*Transcription Disclaimer: the following transcription was automatically generated, and may have errors, or lack context.*
Good morning. Good morning. Good morning.
How is everybody doing today? I hope you guys have your coffee. You guys are ready to go? It's Monday. I hope you guys are absolutely excited for our set.
A fantastic week. How is everybody doing? I see everybody's in Chat. I know we're going to have a great time.
Hi, Shauna. Hi, Tim. Hi, Steve.
Welcome, welcome. So today what we're going to do is we're going to get started in Illustrator. We're going to be building a brand kit.
Really a brand. And then we're going to build a brand toolkit for everybody. So at the end of it, you'll kind of have, like, your logo, some patterns, some illustration stuff.
Nah, we won't have time for that. So we're going to do colors, type, lockups, all those good things that you might need to turn over to a client. And then at the end of it, we'll show you how to build it in Illustrator as, like, a final deliverable to turn into your clients or whatever.
We're not going to do it in InDesign because I want to show you guys how I do it in Illustrator. Obviously, whenever I turn it into a client, I typically use InDesign, but I think you can do it all in Illustrator. So if you don't want to get too complicated with a new software, we're just going to work in Illustrators today.
Tim, a bit on the quiet side, though. Okay, I'm going to turn it up. I got it dialed.
We're good. Hi, all. No image, no sound.
What? Oh, no. Carol, you might have to refresh just in case. So can you guys hear me better now? Is this better? Sure.
Refresh? Yeah. Let's do it. All right.
So this project essentially started from me looking at my portfolio and saying, you know what? Oh, my gosh, steve, you're from the Dimension Streams. It's true. We did one Illustrator stream before since the last time, and that was about, like, doing a coffee badge and logo and stuff.
So today we're going to be working on a luxury flower brand. So essentially, I looked at my work, and I said, okay, what is my portfolio telling me right now, and what do I want to do that separates it from my normal work? So I looked at it, said I do a lot of serif typeface stuff, a lot of vibrant, bright colors. So what I wanted to do was essentially contrast all these very, very bright colors that I typically do in my work and also get away from doing San serif typefaces.
I do it a lot. I like how they stack. It works really well for me, but I feel like that makes me look like a one trick pony, and I really want to show the world that I'm not just one sided or one faceted.
So what we're going to do is a luxury flower brand, and we're going to try to contrast what I currently have. So I'm going to do darker, richer colors, kind of similar to, like, atticus with the Serif typeface, and try to do something that's a little bit less off trend or maybe on trend, but off of what you would historically think about for a flower brand if you were to go down the street and stuff. So we're going to open up Illustrator.
Boom. POW. If you're following along at home, this is what we're doing.
Open up Illustrator. You're going to have a white square in the middle of your screen that's not very helpful for whenever I do a brand design project or new logo or anything. So you're going to press Command Shift H if you're working on a Mac, and you're going to open up the artboard so that everything is just a gigantic white screen for you.
All right, so I've kind of got like a grocery cart list here in the corner, top left corner of my artboard for screen space. And I really want to get done today. I want to have all these options.
I got naming, logo, vertical, horizontal, badge, and pattern. So today we only have an hour together. So we don't have a brand toolkit download file today, Jose.
But I will build one for tomorrow for you to have. Since we're not going to be doing the brand toolkit today, we will be doing it tomorrow. So today we're just going to show you how.
I would go through building, naming, logo, vertical, horizontal, different versions of it, badge and patterns today. So we only have an hour today and an hour tomorrow. So that's already a really tight schedule for building a whole brand, essentially.
Camilla asks, what is the command? Only a sad face. Yeah, I know. Only an hour.
Camilla asks, what is the command? The command is Command Shift H. And that will take you away from your artboard and open up the screen real estate. And you can do that, and you can just shift O if you need to make multiple different artboards and stuff.
But right now, we're not worrying about how we're going to present anything. So Command Shift H, and we're going to start working in the typeface itself. So what I did for this project, since I want to do a flower brand, I don't really know anything about flowers.
So I started looking at what are flower parts and what's the anatomy of a flower. And so essentially, I decided that I want to use perianth. There's a part of a flower also called a stigma, and I thought that was cool, especially from the Greek backgrounds of it.
But stigma also has a negative connotation. So what I did was this is my favorite parianz. And so I want to just work that into this logo.
Since it's not a real client, it doesn't have to be anything super fancy. But I found a beautiful typeface earlier called Casta, I believe. So we're going to take this typeface.
We're going to type casta. It's a beautiful variable font. So if any of you have ever had a variable font, you have this beautiful tool within Illustrator.
You can stretch it out in the width and it'll dynamically shift and change. You can change the width of the it's really, really great to work with shifts, slants all these good things really gives you a lot of customization. So variable fonts are really coming up in the world right now.
Companies like Dropbox redid their brand system and started using variable typefaces. So it's important to kind of look at what the world is doing. Variable typefaces give you a lot of really great abilities within customizing your type.
So for this type, I wanted to start focusing on its variability and what are the really great elements within this. When I saw this typeface, I thought it could translate really well into some geometric patterns and into some floral elements and things that we might want to leverage for patterns and things like that. Yeah, it's kind of art nouveau ish.
Yeah, I like that it's a serif typeface, but it also is a little bit brutalist, especially when you start looking at this as like headlines or paragraphs or poster designs or anything like that. So what I'm going to do is I'm actually going to take this perianth and I'm going to looking at my portfolio, I know that I use a lot of really bold letters throughout for logo types and stuff. So what I'm going to do is actually make a narrow make it a little bit thinner, lean more into the elegant side of things a little bit.
I think this is okay. A great thing about working in Illustrator is we have a lot that we can explore really quickly and pixels are cheap and free. All right, so what I'm going to do is actually I'm going to start I'm going to use option left or option right on the PC.
It's alt and you can actually just adjust the kerning by just pounding the left and right keys with Alter option and knowing I kind of want something probably tighter. So that's feeling nicer. So you can already see how much better the typeface looks by just pushing the letters a little bit closer together.
So I've got these options here. This typeface also has a couple of different other letters that have alternative characters. So you can see, like, the N has this kind of the A has this kind of slanted version, also has an upright version.
It's kind of nice. So you can adjust things how you want it. I don't know.
I don't know how I feel about that yet. I kind of like how it goes towards the T, but we'll see. So what we'll do is we'll just duplicate this line again because we already got the kerning the way we want.
What I'm going to do is actually create outlines. Let me just see if there's any other interesting characters. So what I can also do I think there might be go to Open type Controls and see if there's any yes.
Okay. So in here, if you go to your command T, it'll bring up your type selection. If you open up your open type drawer, essentially is what it's called.
I guess you can look at discretionary ligatures. And then what it'll do is if there's like double T's or Ti or an Ri, sometimes they'll have, like, custom ligatures that go with it. And you can see by me clicking that, it says, oh, there's a nice little R overhang on the I.
And so it'll just do that for you. But I don't like their version as much as I would want for myself. So what I'm going to do is actually just going to create my own outlines of this type.
And now you won't be able to adjust your typefaces, so just be careful whenever you do this that you want to have a working type also selected that you already have kind of built and saved somewhere in the artboard, just so you aren't doing anything destructive. Oops, command Shift H. All right, so I'm going to actually ungroup so whenever you do an outline, everything's going to be grouped together.
You don't want it to be grouped together for this, or if you want it to be grouped together, you can and just kind of double click into each individual. But I prefer to just ungroup it by doing Command Shift G, and I'll ungroup everything. So now that each letter is its own, so there's a couple of things off the gate that I like, but I don't necessarily like.
So I love the geometric ends on each of the letters. I think that's really cool. I think this R itself, I can take this little bit here and command C, command V.
Now I've got this kind of interesting R overhang, but this R for me, could be a really cool flower almost. You can kind of build your own flowers off of this. I could take the triangle shape at the top and just remove this bottom section here.
Sorry, Delete. Maybe there's an opportunity. There might be an opportunity here.
Let me close the impasse here. There might be something that we can play with Oop within this that could become a flower of some sort. I'm going to group it, and I'm going to flip it horizontally.
Reflect, vertical, I don't know yet. We'll keep that for later. But that's kind of an interesting concept.
All right, so what I'm looking at with the type is I don't necessarily like that T would work well as a flower stem. It would. Yeah, I was thinking about that too.
That could work really well. And so what you're going to look at is I like that the baseline works really well for just, like, being even across. So if you look at this right now, that's the baseline.
I think that's fine for paragraphs and type and things like that, but I kind of want the P descender to go down below the baseline. So what I'm doing is just selecting by pressing A, I'm going to take the Direct select tool. Or you can just take the white arrow here and I'm going to grab it and I'm just going to pull it down below the baseline.
And right now we're just doing it for like placement. So we don't need to be perfect or really exact with it. But what I'm going to do is essentially take this same kind of concept, taking the A selection or sorry, by pressing A and clicking the direct selection tool.
We have like, options here to start messing with the letters shapes themselves. So what I'm going to do is I'm going to pull down the I just a little bit not sure if I want it to be super far below the A or not. I'm going to shorten this stroke or lower the width.
So this is where the looking and I'm trying to see where the letters so this is kind of where the E goes to. So I want to I'm going to lock the guide. Actually.
I can just make this a guide. So by me going in taking this line, I can just say make guides. And now it's a guide.
So now whenever you press command Ellipses, you can see the guide. So what I'm going to do is actually take my direct selection tool again and I'm going to raise this section to be right at that point where the E is. So we have a horizontal motif going all the way through the logo type.
All right, so I'm going to do here is now take the R, actually. So I liked the idea that they had with the custom ligature, but I didn't like the execution of it as much. So what I'm going to do, I'm actually curious.
I'm going to press command R. That's going to bring up the rulers. So you can see that on the top and side now of my screen, how it kind of frames it now.
So now I can pull in my own guides. So I'm actually going to grab this. So this line kind of goes throughout and you see it crosses across the R to the N to the T.
And then you have certain characters like the N's. They's the curves kind of have to go over it or else it looks kind of wonky, which means we'll see. I'm not sure how I want to fix this R yet.
What I'm going to do is going to take the I'm going to save this again, the little square. I'm going to save that for later. Maybe we'll make a pattern out of that.
I'm going to see how this might look. I'm going to actually pull this out by command X, command F. I'm pasting it in front of now, and that will allow me to have it kind of working in front and away from this grouped eye.
And so what I'm going to do is actually turn this around. But as you can see, I'm having a hard time seeing how I want to line this up. Right.
It's kind of looking weird. So what I'm going to do is press command Y, and it's going to take me into the outline mode. And so now I know exactly where my elements of my letters are.
So what I'm going to do is I'm going to try to keep this square as much as close to the original as possible, but I want to get this tight. I want to get this corner at the top and the corner at the bottom to match, and I have to stretch it a little bit to make that happen. Boop.
There we go. So that's pretty good. Might want to just do a small little rotation.
And I'm just going to slide this over, and I'm just doing a shift drag just to make it move in a perfect straight line. Across or up or down. I'm just going to rotate ever so slightly.
Cool. Just zooming around my artboard, moving things around. All right, cool.
So what we can do now go back to away from outline mode, we could see does this look right? Does it not feel right? Maybe I need to just remove that left anchor point. So I'm going to duplicate this down below just to quickly see what the difference could be and remove the guides. So right now we've kind of got this eye, but I is feeling too high to me right now.
There's not enough space right now within this kind of area. It's starting to feel maybe like an N versus an Ri. So what I'm going to do is actually just move this over since it'll stay on the same guidelines, so you can kind of see that there.
All right, so what I'm going to do good morning, Jennifer. How are you doing today? Welcome, Megan. First time watching live.
Wow. Welcome, welcome. All right, so what we've got here, we're going to take the R.
I'm actually going to direct select the R up. I'm going to grab these little anchor points so that they're not off behind, and I'm going to actually bring it up. And I think, unlike the normal typeface, I feel like I might the stock typeface, I feel like, looks really good because it's all kind of built on those horizontal guides.
I think I'm going to try to contrast that and break the guides up a bit. So I'm going to move this. I'm just going to delete that.
So now we've got kind of like a more sharp edge there. Maybe that's okay. All right, so there's no right or wrong answers yet.
We're still just fiddling around. We're trying to move as quickly as possible because then we only have an hour today. But I'm going to just start kerning every individual letter, try to get them a little bit closer to each other.
And we're going to leave the a the I out there a little bit, move over the A, and then I'm going to move over these elements. And looking at these, the A, the and E, they're all kind of on the same grid line. The te right now is kind of on its own thing.
And so what I might do is try to see what this is my first time here. You're so excited. Welcome, Alex.
Welcome, welcome. Hope you guys are having fun. All right.
Oh, no. Snap. Get back in there.
All right, so I'm going to make a guide here real quick. For the top of the R. I'm going to try to see if there's any possibility of moving this T up without breaking completely.
I'm almost tempted to try to, like I'm going to try to move the H stem up as well to match. I don't know if that's the right move or not, but we're just exploring and trying stuff right now. It actually just move this over so I'm not looking at it next to everything else, and I just want to kind of, like, zoom out a little bit and see if it's working or not.
It could be. Let's see. I'm curious if I brought the T down below the so if I kept that there, maybe I move this over.
A lot of your time making a logo is going to be experimenting and trying things. Obviously, we could have just used the typeface by itself, but then that's kind of, like, not original and not very exciting. So make sure whenever you're doing this stuff, just be open minded.
See what's working for you, try things out later on. You can get really NIT picky with it. Like when I did the Atticus project here, I essentially found a typeface that I liked as a starting point, and then I rebuilt all the letters within it to kind of have similar kind of anchor points, similar base, actually the same base across each letter point so that consistent geometric shapes the whole way across.
So you can get really granular. You can really, really finesse everything. But right now, while you're working through this stuff, just be open, try things, see what's speaking to you.
I want to see if the type I think we're getting there. I just want to move this over just slightly. I want to make sure that the kerning is feeling balanced.
I think the T and the H probably could be moved over a bit. It's pretty d. Thank you, Viola.
Appreciate it. Appreciate it. All right, let's see.
I think what do you guys think? What do you think, Chat? Should we move on to doing a little like a badge real quick. Um, I think it's looking pretty good. I'm trying to look and see if it looks on, if it zoomed out, maybe the R needs to move over just slightly.
It all right. Let's move it over just, like, one pixel just to see. I'm trying to also worry about readability, but maybe I don't need to as much.
It's all right. All right, so what we're going to do the lowered t was nice. You liked it? Carol? I'm not sure.
Maybe it's okay. Let me pull it back. I'll bring back the lower t.
Just bring it to the eye level. I'm tempted to maybe, like, remove the spike on it. So what I'm going to do is actually just take the P, and then I'm just going to press P.
Get your pin tool out. And then there we go. Do that mess with these anchor points really, really quickly.
I don't know why this starts to feel like an Evanescence logo or something. Badges? Do we need some stinking badges? I think we do. Let's watch.
This feels a little dark. Yeah, it's kind of dark. I like that.
It's like, not a typical flower shop. All right, so what we're going to do here make a little batch. All right, so even Laura Mipsen looks cool.
Maybe that's what we need. Just Lauren, I really want to use this o for something. It's so that's that's.
So maybe we'll let's I'm on to something. Chat. Thank you.
Chat. All right, we're going to do a very thin o. Take that o out.
I'm going to use this o instead of just a normal like, instead of a normal circle. What I'm going to do is I'm going to make a monogram real quick. I'm going to use this o as the oh, my goodness.
What am I doing? All right, press my type tool. Just PF. But actually, I need to highlight these letters, and I'm going to grab my eyedropper tool, and it will click on here, and it's going to pull the exact same typeface from the kind of open type.
Working already. Hey, Alex, how do you get inspiration? I get inspiration everywhere. I don't know everywhere, but I love looking on behance see what people are, you know, going outside, seeing what know.
New York is a great place for that. I live in Portland, though, so whatever you can see just around you, like how people are doing. Type, how people are exploring things.
What are they doing? That's really interesting. How does it make you feel? Things like that. Then start synthesizing that information to build something that makes you happy.
So what I'm going to do is this little monogram. Maybe it feels like the F is hooking in there. Maybe the P is now too long.
So maybe I need to just break these apart. Ungroup. Do you need to find out more about variable fonts? You should definitely Sean's, like, outside no.
All right. Going outside is tough right now, but yeah, just anywhere, like books, movies, TV shows. There's like interesting things, video games.
You can find a lot of inspiration anywhere. You just got to kind of be like, open to accepting it. So it kind of is feeling pretty good there.
I'm curious now, so if I just create an outline of this type, just move this over, bing, POW, I'm going to pull this out. Delete that. But that's kind of feeling wonky.
What is this outside? The thing that you put, like, put on a virtual headset and then you can go see what the outside looks like without having to leave it's like, ready player one. It's fine, you don't need to go outside. But that's getting kind of interesting.
The inside space feeling pretty good with it. What I think I am struggling with on that is it feels so heavy compared to the rest of it. So what I'm going to do is actually open up this compound path.
What I'm going to do is double click the inside layer area. Does anyone remember PF Flyers? I do not. What fonts do you prefer, sir? Varan asks.
Varan. I don't know. I mean, it really depends on the project I'm working on.
Each typeface kind of has its own feeling that I might be trying to capture for a client or a project. So it really just depends. I personally find myself using a lot of San Serif typefaces that are really bold and that can typically stack really well on top of each other.
So what I was thinking for this was to leverage that O. There's elements of the O still in there. It's not completely perfect anymore because I kind of shrunk the inside or enlarged the inside.
It's a little wonky, but anyway, so we can look at it compared to a normal circle monogram. We could do just an ellipse shift X to change really quickly between fill and stroke. Alex, are you on a Mac or PC? I am on a Mac, but I also have a PC because I like my video games.
But I am working on a Mac right now. So what I'm doing is just taking a perfect ellipse and seeing, okay, how does this look in a circle? And it looks like it needs to be up, just bumped up a little bit, but that's like kind of too clean. It almost needs this kind of wonkier version.
So what we can do is actually duplicate this over a little bit more and then we can go to this stroke characteristics section. So you can go basic oh, sorry, to the stroke characteristics up here. And then you can change what they look like.
So you can change if it's wobbly and all that good stuff or does it look like, let me click it. So you'll just recycle through it and you can kind of see what each one does. It so I think probably the one on the this one here is probably the strongest so far.
So what I'm going to do we only have 30 minutes left. I want to see what this might look like. We're going to do a pattern very quickly, but really what I'm trying to see is how this stuff might look in like a collateral piece.
So I grabbed this from unsplash. I grabbed a bunch of little mockups from unsplash the other day for this project. But what you can do is just throw in as a great way to do this stuff for a client project, way to help them visualize their brand.
And then we can grab this logo. I can throw it in the bottom and we'll do just lorna. Let me just grab it real quick.
All right. What I'm going to do here is actually just grab the typeface that we already have been using. Try text warp once.
What do you mean? Is this for a real client? No, this is not. This is just a portfolio piece that I felt I needed to kind of balance out some of my work. So there's no right or wrong for this.
It's just kind of like what does my portfolio not have and how do I build it to make it? It's important to make the work that you want the world to see in your portfolio. If you're looking for a job anywhere, build the work that you want to do for the rest of your life or else you're going to have a hard time convincing people that you can do that work. It doesn't have to be for the rest of your life, but what you want to do at that moment, it will help you a lot.
All right, it's a white typeface right now. Just going to do this. I'm going to turn off caps.
The spacing is way too crazy right now. And yes, you probably don't want to use 72 typeface for this stuff, but this is just really quickly to just kind of see what a letter might look like. It's a great way to help kind of show clients how their brains come alive by using mockups, making your little mockups and things.
But I mean, that's looking pretty nice. You could see that like being a know it's looking good. Sean has says, I like your monogram lockup, my dude.
Thank you. Yeah. You like the bold version of the david says he likes the bold version of the I mean, I think I just do so many Bold.
Essentially the whole project is just to say, don't do what I normally do for every single project. Right? So that's the case. I do so many bold logos already that I wanted to do something a little bit lighter.
I'm just trying to contrast what I normally do. And part of that is also just coming out of my own comfort zone as a creative is. Like, if I'm used to doing one thing all the time, then I'm not really growing or learning, so I'm okay with trying to fail.
And if nobody likes it, that's okay, because I did it to grow my skill set and stuff like that. This is great. But the great thing about this is that if we wanted to, what we can do is we can take this bold type, make like a fake poster really quickly.
And because I do so many vibrant colors flower ipsum, carol, you're brilliant. Flower Ipsum would be great, but because I always do, like, this would be like a normal color that I'd probably use, and I'd probably do some crazy stack of let me actually show you what I would probably typically do. I'd probably do something like this.
Grab this, and then I'll grab this. I'm going to adjust the tie color. Boom, POW.
I'm going to click the white end here. And now I have the text box editor. So if I was to like, thank you.
So, yeah, I'm all about this stuff. Like, all right, wider better. Let's make it wider even.
Like, we can get wonky with it. So I'd probably do something like that, and then I'd probably throw in, like, thank you, Tim. Thank you for that copy.
I needed that. Maybe that was the brand name. It should have been floor.
Mipsum. You guys are too smart. Ah, the sneeze weed.
Sneeze Weed would be a great band name. All right, let's bump it up. Bump, bump, bump, bump, bump.
I'm going to take my paragraph up here. Just hide the hyphenation. Bump, bump, bump, bump, bump.
Right? So, like, that would be my typical probably approach, and that's like, it's cool, it's fine. Maybe need to bump this text bounding box out so that formipson is on one line, but knowing that I don't necessarily want to do that for this project. Right.
So what we can do is contrast that with what I want to do for this project, which kind of flips the script on what I normally do. And I'll go in and I'll probably choose more of, like, probably like a muted downplayed color. Do something like that.
Let's grab I've got some mockup sorry, some stock photos I got from Unsplash. You can also use Adobe stock. You can use Adobe stock to grab your images.
But I knew that Unsplash would have some artsy style photos. I can start playing with this color and maybe bring it in and be like, maybe this needs to be not orange. So we can still use the bold type, but probably want to pair it with, oh, I lost the little bit.
So I'm pressing I to grab the background color really quickly. Just boom, boom, period. What we can also do is do variable typefaces throughout this.
Let's floor, Mipsum. And then this guy gets a little bit bumped down, but then this starts to look a little bit wonky by itself. It can still be there.
Maybe this needs to be love the burgundy y'all good. As long as Sean is happy. So we start contrasting it.
So this is what a poster could look like. It's like get a little bit more less heavy, more into. Kind of weird.
I don't know. We have a lot of with the variable typeface. We have so much we can do with it.
Let me actually just bump that down and actually cool. So now it feels like maybe there's like what is it called, the charts that you typically see in, like, a botanist book or whatever. Maybe it feels like a table or a note or whatever.
Instead of black, try bright yellow and see. Not all clients do, though. What am I missing? Add the scent of flowers to the darkness of your life.
Oh, my goodness. That'd be a great business card. You actually have a candle business.
This is perfect. Jack Wall trades here. Nice.
That's awesome. Yeah, that's the thing that was kind of what inspired me originally. I was like, okay, I want to do a candle kind of company thing like that.
But what I actually really want to do is contrast what I normally do with the photos, which are very bright, and I want to do like those old artistic still life paintings. So like a darker motif, kind of like this image. Or let me see here like, here something that's a little bit darker in the colors.
Very deer. So anyways, so we're running out of time. So we got about 15 minutes left.
So let's make a pattern really quickly. So I'm going to take this logo and we can do kind of the, like, Louis Vuitton approach where we just take this. I'm going to take the selection, I'm going to group it, and then what I'm going to do is actually do a pattern make and then I get to control.
So this is kind of like you can make your own little dior logo by doing this, just by repeating it constantly. But this is a little too heavy right now. So what I'm going to do is actually you can experiment by changing the way that the tiling type goes.
It's kind of interesting, and maybe that's okay. The great thing about this is we can just experiment and see. We can just keep things pretty loosey goosey.
Ah, let's see here. I'm just gonna try to 80. Will that work? Okay, so I want to try to see if I can get the footing to be on maybe 79 too much.
Will that work? Oh, cool. Okay, it does. All right, 65.
Let me see here. Width. Do I want it to be closer? All right, so I'm going to do PF.
One is the name of this. That's an option. So really quickly, I love making patterns, especially.
It's such a great way of adding details to your project. What I'm going to do is fill this and it goes into your color swatch section. So we've got different options here.
We'll just do is actually bump these up. I'm going to move these over here, fill that, boom. So we got busy, busy pattern there.
I'm going to do another one file make, object pattern make. And then I'm going to see what it looks like by just making the much further out. So if we do a three by three now, it's a lot smaller.
This is where if you were doing your candle business, this could work really well. How can you adjust your font like this? I don't see the tool anymore anywhere. What do you mean? I am not currently working with Live Type currently.
But if you ever lose your type mine was hiding behind the Swatches button. But if you lose it, like if it goes away, you just press Command T and it'll bring back up the Type tool section. So you'll always have it in here.
Are you talking about the variable typeface? So right now if these are outlined versions so you can't adjust the type anymore. But there are certain fonts that aren't variable. Like if I typed in like, Open Sans, which is available on Google, you're not going to see a variable typeface button up here.
You just have kind of your normal type sizes and weights. But with the variable typeface, it gives you that custom variable stuff. So it's important if you're looking for a variable typeface that you find one that is actually variable.
And then also whenever you're looking myfonts.com or Adobe Fonts and stuff to find one, just like, look, make sure that it is actually variable. Some say they're variable, but they go from like extra bold just down to bold.
And while that's fine, it just might not give you what you want. Whenever you see patterns, it reminds you of pajamas. It's true.
It looked good. But I mean, who doesn't want one of these as a pajama pattern? All right, so we've got those. We didn't make a flower yet.
I think that would probably take a little bit too long. But what we can look at is we've got these elements here. Since we only have an hour today total, we'll probably just take this beautiful little square.
We'll make a simple pattern for that. Do pattern make, object pattern make. And then so this is going to be way too heavy.
So again, probably do something like three inches. Three inches, three inches. Boom.
POW. That's too far now. So maybe I'll just do like one inch.
That's like a little too because the grid pattern just goes kind of up and down. Not going to give me what I want. So I think I might do like a hex by column, hex by row, actually.
It will get me a nice little looking pattern. And you can see this being used in like, business cards, collateral like if we wanted to, we can actually me actually just make this 0.5 by 0.5.
All right? So if we wanted to, we could take this little poster real quick. And then what I'm going to do what I'm going to do is I'm going to post this back, actually command f. Command f.
So it goes on top of the background here. What I'm going to do is I'm going to fill this background with that new pattern we just got. And we can adjust these colors.
If we wanted to, we could bring it into, like, Photoshop or whatever. Let me see. Actually want to see what this looks like.
We can start throwing it into, like, Photoshop smart object. And then we can just kind of pull it. But I'm going to add a layer mask on top of this.
I know we're working in Illustrator today, but it's cool to see what your projects can look like in Photoshop. All right, so what I'm going to do is actually just even color overlay. Probably just add like small, little maybe I'll try to bring in that burgundy from earlier back to Illustrator.
Boom. Bow. Grab that, bring it into Photoshop.
Double click on that, paste it in so you can see this could work for like, a header maybe. And then bring the monogram down. Actually it and to bring down the tight make.
