*Transcription Disclaimer: the following transcription was automatically generated, and may have errors, or lack context.*
Good morning, everybody. Welcome, welcome. My name is Alex Lazaris.
I run a design firm out in Portland, Oregon. Looks like everybody's having great Monday morning already in Chat. If you are on YouTube watching, come on over to Behance so that we can actually engage with you.
And I'll be reading Chat from here. So please come on over, be part of the community and hang out. Tim, Sean, Carol, emily.
Welcome. Emily, I see this is your first time on Behance Live. Welcome, welcome.
I know you are in for a treat. You're going to have a lot of fun today. We are working on, like, a luxury candle flower brand thing.
It's a personal project. It's just going to go in our portfolio, so it can be really whatever we want. We kind of focused it really on, like, a flower brand.
Yesterday, again, lowers levels. There we go. There we go.
Is this better? Sorry, guys. The audio thing. Who would have known? Always an issue.
All right, we're good now, though. It should be good if I can turn it up just a little bit more. Get it into your ears.
There we go. There we go. Let me know if that's still too low or not, but we should be good.
Carol, good to see you again. How's everybody doing? Shauna. See you guys.
Better. Perfect. Awesome.
Good to see that. Well, so anyways, back to kind of recapping what we were working on. We're doing, like, a luxury Candleflower brand.
Yesterday, we really focused it on flowers, but really you could work it for anything. So we're kind of just working with looking at my current portfolio. Follow me on Behance if you'd like.
I do a lot of photography work within all my brand case studies so that I can really build out a unique and interesting portfolio piece. And looking at my portfolio, I noticed that I don't really have as much luxury stuff. I have a lot of skate, graffiti, kind of like street inspired work.
And I think that lends itself to the color palette that I typically use, which is, like, more vibrant, bold, kind of in your face, and a lot of bold San Serif typefaces. So I'm starting to try to diversify my portfolio a little bit, so I want to do, like, a bold, kind of wonky Serif type face. We already did, like, last time we did Adobe Live, we did these beautiful hot sauces that we ended up using dimension and Illustrator for.
But I want to do something that's a little bit more irreverent, I guess. This is like a nice high end kind of project. I think it lends itself to that.
But I want to do something that feels a little bit more counterintuitive. So I want to flip kind of the strips, the script a little bit on it. So what I'm trying to do is build a flower luxury brand.
We worked on this logo yesterday. We're going to go through brand guidelines in a bit. So we ended up exploring a bunch of things.
We only have an hour today. We had an hour yesterday. So this was really fast.
We're trying to get spinning up new collateral, new pieces really fast to build a brand and a brand toolkit that you might be able to present to your clients. And I'll kind of explain throughout this process how there's not a perfect direction all the time. There's not, like, one strategic approach for every client project.
So adapts, be flexible, you'll be fine. This is really for you guys. So if you have any questions along the way, please let me know.
We're going to go over color illustrator. We're going to be doing the brand toolkit in there. So some guide stuff, some just kind of best practices.
So if you have any questions, please ask. I'm happy to answer them. Whether it's how to deal with clients or how do you present this stuff or whatever you want, I'm here for you.
Welcome. Mark, how are you doing? It's like right in the studio with you. Perfect.
Good, Shauna. That's how we want it to be. So anyways, so yesterday we made this kind of different explorations around Purianth, which is the name of our fictitious project that we're working on.
And then I ended up this morning looking back at the logo, and the logo was like this, where the H descender was at the baseline. And I felt like that wasn't really like, kind of re. It didn't complement the P as much.
So I just brought it down to match the baseline of the P. And I think that's kind of an interesting play where it kind of feels like it's balanced on both sides. And so I did a little quick mock up earlier of just like, what this could look like within a newsletter or a magazine cover.
And honestly, the scale for this logo, I feel like is just too large. So I'd probably bring it down a little bit. And by a little bit, I mean a lot.
And then I'd probably just rest it on top of that. I think by downplaying the size, sometimes it allows people to like there's like a quote that's about speaking to people, and if you're yelling at somebody, they kind of like, shy away from it. And I'm kind of taking that approach where if you whisper, people typically lean into you.
So think about that whenever you're designing. Think about those motifs you can carry over. So with this, I think downplaying the logo a little bit kind of creates more interest and people might be more engaged by looking at it rather than like a gigantic logo that's in your face and it spans the full bleed.
I mean, that's kind of cool too, but I think leaning into the smaller logo might feel pretty nice. So anyways, we're going to be going over the brand toolkit stuff today. So I'll show you some examples.
Kind of just start so this is kind of when I explain that brand toolkits and brand guidelines that you present to a client or give to them to be successful, it really depends on the client. It depends on the product and the kind of work that you're doing with them. Here's an example of doing like a web style guide and light brand guideline all in one document for a client that I did, which was Atticus.
And if you've seen it on my portfolio, you'll notice that this logo, the one that I really like, is not necessarily the one that they chose. And this is kind of the original brand guidelines for them was kind of leaning into explaining exactly how the logo works and why it is what it is and how you can use it throughout their collateral. And so that's like a lesson.
If you guys are liking a logo or something like that and a client doesn't necessarily like it, it's okay, you can still put that in your portfolio. Just make sure that you have in your contracts explanation around that you can do that stuff like I have in my contracts that all my iterations, if they are final or not, can go into my portfolio because I think this work is really good and I want the world to see it because I want more clients that like that style. So just going back to this tangent here.
So in this little web style guide and stuff, jose asks, hi Alex, how you doing? How do you get payments from customers? I get payments from my customers either through credit card or check or PayPal and stuff like that. It really just depends on the client and all that stuff. I decided, Jose, that I won't be just sharing out a brand toolkit publicly because I think it really depends on the client.
I was trying to figure out, okay, if I was somebody watching the stream, I don't want you to feel like my way is the only way to do things. And so I didn't want to give you a toolkit that says do these things because I don't think that's helpful to you and I don't think it's helpful to your client. I think you should make it your own.
So I'll explain how I did this one for Etiquette and then we can make our own together and you can kind of lean. Hopefully by the end of this hour we'll have a better understanding of how you can make your own presentations that feel really interesting and unique to clients. So for me, I hate seeing brand guidelines that are like don't do logo like this, don't do logo like that, don't skew it, don't flip it, don't do those things.
I feel like everybody should know this stuff right now, but some clients really want the do's and don'ts. So you can do that. I personally don't think that are that helpful because I feel like if anybody's going to skew your logo or change it or adjust it or just break it anyways, they're going to break it to begin with.
So really depends on what you agree with your client. Anyway, so this just goes black and white, logo, goes straight into color palette, starts to explain the font families. And because this was a web style guide also, I get into the nitty gritty, within line spacing, line heights, h ones, h two S, h three S, paragraph text as well.
This is very granular, right? Like, this is very granular. Shauna says, everybody should know this. Oh, you would be surprised.
I know. I don't know. People will still break it, right? Like, even if you put it into a document, people are still going to break your guidelines.
Just because you say don't do these things, doesn't mean unless you have a really complicated logo. I've worked with some clients in the past that have had logos that were kind of off center or something like that. Then building guidelines around how to use a logo that needs to be visually balanced versus metrically balanced, that makes more sense, right? But see that you can kind of succeed through this example, that this is for your web style guide.
Here's how h ones can look. Here's the variations. And the great thing about working within Illustrator is I used to really love building all my websites within Illustrator, especially for vector graphics.
It's such a great way of building your files out. And then I could just quickly pull them across and have all my h ones, H three S, all that stuff built out. I used to work with a bunch of people that used to work in InDesign for this exact reason, where you could just have h ones, h three S, all that stuff all the way built out inside your text and paragraph styles.
So you essentially just export the website and you can separate out the images really quickly. So there's a lot of Adobe tools that you can use to build your websites, and there's no wrong or right answer. But feel free to use XD as well if you want.
So, yeah, you kind of can see like, button states, everything gets really granular, talks about. This is a really great way to send it over to development. You can get into the grid systems, baseline grids, like overlays, showing how sections could work, getting into navigation, all that stuff.
So this is very, very heavy, as you can tell by my kind of document being floating around. But you can see very heavy, very specific, very rich. We're not going to be doing that craziness today.
And Tim says, yeah, it might be a bit obvious for us, but if you're the client who hired you because they don't know how to design, it might not. I mean, I guess I've just gotten to the point in my career where I don't have to deal with those clients that are going to take what I did and break it. I think, like I said, if they're going to break it, they're going to break it.
They're not going to look at the document and be like, I don't know. Maybe I just have too much faith. That's okay.
It's part of the process, right? It's like, whatever. Empowers the client to do their best work is what I want to solve for them. All right, so we got this logo.
We got this beautiful little monogram. So we got the two finals are here, and so I know I think Jose was asking yesterday about color, so I can show you guys kind of quickly how I would go about building color. And like I said yesterday, I kind of want this to be flexible because it's for my own brand, but I understand that that's not completely helpful for learning how to do it.
I love to have really flexible design systems to work with. Oh, my goodness. My computer.
Let's go. I need to pep talk sometimes. This is so slow.
All right, go. Cool. Now that it's got its coffee.
All right, so I'm going to actually just take these elements. I like the orange. Like the orange.
I'm going to grab probably three. How many colors do you guys want today? I could throw this here, maybe say, like, we got these, like, kind of darker. Let me throw this behind here.
Command f to paste in place. All right, so what we're going to do is actually why is my computer running so slow today? Let's see. We can throw in maybe this gray.
All 1867. Solid pantone colors. Perfect.
We'll get started on that right now. Sure. My computer will have no problem with that.
All right, so what we're going to do is we're going to go up to here. Once we've selected these three color palettes, we can actually just make it a little bit smaller. Maybe that'll help with some rendering.
All right, so we're going to click the edit color wheel or recolor artwork tab. And what we're going to do is we can actually individually edit each one if we want, which probably not going to do right now from the start. So what we can do is recolor artwork.
We can actually look at the edit wheel. Sorry, the harmony rules up here, and then that will help you kind of decide what you want to do. So we've got different color palettes we can choose from to begin with, so if we like that, that's fine.
Or we can just edit this one color. We can go to the color wheel, and we can just spin things around. So if I want to bring it in, I can do that.
I can increase the brightness. I can decrease the darkness, all that stuff. How did you decide on those I decided on them because I just clicked them.
Yeah, it was pretty much that. It was pretty simple. It was no, like, crazy color theory or anything like that involved.
I'm just looking at my current portfolio, which is very bright and vibrant and very much in your face, and I'm trying to go with more of a darker tones and a little bit more of, like, earthy bits. Since it's for packaging, does it influence your choice? Not particularly. Obviously, depending on how I'm going to package them or all those things.
Will making sure it's print ready? Yes. But at the end of the day, at the start of my process here, I want it to be very open, and there's no kind of incorrect answers right now, as we start to shift into, like, okay, now what does this print look like? Then I will start dialing it into print ready colors and choices like that. But depending on the print technique, they can get so close to digital that I'm not really worried about it.
So I'm actually going to go in here. I'm going to increase this. Shauna says, I like the jewel tones you had going.
Yeah, we can bring it back into that spectrum a little bit. I don't know. What colors do you guys feel on today? I could go I like it's like, we're back to the maroon and bright blue again, but this is what I do all the time.
So I'm trying to contrast what I normally do, which is obviously using this blue. So I'm going to grab this again, go back up to the edit color wheel. Go back to edit, and then I should be able to let's see here.
We can do complementary let's do triad. I'm going to bring the darkness down so you can see how this starts to give you some interesting triad color palettes to begin with. It's like a really quick way of kind of, like, making sure that your colors are kind of color theory correct, if that makes sense.
You don't always have rules are meant to be broken, so you can break them as you see fit. But I guess that's the main takeaway for today's. Rules are meant to be broken, and if you build the guidelines, they might break them.
These are, like, all the way too pastel. So let's get blue in the correct kind of color vein that we're thinking. Not liking any of these right now.
All right. We might just freestyle it now, but that's an easy way to do it. I like the orange we can pull from even the images that we're using.
Could probably try to just optically match that a little bit more. We'll grab a darker bluetooth. So by doing this, we have a nice contrast between these two here.
So that's kind of nice. I think what we'll do is probably do, like, kind of a monochromatic approach. Maybe the maroon and orange were cool.
I like them too. Yeah, it's looking nice over here. So, yeah, maybe we'll just grab this, throw this down here.
The maroon is nice. I like having the orange to kind of add a pop of color. And they do a really good job of kind of balancing each other out and increasing contrast.
What we can also do is what you can do if you want to get really granular is you can actually take these four colors, and you can take whatever color you think is kind of the brand color. So say that this is like this blue here. Maybe there's three shades of blue.
So maybe we need to have this. And then I'll grab this here by pressing, I get the eyedropper, and then you can pull that in. So maybe this is feeling too out of the spectrum right now.
What you can do is command F place back in command C, command F. I'm going to span it across these. And what you can do by doing this is actually change the opacity down to, like, lighten, and you can just bump it down to, like 4%, 5% if you want.
And what you'll do there is you can screenshot this, and then you can bring it in into Illustrator again or in Photoshop if you want. And then you can start to make your own bear with me chat. We're doing it.
So by doing this now, I have a unified color palette that is feeling more consistent because it has, oh, my gosh, I did the wrong thing. So by doing this, what we've done is essentially brought the whole color palette into having kind of more consistent tones throughout of the whole thing. See how that already feels more, like consistent across the board? By just taking a main color and just bringing those hues into the other colors, it's kind of interesting way of bringing that together.
So Emily says, how do you apply the Target customer for the brand and picking a color? For example, the candle company selling to the women or men age group income, et cetera? That seems challenging in our projects. That's a great question. I would say that candles have the luxury of being kind of you can allow candles to be black and white, and it'll be kind of gender neutral, and it works in everybody's environments and houses and everything.
So I think for this, if I really wanted to, if you look at Diptyque and all these other high quality, very famous, like, candle companies, they just have, like, a monogram for their candle, and it just sits on a counter. Right. I think if you did very color heavy, if you did really color heavy, like, candle holders and things like that, I think that's where you start to alienate certain consumers.
So I think looking at it, look at what luxury brands are doing. So if you look at Tom Ford or anything like that, look at those. Even Vice did their whole high low, high fashion low, what do they call it? They called it high versus low, which is like high fashion versus low quality, unbranded content and stuff.
So I think you can't go wrong with black and white. If you start doing color, you need to start thinking about regions, even think about what that means for consumers. Test it.
You can ask people what they think on it, but depends on really what you're trying to go for for your brand. If it's I don't know how to explain that easily. It really just depends on your whole entire approach, who you're trying to target, what do they expect? What are their typical shopping behaviors, what feels natural for them? Cool.
So we can test this poster really quick. So I don't really like these two over here, by the way. It's just not feeling good.
So that's looking pretty good. You might want to just explore what these look like. We can do a little bit more simple.
So for the actual toolkit itself, what we're going to do cool. So we've got just a really simple toolkit. So, for example, so we're going to look at it as kind of like, this is not what you absolutely have to do, but typically this is kind of like the basics that you could put in there.
So for the brand toolkit intro slide. Great. Have a title of the deck.
Always make sure you have a contents, like a table of contents or an index for your projects. It helps people just navigate everything. How to use this document is extremely, extremely helpful.
You like the florum? Ipsum? Sneezeweed peruvian lily. Yeah. That's Tim's.
Beautiful work from yesterday. How do you get logos, trademark or copyright? That's a great question and one that I can't answer for you. You need to go through getting them actually trademarked or copyrighted during for legal from a lawyer, but from a creative perspective, if you did it and you posted it on the Internet and showed your process or whatever, you technically already own the copyright, so somebody already took it from you.
You don't have to go through huge legal process to do that. Like, anything that's on my portfolio is mine, and it's copyright under me by default. All right, so how to use this document is extremely helpful for framing how to use the deck.
So put some content in there that explains either the premise or the purpose of the document. If it's going to be very if it's very technical, then say it's very technical and this is how you're supposed to do it. I always like to put, like, these are general guidelines versus absolute.
Must dos must haves. So then logo, monogram, we can put it in. Let's grab it real quick, actually.
So even within the monogram section, if we wanted to, we could get pretty granular and start talking about even, like, favicons. Put a little explainer in there. We could get into the spacing sections, but again, you can kind of take the spacing kind of approach and build guidelines around.
Don't break these areas. Always have a safe zone. But like meh, the Florum Ipsum page, that's where you can find all the full Florum Ipsum.
I would love to. Oh, my gosh. Is that really a thing? Oh, my goodness.
Oh, I thought you made that up yourself. That's amazing. Well done, Tim.
Well done. All right, so blow this up for this section here. Boom, boom.
And then we'll probably do, like I don't want to get too granular and just, like, spending tons of time putting content in. But let's see here. 16 x 16 is what a favicon should be, right? 16.
So for favicon, think about it, 16 x 16 or 32 by 32 is typical favicon sizes. I'm going to actually just expand the shape real quick, but knowing that the favicon is not going to translate well to having the circle with the monogram, I'm just going to just remove the circle and keep it nicely in the box. Grandfather Ipsum.
There's also a Samuel L. Jackson Ipsum, in case you guys needed that in your life. I think it's called Flipsum or something.
So that's a favicon. We go into the monogram. Oh, I don't need the monogram page anymore.
But what we can do is say we can pull this. I think this is already saved, so let me just pull it in. Get the mockup.
So I made a little enamel pin as well. And what you can do to make your projects a little bit more streamlined is just import the PSD directly into your Illustrator just so it feels a little bit more whenever you're editing and saving it'll. Just constantly update whenever you relink the files.
We can also do a boop. Sorry, my computer is, like, being slow today, like, slowing down everything just a little bit. All right, so we got black and white.
We can always use, like, a little bit of do. Come on, computer, come. It do.
White logo. I'm just going to pull this up real quickly. Is everybody having a good Tuesday so far? I know it's 08:00 A.m
on the west coast of the US. All right, so I got black logo, white logo. Move this down.
And now pen. Just name it. I don't know why, but the last word is getting cropped out while entering.
Are you in Illustrator doing that? Maybe you might have a so if your bounding box is too tight, you might be pressing enter, and that might be getting stuck below, you see? And if it has that red dot, you can either double click on it and make a second text box, and it'll kind of go to that section or just decrease or increase the text height. Shawna says, I finished two big deadlines yesterday. I'm working on a gift this morning.
And we'll be skating a little later. So yeah, so far, so good. That's awesome.
How's this new skates treating you? Pretty exciting. That's awesome. I am so jealous that you get to skate right now.
So now we got a little monogram. Monogram. Monogram.
Monogram. Favicon. We'll move this guy over.
Look for this document, I don't like the size of the favicon, so I'm just going to move it over and just say favicon versus make it bigger, versus saying, this is exactly how it needs to be at 16 x 16. It's like, well, it'll be fine. I'll export it for a client and they'll get it.
Samuel working on content and more content. Get that grind going, Alberto. Keep it going.
It's exciting. How did that let's just all right, so we got these guys. Now we'll just grind it up.
So now they're all eagle. So when you're aligning things, it's a great way of just aligning your content. You can always make your guides, and we kind of showed guides yesterday, but if you just take your bounding box and you find where you want your content to kind of live within the page, you can just center it.
So right here on the Arizal line tools here. And you can just center to the artboard, or you can center in your content the selection tool. So this is a really great way of just really quickly aligning everything in your table.
What you can do with this is you can either keep this live with the guide and just keep it like, cyan or something magenta, whatever you want, or you can actually just make this a guide. So if I wanted to, I could take this guide and just command C and then go to the next artboard command F, and it will just paste in the artboard each time. Every time I select an artboard.
So click on the new artboard command F throughout the whole process. What you can also do is just take those and then take a right click on it, and then click make the guides. Tony Hawk, pro skater.
One two remastered demo is out. Does it count as skating? Is that really out? Really? Already demo? Not the full game. Oh, no.
We can't talk about video games. People get me too excited about cyberpunk. And then we're going to derail the whole stream.
Cannot do it. All right, so color palette we're going to do is we're going to take what we got originally. I think it's also like you can also take this.
There's no real like, you must only have three corporate colors or this amount of grays and stuff. I think you should nick Hill, you asked how do you pick your colors? We just kind of went over that at the beginning of the stream. So after the stream is over, go back to the beginning of it.
Or you can kind of, I guess, reverse it now maybe is. That even a thing? Yeah, if you just go over, you can start back at the beginning. We'll talk about it there.
Alberta says, yeah, demo is out if you preorder. Digital games comes out September 4. Oh, that's right.
It comes out soon, August 18. So keep that in mind. You don't need to have a certain amount of colors.
You can do one color for the brand if you want, or you can get super crazy with it. And you can have hundreds. No, don't do hundreds.
That's a lot. But essentially the color palette itself should just be there to empower clients to whatever the content type is that they're doing. The color palette should help that right.
If it's a website, probably having error states, caution states and active states is a great way to think about it. Right. We can keep these if we wanted.
The backs and whites. Just bring the color palette in. Always.
Whenever you're building your color palettes or your brand guidelines, always do Hex RGB and Cyk if you want to get crazier with it. If, you know, your client might be doing print, doing pantone color references is also helpful. Just really depends on the client.
But it's always great. But I would not recommend scrubing back because you tend to forget you're on a delay. It's true.
Don't do it. Don't scrub back. Just hang out with us now and then go backwards in time later.
You can try and travel. So if I wanted to if I like that blue a lot, I could start building out kind of like shades of the blue and knowing, like, okay, maybe I want, like, a cooler gray color palette for the rest. And then make sure that your color palette is legible.
If nobody can read the typeface because it doesn't work on the doesn't contrast on it, then your guidelines are useless. You got to make sure people can read them and actually use them if you're going to spend the time to build them all out. See if I can pull in, like, a little bit cooler, lighter, oops, let me grab this.
And then we'll do just, like, maybe a white. And you don't have to do a pure white if you don't want. Some businesses don't need it.
It's nice to have a pure white for websites and stuff, but even then, sometimes you could get off with a small, little lightly off white and just helps kind of bring the whole thing together. So I'm not going to get into the whole granular like, let's do actual RGB and Hex values for these things. But see here, maybe there should be enough variation here now that the client should feel pretty empowered.
I'm just pulling it from the maroon as a starting point. Ah, I'm using the maroon as a starting point and then dialing it up if I need to, or dialing it back. This is too similar.
Let's see here. Let's pull it in. Thank you, Tim.
Thank you. I see your true color shining through. All right, Tim.
All right. Well done, Tim. I love the dad jokes.
Love them. So goodbye. As soon as I find the color palette that's working for me, I'm just moving them over slightly, get the values in.
This is also too close to some of the other ones, so see if there's another one we might want. I think the orange will probably stay as an accent color and not stay as, like, part of the main brand. Like, that, I think could work.
So that's like a color pot. What is the topic of the session? We're just showing how to build a brand really quickly, how to all the little elements that you might need for a brand toolkit. I typically like to show examples mostly in my brand toolkit.
So I might pull in this mockup just so I can show them the client. This is how you can use things we're building, like a luxury, like, lifestylecandle flower brand, like a flower shop. So I might just pull this off right now.
Actually, no, I'll leave that there. I'm going to place this in the background. So what I'm going to do here is actually going to use let me show you guys how to crop in Illustrator.
So what I can do is a couple of different ways. I can go take this image that I've got here, and I can click crop image. But this is destructive, so I don't really like using it.
Destructive meaning, like, you can't edit it after you've already used it. So I could crop it like that if I want and I'll crop to the screen, that's fine, but I don't want that right now. I want to be able to edit this in the future.
So what I'm going to do is I'm going to actually just make my marquee. I'm going to press M, grab the marquee tool, and I'm going to grab and make a rectangle that fits the size of the screen. I'm going to make it black.
Bella says, I took a picture of my room and loved it. Captured the colors for my logo, came out perfect. That's awesome.
I love that. Using an Adobe Capture, I think that's the software for it is a great way to grab your own color palette, find stuff that resonates with you. Absolutely amazing.
So what I did was I made this black rectangle, put it over this image. Behind it I'm going to do is select both of them by shift clicking both. And what I'm going to do is go to the transparency properties.
I'm going to click mask make mask. You can also right click and make a mask. And then I'm going to invert mask here.
And now you've got this beautiful cropped image. So what I can do because I'm selected on here is I can actually just move it up. Oops, unlink it I'm going to move it up so I can have this beautiful screenshot kind of centered as I want.
And then I'm going to relink the mask again and double click out of that, just going to make it a little bigger. All right, so now if I want, I can say, okay, now I've got this little description here. I'm going to actually just move this over.
I think by me doing this, I've found that clients are more receptive to it by me saying, okay, here's examples of how to do this really well. And the great thing about doing it this way is you're building out work that will go directly into your portfolio, even if it doesn't get used this way. Right? By you saying, oh, this is a really interesting way of doing it on a mockup or using an enamel pen or something like that, you're like, great, I already have everything I need to make a Behance case study.
Luke Fench. What up? How you doing? Welcome to Chat this morning. Just trying to catch up on Chat.
All right, it goes good. All right, so more examples. Let's see here.
Also I got so I made these mockups and essentially really quickly what you guys can do. Let me see if I've got examples. So if I wanted to, we'll pull this into Photoshop really quickly.
I've got this candle that I just got from Unsplash. So it's already just a stock photo we can use. We don't have to worry about licensing or any of the issues that come with that.
Really quickly taking these ideas or concepts. You guys can grab this little patch tool if you want, depending on how it is. I'll show you a couple of different ways.
You can just patch out these letters. Boom, boom, POW. I know we're not doing like a Photoshop tutorial today, but these are great ways of just quickly making your mockup for your brand book.
You can do it like this. Boom, POW. Look at that.
Gone. Who's. Tuning in from a Mac.
I'm on a mac. All right. What you can also do is you can just grab it with a marquee tool or whatever, and then you can go edit image, edit fill.
So go to Edit Fill and then do content aware of Fill. And then I'll just automatically find the content that you need for it. So by doing this, you're going to be creating a bunch of different little mockups really quickly for yourself that will both make your portfolio really cool and also present really well to a client.
So what I can do is just grab this really quickly, grab the logo, or if I wanted to, maybe the monogram. Monogram could be cool. Don't forget, whenever you are in Photoshop, and I don't want to spend too much time on it because I know we're working in Illustrator today, you're going to want to warp it and make it kind of fit the object that you're working on.
Pepper warp perspective warp free. Transform it's. Because I'm working on a smart object, I do this rasterized layer and then I should be able to warp it a bit.
I don't want to spend too much time on it again because we're working in Illustrator today. But I do kind of want to show you how you can do it so you can start pulling it in. It's pretty ugly right now, but use the warp tool.
You can get it kind of bent around this object. Wow. Great.
Beautiful. All right. It's awful looking, but you get the gist for that one.
So what I did was essentially this one was also from Unsplash. And what I did was I took it off the it had like Adidas logos and everything on it. So what I did was I essentially just took that whole concept patch healing tool and made the paper bag look original.
So now what we can do is actually just take the logo and what we can do is post it in smart object. Bing, POW, boom, bow. Try to match it with the perspective.
We can actually just throw it at the bottom, maybe something like this. And what I'll do is rasterize it rasterize layer. Really quickly, we're going to run out of time.
But so what I'm going to try to do really quick, edit rasterize perspective warp. Get the perspective kind of dialed in a little bit more, a little off still, but kind of see that what I'll do also sometimes is I'll take it darken, I'll actually lower some of the opacity on it. And then what you do really to make your photoshop look like it's part more, because look at how much grain there is in the noise on this image.
What you'll do is double click on there, actually, sorry, filter noise, add noise. And what I'll do is I'll try to add as much noise as what's happening in the image. And see, look at that.
That looks so much more natural and part of that image already. And now people can see, oh, that looks like it's actually really part of the bag. So that is a great way to kind of build out these elements into your brand deck.
Fill out, like explain this is how you use things, versus saying, oh, don't do this, don't do that here's actually great ways of actually doing it. They'll just kind of mimic or copy those kind of examples that you've done in the past. So we can just throw those in.
I like to put in a bunch of different examples throughout the deck. That way everybody feels like they got a good solve for their business cards. What does it look like on the website, their Instagram.
I do all those mockups so that they can kind of see it playing out. I'll build guides for kind of every touch point that their business might have, so we can pull that down. But I know we're almost out of time, so if you guys have any final last questions, I'm happy to here.
I can just pull this out. Command X, command F to paste in place in front. Hey, Anna, how are you doing? Welcome to the stream this morning.
Hope your Tuesday is off to a great start. And then we can throw in multiple different concepts if we need to. Turbo Squid has a couple of free candle models, then used Dimension to add logos.
Perfect. Absolutely. Yeah.
Use whatever tools you have available to you. Adobe, probably. I haven't even checked Adobe stock, but they probably have plenty of candle mockups that you could leverage.
What I do is actually just paste this behind Command X and then Command B or Control B to paste the object behind. That way you can kind of have two different mockups all on one screen. And then whenever you're presenting to a client, all they see is kind of view presentation mode.
You can kind of see whenever you're presenting to a client, they can see exactly what it looks like. I don't know if you guys can see that. Yes, you can.
Perfect. So you can kind of walk them through. Here's how you use your logo here's.
Best practices. Here's how it looks on some collateral. If you're going to do these things, this is the best way to make it look really great.
And Carol. Oh, you're right. Yeah.
Wrapping your logo is kind of a pain. So if you can use Dimension to proof out a concept or a candle, it's the best way to go about. But we are out of time today.
So check out the schedule. Today. You've got video work with Jason Voodoo Valve's, doing creative challenge hand lettering with Rihanna illustrator daily creative challenge with Julia, web design with Pablo Stanley XD with Peter DelTondo and design in the dark with Jordan and Andrew Hockrattle.
You guys are in for a very, very exciting Tuesday. You guys are gonna have a great day. Have a great rest of your week.
Can't wait to see you guys again soon, and hope you guys have awesome, awesome rest of your August. I will see you guys later. Bye.
