*Transcription Disclaimer: the following transcription was automatically generated, and may have errors, or lack context.*
Alex Lazaris:
Welcome back to day two out of Two with Anika. We are so excited to have you back today. Yesterday was so much fun. Chat was popping off and if you don't know, if you're tuning in for the first time today and you're watching on YouTube, make sure you come over to hang out with us and chat on Adobe Live. To hang out with us, interact with us, ask us questions, give us suggestions. We have a couple things today that we're going to probably want to be asking you to get some polls, get your understanding. Like we want everything. No chat, all chat. Give us everything you got. I see tons of friends in here. We got Wade, Shauna Kimmy, Voodoo val, Barbara fergie, Laura. Lots of people from day one. So today's going to be a really exciting day too. Anika, tell everybody briefly about you. What are we going to be working on today? How are we picking up from where you left it off?
Anika Aggarwal:
Awesome. Thanks. Alex, amazing introduction as always. And thank you to everyone at the Adobe Live team. This is amazing. I'm having a ton of fun. Yesterday was amazing. If you guys were here, welcome back. If you weren't, welcome. My name is Anika and I am a graphic designer and artist from New Delhi, India. I work with Brand Identity Illustration and I live stream here on Behance every week so you can come join in on the fun as well. I am going to quickly switch over to my screen. This is my behance. You can see, you can go to forward slash a nitaag. You can check out all of the work. I'm not going to go into it again because we went into it yesterday. But if you want, you can check it out from the info tab. You have all of my socials Linked here. You can go to LinkedIn, Twitter, YouTube, you name it. Right. You have some information and a few of my projects. I want to quickly dive into the show reel I made yesterday because it's just a quick way to show you my work and we are just going to take a look at that. Also, if you joined us yesterday, did you have fun? Tell us in the chat.
Alex Lazaris:
I had fun. I will speak for all of Chat. I think yesterday was such a great time. Again, I'm going to gush over your fantastic little show reel that you put together. I think it's such a great way to build little interactive elements to your work. Also show that you can bring this to your clients as well. So I think it's a great way of just being like, I can do a little bit of animation work on top of it. Might help you get the additional work that they might be pitching out to other creatives. So I think it's just a great thing to be even more well rounded. You've crushed it. Love it. Do some show reels, everybody. They're awesome.
Anika Aggarwal:
They are. Okay. Awesome. This is just running again on loop. I'm just going to pause that really quickly and go to my screen. Let's just give a recap about what we did yesterday. If someone did not join us, you can get on here and learn more. So we are working on a restaurant brand identity today. We started it off yesterday with logo design. I was working on some sketches. This is the discovery rec for the brand. It's called puro. It's actually a Mexican inspired restaurant. And it is with this idea in mind that we want to keep sustainable produce and not just focus on packaging, since produce is wasted annually. Annually. Just because there's a freckle on a potato or maybe a tomato, tomato, tomato. And yeah, we don't want to waste those tomatoes and we just want to use them all up for our text mex. So we are doing that. We want to do that. And we also want to break the stereotype that vegan food is boring. That's the goal. And then we covered some brand traits. So the brand is honest, local, unique, and natural. We touched a little bit upon what the brand is. We want to keep everything transparent with our customers. And we are the same people, so we want to uplift our community. We have our own farm where we get the food from. We have our local harvesters. We partnered with them. We get all of their produce from them, right? So there is no funny business. It's all natural, it's unadulterated, and that's what the name is for. So it's basically Puro, which is Spanish for pure or unadulterated. And that's what we are. We are pure over here on Behance.
Alex Lazaris:
Love it. And this ties back to trends that we're seeing in the restaurant hospitality industry already, where consumers are being way more conscious about where they're getting their produce from, where they're getting their meals from. So I think when you can do these things that tie back to trends that you're seeing in the actual marketplace, it really works to present strategy and documentation to your client. So love all of that.
Anika Aggarwal:
Awesome. Amazing. Then we touched a little bit about what is going to be our usage, where we're going to use the logo. So this is typically information that the client provides to you. But since I'm my own client here, I just took the liberty of writing all of these because I thought it'd be fun to mock things up. Because when you're showing your pieces to clients, they don't necessarily have your same aesthetic and a design sense that you do. They might. I'm not saying your clients are stupid, because they never are. Clients are king. And you can actually just tell them that, hey, if you put it on a billboard, this is how it will look. And it's easier to visualize. And you always want to make everyone's life easy. And that's what we are going to do today. So we're going to work in some Photoshop. We are also going to make some business cards. Maybe we work on some stickers. We were working on illustrations yesterday. I took the liberty of going to Illustrator on the iPad, vectorized, everything, because I didn't want to use the Pen tool and waste a ton of time. I was like, hey, I have the iPad and the Apple Pencil. Let's just do it. So we're going to work on those. We have the mood boards right here. A lot of color. I have a color palette. I want color palette suggestions from the chat. So, yeah, we can get a poll running. We can get Val to run the poll also. Hi, Val.
Alex Lazaris:
Hey, Val. How you doing? Yes. So great question. So for this poll, for your color input, what kind of color palette are you trying to look for? I know you've got your mood boards here, but can you be a little bit more specific in terms of kind of color range that you're thinking about?
Anika Aggarwal:
So I was talking to a friend about it, and they told me that there was this fashion brand. I think it was a runway project, and it was a Mexican inspired fashion show and a fashion thing. And I went to Adobe Color. So I went to Color Adobe.com and I generated extracted a theme from an image. So these are essentially images from my mood board that I used for the color themes that made. And so I took probably this image. I took another one from the top one over here and just mixed and matched. I honestly don't remember which ones I used. But if you go to Color Adobe.com, you can go to all of these you have all of these tabs right here. You can click on Extract Theme and just click and drag. I am just going to see if I have anything that I can click and drag. Okay, cool. This is just an image from Adobe stock that I got. This is, I think, a free image. So Adobe stock has, like, tons of free stock images that you can get. You go to Stock Adobe.com, slash free, get all of these images, and you can click and drag on these colors right here. And that's how you can generate a palette from any image. So you can do this from anything that's around you. So maybe I want an image of my phone, and I can just do that. So, yeah, that's how I generated it. And you can also extract a color mode so you can go to colorful, bright, muted. It will automatically adobe sensor will do all the work for you. Then you have the accessibility tools, which are fairly new, and a lot of people haven't used them yet. I know that for sure. And then initially there was just contrast checker on the web version and now there is colorblind safe options as well. So you can go over here and see that these colors are not colorblind safe. So if it's like a dur, I don't know how to say that, but there are various types of where is it?
Alex Lazaris:
Right words.
Anika Aggarwal:
You guys get it.
Alex Lazaris:
As a Greek person, I should be able to say that. But don't tell Claudia, okay? She'll roast me.
Anika Aggarwal:
Yeah. So there are different types of colorblindness, and all of those, they see color differently from each other and also from people who don't have colorblindness. So it's a very good idea to make your design accessible by using this contrast checker and this colorblind safe palette over here. And just click and drag and see if it is. So now you can see that no conflicts are found and all swatches are colorblind safe for all of those simulators. Right? So this is super fun. You can also do this within Illustrator. So if you did not know, you can go right over here, go to view, and go to proof colors and proof setup. So you have proof setup. It is working. CMYK, that is already set. You can set it to all of these. And there is colorblindness for these two types. If I select it to this, all of this, you see that this is how these colors would look to someone with colorblindness for the one that started with the D, and then that's because I've proved the colors, and then I can change it for the other type as well. So you can do this within Illustrator as well. So that's super handy. I'm going to go back. I don't know why I hit save, but I just did. And then there's target audience right here. There's late 20 to mid 30s experimental eaters, a broad range, which is why we wanted to make our type based logo something that's attractive to all of these and not just people who are late twenty s to mid 30s. It was a difficult ask, but I think we kind of managed to do it. I don't know. You guys tell me. And then we have the color inspiration, the typography. We took care of that yesterday. We talked all about it in detail. So I'm quickly going to go back to my sketches. Also, you saw a lot of sneak peek before I could see it, but no, you're good.
Alex Lazaris:
Okay. Actually, Val had a really great suggestion. If you do want to get the color palette thing going, I think pulling from different color images that you're going to use for the Adobe colors would probably be the easiest. So if we want to have like, three images to choose from, that would probably be easiest. But I think what we should probably start with is whittling it down onto the logo first, and then we can move into the color, because I think the logo and the color palette the logo will come first. The color palette will come second.
Anika Aggarwal:
Awesome. Okay, so these are my sketches. We went over those in detail yesterday, so if you guys missed it, you guys can go rewatch those. I would recommend mocking it up. And we talked a little bit about that yesterday. We have these type sketches that I was exploring on my iPad. Then these are some things that I was doing. I also put in a post on my Instagram, I think. Yes. I sent out an open call for puns needed because we want puns, folks. We want puns for our illustrations. So I was talking to my friend. I think he's also in the chat. My best friend is in the chat, and he gave me all of these amazing puns, and he's like, you want puns? I got you. And then these are all the puns that he recommended, and we're totally using them. So, yeah, we started with the colon ratio. We ended up with this, which I wasn't really a fan of, but I wanted to demonstrate that you can use colon ratio in your logos. And I thought it would just be a fun thing to explore since I know a lot of people don't use it. And then we touched a little bit upon this shape based logo, which is just a square rotated at different angles to create this funky art deco themed logo. For your convenience, I've put in all the fonts that I've used. So if someone needs to know what fonts I'm using, these are the fonts for the left hand side. It's Halogen. This is an adobe font. This is a Creative market font. We talked about that yesterday as well. And then this is third. I was just exploring what type I can use to make my own type. So these are all inbuilt, not inbuilt. These are all Adobe fonts. These are already made typefaces not inbuilt. And yeah, okay. What? I did something. I did something. Okay, we're back. You didn't lose me. So these are all the explorations. Then we go to the fourth one. I think this was the idea when I was doing illustrations, and I'm like, maybe I can make the taco and put puro inside it. And I tried to implement what you recommended, Alex, but I don't think I got it.
Alex Lazaris:
I don't think a very good suggestion. So you're fine.
Anika Aggarwal:
I was like, okay, Alex Benson, maybe I can pull in the taco with.
Alex Lazaris:
The R. And I'm like, worst hovering art director ever. Not that over, please.
Anika Aggarwal:
And then this was the one that we delved into deeply yesterday. And we started talking about how traditional type is in all of the Mexican places that you've been to. Probably not just Mexican, just like, Southwestern inspired places. And then we started working on these. I went ahead and rectified the mistakes that we had. Some of these shapes were not aligned, so I went ahead and did that also I see you Fergie hi pani puns?
Alex Lazaris:
Yeah. Fergie says that they've sent you some puns.
Anika Aggarwal:
I can never miss a pun. So these are all the variations. Always remember to keep copies. We did that and then we landed on these two. So these two are just inverse of each other. In this one we are subtracting the shape of the shape you're using to create the serif. And in this one we are adding the shape onto the type that we chose. Right. So these are the two options and I'm quickly going to go jump into some more explorations. I did off stream, and this was one of the sketches. I think Wade really likes this one. Wade, do you remember it? This is the one that Wade wanted me to explore. So I was like, okay, let's go ahead and do it. So these were the options I came back with. I wanted to make it a variable width, so I took a rectangle the size of this. This is all made with the pen tool. I did all of these. I did not like how this turned out to be because sometimes it happens that you make a sketch and it doesn't replicate in design. Maybe because you did not focus enough while designing it. Or maybe it did not turn out the way you did because you did not consider how it would look when all the things are aligned. And then these things came into picture. I did not like this at all. This was too small. I gave myself a break, came back to it. And then this was another exploration I did. Again, this is just a derivation of this. Instead of making the width larger here, I decided to bring down one of the anchor points from here. And you can see I touched upon the P and the R being slightly bigger. Like the bowl of the P is bigger than R. That happens here. We have puro right here and then various versions of it. I tried this version. I wanted to make it look kind of funky. I don't know if I like it. I did not work on it more, but it could have been something. And then there are this. Then I lined it up on this. This is another exploration and these were the final versions. I decided to chuck this off because this was not meeting our brief. And then, yeah, let's dive into all the options. We have option number one. And Val. Pay attention. This is for you. We have option number one. I don't know if I want to include this, but I'm just showing all of my process here. So this is option one. We have puro inside the taco. The one tip that I would give for anybody who's just starting to logo design is that, hey, you don't need to get into color details. Don't die straight into it with color. Just make the black and white versions because sometimes color can take away from the fact that your logo is not perfect. And if you use color right, if I just looked at this, I would be like, oh, this looks nice. Maybe I can eat taco right now. But if you look at this, you can see that there are some imperfections that I don't really like on this because this is a black and white version. So we have option number two. I don't think we want option one, so we're just going to chuck that. This is just to showcase what I'm doing. Option number two is the one where we subtract the shape. I need to add an accent on this because it is comesano and I forgot to do that, so I'll do that today. And the third variant is the exact opposite of it. It's the inverse, where we're adding the shape onto it. So option two is where we subtracting the shape. We have the full lockup right here, black on white, white on black, and then just the logo without the slogan. Then we have a vertical lockup. We have a favicon and a variation of the favicon. And I also made some color palettes, which we'll go into it later, go into later. And then we have option three, which is the inverse of option two. And we have all of these, again, the same full lockup variations, favicon. Then we have option four. And this is typically how I will present my presentation to the client when I'm working with them. I will show them all of these variations and tell them, hey, this is how it looks. And these are all the three options. I typically present three options, and then we go back to one and then iterate on it. So we have option three right here and then option four. This is also something that I experimented with. And this is how it looks like. It does not have the slogan because this is too tall. So I thought it would not look great in comparison with it. This one is not so tall. It's a not so tall typeface. This one does not have a slogan. Since I'm the client, I have liberty to do that. But in case you are not the client, you might have to find a way to include that in your logo lockup.
Alex Lazaris:
I think that one could actually stack really nicely to have a slogan if you really wanted to. Like a wide condense, probably, or just a wider typeface on option four, if you had to. Like, if you had a brief and you had to but yeah, you have the options with that, I think.
Anika Aggarwal:
Yeah. So I would want the chat to give us anything between option two. I'm going to go back really quickly. Zoom in. This is option two right here.
Alex Lazaris:
Val, do you mind giving us a poll for options one through four?
Anika Aggarwal:
Then we have options.
Alex Lazaris:
Is there any way you can put them all side by side?
Anika Aggarwal:
Yeah, I meant option I do not want to include one because I'm not a fan of this.
Alex Lazaris:
Okay.
Anika Aggarwal:
So let's just include option two, three and four. And I will pull these up on the site.
Alex Lazaris:
Because I think all these logos are really interesting. I'm curious to see what Chat says, especially because I love that you still kind of stuck to here. I'm going to provide three concepts, but with two and three being kind of inverses of each other, it's kind of an AB. Like, hey, client, this is what I like here's. Two different variations of how it could work. But maybe if you had to, you could use those as both kind of complementary logos to just the one logo. If there's a certain use case that might read. Yeah. And Shauna says that she's thinking about she has a burrito bowl or a taco bowl in her sorry, burrito bowl in the fridge, that she's thinking about warming it up. So I think everybody after this is going to be very hungry for some delicious Mexican food.
Anika Aggarwal:
I see so many friends in the chat. Thank you all for joining. Hi. Carol Fergie Hayden laura Ryan. Oh, my God, Ryan's here. Dorina love it. Love it.
Alex Lazaris:
And the poll is officially live Chat, so we'll give you about a minute.
Anika Aggarwal:
Can I vote on it? Can I vote?
Alex Lazaris:
Yeah, absolutely.
Anika Aggarwal:
Cool. Let's vote. I'll show everybody what I'm voting for so that they get inspired.
Alex Lazaris:
They get inspired. You're totally tipping the scales in your favor.
Anika Aggarwal:
I am totally voting for number four also. Yeah, I totally named them wrong, so I'm going to rename them. This is two. Wow. Can't type. Can't type.
Alex Lazaris:
It's okay. It's getting late in the week. Typing is tough. It's fine.
Anika Aggarwal:
Typing is tough.
Alex Lazaris:
Hayden says three.
Anika Aggarwal:
Three.
Alex Lazaris:
Three. Laura says two.
Anika Aggarwal:
Two.
Alex Lazaris:
Two from the poll is number one in the AI file.
Anika Aggarwal:
Yeah, I'm sorry about that. I did do that. But now it's perfect. Two, three, and also which is also on the structure.
Alex Lazaris:
So yeah, always a great reminder to correctly label your art files when delivering them to a.
Anika Aggarwal:
Thank you, Laura.
Alex Lazaris:
Thank you for that learning opportunity. Perfect. All right, let's see what Chat says. Let's see what the poll is. All right, so I think you may have swayed it. So we've got results breakdown. We got the black and white, aka number two, and that's 26%. That's narrowly beating out option three, which is the black and white inversed at 22%. And then our fourth option is the black and white unique version, and that is a winner at 52%. So half of the participants have nice.
Anika Aggarwal:
So I did influence them.
Alex Lazaris:
Number four.
Anika Aggarwal:
I'm an influencer. I made it. Look, Ma, I made it.
Alex Lazaris:
There you go.
Anika Aggarwal:
Okay, awesome. So we have number four. Thank you guys for all of that input. I love it. I actually secretly wanted four, which is why I totally did that.
Alex Lazaris:
I think four is the strongest as well.
Anika Aggarwal:
Amazing. That means so much coming from you. And then these are the color palette. We can also get another poll going. I don't think I like this because this kind of looks repetitive with all of these. So I'm going to grab these colors right here, go to Color Adobe.com and get some images. Hayden's. Like, I was so right. I chose four. Of course you were right. You're always right, Hayden. How dare.
Alex Lazaris:
Even. Do you have any reference images that you use for your colorboard?
Anika Aggarwal:
Yeah, I'm just going to grab some of these images that I got off of. I think I want some greens in it. So maybe we'll grab this one.
Alex Lazaris:
Yeah.
Anika Aggarwal:
And oh, funky colors. I really already like this, and I'm just going to name it Theme Four because I already made themes off of this.
Alex Lazaris:
Okay.
Anika Aggarwal:
So I'm going to publish it to Color. And also, I remember saying that you might get freebies. So if I'm feeling lucky and you guys choose, like, the one color palette that I want, you might get access to this. Adobe color library. I'm sorry. Adobe color library. So it will be a collaborative color library that you can access. Maybe you want to use some of these colors in your work. You can use those.
Alex Lazaris:
Carol told me to tell you that the black one with the little red bits is very interesting as well. It's not in the poll. It was what you used to build some of the shape language. That's a great question because I know we originally yesterday, we had the black and red for the doohickeys, the thing, or mabobs on the sides, and then this. Yeah, that's interesting, too. So this is a really interesting option where, like you said earlier, build your logos in black and white, make sure that they function both inverse and negative, and make sure it works normally. And then you can start getting into the color stuff later on whenever you don't have to worry about that. So yeah, we could absolutely explore that later on. Good call, Carl.
Anika Aggarwal:
Cool. Thanks, Carl. Awesome. So I'm going to go to Windows Libraries. Also, I forgot to tell you guys, you can see all of my keystrokes and all the shortcuts I use on the top right over here. I'm pressing command on the keyboard right now, so I increased the timer a little bit more so that it stays on the screen for a bit. I thought that was not visible yesterday, so I changed that. And if you want to access the color libraries, I know Val does it a lot on her DCCs, which is amazing. You go to your window, you go to libraries, and these are all the color themes that I picked. These are all the themes that I made. And you can see that I got a bunch of these mixed and matched them and then got it. So I have this right here. I'm going to pull it. If I select the shape first, press I on the I don't need to press I. I think we got theme four. There are two themes. For themes four, there are two four. Two what? Anyway, there were two themes with the same name, and this one is the one that we just got. I select the shape first, get the color, select the shape, get the color, and so on and so forth. That's how you get the colors from the color library. You don't need to necessarily drag it out of your library. So we have the colors right here. I'm not a fan of this black, but we're going to go with it also.
Alex Lazaris:
So I know you're operating in Cyk right now. Is there any reason why you've built document? Yeah. Earlier, I think you changed your color preset to CMYK. Yeah. Working CMYK is your proof setup.
Anika Aggarwal:
Okay. Yeah, that was a mistake. I totally wanted to do RGB, and my Document color mode was also RGB, so I just assumed but yeah, no, I didn't want to be in CMYK. I want this all to be for the web because we're not working in print.
Alex Lazaris:
Yeah, but it looks like those colors are slightly off.
Anika Aggarwal:
Yeah. Cool. They're better now, right?
Alex Lazaris:
I think they're still washed out a little bit. Look at them compared to your libraries. There you go. That looks better.
Anika Aggarwal:
Okay. Yeah, I think so, too. Let's just bring these here. Sometimes it can be yeah, cool. Yeah, much better. Cool. Amazing. Thank you. Yeah, I would not have caught that until later. I would be like, what?
Alex Lazaris:
It's just a shame because you have these really great, vibrant colors from the images, and I was like, Why does that not feel as bright? That seems weird.
Anika Aggarwal:
Okay, awesome. Yeah. So we have these three color themes and yeah. Which one do you like the most? If you were to pick two of these, which ones would you put? Or if you wanted to make a fourth one, would you make a fourth one? This is for you, and while you do that, I'm going to go back and show people the type choices while.
Alex Lazaris:
You yeah, I think about it. For me, the way that you have that logo, I think it can lend itself really nicely to theme two, but I could also see having a nice contrast from theme one working more. I think theme three feels a little bit too friendly, whereas your shape language throughout the new logo is a little bit more rigid, and I think it lends itself to more architectural notes rather than friendly whimsical lines, those color palettes. So I'm spewing a bunch of nonsense. That's how my brain works. I think that options one or two are going to be my favorite.
Anika Aggarwal:
Okay. So we're going to cut this off from. The options. We're going to go to layers. We're going to go to colors. Group this. Hide it, lock it. Isn't that a song? Hide it, lock it, pop it. I don't know. And then Voodoo Val wants to know.
Alex Lazaris:
Do we need a poll or we're just leaving it up there?
Anika Aggarwal:
I don't know. What do you say?
Alex Lazaris:
It's your call. I feel like we're good enough. We got two color palettes now. We're good. Thank you, Deval.
Anika Aggarwal:
Yeah. Awesome. Okay, so these are the type choices I took the liberty of getting. Also, for the sake of time, I took these for the stickers that I want to create and also the menu that I want to create. So these are some of the ones that I used yesterday. All of these are fonts from Adobe Fonts. And you can grab these I just named them. The things I just put in the words that I'm going to use just so I can visualize better instead of just having random text. And yeah, this is how it looks. This is again by Onotype Co. This is cooperstanner. This is Alpha Regular. And this is again, I think onotype. So, yeah, these are all the ones that I like, really rounded. Really fun for those. Amazing. And I see you writing Comic Papyrus in the chat.
Alex Lazaris:
I've got to it's comic Papyrus. I'm disappointed that you brought typefaces today that were not Comic Papyrus, especially after a follow up yesterday.
Anika Aggarwal:
Yeah, I really have these illustrations. I made them a different width. So if you go right here on the top, you can see all of these. If I change this to uniform. And I made these with the pencil tool on the Illustrator for iPad. And that's why they have perfect curves and everything. But you can do this on the mouse as well. It just takes a bit longer. You select all of these shapes and you can change the width right here. You can also select one of these shapes and you can undroup. I go to this heart shape. I can go to my width tool right here. And I can literally select and decrease or increase these shapes right here. So that's also one way to do it. But a faster way to do it would be just make a width profile. So I would go with my Pen Tool P on the keyboard, drag it out, make whatever you want. Go to my width tool. Go to expand, maybe. This is the width profile that I want. I select this, I go back to my width profile and there's this download icon right here. You click on that and you can rename that to custom width maybe. Right? So I click on OK. And now it is already saved in my width profile. So I click on all of these. I go to my and it's the last one in the stack. We have custom width right here. You hover on it and that's where you can see the name. This one is with profile two. I think I created these earlier somewhere with profile One, two and Three are the ones that I created. And then I click on custom width, and there you have it. You have a variation. So it's like something different from what would actually look like when it's uniform. Also, everyone just started talking about Comic Papyrus. I mean, Chat needs to be, you.
Alex Lazaris:
Know, after yesterday's deep and thorough conversation around Comic Papyrus and all the benefits of having both typefaces into one, it's really brilliant. So I think Chat is just full of believers.
Anika Aggarwal:
So, yeah, Alex has converted you guys.
Alex Lazaris:
I'm fully committed to it.
Anika Aggarwal:
So I just went ahead and selected all of my shapes, all of my stroke with this custom width profile that I created. So all of these are super fun. They have a variation. They don't look like they're all the same and very monotonous. Bruce asked a question, but I don't know what it means. Can you elaborate on that, Bruce?
Alex Lazaris:
Yes, bruce definitely give us more context if you're talking about two separate options in terms of illustration styles or width or yeah, let us know. We're happy to answer that for you.
Anika Aggarwal:
Again. So I went ahead and wanted to make these stickers and also patterns out of these. So I just thought that I'll use some of the puns that I already have. Also, I'm just going to go back and grab all of the puns. That my friend Gary, who's also in the chat.
Alex Lazaris:
Hayden has a really good point about Comic Papyrus, and I'll let it be after this, but he says Comic Papyrus saves so much time, no more need to waste time switching between the two fonts. And I agree. It works for headlines, it works for body copy, it works for logos. It's perfect.
Anika Aggarwal:
Not even sure if you're really serious about this. I'm confused now.
Alex Lazaris:
You'll never know.
Anika Aggarwal:
You're trying to convert me.
Alex Lazaris:
Yes, I am.
Anika Aggarwal:
You might be a little successful. We're going to have a talk after this.
Alex Lazaris:
Exactly.
Anika Aggarwal:
Okay, cool. So these are some of the suggestions. I think I want to pull up Twiggy suggestions as well. So just give me a moment while I do that. From Instagram.
Alex Lazaris:
Yeah, I've got hers. Goodness gracious me.
Anika Aggarwal:
Hold on. I am going to type that.
Alex Lazaris:
It's long.
Anika Aggarwal:
Let me go back to my Instagram really quick if I can.
Alex Lazaris:
Taquit. Oh, my God.
Anika Aggarwal:
There you go.
Alex Lazaris:
Avocado. Amazing flavors. Taco. I can't read these. There's too many letters in all of them.
Anika Aggarwal:
Yeah, I think these could be good for when I'm making flyers or something, but for stickers, they might be too long. So we can include these, but maybe in flyers. And flyers can take some time because you want to get the layout right. So if you have time at the end, we will definitely dive into that because I want to get into Photoshop after this straight. So, yeah, we have all of these. I got the heart shape right here, which is not the same anymore. So I'm going to crap this there again. Group it command G to group. Also, before we dive into this, I want to make the logo lockups. Totally forgot about that. Yes. So we have these shapes. Grab the colors, and if you get dizzy while I'm strolling right through my Illustrator file like this, please tell me. I tend to do this a lot. I use both the trackpad and the mouse.
Alex Lazaris:
Yes. Thank you. Thank you. I don't have to convert you on that. That is what I do as well, right?
Anika Aggarwal:
Yeah. It's so amazing. I don't have an external trackpad, but I use my MacBook trackpad for it.
Alex Lazaris:
That's what I used to do. And then I don't have a laptop anymore.
Anika Aggarwal:
Yeah, that makes sense. Totally makes sense. I would also do that. Essentially, I had an option of getting I got a new machine recently, and I had the option of getting the trackpad along with it. I was like, Maybe no, maybe I'll just get the keyboard. The mouse. I'm sorry. The magic mouse. But yeah, maybe I should get it. Awesome. So we have these colors. These colors are different now. So I'm going to select this, go back here, press V on the keyboard. You can see these on the top, right? These are on the shortcuts. So get your hands on it. I'm sure everybody knows this, but if you don't, you have it. I'm not going to use this as, like, the base color, which is really light. So we're going to leave that for later. We have some options. I'm going to click shift and click and drag. What just happened? Okay, so I'm going to click behind. Yeah, it is. Oh, no, it isn't. Oh, it was just not being selected. Cool. So we have these colors. I'm going to change the color of this guy to probably this looks good on the white for a comparison when I put it this way, when I change it to purple, see how it looks. Just to see how it looks. I'm also going to drag these out really quickly, get the full logo, and grab these. You're going to center these. Is it on a different layer? It is on a different layer. No, it's not. Oh, it's the same color. Silly me, it's the same color.
Alex Lazaris:
Love when I lose things like that. You can always also do the outline mode to see if it's there with Command Shift y. Is that right?
Anika Aggarwal:
Command y, command y. And also if it's pose it's on a different layer. It's on a lower layer. You see this colored green thing right here? You can drag it on a different layer just like this. And that goes and you can drag it down. If this layer is unlocked, I drag it down, and then you can't see it anymore, can you? No, it's on the metadata layer. Did I drag all of it? But yeah, that's how it works. You can drag the selected artwork onto different layers, and yeah, it all works. We have the yellow one really quickly. I want to get these and yeah. What do you think about these, Alex? What do you think?
Alex Lazaris:
I think that you've got two really great colors going with the purple and the light purple, and then I think the red and the yellow could probably pair as well instead of just having a white if you wanted to have.
Anika Aggarwal:
More color in there.
Alex Lazaris:
But yeah, I think it's cool. I think the colors are working really nicely. I think it's legible. I don't see, really any vibrating color palette issues that you typically can run into and chat if you're unfamiliar with vibrating colors. Sometimes you have two colors that are a little bit too similar, and the line between them starts to look a little bit blurry, even though it's not. And so what you'll want to do is just make sure that you don't have those colors or adjust one of them so that there's a higher contrast between them, and then you'll have crisper, cleaner lines, and your eyes will not be as fussy. That's a pro tip. Those two greens feel very avocado.
Anika Aggarwal:
Yeah, right. These looked so good. I instantly like these, but I'm also biased to these colors because they're really fun.
Alex Lazaris:
But I think they're fun. I think this brand, now that I see them on color palettes, originally, I was thinking the darker, more whole colors would work, but I think they're a little bit too aggressive. I think it works.
Anika Aggarwal:
I agree.
Alex Lazaris:
As a disadvantage with the sharpness of the poodle type and the squares, the diamonds. So I think the playful approach is the one to go with.
Anika Aggarwal:
Right. I agree with that. These colors are this is not white on black. This is black on black. Because everything is harsh over here. The colors are harsh. The colors are too bold, and the shapes are also too bold. If these were rounded, maybe it would look different, maybe not. Maybe it would look different. But yeah. Since we agree on this, I love it because even I am portioned to this one. And if you want to check for color accessibility, again, you can go to your colorblindness type, and you can see how everything works with this type. You go to view, you go to proof setup. You can change it to these two, and you can see how everything is still you can still differentiate all the colors. That means your color palette is great. So, yeah, you can go back to your yep. I did the right one.
Alex Lazaris:
Yeah. Deanna says, agreed. I'm liking the softer colors.
Anika Aggarwal:
Yeah, amazing. We made the right choice. So I'm going to chuck this right over quickly. My workflow works. Like, I just want to get things out of my vision. I don't delete anything. I just keep everything on the side. This is typically not the file that I'm going to share with the clients. I only share the files that have the full logo lockups and those things so that they don't get confused. These are just for exploration purposes. I'm going to lock these. I'm going to group everything and see where it went away from me. It was in the colors. Cool. So I'm going to lock these, hide it. So we just have the one thing that we're going to work on. I'm going to rename this to Final Logo and I just have this metadata on a different layer for ease of access. So we have these colors on the black and white. I like all of these colors. Maybe we can group it down to just one in the end, but maybe.
Alex Lazaris:
Use all laura says great color choice. So I think everybody agrees.
Anika Aggarwal:
Yay. Amazing. What? Val has a degree in bird law. I just looked at the chat.
Alex Lazaris:
Yes, Val has a degree in bird had. Yeah, it's a long know. She used to do twitch streams, educating people on how to do aviation law. But yeah, just kidding. She actually doesn't have a degree in bird law. It's always funny in Philadelphia. Reference.
Anika Aggarwal:
I was just trying to confirm it. I now know. Okay, cool. I have selected both all of these and selected the shape as reference. Centering it out just for myself. I just want everything to be perfect. Okay, cool. So we have these. I'm going to get these as well. Now it's on the layer underneath it. So command shift, close bracket. We get these square brackets and then I'm going to hold option drag, not shift drag, option drag it. And then I'm going to center it again. I'm going to go to the align bar and go over here. Also, I'm curious so I'm not listening to any music and I just wonder what people listen to when they design.
Alex Lazaris:
Do you guys have a that is a great question. What do you listen to chat when you are designing? That's a great question. I feel like depending on what I am doing, it's very different every day. So if I'm doing a lot of deep strategy work that needs to be heavy concentration, I will listen to chill hop music or something like kind of ambient great things like the Age of Empires soundtrack from oh my God.
Anika Aggarwal:
You know, age of age of empires. Amazing. I was trying to work in Adobe Dimension. When I first started working in Adobe dimension. I wanted to create like a castle and a city and an empire of my own inspired by Age of Empires because I used to play it a lot with my older brother.
Alex Lazaris:
The soundtrack is perfect. There's nothing that makes me feel like a good little worker. Like the Age of Empire's soundtrack and then Marush says epic battle music or indie folk. And then Nihilish says Romantic Marathi songs. So yeah, lots of things.
Anika Aggarwal:
Amazing. Yeah. I sometimes listen to podcasts as well and I'm not doing a lot of heavy work and I just know what I have. Like, for instance, I already have everything and I just want to put it in a different file. And that's when I use song with music. Song with music.
Alex Lazaris:
Voodoo Val says song to lyrics. Voodoo Val says age of empires. Yes, all caps. My grandmother taught me how to play that's amazing. That's so good.
Anika Aggarwal:
Wow. Amazing.
Alex Lazaris:
Still can't read her to this day.
Anika Aggarwal:
So I went ahead and created this library. It's called puro. I have all of these different groups right here. I have merchandise, business card, logo, icon, watermark. I wanted it to be Wordmark typo typing. Wow. Okay. This is what streaming does to you. So you have logo wordmark, you have the full lockup. All of these are empty and I can just drag and drop all of my things right here. I'm going to grab this so it's easier for me to mock these up. I'm going to put this into Logo Wordmark.
Alex Lazaris:
Okay. What I love about your logo mark is that I think it would be really cool on shirts or on T shirts. It's just a cool little mark and I think it could work really well either upside down or just how you have it now as well.
Anika Aggarwal:
It's cool upside down. Interesting.
Alex Lazaris:
I mean, not like you have to do it or anything, but it's one of those marks that's like, oh, that.
Anika Aggarwal:
Doesn'T look bad when it's upside down. Got it.
Alex Lazaris:
Yeah, it's just cool. I just want it on everything always amazing.
Anika Aggarwal:
I love it. This is the kind of feedback you want from your clients.
Alex Lazaris:
Exactly.
Anika Aggarwal:
Or your art director, either way. Was that the black option? Yes, it was. Okay, so I'm going to grab a black and white as well. I didn't want to start, but we will do it. Get this here. I think we do not have a white option. So I'm going to make this white, go to my swatches, color it white. And I'm going to grab this here. Going to do the same for the logo. Get it white, go to press. I color it. And since it's not type and it's all outlined, you don't need to worry about it. Also grabbing the type style from it if you press I. So that's also a fun thing. If you guys don't know, you can actually so cool trick. If you have a text right here, which is by default mirrored, we can go grab it, scale it. Wow. No, don't do this. I grab it, scale it. And we have it right here. And then we have another one, which is, let's say again, the same one that we all know and we are all fans of. And you want to convert this text box into the same type, we select the one that we want to convert. Press I do this. And there you go. Brilliant. Brilliant. Pro tips.
Alex Lazaris:
Love it.
Anika Aggarwal:
Yeah. That's how easy it is to get the type style as well. And then we get I and then we get this one. Also in I think we already had white. There are two white styles. I'm going to go ahead and delete this command. Save. Libraries are auto saved. So you don't need to worry about them not being saved. It's all good. These are duplicates. I'm just removing those. And just for fun, I also want to get this in yellow because, I don't know, it might look good. And maybe we get this one in as well when we mock it up. Maybe we can have yellow as well. Maybe it's a dark color T shirt and we want yellow on top. Absolutely, that might work. So we're going to grab this as well. Grab it. Put everything in your library. So that's why I love Adobe apps, because everything is so seamless. You can just get everything in one library and use it everywhere. You don't need to worry about saving images, exporting them, and then.
Alex Lazaris:
No, absolutely. The great thing about what you're doing right now by getting it all in your libraries right now is you're setting yourself up for success as you're building up your mockups and stuff. So while this might seem maybe to some designers as like an extra step, that's not necessary. Yes. It's not necessarily necessary right now, but with all the mockups you're about to go into and how to do it, it will save you so much time just by taking a couple of seconds now instead of just jumping into your mockups and just throwing things around and having to constantly change smart objects and things you already have. It all done. So might as well just take a couple of seconds early to set it up.
Anika Aggarwal:
Yeah. Love that verbinder in the chat is like, come through game of Grandma. Hope she's excited for Age of Empire Four.
Alex Lazaris:
I'm very excited. That's October, right?
Anika Aggarwal:
Something like that, yeah, later this year. Okay, so I have a few mockups. A few I say I have a few mockups right here. I wanted to get a lot of mockups in. I usually typically do this and then I do this because I don't know what kind of logo I'm going to design. So the mockups need to be in line with the logo that I'm designing. And so I get a whole bunch of mockups first. And these are some off of Adobe Stock. These are some off of other free website, like Graphic Burger, yellow Images, stuff like that. You can get those free mockups. Like there there's also graphicnet. I'm not sure I remember that name correctly, but you can definitely get those. You can get off some of them off Creative Market as Got. I think these are all Adobe stock. This one is definitely Adobe stock. I also renamed them so you can't see. But these were the ones that are definitely Adobe stock because I see them. And then we have these business cards. Now if I go to my Photoshop and go to home, I can just click and drag the template right here. I can click and drag it. And we have all of these. They're already on a different artboard. And I'm going to go here really quickly on a new layer just in case I don't want to destroy anything. So I go to this. This is already set up by Adobe stock. So I don't need to do anything right here. Wow, that went away really quickly. And these were now that I see it, I don't know if I want this to be a really corporate look. That's not what I'm going for. And these hard edges are not the style of the brand. So yeah, I'm not going to use this mockup. I just wanted to show you what I already had. So let's just quickly mock it up before we dive into making like a business card and maybe the badges. Because why waste time when you can do it now?
Alex Lazaris:
Okay, let's do it.
Anika Aggarwal:
Awesome. So I do not think that I have the colors here, which is what I'm going to do next.
Alex Lazaris:
While you do that, also Chat, if you're looking for mockups and you might have something around the house, I'm a big fan of you making your own mockups. Because Adobe Capture not even just Adobe Capture, just take it on your phone, bring it in, whatever you need to do just to make it like a thing. And then Photoshop out the content on the stuff. Because as a hiring manager, as a creative director, if I'm looking for new designers and things, I want to make sure that I'm looking at the portfolio and I see stuff and I get tired of seeing the same mockups all the time.
Anika Aggarwal:
Absolutely.
Alex Lazaris:
So I like to see variation in the mockups or whatever. Sometimes if you take your own original Photos, it's really hard to tell if it's a mockup. So all those things will help you kind of sell it to the client and sell it to future employers and all that good stuff. Definitely recommend it.
Anika Aggarwal:
Absolutely. And another great way to do it is use Adobe Dimension and also Substance app. I haven't personally used the substances, new apps, stager and Materials and Substance Painter as well. But you can do a lot of great 3D stuff with Adobe Dimension. You can mock things up if you're seeing a bunch of work on my profile right here recently. This is Cam mockups all in Adobe dimension. So this is an Adobe stock image. Got these made. It my own. This is all Dimension converted into motion. Because of course, yes, you need motion and then some more images, some more close ups and stuff like that. So these are unique because only I have made them and only I have used them. Which means nobody else has them.
Alex Lazaris:
Exactly. And makes your project look completely unique and special.
Anika Aggarwal:
All right, so I'm going to go over here. So over here if you see this is a smart object right here. It's called zero one. I did not make this mockup, unfortunately. So I'm just navigating. Here what I want. This is the logo. I can see the I icon. The color of the layer is different. It's red because this person who created this mockup probably wants me to just change this. They change the value of this layer, which is just where the logo is going to go. This is the logo of the person who made it. And I'm totally forgetting the name. Also, when you're using mockups of a free website, definitely check the license and see if it's for personal or commercial licenses because sometimes there can be disputes and you don't want to get into that. So recommended is to use mockups that you actually paid for or made yourself or got it from Adobe stock. Because why not? I'm quickly going to touch on that. I'm going to go to stock Adobe.com Free and see all the templates we have. We have links. Oh, adobe. Capture. Val loves Adobe capture. I know that for a fact. You can make 3D texture from Dobie Capture as well. So you have free right here and you can just say apron. Let's say. I think maybe we'll get a better mockup for apron. Oh, I really like this one. This will be a little bit difficult. Yeah, I really like this marble background. Kind of looks like it's on the kitchen table. Kitchen, yeah.
Alex Lazaris:
Do a little color, like a hue adjustment to it and then do your warping on the logo. It's going to be a pain, but you can do it.
Anika Aggarwal:
Yeah, we're going to license that and see if we can do it. We have templates here as well. So these are some there were three templates for apron, which is weird. Let's just do uniform and see what we get. We get uniform. It's open on the side. And this is the JPEG that comes up. We have it here. And this is also weird. Let's say cap. Let's see what we get. Please don't embarrass me, toby Stock. I'm looking for the wrong keywords. So this is a perfect example of what happens when you search the wrong keywords. I'm searching for the wrong keywords and they probably do. Maybe it's like a hat instead. And that's the answer. Right? That is great. I mean, these did not turn up when I wrote cap, but it's called a cap mockup. So sometimes people who are posting these have different keywords on there. So it's not necessary that the keywords that you use are the same. This one is not a free one, but you can definitely check out all the free ones. So if I say business cards from right here, I can't type business cards. And then you have all of these. These are all free. You can see free right here. And you can download these for free and then use them. And since I've already filtered out asset type to be templates, these are all Photoshop images, and you don't need to make any of those perspective warp things happening. I actually got this one off of Photoshop. Oh, I like this one.
Alex Lazaris:
Yeah, sometimes simple little card mockups give you the most mileage because you're not trying to reinvent the wheel.
Anika Aggarwal:
Yeah, exactly. Love it. We love it. Any poster mockups? Yeah, I do have them right here.
Alex Lazaris:
Nice. Okay, that's cool. Those are great.
Anika Aggarwal:
Yeah.
Alex Lazaris:
Nice.
Anika Aggarwal:
Graphic Google.com is where I got them.
Alex Lazaris:
I wonder if that's a licensed name.
Anika Aggarwal:
Yeah. Graphic Google. Okay, so I'm going to see what this layer is. Is this the color? Yeah, so we can change the color of this guy really quickly. I'm going to hit on this guy. What? Get a solid color? Make it a clipping mask? Does that work? We'll see. I'm going to get my libraries really quickly. Go to libraries, get to my colors, cancel it out. Color, select the color, go to layer. Solid Color. It's just my way of working. You can definitely do other things. Of course. What is happening? That is weird. Okay, so did they change something with the new update? Because usually, typically when you select the color from the color library, it automatically picks up in the swatches.
Alex Lazaris:
Oh, I think it's because you didn't select the color, you selected the images or those are smart objects. Right. You didn't add the color. No. I think you just dragged the circles in, right? Yeah, it's artwork 23. No, you brought the smart object in, not the fill color.
Anika Aggarwal:
Oh, no, I was talking oh, no. Didn't want to delete that. Classic mistake. So you don't click and drag. You go to plus, you go to Fill color. You drag it on your group. You go back here. Nothing we can't fix. It just takes a bit of time. So it's all good. As long as you know how to fix it, it's all good. We go to Fill color. You go here. Go to this guy. Go to fill color. You go to track. There you go. Awesome. You go to photoshop. You go back to your color, automatically updated because that's how beautiful Internet is. And then you go here, and bam. There you go. Okay. Awesome. So I think go to solid color.
Alex Lazaris:
Well, that file has already the color for you, right? If you just double click on that specifically.
Anika Aggarwal:
Oh, yeah. Change color.
Alex Lazaris:
No, like the left yeah, that thing.
Anika Aggarwal:
Double click that I did, but it didn't do anything. It just takes me to the UN saturation.
Alex Lazaris:
Tab. Oh, got it.
Anika Aggarwal:
Yeah. So I decided to make a clipping mask, which is my workaround for it. I see that the shadows have really gone away with this. Maybe there's something that's missing on this lockup. Interesting. So what I'm going to do is go to multiply and see how it looks like. Oh, no. Wanted to do photoshop. That's crazy. So let's see it's. Because I made a flipping mask and it took away from all the shadows.
Alex Lazaris:
What you could also do is you could put that original color next to it and then just adjust the hue saturation to match it as much as possible.
Anika Aggarwal:
Cool, let's do that. When I have a new layer, we're going to grab a shape. I hate photoshop. I hate how everything is so different.
Alex Lazaris:
What? Photoshop is my friend. We discussed yesterday that my friends are all designs now. Or maybe I was dreaming that I don't even know.
Anika Aggarwal:
Did we did discuss that.
Alex Lazaris:
So Photoshop, since my designs are all in Photoshop, not all of them, but a lot of them are. Photoshop is my super friend.
Anika Aggarwal:
Okay, you know what? You know what?
Alex Lazaris:
Chris says that he's still in love with the game design show idea. And I agree. Chris, we need to make that game show happen. I know. Hawkerid also did a Jeopardy style one with Mongo.
Anika Aggarwal:
Well, I would be up for it if you're up for it.
Alex Lazaris:
More game shows are needed. Absolutely.
Anika Aggarwal:
What is happening? Don't do this to me.
Alex Lazaris:
Photoshop, pull down the lightness. The lightness is too high.
Anika Aggarwal:
Interesting. Let's go back. Select the lightness. 94. What? 94. Okay.
Alex Lazaris:
And these things like apron mockups and stuff, they don't have to be perfect. They can get pretty close. You're going to have a really hard time finding a printer that is going to hit your one to one color palette. Anyways.
Anika Aggarwal:
This one looks all right.
Alex Lazaris:
Yeah, it looks pretty close. Yeah. Maybe you need to adjust. Yeah, that's fine.
Anika Aggarwal:
No, cool, we'll adjust it. What do you want me to adjust? The lightness? Maybe the saturation, I think.
Alex Lazaris:
Yeah, the saturation. Just down a little bit and then we think it'll be good fun.
Anika Aggarwal:
Okay. I like this. Maybe this is super close. Okay. Just for the sake of demonstration, we're going to leave it at that. We're going to perfect it later on. So smart objects are a really fun way to work. nondestructively. In Photoshop, you just double click, you have this little icon right here which denotes that it's a smart object and you hover on it. You have the smart object thumbnail. You click on this guy and disappears. And I don't want that. So I'm going to hit delete on this layer. I'm just going to click on a new layer just for that. Hide it. Go back to my library. Go back to my Illustrator file. See what colors I use. I use white for it. So I'm going to drag this out right here. And you don't need to press Shift when you're actually doing it on Photoshop. Since this is a smart object, you just transform it directly without actually pressing Shift. Okay. So I think this is centered. Are you centered? You are. And I hit save command. Save for save. And also if you are not working on a Mac, everything you see on the top right, the replace Command with Control Alt. With what? Command with Control Option with Alt. Yeah, I said that, right?
Alex Lazaris:
Yes.
Anika Aggarwal:
Ran says, what about an apron that says Mr could look in a spooky? Okay, I'm going to say, okay, I probably messed it up in the wrong file. Okay, hold on. So sometimes when you're not using your own mockup, it takes a while to manipulate what settings are on there. And it has some effects right here. So I can go right here, see the effects. Let's see what the smart filters are and see what's causing it. It has some inner shadows, so super easy. You can also create this yourself. You don't need to use a mockup. So since you have an apron, which I had right here, let's go back to my downloads. Where are you? I'm going to grab this right here, get my apron mockup. Give me a second. It's this. There will be some difficulties in changing the color. Okay, let's work with this for now.
Alex Lazaris:
I like the drop shadow on this. I think I could see this being embroidered where it was just sewn on the outside of the logo. Even if you wanted to or you.
Anika Aggarwal:
Could do if you wanted. Yeah, I think I want the color to be perfect, which is something that I want to figure out right now. Maybe. Let's see what happens if I change to black. I want to see what the smart filters are on the layer. So I'm going to grab this, hide this layer, press Command Save, get this guy, and we have it. So I think there's a filter that's acting up. Let's turn off the effects and see what happens. We have these, and now it's just a plain image. And yeah, that's how it works. We have this logo with the apron right here. Amazing.
Alex Lazaris:
It looks great. I think it's cool. I would wear that.
Anika Aggarwal:
Absolutely amazing. Do you know how to cook? Just curious.
Alex Lazaris:
Do I know how to cook? I love to cook.
Anika Aggarwal:
Yeah, absolutely amazing. Yeah. Hi. Good.
Alex Lazaris:
Hired. Yeah.
Anika Aggarwal:
Okay. Just seeing how this looks. So I think there's a multiply. Is this a multiply layer? Oh, no. Is that what I'm okay, where are you? Where are you? It is. I'm going to go to there you go. That visit. So I'm going to hide this guy. As long as you can fix it, it's all good, folks. And then you have this. It's too big for this apron, so I'm going to resize it. Command T or Control d if you're on Windows. Resize it. No need to press shift. Hold shift. Hi. Chris in the chat. Hi, Chris. So good to see you. Glad you could make it. Hope you're doing well. Ryan is saying I cannot cook. Yeah, we know that, Ryan. Thank you so much. We have puro, so I think on the apron, it would be really fun to have an illustration as well, which you did not get to, but it's all good. We have this guy right here. Maybe I want to put the avocado as the illustration. So I'm going to grab this. Grab it on the.
Alex Lazaris:
Oh. Jess is asking the tough questions. What are your favorite things to cook? Alex and Voodoo Val. Depends on what I'm in the mood for. But I love pizza, so I'm going to say pizza.
Anika Aggarwal:
I love pizza as well. What kind of pizza do you like?
Alex Lazaris:
All of the pizzas. All of I can make a really good deep dish. I can make normal pizza. It really just depends.
Anika Aggarwal:
You want, like, getting the heritage in.
Alex Lazaris:
You can have the pizza lasagna, which is the deep dish, or you can do it, like, a little bit thin crust. Yeah, whatever. I love pizza in all shapes and sizes.
Anika Aggarwal:
I recently made my first pizza at home. It turned out well to my surprise.
Alex Lazaris:
That's awesome.
Anika Aggarwal:
I was like, oh, no. Did I cook it? Did I make this?
Alex Lazaris:
That's awesome.
Anika Aggarwal:
Okay.
Alex Lazaris:
It takes a little bit of work, but once you get the dough rising, you're set.
Anika Aggarwal:
Yeah, it's all good. Okay. So this is the shape that I don't want. I'm going to hit delete, go back to my logo. Smart object. I'm going to go here. This is already in the library that I grabbed in from Illustrator. I'm going to go here, go to my library. Just going to see how it looks. I'm not sure if I want it, but maybe this guy has maybe it's like an Easter egg where all of the aprons are a different illustration. Right. And all the uniforms that the employees have, because we want to showcase our produce more and highlight on that. We can put in different illustrations on every t shirt. Right. So first come, first step. I see that the stroke weight of this is too small and too thin, so we might need to update that. But this is how it looks. Maybe we have, like, an arc related pun on this, and then it's good to go. Cool. So this is how it looks. We're going to hide this for now. We're going to keep puro. I also want to experiment once with this guy, which is just the icon. I think this works best for this kind of situation. I want to see when I'm typically working with mockups, I really want to see how it works with all of them because you don't want to keep any option unexplored when you're working for a client. And I think this works really good for all of the things that we've seen until now. Just because it's very simple and like Alex mentioned before, that it just works.
Alex Lazaris:
It just works. I could see it being like you said, you're looking for the hat mockups earlier. I could see it looking great on the hat mockup. Kind of reminds me of the Pittsburgh Pirates. Has a really nice monogram P, same kind of vibe. Very nice. Yeah. And I think it works well for like pocket logo on a T shirt or a sleeve print even. It could work really well there. These are all things that you can find from Unsplash or Adobe stock. You can find them there. They can just find a photo of somebody enjoying their coffee and just throw the logo on there and it'll help really sell the vibes to the client.
Anika Aggarwal:
Definitely. I want to get this right here. Go to my folder really quickly. 1 second. I did get some images. So usually this is how typically I break up any project. So I have this brief right here, which I did not ever get to, but this is how I start my process. And my research goes in from this. This is the name. Then this is a slogan. And I did some research, learned about what the brand was, learned about the brand dates, and also the goal basically getting everything in, getting the ideas in. It's just like sketching but with Skype but with copy. So, yeah, you can just go online, go to Random address Generator and you will get bunch of random address generators support for your projects. Or you can just make your own. Go to Google Maps if you want to have that energy. If you have that energy, go ahead.
Alex Lazaris:
Do ever. What do you do for phone numbers?
Anika Aggarwal:
This is auto generated.
Alex Lazaris:
It's auto generated. Nice. Yeah. So I use Mike Jones's phone number still. I don't know if you so we're doing old school hip hop again. Not old school, but early. Two thousand s, I guess. 90s, whatever it is. Mike Jones, 281-33-0800 folk. My number on the low hit.
Anika Aggarwal:
That nice.
Alex Lazaris:
That number I use in all my mockups because it's dead now and the real ones know.
Anika Aggarwal:
Amazing. I did not know that. I'm going to go back and stalk you a little bit on Behance.
Alex Lazaris:
You'll find it.
Anika Aggarwal:
Wow. That's like an Easter egg in all of Alex's designs. So you guys have to do it.
Alex Lazaris:
Yes. Go to my behance and check out the mockups. And if you can spot them, write in the comments on it.
Anika Aggarwal:
Gary's, like I'm the friend. I'm being dogged. Please help. Amazing. Okay, so this is a restaurant copy. I also looked at a lot of menus and looked at what I wanted to have. And this is the menu. All of these. La, la la. Okay, it goes on. So we have this. I'm going to go to my illustrator get some things going. So, yeah, we did an apron mockup. Let's quickly do another one. I'm going to go to my assets. Oh, yeah, I was just showing you how I lay out my projects really easily. So we have the brief, we have the documentation that's personal. That's the client. Let's say that's just like a quotation discovery deck, all of those details, that's like my contract with them. So I'm not going to show you guys that. Of course not. Remember, guys, when you're streaming, don't show personal details. And then there's inspiration right here. Instagram assets. That's just something I shared on my Instagram mockups. We just went through that patterns, some ideas that I got. Again, some personal things. And then day one, day two, which I never exported anything. So yeah, whatever. And then we go to mockups. So let's see what we have here. Business cards. Fun. I want to use it. Okay, let's make business cards. Cool. So if you guys haven't seen it before and if you're just joining us, welcome. Hi. We are working on a Mexican brand identity right here, and I want to see something really quickly. Can you give me a second? I'll just grab this link. Where my okay, here it is. So if you go on to the stream description, you will see that these resources are attached. It is right here. And these are all the resources I shared yesterday. We have all of these files and these beautiful templates, and we can check these out. We have some discovery questions. I just want to touch on these because I totally forgot about it. And you guys can ask these questions to your clients. It's not an exhaustive list, but definitely something to start with. And also, I forgot to tell you there's a Direction for Use document that's like a help for you to understand where we're going with it. Right? So you can go ahead, grab these and be good to go. Awesome. So, yeah, I talk a lot. That's great.
Alex Lazaris:
Jess says I always use 1234 Money Street for my real estate design stuff when I'm waiting on an address. That's amazing. I love that. I love whenever you can bring a little bit of personality and funk to the mockups or the placeholder stuff. Whenever you can do that, it really can put people in a really good mood. So I think it's clever. It's a good little subtle nod to other people who are looking at your work. So it's fun.
Anika Aggarwal:
That's fun. Yeah. That is absolutely. Oh, wow. The rotate tool is back.
Alex Lazaris:
Rotate tool back for day two.
Anika Aggarwal:
Stock on the way. So, yeah, I got this be vegan, be mine sticker. I was playing with the type. I think this one is Beastly. This one is Cooper standard. This one is Alphawn right here. And then this one is just the same one, but outlined with the stroke. So I think this one brings in a fun variation with the funky logo mark we have, so this could be cool. I'm going to replace this guy with this guy. So I'm just making these for some badges that we're going to do next. We're going to get to business cards as well, so I think we're good on time today. I am really rushing through today.
Alex Lazaris:
I'm like, we do have the artist spotlight in 18 minutes.
Anika Aggarwal:
Awesome. Yeah, I think we should be good. We should be good. It's all good. We are just right here hustling, not sleeping. I do not recommend it. Please sleep. Yeah.
Alex Lazaris:
We're having a huge debate in Chat right now about what kinds of pizzas. And I said earlier all pizzas.
Anika Aggarwal:
Margaritas.
Alex Lazaris:
Margarita pizza. Is that your favorite?
Anika Aggarwal:
Yeah, I mean, that's my favorite thing to judge a place with. If I'm trying something new, I definitely order a margarita pizza just to see how they make their pizzas, because that's, like, the best judge of their cooking.
Alex Lazaris:
That's fair. Do you believe pineapple belongs on pizza?
Anika Aggarwal:
No.
Alex Lazaris:
Okay, well, you guys are all wrong. Everybody in Chat that does not agree that pineapple belongs on pizza is wrong. All pizzas.
Anika Aggarwal:
Well, right. I get the whole sweet and savory thing. I do it too. I do it too. I do it as well, but it just makes the pizza. Soggy for me, that's fair. Yeah, I don't want that, but yeah, it's just personal preference.
Alex Lazaris:
I like the pineapple on the pizza because it's a sweet and savory. It's a beautiful medaly. It's balanced. All things balanced.
Anika Aggarwal:
Okay, so I just converted my type to outlines. I went to type, I went to create outlines. I don't know if you saw it, but now it's already outlined, so you can't see it. But I go back to my type, I select it. I go to type, I go to outlines, and I just click it. And this will also be outlines. But I'm not going to do it because this is my copy. Now everybody's talking about pineapples. Okay, then. Remember, folks, pineapple is a perfect example of the Golden Ratio. So, yes, I love that you love pineapples.
Alex Lazaris:
See, man, it all comes back to full circle. In case you were just tuning in today and were not here yesterday, make sure you watch the replay from yesterday's where Anika shows us all the beautiful things behind the Golden Ratio and how and why you should use it. And if you are just tuning in from YouTube, make sure you come over to Adobe Live to hang out with us so we can actually read with you, welcome you to Chat, hang out with you real time and answer any questions you might have or participate in the conversation around how much do you love pineapple on pizza? And the answer is so much.
Anika Aggarwal:
Absolutely. Yeah. I agree with you, Chad. Just ignore that I said that. I don't like it. Don't hate on me. Okay? Cool. I think this is not a perfect circle. So also, this might not be the sticker that I end up with, but I just want to showcase how I work with the process. So we have L. And don't worry, all of this is going to go on my behance once I complete it. So, yeah, you can check it out. This is not a day's process, so it's not necessary that these designs are going to be the same. I don't like the weights of this type because it doesn't go with the illustration really well. I might change it, I might not, but we will look at it. So we have this guy right here. I'm just going to place this, center this out, go to my properties, align, align, horizontal and vertical. Of course, you do all that. And then I'm going to go to type in a pod, type in a pods, and type in a pods. So that's generated. And you just write whatever you want. Not whatever you want, whatever the brief is. Sometimes both. Yeah. And since this is my brief and I made it, so I'm writing whatever I want. My own boss. Okay, so what did I do? So I selected that. That was selected. And I press I on the keyboard. I'm going to grab this shape. It's having a hard time. Cool. So, yeah, there we go. We have our shape right here. And then since this is the circle shape that we use as a guide, we can go in, we can drag this baby out on all of these directions. But I'm going to replicate this guy. I'm going to command C. Give it some spacing right here. Maybe we want to do a semicircle for this instance, or maybe we don't. Maybe we just want one of the arcs, right? It can be anything. It can be whatever you want. I go here, I go back to my stroke. We update it, maybe just two. And we hide fill. You can also do this from these options right here. You press X on the keyboard and it shifts from stroke to fill. You have this selected. You can see right here that's what's happening on the left hand side. And we have it. We have something to put on a sticker. So I'm going to quickly grab this, get it here. We also need to make a pattern, so we'll do that really quickly, like we demonstrated yesterday with the repeat grid. So that's like super handy. Also, where's my theme? Okay, we did not use this. I'm going to premium this really quickly and get this out of the way. Get this guy here. Just for reference. All of this is still on the same layer. So when I'm sharing these files, I typically make different files for everything. And that's what the templates are for. I have business cards in a different file. I have print on a different file. I took the liberty of making these shapes. These are all shapes. I think this is the older file. So this doesn't have the guide and the margin. If you want to print these out for custom coasters, it doesn't have it, but you can definitely it's definitely there in the templates. I think I should have the file somewhere. There you go. There you go. I have it. So these are all shapes that were converted to guides. All you do is I'm on a new layer, press M and then I go to edit. No, I go to View, I go to guide and I click on make guides and this shape typically becomes a guide. It did not have a stroke on it, so it disappeared. Oh, it did. That's weird. Let's see what happens. Object view guides make guides and then the guides are hidden. That's why it wasn't showing up. But there you go. There you go. That's the guide. That's the shape that we just made. Also, that happens. Like I just made a guide, but I can't see it. So you probably have your guides turned off. So yeah, that's how you have all of these flyers. There's a margin typically for printing. This is a CMYK file and these are all the sticker shapes. And you don't have to waste your time making shapes. So I set these up. This is a rounded rectangle. These are corners. A great way to do is I think Julia Masoska did it on one of the live streams recently. Press A on the keyboard and direct selection. Go to corners and you can just change these to this. So like, this brilliant shape is created and you can also create like a star instead of using the bucket and Bloat. So this is also super cool. Cool.
Alex Lazaris:
Yeah, it's super helpful. There's so many ways to make that shape and I've made them so many different times for logos and things. And using the corners tool like that is really clever and so simple. Back in my olden days, I used to have to do that through taking circles out of the corners. That's messy.
Anika Aggarwal:
So you do this and then you.
Alex Lazaris:
Yeah, you have to subtract on all of them.
Anika Aggarwal:
Yeah, and then I just place them right here.
Alex Lazaris:
So difficult back in the day.
Anika Aggarwal:
Since I smart. Guide turn on. I'm going to come on y just to see this one is not perfectly aligned. I go to here also. This is another way. If you folks are doing it like this, you're probably doing something that's super manual. But you can definitely do it the way we just showed you. So command y, select everything, go to pathfinder minus. There you go. Fill in. Cool.
Alex Lazaris:
Which is great, but you can't resize it very easily, so you have to rebuild.
Anika Aggarwal:
That is terrible. I can't even imagine how much time you gave.
Alex Lazaris:
It so much of my life.
Anika Aggarwal:
I can only imagine. All right, I just want to see if these are filled. Okay. I'm going to hide. Get all of these shapes. Okay.
Alex Lazaris:
I like these as well, because I feel like you could be sending a Valentine to somebody like, yeah, happy Valentine's Day. Let's go be vegan Mexican food. Which, to be honest, have me a Mexican food.
Anika Aggarwal:
Really? Okay. Amazing.
Alex Lazaris:
Yeah, of course. Absolutely. I think the way that anybody's love is through Mexican food.
Anika Aggarwal:
Love it. Love to see it. Okay. I'm going to select all of these shapes. I think these are not grouped, so I have to select all of these by hand. I'm going to put yellow on here just to see how it looks. Okay. Fun. Maybe I want to make this white just to give it that distinction. I'm going to select these guys right here. Zoom in. I see why it was not changing the color. I go to type. I go to make outline. Where are you? I go to oh, I'm sorry. I go to path. I go to create, outline, outline stroke. And now if I click on white, it won't fill it. So that's what happens if you don't pay attention, folks. So pay attention. So you have this guy. I see that it needs some kind of rotation to match the shape. I think I messed up the circle. I should have dragged it out. But we will fix that because I probably have a copy command C, command F. I'm going to make a larger size. Get this right here. Just for reference. Just for reference.
Alex Lazaris:
Oh, yeah. Chat saying that these would be great for seasonal gift cards or just gift cards in the shop. So lots of potential with these. I think you've done such a great job of building out a library of potential illustrations that you want to use. Plus, the logo is great. Color palette is fun. You have endless opportunities to leverage it across gift cards, social media, T shirts, everything.
Anika Aggarwal:
Love to hear it. I love that you guys love it. That's amazing. Yeah. It's all about showing the process. I think that's what we're doing, and I love that you guys are actually looking at it and paying attention, and I totally appreciate it. That's amazing. It's all about the process in the end, because I always go by practice and patience. The two P's in life that you want, and the only way to learn anything is to dive straight into it. And also the third P is pattern, which we'll get to. So no three. This is this is the gist of the story. Sorry, I am damn late.
Alex Lazaris:
Laura thought that when she got back, she thought I said, be vegan, be double take. And I think be vegan, be memes is a great mantra for life.
Anika Aggarwal:
Really? Okay.
Alex Lazaris:
Don't let your dreams become memes.
Anika Aggarwal:
Yeah. Okay. I agree. I want to say plus one to that big up woman. I go to object. I go to path. I convert it to outline. I press I and color. Not this, not this, not this, not this, not this. White in the end. No. What is this? Okay, so I want to go to my pathfinder. I'm going to go pathfinder at all. I'm going to swatches. I really don't know what's happening here. What are you doing to me? Oh, it has a stroke. Don't on. And so that's happened. Val is like, Alex, I will leave.
Alex Lazaris:
She can't leave me. We're tied. Like, you know, the Star Wars sagas are held together by conflict, and that was Voodoo Val and my relationship. I will be her Obi Wan to her Kylo Ren.
Anika Aggarwal:
Oh, my God.
Alex Lazaris:
That's probably, like, the wrong metaphor, but I'm going to run with it's only triggering her more than I'm getting those references wrong.
Anika Aggarwal:
I can imagine. Okay, amazing. Also, Val, did you forget to tell me to save?
Alex Lazaris:
Val was doing the no so many times, multiple times in Chat, and I've just been ignoring it. Everybody's been, save Hydrate. Save Hydrate.
Anika Aggarwal:
Wow.
Alex Lazaris:
I'm a host.
Anika Aggarwal:
I'm sorry. I did not expect that from you. I'm heartbroken right now. No. Alex val was on the DCC earlier today. I think the Psdcc photoshop daily create a challenge. If you guys don't know, watching Val is hosting that for the next two weeks. Val was hosting it and said a big hello to me, which I really appreciate. That was amazing. And then Val gave me a shout out, Anika, save your work. And I'm like, yeah, I'm on it. I'm saving it right now. Add this. Good. Yes. I'm going to bump this guy up really quickly. Make it a bigger shape, maybe make it a bigger shape. See how it goes. I don't like it, to be honest. It's just a concept, and this is just, again, like, local design. You have to work in Hydrate and go back to it. I am not a fan of this at all. I don't like it. I don't like it.
Alex Lazaris:
What are you going to do to change it?
Anika Aggarwal:
Well, we'll see. I don't know yet. Maybe it was the color.
Alex Lazaris:
Well, we got about five minutes before the artist spotlight, so if you want to do another direction or it's all up to you.
Anika Aggarwal:
Yeah. Maybe we can do another illustration and go about adding a pun to it. That would be a fun take on it, and then we can, in the end, make a pattern of it and go to Photoshop again. I think I should go back and make a mock up really quickly in those four minutes so that we have a food truck. Maybe we can do where are you? A cafe. You like this one or this one? Which one do you like better?
Alex Lazaris:
I think this one's interesting. Show me the other option again.
Anika Aggarwal:
The other one is this.
Alex Lazaris:
I like that one more. Yeah. I've seen this mockup so many times, but I. Kind of like it. It's warmer, that's why.
Anika Aggarwal:
Okay, awesome. I'm going to get it. Let's make it cool. I don't think I showed how to export these files, so I'm going to go here really quickly. Go to file, go to export and quick export as PNG. If you're putting it to Behance, make sure it's Jpg. Obviously, people can still screenshot it, but Jpg makes it easier to not screenshot it. So, yeah, you Quick Export as PNG, and then it grabs all of these. Maybe I can go to my folder right here, which is day two. I can save it, and then I can go back to my folder, browse on it, go back day two. There you go. That's your exported image. So, perfect. Also, make sure that your Behance project. If you're posting it to Behance, make sure that the width, minimum width, is 1400 pixels. And then the height can be anything. But if you're posting stuff on Behance, make sure that you slice your images, because I really hate it when I see that it's just one long image.
Alex Lazaris:
There's a streamer.
Anika Aggarwal:
There's a streamer depth he's gotten with Behance projects. Yeah, sometimes it takes me longer to make Behance projects.
Alex Lazaris:
No, it used to take me so long because I used to make the craziest case studies, and now I just upload all the images.
Anika Aggarwal:
Amazing. Okay, so I just did the same thing here. It gives me directions that upload your click, double click to go to the smart object. So I navigated on the smart object. I went into my library, tracked it right here, and just place it. Place it anywhere you want. Also, obviously, the center. Not anywhere you want. And there you go. Okay, interesting. Maybe I want a different color. Let's see. Let us see. It's all hidden trial. Okay, let's see how this one looks. Interesting. Let's see how black looks on top. Maybe as a sticker. That's embossed. Not embossed. Sticker that's pasted on the glass thing. Glass thing, yeah. Did it save it? Did not save it's. Doing its work. Photoshop is thinking, folks. Okay, much better. But I still think it needs some improvement. So maybe we can do this color. I'm just experimenting. Seeing what works. Seeing what doesn't work. Typically, I use black and white for these things because it just makes it easier for printing as well. So let's see. Or maybe it's just something of the effects again that we need to edit. So we'll go here and really quickly check that there's a gradient overlay drop shadow as well. So that's what the drop shadow has. That's all right. Maybe I want to move it. So we'll do that. There is noise as well. Okay, interesting. I don't think any of these work. What do you think, Alex?
Alex Lazaris:
Try the yellow.
Anika Aggarwal:
Try the yellow. Let's try the yellow.
Alex Lazaris:
I think the yellow will naturally fit.
Anika Aggarwal:
Much with the warmer tones.
Alex Lazaris:
Yeah, because the mockup has the kind of gold tones throughout it.
Anika Aggarwal:
Yeah, I agree. Sometimes the designs don't fit the mockup when the mockup is not yours. So you need to have the white tone on edit.
Alex Lazaris:
Yeah, I think that's looking so much better. Look at that. It's also got some of the gold tones from the background now. And because it is your color palette, why not do some gold leaf in there? I like gold leaf on everything, but we have to do the Artist Spotlight now.
Anika Aggarwal:
Awesome. Let's go do our artist spotlight.
Alex Lazaris:
So for the Artist Spotlight, if you guys would like to nominate yourself or somebody else, feel free to go into the tab in Chat for Artist Spotlight. And you can do that there. But today we get to hang out with the one and only Hayden Patterson. Welcome, Hayden. Hayden, in case you guys are unfamiliar with, is my co vice president of the cult of Comic Papyrus established yesterday. Hayden is looking for new recruits. I'm going to set up a merch table for us. We're going to just ride Comic Papyrus into the sunset. But while we're here, make sure everybody to, like, follow. Hit him up on everything. Make sure that you're following him on Behance and Instagram. I see the links there. Also check out his work on the.
Anika Aggarwal:
Yeah. Hayden is another amazing artist. I've had the pleasure of knowing Hayden for a while now, and Hayden also streams, so I don't know. Do you want to play this? This is his absolutely. Okay, awesome. Let us play and see what he has in store for us. There's music, so I'm going to turn it down really quickly. Mute it. But you guys can go to the yeah, because you can't hear my audio. Oh, no. So, yeah, it has amazing animation. All of these are done in after effects, I think. Let's check. After Effects is a brilliant tool. I love it's. After effects photoshop and Illustrator. And Hayden does some amazing stuff in Illustrator. Like, what is like, who are you? How are you doing this? Teach me.
Alex Lazaris:
Amazing. I love that Hayden's, like, I'm busy with the Comic Papyrus council, but sometimes I make time for art.
Anika Aggarwal:
Make time for art. Nice. Hayden, I love that you're in Chat. This is amazing. I'm so jealous that you can do this. And it's amazing. So this is amazing. The show reel is so good. You can see all of the different kinds of work that Hayden has done, and that is amazing. I really love it. And yeah, these are all the comments. You have all of these tools as well. So this is, like, a great tip for people who are curating projects on Behance to have all of these field filled as well. And then there's another one. Let's take a look at this as well. There's illustrations, so it says selections from work done in spare time and on stream. We'll keep updating this. Check out my live streams and the live stream. So make sure to check the live streams and instagram for more. Oh, this is a really fun one. There's so much character in these characters. Really wanted to say that. Really wanted to say that. And then there's these guys.
Alex Lazaris:
Oh my gosh.
Anika Aggarwal:
Wow, look at that. Mean.
Alex Lazaris:
That's awesome.
Anika Aggarwal:
It's amazing. I'm always so mesmerized by Helen's work, and it's so great to see people trust us on live streams. It's like the best thing ever. Also, what fun character. Love it. It just only keeps getting better. I love how you've also put the order of these images is so great because everything just shows the progression of your work and also just keeps getting better and makes the audience ask for more. Like, oh no, do you even lift, bro? And then you have all of these things and then all of these. I think these are made in illustrator, so that's super fun. And then these also look like the illustrator fun. This is so cool.
Alex Lazaris:
That's awesome. Yeah, super talented. Hayden and I love that your work spans so many different styles as well. So yeah, super amazing.
Anika Aggarwal:
Wow.
Alex Lazaris:
The sarsines anchovies are great. Nice. So everybody make sure you go to Hayden's profile, give him likes, follows, subscribe, check out his live streams. If you do follow, you'll be able to get the push notification for when he's live next and you can check him out real time and roast him. Ask him about how's the cult coming along with the comic papyrus. Maybe the next live stream will be comic papyrus based. I don't know, maybe some ideas out there. Now we have about 20 more minutes left, so I think we can get some more mockups going. I know you were wanted to do some van or truck vehicle mockups as well.
Anika Aggarwal:
Yeah, we want to get into that. I'm just going to quickly save this out as well, just because I want to make it easier for me to showcase in the end. And yeah, I want to make one more sticker thing. This one did not work out really well, and I'm kind of stuck with the colors on it. So I'm going to let it sit for a little while and then go back to it. That's a great idea to do it. And then we're going to go to some of these fun. I think I copied these, but I don't really remember where it went. But it's okay. We can copy it's all good. Oh, there you go. I'm sorry. Didn't mean to didn't want to copy it. Hayden's, like, do you even lift, bro? Ha. Do you lift though? Hayden, tell us.
Alex Lazaris:
Yeah, hayden.
Anika Aggarwal:
Okay.
Alex Lazaris:
You big lifter.
Anika Aggarwal:
Amazing. Okay, so I think I want to use that's how I roll. I get that. And that is for taquito. Also, I found out that the taquito does not look like this.
Alex Lazaris:
That is true. Taquitas don't look like that. But it's a travel burger and so you can do whatever you want with it.
Anika Aggarwal:
Maybe I say it's a wrap because this stream is almost coming to a wrap.
Alex Lazaris:
That's true. That's clever. I like that. Tortas also look like that tortas have like a thicker burger and you can almost call it maybe we get tortoise. Tortoise. There you go.
Anika Aggarwal:
Okay. We have the pun train coming along. Hop on it. We have this guy right here and we have the shape. I'm going to change the width to the one that I created, the custom one. Okay. Instantly adds dimension to it. Laura's, like he lifts his style of pen. Very heavy on key with talent. I read two comments at the same time. Amazing. Cool. We have this thing right here. I'm going to see what caused this. I'm going to copy this command. B. Rotate it just making the shapes. I don't know what keeps happening with my rotate, but it just messes my head. I'm going to go to Properties, rotate it as well. Go to horizontal transform it can give it like that dimension that you needed and then rotate. I can't take it anymore.
Alex Lazaris:
Yeah, I mean, that's a pretty good one. I'm going to pat myself on the back on that one. That was ten out of ten. Good time?
Anika Aggarwal:
Yeah, it was good. Got to give that to you. Credit where credit is due.
Alex Lazaris:
Thank you.
Anika Aggarwal:
Cool. This guy doesn't have any eyes, so we are going to borrow some eyes. I think the thing that went wrong with the first sticker was that this illustration was too thin as compared to the type that we were using and that's why that happened. But it's all good. It's all good. That does not look good. Maybe this guy has eyes instead. We're just having fun here. Have fun with what you're doing and it'll all turn out well. We had fun with the type lot and then yeah, it doesn't work here at all.
Alex Lazaris:
No, but maybe if you just have one eye and the mouth.
Anika Aggarwal:
Yeah, that's exactly what I'm going for. You read my mind. Love it. Okay. I wanted to say you read my mind, but we're just going to go with you read my mind.
Alex Lazaris:
Perfect.
Anika Aggarwal:
It's an ongoing process.
Alex Lazaris:
Exactly.
Anika Aggarwal:
Cool. I'm going to go to Curvature Tool really quickly. See what I messed it up. Just a second. Get maybe like a circular eye going. So we have this guy. I'm going to press X on the keyboard, go to Swatches, select the black. Amazing. Deleted. Cool. I have this. I'm going to group it really quickly. Actually, you know what? I'm going to go to Properties. Pathfinder it all up. No, I didn't want that. So I go to object. I go to Path. I go to outline stroke super quick. And then I go pathfinder.
Alex Lazaris:
Cool.
Anika Aggarwal:
It's a wrap. Okay, now I want to see how I want to put this on this guy. So one way of doing it would be just an arc, but I don't know if I want that. Do you have any suggestions? Chat?
Alex Lazaris:
Yeah. What are you thinking? I think if you do that, it's a rap type. I think you should use one of the burrito illustrations.
Anika Aggarwal:
Oh, yeah. Okay.
Alex Lazaris:
Yeah, like that way it's tied together really nicely. Bernadette asked, weren't you going to ban Alex yesterday? Voodoo val. And that's just a constant state of mind.
Anika Aggarwal:
We don't want to ban Alex.
Alex Lazaris:
I'm always on the verge. It's fine.
Anika Aggarwal:
No way. No way. We're never going to ban Alex. Chat. No way. That's not happening. Okay, so I'm going to fix this up really quickly over here as well, and then have my squeaky voice come in, and we are going to fix it. I think I want to make it ten, see what happens. No, eight. See what happens. And I'm going to save this copy really quickly. Go back here. Guru object. Go to path. Kuru outline stroke. Go to pathfinder. Done. Save it all. Remember, save your work. Save your work. Okay, we have this guy. Okay, it's a wrap. It's a wrap. No. Okay, sorry. I was just brainstorming with my head.
Alex Lazaris:
No, it's fine.
Anika Aggarwal:
Okay, so let's see. Go back to our type choices. This one is what you want to use. Maybe this one as well. So we'll wrap both of these guys here. Go to wrap. I think these two, these are really, really heavy for the kind of work that we're doing.
Alex Lazaris:
Yeah, they're a little tough.
Anika Aggarwal:
Yeah.
Alex Lazaris:
But they're kind of fun and funky. I think it's just because of the illustration line weights being so thin at times that it makes it hard for the Cooper black.
Anika Aggarwal:
Okay, cool. I'm going to save this out really quickly. Go to type on a path. Type. I don't know how to work with type on a path. Be honest. It hates me. It hates me. Type on a path hates me. It gives me such a tough time sometimes when I have two things that want to go on the same. Why is it rotated? But we fix it?
Alex Lazaris:
Because your anchors, you need the A tool, I think just the open pin path tool, whatever that's called. There you go. And then your second anchor looks like your anchors are missing.
Anika Aggarwal:
Yeah. That is so weird. Like, usually, typically, you can oh, is it Caps Lock? Is that why no capsule is turned off? I don't know. I'm just going to hover it. What is that saying when they say that it's just a dart in the dark? I don't know.
Alex Lazaris:
I don't know.
Anika Aggarwal:
Yeah, it's something you get. It's like something in the dark. Shot in the dark.
Alex Lazaris:
So I always lose the anchor points, and then I have to reset my preferences and stuff.
Anika Aggarwal:
Yeah, it's crazy. I'm just going to rotate it just for quick fix. This is not how you should do it. Disclaimer folks. That's not how you do it.
Alex Lazaris:
There's typically is what Carol said. There you go. Stuart says left justify. Well, Stuart, it's not.
Anika Aggarwal:
Yeah, I can't see it.
Alex Lazaris:
What I would just do is just rebuild that path, essentially just redo that whole type thing and then you can just rotate it once you've got all the copy in there if you need it.
Anika Aggarwal:
It is missing again. That is so weird to me.
Alex Lazaris:
Try maybe centering it as well. No, the paragraph centered.
Anika Aggarwal:
Um oh no. Oh no.
Alex Lazaris:
Yeah, you could just do a rotate then just for the sake of kind of showing it.
Anika Aggarwal:
Okay, so if you go to type, you go type on a path. You go type in a path option. So I know that there are sometimes when you want to flip these guys as well. So that's like a fun way to and then there's these skew effects as well. A ribbon effect as well that you can use. So like all of these options. You know what, this actually reminds me. Maybe we can make like a wave on the wrap. Fun. Okay. So I'm going to go to effects. I'm going to go to Stylize. No, not stylized. Where is it?
Alex Lazaris:
It's over to the right side of the paragraph styles in the top bar to do the wave. Yeah, the warp.
Anika Aggarwal:
Yeah. So you have all of these options. You can change it to an arc. You can change oh, that's how I'm going to do it. Oh, fun. Okay. Sorry. That is my eureka moment. So I'm going to grab this out, I'm going to delete it. I'm going to get this out of here. I'm going to get this out of here. Out of here. Get a copy of this. Get it a oh, no. Type go. Yes, you got it. Right.
Alex Lazaris:
We have about eleven minutes left.
Anika Aggarwal:
Chat.
Alex Lazaris:
If you do have questions or anything that we can answer for you before we leave today, definitely feel free to type them away in Chat and we'll get to them.
Anika Aggarwal:
I think this looks a little bit better than what we are going for earlier. And since the type on a pass didn't work, I'm going to put it on a side and fix it later on. I think Illustrator just needs a restart and we don't want to do that right now. So it's all good. Think it's all right for this? I'm going to go to a badge mockup very quickly. Go to my mockups, go to badges. Go to my button badge. There you are.
Alex Lazaris:
How fun.
Anika Aggarwal:
Yeah. So like, the people with the aprons, they can even offer it to people as free. Goodies. When you're in the restaurant, like, hey, we have a lucky winner today. We have a raffle going on and you win all of these fun badges. So you have your design over here. Again, the layer colors have been changed for you to actually work through these, and then we have all of these color filters that are made by the person who made it. And this is nothing but a rectangle shape. And the type of the adjustment, I mean, what do you call it? The color mode blend. The blend, yes. Thank you so much. See, I told you. Alex can read my mind. Amazing. So the blend mode is subtract on these, and that actually helps us make filters. So that's amazing. We can choose any of these. We have three, four la, la, la. All of these. And then I just want to go to my front design. And I'm going to just for doing this really first, because there is no way low on time. I'm going to get it 1400 by 400, which is a square. I'm going to grab M on the keyboard. 1400. I just don't want to do that. I'm going to get 800 by 800 because you can scale it maybe just to 700 and just twice it it's the same. It's the same thing. Cool. So I have I think there's something messing with my Illustrator. I think that's it.
Alex Lazaris:
You might have one of your guides or whatever they're called hidden on your view. I'm not sure. I know that Voodooval will probably know. Why can we not see certain of the anchor points or type selection tool thingies? I don't know what the technical term is.
Anika Aggarwal:
Or else I would type selection.
Alex Lazaris:
Be able to Google that real.
Anika Aggarwal:
All good.
Alex Lazaris:
But Laura says so grateful for all those people who created the mockups. Yes, mockup makers are legends and make all of our jobs way easier.
Anika Aggarwal:
Absolutely. Okay, so I'm going to convert everything to outline. I'm going to go grab these two guys. Go to types. Go to change case. No, not change case. Create outlines. Also, you can change case. So just in case you were wondering if you can change case, I just want to grab all the pro tips right here so you have smoothies right here. You can select the type. You can go to type and go to change case and change the cases for all of the sentences that you have while you may have them. Hidden.
Alex Lazaris:
Control h. That's the one. That's the one, isn't it?
Anika Aggarwal:
No. Command H.
Alex Lazaris:
Okay, yeah, that should be.
Anika Aggarwal:
It might have worked. It works. Val, you're a legend. I love it. Thank you so much. Why didn't we ask Val earlier? It's all your fault.
Alex Lazaris:
Yes, true.
Anika Aggarwal:
It's all you.
Alex Lazaris:
Well, eventually got around to it. I might be slow. I'll get it to it.
Anika Aggarwal:
That's what we want. Like we said, there are no mistakes. Okay, cool. So we have this guy. I think all of these are outlines. Really quickly lock all layers, bounding box. Oh, Val already got it, folks. You guys are too slow. What are you doing? What is up? Okay, so we have this I'm going to go turn these guys into outlines as well. Type 219. Okay, cool. We have some time. Go to type go to where are you? Where are you? Where are you? Okay, cool. Type create outlines. Why can't I see it? Where are you?
Alex Lazaris:
You can also do command shifto.
Anika Aggarwal:
Good call. I forgot about that. But still doesn't do anything. Oh, it actually does. It's just the warp on it, and that's what's showing, and it's correct. Okay, cool. So we have these guys in. We're going to get this group. It just for the sake of getting it on the thing, I'm going to get Command Shift close bracket just to get it on the topmost layer. So it's like the bring to front option. So you can also do it by going to object arrange bring to front. There's your shortcuts right there. And bring forward, send backward. If you don't want it to send it all the way backward or all the way to front, don't hold the shift key. And it's the same shortcut. And if you're working on a Mac and you suddenly forget where, let's say Pucker is I don't know where Pucker is. And it's thinking we get the beach ball for the first time. Oh, my God. Love it. For the first time. Successful. So you have the destroy and transform Pucker and load right here. If you're in a Mac, you can definitely go ahead and do this. It's not available yet on a Windows machine, but I think and hope it will be soon. So yeah, don't lose hope. Windows, hope or just get a Mac.
Alex Lazaris:
Just get a mac.
Anika Aggarwal:
Get a mac. Okay, I'm going to get this. Okay. Right here. Get this. Get this. It's a wrap. Wow, what a fun way to end this stream. Love it.
Alex Lazaris:
Yeah, I want to see it on that button.
Anika Aggarwal:
See it on that button.
Alex Lazaris:
Have about four minutes, so we need to start saying goodbye in, like, three.
Anika Aggarwal:
Okay.
Alex Lazaris:
If we can get that mockup going.
Anika Aggarwal:
Yeah, absolutely. Just 1 second. This doesn't look good. Maybe I want this to be maybe I want to look at my globals really quickly and see what work there.
Alex Lazaris:
I think the purple might work. Nicer.
Anika Aggarwal:
Oh, interesting. Okay, so I'm going to this color. Maybe make this white. I think it's the illustrations. The illustrations are ruining it for me.
Alex Lazaris:
That's fair. Which, I mean, the great thing about this brand that you built is that it doesn't need the illustrations to be carried. Like, you've already got such a great logo type in there, got great color palette. You have a lot of things that you can do with the shape language from that, or you can just use the diamonds as a pattern, like a design language motif. So there's a lot of things that you've already done that are super fun, and you don't need those. You can do those. Maybe the illustrations are just only for the gift cards. Like people are saying maybe that's where you can bring them in and they can be seasonal or whatever.
Anika Aggarwal:
Amazing. I just did that while you were talking. Okay, let's just rest through this. Alex is going to hold the fort. Amazing. So we work on all of these. I think I should give like a brief.
Alex Lazaris:
Yeah, walk us through the last two days.
Anika Aggarwal:
Amazing. Okay, let's go back. I can't believe it's come to an end. It's so surreal. I'm amazed. Okay, cool. I'm going to lock everything up unless I want to miss anything. So I'm going to go here. I'm going to hit save. I'm a compulsory saver book. Compulsory saver. You know me now. Okay. We did not get to making business cards or flyers, but that's totally on me. Time definitely slipped away, but that's all good. As long as you got some branding and mockups done, I think it is all great. So we started from here. We were working on a Mexican brand and we worked on this Mexican restaurant called Puro. We went through our discovery deck. It's right here. We had a goal that we discussed. It was really fun. We have the brand trades all over here. You can read about these in the replay if you missed it. We talked about these in detail on day one. So you can go back ahead, go to the replay. All are available on the YouTube and also on Behance. You have usage right here. We covered some of these. We did restaurant branding that's basically logo full, lockups the favicons for the website, copy everything. Right? We are going to get to this later. So I'll do this off stream. We went to some of the employee uniforms. So we worked on aprons. We started working on stickers. So that's amazing. I wanted to do delivery trucks, but it's all good. Takeaway menus, merchandise, caps, hats, coffee, anything. Coffee mugs, all of it. Right? Then we had the mood board. We discussed how mood board was and how this was inspired. Like the whole brand was inspired from all the Mexican things. And we have the target audience right here. We talked a little bit about how we should focus on our branding to make it available to all of the target audience and not just one part of it, and make it focus to all of this and make it accessible. We talked about color and talking of accessibility, we spoke about how we can prove the colors, colorblindness. Go to Colorado.com, do all of that. You can check your contrast, all of the good stuff. We have typography. And of course you go to sponsor Adobe.com for the type and also created Market if you want to pay for it. Also go to Onotype Co if you want to pay for it. And get some funky all of those good stuff that you can't create yourself or maybe you can, or you're just lazy. And then we went to the Exploration phase. We started here yesterday. We did some sketches. We worked on my process, how I went from a broccoli chef to a custom type. Amazing. And then we have all of these things. We worked through the golden ratio, of course. Don't forget, folks, golden ratio. Use it in your next logo design and thank me later. And then we have exploration. We have exploration of the type. We did some more. Awesome. So we have all of these. We worked through this and then we worked through mock ups. So I hope you guys had a ton of fun with these. We did some badges, some restaurant branding, and that's it for it.
Alex Lazaris:
Absolutely. And Val wants to say thank you and Anika and Safe. Thank you everybody for hanging out with us today and yesterday. We had a great time. If you missed anything, I know Anika has been showing us lots of tips. Make sure that you go check out the replays later on. And thank you for hanging out with us. We will see you all very, very soon. Stick around for the XD daily creative challenge with Brandon the Draw along with Kyle Webster and the Doodle therapy with Christina Young at the end. And thank you everybody for hanging out. We'll see you soon.
Anika Aggarwal:
Thanks, everybody. Bye.
