, with this one. And then what we're going to be using to create this is the grid to dictangulargrid to, which is here on this dictangulargrid too. Just come and select it again. Then click, click on the pod for width and height. Let's make this 100, 100. Then for numbers 25, let's say ty part. Then create perfect. Now we can centralize it or align it to the middle. Then expand the grid like this, perfect. Now what I want to do is to reduce the opacity of my grid. Select my grid, come to opacity here, and then come to opacity on the properties. And then just reduce the opacity like this. This 28 perfect. I'm going to just click here to lock the layer. I'm not able to select the layer right now. Next thing I'll do is I'll just create a new layer on top of my Lia. So I'm just going to zoom in start to create my Fibonacci spiral. Okay. You remember the concept of Fibonacci is starting with one, Okay? Starting with one. We're going to start with one box here. This is the first box. We're going to make sure this is a perfect box Y. This is a perfect box. Remember we start with one and then one plus, and then one plus zero is another one. We're going to have another one separate box here. Okay, We have 1.1 No one plus one is two. It means we're going to have to two boxes. We're going to have two boxes, horizontally and vertically. Okay, it means we're going to now select one of these boxes. Halt and like this, now we're going to have this, Now we're going to expand this box like this. Then this one. Now see we have two boxes, we have one on one. Okay. Two plus one is three. It means we need to have three boxes. Three horizontal, three vertical. What do we do? Select an existing one on Alt and draw. Get to the right hand side. Then just expand this. We have 123 like this and 123 Perfect. What do we do next? We do three plus two, which is five. Where do we have five? Let's come up and see, 12345. We can have five here and five here. Select one of the boxes on Alt and drag Get up, then we're going to now 12345. Okay, then upwards 12345, this is what we have. 12345. Perfect. What do we have next? We have five plus three, which is eight. So we're going to have 12345678. Get all you need to do is to pull them out and drag this guy to the left hand side. And drag it like this. Then let's see if we have up to 812-34-5678 It has to come down here, 1, 2, 3, 4, 5, 6, 7, 8, 1, 2, 3, 4, 5, 6. 678, okay? So, as you can see, we are making progress. We can stop here if we want. Well, let me just do one more. Eight plus five is 13, right? Let's see, 123 456-789-1011 of 13. So we can just grab this guy like this. Now we're just going to have like this by 10 minutes. We'll have to adjust the position of these other ones. So we can have operating here 12345678, 910-11-1213 So we need it to end here. D is what we now have. The next thing we have to do now is to start creating our spiral. Opi will come like this, come this, okay. How do we do that? We just come to the edge here and click that using our pen to click here as the hold shift and it's curved like this. And come here and click here also. Then come here to the end here, and click here and hold or show or shift rather. Just drag it like this. Drag it like this to make it curved. When you're satisfied it, we don't click here. Also drag it up. When you're satisfied, you give it click here, Also drag it like this click. It's bigger, it means we just keep going and going and green, okay. We can actually adjust some of these things. We can actually adjust to this curve. Let's work with something like this. Click here. Let's work with something like this. Just like this, the new rock guys. So you get the point, you get the point. This is all about the Pi. I'm going to shift shift control X. I'm going to create a new layer and control to piece this layer, probably he layers. Okay, now guys, this is what we have for our Fibonacci spiral. This is how to create the Fibonacci Pira. Very simple. Now let's try importing and compare with our. Fibacpyak. Come to fire, please. Then Fibacci Fibonacci Goldens and grids used in logo design. You just come to this folder, Fibacci Goulds Grids used in design. Select the Fibacimage, the PNG image, please. Just click and click and drug. Now we have some images which we can use to compare our Fibacchiespiral. I'm just going to arrange and bring to front, I'm going to scale up my stroke. Okay. Now I can compare my images with my fibachiespiralduplicate this one. I'm going to fit it in please. Immediately. Here is our fibachispiral fitting perfectly with this image we have here. This shell image we have here. I'm going to wold, okay, on this elephant trunk image. I'm just going to like this. I think I need to reflect it, transform and reflect. Okay, now when I fit it here, when I fit it here, you can see that it's fitting perfectly. It's fitting perfectly. We can see that our trunk full, lose our Fib C spiral. Maybe I'll just this brighter color. We can see the Putin please out. You can see guys. It fits perfectly to our image, fits perfectly to our image, maybe even reduce the size of. Okay. Even this one. I can just actually scale it down, guys. This is it. Okay. Is it perfect? Now, we can do the same with these other images, Al and rag routes. Okay. When I fit it in please, we can see that it fits perfectly. It fits perfectly, okay. Yeah, that's it for this one and this other one. We do it like this, we see that it fits perfectly. Guys, that's the concept of Fibonacci in relation to Nico and the Fibonacci spiral. Okay, this is just for experiment purposes. We're not really going to use this in our design, so I'm just going to delete this image and delete every other thing we just do. And delete the images. Delete the spirals. Delete, delete, delete, and then delete the image. Perfect. Now we're going to create our Fibonacci circles. So how do we create our fiance circles? All we do is we come to our ellipse tool and then come here and create it like this. Now, going to hit for Rapa tool and sample this one. To copy the stroke width. Okay, maybe I'll just enable the grid here. Then scale this one down. Scale this one down. Okay, then scale. Okay. I'm going to make sure everything fits perfectly perfectly here. Fits perfectly, fits perfectly, fits perfectly here, also fits perfectly perfect. Grab this one to the right hand side. And now we have the second one here. Grab the lower box and scale it up that we have the other one. Make sure every perfectly on Alt and drag this one here on Alts. And drag this one here, Made a mistake. Zelt and drag this one here. Key list, drag this one here, then key literect and seem With this one perfect, all I then need to do is just pull on alter, bring them here. Maybe I'll just shift for my artboard tool and duplicate this. Artboards, some of the layers are hidden locked, so I'm just going to on the open them, grab this one to the right hand side. Perfect. Now guys, why I did this is so that you see how it's created here. So that you have a file that sees how it's created here. Because I'm going to delete the grid for this one and also the boxes. I'm going to delete the grid and the boxes keep perfect the other ones. Now what I'll do is I'll select all of them. I'll just centralize them or align them to the middle like this. Okay. We can delete one of them so that we just have them like this. Perfect guys, these are the Fib Naci circles. This is the creation of them. I'm going to save this file so that you get access to its circles creation. Save that. If in case you get lost, you can just come to the original file and see how I created everything. These are the circles which we are going to be using our design for, our logo design. That'll be it for this lecture. In the next lecture, we're going to start creating logo marks with the Circus. That'll be it for this one, and we'll see you in the next one. Bye bye. 24. 25 Creating Logo Marks with the Golden Ratios: Hello everyone and welcome back. In the last video, we learned more about the Fibonacci and how to create the Fibonacci spiral and also the Fibonacci circles which we are going to be using to create our logo designs. Okay, now in this video, we're going to be creating some designs in Adblocrito using our Fibacci circles. Okay? So I'm going to show you how this is done step by step and you're going to learn the rules and everything you have to take note of while doing this. Okay? Some way to open the last file, which is the fiblanche circle file. Now this is it here. I can just click here to open it instead of going to open. Okay, I'm just going to click to open it. Now we have it here. Okay. I will just copy the circles and copy now I'll just create a new document. Okay. Create a new document. Now we're going to create our designs with these documents. Control to piece in, please. Okay, perfect. Now, the rule is when creating your designs with this fib naci circles in Ablorito, you do not skill your circles individually. You did not kill your circles individually. If indeed you need to kill them, okay? If you need to kill them, you have to kill them collectively. Okay? Because if you kill them individually, the proportion is going to get lost. So you're going to lose the proportion if you try killing them individually. Okay? That's very important for you to note. In order to create designs with these circles, you need a kind sketch or an image which you want to follow. Okay? A sketch or an image which you want to follow. And it's actually possible to create the design without any sketch or without any image to follow if you really know what you want to achieve and you really know what you want to do, Okay? And mostly that'll work for simple shapes. Okay? That'll work for simple logo marks. Okay? Not complex designs or not complex ships. Okay? For complex ships, you will actually need an image to guide or drawing to guide you. Okay? You actually have a drawing and then find a way to create that drawing with the circles, okay? With this circles, we're going to see how to do that. First of all, the first thing I'm going to create is I'm going to create one without having any sketch or any guide. Okay, without having any guides, I'm going to create out one first before creating some other ones with the guide or the sketch. Okay? So I'm just going to start by selecting the first two or the two biggest circles. Circles here, hold down Alt, and drag them to the right hand side while holding down shift. Okay? So as to drag them in a straight line, I'm going to align them to the middle once more to make sure I'm doing everything accordingly. The next thing I'll do is I'll just select this one in the middle. Bring down shift and bring it down to this point, okay? Okay, to the right hand side. And then hold down Alt and drag this one to the left hand side like this. Select the both of them. Control C control that's a copy. And pit in please. And then hold down Shift. Click here and route the two copies like this. Okay, perfect. Then the final thing I would like to do is select all of them. Select all of them like this. And hold down shift, and then route them once, okay, by 45 degrees. And then we're done it. Now the next thing is to select all of them and then go to our sibulo two. Select your Sib two or you hit Shift for your Sibul two, and then hold down Alt. Delete some of these lines here. This particular lines I'm deleting. Delete them, that's holding down Alt. And then come and click and join the ones in the middle. Okay, click and join them in the middle. That's without holding any key. And then open your color panel while selecting your ship below two. And then just click and drag. Chose a different click, choose a different color, click and drag. Choose a different color. Click and drag. Perfect. This is now our new logo mark. I'm just going to delete the stroke and reduce the size of our logo mark. And this is our new logo mark. Now I want to give it the gradient ingredient feel. I'm just going to select the field color here and apply ingredient and just select a different color here. Let's see this color for this one. We're also going to give you the gradient field, but we're going to change the color. Give it this color and see this color. You just have to experiment to see which one works by. Okay, we will change this one a bit, basically. Okay, I was thinking just copy one of these. Just give it a different color instead. Let me just give this one. This one. This one, This one, This one, okay. That we have them looking like this. Okay guys, this is now our new logo mark. Without using any guide, without using anything, we have just been able to create a logo from our Fibiirclek. The first one way to shift and just take this guy up like this, pull down at one copy to the lower side, and delete it. Okay, so that we have here and we have an empty artboard to create our next design. For our next design, what we want to do is go to file, please. Then once you're in the folder, you're going to see these images. Okay? We have this image which is images 94. I'm probably going to rename this, okay, the ones, But just note the images of selected. I'm going to start by selecting this one. I'm going to start by selecting this one. Please click and drag this. I'm just going to resize them. The image bit. The bit maybe to. Okay, perfect. Now we're going to create a new layer. Then for this one we're going to reduce the opacity of Perfect. And then lock the layer so we can work on it without selecting it. Okay, the first one. Okay, my circus are on this layer. I just want to control X and control Pitaka. I can lock this layer and work with this layer. Select the first one, hold on A, and drag it to this point. You have to note that alignment mustn't be perfect. I don't intend on making it perfect or as perfectly aligned as the image. Okay, I'll just do it as quick as I can. It won't be perfectly aligned like the image. Okay, we're not going to do this one. Maybe select the both of them. Shift M ship below to then delete the lines. Delete this lines, perfect for this other place. We want to create a demarcation like this. So the first thing I'll do is copy this one. Okay? And then see, let, try using a smaller one. Let's see, so you get the point. This is just what you would need to do. Let's see. Let's take the smallest one and see. Perfect. Now we select everything. Shift M for the ship. Pul two, come here while holding down all of course so as to delete. Then we delete this one. I shouldn't have deleted that one. Delete this one. Delete one, Perfect. See what we've now achieved. We now achieved this very beautiful curve. I think we can delete some of this part here. Perfect. Now I just want to take this one again, the bigger one down here, so as to create this mount demarcation, the bird's beak right now. Let everything shift down and delete. Perfect. Now let's just hide our image to see what we've come up with so far. So good. So you can see how just cool, the whole drawing is looking so far. Okay, perfect. Now, for the next one, I just want to use this one, P. Okay. Let's try using this one instead. Okay, let's see, let's do something. I think we could select this one and delete the bad parts if you don't want. Okay, good. So just adjust sky bits. Now I think we can work with this. Can work with this. Let's just do, let adjustments here. Perfect. Select everything. Shift M, N deletes the parts we do not need. Perfect. Perfect. Okay, now we have the head. Okay, Now we don't want to copy everything as it is here. I'm just going to create something else. I'm just going to create a head and do some other things. I'm just creating the whole image. Okay, so for this part, for the eye, I'm just going to reduce this guy. I'm just going to K because I don't intend it to beach Circle, so I'll just kill it. Okay, Then let's try using this one. Let's see, I think we'll just use this guy to select everything like this shift M. Delete these parts. I would like us to have some demarcation here so we can have multiple colors using this one. Okay, Maybe we need something bigger. Let's try this. Okay, We use this one and this one. This perfect. Okay, Sorry, I think I duplicated. Let me delete the bad one. If I control why, I'll be able to see outlines so I can just kind of fit everything more perfectly. Okay, perfect. Now I select everything. Shift M, delete, delete, delete, Delete, perfect. Now we have everything as I want it to look, so I can delete this one. And now I will select everything. Go to my Shu to select my color. Apply different colors, a different color, apply. Then select different color. Apply here. This one apply here. Let this one apply here, apply. Finally, apply. Okay, we are going to change the colors in a bit. For now, let's select everything and just remove the stroke. Then probably delete the layer or the picture there. Everything here, and just reduce the size. Okay, Yeah, here's what we have for the colors, I think I'll just steal some of these colors here. Just set this guy hit eye drop or two. Click, Tu, click. Then for this other one, let me try using this color and see. Bad, bad, maybe you make some adjustments later on. For this one, we'll give you this one's see, it's working on this stroke instead. For this one I will control control C, Control to duplicate some pieces in place. And then we'll just shift x to give it the stroke. And this stroke is going to be white, the stroke size. Okay, For this color, I'm just going to make it black. And then for this one, I will change the color. Maybe this color, for this color, whichever one works best. First of all, let me delete this one. Try seeing which color works best for this. Go to my ingredient. Maybe reverse the ingredients. Okay, I think I'll just walk this, let, reverse this and see. I don't want to make things too complicated here. I want to just try to finish this as quick as possible, but I feel this should be of a different color. Let's just try using our color guides too. Okay, I'll work with this color. I'll work with this color just for experimental purposes. Maybe I'll just, this guy make this one bigger control to do everything. Now, as you can see, we now have our, our, our bird head logo mark. We probably could just have a Nim, bird head company. Nim. We change the fonts, whatever. Nothing too serious. Let me just delete this guy. It's not important. I'm just going to have this one here so we can work on the last one. I'm going to have another copy. We can work on the last one. We can just delete this one now and then import our last reference image. Now come to file this image here D, this may, and it like this, you have to note that we're not going for an exact look. We're not going for an exact look. We're just going to create something similar. We're not something, remember, we're just trying to simplify the whole thing. We're trying to simplify the whole thing. First of all, for this guy, I'm going to start with the head. I think it should be in this layer. Opacity should be reduced also 59, okay, and then locked. Let's see if we can work with this one. It's too small. Let's see if we can work with this one. Okay, I think we can walk with this one. Perfect. The next thing we do is Kate this guy so as to form the beak. Ok, let's form the beak. It, this guy set the wood of them, shoot M deletes. Delete. Set the wood of them, shoot M. Deletes and delete perfect. And we have the beak. Okay, let's create a demarcation. I think we can copy this one as well. The wood of them. Shoot Mtor, shoot M. Delete. Delete. Perfect. Now the next thing I'll want to work on is the bodypo. I don't want to go for this look. Okay. I don't want to go for the original look. I'll just play around to see what I will achieve here. Okay, so I want to achieve something like this. Then I want to link this guy, the outermost parts to this guy. I want to link them like this and maybe delete. Delete this part. Delete this part for the other one. I'm just going to leave it for now. The I think I copied the original image, the original circle. I didn't really copy it. I think I used the hole of it. Let me see. Yeah, I think I used the hole of it. So I'm just going to replace it here. Okay. All we do is copy so that we have them here, so we can also use them literally if we need to. Okay, we're just going to copy once more for this one. I'm going to bring it, okay. Maybe, let me try a smaller one. Let me try using a smaller one. I think we'll just walk with the bigger one, okay? A lot of these things, trial and error, okay? If you try and you see that you're not achieving what you want to achieve, you can just try something else. Perfect, select everything, shift M. Let's now start to delete the unwanted parts. Delete. Delete. This is what I want to go for. Okay, select shift M, Delete Perfect. Now the next thing I would want to do is create another part. Create another part that flows like this. Okay, I think I'll use this one. You guys, let's us work with this shift. M deletes and deletes. Deletes, Sorry, I didn't select everything. Delete. Delete. Now we have the other parts I actually want here. So let's create a demotion prefix for now. Let's just work with what we have here. For now, I think we can still do some more changes later on. For now, I think we can do with what we have here now, the next thing I would want to create a feather. I don't want to go for this look. I don't want to go for this look. What I want to do is starts with something like this. Here. Let's see. Something like this. End it. Something like this. Okay, just join the, join them like this. Then for this one, click here and just join them like this. Okay? Now we will actually need guy to go further. Okay? We actually need this guy to go further. Okay. So we can have this other one come like this. We really did not even need this guy here. We actually needed just to get a little bit of tip from here to here. Okay, we're actually going to use this big one. This video is getting longer than expected. Just try to speed up so that we don't just waste a lot of time. Okay, for this one, remember I'm using shortcuts. I'm using E for the direct selection tool. I'm using V for the selection tool. Now I can select everything here. Shift, deletes, delete, delete, delete, this one. Delete, delete, delete, delete. Finally, let, perfect. So let me just off this so we can see what we've come up with so far. Okay, perfect. Now we can go on to the next. Let's burelle, try this. Fell parts of the body come like this. Okay, let two bit. Okay let's try, I'm going to deletes. Deletes. We have something like this. Let me just disable the emergency. Perfect. I'm going to take one of these to create the eye. Okay. And I feel that we could do one more thing here. We could do one more thing here. Okay? Do something like this and then, sorry, let both of them shift Tilitz and tlites. Tilith, sorry. Select all of them, shift M, it, okay. There's a lot of controversy here. Was going to handle that in the bits. But this is what I was looking for. This cove, for this controversy here, was ing to take time to handle it. Okay? I get why the hooting is happening like this. So let me just isolate the path and delete this point. Manually delete this point. Manually have less controversy. I think we still have one part. We do not need what? Let's select one we need. Okay? Maybe you don't need to do this, but this is my little way of solving this Oc and I'll just control to cut. Then for this one that I do not need, I'll just delete. And then control to paste it back so you see everything is now perfect. Now finally I'll just find a way of out, out a little demarcation here. Okay, select the three of them. Shift M, delete, Delete the sky. Deletes the sky is not delete. Delete, perfect. Okay, so this is exactly the Luke I was looking for. So I needed this curve, needed this feather for this father. Think there is a little controversy here. Everything shift, M, det, delete, delete, perfect. Now we could also do something very little interesting here. You know what? Let's just apply the color first. When I'm done applying the color, we'll do what I intend to do. Okay. So we're going to add colors, select everything. Shaul'rejust going to add random colors here. For now, we're not done with this. We're not done with this. We actually have some more details to add for now. We're just going to add random colors. Random colors for the head. Yeah. Let me just go for this for now. To select everything. Yeah. This is our image. Now, what I want to do in for the father, I think first of all, I will just create a little bit of detailing on the father, something like this. Let me just give it a white color for now. See how it looks after duplicating it. Then duplicate another copy. Okay, perfect. Basically, I think this would suffice to select everything shift for the ship below two, deletes. Deletes. Perfect. Now we can select our father shift click and to create a copy, I'm just going to make this copy detailed like this. What I would do is send the back, going to be at the back. Then we just want to have it show behind, like this. Okay, show behind, It will definitely be a different color. Definitely be a different color. Perfect. Now, maybe some little final touches will be done. I just feel like adding highlights on the body. I think I'll just leave. I really like this guys so as not to spend too much time. All right, this is what we now have. I actually like this guy a lot. I want to remove the strokes, but I want to allow that guy. I'm just going to remove the stroke and have this one. I feel like going up the stroke size. And then let's give it this profile. See, let's just give us the direction we have. Maybe this will work. I will just select push the profile the scale once more. The stroke crater once more and then just go to object and expand appearance. And then select this body shift. Then just delete that part. Like this, we have it. Basically, this is what we have created. Now we can start adding our beautiful, we can actually delete the background and we can delete every other thing here. Okay, Of course, for the circles, you can actually find them in this project file, which I'll make available for you. That's this Fibonacci Circus creation, right? And I'll also make this one available so you can see for yourself. Now we can start adding our colors. Let me copy this one here for the body. Let's give it this color. This color. Okay? Perfect for this one. Let's give it the whites and sea. Then for this one, let's give it this color for this one. Let's give it this color for this one. Think, let's leave this color just like how pale the blue is, Make it brighter, perfect for this one. Let's give it this color for this one. Let's give it this color for this one. Let's see this color, this one. Let's see this color, this one, whichever one works first. Let's delete this one first and see what we've got. Maybe you might need to work on the colors again. I think this demarcation here is cool. Maybe we'll leave it like that for this one. I feel like playing around with the color combination bits is color. Okay, let's see. Um, bad, bad. Let's try giving it this one. Let's see. Um, perfect. I actually feel we should cut this guy out from the mean body. We just cut it out from the mean body. Perfect guys, this is what we have achieved using the Fibonacci circles. The logo mark we've achieved using the Fibacchi circle. So you can see how unique and beautiful the design is, that it for logo marks or rather that it for the Fibonacci circles. So that'll be it for this one, and see you in the next one. 25. 26 Grids Used in Logo Design: Hello guys, welcome back. In this video, we're going to be learning about grids in Illustrito Grids in logo design, and grids in Lousrito. From the last few videos, we learned about the Fibonacci, the Fibacci technique rather, and we learned how to create designs using this Fibonacci technique. Okay, We can see that we even created very cool designs. Okay, Like this one. I just opened a designs we created from the last video. Very unique looking logo marks. Okay? This can be used as logo marks, okay? We could give them a meaning or create them with a meaning in mind, and then use them as logo marks and to act or solve very perfectly as logo marks. So you can see how unique these designs are. These were created with the help of the Fibonacci circles. Right? In this video we're going to be creating really unique designs also. Or learning how to create unique designs with geometric grids here in Abila. This video will be more of an introduction to the whole grid them. Okay, so you know the types of grids we have and how to use them, how to the usage techniques basically of the grids. Okay? I'm going to start by creating a new document. Okay. As usual, shift to adjust my art bod to what I would want. Okay? I usually do not have a fixed idea of the artboard, but I usually just have a rough idea of how I want it to look right. So that's why I'm not inputting the details all the dimensions manually. I'm just using the artboard to custom make the artboard look like what I have in mind. Okay. So that's just for me, but you can use specific dimensions if you want. Okay? You can put in specific dimensions if you want, but I just prefer doing it like this. Okay. Now about the grids, What are the types of grids in logo design and how do we use them? Okay, so we have four different kinds of grids. We have the rectangular grid, we have the polar grids. Okay, This is the rectangular grid. To here, we have the polar grids. Now this polar grids is made of circles. You can see it's a bit similar to the Fibonacci, but I won't see that really, because the Fib grids are based on propusionsd. Propusions. There's strict rules when using the Fib, but for this one there is no specific propuionjt made of circles. We're going to come to that later. Apart from these two, we also have the hexagonal grid, and we have the isometric grid, the hexagonal grid, and the isometric grid. So these are the four types of grids we use in logo design. And we're going to see how to create each and every one of them. Okay, how do we start, How do we create this grid? So let's start with the rectangular grid. There are two ways of creating this grid. The first one is to use the rectangular grid to which is this grid. Come and click, then make this 50, 50. Then maybe putting the dimension if you want, and then putting the number of dividers for horizontal and vertical. Here we have five, but I'm going to make this 10.10 and I'm going to hit Ok. We can see how it's created that because of the skew is 500 value, this value is 50 and this value is 50. That's why it's created like this k. But what if we want to create like normal grid? So let's hit Ok. Now we can see after making the skew 00, we now have a normal grid. This is probably the most easiest way, or the easiest way rather to create grids here in a street. This is the first way we can also create rectangular grids by using the line segment to this line segment two, we can create a line segment like this. Holding down shift, we can create the first one, or we can use the pen tool if we want. Then pull down Alt and drag Duplicate to the right hand side. Then select the boot of them and then use the blend option here. Let's hit the Blend option or Make. No. We also have the blend tool which is here and we can use this tool to edit our blend options. Blend. So let's just undo what we just did and try using this tool. You can click on the tool and then click on the first one, first line, and then come to the second line and click on it. Now you see that we now have our blend also, just like how we had it, by using the blend option here. After they are selected like this, we can see that we have too many lines and we don't want to use these too many lines. Okay, they are too much and we want to reduce them. We can reduce them in two ways. While selecting the ship, who to object and blend, and then blend options. Right? And then we just make the blend steps and then choose the steps. Okay, I don't want to use this method because we learnt this method in the previous video. What I want to do is want to use the blend to while selecting the objects. Come on, double click on the blend tool and you're going to see the blend options come up. Now we can choose the steps. Then let's make 25 and click okay. Now we can see that now we have 25 lines, okay? Or 25 dividers. Now we can control C, control F to duplicate this guy and simply rotate it so we can route it like this. And now we have the other dividers. Now we can then expand into objects, blend and expand Objects, blend and expand. Now we've expanded our blended ships. Now we have them as lines. We have them as lines. Now we can use them as our grids. Have our grids here and we can just lock the layer and then start creating on the new layer using them as a guide. That's basically how you would create grids. There are actually other ways of creating grids, but I don't want to go into too many other ways. The two we will suffice very perfectly, very perfectly. You don't need to learn other ways of creating grids. So these two, we will be very perfect for your needs. Okay? Now you can see how we're using the grids, and because we have smart guides on, we are now able to have other guide us while using or while designing on our grids. Okay? It tells us where we could snap or ship to like points like this. Okay? Where we have the lines, right? This is the first way to create our grid. I don't want to spend too much time here. I'm just going to delete the grids now. Then let's work on the second way to create our grid. Now, the second way to create grids would be the polar grid. You click on the polar grid, down shift, you'll be growing the perfect circle. Right now, I want you to hit the direction buttons on your keyboard. Direction buttons. As you can see, it's adding the circles. It's adding the circles, right? If you want one, you can just hit down and make it zero or you could just heat up to increase the circles. Okay? You can have some of the line dividers like this by hitting the right arrow key. And you could reduce them by hitting the left arrow key. Okay? Apart from that, you could actually adjust their positions by eight x, that's the positions of the circus by eight x, like this x. You can also do it for the lines by eight v and v, and this is to give you more control in case you would want to use a very abnormal grid. Okay, That's the way to create your polar grid. Create your polar grid to, We didn't check the shortcuts when using the rectangular grid to the rectangular grid to, let's say we want to make adjustments while creating the grid, just like how we did for the pull, right? You can hit your parky and you can see that you're increasing the dividers. You can hit your right arch and you can see that you're increasing the other dividers. Okay? That's the vertical dividers. And then for the other directional arches will reduce them, okay? And also we could use X for this effect. We could use for the opposite. We could use V for this effect and for the opposite. Now these are the skew values. These are the skew values, okay? So messing around with the skew values is what we give this effect. If I come here and click, we can now see that the skew values have messed with. We took them to zero before, but now they are 80.90 Okay, These are how we create these grids to lost. Now the next two grids are the hexagonal grid and the isometric grid. Now for the hexagonal grid, I'm going to show you how to create the hexagonal grids. I'm going to hit, I'm going to select the line segment two, then I'm going to create a line segment like this. I'm going to select it, Wollen Alt, and drag copy to the lower side. Then select the both of them. And then go to my blend and make No, I want to click on my blend to choose specific steps. Let's give this 50, 50 perfect. This is the first step to creating your hexagonal grid, is the first step to creating your hexagonal grid. The next thing we will do is while selecting this right click and go to Transform. And go to rotate. You have to rotate this by 60 degrees, 60 degrees. Then hit Copy. Do not, but hits Copy. When you do that, you will have rotated the shape or the lines by 60 degrees, right. Now, why selecting the new one? Right click and transform. And then you reflect this by 90 degrees, okay? And then hit copy. Now we've reflected it by 90 degrees. What I want you to do right now is just to select each of them and go to Object Blend and Expand. Select Object blend and Expand Select. I think you have one left. Yeah, this is the one we have left. Select, Object, blend, and Expand perfect. Right now this is what we have and we just want to make a adjustment. Now we just want to make sure the lines are like this, okay? Now you can hit control for the outline mode to see the lines so that you can physically arrange them properly. Do this will do. And remember I'm holding down shift so that we do everything in the street line, okay? So you can hit control y to get out of the outline mode. And now we have our hexagonal grid. Okay, The next thing we do is to select everything and then come on your path finder and divide. When you divide then ticks off the stroke color or the stroke, you just give it a stroke. Maybe reduce the stroke size to 0.5 Now we're done. The next thing we do is let's go into the group and we just delete some unneeded parts. Delete select and delete Select. Delete select and delete. Select and delete. I think we just work with this. Now we can centralize this or a line into the middle. Now this is what we have. This is our hexagonal grid. Let me just make a little demonstration with this. Let's see if we want to create a logo design or this also work with all the other grids. The very easiest way to start creating stuff right away with this is to select a grid and then put your Shape Builder tool. Click on your Shape Builder tool, select a color, and then start creating. Start. Just start creating. Okay. You can see this is what we just created. This is just a demonstration and we wouldn't want to use a grid this big. We can hit a direct selection to select the guy, control x to cut, and come here and control V to piece. Now you can see that we have created a logo mark. Simple as it may seem, but yeah, it's a logo mark. Okay. Now we can remove the St. This is a logo mark. We're going to create cost with all of these. Okay. But this is just for demonstration purposes. We're also going to look at some examples of logos created with some of these grid types so that you get the point, you get the idea, and you start to visualize things in your head of how the grids might be useful in your work as logo designers. Now, for the last type of grid, I'm just going to delete this one. For the last type of grid we want to create is the isometric grid. We're going to create the isometric grid. Select your line segment to create a line segment. This time you're going to create. In this manner. Like this, not the way we did that one, going to create them vertically. Like this will Alt and drag it to the right hand side. Then select your Blend. To then click, click, click, choose Specific Steps, make this 50 perfect. Next we select right click Transform. And Rotate also. Rotated by 60 degrees and we hit Copy. And then right click transform Reflect, Reflect by 90 degrees and heat copy perfect. Now we're done with the Mejor Rock. Now we just need to expand all of these blended ship old expand, object, expand. Finally, object, blend and expand, perfect. For the last thing we will need to do, we'll need to align this guy just like how we did the others, the last grid, okay, You can hit control Y rather for the outline mode and just try to align everything perfectly perfect. Now, control to get out of the outline mode, select everything here and come to your pathfinder and divide. Now everything is divided. Let's just give it a stroke and give it a stroke width of 0.5 and go into the group. Then select the unneeded parts and delete them. Just like this. I like this. Sorry, I mistakenly went out of the group. I actually think we can work with this. So let's just work with this, perfect. Now, this is our hexagonal grid, and this is our isometric grid. And we're going to see how to work with all of these grids. Okay, So we've looked at all the four types of grids, now we're going to take a look at some examples of logo designs created with these grids. Okay, and then we're going to see how we can use these grids to create logo marks here in Los Fit. Okay, now I'm just going to go on my browser, go to Pinterest. I think I'm in print right now. Here I'm going to search grid. We be logo design perfect. Now you can see some of the logo designs. We can see this one. They used the isometric, not the isometric grid, the rectangular grid and also the polar grid. You can see the rectangular grids and the polar grids. Now, the polar grids are circles. Here, it would probably be the fbircles, just normal polar. This is one of the examples. We have this example also. We have this example, this is Nasa. We have the polar grids. Probably the changulgrids also used. Okay? There are quite a number of examples. Instead of searching just red designs, I was sexagonal, hexagonal grids logo design show that, we see some of them, okay? For hexagonal grids. These are some valid examples. Okay? These are some valid examples of hexagonal grid based logo designs. Okay? This one is for isometric design, isometric grid based logo design, okay? They look quite similar that hexagonal isometric, so you can see some of them, You can see some of them. Isometric grid based logo designs look somewhat like tre D designs, okay, Look somewhat like three D designs. And we're going to see how we create all of these in a short while, okay? Perfect. Now we have this one, which is the polar grids, and also the rectangular grid to this one, which is probably a Fibuaccibs Lugo design, is probably a Fibacibslugo design and the rectangular grid. So there are quite a number of examples, there are quite countless examples here on line, we have some perfect examples of hexagonal logos. Here we have a number of them, so that you get the point. You can keep checking on your own. Keep checking on your own. Perfect. These are the examples we are going to be looking at right now. I'll just go back to a illustrator and we're going to see some E techniques. Because some of these grids are too large to large. I will just delete some of the parts here so that we have smaller grids. Okay, that deletes. Okay, let's see for this one still be delete some more perfect. So this is the head. So I'll just show you some examples. While selecting the die shift M for the shipbuilder to click and select the color and start building Ok. It's also possible to combine multiple grids like we saw. Of course, just like we saw in some of these examples here. A lot of these examples have combined grids. So it's also possible to combine grids. It doesn't just have to be one type of grid, guys, this is an example, not a perfect example. But suffice, I think I should have, I think I should have just duplicated this grid first. Bring it to the left hand side, and now we can work with this one, since we have a duplicate here. Okay, what should I create? Shift? What should I create? Let's see. In the next video, we are actually going to work on some real logo logo files. Okay, all logo designs rather some real logo designs. So you're going to work on some real logo designs using these grids perfect, so we could have a background, maybe you whites arrange and send to back perfect. We have this as a logo mark. Remember I'm not really creating knitting specific so it's not perfect. Okay, what? We have this as a logo mark that's very easily created using the hexagonal create. Okay, perfect. Now we have some other one. Okay, let's try creating L. Sorry, I didn't select the color. Let's see. Let's try creating L. Okay, let's try creating like this. Let's try creating V. Let's try creating. Sorry, let's see. Oh, no. Oh, sorry. You could actually make look like this. No, I'm not feeling it. Sorry guys, Whatever it is, I'm not really getting it. So maybe we just end it with something like this. Okay. We could also have them with different sheets. We could also have them with different sheets to cop them. We have this would do, this doesn't make much sense, but we can see how unique, how unique the logo mark looks. If we really get to create something with meaning or really get to give this a good meaning, we'll see that we are coming up with very unique logo designs, very unique logo designs. In fact, using grids is one of the very unique ways of achieving good look. Good design. Absolutely. Ok. This could suffice. Also control X Control Control Group, and I sample the color. We delete this one and see how this one works. This could be the logo mark. Very simple code it. Okay. If we routed it, let me hit control the ruler to so I can draw out a guide here. I want to route, to align with this line below. Perfect guys. Now you can see that this could serve as a, as unique as it looks. It could serve as a logo mark. It will serve as logo mark. That's how we create logo with the grids. Let me just try out some examples with what do we call it, the isometric grid? Just the ones. I'm just going to delete some of the ones we have here. Perfect for this one. We'll expand it, centralize it. See, maybe I'll just delete some more. Go into the ship. Delete some more. Perfect, Let's centralized and start seeing what we can achieve with this. Now for the isometric grid, we can actually create three D isometric designs. Let me start with a very simple example right away. You can see that I've been able to achieve this three D look okay. Appreciate it in please. Right, we can see that I've been able to achieve this three D look just by selecting different sheets of this color, Different sheets of this color. This could be logo also, We could use this to create logos as well. Instead of using it this way, we can still use it as. Two logo design grid to create two logo designs or two D logo marks have something like this. And you can see, okay, I think I didn't do it well, just select the color and I'm starting to create something totally different. But never mind. This will still work. You'll still work. So this could be logo mark. Okay, Logo mark. Let's see if a different sheet of this would work. Well guys, this could be illegal mark. Absolutely. This is more of a two D plus three D kind of thing. So it's not totally two D because we have here a stud, then here, the sheet in here now makes it look like tre D. And also here, okay, we can have all sorts of things. All sorts of designs, guys with this technique or with the grids. Okay, The limitation to this is just your imagination. Okay, in the next video, we're going to be creating some interesting logo marks With the grids. With the grids so I can control group and then bring it over my white background to see how it looks. Maybe I will just it bring middle to share it looks guys at the end of it. All this very unique looks very unique to this is very interesting logo mark. That'll be it for this one guys. We can see some of the very unique logo marks we've created. In fact, I think I know of a company whose logo is almost like this. Okay. I can't just recall the name of the company, but the logo is almost like this. We can see how we created the logo with the tinkle of an eye, in fact, by Mystic. This is creation by Mystic because we didn't even plan to create the logo, but we just achieved it and it looked perfect. That's the power of grids for you. In the next video, we'll be creating a couple of logo marks using these grids and using the techniques we've learned in this video. Doll, be it for this one and see you in the next one. 26. 27 Creating Logo Marks with Grids: Hello everyone and welcome back. In this lecture, we're going to be creating logo marks using some of the grids which we've learned how to create the last lecture. Okay, I'm going to start by creating a new document. I'm just going to choose this orientation, that's the landscape orientation for the If document which I have selected here. And then create. I forgot to see the file which we worked on last time. I lost some of those other grids, those hexagonal and isometric grids which we worked on. It means I will have to recreate them. Okay, But we're not start them. Let's just start with the ones we are working with. Let's start with, let's start with the rectangular grid to, I'm going to click for the width and height. I'm just going to choose 100 by 100. For this, I'm going to leave this at five as five and also this one as five. Okay? And for skew going to leave them at 00. Okay. This is what we now have. I'm going to expand or resize it and then centralize it or align it to the middle. This is dirctangular grid two, or rather dirtangular grid. Right now we're going to use the polar grid. Also. In addition with dirtangular grid, we're using the polar grid, but we're not using any other subdivisions. Okay? We're using it like a circle or like an ellipse. Okay? We have one like this. We're going to make sure it touches line, the outer line, okay? We're going to make sure it touches the outline perfectly. This is the first. We're going to have another one. We're going to control C. Control to copy and Pst, please. Then we're just going to recite this one like this, Okay? Now this is what we have. We have a combination of these two grid types. Okay? Now I'm going to shift all for my artboard tool and I'm going to duplicate this artboard because I want to create two designs with this. Okay, Now I'll then I'll just go to shipbuilder to my Shiu two. Select my shipbuilder two, then I'm going to start building my ship right away. Okay, now I think I should do one more thing. I should do one more thing for this one. I should control control F and actually scale, scale it down. Perfect. I'm going to do the same thing here, control F. Then I'm going to scale it down, perfect. I'm going to start building my ship. So select everything with your Sivula tool. And I'm going to just start. We can read to copy, select color. Just select the block color. And then now I'm going to start by doing this. Okay? So yeah, this is what I had in mind. This logo mark is similar to the Beats logo. Okay. The Beats logo mark. This is basically all I have in mind. Nothing too complicated is the first one we are going to create. Now we can choose, we can select our direct selection to click, click here. And control X to cut. Now we can delete everything here. Then control V, control V, control V to pit. Now we can just group with control and then rec, align everything to the middle. I don't know why it's not a lining. Probably an error. We just do it manually and this is what we've now been able to create. I'll just select everything and remove the stroke color on it. Okay, perfect. Now guys, this is what we've been able to create by combining these two grids that the polar grid and direct angular grid. Very simple, very unique, very sweet logo ships. Okay, perfect. Now for this other one, I'm going to select everything I'm going to go to my ship builder to, then I'm going to start creating my ship. I'm going to start with. This guy, come this way, come this way, and then follow like this. Come down, and stop here. For now, actually, I forgot to select my colors. I'm just going to sell my color and add, and I'm going to do the same thing, going to come from here. Perfect. Now, this is what we now have. Okay, Let me just doing to see how to make sure it's perfect. It's perfect. Next this, I'll just make this one. And then select this guy that's with my direct selection to select this guy. Select this guy. Control x to cut. And we can delete the unneeded parts of the grid and control V pest control to group. Now we can just centralize or align to the middle. Perfect guys, we now have two unique shapes or logo marks which we've created using two grids. Using the combination of two grids, that's dictangular grid and also the polar grid. Okay, perfect. So these are the first two logo marks, and we're going to work on the next one. Now for the next logo mark, we're going to be using the hexagonal grid. Okay? Then using the hexagonal grid. So I'm just going to select the B to click and duplicate this one to the right hand side and delete everything perfect. Now for the hexagonal grid, we're going to start with the line segment, right? To select the line segment and then click and drag. Just like this. Okay, Give it the block stroke and hold on out and drag to the lower parts. And then just take your blend two, click the first one and click the second one, Perfect. And then click Why, Selecting it? Then go two steps. Let's make this 2020 isn't bad, 20 isn't bad. Right click and then route. Now we're rotating by 60. We hit copy, then right click and transform. Reflect rather. So we're reflecting by 90 and copy perfect. Now let's just expand these blends. Expand, expand. And finally, for this one blend and expand perfect. Let's align them together. Now we just have to drag this guy up a bit. We can hit Control for outline, mood. Make sure everything is aligned perfectly. Control a select all of them, then divide on your part finder. Then give them a stroke color and give them a stroke weed of 0.5 Now we can go into the ship or the group rather and start deleting the unwanted parts. Right, I think I deleted too much. Let me just do, let's start deleting them little by little. Delete. Delete. Delete this one. Perfect. This is what we have here. Perfect. Now, I'm going to create two logo marks using the hexagonal grid. Okay? So I'll just shift over from my alton rag to the lower part and so I can duplicate this. And then now we're going to create the first logo mark using this first hexagonal grid. Okay, Now I'm going to select my shape builder too. And then I'm going to start creating my logo mark right away. So the first logo mark, I'm going to start by having this. Okay? Having this. Okay. So let me give it, okay. This is the first thing. For the second one, we're going to come here, I'm going to start this. Okay? 2121212. Then for the third one, we're going to start then, I mean the mystic start here, come here, come here like this. Okay. Let me just take a look at it once more to see if everything aligns perfectly. Okay, This is what I want to create. Direct selection to hit a for that click, click, click control X to cut it out and delete Control P Group. Yeah, we're done with our logo mark. Easy, Simple que very unique logo marks. So for this one maybe we can change this color to red. Okay, and just remove the stroke here for all the ships. Perfect. Now this is the third logo mark, and we can see how unique the logo mark is right away. We're going to go ahead and create our final logo mark with our hexagonal grid. Okay, Now for this one I'm going to use a combination. Actually, it's going to be a bit more complex than the last one. Okay, for this one we're going to start by employing pull grid. So we're going to have a pull grid. So let's just start by creating this size perfect. Let's see if everything looks perfect. The next thing I want to do is to pull down and drag to the bottom. And just bring it to middle, to this triangle here to rest within the triangle that's in the middle of the triangle. That's making sure it touches all three parts of the triangle. Okay. As you can see, this is also a combination of multiple grids. We are combining the hexagonal grid and also the polar grid. I just need to move this one bits. This looks perfect. We need to expand or resize this one bit. We absolutely need to make sure the touch, okay, so let's just control why for the outline mode so you can see better. We absolutely need to make sure the touch, if not the ship builder tool might not work. I think this will suffice for this one. For this one I can see that they're touching already. Okay, so control why? To bring back to get out of the outline mode, the next thing we do is we have to duplicate these two. In fact, I think we need to group them. Select the wood of them and group so that we know that we have them together. Now for the next, we can pull down Alt and drag this guy to the right hand side like this. Okay? Now we're trying to create this design. I think we need to take this, please. Okay, because we want to come like this and then come like this. You get for the downside, we also need to actually duplicate this guy and rotate it like this, then bring it up or make sure every is touching. Perfectly right. We're going to come here and go down, and then go up and then go down. Now select everything, And then go to your Shape to, and start to create your shape. Now click and drag. Actually, I haven't selected the colors. I'm going to select black color here. Click and drag. Click and drag. Just keep dragging. Perfect. Okay, sorry. As you can see, everything is working out so perfectly. Perfectly perfect. Okay, now we're done with our ship. You can see how we've combined all of these to create this really unique ship control control. Now we have our ship here. So let's just swimming once more to see if everything is perfect. Perfect. How can we remove the stroke and just delete this guy here? Delete everything now we can bring to the middle. Yeah, we're done with our design. Now one other thing we can do is maybe reduce the size like this and just hold down Alt and drag a copy and then the copy, maybe move this bit to the left hand side. Yeah, this is perfect. I can group control G size perfect. This is Mu M and K. Perfect. Guys, we've created four different logo marks in this video so far with these grids, which we've learned from our last video. Now I'm going to start working on the last one, which is the isometric grid. What I'll do is I'll select my Db, click to duplicate and just delete for this one. I'm going to start by creating the line segments like this, okay? Give you the stroke, oil and drug. Then click, click, click, choose 20. Okay. Now you can transform, Rotate by 60 degrees. Copy and transform and reflect by 90 degrees. Copy. Now you can expand everything. Expand objects, expand, land, expand, perfect. Now with this, we can now align our lines and control y for outline mood to see as they align perfectly perfect, perfect. With this, we can start creating or start dividing our outlines, our lines to create the grid control to get out of outline mood. Divide, then give it's a stroke and 0.5 and then go into the ship. Delete the unwanted parts. We'll just work with what we have here. Perfect, aligning them. Okay. It's aligned perfectly now. Okay, now we're going to create the logo. It's going to be a very simple one. It's going to be a really simple logo mark. And I want to get that three D field, I really want to get that tree field, my shipbuilder then I'm going to just create something that probably that means something to D. Probably then while being in three D. Okay, let's just try and see what we'll come up with this. Then we have this guy and this guy give them, give you the color black color. Then we now have this guy. Let's try this. Maybe give, give this guy a red color. The red color now cuts our ship out. Control X Control V control. Let me just delete this. Guy might not use it again. What I have been able to create now is something that looks like this is then we could actually coin out another word from here. We could actually see because, because we could see we have the white running across like this. Right? So it could be okay and okay, let me just put a literal outline so you understand what I'm talking about. Okay, just get it right, get the propulsion right. Let's get what I'm talking about. This is this is this is exactly what I'm talking about. Remove the Okay. Perfect. But for the We do not. Okay. This was just for explanation purposes. Get the point. This is okay. I could just add the logo name and we'll be done. Perfect. Now, we've come to the end of this video and you can see how we've been able to create really unique logo marks, okay, using a combination of several grids, which we've learned in the last video. Okay, now with this, we've come to the end of this video. I'm just going to save this file so you can access it's logo mark. Okay? Okay. Logo mark reads perfect. So all the files will be made available to you in the projects folder so you can access them and see for yourself. Okay, so dub it for this one and see you in the next one. 27. 28 Module Intro: In this module, you'll learn about the creative and logo design process. And you'll work on a logo design project for an online food vending company. 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. 28. 29 The Creative Process Introduction: Hello everyone, and we come back. I'm really excited that we have come this far. Okay, because we have come to the place where we will start using some of the things we've learned in the last modules to actually work on real life projects. Okay, real life projects. So we can recall that in the last module we learned about the Fibonacci. We learned about how to design with the Fibonacci circles. We learned about designing with grids. Okay, so we learn quite a number of things. We learned quite a number of really useful techniques and skills. Okay, That designer is used to achieve really unique designs. Okay, now in this module we're going to be creating our first local design. Our first local design project. We're going to be handling that in this module and we're going to start with an introduction into the creative process. Okay, so that's what we're going to be talking about in this video, the creative process. So we're basically going to be analyzing the creative process to see the processes designers undertake to be able to achieve Unique design works. Okay, unique design works, what processes designers undertake. Okay, so these are the processes we're going to be looking at in this module. So that's the creative process behind every product is a process. Behind every creation is a process. Okay. Everything you see today, there was a process through which it was created. And also with creative work. Also with design. Also with L, Good design. Okay? In order to achieve the most unique designs, we have to follow a sets. Okay, So that's the creative process. This process is pretty much the same thing in the field of creativity. Okay? Anything that has to do with creativity, be design, Be it music, be it writing. Designers usually undertake a similar set of processes. Okay? It might differ because of the peculiarities of these different fields. Okay? But basically, there's a similarity in these processes and this is what we call the creative process. We're going to be handling this based on our work as logo designers. Okay, Now, the creative process. What is the creative process? What is the creative process? The creative process is basically the process which we undertake to create stuff. Okay? To create designs as logo designers or as graphic designers. Based on my research from other designers and based on my experience, because I do have a lot of experience in the design industry, the design process or the creative process rather, has three different faces. So there are three different faces in the creative process. We have the research fees and we have the representation fees. And we have the refined fees, research representation, and refined fees. These stages of creation, which we just mentioned, or the creative process, are more of a back and forth thing. We can go from stage one to teach two, to teach three, and still go back to stage one and keep going back and forth till we achieve what we really want to achieve or what we are satisfied with. This is so that we have a very flexible process, okay? So this is meant to be a very flexible process where you can jump from phase one to phase three and just go down to phase two and so on and so forth. So we're going to see all of these intricases in this module. Okay, we're going to see all of this in this module. The research phase is basically where the client brief is analyzed. Okay, that's the first thing we do in our research phase, we have to analyze the client brief. And I have a set of questions which I usually give to clients to answer before embarking on their logo design projects. And we're going to look at these questions in the next video. Here we have these questions and the clients are meant to answer these questions and send the documents back to us. After they answer the questions, we then analyze their brief. Okay, after we analyze their brief, then we can go into research and go into other processes of the creative process, okay? So we have to really analyze the clients brief, okay? After we do that, we get an idea of what the client wants or what the logo should look like or what approach we should take in the design process. Okay, so that's the importance of analyzing the clients beef. It gives us a perspective of what to do, the steps to follow the work frame in general. Then after that, after we know what we want or what the client wants and what we're headed towards, then we go into, go into research. Research is basically part of the research is of course. And doing this research. We use a lot of techniques to be able to generate ideas, okay? We use brainstorming. This is where we start to brainstorm. We start to think very intensively on our project, okay? And we start to look at key studies, okay? Key studies are basically similar projects that other designers have handled in the past, okay? How they handled it. So we can studies on these projects by other designers and see how they have handled this. Now, these projects have to be quite similar to the projects we have at hand. Okay, that's story. Then there's what we call active search. Now, active search involves us looking actively, probably in the Internet or in news media, in magazines, looking for examples of brands that have that kind of log of designers that have worked on that kind of project. We have to look, for example, we have, we are basically examples of logos for that industry we are designed for. We can also embark on critique, which involves presenting our work or ideas to other designers, probably senior designers or contemporaries. Okay, we can present our works to them and show them and get their views. Okay, so all of this will help us build our ideas better, help us build better ideas, more unique ideas to that. The research phase and then the representation phase basically involves us representing our findings. So this is where we kind of create mood boards, create sketches, create idea boards, and so on and so forth. This is the representation fees, and like I said before, these pieces are meant to be back and forth thing. So it's not as if it's a rule that you have to finish one phase totally before going into the next phase. Okay, That's why while doing our research, we could also be creating our moodboards. We could also be creating sketches. Just as the ideas keep coming, we keep fluingkay. These are the stages, okay? So we have to do the research. We have to then represent our ideas using mood boards, using sketches, using all what we can use to be able to store our ideas of very precious ideas. Because all of these ideas are what we practically build on to create our unique design. Okay, then the final phase is the refined phase. So you have to also refine your work. So while researching you refine and then while representing your findings, you also refine. Okay. So all of the ones that meet your criteria and your clients brief the most are the ideas you would want to use, okay? Are the ideas you want to store and keep. So that as you go back and forth through the creative process, you'll be able to refine your work and come up with a unique logo designs which your clients deserve. So basically guys that is for the creative process. We have to do our research, we have to represent our findings, and we have to refine our findings to come up with the best ideas. So basically that's it for the creative process. And in the next video, we're going to be analyzing some of the questions we present to clients to be able to get their perspective on the project and a clearer view of the project. And also what is expected of us as designers. So that'll be it for this one, and see you in the next one. 29. 30 Clients' Questionaire: Hello guys and welcome back. In this video, we're going to be analyzing some of the questions I ask clients before embarking on their logo design projects. Okay, so I have these questions in Word Documents and PDF. Okay, so if you go to the Projects folder, that's 05, the creative and logo design process. If you go to the Projects folder, you're going to see this PDF file which is logo Design Client questionnaire, right? So these are the questions. I also have them as Word documents, so you're going to see them. And so you can actually use them for your clients as well. You can maybe change the questions or modify them to suit your taste. Okay? But these are just simple questions that your clients can answer right away. And these questions will actually go a long way in helping you achieve the unique local design your client will appreciate. I started by saying the following questions will help us know more about your brand and will help us learn more about your goals and objectives for this project. These details are extremely important if we must achieve a logo design which is unique to your brand and Googles. Okay, so please do well to answer as many of them as you can. Thank you. So there are basically eight questions here, very simple questions. We have the first one which is write the name of your company or brand and you would want it displayed on your logo. So these are very self explanatory questions, so the client will just have to write the name of the brand the way they want it to appear on the logo. Okay. Basically that's it. Then the second one will be right. Any other extra words you won't displayed on your logo? Examples are the established, the motto of the company and so on and so forth. Then the third one, the client is asked, what services or products do you provide and what is your company's mission? So we want to know what they do as a company. Okay? We want to know what services you provide or what products you sell. Basically what we're actually, what industry we are designing for. Okay? And also the mission statement that the company's mission. So we have to know what their objectives are, what their goals are, what image they want to portray to their clients. So these are very important things we have to look for when designing our logos. And then the fourth question is, how would you best describe your target audience or potential clients? What are the target audience? Are you targeting young people? Are you targeting old people? Are you targeting veterans? Retired people? Are you targeting children? Okay. So these are basically the answers we would expect, okay, from our clients. Who are your biggest competitors? We want to know who your competitors are in the industry. Basically, that's what we want to know. And then the sixth question is, what can you see makes your product or service unique from your competitors? Okay. Very self explanatory and very simple. Then 71 is do you have any logo design styles you would want us to create your logo in or avoid or any logo design samples you think may match your expectations VS. Please attach image samples 81 is do you have any colors you'd want us to explore or avoid? If they have, you will just mention the colors and see if they want us to avoid or explore that particular color. Basically, this is as far as it gets. Once we get this information, we can already start working on our project. Now I have these documents and the word document provided with you. And I also have the answers provided by the client who look we are going to be designing in this module. In the next video, we're going to look at the answers provided by that client. Okay, see you guys in the next one by. 30. 31 Analysing Client's Brief: And we welcome back. In this one, we can see that the client has provided the answers for some of our questions or most of the questions we provided. Okay. For the first question we said, right, the name of your company or brand as you want it displayed on your logo. The client's company name is menu, menu G, S, and menu GM in bracket. Probably the client wants us to maybe have some options that will explore using letter G and letter M. Okay, to represent menu. Okay, Jokes menu. That's the brand name. The brand name is Jokes menu. So we've gotten our first and most important answer. Now on to the second question. Write any other extra words you'd want to display on your logo, Okay? And the client did not write anything. You don't have any other words to display, they just want the jokes menu and that's all. Okay, Then for the third one, what services or products do you provide and what is your company's mission? The answer is we are online food vendors. Okay. So they are online food vendors. Clients can order for food online through our app or social media, and we will deliver to their doorstep. Our mission is to provide very quality, affordable meals to our customers via digital means only. They're telling us that this is strictly a digital business. They are not having centers or restaurants opened. Okay? It's basically a digital business and they are food vendor. Clients can come on their platform and apply or purchase foods and those food items will be shipped or delivered to their doorsteps. Okay? So these are food items basically like maybe hamburger drinks, just snacks and foods Okay. That people can eat. For the fourth question, how would you best describe your target audience or potential clients? The answer is mostly young people within the age of 20 years to 40 years. Mostly young people within the age of 20 years to 40 years. So this is the audience, their target audience, 20 years to 40 years. And then for five, who are your biggest competitors? So these are some of the competitors. We have Uber, we have Swig, then we have Food Panda, and then we have Gloodin. Our research fees, or during our research rather, because this is actually part of the research fees. Right. During our research, we are going to go into the website of all of these competitors and see what to see, the unique things about them. See what we could copy or ignore that will make our logo design project a success. Basically, that's it for the competitors. And then what can you see, mix your product or service Unique from your competitors? They said we focus on serving our clients with the best in up user experience and quickest deliveries. It's basically quick delivery and very unique user experience in user experience. Okay. For those who use the app. Okay, That's what their unique selling points are. Then for the seventh question, do you have any logo design styles you would want us to create your logo in or avoid? Or any logo design samples you think might match expectations? If yes, please attach image samples, you said no, please help us choose options for our brands. They basically do not have anything in mind. They basically do not have anything in mind. But for the last question, they said, do you have any colors you would want us to explore or avoid? They said we would like to consider any of the following or a combination of the following colors, red, yellow, orange, green, and black. They actually give a number of colors, plenty of colors here, I don't know why, but I think we can work with a number of them. Maybe choose one or choose two colors, okay? Basically, these are what they want us to work with, these are what they want us to work with. I've actually worked on this project in the past. This is actually an old project, okay? And I've actually worked on it, but I'm going to do it all over again. All over again. Okay, so we're going to do this all over again and we're going to go through the process once more. That's it for this one. In the next video, we're going to start doing some serious research on the project. So see you in the next one. Bye bye. 31. 32 Active Search Getting Logo Design Concepts: Hi guys and welcome back. Now in this video, we're going to start building ideas for our logo design concept. Okay, For our logo design. Now we've gone through our clients brief. We've gone through our clients replies. Okay, the replies that our clients gave us to our questions, and now we have a direction to follow. Okay, so this video is all about research. It's all about actively searching the Internet to build our concepts. Okay, To build up ideas for our logo design project. Okay, so here I am on Buka, here is Rib, here is Pinterest, here is Hands. Okay. And I have also Google opened here. So these are some of the tools we will be using to build our concept. Okay? So in order to build my concept, how I begin is I begin by finding keywords. I begin by finding keywords related to our logo design project. Okay, So from my client's brief, from my client's replies, I have an idea of the kinds of keywords I will be looking for. So those keywords will kind of give me a direction on what to search for and what to look for, Okay. And also these keywords will also help me not just develop my logo design concept, but also my mood board and my idea board. Okay. Because I'll be using these keywords to scout for images online. Okay? These images also would be used for my idea boards and my mood boards. Okay. So I'm just going to pull up my note part here. Sorry, not my part now this is my note part. Okay. And I'm going to start by making the headline keywords. Right now we're going to start bring storming on keywords and we can also use the Internet to kind of search for these key related to a food delivery company, restaurant. Okay, So these are some of the things we should be looking at. So food should be the first keyword. Okay? The words like bite could also be a good keyword. A word like bites could also be a good keyword. Let me just go online and then search for words related to food. We now have the Internet giving us suggestions of words related to food. Okay, If you enter here, we can see some words, okay. These are how you can find keywords, okay? But we don't need to always go this far, okay? We can just keep bring storm in. Like for example, I could use a word like dish. And then maybe delivery delivery because of course we'll be delivering our food, right? Or we could make it quick delivery, Quick delivery, quick delivery. This is also one very good keyword, Okay? Okay, let's just go in here and see if we're going to find some keywords Like for example, you see we have bite here, we have cooking here we have food stuff. Okay. These are also good examples. You could just keep adding them. Just keep adding them. I could have a key word like chef. Okay? Like chef, because of course, chefs are the ones that are cooking it. Okay, Cooking the food. Okay, let's just go out of this. Let's look at images, whether we're going to get some concepts. So we could have something like let's say happiness. Okay, Let's say happiness. Happiness here, okay? Because of course, when people eat, they are happy, right? Let's say happy, okay? So happy could be one of them. We could also have a cured like pan. Okay? Like a pan. So we could search for food, let's kitchen rather food utensils. So if we have food tensors, we can also use these to develop some keywords. We have pan here, just like how we've written here. We also have fork and spun. For spun, okay? Then maybe pots, okay? Maybe one of the key words we could have, which is related to happiness is maybe love, Okay? These are the mood we want to create our logos in, Okay? These are what we want to portray for our logo, okay? Love, happiness, excitement, okay? So these are some of the key words which I think will be good for our project. Perfect for our mood boards, we could search for images that we can use to create our mood board. Okay, Some of these images we could search for, say, people having fun and eating. People having fun and eating. You see, we've gotten this whole idea from the keywords with generate, okay? Because we're reaching down words like happiness, okay? Fun, love, okay? People having fun will show that there is love, okay? And there is happiness. This is in the way to follow in building up your ideas, developing your ideas, okay? So these are some of the images Google sin for that search. And we can use some of these images. We can use them. We can save them. Okay. I'm not going to save, all right now, but I'm going to save some. Okay? And maybe you go ahead and save the rest. Just save as much as you can so that when we come to build our mood boards, we screen the best ones, right? I think something like this will do. So we're definitely saving this image in our folder, right? So I'll just right click and then come to Save Image. Okay, And then in my folder, that's folder 05, the creative and logo design process, dogs, menu, logo design. I'll just come here and then create a new folder, name, concepts. It's in this folder that I'm going to save all my images. Okay, to see. From here on we could see as many more images as we can. Let's see this one also, images related to food. Now, from these images, we're going to derive our colors. Okay, so not just moodboards, but also our color palettes. We're going to derive our colors from some of these images. Okay, now let's see This one also. Okay, to see. So just go ahead and download as many images as you can. And the ones I will download also will be made available to you. So everything will be made available to you in the foot. In order to make the video too long. I will just keep the process of downloading and searching so that we can attend to other things which have planned out for this video. Okay, so after getting as many images as we can for our moodboards and our color palettes, we can then go to Pinterest and start looking for logo design ideas. Okay, for our idea boards, we have pints, we have hands, we have Reba. All of these sites are the sites we can use, get ideas to get images for our ideas. For example, here I'm going to, I'm going to search for logo or rather food logo design. Food logo design inspiration. Food logo design inspiration. So we can see that now we have a lot and lots of ideas here. We have lots and lots of ideas. And we see this one, for example. This is the Key Train logo. Now, in this logo, we even have our Fox. You see? We have our Fox, we have our spoon. Okay? And we have our chef cap. Okay. We have a chef cap. This is a very good example. And let's just see this one. I think we can download image instead of just saving that. We see after we download it, we'll just transfer it to our Concept folder. Okay, there are many more examples here. We'll just go out for now. We can see many more examples. Okay, so let me just go about and check for more examples. I like this one also. Just download our image, then. I also like this one. Okay, this one gives us a feeling of happiness, right? We can see that this is a mot illustration and this is a tongue illustration. This shows happiness from someone who has just eaten a tasty food, right? I like this concept also. Let's see Image perfect. We have three concepts which we've downloaded and we can keep going about saving as many images as we can. That's what you should do. Okay, because I'm not going to save every image in this video. Okay, To just go ahead and search for a good images. Okay, That you can as many good images related to our project as you can. Okay, that's the way to go about it. After here, we can go to Gribolso Food, Good Design. We now have a lot and lots of examples. We have lots and lots of examples. Yeah, we could go into this one, and this is a very good example. It's, this is very simple. It's just an illustration of a fork like this. We see, see it here. This is a nice one. Let's go and see other ones. Now, I also like this one, we can see that this is the U and then a fork piercing into the U. Right? The name is on the food. Okay. On the food. This is a good idea also, So we're just going to see it. Perfect. Let's see this one. Let's see this one also. Sometimes on grible, you might not be able to just directly see an image. Okay. In that case you can as well just screen shot it. Okay. You can screenshot it. You can just come and select your sleeping tool. If you're using a Windows PC, you can select sleeping tool and then just screen shot the image and then. Okay. But in this case we're not going to do that because we were able to save our image, right? That's when we could save images. If we keep, we are just going to keep seeing lots and lots of concepts. Very cool concepts. Okay? So we see this one is also a good one, okay? Very simple. Very simple. I also like this one, okay? I also like this one. Maybe we're going to try something text like. Okay. A text logo, a word mark logo. Maybe we're going to try something like this. See, perfect. Okay, we have lots and lots of examples here on Bo. You can go ahead and search for yourself, search for as many examples as you can. Of course the ones don't do, that will also be made available to you. We also have hands, this is one of the websites I use for my research to gain concepts, to get concepts, to get ideas for my logo design and see the other designers have tackled similar design problems in the past. This could just search for food logo design. You can see that I've for food logo design in the past. Just click here are the examples food logo designs here on hens. Now we have lots and lots of examples hands those presentations, designers on hens will show you the process of creation. You just get the logo, but you might also get the back story behind the creation of that concept, of that logo concept. Let's say for the self silo for example. If you open one we can see that this is a text logo. And so we can see the box to re okay, we can see some of the brand colors. Then we can even see different sizes of the text on the const, construction of the logo. It's just a simple text logo and this is the construction. You can see more about the logo and the process which the designer took to Ai logo design. Okay, this is not just a logo design, this is more of a brand identity design. Doesn't just show you about the logo, but shows you even more about the brand here on hands. We have lots and lots of examples. This is basically how designers on hands present their work. Let's open this and we usually have a back story. Let's just zoom out. Let's now we see that we have the logo under this background. From this, you can tell that the brand has to do with chocolate, right? This looks like chocolate bars, again, this looks like a bite, right? Right away you can see the simplicity in it. And now as we keep going down, you just keep seeing more about the bround and probably how the designer was able to generate these concepts and come up with this amazing logo. We're going to create logo presentations like this liter. And of course, because logo presentations like this are very powerful, can lead our clients through our thought process and through our logo design ideas. You can just go ahead and see for yourself and download as many images as you can from here also. So basically guys, that's a round up of how we can go ahead and do a active search for our logo design projects. Okay, so that we get ideas which we can use to start developing our concepts. Okay, so I just want to search for two more logos I saw before, but I can't find them here. Maybe I'll just do a simple logo. You can see this one, just a bow, then the fork, The spoon and the knife, and that's all. Okay, very simple. Let's search for the Hello Chef logo. Hello Chef logo. So this is the one I'm referring to. Okay? This is the Hello Chef logo. So let's just see this image. Download this image, we can see that this is Hello Chef, right? This is a, and this is a hit was coined out of a liter. This is litter hitch turned upside down. So I kind of like the simplicity and how it to incorporate the let us hitch and also a fork, right? I like it, that's why I took note of it. Now, we also have one other one which is the Food Walk Food Walk logo. For this one, let's just look for that particular logo. Yeah, so this is the logo here. This is the logo. I like the double or was created here, so this is food and then work. Right? So that's why I took note of it and I'm just going to see it. We're going to have all of these images in our Concept folder. This folder will be made available to you so that you can download and also use these particular images I have downloaded for this local design project. Okay, so that'll be it for this video, an active search. In the next video, we're going to start building our idea boats. And our concept boats and our mood boats again, and our color palettes using the images we've downloaded. Every image I've downloaded will be made available to you so you can follow along. Okay, so with this, we've come to the end of this video. See you in the next one, Bye. 32. 33 Creating Mood and Idea Boards: Hello guys and welcome back. So in our last lecture, we began our design process. Okay? And we started with the research phase. Okay? And from our last video we came up with some keywords. And from that stage we went on to look for concepts. Okay, that's images of the feel we want to get for our entire logo design and also for some similar logo concepts that other designers have worked on. Okay, similar to our project, of course, I went ahead and saved a number of them and asked you to continue getting as much as you can, So I actually got more other images. You can see some other concepts here. We see this one, Okay, I think we received this one from the last. Do I think this one? I like this concept, how the O comes like this. Okay? The double O for food, of course. Okay, I kind of like this concept and I also like this one. This is more of word log. We're going to try something like this also because our clients didn't state the particular type of logo style of logo they wanted. So we're going to try several concepts, this is definitely one of them. We saved some more images, all these images will be made available to you. Okay. One thing I forgot to do is that I forgot to save the logos of our competitors. Okay, so that's also important so we can analyze our competitors logo and try to come up with something better. Right, so I'm just going to go back to Gogo and then open our brief and then come and just copy our first competitor here, which is Ubers. It's logo logo. You can see that this is the logo, this is just a simple Word logo. Going to see this in our folder, in our Concept folder, and our second competitor is Swig Control C. Then just quickly do this, quickly replace Swig. We can see that the Swig logo is more of coined out from the location, pin, location pin icon. Okay, and we all know that this signifies delivery right, to the location of the customers. So I'm going to save this one also, and then go to our next competitor, which is Food Panda. Copy Foot Panda. And go on Google and such. Food Panda Log. This is Foodpanda logo. We can see that this is just a simple Markt logo, right? This is a simple mascot logo. We're going to say, I don't think we're going to create a mascot logo in this example, the last computer is Glovo. This is Glovo logo. We can see that it also has this location icon. Right, let me get a P. I think I'll prefer Peg format. This will do. Save image perfect. Now we have all our images and we're going to be creating our mood boards and idea boats and color pellets. In this video once more, let me go back to our folder and check or go across our sieved images once more or some of our Sid images. We can see this guy, this mouth illustration and then the tongue, right. This is the one received from the last video. This is just one of the images, we can see. This one. This is chap, We can see the chef cup here and then right for chap, basically simple stuff. I'm just going to start creating our mood board here. I'm going back to Adblosto and click Create New, and then create our new image or our new project. First things first, I'm just going to come here and select every image drug here, even though we're not going to use all images. Okay, we're definitely going to be deleting some of them. We just drag all of them in for now. For some of these big ones, I'm just going to use them. One thing I'll do is I'm going to keep my competitors logos in one category and the other categories. I'm just going to arrange them based on categories. For example, the word logos could be in a similar category, then the symbol logos could be similar in a different category, 12. Then of course, the images will also be in a different category. Guys, I'm going to take some time to arrange these images into different categories. Okay, and we're going to continue after that. I'm going to just fast forward the video right now and we're going to continue after I'm done. So guys, as you can see, I'm done with my concept. I have kind of deleted the weak ones and kind of just grouped the strong ones like this. Okay. So I'm going to derive my mood boards and my idea boards from these images. Okay, I'm going to have 12345 of them. For the ones we can see that I have created this color pillt here. Okay? So we're going to derive the colors from some of these images. Okay? And of course, from the file, or from the recommendation of our client. Okay? And our client said we should use these colors. That's red, yellow, orange, green, and black. Right? So we're going to get all of these colors here just to use the It just perfect. Now we will start to create our mood boards, or rather our pods. We can come on the Arba, click on the ballot, create an artboard like this. Now we have this one created. Can come here and create this one perfect. We can even make this big at the side. Perfect, bigger, bigger, perfect. Then for this one, we can just create our board. Make this bigger, perfect. And then for this one, just click and create our artboard. Finally, for this one, I'll just click this guy and drag him here. And just make our artboard bigger like this, perfect. So for colors, I'm just going to come here and copy our colors. Copy all of them. Go back to illustrator. Just maybe duplicate this one and piece them here. We have red, we have yellow, we have orange, we have green, we have black. I'm going to let this guy maybe sample red. Let my hydropomple this red here. See? Yeah. We're going to use this one then. For the yellow, we're going to take our hydropo sample. This yellow, this one. Okay, I think this one is richer. Then for the orange, we're going to select ydrople two and just come and sample this one here. It should be a good orange. Let's make it right a bit perfect. And then for green, what? Let's make this smaller. Just duplicate this one. Get the green out of this. Select Eyedrop two. Just sample the screen. Start with this one. Of course you can have multiple of them. Then for the block, we're going to just leave on black. Now what we want to do is we want to get different sheets of this. Now this is not necessary as these are the main colors, but it's also be good if we get the different sheets of this color. Just select our drop tool and click on the Color. Come to our color guy too. We can see that Lust or acepto generate some colors. We can maybe choose this one. Maybe even a darker one. Maybe this one. And seem also for this one. Let's choose the brighter one. Let's choose this one. Let's choose the darker ones. Seem tick this guy. Maybe take this guy. Seem also for the twin. Tick, this guy. This guy, maybe this guy. This is just for us to have many options. Of course, we are using all of this course for the black of perfect completes. Yeah, we have what we want now. We have organized our concept, our images. And we're going to derive our sketches and our ideas from these images. It's now easier to zoom in and see what we have here. See, we see this. We see all of these concepts. We see all of this. We see all of this. It's easier to just, the good thing is we've Arangem based on classification, the ones that are more of the type of letter logo that we have a number of them here. And like I said, we're going to try several types of logos. All right. We're going to try several types of logo styles. We have the ones with the chef cups and the spoons and forks. Okay, depletes. That's this one here. We have here where we have the competitors. We have this guy, Foot Panda, which is a mascot logo. We have the swigie, we have the Uber. Our aim will be to create concepts that outweigh our competitors logos here. Okay, our concepts have to stand out more, have to be more appealing. So that will be our m. We can actually steal some things from here, from our competitors or we can abstain totally. So that's it for this one right now. I'm just going to export all of these to file. Export us. Then we're going to go to to our project folder. Now let's give this the name Moodboards or Let see boards, because these are both idea boards and mood boards. And of course, idea boards are for ideas, right? Give us ideas on the particular work we're working on. While mood boards give us the mood to work with the mood of the whole project. All of these come in very handy in branding and logo design. Let's select use art boards here. And then come to Range, which is one to five, and then Export. We're going to choose RGB quality to ten. Let's use others here and make the 500 so that we can get the best or the highest qualities. Okay, so now Aporeto is going to export our file. Now Aostrito has exported all our boards. And if we go to the poll, we will see them here. Okay, they're actually large. This is 53 B, this is seven B. So they don't really have to be dislargek. This one is actually dislarge because of the images, right? We can see that some of these other ones are not really that big, but that's not the problem. We are going to use them like that or we can probably report them to smaller sizes. Okay. We can see this one which I've just opened. We can see all our concepts lying here. This will help us when we come to sketching. When we come to sketching, let me just close this for now and you know what, Maybe I'll just export this again. I'm going to export them in a similar resolution. Let's see. Can use that boat one to five. Export. Let's just 300 here. Okay, our design boards have all been exported and of course they have smaller sizes now. Now this one is still 25 MB. I'm going to leave it like that. This other one is now smaller, 3.7 B, this is 1.3 this is 7.2 this is 5.2. Perfect. After you're done with this, the next thing will be to start sketching out your ideas. Now is the time you would have to bring Storm. Okay, all the research you've done in the past will have to come into play in this stage Right now. You have all your data, all your information, and all of them have been processed, have been analyzed, have been arranged in very clear and easy ways to understand, okay? So we can just zoom in and see all the ideas here and try to come up with your idea, okay? Zooming to see what you're trying to work against or what you're trying to beat. Rather, zooming to see more concepts and so on and so forth. So this is what you have to do right now. You have to just brainstorm and create your own ideas. Maybe pick little details, okay, from each of these concepts and build your own design. Okay? And that's what I'm going to do. So I'm not going to show you the process of my sketching, but I'm going to show you the end results. In the next video, we're going to see my sketch. And we're going to see what concept I was able to copy, what concept I was able to discard. And we're going to see all of that. And after that, we're going to start creating our logo. Okay? We're going to start refining our concept, start picking the most unique ones, and start digitalizing them into logo designs. Okay. So basically that will be it. I'm going to receive this one control S, we receive this as boards. Okay. So that you can also have access to it. Save. Perfect. That'll be it for this one. In the next lecture, we're going to be looking at my sketch. And we're going to see from there on how to derive, how to digitize these concepts and pick the best ones. Okay, so that'll be it for this one. And see you in the next one. 33. 34 Analysing my Sketch: Hello everyone and welcome back. In our last video, we created mood boards and idea boards from the images we call from the internet. And we created color pellets which we will use for our logo design. And I told you that the mood boards and idea boards are what we will use to derive concepts. We're going to create sketches, and we're going to derive several concepts from these mood boards and idea boards. And we're going to get the overall feel, the overall mood of the design using these mood boards and ideal boards. Okay, we also created color pillets. In this video, we're going to analyze the sketch I came up with. I was able to go ahead and look at these art boards we created, or these mood boards we created and the idea boards. And I tried to just created, drawn sketches using them. Okay. I got my concepts from these boards and I created my sketches. You can use several mediums to create your sketches. It mustn't be hand drawn. If you're not good at hand drawing, you can use a tablet to digitalize your sketches, and you can use several other media to derive these sketches. And these are the sketches I came up with. So we can see that we have a number of them here. These are just rough sketches. Drone Okay, let me just count them. We have 123, 456-789-1011, 12. We have approximately 12 different ideas. Okay? Just random ideas and we're not going to use all of them, of course. We're just going to pick the best ones. Okay? But we're going to do our best to digitalize all of them or almost all of them, and we're going to choose the stronger ones. Okay? Let me just import this into bet. First of all, a new document. I'm going to, I'm just going to the guy and select also our boards. Okay. I'm going to drag everything and bring them into a Los to. We're going to just analyze these sketches so we can see how huge they are. Reduce the sizes. Just our sketches here. This one just have them here, perfect. Now I just want to move them like this. Now what I'm trying to do is I'm trying to show you where I picked some ideas from, where I picked some ideas from. We can see, see that I used this chef cup here. Okay, Some of these concepts came in handy. So you can see the chef cups which I used to illustrate it here. We can also see this foc which is piercing into this circular icon, right? Or the cycular background rather. Now, this guy concept like this came in handy. So you can see how the foc pierced into this U sheep, right? So that came in handy here. And you can see that here, even though I'm not too cool with this concept and we are definitely going to work to make it better. We can see that I used the location pin and I just had the letter G inside. And, you know it's jokes menu, right? Jokes menu. So that's what we're designing for. We can see the other concepts. This is and, and I cannot just had them arranged like this. We can see this jokes menu. And this concept was kind of derived from this. We can see how the 20 here are intertwined, right? Okay, we used that. We cannot copy that here and produced this and G. Right? So I feel this is one of the most powerful concepts. Okay? And we can see many other concepts. We can see this one which is just and M. Then we can see this one which is just G and M also. But this M looks like a fork. And this was derived from this guy, right? Perfect. Okay, and then we have this other one, jokes menu. Now we can see that we kind of created a fork with the top of the litaG here. And we created a spoon with this part of the U, right? And we see this one with jokes, and then the location pin and so on and so forth. And we have this other one, even though we're going to work on the, on the front will use a better font. Okay, so this is just a sketch. So for this one we have mouth, the smiling mouth, which signifies happiness. Okay? Just like how we have it, here, here, and here, right? So we can see what we did here, we have the mouth, then we have this thing here. Now, this is meant to be steam because it has to do with food. So I just drew a plate of food here and show the steam going up, right? So this is just an illustration for steam. That's what we used here and we used here also. But when we are digitalizing this concept, we're going to try a lot of things. You don't have to actually look like this, actually. My own opinion, these sketches are not too powerful. But when we start to digitize them, you'll see that everything we just work fine. We also have this one here where I have this M n this for T like this. Okay. But we can also have it coming in like this, GM and then the chefs on it, basically. Guys, these are the concepts, these are the concepts we're going to start dialing this concept or start refining and start creating something really cool. Okay? We really do not need everything here to start creating our logo concepts. I'm just going to delete this ones. Okay, I'm going to delete them, and I'm going to move this guy here. I'm going to save the file. In the next video, we're going to start creating logos from our sketches. Here, I'm going to save this as design files. All right, logo designs. And then click and see. Perfect. Now we have analyzed our sketches and we're just going to start creating our designs in the next video. See you guys in the next video. 34. 35 Creating Logo Concept 1: Hello guys and welcome back. In this video, we're going to start with our first logo design concept, which is this concept right here. That's this one which I've underlined. This is the concept we're going to be creating in this video. As you can see, I have my Fibacci circles here. I imported them from our previous video. Then I have my sketch here, which I will be deriving inspiration from. I also have an empty artboard here, which I'll be using for my creation. Now, the first thing I'll do is get my, um, rectangular grid two. Then just come on my artboard and click. Then make sure my horizontal divider is four. Dividers are four, and then my vertical dividers are 25. Okay, That's all I need to do here. I'm just going to click okay, to create the grid. Now we can see that our grid is made of rectangles. Right now, we don't want that, we need them to be perfect squares. What we just do is come to our shape tools and then select the rectangular to then just come here, come to point. Okay. Then while holding down shift, just the guy like this. Okay. Now from here we can start expanding or increasing the size of our box or our grid along this axis in order to fit the sizes of each of these boxes to this size or to the size of this box here that the perfect rectangle or square we created. So I'm just going to shift it to this point to drag them this way. And I'm going to stop when the first line of the grid aligns perfectly with the last line here. Or rather when the last line of this first box of the grid aligns with the last line of the rectangle which we created, right of the square which we created. I'm just going to select my grid and keep increasing the size of my grid. Maybe I'm just going to select the both of them, first of all. And reduce their sizes so that I can easily see what I'm doing. Right? We don't select the guy. Increase the size in. Out, increase the size once more. In. I think we need increase the size a little bit more. Just increase the size like this. I think we have to do that a little bit more. Maybe I did that a little bit too much. So let's see what we've got now. Yeah, I think this is. Okay. So the next time we, to do this, I'm going to select everything and di select the big grid and delete the small box. Now we have our grid now. I can just hold down shift and increase the size of my grid like this. And then select my artboard to increase the size of my entire art board. Perfect. Now we have our grid. The next thing we'll do is create a new layer on which we'll do our work. Click here to create a new layer, lock this layer, because this layer is going to be a reference layer, or this grid is going to be a reference grid. Right? The next thing I want to do is I want to decide on how many boxes for my letters, for my characters. Remember, here we have and then we have and S. Okay, for my, I'm going to use five boxes and five horizontal. Five vertical. Okay. Let's count down. We have 12,345.1 2345 letter will be. The first thing I'll do is select my rectangular and come to the last box. Okay, that's 12312345. Can then create like this and make sure everything is aligned perfectly okay. If I shift X, you see my field color. This is so that we can see how I am taking time to build the ship perfect. Now the next thing I want to do is I want to create an ellipse. Select my ellipse to then just come here, Please click, pull down a shift, then Create. We want to create a box that is just. It just this big perfect. If I shift x, we will be able to see how it intersects or touches our grid lines. Okay, we can see that it's extending here if I select. Okay, not really extending it. Perfect, actually extending. It's actually extending. As you can see. I'm just going to maybe reduce the size a bit by putting down shift so that everything is done evenly. Even for this one, we can see that it's extending right shift. Perfect. Let's see for this part, we see that it's not really extending. We have a perfect ellipse fitting into 1234 boxes. Okay, now the next thing I'll do is I'm going to create one that'll fit into one box. Click and halt and drag, and then reduce the size. Just make sure it fits into one box perfect. Now we have it fitting perfectly into one box. The next thing I'll do is I'm going to take this guy and bring him here to the middle. Okay, now I can select the boot of them. Click, click here to align the boot of them perfectly together. Now I'm going to select the boot of them once more and control to group them because we're going to use them a lot. Okay, The next thing would be to increase the size of them, like this. Okay, perfect. We need to just move this guy out of the way. And we need to take this guy won out and bring him to the first box. Okay? And select this guy, Bring him to this box, back in please. And I'm going to just change the color of the stroke to this color so that I can actually see what I'm doing. Okay. And now we can see that we actually need to make boxes or rather the ellipse pig. Okay, now I want to use this size, I want to use this size, I'm going to use this size and I'm just going to drag another copy, the right hand side so that the litterG we're creating is going to come like this and pass like this. And the way, let me just the brush to, I'll come this way, come like this, then finish up like this. Okay, perfect. Got to do now, I'm not going to totally discard my ellipse, so I'm going to select them. Drag a copy here. Right now what I will just do is I'm going to create my litter. Right? I'm going to create my litter and I'm just going to select everything like this. Of course, I have to unlock my liter one. Right? So select everything and then come to the ship builder two, which is this two. And then just come and start building your ship. First of all, I have to choose a color. I'm going to choose this color. Okay. Then just click, click, click, click, and drag this. Okay. We can see what we achieved so far to click and join these other ones. Yeah, with this, we can now see that we've been able to create our lit perfect. Now we can just take our direct selection to click on the unneeded boxes or regles and delete them. Now we can see that we now have our deta. What I'll do is I'm just going to submit everything once more. Take my shape builder to okay and just come and create the parts like this. Okay. I'm going to work with this for now and we can make changes later on, but we just want to get the basic stuff right now. The next guy will be a right to halt and drag this guy in place. Perfect. So the next thing is just to expand, enlarge it. Rather enlarge it. To make sure it fits into 12345. Okay, perfect. It seems we're going to please this guy a little bit better. Perfect, I think this is perfect. Now the next thing we'll need to do is create the. So I'm just going to hold this guy and duplicate this point. Okay? We can see the concept we're trying to follow here. You can see that and G share this boundary, that's why they're intersecting. This is the next thing to do would be to create this slanted side. Okay? Parts of and which join together. So that will be a little bit tricky. That can be a little bit tricky. We might even need to give one piece or one box piece like this to achieve that perfectly. Okay. Perfect. Maybe I'll just delete this one for now and make sure this other guy is perfectly pleased. From what I'm seeing, it seems our boxes are not so perfect. Just manually increase the size of this guy. Okay. Our boxes might not be perfect. That's the sizes of each of these boxes. That's why I think we are having some problems with aligning everything perfectly here. Because all perfect align perfectly, we key. We won't have to scale one part separately. The next thing I want to create right now is something that joins them like this. Something that joins this guy and this guy in slanted manner. All right, so I'm just going to take my line segment to my pencil and I'm going to draw out a straight line from top to bottom. Top to bottom, like this, perfect. And I'm going to just group them control. I did that to make sure I got the size correctly. Okay. The distance from this line to this line correctly. The next thing is I'm just going to, um, route them like this and bring them in place. Now for this rotation, I'm going to use 25.42 okay? The rotation I'm going to use for now. And if it doesn't work, we are going to try to achieve something else or use something else. Okay, This is actually what we've got, but there's a little problem here. We actually need to make sure this guy with the size of these boxes here, we expanded our ship. And that's why we missed the propusion, right? We missed the propusion. We just have to expand the little circle in the middle here to make sure it aligns with this one perfect. Right now we've got everything perfectly aligned. Cool down o and drag this guy like this just for us to see the alignment. Now if we then select this guy, that's the ellipses here to ellipses, select the old, old and drug the middle. Or rather to this point, we can see that everything is working perfectly for now, right? You might not see that. But when you see now, I just need to select this other guy and bring him to this point. To this point, because Lita S is going to continue like this. Remember from sketch comes like this. Okay, continuation of G and then comes like this. This will be the beginning of Lit. Perfect. Just Dan Alton drug, this other one to this point, okay? Because we need to create this court, right. What I'll do is I'll make sure we have some perfection from here. Okay? Just like this. Then maybe just bring another one here. First of all, guys, let's not worry ourselves too much about the other letters. Let's try to create this one first. Select everything, okay, I'm going to select this one. Select everything. Or even with this other guys, maybe I'll just bring one of the copies here. Let everything and then ship that to. Now, let's try to join everything like this. So we can see that we didn't choose a color. Let's just choose this color and go on like this. Perfect. Okay, for this one, we're going to do it like this. Okay. Perfect. This is what we're having here. Now we're having But Lia And a sharing this boundary here. It's going to be jokes like this. Sorry, a mistake again. So I'm just going to be careful this time. Okay, Actually, for this part, we actually just need to make it complete, because this is actually confused the O here with G. That's why I actually placed the slanted lines here. So I was thinking, this is, I don't remember, This is okay. It was totally uncalled for to have the guys here. Still works. Anyway. Perfect. Now we have our perfectly created, this is jokes. If we like, we can actually just the spec here. I'm going to just cover the spec here because we can actually cut it out later on if we want. Let's just cover it for now. This is O and now for our litter, we're going to have this. Let's just bring this, copy this. Okay. I'm just going to hold out and drag another copy, A lines fact. Now we're going to create another, sorry, I duplicated the mean grid. I wished to select this one. Select this one old drug to the other side. And I'm just going to leave it out here. Okay, for the next thing. I'm just going to select everything here, Select my shell, my color, and just kind of go on creating. Perfect. Perfect. So we're just going to create this other guy. Perfect. We now have to create our litter. Right. For litter, we'll just come and select this guy and bring it here. Perfect. Now hold down Alt and drag one more copy. And I'm just going to control D to repeat the same action. Okay, perfect. Now I'm just going to one more copy out like this. Now I'm going to create my letter from this arrangement. Take our ellipse. Put on oil and drug, Eat here and just reduce the size of our ellipse. Okay, now we want our ellipse arranged like this. And we're going to move it in please. Perfect. Now the outer circle is good enough for me because it comes like this, and we can see that it joins with the other lines, right? So we're going to zoom in once more to make sure everything is perfect. Perfect. And then maybe reduce the size like this and perfect everything looks perfect for the outer circle. Now I'm just going to top click to go into the group and make sure everything now looks perfect for the inner circle. I'm just going to reduce the size. Reduce the size like this. Okay, got you. Task to come like this. All right? Okay, so let me take a look at this whole thing once more. Okay? Actually, have to make it this small, so it just has to be the size of a box. I guess. Just the size of a box. Yeah. So this will work perfect. Now we just need to select this. Guy won alts and bring a guy to this please. To this please. Okay. Because we're going to have it come like this, like this and then it's going to tone like this. Okay. For this one we can just create another copy old perfect to arrange everything in please. Perfect. Perfect. Make sure everywhere is touching, right. Every major place is to everywhere, there needs to be touching. Touching the outer circle is perfect. The inner circle, however, needs a little bit touches coming in this way, and we have it this way. You know what? I'm just going to both of them align the both of them. Maybe I'll just move this little bit up. Fits. Ah, that's bad. Wasn't good enough. So you get the point guys. This is what we now have. Now when we select everything and just go to our Shibul, start creating, you're going to see how everything comes alive now. Click Drug, Selected Color. Click and drug. Click, zoom in, click and Drug zoom, click and Dr. Click Ok. Now we see that we have a mystique here. Our lines don't intersect perfectly, and that's what you get when your lines do not intersect perfectly. Okay, so now we have to zoom in and make sure these two lines intersect. If not, we are not going to get a good cut. Okay, now I think we can continue to select everything. And then shape below to saga color, feel, feel perfect. Perfect, perfect. So now we have jokes. G, U, G, S. If we like, we stop here. Let me jtsumeteeopop here. It's not bad. We can leave, we can just stop here. Okay, so now we have our letter G, S. We have jokes. Okay, now the next thing to create will be menu. Menu. For menu, I'm just going to shift to create another ellipse to select my spider. What did I see? I said she builder select my board, duplicate the board to the downside, and just created a new grid. A new grid for my menu. Okay. Because I'm actually constructing everything from scratch. I have my reference box. I can delete everything here apart from my reference box. Then I can create my grid once again. Give you the stroke of black and arrange this guy this, and fit everything in. Okay, I think we have a bit of problem here. We're having a hard time fitting everything in perfectly. So I'm just going to reduce the size and hopefully we'll be able to do this better. Okay, so I think first of all I'll just delete this guy. Okay, I'm just going to create from, from the grid we have on the ground, hold down, shift, click and grab. Perfect. Now we now know that we only need to adjust the lower part to meet this part. Okay, Now what we need to do just, I think we've got what we need now. We can delete that guy. Increase the size of this guy. Okay, perfect a line to the middle. Right now we can begin our work. You know what, I'm just going to control X and bring it to this layer and control. Okay, so that we can have it in this layer. In the layer two now we will create menu from that we can. For that we can just copy this guy. Okay, bring him to this point. We can just write, click and transform, and reflect and copy so that we can have another copy. So now, like you all know, we're using five boxes. So 12345, this is how it's going to be perfect now, this one, we need to do this and this. Okay? So I think we can use what we have here now. Now, I'm just going to delete this, guys. Select everything. Go to my ship builder to select my color and just create my ship. Okay, perfect. Make it look like this. Okay, so this can suffice. Perfect. For the E of, you know what we're going to do? Select everything like your ship below two, it's like your color. And we're going to just start creating and then for later we can see that we have a bit of stylishness here. It's going to be this. Okay, for N, we will need this sky. Ok, do you think so? He's going to actually start from here into this and this. Okay, Perfect. I'm going to have another one that goes like this. Okay? And then finally we're then going to have our U or other parts of Liu. Okay? Perfect. Perfect. Select everything ship builder to sell your color and start to build your ship. Perfect. Okay, now we have the first part. Now we can build the second one like this, I'll just build everything out in a square ship, and later on I'll just create the curves. Okay, let me see, 123456. Um, all right, let's just walk with this for now. So now I'm just going to take my ellipse at drag to duplicate and just fit it in like this. Make sure it's touching all the lines, all the important lines. Let's just like this. Let's see if this one comes like this. Maybe we might need to reduce the size of beat. Let's try this other method. Let's reduce the size. Let's reduce the size of the inner circle also. Um, you know what, I'm just try making it bigger. Click go in smaller. Remember we're killing by holing down Alt and shift the key, perfect. For this other part, I'm just going to hole down Alt and crack a guy and make sure everything here is aligned properly, perfect. Right now, I'm just going to start building my shapes to set everything, set your ship builder, set your color and bull shape. For this part, I'm just going to halt and delete. Okay, I think I did it too much, so I'm just going to undo and I'm just going to create the mean ship first. Here we can see that we're having a bit of problem here. Let me see. Some parts are not align perfectly, okay? Some parts are not aligning perfectly. Let's try it again. Everything ship builder color and feel it like this. So we can see that here is not actually touching. Well, what can we do? Make the guy bigger, align it's better. And go out of the ship. Like your ship you look to, we can make things look better, your color perfect. We also have another problem here. So you see, that's why you should give this quite some time. Okay, let's give it some time. Make sure everything is aligned well. Because if you don't have everything aligned well, if you don't have the lines touching, I'll have to undo some of the things I've done. Okay. If we don't have the lines touching, we just keep getting set backs. Okay, I'll try once more now. I can just hold down out and delete here. And delete here. Yeah, I think we can work with this. Next thing we'll do is just control R for ruler. I'll just, I really do not need to create a new art, but I'm just going to drag this guy here. I'm just going to, from my ruler. Just delete this one from the top of my rule. I'm going to click. Okay. So as to guide, I'm going to click and drag again. So as to drag another guide, what I just do is I'm going to click here, select section two, and select each of these ships from the middle. Control X, control V, then control and select my ship. My selection to reduce the size. Okay, perfect. Then next thing is to select my direction. Action to, again, select this other guy. Okay, But what I want to do here now is I just want to complete this ship like this. Select everything selection to complete the ship for this other one. Maybe we should have the cost here, maybe we should have it. Let's try having the cuts perfect every shift for Shilo. Just click to delete everything. Direct selection tool and select inside of the ship and control and control. We can scale this down. Move this guy, the right hand side. Move this guy in. Please scale it up. Okay, maybe move this guy and we can even delete. Delete everything yet. Let's reduce the whole size of our Google. Okay, maybe bring up our guides once again. Select everything and just remove the stroke. Yeah, this is what we have created, this is what we have now created. And what I'm going to do is I'm just going to create an art board for the ones we're done with. Okay. Select on board, we give the size like this. Okay, the size we have the first part. Now I intend on adding some other elements to this. Okay, other elements, for example. Okay, first of all, I think we should just give you a little bit more cap between, between jokes and menu. Maybe I can just change the color. Maybe I should just change the color to something random. For now again, yeah, you can see what we now have. I feel like adding an ellipse here. We need to create an ellipse, Make sure it's the same size as the middle of our ship. And as you can see, there's a bit of problem here. I'm just going to select this guy. Delete. Hopefully that should almost solve the problem. Maybe we should just add one more on point here. And just move this guy, this curve like this. Okay, perfect. Now for this one, we're going to make sure it's the same size as this space in the middle. Okay, perfect. Now we can just reduce the size like this. Perfect. I'm just going to take my pencil and click here. And just come down here. And click where I see the guide up here. Okay, that signifies that this is the middle of this Epi. And then I'm going to click back here. Instead of doing that, I'm going to click here and ship. And then I'm going to select Transform and Reflect Copy. Just bring this guy here as to make sure everything is perfect. Remove it, this set everything. Go to properties and unite. Perfect. Now what I want to do is I want to select this other guy. First of all, shift x for this guy, Okay? Then select this guy. Control C, control, increase the size. Maybe shift x, okay? I just want to increase the size to approximately the same size as this. I can easily do that by just using tangle and approx, Meeting the size here and bringing it down like this. Perfect, Perfect. What next should I do? Set the boot of them like this and use this minus S. You didn't give us what we wanted to shift X. Shift X. And this guy has to be on top actually for you to walk. Perfect. I'm to start into the ship and initiate the other ones. Perfect. What I intended to create is this kind of location pin. Okay, if you look at this, we can see that, sorry, let me change the color. If we look at this, we can see that this looks like a location pin. Right? That's the first concept. As you can see, that's what I meant by growing the lower parts like this. Okay, perfect. Now we have our first logo concept and we can actually add more things. I, I feel like adding a chef cup here or maybe the smoke, or rather the steam which we have illustrated here. Okay, let me just create all of these elements first and we'll see which one to use. Just going to increase the size of this guy. For this one, I'm going to use what do you call it? Fibonacci circles. Fibacci circles will have to be on layer two, control F. So that I can lock this. I'm going to start constructing my chef cup. Let's say this guy I'm doing holes and drug to duplicate it. Let's copy this guy too, then. Just duplicate this other guy. Perfect. Okay, so that we can, sorry, we can have this other part coming like this. Perfect. For this one, I'm going to control. Okay. After I control, I'm just going to select all of them and take my shaper two, okay, select my color and create. Perfect. Perfect. Now I'm just going to then control to piece the guy I copied in pay for this one. I'm just going to select, or rather for my Esos two. And then I'm going to cut out the parts. This part and I'm going to delete part like this so that we can have this part of the cup coming like this. Okay, that's the outline. Now we can now select all of them and increase the outline like this, perfect. And maybe reduce the size. Okay, and control G to group. Now we have our chef cup illustrated. Let's just bring it here for now. Then for the steam, we can do this by selecting our pent, creating a profile. This let the direct selection to this ankle point, bring it up, this duplicated like this. Let's try and then reflect it and reduce the size of this. Then the boot of them and the least stroke size 0.01 Let's see, worked for this one. Now we're going to use tool to create the ship. Okay, that will make everything look like the steam we just illustrated. Perfect. So you can create this other die for this one. For this one we can just maybe this bigger come to the edge like this. Make it smaller, come to this point and make it smaller also. And do the same thing here. Make the upper and lower parts smaller. Perfect. Now we have our illustration as copy or select them and control to group them. Just bring them to the point. Let me just control x to cut them and control V to piece them here. We can see that. Have them looking perfect. Okay, now we can reduce the size or we can even expand. I think it's best that we expand. So we can select the both of them with object expand, appearance, and boom, we have our steam this color. I think we're going to create multiple functions for this. It's not going to be a problem. We are going to create multiple versions and we're going to use the steam, we're going to use the cup, we're going to use a lot of things. The cap, let just try this. Okay guys, we've come to the end of this one. We've come to the end of this concept. In the next video, we're going to be creating the next concept. When we're done with all the concepts we choose, we're then going to have different variations of each of these concepts which we've created. Okay, so that's what we're going to do after we're done with all the concepts we will create from our sketches. We are then going to have different variations of the concepts we've created. Probably for this one we could have another variation without the cup and without this guy. Okay, so you get what I mean. That's what we're going to be doing in subsequent lessons. But for this concept, we are absolutely done to see you guys in the next one by. 35. 36 Creating Logo Concept 2: Hello guys and welcome back. In this video we're going to be creating our second logo concept, which is this concept right here. Okay, so we're going to be creating this concept in this video. Okay, and we can see that in this, our first concept, I actually made a little change to what we created initially. So please what I just added, I just added this part so that we can have a complete S here. Okay. Because it feels kind of empty. Okay. This, please feels kind of empty to some extent. So that's why I added this part here. Okay, perfect. So we're going to work on this with the colors and everything later on, but I want us to get all the concepts right first. What I'll do first of all, is I'll delete everything here and here. And I'll even select my artboard tool and delete this art board. Okay, maybe scale this one a bit. Perfect. Now just move my drawing closer just to see what I'm going to create. And then go to my rectangular grid tool and click for my horizontal. I'll make it four for my vertical. I'll make this 15. Okay, Now I will just kill my greed and give it a straw color. Okay, perfect. Now what I want to do is I want to make these boxes the same size, just like I did before. I'm going to select my rectangular tool and zoom in and click here by holding down sheets and make an E square shape. Okay, Perfect, even square shape, so it has to be even. I'm going to scale this and make sure it's even. If it's even, you're going to see this other line here which it's aligned to. I'm going to give a field color of blue. Okay? I actually do not need to give you a field color. I'm going to give you a st color of margin instead. Then do you just expand it like how we did before with others? Okay. And you can see that I've almost gotten it right. Maybe I just need to reduce the size of bits. Okay? Okay. I actually need to increase it a bit. A bit more, must reduce it. Okay? I can see that I actually need to increase it a bit more or rather reduce it a bit more. So we've gotten it right now. I'm going to select everything to select the big guy. Delete the small guy and align to the middle. Now we can start creating our logo concept. Now I'm going to use four rules and four columns. Or rather 12345 columns. Five rules and four columns, okay? Because the columns are the ones, right? Then these are the rules, are the rules. We're going to use five rules and four columns for each character, okay? Not really. For each character, we're going to use four. For the, then for the M, we actually need to use more than four. Okay, Because the M is wider than the. Let's just start and see. Because you can see the parts are curved right. We need to actually use our ellipse to okay, I actually deleted our ellipse, we have to create a new ellipse. You can either use this or use the polar grid to Okay, I'm going to use the ellipse and just going to hold down shift and Alt and create the perfect. Now we see that 1234 we're using. Okay. Instead of moving it, I'm just going to control C control and make this G, let's make this peak select the smaller one and control to group them. Let's see if this will work. It's 1234. I think we need to reduce the size of this a bit. Let's reduce the size because we want the G to come. And 1234, we actually need to increase the size. One, or rather reduce the size, okay? Like this perfect. We want this distance, okay? We want this distance, we want it equal to this distance, okay? So that's why we're doing this. Just take note of the technique here. Now we can select our guy, maybe even duplicated to this side to have a back up. And then pull down all and drag once more to this side that we can have one to 34. We can have our coming like this and this. Okay, perfect. Now we can select everything and go to our ship, bul to, and then start building our shape. Now we can just click here. This, okay, perfect. Let's choose a color first. Give a color. Now you can just zoom and start fixing some of these little errors. Here you can see the lines here do not meet, okay? The lines here do not meet. So we have a little error. You're going to undo this and make sure our lines meet. Okay? So first of Ford, for this guy, I'm just going to try to expand it like this. And then for this guy, bring it like this. Let's try this once more. Okay, we actually need to make sure. Yeah, we actually need to make sure this guy also meets. Okay, We also met. Perfect. We can just come and do Sam here. Its very important that the meet. If not our Coton will not work perfect. Now let's select everything again. Okay? Everything again. And select our sibular to then select our color. Continue. Now we can see how we've gotten this call, right. See, okay, think we still have a problem here. Problem here. You know what? Okay, let me just tt, just tick my pen tool and click so that I can just click here and hold down shift and click here. Perfect. Okay, So that I can just select all of them like this and select my ship builder two. Just come and hold down all and delete. Okay, we can see that I am still having a bit of error. Let's see if we can get this right. Okay, let's try it again. Everything ship builder to just delete. Perfect. You see now we've deleted the part we don't need. Now we can add these other parts. We see that we also have an error here. That's some of the little problems, little errors. You can come across this method, make sure the lines intersect, okay. Just like to make sure the lines intersect properly. Instead of doing this, I can as well just take my pen too, and just create, create what I want instead, instead of allowing the errors to keep messing up my D. Okay, perfect. Now I can just select this guy. Select this guy. And go to my properties and unite them. Having a serious error here, instead of using this selection tool, I'm going to use the direct selection tool instead. Okay, let's select the both of them and unite. And you can see that now we have everything working perfectly okay. Now we go to the next part, which is the most tricky part we're going to use for one part of the M and four for another part of the M. So that's what we're going to do here. We're going to start from here because you know that the and M are sharing one part, right? One boundary, just like we can see here. This is part of the G and also part of the M. Okay, so that's what we want to do now. Now I think I'm going to do something a little bit different from the initial sketch, but let's just see what we're going to come up with. Now, this is 1234, right? And 1234, the last guy ends here, okay? Now what I'm going to do is 1234, I'm going to take my pen tool and I'm going to click here. Okay. And come to the middle. Click in the middle, then come here, click here, and come here. And click here. And click, we have one part. Okay. Let's do the same here. Click here, come to the middle, click, click, click, and complete your shape perfect. Now we need to do the same thing here, click here, click here, click, click, complete your shape. And also do the same thing here, click, click, click, complete your shape perfect. Now what we need to do is we need to join some of the. The G has to get joined with this one and the M also, you can join with this part. Okay, what we're going to do is we're going to take our selection to click click Unite and Join. Select this other guy we actually need to join and also join. Then click, click, click, Join. Perfect. I want to actually create a demarcation. We can see that the sketch and what we are actually achieving a bit different. Okay? But that's how I want it. Okay? Remember these are just rough sketches, okay? At the end of everything, we have to come up with what we think is best, Okay? We are not tied to these sketches like that. We're not tied to these sketches. Okay. The most important thing is coming up with what we work best. What I did is just created a box here, created another box here. Okay, that of course the size of these columns, right? Perfect. Now, I can click this guy, Sorry. Use my direct selection to click here. Sorry. Click, wait a minute. Okay, sorry guys. These guys have to be joined together. Okay, These guys have to be joined together. They have to be part of the M to join them. Join them, okay. I think they are not touching each other. That's why we're having this error. But you know what? Let's just call out where we need to cut out. First, I'm going to select this guy. Select this guy and cut. Okay, perfect, this guy. Select this guy and cut. Perfect one to check, go into this ship. Because sometimes we might have some remnants here. Just select delete. If there are any remnants of this guy here, I'm going to be able to delete it. Or delete them and then go into this other guy. If there are any remnants, I'll be able to delete them. Perfect. Now what I need to do is join these ships together. Let me try one more time. Join them. You can see that they're not working. What I'll do is I'll group them and then I'll isolate the group. And then I'm just going to do this man. Okay? I isolate the group in. What I can do, one thing I can do is I can just extend this guy like this, into other part of the M, right? And extend the other guy do guy and say good of them and let's join now. Now we can see that we've successfully joined them. Right? Perfect. Now I can go out of my ship. Let's just remove the stroke. Everything is aligned perfectly. Let's just undo and bring back the field color guys. I feel we're done with this. I'm totally satisfied with what we have been able to achieve. I'm going to take my direct selection to click inside the ships and control X to cut them, come outside here and control V to piece them. Now I can now remove my, okay, let's just give this green color, very light green or whatever color we want. Let's shift and just remove the stroke. Okay, perfect. The next thing I'll do is I'm just going to select Sham Artboard tool and duplicate this art board while holding down Alt and shift like this. And just delete what we have here. Select everything here. Control to group them. Bring them here. Now this is our next concept. We can align everything to the middle. We use the size, like I said before, or maybe I didn't see it. But instead of using this cup as the background, I want to use. An ellipse instead. Okay. So I'm going to select an ellipse or create an ellipse, and I'm going to make the color even greener. And you know what, I think, I'll just import my, my color palette. Where is my color palette? This is my color palette going to import it. You can see that it's taking time because it's very large. Right? Okay. We're not going to really use our color palette for now, but we just want to sample this color now. Okay, arrange sent back so it's now the background. Now we can just align everything to the middle. Align everything into the middle. For this guy, we can give it a white color and just reduce the size like this. One final thing I want to do is want bring this guy, bring it on top. That instead of being the background, it's now on top like this. Just change the color to white. Basically, we're done with this concept. We can actually color adjust this color a bit. I think I don't really like everything about this color. Click. Okay, I prefer this one. This one. You can just reduce the stroke size for chef cup and move it, lower everything. Lower this control group. Then maybe go into the group for this guy, Let's bring him, this guy, Bring him like this. Okay, I think we might need to just bring this guy back a bit. Perfect guys, that's what we have been able to come up with as the second concept because sometimes we just have to use our eyes to balance stuff together. Okay. I think I'm okay with this guy, so I can just everything and group, we align everything perfect. Now we have our second Google concept. As you can see, we didn't add the text, we've not added text for this guy. But we're going to do that later. Maybe in the next with you, maybe I should add a text. But we're going to definitely edit our text. More literonokes menu. I'm not going to select any fonts for now. I'm. Yeah, what? I'm just going to move this outside instead so that for now we just have the logo icons. So these are the logo icons we need to create for now. In the next video, we're going to create our third concept, maybe our fourth concept, maybe we'll choose one fourth concept to finalize it. From there on, we're going to start. I did more details to our concepts and I did more life to our work. Okay? So that'll be it for this one guys, and I'll see you guys in the next one. Bye bye. 36. 37 Creating Logo Concept 3: Hello guys and welcome back. In this video, we're going to be creating our third concept. But before we begin, I actually just got a feeling to create a different variation for this concept we just created in the last video. Okay, so I'm just going to select my my boo and just old Alt and drag. And remember I said we're going to create different variations for all of the. Right. But I just got this inspiration right now and I just want to add it to the least. Okay, so that we don't forget what you want to do now. I just take my pin before then. I'll just guide using my ruler. Perfect. Then from there on, maybe I'll kind of create another one to align to the middle of, of my ellipse, right? So this should be the middle. This should be the middle. So what I want to do now, I want to make the ellipse and also the entire logo mark look like a location pin. Okay, to give that delivery vibe. Okay, let me just click here and click here. Cool down Old down shift to make this line straight. Okay? And then click here and come back and click here. Just hit for drop two and select this color. As you can see, it has a stroke. Remove the stroke and I'll just arrange send this guy to the park. Okay? Okay. We can see that I added a stroke to our ellipse here, right? So the stroke I added to our ellipse. If you just okay, let me just remove the stroke and add it from scratch. If you don't click inside and going into the ship and select the ellipse, you'll be able to come here and just add the stroke, okay? Go to your stroke panel. Put your stroke panel and make sure the align stroke is selected. This one, okay, Aligned to the outside. And just increase the size of your stroke. It then cut out parts of this other guy. Okay, this is what we now get. If we are satisfied with the size, we can just expand our ship and have the stroke as a separate ship. Okay, so that we can cut out the part of the stroke from this part, right? We can just keep adjusting our suk here to get the right size we want. Perfect. Okay, this is the concept. I just got inspired. Okay, so this hot looks like a location pin. Now we can just maybe bring this guy a bit lower to create this balance. Okay, perfect. Now for this guy, you can just go to object, expand. Appearance, Object, expand again. Now if we click here, that we now have our stroke as a ship. Now if we just move it, we see that it's a ship. Want to do? Just look at it one more time and do. What I would do is control C. Control on our stroke which has now become a ship. Okay, I've duplicated it, copied and please now while selecting the duplicated one, I'll just put down shift and select the green background, the ellipse. And then go to my path finder. And click minus, minus. Now we still have one more here. We can click it, of course, using our direct selection to come and click here minus divided the ship like this. Now we can just click, click on this one click and then just select this other part, which we do not need and deleted. Okay, now we have this looking like a location pin. In fact, we can have another version which totally has no chef Cpk. That's another thing we could do. That's why I said when we're done with everything, we're going to have different versions, we're going to have different varieties for our look. Our clients will have the ability to choose. The one you want. That's it for this concept. I'm not going to work on this for now. Again, all I'll do is I'll create the next concept. The next concept. I want to create this one here. This is a type logo, type logo. And you can see how everything is going to delete everything we have here. Come to my type two, just type menu, menu. Perfect. Create the size, type upper keys. I'm just going to give this toss a free font which you can get online. You can go to Google and search for Arts. You're going to get several links which you can use to download this font. Now you can just download the font and right click on it and install. Now this is what we want. We actually want to full full pass. You can come in Plot click can just free style this the cove we want. Okay, We can just select out and maybe even shift X. Okay, perfect. This is what we now have. Now we can just come here, click Conus. First of all, we can actually, we should actually reduce the size of some of these fonts or some of these types. We can see that the overall size is 117. Let's meet this 120. Okay? Now for this one, we're going to give it on 100.100 100 this guy. Let's give this eight. Okay? I think the reduction is quite too much. Instead of giving it 100, let's give it 115151 oh five then for this guy. So it means we are actually reducing 15, right? We're actually reducing 15120 -15 Give us 151 of five -15 Let's use our calculator. Calculator. Okay. So we're actually one of five -15 I'm not really good at Matt. 15 -15 should be 85. Okay. 90. See I'm not good at Matt 90. This should be 90 which is the third one. Should be 90 then 90 -15 75. This should be S 575 and this also five. We're lucky that we have four characters for each of these words, right? We copy everything control C. Just let your pencil click on the path control V. Okay, perfect. Now we can see what we now have. Now if you come here, come here, come here. Immediately, you see this icon, this little thing appear under the. Just click it and drag like this, able to your text it to whatever direction you want to drag it to. Okay, now we can, while selecting our text on type, and let me see, type on a Path to type on Path Options, and then click on Preview. So we're going to use tiers and make this descender. Okay, let's try several options to see what we get. Okay, let's try descend. And we can see the effects, right? We can see descender, we can see ascender, See center. Okay, we can see the line. We're either going to use the center or the ascender. Okay, let's use the ascender for now. For this other guy, for this adoption, the effect, we have the steer step, we have the three rainbow. We have the gravity, we have the rainbow. Okay? Either of them is what we can use. We also have the skew. Okay, Let's use the skew for now. We can change all of this later on now. Let's just. Increase the size of our ship, of our text. Maybe reduce this option, this value perfect. I'm just going to align it to the middle. Now the next thing I'll do is create this smiley ph, right smiley phase. That signifies happiness. I can click click here and drag. Or instead of that I can just do. You can click here and click Create a straight line shift x to give it the stroke align to the middle line to the middle perfect. Now you can use for our pencil, now you can use the anchor, 0.2 Just come and hover around our path. Okay, Over around our path where we see intersect, that means we have reached the middle. So we can click here. And now we have created this guy in the middle. Okay, now we have this carve icon. I can just drag it. And we've now created the smile or the, the smiley face. Now we can just increase our stroke size and give this particular profile here the size. Actually we can now just come here the lives to very beautiful lips like this. And now for the click, click, click here in order to cut the ship. And now we can just delete this other part. Here on your right hand side, you actually bring this guy down, please. This guy, please please the size and P the size here. And give it the profile, the side of bit perfect. We can right click transformer and reflect and copy just rag to the left hand side. Perfect. Let's let everything size this guy, increase the strip size, let everything controlled move this guy up. Now you can see that we have now achieved a smiley look. Okay, now let's just grab some guides here to do a little bit of measurement to see if everything aligns well. If the spec here is equally specireuse, you have to really make sure some of these things align. Now from my little judgment, I can see that there is more spec here than here. Repeat, tangled here, just copy it to this place. We can see that there is still speed, right? So that tells us that we need to move our smiley to the right hand side. Select the guy, Select the guy here, the group here. By selecting this guy, just move to the right hand side. Sorry, I just forgot to select one thing. We have to select this quantum move. So we can just keep using our eyes to push on the space, Make sure here, go to here. Or make sure they are almost equal to each other. Perfect. I think we have it. We can perfect. Now we can delete everything here and just scale this, even bring this guy down. Maybe we will need to actually increase the size of this guy here. Okay, just delete this one. Conditions one will transform, reflect, copy. Just move this guy in place. Click out. It's quite bigger, but I like it better. Okay, you can do this S we can go in and just do this. Perfect. Now we will copy our crown. Our Chef captrolCtlVn't. Really need to do that because the position of our text on the path is not aligned. We can use the ale, can use aline effect here. Option here, right? So I just have to do this man perfect. Maybe use the St size and give it a black size. Make sure the block is really black perfect. The final thing I'll do, final thing. I'll create something that will fit into this piece. Okay. What I want to do is I want to create a spoon and ****, I just want to create two things we have here, so on the fork, okay. And we're just going to use them here on our logo instead of using them here, even though we're still going to try another option with them on the text like this. Okay, What do we do? I think this time we might need to lock our layer. And work on the layer too. Okay, because we don't want to be moving this drawing. What I do is select my pentil. Click here, click here, and just pull down shift and drag like this. Okfect. Let's see, perfect. Then let the guy transform, Reflect, copy, And bring the guy to the right hand side. And let your pen to once more. Click here, click here, perfect your section two B little bit. Final thing will be to click click section two B guy here and complete down. We have this very minimally stick look and we can do sim with the spoon. For the spoon, we can actually just select these guys and drag them to the right hand side. Ticklectionybe Just move this guy down. Then take selection to select the pots guy and control to join. We've joined the two parts together. Your pills, see is what we now have. Let's select these guys. Do this, Let's see, I don't like what we have. In fact, going to remove this. I'm going to click here. Here. Rain it like this perfectly. The two anchor points here. And do this, this guy do this. I'm going to work with what I have here now. We can select the boot of them. Control everything here. Control, set the boot of them and bring them. Yeah, perfect. Reduce the sizes and reduce the stroke sizes. I'm just going to a to have a duplicate of these alter drug to duplicate of this. Maybe even the pick for these guys. Now I'm okay. There's one more thing I really want to do for this part for this pool and folk just go to your stroke and give them this round cup, round cup. Do same with this guy, we should just go inside. And this guy, this guy lower. And maybe reduce the size of this one perfect. Now maybe make this two. That's three. Now we need to reduce, or we need to, our guy here by see. Just not even show me the degree of rotation. Let's just do this. Let's use this. So as you can see, we're doing this by see 45 point something degrees. Let's select this guy. Select our guy here. It just 45, 45 degrees can be some variations, but let's just try to do it like this so that we can quickly finish this logo concept. Because the video is taking quite longer than I expected. We'll just, the bits tilts perfect. Just show everything, maybe bring this guy down a bit. Yeah, we're done. So we can just group them guys, we're done with this concept. We can just group everything here, has to be unlocked. Look everything in control G. We can now bring everything here. Now we're just going to select boost to duplicate mistake to duplicate this board. Bring it here and just delete this one and have this one perfect. This one has that kitchen vibe, kitchen, that kitchen vibe. It's going to be very much more ideal for brands that kind of cooked food. Okay. So all the restaurant brands and so on and so forth. Actually, our clients brand cooking most of the cooking themselves. They do most of the cooking themselves. Okay? But for a business like that, in order to be expandable, very much sustainable, you'd have to mostly take care of just the delivery. Okay? Because doing the cooking yourself, you wouldn't be able to cook for all your clients, right? I think for companies like this, they usually do more delivery, so individuals can actually register and then the deliver. But I don't really know, not sure, I'm not an expert in the food industry, I cannot see, okay, but we are giving this logo, this concept, that food vibe. Okay. We have the spoons here, we have the chef cup and the smiley fees here. That will be for this one. And see you guys in the next one by. 37. 38 Creating Logo Concept 4: Video, we're going to be creating our last logo concept, which is this concept right here. This concept is our last concept and we're going to be creating it in this video. Now, guys, look, we have a lot of concepts here, but it's totally impossible for us to work on all of this concept in this course. It's going to be too much. Okay, I'm going to work on this one for the last one, please guys, just go ahead and create as many of these concepts as you can. I'll be really grateful and I'll be really happy to see what you come up with. You can see that for this one, I actually created this other concept without the chef cup is just plain GM. Okay, This is the last concept for this particular logo or rather this is the last variation for this particular logo. So we're going to just work on the last concepts and have it here, and then create variations for all of them and work on the color and will be done with the project. Now for this one, I'm going to use a font. Use the front, select my type two and create the type GM. Okay, for jokes, menu made 281. That's the font size 281 at. I just okay, I don't need to readjust. I actually wanted to readjust my, what do we call it? My art board. In fact, you know what? I'm not going to make this big. Just undo and make the font size back to 29 to make sure this guy is upper. I'm going to give it the font proximavaI'ming. Give it extra. Proxima Nova, extra. Now, Proxima Nova is a font you can also find online for free. Okay, so just Google it and you can get this phone free of charge. Now the next thing will be to make this zero. Then now I want to copy my chef cup here in this place. In select my chef cup control C, go out, let's come here and control V piece it perfect align to the meter. Maybe not, because it's not aligned properly with our guy here. Okay, but nevertheless, let's just freestyle it and make this bigger. Now what we want to do guys is we want to create an ellipse. We want to create an ellipse of this size bigger. Okay, bring, okay, just align it to the media like this. Now this guy needs to come up here. Okay, we'll make it bigger. Actually, I even wanted to come even lower this, okay? And our front should be bigger. Or rather our stroke should be bigger. Perfect. Now, I want to use the scissors to first of all guys, I think we should make this a little bigger, perfect. I know it's not perfectly what we sketched out here, but believe me, it's going to be better. I just reduce it. I'm totally using my eyes here to for my proputionas my eyes here. Puionj follow me and hopefully we'll get to the Pm land. While selecting this guy, I'm going to hit Sea for my siesors. Just come here and cut out these parts and just delete them. Perfect. This is what we now have. Okay, I'm going to take my ellipse to and just come to this place, Alt shift, and create ellipse like this, pur another one. Perfect. Let's hold Alt, grab, perfect. Let's select everything and make it even bigger. Everything bigger. Okay, we're totally using proportion here. Totally using proportion guys, I just want to expand my text. Because I want to modify my text this time. I want to really modify my text. Okay, I want to modify my text. Select my text to direct selection. And I'm just going to. Messing around with the curves, right? Okay. This ankle points. Okay? So I'm just going to click here. Drag the guy like this. Drag the guy like, sorry, drag the guy. Okay, let's try this. Not bad. Okay, I'm just going to undo it and try it the other way around. Okay, I prefer the last we, we had it perfect. This one to this. Perfect. For this one. I'm going to this for here. I'm just going to select this guy. Select these guys, because I'm going on shift to select multiple, make them curve like this. Perfect guys. I totally like what we're having right now. I think ellipses are too big, so I'll just delete this one. We all the drag this one. Um, I'm just going to control C. Control, sorry for this guy. I mean, I'm going to control C and control. Okay, that's copy and paste in. Please cool down shift and Alt and drag 12, something like this. What I just want to do is I just want to create, to create this guide here just for my story and also caught here. Just delete. Delete. Okay, so this is what we have. I'm just going to select my article to make this bigger, bigger, perfect. So this is what we have so far and I kind of like what you have. Maybe I'll just make my my stroke size bigger, little bigger, perfect. Be basically guys, we're done with this. We're done with this and I'm really satisfied with what we have. Maybe I'll just bring this close speaker. Yeah, this is what we ended up with. This we end up with, as compared to this, right? I really like this. I'm just going to realize the bits and see. Maybe not, maybe just bring it down. Okay guys, will be it for this video. Sorry for this concept, not this video. This video is quite long from being over, so I'm just going to try one little detail here. Maybe, maybe not, Okay, I could believe it. Maybe we'll just have it as, as a second of variation, right? We will have one variation with the guy here and the other one without it that will solve the problem. After everything, we just choose the clients, we just choose the one we like most. I'm going to just conclude to group them. And then we are now going to work on the text. The text is going to be drugs menu, menu, menu. Let's make this is, instead of using this phone, I think we should use whatever the name is. Let's use medium. Gulagudiyi. Think either of them work? What I want to do now, I want to. No create this. Guys here. This guys, okay, This fork and spoon, I want to use the fork and the spoon I created here to create them. To drag this here, Alton, bring this version. Bring the spoon here. And bring the fork here. Okay, And just drag everything lower so I can just walk on them. Just the guide and so as to use it for alignment. Right. Okay, so let's just let good of them. Okay, I think we are going to try having finales. Use. Regular. Regular is quite good. Drugs menu. Maybe we should make the other letters apart from the first letter. Maybe we should make the smaller incs. Let's give them 100. For 100.100, let's see. But we actually need the U here to be this size so we can fit it with our fork. Okay, How do we solve this? Instead of making the M big, we can also make it 100. Give some space between them. We even give some space between them. 7515. Just bring this guy here. Zooming a beats, why down shift? To maintain a street line alignment now. Just our stroke. Let's see, 8.5 Okay, you can see the difference. Now let's see, 8.68 0.7 So I think 8.7 778, just 75 rather. 8.75 is working well. 8.758 0.758 0.75 Just move this guy in, please. Perfect. Now you just have to do one final thing. Let's try this bigger. I didn't think there's any need to make it bigger, you just need to select this guy in your side. Go to our and make this rounded cup do seem just one rounded cup. Perfect Then for this one guys, basically I feel satisfied with what we've been able to achieve here. What I'll do is I'll just expand everything right now and then join the spoons and the folk with the write up. Right, So I'm just going to have a copy here. I'm just going to select everything to object and expand. Expand once more. Perfect. Now what I'm just going to do is select everything here. Go to my scheduler to pull them out and delete. Perfect. Do same here. Okay, for this, please. I don't think I need to delete anything. All I need to do then is just add them and delete this guy, them. Okay, let's unite them. If I zoom in here and then select my direct section two, I'm actually going to see some imperfections here like this. For places like this, I can just use this option to delete, okay? Deletes, and maybe even with this guy, deletes, perfect. Zoom in to this one. Select. And we can see that. This is small perfect, we can just work with it as it is. Basically guys. We have now achieved our text. As you can see in this particular logo concept, we were able to achieve this one, that's this guy and also this one here. We killed 2 stones with a rather, we killed two birds with a single stone. Perfect guys, if you look at this, if you look closely at this, you'll see that this inner circle here makes this look like a smiley MG. Okay? Like that Smiley fees we really wanted to achieve here. Here, okay? You'll see that this guy looks like that. Smiley fees. And this whole arrangement here looks like a fee. Okay? If we had something like this, something like this to make the hot more clear, right? Okay. We're not going to add that just for you to note. You see we're getting that smorpy', achieving happiness, Happiness, Look here and we are achieving these concepts, That's the G and M, and then the cap, and then the fork and the spoon. Okay, So you can see how we're actually making our concept common life here. I'm going to have one version here. I'm going to have one version here. I'm going to control, also control, I'm going to hold down out and grog and also have another version for this one I'm going to remove, I'm going to remove this guy to delete. Okay, we have this guy here and this guy here. The client will then be able to choose between the both of them. Perfect. I want to have this copied it. I want to have it separately outside so that I can use it probably for another concept. What I would then do now, you select everything, go to object, and expand to object. Once more, expand everything, go to object, expand, maybe do that one more time. Perfect. Now I can also do S for this guy, because we haven't expanded it, create a copy. It's always good to have a copy because you don't know what might happen next time. You might need to actually back to the original copy and do some changes. Because the client might actually ask you to do some changes, okay? The client might tell you to change the font or do one or two other changes and you will need to go back to the original version, not the expanded version. Okay, so that's why it's good to always have a copy object, expand. Perfect. Now we're going to just set our T to pull them out and drag a copy and delete this copy. Now we can set the two of these guys and bring them here. Reduce the sizes like this, perfect. We can see that our logo looks really cool on black and white. That's like I said earlier on the cause that's one of the characteristics of a really good logo design. It has to look good on black and white. If we really want to check that we can to all of these to also and see how well our logo, right, that's it. You see everything looks perfect in black and white. So with this one, if we like, we change everything to black and white, black, we see that everything looks perfect. Here guys guys, we're done with our ogle concept. We can see that we've achieved four unique ogle concepts. And we even have iviations, right? Perfect. Now for this one, I feel like having a demarcation between my G and my S. Okay. I feel like having a demarcation between my and my. Okay. Let's see guys. Let's see. Okay, So you know what I'm going to do. I'm just going to do this. Take my rectangular to rectangle with the size. We give it a different color. Just bring it in please here so I can now and align it. Let's see. Okay. You don't even have it this week. Now I can actually, let me just have a duplicate and select this guy. Select this guy. Cuts. You can see now we have Jory mystic. This one shouldn't have come this far. We have this and we have cuts. Yeah, see we have people get to see that this is more clearly. Okay, perfect. So that's one way of doing this. Maybe we have this as one of the variations. We have this guy as the other one. Shift my go to brag copy here and delete this guy here. And delete this guy here. We have this one, we the cut here and we have this second one with the cut. Okay. Group, Everything. Lineup. Everything. A line, Aline. Perfect for this other one. We're just going to create this for this one. We're just going to remove this guy here. So that'll be the second variation. And maybe you just this chef cup, just move it like this. Perfect. For this last guy to shift out, delete, centralized, centralized, the size perfect. You can see you guys. This is our look. We have the first concept, second concept touch concept, and fourth concept. Let us give all of them this color. Very light, beautiful green color. I just want to do one more thing. I need to add the name, this concept right at the name. That's why I created this guy in the first place. I don't think we should use, let's try using this one doesn't go too well for me, it doesn't go too well for me. I'm just going to keep it aside and try to give this let me be sat doesn't have to be too crazy. Just go with simple stuff and everything, common life. We can see that this works very well. This works really well. That's the Serra Funds close this and maybe make these guys bold while these guys remain, maybe regular, you can see guys. We have a very sweet fountain for this concept. Jokes menu. Same here. We can just give it for now. Perfect. See also for these guys, you just this guy pick up. Perfect guys. We're done with all our local concepts and I really like what we have come up with. Okay. And I really feel like these guys are not performing well with the front at the side like this. So let me try another thing. Let me try another thing. Maybe reduce the size, okay? First of all, I think we need to expand this guy here because it's still a stroke, right? To expand it Now what I want to do right now is just reduce these guys like this, okay? And then bring the phones here. Okay? So it makes more sense for me like this because this lower part is not making it fits very well. Okay, so we have it like this. I like this. Instead you see, let's try to maybe make this a little bit bigger so with this one perfect guys, so we're done with all of our concepts and I really like what we've been able to come up with. Your assignment would be to create the remaining concepts. Just create as many as you can doubt for this video. In the next video we're going to be addinal clause. From there on we're going to be presenting our logo concepts to our client so that our client chooses the ones they want or the ones they want a doubt for this one guys and see you in the next one. Bye. 38. 39 Adding Colors: Hi and welcome back. In this video, we're going to be adding colors to our logos, and we have quite a number of them here. We have 1-234-567-8910, So we have ten different variations for our logos. Okay? For different concepts and we're going to be adding colors for them. Okay, so I'm going to use this color as the light green. So let me just bring in my color palette. So please, And come here. Where is it? Yeah, this is, it might take some time to loot because it's large, gets loaded. Now, this is our color. All these are our colors. We can, we can even create them like this we want. Okay? Okay. So that we can just have this guy for green, this guy for red. Okay, let's just pick the mean colors. Well, I know that this is the bright green, but I'm just going to use it for now. Okay, I'm going to use it for now. If I have any need for a dark green, I'm just going to create it. We sample this one for the orange, and sample this color for the black. I'm going to delete this last one, Instead of deleting it, I'm just going to create a darker variation for the green. Okay, I'm going to like this and just adjust the color to achieve a dark green. Okay, I'm satisfied with this guy and you can just come and see the color code here. The color, of course, this file will be made available. You can just come and check them. And I'm not going to delete any of them. Now, let's begin by working on our first concept, which is this guy here, okay? You don't need to use too many colors, okay? That's one thing you have to, you don't need to use too many colors to achieve what you want to achieve. You can achieve very unique designs with just a few colors. In fact, it's not appropriate to use too many colors. In most of the concept here, I'm going to be using just two colors. Okay, For this guys. I'm going to give the guys a black color. That's menu and also the chef pre give them a black color. You can either double click here and give them a black color or just come on sample the black color here. Okay, so we have given this black color then for the other green guys, take my direct section to the click for this one. I want to give them a red color. Okay? I want this to be a combination of black and red. I've given them red color. Okay. But for the other guys, I'm going to try something out. Let me try giving them a red color. We could have them red, but I don't think shoes, the pin icon here very properly. Let me just give them black. Black will drag the viewers attention to this, please. And they're going to discover that this is actually a Luc Pin. Okay. I think I'm just going to work with this. Let's try making this red and Okay, that's not bad. I'm just going to use red for the chef cup. If any other thing comes up, I'm just going to change it. But for now I'm going to use red for the chef cup, black for menu, and red for us. While this pin parts here, this one and this one will be black. Okay, you can see that with just two color combinations, we've been able to achieve very unique color combination on our first concept. Now for our second concept, we're going to use the green color in addition with the orange color. Now, I've selected these guys, and I'm just going to give them the ye the orange color. Okay. So this is the orange color. The orange color. Perfect. Yeah. Now, I'm just going to give the orange color also. I think I like the combination we have so far. Okay. Yeah, I think I like the combination we have so far. We have this guy with the red and black and we have this guy with the Orange and green, orange and green, red and black. We're done with our first concept. Now for the second concept, I really like the green background here. I really like the green background. You know what I'm going to do? I'm maybe take my pen and then select the menu here. After selecting the men, I'm going to select my eye drop two and I'm just going to give this orange color. And she said, this is not it's bar. I can do same with this or maybe even give the whole text the orange color. You could also try changing the color for this one seek. It's also not bad. It's a good combination, but I feel much more comfortable with having it green, perfect. For the next one you have this guy, I'm just going to leave this one green. And I just give the orange color. Okay, It is orange color and perfect. Let me strike. Giving this tip here, the orange color. Just not bad. We have the orange color. Okay, And I even like it this way. Okay, Perfect for this one. Could give the whole thing the orange color. Okay, I think this is good. So these are the combinations we have for this local concept. We have all of them, the green background. Okay, We have all of them with the green background. And then we have the combination of orange color for the text. Okay, Now we actually need to cut the white shape from the green background. Okay, Because that's supposed to be the nature of the logo. Okay? Logo is supposed to be transparent. This white part is supposed to be transparent. We're supposed to be able to look through them. Okay? It's that we cut them out, but I'm not going to do that for now. You're going to work on the next one and the next one. Just go in and make this guy black instead of doing man. Why not just sample my colors, right? That's the best thing to do. Sample my colors. Make this black, make this red. I do not want to use colors. I'm going to limiting to black. I'm just going to take this guy, take my section to click, click, click. Give a red color. Perfect this one. In fact, let's join our sheep together like this. Okay, let's unite everything together. For this one, we could give it red color, give it a black color, just give a red color instead. Again, for this last one, let me give you the black color. Let's see. Yeah, I guess black will work Perfect. Now for this other guy, we're going to be using the green a lot. Let's have the text in green, the chef cup here in orange. Have this guy in orange also have this guy in orange. Okay, perfect. Now, for the last one, for the last concept, we're going to make this orange. Let's give this orange, or maybe we should make this, let's use the red and black theme here. While we use the orange and green theme here. Okay, this one will be red and black. Let's give this the red color. I'm just going to give the black color sample the black color. Then for this one, I'm going to give you the red color drop to perfect. This is good so far for the text here. I'm going to give my text a black color, the drop tool and select black color. This is good. Finally, last but not least, and that will be this guy. For this guy, I'm going to use the orange and green theme. I'm just going to make this orange and I'm also going to select the cup and make it orange drop to sample orange. Okay. And basically, guys, I like what we have so far. Now for the text here, I could make two orange and see, okay, make these two orange. For simplicity's sake, we could leave them as green in choose one color like we choose orange, either of them. I feel that this green is too weak. I feel that the green is to try using the darker green. This time, the dark green work. Let's give this a T. Let's try giving this a stroke to see if we can increase properly the thickness. Okay, so this is one stroke weight. Let's go out and see. Let's see if we can do the same thing here. The text is all right. It's just add stroke, the whole thing kicker if we like. We change our green here to the strong green. Okay? But I'm not going to just change it, I'm just going to leave it this way. And you know what I want to do? I want to, I want to just try using the strong green here and see, okay, so we have dogs in fact. You know what? I really like the combination here. So this is the powerful green and this is the Akal green. Okay, Like this combination and that's what we're going to be using for this one. I like every other thing. I really like every other thing. That's it for the video on, in the next video we're, we're going to be learning how to present our logo designs to our clients so that the make a choice. Then we proceed from there on. That'll be it for this one guys and see you in the next one. 39. 40 Presenting Our Logo Ideas 1: Hello everyone and welcome back. So before we begin our presentation to our clients, there is one little thing I really want us to treat. Okay. Very little thing, but very important. Just keep my memory. That's, that's why we didn't treat it before now. Okay, that's Pusionkay arranging your logo elements on propusions. Okay, it actually depends on the type of logo you want to create. Okay? For example, logos like this which have a logo mark and also a logo text, really find that method useful or handy. Logos like this also, you see that this one also has the logo mark and the logo text. But when you talk about logos like this, it really does not matter so much in even though, however, you could still use this method. I want to show you to actually make sure the elements of this logo, just like the chef carp and other elements here, are proportioned very well. Okay. Remember that during the creation of this logo, all I used was my eyes. Okay. To make sure I proportioned everything well. Okay. I just used my eyes to measure the actual size that this is supposed to be in. The actual size that this is supposed to be in. So I didn't really use any specific measurement. Okay. And I was able to do that because of experience, of course, because I have been doing this for years, and years and years. Okay? And I have created so many logos. I know what works, okay? I know the best thing to do. I know the proportion to use for it to make sense. Okay. But what if you're a beginner and you really haven't gotten that creative experience and that creative eyes, right? To see the best proportion and know that yeah, this is the best proportion. How do you do that? Okay. So that's what we're going to be treating before we jump on our local presentation. Now, in order to proportion your design elements very well, very properly, you can use grids. Can actually use grid that. What I'll do now, I'm just going to create a new grid. I'm going to create my new grid on my background layer. I'm going to take my grid to my Recanglgd. Click I'm going to just make sure he is 25. 25. And I'm going to click okay. And then give you the Sthite stroke color. And just this, this, if I lock this layer, we won't be able to select the layer right now. We can start pushing our logo. Okay, we're going to take this first one here to alter and draw it here. Now we can see that our grid is made up of boxes and our logo elements can kind of fit into some certain number of rules and columns, right? So let's assume that for logo mark here, we want it to be 1234 by 1234 because this is of course, an ellipse and everything is in an ellipse, so it needs to be easy to scale. So we see that now we've gotten it at four by four. Let's say we want to make this bigger. Let's five by five, or six by six. So let's say six by 6123456 by six right now. Now here is our local text. Okay? Now if we want, we can make this our local text. Just one, right? One we want, that's if we want, we can use the G to position our logo text properly. Even want we make this two, let's try making it two but it's actually going to be very big. We can see that it's big. One is actually, one is actually very good. But what I want to do here is want to reduce the size of our logo mark. Let's try reducing the size of our logo mark. Let's reduce it by one, okay? By one rule and one column. Now we've reduced the size of our logo mark and we've positioned it properly. You can see that it's here and you can see that our text is here. Now you can see that we have this at 12345 by five, right in our logo, text is one rule, and we actually left a piece of one rule. Okay, One whole rule. That after our logo mark. This actually helps a lot in pputioningact. Let's assume we see that this piece is too big and we want to make this piece smaller. Let's just create another version here if we want that. We can actually come here and just get this line in half. Can get it in half. Okay, we can get it in half. Let's see if we can sample this. I actually selected the text, which I shouldn't have samples. So you can see that we've gotten this in half right now. We can just move this to this P. Then we know that we have used half of a rule, right? Half of a rule for our space. Okay? We either have this guy or this guy. Let me just group, this, group this. No, let's bring them here and compare them to our initial logos and see if I actually did a good job. With my eyes, we can see that we almost achieved. In fact, this is almost what we did achieve. We just defaulted by a very small margin. Okay. So this is what we achieved and we were able to achieve Panceo. This is the other one. Yeah, we can see that everything is just looking very palanca. Like I said before, experience is what helped me to really get the proportion in like this without even using any grade, going to try working. Doing the same thing with the other versions we have here. So we could see that this one, see four by 41234 by 1234. Right? Then this one we see takes two. Okay? Like this. Or maybe one on a two. Okay? I think to be two big one on a two should suffice. So one on a two, this is approximately 1.2 perfect, and we could give a spice of one or a space of half like this. Okay, half a column perfect. Basically we can see that Acalmic group everything and just bring it here to compare with what we have. We can see that we almost also achieved, okay, we didn't really achieve it like that. We can see that if we make the logo mark this big, we're actually going to see that our text should be bigger if we were to use this. Okay. In fact, I'm just going to make our text bigger. Actually make our text bigger, but I'm not going to be using the grid that will waste our time. And time is of essence here. I'll just like this. We could do same with this one. Let's do same with this one. Let's bring it up, make this Baker. Let's see. Let's see, 12345. Let's try then working on the text. Actually want the text to occupy two rules, okay? And position like this so that we don't have this guy starting from this third rule, okay? So this other piece that is empty will kind of serve as this piece for our local, right? So you can see we could use this proportion or we could make this one step pick. This pick, okay? So it all depends on what you really want to achieve. This is going to be a good example. Okay, perfect. Now, I just showed you this to get this to your knowledge, okay? It's not like we're going to be using this seriously here just for you to know that the designers often use this method to create wet designs. Local designs. Okay, perfect for our presentation. I want to start our presentation now. I'm going to start with a new file. I'm going to use this, this landscape orientation and RGB and create. Now in the way I really want to present our logo now. I don't want us to present all our concepts on, on one sheet. Okay, I actually want us to have multiple sheets. What I would do now is I'll shift for my art ball too. And I'll just make this artball little bit bigger. I'll just bring it down like this. When presenting your logos, it's very important to have your black and white, or black color, or white color, then also have the colored version that if you actually want to present with the colored version. Because some designers do not present with the colored version, they just present the black and white versions first. And then also with the variations for the black and white. Okay, with the various variations. Okay, like for example, this one has various variations. Some designers will just present these two variations but all in black and white. Then when the client chooses the one they want, they just go ahead and add the colors and then represent them to the client. Okay, But in our case here, we're going to add the colored versions. We are going to present the color versions. And also what do we call it, The black and white versions. Now let's just align this guy here and we're also going to present our work in a PDF format. In a PDF format. So our client can just go through all of the versions in the PDF format. We can also export them as Pec if we want or other formats. We're actually going to explore all of these options, all of the options of either exporting them in PDF or in other formats. Again, we're actually going to explore all of these options probably in the next module. Okay, the next module. The next module should be on export. Learn how to export our logo files in adbloto. Now we have the first one. Now I see a lot of designers just make their lugs big. Just present their lure's really good to present your logos covering the whole space, okay? This will not give your client the space, the need to really process the logo, okay? Your client will need to process the logo. Just having your logo isolated in some amount of space will give your client the ability really do some good analysis on the logo, okay? And everything will look better that we, we can see that I have now used this to create some sort of pcutioning for our logo. Okay, let's try bringing this on top and see. Okay, let's see this. Okay, so we could have this as the first one, then we could have the black and white. The black and white here, sorry. Let's give this this color range and bring to front we'll have this as white. Just reduce the size of they will have this as black. Okay, perfect. So in this case the spies are around my logo. I think it's too much. Not the Spes by the right and left the species on top and below. Okay, maybe we use the species. This. Let's bring this guy up heat. This guy selects everything here. And brings up, let me just de, this one for this one, just going to bring them up like this. I kind of like what we have so far. Perfect here we have the black and red version, and then we have the white version, and then the black version. We can now have the same here for this second concept. Okay, so bring it, Just arrange everything properly. No, I can just eat my, my ship here and just try to align everything like this. I just compare it with this one. Yeah. Okay, see that's okay. You know, we could delete this one, bring this guy aside and just, I mean, let me just let my artboard to then just make this art body a little bit bigger. Just increase the width. Move the sky a bit to the left. Move the sky a bit to the right. Yeah, perfect. To allow me to use my ruler to make sure everything is waking perfect. So now I can just reduce the sky. Just crease the size like this. Basically, this is good now for the block. Have the block here and just give it to the black color. Perfect. Now we have all our versions. There's one little thing I would want us to add to our presentation now. Just come to file and please go to the folder. You see these images, You see this image titled Food, and then you see this one titled Chef. We're just going to do something really cool with these images. Now, I've selected the food image and I just click my image here. My, to make this, the, to bring this image here. I'm not going to do this for all the concepts. Okay, Because we're going to have too much. I'm not going to do this for all the concepts. I'm going to expand my image or resize my image rather. Now what I want to do next, I just want to clip mask my image, to select the shape on top and select my image. And control seven for clipping mask sent to pack. Okay, perfect. Now we can just go in, go out now instead of going in, I'll just move my ship, an image blue like this, so that it starts from somewhere here. In fact, I just want to give a little more space. Perfect now. Just go into my ship. Make my image bigger, position it. Well, yeah, maybe crop my image. Crop my ship. Now the next thing I want to do is take my rectangular and just create a rectangle with the size of my image here. Give it the black field color. Go in and make the color just reduce the opacity of this color. We have it at 59. Now let's try something. Let's just take one of these, lose with white. Okay, hold on out and duplicate it. Bring it here are the front. Okay, This is what I just want us to do here. Perfect. Could you even make the speaker? Okay, so this is just a way of making the whole presentation more polished, more stylish. Okay, that's it for this one. Let's just make it, make our image less, right, so that our logo can stand out. This is perfect. Now, this is just what I want us to do at the end of every logo concept, after every concept is going to pick one Google concept or maybe the best one. And then we're just going to make this presentation without one. Okay, that's what we're going to be doing. I'm just going to create a new layer here. Bring it down. I'm going to add a white background. Is the white background to our new layer and then send it to the park. Arrange send to the park, make sure it at the park. What we're then going to do is just take these ones, take the background, the several backgrounds. Control X, we come here, control and do same with the other ones here, Control X, Control. What we only have on this layer is our logos, right? Perfect for this one. Then work on the on the second logo concept for our presentation. I'm going to put, alter this guy to the right hand side. Perfect. I'll do is I'll just delete everything here and then do the presentation copy from this one. And bring it here. I'll do that in the next video because the video is getting too long. I don't want the videos to be too long. We'll do that in the next video. In the next video, we're going to work on the remaining logo concept. We're going to present them just like we did this one, B it for this one, and see you in the next one. 40. 41 Presenting Our Logo Ideas 2: Google concept. We're going to come here and copy our Google concepts. We're going to copy everything, guys, that we really have a lot of concepts here. We have a lot of concepts here. We might not work on all of these concepts because they are way too much much. Okay. We might not work on them because they're very plenty. We're just going to work on a few. First of all, I want us to cut out some of these white pieces. Remember I said they are meant to be out of this background, right? So I'm going to take my Dire section to go to my properties. Click here, click, click, click, click. And just minus, I'm going to do seem for every other thing, just minus, click, click, click here, and click here, click here. And just minus do seem for the last guy here. Just minus, perfect. Now we have cut everything out like we should going to use. Okay, sorry, should have grouped them. So I'm just going to group all the ones. I should have group or I should group. Group and group. Perfect. Now I'm going to bring this guy here and reduce the size. This range, it aligns the middle. You know what I will do? I will lock this li because I don't really need the Lia. I'm not going to be changing the colors or creating new backgrounds, right? So I might change the colors, maybe I might make them black or get the point. But for now, let's just work with the colors we have. Okay, so we have the first concept here and maybe you'll just take this other concept so that we don't have to main concepts. I'm just going to discard some other maybe instead of discarding them for the other lethal ones, I'm just going to use them to create the lethal concepts, right? That's the ones in black and white. Okay, perfect. This is what we have here. For this guy. This will do perfect. Just going to delete this guy here. Then maybe bring this one here, reduce the size. Just make it, bring this other guy here, Just make it white. Okay, now this guy should be block. I mean, really block, Sorry, I can't see it. Really block, Perfect. Now for this other concept, we're going to use this one for the block and this one for the white. I'm just going to reduce the size again. Okay, so we're going to make this block and then duplicate this one, make it white. Just rather, just grow out, guide and try to make everything aligned perfectly. Now for the concept we're going to be using here, I'm just going to tick, let's choose this sky. Use the sky. There are really cool concepts. Let's just use this guy here. Just give you a black color or the white color. Yeah, this is what we now have. Perfect. We can actually change the food image here. Maybe we use the other. The chef image. That's this one. Just bring the image in. We have to unlock the A. Let's bring this guy here. A copy park. They are on two different layers, right? So I just want to cut this guy here and bring it here. Okay. Then reduce the size range. Center park there. Just select the both of them. Make this opacity and arrange control seven, range. Copy all of them and control seven. Then he deleted this one image here. Perfect. We now have our second concept presented. Now we're going to work on the third concept and come here then copy Our third concept is a third concept to copy everything, control, come to the presentation document and just now select my artboard tool. Cool out and drag to create a new artboard. Perfect. Okay, we're going to start with this black and red concept. We just delete that we have here bringing a concept in. Please pretty much delete every other thing. Every other logo here was going to lock this, then reduce the size in this logo is on the At X and control now we can lock the layer and just walk on our logo. We do something to this one, a line to do. I think this is big, this one. Let me just try. Let me just check here. Yeah, it's actually just select maybe. Perfect. Now we delete. Delete wooden here, size and then make this white. Then make its black. Perfect to do the same for this concept. Oils, ring it here, make this whites. Yeah, we have our second concept, Let me just bring our concept here and just zoom in and just make this white. Okay, now we're done with the third concept. And maybe you, okay, just change the image to this one so that for the last concept, we're then going to have this image for the last concept. We're going to go in copy our last concept. Control C, Come here, control V, We'll just select then click here, Copy. Click and drag. Perfect. I'm just going to delete all the logos here just like I have always done. Perfect. Then we're just going to start adding our logo X control. And then Constantino here, this will come here and was going to do the size, the size lock this Leo? Yeah. So I guess I'll work with what we have here. Just alts and drug give you the white color and reduce the size. Perfect alts and drug and give you the black color, perfect. Select everything here and delete. And now it, our final black and white versions. Besides them black or rather white color. I forgot to expand our stroke here. Remember we added the stroke. I think we just did that to this version, right? So you know what, I'm just going to give you a stroke, a white stroke. So I'm not going to expand it yet because I'm going to give you the white stroke and this will suffice wooden ogre. Just give you a black color in a black stroke. Perfect. Last, but not the least, to be our, our policed presentation. Right. For this one to drag it down, you're going to go in, we mean to give it a white color, give us a white color on a white stroke. Okay, I just added the white stroke to this, but I don't feel comfortable with that. So I'm just going to undo. That's perfect. So I'm just going to leave them without the stroke. And with this, we've come to the end of our video. Next video or in the next module, we're going to learn how to export various file types in alto. We're going to export the PDF. We're going to export the PNG, which will serve as a mark. Okay, that's a background image. We're going to also export the Peg. We're just going to learn how to export all types of important files. The next thing we'll do now just see this project control. We see this as log look design, logo design, client presentation. Perfect. So save and we just hit okay. And adulto saving our file. Perfect for this one guys. See you in the next one. 41. 42 Module Intro: In this module, you'll learn how to export your logo design files out of dub Ilos to you'll also learn what file you need to export and present to your client. 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. 42. 43 Exporting Logo Files: Hello everyone and welcome back. In this video, we're going to learn how to export our files, our logo files in different formats. Okay, There are basically three main formats which we export our logo files. The first one is the PNG format and the PNG format is the background less format. Your logo will not come with any background. It's going to come just like this. With this format, we can use our logo as a watermark. So we can just pick our logo and please on any background we want after we export in this format. And the second format is the Pec format, which is just a normal image format, okay? And when you export it, let's say we export this Artboard one. It's going to come just like how we see artboard one, okay? So it's going to come with all the backgrounds and all the colors and everything. And then the third format is the PDF format, which is going to come with all the artboards. Okay, so let's say we have artboard one at boot two at three, about four. When you export as PDF, it's going to come just like how it is here in the numerical arrangements. Okay, So it's going to start with outboard one, then at bout two, then about three, then at both four. So that's how it's going to do when you export as PDF. And we're going to do all of that in this video. So we're going to start with the PDF format. Now for the PDF, all you need to do is to come to file and go to Save us. And just come here where it says Save Us type. You're going to come and then click BDF PDF in bracket PDF. If you do that, you're just going to hit Save And then the PDF options will come here. You can do a whole lot of settings, but I'm just going to show you how to do this quick and easy, okay? Just come here where it says B PDF set. Just come and choose the high quality print, okay? Now, when you choose a high quality print, it's going to give you very high quality, okay? But of course, high quality comes with high file size, right? In order to reduce the file size, all you need to do is to uncheck this option here that's preserve Illustrator editing capabilities. So if you uncheck this option, it's going to reduce the file size because it's not going to create a PDF file which can be edited in all street. Okay. So the file size will reduce. Okay, So that's all you need to do. You don't need to come and start messing with some of these settings here. There is totally no need for that. Just check this and your file size will reduce. And there are actually quite a number of other presets. For example, we have the smallest file size. As you can see, the smallest file size does not have this guy checked, right? We have many other file sizes or presets which we can choose from, but I advise that we just go for high quality with printing breaking, and then check this box and just hit Save. Okay, So the losito is exporting our file and it's done. And if we go to our full now, we're going to see our file here. We can see that 6.8 B's manageable. Okay? That's quite small as compared to how it will have been if we exported that option left on. Okay, If you just click, we'll go into our file. We open our file, now you can see our PDF file is a complete with all our concepts. Complete, right? So the next thing you do is just e mail your PDF file to your client and ask them to choose their preferred version. Then you're going to get their feedback and then know what to do from. Then if your client is very satisfied with the logo design and picks one option, you're just going to send them all the remaining files. If not, it means you might need to maybe edit some things, okay, create more versions. So hopefully you'll be done in new time. That's it for exporting a PDF. For the next other types of exports, let's say we want to export our logo files as G. To do that, we just come to file Export and Export Us. Now we just click, which is Use Boats. If you just click here, you're going to choose the board. You're going to choose whether to use boats. We can click all or we can click Range. The range will be able to select the range of boats. We're just going to export. One to four, we can just click Okay or export. And then we have the Pe options where we choose the color mode, of course, RGB, because we're going to be interacting with this on the screen. We can choose MY if we want or grisk. Then we have the quality, we just leave it this as 100 or other ten of maximum. Then for resolution we just leave. 300 and Okta export file. Loreto is done exporting our file back to our folder and as you can see we don't have our logo file. We can see that each of these, okay, this one is actually bigger. It's actually a big, bigger, it's actually as big as our PDF file, right? We can see that it's six MB. Our PDF is 6.8 Okay. We can see that we've really optimized our PDF file and it's not that big any longer. We can see that if we just select all of these GP files, they are 20 MB in total. Quality of this PDF file is pretty much the same with that of these GP files. Here you can see that even though we're achieving the same or even higher quality, we are still able to reduce the file size drastically. Okay, just open our E file, Now you can see our GP file. Seven concepts, third concepts, and fourth concepts. The last type of file we're going to learn how to export is the NG, right? So I'm just going to create a copy here. Now, in order to export our PNG file, we just need to select our file. Then go to export, or rather go to File Export Selection. We can do this using export selection, or if we are not comfortable with export selection, we can just come to our windows and go to Asset Export. When we click Asset Exports, the asset export panel is going to open. And we can see that our file has been loaded. But in case our file is not loaded here, all we can do is just click and drag our file again. We're going to see that our file is loaded here, right? So we can just rename it Jokes Menu one, Menu two. And then now we can go and choose the resolution. So you can choose resolution and then put the resolution size if you want. We can choose whether to do one x of the original size or two x or three x of the original size. Okay? What I just prefer to use resolution here and maybe make it 300 and choose the file format, okay? You can actually export even the Peg and the SVG and PDF with this, okay? But of course we, we're using the PNG, PNG file format. And that's all you need to do. All you need to do is to select your files and click Export. So you're just going to come to where you want to see your filet. And this is our folder, that's the 05, the creative and logo design process. Okay, So select folder and Blo Street will just export our file. And you can see that our export has been done completely or successfully. Rather, when I go into our folders, we can see that our logos have been exported successfully in the PNG format. So when I open, you see our logo now without a background, right? So there's no background and that's what we have achieved. So basically, guys, that's it for that. And that'll be about exporting our logos in order to be illustrato. See you in the next one. 43. 44 Module Intro: In this module, you'll learn how to use Photoshop Mok Ops to visualize and present your logos. And you'll also learn how to get amazing Photoshop mops for free. Kind 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'd love to make this a five star experience for you. See you in the next video. 44. 45 Using Logo Mockups in Photoshop: Hello guys and welcome back. In this video we're going to be learning about Photoshop markups and how to use them to present our logos in very beautiful ways. Okay, So that our logos will stand out and so that our clients will see how our logos will work in really practical ways. Okay, now just come on your browser and go to Blast.com on Blast.com Now, this is the sites where I get most of my free Mokps. Okay. So these Makups are free to use and there are tone and tone and tons of them here. When you come to blasts, just go on the search and then type in the mok up. You want to search, okay, Or you can just come here on the mockups and you're going to see them. You're going to see all the mok ups they have here. Okay? And this is more of such engine for graphic elements, not just mockups. We have fonts, we have icons, we have templates, we have graphics, we have three models, we have even colors. Okay? Graphic designers and designers as a whole can use this resource to really get template they can use to present their works and work with very quickly. Okay, we don't have to create all of these things from scratch because we can have them for free here. Yeah, let's search loops and see what we get. We can see that I've searched before going to hit, and right we can see tone and tones of logops here. All of them are actually free to use. Okay? I'm going to download a few of them and we're going to see how to use them in lot, Okay? Of course, our company is a food company, right? Let's try typing logos, see if we're going to get something. Okay, this is what we get. Let's try using this one. Let's try downloading it. Like I said, this is more of a search engine. It's going to link you to the site where you're going to download it. Okay? You're not really going to download it on Blast.com If you click on free download, it's going to generate a link for you and you'll be able to download your logo or your mark operator. Let's click Start, Download. Sometimes it might take us to sites where we need to create an account or we need to do something before we get the ability to download our mops. Let's just try to download now. If it's tells login I really don't want to login, so I'm going to use another link. Okay, let's try this one. See just allows us to download. If not, we're just going to try some other random logo Mark Ops. Okay, we can just here to click Start Download. And let's see where it takes us to. It's taking us to be hands and is there really download link for this? Okay, let's click here to see. Can download. Okay, let's click Download and See, telling us to sign up or login into our Dropbox account. Okay, It's actually downloading. It's actually download if you want, you can actually log into our Dropbox account and it's going to mockup in the Dropbox account. Okay, so you can see that we've downloaded one. I don't want to log into micro box account now, we've been to download one. Let's try logo mock up so that we can download something else. Let's just download something normal here. I'm going to go, I'm going to go with this one. Simple up here. Okay, so we can see the texture, we can see all that. It's printing the logo on paper. Just click Free Download and then wait for our link to be generated. Click. It's redirected us to Mocolod.com Let's click Start Download, and see it's telling us to join here. Of course, it's free of chart. If you join, you are definitely going to get the opportunity to download the file. But I really don't want to join now. Okay, don't want to join, I'm going to just use another link. That's how this halting works. Sometimes you might be required to create an account, sometimes you might. It all depends on, okay. All depends on you, all depends on what you want. Let's see, there are quite a number of options here. Let's try this one. Let's try this one and seek free download to wait for link to be generated and start download. Our file has been downloaded and we're just going to wait till after the download is complete. After the download gets completed, I'm just going to copy our file can show in folder, this is our file' going to copy them and piece them in our folder here. I'm going to actually make all of these available. So that's one I downloaded before I just deleted it. We can see that our logo has been downloaded. Let's cancel this. I'm going to make all of these markups available for you to use. I'll just right click on them. Extract file, right click and extract files, okay? Okay. Now we can see that our loops are here in this folder. Just click, we'll see that this is the food right? For the other one, we have it here. We can open these files in B. Photoshop. Just click on them, and if you have a photo shop, they are going to open. Perfect. These are our mark up files. In order to replace this with our own ogle, all we need to do is to come to layers. If you do not know how to work with Photoshop, you just follow me step by step here. The first step would just be to come where you see put your graphic. Putiographick's usually a smart object. This is how a smart object looks. Okay, This is icon of a smart object. Where you see this, you're just going to double **** on it and it's going to open the file for you. Now you can see that this is the logo, right? This is the logo. And all you need to do after here is to actually replace that logo with your logo. And this is our logo here, that's the PNG version. Of course, just drag our logo and have our logo here. We can see that this one is white, but ours is black, right? So let's just try black for now. And see when you do that, you just click here to hide the initial logo and hit Control Force. When you hit Control Force, it's going to replace our logo with what we had in the other one. When I go back, we can see that our logo has been replaced with what we had in the other one. Now Simp thing for this one just come and we can see top design one here, left design one here. With this we can actually just click and replace this top design design. So if you double click, it's going to open the file. Let's close this. We are not going to be using a lot of things here, okay, We only need the background, then maybe our logo. Let me just go back and see. We can see that our logo is black and it's not really blending. Well, in order to change the color of our logo, all I do is just click on it. It's going to open the layer styles, and we need to click Color Over. Click on Color Over. When you click on Color Over, just come here and click here and adjust the color. I'm just going to adjust the color to white. Clicked to hit, or rather control for maybe position it properly and then control S and go back to my mock up. Now we can see that it has replaced the design here right now. But the other one I'm, I'm just going to hide this part and this part control, you can see that we now have a clear part here. We don't have any design, we just have our jokes menu logo here. And we can do the same for this other one to come here and just please the whole thing with your logo. I'm going to come here and copy my logo. Set up my logo and control C, control V. Okay. Then I'll just control down here. We now have our logo. I'm going to do the same thing for the left hand side. Just going to hide this and hide this control sieve. Yeah, we've now successfully replaced all of the design here with our logo. It's like there is something here, we can actually replace control from here on. We can just files pages, just close them. We'll be left with our park. Perfect. That's it. About ups. From here on we can just go to file and save us. Then it has jokes menu to one mop one. Just choose the format, we're going to choose P'. Come to the second one, to the same thing. Control S control shift sieve or sieve us rather. And then go to Peg. Then we can use drugs menu. We can just select the first time we created and just change the one to two. Okay, it's going to copy the name. And then we'll just change the 12 and click See. When we go back to our folder, we're going to see that our Ops are here. Everything looks perfect, guys. This is a very easy, fantastic way to present our logos to our clients. Perfect guys, that'll be it for this one on logo mocops and how to use them in to be photo shop for logo presentation. See you in the next one. Bye bye. 45. 46 Module Intro: In this module, you'll learn how to present your logo design ideas to your audience in a very organized way that will guide your audience through your logo design process and also make them appreciate your work better. 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'd love to make this a five star experience for you. See you in the next video. 46. 47 Logo Presentation: Hello guys, and in this video we're going to be looking at logo presentation. Okay. How to present our final logo to our clients. Okay, So that we show them the process of design and the final results. Okay, So I have put together a logo presentation file which will be made available to you. Okay? So the DB illustrator file will be made available to you. And this is the illustrator file, which I have opened. Okay. And also the PDF file will also be made available to you. So let me just save this as once more as an B Illustrator file. And this is it, logo presentation. Okay. It's 450. You can see that it's very large in size. Let's receive this. Okay, In this video, we're just going to look at some of the things you should consider, including if you are to do a logo design presentation like this, something like this. Okay, I'm just going to open the PDF file so that we look at this in full, okay? This is the PDF file. This is the PDF file. And then we have page one here. On page one, we basically have the logo here. And then we have the company, what the company is all about. Okay, We have a write up for the company is all about. Okay. Jo menu and Jocks Menu is an online food vending company. Clients or can order food online through our app or social media and we deliver to your doorstep. Okay? And our mission is to provide very quality but affordable meals to our customers via digital means only. Okay? And then I now have mood boards. Okay? So we can consider putting the mood boards because we really want to show our clients the process of creation. Okay? Our thought process, our creative process. That's the sole purpose or the sole aim of the logo presentation. Okay, We're showing our clients thought process, the creative process, and also our final product. Okay, Now we have the moot boards, okay, Which sets the mood and the tone for the design. Then we have the concept. Now this is the concept, and we can see that this particular concept, it's made up of three things, right? We have the Lucitan pin icon. Then we have the jocks menu, which is the company name. And then we have the chef hat. Okay, now this is the luction pin here, we can see it here. And then we have Jocks menu. And then we have the T here. So that's basically our concept, so that's how we generated this concept. And then we have the logo in color. We have on white under green background, we have in green under a white background. Then we have black and white. Then we have the construction. This is basically showing us the grid arrangement and all the grid formation and how we were able to achieve this using grids. Okay? Basically from there on we have a mockup. Then we have the colors for logo, for the brand. We have this color and we have the color code, the RGB code, the CMYK code, and so on and so forth. We have all the colors, and then we have the font name, we're using clash display, for example. And then we have A and B, B. And then we're basically showing them, showing the client that we're using the regular, we're using the medium, we're using the semi bold and the bold of the clash display font. Okay, basically from there on we are just basically displaying our logos. Displaying it over food background like we did last time. And then for here, we are basically displaying it in a stationary. Then for here, we're displaying it in this mop, and that's the sign post. Okay, And then the bag, the shopping bag. And thanks for viewing, which is the last guy here. Okay? So this is kind of a basic way of doing your presentation. You can add more details if you want. You can add even your sketches, okay? How you came up with the sketches and what you consider and all the things you consider. Okay? Basically, that's what we have for logo presentation. Like I said, the illustrator file we provided and the PDFilelso will be provided. You can actually use this file. You can duplicate the file and replace the logo here with your logo. Okay? And please every other thing here which is not yours with yours. So that you can just physically use the same file to create other presentations for other logo designs. Okay? And also for this whole project as well. Because this is meant to be practice project guys that for this one on logo presentation, see you in the next one. 47. 48 Module Intro: In this module, we'll work on your final logo design project for this, cause I will also be sharing with you my process for the same project and we'll work on my final concepts for the project together. After we're done, we'll go through my logo presentation for the same project together. 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'd love to make this a five star experience for you. See you in the next video. 48. 49 Introduction to Final Project: Hello guys, and welcome back now. And so far so good. We've learned so much about logo design. We started with the introduction, started with some busy concepts about types of logo logo styles, so on and so forth. We learned about Illustrito, how to use Illustto, about the creative process, how to develop logo design ideas, how to turn those ideas into real logo designs. How to present our work and so on and so forth. And that has been a lot, and hopefully you've learned so much now. And in this module, we are going to work on our final project. This final project is a logo design for Grey Architecture. Okay, Grey Architecture. It's an architectural company and we're going to actually look at the clean brief in the next video. So we're going to work on this project individually. Okay, I'm going to share with you the clean brief and you're going to use it to develop your concepts, okay? And this is more of a final project kind of thing. Okay, so this is your final project where you put in all what you've learned in the past modules, okay, And come up with something really cool. So I'm also going to share with you my own process for this logo design project and also my final design. Okay, but it's not going to be as detailed as the previous logo design project we did. That's the jokes menu. Okay, so I'm not going to show you how to download, how to create the mood boards, how to do this, how to do that. Okay. I'm going to show you my findings. Okay. And then I'm going to show you my sketches, my concept development. And hopefully we'll develop some concepts together. That's my personal concepts together. And I really look forward to using all that we've learned in the course of this course, okay? That's including my Fibonacci concept, using weeds and so on and so forth, Okay, So you are actually going to get once more holistic approach to all that we've learned. So we're going to just touch all that we've learned, this particular logo project. Okay, so that's what we're going to be doing in this module. In the next video, we're going to analyze our clients brief. And we're going to see what and what our clients want us to kind of take note and how they want the entire logo design process to be and kind of the results they are looking forward to getting. Okay, so that's what we're going to be doing in the next video, and this will round it up for this introduction. See you in the next video. 49. 50 Analyzing Client's Brief: So this is our client brief and it's been provided as a downloadable resource. So you can just open it up and see for yourself. In this video, we're going to just go through all that asked the clients and we're going to see their response. Okay, now the first question is, write the name of your company or brand as you would want it displayed on your logo and Grech Grey architecture. And then the second question is, write any other extra words you want displayed on your logo. Okay, Established dates, motto, we want to have on degree architecture written. Then the third question is, what services or products do you provide and what is your company's mission? The answer is we are an architectural design and visualization company. And our mission is to be a global leader in the creation and visualization of high end and smart architectural design solutions and inventions. This is very much self explanatory. This is what they do, and this is their mission and gives us a whole bird eye view of our clients and now we know what we're working towards. Okay, and the fourth question is how would you best describe your target audience or potential clients? Then the answer is, our target is to design, visualize, and invent high end architectural solutions to be used and appreciated by all ages. Our clients list includes private citizens across all walks of life, the public government, and then we practically work with anybody. That's their reply. The practically work with anybody. Okay. So there is no age restriction. Okay. Their clients are everybody. They basically designed projects for all ages. Okay. For the fifth question or who are your biggest competitors? And then we have Gensler, we have MI R Studio, we have Niken, and then okay. Whatever it means, whatever the pronunciation is, I really do not know, but that's the spelling for the sixth question. What can you see makes your product or service unique from your competitors? Okay, And then the answer is innovation, mix. Stand out. We are only focused at creating new ideas that move the mind. Innovation is the key word. We also use technology and EI to our advantage. You're telling us they use technology a lot in artificial intelligence to their advantage. What makes them stand out is innovation. They like creating stuff, like creating things that stand out that move the mind. Okay. That's what they do. And do you have any logo design styles you would want us to create your logo in or avoid? Or any logo design samples you think might match your expectations. If yes, please attach image samples. Okay, And then the answer is yes. We want to take a minimalist approach. We want to achieve more by creating less. Then they said, please kindly use all options in your arsenal to create something simple, elegant and unique, or rather an innovative. Okay, we can see that innovation, innovation, or being innovative, keeps popping up. This is the watchword here are an innovative company like, and you said like creating new stuff. They like leading, okay? They like leading the industry with new stuff, okay? That's basically what they do. And then the last question is, do you have any colors you would want us to explore or avoid? Then the answer is, we would like to consider the colors black and white. Thank you. Green, black and white. Thank you. Give us a number of colors, very small spectrum of colors to use. We only have three colors, green, black, and white. That makes the whole thing simpler actually, because selecting colors, sometimes you won't know the color that will work best for what and what. Okay. So we're just going to work with gray, black, and white. Okay, that's it for the brief, and it's going to be provided to you as a download resource so you can have access to the client's replies for yourself. So that'll be it for this one. Next video, I'm going to start sharing with you some of my research findings and how I've gone about to create my lobos for this client. That'll be it for this one. See you in the next one. 50. 51 My Boards and Sketches: Hello guys and welcome back. In this video we're going to be looking at my research findings and my sketches for the grey architecture logo design project which we've been looking at in this final module. Okay, so in the last video or so we learned about, or we saw the clans brief and what the whole project is about. We saw that it's for an architectural design and visualization company, right? And innovation was the watchword. Okay? Innovation was the watchword. And also kind of simplicity or rather minimalism, okay? And we saw that the client wanted us to achieve more with little, okay? They really wanted logo design that is very simple but works a lot or has a lot of complexities in its meaning in its construction, right? That's what they really wanted. No, I'm just going to go through my research findings. That's basically my mood board, my idea boards and my sketches. And I'm just going to explain how I came about my results. And then after that, we're just going to together try to recreate or digitalize the logo design concepts which I have come up with. Okay, ah, my research findings. Okay. Now, all these files we made available to you so you can kind of see them for yourself. Okay? Everything here, this is the grey architect logo design project. That's the final design project. Okay? So everything here we made available to you. So this is my mood board, okay? And you can see that since it's an architectural design brand company, we have to work with architecture, right? I looked for architectural designs with simplicity. And we can see that the white color really comes to play in most of these images, okay? We can see that simplicity is what we're looking for. So we can see that most of the colors are white. This guy is white. This guy is white. This guy is white, and this guy is black. Okay? Remember it's grey architecture and we are supposed to working with white, black and grey. Okay? Also, I choose this one. Yeah, I choose this building because it shows complexity. We are trying to create something simple or while being complex, okay? We're trying to achieve two things at the same time. That's what the project scope is all about, okay? I also choose, I like the brown colors around the image. And I feel that this color also stands out with architecture, also connects with architecture. That's why I also created an extra color that's using the brown color. I know the client didn't say we should use brown, said black, white and grey. K just added black so that we can try other options in black, brown. And show our client. And hopefully if they like it, then we go ahead with the brown option. Also, brown could be part of the brand colors. This is basically my mood board. Nothing too complex. Then we have a set of logo designs, which I choose here. We have a number of them. You can see this, I like this, and I think we're going to use it a lot maybe when we try to spell architecture in the logo type. Okay, This is it. I like the way the building has been illustrated here. Okay? It's very simple but still proves the 0.0 still passes the message. Building. Very simple building and I think this will make a lot of sense if we were to use it to depict simplicity in architecture. Okay, I actually borrowed this concept for one of my sketches, which we're going to see shortly after this. I also like this concept. Okay? I also like this concept, this line concept. Okay? Probably we're going to use this for one of our Fibonacci concepts, basically. Guys, these are my idea boards. And I was able to generate a lot of ideas with just looking at this. Okay. I was able to generate a lot of ideas. I generated a lot of sketches. We're going to see them just now. These are my sketches. Okay, these are my sketches. And we have seven sketches right here, 1234567. So my watchword or my intention during the creation of all of these sketches was simplicity. Okay, so I wanted to achieve simplicity of form, simplicity of concept, simplicity of everything. Okay, so that's why I came up with this concept. And I can just briefly explain some of these concepts for you, even though we are probably not going to use all of them, okay? For example, this one here, This one, this concept. When you look at this concept, you're going to see that I have a G that is kind of rotated to face down. Okay? So if you're going to see I have this, that is rotated downwards. Okay? So it's facing downwards, but it's actually a G, it's actually a G. And when we come to creating this stuff, we're going to see it better. Okay. So this is a G, and then this is okay, this is a G. This is an E. And if we just go back to our moot boards or yeah, our mood board, we're going to see that the shape of that kind of aligns with this guy here, right? This guy here, this building here, Okay? So these are some of the little things I came up with. We can see that this one also aligned well, and even this building, okay? This particular building. So I kind of used both my idea boards and my mood boards to generate ideas. Okay, so just by looking at this, I was able to generate ideas that kind of depicted the whole thing about this design. So we have this and we have this E that is behind the. Ok. This is a simple GA, while looking like a building. Okay, Why? Looking like a modern building? Okay, Right, And we also have this one here and we'll see that this is a simple house. Okay? So like I showed you here, we can see that it's just the same thing I did here. This is just a simple house. We have this litter here. My intention was to make this color gree so that now we have g as the color. And then architecture. That's the house. And also the li, you see the connection here. That's the concept of this one. Other one has the same concept with this one. It's actually, we can see this is a turn it upside down. Then you see that this is a G. Okay? It comes like this, goes like this, it's an upside down and also an okay. Basically, that's it. And we can see that this is also a G, and this is also a G. And the G is more stylish, it's buried into or inside the whole ship. Okay? And then you can see that when we just look at this, we know that this is the ship of an E, right? Basically guys, I discovered that to achieve the purest form of simplicity, we just need to use this concept, this concept. So that's what I was able to achieve with the sketches. And we're going to digitalize these sketches real soon in the next video. Okay guys, basically that's all I can say or I can show you about my research. Okay, so my research was quite simple. Nothing really complex here. Very simple. And we're going to start creating in the next video. See you in the next video, Bye. 51. 52 My Designs 1: Hello everyone. In this video we're going to start creating our concepts. Okay, we're going to start digitalizing our logo design concepts for Re architecture. So I'm going to go ahead and import my reference files. That's my sketch and my mood boards, so I'm just going to please all of them here. Perfect. Now we can see that we have seven concepts here and we're going to create at least most of them. So we're going to start with this one. We can see that this one is just a house. And then the litter in it. All right. The litter and it's cut from it. Okay. So that's what we're going to be creating right now. We can see that the house here looks like what we have here. The ship we have here, right? So I picked part of the concept from this one here. Okay, so I just like the simplicity of the ship. The ship looks very simple and you know, we are trying to achieve simplicity. That's why we're going to be using this. Yeah, let's start by our first concept. I'm going to start by selecting my go, my rectangular grid. Then just click here and we have ten horizontal and ten vertical dividers. I'm going to hit, okay. This is our greed, centralize everything. This concept is very simple. All we need to do is to create, to create a box like this, a square ship like this. We can have it in two ways. We can have it in two ways. We could have one that is three by 3.1, that is a little bit longer. Okay, we can see that this one is three by three. It's just a perfect square. Let's do this. Se, yeah, we can see that it's just a perfect square. When you're done creating the ship like this or just hit control R for my ruler to just bring in the guide to the middle of my ship like this and see this other ship. Perfect. Now I'll just take my pain or add anch point to either of them will do the job. Just come to the middle here and add an anchor point to my ship in here. Add an ankle point to my ship. Then select my points here, my ankle points here. That's the ones at the edges here. Selected shift, select this one. That's using the selection tool, right? Select the both of them. Okay, We can see that it means we do, we did not correctly create the points here. If we had created the ankle points here, we are going to have this ship. That's this ship correctly. Okay, I'm going to do that correctly right now. I'm just selecting it. Go to my too. Then come here and just click. Let's try. Yeah, you see that it's now created. I'll just click on this point and click on this point. And wood points down while holding down shift down here. Okay, perfect. So I'll just do the same thing with this one. Click, click shift. We don't shift and grag them evenly and perfect. Now I'm going to take out this grid. Okay, We're going to use it for some other stop board. For now we're done. So I'm just going to delete this ones and then take my pencil and create letter. I'm just going to use the phones. Proxima. The extra bull should work. This will be wide. Okay, so I'm looking to select boot of them. And align the boot of them together, perfectly perfect. We can just make this big move, this again. We can even move it out and try to fit everything better. Okay, perfect. So I'll just do the same thing here. So I'll do both of them. Align each of them together. Align them together. And then maybe we make this one bigger. Just move them out and try to align them together more perfectly. Let me just try other options, other bold options for this. Perfect. I like what we have here. And just select the text. And go to objects, expand, select this one. Go to objects expand, and the last thing we have to do is to select both of them. And then go to our pathfinder and just minus and do the same thing here, so that we have the cut out from the background. This is what we now have. Perfect. So this is our first logal concept, very simple concept. We have two variations of this concept. That's this one and this one. I'm going to now create our text text architecture. I want us to really modify your text, at least some of our text characters, but we're not going to do that now. We're just going to focus on creating all our local concepts for now. And then we're going to work on our text literonI'm. Going to choose the extra bold in case you do not have this text. It's actually a free text, rather free font which you can get in the Internet to just go and Google and search for the Proxima Nova font and you're going to get links to download the text for free or the font for free. Perfect. So this is what we have for our first logo concept. I'm just going to bring this guy here now. We're going to go ahead to create our second logo concept. This is going to be our second concept. Now for this concept, I just want to explain the makeup of this concept. Now. This is simply a G, E, G E. This is a G. What I did was I just turned the upside down. And then this is an okay, just like this. Okay? Well, of course some of the parts of the are hidden, that's why we have it looking like this. Okay? That's just, this is turned upside down and perfect for this. We're going to use our grid here. Maybe we use our grid a bit. I want to create one column. This is what we need to create right now. Control Y for my outline, so that for my outline mode, so I can see my outlines so I can perfectly fit these together. Okay, perfect. Out of my outlined to control G to group to, but of them together and then move. This function here, move it here, and just hold on. And another copy. So that I now rotate our copy. Okay, Now I need to rotate this so that I create the slanted look here. Okay, here and here. That's why I'm actually rotating this. Okay, let's just see. Okay, we have the web it as 58 degrees right now. Let me just try 72 degrees. Okay, let's work with 72 degrees fits. So guys, I'm going to start by making sure the lines intersect very perfectly here. To make sure the in perfectly okay. So this is very good. So go out of the outline mode and then let's have another copy of this, Okay? And another copy perfect control, why to get out of the outline mood. So I just want to hold down Alt and have a duplicate of our grid structure. Okay. Now, so that we can always go back if we make mystic. All right, that's why I duplicated it. Now select everything here. Go to your shape builder to select the color. Then start to create with you. Start from here. Okay, good. Then the next is to create this one. We actually want to have one of these. Okay, sorry, I should have done this earlier. We actually need to have one of these. Okay, Sorry, let me just copy this one and bring it here. Control Y for my outline mode control to get out. So now we can select everything. And then Shablw to select my color and then start to create, okay. Actually the lines are supposed to intersect at this point. I'm just going to do that and make sure I do everything perfectly okay. And we can see that. Okay? Okay. Okay. We can see that if we intersect the lines at this point, it's not going to be pleased perfectly parallel to the other ones. Okay? Or like how these other ones have been arranged. So you know what, We're going to do what we were doing before, we're just going to work with the formal arrangement. Select everything ship builder to pick your color, create perfect. Now we're going to create one like this, then create this downwards. Now we're done with this part, now we have to come and create the other parts. So click and drag to this point. I'm just remaining here to make sure all the details are correct. S123 4567. This is it guys. This is it. And now you're done with our first version. Now you can just copy or rather click inside. Just control control to group everything and reduce the size. We can actually have multiple versions, right? I'll just select everything again. Take my ship below to set my color. This time I, it's long. Okay. This time I'm going to have it. This longer. Click. Click. It seems I moved. Control Z, control C, control V. I'm just going to remove my stroke and reduce the size and control to group basically. We're done with this other version. We have two versions of this concept, All of them are looking really great. Perfect. Now I can delete everything here, and then we go to the next version to copy this. Bring it here, copy this one, bring it here. Perfect. Now we're done with our first two local versions. That's the two. Now I'm just going to copy the pull down al draw gates. Okay. For the ones I'm just going to select all of them. Right click transform and reflect and copy. Okay, then what I will then do is just make sure the intersection is very perfect. I just want to make sure the all meets at this point. Okay? This line control Y, to align this line to other line, to these two lines rather to these two lines on the horizontal and the vertical C, they have to align. Now I'm going to align this one to control Y. This one and every other one that's going this direction, you have to get aligned with the rest so everything has to sit properly. Perfect to control Y, now we can start creating our shape. This is the D, this is the middle point. Select everything, go to your shape, Ul two, and we're going to start creating, let's just 123123. I haven't selected my color 123 And also 123. Perfect. So that's the first step. The second step will be to draw this one and also draw this. Okay, We wouldn't draw this final one from this point downwards down to this point. Just do mean to complete the detailing. Okay? And make sure everything is looking perfect. Then just to complete the meaning perfect. This is now what we have is our first version. Okay, this is our first version. You're just going to copy this first version. Control C control V. I copied the wrong thing while selecting my re selection tool. I'm going to click in and click in, willing down shift control C control V control to them. Just reduce the size like this. And then I'm just going to select everything one more time and then take my, my Shilo tool and grab this guy to this point, okay? In fact, you know what, this guy is actually too much. I drag it to this point. What I'll do is I'll just take my pen and try to create a line at the middle, like this. Okay, I'll just drag it to this point. Okay, I really like this version better, so I'm going to. This guy. Just have this version. Just have this version as the first version. Control C, control V. Then for the second version, what I will do is I'll just select this guy. I select group And select all the lines here, or rather all the anchor points here. Just pull down shift and drag. When I see these guides intersecting that I have reached the middle of the ship here. And also this line that in comparison with this line. Okay. I know that I'm currently at the middle. Okay. As you can see, I'm currently at the middle. That's the second thing I want to do, because I want to create a balance between the right side and the left side. Unlike this one, you see it's not very well balanced. But we could just see that's the style here. Okay, then for this one, let's make it very balanced. That we have it looked like this. Control, control V control to cup them. Just have everything arranged like this. Perfect. Perfect. We are actually going to work on the text here, what's not. In this video, we're just going to focus on creating all of our concepts first and then work on the text later. For this other version, just going to bring in my greed, Align everything to the middle. And then now for this one, I am going to te this one by 25% 25% 25 perfect. Because we're actually creating a triangle, right? This is a triangular ship we are creating and we want to have it by 25% We need to start by this. So control Y outlined just the whole thing, like this, perfect and control Y to get out. Okay, now we can just control C, control F. All rather just control control F. Let's just hold alt and drag the ship like this. Okay? So as to duplicate le copy, go to outline mode. Let's just align everything. This control Y perfect. Now I'm going to do this one more time. Alt, click click Alt, control Y, line them together. Perfect Control. I'll select everything here. I'll select all of them. And control to group them. And click Transform and Reflect, and then Copy Perfect. So we're just going to arrange them in case. Let's just make sure the intersect perfectly with this other line that cuts across. Right? To control why outline? Just make sure. Just make sure everything intersects properly perfect control. Why to get out. Now we have everything looking perfect. We're now going to start creating our ship. Let's have a copy of this. No se we select everything and then go to my ship below to select my color. I'm going to start from here. I have two. Let's see, 123. Let's start from here and see if we don't get it right. We're just going to undo. And. And start again. Okay? Because this version of this logo is quite tricky. Okay? I would say it's the trickiest among all of these other ones. It's the trickiest to create among all of these other ones. Okay. So this is what we now have. Perfect. Sorry, let's create it to this point and see to this point. Perfect. Now, we then go to the next line. We're going to left this empty and then go to the next line. For this line, we're going to create it like this. Perfect. Okay, then just click and this other one. And then click and drag. Perfect. This is the first version. Click click control C control V and let us control to group it. Now for the next and final version, we are going to actually just cover this piece. This is the next and final version. Click and control C, control V, so we can select everything here and just delete and just delete. Perfect. Perfect. We have one too. We have four really cool logo concepts created. The next video, we're going to create probably one more version or one more concept. This other concept will be the Faci concept. We're going to be using the Fibonacci circles to create our last concept. It's going to be either of these curved ones. Maybe we're going to create this one. We're going to create this one. In the next video, we're also going to work on our text. And after that we're just going to present our local concepts to our clients and be done with the whole thing, okay? And then wait for our clients feedback and see if we will need to adjust some things or just go along with one of the concepts chosen by the clients. Okay, so that'll wait for this video and see you in the next one. 52. 53 My Designs 2: Hello designers, and welcome back. As you can see, I've gone ahead and brought in my Fibonacci circles. Okay, so we're going to be using our Fibnaci circles in this video to create our logos. Okay, so we're just going to be working on this guy, that's this concept here, this line concept. That's what we're going to be working on in this video. I think we'll create one of the versions in this style. That's in this line style. Okay, so basically going to show that using lines to outline the whole thing. Let's just walk, start working on it. So you see first of all, first first I'm going to click on this big circle, down O, and drag it. Then pull down at another version of it. Perfect. Then let's try using this one. Or maybe not, So let's try having this Cotto guy instead. Perfect. I'm just going to draw a line that's a guide from my ruler. I'm just trying to see where the intersect. Where these lines intersect. Okay, perfect. And also one for the top here. Perfect. So I'm just going to create a line like this and another one like this. Okay? And then I'm just going to select everything. Go to my shull click. Delete this part. Okay. Alt click delete this part. Click to delete this part. And I'm just going to be left with this part. Right. This is our, this is our litter. In case you haven't observed is our litter. We're going to use another circle to just create the G. Okay, let's try this one. This one is going to be really bigger than our li. If we wanted this to be the o, it means we have to start the intersection. Or we have to start the joining between this line and this line at this point. Okay? So maybe it's too big or too small, or maybe too big. Let's try a smaller circle. So I think we're going to work with this one. Let's work with what we have here so that we have this line as the sky perfect. I'm just going to hit for my Cesors too. Then come on cut line here and delete the unwanted parts. Okay, then while still selecting my Cesors tool, I'm going to click here and then just select everything. Go to my pull and click to delete the unwanted part, and also click. This unwanted parts. Let's click delete this unwanted parts again, and just go back to my selection to now I will just join these two lines together to select them. Control to join. We are not selecting the right lines, the right anchor points rather not lines. It appears that we actually need to delete parts of this line. Sorry, the class isolate. Let's isolate the line. Okay, path. Just see. Okay, it seems we might need to join them at this point. Okay, To select both of them. Like this control G, and now they are joined. Okay, perfect. As we can see now we are actually done with our design. We're done with our design. So we can delete everything here, all the guides, and maybe to go up, boost up our stock. Now you see that we are really done with our design. Now you can see that we have it in this style, right? That's the line style. It looks like a line. But if we make it thick or very thick, we'll see that it's now looking like a shape, just a line. We can just have two versions of this. One of the version will be just on the other one. Maybe we'll start, maybe not. Maybe this, okay. Like this. And instead of doing that, maybe we could just give this the lists and then use our tool to increase the width of this guy. Okay, sorry, sorry, sorry. The width tool might not do the job, okay, because we have several anchor points like this where we joined this line in this line. So the tool might not do the job properly. So let's just try giving it a good tok. Let's try giving it a good Srook. Let's see if this will work. Okay, Not working. So we're just going to work with, I'm just going to work with this, okay? This one version and this is another version. In fact, if we wanted, could actually make the normal uniform, so okay, this one will just be the one that okay, I really do. Not really this concept like I do the other ones, but we just have to create multiple concepts. Okay. You just have to create multiple concepts so that our clients will have a lot of concepts to choose from. So we can just control and control to group them together. So control G and yeah. So basically that's it. Now we're going to be working on our text, we're going to be working on text because of the nature of our logo name. Okay? Because of the nature of our logo text and basically how our mark are structured. Okay, it's going to be best that we have this arrangement. We have the logo mark here and then we're going to have this logo text here. It's really going to make a lot of sense. If we have it arranged like this, it's really going to make a lot of sense. We want it, we could have a fashion maybe like this. So we're going to have this arrangement and we're going to have this other more ideal arrangement. Okay, now I'm going to start messing around with our text right now, I'll just use this font. I don't see any need to change the fund. It's the perfect fund we would want to go for for something like this first. First I'm going to go to object and expand. Okay. Then just one group that I have more flexibility in selecting and manipulating my texts. So I'm going to take the pencil here and then click here. Click here. Click here. Okay, Sorry, I think I did something here. Okay. No, just need to undo. So take my pencil and click here. No, Yeah, I'm not supposed to delete the ankle point. I just need to create an ankle point on it. Or rather create a ship. On this ship. Okay. It's not supposed to delete. Yeah. This is just what I wanted to do. Not delete the points. I just wanted to create this the white color. Just select and minus select some of these ankle points. Just delete them. Delete them. Perfect. So this is what we want. I'm just going to try to create something like this, something like this. Maybe not exactly something similar to that. I'll click here. Just create a ship like this that looks like this. Then select the boots of them, and just join them together like this. Select these anchor points and just make it card like this. Then click here, click here, click, click here, and select the Put Shapes and Minus. Perfect. This is what we have for Lily. Do not want to do this too much. We really do not want to overdo this. I'm just going to do it for a few other characters like the. Okay, let's click here, click here, give you the white color to see we want to achieve, this is what we want to achieve. For the R click, click and minus, Just select this, unwanted points, just delete them. Delete what we want to achieve. R. Instead of doing what I did here, I'm just going to copy and bring to this. Please make sure they are well aligned together as the both of them select the one on top and delete the old one. Just hold down R or hold down all and shift and drag the other one down to this place and do the same thing. Perfect, both of them. Disslect the one on top and delete the unwanted one. This is not what we have. We have this architecture, okay. If we want we can actually do even more modifications, okay? But if we do too many modifications, we might end up having so much complexity in the text. And of course, you know, we are going for simplicity, right? So simplicity is one of the watch words. Okay? So we do not want to overdo this. Let's just try and see if we can make really subtle changes. Okay, let's try and see this. Yeah, this won't be part. Okay, let's just want to do this first. And select. And select, let's just do this. This won't be part so we can work with this. Okay, basically, I think. I would not go any further. I would not go any further. I think I'll just go ahead and work with my texts like this. We've been able to modify the. We've been able to modify R. Yeah, just basically. And R. We've been able to modify, and we've been able to modify R. Let's just work with what we have here. Perfect. So I'm just going to control now, I'm going to start arranging them properly. What I'm going to do is I'll just create a new grid structure and I'm going to make this 20 by 20 perfect. I'm just going to align this. I'm going to create a new layer and grab this to the bottom. And then control X for cut and control to pete it on the new layer and just lock the new layer. We're going to use the Ted on the new layer as a guide to properly our logo mark and also our logo text. So everything is well pushioned. Perfect for this, let's just reduce the size. Let's have 1234 by four by 1234, okay, To four by four. And now we're going to start this text from one column after our logo mark, okay? And then we're just going to the, okay, we're just going to make this big like this, a little bit bigger then just fit this one in properly. That's it for this one. You can see that by using our grid, we've successfully just created this very nice proportion in between our logo mark and our logo text. We're done with our first logo. We're going to put down all to duplicate this one and group this ones and do the same thing for the next fashion. Okay, for this one we're going to use 1234. It basically depends on you. Okay? That's the kind of proportioning you want to do. Do you want to make the logo mark bigger than the text? And how much bigger do you want to make this logo or how much bigger do you want to make the text? We can see that the text is already three big. And this piece is just one column big. We can leave it, we leave it like this. If we want, we could just reduce it bits, okay? So we can reduce it by this much and see, love everything looking perfect. Okay. I like this other one. For this other one, the Lugo mark is smaller even though it's longer. For this one, the Lugo mark is bigger. Yeah, we're going to work with everything like this. Now for the next version, which is this one, just going to bring it to the greed and just bring our text. Bring our text. And then just please look Mark. Now we can see that our texts occupy three rooms and then our space occupies one column. We could just make our logo mark occupy 12345 columns if we want. Okay. Okay. Five columns. And we can also make maybe four columns. So we're going to try four columns and we're also going to try five columns. This is four columns. Okay? And you can see the propulsion in this looks good, but we can also have it like this. Okay? And the logo mark will actually be bigger. It all depends on what we want. Okay, let's try this one. Let's also try this one. Okay? Either way, you're going to be having some good proportioning. Okay? Perfect. Now we're done with this one, and we are going to actually choose one of these. I'm just going to group them first. Okay? The next one will be this one, Okay? It's basically the same thing as the last one, key. So we are one column 235, okay, to 5.4 it's the second version before. Later on we're just going to choose the final one, Okay? So let's just move all of them up like this and just delete this one. Now let's do this other Google option. For this one we have 123456. Okay, let's try making this smaller. Let's have one version with smaller and another one with the bigger. Later on we're just going to choose the one that works best. Perfect. So maybe I'll just put this side by side. Same with this one perfect. Just delete this one, and then let's bring this other one, Perfect. So this is the first G to group, So this is a big version. And this is now in the small version is the logo mark. Now for this one, we're going to have this as the small version. Okay? Okay, I guess we're going to have to work with it like this even though it's not just within 123455 columns. Okay, so we're just going to have one version like this. For some reason I feel there is a little bit of when I say disconnect between the logo mark and the text because of this piece here, okay? We know the logo mark is a triangle. This piece makes the hooting look not really good. Maybe we can just bring the loser like this. Okay? Maybe make our texts like this. Let's try this. Okay, not bad. This is, this will serve for the small version. For the big version, let's just increase this by one rule on one column or rather by one column. Let's have it like this. Okay, let's try having it like this. Yeah, I think I'll just work with this one. I'll work with this version instead. Copy and bring here. Now we're going to work on the final version which is this one. Not really the final version. The other versions also. Okay, this is the final one that is not curved. Okay, we do that, the ones are all curved. So yeah, this is the big version. I mean, the small version is going to be this small perfect for these ones. I'm just going to delete them because we do not need them any longer. Now we are going to work on our last options for these ones. I am to expand our ships right now. Go to Objects and Expand Appearance Object, Expand. I'll just use the Pathfinder to unite all the ships together. And do the same thing, this other one, perfect. Now we can now use our grid to align everything for the ones. Let's just bring them here like this. We have Gree Architecture. Oh, fit. I feel that for this one, for these versions we could maybe move our grid to the left hand side, just like how we did with the other ones. Okay. Because this specA creating that same feel I was having with the other version that's with this one. Okay. I think this is more balanced. Select everything, control, select everything here. And control now we can unlock our and delete our grid. Delete every other thing because, yeah, we do not need them any longer. We done with our logo deletes, now we have all of these logo files or logo versions. Okay, perfect. Now we can start presenting our work. I'm just going to create a new art pod. Maybe delete this ones and bring the ones onto our new art pod. Just reduce the size and align them to the middle. This, here we have our first logo concept, Gree Architecture. Just going to select our artboard tool, create a new art board, delete the designs on them. Let's stick out two other concepts. Now we have these concepts with the big and small. Okay? For the ones, we're just going to allow the client to make the choice, okay? Because it's going to be hard making a choice, okay? It's going to be hard making a choice. Maybe we choose this one, okay? All of them really look good. You just have to make a choice. You just have to make a choice. Just choose one and leave the other one and delete the other one. We just delete this ones and bring in the next ones effect. Now for the next version, we have this and this. Okay? Let me just arrange all of them at once before I go in and reduce their sizes. Control control. G, control control, perfect. So I'm just going to go in and reduce their sizes. See, we're done with all our local concepts and we have them all looking good for the ones. Remember the concept is actually to make the buildings grey color. Because it's grey architecture, we want the buildings to look the rhyme with the name of the brand. It's grey architecture. We have the building, which is the architecture in green color. Okay, that's the whole concept for this one. Perfect. I really do not really feel these concepts here. We're just going to leave them anyways. Yeah, this we've come to the end of this video. In the next one we are going to be looking at our logo design presentation. See you in the next one by. 53. 54 Logo Presentation: Hi designers and welcome back. This video we're going to be looking at our logo design presentation for Greer Architecture. Okay? So I did a little logo design presentation and we're just going to take a look at all the slides I have designed. So I choose this logo option. Okay. It is very simple logo option. Okay? The one with the house icon. And we can see that I have a number of slides. I think I have 12345678, It's 16, 17 slides. Okay. Now the first slide is just more of an introduction and just introducing the logo. Okay, This is the first slide. Then the second one is also an introduction, just introducing the entire logo. Okay? The first one introduces the logo mark, then the second one introduces the logo mark and the logo text. Okay? We can see how beautiful everything looks here. I have the green color and then architecture in black color. Perfect. Then we have the Moodboard, and we have all our images for Moodboard. And then we have the concept. Now in this concept, we have the house and then we have the litter, and we have the logo mark. Okay, So that's just the concept. Then we now have the logo in full mode. Okay, And then we now have the construction of our logo so we can see all the lines that are cuts, okay, cutting across our logo mark to form our logo mark. Okay, perfect. And then from there on we have our mop, we have our ogle mark in black and white and then white on the green background. Okay, Then we have what do we call this? Our pattern. Okay, we created a pattern basically guys, there are no specific ways of doing this. We can even, there are specific things that have to be in places like the concept, The concept is quite important. Maybe the construction and some of these other things. But you see things like the pattern. For the last presentation, we didn't use any pattern. This one I'm using a pattern. Okay? If you like, you can use the pattern if you just leave it out. Okay? For this one I'm using a pattern. I have created a pattern with our logo mark. Okay? So this is a pattern. And then the log, our colors, we have the black color, the white color, and grey color. We have our front, the Proxima Nuva, and we have the regular bol, extra bold. We have the text. And then we have our logo on the background. White background with a very faint building. Okay, Then we have this style, okay, that's image, and then our logo here on the white background. And then we have our mockup and up, and up. And then finally we have our last page. Basically, this is a very simple and minimalist logo presentation for grey architecture. I just exported it to PDF, and this is it in PDF, okay? You can just present this to your client, even push this on your portfolio, okay? If you were on hands, for example, you could just push this just like some of the examples we saw on Behnds. Okay, this is a full logo presentation. Yeah, that's it. All these files will be made available to you so you can download them. We can see that these are all the files available for our Grey architecture project with the Movecups and every other thing, with our sketches, our moot boards, and every other thing. Everything will be made available to you so you can go in and see for yourself if you like, you open them and see how I have created everything from scratch. Okay, that'll be it for this video. See you guys in the next one. 54. 55 Conclusion: Hello guys and welcome to this last video of this course. So I'm really, really glad you made it at the end of the course, and I'm really proud of you. Okay. And I'm happy you've learned a lot because we've covered a lot, really, in this course. We studied from the basics of fundamentals of logo design. We learned about logo design principles, the types of logo designs. Okay, we've learned about color theory. We did a crash course on how to be illustrato. We learned about logo design techniques. Okay, we learned about the creative process. We learned about Fibonacci, we learned about grid based logo designs. We learned lots and lots and lots of stuff in this course. And I'm really glad that you stayed till the end, okay? So in order to improve your skill, I will advise that you keep on practicing what you've learned, okay? Because what you do not practice actually leaves you, okay. So it's very important that you keep on practicing. And I will advise you to start taking jobs, okay, on logo design, okay? Because basically you have all the skills required as you've watched this video, okay? As far as you've watched every single video in this course and practiced, you have basically acquired the skill of logo design. And it's good that you keep practicing, okay. You can start taking on jobs, okay. Start freelancing. Okay. So you can check out sites like work, sites like Freelance Star.com and site like Fiber to register and start getting jobs. Okay? I'm sure you've heard about these sites, they very popular sites, you can start getting jobs, okay? You can get jobs from families and friends, Okay? The whole idea is you have to keep practicing, okay, In order to improve your skill. One other way to continue improving your skill is keep looking at examples, okay? So you have to be very conversant with portfolio sites like Creple. Okay. Hands. Okay. These are the top two I recommend. Okay? This site will give you a lot of designs which you can look and learn from. Okay? Because there are a lot of designers who post their work on this side, It's very good that you are on this side. Okay. Just go in, create an account, okay. And keep posting your work. Yeah. These are the ways you improve, okay. And by doing that, you actually have a portfolio which you can even share to clients. And clients can come and check your work and award you projects. Okay, These are some of my suggestions, and I will really advise you to take more of my courses. So I have design courses to be lost. Photo or design courses on quite a number of stuff, okay? On Photoshop, after effects, motion graphics, and so on and so forth. So it's really good that you expand your scope of design. Okay, so as a designer, it's really good that you become versatile. So let's say you learn motion graphics, right? So if you learn motion graphics and you now have the skill of local design, you're going to be easily learn how to create logo emissions, okay? Logo emissions are a really big thing, the design industry, okay? A lot of companies will employ you to create motion graphics and so on and so forth. So check out my course on motion graphics, check out my other courses. I'm very sure you'll learn so much. You'll learn so much, okay. And basically guys, this is all I have for you in this video. I wish you all the best, all the luck in your work as designers. And we're going to keep updating the course, okay? We're going to keep updating the course and to make it richer. Okay? To keep making it richer. And if you have any issues, if you have any questions, please feel free to reach out via the chat or a the Q and E section. Or you could join our Whatsapp group and you could ask us questions. And you can also relate with other students and other designers in our What's up group. Okay, So that will be it for this one guys, and bye bye. See you guys in the next course by.