1. tokidoki comes to lynda.com| What is tokidoki? | Lynda sits down with Simone| 00:00 |
(Music playing.)
| | 00:06 |
Lynda Weinman: Hello Simone! Thank
you so much for coming to Lynda.com.
| | 00:09 |
We are very excited to have you.
| | 00:10 |
Simone Legno: I am very pleased to be here.
| | 00:13 |
Lynda Weinman: So I wanted to talk to you a
little bit about your background and find out
| | 00:17 |
things like when you knew that you were
an artist. Did you know from an early age?
| | 00:21 |
Simone: Yeah I think so.
| | 00:24 |
I mean,
| | 00:25 |
my mother, she is a painter and I
always like used to sketch when I was a kid.
| | 00:30 |
I didn't have that much toys and stuff.
| | 00:32 |
So I was always sketching and since
like the kindergarten, the teachers were
| | 00:37 |
putting all my stuff around
like the corridors of the school.
| | 00:41 |
I realized that was really
what I wanted to do even as a job because I
| | 00:45 |
started to study something
completely different after high school,
| | 00:48 |
which was like political science, but
I felt that something was missing in my life
| | 00:52 |
and so, by chance I discovered
like the existence of Illustrator,
| | 00:57 |
through a friend that had a brother
that was architect and he had like some
| | 01:02 |
graphic software so...
| | 01:04 |
After that, I did my best
| | 01:07 |
to find some money and go to design
school and I started to do this design
| | 01:12 |
school and I didn't know exactly what
kind of branch I wanted to enter in to or
| | 01:17 |
what kind of experience.
| | 01:18 |
So during the school, I met some
friends and it was the period of the--
| | 01:24 |
there was sort of like explosion in
the world of web, especially for Flash.
| | 01:28 |
It was like in about 2000 probably, late 90s,
it was like the period of Flash 3, Flash 4.
| | 01:36 |
I was just enchanted by the idea that
my first illustration could move on a
| | 01:40 |
timeline and of course then I will be
handling more sophisticated animations.
| | 01:44 |
So at that point like I decided not
to go in the classic advertisement or
| | 01:49 |
classic advertisement agencies and
I wanted to like to jump into this internet
| | 01:53 |
revolution that was at that time.
| | 01:56 |
So I put up like my first website,
which is www.tokidoki.it. It started as my
| | 02:01 |
personal portfolio and then with my
business partners we transformed it into a brand.
| | 02:06 |
That was like the way like I started to
find a lot for Flash and the web because it was
| | 02:12 |
giving me like my sort of mini TV
channel where I could put everything that
| | 02:18 |
maybe someone in some corner of the
world could see my job, my design, and invite
| | 02:24 |
me to do projects or just like
make some other artist friends and stuff.
| | 02:28 |
Lynda Weinman: So where you
in the Italy at this time?
| | 02:29 |
Simone Legno: Yeah I was in Italy.
| | 02:30 |
Lynda Weinman: Okay so you
weren't living in the US yet.
| | 02:32 |
Simone Legno: Yeah. Then I was doing like freelance.
| | 02:34 |
Like through my website all the agencies
were calling me. I worked for major clients
| | 02:39 |
like Toyota, John Galliano,
MTV, any kind of project.
| | 02:43 |
It could be illustration, it could be
web, it could be a mobile phone content.
| | 02:47 |
And so a nice day, my present business
partners, they contacted me and told me,
| | 02:52 |
hey, your style is so unique.
| | 02:55 |
You have a cool logo.
| | 02:57 |
You have a strong philosophy behind it.
Would you like to transform it into
| | 03:01 |
a brand?
| | 03:03 |
And I was pretty much convinced by
them because they had the same vision and
| | 03:09 |
passion for my work.
| | 03:10 |
Lynda Weinman: You got lucky to
meet up with the right people.
| | 03:13 |
Simone Legno: Yeah exactly.
| | 03:16 |
I think that the fact that I was found
it's luck but it's luck that I worked for.
| | 03:21 |
I mean when you have hundreds of
thousands of viewers to watch your work,
| | 03:25 |
there is someone has to try it.
| | 03:28 |
I was mostly where lucky to find
two great people that are like now great
| | 03:32 |
business partners and friends and
then we are like part of like this
| | 03:36 |
project and I couldn't grow up
so much I think without them.
| | 03:40 |
Lynda Weinman: I, like many other people I'm
sure, were surprised that you were Italian and
| | 03:45 |
not Japanese.
| | 03:46 |
Your work has so much Japanese influence.
| | 03:49 |
Can you talk a little bit
about what influences your work?
| | 03:52 |
Simone Legno: Yeah. Actually recently I was contacted
by major Japanese brand, Asics, and they asked
| | 03:58 |
me to do a collaboration.
| | 03:59 |
They thought that that I was Japanese.
| | 04:00 |
For me--
| | 04:01 |
Lynda Weinman: That's a high compliment.
| | 04:03 |
Simone Legno: Yeah it's a
very, very big compliment.
| | 04:05 |
No, like about Japan, it's
something that it's hard to explain.
| | 04:11 |
For them animation is like
showing the real life in lots of them.
| | 04:14 |
So you are going to see like the
normal Japan, like the trains,
| | 04:17 |
the cherry blossom, like when you get it,
like the food that they have and what
| | 04:23 |
I really love about Japan is like this
dual face that Japan has. One, it's like
| | 04:27 |
a very like minimal
aesthetic as many other things but --
| | 04:33 |
Lynda Weinman: It's a very visual culture.
| | 04:34 |
Simone Legno: Very visual.
It's very like minimal, clean, perfect.
| | 04:37 |
Every time I go there, it's always
like I always find them great inspiration.
| | 04:40 |
Lynda Weinman: Is that your main
inspiration or do you have other influences as well?
| | 04:43 |
Simone Legno: No, but you know like I have
to say that at the beginning when I started
| | 04:47 |
Tokidoki, it was my real main inspiration.
I was like totally-- you know--
| | 04:53 |
it's the first love. You know, you are
like just I thought I lost my head.
| | 04:57 |
Then you know with the passing of time,
Tokidoki became more like the place where I
| | 05:01 |
put all the inputs that I have from the world.
| | 05:04 |
So then for example the fact
that I am from Italy and sometimes when
| | 05:09 |
you are in your own country, you
get attracted about what's foreign.
| | 05:14 |
Now that I am here, I can get like
more somehow nostalgic and I have like
| | 05:18 |
a more stronger sense of belonging.
| | 05:20 |
So I take elements from Italy and
it could be like classic design or could be
| | 05:24 |
like just putting in my characters like
items that are the icons of my country,
| | 05:29 |
like pizza, Spaghetti, Vespa.
| | 05:32 |
Lynda Weinman: Latte?
| | 05:33 |
Simone Legno: Yeah so that's another thing.
| | 05:35 |
Lynda Weinman: So you have so many
characters. It seems like there is a lot of
| | 05:38 |
storytelling in your work.
| | 05:40 |
Is that true?
| | 05:41 |
Simone Legno: Yeah, it's like, you know,
some of them are just, for me, they are just
| | 05:45 |
like visual icons.
| | 05:46 |
They are doing their own
part of the composition.
| | 05:49 |
Some of them they are important for me
and they came behind like a strong concept.
| | 05:55 |
So the one that's most popular for
Tokidoki is the Cactus Friends. It's like these
| | 06:00 |
characters like we have --
| | 06:03 |
Lynda Weinman: This one right here too.
Simone Legno: Yeah. This-- yeah-yeah.
| | 06:07 |
Lynda Weinman: I love these guys.
| | 06:08 |
Simone Legno: Now the concept is that it
came actually, like when you asked me about the
| | 06:11 |
inspiration, what I always say
that the inspiration is not that I--
| | 06:16 |
it's just that all the time like
my mind is trained to find some ideas.
| | 06:21 |
So even it's just like how my mind is
always researching, because all of this Tokidoki
| | 06:25 |
experience it's just like, it's like
sort of my life accomplishment so I live
| | 06:30 |
into it and it's part of me.
| | 06:31 |
Lynda Weinman: Do you have any advice
for people who are getting into design?
| | 06:34 |
Simone Legno: Any advice?
| | 06:37 |
Yeah, first of all, I think that you
have to think that you never arrive at the end.
| | 06:43 |
I mean that you always have
to everyday keep on improving.
| | 06:47 |
Now I don't say to be not sure
about what you do but a little bit of
| | 06:50 |
insecureness and wanting to develop,
wanting to improve like-- yeah, like hunger of
| | 06:55 |
new ideas and having fun and being
humble, that's the key and keep on always
| | 07:01 |
working as much as you can.
| | 07:05 |
There is always someone
better than you up there.
| | 07:07 |
So it's better to aim farther.
| | 07:10 |
Then it's-- I think that even to be
very aware about like the scary people
| | 07:16 |
that there is out there for the artist
that are very ready like to take
| | 07:21 |
advantage of the artist. But this doesn't
mean that at the beginning you don't to
| | 07:24 |
have to make compromises.
| | 07:26 |
It's even important like to at the
beginning like even understand that you have
| | 07:31 |
to make some compromises.
| | 07:32 |
You can't be treated
immediately like a super professional.
| | 07:35 |
You have to make some choices that will
build up your experience and curriculum.
| | 07:37 |
Lynda Weinman: Are you guys even going to be
expanding your design studio where you might have
| | 07:42 |
opportunities for other artists to work with you?
| | 07:44 |
Simone Legno: Yeah absolutely, yes.
| | 07:46 |
I mean like already, now I have two
assistants that could help me out for the work.
| | 07:51 |
In the end I know that the final
decision is mine but it's always good to have
| | 07:55 |
someone that, what do you think about
this, what do you think about that and so
| | 07:59 |
like now we are extremely busy with
Tokidoki but even our idea,
| | 08:03 |
it's later on to make for other artists
what my business partners made for me.
| | 08:10 |
So like start like to discover the
young talents, like bring them in and treat
| | 08:15 |
them as great as my
business partner did with me and fairly.
| | 08:19 |
Lynda Weinman: Yeah. We are really honored to have
you here and I hope that this video is inspiring
| | 08:24 |
to many other aspiring artists and you
are fantastically talented. It's really
| | 08:29 |
exciting to have you.
| | 08:30 |
Thank you.
| | 08:32 |
(Music playing.)
| | 08:35 |
| | Collapse this transcript |
| Simone's Sketchbook: Cactus Rocker| 00:00 |
(Music playing.)
| | 00:06 |
Simone Legno: Everything I design on
Illustrator, like almost always, starts from a sketch.
| | 00:11 |
So now I will just sketch something simple
for you to show you where everything starts.
| | 00:17 |
Generally, I sketch when I am on
travel, because I get inspiration from
| | 00:21 |
people I have outside. I watch
every item. I just try to filter it and
| | 00:27 |
transform it in my own way.
| | 00:29 |
So I am sketching like the Cactus Rocker,
which is a new character that I have
| | 00:34 |
to do to continue the Cactus Friends series.
| | 00:38 |
Like the Cactus Friends is one of the
most popular-- probably it's the most
| | 00:42 |
popular series that we have in
Tokidoki and I'll show you to make you an
| | 00:47 |
example about my inspiration, like the Cactus
concept came in-- it was a lazy summer hot day.
| | 00:54 |
I was in South Italy, where it's very
hot, and I was observing like this
| | 01:00 |
cactus plants that were around.
So I watched one of them and they had two big ears,
| | 01:05 |
like a sort of a rabbit or mouse.
| | 01:10 |
So everything really started from there.
| | 01:13 |
So the Cactus Friends are
dressed up into a cactus suit to protect
| | 01:19 |
themselves from the bad
things that are in the world.
| | 01:23 |
| | 01:25 |
So I get started.
| | 01:26 |
| | 01:30 |
Generally, I sketch. This is one of
the most formal sketch books that I have,
| | 01:36 |
but I really like to sketch lots of
characters, even like on tissues in a bar,
| | 01:43 |
or like a flier when I am
on the bus, wherever I am in the world.
| | 01:50 |
So it's not very important to
have like a big sketchbook.
| | 01:54 |
Generally, I choose this kind of
simple number 2 pencil to draw because
| | 02:02 |
first of all, they are very soft and
it's very simple to draw with and
| | 02:09 |
of course you can cancel,
if you make some error.
| | 02:12 |
Sometimes I draw with whatever I have.
| | 02:16 |
It can be like a normal pen, because
for me it's important to just like,
| | 02:24 |
| | 02:24 |
take a note of the idea.
| | 02:25 |
Sometimes it's not something
not very precise, very simple and I am on
| | 02:30 |
the street. I sketch a lot when I go to
Japan, and then I just go back home and
| | 02:34 |
maybe like I copy that idea. I do it
better on this more proper sketchbook,
| | 02:40 |
where like I save all ideas that
probably in the future I want to develop with
| | 02:46 |
Illustrator and put it on some product.
| | 02:49 |
I sketch during the weekends or
sometimes just before going to bed or I try like
| | 02:57 |
to keep the sketchbook open.
| | 02:58 |
So when I walk around the house, like when
I am going to kitchen, I just stop for a while
| | 03:03 |
and if I have some idea, I just
put it down. Or sometimes, even if it's not
| | 03:08 |
a great idea, just for the pleasure of.
| | 03:10 |
Because any idea even if it doesn't
look like that useful, I can bring
| | 03:15 |
to somewhere else.
| | 03:16 |
When I was a teenager, I used to like to
sketch for the punk rock gigs that were in town.
| | 03:24 |
| | 03:25 |
In Rome. I am from Rome.
| | 03:27 |
Then during high school,
| | 03:29 |
if you look at all the books I had,
during the lessons I was always on the side
| | 03:34 |
doing little characters.
| | 03:37 |
Okay and I just add some details.
| | 03:39 |
For example, I am enjoying this sketch,
so like I put these details, the punk
| | 03:45 |
rock patches and stuff, but lots of times,
it's just enough to design the body.
| | 03:51 |
So elements like the zipper or the
like the cheeks, this kind of shades,
| | 03:58 |
it can be added just in
Illustrator. I would have stopped.
| | 04:02 |
Sometimes it's just enough
to have like the main lines.
| | 04:05 |
I have a new sketchbook.
| | 04:06 |
So I want to keep it nice,
so I add all these details.
| | 04:09 |
| | 04:12 |
And between all these lots of
lines I will chose when I trace it,
| | 04:17 |
like in vectors, I would choose
exactly where I want it. It's probably,
| | 04:21 |
it's going to be here.
| | 04:23 |
When I was doing design school,
I chose a branch that was more or like
| | 04:25 |
do or die advertisement.
| | 04:28 |
But then when there was a period that
Flash started exploding, it was between
| | 04:37 |
Flash 3 and Flash 4.
| | 04:39 |
And I really loved the idea
that I could make stuff animated.
| | 04:45 |
So I started from there to develop more
like this character world, because
| | 04:50 |
characters are simple.
| | 04:52 |
Both for expressions and the movements.
To animate like a character, it's just
| | 04:58 |
enough to make their legs move and
the short arms, they don't have like the
| | 05:02 |
fluid movements of a real human being.
| | 05:05 |
So like I started to keep on
designing more and more illustrations.
| | 05:09 |
Illustrated characters
just to throw them into Flash.
| | 05:14 |
And so during design school,
my style it was more like-- it was more
| | 05:19 |
about actually learning like the
tools and the major rules of graphic
| | 05:24 |
design, advertisement, the
composition and that kind of stuff.
| | 05:28 |
I think that developing like the style
as you can see it right now, it's just the
| | 05:34 |
fruit of daily work and daily research
and I think that if I see like the way,
| | 05:39 |
I was sketching one year-and-a-half ago,
it was already different from now, and
| | 05:44 |
even if I see like some designs
that I did when I started Tokidoki as
| | 05:49 |
a brand like two-and-a-half years ago,
it's already like less colorful,
| | 05:56 |
less funky than what I do now.
| | 05:58 |
So like doing design it's a matter
of growing together with your own design
| | 06:04 |
day-by-day and just keep on transforming it.
| | 06:08 |
Keeping like some stuff for
your style, it's a sort of backbone.
| | 06:12 |
But then keep on adding and keep on
learning more because the design is
| | 06:19 |
something that is part of the history.
| | 06:21 |
So keep on changing and changing and
especially when you do product and you
| | 06:26 |
product for fashion, like there is even
some trends that it's good to feel them
| | 06:32 |
from the street and try to get them
and follow the trends in your own way.
| | 06:39 |
| | 06:39 |
I need to design this for our new toy.
| | 06:40 |
So what I would do is not continue on
designing because I have-- it's the moment that
| | 06:47 |
I have to design this one and I don't
have time to keep on sketching, because
| | 06:53 |
generally sketching it's
more like in a relaxing moment.
| | 06:55 |
So what I would do right now is
just take it, put it into the computer,
| | 06:59 |
and start tracing it.
| | 07:03 |
(Music playing.)
| | 07:20 |
| | Collapse this transcript |
| Mozzarella: Building the Outlines| 00:00 |
(Music playing.)
| | 00:06 |
Simone Legno: The first character that
I am going to draw is going to be Mozzarella.
| | 00:10 |
It's one of the most popular of the
Tokidoki set and Mozzarella is a girl
| | 00:16 |
dressed up like a cow and she
is holding like a machine gun.
| | 00:19 |
Generally I like to try to put
dualistic things in my design, something good,
| | 00:25 |
something bad, something mature,
something childish, all together.
| | 00:30 |
So like the cow is a very weak animal
somehow and so she needed some protection,
| | 00:38 |
so I put a machine gun.
| | 00:39 |
I choose this style of machine gun,
a tommy, because it's like the one
| | 00:45 |
the mafia used to have in the 30s.
| | 00:47 |
So I wanted to have a bit fun of
fun at some of the stereotypes of my country.
| | 00:50 |
I am Italian.
| | 00:52 |
And the Mozzarella is a story, like
she is a good girl and she goes and steal
| | 00:57 |
the milk from the bully's lunch box and
gives it to the good kids, the child who
| | 01:03 |
got beaten by the bullies.
| | 01:05 |
And now I will show you how I design.
| | 01:09 |
First I sketch it on my sketchbook.
| | 01:12 |
Then I scan it with my iPhone.
I just take a picture and I send it on my
| | 01:17 |
computer and from there I start to
trace it using Illustrator and now I am
| | 01:22 |
going to show you how to do it.
| | 01:27 |
| | 01:27 |
So now I drag the photo straight on
Illustrator and I copy the image.
| | 01:36 |
| | 01:38 |
I put it on my file.
| | 01:40 |
I block it.
| | 01:41 |
So like it's not going to move
and I am free like to trace it.
| | 01:45 |
| | 01:48 |
I generally like to start with a bright trace.
| | 01:51 |
Generally, I put a bright color,
so I can see it very easy and then
| | 01:55 |
just later on I am
going to put the colors I want.
| | 01:59 |
| | 02:04 |
I only use the Pen tool with my mouse
and I don't use like the tablet, as lots
| | 02:12 |
of people think. It's just a bit
of patience and I use the Bezier curves.
| | 02:17 |
| | 02:21 |
Yeah, this is just like the basic way
of tracing something in Illustrator.
| | 02:27 |
I use the iPhone to sketch my image,
just because it's faster and I generally
| | 02:33 |
like to work with my laptop
and I travel a lot for my work.
| | 02:38 |
I have appearances, I have
different kind of stuff, of business trips,
| | 02:42 |
trade shows.
| | 02:43 |
The phone generally it's a
very little scan to carry with you.
| | 02:51 |
| | 02:53 |
And then it's quicker for sure.
| | 02:56 |
And then, I don't need like a
very high definition or high quality.
| | 02:59 |
For me it's just enough
to see like the main lines.
| | 03:04 |
Sometimes I don't even put that many
details, because the little details I just
| | 03:11 |
build them straight on Illustrator.
| | 03:15 |
Cute characters can be designed simply
straight on Illustrator without using a sketch.
| | 03:21 |
But the reason why I use a sketch
especially when I draw more complex
| | 03:27 |
characters, like the Asian woman, like
doing it first with the pencil gives it like
| | 03:35 |
something more instinctual,
which is like the real drawing.
| | 03:39 |
So you can have like softer lines,
that only the hand I think can give.
| | 03:46 |
I tried to use the Wacom tablet.
| | 03:48 |
But I think for Illustrator is
better with the mouse. It's more precise.
| | 03:53 |
And then I think the tablet, it's more
done for working with pixels and use it
| | 04:01 |
as a brush or as a pencil or
any other design drawing tool.
| | 04:06 |
So now what I do is just I draw the
basic vectors one-by-one and then later on
| | 04:16 |
I will put the colors and I will put them
on the right layer or in the right position.
| | 04:25 |
The way I do these characters,
| | 04:27 |
I think that the stylized characters are ,
since they are like actually stylized
| | 04:32 |
and simple it's easier to do, to
communicate something than let's say
| | 04:39 |
like a normal more like description
style. Like with a with a cute character or
| | 04:43 |
a cartoon character, it's easier to
make expressions stronger like anger,
| | 04:49 |
happiness and they are not like
humans that-- there is more complicated
| | 04:56 |
expressions and feelings behind it.
| | 04:58 |
They are like more instinctive.
| | 05:03 |
Before I drew Mozzarella there were
like lots of years of designing characters
| | 05:10 |
and at the beginning they were like not--
I was not very happy about it, because
| | 05:17 |
I had to find my exact style after I
left the design school and between all the
| | 05:22 |
styles that I developed for
different clients as a freelancer,
| | 05:27 |
at the end I could
finally find what exact I wanted.
| | 05:30 |
So before Mozzarella, there were lots
of characters and they were in a style
| | 05:36 |
different from how it looks right now.
| | 05:39 |
| | 05:51 |
| | Collapse this transcript |
| Mozzarella: Filling in Color & Shape| 00:00 |
(Music playing.)
| | 00:06 |
Simone Legno: Hi! So this is
Mozzarella, like the basic lines.
| | 00:09 |
So what we will do next is
put in colors and put in every layer at the
| | 00:14 |
right position and then do all the details.
| | 00:18 |
Okay so now it is very important in a
character like the weight of the stroke.
| | 00:25 |
I think that sometimes the
thicker stroke gives like more
| | 00:29 |
strength to the image, and especially
when you go on production you print it
| | 00:33 |
somewhere with a big stroke
you are going to see it better.
| | 00:37 |
So what I am doing now, I choose a
which kind of weight that's fine for us,
| | 00:41 |
then I will choose the
background color of the character, which is
| | 00:46 |
white, as lots of cows.
| | 00:49 |
I just I put it behind,
because it's going to be under the face,
| | 00:53 |
and under everything else.
| | 00:56 |
So I use this same thickness of the stroke.
| | 01:01 |
Now I will choose like skin
color and this should be fine.
| | 01:07 |
| | 01:08 |
I always use a lot the Color Picker,
because in this case like it is different
| | 01:14 |
the color, but using it will give me
the same stroke thickness and so I just go
| | 01:19 |
and I will change the fill.
| | 01:22 |
So light blue is her hair.
| | 01:25 |
Then at the beginning I put
very basic colors then at the end I go into
| | 01:28 |
the detail and I play a bit.
| | 01:31 |
So I don't need any
thickness for the eyelashes.
| | 01:33 |
So if I press the Shift and I use the
Color Picker, it is going to just to take
| | 01:38 |
the fill color and not the
stroke color and stroke thickness.
| | 01:42 |
So now I click using the Shift
and so I just change the fill.
| | 01:47 |
| | 01:52 |
Then something I would really like to
use in the stroke is changing like the way it ends.
| | 02:01 |
So like, all right. For example for the
smile, I have it sort of squared like this.
| | 02:06 |
It is not very cute. So generally I change
the join. I make it a Round Cap and a Round Join.
| | 02:12 |
Right now, I am passing from the
Color Picker to the black arrow just by
| | 02:22 |
simply pressing the Command, so it
just like jumps from one to the other.
| | 02:28 |
So then it is at this point as you can
see like all the layers, all the elements
| | 02:36 |
of the illustration are all not in the
right position. Like for example like
| | 02:42 |
the body is over the chin.
| | 02:47 |
So what I will do now
I will little by little put
| | 02:50 |
everything in the right place.
| | 02:52 |
So it is going to be like using the
layers without using the layers and a way
| | 02:57 |
I like to put them in order, one above or under
the other, is press Command and a square bracket.
| | 03:05 |
So like for example now you will
see that the body starts to go down.
| | 03:09 |
So now it went under our
last layer, this sketch.
| | 03:13 |
So, now I press right square bracket
and it is going to be over that one, but
| | 03:19 |
behind everything else.
| | 03:20 |
So I just do like this dance.
I select everything I want to be the same color.
| | 03:28 |
I just put it together
and press arrow and Shift.
| | 03:32 |
So like the selection become a multi-
selection and then I just like to give them
| | 03:37 |
the color I want. I continue with the
machine gun right now and I start to put
| | 03:44 |
again everything in the right place.
| | 03:46 |
So I need like the back of
the gun to be behind the elbow.
| | 03:51 |
So I again Command and left square bracket.
| | 03:54 |
So I select everything I want to do in
gray like the machine gun, using the Shift.
| | 04:02 |
So let's choose a light color gray
here and I start to play with the details.
| | 04:10 |
| | 04:11 |
Again the Round Cap. I like
the join of the stroke to be round.
| | 04:19 |
I'll just put this again in the right
position and let's make it black,
| | 04:26 |
take out the stroke.
| | 04:28 |
And we have the earrings
that are going to be yellow.
| | 04:34 |
| | 04:34 |
Then I like to make like a stain,
like just taking like a portion of the ear
| | 04:38 |
and just copy and paste
like this ear, one over the other.
| | 04:43 |
So I make Command+C, Command+F to stick it over.
| | 04:48 |
Then I select this line, which is
where I want to cut the ear, and I select
| | 04:53 |
the ear together using Shift and then
I go in the Path Finder and just using
| | 04:59 |
Divide is just going
to break it in two parts.
| | 05:03 |
So I take out the part I
don't need, which is this one.
| | 05:06 |
So I will have like this left stain
that is going to be just independent
| | 05:11 |
and precise as the ear.
| | 05:12 |
So I bring both of them behind, and
since I don't want to have like this
| | 05:22 |
difference between this stain and
the ear, I copy the ear, copy and paste
| | 05:28 |
over, and then put in like a stroke
over the stain. It is going just to make the
| | 05:36 |
image look pretty clean.
| | 05:38 |
We bring everything behind and we put
this level up and now that I have the
| | 05:45 |
basic Mozzarella, like once I have
all the details in the right place,
| | 05:52 |
I'm going just to play with details
and shades like this just a little bit.
| | 05:59 |
| | 06:10 |
| | Collapse this transcript |
| Mozzarella: Defining the Details| 00:00 |
(Music playing.)
| | 00:06 |
Simone Legno: Okay, for example once I ended
up with the shape of the head-- like I don't like very
| | 00:12 |
much where it is. Especially
when you print it, you are going to notice
| | 00:16 |
that the stains are
somehow over the outline.
| | 00:21 |
So I repeat what I did before. Copy and
paste over the shape of the head, I take
| | 00:26 |
out the fill, and then I just bring it up.
| | 00:30 |
I start to bring it up over the stains,
so we can see that now it looks like
| | 00:36 |
pretty nice and clean. Then we
put the horns above everything.
| | 00:41 |
It's enough just to cut it and paste it over.
| | 00:44 |
So we have it over everything and same here.
| | 00:49 |
Sometimes it is just enough to tidy
up using the vectors. And now check
| | 00:54 |
everything from close and then
realize that we have to be sure that
| | 00:59 |
nothing is above the other.
| | 01:01 |
| | 01:03 |
Repeat the same with the body.
| | 01:06 |
| | 01:10 |
Let's put that in the body above
everything. It is just the stroke because
| | 01:12 |
now that we have the stroke over
everything we just select the same parts of the
| | 01:17 |
group altogether, we group them,
and we bring everything behind.
| | 01:22 |
So everything his body is behind
and it is very clean at this point.
| | 01:26 |
| | 01:31 |
Okay then let me see which is the
problem right here. Probably just make it.
| | 01:39 |
Probably like yeah we have here.
We have the arm, which we have to
| | 01:43 |
cover with that part, so it is just
enough to make this stroke a bit
| | 01:48 |
longer and it is going to
cover that imperfection.
| | 01:53 |
| | 01:58 |
The vectors sometimes on the monitor
they look like very clean, but when you
| | 02:03 |
print they are really-- you can see
all the errors happening lots of time.
| | 02:08 |
So I learned to be very careful.
| | 02:13 |
| | 02:13 |
So sometimes I do shades.
Like it is just simple.
| | 02:21 |
It's just like we take a part
| | 02:24 |
of the element, copy and paste
over with the Command+C and Command+F.
| | 02:32 |
So now as you can see we have like two
parts of the machine gun, one above the
| | 02:37 |
other and I use the Knife Tool.
| | 02:41 |
So with the Knife Tool I cut a part,
and I take out what I don't need and
| | 02:46 |
the part that I want to be shade is
going to be like the part that I save.
| | 02:50 |
So now we have like an identical part
over the beginning part, and so it is just
| | 02:57 |
enough to make it like slightly
darker and then take out the stroke.
| | 03:04 |
But now again every time you
take out the stroke you see that there is
| | 03:09 |
some imperfection and we
have to cover it with another stroke.
| | 03:14 |
So I will copy and paste over,
bring everything up and take out the fill
| | 03:20 |
and you see like here
everything is pretty clean.
| | 03:23 |
So now I want to make the cheeks,
that are going to make the face look pretty cuter.
| | 03:33 |
So you can do it again. I just copied
and paste the same face, like I copied it
| | 03:38 |
over so it's double.
| | 03:39 |
So I cut out the part I want to
make darker pink just doing like this.
| | 03:46 |
So these are going to be the cheeks and
I will not need this one because I have
| | 03:51 |
under that I have the other pink face.
| | 03:55 |
And so I have just these two cheeks.
| | 03:57 |
I take out the stroke, I don't need it,
and I just give it a little bit of color
| | 04:03 |
to make it pinker and again
I don't like this problem.
| | 04:09 |
So we will just cut and paste over.
| | 04:12 |
We have this face again.
| | 04:14 |
We take out the fill and the cheeks
are pretty clean because they are covered
| | 04:18 |
from the nice thick stroke.
| | 04:21 |
When I do a character it is always
important I think to have soft and precise lines.
| | 04:27 |
So I don't like big hard curves,
so it is good to do it like this.
| | 04:32 |
And then at the join it is always
good like to keep it pretty soft.
| | 04:38 |
You know we can see here where
there is the stroke palette, there is
| | 04:42 |
like this part, and so like now this
is pretty spiky, but if we go here,
| | 04:48 |
the horn would become soft and nice.
| | 04:53 |
And it is good even like to--
Before we put some shapes, but it is good
| | 04:59 |
to put some reflection.
| | 05:02 |
So let's say that this here is light
blue. I want to put like a lighter blue,
| | 05:08 |
which could be like a
sun reflection or whatever.
| | 05:11 |
So again I copy and paste it over.
I cut out the part that I am interested in,
| | 05:18 |
take out the part I don't need and
this one is going to be lighter blue.
| | 05:22 |
Just take out some color. Or like if
you want, let's say we have like a mixed up
| | 05:28 |
color, like this one.
| | 05:29 |
If we press the Shift key and drag one
of the colors of the CMYK or even RGB,
| | 05:37 |
like all the other-- if I change the K,
pressing the C, even in proportions,
| | 05:44 |
even the C, M, and Y are
going to change in this way.
| | 05:47 |
So it would keep
like the same tone, you see.
| | 05:52 |
But anyways now we will need just the
lighter blue and this is a very simple science.
| | 05:58 |
So it is just enough like to play
with the Cyan channel and here we are.
| | 06:04 |
So again we have like this thing that
we don't like and I just copy and paste,
| | 06:11 |
bring it up, take out the fill and
we have again like a clean line.
| | 06:16 |
So then you know I fix
this stuff. I rotate this.
| | 06:21 |
Actually I notice that here I need a
couple of parts of the machine gun.
| | 06:26 |
It's for just simple things.
We really don't need a sketch;
| | 06:29 |
this is just simple.
| | 06:31 |
So let's take the same color,
using the color picker.
| | 06:36 |
Sometimes this is good enough
to have like all the stroke identical.
| | 06:39 |
There are some parts that somehow
they don't need to have the same thickness.
| | 06:45 |
So you can go like a little bit thinner.
| | 06:49 |
And sometimes you want like to make
more relevant some parts so you give them
| | 06:54 |
like a bigger stroke.
| | 06:55 |
So we can copy like pressing-- like
dragging the thing and pressing the Option
| | 07:04 |
altogether like this. It is just
going to copy it and that's all.
| | 07:08 |
Like again with Command and the
square bracket we bring it down.
| | 07:14 |
So this shape can be
even like a straight line.
| | 07:19 |
So it is enough to make a
line like this, if I want to put like a
| | 07:25 |
reflection over the gun.
| | 07:27 |
I put like the soft Round Cap and a Round Join.
| | 07:33 |
I will make it lighter.
| | 07:36 |
I will make a lighter gray, so
it's just like the sun going over the gun.
| | 07:46 |
Then at the end like with Command and
Option and 2, I just unblock whatever I had
| | 07:51 |
blocked and so I can rid of the sketch.
| | 07:55 |
It is always good when we design
like a more complex design to look around
| | 07:59 |
at whatever you have because sometimes
when you unblock it and if is there is
| | 08:03 |
something blocked over there,
like you can erase even that one.
| | 08:09 |
Now without the image behind
you can notice other details that you maybe
| | 08:17 |
want to be more careful.
| | 08:21 |
| | 08:23 |
We can even add like some shade on the head,
copy and paste over, cut away like this.
| | 08:33 |
So I will take out the part we don't
need. Just like a little bit of grain is
| | 08:40 |
going to be enough to give that like
a warmer color. Just to give a little
| | 08:46 |
bit of shade could be fine.
| | 08:48 |
| | 08:59 |
| | Collapse this transcript |
| Mozzarella: Preparing for Production| 00:00 |
(Music playing.)
| | 00:07 |
Simone Legno: What generally happens
| | 00:08 |
right now depends on what
kind of product we want to do.
| | 00:13 |
But generally like since this is a very
simple-- like working in Illustrator
| | 00:16 |
you have the opportunity to have very
good files for production because
| | 00:22 |
most of products that are done
out there, that have like a very bright image,
| | 00:29 |
are made like in vectors.
| | 00:30 |
Because generally they print in silk
screen, which means that the every color,
| | 00:34 |
it's like a different film.
| | 00:36 |
And so like they are going to take
this file, divide it into colors.
| | 00:42 |
So generally you work in colors
that go like from 1 to something that
| | 00:46 |
is 12, 13 colors.
| | 00:50 |
So depending on who is going to
produce it, you have even sometimes to
| | 00:54 |
simplify this image. So this image
should be fine because I'd say it's
| | 00:58 |
maybe like 11 colors.
| | 01:00 |
But it sometimes happens that you have
some vendors or some technique that
| | 01:05 |
in machine, that the maximum can go 6 colors.
| | 01:09 |
So like for example in this case,
I would need like to take out or
| | 01:14 |
take out some parts or
make some color compromise.
| | 01:18 |
So for example, if I have to
scale it down in 6 colors, it just--
| | 01:21 |
for example, this yellow is not a must, so
you can have like silver earrings, so already
| | 01:26 |
you eliminate one color.
| | 01:28 |
You can eliminate like the
reflections, like this color,
| | 01:33 |
it's very similar to the skin or to the
cheeks, so probably like the horns are
| | 01:38 |
going to become like one of the two
colors, maybe like the skin color.
| | 01:42 |
Take the reflection on a product. Like
sometimes you don't even notice because
| | 01:46 |
for example, on a t-shirt,
generally it's a moving media, the person.
| | 01:51 |
So you don't notice all the details so
like you can do the compromise of taking out
| | 01:57 |
these kind of colors.
| | 01:59 |
For example, this one, we can just
take out the shade, so probably like here.
| | 02:06 |
Then generally like I
design like swatches next to me.
| | 02:11 |
So let's say if my limit is 6 colors,
I just have like the 6 swatches
| | 02:17 |
that are going to fill in
with the colors that they choose to
| | 02:20 |
save or to keep.
| | 02:22 |
So let's say black and
white of course, it's a must.
| | 02:25 |
So I think the brown might be used.
So we've already used three colors.
| | 02:30 |
The light blue, it's a good color,
and then one skin and the gray.
| | 02:36 |
So in this case, as you can see,
I have to choose between keeping like the
| | 02:42 |
cheeks, so take them out.
| | 02:46 |
And in this case you should take out this color.
| | 02:50 |
But maybe if you want to keep the
cheeks, like two colors that are--
[00:02:54.6]
we got rid of this shade or just for this
shade we can use a gray which is very similar.
| | 02:59 |
So as you can see the image didn't
change that much. Or if we want to
| | 03:04 |
save the cheeks we have to get rid of
the brown but the brown, it's very similar
| | 03:10 |
to black, so we just have to check if
the color-- So even this could be
| | 03:15 |
like a good result for a T-shirt, for a watch.
| | 03:18 |
But generally the modern
techniques, you don't have problems
| | 03:22 |
with to work a T-shirt with 12 or 14 colors.
| | 03:26 |
To make a toy, there are like two
different ways and generally it's enough to
| | 03:33 |
draw in Illustrator in the same way.
Like to draw like the turn around and so
| | 03:38 |
it's enough to have Mozzarella in the front,
| | 03:40 |
Mozzarella from the right side,
| | 03:43 |
Mozzarella on the left side,
the back and the top.
| | 03:47 |
This image is going to be given to a sculptor.
| | 03:51 |
He is going to make a sculpture and
mold and he will style the different
| | 03:55 |
perspectives that you gave him
and so he starts to mold the toy.
| | 04:00 |
And then he starts to send you
images of these handmade molds.
| | 04:05 |
And generally like in Photoshop I change
this, I change that, like if I could do it
| | 04:10 |
with my own hands. So maybe like make
the head bigger, make the horns bigger,
| | 04:14 |
the face more flat, and these kind of things.
| | 04:18 |
And then after the mold is approved to just
like go to production, you give the colors you want.
| | 04:26 |
Generally everything is
chosen with a Pantone book.
| | 04:31 |
| | 04:33 |
And then you have to design the
packaging of the toy, which is not a very easy job
| | 04:39 |
as every packaging because you
have to take care not only about the design,
| | 04:43 |
the illustrations, but even
all the technical requirements
| | 04:46 |
like bar codes and the text and every kind of
different information, legal and technical information.
| | 04:55 |
When you got your first mold,
you feel great because I think that
| | 05:01 |
every character designer wants to see
their character becoming three dimensional
| | 05:08 |
and be able to touch them and not
just have them flat on the screen.
| | 05:15 |
So for sure, it's different.
It's nice to have Mozzarella on my desktop but
| | 05:20 |
it's even nicer to have it on my
shelf or just right next to my bed.
| | 05:26 |
| | 05:34 |
| | Collapse this transcript |
| Q&A with Simone| 00:00 |
(Music playing.)
| | 00:11 |
Simone Legno: As every artist or brand,
it's always very important like to put your name there,
| | 00:18 |
so that people recognize it.
| | 00:20 |
But I think it's not just the logo that
gives the style or the brand. It's even
| | 00:25 |
like having like your own style.
| | 00:29 |
| | 00:31 |
Like the most easy and important
for a brand item is a T-shirt because a T-shirt
| | 00:39 |
is a great canvas and generally
people are always like looking for new
| | 00:45 |
graphics to wear, so a T-shirt. And then
even myself as an artist, even since
| | 00:51 |
I have like a punk rock band,
| | 00:52 |
the first thing you want to do is to see
your design on a T-shirt and just walk around.
| | 00:58 |
| | 01:02 |
It's very important for like
jewelry, like for example something like this
| | 01:06 |
skateboard, it's impossible.
| | 01:07 |
So you have really to go and choose,
like your icons could be your logo, it could be
| | 01:12 |
like the very, very simple items because
the jewelry is very small and the work
| | 01:17 |
with a molded metal.
| | 01:19 |
At that dimension you have
to be extremely synthetic.
| | 01:21 |
| | 01:26 |
We still have a brand philosophy
where we want to focus mostly into more
| | 01:33 |
mature and adult kind of fashion
accessories because our goal is to make
| | 01:38 |
understood that the cute character,
it become really like a pop icon.
| | 01:43 |
It's not because it's cute
it belongs to the kid's world.
| | 01:46 |
| | 01:50 |
We have a collaboration
with this company called Smashbox Cosmetics.
| | 01:55 |
It was a great experience for me
because it's always good to learn.
| | 01:59 |
It was mostly like to apply the
Tokidoki lifestyle concept into cosmetics.
| | 02:03 |
So it's not just about the packaging,
but it's about like finding those colors
| | 02:08 |
that match with the idea of a Tokidoki girl.
| | 02:11 |
| | 02:16 |
Shoes. We're doing a collaboration
with Japanese brand, like the number one
| | 02:20 |
Japanese brand. It's called Asics and they
have a division called Onitsuka Tiger.
| | 02:24 |
So in Spring we'll come out with shoes
and the experience was great because for me
| | 02:28 |
it's not just like to print over a
shoe but I even learned how to build up a
| | 02:37 |
shoe and I had even like to engineer the shoe.
| | 02:40 |
So it's not only thejob of an illustrator.
It was more or like as probably the designer.
| | 02:47 |
| | 02:51 |
For an event, you have to design like
the entrance of the event, you have to
| | 02:55 |
think about all the passes and all the
details, like the T-shirts of the staff.
| | 03:01 |
So for example, I designed, as soon as
I move to the States, I designed this
| | 03:06 |
event called Mercedes-Benz Fashion
Week, which is in Los Angeles, and it was a
| | 03:11 |
very nice experience because you can
print your vectors like huge and probably like,
| | 03:17 |
I don't know how many feet high,
but very high, and it's a very
| | 03:20 |
great feeling for sure for
every designer to see something big.
| | 03:25 |
| | 03:30 |
I'm sure that there is so like many
more experiences that I can do, so that's
| | 03:33 |
why I always keep on loving my work.
| | 03:36 |
And I think that I do like the best work
I can do, because I could skip from one
| | 03:42 |
work to the other and then from the web
and the technology into something like
| | 03:46 |
extremely creative and artistic in
different mediums because animating stuff
| | 03:51 |
and putting them online, you know that
millions of people can potentially see this.
| | 03:56 |
It's really the best thing.
| | 03:58 |
| | 04:02 |
At this point, I'm really trying,
first of all, of course to always keep
| | 04:09 |
on developing like this style.
| | 04:13 |
But I'm trying to do lots of painting
right now because it's like about 10 years
| | 04:17 |
that I spent 14 hours a
day in front of the computer.
| | 04:21 |
So I would like to dedicate some hours
from time to time for painting, which is
| | 04:26 |
a very cool category where I want this
new challenge that I really never
| | 04:31 |
like could dedicate much time to
because all my time was mostly like for
| | 04:38 |
illustrating and doing products.
| | 04:39 |
So I want to try properly in that field.
| | 04:45 |
| | 04:47 |
| | Collapse this transcript |
| Skate Deck: Building a Design| 00:00 |
(Music playing.)
| | 00:07 |
So today I will show you how to
apply my graphics on a skateboard.
| | 00:12 |
We will start from the template
that this skate company that makes our
| | 00:15 |
skate decks provided me.
| | 00:17 |
And I will start right now.
| | 00:20 |
So the first thing we have to do it's
like we have like the guidelines that
| | 00:26 |
have to be blocked, because they're moving.
| | 00:29 |
So we just select all and a
Command+2 would block them.
| | 00:34 |
And then I find it a bit uncomfortable
like since the shape of the skate as you
| | 00:40 |
can see is long and horizontal,
like the idea that I have, it would be easier
| | 00:46 |
for me like to draw it in vertical.
And anyways I have to trace the shape
| | 00:54 |
of the skateboard, because I want to be
able like to change the background color.
| | 00:59 |
So the first thing I do is just
select, creating like a backspace, where to
| | 01:03 |
put like a back color.
| | 01:05 |
So it's kind of quick.
| | 01:06 |
It doesn't have to be precise,
because we always have to leave out of any
| | 01:11 |
template like extra color.
| | 01:13 |
So if the print is not the very precise,
you'll have like some margin color.
| | 01:19 |
So for now I put the random color,
like depending on the images I choose.
| | 01:26 |
| | 01:27 |
I am going like to modify it.
| | 01:29 |
So here I've prepared, I've
brought a file that I did before
| | 01:33 |
that's a wall that I printed
for trade shows of Tokidoki.
| | 01:38 |
| | 01:39 |
And so I have like lots of images here,
and from here I'll choose what to use.
| | 01:45 |
I like this girl and it would be like
pretty useful, because my idea is if you
| | 01:53 |
look to the head here, like the shape
would suit with the shape of a skateboard.
| | 01:57 |
So I think she could be
like a good start-off for us.
| | 02:01 |
So I just select her, and copy her
and I paste it inside the template.
| | 02:07 |
| | 02:08 |
All right for me it's going to be easier
to work hopefully vertical with the board.
| | 02:12 |
So I just turn it around.
| | 02:15 |
When we turn something in Illustrator,
this is one of the basic things, if we
| | 02:19 |
press the Shift, it's going
to move it precisely 45 degrees.
| | 02:25 |
So this our skateboard.
I block it, as every background.
| | 02:30 |
So it's not going to bother me.
| | 02:33 |
Then I just-- this is my idea as a
major concept. I like to fit her shape,
| | 02:39 |
with the shape of the skateboard.
| | 02:42 |
So I think these colors are pretty good.
| | 02:45 |
So I think for now we can put some
color that is similar that suits with her.
| | 02:54 |
So just make it a bit
lighter maybe, or more yellow.
| | 03:00 |
Okay so this is a good color for me and
then now we have to fill in this area.
| | 03:07 |
So I think that some
characters here will look good.
| | 03:10 |
So I will use the Cactus Friends,
which I talked about before.
| | 03:16 |
| | 03:17 |
So let me look for them
between all these characters.
| | 03:20 |
Bastardino would suit pretty well.
| | 03:23 |
| | 03:24 |
I think it could be nice here in the bottom.
| | 03:28 |
So for now I just put them like this and
then like every element needs to be
| | 03:36 |
in the right dimension.
| | 03:37 |
I like to fill in properly all the
space and we will put like her friend and
| | 03:43 |
owner Sandy, which could
be good to put it here.
| | 03:50 |
I put Sandy right here because I don't want to--
this is mostly the center of the board
| | 03:58 |
and I think the hand
is not like such a main element to
| | 04:02 |
focus the attention of the person.
| | 04:05 |
So then just to look we have to
put everything on the right level, but
| | 04:12 |
still the composition is kind of poor.
| | 04:15 |
So I just want to put more inside to
make it like more colorful and funky.
| | 04:22 |
So what else we can put? I think
we need some smaller elements.
| | 04:26 |
These records could work
pretty well, so let me try those.
| | 04:31 |
It's all a matter of trying.
I am choosing like certain pieces.
| | 04:40 |
When I build the collection,
the new collections of Tokidoki,
| | 04:44 |
a lot of times I try to use the
newer-- to add some newer characters to
| | 04:49 |
their older ones.
| | 04:51 |
So I try to like to use them more or
less in the same period, because this is
| | 04:55 |
the one that is going to like,
gets me excited in this period as
| | 04:58 |
everything is new.
| | 05:00 |
So I am putting them together and
then you are going to have to choose
| | 05:04 |
something that would work with
the space you want to fill in.
| | 05:08 |
And some are more like detailed and
some are more like a graphic and basic,
| | 05:14 |
and they suit better. Like for
example, this cloud, and they suit better
| | 05:19 |
like for the background.
| | 05:21 |
So there is some elements that you can
just show partially and then you just
| | 05:27 |
exploit them to make your
background more colorful, and to fill in like
| | 05:32 |
the optical emptiness.
| | 05:35 |
Then it's always very important to
brand every piece you do, or to sign it,
| | 05:42 |
if you are like an artist.
| | 05:43 |
And so put the logo, so maybe I can put,
to make the logo stand out better,
| | 05:53 |
I can put a cloud under it.
| | 06:00 |
So I am going to have the logo
sticking out. Then I see like
| | 06:06 |
all the background of
the deck, it's all the same, flat.
| | 06:12 |
So like maybe I would like to
create different color areas.
| | 06:16 |
So what I will do is going to copy and
paste again, like the board over it, and
| | 06:21 |
just cut it in parts like a piece of bread.
| | 06:27 |
So like I can create different stains
of colors, which could be important.
| | 06:33 |
| | 06:34 |
So like now I have for example three, four areas.
| | 06:37 |
So maybe I would make this one
lighter. Here we can drop down and maybe
| | 06:44 |
we can have maybe a sort of gradient.
| | 06:47 |
So it's just a matter of practice and
fill it where it needs like more color,
| | 06:55 |
and more weight to the illustration.
| | 06:56 |
All this pink right here is a bit too much.
| | 07:01 |
| | 07:02 |
So I just cut out a piece of this
flower, and maybe I will make this color
| | 07:07 |
probably a bit darker.
| | 07:11 |
So a color that a could match could
be like a violet, because somehow,
| | 07:16 |
it suits well with the color the pinks
of the tattoo and the pink of the flower.
| | 07:23 |
But anyway this deck has lots of colors
and it's not just like monochromatic.
| | 07:29 |
It's not like mostly green or mostly
blue, but trying out. It's always good to
| | 07:35 |
try different colors and never stop at the
first solution, if you are not 100% sure.
| | 07:42 |
| | 07:46 |
It's coming pretty nice I think.
| | 07:49 |
I start to like it, but
designing for a skate deck or T-shirt
| | 07:56 |
depends on the medium, or the product,
like it's pretty different in this case.
| | 08:00 |
Like the manufacturer of
the deck, they work with CMYK.
| | 08:08 |
So I don't have any limit of color,
since they print all of the colors
| | 08:12 |
together and it's not like a
divided color, like in silk screen.
| | 08:16 |
So I can put lots of colors.
| | 08:17 |
Then generally like these kind of
skate decks are like more for pop-art
| | 08:22 |
collectors so they are used to hang
on the wall and you will have time to
| | 08:27 |
observe them and appreciate all
the composition. When you design a
| | 08:31 |
T-shirt you have to have it
be pretty iconic and simple.
| | 08:35 |
It's better to use simple
things, because they are
| | 08:40 |
just more impactful and sometimes
like a too big print on a T-shirt can be
| | 08:47 |
a bit too much like to make it
match with the rest of the color,
| | 08:51 |
or rest of the clothing. And then the
person is somewhat in movement, so if
| | 08:57 |
something is too complicated,
you can't get exactly what the design is.
| | 09:04 |
So sometimes it happens that I have
more complicated T-shirts, but they are
| | 09:07 |
completely two different mediums.
| | 09:11 |
| | 09:15 |
| | Collapse this transcript |
| Skate Deck: Shaping the Design| 00:00 |
(Music playing.)
| | 00:06 |
So now I will finish
this skate deck.
| | 00:08 |
It is just some touches here and there.
| | 00:12 |
Like for example here it is not
nice like to leave these elements like
| | 00:16 |
the flower behind that. It is not clear
what it is. So I'm going to try to
| | 00:21 |
like color something and it is not
very clean so maybe like there is this
| | 00:28 |
area where I maybe I would
like to fill in somehow.
| | 00:31 |
So it might be good like
to put maybe like a star.
| | 00:37 |
This is a pretty popular
graphic element I use.
| | 00:41 |
We can put it here and put it behind.
| | 00:46 |
Maybe now at this point I feel that
it is a bit unbalanced in these areas.
| | 00:57 |
So like maybe like-- it may be
the case to try like to move the star
| | 01:01 |
over here and make the bomb a bit bigger.
| | 01:05 |
So like these two weights
are going to be balanced.
| | 01:11 |
| | 01:13 |
Now, I really I knew what
I have to do more or less.
| | 01:17 |
You know it can take about an hour and half.
| | 01:19 |
Then you know when you go into
production you have like to invest
| | 01:22 |
some thousand dollars in some hundreds of decks.
Like you can't risk this if it is not perfect so
| | 01:29 |
it is like keep on moving for hours.
| | 01:32 |
You have breaks because sometimes it
is good to have a break and when you go
| | 01:36 |
back there, you are going to realize
that probably there is something wrong.
| | 01:42 |
| | 01:43 |
Now, the next stop is-- that's it.
| | 01:45 |
This is like the template that they provide me.
| | 01:49 |
So it's really ready to go. At the
end it is good to mask it like so, so that
| | 01:57 |
it doesn't get confused with
too much elements around.
| | 02:02 |
You group everything to mask it.
| | 02:04 |
I copy the shape of the deck, I paste
it over with Command+F and select both of them.
| | 02:13 |
It is Command+7. The deck is all grouped.
| | 02:18 |
You are just turning it back
and you place it on the template.
| | 02:22 |
We see here there is a light blue line, which
is exactly where they are going to print the deck.
| | 02:30 |
And as I told before, even when
you print on paper, it is always good to
| | 02:37 |
leave some margin so if they don't have
an extremely precise cut, you will have
| | 02:48 |
some color that is
going to show and not just white.
| | 02:52 |
Yeah this is exactly like the same
process that I use when I do the sleeve
| | 02:59 |
of the woman. As you can see like I
design like more and I just apply it over
| | 03:06 |
the body of the girl.
| | 03:07 |
Now, here we have more.
| | 03:08 |
I apply it on the body of the girl and
then I just deselect the shape of the arm
| | 03:14 |
or the leg or wherever the tattoo is and
I just mask it and you cover it this way.
| | 03:21 |
So I think at this point this is ready to go.
| | 03:26 |
| | 03:27 |
We save it and now we just put that in
our e-mail or if it's too heavy
| | 03:34 |
I upload it on my server and I give it
to the people that are going to print
| | 03:39 |
the skateboard.
| | 03:40 |
Thank you for watching me.
| | 03:42 |
I hope you enjoyed it and I hope it is
going to inspire you and to do your own art
| | 03:48 |
and I hope you learned some new technique.
| | 03:51 |
Ciao from Simone and Tokidoki.
| | 03:55 |
| | 04:01 |
| | Collapse this transcript |
|
|
