*Transcription Disclaimer: the following transcription was automatically generated, and may have errors, or lack context.*
Kathleen Illustrated:
Welcome back, everybody. Oh, that felt crushed.
Alex Lazaris:
It is a strong start to the stream already.
Kathleen Illustrated:
Are we live? Yes, we have. How's it going, everyone? This is day three with Alex Lazaris. Welcome back.
Alex Lazaris:
Hello. Welcome, me. Wait, that's weird. Welcome, me.
Kathleen Illustrated:
Give yourself a nice big hug. You're kind of blending in with your background. It's pretty cool.
Alex Lazaris:
Yeah, I have a dark theme going on.
Kathleen Illustrated:
You have dark UI in your life.
Alex Lazaris:
Oh, I love the dark UI. I'm so happy that that came out.
Kathleen Illustrated:
Me too. Same. What's up? Victoria says, I didn't look at it. Do it again. You rewind it, you can see.
Alex Lazaris:
Waiting for the gifts to come out.
Kathleen Illustrated:
Yes. We need to have those, like, deal with it. Glasses pop onto my face. Hello, everyone. So Alex has been with us for the last two days working on a really cool branding project. We're going to jump into that in just a moment, but this is the last day of Adobe Live. This week. We started the day with some awesome XD with Mel and Mel in the Morning. And then we just had Val up with the Photoshop daily creative challenge, challenging you to make a Twitter banner using text effects. So if you want to learn more about that and participate, you can watch the replay and go to our discord and hang out there. And right now we're doing graphic design. So very cool. Jordan says your hair is asymmetrical it is.
Alex Lazaris:
So I talked about on the Monday or Tuesday that I have a hair guy. He did a touch up this morning before he came here.
Kathleen Illustrated:
Oh, really?
Alex Lazaris:
Yeah, he's amazing. He's like, I have to do a touch up before you go back because he was like the razors and all that would fade in two days.
Kathleen Illustrated:
Love it.
Alex Lazaris:
That's so great.
Kathleen Illustrated:
So is he like your San Francisco.
Alex Lazaris:
Guy and then guy, but like, no, there's not a Portland guy yet. And that hurts. It's really sad when you have the barber that hooks it up.
Kathleen Illustrated:
Yeah. Especially when you have really short hair so it grows really fast.
Alex Lazaris:
Yeah, exactly.
Kathleen Illustrated:
I'm going to San Francisco again.
Alex Lazaris:
Very expensive haircuts now. Every flight for every haircut.
Kathleen Illustrated:
Oh, my gosh. Rod says, I really need help with branding. Seriously. Cool. Rod, where you are in the right place. Daniel says we live.
Alex Lazaris:
Yay.
Kathleen Illustrated:
Yes, we are. And we're from streaming from San Francisco right now, like you said. So let us know where you're watching from. Anna says Portland. What's up, Anna? Davis court.
Alex Lazaris:
Anna, it's Portland. Design week starting, I think, tomorrow.
Kathleen Illustrated:
Oh, really?
Alex Lazaris:
So if you're in Portland area or close to it, design Week, open houses with a bunch of agencies. Lots of really good talks and things like that. So lots of things going on next week.
Kathleen Illustrated:
That's amazing. Good to know. Let us know if you're watching from Portland. Shauna says your hair is very on brand with your life. With your life.
Alex Lazaris:
Yeah, that's fair. I'll take that.
Kathleen Illustrated:
Got the racing stripes. Yes. Daniel says, finally able to catch a live stream. Super cool. We got people from Italy, Texas, independence, Colorado Springs. Very, very cool. Hello from Ohio. Oh, katie humble. I'm also from Ohio. Awesome.
Alex Lazaris:
Geranus from Dallas.
Kathleen Illustrated:
Cool. Houston. Uruguay. Very cool. Chat. We're going to be doing a chat and win in about 30 minutes. We're going to be giving away a nice hardcover moo notebook as usual this week. Very cool. Stick around for that. And then in an hour and a half at 130, we're going to be doing portfolio reviews. So if you have a graphic design portfolio branding portfolio, submit that to us over here in the portfolio review tab. And we're going to pick two. And Alex is going to give some good critique.
Alex Lazaris:
I'm excited, especially because Val was talking about doing some Behance stuff earlier. I think today I'm going to show people how to kind of start taking the work that we did this last couple of days and then uploading it to Behance and trying to show how case studies are built. So work alongside.
Kathleen Illustrated:
And Alex is the one that you want teaching that because he spends hours and hours and hours getting his case studies designed themselves. Like you also have to design them. So you're going to get the star treatment. It's going to be awesome. Where do we submit over here in the portfolio review tab over there. Oh, it needs to be updated, but keep an eye out for that. So this is Alex's Behance. If you want to follow him, go to Behance. Net slash Alex Lazaris. You can check out his beautiful projects. And you were saying that you've been getting a lot of follows.
Alex Lazaris:
Yeah, it's been awesome. Thank you guys for coming over and following. And it's really fun seeing whenever you follow other people and see what they're appreciating and what they're liking, and then sometimes you can see a big burst of activity where they're really liking and commenting on certain people's work. And you're like, I know what kind of project you're working on now because you kind of done like your little Sherlock Holmes. And they're probably doing a packaging thing because they pulling lots of inspiration for that. So it's really fun.
Kathleen Illustrated:
That's very cool. So everyone go check out Alex's Behance and then maybe you can talk a little bit about your project as a whole, what we've done so far and what we're going to do today.
Alex Lazaris:
Totally. So we decided to build a tequila brand. Yeah, it's looking really good now. We ended the stream yesterday, kind of messing with some initial colors and stuff like that, but they fell off my color white balance wasn't correct, so it was very weird. So I went to the actual original brand, Casamigos, which is the bottle that I took and took the labels off of and then pulled their actual colors from their website so that I could actually see a better comparison. We started seeing kind of we were exploring what the color palette could be on the actual decals, and then upon pulling the actual colors in, I figured stay with all black instead of doing a color stickers and stuff.
Kathleen Illustrated:
Yeah.
Alex Lazaris:
But we're doing a tequila packaging project so that we can get more tequila or more just beverage packaging work into my own design studio. So just working through the branding work, we kind of started off with a typeface go away. We started off with a typeface called TT trailers, which in its just generic all caps form looks like that. Then we started messing with letter forms and weights and variations and kind of playing with how the line heights, the X axis look and all the ligatures and all that good stuff. And then the other day while I was thinking about it, I realized that we could have, instead of just grabbing the direct selection tool and messing with the actual anchor points themselves and pulling them up, we could also do the Puppet Warp Tool. Alex I know. It would have saved so much time.
Kathleen Illustrated:
This is such a cool tool, too, that we're always trying to talk about because not a lot of people know how it works or that it even exists.
Alex Lazaris:
Yeah, the Puppet Warp tool is amazing, especially if you're doing illustration work. So I have a couple of clients that do a lot of vector illustration work, and so instead of having to always rebuild an arm or a leg or something like that, the puppet selection tool is so great because you can kind of point on a hinge of somebody's arm and then move their leg without having to pin tool a new thing all the time.
Kathleen Illustrated:
So cool.
Alex Lazaris:
We could have just done this. That's so much easier and nicer. And your anchor points stay and you can do some really cool, funky things. You can see how the hinging is.
Kathleen Illustrated:
Like, working too much tequila. Mr n no.
Alex Lazaris:
That's such a fun way to start modifying letters and stuff. So if we wanted to I think it's E command. No, it's not. I had it for a second and.
Kathleen Illustrated:
Of course it's gone now. Maybe you did.
Alex Lazaris:
I do something.
Kathleen Illustrated:
Sometimes it'll disappear since it might be hidden under another tool now, but I'm not sure which tool it's hidden under.
Alex Lazaris:
Nice.
Kathleen Illustrated:
There.
Alex Lazaris:
It doesn't have one retransform tool, which I pressed E and then it went there.
Kathleen Illustrated:
Interesting.
Alex Lazaris:
So now we know. So you have to select the item that you want first, and then you can click it, and then it will just automatically do it. And you can just delete your own anchor points if you want. You click it and press delete and then it'll make it rigid again.
Kathleen Illustrated:
Yes. And the portfolio review tab is now live, so you can go check that out now. Thanks for your patience, everybody.
Alex Lazaris:
So now that I know that I could do this way easier, it makes spinning up other additional collateral. So if we had, like, a marketing campaign that we wanted to say, like, drink more tequila, now I can just bounce type around, and I can just pull it really quickly with the Puppet tool, instead of having to rebuild shapes or adjust every single micro detail.
Kathleen Illustrated:
Yeah. For this kind of design, it's perfect because it's supposed to be playful.
Alex Lazaris:
Exactly.
Kathleen Illustrated:
It doesn't have to be perfect because some people are saying, like, the Puppet Warp tool is a gift and a curse. It can be really hard sometimes. Yeah. Especially if you get tons and tons of points in there and your mesh just gets, like, out of control and unruly.
Alex Lazaris:
Yeah, exactly. No, absolutely. I'm wondering if Shauna's used this before, because I know Shana does a lot of really great type and a lot of character illustration, I think.
Kathleen Illustrated:
Yeah, that'd be tell us, Shauna. Yeah. Yes. And Anna, too. Anna's. Also an awesome illustrator. Similar styles.
Alex Lazaris:
That's awesome. So, yeah, we started working around we got blanco, then started using that kind of square shape of blanco to be kind of the label constraints for the rest of the work. So then making sure that everything else would always fit into a square, however possible, and just keeping that as a bounding box.
Kathleen Illustrated:
Whoa. It's perfect.
Alex Lazaris:
You mess with the type again. So, just bringing in 100% blue Agave, I was starting to mess with how I could lock it up. Potentially thinking about moving it up in the corner, saying like, okay. But then I felt like it started competing with the actual words itself. That wasn't really interesting. It was just kind of too much.
Kathleen Illustrated:
And in Yeho, the shape of that is such a great silhouette.
Alex Lazaris:
Yeah.
Kathleen Illustrated:
So why bother it?
Alex Lazaris:
Exactly. So then I just thought, let's lock it up at the very, very bottom of the bottle.
Kathleen Illustrated:
Lock it up.
Alex Lazaris:
It's still really bold. So it's readable, it explains it really clear. Like, this is a blue Agave. 100%.
Kathleen Illustrated:
Yes.
Alex Lazaris:
Less hangovers. Very important.
Kathleen Illustrated:
The good stuff.
Alex Lazaris:
Exactly.
Kathleen Illustrated:
What's up, Keita? Good to see you. Mikhail.
Alex Lazaris:
Mikhail likes illustrator. Illustrator is the best. I use it all the time.
Kathleen Illustrated:
Is it your favorite tool?
Alex Lazaris:
It is my favorite tool. I worked at a company where all we did was we built all our websites in Illustrator as well, which is really fun because you can do symbols, so you can create NAV bars that are always the same. Building out grids, baseline grids, all that stuff is super simple in Illustrator. And then building Vector Assets is super nice so that whenever you're done creating your shapes and paths and icons and everything, you can pull it over to After Effects or InDesign and not have to worry about conversion. So that's the biggest problem with a lot of other not Adobe products, but other company products, is bringing them back or trying to take them away from their digital space. It breaks all the yeah. So Illustrator is pretty good.
Kathleen Illustrated:
Samantha says, Illustrator is so scary to me. So much power.
Alex Lazaris:
There is a lot of power, but.
Kathleen Illustrated:
You can handle it.
Alex Lazaris:
With great power comes great results.
Kathleen Illustrated:
Yes, that's very true. Pixels are free.
Alex Lazaris:
Pixels are free.
Kathleen Illustrated:
And vectors are also free.
Alex Lazaris:
Yeah.
Kathleen Illustrated:
There you go.
Alex Lazaris:
So I'm going to start just dropping in stuff into what a Behance project could look like. And if Chat wants to pick what we could mock up, currently, we don't have any. Create a project right there. Top bar. Big Blue.
Kathleen Illustrated:
Big old blue.
Alex Lazaris:
So I can just drop in anything. But if anybody wants a certain thing that could be locked up, so, like beach bags, tote bags, business cards, things like that, we can really riff with that.
Kathleen Illustrated:
Yeah. People are saying free. Billboard says Shauna billboard. Go big or go home. Let us know.
Alex Lazaris:
Bottles. JPEG.
Kathleen Illustrated:
So JPEG. Is there a reason that you use JPEGs?
Alex Lazaris:
Is there a reason why I use JPEGs? We used to hack it back in the day and use PNGs on gigantic long form background images. I typically will do a JPEG unless I really need a PNG on Behance. I don't want people to be able to grab my stuff and then throw it on top of other things, which I mean, if somebody's going to steal your work, they're going to steal your work anyways. Can't really worry about that.
Kathleen Illustrated:
But make it as difficult as possible.
Alex Lazaris:
Yeah, exactly.
Kathleen Illustrated:
But so if you don't know, PNGs will usually have a transparent background unless you put a background in, and JPEGs will have that beautiful white box exactly around them. Someone says bottle openers.
Alex Lazaris:
Bottle openers would be a good one. Except for you don't use one. They don't use one for tequila.
Kathleen Illustrated:
What about, like, a zester?
Alex Lazaris:
OOH a zester.
Kathleen Illustrated:
Handle of a zester. Or just like a bar set.
Alex Lazaris:
Exactly.
Kathleen Illustrated:
Talk to Adobe.com. Perfect.
Alex Lazaris:
I was looking up some beautiful images earlier, like a tote bag to me, seems like a really good, easy start. And there's so many great little assets already on Adobe stock. And you can always have your own tote bags and Photoshop them as well. I think this one might work.
Kathleen Illustrated:
Yeah, really simple.
Alex Lazaris:
Really simple. And then I can color correct the background as well and change that. Let's see. This one's kind of fun. But when I look at images, I try to always think about the story that it's telling. And I don't know if this lady's outfit is really telling me the story that I want.
Kathleen Illustrated:
Yes. So will you remind us what kind of your brand message and your demographic is?
Alex Lazaris:
Yeah. So that's I think changing now you won't tell OOH a longboard we can make a long board.
Kathleen Illustrated:
Oh, speaking your language.
Alex Lazaris:
Oh, man. Bonus points. Good job, Albert.
Kathleen Illustrated:
Yeah. Nice job, Albert.
Alex Lazaris:
And Shauna asked, do bars ever do tequila on tap? And they do. Some of them do. I didn't know that. There was a couple spots in Dallas that had it always, like, Patrone on tap, and then it had like a frosting device. So there was always that cool. Served chilled and things like that.
Kathleen Illustrated:
You know, I have had tequila out of a tap before, actually a little kegurator.
Alex Lazaris:
So I like that. The tap idea sounds really cool, actually.
Kathleen Illustrated:
Or like a handle.
Alex Lazaris:
Yeah, exactly. Because then you can get really funky with the type and the colors. That's a really good idea. Sounds like also just a good time.
Kathleen Illustrated:
Sure does.
Alex Lazaris:
So the demographic for this was to kind of differentiate in the marketplace. Ideally somebody who's like late 20s, early 40s, somebody who's had a bad time, potentially in the past and wanted to explore tequila for the first time. So they're potentially like a wine drinker or whiskey drinker. Somebody who has their taste buds or their taste preferences already kind of like dialed. And they're not looking for a shooter or a shot tequila. They're looking for more of, like a sipping or a good mixing tequila, something that you can pick up on the cinnamon and spice notes and stuff like that.
Kathleen Illustrated:
You don't need a sore Boeing tequila. It's for Sore Boeing. Exactly. Sore brewing sorrowing. Oh, the dog for dog.
Alex Lazaris:
Boom.
Kathleen Illustrated:
Tequila dog. Tequila Dog.
Alex Lazaris:
If only there was a tequila mocking word.
Kathleen Illustrated:
We could somebody make it for us? Quick, quick. Someone says a flat cap, like a cool baseball hat would be OOH, yeah. Keita said I'd wear a tequila hat.
Alex Lazaris:
Make it.
Kathleen Illustrated:
Oh, no.
Alex Lazaris:
I was thinking about doing a podcast that was going to be called Designated Designers. And we just critique alcohol packaging and drink it on stream or like video and stuff.
Kathleen Illustrated:
Yes.
Alex Lazaris:
That's a lot of work. Somebody else do it for me, and I will happily guest show you.
Kathleen Illustrated:
Call yourself an entrepreneur.
Alex Lazaris:
A lot of work. You have to get a mic. But I think it would be a really good video format. It's less of a good podcast because you can't really show that's true album cover and stuff like that.
Kathleen Illustrated:
Oh, yeah, that's hard with design stuff.
Alex Lazaris:
You're like, look at all the filigree and the ornateness, and they're, like, can't see it. I don't know.
Kathleen Illustrated:
Interesting.
Alex Lazaris:
So I like the idea of taking this let's see here hue and saturation up in here.
Kathleen Illustrated:
And you just licensed just yeah, just got it.
Alex Lazaris:
It didn't sync to my library for some reason, but I downloaded it from Adobe just really quickly, and now I can just mess with so now I've got kind of some initial Oops, just direct selection tool. I'm going to actually select similar.
Kathleen Illustrated:
Oh, I love this.
Alex Lazaris:
That's going to work. Okay, continue and find more similar, please.
Kathleen Illustrated:
Have you ever done Select Subject?
Alex Lazaris:
No. Oh, my goodness.
Kathleen Illustrated:
Try that.
Alex Lazaris:
A new feature to photoshop.
Kathleen Illustrated:
And then if you go into. Well, that's pretty good.
Alex Lazaris:
That's actually really pretty close.
Kathleen Illustrated:
Yeah. You might not want the shadows, but people are saying that that would be an amazing podcast.
Alex Lazaris:
It would. Somebody should do it and make lots of money.
Kathleen Illustrated:
Alex, come on. Anna says, I would watch for sure.
Alex Lazaris:
Beth it would be fun. And then you can get sponsored streams where it's with. Exactly.
Kathleen Illustrated:
Mm hmm. And you don't have to only do alcoholic drinks. You could do any bev.
Alex Lazaris:
Yeah.
Kathleen Illustrated:
Any beverage or just any exactly. And that's a tangible good usually, so you could actually have it. Oh, man. Jason says select subject.
Alex Lazaris:
Yeah, we got subject.
Kathleen Illustrated:
Pretty good.
Alex Lazaris:
All right, so it's pretty close. I can always go back later and put it on my wacom and start drawing it out and really, like, getting finessing.
Kathleen Illustrated:
All of the mockup finessing. It's a great description. It makes designing sound like a sport.
Alex Lazaris:
It is definitely a sport.
Kathleen Illustrated:
Finesse.
Alex Lazaris:
It's everything that an athlete goes through in their career.
Kathleen Illustrated:
Everything.
Alex Lazaris:
There's highs and lows. There's peaks and valleys with every project you do, and you can even see it on Monday or Tuesday's stream, where I was, like, trying to find the right typeface. You're like you're training, you're doing research, you're strategizing, and then there's, like, the moment of delight when it starts to click, and it's super fun.
Kathleen Illustrated:
You get in your flow as well.
Alex Lazaris:
Yeah, exactly.
Kathleen Illustrated:
Yeah. Oh, wait, Shauna wants to know, what do you call that tablet you draw on?
Alex Lazaris:
Oh, gosh. Savage.
Kathleen Illustrated:
No, she said you said it correctly. I wanted to hear you say it again.
Alex Lazaris:
I said wacom.
Kathleen Illustrated:
It's wacom, isn't it?
Alex Lazaris:
Wacom.
Kathleen Illustrated:
I asked the wacom people at Adobe Max, and they said Wacom.
Alex Lazaris:
Wacom. What did I say?
Kathleen Illustrated:
I don't remember.
Alex Lazaris:
Wacom. Wacom. Now I'm overthinking it. It's like caramel and caramel. Oh, yeah, definitely caramel, by the way.
Kathleen Illustrated:
Yeah, I agree. I think they're two different things. I think of caramel. Caramel is like liquid, like what you get drizled on top of an apple. And caramel, to me, is like the chewy toffee. Or maybe it's the other way around.
Alex Lazaris:
Interesting.
Kathleen Illustrated:
I just made that up. Like, it's not real, but that's what I think of.
Alex Lazaris:
Yeah, that's awesome.
Kathleen Illustrated:
You know, Katie said, I love the blue. The blue was a good one.
Alex Lazaris:
Waka, waka, waka, waka, waka.
Kathleen Illustrated:
But you're showing how you can change the color.
Alex Lazaris:
Yeah. So now you've got it. Yeah. And this will change, and we can mess with it because it's an active layer, and I can just do it whenever I want, which is super nice. I mean, having this such a nice, seamless color. You got to be careful with some of the saturation points. Sometimes they can pull in a little bit too much grit.
Kathleen Illustrated:
Yes.
Alex Lazaris:
I think we're on the edge currently. You can just kind of, like, lower the darkness a little bit. The saturation down a little bit and go super purple. But I kind of like the vibrancy right now.
Kathleen Illustrated:
Yeah, it's good.
Alex Lazaris:
So I'm going to grab like, the blanco or maybe I want Sorbo, I don't know.
Kathleen Illustrated:
Yeah, Gary, it is a Japanese company, and the WA is like watashi. Like WA. Talking about yourself.
Alex Lazaris:
Oh, Wacom. Interesting. Thank you for that insight.
Kathleen Illustrated:
No, I know so much, but you can say it however you want.
Alex Lazaris:
Did you know they're based in Portland?
Kathleen Illustrated:
Are they? Cool. Wow, thanks, huxle. You know, I thought you might like this sweater because it looks like your, like, pastel colors. It matches your brand. Hannah says the purple is fun since the brand is playful.
Alex Lazaris:
Yeah, that's what I was starting to think about because we've got some really just fun type now. And now coming back to looking at Sorbo and how I was locking it up earlier, I don't feel as bad about it anymore. I was originally really frustrated with, like, oh, it doesn't seem to work. This is like, outside of my comfort zone. Very much so. Like, trying something new. You guys struggle through this, which is super fun. Like getting to learn stuff and getting it to the realm of acceptability and being like, I really like this, or it's good enough, or whatever. Totally great.
Kathleen Illustrated:
These are awesome. The ones that are right above our heads has that feeling of, like, alcohol. Kind of like your perceptions are getting shifted.
Alex Lazaris:
Exactly.
Kathleen Illustrated:
Blurry.
Alex Lazaris:
Throw in some gaussian. Blur real quick. Gaussian or gaussian.
Kathleen Illustrated:
That's a good question that I don't know the answer to. Chat.
Alex Lazaris:
Tell us how you say it. Yeah, everybody's going to be like they're.
Kathleen Illustrated:
Just typing out with, like, capitals.
Alex Lazaris:
Exactly.
Kathleen Illustrated:
I say gaussian, but I'm sure it's gaussian. Who knows?
Alex Lazaris:
Yeah. The Public Theater influence is very big right there.
Kathleen Illustrated:
It's like you got it.
Alex Lazaris:
Same, almost. Let's just see. So somebody asked originally, why the purple? And I was thinking, well, one, because we haven't really started working with the color yet. I just wanted to have a little bit more vibrancy. I was thinking I really want to do a pink, which would be really cool. And if anybody hasn't been familiar with the term millennial pink are you familiar with that?
Kathleen Illustrated:
Color of my blood, man.
Alex Lazaris:
Like kind of that let's see if I can finesse it with the hue saturation.
Kathleen Illustrated:
Oh, Tim is German, and he says gauss is a German word and Gauss rhymes with house. So it's gaussian. Is that right, Tim?
Alex Lazaris:
Wow, that was a really good way of putting that.
Kathleen Illustrated:
Teach us your way, Simpai.
Alex Lazaris:
Yeah, it's incredible. I had a pink that I got yesterday.
Kathleen Illustrated:
Yes.
Alex Lazaris:
Somewhere. So they're starting to mess with how color and type and really playing up the playfulness of it.
Kathleen Illustrated:
Yeah.
Alex Lazaris:
We can do a bunch of different colors if people have preferences. We could do, like, a light blue.
Kathleen Illustrated:
Do you ever use the edit colors tool?
Alex Lazaris:
Okay, so I've seen this before on Adobe live. I think justin Mazelle was doing it. Probably somebody was like, oh, try the edit colors. So and I always forget to do it.
Kathleen Illustrated:
Let's try it.
Alex Lazaris:
Let's do it. Where do I go?
Kathleen Illustrated:
Right there.
Alex Lazaris:
Oh, the color wheel.
Kathleen Illustrated:
Yeah. Recolor artwork is what I meant. And then if you go over to the edit tab there, and if you move your menu over yeah.
Alex Lazaris:
So you can also lock it. Right. I've done this once before.
Kathleen Illustrated:
I think it's that guy. That little lock icon.
Alex Lazaris:
Nice. So this will move your full color palette, which is so cool. These are all, like they all don't feel bad.
Kathleen Illustrated:
No, they look pretty good.
Alex Lazaris:
Like, oh, this would work.
Kathleen Illustrated:
This would work.
Alex Lazaris:
Man, this is just so fun. You could spend literal years doing this.
Kathleen Illustrated:
I have. You wouldn't believe how old I am. Just a hologram.
Alex Lazaris:
Amazing.
Kathleen Illustrated:
That's cool Barney. Cool Barney. Millennial Barney.
Alex Lazaris:
I need, like, a teletubbies thing. And then so you could also do color groups, right? I'm, like, going to ask you all the questions you can in multiple different like, I could set it to be to be oh, my goodness. Where it's, like, spread by three, or it's like triadic.
Kathleen Illustrated:
I would recommend just, like, clicking on some of these buttons and seeing what they yeah.
Alex Lazaris:
This is so yeah. And this is the colors, right?
Kathleen Illustrated:
Uh huh.
Alex Lazaris:
That's harsh. I don't know why it's, like, even the saturated, like, it's looking pixelated in there. What's going on?
Kathleen Illustrated:
Interesting. That's cool. Oh, Victoria, that's nice of you to say. The photoshop. Guru kathleen yeah. Are you saying I'm not good at Illustrator?
Alex Lazaris:
Just click on the button, dude.
Kathleen Illustrated:
I work know Yuri likes the mint green versions. Those are cool.
Alex Lazaris:
The mint green was nice. Why is it getting pixelated? It looks like it's like a JPEG right now.
Kathleen Illustrated:
Yeah. I wonder if it's just because it's in, like, a live preview mode. Yeah. Who even knows? Illustrator team, are you listening?
Alex Lazaris:
How does it work? I'm going to unlock it now, see what happens.
Kathleen Illustrated:
Yeah. So if you do have more than two colors, which you only have two, then you could correct change the way they work together.
Alex Lazaris:
Does my screen look pixelated right now?
Kathleen Illustrated:
It does. There I don't see it so much here. Interesting.
Alex Lazaris:
Maybe it's just the weird. Maybe it's the color combination. There is a lot of doing the Vibrate. That's probably right. So, guys, if your colors are too what is it? Saturation. If they're too saturated together yeah. If they're too close in the saturation, they will get a little bit vibrating against each other.
Kathleen Illustrated:
It's like if their values are the same or if they're opposites on the color wheel and they're very saturated, it can be very but it might be good for an it's like, I don't.
Alex Lazaris:
Want you to read the brand anyways.
Kathleen Illustrated:
No. I want you to feel drunk.
Alex Lazaris:
Nice. We have to go back to the night rain. It's gonna happen. Everybody's wanting it.
Kathleen Illustrated:
Victoria's wondering, are you working on a big canvas, or is this outside of your artboard?
Alex Lazaris:
Great question. So if you press CTRL Shift H, you can see I only have one artboard, actually, and you're not using I'm not using it at all. And I started the stream on Monday. I was like, always use 1400 pixels.
Kathleen Illustrated:
So you can always put it on behance when you're ready.
Alex Lazaris:
Yeah, whenever you're ready. But yeah. So if you just do control Shift H, it will hide the artboard, and depending on what your settings are, it will let your screen just be a playground. Yeah, there you go. Be a playground.
Kathleen Illustrated:
It's called the playground. Adobe Playground.
Alex Lazaris:
Exactly.
Kathleen Illustrated:
Didn't know.
Alex Lazaris:
Need a rebrand?
Kathleen Illustrated:
Yes. Keita says alex, question, if you could only use one Adobe product for the rest of your life, which one would you pick? Adobe Playground.
Alex Lazaris:
Adobe Playground. For sure. For sure. The shortcut, Daniel, to make everything white. Is the control shift h?
Kathleen Illustrated:
Yes. Erica Cotton. Hello, friend.
Alex Lazaris:
Hey, Erica.
Kathleen Illustrated:
How you doing? Are you still at Mocha? How's it going? Erica was with us last week.
Alex Lazaris:
Yeah, she had a lot of fun.
Kathleen Illustrated:
I'm glad. I'm really glad to hear that.
Alex Lazaris:
I'm speaking for her. Yeah, she had a lot of fun.
Kathleen Illustrated:
No, Erica is a lot of fun. What's up, Nicos? Good to see you.
Alex Lazaris:
My brother's name is Nico.
Kathleen Illustrated:
Is it the same? Is it his alternate? Not. Okay, Nico with an S. Where's the S?
Alex Lazaris:
Nico. Nico.
Kathleen Illustrated:
Brianne says, I accidentally hit CTRL Shift H once, and I couldn't get out of it forever.
Alex Lazaris:
My least favorite was if I accidentally so whenever you press Command O, you can see the artboards, or you can go into Artboard Editor. I'll just show you control Shift h. So then command O. Wrong button. Command shift o. Wait, no. Shift O. There you go.
Kathleen Illustrated:
Shift O. Change O.
Alex Lazaris:
Shift O. Now you can drag and select multiple artboards and do all that good stuff, but sometimes I mess up my fingers and I press Shift P, and then that pulls up the perspective grid.
Kathleen Illustrated:
Oh, yes.
Alex Lazaris:
And I always forget how to close that. So then I have to go to Window and close and all that stuff.
Kathleen Illustrated:
But yeah, forever. I would be trying to do Command Zero to do my full screen, and it would be Command P, the worst. All right, Chats, time for Chat and win. Fireworks are happening, so we're going to be giving away this beautiful Moon Notebook hardcover, lay flat technology. What? This one's been previewed a lot, so it's not laying so flat anymore, but you know how it goes. It's also magical and see through. So we're going to be giving one of these away, picking someone from the chat at random who answers Alex's question. What's your question?
Alex Lazaris:
My question is, if you were to have a superpower, what would it be?
Kathleen Illustrated:
OOH. Let us know. We'll be back in a. Momentum. All right, everyone, welcome back. Let us know what your superpowers would be. We just asked Paco what his would be, and he said he would be just a green screen, which he is. He's right here, right now.
Alex Lazaris:
You guys don't see him?
Kathleen Illustrated:
Whoa. Someone said brain reading. Leo says color picker anywhere, anytime.
Alex Lazaris:
Oh, that's cool. That'd be a nice thought.
Kathleen Illustrated:
Magic healing. Oh, that's nice of you, Anna. Very selfless transcendence. What does that mean? What are you transcending?
Alex Lazaris:
Just everything. It's very, like, eye opening.
Kathleen Illustrated:
Linux says I would eat everything and never gain any weight.
Alex Lazaris:
Nice. But would you stop being hungry, or you would always have to eat also.
Kathleen Illustrated:
Oh, what if you could do that, but you always felt hungry? We have a winner. Leo Gonzalez.
Alex Lazaris:
Congrats, Leo.
Kathleen Illustrated:
Congrats, Leo. We will be sending a beautiful notebook to you. Keep an eye on your behance messages, because that's how we're going to get this sent over to you. And if you did not win, this is our superpower. Today, we're going to give you 15% off@moo.com. If you go to Moo.com Adobe Live, check out their awesome marketing collateral. They have business cards, stickers tote bags, which we're kind of mocking up right now. You can make it in real life. Really amazing. Keep telling us your powers.
Alex Lazaris:
I love that Victoria's was to satisfy a client, which you'll get better at, and that superpower will be yours soon. And then Jason's was like it's like, almost like being a Pokemon. You could be Snorlax, and you just yes. As a power.
Kathleen Illustrated:
Be cool, my superpower. I'd want to be, like, never tired ever. That'd be great.
Alex Lazaris:
That'd be amazing. You know how much more you could get done in your life if you just never had to sleep?
Kathleen Illustrated:
Although I love sleeping. One of my faves.
Alex Lazaris:
Well, I feel like as a superhero, you need to have a downside anyway. So then your downside would become the fact that you love to sleep.
Kathleen Illustrated:
Yes.
Alex Lazaris:
But you can never sleep anymore, and.
Kathleen Illustrated:
Then you're an antihero because that would.
Alex Lazaris:
Make you take it out on everybody.
Kathleen Illustrated:
Yes. Okay, so what would yours be?
Alex Lazaris:
I always liked the idea of, like, comic book. I loved Gambit, but I always loved the idea of doing the iceman, kind of from The Incredibles. Or, like, doing your own little ice, and you could go ski skate, surf, or whatever. That would be really cool, too.
Kathleen Illustrated:
Would it be ice?
Alex Lazaris:
It would be probably ice. And then I'd be able to do some sweet little moves on there and get around downtown really fast, jump over buildings.
Kathleen Illustrated:
You just look really cool when you do it.
Alex Lazaris:
Yeah, it'd be awesome. It'd be so cool.
Kathleen Illustrated:
And you would also just throw cards randomly, but it wouldn't be really hard at all.
Alex Lazaris:
Did you ever do the card tossing where you could flick them across the room and stuff? Yeah, that's what I would do. It just wouldn't do anything. It wouldn't be explosive or anything. The thing that everybody else could do, too, it'd just be unremarkable.
Kathleen Illustrated:
But you would practice all the time, so you'd be pretty good at it. But it wouldn't explode. Yeah. Nace frozone, for sure.
Alex Lazaris:
Oh, yeah, frozone. I was going to say iceman, but.
Kathleen Illustrated:
That'S a is that X Men?
Alex Lazaris:
Batman.
Kathleen Illustrated:
Right?
Alex Lazaris:
Oh, with and then the old one was with what was his? Arnold Schwarzenegger. Right?
Kathleen Illustrated:
I'm just thinking of the cartoon. The ice guy.
Alex Lazaris:
Yeah. See, Shauna could also have the ice powers, and she could go ice skating everywhere.
Kathleen Illustrated:
Yeah.
Alex Lazaris:
You're perfect.
Kathleen Illustrated:
Victoria says. What about Elsa? Yeah, he just wants to be Elsa.
Alex Lazaris:
That's a good motto for everybody. Whenever you get bad feedback from somebody, just let it go.
Kathleen Illustrated:
Oh, yeah, totally. Linux says, I love Gambit. Remy LeBeau Gambit's.
Alex Lazaris:
Pretty great. All right, I'm going back darker now, see what's going on.
Kathleen Illustrated:
Victoria says, Frozen Two is coming. Are you all ready? I don't know.
Alex Lazaris:
I don't even see frozen one. I know.
Kathleen Illustrated:
That's okay.
Alex Lazaris:
I'm singing classic songs without even seeing the movie. Who knew that's?
Kathleen Illustrated:
All right. Are you a Kingdom Hearts fan?
Alex Lazaris:
I'm not. It first came out on GameCube, right?
Kathleen Illustrated:
It's PS two.
Alex Lazaris:
I don't know why.
Kathleen Illustrated:
Clearly. No. Oh, Mr. Freeze.
Alex Lazaris:
Yes, Mr. Freeze. There you go. Not Ice Man.
Kathleen Illustrated:
Yeah, I was just going to say they had Frozen in the new Kingdom Hearts game, and I haven't played it yet, but I don't really, like.
Alex Lazaris:
Not no judgment here.
Kathleen Illustrated:
Yeah, but judgment from Victoria because she's clearly very excited. Brianne said, I'd like to be electra. OOH, cool.
Alex Lazaris:
Would that be cool? It's a good cardio, too.
Kathleen Illustrated:
Yeah, sure. OOH. Victoria says kingdom Hearts. Three. I played Kingdom Hearts one and two, and now I don't have a PlayStation anymore. Darn it victoria. I'll play it in your honor. I'm working on the DS game right now, though.
Alex Lazaris:
I've heard people are pretty mad about Kingdom Hearts.
Kathleen Illustrated:
I haven't heard anything, and I'm scared to hear that.
Alex Lazaris:
You're welcome.
Kathleen Illustrated:
Thanks, Alex. You're, like, not a fan at all, and you're like, by the way, your favorite fandom is down the tube.
Alex Lazaris:
Yeah. Let me just ruin everything for you, actually.
Kathleen Illustrated:
Oh, boy. That's all right. I'll take it. I'll take it. Keita said, I would like to be the Flash.
Alex Lazaris:
OOH, the Flash would be a good one.
Kathleen Illustrated:
Although then you go too fast and you travel through time, and then you never get to see your loved ones again.
Alex Lazaris:
Did you see Umbrella Academy? Thoughts?
Kathleen Illustrated:
It was pretty cheesy. It felt like what's the network that the Flash is on?
Alex Lazaris:
CW.
Kathleen Illustrated:
CW. It felt like kind of like a CW show. But I love Gerard Way, and I love the Umbrella Academy, like, as a graphic novel series. So I took it as it was. How do you feel about it?
Alex Lazaris:
I think I could have watched the first episode and then watched the last episode and been better off.
Kathleen Illustrated:
Yeah.
Alex Lazaris:
Matt Stevens something. Anyways, never mind. I'm going to MisCredit. He did the logo for Nice, and I like the way that they did, like, the intro stingers with the type and all that umbrellas.
Kathleen Illustrated:
I agree.
Alex Lazaris:
That was clever. But the story, I felt like it was kind of lacking.
Kathleen Illustrated:
Yeah.
Alex Lazaris:
Sorry, Netflix.
Kathleen Illustrated:
What can you do? Joshua loved it. Good, Joshua. I'm glad.
Alex Lazaris:
I think I also just don't like watching people bicker for a whole season.
Kathleen Illustrated:
The will they, won't they? Yeah, it's like and they acted in very ridiculous ways. It was like, a lot very childish.
Alex Lazaris:
Which I guess makes sense because they were talking about not really being able to grow up.
Kathleen Illustrated:
Yes, that's very true.
Alex Lazaris:
Which is fine.
Kathleen Illustrated:
Very true. Yeah. What are you doing?
Alex Lazaris:
I don't know what I'm doing anymore. Just clicking around, making stuff.
Kathleen Illustrated:
Cool.
Alex Lazaris:
So I wanted to see how the texture started getting a little bit weird. Whenever you start getting the hues yeah.
Kathleen Illustrated:
It starts to get a little crunchy.
Alex Lazaris:
It gets crunchy. And I don't like crunchy.
Kathleen Illustrated:
Smooth peanut butter.
Alex Lazaris:
But I'm trying to see I like the purple type on it, but I also think it might look really well, really nice with just duplicate with the alt right click and then go in here. Maybe I can throw in, like, a yellow, make it, like, really bright, but then that needs to be actually brought down a bit.
Kathleen Illustrated:
Nice. Mohammed said, any anime fans in here? I thought you were going to raise your hand too, but you're like, nope.
Alex Lazaris:
Just feel like I've missed out on so much. I can't call myself an anime fan. I've seen a bit, but I like some.
Kathleen Illustrated:
I like some. I like some too. Like, you don't have to like it all.
Alex Lazaris:
That's true. I mean, it's a huge genre.
Kathleen Illustrated:
Yeah. Mohammed, let us know your favorite anime, please.
Alex Lazaris:
So what I'm doing is I just duplicated that layer, and now I'm going to mask it.
Kathleen Illustrated:
OOH.
Alex Lazaris:
Completely mask it out. And then I'm going to essentially just take a this is much easier if you have a drawing tablet, but I'm going to just draw back what I want to kind of have these textures. So I'm going to just use that and I'm going to do overlay or like darken. Actually, you can preview it now.
Kathleen Illustrated:
Yeah, but they're not changing.
Alex Lazaris:
But they're not changing.
Kathleen Illustrated:
Oh, it's because you're on the wrong layer.
Alex Lazaris:
Am I? No, I'm not.
Kathleen Illustrated:
No, you're not.
Alex Lazaris:
Oh, I just didn't he didn't do anything. He didn't do anything. I drew black on black, so that's not going to help you.
Kathleen Illustrated:
No, not how masks work.
Alex Lazaris:
So now I'm just taking it so I can shade it and make my own little what is going on, though? What?
Kathleen Illustrated:
That's weird.
Alex Lazaris:
Why is it not? Oh, it's because it's on darkened right now, that's why. Okay, there we go. Oh, it's because I drew on the actual layer. Pro tip, don't draw on the actual layer. Yeah, I'm just going to repeat all those steps again.
Kathleen Illustrated:
That's good. It's for teaching purposes.
Alex Lazaris:
Yeah, exactly. Practice makes permanent. All right. Go back to the bottom. Well, because if you practice incorrectly yeah. Makes it wrong. What am I doing again? All right. Click, click. All right, now I'm back on here. Press X to swap your foreground and background colors real quickly. And place black. So now it's hidden again. So now I'm going back to the layer mask. Pressing X again. Pressing B. So X is the shift. X no. X x in photoshop. Shift x in illustrator to swap from outline to strobe oh, nice. Or from solid to stroke. X. Now I can draw on it. I was going to look at you for permission to draw on it. Yes, alex, you're doing it correctly.
Kathleen Illustrated:
You got dizzy in the driver's seat. Oh, man. Okay. People are saying their favorite animes, my Hero academia. Awesome. Full metal alchemist. Awesome. Cowboy Bebop. Awesome. Did you hear that? They're going to make a live action on Netflix.
Alex Lazaris:
Oh, wow.
Kathleen Illustrated:
Cowboy Bebop. Yeah, they just released some of the casting, and as usual, there's a little bit of a kerfuffle about the casting, but what else is new? Yu. Hakusho. Yes. That one's so good. One piece. Amazing. My people my anime people.
Alex Lazaris:
Getting all weird with it.
Kathleen Illustrated:
Yeah. So are you looking for a blending mode that will let the blending correct?
Alex Lazaris:
Yeah, I'm just trying to just do a little pass over it so the darken seems to work where it takes the shadows from the mockup below it. And then I can just do Opacity down a bit so it's just enough to make it feel a little bit more part of this bit. Yeah, maybe I actually should just probably.
Kathleen Illustrated:
Just do the whole thing.
Alex Lazaris:
Just do the whole thing.
Kathleen Illustrated:
Do the dang thing.
Alex Lazaris:
Do the dang thing.
Kathleen Illustrated:
Oh, someone's talking about trigun.
Alex Lazaris:
Thank you. Yes.
Kathleen Illustrated:
That's the one.
Alex Lazaris:
Justin. Justin's been with us all week, too. Awesome.
Kathleen Illustrated:
Thanks, Justin. You've been so helpful with your alcohol label information. A true guru. Really appreciate it. Oh, Garrett. Akira. Yes, Lindsman. Totally. They do still shine. I agree.
Alex Lazaris:
There we go. Just a little bit. If I really wanted to get into it, I could get into, like, free Transform and start crushing Puppet Warp in here. Yeah.
Kathleen Illustrated:
So true.
Alex Lazaris:
Let's just throw it in.
Kathleen Illustrated:
OOH. Jordan likes digimon. Digimon Digital.
Alex Lazaris:
What a classic.
Kathleen Illustrated:
Digimon are the champions.
Alex Lazaris:
I think Pokemon's still streaming live on Twitch right now.
Kathleen Illustrated:
Oh, yeah.
Alex Lazaris:
Marathon, I believe.
Kathleen Illustrated:
The show or the games?
Alex Lazaris:
The show. All the seasons. Wow. All of them. Which is crazy.
Kathleen Illustrated:
Dang. I remember Twitch plays Pokemon.
Alex Lazaris:
Was like that was kind of like changing Twitch.
Kathleen Illustrated:
Yes. Were you working there at that time?
Alex Lazaris:
No, that was, like, pretty early on in the Twitch years.
Kathleen Illustrated:
Wow. Oh, yeah. Naruto one of my faves, obviously, since my dog's name is Kakashi. Probably like it. This is the first time I've ever heard someone say digimon in English. How do you say it, Victoria? Digimon. How do they say it in Japanese? I don't know.
Alex Lazaris:
No idea.
Kathleen Illustrated:
Clara. Thanks.
Alex Lazaris:
I do like how these colors feel. It does feel very beachy. So maybe you can kind of, like hang out with it at the beach and tote all that good stuff. What I'm going to do, though, is get all fancy. Let's see what we can make real quick. Go 1400 pixels, probably a height of 800. And then resolution wise, I'm going to put it at 300. I mean, you probably could just get away with 150 or 144, but not.
Kathleen Illustrated:
With, like, 4K monitors.
Alex Lazaris:
That's the thing. Exactly. So I now have a 4K monitor at home.
Kathleen Illustrated:
Love it.
Alex Lazaris:
I know, it's great. Except for now all my work looks so bad. On behalf, I was like, oh, no, I have to make everything really ready for large screens, which is awesome, but always something to think about. And if your computer can't handle huge files, it becomes a little bit of a doozer. A doozer?
Kathleen Illustrated:
A doozer or doozer. Giselle says last airbender. Is it even an anime? Let's debate Giselle. I don't think it's anime, but it is amazing. One of my faves, so you can.
Alex Lazaris:
See you've got so if I just do Shift X on it, it goes straight from solids to outlines, which kind of still a little bit fun. Sometimes it can get a little wonky in the letter spaces. Ones get like that.
Kathleen Illustrated:
It depends where your strokes are aligned to as well. Like if they're centered, if they're on the inside or outside.
Alex Lazaris:
But I'm going to grab this, the pink, and then I'm actually just going to bring it into Photoshop just like that. Rather than actually just paint bucketing things. Because who does that anymore, really?
Kathleen Illustrated:
After you work in Illustrator for long enough, you think about Photoshop differently.
Alex Lazaris:
Exactly. Photoshop is like a means to an end, almost. And that's okay.
Kathleen Illustrated:
That's funny.
Alex Lazaris:
But what I love to do is to make little gifts. Gifts? Gifs gifts.
Kathleen Illustrated:
What do you think?
Alex Lazaris:
It's gifts.
Kathleen Illustrated:
It's gifts.
Alex Lazaris:
Okay.
Kathleen Illustrated:
Gifts.
Alex Lazaris:
You've heard it here on Adobe, right? This is Adobe.
Kathleen Illustrated:
Adobe. The owners of gifs.
Alex Lazaris:
No, the powerhouse.
Kathleen Illustrated:
The powerhouse. The powerhouse. I say you can call it whatever you want, but I say GIF. And don't yell at me about it, please.
Alex Lazaris:
Please stop yelling at me.
Kathleen Illustrated:
I don't do well with confrontation, especially about the Internet. Ashi wants to know who had the best college experience. Did you enjoy yours? He's having a flashback right now.
Alex Lazaris:
Let me just replay all those years real quick. It was all right. I mean, it was college. It was college.
Kathleen Illustrated:
It was fine.
Alex Lazaris:
I think some people really like I don't know. It depends on where you go to school and what you want out of your education.
Kathleen Illustrated:
Yes. Okay. So for your career path, do you find that you needed to go to college?
Alex Lazaris:
Absolutely not. The only person place that a company person place thing. The only company that I've ever had to give a college degree thing to or whatever, GPA wise and stuff, was google, I think, was the only one. And even though they say that they don't care, they're the only people that wanted, like, college.
Kathleen Illustrated:
Interesting.
Alex Lazaris:
Really interesting.
Kathleen Illustrated:
Huh.
Alex Lazaris:
But otherwise, I feel like most I mean, you have to have a college education for a lot of jobs just to show that you did it, but I don't think what you did matters. Yeah. GPAs, whatever, too. Yeah. Obviously learn stuff and be proactive.
Kathleen Illustrated:
Yeah, you're spending money. So a lot of it probably should.
Alex Lazaris:
Probably.
Kathleen Illustrated:
Where'D you get this picture of me.
Alex Lazaris:
Casual. So I'm trying to think of, like, fun little playful things.
Kathleen Illustrated:
Why is that thing so funny?
Alex Lazaris:
I wanted to start messing with stuff that was, like, a little bit weird. I'll show you guys. I have a draft right now of a project that I'm working on with Behance.
Kathleen Illustrated:
Oh, cool.
Alex Lazaris:
I'm literally just waiting for the labels to be made before I can photograph it and then put it in.
Kathleen Illustrated:
Okay, let's see.
Alex Lazaris:
But currently it's for a vodka company.
Kathleen Illustrated:
Vodka.
Alex Lazaris:
Vodka edit project.
Kathleen Illustrated:
Do we just see a sneak peek of all kinds of secret things?
Alex Lazaris:
Yeah, lots of things. We can see what we got in here.
Kathleen Illustrated:
Oh, I have so many drafts as well.
Alex Lazaris:
So this is what we used to have to do for old projects. This is the message you'll get where it used to be 900 pixels wide, and then it's like, you're going to break everything.
Kathleen Illustrated:
By the way, by the way, no big deal.
Alex Lazaris:
But we used to do this where it's a huge background image, and then you press Enter a bunch of times in here, and then you put the logo and then JPEGs of all the type and everything through it. This is a very old project, but that's kind of an old format. Yeah, new format. I'm starting to really leverage the type.
Kathleen Illustrated:
Whoa.
Alex Lazaris:
So this is the vodka company cheeky breeky. Any Russians in here? There's, like, a phrase that came from a game called stalker called Tetris called tetris. Stalker has, like, a saying, and there's, like, cheeky breeky or something like that. I'm butchering it completely.
Kathleen Illustrated:
Let us know.
Alex Lazaris:
Chad, 22 drafts. Alex is busy.
Kathleen Illustrated:
I got 25.
Alex Lazaris:
But the whole concept of cheeky bricky is like, one, two, you're on top. And it's like referring to checkerboards and becoming, like, the king.
Kathleen Illustrated:
The king. Yeah.
Alex Lazaris:
So the whole goal for this was to play off that playfulness and the wittiness and the checkerboard theme and then bring it into the vodka brand. So, like, cheeky breeky. Time for a drinky. Love it. Dobie stock also, but just like, Rhyming off of cheeky breeky as much as possible.
Kathleen Illustrated:
Wait, these are from Adobe stock.
Alex Lazaris:
The top one's unsplash. This one's, Adobe stock. It's actually a really good photo for multiple different light blends and all that stuff. Yeah, I think this one might be unsplash as well, but there was a bunch that I was pulling for it and then just playing with type and colors and then kind of showing the checkerboard theme throughout it. So the actual back of the bottle will have the insert of the checkerboard as well.
Kathleen Illustrated:
Cool.
Alex Lazaris:
You can kind of see it and play with it.
Kathleen Illustrated:
Wow.
Alex Lazaris:
And then like, mocking up checkerboard pieces, all that good stuff.
Kathleen Illustrated:
So you are actually getting some label design projects.
Alex Lazaris:
So it's a fake project, but we won't tell anybody. The secret is safe here.
Kathleen Illustrated:
It's really cool. It should be real.
Alex Lazaris:
But yeah, no, the goal for me with all these projects is to make them look as realistic as possible and then even shooting them to show that and add product photography into services that we can offer our clients.
Kathleen Illustrated:
Ben, you says you mean Alex didn't use this as an excuse to go get drinks and take pictures?
Alex Lazaris:
I mean, you have to do your research whenever you're about to do projects.
Kathleen Illustrated:
You bought a whole lot of whiskey for this project.
Alex Lazaris:
So yeah, just playing off the GIF idea just to make it feel a little bit more real and then maybe contextualize it. You can build a website with it too. All that stuff. Instagram, campaigns, things like that, all the good stuff. So knowing that I want to do something probably pretty similar, but a little bit more weird, so less lifestyle. So the cheeky breeky one was more like leaning into the let's Get Crazy night or whatever. Because it's vodka.
Kathleen Illustrated:
Of course you can only have a let's Get Crazy night.
Alex Lazaris:
Yeah, obviously. But now this is going to be more of just like playful and fun and incorporating the vibes that the type is giving you as well.
Kathleen Illustrated:
It's slightly disturbing.
Alex Lazaris:
Slightly disturbing.
Kathleen Illustrated:
Oh, Hannah, that's a great question. She's wondering how do you come up with your fake project personal project ideas?
Alex Lazaris:
Yeah, so that's a great question. I know that I wanted to do a lot more packaging and alcohol work, so I wanted to focus on that. And then I was looking for projects that I like bottle types or things like that that I can constrain myself to. So vodka bottles, a lot of them are very cylindrical and pretty generic. So that was a pretty easy move for me. But I knew that because of it's a cylinder, I wanted it to feel different from a wine bottle. So that's a different constraint. And then I'll build out like a persona like you would for a UX study about who the demographic might be and what their buying habits are and then try to do as much competitive analysis on what the marketplace is doing and what the aisles and shelves are doing. And then try to differentiate in some sort of way just so it doesn't feel like I'm repeating what other people are doing. And then just make your own constraints, because I have a hard time just, like, making pretty things for the sake of pretty. But if I can build a little box or a sandbox to play in, then I'm much happier.
Kathleen Illustrated:
Nice. That's a cool idea. And I think another idea Hannah might be thinking of, like, what doesn't exist that you wished. Like, if you can find some sort of brand that you think all the branding for this entire industry is so drab needs to be woken up a little bit, or you can make the kind of work that you just want to be hired for. So what do you have fun doing?
Alex Lazaris:
Yeah. Hobbies are a great one because you're typically pretty knowledgeable. You're exploring know, it's just fun.
Kathleen Illustrated:
Yeah. Doesn't feel like work. Albert, that's very dark. And Brienne says, I just got my first graphic design job in the liquor industry.
Alex Lazaris:
Congratulations. That's awesome.
Kathleen Illustrated:
Yay. Brianne, what kind of project are you working on? Is it like this? Like the entire brand or more specifically, something? Yeah.
Alex Lazaris:
That's exciting.
Kathleen Illustrated:
What are you going to do with this thing?
Alex Lazaris:
I kind of want to go on a tirade and just put lots of toys and things in there.
Kathleen Illustrated:
Toy tirade toy. Yes.
Alex Lazaris:
So I wish that this was actually in dimension this little guy here, so I could just rotate it and do kind of all the funky, weird stuff.
Kathleen Illustrated:
That'd be awesome. See if I can find any toy templates on Adobe stock.
Alex Lazaris:
Yeah, I wish I could animate the little guy.
Kathleen Illustrated:
Yeah, like some sound effects. Yay, everyone's. Congratulating. Brienne so supportive.
Alex Lazaris:
It's awesome.
Kathleen Illustrated:
Really appreciate it, you guys. Justin says, who is our resident expert. If you want to get more work in the alcohol industry, one thing is to hit up custom procession facilities that make other people's brands. Most clients go there first sometimes to start procession. Yeah. What does that mean, Justin? Custom procession Phyllis facilities. So maybe that's like, the people who manufacture the custom bottles, like the components.
Alex Lazaris:
Oh, interesting.
Kathleen Illustrated:
And then maybe they have in house branding too. And, like, if they get asked to do projects but they don't have the bandwidth, bring them on over to Lazaris. They're ready and waiting.
Alex Lazaris:
We're so thirsty.
Kathleen Illustrated:
Thirsty for my friends. Wait, no. Stay thirsty, my friends. Oh, my goodness. Oh, my goodness. Shawna says I stepped away to have lunch. What the heck is that teeth thing for?
Alex Lazaris:
What isn't it for?
Kathleen Illustrated:
Great question. So how did you change the color for this?
Alex Lazaris:
By photoshop. Magic.
Kathleen Illustrated:
Wow.
Alex Lazaris:
Can't be more narrow. Oh, no. Go back in the dock side. Go inside, please.
Kathleen Illustrated:
Please.
Alex Lazaris:
There we go.
Kathleen Illustrated:
Nice.
Alex Lazaris:
So what I did was I just threw a color overlay again. My favorite thing ever on top of it. So I just double click into it. You could change it, change the blend mode. And then I did color, but I'm actually wanting to see if I can just pull this guy out rather than have all the texture on the side of it. It starts to get a little bit wonky.
Kathleen Illustrated:
Right? Oh, Keita says I still think he should have named a beer Lazaris the Reviving Beer. Different spelling, but yeah. Oh, yeah, Ashi, that's totally true. There are competitions you can enter to make yourself more visible. Participating in challenges is a great way to work on personal projects. Like, inktober is awesome. There's lettering challenges. Very cool.
Alex Lazaris:
Yeah. There's a lot of ways to get exposure and show people what you're capable of.
Kathleen Illustrated:
Yeah. Let us know your favorite ways. Chat to work on projects, get ideas, build your communities. Oh, that's cool. That's a great question. Brianne, she's wondering, with your behance projects, do you need to label them as, like, concept?
Alex Lazaris:
No. No, you don't. Obviously, if it's, like, a big brand, sometimes it's helpful to do that just because they typically don't. Like, if you're sharing stuff. Like Facebook redesigns. I remember that was a huge thing that everybody was like, let's do a Facebook redesign to show that you can do UI or UX work.
Kathleen Illustrated:
Yeah, it's not really for Facebook. It's just for fun.
Alex Lazaris:
Yeah, but I also have a hard time. I don't like seeing that kind of work in people's books.
Kathleen Illustrated:
Why is that?
Alex Lazaris:
Because it doesn't have constraints. Like, it doesn't solve a real business problem, and it's really hard as, like, a hiring manager to be okay. Yeah, I can see that you can make a pretty Facebook, but having really great photos is not your typical person. And then hiding all the NAV bars and everything just to make it super clean. It doesn't take real user experience and business goals into account. So I always try to show that thought process into things a little bit more because that's the kind of clients I want to work with. I want the ones that you're pretty smart. You know how to do things. Yes, I do. Thank you. Let's work together.
Kathleen Illustrated:
That's cool. So what if you found a company that you thought needed a redesign and you identified some problems? Would that be better to see in someone's book or still you just would rather see something totally fresh?
Alex Lazaris:
No, I think it's just whenever you go for huge companies, it's so obvious to be like, you're not solving their problems that they might be having, which is a little tough.
Kathleen Illustrated:
Very true.
Alex Lazaris:
Maybe this photo is a little bit too graphic. It's kind of weird graphic.
Kathleen Illustrated:
Like, it looks like a design. No, it's like a booty.
Alex Lazaris:
Yeah. I like the composition of it, but I think the lighting just hits the butt a little bit too much.
Kathleen Illustrated:
Things you got to think about. Totally. Anna says that is very good advice. Thank you.
Alex Lazaris:
Yeah, but yeah, if there's like a jewelry company, and you really like jewelry, and you're like, man, this would be a great concept. Like, we did this. So I will show you my portfolio.
Kathleen Illustrated:
Yeah, show us.
Alex Lazaris:
So I wanted to get more into product photography, so I used this opportunity for the Mixologist to do that. The mixologist is a fake magazine, really? So I fell in love with this cocktail company called Straightaway in Portland, and they have a great bottle and packaging work that a design firm in Portland called OMFGCO did, and they did a great job with it. But I fell in love with the product and tastes great, and so I wanted to start shooting it so I could test my skills and grow. But they didn't pay me for this, and I was like, I just wanted to learn. So I did it, and then I sent it to them in, like, low resolution photos, and I was like, hey, guys, I did this because I love your product and I love your brand. If you guys would like to purchase these, here's how much I'm asking. If you're not, no worries. I love the product and I'll continue to support you. And then I just made up my own case study to make it look real. Right. It's like, okay, maybe it's like, this is a BS kind of UI thing, but very editorial style. Hide the NAV bar, of course. Do some nice type lockups and just explore stuff and test it and see how it can feel so you don't always have to say what it's for or how you did it, but there's an opportunity to take things that even rejected concepts and then put them in your portfolio and get more work.
Kathleen Illustrated:
Definitely. Yeah. Just show your work in the way that's going to show people how you think. You don't have to share every little piece of information. Like, I made this and it's not real, please, like, it just be confident.
Alex Lazaris:
In your work and show it, and you'll start attracting more clients and.
Kathleen Illustrated:
Ah, Paul says that he employs designers and he looks at a variety of things to see if they can really do the job. Paul let me know what kind of things he looks for. Like Alex has been talking about, you want to make sure that they know how to think through a process and take every variable into consideration and not just make things pretty.
Alex Lazaris:
Exactly.
Kathleen Illustrated:
Because that's not helping anyone.
Alex Lazaris:
It's not pretty is good for things. Yeah, but not when I am hiring people. I want them to be I don't like to present other designers work as much as possible. I want people to feel like they have the reins to go present and I can trust them in a room with a client and then they can explain their rationale and logic behind what they did.
Kathleen Illustrated:
Yes.
Alex Lazaris:
So I want to be able to see that before I have to. Have a call with somebody to learn.
Kathleen Illustrated:
Cool. So also just those kind of soft presentation skills. And that's important as well.
Alex Lazaris:
Absolutely. And those are things that you can definitely learn, and they can be coached and all that good stuff.
Kathleen Illustrated:
100%. I think anyone could do a public speaking engagement or present to a client. Even if you're shy, you're allowed to be shy.
Alex Lazaris:
Absolutely.
Kathleen Illustrated:
Those are nice. They're both really saturated.
Alex Lazaris:
Yeah, I'll throw in, like, another one of them, and then I'll make it like a GIF real quick. Maybe it's a little bit more blue.
Kathleen Illustrated:
Some animation.
Alex Lazaris:
I know we're going to get into Photoshop's animation abilities.
Kathleen Illustrated:
Oh, I'm sure people will be very excited to see that. We have about 26 minutes until we're going to be looking at two portfolios. So if you are a graphic designer or you have some branding stuff in your portfolio, please feel free to send it over. We have our portfolio review tab over here. We're going to be looking at two for the last, like, 30 ish, 2030 minutes of the segment. We're really excited to see your work, and it's really brave of you to submit. I know it can be kind of scary.
Alex Lazaris:
Super daunting.
Kathleen Illustrated:
We're going to be nice. Don't worry. Compliment sandwich.
Alex Lazaris:
Compliments all day.
Kathleen Illustrated:
Shauna says, I enjoy making pretty, though.
Alex Lazaris:
Shauna's really good at making pretty. A lot of people are very good at making pretty.
Kathleen Illustrated:
Yep. Tis a skill.
Alex Lazaris:
It's a very difficult skill to perfect.
Kathleen Illustrated:
Yeah, Mohammed, that's a good question. What's better if I am just starting to design for money freelancing or working in a OOH?
Alex Lazaris:
I think working in a company depends if you're the only designer at a company that's a little bit harder.
Kathleen Illustrated:
Yeah.
Alex Lazaris:
I think trying to be around people is the best way to learn quickly. You can learn, but working for a company is a great way to also learn business problems and how to communicate with people and work with people that aren't necessarily designers. And I think that skill will come up all the time in your life. So just being able to perfect that and learn, I'm learning with that all the time. You'll never stop getting better at that.
Kathleen Illustrated:
Yes. Definitely a skill. I think communicating with clients that are not designers is like design in itself. You have to think about their user experience and what you need to communicate to them and how you need to design how you communicate to them. Very interesting.
Alex Lazaris:
I'm addicted to this recolor artwork.
Kathleen Illustrated:
Addicted?
Alex Lazaris:
Addicted. Because it's like I can see it in real time. Man, this is brilliant.
Kathleen Illustrated:
Yes. Oh, hi. Erica one of my favorite coworkers and friends who I learn a lot from. Like you were saying?
Alex Lazaris:
Yeah.
Kathleen Illustrated:
Erica says, I love this palette in whoop whoop recolor artwork. Yes. So I work with Erica on the 1 minute videos. Oh, awesome. Yeah, I've talked a lot about that, and we are kind of partners in crime about that. Although she's the OG from day one. Good to see you, Erica. Jason says, I've not once used this correctly. The recolor artwork, it's pretty easy. Jason I'd like to see what you do with it. We're kind of switching them around.
Alex Lazaris:
Yeah. I'm wondering maybe the type stays static and then the colors change over time. There's a lot of playing around with all this stuff.
Kathleen Illustrated:
Good thing it's a playful brand, or else be in trouble. Lieutenant soul Ripper. Wow. Says Alex was looking through your Twitch signal noise idea. Super cool project. Love it.
Alex Lazaris:
Yeah, it was awesome. Getting to work with James was something I've wanted to do for, I think, most of my career. So being able to work with him on that project and bring that to life was super fun. He's absolutely incredible to work with and really talented.
Kathleen Illustrated:
Wow.
Alex Lazaris:
He's one of those people, like, bringing that aesthetic to Twitch was it just like, makes sense.
Kathleen Illustrated:
Totally.
Alex Lazaris:
It fits the company and the aesthetic of the buyer super well.
Kathleen Illustrated:
Man. What would you call that? Like vapor wave?
Alex Lazaris:
Yeah, the like, 80s synth wave.
Kathleen Illustrated:
Synth wave.
Alex Lazaris:
Yeah.
Kathleen Illustrated:
Yes. Totally. Victoria I don't know if we need an Epilepsy warning for this GIF. I don't think it's going to be that it will. No, I'm just kidding. Warned.
Alex Lazaris:
Warned.
Kathleen Illustrated:
Shock. D says, this is what I started with while learning Illustrator, and I got so fascinated. The recolor artwork nice. It's like instant gratification. It's very cool.
Alex Lazaris:
I like so actually as you're working through these things, man, so I'm going to spend so much time later finding really weird toys like this to make a gift, but not right now, but.
Kathleen Illustrated:
Go to Japantown and buy some little figurines or something.
Alex Lazaris:
Actually, that's what I'm probably going to do, is actually go home and grab the colored seamless and then take props from thrift stores and junking areas and then just rotate them and shoot them and then have a gift that way.
Kathleen Illustrated:
Yeah. Kind of like the gift that you liked where the bottle was rotating.
Alex Lazaris:
Exactly.
Kathleen Illustrated:
Nice. Man.
Alex Lazaris:
Buying a turntable for photography for that is so expensive.
Kathleen Illustrated:
Really?
Alex Lazaris:
You can make your own. So I keep it talking to myself into trying to do it.
Kathleen Illustrated:
How hard could it be? Just get a lazy Susan.
Alex Lazaris:
Yeah. So you do the lazy. Yeah, that's an option.
Kathleen Illustrated:
But I want to spend money.
Alex Lazaris:
I don't want to spend the money. It's just like the actual turntable itself actually stitches all the images together for you. And then it also has, like, an HTML Five export, and it cleans up everything. And you can set the focus where you want, and it will rack the focus for you, too.
Kathleen Illustrated:
I got you.
Alex Lazaris:
It does all the work. No, Justin and I don't know each other, but now we're best friends.
Kathleen Illustrated:
Yes, Justin's. Super helpful. Thank you, Justin.
Alex Lazaris:
Yeah. Thank you, Justin. So what I'm going to do is actually grab this and rasterize layer. I'm breaking the smart object. I'm going to make it a little bit smaller. Actually, you know what I'm going to do? I'm going to just crop this to square set my ratio to one to one, make it kind of like an Instagram post almost, and then enter. Now it's here. Now I've rasterized it. I'm going to actually break apart each of these layers.
Kathleen Illustrated:
Oh, so you can turn on and off?
Alex Lazaris:
Exactly.
Kathleen Illustrated:
Nice.
Alex Lazaris:
There's no paste in place.
Kathleen Illustrated:
There is.
Alex Lazaris:
Shift Command V. Shift Command V. Command X.
Kathleen Illustrated:
Shift Command V. And a new layer too. Wow, guru. Wow.
Alex Lazaris:
Thank you. I need to just design with you real time all the time.
Kathleen Illustrated:
I'll just sit over here and be.
Alex Lazaris:
Like, actually, like the Microsoft Clippy.
Kathleen Illustrated:
Yeah, clippy is is clippy me. Am I clippy?
Alex Lazaris:
Tink, tink, tink, tink.
Kathleen Illustrated:
Wait. That's where Clippy went. I was born and Clippy came into being. Erica says that letter B makes me feel weird, but I like it. It is a weird B. Yeah, there's.
Alex Lazaris:
A lot of weird things going on with the type.
Kathleen Illustrated:
Yeah, that weird space.
Alex Lazaris:
It's just like Command Shift V. Wow.
Kathleen Illustrated:
If only it renamed the layer for you, that'd be nice.
Alex Lazaris:
Just being like, actually, it looks like you just wrote an A.
Kathleen Illustrated:
There. Adobe sensei the future. They'll get it. Ashokti says the B is like some cool glass, like some cool glasses. I agree. It looks like little posh glasses. Anna says oh, my gosh. Please be clippy for Halloween. Madison says we are all Clippy. Clippy is we awesome.
Alex Lazaris:
So I'm actually labeling my layers right now because that makes it just a little bit easier.
Kathleen Illustrated:
Yeah. Especially when they all look very similar.
Alex Lazaris:
And whenever you bring up your video timeline, you want to be able to actually pay attention to what the layer is that you're timing.
Kathleen Illustrated:
Erica also just said Adobe sensei. Get on the layer naming. We are on the same wave. We know Adobe Sensei is always listening.
Alex Lazaris:
So now I've got this. Oh, look, untitled one. Oh, look, GIF one.
Kathleen Illustrated:
So I'm excited to see you using the timeline because I usually use the frame, like workflow frame by frame.
Alex Lazaris:
Oh, interesting. Do it.
Kathleen Illustrated:
Do it. I dare you.
Alex Lazaris:
Really fun. So now that essentially every layer in here has the full extent of the timeline. And if people are unfamiliar with video work, 24 frames per second is the typical frame rate. So I'm going to just inside this timeline you'll have, I'm zoomed in the wrong layer so you'll see that it's breaking apart all the frames.
Kathleen Illustrated:
Okay.
Alex Lazaris:
So I will cheat it a little bit, and I'm just going to say, okay, I'm going these things to probably pop up every, like, half a second, maybe a little bit faster. We'll see how it goes. I like that. I named the blanco the B as S. So also it helps if you name all your layers correctly.
Kathleen Illustrated:
The right letter.
Alex Lazaris:
There's not even an.
Kathleen Illustrated:
Even says it's blanco's. Like weird older brother.
Alex Lazaris:
Yeah. So Bro getting in there again.
Kathleen Illustrated:
So, bro.
Alex Lazaris:
So I'm going to have a second of just probably no, I'll do a half a second. So about 15 frames we'll do okay.
Kathleen Illustrated:
Of nothing.
Alex Lazaris:
Of just nothing.
Kathleen Illustrated:
The void that calls to us.
Alex Lazaris:
Exactly. Let's do twelve. So that way it's directly half.
Kathleen Illustrated:
Okay.
Alex Lazaris:
And then I'm going to populate in. The s is the B.
Kathleen Illustrated:
It's a secret.
Alex Lazaris:
S exactly.
Kathleen Illustrated:
If you squint your eye and flip it upside down, it turns into an.
Alex Lazaris:
S. So then the rest of them, I'm going to just drag, shift, click until I have complete access to all of them. And then now you see the B's in there?
Kathleen Illustrated:
Yes.
Alex Lazaris:
It's visible at the time marker. And then I'm going to just slowly start populating them in. If you really wanted to get into it, you could pull these into after effects of different layers from Illustrator and then start doing some subtle motion around each one. It's kind of like playing off that vibrating.
Kathleen Illustrated:
Or a little bit of jitter.
Alex Lazaris:
Yeah, a little jitter. A little movement. I'm just going to quickly nice.
Kathleen Illustrated:
Oh, my gosh. Rod just said I put together a 45 minutes video in Photoshop. Why?
Alex Lazaris:
I don't even want to know how you saved that.
Kathleen Illustrated:
Yeah. Its capability really amazes me. I'm amazed just by your capability, Rod.
Alex Lazaris:
I'm baffled right now.
Kathleen Illustrated:
That's incredible. How resourceful. That's awesome. What was the project for? I'm interested.
Alex Lazaris:
Yeah. That's nuts.
Kathleen Illustrated:
Wow.
Alex Lazaris:
So I've got four frames per second right now in between. I think I'm going to go just a little bit. I'm going to go to six frames per second.
Kathleen Illustrated:
And how are you deciding on this?
Alex Lazaris:
Do you have I'm making it up. Well, I know that I want it to be pretty fast. I want it to stack and then either pull back or wipe completely. Yeah. So I'm just doing it like looking at it. I can always adjust it, but I can just drag it and be like, okay, there's six frames per second in between each of these points. And then I can just keep moving on. So 418, 22. So you just bounce it over a little bit more. Move over the artboard, grab the next one, move them over as well. 28 and then 32 numbers. Yeah. Great way to practice your maths.
Kathleen Illustrated:
Your math.
Alex Lazaris:
Quick maths.
Kathleen Illustrated:
Sound like a Canadian. Do they say maths, or is that just Europeans?
Alex Lazaris:
I don't know maths?
Kathleen Illustrated:
Is it?
Alex Lazaris:
Two eight. Cool. So then we can kind of quickly just see if I go back in the timeline, what happens, which is kind of nice. That like stacking feel.
Kathleen Illustrated:
Yeah.
Alex Lazaris:
Kind of quick and dirty. Pretty simple. So this is a really quick way of just making a quick GIF.
Kathleen Illustrated:
Wow.
Alex Lazaris:
Which this just takes that extra consideration and a little bit thought process in your project, and it's like, oh my gosh, that's kind of cool.
Kathleen Illustrated:
People love it.
Alex Lazaris:
Yeah, it's such a great way to just show that a static image might be cool, but putting a little bit of pizzazzle on it will really make it fun.
Kathleen Illustrated:
Pizzazzle.
Alex Lazaris:
Pizzazzle. And don't forget to do the Export save as save for Web legacy. And then you can click the button looping forever.
Kathleen Illustrated:
Yes.
Alex Lazaris:
Or else it's going to loop once and you'll be sad.
Kathleen Illustrated:
Yeah. And then the person that scrolled down is already going to have animated.
Alex Lazaris:
Exactly. So GIF one GIF. Also, if you're working with After Effects or you're doing an MOV or Premiere Pro or anything, you can drag those files and then throw them into Photoshop to make the GIF. They can get a bit heavy, though, so just be careful with that. Your computer will not like when you're trying to optimize things. I have not tried to see what the file limit was yet. We'll see. Where did I save it?
Kathleen Illustrated:
And while you're figuring that out, I'll show super quickly how you can do something similar, but with the timeline tool with the frame animation. So if you open up your timeline, which you'll just go up to Window, scroll down to Timeline Hi Chat. So he had the video timeline. We're going to click this down arrow and do frame animation instead. A big old head's in the way. And when you click that, you can do the same thing, but it'll make it frame by frame. Kind of like onion skinning, like a real traditional animator. And then we'll turn on that, and then down here you have the option for it to say, forever already. We can do once three times forever. Play it. Hi, Chad. And you'll export it the same way. Easy peasy.
Alex Lazaris:
So what I just did there was I accidentally uploaded the GIF to the regular part of what is this? What's going on here? There we go.
Kathleen Illustrated:
What?
Alex Lazaris:
Whoa.
Kathleen Illustrated:
Oh. Because the timeline.
Alex Lazaris:
Pro tip convince your didn't. I didn't actually. Yeah.
Kathleen Illustrated:
Victoria. I should have used comic sands. Thank you for the reminder. Lena says frame is easier than timeline. It's definitely different.
Alex Lazaris:
Yeah. If you're used to Photoshop or like a video editing, I think you might be a little bit more familiar with the timeline aspect or totally video aspect. Just because that's how you're typically presenting stuff.
Kathleen Illustrated:
Yes.
Alex Lazaris:
It's a three second GIF and then I'll repeat I can also later on, if I wanted to, I could just kind of step them back out. But for the sake of showing you how to do this because we have eleven minutes left. Just quick.
Kathleen Illustrated:
Pew. So that will shorten your timeline.
Alex Lazaris:
That's what's shorten my timeline.
Kathleen Illustrated:
Even if you see that the frames are going past it, it'll cut it off right there.
Alex Lazaris:
I think I'll keep it at three. This is a great debate. I'm just like, how long should it be?
Kathleen Illustrated:
The great debate. Make sure it's forever. Perfect.
Alex Lazaris:
Boom.
Kathleen Illustrated:
Save.
Alex Lazaris:
Boom. Edit grid. So I'm going to have the grid tool in there so that I can do multiple different ones.
Kathleen Illustrated:
Nice.
Alex Lazaris:
The grid tool is awesome, but it does have some interesting aspects of it where it will create a center margin, which gets a little bit weird if you're doing big color images. So I'll show you really quick.
Kathleen Illustrated:
Yeah, let's see what you mean.
Alex Lazaris:
Upload file.
Kathleen Illustrated:
Oh, Carol. Hi. First time watching.
Alex Lazaris:
Welcome.
Kathleen Illustrated:
Good to see you. She says she's actually watching you while working.
Alex Lazaris:
Awesome.
Kathleen Illustrated:
That's totally okay. We're educational. Educational content. Tell your boss, tell a friend, tell.
Alex Lazaris:
Your boss, tell everybody. See as it uploads. But if you're doing a very heavy image project and you don't have margins between your images so if I did, let me export this as like, say, 1400 shift o, click to add dimensions. 1400 by 200. I like how I did 1400 width, and I just immediately wanted to change it.
Kathleen Illustrated:
I changed my mind. Keita says I've been in here all day.
Alex Lazaris:
Wow.
Kathleen Illustrated:
Yeah. Let us know if you're watching from work or if you have the day off. If you have us up on a second monitor, perhaps. I'm guessing that's how Erica is watching us right now.
Alex Lazaris:
Oh, awesome. Use artboard three, JPEG, export, RGB ten. Boom. So then I'm going to add back this one. Image photography, exploration, JPEG three. Sometimes in illustrator, also, you got to be careful. Sometimes there's like a weird fragment that happens. So typically whenever I'm doing an export, I will cheat it and I'll have it just go over the artboard just a little bit so that there's not any fragments.
Kathleen Illustrated:
Yeah, but then you have to make sure you're exporting as an artboard.
Alex Lazaris:
Correct. Export as an artboard. But you should always export as an artboard because well, never mind.
Kathleen Illustrated:
Wait for it.
Alex Lazaris:
Because if I don't export it as an artboard, then it's going to give you everything. It's just going to be like a giant thing. Enjoy that.
Kathleen Illustrated:
Cut this up.
Alex Lazaris:
Exactly. That would be actually a really good way to do, like, the marketing campaign for this because the letters go kind of everywhere. So you could almost do, like, the magazine. Cut. Fun.
Kathleen Illustrated:
Very true. OOH. Tim has us on a center monitor. Wow. We must be we're special.
Alex Lazaris:
Yeah, we're honored to be on there.
Kathleen Illustrated:
Anthony says main monitor. Of course.
Alex Lazaris:
Wow, thank you.
Kathleen Illustrated:
People have told us before that they have this up on their big screen TVs, like, streaming through their devices.
Alex Lazaris:
And I'm like, that's awesome.
Kathleen Illustrated:
That's too much, Kathleen. You don't need it to be that big. Hey, Bob.
Alex Lazaris:
Now you can start seeing maybe it's coming together, but so underneath the grid section, you can see that there was let me just actually just re upload. There's a little margin that comes off of the grid, but there's not one above it. So fun. Little nuances things to think about. But as soon as you start doing this, also think about how whenever you're framing and building out your case studies, you also got to be thinking about the spacing between them. So sometimes you can have like I wish that I could adjust potentially just this column in the middle. Yeah, just so if I am doing spacing that the spacing is always even on the top and the bottom and the middles. But I don't. So typically I'll do a little zero to no padding just so it's like that. But it gets wonky when it's like this. Sometimes you might cheat it and have to do a color bar or blank bar if you need to.
Kathleen Illustrated:
Good tip.
Alex Lazaris:
Yeah, it's fun.
Kathleen Illustrated:
Keita says 4K TV, we can see your pores.
Alex Lazaris:
Oh, goodness.
Kathleen Illustrated:
You could see up my nose and into my brain? Probably. Wow.
Alex Lazaris:
Have fun in there.
Kathleen Illustrated:
Tim says I could fire up the projector and put you on the big screen, but I'm scared you're going to dab again. Why would you be scared of that? Don't you want us to dab on.
Alex Lazaris:
Your walls two days in a row? Man, we should have started the week with it.
Kathleen Illustrated:
Dab. Dab. We did start the day with a very cool intro for anyone who missed it.
Alex Lazaris:
That's true.
Kathleen Illustrated:
You have to rewatch it. Not going to redo it.
Alex Lazaris:
So people were saying hats, potentially I got for hats. Hats. I typed in hats. Not just hat.
Kathleen Illustrated:
Give us multiple hats.
Alex Lazaris:
This isn't getting me anywhere closer. Fun. What's fun? What does fun look like on stock photos? Oh, yeah.
Kathleen Illustrated:
Got you.
Alex Lazaris:
This feels very what a baddie wait.
Kathleen Illustrated:
What does that say? Concepts about seniority. I thought it said confident about her seniority.
Alex Lazaris:
It's pretty awesome. Kind of like batude with this hang loose, ma. So I can see this, like the tongue in cheek kind of fun aspects of it. Kind of tying into the brand as well.
Kathleen Illustrated:
Definitely.
Alex Lazaris:
But I think I like the idea of just propping with the kind of toys and kind of like fun little bits.
Kathleen Illustrated:
Yes, all the time. Albert says do a sombrero.
Alex Lazaris:
Do a sombrero. Yeah. But we're not trying to leverage the super Mexican theme of tequila. We're just trying to like I think the type sometimes can has a woodblock feel, which might feel a little bit more it can feel like Mexican art a little bit, which is nice, but it's not trying to be super overt.
Kathleen Illustrated:
Josh just pointed out that the sticker on my computer is changing colors because it's green. So you can see your screen behind this tiny little sticker.
Alex Lazaris:
Cool. Perfect. Move something over here.
Kathleen Illustrated:
Wow.
Alex Lazaris:
That's sweet. What a good eye.
Kathleen Illustrated:
What a cool thing.
Alex Lazaris:
I bet that helps on the 4K.
Kathleen Illustrated:
Yeah, you could probably zoom right in there.
Alex Lazaris:
Exactly.
Kathleen Illustrated:
Check it out. Actually, Erica gave me this sticker today from Japan. Thanks, Erica.
Alex Lazaris:
Wow.
Kathleen Illustrated:
Repping it.
Alex Lazaris:
Wow. I'm actually liking how these colors are starting to feel especially coming back with that yellow into pinks next to it. The grid's starting to work. I'm starting to see the case study kind of come together. I've never used the Lightroom integration.
Kathleen Illustrated:
I haven't either. Should we dive in?
Alex Lazaris:
I don't have Lightroom on this computer.
Kathleen Illustrated:
Okay, so maybe not maybe not next time. But you try it out.
Alex Lazaris:
Yeah, try it out. You can directly export from Photoshop and Lightroom to straight to Behance. So whenever you're doing your case study projects or your creative challenges, pretty easy for you to just upload.
Kathleen Illustrated:
Yes.
Alex Lazaris:
Text on Adobe or Behance gets fun.
Kathleen Illustrated:
Yes. We need more fonts, though. We've decided.
Alex Lazaris:
More fonts. So man here.
Kathleen Illustrated:
Click. Man.
Alex Lazaris:
So if I want to just explain what sorbo I don't even know the name anymore. Sorbo tequila company, period. Period. So I'll typically do two different text boxes next to each other. Click. Thought if I want to title case something. You got very limited options here. Let's see if I can add more things. Actually, I just moved this up so I can get your project.
Kathleen Illustrated:
Yes, Tim. Good point. Submit your portfolios. We only have about two minutes left until we're going to go up to space, to the space station and look at you all from high above. Review some work. This is the last stream for the day and for the week, actually. I don't know if there's any streams tomorrow. There may or may not be. Yes. Oh, obviously. Val will be back tomorrow. She is here Monday through Friday, this week and next week. Paul, my life is awesome. Thank you for asking. How's yours?
Alex Lazaris:
That's a very big question. Awesome.
Kathleen Illustrated:
Paul's, my old friend from Twitch days.
Alex Lazaris:
Oh, nice.
Kathleen Illustrated:
Yeah.
Alex Lazaris:
Welcome back.
Kathleen Illustrated:
Let us know, chat if any of you watched us when we were streaming on Twitch. If you've been here since 2015, Victoria, it is being curated by a live person. Okay. Talon might be streaming, too. Awesome. So some cool photoshop, some cool UX UI design. It'll be great.
Alex Lazaris:
If anybody wants to know about Laura Mipsum, it's right there.
Kathleen Illustrated:
Right there. Oh, yeah. Because you can't auto populate and Behance.
Alex Lazaris:
Oh, no, undoing is.
Kathleen Illustrated:
Sorry. You got 35 seconds.
Alex Lazaris:
I'll probably use the Garamond type. There you go. It's fun. So then I'll probably do some color seamlesses, maybe even bring the tequila bottles into the color palette a little bit more. Start adjusting the Photoshop layers on that. Bring the colors full circle. Do more gifs, do some type, do some images. It'll be a whopper of a case study, but it'll be a lot of fun.
Kathleen Illustrated:
Everyone, go follow Alex on Behance if you want to make sure you're updated when this eventually gets posted someday, that'd be great. Yes, we were on Twitch years and years and years ago. Tim was there. Shauna streamed for us on Adobe, the Adobe Channel as it was called. I streamed as well. The good old days. And then it is time to review some portfolios. So we are going to go up to the Adobe Channel. The Adobe channel. Nope. Adobe Live space station. And everyone come with us. Don your spacesuits and we'll be right back. We made it.
Alex Lazaris:
Take us to your leader.
Kathleen Illustrated:
Are you going to be able to get it off? You think you're just going to wear it?
Alex Lazaris:
I'm taking it off.
Kathleen Illustrated:
It's a look, for sure. Welcome. Little something in there for you.
Alex Lazaris:
Just keep breaking helmets.
Kathleen Illustrated:
Oh, man. Yeah. You are a helmet breaker for sure. To space. All right, everyone. Welcome to the Adobe live space station. We have here on our dashboard our beautiful first portfolio that we're going to be looking at. Maybe you recognize it. This is Justin Layton's portfolio. So Justin has been helping us for the last couple days work on or giving us info about product that's awesome. Packaging design, because he works on that. So let's just take a peek first and foremost at things at kind of 10,000ft, what kind of information Justin provides. We have a little bit of an about me happening. Very cool. We have a link. Great. Just click on it real quick, see where it takes us as that loads graphic designer, illustrator, photographer, inky, design studio. Awesome. Oh, it's under it's under maintenance. No problem. Cool. So as an art director, if you're going to be hiring Justin, what would you want to look at first?
Alex Lazaris:
Oh, man. I like things that kind of jump out. Let's see what's going on here. So I've been really big into looking at product photography and scenes. So I like the bottom left one.
Kathleen Illustrated:
This one?
Alex Lazaris:
Yeah. That one really reaches out to me as like the least mocked up version of all of them. So it feels the most in the natural environment. So kind of want to see that one.
Kathleen Illustrated:
All right, let's click on an H and L wine Co. Let's see. Charlie's peach.
Alex Lazaris:
Nice. Those peaches look super edible.
Kathleen Illustrated:
Yeah, delicious. 3d. They look so good.
Alex Lazaris:
Did you use Dimension for this?
Kathleen Illustrated:
Right. Okay, Justin, you're working on the site. No problem. Yeah. Let us know what you used for this. It might tell whoops classic me. Sometimes it'll tell the apps that were used.
Alex Lazaris:
Oh, cool. I really like the H and the L, how they tie really well into each other. It's still really readable, which is hard to do with monograms. Sometimes they can get really wonky.
Kathleen Illustrated:
Yeah. I never know what they say. OOH, an expensive wine with a deep bubble or whatever.
Alex Lazaris:
Is that how you know it's expensive?
Kathleen Illustrated:
That's how I because it costs more and it has something to do with preserving the taste.
Alex Lazaris:
Wow. I didn't know that.
Kathleen Illustrated:
Yes. So if you go to the store, always feel the little bottom. Do you agree, Justin?
Alex Lazaris:
Justin said no photoshop. Well done. Yeah, it looks I mean yeah, that's cool. I like the scene. I like how you kind of created an environment to help reinforce the narrative.
Kathleen Illustrated:
Yeah.
Alex Lazaris:
And that the monogram is so nice.
Kathleen Illustrated:
Right. Like, even the kind of whitewashed wood and the almost like, country chic.
Alex Lazaris:
Yeah. Everything about it. Yeah. Does feel like you just picked fresh peaches off the farm.
Kathleen Illustrated:
Yeah, off the tree.
Alex Lazaris:
Tree. There we go. The peach plant. Come on, guys.
Kathleen Illustrated:
You know the peach baby that you never mind. All the wineries are in Texas. Okay. Oh, the weight of the glass got you. But the wine is very cheap to ah, interesting. The more you know Justin nice. So what else would you like to see in this project? Because there's really, like, this scene and then there's the total thing mocked up. Is there anything missing, in your opinion?
Alex Lazaris:
I guess I think making it a little bit more real. Right. I think the mockups are great, and they're always great to show the concept and stuff. Right. But the compositing part of it, I think sometimes, especially if these are real companies, it'd be just great to have a real photo. Maybe it's in the actual winery or things like that that help sell the story a little bit more, rather than just like, here's a thing I made. I want to see a little bit more why I made it or how I made it or how it lives with the rest of the collateral or a little bit more explanation. I think it's hard whenever you have just, like, two images to sell a concept. But I think, like I said, the monogram is delicious and the peaches and everything. Really good job tying this together. Did it have a back label in there?
Kathleen Illustrated:
No, thanks.
Alex Lazaris:
Okay. Yeah, because I was wondering about the volume labels and all that stuff, because he's been so good about telling us everything.
Kathleen Illustrated:
Right. Show us your way. Maybe we'll see it in a different project.
Alex Lazaris:
Yeah, totally.
Kathleen Illustrated:
Cool. So what else would you like to look at?
Alex Lazaris:
I want to see the beach one.
Kathleen Illustrated:
This one?
Alex Lazaris:
Yeah. Summer vibes. Hardcore.
Kathleen Illustrated:
Rusty Hook Winery.
Alex Lazaris:
That's cool.
Kathleen Illustrated:
Yeah. You even have the color of the wine.
Alex Lazaris:
Yeah. And I like that he brought the sand onto the bottle, too.
Kathleen Illustrated:
Definitely.
Alex Lazaris:
It looks like you just threw it down on the beach and ready to go.
Kathleen Illustrated:
Like a corona.
Alex Lazaris:
Oh, man.
Kathleen Illustrated:
Wow. Okay. So cool. We see a little bit of marketing collateral.
Alex Lazaris:
Yeah. I love the quirking.
Kathleen Illustrated:
Look at that. It looks real. I mean, it probably is if this is a wheel wine.
Alex Lazaris:
Wheel wine. The Westy Hook. I love the mermaid on the hook. That is so cool. Rusty hooks. To me, like, the name is dangerous.
Kathleen Illustrated:
I'm like, Be careful, girl. Your flesh is close.
Alex Lazaris:
Yeah. You're going to have to get a tetanus shot.
Kathleen Illustrated:
Seriously.
Alex Lazaris:
That's cool. I especially love the red bottle.
Kathleen Illustrated:
Right? Me too.
Alex Lazaris:
That contrast and just the label on it is so nice.
Kathleen Illustrated:
Especially this kind of. Tealy color with this bright, like, poppy nation.
Alex Lazaris:
That's so cool. I love how it just isolates with the compass behind it.
Kathleen Illustrated:
Right. And we can see on this one that there is a little bit of a back label happening. Can we see it anywhere in the project? No, I wish we could.
Alex Lazaris:
I know.
Kathleen Illustrated:
Unless to you, Jason, that's like or Justin. Sorry if that's not important.
Alex Lazaris:
Yeah, it's probably not. I'm just like over here, like I just want more. I just want more all the time. Just give me everything. But yeah.
Kathleen Illustrated:
So Justin said they're all real projects that I design and worked on.
Alex Lazaris:
Very cool. That's awesome.
Kathleen Illustrated:
So what would you say that we could add to this.
Alex Lazaris:
Maybe more story? Yeah, I think it just goes down to more story. Right. I think when you're looking at Behance projects, which makes it look a little bit different from Dribble or whatever, is like how much information you can pack in there or how many photos you can post in. So when I'm looking at how I can get to the level of other design firms that are incredible and what they do on Behance, they might have six different variations of the same shot. Like it might be different compositions and ways of showing the collateral, but it's still showing collateral, but it's six different shots of it in a kind of an interesting way.
Kathleen Illustrated:
Yes.
Alex Lazaris:
So I think just building off of that and just showing more of the insight, like, I loved that bottom red label, but because of the grid system on there, it's so small compared to the corks, which if you're actually comparing them by size, the quirk is obviously very small. So I think the hierarchy and just making sure that things feel at scale correctly might help.
Kathleen Illustrated:
Yeah. Justin says that he's going to be uploading more for this one. Awesome. The back label, et cetera.
Alex Lazaris:
That's perfect. Yeah. I think just doing that and then maybe even seeing how the marking collateral is being used or how they're using your bottles, like all that stuff helps solidify the story and the design work you did.
Kathleen Illustrated:
Yeah. I want to see these in stores. I'm going to drill these into my brain so I can keep an eye out.
Alex Lazaris:
Absolutely.
Kathleen Illustrated:
So I think we could probably have time to look at one more if anything else jumps out to you.
Alex Lazaris:
Let's do the second from the top left. So down second from the top. That one. That was the worst way to explain where something is.
Kathleen Illustrated:
No, I get it now. A different style.
Alex Lazaris:
I like that you're contrasting all your styles and they're a bit different from the last one and that shows diversity and range really nicely.
Kathleen Illustrated:
Oh, nice. This one has a back label. Perfect.
Alex Lazaris:
Yay.
Kathleen Illustrated:
This is my favorite label so far, I think.
Alex Lazaris:
Yeah, me too. I love the why am I blanking on the word? This thing, that thing tumbleweed thank you. I like the thing with the stuff there.
Kathleen Illustrated:
I like the thing that rolls around.
Alex Lazaris:
The second from the top left thing. Yeah. The tumbleweed is awesome. I think it's great. I think that ties really well to the name. Yes. I think it also plays off the delicate dry white wine aspect really well. Yeah, I'm really liking it. I like that you took the time to also mock up both front and back labels alongside the actual bottle itself. I think maybe if you were to, again, scale wise, just decrease the margins of white space on the bottle itself so that it feels like it might maybe it's one to one or maybe you're just showing it. Maybe your next image is a close up of the bottle with that middle section with the label rather than just front and back label. I think if you were to photograph it, show some light the front of the bottle a little bit more too. It's like lit, right? That's lit.
Kathleen Illustrated:
Ha.
Alex Lazaris:
Amazing. Yeah. I think if you just light the front, crop it in that middle section and show the front label and maybe do the same thing with the back, I think it would be great. But I love the foil treatment too on the bottle. You're showing how it lights up.
Kathleen Illustrated:
Yes, totally.
Alex Lazaris:
Such a cool little feature and detail to show.
Kathleen Illustrated:
Yeah.
Alex Lazaris:
Come on.
Kathleen Illustrated:
Come on down. There we go. Yeah. I love how just well, I feel like the story matches everything you've designed. So this kind of lineny texture, the really light but scratchy style of the illustration and then it's talking about the kind of soil it was grown in. It's shallow sand, rock and clay mix. So sand fighter is perfect. It just feels hearty.
Alex Lazaris:
Yeah. Did a really good job pairing the type and the balance of the white space.
Kathleen Illustrated:
Super well. Yes. Love it.
Alex Lazaris:
It's awesome.
Kathleen Illustrated:
Cool. Nice job. Justin. If you want to go follow Justin, it is behance net inky. 33. 33. All right, let's move on to our next one. We're going to be checking out Katie Humble's portfolio.
Alex Lazaris:
Sweet. I've seen Katie and Chat all the time.
Kathleen Illustrated:
A fellow Ohioan. Amazing. Although you went to Michigan State, so.
Alex Lazaris:
Boo going back to that. Hope you didn't enjoy your college experience.
Kathleen Illustrated:
It's probably a really good school. Okay, so Humbledesign.com, awesome that you have that in your header.
Alex Lazaris:
Yeah.
Kathleen Illustrated:
Cool logo. It's very memorable to me. Got some nice experience going on. Cool little about me. You might need to add an I here. It is helpful, but I think that's just a typo. Cool. So what do you want to jump into first?
Alex Lazaris:
I want to see the Humble hen house.
Kathleen Illustrated:
Humble hen house. Do you have chickens?
Alex Lazaris:
Wait, branding for a backyard chicken owner.
Kathleen Illustrated:
Katie, do you have chimpins chimpanzee? Look at all those chickens. Okay, so branding for a backyard chicken owner. Concept of this brand was inspired by the chicken's main purpose to lay eggs. The burnt orange color was selected to match the color of my client's original chickens. Your original chickens. We know they're your chickens.
Alex Lazaris:
Katie, we're on to you. I love it. I love the use of the negative space to create the chicken motif. The egg. The silhouette is really nice. I like the type lockup with it. It's super clean. This is really well done.
Kathleen Illustrated:
Yeah, like the Ovular shape of the because usually things are kind of locked up in a circle or like a square, but the oval goes well with how this is stacked tall.
Alex Lazaris:
This is super fun.
Kathleen Illustrated:
Nice job. A little bit of laser cut or edge, whatever.
Alex Lazaris:
What is that called? It's engraving fromage not fromage that's cheese hodgepodge. No.
Kathleen Illustrated:
Mod podge.
Alex Lazaris:
Yes. Where you can layer things on glass. There we go. I'm just going to say all the odds. Crossages.
Kathleen Illustrated:
Nice.
Alex Lazaris:
Humble hen house. I love that too. See, you're starting to really get into the locking it up and showing it in context of things, and those look real thing, so that's super cool.
Kathleen Illustrated:
Even the color combination is really interesting and fresh.
Alex Lazaris:
Yeah, and I like that, the way you photographed it. There's almost the egg hole behind the chicken, too. That plays really nicely into all the other rounded shapes that you have. So that's really something that, whether intentional or not, it plays off of it well.
Kathleen Illustrated:
Wow.
Alex Lazaris:
Alex making it up as he goes. I mean, this is the first time I'm seeing things.
Kathleen Illustrated:
Yeah.
Alex Lazaris:
What do you expect fromage crossage triage? I'm going to be a hip hop artist soon. Just wait for my album to drop.
Kathleen Illustrated:
That's your podcast. You're just, like, rapping about your critique, but you just say, like, the wrong word the whole time. Oh, man. You got to remember, people, you saw.
Alex Lazaris:
It first here, guys.
Kathleen Illustrated:
It's hour six of Alex streaming. This is Tiring stuff right here. Cool. So what would you want to see added to this?
Alex Lazaris:
May maze? No, I like it. I just want to see it on more things, I think, or more collateral with it, maybe. It's like I don't know. I think you did a good job of just showing the logo really simply and showing it executed on top of things. I'm always down for more, so more, please. All of it. Even like, if it's like the chicken coop with a little logo on it or whatever, that could be so fun.
Kathleen Illustrated:
So cute.
Alex Lazaris:
Or just like a photo of a chicken where you're showing, like, a monochromatic version of this, maybe, where you're like, okay, look, it looks really good in color, but then maybe it's just all black or all white, and you're just showing it kind of overlaid. So it's like look, it scales really well.
Kathleen Illustrated:
Yeah. Maybe it on the burnt orange background and everything is white or negative space.
Alex Lazaris:
Or, like, showing how even the type right. So you have the three lines right now. Maybe sometimes it has to be two lines only.
Kathleen Illustrated:
Yeah. How else is it locked up?
Alex Lazaris:
Yeah, exactly. What are the other lockups? How do you approach the branding project of it?
Kathleen Illustrated:
I have some thoughts about how this little illustration is just laid out. I love how you just keep repeating the Ovular shape, like the half circle, like here, and you bait the beak out of it and the little rooster topper, but I feel like there are some areas that you could push it even further. I don't know if you need this extra little bit down here. I feel like this whole body could just be one.
Alex Lazaris:
Yeah, just make it a little bit bigger so it goes straight into the negative space. Yeah.
Kathleen Illustrated:
And same thing here. Like this could just go straight up instead of having this extra little bump right here, maybe you don't even need this bottom half of this beak. Okay.
Alex Lazaris:
Hello. It's us.
Kathleen Illustrated:
Interesting. Katie, where'd you go? Okay, so this is really beautiful.
Alex Lazaris:
Yeah, I really like it.
Kathleen Illustrated:
Nicely done. Let's look at another one.
Alex Lazaris:
Another one. Let's go. Rice. Rice, baby. That looks brand new. It looks kind of in the hierarchy that you really want.
Kathleen Illustrated:
Healthy quick dining option allows you to build your own rice based bowl by selecting rice, protein toppings, and south. Cool. You took inspiration from the shape of rice grains, which you did previously with the egg shapes. That's cool.
Alex Lazaris:
Yeah.
Kathleen Illustrated:
You incorporated it.
Alex Lazaris:
I like the pattern with the rice too. That's really kind of a nice little detail to continue to reinforce the brand and show how it can scale for other collateral and stuff.
Kathleen Illustrated:
Yeah. And that shape is the eye.
Alex Lazaris:
Well done.
Kathleen Illustrated:
Cool. Oh, nice. It's a full menu.
Alex Lazaris:
Wow. Cool.
Kathleen Illustrated:
Got a little bit of overlapping happening here at the two. That's nice.
Alex Lazaris:
I like it. You're really good at using eggs.
Kathleen Illustrated:
Yeah. You're like? I like eggs. You're like that girl from the Amanda show. Nice. I like this little you're showing the pattern knocked in the negative. The black.
Alex Lazaris:
Yeah. I think the one part of this right here that I would want to see done a little bit differently is the tiling on it doesn't feel random enough for me.
Kathleen Illustrated:
Yeah.
Alex Lazaris:
I think the pattern is a really good concept, but I think right there, it feels too much like a grid. So maybe there's an opportunity to play with how it repeats or just making that pattern board a little bit more sporadic and then repeating it so you can't really tell where the pattern starts and stops. And then I wouldn't crop it like that as much, because I think if you were to just mask it out and work around each point, I think it'd be a nice placement of it where you still get the outline of this circle, but less of the just cutting off.
Kathleen Illustrated:
Yeah.
Alex Lazaris:
Right now, it doesn't feel like there's a point to cropping it like that unless you were continuing with the circular motif throughout the rest of the items.
Kathleen Illustrated:
Right, that makes sense. Yeah. I don't think you need to cut off any of the grains. Yeah, you could easily just grab it. And in Illustrator, it's super easy to customize your patterns. This is a great color palette.
Alex Lazaris:
Yeah, absolutely.
Kathleen Illustrated:
I love.
Alex Lazaris:
OOH, that's fun. The burger box reminds me of being a McDonald's as a child, and I love the healthier option. I already feel skinnier. Thank you.
Kathleen Illustrated:
Yeah, rice. That's a good, good rice.
Alex Lazaris:
Yeah.
Kathleen Illustrated:
Nicely done. Let's look at one mo.
Alex Lazaris:
Cool.
Kathleen Illustrated:
Real quick.
Alex Lazaris:
Like American architect.
Kathleen Illustrated:
That's here.
Alex Lazaris:
That is there. 3d poster.
Kathleen Illustrated:
Whoa. That's cool. So we're going to do a quick once over and just give some rapid fire critique.
Alex Lazaris:
Cool.
Kathleen Illustrated:
What? Whoa. So you actually interact with it. You could walk inside of it.
Alex Lazaris:
Wow. That's cool. I mean, I love the colors. I love the type. I love that you go down one more check. I like that you folded the type into that seam. That's really cool how you did that. The type looks really legible. I like the graphics kind of being interspersed throughout the bottom of it. I like that you didn't take the buildings and throw them up in the middle of it. You actually grounded them on the actual floor.
Kathleen Illustrated:
Yes.
Alex Lazaris:
Which is a really nice detail. Really good job. Yeah. It's simple, it's clean. I like the multiply effect and overlay that you have kind of going on with it.
Kathleen Illustrated:
Yeah. This is awesome.
Alex Lazaris:
That is geeking out. Incredible.
Kathleen Illustrated:
You're taking 3D in every aspect. Like, you're making the text look 3D. You're actually bringing it into 3D space.
Alex Lazaris:
Yeah. That's pretty awesome.
Kathleen Illustrated:
Very nicely done, Katie. So if you want to go follow Katie's work, it is behance net Katiehumble. Really simple, really easy. And then we have, like, five minutes left here with Alex, so we're going to go back down to the ground, jump back into what you've done. First day, second day today.
Alex Lazaris:
Yeah.
Kathleen Illustrated:
Let's just do a quick overview.
Alex Lazaris:
Super quick overview. So there was a lot of type, a lot of messing around with stuff, lots of playing with how it can look. Realizing that we can use the Puppet Warp tool to do a lot more collateral, which is awesome. I'm super excited to spin up some marketing taglines and some Instagram posts around it and just play with the Puppet Warp tool to get the type to be polished a little bit more. We typed up sorbo and SoBro and reposado and ripapado and blanco. Yeah. Lots of different words that weren't anything that we were supposed to be typing.
Kathleen Illustrated:
Too much tequila.
Alex Lazaris:
Too much tequila. And then now we have a GIF, and we have some really fun bottles. Let's close this tab group.
Kathleen Illustrated:
It's like, don't forget about me on the timeline.
Alex Lazaris:
So I love this. Now that the colors are a little bit more close to the tequila bottles. Actual liquid colors. Now it feels a lot better. It feels a little bit more unified now that they're all the same color. The design system seems to work across all the bottles, so I'm excited. Next steps are build out more collateral, make more gifts, make more fun little tote bags, start to make the brand feel more and more real. Then eventually print out the labels, make a whopper of a Behance post and share the process. You guys can rewatch all the videos, all that stuff, and then ship off some bottles to my friends at Adobe so that they can sorbo together.
Kathleen Illustrated:
Yay. Let's sorbo have a sorbo party.
Alex Lazaris:
I like it.
Kathleen Illustrated:
Sounds good. Cool. And if you want to follow Alex to keep in touch with his project while he's uploading behance net, let's open up your thing. Alex.
Alex Lazaris:
Lazaris.
Kathleen Illustrated:
Behance net. Watch me. Watch me type. Watch me. Nay nay. Whoa.
Alex Lazaris:
We're 100,000 views now.
Kathleen Illustrated:
That's crazy.
Alex Lazaris:
Thank you, everybody.
Kathleen Illustrated:
That's amazing. Cool. Seriously, seriously, go follow him as well. Check out Lazaris, your boutique design. Boutique.
Alex Lazaris:
Yeah, works for me.
Kathleen Illustrated:
Sure, whatever. Yeah. And I would definitely recommend checking out how he lays out his projects that he already has. We've gotten a little taste of it.
Alex Lazaris:
Today, but I realized how look at that skateboard project real quick. It's such a whopper of me trying to explain how things happen, like what TwitchCon was, how we approached all the boards, like, showing in again, a lot of really good photos to explain the event itself. And then is that Dr. Doom? Dr. Disrespect.
Kathleen Illustrated:
Disrespect.
Alex Lazaris:
Yeah. Super big streamer. But then I try to explain the goals as much as possible, too, and then I break down how the merchandise was. Before I started working with the merchandise team, it was very just logo heavy, and then explaining away from just being logo heavy and going to a more narrative based thing incorporating the Long Beach theme. And then I'd go into a whole research of how Lanyach does their skateboards so that I could understand what they would do that would be on brand for us. So I get really detailed in my Behance post. Don't have to do it like this, but it takes a very long time to do it like that.
Kathleen Illustrated:
Like, as much time as it took you to design the project more.
Alex Lazaris:
So I think I had three days to do the skateboard graphics, and then I probably spent three weeks on the case study. On and off, man.
Kathleen Illustrated:
So, seriously, go check these out. This is like a case study on a case study. Very, very good. Alex, do you have any other places you want to send people, or is Behance good?
Alex Lazaris:
Behance is the best.
Kathleen Illustrated:
Behance is the best. Thanks. I like to hear that. And we're off. No kidding. But seriously, go check them out and chat. We're going to be back tomorrow at 1130 with Val doing day four, I believe, of the Daily Creative Challenge. Someone was wondering how they can get feedback on their work because they really liked how we were doing. Portfolio reviews. You can go to discord and post your work in design feedback. We're kind of focusing on the Daily Creative Challenge right now, but we're happy to. Like, if you were to post your own behance project and ask for specific feedback on things you're not sure of, you will get a lot of feedback. Promise. Look at how many people are in here. It's pretty amazing.
Alex Lazaris:
It's an awesome community to get another set of eyes on your project and just get some good feedback going. And don't forget, you don't have to be good at everything. There's other people that can tell you how to typeset yes. Leverage them in the community and just grow together. And it's a really good way to do that.
Kathleen Illustrated:
Yeah, you can even just ask questions about photoshop or design or just chat. We've got tips and tricks. We have Tim posting his pro tips every day. There's Gusbot featured in there. So, yeah, come check us out. Bit oi. PS. Discord. And we are off for the day, so thanks, Alex.
Alex Lazaris:
Bye, guys. Thank you for having me.
Kathleen Illustrated:
Bye.
