IntroductionWelcome| 00:00 | Welcome to the series of videos on
designing a logo. Here on screen, we have
| | 00:04 | some very recognizable logos. I'm sure
you are familiar with most of them, if
| | 00:08 | not all of them. What do they have in
common? They are all extremely simple.
| | 00:13 | They use very basic shapes and all the
elements have been boiled down to only
| | 00:19 | their most essential parts. The most
important principle when designing a
| | 00:23 | logo, keep it simple.
| | 00:25 | But before we begin, we need to ask
ourselves, why we need a logo? The purpose
| | 00:30 | of a logo is to identify your company,
to make a positive first impression.
| | 00:35 | Secondly and obviously, it wants to
distinguish your company as being unique.
| | 00:40 | Setting you aside from the competition.
That doesn't mean that we need a
| | 00:43 | flashing, blinking or singing or
dancing logo. Quite the contrary,
| | 00:48 | but we do need our logo to stand out.
| | 00:51 | Thirdly, it needs to communicate, it
needs to communicate a value about your
| | 00:55 | company, a positive message. Maybe it
should communicate the trustworthiness,
| | 01:00 | the solidity of your company,
the experience of your company or
| | 01:04 | the friendliness of your company,
the technical ability of your company.
| | 01:08 | Whatever it is your company is,
your logo should communicate that.
| | 01:13 | What makes a good logo? Well, I think
we can boil it down to five points.
| | 01:18 | A strong uncluttered image, comprised
of only the most essential elements.
| | 01:24 | We don't need any extra stuff. The imagery
that's used should be appropriate for
| | 01:28 | the type of business that you are in.
The imagery should compliment your
| | 01:33 | company name and any type that's
used should be in a readable font.
| | 01:37 | Font singular, because we are
probably not going to be using more than one
| | 01:41 | typeface in the logo and that font
should not compete with the logo symbol.
| | 01:47 | Finally, your logo needs to work in
black and white as well as color. The color
| | 01:53 | may be important, but the color isn't
the be-all and end-all because your logo
| | 01:57 | is going to be photocopied, it's going
to be faxed, and it likely going to be
| | 02:01 | printed on black and white printers
and it needs to hold its own in black and white.
| | 02:07 | Throughout these videos, I'm going to
be working on my own logo project.
| | 02:11 | It's for a company called Deep Green Designs.
They are a garden design company based
| | 02:15 | in Brighton, U.K., that's where I
live, and I'm going to exploring various
| | 02:19 | different permutations of this logo and
hopefully by the time we get to the end
| | 02:24 | of the series of these videos, I'll
have a workable logo, a finished logo and
| | 02:29 | hopefully, so will you. Either
following along with my examples or adapting the
| | 02:35 | principles that I'm outlining here and
applying them where appropriate to your own logo.
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| Exercise files| 00:00 | Female speaker: Exercise files for this
course are available to Premium subscribers of
| | 00:04 | lynda.com. However, you are
encouraged to follow along by creating your own
| | 00:09 | logo from scratch. The exercise files
may use fonts that are not installed on
| | 00:14 | your machine. If you get a message
regarding missing fonts, simply select Open
| | 00:18 | to allow your machine to substitute the font.
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1. Defining the Parameters of the JobMeeting the client| 00:00 | Now, I know you are itching to design
that logo, but before we pick up tools,
| | 00:05 | we need to ask ourselves some very
important questions about the kind of logo
| | 00:09 | that we are designing. Is it a new
design or is it a redesign of an existing logo?
| | 00:14 | Who is the customer? Maybe you are
a designer, designing the logo for
| | 00:19 | your client or maybe you have a
business and you are designing your own logo.
| | 00:24 | What's the kind of personality that you
want the logo to project? How does that
| | 00:28 | reflect the personality of your business?
| | 00:31 | How does it reflect the values of your
business? Lastly, an obvious point but
| | 00:36 | an important one nonetheless, we need
to check out the competition, we need to
| | 00:40 | see what kind of logos are our
competition designing. Are they falling into any
| | 00:45 | kind of design traps and cliches that
we should strive to avoid and how do we
| | 00:51 | make our logo better?
| | 00:53 | Designing a logo is a collaborative
process and an important part of that
| | 00:57 | process is meeting with the client
and relating to the client, hearing their
| | 01:01 | needs and taking on board their
suggestions. Your client maybe has a logo
| | 01:07 | already or may be they have some
ideas for a logo and you want to try and
| | 01:11 | incorporate those ideas as much as
possible and when necessary, steer your
| | 01:16 | client towards good design decisions.
| | 01:19 | Perhaps you are your own client, in
which case it's still worth trying to
| | 01:24 | formalize this step and if necessary
role-play the step. My client, the client
| | 01:29 | that I'm going to be working with
throughout the series of these videos is a
| | 01:34 | company called Deep Green Designs.
They are a new garden design company based
| | 01:38 | in Brighton, UK, and the proprietor
of Deep Green Designs is an experienced
| | 01:43 | landscape designer and former
head gardener of an historic garden.
| | 01:48 | So in my meeting with her, talking
about her company and how she wants to
| | 01:52 | present her company, we came up
with this list of adjectives:
| | 01:57 | Deep Green Designs is imaginative, simple,
transformative, inspiring, unique, inventive,
| | 02:04 | diverse, friendly, informal, and
experienced. In no particular order. These are
| | 02:10 | the values that she feels represent
her business or that she aspires to
| | 02:15 | represent her business.
| | 02:17 | Another important question to ask.
Just fill in the blanks here. A Deep Green
| | 02:22 | customer is.... And in this case,
a Deep Green customer is, and all I need
| | 02:27 | is a single one sentence response.
Someone who wants to transform their garden.
| | 02:39 | Nothing more than that. Now, in terms
of these adjectives and how we find a
| | 02:45 | logo that matches them, that represents them,
| | 02:48 | let's just do a simple exercise.
Here I have six different words, which
| | 02:53 | represent values that
companies commonly wish to project.
| | 02:57 | The typefaces that I've chosen I think
are critical. For example, technical.
| | 03:02 | If I were to take the word technical,
and put it in the same font as this one
| | 03:06 | here, which is Cooper Black, which
I'm using for friendly. It wouldn't look
| | 03:10 | technical at all, I don't think.
Let's try it. I'm going to take that word
| | 03:13 | friendly, copy up there. I like
that. Doesn't look so technical.
| | 03:21 | Here we see with the word creative, and
this is a common theme that we will be
| | 03:25 | exploring, just a simple tweak to a
word may be all your logo needs. We want
| | 03:30 | to keep it simple. I'll be referring
to that point again and again, keep it simple.
| | 03:36 | Whenever we are tempted to clutter
things up, to add more stuff than is
| | 03:40 | necessary, just make things more
complicated than they need to be.
| | 03:44 | We are going to remind ourselves, keep it simple.
| | 03:48 | Reliable here is set in a solid
Slab Serif typeface. It looks solid and
| | 03:53 | reliable, the kind of
typeface that you can depend upon.
| | 03:57 | Elegant, in a typeface that has a lot
of contrast between the thick parts of
| | 04:01 | the stroke and the thin parts of the
stroke. The word caring, again I've
| | 04:05 | tweaked this one, so that the C
embraces the other letters and the letters
| | 04:09 | themselves are set in a warm and
caring and friendly san serif typeface.
| | 04:15 | So try this yourself, working with
these words or with other words that
| | 04:19 | represent values that you feel are more
appropriate to your business and experiment
| | 04:23 | with different typefaces.
| | 04:26 | Now that we've defined the parameters
of the job and now that we've a much
| | 04:29 | clear idea of the company that we are
working with, we need to figure out how
| | 04:33 | the logo is actually going to be used.
Obviously, it's going to be used on
| | 04:37 | business cards. It's probably going to
be used in the brochure, on a website,
| | 04:41 | poster, maybe in a magazine,
on t-shirts, banners, vehicles.
| | 04:45 | There are a multiplicity of different
potential uses for your logo and you need
| | 04:50 | to consider before you start designing
your logo, how many of those uses are
| | 04:55 | likely to be applicable to you.
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| What information to include| 00:00 | Now that we have a much better idea
of the kind of logo that we will be
| | 00:03 | designing and the kind of company that
we will be designing the logo for,
| | 00:08 | we need to think about what information
we are going to include. Specifically,
| | 00:12 | what kind of text we are going to include.
| | 00:14 | As a designer, your life is going to
be made easier if you are working with a
| | 00:18 | company name that is short and
sweet and to the point. There are many
| | 00:22 | precedents for this. United Airlines
in their logo becomes United.
| | 00:27 | Apple Computer becomes Apple, Adobe Systems
becomes Adobe. So we want to keep it
| | 00:34 | short and to the point. If that means
that by reducing the number of words in
| | 00:39 | the name that you are no longer
fully communicating the business of that
| | 00:44 | company, then you can use
a tagline to do that with.
| | 00:47 | Now, here are some very common taglines.
They are so common and so much a part
| | 00:53 | of our everyday lives that I don't
even need to tell you what taglines those
| | 00:58 | logos relate to. Now, let's go and
look at how I'm going to apply this
| | 01:02 | information to my specific logo in
progress. As we've already established,
| | 01:09 | I'm working for a company called Deep
Green Designs, a garden design company.
| | 01:13 | The first change I want to make is,
let's shorten the name to Deep Green.
| | 01:24 | And then I'm going to use a tagline to
communicate more information about the
| | 01:28 | business and the tagline is going to be this.
| | 01:33 | Now that's not exactly particularly exciting or
clever, but it is descriptive and since this is a new
| | 01:40 | company, I think we need to
go with a descriptive tagline.
| | 01:44 | I did suggest to my client 'just dig it,'
but she wasn't going for that.
| | 01:48 | So we are going to have Garden Design and Planting.
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| Choosing your tools| 00:00 | Now that we've decided what's going to
go into our logo and we have an idea of
| | 00:04 | the kind of image that we want to
convey with our logo, we need to decide what
| | 00:08 | tools we are going to use to create it.
To my mind, the only serious contender
| | 00:12 | is Adobe Illustrator. It's called
great type tools and it offers really
| | 00:17 | sophisticated vector graphics.
| | 00:19 | Now, it being vectors means that we
can scale the logo without diminishing
| | 00:25 | its quality and that is absolutely
essential. Vectors are resolution
| | 00:30 | independent. Now, you could use
InDesign for this, but Illustrator's vector
| | 00:35 | tools are a bit more sophisticated. So that's
the reason I'm going to go with Illustrator.
| | 00:40 | Maybe you could use Photoshop, but
Photoshop is mainly about working with
| | 00:44 | pixels. I suppose at the end of the
day whichever program you feel most
| | 00:48 | comfortable with is going to be the
right choice for you. But all else being
| | 00:53 | equal, Illustrator I think is the
best choice and let me just give you an
| | 00:57 | example of what is I'm talking about
with this notion of being able to scale things.
| | 01:03 | So here I am in Illustrator and here
is a quick fictional logo that I have
| | 01:07 | created and this is vectors and we can
see that when I click on it. Now, I'm
| | 01:13 | going to make a duplicate of this. I'm
going to select it all and hold down my
| | 01:17 | Alt key and my Shift key and I'm
going to pull away from it to create a
| | 01:21 | duplicate. Now, with this duplicate,
I'm going to rasterize it. So this is as
| | 01:26 | if it had been created in Photoshop
and the type had been rasterized.
| | 01:31 | Object > Rasterize, i.e. convert it to
pixels. I'm going to rasterize it at a high
| | 01:39 | resolution and we'll see that even
at a high resolution, it's going to run
| | 01:42 | into problems. 300 pixels per inch. I
think we can probably see even now things
| | 01:49 | are looking a little bit jaggy,
maybe they are not really that bad,
| | 01:54 | maybe that's just the screen.
| | 01:55 | But let's see what happens when I
increase the size of this. I'm going to
| | 02:00 | scale it up dramatically like so and
then I'm going to do a similar amount of
| | 02:07 | scaling on this one. What's happening
there is this one is actually behind the
| | 02:17 | pixel version. So I'm going to
bring it to the front. Now, if we were to
| | 02:26 | increase our view size, I think we can
clearly see there that the edges of the
| | 02:33 | pixel, the raster version are furry and
that's what's going to happen when you
| | 02:38 | scale a pixel graphic. That's not
going to happen when you scale a vector
| | 02:42 | graphic, which you can
scale to your heart's content.
| | 02:45 | So conclusion here is that
Illustrator is I think the best tool to be
| | 02:51 | designing your logos in and that's
the tool that I'm going to be using
| | 02:55 | throughout this series of videos.
| | 02:57 | In the next chapter, we will be
rolling up our shirtsleeves and actually
| | 03:00 | getting into creating in some logos.
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2. Type-Only LogosChoosing the right typeface for the message| 00:00 | Take a look at these logos. I'm sure
you recognize them all. What they have in
| | 00:03 | common is there are all nothing but type.
There is no illustration there.
| | 00:07 | It's all just letters. So that means that
even though we may not be Illustrators,
| | 00:12 | we can create impactful and successful
logos that really convey an image working
| | 00:17 | with type alone. But of course we
need to use our type skillfully. So let's
| | 00:21 | take a look at some suggestions
for working with type in logos.
| | 00:27 | So here are some suggestions for
working with type in your logos. As we saw
| | 00:31 | before every front has its own
personality. Typefaces are like clothes.
| | 00:35 | You don't want to be caught wearing the
wrong clothes for the wrong occasion and
| | 00:39 | we want to keep things simple.
| | 00:41 | Here we are again with that recurring
theme; keep it simple. No more than two
| | 00:45 | fonts. In fact, you probably only want
to use one font in your logo. Very few
| | 00:50 | logos use more than two fonts. And
while it may be tempting to experiment with
| | 00:55 | these fun fonts, chances are that they
are going to give your logo a very dated look
| | 00:59 | very quickly. So you want
to stay away from fun fonts.
| | 01:02 | And if you want to use scripts, now
scripts can convey a very kind of informal
| | 01:07 | feel to your logo. Rather than just
choosing up script typeface from the font menu,
| | 01:12 | instead do your own script.
Make your own calligraphy. That way
| | 01:16 | it's going to really embody your character.
| | 01:19 | As we saw in the previous video, not any
all type will do. We need to choose an
| | 01:24 | effective typeface for the message, to
convey the image of the company that we
| | 01:28 | are working for. And in order to
do that we need to make some broad
| | 01:31 | distinctions between the different
typefaces that we have available to us.
| | 01:35 | And the broadest distinction we can make
is Serif, Sans Serif and Script. So let's
| | 01:41 | take a look at an example of each of those.
| | 01:45 | So here I have on screen Sans Serif,
Serif, Script. So beginning at the top,
| | 01:49 | the Sans Serif font. By Sans we mean
without and that means that letters do not
| | 01:55 | have any of the ticks on the ends. So
they are more minimal in their letter
| | 02:00 | shapes and then obviously at the bottom
we have got the Script. Let's look now
| | 02:04 | at some logos that use Sans Serif type,
some that use Serif, and some that use
| | 02:08 | Script. And we will see if we can
make any broad statements, come to any
| | 02:12 | conclusions about the type of image
that these different types of typeface convey.
| | 02:18 | So here's some very recognizable
logos using San Serif typefaces,
| | 02:23 | and now some that use Serif,
| | 02:27 | and now some that use Script.
So broadly speaking I think we can
| | 02:32 | say from this fairly random sampling
that San Serif typefaces are apt to give
| | 02:37 | you a more modern, contemporary,
and a more simple, straightforward,
| | 02:41 | more minimal look to your logo.
Serif typefaces are apt to give you
| | 02:47 | a more established, more sophisticated, more elegant look.
| | 02:50 | Now that's a very, very broad sweeping
statement and you may be thinking well
| | 02:55 | wait a minute, what about this example
and that example and you are right.
| | 02:58 | It's a very broad statement, but I think
broadly speaking it's true. And then
| | 03:03 | thirdly, I think we can say that Script
typefaces convey a more friendly, more
| | 03:08 | informal feel.
| | 03:09 | Now I want to make an important point
about working with Script typefaces
| | 03:12 | because if you want to use a hand-
lettered script in your logo then
| | 03:18 | hand-letter it. Don't bother with a
script that you can choose from a Font menu.
| | 03:21 | Because when you do that every A
is going to be the same as every other A,
| | 03:25 | every E, the same as every other E.
It's going against the very nature of
| | 03:30 | the hand-drawn quality
that you are trying to convey.
| | 03:33 | So one of the things that we will be
looking at is, how to create your own script.
| | 03:37 | But next, we are going look at
working with some basic type variables.
| | 03:42 | Experimenting with casing and
tracking and stacking the letters and
| | 03:46 | adjusting the relative scales of the
words. That's coming up in the next video.
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| Exploring type variables| 00:00 | When working with type we have an
almost infinite number of variables. Just
| | 00:04 | with the type alone, we can change the
case, we can make it upper case, lower
| | 00:09 | case or a combination. We can change
the color of maybe one word or one letter.
| | 00:15 | We can change the relative size of the
words. We can adjust the spacing between
| | 00:20 | the words, and of course, we can
choose from a billion different typefaces.
| | 00:25 | So what I'm going to do here is very
methodically and starting with a really
| | 00:29 | neutral, control version here, set in
Helvetica Neue. I'm going to just explore
| | 00:36 | some of the basic type variables
working with our logo in progress for the
| | 00:40 | company Deep Green Designs.
| | 00:42 | So my first design decision is that,
that name is too long to work with. I
| | 00:49 | think it's going to work better if we
loose that word. So having done that, I
| | 00:54 | then want to think about the casing.
Do I want it in lower case or initial
| | 01:01 | capped and I'm holding my Alt key and
my Shift key to make a duplicate. And the
| | 01:08 | shift is just constraining the movement
of the duplicate. Or do I want to have
| | 01:14 | that all in All Caps.
| | 01:16 | So this is a kind of confirm for I
suspected all along that -- actually I want
| | 01:23 | it in the lower case. But what I'm not
liking is I have got two words, one of
| | 01:30 | four letters, one of five letters. I
think the space between them takes up
| | 01:33 | disproportionate amount of space. I
can track that space or rather kern that
| | 01:38 | space and make it smaller. Or I could
just get rid of it. This is after all a
| | 01:44 | logo. We don't need to be
grammatically correct here. But of course, how am I
| | 01:48 | going to now differentiate those
two words? Well I'm going to try and
| | 01:53 | differentiate with color.
Let's get in a little bigger here.
| | 01:56 | If I'm going to differentiate with
color then who says just because one of the
| | 02:03 | words is green, then that's the word
that has to be in green? Maybe, we'll have
| | 02:10 | that word in green. Maybe no. Let's
try now the different weights. So I have
| | 02:17 | got the Roman, the Regular weight here
of Helvetica Neue. What if I try Bold?
| | 02:24 | Okay, now as I mentioned in an earlier
video, this logo has to work in black
| | 02:30 | and white. Now if I'm differentiating
my words with color, then how is that
| | 02:34 | going to work in black and white?
| | 02:35 | Now let's just make a copy of that again.
Set this back to black and how about
| | 02:43 | if I make one of the words in a 50%
Grey. Now I have got a 50% Grey there, on
| | 02:49 | my Swatches panel or I can come to my
Color panel and reduce the black to 50%.
| | 02:55 | That makes me little bit nervous though,
because that word is now going to be
| | 03:01 | printed as a screen. A 50% screen of
the black and maybe as a consequence of
| | 03:07 | that the type isn't going to be as
crisp as I would like it to be. So I think
| | 03:12 | rather than doing it that way I'll
set that back to 100%. And then we can
| | 03:21 | differentiate the words with choosing
a different weight. Now I have chosen
| | 03:27 | your typeface family here
with lots of different weights.
| | 03:30 | I have got a lot of options in that
respect. Maybe I want a little bit more
| | 03:36 | contrast it, little bit bolder on the
left. Then a little bit lighter on the
| | 03:40 | right. Let's see how that looks, so
instead of light what about thin and
| | 03:46 | instead of bold what about heavy, maybe.
| | 03:53 | Okay, go and make to this one. I'll go
now, clear some space, get rid of those.
| | 04:01 | Now I started off with the Sans Serif
typeface. Instinctively I feel that this
| | 04:05 | logo called for a Sans Serif typeface.
I want a fairly minimal look to it. I
| | 04:10 | started with Helvetica, because if we
are going to stop with something neutral,
| | 04:14 | so that we can evaluate each change as
we make it methodically, then that's a
| | 04:18 | good place to start. But I also want
to look at some alternatives in terms of
| | 04:22 | Sans Serif typefaces.
| | 04:24 | I'm going to make a few different
copies here, Alt+Shift and then I'm going to
| | 04:29 | press Apple or Control+D to repeat that
transformation and this one. I'm going
| | 04:41 | to set that to Gill Sans and this one I
have another popular, Sans Serif, and a
| | 04:53 | favorite of mine Myriad Pro. Then
about a geometric Sans Serif, Futura. Well
| | 05:07 | one thing that tells me is that
this maybe worth exploring. I like the
| | 05:11 | two-story G that the Gill Sans has.
Have to look to a little bit more organic
| | 05:18 | then these single story Gs that the
other Sans Serif typefaces are offering us.
| | 05:23 | So let's see, Gill Sans now
compared with Franklin Gothic.
| | 05:33 | Now that's a font with a higher x-height.
The relative size of the lower cases
| | 05:42 | letters is higher and has this
interesting hook on the G. Maybe this in
| | 05:49 | potential there that we can explore
with that. Now in all fairness I should try
| | 06:01 | also in a Serif base. I'm going to
copy that again and let's have a look at
| | 06:09 | Adobe Jenson. Now I'm choosing that one
because I happen to know that this has
| | 06:15 | these diagonal cross bars on the Es.
Then they are kind of interesting looking,
| | 06:20 | I like the look at those. Especially
with the two words that we are working
| | 06:24 | with here got four Es. So it's like good
idea to choose a typeface that has a nice E.
| | 06:31 | Some food for thought there, but I
also now want to look at it in a script
| | 06:38 | face. So let's see what do we have in
the line of scripts. How about a Brush
| | 06:43 | Script? I don't think so. How about
Linoscript, which is not really a script,
| | 06:52 | but kind of feminine looking font? I
suspect that might be a popular favorite
| | 06:57 | although I'm not that keen on it myself.
Another one, Papyrus, again no script
| | 07:05 | font but I display font with lot of
character, and again not to crazy about
| | 07:10 | that one. But we started out with
three words all set black and now we have
| | 07:17 | boiled that down to two words. We got
rid of the space which is by in itself,
| | 07:23 | is quite a big design decision that we
have made. Now we are differentiating
| | 07:26 | with color and it looks like we are
kind of gravitating towards a Sans Serif
| | 07:32 | typeface with a two story G.
| | 07:35 | Now in the next video I'm going to
tweak the type a little bit more and try to
| | 07:39 | tease out some more character
from what we currently have.
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| Changing one thing| 00:00 | Take a look at these logos and what's
interesting about them is that they all
| | 00:04 | work by making a very subtle tweak
to the type or adding one very small
| | 00:10 | component, which completely makes the
logo. So maybe one letter is bigger or
| | 00:16 | we've got the famous FedEx logo up here,
where the E and X come together to give
| | 00:21 | a reverse out arrow or there is the
tick taken out of the O and the S where
| | 00:27 | they meet in the Microsoft logo. The
house that's made of the H in the shelter
| | 00:32 | logo. The dots on the J and the I made into
an infinity sign in the Fujitsu logo, etcetera.
| | 00:38 | So what I want to do now is I want
to take these very clever, very simple
| | 00:44 | concepts and try and apply them to my
logo in progress and I'm going to pick
| | 00:49 | up pretty much where I left off in the
last video where we have got just the
| | 00:54 | company name as now one word just like
American Airlines done here. No space
| | 00:59 | between those two words and I'm
differentiating the two words by column. So
| | 01:05 | this is a starting point, this is a
Myriad Pro, so I have not yet decided which
| | 01:11 | Sans Serif typeface I'm using. So I'm
going to be going back and forth with that.
| | 01:15 | Now if you don't have any of these
typefaces though I'm using and some of them
| | 01:18 | you will not have. Then just substitute
some of your own that you feel broadly
| | 01:22 | are equivalent. If that is if you are
following along and if you are doing your
| | 01:26 | own logo. Then feel free to adopt and
adapt any of these techniques and none of
| | 01:32 | them are to be taken absolutely,
literally than more just suggestions. So this
| | 01:37 | is my starting point as we saw this one
in the previous movie just a different
| | 01:42 | way of maybe instead of a space or if
it's not having a space and underscore
| | 01:47 | that really I don't think that it
works but it was worth trying, and then
| | 01:52 | I've now got this where I decide
that I want to separate the words.
| | 01:56 | Not with a space or at least I
want to fill that space with something,
| | 02:00 | not differentiated by color by having
this swirly graphic. Now these are all the
| | 02:05 | rage of the moment, these swirls. I got
this from the Adobe Exchange website and
| | 02:12 | I'm going to show you where you too
can get it. So let's pop to Safari and
| | 02:20 | I'm on the Adobe Exchange website. And
this is a free download. It's by a woman
| | 02:27 | called Jennifer Willis and you can
download these effects of swirls and then
| | 02:31 | just incorporate them
into your InDesign document.
| | 02:36 | So that's what I have done here. Now
moving along, let's take a look at this
| | 02:43 | example. Now I wouldn't really want
to do this. I think this will create a
| | 02:49 | printing problem having the counters
of the letters built with a different
| | 02:53 | color. But let's see how you can do
this. It maybe something that you want to
| | 02:58 | use in a different context or I mean if
you're working on your own logo, maybe
| | 03:02 | this is going to work for you.
| | 03:03 | So I'm just going to start out by
setting my Type and I'm using Futura here and
| | 03:11 | I'm using Futura because it's
geometric, it's going to give me nice round
| | 03:17 | counters. So let's go over there to
my Character panel and we will type in
| | 03:24 | Futura and I'm going to make it Bold.
Maybe not bold. That doesn't look quite
| | 03:33 | what I'm after. So let's go for a
Medium instead. And then switch to my
| | 03:39 | Selection tool. Holding down my Shift
key, I'm going to scale that up and move it down.
| | 03:49 | Scale it a bit more.
| | 03:50 | Now here is the punchline to this
particular technique. I can't color any of
| | 03:55 | those counters individually until I do
this. And this is I need to convert this
| | 04:01 | type to outlines of course. When I do
that, it's no longer type. It's just
| | 04:06 | editable vector shapes. Okay, so now
there's outlines. I need to make sure that
| | 04:13 | the status of these letters is actually
they are compound paths and that's what
| | 04:17 | is allowing the counters to knock holes
in the letters. I need to release that
| | 04:23 | compound paths. So I come to the
Object menu, Compound Path > Release.
| | 04:27 | Having done that, I can now select the
counters individually. So I'm going to come in
| | 04:33 | and holding down the Shift key,
clicking on each of those counters and then
| | 04:39 | applying a color.
| | 04:41 | Okay.
| | 04:45 | Now this is an interesting one.
Here I'm using a very common technique of
| | 04:49 | reversing out part of the logo and I'm
doing that with an organic shape, a leaf,
| | 04:54 | which seems appropriate to the subject.
Now how did I get this leaf? Well, I
| | 04:59 | could just draw with my Pen tool, but
actually I was feeling lazy, so it's an
| | 05:03 | Illustrator symbol, which I adapted.
| | 05:06 | First of all, I'm just going to
duplicate that type down there and then I need
| | 05:15 | to get myself a symbol. So I'm going
to come over to my Symbols panel right
| | 05:18 | here. Now because I have already used
in this document, it's on my Symbols
| | 05:23 | panel. But if for you it isn't and you
need to get it then come down to here,
| | 05:29 | the Symbol Libraries menu and choose
Nature. On your Nature symbols, you will
| | 05:38 | find one right there called Leaf. So
I'm going to click on that, that's going
| | 05:41 | to put it on my Symbols panel and now
from my Symbols panel. I want to put it
| | 05:48 | onto my document. I'm going to click on
this one just to add a single instance
| | 05:54 | to my outboard.
| | 05:56 | There it is, let's zoom in on that.
Now that's far too detailed. Really all I
| | 06:02 | want is the shape. So I'm going to
come to the Object menu, and I'm going to
| | 06:06 | expand that and then I'm going to
choose my Direct Selection tool, click away
| | 06:13 | from it to deselect. Click back on all
that interior information and delete it
| | 06:21 | and then all I want is the outline. So
I'm going to get that and then I'll get
| | 06:26 | rid of all of that stuff,
but not including the font.
| | 06:38 | So that leaves me with just the
outline of the shape. Although it seems, I
| | 06:45 | still have bit more detail there and I
actually want so I'm going to return to
| | 06:50 | the Object menu, Expand Appearance.
Click on the outline once again and I'm
| | 06:55 | wondering right now if it might have
been easier for me to just draw the shape
| | 06:59 | by itself. But now I have separated
that from the shape. I can come to my
| | 07:05 | Swatches, again give it a color and
tend to be gravitating towards this
| | 07:10 | particular green here. Choose that one
and then move it into position. Choose
| | 07:18 | my Rotation tool, and then spin it
around a bit. Now of course, I need to send
| | 07:27 | it to the back behind the type.
| | 07:30 | So I choose my Object menu, Arrange
> Send to Back and then it's just the
| | 07:36 | question of positioning it. So that's
it right behind that and perhaps scaling
| | 07:42 | it a little bit. Something like that.
Okay let's say what else do we have here.
| | 07:59 | So then continuing with this leaf motif,
after having done that one, I copied
| | 08:05 | that and then as we saw from that
explorations in the earlier video,
| | 08:13 | the Franklin Gothic G has this interesting
hook at the top of it and I can take my leaf,
| | 08:19 | put that right there, scale it way,
way down and position that. Something like so.
| | 08:29 | Here is another one that I don't
think will really work but you know in a
| | 08:38 | different context it might be just what
you are after. These letters have been
| | 08:42 | converted into outlines and we saw
that earlier. I just created it. Regular type.
| | 08:47 | Converted it to outlines and then
with my Direct Selection tool, that's
| | 08:52 | the Y arrow, made a selection of those,
bottom two points and then you can pull
| | 09:02 | that up or pull down to
make the P deeper as necessary.
| | 09:11 | In this example here, this was kind of
prompted by me coming across the Adobe
| | 09:16 | Jenson in the previous video. Then we
saw the Jenson has a two diagonal cross
| | 09:21 | bar on the E, and I think what if I
were to just experiment with that and join
| | 09:27 | them together. So all we are doing here
is typing in and in this case I'm using
| | 09:37 | a space from my Character panel.
Putting that in Adobe Jenson Pro. Scaling it
| | 09:48 | up and then once again, it's just a
question of turning into outlines. Just going
| | 09:53 | to give us bit more flexibility or
what we can do with it, Create Outlines.
| | 09:58 | When I do that it becomes a group. So
I now need to ungroup it, and that's
| | 10:06 | going allow me to select the individual
letters and I'll put those like so. And
| | 10:18 | then I can just move the letters
around as necessary to create some kind of
| | 10:29 | effect like so which is cute but I'm
not sure well that's already onto a winner
| | 10:38 | with that one.
| | 10:39 | In this final example, just want to
make the point that so far we have been
| | 10:43 | having both of the words of the logo
in the same size. Of course, you don't
| | 10:48 | need to restrict yourself to that.
So here I'm radically scaling the two
| | 10:52 | different words and I'm making the G
quite a lot bigger, obviously, so that we
| | 10:58 | can fit the word deep into that. So
the G there is 80 points versus the other
| | 11:03 | three letters which are 54 points.
| | 11:08 | So hopefully I'll give you some ideas
and especially if you are working on your
| | 11:12 | own logo, which of course is the name
and the type of business that you are
| | 11:16 | working with, is going to suggest
all kinds of other possibilities. But
| | 11:20 | hopefully these will give you just
some ideas to work with and explore.
| | 11:25 | Okay, so coming up in the next chapter.
We are going to look at some common
| | 11:28 | type treatments. Working with
transparency, working with outline type,
| | 11:34 | warping type and making a monogram
of the initials of your company.
| | Collapse this transcript |
| Tracing hand-drawn type| 00:00 | There are many, many successful logos
that use hand-drawn type. And with hand-
| | 00:06 | drawn type you can convey a really
personal, informal, friendly feel. But what
| | 00:12 | we don't want to do, if we going to go
down this route, is that we don't want
| | 00:15 | to use a script typeface because if we
do, it's going to look exactly the same
| | 00:21 | as somebody else's logo who used the
same script typeface. Much better to draw
| | 00:26 | our letters ourselves and
also much more characterful.
| | 00:32 | So I'm going to look at two different
approaches to creating hand-drawn letters
| | 00:38 | in Illustrator. I spoke to my client
and I said, "How's your handwriting?" and
| | 00:43 | she said, "Well, it's not bad." So I
had her write out the name of her company
| | 00:48 | and I scanned it and that's what I
have here. And then with that scan I Live
| | 00:54 | Traced it. And this is the result I
got or rather this is the cleaned up
| | 00:59 | result I got.
| | 01:01 | So let's just quickly run through that.
I won't subject you to watching me
| | 01:05 | clean it up too much because that's a
little bit tedious to watch. But I'm
| | 01:09 | going to select the image of the scan,
Live Trace and then click on my Tracing Options.
| | 01:19 | And I have got quite a lot of
crumbliness around the shapes of the
| | 01:24 | characters and that's just because it
was done with the pencil. I'm going to
| | 01:29 | try and eliminate some of that by
blurring the image slightly. Then turning on
| | 01:34 | my Preview to see if that makes a
difference. I think it does help, yeah okay.
| | 01:42 | So I'm going to trace that.
| | 01:43 | I'll now want to get in and work with
the shapes that Live Trace has created
| | 01:49 | and modified them. So I need to click
on the Expand button, choose my Direct
| | 01:54 | Selection tool just swipe over that and
then delete that. Now I can come in and
| | 02:00 | adjust the Bezier control points and
the anchor points to change the shape of
| | 02:06 | these letters and it's going to be a
somewhat painstaking process but hopefully
| | 02:11 | worth it. So that's one approach.
| | 02:13 | Now the other approach. If you have a
tablet stylus, pressure sensitive pen
| | 02:19 | then you can hand-draw your letters in
Illustrator using the Brush tool. This
| | 02:24 | too can be a painstaking process and
I found it to be easier drawing myself
| | 02:29 | some guides first before I get started.
So I know where the base line of my
| | 02:33 | letters is. So I'm going to come over
to my Layers panel and I have this layer
| | 02:40 | here, Guides.
| | 02:42 | I have typed out my words in brush
script. Not because I wanted to look like
| | 02:48 | brush script but just because I want
the proportions of the letters to be
| | 02:51 | broadly similar and then I have
drawn myself guides corresponding to the
| | 02:54 | Baseline, the Descender line, the X-
height and the Ascender height which all
| | 03:02 | may sound a bit technical for
something that's going to end up looking fairly
| | 03:05 | child-like and informal
but it does help, believe me.
| | 03:11 | So then I'm going to zoom in and I want
to make sure that my Brush tool options
| | 03:18 | are set correctly. So let's just take a
look at those. I want to Fill new brush
| | 03:22 | strokes unchecked and I want Keep
Selected unchecked also. So now I'm going to
| | 03:29 | write my letters. Well that's okay.
It's not great but I'm going to live with
| | 03:39 | that for now. I can come and modify
the shapes of the characters using my
| | 03:46 | Direct Selection tool clicking on the
outline, want to make sure that I just
| | 03:51 | highlight the path and then I pull
those shapes around may be adjust the Bezier
| | 03:57 | control points. Before you know it,
you have lost the whole hour to this
| | 04:03 | technique. So be careful.
| | 04:05 | So I'll do some of that getting it just
how I like it. I want to make sure that
| | 04:14 | my Strokes have the right end to them.
So I'm going to single click on my
| | 04:22 | Stroke panel and see I want this one
here the Rounded Cap and this one here the
| | 04:28 | Rounded Join. That's going to prevent
us from having any sharp points to the
| | 04:35 | tips of our letters and I think what I
wanted to do next is increase the Weight
| | 04:41 | of the stroke that we have here. Let's
change that to 2 pt weight. Now I'll go
| | 04:44 | to my Object menu and to Path, because
I want to turn my strokes into paths and
| | 04:55 | to do that I'm going to choose this one
Outline Stroke. That's not looking too bad at all.
| | 05:04 | It seems that when I choose outline
stroke, things get a little bit thinner
| | 05:08 | than they had been before because
it's loosing the stroke that was there
| | 05:12 | before. So I'm going to now having made
my strokes into fills I'm going to give
| | 05:17 | those fills a stroke. Let's see
obviously we want a black stroke and yeah we
| | 05:26 | will go for two point stroke and then
I'm going to return to the Path > Outline
| | 05:33 | Stroke. Hang on I have got my Guide
selected as well. So I'm going to lock my
| | 05:39 | Guides Apple+Alt+Semicolon or Ctrl+Alt+
Semicolon to lock them and then we will
| | 05:47 | try that again. Path > Outline Stroke.
| | 05:53 | Lastly, we're going to go to my old
friend the Pathfinder panel and I want to add
| | 06:01 | all those shapes together. We have got
lots of overlaps and unnecessary anchor
| | 06:06 | points there. So I'm going to hold
down my Alt key and click on the Add To
| | 06:10 | Shape Area to remove any of those. And
of course I can further fiddle with that
| | 06:16 | and pull the anchor points
around to my heart's content.
| | Collapse this transcript |
|
|
3. Type TreatmentsExploring type treatments| 00:00 | In this chapter we are going to take a
look at exploring common type treatments
| | 00:04 | and how they can apply to our logo.
Some of these type treatments may not be
| | 00:09 | appropriate for the kind of logo that you are
doing and for the kind of logo that I'm doing.
| | 00:13 | But they are interesting nonetheless.
So we will be taking a
| | 00:17 | look at these following different
approaches: using transparency, using
| | 00:22 | outlined type, putting type around a
circle, using the company initials to
| | 00:28 | create a monogram and warping type.
| | 00:32 | Let's begin with transparency.
| | Collapse this transcript |
| Using transparency| 00:00 | So here we have some logos that use
transparency. Technically speaking, the bp
| | 00:05 | logo could be created without
transparency although as we will see it's going
| | 00:09 | to be very easy, perhaps easier than
any other technique to achieve this kind
| | 00:14 | of effect using transparency.
| | 00:16 | I'm now going to go over to
Illustrator and take a look at applying some of
| | 00:20 | these techniques to my logo. Okay,
here I am in Illustrator. Let's take a look
| | 00:26 | at how some of these effects were
created, beginning with this one. And what
| | 00:32 | I'm going to do here is I'm going to
zoom out, Apple+0. I'll select that and
| | 00:40 | now I'm going to duplicate it down to
the bottom of my page, holding down the
| | 00:43 | Alt key and then I'm going to zoom in on
that area, Apple+Spacebar or Ctrl+Spacebar,
| | 00:50 | and click and drag over that,
and I'll keep that one as visual
| | 00:56 | reference and we'll just create it from
scratch. So I'll type in my type and in
| | 01:05 | this case I'm using the Franklin Gothic
font, and it's Franklin Gothic Medium.
| | 01:17 | Let's increase the type size on that,
Apple+Shift+> or Ctrl+Shift+> and we'll
| | 01:27 | just leave it like that in
black for the time being.
| | 01:30 | I now want to create my leaf, which I'm
going to create using the Ellipse tool
| | 01:36 | and I want to draw an ellipse outwards
from the center point. So I'm holding
| | 01:40 | down the Alt key and I'm going to
make it something like that. Let's fill it
| | 01:47 | with a light green. Now I'm using a
light color because now I'm going to
| | 01:50 | overlap these colors, and as they overlap,
they are going to create darker colors.
| | 01:55 | So I want to start off with something
light. So I have got somewhere to go,
| | 01:58 | here's my Fill property and my Swatches.
Now, what I want to do is I want to
| | 02:05 | pinch the top and the bottom of that
leaf. I'll choose my Direct Selection tool,
| | 02:11 | click away from it, click back on it.
Now on the top anchor point, hold
| | 02:16 | down the Shift key, click on the bottom
anchor point, and then up on my Options bar,
| | 02:21 | I want to Convert Selected Anchor
Points To Corner. That's going to pinch
| | 02:26 | the top and the bottom, like so.
| | 02:28 | Now I'll switch to my Rotation tool,
and let's get in big. Now, before I rotate,
| | 02:34 | I want to set the transparency.
Now I'll come over and click on my
| | 02:38 | Transparency panel, and what I'm
going to do is, I'm going to use Multiply.
| | 02:44 | I'll leave the Opacity set to 100% and
I'm going to click on the bottom point
| | 02:49 | of my leaf. I'm kind of locking that in
place so the rotation is going to take
| | 02:53 | place from that point. I need to have
the whole thing selected, so I'm going to
| | 02:57 | hold down my Apple key or my Ctrl key
and click on it so I have got the whole
| | 03:01 | of the shape selected, click on that
bottom point again. Now, I can move my
| | 03:06 | leaf. But, I also of
course want to make duplicates.
| | 03:09 | So I'm going to throw in the Alt key,
and let's say we've got about there, and
| | 03:18 | now all I need to do is repeat that
transformation, Apple or Ctrl+D, and I'll
| | 03:24 | get as many duplicates as I like. You
will see that in this particular instance
| | 03:30 | I stop there, but if I keep going, I
complete the whole circle. So then, all I
| | 03:35 | need to do is come back here and
select my piece of type, and we want this to
| | 03:42 | be in a green color. We want the one
word to be in white so that it reverses
| | 03:50 | out these shapes.
| | 03:51 | So I'm going to insert my cursor
between those two words, hold down the Shift
| | 03:54 | key, and click my Left Arrow, and then
set the Fill on that to white or paper,
| | 04:05 | and then bring that to the front,
Object > Arrange > Bring To Front. Nudge it
| | 04:12 | over a bit and then we have
one of our transparency logos.
| | 04:17 | So well now take a look at creating
this effect. I'm going to zoom in,
| | 04:24 | Apple+Spacebar, click and drag or
Ctrl+Spacebar and here, we have a very
| | 04:29 | similar effect to the one that we just
saw with the overlapping petals, here
| | 04:34 | with the overlapping fronds, and we
are constraining all of those within a
| | 04:39 | cropping rectangle.
| | 04:40 | So let's zoom out again, Apple+ 0 or
Ctrl+0 and I'll select that and duplicate
| | 04:47 | it by holding down the Alt key.
Bringing it down there, and then I'm going to
| | 04:50 | zoom in again on this portion of the
page so that we got some room to work
| | 04:55 | with. And this time, I'll be starting
with a rectangle as my basic shape, and
| | 05:02 | having done that, I'm going to delete
one of the top Anchor Points by switching
| | 05:06 | to my Pen tool, and hovering over it,
you will see a minus appear next to
| | 05:11 | the Pen, click on that and that will
delete the anchor point. With the top
| | 05:15 | anchor point that remains, I'll press
my Right Arrow, move that over to the
| | 05:21 | right, give us our palm frond shape.
| | 05:26 | Okay. So I want to rotate this around
a specific point, and I'm going to use
| | 05:33 | some guides to mark that points. I'm
going to drag down a guide from the top. I
| | 05:40 | need to turn my guides on, Apple+Semicolcon or
Ctrl+Semicolon and there are some guides already.
| | 05:47 | Let's get rid of the ones that we
don't want. So I'll now need to unlock my
| | 05:52 | guides, Apple+Alt+Semicolon or Ctrl+Alt
+Semicolon. Let's get rid of those and
| | 05:59 | with this shape selected, I'll
now draw another guide right there.
| | 06:06 | Okay. Keep the shape selected, switch
to your Rotation tool by pressing R, hold
| | 06:12 | down the Alt key and then click on the
intersection of those two guides, and
| | 06:18 | I'm going to rotate this by -- well
funnily enough, it's coming out with eight
| | 06:23 | degrees, that's the angle of rotation
I used on previous instance when I was
| | 06:30 | working with this. I think I'll just go
with that, and I'm going to click Copy
| | 06:34 | and then to repeat the transformation,
Apple or Ctrl+D and I'll stop about
| | 06:41 | there. And I'll lock my guides, Apple+
Alt+Semicolon. Select all of these shapes
| | 06:52 | and group them, Apple or Ctrl+D. Then,
I'm going to just move that over a bit
| | 06:59 | there because I now want
to reflect a copy of it.
| | 07:01 | So I'm going to come over to my
Rotation tool, where hiding behind the Rotation
| | 07:05 | tool is my Reflect tool. So if I click
and hold down on that tool space, bring
| | 07:10 | out my Reflect tool. So I'm going to
Alt+Click about there. That's going to
| | 07:16 | bring up my Reflect dialog box, and I
want to reflect it across the Vertical
| | 07:20 | axis, and most importantly, I want a
copy. So there is my copy, and I'm now
| | 07:27 | going to set the transparency on this copy.
| | 07:30 | So if I open up my Transparency panel.
This time I think rather than using
| | 07:35 | Multiply as I did in the previous
example, I'll just take the Opacity way down
| | 07:41 | to about 50% or thereabouts and
then I can overlap that like so and...
| | 07:53 | twist it around a bit, scale it a bit,
pull it around a bit and just kind of
| | 08:03 | move it into place. Well,
maybe I want a different color.
| | 08:06 | Okay. Let's pretend that that's
exactly what I want. It's not exactly what I
| | 08:15 | want, but I want to make you sit and
watch me fiddle around with it for ages to
| | 08:21 | get exactly what I want, but the
concept is there. So now I want to switch to
| | 08:24 | my Rectangle tool because I need to
put a bounding rectangle around the two
| | 08:30 | shapes. I'm going to hold down my Shift
key, well I draw that to get a perfect square.
| | 08:40 | If I want this square to be filled as
I do in this instance, I'm going need
| | 08:45 | two, because when I make this
rectangle into a clipping shape, it's going to
| | 08:49 | lose whatever fill it has. So having
drawn one, what I'm going to do is I'm
| | 08:54 | going send that one to the back and
that's Apple+Shift+( or Ctrl+Shift+( to
| | 09:01 | send it to the back. I need to make it
bit lighter in color then, I'm going to
| | 09:08 | copy it and select this shape and then
I'm going to paste a copy in front of
| | 09:16 | this shape, and to do that, I'm going
to go to the Edit menu and choose Paste
| | 09:19 | in front or Apple or Ctrl+F.
| | 09:22 | Now, I need to select along with this
both of my palm frond shapes. So select
| | 09:29 | one, hold down the Shift key, select
the other and then Object menu, Clipping
| | 09:34 | Mask, Make. And now when I click away
from it, we can see that those shapes are
| | 09:41 | clipped or cropped by that clipping shape.
| | 09:46 | Right. Let's now take a look at the
third of our transparency examples
| | 09:49 | overlapping letters, and where they
overlap creating some interesting shapes
| | 09:54 | with the resulting color. So I'll
choose my Type tool, type in my letters, and
| | 10:02 | then I'll scale it up a bit, give it a
color. And I'm now going to convert this
| | 10:10 | to outlines, but just before I do,
I'll duplicate it, and so when I need it,
| | 10:20 | there is my other piece of type and
I'm going to use the complementary color
| | 10:25 | there Magenta, and I may also
select both, create outlines, that's
| | 10:31 | Apple+Shift+O or Type > Create Outlines.
| | 10:35 | Okay. Now, what it has given me for
each different piece of type, it's given me
| | 10:42 | a group. And I need to ungroup these
elements. So I'm going to -- I'll select
| | 10:47 | the first word with my Selection tool
and then ungroup, that's Apple+Shift+G or
| | 10:52 | Ctrl+Shift+G, and I can now come and
set the transparency to Multiply, and I
| | 11:02 | can select the letters individually and
start overlapping them and you can see
| | 11:08 | that where they overlap. We
get some interesting results.
| | 11:17 | So something like that. Now, I'll come
to this one. Again, I need to ungroup
| | 11:22 | it, Apple+Shift or Ctrl+Shift+G. I'm
going to set the transparency to Multiply.
| | 11:29 | I'll move this up into position.
| | 11:38 | And just move the letters closer together.
| | 11:43 | And you can fiddle around with that one
for a long time until you get it just right,
| | 11:46 | but we see there the effect that we're after.
| | 11:49 | Okay. So there we have infinite number of
approaches to working with transparency.
| | Collapse this transcript |
| Outlining type| 00:00 | Here are some famous logos that use
outlined or stroked type, where the color
| | 00:06 | of the outline of the letters is
different from the letter shapes themselves or
| | 00:10 | where the letter shapes are shadowed or
in some cases where the letters have an
| | 00:15 | in line. We are going to see how we can
apply these techniques in Illustrator to
| | 00:19 | our logo in progress and hopefully,
you will be able to explore how these
| | 00:24 | may be applicable to your
particular logo in progress.
| | 00:28 | All right, let's now go over to
Illustrator. I'm in the document that's called
| | 00:35 | logo_outline. You can follow along with
this or just work in your own document
| | 00:39 | from scratch. Okay, here I'm in
Illustrator with some different variations on
| | 00:45 | working with outline type.
| | 00:46 | The first one I'm going to look at is,
not exactly outlined but just a simple
| | 00:51 | drop shadow. The point being here
though this isn't just the copy of the
| | 00:55 | letters offset and put behind the
original but rather is a drop shadow effect,
| | 01:00 | and that's just easier in terms of
editing in the future. And how we get this
| | 01:04 | is just type in our text and let's
make that something out of the black.
| | 01:14 | We'll have it be red. Now, I want to give
this a shadow, I'm going to come to the Effect
| | 01:19 | menu and choose Stylize > Drop Shadow.
| | 01:26 | Now, because we don't want to have
any soft edges, if I turn on my preview,
| | 01:30 | that how it's going to start. These
gradated soft edges are going to be
| | 01:34 | difficult to reproduce in certain
situations so it's not going to be robust
| | 01:38 | enough for our logo. So, we want to
make sure that we got the Blend Mode set to
| | 01:41 | Normal, the Opacity to 100, the Blur
to 0. There's our shadow and now we just
| | 01:49 | mess around with the Offset amount so I
want a very minimal 1 point. And this is
| | 01:55 | a live effects so the point being, if
I edit my text, the shadow updates with it.
| | 02:04 | OK, moving along to our next technique.
All right, let's now take a look at the
| | 02:09 | second outlining technique. This is a
simple one, but it's an important point
| | 02:16 | because when we apply a stroke to our
type traditionally using the Fill and
| | 02:23 | Stroke properties on our Tool panel,
the stroke weight changes the letter
| | 02:28 | shapes because half of it goes inside
the letters and half of it goes outside
| | 02:33 | the letters. If I un-apply that stroke,
there we see the letter shapes and now
| | 02:37 | if I re-apply that, we see that half
of the stroke weight is going inside the
| | 02:43 | letter shapes. So, it's actually
changing the shapes of the characters. Ideally,
| | 02:48 | we'd like to avoid that and
here is how we can avoid that.
| | 02:51 | Rather than applying the stroke and
fill using the Stroke and Fill properties here,
| | 02:56 | I'm going to apply them using
the Appearance panel. So, if I choose my
| | 03:00 | Appearance panel, I'm going to select
both of these and then from my panel menu
| | 03:07 | I'll choose Add New Fill. You see that
when I do that, the fill is now on top
| | 03:13 | of the former Stroke property. I'm
going to come and click on the stroke and
| | 03:18 | I'm going to make the green color that
we are using. What we can do here is to
| | 03:25 | avoid the stroke changing the character
shapes as I drag the stroke underneath
| | 03:30 | the fill. Watch carefully when I do
that and there we see that the stroke is
| | 03:35 | now going completely outside of the
letter shapes or rather we are only seeing
| | 03:40 | the portion of it that goes outside of
the letter shapes. So I might just want
| | 03:43 | to bump up the weight of that stroke.
So that's the preferable way of applying
| | 03:48 | a stroke to types so that we avoid
changing the shape of the characters.
| | 03:52 | I'm now going to zoom out, Apple+0
and let's take a look at this technique.
| | 03:57 | It's like a variant of that where I'm
offsetting the stroke by having a copy of
| | 04:04 | the type behind the original. So, if
we look at the Appearance panel we see
| | 04:12 | that I have got one fill that has a
wide stroke and than I have another fill
| | 04:16 | behind that, that is filled with
green, no stroke on that but there is a
| | 04:20 | transformation and that transformation
is a live effect chosen from under the
| | 04:26 | Effect menu and that is
causing the green copy to be offset.
| | 04:30 | With the green copy behind it, we see
the white stroke that is on the black
| | 04:34 | original that is at the top of the
stack. I think what I'll do here is
| | 04:38 | duplicate that, holding down the Alt
key and dragging away from it. And then on
| | 04:45 | the duplicate, I'm going to delete
that transformation and then delete that
| | 04:51 | fill just by dragging both of
them in turn to the Trashcan.
| | 04:57 | So with my type selected, I'm going to
come back to the Appearance panel and
| | 05:02 | choose Add New Fill and I'll change
the color of that fill to my green color
| | 05:09 | and then I'm going to move that fill
underneath the existing fill and stroke
| | 05:14 | and of course it's sitting directly
beneath it so, we are not seeing it at the
| | 05:18 | moment. But we did select it and I'm
now going to go to the Effect menu and
| | 05:23 | choose Distort & Transform > Transform.
Now, this is not quite interactive as
| | 05:30 | you might like, you have to use
this sliders here and it's a little bit
| | 05:33 | numerical but if I turn on my preview,
what I want to do is I want to move it
| | 05:38 | horizontally and not quite that much,
may be about that much and I want to move
| | 05:44 | it vertically.
| | 05:44 | Now if want it to go down, I need to
make the vertical a minus number, so I
| | 05:49 | need to move to the left and that is
almost exactly what I want. Let's have -2,
| | 05:55 | here we go. The advantage here is that
rather than stacking up different copies
| | 06:05 | and then you go and edit one of those
copies, and everything that's beneath it
| | 06:08 | also need to be edited, I can edit this
type and it will have that same effect
| | 06:16 | applied to it.
| | 06:17 | Okay, moving along with our different
approaches to applying strokes to our
| | 06:24 | characters. I'm now going to zoom out,
Apple or Ctrl+0. Let's take a look at
| | 06:30 | this example here, and this is again
a slide variant on once that we have
| | 06:35 | already seen. I have got multiple
copies with multiple strokes. So, let's just
| | 06:40 | take a look and deconstruct path.
| | 06:42 | Using my Appearance panel, I have got
type filled with green as the stroke and
| | 06:46 | then behind that is another stroke of
a thicker weight. Now if I throw that
| | 06:52 | stroke away, I'll select both pieces of
type. I'll throw that stroke away just
| | 06:56 | by dragging it to the Trashcan. And
you will see that the white stroke on the
| | 07:01 | green type currently not visible
because it is against the white background.
| | 07:05 | But if I now choose Add New Stroke, I
just need to make sure the white of that
| | 07:10 | stroke is heavier than the existing
stroke, well, it is a different color and
| | 07:16 | it goes behind the existing strokes.
I'm going to make it two points and I'm
| | 07:21 | going to make it green and now when I
drag it down in my stack in my Appearance
| | 07:26 | panel, it sits behind the first stroke and
I have got some nicely multipley outlined type.
| | 07:32 | Moving along all the way over here. So
I want to begin with type which I'm then
| | 07:38 | going to need to convert to outlines
and then I'm going to offset that path to
| | 07:43 | make this much larger type shape its
going to sit behind the type and form this
| | 07:49 | interesting background for it.
| | 07:51 | I'm going to do this one from scratch.
So, I'm going to put in my type and I'm
| | 07:56 | using a font here called Cooper Black,
which is very brown and cuddly. The font
| | 08:02 | I used in the original example was
Helvetica Rounded, which I don't have on
| | 08:06 | this machine, so I'm using
Copper Black as an alternative.
| | 08:09 | All right, let's set the fill of that
to piper and I'm going to copy it because
| | 08:16 | I need a copy of that to paste back in,
after I have done the next few steps.
| | 08:21 | So, Apple+C or Ctrl+C will copy that
to the clipboard and then I'm going to
| | 08:28 | choose, Create Outlines to convert my
type to vector shapes. And now, I want to
| | 08:34 | offset the path. Just before I do that,
I'll change the color to the green I'm
| | 08:38 | using and come up to the Effect menu
and choose Path > Offset Path and turn on
| | 08:45 | my preview and that's what we are going
to get with that 10 pt offset, which is
| | 08:50 | a little bit too much.
I'm going to make that 8 pt.
| | 08:53 | You might want to experiment with the
type of joins, since I'm starting with
| | 08:57 | such a rounded original that you might
want to experiment with these. Choosing
| | 09:01 | Round may give you a better result
depending on the font that you are working
| | 09:05 | with. And then I'm going to click OK
and there I want to paste that copy back
| | 09:09 | in front, Apple or Ctrl+F or Edit >
Paste In Front, and it's going to go exactly
| | 09:15 | on top of that.
| | 09:16 | OK, now let's take this one step
further, what if we now want to put a stroke
| | 09:23 | on the bubbly shape in the background.
Well, I'm going to select that and this
| | 09:29 | time rather than doing it from under
the Object menu, I'm going to do it using
| | 09:32 | my Appearance panel and I'm going to
choose Add New Stroke. Black is fine,
| | 09:40 | that's actually the color that I want.
I'm restricting myself to two colors for
| | 09:45 | most of these examples because I want
my logo to be in only two colors. Now I'm
| | 09:49 | going to come to the Effect
menu and choose Offset Path.
| | 09:53 | It's there because it was the last
thing that I used but typically, we will
| | 09:57 | need to come down to Path and slide
over to Offset Path. And let's turn on my
| | 10:04 | preview. That is a bit too much. So I'm
going to reduce that to about 3 points and
| | 10:12 | that's exactly what I'm after. So this
is my offset path applied to the bubble
| | 10:18 | shape that is now behind the type.
| | 10:22 | So in this movie, we have been looking
at different techniques for putting a
| | 10:25 | stroke around type and working with
multiple strokes and offsetting the paths
| | 10:30 | of those strokes. In the next video,
I'm going to be looking at putting type
| | 10:34 | on a path, specifically
putting type around a circle.
| | Collapse this transcript |
| Creating type around a circle| 00:00 | Here are some logos that put type on
a path, specifically type around a
| | 00:04 | circle. And in four of their instances,
we see the type goes around the top of
| | 00:08 | the circle and around the bottom of
the circle. So we are going to see how we
| | 00:12 | can do that in Illustrator.
| | 00:15 | And here are some explorations I have
been making with the logo in progress.
| | 00:19 | It's for the company, Deep Green, a
garden design company. Some of these are
| | 00:23 | more successful than others but they
all use very similar techniques and this
| | 00:28 | is the first three examples up here.
| | 00:32 | I put them inside a colored circle and
I'm using, in the case of number 1 and
| | 00:38 | number 3, these are Illustrator's
Symbols that I got from the Symbols Library
| | 00:44 | and we saw that in an earlier movie.
I'm not going to do that here. I'll just
| | 00:47 | point out where they are, Symbols,
and I got them from the Nature Symbols Library.
| | 00:54 | The second example of the rose is
Live Traced and then modified from a
| | 01:01 | photograph and I'll be recreating that
in an upcoming video. But for now I'm
| | 01:07 | just going to look at these simple
examples here, which in topographic terms
| | 01:11 | use exactly the same
techniques as the upper examples.
| | 01:17 | So I'm going to begin by drawing a
circle using my ellipse tool. I want to draw
| | 01:20 | outwards from the center point somewhere,
so I'm holding down the Alt key and I
| | 01:23 | want it to be a perfect circle, so I'm
holding down the Shift key and then, I'm
| | 01:28 | going to use my Type On A Path tool
and click on the top of that circle and
| | 01:32 | when I do the Fill disappeared and then
I'm going to type in my text. I can now
| | 01:40 | use my Alignment options to adjust
the position of the text relative to the
| | 01:44 | circle. And/or I can use my
Selection tool and these vertical ticks would
| | 01:50 | appear on the circle.
| | 01:52 | First of all, what I'm going to do,
before I get to moving the type around, I'm
| | 01:56 | going to make sure that it is centered
on the circle. That's going to move the
| | 02:00 | type round to the bottom of the circle.
Now I switch to my Selection tool, I go
| | 02:04 | at this stick that represents the
beginning of the story, the one to its left,
| | 02:08 | the end of the story and this one at
the bottom representing the alignment.
| | 02:12 | Now I'm going to get this beginning
tick representing the beginning of the
| | 02:15 | story and have that chase the type
around the circle. When I get to the end of
| | 02:21 | green reaches the top of the circle
it going to seem to disappear. Don't be
| | 02:25 | alarmed by that, I'm going to lick over
that as far as there and then I'm going
| | 02:30 | to get this tick which represents the
end of the story, I have got that Overset
| | 02:34 | text indicator there.
| | 02:35 | Now if I pull that around, I get the
word back and I want to make sure that the
| | 02:42 | center tick aligns at the very top of
the circle. Now here is a case in point,
| | 02:48 | we were discussing in earlier that
it was how to be wanting how to space
| | 02:52 | between the two words or do I want to
differentiate them with color and in this
| | 02:56 | case I definitely did not want that
space because it's making things seems
| | 03:01 | slightly weighted to the right. So, if
I come in there and choose that and then
| | 03:05 | I can click on that now I have got
the G, exactly at the top of the circle.
| | 03:11 | I'm also going to adjust the size of
the type. Now, I got the circle selected
| | 03:15 | with my Selection tool and I can now
use the shortcuts to reduce my type,
| | 03:20 | Apple+Shift+< or Ctrl+Shift+<. And now
I'm going to track some space between
| | 03:27 | the characters Alt+Right Arrow just to
space out those letters a bit. Right so
| | 03:34 | that's the type reading at the top of
the circle. I now want to read at the
| | 03:38 | bottom of the circle and I'm going
to put the tag line of the logo on the
| | 03:42 | bottom of the circle. So, the technique
here is I want to copy this, Apple+C or
| | 03:47 | Ctrl+C and then I want to paste that
copy in front, exactly on top of the
| | 03:52 | original. Apple or Ctrl+F, doesn't
look any different, but I have got two
| | 03:57 | copies one exactly on top of the other.
With the copy that is on top, I'm going
| | 04:03 | to drag that down and inside the circle
like so and switch back to my Type On A Path tool.
| | 04:14 | I'm there and select that. It is
Garden Design and Planting. It is Garden
| | 04:25 | Design and Planting. The problem here
is that, I have now got overset text
| | 04:30 | again, I need to reduce the size of
that text with my Type tool in my text,
| | 04:36 | Apple or Ctrl+A will select all
including the portion that's currently overset
| | 04:41 | and then Apple+Shift or Ctrl+Shift+<
reduce the size. Track it a little bit
| | 04:48 | more and then I can just experiment
with the relative sizes of the two pieces
| | 04:54 | of type. But when I click away, I have
got now my type reading on the top of
| | 05:00 | the circle and the bottom of the circle.
| | 05:02 | If these were actually around a
circle, I'm missing a space there, it may
| | 05:08 | appear that the bottom portion is on
the inside of the circle which of course
| | 05:12 | is and we want to shift it down so that
the top of caps sits on the outside of
| | 05:18 | the circle. So, to do that, I need
to go to my Character panel, Show the
| | 05:22 | Options and I'm going to use an option
called Baseline Shift, which is this one
| | 05:26 | right here and I can then knock that
down so that it's outside the circle.
| | 05:32 | So, that is essentially it. that
technique with slight variance applied to get
| | 05:39 | me these different results here. So in
this particular instance, all I have is
| | 05:43 | two circles, one on top of the other
with the size of the topmost circle
| | 05:48 | reduced. Let's see how we can recreate
something similar to this. I'm going to
| | 05:52 | zoom out, Apple+0. I'm going to use
what I have already got down here as a
| | 05:58 | starting point. So, I'm going to click
on that, hold down by Alt or Option key
| | 06:03 | and drag away from that. Zoom in on that.
And now what I'm going to do is, I'm
| | 06:08 | going to scale this by double
clicking on my Scale tool and instead of
| | 06:14 | duplicating the original,
I'm going to duplicate a copy.
| | 06:19 | Just like so, and then come and choose
my Type On A Path tool, click in there
| | 06:25 | and I can type in my tagline. As in
the previous example, I have exceeded the
| | 06:34 | size of that text area, so I need to
select my type and this needs to be
| | 06:41 | smaller, anyways so I'm going to resize
it, Apple+Shift+< or if I need it to, I
| | 06:48 | could come in pulling these vertical
ticks that knock the extent of the text area.
| | 06:56 | But I'll also change the color that as
well I think, there we go. So there are
| | 07:02 | just a couple of different
approaches to creating type around a circle or
| | 07:07 | indeed type on any kind of path. We
have been using circle but this would work
| | 07:11 | on any shape.
| | 07:12 | It is not a common technique to use in
logos and it tends to be used more on
| | 07:17 | car companies than anything else it
seems. But as we saw of from those logos
| | 07:22 | that we looked at and we'll just pop
back take another look at them. Obviously
| | 07:27 | there are some household brands that
use this technique. Okay, in the next
| | 07:33 | video, I'm going to look at using the
company initials as a design element to
| | 07:38 | create a monogram logo.
| | Collapse this transcript |
| Using company initials to create a monogram| 00:00 | Some examples of logos that use as
their main design element the initials or
| | 00:04 | the initial letter of a company. Let's
explore this approach working with our
| | 00:10 | logo in Illustrator.
| | 00:14 | Here are some approaches that I have
taken. Starting up at the top left I have
| | 00:20 | combined the two letters into one. I'm
not sure I'm crazy about it but it's an
| | 00:25 | interesting exercise to see how this
is done, so let's take a look at it.
| | 00:29 | I'm using this version, I do here not
Franklin Gothic but rather I'm going to
| | 00:35 | use Gill Sans which also has that
beautiful two story G that's so decorative and
| | 00:42 | gives us so many possibilities to work with.
| | 00:45 | Now on top of that it might be
tempting to try and do this to lower case D on
| | 00:53 | top of it but when we look at the
letter shapes carefully we see that the size
| | 00:57 | and shape of the counters are just so
different, that's not really going to
| | 01:01 | work. So what will I'm going to do to
create the D is I'm just simply going to
| | 01:06 | make a vertical stem that attaches to the G.
| | 01:09 | I'm just going to use this D as an
indication of how wide and how tall that
| | 01:16 | stem should be. So with that D there at
the same size of the D, I'm just going
| | 01:19 | to draw myself a rectangle over it.
That's now serve its purpose, we can say
| | 01:26 | goodbye to that.
| | 01:28 | I'm going to put that over my G and we
can see already there it's just looking
| | 01:35 | too big. I'm going to reduce its size,
I'm going to reduce its width. We are
| | 01:39 | not going to extend it all the way
down to what would be the Baseline but
| | 01:44 | rather overlap it and like so.
| | 01:47 | Now, in terms of adjusting the
overlap you may find this easier working in
| | 01:52 | Outline View but before I can go
any further I need to convert my G to
| | 01:59 | Outlines. Then if I switch to my
Outline View we can see how one shape overlaps
| | 02:07 | the other. And I'm going to get
them really nice and big, click on that
| | 02:13 | rectangle. Make sure it's not
interfering with the counter. Make sure it's not
| | 02:18 | coming outside of the curve of the
letter and that's about as far as I need to
| | 02:25 | go with that.
| | 02:25 | Now I need to retract this portion of
the G, I'm going to swipe over those two
| | 02:32 | anchor points with my Direct Selection
tool, hold down the Shift key and bring
| | 02:38 | that in inside the shape, I don't need
to match up exactly with the edge of the
| | 02:43 | rectangle, but just inside the shape is
enough. I think I'm now ready to switch
| | 02:52 | back to my Preview.
| | 02:56 | And that's just not really looking
quite right is it. So I'm going to zoom in
| | 03:01 | again on that. We can see it bulging
out slightly, so I'm going to need to make
| | 03:09 | some adjustments here. So size of that
rectangle -- and I do actually want to
| | 03:19 | continue it, move all way to there and
that's looking a lot better, zoom out.
| | 03:28 | Even though it is the height of what a
Gill Sans lower case D would be, it just
| | 03:34 | looks too tall to me. I'm just going
to reduce this vertical size, all right.
| | 03:41 | That I think is looking a little
better and now I'm going to select both of
| | 03:46 | those, go to my Pathfinder tools and
use the Shape Mode to add them together.
| | 03:55 | There is our result. Not sure I'm
entirely solved on that but an interesting
| | 04:01 | experiment nonetheless.
| | 04:05 | In the second example, I would say,
I'm just using the initials but extending
| | 04:09 | the hook on this G with a turning
into stem of that into a leaf, reasonably
| | 04:17 | successful I think. Now where did I get
this leaf from because I didn't draw it
| | 04:21 | myself. I actually got this from Photoshop.
| | 04:24 | In Photoshop, there are some shapes
that we can take advantage of. While
| | 04:29 | Illustrator has symbols, there is no
Shape Library as such. So if you want to
| | 04:33 | draw some simple vector shapes or you
want to access some vector shapes very
| | 04:40 | easily Photoshop might be a good source for you.
| | 04:42 | So I'm going to now come down to
Photoshop and in Photoshop let's hide
| | 04:48 | everything else. I'm going to start a
new document. I'll just tune to default
| | 04:56 | size, doesn't really matter what size
it is, click OK. Then I'm going to use my
| | 05:01 | Custom Shape tool. All I'm going to do
here is use Photoshop to draw the custom
| | 05:06 | shape and then copy and
paste it into Illustrator.
| | 05:09 | So using my Custom Shape tool and then
I'm going to come up my tool options,
| | 05:13 | here is where I get my shapes from. I
can expand to see what I have got. Not
| | 05:19 | too many options this is just the
default shapes but if you click on the panel
| | 05:24 | menu, you have access to over these
different shape libraries. I'm going to
| | 05:29 | choose All and I'll append those.
| | 05:34 | Now see we have got a lot more shapes
available to us and one that I'm after is
| | 05:44 | there it is, there is our leaf. So I
can now just click and drag to draw the
| | 05:50 | leaf, I'll switch to my Path Selection
tool, select that, Apple or Ctrl+C to
| | 05:58 | copy it. Switch back to Illustrator
where I'll paste it, Apple or Ctrl+V and I
| | 06:06 | want to paste it as a compound shape.
It's coming out rather large, so I now
| | 06:13 | need to scale it down, spin it around,
apply a Fill Color and also I wanted to
| | 06:30 | flip it around. So I'm just going to
kind turn it around on itself like so,
| | 06:34 | move it around a bit more. I'll get
rather that one to replace it with this one
| | 06:42 | and scale it, I'm just kind of
dock it into position like so.
| | 06:50 | Well, like the previous example,
interesting but I don't think that's going to
| | 06:54 | be a winner. Let's now zoom out and
see one more example of working with the initials.
| | 07:02 | In this third example of using the
initials as a design element, I'm going to
| | 07:08 | recreate this fourth example here and
I'm going to do this using a feature in
| | 07:12 | Illustrator CS3 called Live Paint, which
is a very cool feature and allows us to
| | 07:18 | identify different elements that are
created by overlapping objects and apply
| | 07:23 | paint to them without first
separating them into distinct paths.
| | 07:29 | Now this is an idea that was
suggested to me by my client. She handed me a
| | 07:34 | piece of paper with some sketches on
it that she'd come up with, so I'm
| | 07:37 | working out this idea to just can
show her how successful this might be.
| | 07:43 | I'm going to begin with an ellipse and
I'm going to -- we saw this in a previous
| | 07:51 | video. I'm going to pinch the top and
bottom of this ellipse to make it into a
| | 07:55 | leaf shape. So I'll use my Pen tool,
hold down the Alt key, click and click.
| | 08:03 | Now I'm going to get my type. I'll do
both letters at once and I'm using a font
| | 08:11 | called Meta, Meta Normal. I'm going to
increase the size of that, position the D
| | 08:20 | right about there. I want to make sure
that the top of this stem of the D just
| | 08:26 | overlaps the leaf at that point. Then
we'll have to separate the G from it so
| | 08:33 | I'm going to come away from this type
area, hold down my Apple or my Ctrl key
| | 08:40 | and click and then insert my
cursor and Apple or Ctrl+V to paste.
| | 08:50 | The G needs to go down here. Now I
realize I need to my both letters, need to
| | 08:54 | position the letters relative to each
other. And then I want to size them both up.
| | 09:09 | Kind of fiddly.
| | 09:14 | Something like that.
| | 09:17 | Yup. And I think that's about right.
| | 09:24 | We're now creating any small-trapped
| | 09:27 | areas of space where the letter meets the outside shape.
| | 09:38 | All right, good enough!
| | 09:43 | So with both my letters now selected,
I'm going to convert those to outlines.
| | 09:49 | Apple+Shift+O or from my Type menu,
Create Outlines. Now I'm ready to use my
| | 09:57 | Live Paint, I don't actually need to
combine these overlapping shapes into a
| | 10:02 | single shape, might be an idea for
me to do that but it's not strictly
| | 10:06 | necessary. I'm going to swipe over my
three elements and come and choose my
| | 10:13 | Live Paint Bucket. And then when I
hover over these three elements I get this
| | 10:18 | message, 'Click to make a Live Paint Group'
and that's exactly what I'm going to do.
| | 10:21 | You will now see that I can hover
over any one of these segments and apply
| | 10:28 | paint to that segment independently.
| | 10:30 | Ideally, I have used more than two
colors here but I'm trying to restrict
| | 10:36 | myself to using two colors for all of
the logos wherever possible when I'm
| | 10:40 | breaking that rule in a few instances
but I'm going to try and keep to it here.
| | 10:44 | So I'm going to use my green color
and let's apply that there and there and
| | 10:54 | there. I think I'll make the letters
white and I'll make the right-hand side
| | 11:09 | black and that should be --- I have got
one small area of trapped space there so
| | 11:17 | I'll come back again and
make sure that also gets white.
| | 11:23 | Now you will see that when I hover
over any Live Paint segment, I get three
| | 11:27 | little swatches above the paint can
and I can use my cursor arrows to choose
| | 11:32 | the different swatch.
| | 11:36 | Zoom out a bit.
There are my monogrammed initials.
| | 11:41 | So we have seen three of an infinite
number of potential approaches to working
| | 11:47 | with the initials of the company as a
design element for your logo. Next we
| | 11:53 | will look at creating warped and extruded type.
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| Warping type| 00:00 | Some logos that use warped type and
in the case of this one here, Latitude,
| | 00:06 | extruded type to create 3D drop
shadow. Let's explore these options.
| | 00:12 | In Illustrator, you can see the
exploration I would be making here, starting
| | 00:17 | with a simple piece of type, warping
it and then experimenting with the 3D
| | 00:22 | Bevel option and then applying a gradient
to the type. So let's do this from scratch.
| | 00:30 | I'm using a font called Arnold
Boecklin. It's a very art nouveau
| | 00:36 | style of font, kind of suggested by
the Latitude logo. I'm not sure I would
| | 00:40 | ever really use it in real life but
now is my opportunity to cut loose and
| | 00:48 | experiment with this one.
| | 00:49 | I'm going to come to the Effect menu
and down to Warp where I'm going to apply
| | 00:54 | this as a live effect, an Arc. And 13
degrees is probably just about right,
| | 01:01 | okay? Lovely. And next what I'm going
to do is I'm going to convert my type to
| | 01:09 | outlines. So that's going to be
necessary so that I can apply a gradient to it.
| | 01:14 | If I want to commit to that angle or
that degree of arc, I might want to expand
| | 01:19 | my appearance so that what I'm seeing
and my anchor points are one and the
| | 01:24 | same. It is going to narrow my options
in terms of backing up to this point but
| | 01:28 | I'm going to live dangerously and do
that anyway. Expand Appearance so we now
| | 01:34 | see the selection outlines and my
objects are not different things.
| | 01:39 | Now I'm going to apply the gradient to
that and I want to change the angle of
| | 01:44 | the gradient. What's happening at the
moment is the gradient is filling each
| | 01:48 | shape independently. And I actually
want it to go across the whole of the range
| | 01:53 | of letters and I want it to go from
bottom to top, something not quite like
| | 01:59 | that but maybe more like that. I can
just keep swiping over it with my Gradient
| | 02:04 | tool until I get it right.
| | 02:07 | What I want to do next is I have got
-- all of these elements are grouped and
| | 02:13 | to really fine-tune this what we need
to do is probably mess around with the
| | 02:18 | beveling on each of the letter shapes
individually. I'm not going to do that
| | 02:22 | because that can be too time consuming
and about as interesting as watching a
| | 02:26 | paint dry, for you to watch me do that
but that's what we would need to do to
| | 02:29 | really refine this and in order to
do that I need to make sure that these
| | 02:33 | objects are all un-grouped.
| | 02:35 | So I'm going to come to the Object menu
and Ungroup them and now I'll go to my
| | 02:40 | 3D > Extrude & Bevel. If I turn on
my Preview, there will be a pause;
| | 02:50 | it's quite demanding of the processor this.
Now that's not I want at all. So I'm going to turn
| | 02:56 | off my Preview and just move this cube
around to set the angle of my Extrude
| | 03:04 | & Bevel, something like that.
So it's a pretty much head-on view.
| | 03:09 | And turn on my Preview back on again.
| | 03:13 | That's more like it. I want to increase
the depth of the extruded type to about
| | 03:20 | 80 points and then the last thing I
need to do here is to change the shading
| | 03:26 | from a gray to a black. I need to come
down to these options. Now if you don't
| | 03:30 | see these options come and
click on this button right here.
| | 03:33 | You will see that my shading color is
actually black already but what's making
| | 03:37 | it gray is the Ambient Light,
which I need to take down to zero.
| | 03:46 | And there I now have a black extruded 3D shadow.
| | 03:53 | We have arced it, then we applied a
gradient to it, having first made into
| | 03:59 | outlines and having ungrouped those
outlines and then we have gone to the
| | 04:03 | Effect menu to apply Extrude
& Bevel and there is our result.
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|
|
4. Designing a Logo SymbolDesigning a logo symbol| 00:00 | This chapter is about designing a logo
symbol. Your logo doesn't necessarily
| | 00:04 | need a symbol; perhaps it's type
only. But having a symbol is probably
| | 00:08 | preferable and that symbol doesn't
necessarily need to be anything complicated.
| | 00:12 | In fact it's better if
it's something really simple.
| | 00:16 | The world's most successful logos use
nothing more than simple shapes. They are
| | 00:21 | alarmingly simple when you break them
down. Perhaps it's nothing more than a
| | 00:25 | line or a square or a rectangle, a
circle or an ellipse, a star or a triangle
| | 00:31 | incorporated with the type.
| | 00:33 | Or perhaps it's some kind of
representational imagery that is related to the
| | 00:37 | type of business that you are in.
Common sources of inspiration for such
| | 00:42 | representational imagery are animals
or nature or buildings or if none of
| | 00:47 | those do it, you can always
just go with an abstract shape.
| | 00:50 | I am also going to be talking in this
chapter about trends in logo design and
| | 00:54 | how to avoid being a victim of logo
design fashion and we will be seeing how we
| | 01:00 | can trace an image from a hand-
drawn sketch or Live Trace it with an
| | 01:04 | Illustrator. I will also be looking at
the option of using stock or Clip Art.
| | Collapse this transcript |
| Working with lines| 00:00 | Here are some famous logos that use
lines. Maybe the lines underscore the
| | 00:05 | name, or maybe the lines are the logo
itself. Maybe the lines suggest some
| | 00:11 | kind of connection, maybe they
go through the type, maybe they join
| | 00:15 | things together. Many, many
different ways of using lines.
| | 00:19 | Let's now see how we can apply lines
to our logo in progress working in
| | 00:24 | Illustrator. So here in Illustrator,
I'm beginning with nothing but type.
| | 00:30 | I'm going to work with some lines. I have
got my rulers turned on. I'm going to
| | 00:34 | draw myself some guides and then I'll
switch to my Line tool and draw myself a
| | 00:42 | row underneath my type.
| | 00:46 | Set the weight of the row using my
Stroke panel. I'm going to make it about 6
| | 00:49 | pt, let's move it down a little bit. It
doesn't get more simple than that, but
| | 00:54 | that's completely valid approach.
Let's maybe make it dashed line. We can
| | 01:01 | adjust the width of the dashes or if we
want it to be a doted line only to make
| | 01:06 | a rounded cap and have the dash be 0
and set the gap to in this case I think
| | 01:13 | something like about 6 pt.
| | 01:15 | Little bit more than 6 pt, let's have
it be 9 pt, there you go, a dotted line.
| | 01:21 | If I just undo that and we'll go back
to a solid line, let's say that we had a
| | 01:27 | version of the logo that also incorporated
the tagline of the logo. We can have
| | 01:35 | the row separate the
tagline from the logo itself.
| | 01:42 | I think what I want to do with that
type is I want to put it in all caps and
| | 01:49 | then space it out a lot with the tracking.
Let's just really pump that up, really pump
| | 01:55 | it up and increase the point size a bit.
Maybe not trying to quite so loosely,
| | 02:06 | and then I can just pull my type
out to that guide using the line as a
| | 02:10 | separator, as a version of the logo.
| | 02:13 | Now for something a little bit
different, how about we will keep the tagline
| | 02:17 | there, but this time I'll get rid of
the horizontal row, move the tagline a
| | 02:23 | little bit closer and we will have a
vertical row. Now, I'm going to draw
| | 02:26 | myself a guy that mounts the top of
the caps and another guy that mounts the
| | 02:31 | baseline, and then I'll use my Line
tool just to draw myself guide right there
| | 02:40 | and I'll set the Weight of that to
something like 10 pt, and I think I'll make
| | 02:45 | it in a green color, may
be a little bit heavier.
| | 02:50 | There we go, now the line doesn't
necessarily need to be a straight line. Let's
| | 02:59 | see what we can do with some wavy lines.
I'll turn off my guides for a moment.
| | 03:07 | Let's use the Pen tool. Now, I'm
just going to create myself some kind of
| | 03:12 | little swooshy line underneath my
type like so. If I'm going to do this, I
| | 03:18 | probably don't want a line of uniform weight.
| | 03:21 | So I'll go to my Brushes panel, and I
can apply maybe this artistic brush
| | 03:29 | here. If you don't see this on your
Brushes panel, you can access this from the
| | 03:33 | Artistic_Paintbrush and in fact what I
have opened up those brushes and I can
| | 03:40 | apply any one of these to my line.
There is another logo or maybe I do want a
| | 03:53 | straight line, but instead of going
above the type, below the type or by the
| | 03:59 | side of the type, how about right
straight through the type like so, and then
| | 04:05 | make it weight, increase the weight of it a bit.
| | 04:09 | So it's about the same way as the
horizontal corresponds on the e's. So that
| | 04:19 | actually slices through the type.
Rather than having a single go through the
| | 04:25 | type, how about having multiple lines
go through the type. And you have seen
| | 04:29 | this effect numerous times
before, commonly used in logos.
| | 04:33 | So I'm going to move that rule up a bit,
I'm going to extend its width just to
| | 04:37 | make it easier for me to select
without selecting the type. I'll change the
| | 04:42 | Weight back to a very light, Weight 1
pt and then I'm going to duplicate that
| | 04:47 | holding down the Alt key and the Shift
key to put a copy of that beneath the
| | 04:54 | type, and then I'm going to swipe off above.
| | 04:58 | I'm going to choose my tool Blend tool,
and I want to click on the start point
| | 05:01 | right there, you will see I have got
little cross next to my Blend tool and
| | 05:06 | click on the equivalent point down
there. I get multiples of those lines as
| | 05:13 | specified numbers of
steps between the two points.
| | 05:16 | Now, that's not what I want or is
not quite what I want. So I'm going to
| | 05:20 | double-click on the Blend tool and for
Spacing change that to Specified Steps.
| | 05:25 | I want far fewer than that, let's try
24 and turn on my Preview. So I have now
| | 05:30 | got 24 lines going over my type
between the starting point and the ending
| | 05:36 | point. Not really appropriate for the
kind of business that I'm working with so
| | 05:40 | I'm getting get a rid of that.
| | 05:43 | Getting back to our idea of a swooshy
line, we could have it go through the
| | 05:48 | type. So I'm going to start with my Pen
tool up here, click and drag, click and
| | 05:53 | drag again down here and then come
and click and drag down at the bottom. I
| | 05:57 | need to apply a color to that, I'll
apply the green to it, and I want to change
| | 06:04 | the Weight, increase the weight quite a
bit. Then go to my Brushes and we will
| | 06:10 | give it one of those artistic brushes.
| | 06:13 | Now, obviously I don't want it going
over the top of the type. So what I'm
| | 06:16 | going to do is choose my Eraser tool.
Now, my type is locked from the previous
| | 06:22 | example I did. That's important that my
type be locked. Now that it's locked, I
| | 06:27 | can't affect the type, so I can just
rub out the line where I don't want to see
| | 06:31 | it like so. Then when I let go of my
Eraser tool, my type comes back and there
| | 06:42 | is my swooshy line going
above and below the type.
| | 06:46 | So there are just several ideas to play
with when working with lines as part of
| | 06:50 | your logo. So we began with just a
simple line, we made it dashed, we made it
| | 06:56 | doted. Now, I can think of one more
thing, which kind of suggested by doing
| | 07:01 | this, and that's how these things
work out, you do one thing and it kind of
| | 07:04 | leads to another, and you end up going
down half that you haven't initially foreseen.
| | 07:08 | Some of them will be dead ends, but
some of them may turn out to be really
| | 07:11 | fruitful. So what I'm going to do here
is, I'm going to draw myself a wavy line
| | 07:16 | that goes through the type. Something
like that, then I'm going to select my
| | 07:26 | type and I now need to
convert my type into outlines.
| | 07:30 | So Type, Create Outlines and then I'm
going to select the whole thing there and
| | 07:37 | I'll use my Live Paint tool; my Live
Paint Bucket, and see what it says Click
| | 07:44 | to my live paint group, I'll do that
right there. And what's happened here is,
| | 07:49 | where that line intersects with the
letters, it's making individually editable
| | 07:55 | shapes. All about retaining the
existing appearance of the same time. I need to
| | 08:00 | now choose from my swatches, let's
choose the green. I'm going to make the
| | 08:07 | bottom halves of the letters here green.
| | 08:10 | Then I'll switch to my black. I'm going
to make the bottom half of the letters
| | 08:13 | here black like so. I don't want to
see that line any longer. So I'm going to
| | 08:22 | select the line itself and I'll make it
color none. So we have got that lovely
| | 08:28 | line going through it now, and the
great thing about this is that it's live. So
| | 08:33 | if I want to just come and tweak it, I
can click on that line and choose those
| | 08:37 | anchor points and move them
around to a modify that effect.
| | 08:41 | So there are some ideas to
experiment when working with lines.
| | Collapse this transcript |
| Designing with rectangles| 00:00 | So we are keeping it simple and we
are working with simple shapes. Here are
| | 00:03 | some famous logos that use simple
shapes. Circles, triangles, ovals,
| | 00:10 | rectangles, stars, rounded rectangles,
all incredibly easy shapes to do in
| | 00:17 | Illustrator. I am going to begin
working with squares and rectangles, move on
| | 00:21 | to circles and ellipses and
then to stars and triangles.
| | 00:26 | So this is a starting point. Nothing
but our type. Let's see, how about we draw
| | 00:31 | ourselves a simple square like so
and we will give it a stroke weight.
| | 00:37 | Move it up like that maybe. We can call
that a logo, maybe not the best logo, but
| | 00:44 | it's a logo. How about we do this? I
will select that and I will switch those
| | 00:49 | values, so I will give it now a
green fill rather than a green stroke.
| | 00:53 | And I will send that to the back and
then I will need to come in and select
| | 00:58 | that piece of type and make the fill
of my type white. I think I will want to
| | 01:07 | just reduce the size of it a little bit.
And again, we call it logo. What if we
| | 01:13 | were to rotate the rectangle?
So I will choose my Rotation tool.
| | 01:17 | I'll click on the center point and then I'll
spin that around and now things are maybe
| | 01:22 | going to get a little bit
more interesting, another logo.
| | 01:24 | I am going to back up, press my Apple+Z
or Ctrl+Z a few times and get back to
| | 01:33 | this point, make the green square
reduce its size and that we have some
| | 01:38 | multiples of this. So I will drag one
of its about there. I will hold them my
| | 01:43 | Alt key and my Shift key, drag away
from it and then may be size. I am not sure
| | 01:51 | what that means, but may be it means
something, may be I will mirror those two
| | 01:56 | objects down here.
| | 01:59 | I could maybe flip them back on
themselves like that. Put them down there and
| | 02:04 | then we have got another approach. Now,
I am going to set the type to all of it
| | 02:13 | to black, and I will put a space
between the two this time, and I will draw
| | 02:18 | myself a rectangle over that one like so.
Fill it with green, duplicate it over
| | 02:27 | there, select them both, send them
both to the back, and then I will come in
| | 02:34 | and make both those initial letters white.
| | 02:39 | All right, let's press my undo key few
times and get back to this point. How
| | 02:46 | about now? I just put a rectangle
behind it. I want to draw the rectangle
| | 02:50 | outwards from the center point so I
am holding down the Alt key, and I need
| | 02:55 | to just position that a bit better. I
will make the stroke black, no fill,
| | 03:01 | nudge it over a bit and you can
change the weight of that a bit.
| | 03:05 | There's a logo. Of course I could
have done that with using my Rounded
| | 03:09 | Rectangle. Numerous logos are nothing
more than the line within a rounded rectangle.
| | 03:14 | What I want to do actually is
something kind of along the lines of
| | 03:18 | the London Transport roundel. I have got
the center point of that rectangle selected,
| | 03:23 | I can see it right there. I am now
going to choose my Ellipse tool. Hold down
| | 03:27 | the Alt key and the Shift key and draw
a circle from that point. I will then
| | 03:32 | fill that circle with my color and
send it to the back. I need to make sure
| | 03:38 | that rectangle also has a fill color.
That needs to, I can send to the back as
| | 03:44 | well and then I will send that ones to
the back once more and here we go, we
| | 03:48 | have got another logo.
| | 03:49 | So we can see that just working with
nothing more than rectangles, and doing
| | 03:55 | them as multiples, putting them over
the type, rotating them, combining them,
| | 04:00 | in this case with an ellipse, we got
ourselves logos that look not the similar
| | 04:05 | to many logos that we see
and respond to every day.
| | 04:10 | Next, I am going to work
with circles and ellipses.
| | Collapse this transcript |
| Designing with circles and ellipses| 00:00 | Okay, now we are going to work with
circles and ellipses. So here we are in
| | 00:05 | Illustrator, just go to our basic type
and I going to use my Ellipse tool,
| | 00:10 | draw myself a circle and I want to make
sure you that has a Fill. Let's position
| | 00:17 | that up there. Then I am going to
duplicate it holding down the Alt key
| | 00:19 | dragging away from it. Reduce the size
of the duplicate, position that like so.
| | 00:25 | There we have a logo. Now I'm going to
move that one over there, making it a
| | 00:31 | little bit bigger, choose this one
and give it fill of white over there and
| | 00:38 | making it little bit
smaller and there we got a logo.
| | 00:43 | Now let's try something a little bit
different. Let's put a -- I am going to
| | 00:49 | set my type to all be black. Actually I'll
leave it to be white. All right, so it'll be white.
| | 00:56 | And then I will choose my Ellipse
tool and approximately the center
| | 01:00 | point of that still selected type and
now I can say it but its still selected
| | 01:04 | holding down the Alt and the Shift key
and I will draw myself an ellipse that
| | 01:10 | will go behind it. Fill it and then
send it to the back Apple+Shift or
| | 01:14 | Ctrl+Shift+Left bracket and then
we have to just nudge it up into the
| | 01:20 | position. Like so. Maybe I will just
want to tweak the size of it a little bit as well.
| | 01:28 | Okay now what if I wanted to put a
stroke around that perhaps, the stroke be
| | 01:32 | inside the shape. I need to make it a
little bit bigger in order to do give us
| | 01:37 | a little bit of growing room.
| | 01:39 | So, I am going to do this using this
Appearance panels, I will come and click
| | 01:42 | on Appearance, click on the Stroke and
I want to make my stroke white and then
| | 01:49 | I want to let's say I want to increase
the Weight of that stroke. No, I think I
| | 01:54 | will leave it at 1 point. But I want
to bring it inside the shape. So this is
| | 01:58 | going to be applied as a live effect
and I am going to come up to my Distort &
| | 02:02 | Transform and Transform this and I
will transforming just the stroke, I am
| | 02:08 | going to turn on my preview and let's
see what happens when I will make that
| | 02:14 | Less than 100 percent.
| | 02:15 | I want to do the Horizontal scales
slightly different to the vertical scale, I
| | 02:20 | have to come up with the Horizontal
97 and the Vertical 93. That looks just
| | 02:26 | about right and I think I wanted a
whole shape a little bit bigger and there we
| | 02:31 | have another logo. Now just press my
Apple+Z a few times or Apple+Z as you say
| | 02:39 | here. Getting back to that point, I
think what I will do this time is I will
| | 02:45 | draw myself a circle like so. I want
to make it green and just want to mark
| | 02:52 | this center point of that.
| | 02:53 | So I am going to select it. Those
handles indicate the center point. I will
| | 02:56 | draw myself a guide right there.
I'll need to turn my guides on, Apple or
| | 03:01 | Ctrl+Semicolon, and I am going to
position that circles about that now I want to
| | 03:08 | rotate multiples of arc, create some
kind of semicircle made up of circles
| | 03:13 | going over the letters in an arc.
| | 03:15 | I could use my Blend tool for this,
instead of using this Blend tool I am just
| | 03:19 | going to use my Rotation tool and
repeat the transformation, but I want to
| | 03:22 | rotate along this axis. And so that the
arc doesn't become too tall, I am going
| | 03:28 | to move down to about here, on that
guide. I'll just click to set that as the
| | 03:33 | point of rotation and then we will
see that's the point around which I will
| | 03:38 | make those duplicates. So I will just
drag a copy away holding down the Alt key
| | 03:44 | to about there and then having done one
I can just press Apple or Ctrl+D to get
| | 03:50 | my copies, like so.
| | 03:52 | And let's have a gradient be applied
to this so they start out with almost no
| | 03:59 | fill here and get to a solid fill over
by the end. So all select them all and
| | 04:07 | then I will group them and then come
to my Gradient tool, show on my options,
| | 04:13 | apply the gradient to that and now if
I open my Swatches panel which I'll see
| | 04:19 | my Gradient and my Swatches at the same
time so tear off my Swatches. And then
| | 04:23 | I going to drag that green down on top
of the ending color stroke like so, then
| | 04:29 | to make the gradient happen across the
range of objects rather than gradient
| | 04:34 | starting and ending in each one. I am
just going to use my Gradient Direction tool
| | 04:39 | over there and then
drag that across like so.
| | 04:43 | And there's another logo. Many, many
possibilities we have for applying a
| | 04:50 | different kind of calligraphic stroke
to the outlines of our objects. We saw
| | 04:54 | this from working with lines, works
with circle too and this is going to look
| | 04:59 | very reminiscent of famous logo. So
I'll see on a postcard please, so as to
| | 05:05 | which one that is. I will draw my
circle right there and I will give it a
| | 05:10 | stroke rather than a fill. I am just
going to move my type over a bit, so I can
| | 05:15 | get a little bit space inside the page.
Put my circle right there. Increase the
| | 05:20 | weight of the stroke to, let's say 7 pts.
| | 05:24 | Then I am going to my Brushes panel.
Let's see, what do we have? If I don't see
| | 05:30 | what I want there I can come to this
dropdown menu and come to my Artistic
| | 05:35 | brushes, I want Artistic_Chalk
Charcoal Pencil and let's see what options we
| | 05:42 | have here. I like the look of that one.
I am making sure I am on the stroke and
| | 05:47 | apply that to it and there we have
another logo, as seen without all those
| | 05:54 | panels in the way. Many, many
possibilities we have for working with multiples
| | 06:00 | of any of these shapes.
| | 06:03 | The possibilities are really endless.
I am going to just press my Undo key
| | 06:07 | Apple+Z to get to that point where I
got a mono white stroke and let's set that
| | 06:15 | back to 1 pt. What if I just wanted to
click on my Scale tool say and I will
| | 06:23 | have something scaled to 95 percent
and will make that a copy and then I can
| | 06:31 | just press Apple+D to get a copy of
the copy, each one at 95 percent of the
| | 06:37 | original. And there we got an
interesting shape there, would be a bit of a
| | 06:42 | nightmare to print, I think
but interesting nonetheless.
| | 06:46 | So there we see many, many different
approaches that we can type working with
| | 06:50 | circles and ellipses. We can change
this, the fill, the stroke, the style of
| | 06:55 | the stroke and we can work with
multiples, we can apply gradients, the list
| | 07:00 | goes on and on. So, experiment on
your logo, the letters, and the types of
| | 07:06 | images that you are trying to convey
with your logo, I cannot suggest all kinds
| | 07:09 | of other possibilities. The ones that I've shown
you are just nothing more than a starting point.
| | Collapse this transcript |
| Designing with polygons and stars| 00:00 | So we have seen squares and rectangles,
we have seen circles and ellipses,
| | 00:04 | let's now look at triangles and stars.
| | 00:07 | To draw a triangle we use the Polygon
tool, which is on the same tool space as
| | 00:11 | the Rectangle and Ellipse.
Click and hold down to access that.
| | 00:15 | If necessary, you can tear off the whole
panel. Then you've got access, easy access, to
| | 00:20 | all of those tools. So with my Polygon,
as I click and drag if I want to add to
| | 00:25 | the number of sides, I just press my
up arrow or my down arrow to remove the
| | 00:30 | number of sides. Now, actually I want a
triangle, if I want to constrain it, I
| | 00:33 | hold down the Shift key. So there is
my triangle and the triangles of course
| | 00:36 | will look like arrows,
so they suggest direction.
| | 00:41 | I can flip this around like so, I'm
holding down the Shift key to constrain the
| | 00:46 | rotation to 90 degrees. I can put it
right there and maybe I would want to just
| | 00:51 | size it so that it's the same size as
the type itself and there we have a logo,
| | 00:57 | I could position it anywhere
relative to the type to suggest all kind of
| | 01:02 | different things with the triangle or
maybe let's now put it flat again, there
| | 01:09 | we go. And what if I were to maybe
duplicate that like so and then flip the
| | 01:19 | duplicate a 180 degrees so that it
looks like that and then I could put that
| | 01:26 | one right next to that one and maybe
have this one have a stroke rather than a
| | 01:32 | fill and you can create all kinds of
interesting shapes, just play around with
| | 01:35 | this stuff, there is so much you can do.
| | 01:37 | We are just messing around with
multiples of these simple shapes. Of course,
| | 01:41 | you could put a triangle within a
triangle, let's make that one bigger and then
| | 01:47 | I'll double click on my Scale tool.
Let's have one scaled to 50% of that and we
| | 01:54 | want - have it be a Copy, and then we
will fill it with white and I'm going to
| | 02:01 | switch to my Selection tool now. I'm
going to flip this around and position it
| | 02:08 | down there like that, put a white
triangle inside of a filled triangle and from
| | 02:14 | one triangle you get four triangles.
| | 02:16 | Let's now look at some stars. I'm going
to hide my guides for a moment, Apple+;
| | 02:22 | or Ctrl+; will start the Star tool.
When working with the Star tool, if you
| | 02:28 | want to constrain it, hold down the
Shift key, if you want to add to the number
| | 02:31 | of points on the star, press your Up
arrow, your Down arrow will remove the
| | 02:36 | points. So I'm going to - we would
just go with a five-pointed star. If you
| | 02:40 | want to change the star inset, hold on
your Apple or Ctrl key and you can drag
| | 02:46 | in or out with that to change the inset value.
| | 02:50 | But I want just a regular five-pointed
star and again that's going to be green
| | 02:55 | color. I'm just going to pull that
down there like so, and stars are used all
| | 03:01 | the time in logos. We saw the
famous Converse logo uses a star.
| | 03:06 | We have been talking about the issue
of separating these two words and I'm
| | 03:10 | differentiating them by color, but what
if I wanted them both to be of the same
| | 03:16 | color, then I could put a space between
them. I might need to make that space a
| | 03:21 | little bit bigger, so I'm holding down
the Alt key and the right arrow just to
| | 03:24 | turn that space a bit bigger and then
get my star and then put that in the
| | 03:30 | middle right there and hold down Alt
and Shift to just scale that down a bit,
| | 03:36 | like so, separate our two
words with a star in between them.
| | 03:41 | Let's just back up a little bit, I'm
going to press my Undo key a few times to
| | 03:46 | get back to right there, again working
with the star. This time what I'm going
| | 03:52 | to do is, I'm going to increase the
size of it, and I think I'll make the
| | 03:56 | points rounded rather than sharp. So
I'll choose my Direct Selection tool,
| | 04:01 | click off the star to de-select it
and then come and select each of these
| | 04:05 | anchor points one by one,
using the Direct Selection tool.
| | 04:08 | In fact, I'm holding down the Shift
key and just kind of dragging over them.
| | 04:12 | Get to the -- one go there and then
using my tools options up here, I can click
| | 04:17 | on this button Convert selected anchor
points to smooth, I have got a rounded
| | 04:21 | star. Well I'm not crazy about that but
maybe I want a star that does not have
| | 04:26 | quite such an inset as that, so I'm
going to draw myself another star and make
| | 04:32 | it a little bit more like so, size it
up and I'll do the same thing again with
| | 04:40 | my star points, selecting with the
Direct Selection tool, convert them and
| | 04:47 | that's kind of more along the lines
of what I was after. And then, I don't
| | 04:51 | know, maybe I want to put that
in inside a circle or something.
| | 04:55 | Now the star, for some reason, doesn't
have a center point, but we can add one.
| | 05:01 | If I come to my Window menu and choose
Attributes, and I can then click on this
| | 05:06 | little icon here, Show Center, that's
going to show me where the center point
| | 05:09 | is and then I can use that
information to center a circle on that, send the
| | 05:17 | circle to the back, come back and
select the star and we will make the star
| | 05:22 | white. Actually even though it is
centered, it looks a little bit off-centered.
| | 05:27 | So I'm just going to optically center
it by nudging up a bit, and there is my
| | 05:33 | symbol that can now go with my logo,
or maybe I want another circle inside of
| | 05:40 | that really not knowing when to stop
sometimes, there is another circle inside
| | 05:45 | there, and I'll fill that with the green.
| | 05:49 | Now I think maybe I should quit while
I'm ahead on that one, because that's not
| | 05:52 | getting any better. But of course we
can inverse these values, I could maybe
| | 05:57 | select this star and rather than it
has a white fill, it could have a white
| | 06:03 | stroke, and I can make that stroke a
bit heavier and there is another slightly
| | 06:07 | different version.
| | 06:09 | These explorations with stars and
triangles they are nothing more than just a
| | 06:14 | starting point, play with them, make
multiples, experiment with the different
| | 06:18 | fills, with the different weights,
position the resulting elements differently
| | 06:23 | with your type. All kinds of
interesting things will come up. You'll find
| | 06:27 | yourself going off on all kinds of
different tangents. Some of them will lead
| | 06:31 | you nowhere, some of them may lead you
to exactly the logo that you are after.
| | 06:35 | But there is no way of
knowing until you try these things.
| | Collapse this transcript |
| Working with abstract imagery| 00:00 | When you are trying to come up with
some imagery to go with your logo, maybe
| | 00:04 | your choice is going to be defined for
you by the kind of business that you are in,
| | 00:08 | and maybe you want to use as your
source of inspiration animals, nature or
| | 00:14 | buildings. Three very common sources,
and we will be seeing examples of all of
| | 00:18 | those. But maybe the range of services
that you offer is a little more broad,
| | 00:23 | little less easy to define and
perhaps you want to go with some kind of
| | 00:27 | abstraction in your logo, as we have
in all of these examples on the screen.
| | 00:32 | Let us take a look at how easy it is
to create shapes and symbols like this,
| | 00:38 | especially using Illustrator's
Pathfinder tools. So, here in Illustrator, all
| | 00:44 | the results of my explorations of
combining simple shapes; overlapping
| | 00:49 | triangles and rectangles, circles and
rectangles, multiple squares, etcetera.
| | 00:55 | Repeating transformations to create
these interesting kind of flower like
| | 01:00 | shapes and combining the different resulting
shapes using different Pathfinder shape modes.
| | 01:06 | I'm going to be doing most of these
from scratch and we will get similar
| | 01:09 | results, although not exactly the same.
I'm going to start a new document. So,
| | 01:15 | here I'm with a blank page and I'm
going to start by tearing off my Shape
| | 01:21 | tools, locking that panel up there
and I also want to make sure I have my
| | 01:25 | Pathfinder panel open, and I'll put
that up there. Let us begin with my
| | 01:31 | Rectangle tool. I have got my smart
guides on, you can see that those messages
| | 01:37 | popping up, telling me what I'm
aligning to. That is going to make it slightly
| | 01:40 | easier when aligning one object with
another. Let us zoom-in on that and now
| | 01:46 | I'll switch to my Ellipse tool and I'll
draw myself an ellipse over the top of
| | 01:53 | that rectangle, select both objects
and then come to the second of my shape
| | 01:58 | modes; Subtract from
shape area, that is my result.
| | 02:03 | Using the Polygon tool, I'll draw
myself a triangle, which I'll then re-shape.
| | 02:09 | Press E key to go to the Free Transform
and just narrow that. I then just want
| | 02:17 | to intersect that shape with a guide.
I'm going to turn on my rulers, Apple+R
| | 02:23 | or Ctrl+R. I'm going to put myself a
guide right there and using that guide as
| | 02:31 | visual reference, I'm going to draw a
circle over the top of that. Select both,
| | 02:38 | subtract from shape area, and I get
that result. Now, how about I'll copy that
| | 02:44 | over to there. And these are all
compound shapes, I can release them using the
| | 02:52 | panel menu on the Pathfinder panel and
this time, I'm going to get rid of that,
| | 02:58 | switch now to my Rectangle tool and I'm
going to draw a rectangle over the top
| | 03:05 | of that triangle, like so. I'll then
send it to the back; Object, Arrange, Send
| | 03:12 | to Back. Select both and
again, subtract from shape area.
| | 03:18 | Now, let us experiment with some
circles. One circle, duplicate it, select
| | 03:29 | both, subtract from shape area. Now,
how many times do we see that kind of
| | 03:33 | shape in a logo? Very frequently and
of course, I could if I want to just
| | 03:38 | rotate that through any kind of
rotation to get different interpretations of
| | 03:42 | that shape. Zooming out slightly, I'll
select both, copy them across, release,
| | 03:53 | delete the front most circle, and
this time, I'm going to pair it up with a
| | 03:58 | Spiral. Hold down the Alt key, so I'll
draw my spiral outwards from the center
| | 04:04 | and if necessary, pressing my Up arrow
to get more winds on it and the Apple or
| | 04:13 | Ctrl key to determine how tightly
wound it is, it's a little bit hard to
| | 04:17 | control this. There we go, that is a
little bit better, something like that,
| | 04:24 | and then I'm going to give that a
stroke weight, maybe just hold that around a
| | 04:31 | little bit, position it slightly
differently on top of the circle.
| | 04:38 | Now, let us see what kind of result I
get by combining the two and subtracting
| | 04:44 | the spiral from the circle, and I get
that kind of shape. This is the land of
| | 04:49 | happy accidents sometimes.
| | 04:53 | Now, let us try combining some squares
together. So, I'm going to hold down the
| | 04:56 | Shift key, zoom-in a bit, then holding
down the Alt key, drag away from that.
| | 05:03 | I'm also going to hold down the
Shift key again to constrain my copy to
| | 05:06 | 45-degree angle. Now, I'm going to
repeat that transformation, Apple+D or
| | 05:13 | Ctrl+D a couple of times, select all
four and this time, I'm going to exclude
| | 05:19 | the overlapping shape areas to get that result.
| | 05:21 | How about I'll now try a square and,
of course, if we rotate a square, it
| | 05:30 | becomes a diamond. So, I'm going to
double click on my Rotation tool and rotate
| | 05:35 | a copy through 45 degrees. Select both,
exclude over lapping shape area. Now,
| | 05:44 | let us take a look at working with
repeat transforms. I'll use my Ellipse tool,
| | 05:50 | create myself a tall skinny ellipse
like so. Double click on my Rotation tool
| | 05:56 | and again, rotate a copy through 45
degrees. Repeat that transformation, select
| | 06:03 | all of the objects, exclude
overlapping shape area. Now, that is a compound
| | 06:09 | shape and I can combine that compound
shape with another compound shape. I'm
| | 06:13 | going to duplicate that and I'm going
to draw a rectangle, actually a square,
| | 06:24 | position it to something like so.
Select both and actually, I need to make sure
| | 06:30 | that this flower like shape is on
top. So, I'm going to select that,
| | 06:33 | Apple+Shift+Eight bracket, to bring it
to the front, select both. Subtract from
| | 06:39 | shape area or I'll duplicate it,
Release the Compound Shape and instead of
| | 06:46 | subtracting, exclude.
| | 06:48 | I now realize I'm running out of space
on my outboard. So, I'm going to zoom out;
| | 06:54 | let us select everything and just scale
it down a bit to give me a bit more room.
| | 07:00 | The final point I want to make is using
blends and how useful they can be, and
| | 07:06 | we have seen an example that's kind
of similar to this before, but it is a
| | 07:10 | very, very easy thing to do and in fact,
a very commonly used technique. I'm
| | 07:14 | just going to draw myself a square,
which I'll then -- so, I'm going to draw
| | 07:20 | myself a line and I'm going to make
that line a thick line; I'm going to make
| | 07:25 | it a weight of ten points. Let us give
it a color, I'll make it green and I'm
| | 07:32 | going to duplicate it or then Alt+
Shift and dragging away from it. I'll now
| | 07:37 | make the stroke of the copy a lot
lighter, I'll select both, go to my Blend
| | 07:44 | tool and click on the top point of one,
and then go and click on the equivalent
| | 07:50 | point of the other and that is going me
a blend of specified steps. If you are
| | 07:56 | not getting exactly what you want then
double click on the Blend tool and you
| | 08:00 | can specify the number of steps that
you want, and I'm now going to just make
| | 08:05 | that a white stroke, so that it sits
on top of the colored rectangle like so.
| | 08:12 | So, there we see just a few of the
many, many options you have when using
| | 08:17 | shapes and combining them using the
Pathfinder shape modes as well as doing a
| | 08:23 | simple blend or repeating your transformations
to create multiples of a specific shape.
| | Collapse this transcript |
| Working with representational imagery| 00:00 | Now, if you are looking to incorporate
some kind of representational imagery
| | 00:03 | into your logo symbol, common sources
of inspiration are nature, buildings, and
| | 00:09 | animals. Let's take a look, first of
all, at those logos that use nature as
| | 00:14 | their source of inspiration and now
let's take a look at those that use
| | 00:20 | animals. Obviously, in this case, the
animal suggested by the name of business.
| | 00:26 | In many of these instances at least.
And then some examples of logos that
| | 00:34 | incorporate iconic buildings into the logo.
| | 00:39 | Now, for the logo that I'm creating,
it's for Deep Green, a garden design
| | 00:43 | company, and obviously that is kind
of suggesting that I go with the nature
| | 00:48 | theme and that's what I'm going to do.
The approach I'm going to be using is to
| | 00:54 | start with a photograph and trace it.
And I'm going to use three different
| | 00:59 | approaches to tracing an image in
Illustrator. First of all, I'm going to do a
| | 01:05 | Live Trace on this example here and here
we see the finished results. So, I'm
| | 01:10 | going to try and get something like
this from this beginning photograph.
| | 01:15 | But we will also see how you may
sometimes get a better result from hand
| | 01:21 | tracing in Illustrator, literally
just putting a picture on your page and
| | 01:25 | tracing over it with the Pen tool manually.
Or kind of a combination of that one
| | 01:31 | combined with printing out your
photograph and then first of all, tracing over
| | 01:36 | it with pencil on tracing paper,
scanning that and then Live Tracing the
| | 01:41 | result. So, we are going to see three
different approaches beginning with this one.
| | 01:46 | So, I have placed this image into
Illustrator, I'm going to zoom in on it now.
| | 01:52 | And I want to vectorize it and Live
Trace is going to do that for me. First of
| | 01:59 | all, we'll see that the result I get
from what I currently have is not going to
| | 02:03 | be very usable. So, we are going to see
that it's going to help before I trace
| | 02:08 | the image if I tweak the image first
of all in Photoshop, but let's just see
| | 02:12 | what kind of result I'm going to get from this.
| | 02:15 | I'm simply going to come up to my
tool options and click on the Live Trace
| | 02:19 | button and then to adjust my Live Trace
Options, I'm going to come and click on
| | 02:26 | this icon, opening up my Tracing Options.
And I'm going to turn on my Preview,
| | 02:32 | so I can see any change take effect,
and adjust this Threshold. This determines
| | 02:37 | how much of the image results in
white and how much results in black when
| | 02:42 | tracing as black and white, and that's
the mode I'm going to be using, because
| | 02:45 | I just want this to be a two-color
result. I need to go in the other direction;
| | 02:50 | I need to go more towards, lower
numbers give me more white as my result.
| | 02:58 | Now, that's okay. I mean it looks
pretty good but I don't want to see any of
| | 03:02 | that black. So, if I were to work with
this, I would have to delete all of that
| | 03:05 | black. So, actually what I'm going to
do is I'm going to go to Photoshop and
| | 03:09 | I'm going to make a negative of the
image and then I'm going to trace that, so
| | 03:12 | that all the parts that are currently
white will be black and vice-versa and
| | 03:17 | it's the black part that I'll
thereafter work with. So, let's just cancel out
| | 03:22 | there and now, switch over to
Photoshop and here, in Photoshop is my original
| | 03:27 | image. So, I'm going to do the following to it.
| | 03:29 | I'm going to go to the Image menu,
Adjustments > Invert. So, it's now a
| | 03:35 | negative and then I want to really
pump-up the contrast as much as I can. So,
| | 03:41 | I'm going to go back to my Image >
Adjustments, this time Levels, and I'm going
| | 03:47 | to get the black point, bring that in
towards the center. I'm going to do the
| | 03:51 | same with the white point and I get
this grey point and move that over to the
| | 03:58 | right. Okay, and then I'm going to do
one more thing; I'm going to come to the
| | 04:06 | Filter menu and to Sharpen and
choose this filter, Sharpen Edges.
| | 04:11 | Since I only want to trace the bits of
the image that I'm going to be keeping,
| | 04:14 | I'm also going to crop the image. Crop
tool, draw myself a cropping rectangle
| | 04:20 | around that. All right, I'm now going
to do a Save As on there. I call that
| | 04:28 | tracing_image. Pop back to Illustrator.
| | 04:34 | Turns out I actually want -- I want to keep
| | 04:36 | this original image around. I might
need this for reference. So, I'm just going
| | 04:41 | to move that over on to my paste board
and then I'll choose File and Place and
| | 04:48 | I'm going to come and find that image
that I just saved and scale it down;
| | 04:57 | holding down the Shift key and
pulling from bottom right-hand corner.
| | 05:01 | I'm also now going to go to my Layers
panel, which I don't seem to have open.
| | 05:06 | So, I open it from the Window menu.
I'm going to create a new layer and then
| | 05:12 | make a duplicate of this to that layer.
So, I'm going to move this square ahead
| | 05:18 | that represents the selection holding
down my Alt key and drag that up to that
| | 05:22 | layer that's going to make a copy of it.
And now, I'm going to just turn that
| | 05:26 | off for a moment, we will come back to that.
| | 05:28 | Now, I'm zooming in on my image,
going to select that and click on my Live
| | 05:36 | Trace button to trace the image and
then click on my Tracing Options to adjust
| | 05:41 | my results. I'll adjust the Threshold,
this time moving to the right because I
| | 05:48 | inverted the values of the image
turning on my Preview. I want to ignore white;
| | 05:54 | I don't want to trace
around any of the white shapes.
| | 06:03 | That's a very fine line here and I
think I'm going to leave it about there and
| | 06:10 | any further adjustments, I'm going to
make manually. So, I'll now click on
| | 06:13 | Trace. There's my result. Now, to be
able to work with this, I'm going to need
| | 06:18 | to expand it. So, now that I have
expanded it, we see that my tracing result is
| | 06:24 | just a series of halts and lots of
anchor points. I'm going to move my Layer 6,
| | 06:30 | which is a copy of that flower, I'm
going to move that underneath and then turn
| | 06:34 | that on. Now, we can see the original
shape and how similar or in some cases,
| | 06:41 | dissimilar it is from my tracing result.
I'm going to lock that Layer 6 so I
| | 06:46 | don't interfere with it.
| | 06:48 | Come and choose my Eraser tool and if
necessary, adjust the size of my brush
| | 06:55 | while pressing my right square bracket
to go bigger and the left square bracket
| | 06:59 | to go smaller. I'm just going to
delete the bits that I don't want, fixing up
| | 07:10 | all these raggedy bits and
unnecessary bits over here. Okay, now further
| | 07:21 | adjustments I'm going to make by
tracing over that with my Pen tool. So, what
| | 07:28 | I'm going to do is I'm going to get in
there, I'm going to draw a separate path
| | 07:32 | over to top of this and I want to
make sure that I don't actually interfere
| | 07:39 | with the current path that's already there.
| | 07:40 | So, I think I'm going lock that, I'm
going to press Apple+2 or Ctrl+2 that is
| | 07:44 | going to lock that. I'm just going to
draw a shape. It currently has a black
| | 07:54 | fill, which I don't actually want, so
that I can see the shape that I'm just
| | 07:58 | going to switch that to a Stroke.
This shape I'm drawing is just going to
| | 08:04 | overlap with the traced result. I'm
going to do the same down here; clicking
| | 08:17 | and dragging with my Pen tool to make
control points and close that off there.
| | 08:51 | Now, you may be wondering why did he not
just trace the whole thing manually?
| | 08:59 | And around this point, I start wondering
the same thing myself. Now, I think this
| | 09:08 | is going to be a slightly -- well, it
certainly going to be a quicker and I think
| | 09:12 | a better result as hopefully
we'll see in just a moment.
| | 09:28 | Okay, I want to then select
| | 09:32 | all of this stuff over here is...
actually the Trace just didn't know what to do
| | 09:39 | with that. So, let's just clean that up there.
| | 09:56 | All right. Now, let's turn Layer 6 off
for a moment. We'll select that path and
| | 10:08 | make sure it has a black fill and all
of these extra bits that I drew, we'll
| | 10:16 | make sure they also have black fills.
| | 10:33 | Then I'm going to select them all. Now,
| | 10:35 | go to my Pathfinder panel and I'm going
to add them all together. Add to shape
| | 10:41 | area and I'm also going to hold down
my Alt key, my Option key to expand that
| | 10:46 | result. So there, all of those nasty,
jaggedy points at the ends of the petals
| | 10:52 | have now been removed.
| | 10:53 | Obviously, I still have quite a lot of
clean up to do here. So, I think I would
| | 10:59 | then just come and click on the edge
of my path and using my Pen tool, delete
| | 11:07 | where I don't need those unnecessary
anchor points and this can be rather time
| | 11:13 | consuming and I might just want to
incorporate all of these into one with a
| | 11:21 | nice graceful shape right there.
Select those to add those two together. And
| | 11:32 | then there's a lot more of that
involved to finally get the result that we have
| | 11:38 | over here, but when we have that
result, it's scalable and kind of raggedy
| | 11:44 | there but that wouldn't
take too much to fix it up.
| | 11:49 | So, that's one approach, using Live
Trace to work on a tweaked photograph and
| | 11:55 | then manually fixing up any
inaccuracies along the edge. So, another slightly
| | 12:02 | different approach we see here if I
turn on the flower 2 layer. This is
| | 12:10 | original image I began with, this is
the resulting image after I tweaked it in
| | 12:15 | Photoshop. Let's just have a look of
what I did to that in a moment and then I
| | 12:20 | printed that out, hand traced it and
then Live Traced the hand traced version
| | 12:28 | right here and this is the
result that I ended up with.
| | 12:30 | So, I'm going to pop out with the
Photoshop and to this image, turn off my
| | 12:39 | layers. See, there's my original image.
So, I'm going to make a copy of that
| | 12:44 | layer, drag the layer on to the New
Layer icon to do that and then I'm going to
| | 12:50 | come to the Filter menu and choose
Stylize > Find Edges. Because I want it to
| | 12:58 | be just a gray-scale image to my Image
> Adjustments > Desaturate. I'll use
| | 13:05 | the levels as I did before; Image >
Adjustments > Levels. This is all about
| | 13:12 | maximizing the contrast. I just really
want to retain the main lines of detail,
| | 13:19 | get rid of everything else and I
might here with my white paint brush.
| | 13:35 | With a hard brush.
| | 13:43 | Clean it up as much as possible.
| | 13:58 | I could also rub out any other detail
that I don't want. Maybe I could also run
| | 14:03 | that same filter, Sharpen Edges, on there
just to pump it up a little bit more.
| | 14:08 | Then I'd print this and the result is
this second image that we see here and
| | 14:15 | then I hand-trace that and that's the
point on which we rejoin the action. So,
| | 14:23 | I'm going to select my image, click on
my Live Trace button. That's my result.
| | 14:28 | I'm going to then go to my Live Tracing
Options, turn on my Preview and rather
| | 14:35 | than tracing as Fills, just I want
to trace as Strokes. Let's adjust the
| | 14:42 | Threshold. I'll put them up to about
175 and I also just to kind of clean
| | 14:54 | up the line a little bit, although
actually I don't think I need to. I was
| | 14:57 | going to think about blurring it,
but I don't think I need to that.
| | 15:01 | So, I'm now going to go ahead and trace
that and to then have access to edit my
| | 15:08 | resulting strokes, only to click on my
Expand button. Then choose my Eraser,
| | 15:15 | I'm just coming and rub out any bits
that I don't need. I want to make my
| | 15:20 | Eraser a little bit bigger by
pressing the right square bracket.
| | 15:23 | How's that looking? It's a little bit hard to
tell with those selections lines on. So, I'm
| | 15:27 | going to come to my View menu and
choose Hide Edges. I'm going to zoom-in a
| | 15:33 | little bit, rub those bits out there
and I could go on refining that and I won't.
| | 15:40 | I'll leave it at that.
| | 15:43 | And one final thing I want to do is
maybe experiment with the style of stoke
| | 15:49 | that is applied to this, so I can click
on my Brushes panel and maybe go for a
| | 15:55 | Charcoal stroke. Yeah, that looks
pretty good actually, better than I had
| | 16:00 | expected. I'm going to make that a
little bit lighter. There's my result.
| | 16:05 | Okay, now I mentioned there are three
methods I was going to show you; the
| | 16:09 | third method is the more manual method
but it is very, very straightforward.
| | 16:12 | I'm now going to zoom out. Let's come
to my layers. I'll turn off flower 2 now
| | 16:20 | and I'm going to turn on this one,
the Rose template, and this one, the
| | 16:24 | handtraced rose on top of that. Now, if
we see it without the template beneath,
| | 16:29 | that's my result and the way I
got that was placing the rose image,
| | 16:35 | double-clicking on it, making that
layer a template, which automatically will
| | 16:39 | dim the image to 50%. I'm going to make
a new layer above that and I'll call it
| | 16:47 | trace1 and I'm just going to zoom in
and using my Pen tool without a Fill, I'm
| | 16:56 | going have a black stroke for now trace
around the shape. That can be a little
| | 17:05 | bit time consuming, a little bit
painstaking, but if you are handy with the Pen
| | 17:10 | tool, this may also be your best most
reliable option. I'm not going to subject
| | 17:17 | you to watching me do that but
that's essentially what I would do.
| | 17:22 | So, in this video, we have seen three
different approaches to working with Live
| | 17:26 | Trace and experimenting with the Live
Tracing Options. The first method has
| | 17:31 | been to trace an image, which has
been tweaked in Photoshop to enhance this
| | 17:36 | photograph because that's what Live
Trace is really going to response well too,
| | 17:40 | and then fixing up the rougher edges.
The second method, as we see here in
| | 17:45 | these full images in the center of the
page, has involved tweaking a Photoshop
| | 17:50 | image to again enhance the contrast,
bring out the edges in the images.
| | 17:55 | That image was then printed, traced with
pencil and then that pencil result Live
| | 18:01 | Traced in Illustrator. And the third
example down here has been literally a
| | 18:06 | manual tracing of a template image.
| | Collapse this transcript |
| Working with clip art| 00:00 | Clip Art has a bit of a bad name,
perhaps deservedly so. It conjures up images
| | 00:05 | of businessmen shaking hands or party
balloons or other cliched graphic images
| | 00:11 | that we want to avoid at all costs
really. Having said that, they are a number
| | 00:16 | of Clip Art type options that we have
available to us in Illustrator. You have
| | 00:21 | seen me in a few of the videos up
until now use some Illustrator symbols and
| | 00:27 | adapt them and these examples that we
have on screen are all using Illustrator
| | 00:32 | symbols. The idea of the Symbol
Sprayer tools is that you get multiples of
| | 00:38 | these things, so you can build up a
whole background of leaves or grass or
| | 00:42 | whatever it is. But in this
application of them, I'm taking a single of these
| | 00:47 | symbols and then adapting them to my needs.
| | 00:50 | So, let's just take a look at those and
I also want to point out and this is a
| | 00:54 | point I did also make in a previous
video and that's where we can get some
| | 00:58 | shape tools, some very interesting
shape tools in Photoshop and copy and paste
| | 01:03 | the vector parts into Illustrator,
and then adapt them in there. So, the
| | 01:09 | Symbols panel is this one right here
and these are the default symbols, but we
| | 01:14 | have also got these symbol libraries.
The ones I'm choosing, all come from the
| | 01:20 | Nature symbol library. For example,
there are my leaves, there is that
| | 01:26 | particular leaf right there. If I want
one of these, I click on it, it adds it
| | 01:32 | to my Symbol panel and then I can
either just drag it over. If I want to spray
| | 01:36 | multiples, I could use my Symbol
Sprayer or I can just choose this option here:
| | 01:40 | Place Symbol Instance.
| | 01:43 | Now, the key is, for purposes of doing
a logo, this is probably going to be far
| | 01:48 | too detailed. So, we just want to
completely simplify and boil it down to only
| | 01:53 | its most essential elements. So, I
would then want to come in to the Object
| | 01:58 | menu and expand that. So, it's no
longer a symbol but rather, it's now an
| | 02:04 | editable shape, and then I want to
get in and delete any stuff that I don't
| | 02:10 | want, like so. Leaving it with just
the basic shape and then I think I'm just
| | 02:16 | going to put that in one color as well.
Let's say, not the Stroke but rather,
| | 02:22 | we want the Fill. There we go.
| | 02:28 | So, that's working with an Illustrator
symbol, breaking it down. Let's also now
| | 02:34 | take a look at some Photoshop vector
shapes. So, I'm going to pop up with the
| | 02:39 | Photoshop and in Photoshop, I'm going
to open a new document. Apple+N or Ctrl+N
| | 02:45 | and I'm just going to use the Default
Photoshop Size, doesn't really matter
| | 02:49 | what size we have here. From my vector
shapes, I'm going to choose my Custom
| | 02:53 | Shape tool, and then up on my tool
options, I have got my different shapes to
| | 02:58 | choose from here. Now, we can use any
of these but we can also explore all of
| | 03:05 | these shape libraries. I'm going to go
ahead and add all of them, and append
| | 03:09 | them to what I currently have. Let's
say, I'm designing some kind of animal
| | 03:14 | welfare logo. There is my cat shape
right there. I then use my Path Selection tool
| | 03:22 | to select that, copy it. Flip back
to Illustrator, paste it as a Compound
| | 03:29 | Shape and then I can do whatever I want with it.
| | 03:32 | So, some very interesting options to
explore there in Photoshop with vector
| | 03:36 | shapes. But the cautionary now here
is, if you are going to use Clip Art
| | 03:41 | adapted so that ultimately it
doesn't look like it was Clip Art.
| | Collapse this transcript |
| Using negative space effectively| 00:00 | One of the hardest tricks to pull
off in a logo is to use negative space
| | 00:03 | effectively. But when you can do it,
it really makes the difference between a
| | 00:07 | mediocre logo and an excellent logo.
Let's take a look at these very popular
| | 00:12 | examples. Beginning here with, you
might say, is the most famous logo of all
| | 00:17 | time and it's so simple and yet so
effective the way the E and the X are
| | 00:23 | brought together, so the negative
space that's left, makes the arrow.
| | 00:27 | That didn't happen by accident.
| | 00:29 | Also, the World Wildlife Fund; how the
shape of the panda is just suggested by
| | 00:34 | the negative space, brilliantly simple.
Likewise with the Champions League in
| | 00:40 | the football. The Siegel in the Bank
of America. The way the part of the A is
| | 00:46 | rubbed out in the V&A logo. A major
part of the success of these logos is the
| | 00:52 | way that they use negative space.
Let's see if we can try and do something
| | 00:55 | similar with our logo in Illustrator.
| | 00:59 | So, as I'm sure you know by now, we
are working on a project, a logo for a
| | 01:03 | company called Deep Green, a garden
design company. Of course, you are probably
| | 01:08 | working on your own logo which may be
for a company entirely different from
| | 01:12 | this, but nonetheless these techniques
are going to be just as applicable to you.
| | 01:17 | Now, the most basic use of negative
space is to have your type reversing out of
| | 01:22 | a shape. That could be your logo right
there. Maybe you need nothing more than that.
| | 01:27 | But what negative space does for us
is it gives us the illusion of more
| | 01:31 | colors, because we are using the
color of the paper. I'm going to zoom out.
| | 01:35 | Now, if you know the Orange logo, the
cellular telecommunications company?
| | 01:41 | Looks rather similar, doesn't it?
| | 01:44 | Here, I think things are a little bit
more successful. We have the shape of the
| | 01:48 | leaf suggested here and then echoed
here. Negative space taking a bite out of
| | 01:54 | the rectangle and then repeated but
smaller in the top right. A similar
| | 01:59 | version here, but what we are using in
this instance is one of those Pathfinder
| | 02:04 | options and let me just go to my
Pathfinder panel. So much you can do with
| | 02:10 | these Pathfinder options. I'm going to
release that, so we see it begins as the
| | 02:15 | leaf overlapping the rectangle and if
I select both of them and choose this
| | 02:20 | option, Exclude Overlapping
Shape Areas, very interesting effect.
| | 02:24 | I'm going to come to the picture in
just a moment. Couple of slight different
| | 02:29 | variations on a similar theme here,
using -- I think this was an Illustrator
| | 02:34 | symbol that I adopted and adapted
using the methods that we saw in previous
| | 02:40 | video, talking about Clip Art, just
boiling it down to its essential shape and
| | 02:44 | then making that shape white, overlapping
it with the rectangle. Here doing the
| | 02:48 | same thing, but as we saw in the
example just above, using the Exclude Overlap
| | 02:53 | Pathfinder option. So, let's now take
a look at this picture that we have up
| | 02:58 | here, because this picture was a
picture that I took from my client, who I'm
| | 03:01 | designing the logo for Deep Green.
| | 03:03 | It's a picture of a garden that she
works in and I was thinking about this
| | 03:07 | picture, and how that might inspire
some kind of logo symbol and that's what I
| | 03:15 | came up with as a result of working
with this picture. We saw this or a slight
| | 03:21 | different version of this in an earlier
video. I just want to deconstruct this
| | 03:25 | and go over how it was put together.
| | 03:26 | So, I'm beginning with two shapes, one
of which is just reflected and copied
| | 03:31 | from the original. We have got a single
spike or frond or whatever it's called
| | 03:37 | that has been rotated around the
center point of a circle to make multiples
| | 03:41 | using the repeat transform. We have
seen that technique several times and that
| | 03:46 | will group together and then that's
reflected and copied right there and that's
| | 03:51 | where I'm going to pick it out. I was
tempted to maybe use transparency to give
| | 03:57 | this effect here, wherever we have the
overlapping fronds, but I don't want to
| | 04:01 | use transparency because that's going
to involve introducing extra colors into
| | 04:05 | the logo. It's going to complicate
things. It's going to make printing harder
| | 04:08 | and reproduction of small size is
harder. So instead, I wanted to use a
| | 04:13 | Compound Path or Exclude
Overlapping Areas from my Pathfinder panel.
| | 04:17 | So, I'm going to select both of those
and then do that and that's the effect
| | 04:22 | that we get. Now, I want to contain the
whole thing within a rectangle. So, I'm
| | 04:26 | going to draw a square with my
Rectangle tool, holding down the Shift key and
| | 04:32 | then I'll select everything. Come to
the Object menu and choose Clipping Mask > Make.
| | 04:38 | There we have it. I can thereafter,
if I want, if I use my Group
| | 04:43 | Selection tool, I can come and select
either of these elements that go to make
| | 04:48 | it up and move those around independently.
So, this is a kind of fluid thing
| | 04:53 | I can experiment with to get just the
right combination of these two different
| | 04:57 | elements and how they overlap.
| | 05:00 | Now, continuing with this theme of
negative space, I encourage you to just mess
| | 05:05 | around and experiment with shapes and
combining them with other shapes and
| | 05:10 | reversing one shape over another,
and just see what results you can get.
| | 05:13 | Here are some of my explorations.
I won't go into them, but this I found a
| | 05:18 | useful exercise working with, say, a
leaf shape and then combining it with
| | 05:23 | the rectangle, experimenting with my
Pathfinder options and just say, how
| | 05:28 | juxtaposing the two together in various
different ways, we get some very interesting effects.
| | Collapse this transcript |
| Considering trends| 00:00 | So, I'm sure I don't need to remind
you at this point in the course of these
| | 00:04 | videos, but we are working on logo
for Deep Green, a garden design company.
| | 00:09 | When I began this assignment,
I started messing around with some ideas and I
| | 00:13 | found myself being drown to these
swirly things. This is essentially a piece of
| | 00:18 | Clip Art. I mean it's somebody that has
created these, made it available on the
| | 00:23 | Adobe Exchange website in the
Illustrator section and I have discussed that in
| | 00:27 | an earlier video.
| | 00:29 | But I found myself drawn to these and
messing around with them and I thought,
| | 00:33 | well, yeah, that looks pretty good
and I was liking the direction this was
| | 00:37 | going in. And then walking around town
the next day, I started too see swirls
| | 00:43 | everywhere and my point here is that
logos like everything else are subject to
| | 00:51 | fashion and it seems like at the moment,
swirls are really in fashion. I wasn't
| | 00:57 | really aware of that until I
unconsciously almost started working with them and
| | 01:04 | then having done that, it
seemed like they were everywhere.
| | 01:07 | That has turned me off a bit. It turned
me off because I thought well, is my
| | 01:12 | logo, if I go with this design, is
it going to be a victim of fashion?
| | 01:17 | Are these swirls are going to have 2008
stamped all over them? I mean we can't
| | 01:22 | really evaluate that from this current
perspective, but I think the swirls for
| | 01:27 | me transforms from being that song on
the radio that I heard the first few
| | 01:32 | times and really liked to being that
rather irritating song just that just kept
| | 01:37 | getting played over and over again. No
disrespect to the swirls, who in some
| | 01:42 | ways are a victim of their own success,
but I'm now being aware of how common
| | 01:48 | these are, I'm a little
bit wary about using them.
| | 01:52 | My point being here that just beware
of anything that is perhaps a little bit
| | 01:57 | too trendy and may end up
looking very dated very quickly.
| | Collapse this transcript |
|
|
5. Selecting and Preparing the Finished LogoPresenting ideas to the client| 00:00 | Throughout the course of these videos,
you've seen me work on various concepts for
| | 00:04 | our logo for the company Deep Green, a
garden design company. It's now time to
| | 00:09 | present some of those concepts to our
clients. So, I want to find the three
| | 00:14 | best and explore slightly different
variations of each one and then present
| | 00:20 | them to the client. Hopefully, they
will like one of them. We take the one that
| | 00:25 | they like, we refine it further,
especially we look into the issue of what
| | 00:28 | color we are going to use. Because
right now, we haven't really explored color
| | 00:32 | options too much. When our client
signs off on that finished version, we
| | 00:37 | prepare the digital files. The print
version or versions because perhaps there
| | 00:41 | will be alternative versions and the
web version or versions and then when the
| | 00:46 | whole thing is done, we archive the job.
| | 00:50 | So, here I'm in Illustrator and in no
order of preference here are my three
| | 00:55 | concepts: #1 , #2, and #3. Let's look
at them one by one. So, this first one
| | 01:04 | with the reversed out type coming from
the leaf, this just kind of happened very
| | 01:11 | easily. Looking through all of my
printouts, it appealed to me. Its simplicity
| | 01:17 | appeals. The leaf is actually nothing
more than one of the Illustrator symbols
| | 01:22 | that has been simplified, which is in
a solid color. For each version, I'm
| | 01:28 | showing the logo without the tagline
and with the tag line in color and in
| | 01:34 | black and white because it's very important
that the logo also work in black and white.
| | 01:37 | Now, when I did this I thought, well,
what if the leaf shape were more simple
| | 01:42 | and less ragged as this upper version is?
So, from my Photoshop vector shapes,
| | 01:49 | I went and got one of the leaves from
there and then just pulled that around a
| | 01:54 | bit and use that instead. So, we have
got essentially two different versions of
| | 01:58 | this same concept. Now, in this one
and you may have seen this one before
| | 02:02 | because it's popped up in a couple of
the previous videos, this was inspired by
| | 02:08 | a photograph of overlapping palm fronds.
I made the two different frond shapes
| | 02:15 | into a compound path so that where
they overlap, rather than transparency,
| | 02:19 | we are just seeing this kind of
reversed out checkerboard-like shape.
| | 02:24 | This one presents a set of problems.
I like this very much, but the problem
| | 02:28 | that it presents is how to do we
orientate the type next to the imagery.
| | 02:34 | I originally drew it like this, but
then I'm realizing this creates a hard
| | 02:39 | border on the right-hand side which
could be problematic because we want this
| | 02:44 | space here opening out into the
business card or the letterhead or however
| | 02:50 | else it's used. So, that suggested that
I flip that around, which I did. I have
| | 02:56 | a sense that this is probably
going to work better and then I want to
| | 03:00 | experiment with is the typed going to
go at the bottom, is it going to go in
| | 03:04 | this area of negative space. I'm giving
the game away here, but perhaps we will
| | 03:09 | see that I further refine the typed
placement in this particular version.
| | 03:14 | The third concept is this one that
uses the swirls. I have to say this is my
| | 03:20 | least favorite. I do like it but my
reservation about it is, is that these
| | 03:25 | swirls are being used a lot these days.
Now, I suspect they may look rather
| | 03:31 | dated very quickly and maybe it is
little bit like a Clip Art because other
| | 03:35 | people can get these exact same swirls
and it's maybe not quite unique enough,
| | 03:41 | even though, I have actually fiddled
with them a bit and I have chopped a bit
| | 03:45 | off here and there, but still it's
just not quite unique enough. In the black
| | 03:49 | and white version, I'm having
the swirl to be in a 50% black.
| | 03:54 | How you present these to your client
really depends upon the relationship that
| | 03:57 | you have with them and are they remote
or are they local. If you are able to,
| | 04:02 | then present them in person. If not,
send them a PDF and try not to say too much.
| | 04:08 | The logo should speak for themselves.
If they need explaining then they're
| | 04:12 | not really working, but at the same time,
be on hand and be prepared to justify
| | 04:17 | your design decisions and why you made them.
| | Collapse this transcript |
| Fine-tuning the selected design| 00:00 | Okay the results are in. My client has
got back to me and she wants this one.
| | 00:06 | Now we are still undecided about
exactly where the type is going to be
| | 00:10 | juxtaposed next to the image. I said
to her I want to refine it a little bit more.
| | 00:17 | I'm not entirely sold on the shapes
that we have here. We both liked the
| | 00:21 | concept and we are leaning towards
this orientation with the hard edge on the left.
| | 00:29 | Round three now begins. The first thing
I want to do is when I originally made
| | 00:34 | this shape, I made it rather hurriedly.
It was inspired by a photograph and
| | 00:40 | let's take a look at that photograph.
I have got the source image right there
| | 00:45 | and that's just the detail of the
photograph that I was using as my inspiration
| | 00:50 | for this. I made the original with a
rectangle; then I had made one of the ends
| | 00:56 | pointed and then reflected various
copies of that around the center point and
| | 01:00 | then duplicated that overlapped the two.
| | 01:02 | It's looking a bit uniform and I
thought what I would like to do is just mix it
| | 01:07 | up a bit, make it look a little bit
more plant like, a little bit less uniform.
| | 01:12 | So how I did this was I placed the
image and we saw that when I was tracing the
| | 01:18 | rose in an earlier video and I just
traced over the shapes and essentially used
| | 01:24 | the same approach as I did here;
reflecting or rather rotating copies. But then
| | 01:31 | just adjusting the copies, so they
are not all quite exactly the same.
| | 01:35 | Another approach that I tried, it
came off a little bit but just to use the
| | 01:41 | Warp tool and now if I use the Warp
tool you can see what I mean, I can just
| | 01:45 | bend these around a little bit. So
that's something else that you might want to
| | 01:53 | experiment with; having refined this to
this state, you may see on your screens
| | 02:01 | there is a little ghosting of the
rectangle edge down at the bottom there,
| | 02:06 | where my cursor is. I assure you that
isn't actually there and if I zoom in
| | 02:11 | nice and big we see that it goes
away. That's just a screen anomaly.
| | 02:15 | So the next thing I need to decide is
what am I going to do with the type; the
| | 02:20 | next thing I need to decide is where am
I going to put the type relative to the
| | 02:24 | image and that's what I'm
experimenting within in this particular version. So
| | 02:31 | beginning up here, we are really
getting into the fine tuning at this point, is
| | 02:35 | the type going to go at the bottom, is
it going to go at the top and then some
| | 02:39 | live breaking news, my client wants to
change the tagline. So it's no longer
| | 02:44 | garden design & planting, it's now
planting & design. So that kind of changes
| | 02:49 | things a little bit.
| | 02:51 | I'm noticing with, there are two lines
of lowercase text, the spacing between
| | 02:56 | those two lines is looking a little
bit odd to me and that's just because of
| | 03:01 | the shapes of the characters. So I
thought what I'll do is I'll put the tagline
| | 03:06 | in all caps, so I'm leaning towards
this now. But in these versions here,
| | 03:12 | versions 5 and 6 my reservations here
are the combination of the image and the
| | 03:18 | type create an overall shape that's
a little bit too big. I think I want
| | 03:23 | something a little bit more contained
and for that reason I'm now looking at
| | 03:28 | putting the type either on the top or
on the bottom and I'm going to go with it
| | 03:34 | on the bottom.
| | 03:35 | For the type what I have done is, I
have made sure that their width of the
| | 03:40 | tagline is exactly the same as the
widths of the company name and I did that
| | 03:45 | just by turning on some guides, which
I'll create a couple of guides. There is
| | 03:50 | a guide right there and another guide
right there and then I just selected this
| | 03:58 | piece of type and holding down the
Shift key, dragged it out to that guide so
| | 04:03 | that its exactly of the
width of the line of type above.
| | 04:08 | So the next decision we want to make is
what color we are using. So far I just
| | 04:13 | been using a fairly generic green
chosen from the Swatches panel but we want to
| | 04:17 | specify a specific Pantone color, a
spot color. By spot color, I mean a color
| | 04:23 | reference by number and chosen from
a color matching system and the most
| | 04:27 | commonly used color matching
system is the Pantone system.
| | 04:31 | So here I have chosen three different
versions Pantone 369 the lighter green,
| | 04:37 | 354 the more forestry green and then
the 349, which is the very dark green. To
| | 04:44 | choose these Pantone colors we need
to do that using the Swatches panel and
| | 04:49 | come to the Swatches Library menu
where I click and come down to Color Books
| | 04:56 | and the one I want is Pantone Solid
Uncoated. I'm choosing uncoated because
| | 05:01 | this is going to be printed on uncoated
stock for a business cards. So there is
| | 05:06 | my Swatches panel right there and if
I don't see this Find field then I can
| | 05:14 | just make sure that is ticked right there.
| | 05:17 | If I type in my numbers, it would jump
to that number. If I select the items I
| | 05:22 | want to apply the color to, click on
the color, the color thereafter appears in
| | 05:27 | my Swatches panel and it's distinguished
in my Swatches panel by having this
| | 05:31 | triangle and a dot in the bottom right-
hand corner. So I send these versions
| | 05:36 | off to my client, I wait, she gets back
to me and she says "I like the first one."
| | 05:42 | Which I find a little surprising but
she is the client so we are going to go
| | 05:46 | with the first one, the Pantone 369.
| | 05:50 | My next step is to create a few
different versions of the logo then we are
| | 05:56 | going to evaluate the logo according
to the criteria that we set up at the
| | 06:00 | beginning of this series of videos. So
here are my finished logos, I have got
| | 06:08 | five different versions of little more
or less the same but let's look at how
| | 06:12 | they differ. So I have what I'm
calling the Regular version that's the one we
| | 06:21 | have been seeing up until now. I have
the Boxed version and this is for use and
| | 06:26 | I could go into how they should be used
in the usage guidelines which is coming
| | 06:31 | up in a couple of movies time.
| | 06:33 | The Boxed version just has a half
point role around the elements and this is
| | 06:38 | for when the logo is going to be
used in conjunction with lots of other
| | 06:41 | elements on the page, just to isolate
it so that our logo doesn't look crowded
| | 06:46 | in by any other elements that may be
adjacent to it. Then down here, I have
| | 06:52 | what I'm calling the Bleed version.
Now when I started experimenting with the
| | 06:56 | logo in the context of a business card,
I felt that it works best or maybe it
| | 07:02 | works best, I'm still undecided about
that. Bleeding of the edge here on the
| | 07:07 | left and the bottom, so for the Bleed
version I'm repositioning the type at the
| | 07:11 | top of the image and I'm extending
the image itself by 3 millimeters or
| | 07:17 | one-eight of an inch on
the left and on the bottom.
| | 07:23 | The Reversed version is for use on a
solid color background, bear in mind that
| | 07:27 | what we see here is the reversed
version on our background but when we come to
| | 07:33 | prepare the file I'm going to be
deleting that green background, I need to show
| | 07:37 | it here because otherwise our white on
white is not going to show up and then
| | 07:43 | finally we have a Black & White
version for use when we are printing in only
| | 07:48 | one color ink. Then at the bottom of
the page I have just quickly knocked up
| | 07:52 | the logo in the context of a business
card and I'm defining the bounds of the
| | 07:58 | business card by this rectangle, that's
three and a half inches by two inches.
| | 08:02 | Of course when we actually come to do
the business card for real, I would make
| | 08:06 | sure that that stroked box is not really there.
| | 08:09 | Finally I would just like to revisit
those criteria that we started with at the
| | 08:14 | beginning of this series of videos. So
I'm going to come to my Layers panel and
| | 08:20 | turn on Layer 1. We said at the
beginning that a good logo has a strong
| | 08:27 | uncluttered image comprised of only the
most essential elements. I think that's
| | 08:31 | true, uses imagery that's appropriate
for your type of business, definitely,
| | 08:36 | compliments your company name,
absolutely. Uses a readable font that does not
| | 08:41 | compete with the logo symbol, yes and
you will notice that I have done in fact
| | 08:46 | to using the type all in black with
spaces between deep and green. Whereas
| | 08:52 | originally I was thinking that I
would have it be a logo element where I
| | 08:56 | differentiated the words by color and no space.
| | 08:59 | But I feel that the color in the image
itself is enough color so I don't want
| | 09:04 | to compete with the logo and for that
reason the type is all now in black. And
| | 09:10 | looks good in black and white as well
as in color. Yes, I think so. Perhaps I'm
| | 09:14 | being over generous here but I'm going
to give myself five out of five on this.
| | 09:18 | I hope that you got a similar score on
your logo and of course bear in mind,
| | 09:23 | it is very subjective. All right, next we are
going to look at preparing the digital files.
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| Preparing print files| 00:00 | So all that now remains is for us to
make the digital files for the print and
| | 00:05 | the web versions of our logo. I'm
going to begin with the print and I'm using
| | 00:10 | this document here as our master file
from which I'll be copying the different
| | 00:15 | versions of the logo and pasting them
into separate documents and then saving
| | 00:19 | them out from there.
| | 00:21 | So I'm going to do this for the regular
version, I'm going to select that, all
| | 00:25 | the elements are grouped together and
I'm going to copy that, Apple or Ctrl+C,
| | 00:31 | create a new document Apple or Ctrl+N.
I want to make sure that the Document
| | 00:35 | Profile is Print, not really that
bothered about what the Size is, doesn't
| | 00:39 | really make any difference,
click OK. Apple or Ctrl+V to paste.
| | 00:45 | I want to do one more thing here and
that is -- so that we don't leave anything
| | 00:50 | to chance with the fonts. I'm going to
convert the fonts into outlines that way
| | 00:55 | if the recipient of this logo file does
not have Myriad Pro it's still going to
| | 01:00 | look okay. Of course we need to make
sure that we retain our master file with
| | 01:06 | the fonts so that we can make edits if
we need to. Type > Create Outlines and
| | 01:12 | then I'm going to Save, now for
maximum compatibility I'm going to be saving
| | 01:18 | this as an EPS, lets call
it deepgreen_logo_regular.
| | 01:27 | A native Illustrator document would
probably be fine but just in case anyone is
| | 01:31 | working with a very old version of
a page layout program. For maximum
| | 01:35 | compatibility we are going to say as
an Illustrator EPS and also just to
| | 01:41 | maximize the compatibility I'm
going to take the version number down to
| | 01:45 | Illustrator CS. We might see a couple
of warning messages related to that but
| | 01:52 | those warning messages are not
relevant to us. So there is the print version
| | 01:56 | and now on to the web version.
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| Preparing web files| 00:00 | Now when creating the web version we
can adopt a slightly different approach
| | 00:04 | and that involves using this tool, the
Crop Area tool where we can use this to
| | 00:09 | define the portion of our board that
we wish to capture. So I'm going to zoom
| | 00:14 | in on our Regular logo, define a
cropping area, make sure that the spacing
| | 00:20 | around the logo is uniform and then go
to the File menu and choose Save for Web
| | 00:27 | & Devices. So let's see, here we have
the original on the left-hand side and
| | 00:33 | our optimized version on the right-hand
side. What you first see when you come
| | 00:37 | to this dialog box may vary
slightly but I'm looking at a 2-Up layout.
| | 00:43 | Now its chosen, the Gif file format
and that is actually the file format we
| | 00:49 | want and if your logo is using flat
colors and type as mine is and as yours
| | 00:56 | probably is too than the GIF file
format is going to give us the crispest
| | 01:00 | version of the logo. So that's the
one that we want, I'm going to, it maybe
| | 01:04 | worth experimenting with these
different color palettes to see which one gives
| | 01:09 | the best result. I think in this case
they all are going to be identical so I'm
| | 01:14 | just going to go with Selective.
Transparency, I do not want transparency.
| | 01:19 | If I check that then I'll see my
transparency represented as a checkerboard.
| | 01:24 | Actually I don't want the transparent
version of the logo, that's going to make
| | 01:28 | sure that no one can take the logo
and put it against a brightly colored
| | 01:33 | background and make the logo unreadable.
| | 01:35 | So not having transparency is going
to make sure that it's on a solid white
| | 01:39 | background. One last thing to do and
that is I need to check the Image Size. I
| | 01:44 | want to make this 200 pixels, I'm
actually going to be making two separate
| | 01:49 | versions of this, another one at 100
pixels. Now it's important that you
| | 01:55 | consider the size is that's going to
be used on a website because unlike the
| | 02:00 | print version, the web version is not
going to be scalable. This is going to be
| | 02:04 | resolution dependent rather than the
vector version, the print version, which
| | 02:09 | is resolution independent. So my
larger version is going to be at 200 pixels,
| | 02:15 | I'll apply that change and now I'm
ready to save it and I'm going to save it in
| | 02:21 | the GIF file format and we are done.
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| Drawing up usage guidelines| 00:00 | Our logo is finished, but our work is
not yet entirely done because we need to
| | 00:04 | draw up usage guidelines. The purpose of
the usage guidelines is so that whoever
| | 00:09 | uses the logo, whoever you may be
passing on the logo to, to maybe use in
| | 00:14 | some kind of cross promotion; that
they use the logo in a way that you had
| | 00:18 | intended. As a tip you can download
different company's usage guidelines and
| | 00:24 | see what kind of content they contain
and adapt one of theirs to your own needs.
| | 00:29 | Now even if you are the only person
who intends to be implementing the logo,
| | 00:35 | it's still a good idea to have
a style guide. That way it helps you
| | 00:40 | control your own branding and think more
clearly about how the logo is going to be used.
| | 00:47 | What I have done is make an InDesign
document with various different categories
| | 00:51 | of usage and then I have made that
into a PDF and this PDF will be sent to
| | 00:56 | anyone who is going to implementing the
logo. Here we are in Acrobat looking at
| | 01:02 | that PDF. I have made some
bookmarks for easy navigation. First of all,
| | 01:07 | Versions of the Logo, it just talks
about which different versions there are
| | 01:11 | and their appropriate usage and I can
scroll down there and we can see we have
| | 01:15 | the different versions shown. Minimum
Size discusses exactly that, specifying
| | 01:22 | that the logo shouldn't be reproduced
than anything less than 30 millimeters or
| | 01:27 | 1.2 inches wide and that's because
anything smaller than that and this type is
| | 01:34 | going to be unreadable.
| | 01:36 | Next we have the logo colors,
specifying that it's in Pantone 369 and Black and
| | 01:42 | saying that if this is going to be
included in a CMYK document then it's
| | 01:46 | okay to convert the Pantone colors to
its process color equivalents, which is
| | 01:51 | going to be broadly the same as the
Pantone 369. But rather than printing as
| | 01:57 | one custom ink it will print as four
inks: cyan, magenta, yellow and black.
| | 02:03 | The fourth issue is that of Clear Space.
We want to make sure that whoever uses the
| | 02:08 | logo doesn't but up against any
other element in their publications.
| | 02:13 | So we are specifying that we want at
least 10 millimeters of space all the way
| | 02:18 | around the logo and then just to make
it as idiot-proof as possible we have
| | 02:23 | thrown in some examples of Incorrect
usage. Distorting it, making it too small
| | 02:29 | and putting it against the background
that's clearly going to make it quite
| | 02:32 | unreadable. Next we discuss online
usage and the point I'm making here is that
| | 02:38 | there are two different approved
versions for online usage. The regular version
| | 02:44 | and the boxed version and each is
provided at a size of 200 pixels and 100
| | 02:51 | pixels. And then finally and this is
very important, I'm including a screen
| | 02:57 | capture of the folder containing the
two sub-folders for the print logos and
| | 03:02 | the web logos and this takes the
place of any kind of Read Me file that you
| | 03:07 | might want to send to your client,
if you are providing the logo to your
| | 03:12 | client. They are not necessarily going
to know the difference between an EPS
| | 03:16 | file and a GIF file.
| | 03:17 | So here we have clearly broken down
what's on the disk that we are providing
| | 03:22 | them with and these files are saved in
their appropriate folders. So there we
| | 03:27 | have our style guide, which very
simply and explicitly states what is an
| | 03:32 | approved usage of our logo and what is
not. So hopefully anyone following these
| | 03:37 | shouldn't have any problem.
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ConclusionGoodbye| 00:00 | Thank you very much for joining me for
this series of videos on creating a logo
| | 00:04 | where we have gone from zero to a
finished logo and I hope if you have created
| | 00:09 | your own logo you can feel confident
about putting it next to the logos of
| | 00:14 | everyday brand names and
feel that it holds it own.
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