*Transcription Disclaimer: the following transcription was automatically generated, and may have errors, or lack context.*
Kathleen Illustrated:
Hey, everyone. Welcome to our graphic design stream with Alex Lazaris. Welcome, Alex.
Alex Lazaris:
Hi.
Kathleen Illustrated:
Hello. Everyone in Chat. Say what's up to Alex. He's one of you. You might have recognized his name in chat before. You're resident creeper, aren't you?
Alex Lazaris:
It is true, yeah.
Kathleen Illustrated:
Chat creeper.
Alex Lazaris:
It pays to chat and win.
Kathleen Illustrated:
That's very true. Yeah. Have you won the chat and win?
Alex Lazaris:
No, but I think this counts as winning now.
Kathleen Illustrated:
Yeah.
Alex Lazaris:
So that's true. I'll take it.
Kathleen Illustrated:
Okay, cool. We will be doing a chat and win later, so stick around for that.
Alex Lazaris:
Yeah, you don't want to miss it. Lay flat technology.
Kathleen Illustrated:
Lay flat technology. I've heard if you're new to Adobe Live, welcome. We're here on Behancebe net slash live is the best place to watch.
Alex Lazaris:
Look at all these beautiful alex is in Chat.
Kathleen Illustrated:
Yo.
Alex Lazaris:
And Shauna. What's up, Shauna?
Kathleen Illustrated:
Hey, Shauna. Let's see. We got Tim, JC. Who else do we? Hmm. Ravlin. OOH, cool name. I like the end half of your name. It's like mine. Oh, lost says, shout out to all the creative south folks.
Alex Lazaris:
Oh, man, there's so many. They like invade everything. It's awesome.
Kathleen Illustrated:
It's a good invasion. Yeah, for sure. Are you going this?
Alex Lazaris:
I'm not. I know. Sad.
Kathleen Illustrated:
Okay, well, on that sad note, we can just end the stream now. Bye. Do you want to introduce yourself and let us know what you're going to be working on today?
Alex Lazaris:
Hi, guys. I'm Alex Lazaris. I run a little boutique independent design firm in Portland, Oregon. I used to live here in San Francisco and decided I want more rain.
Kathleen Illustrated:
Oh, that's why.
Alex Lazaris:
So now I'm in Portland with a bunch of other really incredible yeah. Love it.
Kathleen Illustrated:
Cool. John says that he's watching from PDX.
Alex Lazaris:
Oh, nice. That's awesome.
Kathleen Illustrated:
Cool. And Diana says watching from Portugal, so that's also very cool.
Alex Lazaris:
Yeah, it's like Portland, but with other letters and with completely other side of the company world.
Kathleen Illustrated:
There you go, Valeria. This is the challenge video. So, Valeria, we're going to be working on some branding today. If you want to rewatch the challenge video from Val, you can always do that. But we are going to be reviewing challenge entries at 130. So you have an hour and a half to get those submitted on discord. And then Alex and I will be looking at your submissions, giving some critiquing before you actually go and post them on social media. And then, like I mentioned, in about 30 minutes we're going to be giving away this moo notebook with lay flat technology. Check it out. Check it out.
Alex Lazaris:
It even comes with a sweet sleeve.
Kathleen Illustrated:
Yes, keep the sleeve. Put all your awesome notebooks in it. There you go. But until then, we're just going to get started. So tequila, right?
Alex Lazaris:
So tequila. This is a personal side project thing. I think it ties really well into Val's creative challenge. Kind of like this is something that I've been wanting to do a lot more of. So I started off one of early design agencies I was working at, did a lot of packaging work, a lot of branding work for liquor and alcohol and hospitality. So that's kind of my background. I love that stuff. Over the years, I've really started working a lot more in digital, and I kind of want to go back to that. But as creatives, you have to show the work that you want to attract more of. Yes. So this is a Tequila personal project that I want to do. Just live stream it, show you guys the process, if I was to make a Tequila brand, how I'd go about it. So here's kind of some quick inspiration that I've pulled. Not really inspiration so much as a competitive landscape.
Kathleen Illustrated:
Right.
Alex Lazaris:
And so how I really look at creative problems is heavily in strategy and trying to differentiate in the marketplace before I start designing. So here I've kind of broken down the Tequila bottles into three different categories. On the top row, you can kind of start seeing more of this authentic, handmade, handcrafted bespoke, small batch, distillery style stuff.
Kathleen Illustrated:
Totally.
Alex Lazaris:
And then as you get into the second row, you start getting more into this filigree section, I would probably call it. It's more of, like, you've got very similar aesthetics, which I guess I'm cheating because I have two Don Julio bottles.
Kathleen Illustrated:
So similar.
Alex Lazaris:
I'm like, well, it's crazy. It's like it's repeating other brands, but both of them, they all kind of have a very similar black lettering and ornateness to it. And then the third row is kind of getting into differentiating by bottle. At the end of this project, I want to go and photograph and print the labels. I have a wonderful friend in Portland who does letterpress work, so she's going to help me letterpress the labels, and then I'll put them on the bottles, and then I'll photograph them and try to make it look as real as possible for our client to be like, oh, my God, this is a real brand. It looks great. I can drink it all. That good stuff. Which really will help sell the concept.
Kathleen Illustrated:
Yeah. And then you'll send one of those bottles to the Adobe Live Studio.
Alex Lazaris:
Exactly. It might taste like casamigos.
Kathleen Illustrated:
Oh, it's literally this bottle.
Alex Lazaris:
But what I did was essentially I have some photos, actually, of it command shifty. Oh, gosh. Wrong buttons.
Kathleen Illustrated:
That's all right. While you're doing that, Nico's asking, who designed your haircut?
Alex Lazaris:
My little brother, man. I have a fantastic hair guy in Portland who I absolutely love, and I just let him do whatever he wants, and we kind of started doing this. So my background is in racing motorcycles and skateboards. I was a downhill professional skateboarder for a lot of my life.
Kathleen Illustrated:
You're not that old.
Alex Lazaris:
Well, for, like, ten years, I was doing it, and essentially, I met this guy. He let me I just told him do whatever you want. And so we've always done, like, racing lines, and so he'll always just kind.
Kathleen Illustrated:
Of that's what that is.
Alex Lazaris:
Got to go fast. Yeah, go fast. Speed stripes. It's like a mustang. Mustangs have racing stripes.
Kathleen Illustrated:
Yeah, the horses have the racing stripes. Exactly.
Alex Lazaris:
I can't get my bar to work. Oh, there we go.
Kathleen Illustrated:
Ha. Come back, doc. What's up, Jason? Good to see you, munir. Shauna. Shauna's talking about the cool Sugar Skull tequila bottles that were kind of hot a couple years ago.
Alex Lazaris:
Yeah, so exactly. So these are the three Casamigos bottles that I went to the store bought. Now I have three. I've got blanco reposado and aniejo, and so this is, like, my blank canvas. So I just want to make sure that whenever I'm building the labels, that I can wrap it and make it look interesting and differentiate in the marketplace. Very cool, but yeah. So going back to this bottom line, I don't have a crazy interesting bottle. Whenever you're looking for blank bottles, it's really hard because a lot of them get stamped, which is a great design addition, and it really helps sell the high level aspect of it, but it is more pricey, and it makes it a little bit hard to mock it up correctly.
Kathleen Illustrated:
Yeah, definitely. Kevin's wondering, do you notice that you speed walk a little more now, now that you have the racing straight?
Alex Lazaris:
Oh, absolutely. Especially, like, the before the haircut and the after haircut. I actually time myself just to make sure that it's working correctly.
Kathleen Illustrated:
Yeah, it's worth it. Shaving off those seconds.
Alex Lazaris:
My brother said that stripe should be straight, but he hit some bumps.
Kathleen Illustrated:
Oh, nice.
Alex Lazaris:
I mean, a good artist or good creative should be able to adapt to the mistakes.
Kathleen Illustrated:
Totally intentional.
Alex Lazaris:
Yeah, exactly. So these bottles right, so Petrona has a very iconic bottle. Milagro has this silver, the blanco tequila that they have. I think it's called Milagro silver, and that's glass blown. Hand blown. This one here is actually designed by Chanel.
Kathleen Illustrated:
Oh, it looks like perfume.
Alex Lazaris:
It does look like perfume. So it's very spot on. So these people are going into custom built bottles, which really is a great way to reinforce your brand. But for the sake of this project, I don't want to spend the money for a mold, so I won't do that. But you can kind of see how iconic bottles might stick out on the shelf. So when I was at the liquor store, I saw a bunch of this artisanal style stuff, and I realized everything in the aisle kind of has this off white, kind of cream colored background, so it feels a little bit more like parchment paper.
Kathleen Illustrated:
Yes.
Alex Lazaris:
Don't want to do that. I want to really change it all up. I don't want to do the distress thing. I want it to feel more inviting. So the backstory for the client or, like, the customer that I think of this is like the person who had a rough experience in college has probably not had tequila in a very long time. Probably, like, late 20s, early 40s. Somebody who's like, all right, I'll give it another try, but I want to have a good experience with it and start really sipping it. So it's more of like a whiskey drinker stepping into it.
Kathleen Illustrated:
So this is you.
Alex Lazaris:
Exactly. So I have a friend who's really avid tequila drinker, and I cannot for the life of me just drink a straight tequila yet. Yeah, but I'm going to try it.
Kathleen Illustrated:
Okay.
Alex Lazaris:
Not on stream.
Kathleen Illustrated:
Not allowed. Maybe later.
Alex Lazaris:
So I've got some inspiration around some really unique bottles that I really like and for various reasons.
Kathleen Illustrated:
Okay, cool. Look at that organization. We love it.
Alex Lazaris:
You got to be organized. Oh, no.
Kathleen Illustrated:
Isn't that the worst when preview does that?
Alex Lazaris:
Oh, it's the worst.
Kathleen Illustrated:
Why you do this?
Alex Lazaris:
There's a GIF. So there's a Behance page from oh, no. How do I can't GIF it?
Kathleen Illustrated:
Spacebar.
Alex Lazaris:
Spacebar. Oh, there we go.
Kathleen Illustrated:
Perfect. Oh, cool.
Alex Lazaris:
So this is by, I think, Floyd and Floyd or Lloyd and Lloyd. I think they're out of London. You can check out their behance. They did this really incredible tequila. And I like how it kind of shows the journey of the agave plant into the tequila. Yeah, really incredible stuff. Incredible photography.
Kathleen Illustrated:
Multiple labels on one bottle. So cool.
Alex Lazaris:
Exactly. And I love the inside print too. You can kind of see the agave flips around and gets distorted and makes it really interesting. Cool.
Kathleen Illustrated:
Jordan says Alex seems like a pretty chill.
Alex Lazaris:
Oh, thank you. We can be friends. Not the guy who lives in Portland, right? If you're in Portland, let me know.
Kathleen Illustrated:
Who knows? We might have a lot of viewers from Portland.
Alex Lazaris:
We know we have. There's a lot of incredible creatives in Portland.
Kathleen Illustrated:
Seems like it.
Alex Lazaris:
Again, spacebar. Double click. And this is for their probably you can again, same design language. Still really interesting as the labels. Kind of bounce around. Very atypical use of the cylindrical bottle.
Kathleen Illustrated:
Yes.
Alex Lazaris:
But I really love this work. I think this is from Enneagram. Most of these I pulled from Behance. So you go give them likes and follows. Right now, I have, like, three studios out of Mexico City that I love. It's bifutura and a Grandma and then Yee design. They're crushing it. They're absolutely incredible. But I love the type setting in here. This feels very much like a perfume or a cologne bottle. Super nice.
Kathleen Illustrated:
The faceting on the lid, especially.
Alex Lazaris:
Yeah. And that's so, like, if you wanted to do this at home, you could do that faceting yourself. Just get the paper. This looks like it's almost like string or a hairband where you could kind of, like, lock it up.
Kathleen Illustrated:
Who knows?
Alex Lazaris:
This is all stuff you can do at home with just a little bit of effort and then kind of showing how their brand translates across. So a lot of companies in the tequila industry show the agave plant in some sort of, like, abstract form. They did a great job for Del Lou's.
Kathleen Illustrated:
Yeah, I see it.
Alex Lazaris:
It's just so nice. Everything about this is so gorgeous. And then again, you see the stamping of the bottle really sets it apart.
Kathleen Illustrated:
Right.
Alex Lazaris:
It's a pretty simplistic label, but then the stamp really helps make it look a little bit nicer too.
Kathleen Illustrated:
And also has that double label how there's like, two little components.
Alex Lazaris:
Yeah. Jason was saying it reminds him of Chanel and that's spot on. It does have that, like, the numbers and all the type even.
Kathleen Illustrated:
Totally.
Alex Lazaris:
Again, product photography really helps. So if you are able to print out a label, you can do some really cool stuff, make it feel a little bit holistic. So in the contrast to typical styles of tequila bottles, I want to do something that's a little bit more type heavy and then downplay the brand aspect of things. So I need help with the name. I don't have a name yet. I would love if Chat could help me name the brand. Okay. It could be Spanish, it could be English, it could be anything. I know that the system that I want to do is something type based and kind of playful. I want it to feel atypical from a typical tequila brand.
Kathleen Illustrated:
What's atypical in Spanish?
Alex Lazaris:
I don't know. I looked up what Hangover was in Spanish the other day and then I realized that was probably not a good name for a tequila brand.
Kathleen Illustrated:
Yeah.
Alex Lazaris:
OOH.
Kathleen Illustrated:
Luke says mockingbird. What's up, Luke?
Alex Lazaris:
Good to see mockingbird. That's a pretty good tequila.
Kathleen Illustrated:
Yeah. Classic clean peyote. That's a short and sweet name for sure. Time to shine, Chat. Yes. So we are asking you to do a collaboration with Alex.
Alex Lazaris:
Yeah. Give me a name, any name.
Kathleen Illustrated:
Yeah. What would you want? This cool artisanal tequila.
Alex Lazaris:
Salud. Salud's. A good one. Interesting.
Kathleen Illustrated:
Well, maybe we can let them ruminate on it and gather some names.
Alex Lazaris:
So essentially I want to play off the type idea. I want it to kind of feel a little bit more dynamic. So the labels that I'm thinking about is going to be more of like blanco represado and aniejo where the type is bouncing around on it. And so it's really bold and big and in your face. Probably going to do black and white so that it doesn't feel so off white or cream.
Kathleen Illustrated:
Right.
Alex Lazaris:
Don't some tequilas have scorpions in them? I think it's typically like a worm. Right. Maybe a scorpion would be throw one.
Kathleen Illustrated:
In there, see what happens.
Alex Lazaris:
Put it in there. Yeah. This typeface is gorgeous. This was a behance piece that I saw somebody made a custom campari typeface, so I think they took the campari thing and translated it out across full system.
Kathleen Illustrated:
Very cool. OOH, this is a good one from Albert you could do sorbo, which is sip OOH because you want to spill it, right?
Alex Lazaris:
Yeah, that's exactly it. I don't want this to be a shooting tequila or shots. I like sorbo.
Kathleen Illustrated:
Me too. I like that a lot. And it's very round, like the two O's for the s. Poison says keita.
Alex Lazaris:
Poison.
Kathleen Illustrated:
Call it poison call it what it really is. That's awesome.
Alex Lazaris:
Let me open up a new artboard. So essentially, I'm going to keep all my artboards at a width of a minimum of 1400.
Kathleen Illustrated:
Okay.
Alex Lazaris:
Just so it always translates really well to behance perfect.
Kathleen Illustrated:
So you've already done your research.
Alex Lazaris:
I have spent so much time doing Behance posts. It's like an unhealthy obsession.
Kathleen Illustrated:
Well, you have a lot of features on Behance, so I think it pays.
Alex Lazaris:
Off what I'll do for those features, those little badges. Yeah. It's awesome. The Behance community I love because I typically spend a lot of time in the strategy process of things so that it shows that the work is actually well thought out and it's executed well. Because at the end of the day, I think this is something that a lot of designers could learn from, is, like, if I don't like your execution of a concept, it doesn't mean that as a bad execution, it might not be the right fit for the company. But if you explain why things are why they are, and how you came to those decision making processes, i, as a hiring manager, can be like, oh, this person thinks things very smart, and they have an eye, and they can do a really good job.
Kathleen Illustrated:
Yeah. And they can easily fit into whatever environment that you exactly. That's very true. If you want to check out Alex's portfolio, it's behance. Net slash Alex Lazaris. Or you can just click on his little face in the info tab. Yes. Check it out. So you have a lot of text heavy design.
Alex Lazaris:
I'm realizing this now, but it shows.
Kathleen Illustrated:
That you're confident with your type setting.
Alex Lazaris:
I am the least confident with my type setting.
Kathleen Illustrated:
Really?
Alex Lazaris:
It is completely faking it. Yeah. I don't think I'm I don't know. Type to me is an interesting challenge. Sometimes it's really fun and it's great, but then sometimes tracking out things, I'm like, why do we track them out?
Kathleen Illustrated:
Yeah.
Alex Lazaris:
I didn't go to design school, so I'm self taught.
Kathleen Illustrated:
Yeah.
Alex Lazaris:
Let's hear some more about your so. I kind of feel really lucky when I get these really big clients and stuff and have a really good time. I don't know. Typesetting is an interesting one. Yeah, I can always learn. I think that's the thing is, like, I'm always improving, always learning, always trying new things.
Kathleen Illustrated:
You're not scared.
Alex Lazaris:
Not scared. A lot of my stuff is, like, I started playing soccer as a child and was a goalkeeper. So get scored on a lot. You have to pick yourself up. So I'm used to falling over and crashing a lot and as like a.
Kathleen Illustrated:
High speed skateboarder and motorcyclist.
Alex Lazaris:
Yeah.
Kathleen Illustrated:
Hopefully you don't crash too much that way, though.
Alex Lazaris:
I crash all the time. Don't tell my parents. They're probably here somewhere.
Kathleen Illustrated:
Here somewhere. Are they here, mom?
Alex Lazaris:
But yeah, crashing. I mean, as long as you can get back up and learn from your mistakes, it's a really good way of doing it. So I'm also one of those weird people that uses a mouse, and the trackpad comes from my gaming background. I think as a PC gamer, I'm so used to doing, like, WASD. So I'll typically use a trackpad on my Mac and just pinch and zoom, and then I'll click and drag with the mouse.
Kathleen Illustrated:
Okay.
Alex Lazaris:
So if you ever see that and you're wondering, how is he doing so many weird things?
Kathleen Illustrated:
Yeah. That's why you're a true wizard.
Alex Lazaris:
I try. So if you press Command Shift H, it makes your artboards disappear.
Kathleen Illustrated:
I didn't know that.
Alex Lazaris:
And it makes it all white. So it's really nice if you're just exploring stuff. You can kind of just drag and pull things over and not be so stuck with things.
Kathleen Illustrated:
Nice.
Alex Lazaris:
So I got this beautiful typeface because it's a little bit funky, it's a little bit fresh, feels really nice. It's called trailers. Variable.
Kathleen Illustrated:
Nice. Where did you get it?
Alex Lazaris:
I got it from my fonts. Cool. Because I was trying to find a really funky, interesting typeface. Was there simo names or is it.
Kathleen Illustrated:
Just sorbo was the best one? I think so.
Alex Lazaris:
I think you might be right. So what I'm going to do is I'm going to just try to make a bold version and create outlines, ungroup Command Shift G. And then I'm going to start messing with the sizing a bit and seeing how I want to start laying things out.
Kathleen Illustrated:
Cool. So outlining your text is a great way to be able to actually just play with them as objects.
Alex Lazaris:
Correct? Absolutely. Definitely not the best way if you want to constantly change. No, if I wanted to make this, like, a light version right now, I'd be kind of screwed.
Kathleen Illustrated:
Yeah, it's purely for playtime.
Alex Lazaris:
Exactly. So typically, especially with the kerning or if I'm polishing up, like, a type set, I'll do that. So like the Atticus project that I did, I got, like a really nice typeface, and then I did a lot of custom work with it.
Kathleen Illustrated:
Oh, interesting.
Alex Lazaris:
And so you kind of just start playing. Yeah. So like the logo type, I kind of get the basis going and then start messing with the actual anchor points and making sure that everything was geometric and balanced and start finessing it in the outline state.
Kathleen Illustrated:
Got you.
Alex Lazaris:
Rather than just leaving it as its own kind of one off type face.
Kathleen Illustrated:
Yeah, that's one of the really cool things about being a designer, is you take these things that other people have made, but then you make it totally your own or bespoke.
Alex Lazaris:
Yeah, absolutely. Super fun that way.
Kathleen Illustrated:
Oh, tim says he still likes the Tequila Mockingbird branding.
Alex Lazaris:
Tequila mockingbird's awesome.
Kathleen Illustrated:
It's a little bit of a mouthful.
Alex Lazaris:
It is a lot of a mouthful of characters. I mean, it could work, but I think if I'd use the Tequila Mockingbird, then I would have to go very mockingbird heavy with the branding.
Kathleen Illustrated:
Which is funny because you said Atticus and it's like Tequila Mockingbird. Atticus Finch.
Alex Lazaris:
Man yeah.
Kathleen Illustrated:
We should go crossover collab.
Alex Lazaris:
I think next time we have them do a Grapes of Wrath thing and then do a wine label.
Kathleen Illustrated:
Yes. That could be a personal project.
Alex Lazaris:
There you go. Yeah. If you ever need also inspiration from wine labels, there's a firm out of, I believe, New York and London called Stranger and Stranger. Their work is incredible.
Kathleen Illustrated:
Stranger and stranger.
Alex Lazaris:
Incredible. They did those really cool I think they were most wanted, I think was called. And it was like wine labels of villains that were kind of old timey villains.
Kathleen Illustrated:
Oh, and you could do the AR.
Alex Lazaris:
Yeah. AR thing where you could bring up your phone and it'll tell you the story about all.
Kathleen Illustrated:
I remember those.
Alex Lazaris:
But, yeah, their work is incredible.
Kathleen Illustrated:
Isn't it cool how you can make your whole living on just this kind of product? Like bottles.
Alex Lazaris:
Look at how all the experience that goes into making such an incredible product like that. Like getting into the matte finishes and the typesetting, and it's incredible.
Kathleen Illustrated:
Yeah. And since these kind of drinks have such a history, you really need to know about the time period and exactly the design at that time. Really interesting. So stranger and stranger. That was everyone. Yeah. The Set 19 crime. Wine.
Alex Lazaris:
Yeah. There you go. Yeah, I think what's that one right there? The prisoner snitch too. And that cool way of just ripping the paper up, too.
Kathleen Illustrated:
It's like, man, you think that's hand ripped by someone?
Alex Lazaris:
I don't know. It would be really hard to do.
Kathleen Illustrated:
That printed that way. Laser cut.
Alex Lazaris:
I don't know who's to say. Somebody at Stranger and Stranger. Get back to us.
Kathleen Illustrated:
Yes.
Alex Lazaris:
So I'm thinking about is I really like the capital letters on these. It's really kind of funky. You get some really interesting layers in there. But this may or may not work.
Kathleen Illustrated:
Somebody was saying sorbo is already a tequila. Let me make sure.
Alex Lazaris:
Is it?
Kathleen Illustrated:
That that's not true.
Alex Lazaris:
I don't see any well, sorbo you're about to get a free rebrand.
Kathleen Illustrated:
There you go.
Alex Lazaris:
Now, that'd be pretty funny.
Kathleen Illustrated:
PayPal Alex Lazaris.
Alex Lazaris:
Yeah.
Kathleen Illustrated:
No, I don't think it's a full brand. We good.
Alex Lazaris:
Yay.
Kathleen Illustrated:
Yeah. Ripped paper is always attractive, says Ashi.
Alex Lazaris:
Yeah. There's so many really cool ways of separating out what you're working on.
Kathleen Illustrated:
Yeah. John says it might be too clean to be actually hand ripped. Could be, but has the effect.
Alex Lazaris:
Yeah, effect is good.
Kathleen Illustrated:
This is reminding me of kind of, like, mod or like, 60s.
Alex Lazaris:
Yeah. Can we get a theme song for next time?
Kathleen Illustrated:
Yes.
Alex Lazaris:
Who's thinking about theme songs? What does everybody listen to when they're designing?
Kathleen Illustrated:
OOH, let us know. Oh, they're saying Tequila Mockingbird is already a brand. Oh, I see. Nice. I listen to music.
Alex Lazaris:
You do?
Kathleen Illustrated:
I want to let everyone else answer first. I was just going to jump in, and I was like, wait, hold on. Not about me. What do you listen to?
Alex Lazaris:
Depends on what I'm doing. If I'm doing a lot of heavy writing work for a strategy doc. I like more of, like, ambient yes, me too. Stuff. Video game design or video game music.
Kathleen Illustrated:
Yes.
Alex Lazaris:
And theme song music is really good. It's a really good way of just, like, having background noise.
Kathleen Illustrated:
Yeah, it's so epic, too. At least, like, original soundtracks. Really feel like you're going on a you.
Alex Lazaris:
What were your thoughts on the King.
Kathleen Illustrated:
Arthur movie, the most recent one? Yeah, I didn't see it. Shall we talk more about it?
Alex Lazaris:
I loved it. A lot of people didn't like it. I absolutely adored it. It got really bad reviews, I think.
Kathleen Illustrated:
Yeah. I feel like it went, like, pretty quickly out of theaters.
Alex Lazaris:
It's, like, one of my favorite movies, I think.
Kathleen Illustrated:
So what do you like about it? Just the music.
Alex Lazaris:
The music is incredible on it, but I thought, like, who's the guy who produced it? What movie is this? It's the King Arthur movie with the guy from Sons of Anarchy. And who's the director?
Kathleen Illustrated:
It says Guy Ritchie.
Alex Lazaris:
Yeah, Guy Ritchie. So it's, like, very typical, his style of movie, where it's quick edits, fast paced, and very different approach to how you typically build a movie.
Kathleen Illustrated:
I see.
Alex Lazaris:
So to me, that was really interesting.
Kathleen Illustrated:
Tim says so. Bro. The spinoff brand of sorbo.
Alex Lazaris:
So bro.
Kathleen Illustrated:
Right now.
Alex Lazaris:
We can partner with that all day. Rose like instagram company.
Kathleen Illustrated:
Oh, my gosh. Yeah. Rose all day. Brunch and Mimosas.
Alex Lazaris:
Yeah. That canned company.
Kathleen Illustrated:
Mm hmm. OOH, interesting. Okay, so you like the music from King Arthur?
Alex Lazaris:
It's so epic. It's, like, one of the most epic soundscapes, I think, but cool.
Kathleen Illustrated:
I've been listening to the Undertale soundtrack a lot recently. It's like Chip tune, but has a lot of heart. It's not just like there's a story. A little circle, little flower.
Alex Lazaris:
Yeah. I don't know. This is all like, take it or leave it. There's no right answers yet.
Kathleen Illustrated:
Oh, yeah, the circular one does say so bro.
Alex Lazaris:
Dang it.
Kathleen Illustrated:
He got in my head. So bro's here. There we go.
Alex Lazaris:
That's so funny.
Kathleen Illustrated:
Lost Rest said, I heard some folks got migraines watching the King Arthur movie.
Alex Lazaris:
Probably.
Kathleen Illustrated:
Why? Just because it's so.
Alex Lazaris:
Yeah, the intro scene where he's, like, growing up as an adult or, like, he kind of starts off as an orphan and kind of tells his whole story, and it's kind of a really just well edited, but I could be alone in this theory, and I'm okay with that.
Kathleen Illustrated:
I'm glad that you like something that is not typically liked. It's good. What did you just do?
Alex Lazaris:
What did I just do? I just shortened the heights of how'd you do it. I double clicked it and then took it. And then I shift options or alt to drag from the middle. So if you're using the new photoshop and you're used to that, it's the opposite. It's the old way. Shift alt, drags from the center and makes it equidistant. Which photoshop is always tripping me up.
Kathleen Illustrated:
Especially with the updates you're like. Which one is it? Help me.
Alex Lazaris:
Exactly.
Kathleen Illustrated:
Other people are saying they like the undertale soundtrack. Yes. It's so good. I'm working on finishing it right now. Gets pretty tough at the end, not gonna lie. Luke says if you don't turn every single letter into a member of a mariachi band by the end of this stream, I'm gonna be really disappointed.
Alex Lazaris:
I don't think we have enough time for that. That's a lot of work.
Kathleen Illustrated:
Luke, will you do it for us?
Alex Lazaris:
Yeah.
Kathleen Illustrated:
Take a screenshot.
Alex Lazaris:
This is the new Creative challenge. I can zoom in if you need it.
Kathleen Illustrated:
Yeah. There you go.
Alex Lazaris:
Blanco. See, I like this typeface a lot for the actual beverage labels, but I'm not sure if it's going to work for the actual brand name. I think this typeface could work really well for any collateral, but maybe not so much like, continuing it as just like the sorbo I think we could do sorbo and thin all caps and then decrease the size.
Kathleen Illustrated:
Oh, is that the same typeface?
Alex Lazaris:
Yeah.
Kathleen Illustrated:
Looks so different.
Alex Lazaris:
Yeah.
Kathleen Illustrated:
Wow. But the C gives it away.
Alex Lazaris:
Yeah, the B's, I love the I don't know what the word is. See, the typesetting issues. Yeah. But the B, what is that? It's not an ascender. It's not a descender, but, like, where it comes in the middle. Right where this area is not touching.
Kathleen Illustrated:
I see.
Alex Lazaris:
What is this thing called?
Kathleen Illustrated:
Somebody tell us. But while you're telling us, we are about to do our chat and win. Very exciting. So this is a time for you all to get logged in on Behance. If you are not already. If you're over on YouTube watching, come over to Behance so you can participate. Be. Net slash live. We're going to be giving away this beautiful hardcover moo notebook with lay flat technology. Someone was asking what it looks like inside. It is lined, so there are thin lines, and then the center has some nice kind of thicker, actually. OOH. It's see through. And it's invisible.
Alex Lazaris:
Invisible paper.
Kathleen Illustrated:
Wow.
Alex Lazaris:
New high tech.
Kathleen Illustrated:
It's lay flat and invisible. So to get people entered into the challenge, you need to say something in chat. And usually we ask them a question. So what should we ask them? What do you want to know about them?
Alex Lazaris:
I feel like everybody asks, what's your favorite color?
Kathleen Illustrated:
Yes.
Alex Lazaris:
If there's. One place where you would travel to. What would it be?
Kathleen Illustrated:
Yes. Let us know. We'll be back in a minute. We're back. All right. So somebody says, Japan. Mercedes. Me, too.
Alex Lazaris:
I want to go to Japan so bad.
Kathleen Illustrated:
It's gonna happen in 2019. I feel it in my bones. Alexandra says, Barcelona.
Alex Lazaris:
Barcelona, germany.
Kathleen Illustrated:
Ireland. Africa. Where? In Africa. Lawrence Marteu says, I've been a lot to Japan, so got to go back.
Alex Lazaris:
Yeah.
Kathleen Illustrated:
Joshua Tree. How about you? Where do you want to go?
Alex Lazaris:
I've been really fortunate to travel the world for skateboarding events.
Kathleen Illustrated:
Oh, cool.
Alex Lazaris:
But the one place that I've always wanted to go is to Japan, and they've had a couple races there, but haven't been able to go for that. But I really want to go snowboarding in Japan.
Kathleen Illustrated:
Oh, my gosh. Yeah. Like Nagano or somewhere up north.
Alex Lazaris:
Those videos of just watching people in powder that's, like, above their head is you need a snorkel, and it's incredible.
Kathleen Illustrated:
A snow snorkel. Amazing. All right, we have our winner. It is Anayancy. Anaancy Tano. Yaro. Congrats.
Alex Lazaris:
Congrats. You're going to enjoy that.
Kathleen Illustrated:
Yes. So we are going to be sending you a flat, lay, technology filled, hardcover Moo notebook. Very amazing. Behance or we'll be in touch with you on Behance in your messages. So keep an eye out for that. And if you did not win, please do not despair. If you'd like to get a discount, you can go to Moo.com AdobeLive and get 15% off just for being here. Just because we're thankful. Moo is an awesome place to get your business collateral printed out. They specialize in all kinds of physical goods, such as stickers, flyers, postcards, business cards. They do some beautiful, like, gold embossing or letter pressing. Really cool and nicely priced. So go check it out. Highly recommend. Congrats. They said their first time you win something. Oh, great.
Alex Lazaris:
That's awesome.
Kathleen Illustrated:
Yeah. Thanks for being here.
Alex Lazaris:
It's always hard trying to participate in things and then never winning. And then you're like, One day. Yes, one day.
Kathleen Illustrated:
One day I will. I would do that a lot when I would watch Twitch, like, people would be like, all right, we're doing a giveaway. I'm like, there's no way. And then one time, it was my first time watching someone's stream, and they did a giveaway, and I won. Would you win a little magnet that they made?
Alex Lazaris:
That's it.
Kathleen Illustrated:
Yeah. But it was cool because she made it.
Alex Lazaris:
Yeah. That is awesome.
Kathleen Illustrated:
Yeah.
Alex Lazaris:
There's so many incredible creative streamers out there that just make incredible pieces.
Kathleen Illustrated:
Yeah. Chat, do you watch any other streams besides Adobe Live? Let us know. We're interested. Oh, yeah. It's not sticker mule this time. It is the 15% off Moo. There you go. Leslie says just got here. Love from Toronto. What's up, Leslie?
Alex Lazaris:
Toronto, good to have you.
Kathleen Illustrated:
I was just watching Terrace House last night. Do you watch Terrace House? No, it's like a reality show. But it's set in Japan, and they're in the northern Japan. They're in Nagano right now, but they're snowboarding, and it's awesome.
Alex Lazaris:
Have my love at snowboarding.
Kathleen Illustrated:
There you go. So is this your brief?
Alex Lazaris:
I make a little brief for myself. I have a really hard time just making things just for fun, so I like to narrow down the constraints as much as possible.
Kathleen Illustrated:
Okay.
Alex Lazaris:
So I kind of walked you guys already through the demographic and the about and then the kind of goal, but I always want to have dimensions. So I've already measured out all the labels and kind of like the spacing that I can build out for the packaging.
Kathleen Illustrated:
Right.
Alex Lazaris:
So I've already measured it. I know what I have to work with. I know that the artboards need to be a certain size, but then, because this is an alcohol label and I want it to be as realistic as possible, I have the TTB regulations up.
Kathleen Illustrated:
Oh, that's what it's called?
Alex Lazaris:
Yeah, it's the tobacco tax and Tobacco.
Kathleen Illustrated:
Bad Girls Club.
Alex Lazaris:
Yeah. Tax Tobacco Beverage Board Bureau, something like that. But you always have to kind of have the government warning a barcode and then like, the alcohol by volume. And so since I already know what items I have, it makes it a little bit easier just to have that information ready to go.
Kathleen Illustrated:
Oh, cool.
Alex Lazaris:
So just copy paste.
Kathleen Illustrated:
Nice. Because you want this to seem like a real brand and not just tequila you make in your bathtub.
Alex Lazaris:
Correct. Yeah. One of the things I've been trying to understand from a packaging perspective is I've seen a lot of liquor companies not have the alcohol content in the front, but majority do. So I'm like wondering because you have to get everything approved by companies, I.
Kathleen Illustrated:
Wonder what the whole story with that is.
Alex Lazaris:
But it makes a really interesting constraint for you to have to work around.
Kathleen Illustrated:
Yeah, because that's a lot of text.
Alex Lazaris:
Yeah, it's a lot. As you can see as it wraps around through all the artboards. So if you ever copy paste in your text like this, you can actually just double click the little white icon on the side and then it will make the bounding box so you can just shrink it and then fit it.
Kathleen Illustrated:
Cool. Yeah. There's so many different ways that you can add text. Like, you can either just click and.
Alex Lazaris:
Type, just do the drag.
Kathleen Illustrated:
Yes.
Alex Lazaris:
I love the lormson feature that has been added pretty recently, right? Yeah, that was like, last year.
Kathleen Illustrated:
Last couple updates, as I like to say. Christina says bathtub tequila sounds cool and gross tequila. Yeah, you know, just experiment in there.
Alex Lazaris:
You never know.
Kathleen Illustrated:
Oh, Justin says they do have a certain font size you have to use for that TTB or whatever.
Alex Lazaris:
Yeah, the TTB thing, some companies and this is where it gets a little bit harder if I want to photograph it myself, is like, I don't want to have to mask and warp. Warping around a cylinder is always really difficult to make the rules look good. So I'm trying to include everything into a single label rather than having to fake print on the bottle, just little things like that. Knowing those constraints of what I have to do for myself for this project to look at the end kind of helps narrow it, what I can do.
Kathleen Illustrated:
Gotcha. Okay. Justin says that the percentage can be on the back label. It just depends how you file your request, I guess.
Alex Lazaris:
Wow. Thank you.
Kathleen Illustrated:
Thanks, Justin. Thanks for the president. That's great. Whoa. What? Gabriel says that he's on the last episode of oh, you're watching it. You're not actually on it.
Alex Lazaris:
Did you ever watch Money Heist?
Kathleen Illustrated:
No.
Alex Lazaris:
Or I think it's called, like, Casa de Papels in the Spanish version. It's on Netflix.
Kathleen Illustrated:
Like house of butterflies.
Alex Lazaris:
No, it's supposed to be the House of Paper. So it was, like, originally, I think it was supposed to be House of Cards, but it's about bank heist, and it's in Spanish originally. It's so good. So good.
Kathleen Illustrated:
Interesting.
Alex Lazaris:
If people, like, subtitles or dubbing, it's like a highly recommended one.
Kathleen Illustrated:
Very cool. I love that. I don't mind a good subtitle. For sure. That's awesome. So you said you listen to soundtracks for movies. Do you ever listen to podcasts?
Alex Lazaris:
I used to, but then I found that if I was listening to them, I'll listen to some Ted Talk sometimes or some creative streams when I can focus on two things at once. It's really hard to listen to a podcast while I'm designing because then I'll start typing something, and then I'll start typing the words. So I typically will listen to music of some sort.
Kathleen Illustrated:
Got you. Yeah. I think doing things like digital painting or sketching is great for listening to podcasts or, like, having a movie on in the background, but adobe fonts.
Alex Lazaris:
Adobe fonts. Fonts, Adobe.
Kathleen Illustrated:
There you go. Fonts, Adobe.com.
Alex Lazaris:
I always do that with Adobe stock, and then it brings up the stock.
Kathleen Illustrated:
Price of Adobe, and you're like, oh, thanks. Yeah, adobe Fonts is awesome.
Alex Lazaris:
It is so great. I'm waiting for Adobe fonts to be integrated into Behance. Wink, wink, nudge, nudge.
Kathleen Illustrated:
So, like, when you're updating your project.
Alex Lazaris:
Oh, my gosh, I would love that.
Kathleen Illustrated:
You hear that? Behance.
Alex Lazaris:
Behance.
Kathleen Illustrated:
Gods, please. They're listening.
Alex Lazaris:
Yeah.
Kathleen Illustrated:
We're inside behance right now. Behance.
Alex Lazaris:
It's really hard to choose from, like, the eight typefaces that are currently on there. Cool. Adobe fonts. Browse fonts. Let's see if I can find something that is a little bit easier to work with.
Kathleen Illustrated:
Nice. This is super cool. So you can put in the sample text and it'll show you examples.
Alex Lazaris:
You can show it up a little bit easier. So this is a great way to quickly browse fonts that you might be interested in.
Kathleen Illustrated:
Too.
Alex Lazaris:
A little bit too textured. I kind of want maybe a lighter weight project or a lighter weight typeface. Maybe a lower X height, maybe a medium.
Kathleen Illustrated:
And what is this going to be used for?
Alex Lazaris:
So I'm thinking right now, everything feels so condensed and so tall. It just feels like you kind of just took everything and just scrunched it and doesn't feel right. Or like if I want to complement the labels, knowing that I want to use this typeface for the labels, I should probably balance that out with maybe a less tall typeface up front.
Kathleen Illustrated:
Right? Cool. And if you have a CC subscription, you have access to all the fonts, thousands of them, on Adobe Fonts. Yeah. It's super duper easy, and you can even do it from within the app now.
Alex Lazaris:
Oh, yeah. You can do it on the top corner, right? You can go to Fonts.
Kathleen Illustrated:
No, actually, like in Illustrator, let's show what yes. Okay.
Alex Lazaris:
So I thought that was only pulling my own. So if I go here, I can do the I love this part where I can select hello. Select so that I can filter it now, which is awesome. So if I want here, it might.
Kathleen Illustrated:
Just be in Photoshop, but if you go to find more there, and it'll do a live preview.
Alex Lazaris:
Oh, my gosh.
Kathleen Illustrated:
Yeah. And you can do by size, and you can filter it in the same ways.
Alex Lazaris:
I'm baffled right now. This is incredible.
Kathleen Illustrated:
You're welcome to do it how you were going to do it.
Alex Lazaris:
No. This is so much better.
Kathleen Illustrated:
Yay. I'm glad it worked.
Alex Lazaris:
Wow.
Kathleen Illustrated:
Taylor cashed in, says, hey, Alex.
Alex Lazaris:
Oh, hey, Taylor. How you doing?
Kathleen Illustrated:
What's up?
Alex Lazaris:
Taylor's? Awesome.
Kathleen Illustrated:
Oh, yeah.
Alex Lazaris:
Yeah. He's out in Riley. Raleigh.
Kathleen Illustrated:
Raleigh rally.
Alex Lazaris:
Rally. Running all things AIGA over there.
Kathleen Illustrated:
Oh, very cool. That's awesome. And Kyle. Chikoin chiquin.
Alex Lazaris:
Welcome, Kyle. No apologies for being late.
Kathleen Illustrated:
Hello. Good to have you.
Alex Lazaris:
This is the most time consuming thing, I think, of every design project yes. Is finding a typeface that feels like it could work.
Kathleen Illustrated:
You can also check out different weights and things. If you twirl the little arrow down next to it on the left, it's.
Alex Lazaris:
Like, too much oh, my God.
Kathleen Illustrated:
Too much power.
Alex Lazaris:
This is incredible. And then, of course, it went away.
Kathleen Illustrated:
Yes. Did you lose your place?
Alex Lazaris:
This is awesome. I had no idea.
Kathleen Illustrated:
Yeah. So it's definitely an Illustrator now. I think it's coming to Photoshop soon, but you can still get to Adobe Fonts through Photoshop by just clicking the little typekit icon in there. It's very helpful. Oh, yeah. It says SoBro again.
Alex Lazaris:
Dang it. I just keep doing that.
Kathleen Illustrated:
So, bro, right now, dude, tell me about it.
Alex Lazaris:
And I keep just retyping it. I don't know if we can do sorbo anymore. Sorbo yeah, it's literally all of them.
Kathleen Illustrated:
Oops. Taylor says you're going down the rabbit hole.
Alex Lazaris:
I know. It's happening.
Kathleen Illustrated:
It's a good one to go down, though.
Alex Lazaris:
It's tough. What's your favorite typeface? Do you have one?
Kathleen Illustrated:
Like Baskerville.
Alex Lazaris:
Baskerville. Classic. My favorite typeface might be.
Kathleen Illustrated:
I'm just.
Alex Lazaris:
Remembering all the times at Twitch when I kept championing for this typeface.
Kathleen Illustrated:
Yeah.
Alex Lazaris:
It's called Cooper Hewitt.
Kathleen Illustrated:
Okay.
Alex Lazaris:
It's the Cooper Hewitt Museum in New York. Built this typeface with pentagram or pentagram. Built it for Cooper Hewitt. It's open source. It's gorgeous. Yeah, it's so cool. And so you can just download it. They have a really cool page where I think if you tag them in projects that you're using it for, they'll feature it.
Kathleen Illustrated:
Wow, that's neat.
Alex Lazaris:
Which is so cool. Look at just beautiful. It stacks really well. It makes really great all caps things, and I really like all caps.
Kathleen Illustrated:
Wow. So did Twitch ever accept your championing?
Alex Lazaris:
No. The idea was, like, not using a free typeface, but it's really hard to have a brand typeface that isn't custom built and has the usage rights for hundreds of million users per week per month.
Kathleen Illustrated:
Big license.
Alex Lazaris:
Yeah, it's huge. Like a web font for that. The licensing gets insane. So that's why I was championing for it. It was like, it's a great typeface. It works really well. It plays really well with the brand.
Kathleen Illustrated:
Got you. Oh, people are saying their favorite typefaces. We got Dito Avenue. Don't say comic sands. Don't say comic sands. I love Gil Sands. That is a good one.
Alex Lazaris:
Gil Sands is great.
Kathleen Illustrated:
Color fonts are a thing. Yes. You can dynamically change the colors. That's awesome. Tim, thank you for the heads.
Alex Lazaris:
Hmm.
Kathleen Illustrated:
Jason says, every time you say sorbo, I think of Kevin. Sorbo he's from the show Hercules. It's a good thing to think of, I guess. Wow.
Alex Lazaris:
Download. Is it downloading? Yes.
Kathleen Illustrated:
Thank you. Creative cloud.
Alex Lazaris:
Thank you. Creative cloud.
Kathleen Illustrated:
Thank you.
Alex Lazaris:
This is brilliant. I'm so happy that it's now Adobe fonts and not typekit anymore. Typekit was great, but the additional typefaces that were supported now is so nice.
Kathleen Illustrated:
Yeah, there's so many foundries on there. Like I said, literally thousands of typefaces. And you can look at collections, too. So there's like a Zine collection. That's a skate park collection. One for making posters, wood print kind of stuff. Just go check it out. Fonts. Adobe.com. Tommy says that's a great.
Alex Lazaris:
UT longboard. Utd longboard club. What up, TANme? How you doing, man? So I built the first collegiate sponsored longboard club in the US.
Kathleen Illustrated:
You built it?
Alex Lazaris:
I built it from the ground up.
Kathleen Illustrated:
What do you mean?
Alex Lazaris:
So by that time, I think I had a pro model skateboard, or I was about to have one really big into longboarding and saw that people on campus were riding around on scooters and longboards and bikes. And so I gathered everybody up and started getting everybody into racing and teaching everybody on Friday nights and stuff like that. But it was actually, like, one of my first fun branding projects to take on. Built like a whole logo, lockup website, photographing, everything, and just loved that aspect of working with full cross brand, cross medium everything.
Kathleen Illustrated:
And you're so passionate about it. It's something that you love.
Alex Lazaris:
Yeah, it's super easy whenever you're the creative director of your own project. Sometimes.
Kathleen Illustrated:
Yeah, that's true. So what did you study in school?
Alex Lazaris:
I graduated with a degree in communications, essentially. Essentially, I was wanting to become a market. Like work at Wyden and Kennedy, which is an agency in Portland. They do incredible advertising work for Nike and Old Spice and all that stuff. So I was really big into advertising, but our marketing program at the time didn't have a very good portfolio program, and so I had no idea what a portfolio was.
Kathleen Illustrated:
Yeah.
Alex Lazaris:
And I was just like, I'm doing all this client work already, but I don't know how to represent or get a design job at an agency.
Kathleen Illustrated:
Yeah. Interesting.
Alex Lazaris:
So then I kind of had a panic mode in junior year, and I was like, I need to make a portfolio or else I'll never get hired.
Kathleen Illustrated:
Jokes on you.
Alex Lazaris:
Yeah. Then I got hired.
Kathleen Illustrated:
So you were successful in making a portfolio?
Alex Lazaris:
I don't know if I'm even successful in making a portfolio currently.
Kathleen Illustrated:
I think you I've seen your behance.
Alex Lazaris:
Yeah, it's good. It's fine. I'm always comparing myself to firms that are way bigger than me, so it's really tough because I'm like, oh, what's Collins doing? Those firms in Mexico City that I was mentioning. What's Anagramma doing? What's Yi doing? It's really hard whenever they're like 25 people, 30 people, and it's like, yeah, you're just you just me and a couple other designers in Portland, and very much not them, which is fine. Maybe the imposter syndrome, self doubt. That a lot of creatives.
Kathleen Illustrated:
Yeah. Yeah. But I'm glad that you set your eyes high, like you're looking at these big things and comparing yourself to them.
Alex Lazaris:
Absolutely. It's that competitive mindset.
Kathleen Illustrated:
Yeah. So would you consider yourself highly competitive?
Alex Lazaris:
Yeah, absolutely. I want to always push myself and learn and grow, and I don't like being bad at things, which is tough. I'm trying to learn product photography right now. Yeah. And so that's a really fun process, and it's helping my design work and understanding how lighting should be on things. If you ever do any product photography, it's also really good for button shadows and drop shadows on projects because then you start understanding why certain things work well.
Kathleen Illustrated:
Yeah, definitely. That's cool. So when you are bad at something, is your initial instinct to drop it, to stop doing it?
Alex Lazaris:
No, it depends on what it is. Right. There's some things that aren't interesting to me, but I'm kind of like all or nothing when it comes out. A lot of things I picked up playing hockey without really ever skating on an ice rink.
Kathleen Illustrated:
You're just like, I'm going to play hockey now.
Alex Lazaris:
Yeah. And so then you're like, $1,000, $2,000 worth of gear into it. And you're like, Well, I've got to get good at it somehow.
Kathleen Illustrated:
Yeah.
Alex Lazaris:
And I went through, like, the whole first season without learning how to skate backwards. Wow.
Kathleen Illustrated:
Do you still play?
Alex Lazaris:
No, I was trying to play in San Francisco, but the closest place is in Oakland.
Kathleen Illustrated:
Okay.
Alex Lazaris:
And so having to ride a motorcycle with the Ninja Turtle stick and backpack.
Kathleen Illustrated:
Oh, my gosh, that sounds terrifying.
Alex Lazaris:
For, like, two seasons, but it gets crazy across the Bay Bridge.
Kathleen Illustrated:
Yes.
Alex Lazaris:
Like the crosswinds. I had, like, some gnarly crosswinds of, like, 65 miles an hour crosswinds, and you're just getting pushed across from lane to lane.
Kathleen Illustrated:
Yeah.
Alex Lazaris:
And I was like, yeah, not worth playing right now, but I'm gonna I'll get a car again in Portland and then I'll start playing again.
Kathleen Illustrated:
Okay. He said it here, folks.
Alex Lazaris:
Yeah, it's happening.
Kathleen Illustrated:
Keep him accountable. That's awesome. Richard says there is no bad being bad at something.
Alex Lazaris:
Yeah. But whenever you're always comparing yourself to other people, and I don't think that's a good thing by any means. Perspectively, like, your perspective of what you should be doing or how you should be doing it sometimes is your own detriment to your own success.
Kathleen Illustrated:
Yeah, definitely.
Alex Lazaris:
I'm playing with all these different typefaces.
Kathleen Illustrated:
You're getting lost in it.
Alex Lazaris:
I'm getting so lost in it. It's just not clicking right, and that's okay. Yeah, but that's part of the process. Have you ever seen that graphic for the peaks and valleys is, like, being creative?
Kathleen Illustrated:
I've seen something like that. Maybe I've seen the one you're talking about. It's like, I hate it. I love it. Burn it.
Alex Lazaris:
Yeah, exactly.
Kathleen Illustrated:
Then it's like, do, and you're like.
Alex Lazaris:
Well, I guess it's okay now.
Kathleen Illustrated:
Get money for it, I guess. OOH, that's very short and wide.
Alex Lazaris:
It is very short and wide. It almost has was it Cooper plate? Copper plate?
Kathleen Illustrated:
Oh, yeah.
Alex Lazaris:
Has a very similar feel to it. Or baskerville, maybe.
Kathleen Illustrated:
I feel you. Eric is saying, I will go play with you when I go to Poland. Do you mean Portland?
Alex Lazaris:
I mean, let's do it. Let's have a pickup game in Poland.
Kathleen Illustrated:
Yeah. That's a good reason to go. It's like, I got to go to Poland. Why? I got to play hockey with Eric Sue.
Alex Lazaris:
Oh, my goodness. There was an opportunity for a $500 round trip to Dubai to play a hockey game in their mall, and I passed it up because it was during finals in college or something.
Kathleen Illustrated:
Oh, man.
Alex Lazaris:
But I'm still kicking myself for not playing ice hockey in Dubai.
Kathleen Illustrated:
Yeah, right. That sounds very non sustainable. A hockey rink in the desert. It's crazy.
Alex Lazaris:
It'd be an experience for sure.
Kathleen Illustrated:
Lifetime, man, that's wild. So, Chat, let us know if you're just joining us. We got Bojana. Hello. Roman. Hello. Hello. Says, take a look at the typewolf for font combinations.
Alex Lazaris:
Typewolf has a lot of really good things. Bethany Hack's videos are really good as well, about type pairing and all that. Good stuff. Her eye and attention to detail when it comes to type is absolutely incredible. She has some really good talks. I think two or three, like, two hour, 1 hour videos of it, and it's just incredible.
Kathleen Illustrated:
Get educated, people.
Alex Lazaris:
Yeah. Bethany Heck, go check her out.
Kathleen Illustrated:
Oh, Taylor. That's a good call. If you have your filters on, then that might be stopping you from seeing some stuff like Baskerville.
Alex Lazaris:
Taylor is a wizard, man.
Kathleen Illustrated:
Thanks, Taylor. That's a great thing about chat. They're keeping an eye on things, helping us out, reminding you to save.
Alex Lazaris:
Perhaps you like my untitled two.
Kathleen Illustrated:
How far are we into this stream?
Alex Lazaris:
53 minutes.
Kathleen Illustrated:
Fine. Good thing Illustrator is so stable. It won't crash on you.
Alex Lazaris:
I can break it so fast. You want to know how to break it, guys? Maybe vector textures. If anybody's ever made vector textures, you'll make it chug, man.
Kathleen Illustrated:
Alex Greenling, I think his name is. He does live streams, and he does a thing where he tries to break things, like how many points are in a vector illustration. It's pretty great. Yeah, it's like, will it blend? Yeah, that's it. Will it blend?
Alex Lazaris:
Alex is awesome.
Kathleen Illustrated:
Yeah, he's funny.
Alex Lazaris:
He's man him and watching him and Justin Misel.
Kathleen Illustrated:
Yeah. We love Justin.
Alex Lazaris:
They just have so much talent in their pinkies.
Kathleen Illustrated:
I know.
Alex Lazaris:
I just clicked a font that I wanted, and then there we go. Nobra. Noble.
Kathleen Illustrated:
Neighbor. Neighbor.
Alex Lazaris:
I'll save. Command Shift s, guys, how you do it?
Kathleen Illustrated:
Shauna says Sid tries to break Photoshop with her files anytime she tries a new device. Classic sid Wiler trying to break it. That's cool. Lindsay. Yes. We're trying to make it crash.
Alex Lazaris:
Yeah. After saving I don't want to say working file exploration.
Kathleen Illustrated:
Of course. Ashi's very happy with all of these fonts.
Alex Lazaris:
Is she? Oh, good.
Kathleen Illustrated:
Oh, good.
Alex Lazaris:
Because I'm struggling right now, and that's fine.
Kathleen Illustrated:
It's a good struggle, I think. I mean, it looks good.
Alex Lazaris:
Yeah. I'm liking how rounded this is compared to how funky the bottom part is, so maybe that's okay. Yeah, but maybe not.
Kathleen Illustrated:
But maybe not. There's a million different opportunities, for sure. True. And below his chat, you can see that we have our design feedback countdown.
Alex Lazaris:
34 minutes.
Kathleen Illustrated:
Yes. So this is a little bit different. We haven't really done this super often before, but if you tuned in earlier and saw Val's Daily Creative Challenge, it was day one of the Photoshop Daily Creative Challenge, and we're challenging you to make a Facebook event invite asset. And she used the Frame tool. So we want you to be, like, bringing in photos, transforming them, putting them in different frames. You can check out all of the info about that in the replay, but if you post your work in the design feedback channel on Discord, alex and I are going to be looking through the submissions in 30 minutes, giving some feedback before you get those posted out into the wild gus is laughing about something. I just never know what's going on over there.
Alex Lazaris:
That was Shauna feedback.
Kathleen Illustrated:
Did I say feedback? Feedback.
Alex Lazaris:
We're just having a day full of typos.
Kathleen Illustrated:
It's Tuesday.
Alex Lazaris:
Yeah. Not Monday of the week.
Kathleen Illustrated:
So good. So, yeah. Come join us on discord. I think it's bit Ly slash PS discord. I think Gus will not if it is the discord link. PS discord.
Alex Lazaris:
Yeah.
Kathleen Illustrated:
Is that it? Okay. It's in the challenge tab. There we go. Isn't it nice when Gus comes back in the studio and we can just yell questions at him?
Alex Lazaris:
Hey, Gus.
Kathleen Illustrated:
Hey, you over there. Did you know Gus is also a skater of sorts?
Alex Lazaris:
I didn't. I know that he's a fellow ICP.
Kathleen Illustrated:
Fan juggle up a life.
Alex Lazaris:
But if anybody does know how magnets work, we're still wondering.
Kathleen Illustrated:
Yes, very true. No, he's a blader.
Alex Lazaris:
You're a roller blader. Nice.
Kathleen Illustrated:
Team Puppy for life.
Alex Lazaris:
Still. Oh, man. It had its days. It was like an early, late 90s, early 2000s thing. No offense, Gus. It's okay.
Kathleen Illustrated:
He's bringing it back. That's when you peaked.
Alex Lazaris:
I think we all did.
Kathleen Illustrated:
He almost went pro. It's a real pro.
Alex Lazaris:
Really? That's awesome. So aggressive.
Kathleen Illustrated:
I'm assuming he'll show you some tricks after the stream. Let us know. Chat. Any bladers out there. Fellow bladers skaters.
Alex Lazaris:
Rip stickers.
Kathleen Illustrated:
Rip stickers. That reminds me of back scratchers.
Alex Lazaris:
Back scratches.
Kathleen Illustrated:
Team Puppin. Suds. Yes. Lost rest. I didn't think I'd hear a reference to ICP on Adobe Live. Welcome to the show, Alex.
Alex Lazaris:
Yeah, we're making collaborations between.
Kathleen Illustrated:
Know wait, go ahead.
Alex Lazaris:
No.
Kathleen Illustrated:
Somebody just said, it's Wednesday in Chat. And I was like, what is it?
Alex Lazaris:
No. Okay.
Kathleen Illustrated:
Maybe for kushal. I'm not sure where you're at, Kushal, but it's Tuesday where we are. Oh, yeah. Shauna is a Blader, but she's more of a knife.
Alex Lazaris:
Her her skates. She got some fancy skates. Yeah, I saw them when she was here last in SF because I still hadn't moved yet. And they're so pretty.
Kathleen Illustrated:
What are they like? They're like, painted.
Alex Lazaris:
They're white leather with these, like, stars on them. They're pretty fancy.
Kathleen Illustrated:
That's awesome. Yeah. That was a belated April Fool's joke from Kushal. It is not Wednesday.
Alex Lazaris:
It is Wednesday.
Kathleen Illustrated:
Nat nat paz nuts. Kyle says, I used to skateboard until I had a nasty concussion.
Alex Lazaris:
Ouch.
Kathleen Illustrated:
Put those helmets on, kids, man.
Alex Lazaris:
Helmets do not save you.
Kathleen Illustrated:
From dying.
Alex Lazaris:
I had a mom. Turn away.
Kathleen Illustrated:
Mom. Don't listen.
Alex Lazaris:
Don't listen.
Kathleen Illustrated:
Oh, no.
Alex Lazaris:
I had a really bad motorcycle crash or the last season I was racing. Where my helmet? The visor for motorcycle racing gets pin locked. So it's like a Formula One where it locks down my helmet. I hit so hard that the front visor ripped off.
Kathleen Illustrated:
That really rips your head in a direction.
Alex Lazaris:
Yeah, that's how hard I hit it. That it ripped the front face of the helmet off.
Kathleen Illustrated:
Oh, my gosh.
Alex Lazaris:
But that didn't stop me.
Kathleen Illustrated:
No. Wow.
Alex Lazaris:
I fixed my bike, and I raced again the next day, which is not what you're supposed to do.
Kathleen Illustrated:
Oh, my God.
Alex Lazaris:
And I got second place, but yeah, not smart. Not the smartest move.
Kathleen Illustrated:
Yeah.
Alex Lazaris:
So don't do that.
Kathleen Illustrated:
Don't do that. Don't worry.
Alex Lazaris:
Doctors don't approve of that.
Kathleen Illustrated:
Your brain doesn't approve of that too. Please don't. Lost says, I like where this bouncy type is going.
Alex Lazaris:
Yeah, this is kind of like the idea that I was having originally with just, like, the bounciness of the type is really fun. I want it to feel like I don't know, this typeface feels like what a tequila night in my head is. It's, like, a little bit fun. It's a little bit crazy and a little bit different. Oh, my gosh. MotoGP in Portland. I wish they had a MotoGP track there.
Kathleen Illustrated:
Is that just a track type?
Alex Lazaris:
No, MotoGP is the governing road racing body.
Kathleen Illustrated:
Okay.
Alex Lazaris:
They have a track in Austin. They do have a road racing track in Portland. I think it's called Portland International, and it's really I haven't gotten to ride it, but my favorite out here is Sonoma. It's super technical, and it's really, really fast and long.
Kathleen Illustrated:
Interesting.
Alex Lazaris:
And they have NASCAR out here in Sonoma and Formula Three.
Kathleen Illustrated:
All right.
Alex Lazaris:
Indy cars as well. Lots of racing things out here.
Kathleen Illustrated:
Lots of things going zoom. Yeah, that's what that says in my brain.
Alex Lazaris:
There's a winery out next to it too. The winery always complains about the noise. I bet, but they were second. They put that plot of land there after the race was there.
Kathleen Illustrated:
Yeah. They need to capitalize on it somehow. Instead. Nico says, Is that why your head is uneven?
Alex Lazaris:
Because you savage? No.
Kathleen Illustrated:
Brotherly love.
Alex Lazaris:
He always has something to say about my haircuts.
Kathleen Illustrated:
Some he's just jealous right now.
Alex Lazaris:
That's brotherly love.
Kathleen Illustrated:
Roman says, don't ride the next day after a huge crash, and don't work on a file for 51 minutes without saving. Handing out life lessons, man.
Alex Lazaris:
Guys, it's okay. You got to have a little bit of risk because I've had some files crash on me before. Shocking.
Kathleen Illustrated:
Yes.
Alex Lazaris:
And then I found that I've built them faster the second time, and they're.
Kathleen Illustrated:
Better the second time.
Alex Lazaris:
It's a nice little design exercise.
Kathleen Illustrated:
I've said this before, but when my illustrations have disappeared or exploded and my files have crashed, the second version is always better because you get to draw it again and practice again.
Alex Lazaris:
Yeah, exactly. Signal Noise, aka James White used to stream a lot on twitch as well and got to work with him on some twitch stuff.
Kathleen Illustrated:
Yeah, that collection, the chrome ones.
Alex Lazaris:
Yeah. So fun. But he streamed, like, the majority of the process, and him and Alex Grinling both have save emojis for their twitch chat to remind them to save.
Kathleen Illustrated:
Yes.
Alex Lazaris:
And I think Alex has a control Z or command z, a counter. So every time he doesn't undo, he has a counter in the. Corner saying, like, you've undid your steps, like, 430 times.
Kathleen Illustrated:
Oh, my gosh.
Alex Lazaris:
Super fun.
Kathleen Illustrated:
You've undid yourself.
Alex Lazaris:
Yeah.
Kathleen Illustrated:
Man. Auto recovery is cool. I agree, Sam.
Alex Lazaris:
Yeah. But it slows down your computer, so just turn that off.
Kathleen Illustrated:
Yeah, you don't need it. Go Fast. That's the name of this game. Go Fast.
Alex Lazaris:
Just kidding. Don't do that. Auto recovery is amazing.
Kathleen Illustrated:
Yes.
Alex Lazaris:
I've had some close calls where I thought that I had just lost 2 hours of work for a client, and Auto Recovery saved me. So don't turn it off.
Kathleen Illustrated:
Yeah, that's helpful. Let's see.
Alex Lazaris:
Cool.
Kathleen Illustrated:
This is interesting. This is feeling very different from the initial kind of iterations you've done.
Alex Lazaris:
Yeah. So this is kind of what I was thinking would be, like, a good label, like, kind of interesting label. Where the let's see here I can pull in the photo that I have of this. So this is all natural lighting and pretty, like a pretty small, pretty low lit. So it's not as white as it should be. But if I wanted to just quickly mock up what a label could look like, I could just throw in white command two to lock a layer. For all you people that haven't worked with that, it's always fun picking up somebody else's Illustrator files, too.
Kathleen Illustrated:
Yeah.
Alex Lazaris:
And seeing what they grouped and what they didn't group.
Kathleen Illustrated:
Yeah, that's very interesting. Just even working on any kind of project that you're handing off files, you got to think in a different way.
Alex Lazaris:
Which things are grouped, which things are locked, which things are hidden. It's always fun to, like, command three is to hide layers, and then command alt three is to bring it back. So if I wanted to just hide it, just command three, and then I just command alt three, and it brings it back on the screen.
Kathleen Illustrated:
Nice. Super nice, when you hide it. So if you were to hide something, and then if you go into outline mode, so hide and then command y, you don't see it, so how do you remember it's even there?
Alex Lazaris:
Pro tip I never hide things because I always lose them, but whenever I pick up somebody else's files, I might do it just to see what's there. Yeah. I love command y. So nice. So the outline mode, if you ever are trying to find layers or trying to line them up really nicely, it's always a really good way of doing that.
Kathleen Illustrated:
Yeah. If you're trying to look for little points that you might have missed or.
Alex Lazaris:
If you're trying to snap and you're snapping to pixel instead of snapping to point, things like that. Totally good.
Kathleen Illustrated:
What's up, huxle? I see you in there.
Alex Lazaris:
Is there an easy lock to unlock?
Kathleen Illustrated:
Yep.
Alex Lazaris:
So if you just do command two, it'll lock it, and then command alt two is to lock. So I'll show you, like, command two. I can no longer click these layers. He's clicking, too, just to just bring them back out. The one thing is, it's not like Photoshop. So any layers that you lock, they'll all unlock at the same time. So if you have multiple different clicks I know.
Kathleen Illustrated:
And then you have to think about how things are grouped and if you're locking all of it. But I run into that all the time. It's frustrating.
Alex Lazaris:
Yeah. I always love the paste in front of and paste behind. So if you wanted to paste behind something oh, no. See, it's all unlocked right now. Command two, lock it, grab it all with command C. Then I'm going to go Command V and just place it. But if I wanted to place it behind these layers, I could just do command B and you'd see it's, like, behind the white now. But I don't want to do that, so I'm going to press Command F. Oh, cool. Do it on front.
Kathleen Illustrated:
Blanco.
Alex Lazaris:
Blanco.
Kathleen Illustrated:
Raul says, Where do they go when they hide?
Alex Lazaris:
That's a great question.
Kathleen Illustrated:
Let's dive into this.
Alex Lazaris:
I'm going to have to go ask the Illustrator team.
Kathleen Illustrated:
Yeah, let's go find them. Where do they go?
Alex Lazaris:
Black hole.
Kathleen Illustrated:
Yeah, they're like, we have your vectors.
Alex Lazaris:
Any Sci-fi fans here? We can start a whole Sci-fi thing about where layers go.
Kathleen Illustrated:
Where do they go when you close your eyes? When you blink, are they still there?
Alex Lazaris:
Exactly. It's like a sound in a forest.
Kathleen Illustrated:
Yes. I wonder if there are any Adobe product conspiracies.
Alex Lazaris:
We should start them now.
Kathleen Illustrated:
Yes. Let's do it. This is our conspiracy corner.
Alex Lazaris:
The original Adobe office was in the Denver International Airport.
Kathleen Illustrated:
No, it wasn't.
Alex Lazaris:
Dang it.
Kathleen Illustrated:
I love that. Tim says, when your vectors disappear, hannibal Vector eats them.
Alex Lazaris:
That's pretty good. Tim. Tim's quick.
Kathleen Illustrated:
Yeah, it's very quick. He's our best. He's our best quick. Tim Mo best.
Alex Lazaris:
Like, he branded himself that way. Yeah, I think so.
Kathleen Illustrated:
Zach made a Billy Eilish joke and I don't listen to her, so I don't get it. Zach, please explain. I'm sorry for my ignorance. Hashtag, don't blink. Yeah, Frederick, don't blink or your vectors will get eaten by it's a Doctor Who reference. Yeah.
Alex Lazaris:
Oh, man. Classic, man. I haven't seen the new one.
Kathleen Illustrated:
Me neither. I think I started watching it and I think I got through, like, the first arc. I'll take a break. And I've never gotten back into it.
Alex Lazaris:
Yeah. Amazon prime has, I guess the season before the last. So I caught up, finally.
Kathleen Illustrated:
Nice.
Alex Lazaris:
And then I really wanted to watch the new season and I couldn't.
Kathleen Illustrated:
Darn. Is it a new doctor?
Alex Lazaris:
It's the lady doctor.
Kathleen Illustrated:
Oh, the lady. Nice. AW. Peter says, what's up, Alex?
Alex Lazaris:
Hey, Peter.
Kathleen Illustrated:
And he's saying, see you at Creative South next week.
Alex Lazaris:
No, he knows that. He's just rubbing it in.
Kathleen Illustrated:
How rude.
Alex Lazaris:
It's like Peter doesn't have the roster of who's attending or not.
Kathleen Illustrated:
No, definitely not. But you will see. Gus. Peter.
Alex Lazaris:
Awesome.
Kathleen Illustrated:
Get some good gus time.
Alex Lazaris:
Yeah. That's exciting. You're going, gus, have you been before? There's a Waffle house, so that's exciting.
Kathleen Illustrated:
Are there not Waffle Houses in California?
Alex Lazaris:
No, I don't think so. Oh, is there a Waffle house here? Anybody know?
Kathleen Illustrated:
They definitely have them in Ohio.
Alex Lazaris:
Yeah, they're definitely a southern thing. But.
Kathleen Illustrated:
He says shade. So where are you from originally?
Alex Lazaris:
I'm from Texas originally. Okay, so whataburger is better than in N out?
Kathleen Illustrated:
Oh, my God.
Alex Lazaris:
I'm gonna get really heated in debates today.
Kathleen Illustrated:
The sweet tea is being spilled.
Alex Lazaris:
Yeah. And pineapple does belong on pizza. Oh, man.
Kathleen Illustrated:
Hot fruit is not fruit. You can have your opinion, so I'll let you have it.
Alex Lazaris:
Peter says fruit is not fruit. What do you call a banana's foster?
Kathleen Illustrated:
What do you call it? I don't know. What even is that?
Alex Lazaris:
A banana's foster is the like it's like when you flambey banana and caramelize it. Yeah, it's on fire.
Kathleen Illustrated:
You call it fire.
Alex Lazaris:
It's fire. It's lit. What's up, fellow kids?
Kathleen Illustrated:
Hello, my teens. Gotta turn around on your it in front of you.
Alex Lazaris:
Where's the skateboard? Over my shoulder.
Kathleen Illustrated:
Yes.
Alex Lazaris:
Yeah. Texas represent. Samantha.
Kathleen Illustrated:
Jen says Waffle House is dead to me. No whipped cream. Dead to me.
Alex Lazaris:
Wow. I mean, she's not wrong.
Kathleen Illustrated:
No.
Alex Lazaris:
There's no whipped cream, though.
Kathleen Illustrated:
What do they have instead?
Alex Lazaris:
They have grease. Yeah, that's all you need.
Kathleen Illustrated:
Whip it up real fast, you get whipped grease. Same thing. Yeah. Keita. No fruit on my pizza.
Alex Lazaris:
Oh, goodness. Are you just reading the positive comments about no pineapple?
Kathleen Illustrated:
Yes.
Alex Lazaris:
No.
Kathleen Illustrated:
I literally don't see any people saying that they want pineapple on pizza.
Alex Lazaris:
That's fine. We'll start a pineapples anonymous group.
Kathleen Illustrated:
Yeah, but I'm also the heretic that doesn't even like cheese on my pizza.
Alex Lazaris:
That's not pizza, then.
Kathleen Illustrated:
Okay, convince me.
Alex Lazaris:
What do you put on your pizza?
Kathleen Illustrated:
Red sauce?
Alex Lazaris:
Just vegetables and vegetables.
Kathleen Illustrated:
Your brain's like.
Alex Lazaris:
Can we get a different host for tomorrow?
Kathleen Illustrated:
We should have a pizza off.
Alex Lazaris:
Yeah.
Kathleen Illustrated:
Or a MOOC bong. And we can each eat our own pizzas.
Alex Lazaris:
There you have an ICP debate. Pineapple debate.
Kathleen Illustrated:
There's no debate about the ICP. It's just the truth. So how did you is that metallic? Is that why it's tilted?
Alex Lazaris:
No, I just tilted it. How'd you tilt myself? I just took the edge so I just took the edge of it, and I was like, just grab it very simple, like, gotcha.
Kathleen Illustrated:
So you're not skewing it. You're literally just rotating.
Alex Lazaris:
Just rotating it. And I'm still keeping this as a type. What is it called? An open type, because I still want to mess with the typeface, see if I can make it a little bit more potentially thin or bold, because I want to make sure it feels like it's part of the rest of the letters without getting too wonky. I'm not doing a variable type system for the rest of it.
Kathleen Illustrated:
Got you.
Alex Lazaris:
So I want it to all kind of have a similar feel in terms of width and things. And maybe the N is a little bit weird. Yeah, maybe the O's are a little bit weird, but I don't know. I was trying to get the letters to play a little bit nicer together rather than this system. I don't know. What do you think, chat my creative directors?
Kathleen Illustrated:
Yes.
Alex Lazaris:
Let us know right now. I've got let's see here. This is nothing.
Kathleen Illustrated:
This is nothing. Trash.
Alex Lazaris:
Trash. I got this, like, hockey stick looking guy, actually. I like that better.
Kathleen Illustrated:
Keita says your text is wild. Like, your pizza choices, man.
Alex Lazaris:
It's great. Not wrong.
Kathleen Illustrated:
Not wrong. Yeah.
Alex Lazaris:
We have three different options. One, dupe.
Kathleen Illustrated:
Oh, okay. So they're saying that three is reading, like, block no. Instead of blanco.
Alex Lazaris:
Oh, interesting. That makes sense.
Kathleen Illustrated:
So I wonder if you put the N up and fit that little C where the N is, you wouldn't have the cool little flock.
Alex Lazaris:
No, you're right. So, yeah, if I did this and took that let's make an option. Four got 15 minutes till design feedback.
Kathleen Illustrated:
Yes. We have 15 minutes to decide and to argue about pizza.
Alex Lazaris:
Absolutely. Maybe if I bring over some of the anchor points from the end and then I'm just going to select these guys.
Kathleen Illustrated:
Cool. So just using direct select.
Alex Lazaris:
Yeah, just do what I'm asking, please.
Kathleen Illustrated:
Illustrator, you're embarrassing me.
Alex Lazaris:
Gosh. All my friends are watching.
Kathleen Illustrated:
Whoa.
Alex Lazaris:
That's wonky yeah. Where's the Hoodspa sisters when you need them?
Kathleen Illustrated:
Yeah, right.
Alex Lazaris:
They're so good at doing type.
Kathleen Illustrated:
Jen, Amy, please help. They just descend upon us like angels. We're here to help you with your anchor points.
Alex Lazaris:
Their book was really good, too. If you haven't read it, fabas.
Kathleen Illustrated:
Fabas.
Alex Lazaris:
Super good. If anybody is trying to get into the freelance world or just understand how to run their business a little bit.
Kathleen Illustrated:
Better yeah, but, like, with a design minded approach so you won't be totally lost if that is not your Leon Ingram.
Alex Lazaris:
What's up? Oh, Lordy.
Kathleen Illustrated:
Oh, Lordy, lordy, Lordy.
Alex Lazaris:
Leon and I have a project we need to get done.
Kathleen Illustrated:
Oh, yeah.
Alex Lazaris:
Oh, my goodness. I'm not doing this right. Whatever. We're just going to cheat, see if it works. But yeah. Leon is absolutely incredible. He's helped me out with a bunch of projects for my farm.
Kathleen Illustrated:
Nice.
Alex Lazaris:
Which is awesome. But Leon and I have dreamt of starting our own little skateboard company for a long time.
Kathleen Illustrated:
Yeah, you guys are both borders.
Alex Lazaris:
Yeah, it's getting weird.
Kathleen Illustrated:
Yeah, it's starting to read like a U kind of.
Alex Lazaris:
Yeah, I want it to like I need to stop not pressing. Shift.
Kathleen Illustrated:
Don't forget about the shift.
Alex Lazaris:
Shift.
Kathleen Illustrated:
Kyle says Brandon Reich is also very good with type. Good to know.
Alex Lazaris:
Yeah, the name is familiar.
Kathleen Illustrated:
Yeah, definitely. Leon says you asked for the Hood sisters, but you only got me. Sorry to disappoint.
Alex Lazaris:
I'll take you.
Kathleen Illustrated:
Yeah. Bye, huxle. See you later. UI says this is awesome. I agree. Very nice to hear? Yeah. Thank you. UI says, Wait a minute, I need to watch you closely.
Alex Lazaris:
Oh, no.
Kathleen Illustrated:
Okay, watch closely.
Alex Lazaris:
I've been making the same click and try to attempt it for the last 15 minutes. So you could probably take a break if you needed.
Kathleen Illustrated:
Okay. It definitely reads more like blanco now, though.
Alex Lazaris:
Yeah. I'm trying to figure out how to play with it. Maybe this needs to come up a little bit more just so it has.
Kathleen Illustrated:
Some of it right.
Alex Lazaris:
But maybe that's getting a little bit closer. Maybe I just put on the baseline right.
Kathleen Illustrated:
Oh, that's definitely an nay. It's an N again. It has a nice squared feel, too.
Alex Lazaris:
Yeah, it's a little bit different from the original type part of it, but I'm not mad about that. Yeah, it seems to play off the A a little bit better, which is nice.
Kathleen Illustrated:
Oh. So Brandon Reich, who does good type, apparently from Kyle, says he does all music industry apparel. Also the branding for 21 pilots.
Alex Lazaris:
Oh, that's awesome, man. There's so many incredibly talented just artists in the music industry as well.
Kathleen Illustrated:
Agreed.
Alex Lazaris:
I mean, the moral of the story is everybody's talented.
Kathleen Illustrated:
Yeah. Are they?
Alex Lazaris:
Okay, maybe not everybody's got, like, a skill that they can contribute to something. Wondering maybe that's a little bit better. Bringing the b up so that not everything has to be on the bass line. Maybe the co goes up.
Kathleen Illustrated:
People are really liking this version now. Yeah. At first I think people are liking number two, but now everyone's saying four. Four?
Alex Lazaris:
Yeah, it's starting to feel a little bit better. It's a little bit more playful now. There might be something later on that I could do to the A so it doesn't feel so just default, I.
Kathleen Illustrated:
Think is those yeah, it's the most normal of all the characters.
Alex Lazaris:
Everything else feels a little bit more playful. Um cool. It'll come to me. But essentially right now, I don't want to change the left side of it because it has a nice part at the end. Maybe it's just shifting over the A to feel a little bit more like it's falling to the right. So maybe it's just the top heavy.
Kathleen Illustrated:
Yeah, it's very wide.
Alex Lazaris:
So maybe the top just comes over. Maybe the bottom goes over just a little bit.
Kathleen Illustrated:
Anna says, this font reminds me of the Brady Bunch and the jets.
Alex Lazaris:
Man, I've been really wanting to go back and just rewatch the Jetsons.
Kathleen Illustrated:
Yeah, I was thinking about the Jetsons the other day.
Alex Lazaris:
I don't know why. They just had, I don't know, the whole space. It was like mid century modern space. Just like kind of that retro excitement for what space can offer. Yeah, super exciting.
Kathleen Illustrated:
It's like the alternate universe to the Fallout games. Like, if the humans had escaped Earth instead of being blown up on Earth.
Alex Lazaris:
Did you play the fall? It 76.
Kathleen Illustrated:
No, not 76.
Alex Lazaris:
Good idea.
Kathleen Illustrated:
Good idea.
Alex Lazaris:
I haven't played it either. I'm just going to be one of those people that's, like, hating it.
Kathleen Illustrated:
Yeah, I've heard.
Alex Lazaris:
I was so excited for it and then I kind of just bought the intro.
Kathleen Illustrated:
Turn it. I know. I mean, West Virginia is pretty cool.
Alex Lazaris:
But I love how that song became so popular after that trailer again of, like, everybody's singing, like, come on, guys. There's a Korean singer on Twitch who blew up because his voice is so deep and so incredible and he sings Country Roads and he like, that's awesome.
Kathleen Illustrated:
I think I might have heard that, potentially.
Alex Lazaris:
Yeah, he got really big.
Kathleen Illustrated:
That's awesome. Good for him. Ashley says, Jetsons was the best. So many good ideas. Yeah, it was really creative. You got to see all their inventions because everything was made up. It was kind of like The Flintstones.
Alex Lazaris:
And the sound effects for it and everything was so fun.
Kathleen Illustrated:
Yeah, totally slip. Is that Hannah Barbera? Let's see. Hannah Barbera, jetsons. Yes. So good. So classic. Nice.
Alex Lazaris:
I'm not sure how I feel about the A still. I think it's still feeling a little bit wonky. Everything else has, like, this square cap.
Kathleen Illustrated:
Yeah.
Alex Lazaris:
And then I was like, oh, maybe it should not. But then it feels weird because everything else has this straight top.
Kathleen Illustrated:
Right.
Alex Lazaris:
But everything else is angled, so it makes the A. Yeah.
Kathleen Illustrated:
You have a little bit of wonkiness with, like, here. Yeah. Maybe if this part the part that fills it was tilted, but, like, the A was still yeah, that's a good idea. Who knows? Mountain mama, mountain mama trying to make me cry don't do it.
Alex Lazaris:
All right, Chat, we're going to start singing along to Country Roads.
Kathleen Illustrated:
It's such a heart tear jerker. Yes. There you go. Sam says, I was in Dublin for St Patrick's Day and everyone was singing Take me home, country royals in every bar. It spreads across all countries. It's so good. Chat, don't forget that you got about seven minutes left to get your work uploaded on the design feedback channel on Discord. So if you are totally new, we are doing a Photoshop daily creative challenge for the next two weeks. Voodoo Val is running that at 1130 every day, Monday through Friday. For the next two weeks, every day is going to be a different challenge. So today's challenge was to make a cool Facebook asset using images that you're going to be transforming, reflecting, using the frame tool, what have you. You can find more information over here in the challenge tab. But if you get that uploaded into the Discord channel on the design feedback channel, bit Ly slash PS, Discord, we're going to be doing some reviewing. Yes. There's the link. Thank you. It is case sensitive, too, so the P and the S need to be capital. We're going to be looking over your submissions and giving some. Yeah, it's very handy. I mean, Alex is a professional designer professional. Professional. So his feedback will be really valuable for you. And it's free. Wow.
Alex Lazaris:
It's free. You get what you pay for.
Kathleen Illustrated:
So nothing. Oh, you're going to switch it out?
Alex Lazaris:
I feel like it might be a little bit fun, like doing that where it's upside down. Maybe that kind of feels like a shot glass too, but maybe not. Maybe that's the opposite of what I'm trying to intend.
Kathleen Illustrated:
Totally. Good. Well, so we have a hood in Chat now. Amy hood is here.
Alex Lazaris:
Oh, my goodness.
Kathleen Illustrated:
So, Amy, what do you think?
Alex Lazaris:
Save me.
Kathleen Illustrated:
Help us.
Alex Lazaris:
Help me. What's wrong with my a?
Kathleen Illustrated:
What if you take the top anchor of the counter of the A and bring that so the counter of the A. So I think that's the hole in the middle. And make that space little schmoler.
Alex Lazaris:
Yeah, that actually feels that's cool.
Kathleen Illustrated:
Did you just fix it, Amy?
Alex Lazaris:
Thank you, Amy.
Kathleen Illustrated:
She's like, hello. Is this thing on?
Alex Lazaris:
Yeah, it's amazing. Thank you, Amy.
Kathleen Illustrated:
All right, we're done.
Alex Lazaris:
Yeah. Now we have two more labels, so stick around. Woohoo.
Kathleen Illustrated:
So cool.
Alex Lazaris:
That's awesome. Thank you so much, Amy.
Kathleen Illustrated:
Bye, Amy. As he was sent back to Heaven, who knows? Leon's very excited that we're using Discord.
Alex Lazaris:
Leon has been he's been trying to get me to move my team slack over to Discord as well. It's weird because I always assume that Discord's like a gaming chat.
Kathleen Illustrated:
Same. Like I have my maple story guild here on Discord.
Alex Lazaris:
That's awesome. Yeah, it's weird because I don't want I have so many different twitch ones as well, so I sometimes don't want that up as like a communications device.
Kathleen Illustrated:
Yeah, right. I think there's good things about both of them.
Alex Lazaris:
Absolutely.
Kathleen Illustrated:
We're really missing the nested comments in Discord. Like, you can't start threads, which is frustrating.
Alex Lazaris:
Yeah, absolutely.
Kathleen Illustrated:
But it feels much more like a community. I feel like people are digging the Discord. Let us know. Chat. If you are on Discord, it's free. You can just come hang out and chat. We've got Adobe People, we've got mentors in here pretty much all hours of every day. So you can post your work for feedback, ask questions. Tim Mobest is posting amazing pro tips. Tim's obscure pro tips. So every day, I think for the next eleven days, he's going to be unlocking a new pro tip. Isn't this amazing? He made this just for fun.
Alex Lazaris:
That's awesome.
Kathleen Illustrated:
Yeah.
Alex Lazaris:
So we got cool looks.
Kathleen Illustrated:
We're doing seamless patterns.
Alex Lazaris:
Seamless patterns. It seems like we using Photoshop or Illustrator.
Kathleen Illustrated:
I think it's all photoshop. Yeah, Photoshop.
Alex Lazaris:
Wow. Illustrator. Seamless patterns. Man, they're so much fun.
Kathleen Illustrated:
Yeah. Cool. So go check it out. Everyone come join Discord and hang out with us. It's bit ly slash PS. Discord Tommy says that this is looking Hawaiian like tiki, huh?
Alex Lazaris:
Interesting. Yeah, I guess I can see some of the like I could see this. I think Shauna had a really good point earlier. About this feeling, the type feeling? A little bit. Kind of like the I'm blanking on the name. The Disney movie.
Kathleen Illustrated:
Which one?
Alex Lazaris:
The one about the Day of the Dead.
Kathleen Illustrated:
Oh, Coco.
Alex Lazaris:
Coco. Is it Disney or Pixar?
Kathleen Illustrated:
Disney. Pixar?
Alex Lazaris:
Yes. Thank you, Leon's. Like, I worked on that.
Kathleen Illustrated:
Yeah. I am Coco.
Alex Lazaris:
Just kidding. Coco's soundtrack was so good.
Kathleen Illustrated:
We were literally listening to it this weekend with our baby niece.
Alex Lazaris:
She loves it.
Kathleen Illustrated:
She walks around with the ukulele and screams.
Alex Lazaris:
So good. So cute.
Kathleen Illustrated:
She's the best.
Alex Lazaris:
E feels so weird because it's so normal. It's so normal. We're having the same issue with the A earlier, but we can maybe actually, I think the lowercase E might have a little bit more flavor.
Kathleen Illustrated:
Some e flavor.
Alex Lazaris:
Some Flavor.
Kathleen Illustrated:
Nice.
Alex Lazaris:
Going to bring it in like Guy Fieri.
Kathleen Illustrated:
You like flavor.
Alex Lazaris:
Flavortown.
Kathleen Illustrated:
Wait, isn't that his chicken tender's place? Isn't it called flavortown?
Alex Lazaris:
Is it?
Kathleen Illustrated:
I think he has a restaurant called Flavortown.
Alex Lazaris:
That's incredible.
Kathleen Illustrated:
Guy fieri flavortown.
Alex Lazaris:
Did you know they have a cocoa? Makes me cry. Yeah, it's crazy. It's so good. Two more minutes. Thank you.
Kathleen Illustrated:
Yes.
Alex Lazaris:
Yeah, cocoa is incredible. So they have a Guy Fieri con in New York where everybody dresses up as Guy Fieri.
Kathleen Illustrated:
Okay.
Alex Lazaris:
Oh, no, look. I'm getting the beach ball death. Okay. Time to save.
Kathleen Illustrated:
Yes.
Alex Lazaris:
That's typically when I know when to save blaster cash.
Kathleen Illustrated:
So what is this convention?
Alex Lazaris:
Does everyone just put on the yeah, so you can, I think, Amazon Prime a Guy Fieri spiky hat and visor. And then you wear your little Oakley sunnies.
Kathleen Illustrated:
Yeah. And get a uh huh.
Alex Lazaris:
And then wear, like, a Hawaiian flame shirt.
Kathleen Illustrated:
And that's it.
Alex Lazaris:
And there you go. You're set.
Kathleen Illustrated:
And then you have workshops where you talk about the best diners, drive ins and dives in the area.
Alex Lazaris:
It's more of like a bar crawl, I think.
Kathleen Illustrated:
Oh, my God.
Alex Lazaris:
Than a true Deform convention.
Kathleen Illustrated:
Yeah. Right? Man, what a world we live in. Repo.
Alex Lazaris:
We're going to start a repo company.
Kathleen Illustrated:
Yeah. A very nicely branded repo company. So cool. Lost says, I learned that he only wore a flame shirt, like, once ever.
Alex Lazaris:
Really?
Kathleen Illustrated:
And now it's like his uniform.
Alex Lazaris:
That's incredible.
Kathleen Illustrated:
Yes. Zach says, do you guys listen to My Brother, my Brother and Me, or does it just keep coming up accidentally and I have a problem? Do you listen to my brother? My brother and me? It's a podcast.
Alex Lazaris:
No, I don't. I've never heard of it. Leon just started a podcast.
Kathleen Illustrated:
I saw that. I'm interested to listen, Leon.
Alex Lazaris:
Yeah. I was going to do it on the plane, but I couldn't get signal to download it before I flew.
Kathleen Illustrated:
All right, next time.
Alex Lazaris:
But I'll listen to it this week.
Kathleen Illustrated:
Awesome. Zach. I love Mabimbam. I'm going to go see them tomorrow in San Jose.
Alex Lazaris:
What is it?
Kathleen Illustrated:
Superfan. It's the podcast. My brother. My brother and me.
Alex Lazaris:
And what do they talk about?
Kathleen Illustrated:
It's a comedy podcast. It's three brothers who answer questions and go on Yahoo answers and find the most ridiculous ones. There's like a whole mythology with it. There's some lore behind it. It's very good. I think you'd like it.
Alex Lazaris:
Sounds good.
Kathleen Illustrated:
So, Zach, you're not wrong. I've been interjecting. Little mannerisms, for sure. Ashi says branding is so interesting.
Alex Lazaris:
It is. It's super.
Kathleen Illustrated:
Yeah.
Alex Lazaris:
Like, I've had the oh, design feedback.
Kathleen Illustrated:
Oh, yeah. It is time.
Alex Lazaris:
It's time.
Kathleen Illustrated:
Totally. So, chat. Like we said earlier, we're going to be looking at design feedback from the Discord channel. So if you have worked on the first day of the daily creative challenge for the Facebook asset, get it uploaded on design feedback. We're going to get through as many as we can in the next, like 20 ish 1520 minutes. Just work through it, give you some feedback, maybe say something that's super strong and then something you could work on. So this is it. This is discord. Hello. 50, 60 new messages. So we've got quite a bit to go through. I think Maria is the first submission. And I've already given Maria a little bit of feedback. But like I said, this is for like an event invite on Facebook.
Alex Lazaris:
This is an event invite on Facebook. Like the header image interesting. This is really cool. I like the text effects that you have going on and the background shading. Those layers are really nice. I always find it weird sometimes how Facebook might crop things. So you might not be able to see if it's on mobile. You might not be able to see the 13 four and the 930. You might only be able to see that middle section. So that's something to double check and just make sure. And especially if you're making the event calendar yourself or the event invite, you might be able to just upload it, check it on your mobile, check it on your tablet, make sure there's no cropping issues just to start.
Kathleen Illustrated:
Yeah, and I gave who was this again? Maria. A little bit of feedback saying that this right segment felt a little empty. So maybe if this is not a safe zone to have copy, you could move it over here, perhaps?
Alex Lazaris:
Yeah, no, totally. And I think you have a lot of negative space on the right that you can play with. Playing more type in there or something.
Kathleen Illustrated:
Totally. Nicely done, Maria. Give you a thumbs up.
Alex Lazaris:
Those colors are super fun, aren't they?
Kathleen Illustrated:
It perfectly matches with the Zumba class, for sure.
Alex Lazaris:
I definitely want to do Zumba now.
Kathleen Illustrated:
Nice. Let's see, let's see, let's see. Dana here's my first challenge. Kind of basic, but it's a start. Cool.
Alex Lazaris:
Yeah. I like the overlap. I think my favorite part of this is the circle overlay that breaks the grid. I think that brings in a lot more of that fun. It creates a more interesting dynamic with the content, definitely. But good use of colors for sure.
Kathleen Illustrated:
Yeah, I was going to say all the images seem to go together.
Alex Lazaris:
Yeah, it has a nice flow to it. The one thing I'd be careful about is the type can sometimes get lost in there. And I think that's, like I said, the cropping again, but then also sometimes if you're looking at it on a smaller phone, you might not be able to see the type because it's pretty thin. And that could be the aesthetic you're going for, but just something to keep in mind.
Kathleen Illustrated:
Yeah, definitely. Nice job. Simple, but it's a start. Totally true. Dana, nice job. All right, this is by Volks. Hashtag testing.
Alex Lazaris:
Hashtag testing. I like it.
Kathleen Illustrated:
That is this beauty spa. Relax. So it looks like we have two different versions.
Alex Lazaris:
Let's go to the bottom one.
Kathleen Illustrated:
I think.
Alex Lazaris:
So this is a beauty spa brand type thing. Seems like it interesting. I like the texture a lot. I think that the fabric texture can look really good and adds a little bit of value to it. A little bit of, like, care and finesse. I think. One thing to look out for. So we're looking at this screen over here, too, and the texture is kind of making it look like the type is Aliased. So it looks a little bit jagged. So again, just looking at things, it doesn't look like it up close, but kind of on another screen.
Kathleen Illustrated:
And this is how you would look at it on Facebook, it would be smaller.
Alex Lazaris:
Correct. On Facebook, it wouldn't look so bad. I think the angel might be a little bit it almost feels like a League of Legends character more than it does, like, a relaxing environment. So I think just making sure that your messaging is also reflecting with the visuals that you're doing and just balancing them out. But like, color wise, I think it has a good spa presence to it.
Kathleen Illustrated:
Yeah. Earthy.
Alex Lazaris:
Super earthy. And again, the texture is kind of fun.
Kathleen Illustrated:
Nice job. And Chat, you'll notice that people are in here giving feedback. So when you post your work, please ask if there's like a specific thing you're not sure about. Like, I'm not sure about the color palette. What do you think? Because that gives your critiquers a little bit of frame of reference. Yeah. All right. This is by cool.
Alex Lazaris:
OOH, that type is really fun.
Kathleen Illustrated:
Yes.
Alex Lazaris:
And I can kind of see the tutorial that Val is walking through with offsetting the backgrounds and the foregrounds and stuff like that. That's really cool.
Kathleen Illustrated:
Yeah. It makes it look cohesive, but still different.
Alex Lazaris:
Yeah. And then the gradient map on top of it. Is that's really cool?
Kathleen Illustrated:
Do you find it's readable enough?
Alex Lazaris:
No, I don't find it super readable, but sometimes that could be the intention. Like, if you're trying to draw to the piece and say, glory is like the mountain range and nature, then maybe that's okay that you're trying to intend. For it to be a little bit more blended. If you're trying to not, then maybe you just bounce the background or the mask that you have currently going on in the background. Maybe you just that up or down so that there's enough contrast in the mountain range so you can read it a little bit better.
Kathleen Illustrated:
Yeah, specifically over. It gets a little tough to read.
Alex Lazaris:
Yep, absolutely.
Kathleen Illustrated:
Nicely done. Give you a little thumbs up. All right. This is by Tristan, Montreal. Whoa, this is cool.
Alex Lazaris:
Yeah, this is super in right now, too. This kind of outline offset type stuff. It was really overlaying in the overlay. Really cool aspect of bringing that thumb back through the type. Super fun. I love the lockup on that. Yeah, I think it's really nice. I think it's something that I'm struggling with right now as well on my own thing that we're doing is like, sometimes the readability on it is a little bit off, but I think that's also okay. Yeah, that's completely fine.
Kathleen Illustrated:
Yeah. What do you think about this second little hit of this graphic over here?
Alex Lazaris:
Yeah, that second hit doesn't make as much sense kind of being in there. It feels like the mask doesn't need to be there.
Kathleen Illustrated:
Yeah, it's a little faded out, too, where everything else is pretty.
Alex Lazaris:
Yeah, it's sharp. It looks like your masking for the hand and the plants is really clean. So I think if you're going to incorporate that masking in the background, maybe you do that as the full background piece or ghost it that way. But I think it doesn't need the little foliage on the side. Otherwise, I think it's really cohesive and it looks really dialed.
Kathleen Illustrated:
Yeah. Nice job. So it says Montreal. Montreal. Montreal. Cool.
Alex Lazaris:
Now we know what it is.
Kathleen Illustrated:
Yes. In case you didn't know. Montreal. All right, nice job giving feedback, everybody. Oh, there's another version from Volks. Nice. Let's see. Beard BG. Completely misunderstood the ask. Here's the rework. Awesome.
Alex Lazaris:
Sick. Awesome. Really interesting. The color on there is like I like the natural color of Hawaii on there. I think it gets to be it feels so I've been playing a lot of Apex legends lately, and this bar kind of concept going on. So the first thing I think about when I see that color overlay on top of the black and kind of gray background is kind of like video game structured color blocking, which doesn't feel as hawai to me. So I think you have a really great image of Hawaii. And I think there's an opportunity to take the kind of concept that you're working with with the color blocking, and then maybe it's like you were seeing a lot of people, especially with how Val was doing it, with kind of embedding it and making it feel a little bit more surreal or just a little bit more like a postcard. Yes, but I think the look that you have right now is really cohesive. It feels like you've got a textured kind of approach with the type, and then you're trying to also texture the background. I think it all depends on what you're trying to go for for the outcome for it.
Kathleen Illustrated:
Yeah. Right. I think you're right on the money. There might be two different kind of attempts right now, and maybe you can just choose one and dial everything into that different style.
Alex Lazaris:
Zach's asking where the Mozambique is. I'll let you know when I tag it. Zach.
Kathleen Illustrated:
It's fine. All right. Laura. I went a little nuts with layering the frames and realized my text isn't centered. Oops, that's all right. Cool.
Alex Lazaris:
Oh, wow. That's cool.
Kathleen Illustrated:
It's like space.
Alex Lazaris:
It does feel like yeah. Yeah. Is that a space layer that you put on there, or is that just the lavender with just a different opacity layer filter on it?
Kathleen Illustrated:
It looks like this is actual, like, spatter or stars.
Alex Lazaris:
Yeah, but, like, at the bottom at the lavender field. Yeah. No, you're right. That's really cool.
Kathleen Illustrated:
I really meant, like, these little tiny highlights.
Alex Lazaris:
It looks exactly like it. Yeah, that's cool. Yeah, it feels really good.
Kathleen Illustrated:
It's readable.
Alex Lazaris:
It's readable it's done everything that was kind of, like, in the challenge. I think it's really well done. I like the fact that we can't really tell how you did it. It's kind of like on the pin and Teller, like, fool Me, where it's like, is that the lavender or is that the space?
Kathleen Illustrated:
The lavender or the star?
Alex Lazaris:
Yeah, it's so cool that the stars and the lavender tie so well together.
Kathleen Illustrated:
Nice job. I don't know if that was an.
Alex Lazaris:
Accident, but it was lavender image with stars in the sky. Cool. Oh, cool.
Kathleen Illustrated:
All right, here we go. Be nice. Newbie at this, Gerard. Don't worry, April. Inspiration cool. It's clean and crisp.
Alex Lazaris:
Yeah, it's super crisp. I like the saturation that you have on the photo itself. It feels very vibrant and very inviting. And I know Gus is wanting to go fishing immediately now after seeing this. Oh, yeah. I think you did a great job. I think the one thing to be cautious about is whenever you do the color swatch in the background behind the layer, the lettering, I know the intention can often be so it's more readable, but sometimes you just muddle that a little bit.
Kathleen Illustrated:
Yeah. Like right here, it gets a little.
Alex Lazaris:
Yeah, it gets a little bit tougher, and so I wouldn't be afraid of just, like, leaving the type on there. Maybe you just condense the type a little bit so it's not breaking the bounding box, and then maybe the type is white and it's just kind of sitting on that horizon line of the water, and it just fits and feels a little bit nicer. Yeah, but no, that's a great job, especially a beginner.
Kathleen Illustrated:
Totally. Nice job, Gerard. All right. Trixie. I've never used the frame tool before. Probably won't use it much in the future, but for now, I have some ideas for what it's good for. Sweet. Cool. So this is your new Facebook header image.
Alex Lazaris:
That's awesome.
Kathleen Illustrated:
Nice.
Alex Lazaris:
Also, I think Hayes Valley has patricia's Green is the name of the little park in Hayes Valley.
Kathleen Illustrated:
Oh, really?
Alex Lazaris:
So automatically you've already won me over with cute little dog park? Yeah. Super cool. It's a really interesting tiling pattern effect you made in the background, too.
Kathleen Illustrated:
It feels a little like far style wise from this kind of sparkly, literally sequins, I think.
Alex Lazaris:
Yeah, I think it's because of the scale. So you have such a large tiling sequin scale in the background that it doesn't feel as like one to one that maybe you were intending for it to have. Yeah, I think the horizontal bars aren't necessarily necessary in my eyes. I think I think I would just want to know the understanding of, like, what the intention was behind it. But I think if maybe even just cleaning, like pulling out those bars, then you'll start to see a little bit more connection with the tiling in the background.
Kathleen Illustrated:
Yeah, definitely. I would also say you have a nice black stroke around the name and you also have a drop shadow. I don't know if you need both because they're both kind of doing the same thing of adding the contrast to make it more readable.
Alex Lazaris:
Absolutely.
Kathleen Illustrated:
Yeah. But cool. I'm glad you got a new Facebook header image. Yeah, that's the point. That's great. Smiley face for you. All right, Alicia or Alicia. Here we go.
Alex Lazaris:
Oh, cool.
Kathleen Illustrated:
It's kind of like argyle Harlequin pattern.
Alex Lazaris:
I just did a checkerboard vodka brand type thing and so checkerboards are very much in my wheelhouse right now. I love the aspect of bringing in it looks like, what, five different, potentially different ocean scenes into those tiles.
Kathleen Illustrated:
Yeah.
Alex Lazaris:
Which is really incredible. And bringing them in, I don't know how you brought them in and made them all feel like the same photo, but I'm assuming probably camera raw, which is a pretty awesome expert thing that you might have picked up on other streams here. So I like that you've made all the photos not feel completely different, which is really tough. The type in the background, though, I can't really read and I don't know if that's the screen. I think it's just a little hard to read on that. Pink beige is really kind of difficult to read on the light yellows and blues.
Kathleen Illustrated:
Yeah. I don't know if you need it.
Alex Lazaris:
Was it April inspiration again?
Kathleen Illustrated:
Yeah. So then a different typeface.
Alex Lazaris:
I think just saying it once probably good enough. Unless you're wanting to bring the layers back and forth where you're playing with the script type through the actual serif type that you're running and then bringing it, like kind of weaving it in and out. I think that might be an interesting way to do that if you're really trying to double the reinforce it got you.
Kathleen Illustrated:
She says that it's the same image, just rotated in many different ways.
Alex Lazaris:
Oh, cool. That would explain why it feels so cohesive, but I don't know. To me, it looked like a different one, so good job.
Kathleen Illustrated:
Nice job. We'll give you a wave emoji.
Alex Lazaris:
OOH, that's a good one.
Kathleen Illustrated:
All right, here is the Bogota, made from photos from a recent trip. Love to see that. Cool. So all the different frames. Got some circles over here, some squares over here.
Alex Lazaris:
Yeah. I love street art, so seeing, like, graffiti and street art into it is always my favorite.
Kathleen Illustrated:
Looking at the oh, interesting.
Alex Lazaris:
Look at those. Yeah, the framing, man, I haven't done that or seen that in so long. That's awesome. That used to be, like, how you used to display things on Behance was, like, to zoom in on a certain part of your case study. Just do that all the time and do the pinch zoom thing. So that's awesome. That technique is great. I'm not sure you need all the explainer stuff. I think maybe instead of having the art from the street, or maybe it's pagoda art and then take off from the street part, and then you have an opportunity to play with the scale of those images and then bring them up to be a bit bigger. That way I get more of those photos in there, because that's really what I think you're trying to highlight and show. So I want to see more of that, because that's really cool stuff.
Kathleen Illustrated:
Yeah, great point. Nice. Give you praise hands. All right. Here's, Sam. Pretty literal translation of the example today. PS. Come visit Dallas.
Alex Lazaris:
Come visit Dallas. I went to school in Dallas, so I need to go back. I was supposed to do a talk there soon, but we'll see.
Kathleen Illustrated:
Okay.
Alex Lazaris:
Dallas. Great food scene. Didn't know. Yeah, really good food. I think there's a lot of framing right now. I think if you just took off one more of the frames on the inside, it might be a little bit easier. I think it's trying to pull me in, and maybe it needs to focus on something. There's a lot of things competing for a hierarchy, I think, right now.
Kathleen Illustrated:
Very true.
Alex Lazaris:
I think the image you have is really good. I'm not sure you need to have the type on it, but maybe that's just because I'm biased and I know what the Dao skyline looks like.
Kathleen Illustrated:
Yeah, you're like, we get it.
Alex Lazaris:
But right now it's pulling me in like you've got the double dip down. And so I'm already looking and it's got a horizon point on it already. So I'm already being drawn into the towers, but the type on top of it's pulling my focus back out again. And then because it's overlaid, I'm still trying to read it across. So I think if you removed one of the frames maybe and then removed the type, the composition would have more of a focus thing.
Kathleen Illustrated:
Yeah. Maybe you could still include the type, but in a more smaller way, more of like a second hit of information.
Alex Lazaris:
Absolutely.
Kathleen Illustrated:
Nice job. Oh, give you the me emoji. Kathleen. Emoji.
Alex Lazaris:
Your own emoji.
Kathleen Illustrated:
It's like a twitch channel. June says, first time using the frame tool.
Alex Lazaris:
Cool. That's cool.
Kathleen Illustrated:
Yeah. It looks like a ripple.
Alex Lazaris:
Yeah. Oh, man, I love the shading in the photo. It feels very much like almost like an album cover. Almost. If you just increase the inside ring to be a little bit bigger and maybe move the circle mask over, I could see that being like, a really good album cover of just, like, for a vinyl CD or for a vinyl disc. Yeah, I think it's really cool.
Kathleen Illustrated:
Yeah. This is a really simple execution of the technique, but I think the image that you chose has a lot of power exactly.
Alex Lazaris:
Behind it, and just like you did with you just reversing it, it just changes the it becomes really surreal. The forefathers guys did a kind of a circular branch with kind of that dark foresty vibe and very similar, and it was executed really well. Really well.
Kathleen Illustrated:
Nice. We'll give you a Scream emoji scream. All right, we'll look through maybe two more. So this is from voxy lady. Can frames be transformed to different shapes mucks around in photoshop? Answer yes. Cool. What game is this?
Alex Lazaris:
Is this Zuma's revenge? Zuma.
Kathleen Illustrated:
Oh, my gosh.
Alex Lazaris:
Wait. No, it's not. But it looks the type reminds me of that. Was it Zuma? You spit the little ball from the frog's face and it's like the I have no idea. Oh, my goodness. It was like a PopCap game back in the day.
Kathleen Illustrated:
Throwback. Yeah.
Alex Lazaris:
So good.
Kathleen Illustrated:
Wow. Cool. So this is kind of doing a similar thing that the river thing was, where this hue kind of adds this grayness that you might not need, especially because this typeface already has a nice frame around it. It's going to be readable.
Alex Lazaris:
Yeah. I really like the type on there. I think the type works really well with the game graphics. Yes, it feels very cohesive, like you said. I don't think the color backdrop behind it really is necessary because you're pulling the colors from the right image into the frame in the middle anyways, and then it looks like you're texturing it with the actual game art itself. Yeah.
Kathleen Illustrated:
You can see the level design here. Yeah.
Alex Lazaris:
So I think you've got a lot of things already going. I think if you just remove that one thing, it's like the opposite of what Chanel said.
Kathleen Illustrated:
Right?
Alex Lazaris:
Put another piece of jewelry on.
Kathleen Illustrated:
Yeah. Add more.
Alex Lazaris:
Just the opposite of that.
Kathleen Illustrated:
Yeah. Cool. Very nice job, boxy lady. Okay, let's look at one more, and then if we don't give you feedback, no worries. You're still going to get feedback in the channel. Just not live. All right. This is by prowling monkey.
Alex Lazaris:
Did you get photos of Leon's cats? That'd be great, though.
Kathleen Illustrated:
So Prowling Monkey is talking about using Frame Tool for panels, perhaps for their comic. So that's a cool idea. So that's like, how they're making all these frames.
Alex Lazaris:
Yeah, man, I remember trying to do that in Photoshop way back in the day, and it was so difficult to equally space things out.
Kathleen Illustrated:
Yeah. Look at these cuties.
Alex Lazaris:
They're adorable. Yeah. And InDesign has a really good frame tool now too.
Kathleen Illustrated:
Cool.
Alex Lazaris:
And it's equidistant, right? It scales with the pages now.
Kathleen Illustrated:
Oh, cool.
Alex Lazaris:
Super exciting.
Kathleen Illustrated:
Nice.
Alex Lazaris:
I love the photo on the right. The bottom right?
Kathleen Illustrated:
The foot.
Alex Lazaris:
No? Yeah, the photo.
Kathleen Illustrated:
It's like, hey, that thing. And these are slightly different. I didn't realize. I thought these were the same, and these are the same, but there's a little slight difference. That's awesome. Makes me miss having a cat, but cool. I think this is a good exploration of just using the Frame Tool and how you can use it in the future. And cats.
Alex Lazaris:
Yeah.
Kathleen Illustrated:
Nice job. All right, so that's all we're going to look at on stream today. But like I said, keep posting your work and you'll continue to get feedback. There's a lot more work here.
Alex Lazaris:
There's so many. That's incredible. Everybody was hard at work.
Kathleen Illustrated:
Geez Louise.
Alex Lazaris:
Some really good stuff in there.
Kathleen Illustrated:
So keep posting in there and join Discord if you have not already. So we have, like, three minutes left, so maybe super quick we can just talk about what you worked on today and then what you're going to do tomorrow.
Alex Lazaris:
Yeah, perfect. So there was a lot of floundering on type, which is super fun, but kind of just starting to see how things might actually play out with the type and the label. Tomorrow, I want to get the typefaces done for the labels. Tonight, I'm going to explore just finding a nice simple typeface that complements these crazy letters just so it has some order to it. And then we're going to build out the labels tomorrow. I'm thinking that I want to keep everything white and black, but I don't know, maybe it'll be some grayscale in there. Just trying to figure out how we differentiate the labels. Maybe the type is just enough. And then we're just going to start playing with the collateral on Thursday. So it's going to feel like a real brand. You should have a good basis if you're following along at home on how to build out your own portfolio on Behance and start getting those clients you want.
Kathleen Illustrated:
Heck yeah. And if you want to follow Alex on Behance, you can go to Behance. Net slash Alex Lazaris or click his little face in the info tab. So we will be back tomorrow doing the same stuff again. Starting the day with XD, I believe, and then having Val in the middle of the day with the daily creative challenge. So day two of that, and then us will be doing day two. So yeah. Thank you. Perfect. So we will start with Mel and Mel both the Mel's in the morning and then Val, and then we'll be back. So we're doing something a little different. We're doing two different kind of types of work. XD in the morning, graphic design in the afternoon, with Photoshop in the middle. Let us know what you guys think about this new schedule, changing things up a little bit. Bye, Wade. Good to see you. And then if you want to follow Alex anywhere else, do you want to shout out any social media or your.
Alex Lazaris:
Website, just go to Behance. You guys all have it. Behance is awesome. That's where we post most of our stuff. Yeah.
Kathleen Illustrated:
Perfect. Okay, everyone be safe today. Have a good day, and we'll be back tomorrow. Bye
