*Transcription Disclaimer: the following transcription was automatically generated, and may have errors, or lack context.*
Alex Lazaris:
Welcome back to another fantastic Adobe Live stream. I'm here with Ali today. But first of all, if you just were tuning in, you probably already saw Claudia do it. But we've got the first week of the new Illustrator Daily creative challenge happening with Claudia every weekday, 11:30 a.m. Pacific. So don't miss out. Definitely check it out. I think you guys are going to have a great time, but we're going to crack into it. Allie, hello. Welcome to the stream. I'm so excited.
Allie Mitrovich:
I'm so excited to be here. Thank you for having me.
Alex Lazaris:
Absolutely. So I think give everybody a good little understanding of who you are, what you're up to, all those great things.
Allie Mitrovich:
Yeah. Cool. So my name is Allie Mitrovich and I am a graphic designer and small business owner of AllieRose Co. I'm 23, living in Maryland and I started my business in kind of the peak of quarantine, kind of bad timing in hindsight, but it all worked out. And my business sells like apparel, stationery stickers and yeah, here's my website. Everything's designed by me through the site. I'm really into hand lettering. It's kind of like my forte. And I also do graphic design work on the side. So I'm going to show you some of that too.
Alex Lazaris:
That's awesome. I see that behind you. You've already got some swag orders.
Allie Mitrovich:
Ready to get check me out. So here are some of the previous logos that I've done. So I like kind of feminine, fun, hand lettered. So like this right here is my handwriting and these two right here are my handwriting. So yeah, that's kind of what I do for logo work.
Alex Lazaris:
I saw that you have logo packages right there on your site as well. So you were already communicating that to potential customers.
Allie Mitrovich:
Yes. Paused for now, but when I had them open yes. And then just to give you another little feel for what I do exactly, here's my lot of, like I said, hand lettering. A lot of illustrations like that product pictures. Yeah. So that's Allie Rose Co and I guess should I jump into?
Alex Lazaris:
Yeah. What are we going to be working on today?
Allie Mitrovich:
All right, cool. I'm super excited. So this is a passion project. I'm going to make this full screen.
Alex Lazaris:
I love a good passion project. I think there's some of the most entertaining I know.
Allie Mitrovich:
So I was in a little bit of a creative rut, I guess you could say. So I'm super excited about this. So basically what this is is it's an idea that my sister and I had a few years ago, like two to three years ago, we came up with the idea to do again, this is fictional, but a food truck that serves charcuterie. So like build your own board, per se, that would go to wineries or weddings or birthday parties, stuff like that. That's kind of the idea that we were going for. So I'm going to be making the logo and branding for Midi Charcuterie, which is what the brand will be called, the reason behind the name. So my last name is Mitrovich, and no one can pronounce it. It's impossible to pronounce if you don't know me personally. So whenever we go to restaurants or anything and we have to put our last name in for a reservation, we always just say Midi. And it was my grandfather's nickname, so that's where the name comes from, Midi Charcuterie.
Alex Lazaris:
So love that.
Allie Mitrovich:
That is what we will be doing today. And I'm super. Whoops. Okay, so here's what I'm hoping to accomplish over the next two days. Logo, sub, logo, business card, menu, and mockups. So today I'll hopefully get the logo, sub logo, and business card done. Might move into the menu, kind of depends. And then I have a lot of fun mockups that I wanted to work on in Photoshop. So that'll be over the course of the two days, hopefully. Fingers crossed.
Alex Lazaris:
I love it. I'm so excited, and I see a bunch of people talking about Adobe Max and how it's ready. Party time. I'm so excited about this because nothing is better than having a party with salivating. I'm so excited for this project.
Allie Mitrovich:
I know. So here's a mood board that I put together. The vibe that I'm going for here with this logo is kind of like a homey, cozy, rustic type look. I'm really liking the fall color palettes right now, so I'm kind of trying to stick with that. The wood grain I'm really into. Yeah. So that's kind of how I want you to feel when you see the logo. So that's what I do for mood boards. Rather than putting like, this is what I want my logo to look like, I'd rather it be, this is what I want you to feel when you see my logo.
Alex Lazaris:
What I love about your mood booty wow, words are so hard. What I love about your mood board here is that it's so tight. I think it gives a really good cohesive look and feel to a client. I've seen a lot of people present mood boards to clients, and they're so all over the place, and sometimes that confuses the client. But this the door frame matching the cart and even the fall palette that you've pulled, so it's all very cohesive. It's very I think it works really well for presentations.
Allie Mitrovich:
Awesome. Thank you. Yeah, so that's kind of the feelings that I want you to get through this brand. And here's a color palette that I put together. Obviously won't be using all of these colors, but haven't decided on. I haven't narrowed anything down yet. So kind of kept a broad color palette and again, really liking the subtle fall kind of dull colors right now. So, yeah, that is what I have. And it's so funny because all the work I do is so bright, and my instagram is so bright and everything. And so it's just funny how I'm kind of just doing this because I have the opportunity for a passion project. So I'm super excited about this.
Alex Lazaris:
Great. I'm excited.
Allie Mitrovich:
Okay, here is my Illustrator boards. I like to start off, a lot of people do like one giant artboard in their work, but that really stresses me out, to be honest. So I have separate artboards I went through and came up with some font combinations because I knew that I would spend the entire 2 hours working on fonts. So here's just some stuff that I curated. I have a really rough sketch right here that I just drew on my iPad of some really, again, just ideas that came to my mind. I'm really liking the badge type look. Whether that's a circle or something like this right here, I don't know. I'm just going to mess around and see what I end up liking.
Alex Lazaris:
Yeah, I love it.
Allie Mitrovich:
And I guess I would like to hear, I guess what other people think as I go along.
Alex Lazaris:
Oh, Chat is always super helpful with okay, perfect. So as we're getting closer, we've got a couple options. We can have Val throw in a straw poll and we can kind of figure out what Chat like.
Allie Mitrovich:
All right, love that. Perfect. So, okay, I'm going to start a new artboard shifto is my favorite hack ever. It takes you straight to the artboard. Okay. So I've been staring at this Adobe screen for hours because I've been nervous and I was of I feel like my mind's a little bit set on one of these. Bottom. Three for Midis. I like that it's a perfectly straight line across, especially if I do it in a circle. And I'm liking how in this guy, these two are the same. Of course, this one just has that rough texture on it, which I also really like. I think that fits like the wood grain type vibe. And I also really like how the descenders are even down here, whereas this might be hard to fit the word charcuterie under because it's just the Y coming down. Does that make sense? I don't really know. Yeah, but I don't know if I'm liking the uppercase M or the lowercase. So I'm going to just take both of these. I'm holding down option right now to drag it over and it duplicates it. So I'm going to outline these because I don't love I don't love how close this I the dot is like it's connecting to the T. I'm not loving that. So I'm going to ungroup it and just mess with it, I guess it's so I'm just taking the direct selection tool right now. I don't really even know what I'm doing, to be honest with you. Just messing with it.
Alex Lazaris:
You're good. I think this is where it gets really exciting is whenever you have ligatures like that that are like there is a consistent thread across it like you've got the I to the two T's. Really fun options to kind of yeah, for sure. Figure out momentum and cadence throughout the type.
Allie Mitrovich:
I definitely agree. I don't like this little point right here. Cool. Still a little bit close. Let me move this whole guy down. Whoops.
Alex Lazaris:
So you found a pain point early on within the kind of the type that you found.
Allie Mitrovich:
Yes.
Alex Lazaris:
And so you're kind of fixing the I and then you're going to focus on the rest of the letters or how do you typically approach these?
Allie Mitrovich:
Honestly, depends on the font, of course, because for this one, for example, I don't love the initial setup of it, but yeah, I guess I would just mess with it and I'll probably go back 20 more times messing with it because I'm way too indecisive. So I'm going to make these like the same length or not length, width. Just want them to be in this line with each other. Okay, cool. I still don't love where this guy is.
Alex Lazaris:
You could probably have the crossbar of the T. Just go to where the I dot is so you don't have to necessarily have a dot dot.
Allie Mitrovich:
Oh, you're saying just drag this guy all the way out.
Alex Lazaris:
Yeah, probably. That's probably what I would do. But I'm not you, but I trust your judgment. Thank you. Okay, let me I feel like that.
Allie Mitrovich:
Creates some really cool oh, I love that. Yeah. Okay, now this is way too high up, so I'm going to take them down, probably put them in line with the T's and move the S over. For sure. Let's see. I think that looks good. Again, I will probably mess with that 20 more times because that's how I am. And then I'm going to do actually, I'm going to ungroup these and then it come on. There we go. And then I'm just going to delete these and then take the itty.
Alex Lazaris:
Oh, nice. Yeah.
Allie Mitrovich:
And just drag it over. And again. I'm holding oh, I didn't grab the eye. Oh, my goodness. Can't get this without this. So here I'm selecting them all by pressing Shift, and then the option key will duplicate it. And then one of my favorite things is if you hold down Shift with it, it'll keep it in line, you see? So like, my mouse is going all over the place, but because I'm holding Shift now, it stays in line with it. I don't know, I use that all the time.
Alex Lazaris:
I love it. It's my favorite as well.
Allie Mitrovich:
One of the best underrated, for sure. Cool. So I'm going to start with those fonts for Midis and just mess around with those, put them in a circle, add charcuterie. I don't know.
Alex Lazaris:
We're going to have you ever used the Puppet Warp tool?
Allie Mitrovich:
Okay. I learned it in school. I majored in graphic design. I guess I forgot to I probably should have mentioned that at the beginning for my intro, but in school I did. But honestly, I don't utilize it anymore.
Alex Lazaris:
It could help you with your ligatures on your descenders, potentially, if you wanted.
Allie Mitrovich:
To get fancy with I could definitely look into that more. So these two are actually from the same like, they're the same font group as these two. So one's rough and then one's filled in. And I really like the rough, but I think that I'm trying to think if I want the rough to be for the logo or for the word charcuterie. I think it might work better in the word charcuterie, just so that the logo has just so the logo is completely filled in. I don't know. Going to take this over, but I'm not dead set on this one. I do love the way they pair together, but.
Alex Lazaris:
What makes it a good pair to you?
Allie Mitrovich:
Well, obviously this isn't that, but I love cursive with, like, a serif font. I think that always looks really nice. I don't know. I like how they're both the same amount of both of these have the same letter width, which I think looks really nice. And honestly, they came in a pack together, so I was like, yeah, they look great.
Alex Lazaris:
It's awesome.
Allie Mitrovich:
So, let's see.
Alex Lazaris:
Kieran asks Ali, what is your favorite food brand for its identity?
Allie Mitrovich:
Sorry, can you say that again?
Alex Lazaris:
They asked, what's your favorite food brand for its identity?
Allie Mitrovich:
Oh, I've never been asked that, nor do I have an answer off the top of my head. I have to think about that. What's your favorite food brand? Yeah, based off identity, I don't know what mine would be.
Alex Lazaris:
I'd probably say something in the alcohol, like packaging. Okay, good bottle.
Allie Mitrovich:
Yeah. My friend recently got me these ciders and she told me that she got me them just because she thinks that I would like the aesthetic of them, which is very fitting for me. But, yeah, very cute. I think that ciders and wines have really fun.
Alex Lazaris:
Yeah, I agree. I think it's one of the best ways to pull in new customers. Is your packaging, especially for absolutely different people's taste and stuff?
Allie Mitrovich:
Absolutely. So I guess that's my answer. Sorry, I definitely just copied your answer.
Alex Lazaris:
It's a great answer. Steve says favorite food brand. Favorite is is it within reach and ready? That's amazing.
Allie Mitrovich:
That is actually, I changed my answer to whatever he just said.
Alex Lazaris:
But Chat, if you have more questions, you might be tuning in from YouTube. Make sure that you come over to Adobe Live to be hanging out with us in Chat. Ask all the questions you have. You can ask about her, swag, Merch, all those great things. Logo packages, when are they going to be available again? How do I know which one to choose? All those great things just come back over.
Allie Mitrovich:
Yeah, come hang out.
Alex Lazaris:
Oh, Nick Longo said chobani. Yeah.
Allie Mitrovich:
Oh, that is a good one that.
Alex Lazaris:
Chobani rebrand was the hotness.
Allie Mitrovich:
That is a good also, I'm also just a fan of Emma Chamberlain, but if you know of her coffee company, Chamberlain Coffee, I love their branding. I think it looks really nice. They recently did a rebrand and it was like it made all the world of a difference.
Alex Lazaris:
Awesome.
Allie Mitrovich:
So I'm just adjusting the tracking just to see if I liked, wondering if there's a way if I did something like this so it could tuck in here. And I feel like it's fitting for this brand to have, like, the established year. I don't know, I think that kind of pulls in, like, the vintage vibe. So I'm using 1992. Of course this is not happening in 1992, but that's my parents the year that they got married. So we're going to go with that.
Alex Lazaris:
Perfect.
Allie Mitrovich:
And I don't know, we're going to mess with it.
Alex Lazaris:
Adorbs. Adorbs love those little details and he can get those into, like, little sub brands and things.
Allie Mitrovich:
I agree.
Alex Lazaris:
There's a question around. Are there any tips or rules that you follow when making good font groups for a project?
Allie Mitrovich:
I wouldn't say rules per se. I kind of just use my intuition when it comes to like I've seen stuff on Pinterest specifically where they'll show you good groupings of popular fonts in Adobe and what shoe to pair. And then there's also font packs in Adobe that you can go to and they will show you a good group of fonts to use together. So I definitely always would utilize that. I wouldn't say rules, though. I think it's kind of like, up to you and the vibe of the logo that you're making.
Alex Lazaris:
Val says, founded the year I was born.
Allie Mitrovich:
Ayo just for you.
Alex Lazaris:
Annika, what's up? How you doing? Welcome to Chat today. Good morning. Good afternoon. Good evening. Or middle of the night for you.
Allie Mitrovich:
I don't know what I want to.
Alex Lazaris:
Do. You have a favorite typeface? And why is it comic? Papyrus?
Allie Mitrovich:
Comic fans easily. No, I'm kidding. I think comic fans should be banned from all fonts. Favorite font. That is tough. Honestly. Futura, you can't go wrong. But that's like, kind of a basic answer, I think.
Alex Lazaris:
I don't know. I feel like Futura is like it goes in waves. Think I think it's hot again.
Allie Mitrovich:
Yeah, I just feel like you can't.
Alex Lazaris:
Go wrong with it then hot again.
Allie Mitrovich:
Yeah, I love a good clean like San Serif Font. So I love branded Grotesque as well. I think that's what I'm using down here, actually. Let me check. Yeah, I don't know. I think it's like, very clean. But I also just recently found this guy and I thought that that was Celine Sands was such a fun font. So basically I'm dodging your question because I don't have a specific answer. I have too many. But one of those three, I guess I said amazing.
Alex Lazaris:
Sorry. There's an ongoing joke with Chat about how I'm trying to make Comic Papyrus the be all, end all type phase of the world. And so when you kind of said that you were going to purge comic fans from happening, voodooval just was in love with your response. All caps. Thank you for telling Alex like it is.
Allie Mitrovich:
You're welcome. I always catch your back.
Alex Lazaris:
Chose the dark side.
Allie Mitrovich:
So I'm liking this aligned with the bottom of the move this a little closer, and then I'm going to start doing, like, formations because again, I'm kind of going for a badge look. I mean, I don't need the badge. It doesn't have to have the badge. But I definitely think that that's kind of fitting for this brand. Just going to move this 1992 in a bit with the kerning.
Alex Lazaris:
Yeah. I think especially with these vintagey logos, the more badges and applications you have for it, the better it is for the brand toolkit at the end of the day.
Allie Mitrovich:
Yeah, I agree. Okay. I'm liking these two, but again, I'll probably change my mind 20 more times. Okay, now Odges that I have sketched up. And we'll see the way that these fonts fit with that. So if you hold down shift on your keyboard, it makes a perfect circle instead of a wonky circle. Just one of my other favorite buttons to click. And I'm starting in black because you should always start a logo in black.
Alex Lazaris:
And why do you start a logo in black?
Allie Mitrovich:
Well, because you don't want your customer to get distracted by the colors. And also, I'll never forget my professor said when you are making a logo, you always have to imagine that this logo is going as, like, a window decal or like a stamp. So it needs to be a solid color as its base, and then you build off of that.
Alex Lazaris:
Yeah, absolutely. I think the other part of it is you just don't want to sell the logo based off the color. It needs to work.
Allie Mitrovich:
I mean, I'm guilty. I think everyone's guilty of that. Like, you see a color and you're like, oh, I love that one. But you might not actually love it for its type or for its character. You might just like it for the color. And that's what drew you in initially.
Alex Lazaris:
Absolutely. Agreed. Has, like, a hard rock cafe vibe.
Allie Mitrovich:
Oh, yeah, it's giving that vibe. All right. Now, I'm going to erase some parts here because I want the midis to be, like, cut out of the circle, and I was using the eraser tool there.
Alex Lazaris:
Oh, nice. Voodoo, Val is asking, so, Ali, do you have any designers that really inspire?
Allie Mitrovich:
Hmm, let me think. I follow so many people on Instagram that I am mesmerized by, for sure. Honestly, the designer that you had on a few weeks ago, she owns Asteria. I forget her first name. I feel so bad. Her studio is Asteria, and she does logo work, and I found her through Adobe Live and was just obsessed with her work. So definitely her. I mean, she does stuff that's like similar color combos to what I'm doing today. So I definitely got some inspiration from her and just people on Instagram. Honestly, I can't think of like I know I'm going to regret saying, like, forgetting to say someone. So definitely her.
Alex Lazaris:
It's definitely not a trick question. We're not going to send this to people and be like, ali didn't mention you do that.
Allie Mitrovich:
How dare you?
Alex Lazaris:
I'm not going to do that. That would be pretty mean and funny, though.
Allie Mitrovich:
I wouldn't be too mad, honestly. All right.
Alex Lazaris:
But Adobe has done such a great job of pulling in wonderful creators from all over the world that you might not have been exposed to and getting to see them work real time is always just yeah. Oh, and Val, man, you're so quick. It's Lizzie Campbell.
Allie Mitrovich:
Yes, Lizzie Campbell. Thank you. Thank you, thank you.
Alex Lazaris:
That's hilarious. Thank you, Val.
Allie Mitrovich:
Thanks, Val. I love her. She's on the ball today.
Alex Lazaris:
She's always on the ball. She is quick.
Allie Mitrovich:
I'm going to try and do here how I did. The way that charcuterie is, like, curved right here, I'm going to mess with that.
Alex Lazaris:
Now, Chat was asking, what's that main strip font that you're using?
Allie Mitrovich:
Oh, this font? It's called fist tail. I believe. I'll show you the spelling of it. Fist tails. Yeah, right here. I purchased it. Why was I saying this? I guess we'll never know the correct spelling. Okay, so now I'm going to copy command C and paste in front command F. And then I'm going to take this guy and type on him on the top. Guy. I always say guy. I like, make my make them human beings. So charcuterie and obviously it's not correct. Please hold. Please hold. There we go. Cool.
Alex Lazaris:
Kieron says the logo is looking fresh. Ali. I know. Come later, but can't wait to see these gems in color.
Allie Mitrovich:
Yay. Thanks. I'm excited. Color just makes me abnormally happy, but I get ahead of myself, so I'm trying to take it slow. All right, now I'm going to paste because when you do the circle, when you type on a path, it takes away the stroke. I'm going to paste another circle for the top, and then I'm going to type established. You'll see what I mean?
Alex Lazaris:
Do you have any badge logos that you always or people that make badges that you're just kind of blown away with?
Allie Mitrovich:
I love looking at actual patches, like the iron on patches that you see. Kind of like Girl Scout Boy Scout situation. I'm trying to think, though. Okay, this is another person that I watched on Adobe Live, but there was a girl who sorry, I'm getting distracted as I work. There was a girl who did she was hand drawing on Fresco, and she did, like, a lot of patchwork badge designs, and her stuff looked incredible.
Alex Lazaris:
That's awesome. Yes. It's crazy to see how good some people are with badges and building.
Allie Mitrovich:
Right? That's what I'm trying to read today, but we'll see. Okay.
Alex Lazaris:
Young jerks. Are you familiar with their work?
Allie Mitrovich:
I'm not.
Alex Lazaris:
Best name for a brand studio ever.
Allie Mitrovich:
Easily.
Alex Lazaris:
They do a lot of work with, like, Deus X Machina, the Australian surf motorcycle skate brand. They've done such a good job with building, like, badge kits and brand kits and things.
Allie Mitrovich:
Oh, really?
Alex Lazaris:
Yeah.
Allie Mitrovich:
I'll have to check that out. I love a good badge for logos. I think it just sits so well on mockups of stuff. I don't know.
Alex Lazaris:
Absolutely. Yeah, they do a lot of merchandise design and stuff like that.
Allie Mitrovich:
That's awesome.
Alex Lazaris:
Like, T shirts and back prints and things like that.
Allie Mitrovich:
It's up my alley.
Alex Lazaris:
Yeah, they do everything with, like, type and color. Not type and color. They do type and illustration and things like that. So cool. Balance between the two.
Allie Mitrovich:
Yeah, that's awesome.
Alex Lazaris:
Nice. And Voodoo Valve has linked this Tales font and it's on behance. That's cool.
Allie Mitrovich:
Sweet. Thank you.
Alex Lazaris:
Oh, yeah, look, they've got some really cool little mockups in their kit. I can see why you resonated with it.
Allie Mitrovich:
Yeah, I feel like it's fitting. Um, gonna try something else with this one.
Alex Lazaris:
I kind of like it breaking the circle.
Allie Mitrovich:
Yeah, I was just thinking, I think it gives more of, like, the feeling that I'm going for. We're going to try it with this.
Alex Lazaris:
Funny. So when you're working on this project, I know you've got, like, a very clean color palette from the fall stuff that you've shown. How vintage is this? Vintage modern? Is it vintage chic? What are you thinking?
Allie Mitrovich:
Honestly, probably more of vintage modern. But my vision was just like I don't know, just like, more rustic. I think we're going to kind of figure that out as we go along. But I don't have a dead whoops. What did I do here? Oh, no, I erased the wrong part.
Alex Lazaris:
Annika asked, how did Ali start?
Allie Mitrovich:
OOH. I kind of was always artsy. Like, in high school, I was, I don't know, like, a little bit artsy, I guess. And very weirdly. I went into college as an accounting major. So opposite of graphic design. But took one business class and was like, nope, this is not for me. And so I then switched my major to Undecided. And then beginning of my sophomore year, I changed my major to graphic design just because I didn't really realize that you could make a living doing it. And I know that sounds so, like, cliche, but I don't know, because people look down on the arts and think that you can't make a good living, blah, blah, blah. So I kind of was always steering clear. I guess I was just listening to people I shouldn't be listening to. But then I realized that you can do really well with art, and way better to be excited about your job than to care about money. So I switched my major, and I never looked back.
Alex Lazaris:
That's awesome.
Allie Mitrovich:
Yeah, no regrets.
Alex Lazaris:
And you still get to do a lot of work in spreadsheets since you have to deal with all your merchandise.
Allie Mitrovich:
Yeah, I know. I didn't really get away from accounting fully.
Alex Lazaris:
But that's great. At least you get to still get to dabble here and there with it.
Allie Mitrovich:
Yeah. Business is not really my thing. Honestly. I don't know how I started off doing accounting. Yikes. It was rough. All right, Chris.
Alex Lazaris:
That's true. That sister.
Allie Mitrovich:
Yeah, right? At least everyone agrees. I'm kind of liking this double line. I'm wondering, though, actually, let me try and make them a little bit thinner.
Alex Lazaris:
When you think about the thicknesses of your strokes on these, do you have any kind of gut reactions or rules or any systems that you put in place or you just kind of go off of a whim? How does it go for you?
Allie Mitrovich:
My life is going off of a whim. Really? So, yes, that's my answer, going off a whim. But I like to scatter strokes, so I'm going to try these outside ones bigger and then the inside ones thick. I mean, excuse me. Thinner. I think that variation looks really nice when it comes to strokes. I think that, honestly, just like, a little line makes all the difference. Like, I'm going to try now I'm wondering. I don't know which one I like better. It's so funny. To people who aren't designers, they're probably like, this looks the exact same, but worse. To me, that's not I'm going to try deleting these.
Alex Lazaris:
Elevation saying the double line reminds him of steak and shake or some type of diners from the 1950s.
Allie Mitrovich:
Okay. I don't know if that's is that a good thing or bad?
Alex Lazaris:
I think it's just the vibe.
Allie Mitrovich:
That okay, I'll take it. Thank you for your feedback.
Alex Lazaris:
Do you have a steak and shake out?
Allie Mitrovich:
No, I've been to Steak and Shake, though, and I absolutely love it. I just read something, actually. I don't know if they're going out of business, but they've shut down a ton of businesses or of their restaurants in the past so many years.
Alex Lazaris:
You're not even joking. I'm literally looking at an article right now says steak and Shake is permanently closed, 51 locations.
Allie Mitrovich:
Yes, I think I saw it on TikTok, unfortunately, which makes me really sad because I did love steak and shake. When I have had it, everybody says.
Alex Lazaris:
I think it's a good thing.
Allie Mitrovich:
Okay.
Alex Lazaris:
They're talking about the logo, not that they're going out.
Allie Mitrovich:
Okay. About, like, the diner look. Okay. I was going to say I think it's pretty good.
Alex Lazaris:
Yeah, totally.
Allie Mitrovich:
I'm a McDonald's junkie, though. You can't beat McDonald's. Maybe I shouldn't admit that.
Alex Lazaris:
Yeah.
Allie Mitrovich:
Okay.
Alex Lazaris:
That's funny.
Allie Mitrovich:
Come on.
Alex Lazaris:
Television says, okay, let's see the new company take a. Check is fine, but the general gist of the diner thing I get.
Allie Mitrovich:
All right, I am messing up all over the place here.
Alex Lazaris:
So if you're just joining us now, allie is working on making Midi's Jacuteri a fictitious logo, but maybe a real company one day.
Allie Mitrovich:
Fictitious for now.
Alex Lazaris:
Yeah, fictitious for now. So that's exciting. But if you also are tuning in and you're on YouTube, make sure you come over to Adobe Live so that you can hang out with us real time and ask all your questions and anything you want. It's an open book, so ask away. Business, life, designers, inspiration, you name it.
Allie Mitrovich:
Anything. I don't hate this.
Alex Lazaris:
Do you have any creators? Not necessarily a creative or whatever that you see on, like Instagram or online or whatever that inspire you to just go make things?
Allie Mitrovich:
I need to think of someone specific. Trying to think of someone honestly, I see my posts. This is going to sound so lame, but my class from high school had or not high school excuse me, college. Like my graphic design class, they had an Instagram page, and I see them working on projects and I'm like, I want to go back to college and work on this project. And then it makes me want to because I don't do logo work every day. This isn't something that I do way more with merchandise and stuff like that on a day to day basis. So seeing stuff like that makes me want to do a full on project. And then I go on Behance a lot and I see them like, artists have the whole mockup and everything from a logo. So it makes me want to create.
Alex Lazaris:
All the absolutely those. Man, Behance has such incredible talent on it.
Allie Mitrovich:
Yeah, I'm a behance junkie.
Alex Lazaris:
Val says, I love it when a designer says, well, I don't hate it. The self loathing and trying to get the project just right but not knowing it's wrong.
Allie Mitrovich:
I can never figure it out. Okay, can we ask the chat what are we thinking right now?
Alex Lazaris:
I would love to know them. We could get a poll going.
Allie Mitrovich:
Yes. But also I want to try out another format, so don't get your heart set on this, but I would love to know what everyone's thinking.
Alex Lazaris:
Sweet. So we can start with a poll of one through six. Val for options on this current explanation.
Allie Mitrovich:
And maybe if there's something that you want to see change. I don't know. I'm definitely liking the circle. Yeah, I'm wondering if there's sorry, go ahead.
Alex Lazaris:
I don't want to taint the poll.
Allie Mitrovich:
Or anything, but yeah, I guess we should.
Alex Lazaris:
My current favorite is number four.
Allie Mitrovich:
Okay, I will keep that in mind.
Alex Lazaris:
Because it feels the most balanced right now.
Allie Mitrovich:
Okay.
Alex Lazaris:
But also just like yeah, it's just nicely done.
Allie Mitrovich:
Yeah. Okay, cool. Let me make another artboard, and I'm going to just try something different. Let's see. I'm going to bring this over here for Inspo.
Alex Lazaris:
All right, the poll is officially Live Chat, so we'll give you, like, 30 seconds to put your vote in.
Allie Mitrovich:
Help a girl out.
Alex Lazaris:
Yay. All right, Chad, about 15 seconds left in your poll. If you missed the poll, it's probably because you're on YouTube, so make sure you come over to be net Adobe Live.
Allie Mitrovich:
I got my coffee at 340 p. M. No shame in that.
Alex Lazaris:
Oh, you're ready to seize the day?
Allie Mitrovich:
Seriously?
Alex Lazaris:
All right, we're going to close the poll. We are going to do the results.
Allie Mitrovich:
Yeah.
Alex Lazaris:
Philip says four is my favorite, but I do like number two if the text was closer to the stroke. Okay, interesting.
Allie Mitrovich:
Okay, that's good feedback.
Alex Lazaris:
All right, so the polls results are a staggering for number five and six.
Allie Mitrovich:
Okay.
Alex Lazaris:
It's tied at 5% for numbers two and three.
Allie Mitrovich:
Okay.
Alex Lazaris:
One has 10%.
Allie Mitrovich:
Okay.
Alex Lazaris:
And four has a whopping 81%. Not sure how those numbers add up.
Allie Mitrovich:
Yeah, I feel like that's not 100, but that's okay. Okay, cool. Thank you. They definitely took your feedback.
Alex Lazaris:
There was other people in Chat saying four as well.
Allie Mitrovich:
Okay, cool.
Alex Lazaris:
Ummacorn says four and five. Okay, great. Six is alone with zero now.
Allie Mitrovich:
All right, so should I just delete? No, I'm kidding. No, don't leave. I'm kidding. All right. Okay. I'm going to try something like this right here and see what happens. Can do the same, like paste in front and then type on a path. Oh, God.
Alex Lazaris:
Says Alex plays the vote. That's true. My bad. Sorry, Chat.
Allie Mitrovich:
It always confuses me. There we go. Whoops.
Alex Lazaris:
You're looking to make a monogram of that now?
Allie Mitrovich:
Yeah, I'm going to try it. I like this capital M when it's in the whole word. I don't know how I feel about it on its own just yet, so I'm going to mess with it until I decide.
Alex Lazaris:
What you could do with it is you could almost make the tail go into the circle.
Allie Mitrovich:
Oh, I like that.
Alex Lazaris:
It's just like a strong M. Maybe that's like a button or a coaster.
Allie Mitrovich:
Yeah, I do like that idea. Let me actually make it the solid one instead of the rough. How would you go about doing that? Would you probably use the pen tool?
Alex Lazaris:
Honestly, you could do it through the pen tool, and the pen tool would work really well for this stroke, but you could also do it through a little bit of the puppet warp tool.
Allie Mitrovich:
I could test out my skills, see if I remember anything from a few years ago.
Alex Lazaris:
This is Adobe live.
Allie Mitrovich:
Could we do it real time?
Alex Lazaris:
Yeah, if you want to, I'll try.
Allie Mitrovich:
It, but you're going to have to fully walk me through this. Sorry, everyone. I don't even know which one it is. Where is she?
Alex Lazaris:
Clicking through them? No, not that one. Hold on. Let me boot up my own Illustrator. No, it's not the perspective one puppet warp.
Allie Mitrovich:
Here we go.
Alex Lazaris:
Perfect. You might have to get rid of the perspective warp tool going on. Just click that X out.
Allie Mitrovich:
See, my computer doesn't even know what's happening because I haven't opened this forever. Okay. All right.
Alex Lazaris:
So what you're going to want to.
Allie Mitrovich:
Do actually whoa, back it up 1 second. I need to exit out of this.
Alex Lazaris:
Just do your direct select tool first. So you're not trying to pin.
Allie Mitrovich:
What am I doing? I can't get the perspective.
Alex Lazaris:
The perspective tool doesn't like to play nice with that. I think you have not at all the view. If you click view, I think you can turn off the perspective.
Allie Mitrovich:
Here we go.
Alex Lazaris:
Somebody told me the command the other day, and I've forgotten. Okay, so perspective grid is up there. Yeah. You add it. Hide grid.
Allie Mitrovich:
There we go. Thank you. That never exits out for me. Okay.
Alex Lazaris:
Yeah. So what you're going to do is you're going to take the M that you have currently oh, you click the perspective tool again.
Allie Mitrovich:
Oh, Lordy. Everyone, you're good.
Alex Lazaris:
There you go. Boom. So take the M and then I would just like click the M. With the Direct Select tool. You want to make sure it's not grouped to the rest. So if it's good there. Okay, now you can do the puppet. It might want it to be an outlined type, but we'll see. There you go. All right. So now what you can do with that is those little dots that you're seeing, the black dots on it are acting as, like, anchor points for the type. So everything that is like, diagonaled and triangled is what's going to be pulled. So what I would do is I would add some black dots every time you click, adds another anchor point.
Allie Mitrovich:
Okay.
Alex Lazaris:
You're just kind of wanting to pin the left two descending lines of the M. So you want to keep those in place. So click just like click in the middle. So right there, you've got that. But click in the middle of that same stroke. So, like above, go up there. Yeah. And then go up a little bit more. You're just trying to pin this thing together.
Allie Mitrovich:
Oh, this is pinning it right now.
Alex Lazaris:
This isn't okay, so just do that. There you go. A couple of times. Cool. And that's pretty much set for that. What you're going to do now is you're going to do it on. So those black dots kind of act like a joint on your arm. So from that point, it moves. So I would add a point right in the middle of that curve that you have going there. You've got one on the tail tip. Yeah, right there is perfect. And then add one above on the straightaway. There you go. Perfect. And now what you'll be able to do is on that tail, you'll be able to pull it. So click and pull just like there you go. Just touch it, pull it.
Allie Mitrovich:
Looky there.
Alex Lazaris:
So that kind of helps there. And then you can use the other anchor points and that can I help?
Allie Mitrovich:
Oh, I see. Oh, fun. Okay. I'm semi remembering this, but it always messes with the width here. I guess I would have to go in with the direct selection tool in.
Alex Lazaris:
You'll, tidy it up. I wouldn't go super crazy like you're going pretty I wouldn't want to pull it that far away from that. You're just trying to get the kind of base shape of it so that you can start building the rest of the circle. So if you get a good degree, turn on it, I think you'll be really happy with that and that'll be a starting point.
Allie Mitrovich:
Okay. As much as I love this, I think I feel more comfortable with the pen tool.
Alex Lazaris:
Yeah, you can do the pen tool.
Allie Mitrovich:
Too, but that is a really cool to. I probably should have practiced that before hopping on here.
Alex Lazaris:
No, you're good. This is something that it is really nice. Well, depending on what you need.
Allie Mitrovich:
Yeah, it's super nice to have.
Alex Lazaris:
Yeah. When I was on with Nick last week, we did a bunch of this for some logos we were working on because it was just fun and broke.
Allie Mitrovich:
All the shapes and we need I need to mess with that more, for sure.
Alex Lazaris:
It's great for illustrations as well, like having characters that are like I had a client that was doing a bunch of healthcare illustrations and so we had a bunch of characters and so moving them into new poses is a lot simpler with the puppet warp versus rebuilding things. Did Ali get the textures on the midis with Opacity mask? Nope. That's a rough version of the typeface.
Allie Mitrovich:
I kind of want to curve into it, not have like a Sharp.
Alex Lazaris:
So for those of you all who didn't know, adobe Max is coming up on October 26 and through the 20 eigth. So make sure you join Adobe for extraordinary virtual experience. So make sure you hang out. Voodoo Val has already linked before, but I'm sure she'll link the registration for you to join again.
Allie Mitrovich:
That was a great pitch, Alex.
Alex Lazaris:
Thank you, Adobe Max. So fun. Be there. Nailed it.
Allie Mitrovich:
Nailed it. For sure. Okay, this guy's a little bit messed up. I'm going to actually I'm going to use the smooth tool right now. Where is my voila?
Alex Lazaris:
Okay, perfect. Thank you, Val, for sending the registration link. And the great thing is you can also with the pin tool, you can also use the width tool and adjust some of that stroke stuff because you have variance in your weight in your typeface.
Allie Mitrovich:
It all right. Once I outline this, once I'm done, I'll go in with my direct selection tool and clean it all up. But I think I'm going to try and see what it looks like. If.
Alex Lazaris:
Elevation wants to know, do you ever place logos on mockups when presenting to a client? T shirt, mockup, label packaging, mockup baseball hat, mockup, et cetera, et cetera, et cetera.
Allie Mitrovich:
Yeah, for sure. I think that it's so helpful. People who aren't designers don't know how to not that Came offered. It's hard for people to picture it when they're not familiar with logo work. So I think it's really helpful to put it on whatever is relevant to the project. So if it's just a regular, like, the logos that I have on my website, I would mock those up on T shirts or bags or business cards, for example, because those will be that's what it's primarily used for. So this, for example, then I'm going to mock it up on like, a menu business card, this wooden plaque thing. I do think it's important, though, for whatever the brand is about having it match the vibe.
Alex Lazaris:
For that I agree.
Allie Mitrovich:
Okay.
Alex Lazaris:
I don't know how you cannot have a chicuteri platter without a wood board.
Allie Mitrovich:
Exactly. You can't love it. All right. This is giving me a hard time.
Alex Lazaris:
You could do the join tool also. That probably would help sort some of those pain points out. If you like, select both of them and then de join where's there should be one. It's always funny, like, looking at other people's docs. I'm like, it's so different where mine is. Should be with the Blob brush area, I think behind the brushes. There you go. Join tool. So just draw over the two points that are kind of touching. There you go.
Allie Mitrovich:
Cool. I'll do it here too.
Alex Lazaris:
It won't work on that one because one is a stroke and one is outlined.
Allie Mitrovich:
All right. Okay. I'm going to sit on that one. It's like, stressing me out, I think. It's not my favorite.
Alex Lazaris:
You're good. You don't have to put it on the back burner.
Allie Mitrovich:
Yeah, I'm going to let it sit. So if the chat has any ideas, I would love to hear.
Alex Lazaris:
Well, I know you were looking at potentially doing those, like the bow tie looking one. Really fun one to work on.
Allie Mitrovich:
Yeah, I'm trying to figure out how exactly, because I think that that would have to be like a whole different font. I don't think that what I have. Let's try don't die. I'm not keeping this in all caps.
Alex Lazaris:
No, I was just going to suggest Comic Sands as a alternative.
Allie Mitrovich:
Totally. What if I seriously came on here and did Comic Sands? I would kick me off the live so quick.
Alex Lazaris:
I spent 15 minutes designing logos in Comic Papyrus last week.
Allie Mitrovich:
No way. Or like curls mt. What if I did that?
Alex Lazaris:
Yeah, exactly. Perfect.
Allie Mitrovich:
I'm actually going to try like a warp type thing.
Alex Lazaris:
Oh, that's a good idea.
Allie Mitrovich:
Because I think if it has a little bit of an art, it would be nice even if it doesn't have a circle. Actually, I'm going to make the letters a little bit tighter. How did an hour already go by that one? By so quick? Goodness.
Alex Lazaris:
Goes by quite. Don't realize how once you're in the flow of things, it just goes by so fast, right?
Allie Mitrovich:
Yeah, I think that looks cool. Let's try something. This is kind of reminding me, like, of I don't know why. I don't even know what their logo is, but mission Barbecue, unfortunately, for some reason, is what I'm getting when I see this, which is not really what I'm going.
Alex Lazaris:
Always this could be a really fun one if you pulled, like, an Adobe stock asset of cheese illustrations, things like that.
Allie Mitrovich:
Well, hold on. You actually didn't even know I had this. But you were reading my mind. Because I already have one downloaded.
Alex Lazaris:
Love it.
Allie Mitrovich:
And it literally has all of the goods. Look at that.
Alex Lazaris:
Oh, my goodness.
Allie Mitrovich:
Yeah. So you're one step ahead of me, actually. And I'm going to pull this in for the business card, I think. But actually, this isn't a bad idea. There's this cheese right here. Let's try it. What if I did think that could fit in a circle? I don't know if I like this cheese, though. Actually, it's kind of cute. I don't know. But yeah, adobe stock saved my life for so, like, generally I would probably draw something like that, but I couldn't even decide on which food doodle to choose from. There were so many. But very convenient.
Alex Lazaris:
Yeah, adobe stock saves me countlessly for things like this.
Allie Mitrovich:
Yeah, it's such like a little it kind of makes you look better than you are. Really? Because I don't think I could draw that well.
Alex Lazaris:
I think that should be the Adobe stock tagline from now on. Yeah, adobe stock make you look better.
Allie Mitrovich:
Than way better than you are in real life.
Alex Lazaris:
Okay.
Allie Mitrovich:
I'm just messing with fonts now.
Alex Lazaris:
Because I'm tanica asked, how long does Ali typically spend to research the brands when working with clients?
Allie Mitrovich:
Well, I'm an a one stalker. I don't know. Probably about an hour. I mean, I always send out a questionnaire, too, so I'll get a feel for their vibe from the questionnaire itself, but probably like a good hour digging through their website or their shop or their instagram, just getting a feel for what they like and what they're like. And I like to also figure out what that person is like, not just what their brand is about. Because regardless if they say they want it or not, you always kind of want to show their personality and their brand because that's the whole reason they have it.
Alex Lazaris:
Yeah, that's fair. When you get these projects, is that the most that you do for the research, or do you continue to do more?
Allie Mitrovich:
Well, I send out a pretty extensive questionnaire so that they kind of help me out in figuring out what they like. And the hard part, though, is that I feel like a lot of times people don't know what they want until they are actually staring at it. So they'll think they want something and then they see it and they're like, this isn't what I want at all. You know what I mean? I feel like I kind of figure stuff out as I go once I get, like a revision back or something.
Alex Lazaris:
Yeah, absolutely.
Allie Mitrovich:
I'm kind of liking this too.
Alex Lazaris:
Steve says, oh, man. G. And here in New Zealand, we have a Dutch cheese shop that as long as you buy a bit of cheese, you can stand there and sample so many different kinds of cheeses.
Allie Mitrovich:
I'm about to fly there. That's my dream. Maryland doesn't have anything of the sort.
Alex Lazaris:
I'll see Steve there on Tuesday. Steve and I do a Tuesday cheese meeting. Just kidding. I wish that'd be oh, my God.
Allie Mitrovich:
Wait, I thought you were being serious. I was like, can I come next time?
Alex Lazaris:
I think if we did that every Tuesday, I think they would get tired of seeing us. Yeah, that's fair. Catch our that's fair.
Allie Mitrovich:
What's your favorite type of cheese?
Alex Lazaris:
I don't do well with cheese names. I always forget. I think there's what is it? The honey goat. Is that what it's called?
Allie Mitrovich:
Drunken goat cheese.
Alex Lazaris:
Drunken goat is the one.
Allie Mitrovich:
Oh, never heard of that. I'm a brie gal.
Alex Lazaris:
Love drunken Goat is like a goat cheese with, like, I think honey or something.
Allie Mitrovich:
I mean, I would probably guess honey. I don't know.
Alex Lazaris:
Just thinking of all the dumb puns I can say.
Allie Mitrovich:
Sam, let's hear it.
Alex Lazaris:
Favorite cheese related actress. Who would it be for you?
Allie Mitrovich:
What is that supposed to mean?
Alex Lazaris:
Brie Larson.
Allie Mitrovich:
Oh, you're going that way. That's a good one. I can't think quickly. Like like, that was kind of impressive that you came up with that so quick.
Alex Lazaris:
Thanks. I'm just embodying my dad life of just puns jokes.
Allie Mitrovich:
Well, you're really fitting the part.
Alex Lazaris:
Thank you.
Allie Mitrovich:
I kind of liking this. I'm going to mess with this one more. All right. I'm moving this guy completely off the artboard. I want to mess with the fonts here because I'm not sure I'm like loving this one.
Alex Lazaris:
Well, I think what you could do with it also is the shape of that cheese wheel. Like, you can curve the type a little bit more, get it to kind of play with the cheese in that.
Allie Mitrovich:
Okay. Like kind of match this type of art. I see.
Alex Lazaris:
Yeah, a bit of that might help.
Allie Mitrovich:
Yeah. I'm going to change the font first and then do that. I'm wondering what it would look like if I did the cursive.
Alex Lazaris:
Olivation is asking, what does the client plan to use the logo for? Is it just for food labels, clothing? Or is it meant for everything under the sun?
Allie Mitrovich:
Like this one. Okay, so let's act like this is really going to happen. I feel like it would be on let me think, like t shirts for people who are serving at the food truck like a decal on the side of the truck and then on the menu obviously business cards. I would like engraved wood, an engraved wood sign or coasters, something like that. I'm really kind of going for the wooden vibe so honestly anything and then also maybe like the plates and I don't know.
Alex Lazaris:
So would you be delivering or like for yourself since this is for your own Midis chicuri, would you use one logo or would you try to build separate logos and separate kind of things depending on the use.
Allie Mitrovich:
So I would probably use one logo for the official, for the website, for the menu. But then once I finalize logo here I want to do a sub logo and then the sub logo would probably go for the social media icon and then maybe the sub logo could be like on a pocket t shirt chest or something kind of like that. So that's why I like to do logo and sub logo because I think it's important to have variation and also for example if I were to do this one, imagining this shrunk down to the size of a coaster for example, it's like a little bit tough in that way. So that's why I like to do a sub logo and kind of make all the features bigger so that it stands out better.
Alex Lazaris:
Yeah, absolutely. I think depending on the brand, delivering bunch of different options is totally great and then sometimes you just need one really good logo.
Allie Mitrovich:
Yes, because people get overwhelmed very easily. I'm one of them. I mean for sure, but yeah, I feel like I can't really can't do that with cursive.
Alex Lazaris:
You could probably do a diagonal if you really wanted to but you've already kind of done.
Allie Mitrovich:
Yeah, I want to do an arch, I just need to figure out what font I want with it.
Alex Lazaris:
Oh man, you've got some fun little typefaces in there.
Allie Mitrovich:
Honestly, some are from college before I knew what a good diamond face was and I haven't gone through and deleted them so I ignore half of them. That's why I favorite some and then it's just easier to look through them so I know what's good.
Alex Lazaris:
Angela asks how would you rework it for web placement?
Allie Mitrovich:
That's a good question. I'd probably keep the whole badge logo. I probably do, like, center on the website and menu underneath. And then at the bottom, like, in the footer, is where I probably put the sub logo or remove, like, oh, goodness gracious. Remove the two circles and then just blow up the like, for example, if I were to use this one, maybe remove the two circles and blow this up. And then, of course, with color. I feel like it makes it all look cohesive on the website.
Alex Lazaris:
Yeah, you could probably just kill even charcuterie and just have Midis.
Allie Mitrovich:
True. Because it's probably not going to be called Midi Charcuterie in full every single time.
Alex Lazaris:
Yeah. Can only imagine trying to type that on my mobile phone.
Allie Mitrovich:
Absolutely not. I just wouldn't. All right, I'm trying to pick a font. I want to try something different. Let's see what a serif would look like. Or a slab serif. I think that kind of might fit the vibe, too. Kind of like a mom paw shop. I don't know. That's what it makes me think of it.
Alex Lazaris:
It definitely has, like how do you say? It definitely has that cute mom and pop coffee shop vibes where I just want to read a book and just hang.
Allie Mitrovich:
Yes. Okay, good. What I'm going for I don't know what I'm this wide descender is going to kill me. That's why I was thinking if I had it all caps, but I don't. I love the look of all caps.
Alex Lazaris:
You could keep that descender there, and then you can do chicuteri locked up on the left side and just have it really small.
Allie Mitrovich:
So ditch the circle and the cheese.
Alex Lazaris:
No. Just thinking if you wanted to keep the Y lowercase, then you could lock up shakutri in that negative space from the yeah, that is true. TT.
Allie Mitrovich:
Definitely try that. Look at more slab. Sarah the unsung heroes. I feel like no one uses them.
Alex Lazaris:
As much as yeah, they're not as trendy anymore.
Allie Mitrovich:
I love them. I think they're so cute. I mean, obviously it's definitely a specific type that uses it. You can't really throw it in anywhere, but I kind of like this. It just mess. I don't really know what I'm going for. Yeah. Okay. Loving that. Another idea. Hold on. I'm, with my pen tool, going to draw the same arch that the cheese has and then do type on a tool. Type on a path so that it gets the same amount of curves. I don't know if it's perfectly symmetrical, but we'll see.
Alex Lazaris:
That's fine. It's beautiful.
Allie Mitrovich:
Thank you.
Alex Lazaris:
Yeah. I love this chat's. Talking about trademark and all that stuff. It's crazy.
Allie Mitrovich:
Wow, you guys are getting in depth today.
Alex Lazaris:
Yeah. Talking about how having multiple logos and things. Talking about getting lawyers happy with trademarks.
Allie Mitrovich:
Oh, goodness.
Alex Lazaris:
It's beautiful. So if you are missing out on all these wonderful conversations happening in Chat, then you're probably on YouTube and you should come over to Adobe Live. That way you can interact and hang out with us and learn something new today's.
Allie Mitrovich:
I think I like the way that that worked a lot better. The arc that I was doing with envelope distort was kind of like warping the text and I wasn't digging it, but this looks a lot better to me. I like the way that the slab serif combines with the script. I think that that's a nice combination. Like, this is a good font pair, in my opinion, but I don't like using three fonts here's.
Alex Lazaris:
Are you going to try to pair it with that top one. Nice. Yeah.
Allie Mitrovich:
I'm going to try I might do light instead of regular. Such different sizes. But it's saying they're the same.
Alex Lazaris:
Are those the same sizes? No. Right?
Allie Mitrovich:
It says they are. Look. Wait, 30. 30. Doesn't that look look at the yeah.
Alex Lazaris:
I guess just all right. I guess just drag it and make it bigger. Weird.
Allie Mitrovich:
Now the all right, whatever. That's good.
Alex Lazaris:
Are you going to change the ovals or the circles to be more Ovular or is that even in a word, oval? Oval like ovular.
Allie Mitrovich:
Let me try that. I like that. Oh, I like that. We need to make them a bit bigger. Yeah. So it matches the midis really well.
Alex Lazaris:
Yeah, there was just that contrast between the two shapes happening.
Allie Mitrovich:
Yeah. I also would like to see let me align these. I'm also going to try, like, making it the background black and then the type white. So it's like, reversed.
Alex Lazaris:
I feel like the chicuteri being a straight line is the OD duckling.
Allie Mitrovich:
Now you think? Okay.
Alex Lazaris:
Yeah. I'm wondering if there needs to be kind of a different envelope to it.
Allie Mitrovich:
I let me try.
Alex Lazaris:
So Chat, if you are just now tuning in, we are working on or ali is working on her own midi's charcuterie logo. It's very exciting. This may or may not become a business one day.
Allie Mitrovich:
One day. Stay tuned.
Alex Lazaris:
We can all come bother her and be like, oh, my God. I remember when you made this on Adobe Live.
Allie Mitrovich:
Yes. Throwback.
Alex Lazaris:
So excited.
Allie Mitrovich:
Let's see. Going to take this. It actually being indecisive. Think I'm going to take the pen reflected and then type charcuterie on that path. So it's the same as.
Alex Lazaris:
I'm impressed with your spelling charcuterie correctly. Every time I struggle, every time I agree, I think.
Allie Mitrovich:
Thank you. I actually didn't think about that. I don't know how this is happening.
Alex Lazaris:
I literally have been thinking that this whole time.
Allie Mitrovich:
Have you been?
Alex Lazaris:
Especially when you type it from scratch and aren't just like, copy pasting, it over. I'm like, wow.
Allie Mitrovich:
Thanks.
Alex Lazaris:
Why is she crushing it? That doesn't make any sense.
Allie Mitrovich:
Should have been an English major.
Alex Lazaris:
I'm at the point of staring at it for so long now that I'm just second guessing everything as well. Is that right?
Allie Mitrovich:
Yeah. I don't know. Let me see. I still think I'm leaning towards this whole page.
Alex Lazaris:
I think you've got some really strong options right now, though. I do like the oval with the charcuterie and all that stuff. I think it's a different vibe from the others. I do think Ember four is still my favorite.
Allie Mitrovich:
I think it's my favorite too.
Alex Lazaris:
But I think these would be strong options in A deck or anything like that.
Allie Mitrovich:
I'm sorry, what was that last part? What did you say?
Alex Lazaris:
I think that these would be strong contenders in a logo presentation deck to the client or at the end of this, whenever you're done with. Your explorations. I think you'll be very happy with like four and the new one.
Allie Mitrovich:
Right? I'm going to try one more thing with this elevation.
Alex Lazaris:
Says the new one is nice. All caps.
Allie Mitrovich:
All caps. You're really selling me now. I'm kidding. I'm going to try the capital M here.
Alex Lazaris:
Val goes. I do that all the time. I look at a word for so long, I forget how to spell it and suddenly it doesn't look right anymore.
Allie Mitrovich:
Yeah, midis doesn't look like a word. I mean, obviously it's not really a word, I guess, but to me it's not looking like a word at all.
Alex Lazaris:
Totally. You might be able to move that S closer. I think it might be.
Allie Mitrovich:
You think? Okay.
Alex Lazaris:
Yeah, I think we're probably giving it a little bit too much space because incursive we would still be really tight to that.
Allie Mitrovich:
Yeah, that's true. Okay, I want to try that then. I'm going to try actually, no, I'm going to keep this straight. I'm kind of going off of if you can see this sketch right here.
Alex Lazaris:
Did you just wing that back to being straight? Was that just like a flex? That was just like so slow.
Allie Mitrovich:
Look at me go. Yeah, that was on a straight line too.
Alex Lazaris:
Wow.
Allie Mitrovich:
Oh wait, no. Did it snap? It snapped. I'm not going to take that for.
Alex Lazaris:
That from like an off angle.
Allie Mitrovich:
So I think I'll take the compliment.
Alex Lazaris:
Yeah, you crushed it good.
Allie Mitrovich:
Thank you. Okay, I'm going to do what are we thinking about the secondary?
Alex Lazaris:
The S is a touch too high now. The line isn't exactly wait, what? The S, because you just moved it over at an angle earlier is off a different baseline now.
Allie Mitrovich:
No. Is it really?
Alex Lazaris:
I think so. If you took a ruler down like the baseline from the itty you know.
Allie Mitrovich:
What, honestly, this is so lame of me, but I always just draw a line and I'll take the ruler out. Yep. Shout out. Who was that? That is so impressive.
Alex Lazaris:
Steve is always in a he's a regular.
Allie Mitrovich:
Thanks, Steve. You're the best.
Alex Lazaris:
Eagle eyed.
Allie Mitrovich:
There we go. Okay, so wait, what are we thinking? I'd like to get opinions on which font we like best with the cursive. If we wanted what we have this rough sand serif or like a slab serif. I guess we didn't do a slab serif with this cursive, so it's a little bit hard to tell.
Alex Lazaris:
True.
Allie Mitrovich:
But I think that this 1992 could fit really nicely in between the descenders. Yeah, I think it fits really nice. So I'm going to try sorry. I'm like moving our screens around. There we go.
Alex Lazaris:
You're good. Would you move Chicuteri to the top? If that negative space, then I was.
Allie Mitrovich:
Thinking I will put Baltimore, Maryland at the top again. This is very rough sketch, but over here I saw somewhere I got some inspiration from it where I saw someone put like it was just a lot of more information than normal in the logo, and I like the idea of it, so I'm going to try doing it's.
Alex Lazaris:
Going to go back to old school days where we used to put phone numbers and logos.
Allie Mitrovich:
That was a thing?
Alex Lazaris:
Yeah.
Allie Mitrovich:
Oh, no, that's tragic.
Alex Lazaris:
Especially for Yellow Pages and things.
Allie Mitrovich:
Wow.
Alex Lazaris:
Got to get all the information in.
Allie Mitrovich:
I'm glad I wasn't in graphic design at that time. All right.
Alex Lazaris:
So what did you like about the logo that you saw with the extra information?
Allie Mitrovich:
I just thought it looked more like I'm going for the family vibe, and I think that it was just nice how it all formatted together really nicely, and I'm thinking that mine's not formatting the way that theirs was, but I.
Alex Lazaris:
Just think it looks really nice without the circles now.
Allie Mitrovich:
Yeah. I think I need to make Charcuterie smaller, actually. I think I just need to move it down.
Alex Lazaris:
Yeah, I think without the circle, you get that reinforcement from it, and I think that works really well. So I think having the big chicuteri yeah. Helps tell that shape story.
Allie Mitrovich:
Now I feel like this needs to be a lowercase M, because the negative space here is.
Alex Lazaris:
Know, I don't think that's a big deal.
Allie Mitrovich:
Okay.
Alex Lazaris:
I think you would just rotate Baltimore. So I would probably have Baltimore match the same size as chicuterie, and then I would oh, and have it on a swing.
Allie Mitrovich:
There we go.
Alex Lazaris:
You might need another anchor point.
Allie Mitrovich:
Yeah, I think I do.
Alex Lazaris:
Kegney says, I like the implied circle.
Allie Mitrovich:
Yeah, I think I'm liking that, too, which I didn't think I would.
Alex Lazaris:
I think it does a good job of feeling a little bit less vintage and a little bit more like modern vintage.
Allie Mitrovich:
Right.
Alex Lazaris:
Just making up genres right now.
Allie Mitrovich:
I like it.
Alex Lazaris:
Got. Good.
Allie Mitrovich:
I'm trying to join these two.
Alex Lazaris:
Val says, I feel like this logo looks a lot like a seal or a badge, which is what Ali said she was going for at the start. I think we're on the right target.
Allie Mitrovich:
Yeah, fine by me.
Alex Lazaris:
All working out according to plan.
Allie Mitrovich:
Okay. There we go. Now I need to where is my guy to move? There we go.
Alex Lazaris:
Nice.
Allie Mitrovich:
I'm liking that, but I feel like it's not off center like you were thinking. Have it off center to fill the gap or still have it centered. So I should move back?
Alex Lazaris:
No, I was thinking have it off centered to fill the gap a little bit more, and which means you might be able to you probably could pump up the jams on both of them just a tiny bit in terms of font size, but maybe also it's fine. I'm trying to think, if you were to tilt this logo back again like you had originally, would that get the Baltimore and the Chicago to feel actually centered that way?
Allie Mitrovich:
Yeah, probably, because I don't know if I love how it's not off centered enough to make it seem like I did it on purpose. It kind of looks like I just accidentally didn't have it centered, you know what I'm saying?
Alex Lazaris:
Correct. We want to make it look intentional for you.
Allie Mitrovich:
Yeah. So I want to look like I'm experienced. Let's try this.
Alex Lazaris:
Wow, look at that experience.
Allie Mitrovich:
Look at that. Looky there. But now the charcuterie has the same, actually.
Alex Lazaris:
Well, you could also solve that by saying adding a second word to charcuterie if you wanted to. Like great charcuterie or the best.
Allie Mitrovich:
That's the one.
Alex Lazaris:
You can tell I write copy for a living, right?
Allie Mitrovich:
Yeah, for sure. I honestly don't hate it the way it is, though. What if I made charcuterie a little bit bigger? Do you think that they need to be the same size?
Alex Lazaris:
I think it's either they need to be the same size or.
Allie Mitrovich:
They need to be the same size. It cool. I think I really like that one. I don't know which one I like better now. Four or this?
Alex Lazaris:
I don't know either. I think I'll probably go with this new one without the full circles happening.
Allie Mitrovich:
Yeah, I agree. Like, the intended circle is nice. I'm going to just try it with lowercase real quick. Like, I'm taking forever on this logo, but it's a good problem.
Alex Lazaris:
That's how logos go. They're time consuming to get dialed.
Allie Mitrovich:
Yeah, the 1992 doesn't fit as nicely here.
Alex Lazaris:
That's okay. It can go bye bye if needed.
Allie Mitrovich:
Yeah, that's true.
Alex Lazaris:
The great thing is not having a real client for this.
Allie Mitrovich:
Right.
Alex Lazaris:
It's up to us, right?
Allie Mitrovich:
I think I like the capital M anyways.
Alex Lazaris:
Yeah, I agree.
Allie Mitrovich:
Cool. Okay. I think I'm going to go with this one. Oh, wait, do we like that? This is a whole different font, though. You know what I mean?
Alex Lazaris:
What other font would you use?
Allie Mitrovich:
Maybe like the same font that I did. Let me try.
Alex Lazaris:
Kristen and Cagney say that they love the new one.
Allie Mitrovich:
Yay.
Alex Lazaris:
Cagney says the new one feels more your style.
Allie Mitrovich:
Cool. Okay. I actually think I like it better to match. I think that looks nice. I like the numbers with the rough lot. I'm going to make it go in line with the M. Then I'm going to center these. Cool. All right. Yay. So I guess that'll be my final logo in black and then moving to color. My favorite part by a mile is making or adding color to logos. I'm going to make a new artboard, and then I'm just going to copy and paste these over here so I can color drop along with everyone else. I'm really into the good sage greens, so I think I'm going to try that out first. I think that really fits the vibe of it. I'm wondering if I did those, the lighter green. I think that looks really nice.
Alex Lazaris:
Would you do a variation of it where you don't have any distress type and then have one that does have the distress type on it.
Allie Mitrovich:
What do you mean?
Alex Lazaris:
Like as a sub logo or just as an alternative?
Allie Mitrovich:
Yeah, because I think that they could be used in different ways. I think that the rough isn't necessary on all products, but it does look nice on I guess probably like a wood grain would look nice on, and then it wouldn't look nice on other things, I guess.
Alex Lazaris:
Yeah. Well, I was just thinking, like, because of the white space with the rough, you're getting essentially two different colors even with the same color, right?
Allie Mitrovich:
Yeah, that is true.
Alex Lazaris:
It looks different even though it's the same paint.
Allie Mitrovich:
Righteous. I like those two. I'm going to try them because I'm thinking, like, it would look nice with the background color. But of course, we took out the lines of the circle for a reason, so I'm wondering how it'll look. But we're going to try. My other favorite hack is Command Shift. Left bracket, sends it all the way to the back. Save my life. Actually, I forgot I need to outline all of this.
Alex Lazaris:
Do you ever do Command B?
Allie Mitrovich:
I don't. What is command?
Alex Lazaris:
It's paste behind.
Allie Mitrovich:
Oh, paste behind. Yes.
Alex Lazaris:
It.
Allie Mitrovich:
Yeah, it's, like, kind of hard to fit into a circle perfectly. I'm going to group it just to get it centered.
Alex Lazaris:
Yeah, it's going to be one of those visually aligned logos.
Allie Mitrovich:
Yeah, because I feel like it's going to bother me that it's a little bit more of a negative space here than it is here, because it's not the same exact curve as you know what I mean?
Alex Lazaris:
Yeah. If you really wanted to later on, you could probably shorten the leg of the M on the left side to buy yourself some space.
Allie Mitrovich:
Yeah, that's true. I think I might do that. I really like it, though, with all white and a colored background.
Alex Lazaris:
Morgan says the sage green and the yellow tan would look fire.
Allie Mitrovich:
Okay. Anything? Oh, my gosh. I just did the perspective tool again. I did it on my keypad, though, somehow.
Alex Lazaris:
I don't I think it's Command P.
Allie Mitrovich:
Well, I'm never clicking that again. Okay. Actually, I'm going to go in and change the M right now because I think I'm liking this background, but this guy is causing me some trouble. You it. I think it needs to match up with this.
Alex Lazaris:
Look at that.
Allie Mitrovich:
Cool. I am going to smooth that out, though. It's. What in the world?
Alex Lazaris:
Perfect. Ship it.
Allie Mitrovich:
That's the one. All right, now my computer is being slow. There we go. I was going to say, that does not undo. That would be very tragic. Okay, cool.
Alex Lazaris:
So we have about 23 minutes left, so chat if you have any questions, definitely ask them. Hold your piece until tomorrow.
Allie Mitrovich:
You got to come back tomorrow to see the final product.
Alex Lazaris:
Exactly. It's looking a lot more balanced and fitting that space.
Allie Mitrovich:
Yeah. Wow, I love that. Okay, I'm going to mess around with colors. I guess I'll just finish out today because I don't want to start the menu and then stop in the middle. So I'll just start with the menu tomorrow.
Alex Lazaris:
Cool. Love that. I like. Yeah. Now that you've adjusted that tail, the flow is so much better as well. Jim was kind of feeling a little in the past.
Allie Mitrovich:
I'm glad you said that, because I agree. I'm wondering if I did like that's cool one color. I kind of like that too. Maybe a little bit lighter.
Alex Lazaris:
It's amazing whenever you choose a really good color palette, and you're just like, oh, I like that one. Oh, I like that one. Oh, I like that.
Allie Mitrovich:
I know.
Alex Lazaris:
Oh, I like that too.
Allie Mitrovich:
I'm way too indecisive. I don't know how I'm a graphic designer. Honestly, I'm way too indecisive for this.
Alex Lazaris:
Great thing is this looks like a roll of stickers you can print, and you can print all the same things on a roll of stickers.
Allie Mitrovich:
This is making me want to open and buy this food truck, like, tomorrow.
Alex Lazaris:
Yes, please. And I hope you ship it, and I hope you seal the packages with these beautiful stickers.
Allie Mitrovich:
Yes. No, I'll just drive the food truck out to California.
Alex Lazaris:
Yes, please. That's also acceptable.
Allie Mitrovich:
Yeah.
Alex Lazaris:
Just park it outside of Paco's.
Allie Mitrovich:
House so I can come. Yeah, I'm liking that too. Yeah, I think I like the 1992 matching. The same color is, like, kicking right now. It sounds like I could fry an egg on it.
Alex Lazaris:
That's amazing. Chat is going to tell me to tell you to save.
Allie Mitrovich:
There we go.
Alex Lazaris:
You never know.
Allie Mitrovich:
Normally, I'm good at saving it periodically. Not today, though, to focus. Okay. I'm liking these a lot. I just don't know which is my favorite. I think that this one might be my favorite, honestly. Or one of the solids.
Alex Lazaris:
I don't know how you're going to choose. I like the dual tone, I think, more than I like the monochromatic.
Allie Mitrovich:
Okay, this is tough. See, this is where I'm like I wish this was a client makeup bank.
Alex Lazaris:
Yeah.
Allie Mitrovich:
All right, I'm going to start making some sub logos for this color scheme, and then if I change my mind on colors, I can always go back. So when it comes to sub logos, I kind of just take, like, one small aspect of the logo and blow it up. So I'm going to take out all this extra information because you're going to want to I kind of like it, like, just midis like, that a little bit smaller.
Alex Lazaris:
Cagney asks, I know you were inspired by fall colors, but did you choose these colors you like or colors that make sense for the brand?
Allie Mitrovich:
Definitely that makes sense for the like, honestly, individually, I would never be like, oh, I love this orange. You know what I mean? But I think that with this logo and in the brand, it looks really fitting, but I wouldn't say any of these are like my favorite colors though. Definitely for the brand. But it's so interesting how I never thought that I wouldn't pick these colors off the bat to wear for an outfit or something. But then you put it on a logo and it just like a whole different look. Completely.
Alex Lazaris:
Yeah, absolutely. But I mean, it is pumpkin spice latte season.
Allie Mitrovich:
It is pumpkin spice. This is actually my coffee is pumpkin spice.
Alex Lazaris:
It's amazing.
Allie Mitrovich:
I kind of like just a big old M in the middle. And again, this would be nice for like blanking on what it's called. But the little baby logo that's like this guy. You see how that's not my full logo? What is that called? I know this, but I don't have a con. Yeah, so this could be nice for that for a website. But I'm really liking this Midis. I kind of want to try I'm going to make these this green and then I actually going to come down here and make this white and I'm going to try and make a pattern with this because I think that could be a fun sub logo if I did like a clipping mask in the circle.
Alex Lazaris:
And I very love patterns.
Allie Mitrovich:
I never utilized them the way that I should have, but look how good that looks like. I love that so much. Okay, yeah, I definitely need to utilize them more. Need to spread it out a bit, but I think that could be super fun. Let's try it. And it's so nice. So if you're confused why I just all went away, it's because it automatically adds it in your swatch panel right here, which is super nice. It's going to be hard to see because it's white, but I'll drag this down here. It's the way that if I were to fill it, like the fill the yellow, I would fill it and it would be Midis. So now that I look at it though, it definitely needs to be smaller. Okay.
Alex Lazaris:
In the pattern make tool, you can do the move tile with art or you can size tile to art.
Allie Mitrovich:
Oh, okay, I see.
Alex Lazaris:
So like you can click that button size tile to art.
Allie Mitrovich:
I think wait, where is.
Alex Lazaris:
I think that will well, I was able to.
Allie Mitrovich:
Edit it in just double clicking the swatch. Which way?
Alex Lazaris:
I'm trying to remember. There's a way that you can whenever you do the resizing of the bounding boxes, sometimes it'll clip it and sometimes it'll shrink the actual art.
Allie Mitrovich:
Oh, I know what you're saying.
Alex Lazaris:
You can get it in that circle and make it smaller without changing your pattern every time.
Allie Mitrovich:
Yeah, I didn't even think about that. That's okay. Okay, so I think this looks a lot better.
Alex Lazaris:
Might be in a transform settings.
Allie Mitrovich:
Actually, I'll have to mess with that tonight. Yeah, I think that's different. Again, maybe this wouldn't be a sub logo, but I like to give I call them elements to clients, and it's just like other fun additions. Like, I could see this on the back of a business card or something like that. So it's just nice to give other options. So I guess this probably wouldn't be a sub logo now that I think of it. But I do think it looks really nice, and I think it could be utilized in other ways.
Alex Lazaris:
I think if I was you or the client or whatever, I would have so many of these logos because it's so fun. It would be like, oh, just midi is like, you have it. There maybe some underline.
Allie Mitrovich:
Oh, yeah, throw it all over.
Alex Lazaris:
Yeah, just have fun.
Allie Mitrovich:
For sure. Yeah. Trying to think how else I would do one more sub logo. Actually, let's try it in this, like, beige.
Alex Lazaris:
In your logo package kits. Do you allow for revisions?
Allie Mitrovich:
Yes, I have a cap on them. I say up to three revisions.
Alex Lazaris:
There you go. There you go. Elevation. There's specifically questions around how many revisions.
Allie Mitrovich:
You oh, are there? Yeah, it does depend sometimes if it's like a mistake on my end, I'll obviously be lenient about that. But it's so hard, though, because like I said, no one knows what they want until they see it ever. Like, no one ever knows what they want, myself included. But it's really hard to hammer in on one design the first go around because it's so easy to see something and then immediately be like, I don't love that.
Alex Lazaris:
Absolutely.
Allie Mitrovich:
Even if it's thought you thought that's exactly what you wanted, it's probably not on the first try. And I just came up with an idea for one more sub logo. I'm going to take my cheese yeah. And put it in there somehow. Make it green.
Alex Lazaris:
Oh, yeah. Don't forget you have all those other illustrations that you can put together for another pattern.
Allie Mitrovich:
You're one step ahead of me, man. You're really reading my mind. That's my business card idea. Just stay tuned. You got to come back tomorrow. Then you got sucked in. Cute. Or we could do just cheese.
Alex Lazaris:
Tagline. Just cheese?
Allie Mitrovich:
Yeah. This is really specific, but in my case, I do this a lot for businesses because I make logos for a lot of other small businesses. This would be a perfect highlight cover on Instagram. So, again, this will go with the elements because I don't think you would use a block of cheese as your favicon. But yeah, so I'm very happy with it. I think we made a lot of progress yeah.
Alex Lazaris:
As asking, how did you make the cheese? And you made the cheese through Adobe stock.
Allie Mitrovich:
Through Adobe stock. Didn't even have to do anything. So basically, you just go on Adobe stock. And I typed in, I believe, like, food doodles is what I typed in because I wanted to be a little bit sketchy looking to match the rough texture that I had on the font. So I just typed that in, and then it immediately downloads. I just opened it in Illustrator and it's already vectorized, which is super nice. And you can filter out on Adobe stock if you want. It vector images, stuff like that. Yeah, this guy saved my life, for sure.
Alex Lazaris:
Yeah, super helpful. I always love this stuff because it's so easy just to present it back to a client. Be like, here's an option with a similar style. If you want, we can hire or find somebody to do those illustrations if you want.
Allie Mitrovich:
Yeah, makes it a lot easier, for sure. So I'm just going to while we have a few minutes left, find some elements that I like that I want to use on my business card that I'm going to make tomorrow. But I know I want, like, a variety of stuff, so I'm kind of just messing and selecting and copying stuff. That looks good. And I like these dots that they did, too. Like these little polka dots. I think that could also match my brand.
Alex Lazaris:
Yeah, those are cute.
Allie Mitrovich:
Oh, I like this pumpkin. That's fun. I'll keep that bread and cheese. Very charcuterie.
Alex Lazaris:
Okay, now I'm going to get in there, too.
Allie Mitrovich:
Where is that? Oh, here? Yeah, I love that command C. I'm going to copy it and then paste it over here. And I guess I'll just format my stuff for tomorrow. If we have a few minutes. I don't want this guide there. There we go.
Alex Lazaris:
We've got about ten minutes left.
Allie Mitrovich:
Okay. Plenty of time to start the business card. So generally, Arctic business cards, they're like three and a half by two, I think is the average business card size. I'm going to go ahead with that. I don't know if that's oh, my gosh. I did pixels, not inches.
Alex Lazaris:
Because your artboards are built in pixels.
Allie Mitrovich:
Yeah, I don't know why I should probably change that. Okay, so I'm just going to make this bigger, but keep it in the same proportion as, like, the three and a half by two. So my idea and I don't know how it's going to execute, it just an idea, but I was thinking, like, the back of the business card. So obviously there's going to be a front in the back. So there's going to be two. So the front will have all the information and the logo fairly big. And then the back. I was thinking I would make a pattern out of these illustrations. So just going to mess around and try and format them in a way. One thing I noticed with making patterns is that to make it look seamless, it needs to be in a square. So I'm going to try and format these. You'll see what I mean? I'll show you what happens if I don't put it in the square format, but I'm going to try and do this as best as I can.
Alex Lazaris:
Coming together real nicely.
Allie Mitrovich:
Thank you. It's so fun for me to do something that means nothing. There's no pressure. It's just not means nothing. That sounded wrong, but yeah, you're not.
Alex Lazaris:
Having to deliver it by the end of the day.
Allie Mitrovich:
Yeah, it's so nice to just do it for fun. So I'm going to actually make a square around it just so I can kind of fill in the tomato. I love it. Let's see what else I have. All right, I'm going to go grab something else. Oh, kiwi. I didn't see that last time.
Alex Lazaris:
Did we get the cheese or the.
Allie Mitrovich:
I think we got the cheese. I'll have to double check. Wait, I didn't get the butter. Is there butter?
Alex Lazaris:
I don't know. The thing on the next oh, this? Yeah, that thing?
Allie Mitrovich:
Yeah, let's try it. Oh, that might fit nicely up here. I'm really liking this jam in the middle. You know how, like, you put, like, preserves or whatever on a cracker with cheese? I think that it works nicely. Now I'm going to switch these. Let's see.
Alex Lazaris:
So, Ali, have you registered for Adobe Max yet?
Allie Mitrovich:
I have not, but I'm going to, I promise. Okay, well, I'll see you there.
Alex Lazaris:
There's a link in Chat for you.
Allie Mitrovich:
Just for me. Thank you.
Alex Lazaris:
Just for you?
Allie Mitrovich:
Just for me. Yes, I will definitely be joining.
Alex Lazaris:
For those of you in Chat who didn't know, it's October 26 through 20 eigth is the Adobe Max. So go ahead and reserve your spot so you can max and relax.
Allie Mitrovich:
Did you just make that up, or is that like their that's definitely not really that was kind of good.
Alex Lazaris:
Thank you.
Allie Mitrovich:
That was a little bit impressive, I got to say. Okay, so this box isn't going to actually be there. It's just for me to have this format in more of a square because you'll see what I mean in a second when I make the pattern. Yeah, this pattern feature is like a gift from God. Truly.
Alex Lazaris:
Yeah, I love it. Especially for because I don't typically do the square. I'll do like the hexagonal shape one.
Allie Mitrovich:
Oh, yeah, that's a good one.
Alex Lazaris:
The grids are a little bit more yeah, separate. But it's so lovely.
Allie Mitrovich:
It's so amazing. Okay, so let's see how that's working. Just going to move these down. So I'm going to group all of these. Actually, I need something in this corner. Let's see it. Group these all and then object pattern make. Let's see.
Alex Lazaris:
Okay, look at that.
Allie Mitrovich:
So, yeah, that's why you wanted to have, like, see how it puts the square around it? That's why if you want a seamless pattern, obviously if you don't, it doesn't matter. But to make it in a square format because now I don't really need to fill in the blanks here. It kind of does it for me, and I kind of want it scattered. Yeah, that looks so good. Cool. So I think I'm happy with that.
Alex Lazaris:
Yeah, it looks great.
Allie Mitrovich:
So now I'm going to put it on the business card, and then I'm going to copy command C and then command F paste in front, because when I do this, it's going to fill that whole shape. And I wouldn't have the greeting back if I didn't. Okay. Actually, I forgot that I want it to be white like all of these. Am I going to have to go and select all of these?
Alex Lazaris:
No, you can just command a.
Allie Mitrovich:
Man. A is not doing it.
Alex Lazaris:
Just drag and select all of them then.
Allie Mitrovich:
There we go. And I'm also going to make it a little bit bigger. I don't know if I loved always hold shift when you make things bigger. It was a little bit too small for me. Yeah.
Alex Lazaris:
Wait, they're going outside the bounding box. So they are overlapping on the repeating areas because you made them bigger.
Allie Mitrovich:
Gotcha, gotcha, gotcha. Come on. Oh, not that the computer is slowing me down.
Alex Lazaris:
Annika asked, does Ali use the repeat grid radial mirror to make patterns as well?
Allie Mitrovich:
I don't. I really only use this pattern tool because it saved my life, but I'm hearing about a lot of new things that I need to try.
Alex Lazaris:
There's just so many fun things.
Allie Mitrovich:
Too many. It's overwhelming.
Alex Lazaris:
Yeah, it's amazing how many different ways there are to do the same thing.
Allie Mitrovich:
To do the same thing. Yeah. It's so funny to see other people's processes, like watching the other Adobe lives. It's so interesting.
Alex Lazaris:
Oh, yeah.
Allie Mitrovich:
All right, so now I'm just, like, reformatting it because it's a little bit messy. I just want it to look more seamless. Okay. I think that looks good. There we go. I think that looks so cool.
Alex Lazaris:
Yeah, it's exciting. Sweet. So we've got about two minutes left if you want to kind of walk us through what have we done today, where are we going to go tomorrow?
Allie Mitrovich:
So basically, we started off here, and again, it's a Charcuterie food truck is this fictional logo and Midi's. Charcuterie would be like my family's last name, abbreviated, basically. So kind of worked on some type here, figuring out different combinations. And then I went in and edited the font itself because I didn't like the format of it exactly. So I went in with direct selection and moved it around a bit. And then I knew I wanted it to represent a badge of some sort. So starting with the circles, we kind of messed with tilting it up, having it pop out of the circle, and then eventually coming to the conclusion of this, which is an implied circle. Rather than having the lines like I did here, we added the Baltimore, Maryland at the top because I feel like it feels more personal and homey. In a sense. We messed with this. I do still really like this idea. I really like the. Slab. Sarah I think it looks good. And we stuck some cheese in there. I think that the idea of this would be really nice in a sub logo, which you'll see, like, with the cheese, then messing with colors again. My palette was very kind of dull colors, which I think is matching the vintage vibe. And I was really liking the blue and the green. So kind of still in the works of deciding between these two. And then this one, but went on to make some sub logos. Made a pattern right here. And then these would just be some fun elements that I would add in if this were for a client. And then I just barely started my business card, which I will finish tomorrow. And then I'll mock that up on a business card template and work on a menu and InDesign.
Alex Lazaris:
Sweet. So we got menus, business cards, maybe some more mockups tomorrow.
Allie Mitrovich:
Yes.
Alex Lazaris:
Super exciting stuff. Where can people find you? Give us a shout to your Instagram or whatever.
Allie Mitrovich:
Yeah. So my main social medias are Instagram and TikTok. They're both Allie Rose. Co A-L-L-I-E-R-O-S-E-C-O. Pretty active on there.
