*Transcription Disclaimer: the following transcription was automatically generated, and may have errors, or lack context.*
Nick Longo:
What's up, everybody? Welcome back. How's everybody doing in Behance world? My name is Nick Longo. We're here for day two of logo design. This is great, dude, because this is like, day two. Got to finish it, got to get it going. We're with our buddy Alex Lazaris. Alex, what's up, dude?
Alex Lazaris:
Hello back. Good to see you again. I'm so excited for today. Yeah, we've got some fun things kind of slated. I think we're going to do a couple more iterations of our little race logo, and then we're going to start mocking things up. And I think I want to do a pattern, so it's going to be action packed. I also owe you a logo.
Nick Longo:
Yes.
Alex Lazaris:
Maybe two logos, some patterns, and some mockups.
Nick Longo:
For those of you who were with us yesterday, I think you created quite a cool little vibe and font that we'll show you in a second. But I was just wondering, with he already created an L, why not just create an ongo, and I get a logo too?
Alex Lazaris:
Yeah, it makes sense. I'll show you guys in a bit. But I've got a mockup where I definitely will need more sponsor logos. And what a better way than to give a shout out to my boy Nick Longo?
Nick Longo:
There you go.
Alex Lazaris:
Amazing.
Nick Longo:
I love it. I'm number one sponsor on the racing team for sure.
Alex Lazaris:
Absolutely. And I'll send you my PayPal later.
Nick Longo:
There you go. I'm a little afraid, so give everybody a little bit of an update on kind of what we did or if you want, maybe even just show off your Behance page and kind of introduce yourself again for those who weren't with us yesterday.
Alex Lazaris:
Yeah, absolutely. So for those of you who know who I am, you know that I've been on Adobe a couple of times, and I'm a designer by day, but at nighttime, I put on crazy, weird outfits and I go racing stupid things that my parents don't approve of. So it's a really fun thing. I used to be a professional downhill skateboarder, did racing, motorcycles. Now I'm doing some car stuff and some go karting things and just having fun with it. But if you want to check out my work, go to mybeehance@behance.net Alex Lazaris. You can check out these case studies I've got in here. Lots of really interesting things, a little bit biased. Or you can check out our website@wearlazrus.com, and you can see kind of what my studio has been up to. But, yeah, we'll jump back into what we worked on yesterday. And I've got this one shout out that I didn't really get to make into a logo earlier for Voodoo Val. She loves her memes, and it's obviously made out of comma papyrus. Yesterday, what we kind of started with was some inspiration that we were seeing from CCE motorcycle coffee. They're in Portland. Daniel Ricardo's kind of merchandise line, some martini racing inspired livery. It's just great. Their recent collaboration with Porsche making necker chiefs and just seeing kind of like this little vintagey vibe that people are doing right now, I think.
Nick Longo:
Yeah.
Alex Lazaris:
Gone are the days of just hyper aggressive, digital, super bold logos that just over the top. So I wanted something that felt a little bit more authentic, maybe a little bit different from the norm.
Nick Longo:
Yeah, it's kind of neat to see all sports graphics kind of taking a bit of a shift. And I feel sometimes it's so cookie cutter in a lot of ways where, oh, racing stripes, this, whatever it is, is kind of that first thought. And isn't it neat to stretch the boundaries a little bit, particularly when you show that picture? Even with the girl and all the merch and stuff on there, it still works. And yet it plays a complete departure from what we typically think of.
Alex Lazaris:
Yeah, absolutely. I think especially this works really well for the Porsche brand, obviously, like, keeping it a little bit classier and a little bit maybe more expensive than some of the other things. But even Formula One racers are getting in on this little vintage trend and doing this kind of, like, really cool type setting and custom things like that.
Nick Longo:
Yeah. See, even fun type gets to play in sports design and racing design. Why not?
Alex Lazaris:
Yeah, absolutely. And I know we loved these kind of original, knockoffs, amazing logos.
Nick Longo:
Yesterday, literally, I made a note to be like, the minute I get some extra time is to just play around with those and do it. He's also a designer and photographer. His last name is Longo too. But he took all the famous logos, like almost 100 of them, and redid them all under with Longo and just similar to this. And I was like, Dang it. Couldn't take the credit for that one.
Alex Lazaris:
That's actually a really good idea for the outfits and things like that. Yeah.
Nick Longo:
And for anybody to even just test the waters a little bit on this kind of stuff. And if you're looking for cool stuff to maybe post on social or make a great case study, have some fun with it too. It doesn't always have to be so serious.
Alex Lazaris:
Yeah, absolutely. And I just look who I'm talking to. Voodoo Val was saying that she would ban me from a nemesis. So we might need to make a nemes logo.
Nick Longo:
There you go. Before we go to a few things too, if you had missed our previous daily creative challenge with Julia, you can catch it the first week of replays every Wednesday at 11:30, a.m. Pacific that's if you missed it. Let's get into it, man. Take a little walk through this fun little artboard and what got you. We started with picking fun fonts that were racing. Then we did the fun vintage a little bit more wild. Take us through it.
Alex Lazaris:
Yeah, so absolutely. So, like every good project, you kind of start with your crazy pulling of typefaces to see what things might work. And I think there's so many different options within this set that we were looking for. I think I really want to do a version of this. Maybe this is the memes yeah.
Nick Longo:
That got hidden in there.
Alex Lazaris:
I know, it's fun. Little one. Let me pull it out.
Nick Longo:
Actually, that one got hidden in there because of just the more maybe the sizing of it. Right? Like, I didn't catch that one previous. That's a nice little font.
Alex Lazaris:
Yeah. There's so many little gems in here and it's hard whenever you list them out like this, but it just kind of helps me start to facilitate that brainstorming process for myself of just, here's some typefaces I really think I could explore. If this was a clients project, I would probably spin up maybe several more iterations than what we've done in the last day and 2 hours.
Nick Longo:
Since you mentioned clients, great question for you. Are you showing them this amount of fonts or things, or is that even part of the process that do you show them this step?
Alex Lazaris:
I don't show my clients this stuff, but I do the due diligence on my end. I've been able to kind of grow my career in a way that I do one logo. Some clients are more of the like, let me just see a ton of them and let me pick it. But that's not really the relationships we have with our clients. But if there is a stakeholder that is more like that in a meeting, I might mock it up where I show the full artboard and I zoom way out. Maybe I blur it, maybe I put it on like a laptop screen mockup and I just continue to push it further and further away just to show them that I did the due diligence but not letting them choose which thing. Because I think oftentimes I've had it happen multiple times in meetings where they go, well, I like option one, and I like option three. I like parts of two. So what if we put all those together into a logo and you're like, now we're Frankensteining. Yeah, but I'm very transparent as like obviously I'm doing this on Adobe, but even if there's feedback from a client, I'm more than happy to open up my Illustrator file and walk them through every points of feedback that they have. Maybe the T has a weird crossbar or something like that and I could show them why the decisions were made that way and why wonderful it doesn't work just so that they understand I'm walking them through those things.
Nick Longo:
Love it. Yeah. And you learn with each and every one that's the cool thing about it. And when you get to that confidence level of showing them one, you can't just do it without having the backup resources. Like you said, the due diligence, once they do ask a little know which is great to.
Alex Lazaris:
Oh, Shauna. What's up? How are you guys doing?
Nick Longo:
Hey there, Shauna. Hello.
Alex Lazaris:
So, yeah, so once we had our type section kind of explored yesterday, we just kind of found some nuggets that we liked, and then we decided we were going to just do an exploration around the vintagey funky stuff, and then we kind of chose this. What is it called? It's.
Nick Longo:
Not claykozoa.
Alex Lazaris:
Keep butchering it.
Nick Longo:
I know. Dude, how many times do you look at a font and you're like, I can't pronounce it. They're going so crazy on the naming.
Alex Lazaris:
Every single day. Every single day.
Nick Longo:
Keep it coming, though. As long as it's a good font.
Alex Lazaris:
Yeah, exactly. So it's a great one. And then we started exploring kind of how does it look? Stacked and starting getting a little more funky and more funky. And then last night, I was looking at it again, and the R was just kind of bothering me a tiny bit.
Nick Longo:
Got you.
Alex Lazaris:
So what I ended up doing was just shrinking the a tiny, tiny bit here.
Nick Longo:
That works.
Alex Lazaris:
And then just getting the R in that space a little bit more, and that allowed me to kind of just boom.
Nick Longo:
You know what's great, too? The R was almost teetering between what word was it a part of? And now you've completely put it in your last name where it should cool. Uh oh. Do we lose Alex again? Alex, can you hear us? Doesn't look like it. Yeah, folks, we're going to go on standby for just a second. Stick with us. We're going to get Alex right back.
Alex Lazaris:
Ram don't sam. Sam lam it's.
Nick Longo:
Hey. Welcome back to day three of our time with Alex Lazaris. Oh, man. I know that feeling, bro. That's the we're all good now. We're all good now.
Alex Lazaris:
I am just so thrilled to be back here with you again. Nick. Yes.
Nick Longo:
Tell everybody a little bit about thanks for being patient, guys. We are back, man. Where were we? We were right in.
Alex Lazaris:
Oh, you were.
Nick Longo:
Showing the difference with the R, and you had fixed that within yesterday's work.
Alex Lazaris:
Yes. So we got the title Beauty happening right here. Yeah, we were talking about how now it feels a little bit more in alignment and you get less confused about where all the letters and the spacing and all that stuff is happening. So that's good. That's awesome. So feeling a lot happier with that, but I think we need a couple of things. So this is where we're going to go today. We're going to do probably a pen mockup, and then I ended up grabbing a full on suit mockup. I also have helmet mockup that I might touch on.
Nick Longo:
Just stop. This is crazy.
Alex Lazaris:
So I got this mockup and the helmet mockup from Yellowimages.com. I think they're, like, $15. And they've got some pretty solid mockups for things like this where you have.
Nick Longo:
A lot of pieces pretty specific yeah.
Alex Lazaris:
I don't know how many places have a fully 3D rendered and Photoshop ready file for a Formula One driver.
Nick Longo:
This is great. Oh, I can't wait. Dude. I'm already thinking about where my sponsorship is going to go.
Alex Lazaris:
Oh, perfect. Well, we need to get you a logo first, so we'll start that up real quick, and then we'll move into the I'll let you pick the spice that you want.
Nick Longo:
I am digging that kind of woodsy one right there. Yeah, that's a little fun, dude. Love that.
Alex Lazaris:
Perfect. Let's start riffing on that guy.
Nick Longo:
And what's that one called?
Alex Lazaris:
This is good luck.
Nick Longo:
Apocalypse. A-F-O-L-K-A-L-I-P-S-I love the ones that they almost purposely do it. So if someone's going to say it on a live stream, they might say something wrong.
Alex Lazaris:
Exactly.
Nick Longo:
Thank you, type Creator.
Alex Lazaris:
So longo. Do we want all caps? No caps. What are you OOH.
Nick Longo:
I dig when we get a little bit of that kind of vibe going there. That looks cool. At least just the L and the O helps that whole spacing. I dig that as well. That looks pretty killer.
Alex Lazaris:
Let's see here. Let's see if we can throw on all caps.
Nick Longo:
Yeah, it's a cool little font. Was that from we work for them as well.
Alex Lazaris:
You work for them, I believe. Yes. I think that's why I grabbed it. It might have been, yeah. This seems like one from them. One style.
Nick Longo:
Yeah.
Alex Lazaris:
Oh, there's a swash. They got swashes.
Nick Longo:
Oh, got to add an exclamation mark because you don't just say longo, you say longo.
Alex Lazaris:
Longo. I love it. What I'll do is I'll even incorporate. So we learned about the touch tool. Yes.
Nick Longo:
So much fun.
Alex Lazaris:
Maybe this needs to just kind of.
Nick Longo:
Independent, yet still together. Isn't that crazy? There we go. So cool. Actually, guys, I'm going to ask Chat what is my company? So I'm a sponsor. I would love it to be in the automotive world. So give me an area in the industry. Am I longo brakes? Am I longo steering tires. Yeah, exactly. Pistons, you name it. Nowadays, it could be almost anything.
Alex Lazaris:
Absolutely.
Nick Longo:
Give me a company car industry that I am. The longo is just top of the.
Alex Lazaris:
Like, I feel like you've got to have suspension. It could be suspension or what?
Nick Longo:
You know this better than do. So, like, what what would it be? Jesse? Nice try. Longo. Longboards. There you go. I like that one, Randall. And it's very surf style.
Alex Lazaris:
Yeah.
Nick Longo:
Okay. There you go.
Alex Lazaris:
It feels like you could also do endurance racing of some sort. You got to go longo with Rongo. Don't go wrongo.
Nick Longo:
Go longo. Don't go wrong with longo. Oh, God. Andrew's, chiming in now. Longo lights.
Alex Lazaris:
Car wrap.
Nick Longo:
Yeah, car wraps. That's a good one. I do that all the time, so might as well start a just did. One of my clients just did a Tesla we did, like, a full wrap on was it was pretty killer.
Alex Lazaris:
Wow. That's awesome.
Nick Longo:
One of my clients found an old vintage food truck that was literally like I'm talking, like, old style something you'd see, like, going through, like, Main Street at Disneyland. And we wrapped that entire thing and even made it look more gave it that whole old ice cream parlor vibe. It was really cool.
Alex Lazaris:
Wow.
Nick Longo:
Can't go wrong. Gail, I love this. The longboards is pretty cool. I'm kind of digging that.
Alex Lazaris:
Yeah.
Nick Longo:
Unless you think there's something else that would be cool.
Alex Lazaris:
I'm open.
Nick Longo:
I better trademark the can't go wrongo with longo.
Alex Lazaris:
Before I'll see you at the Patent.
Nick Longo:
Office, I'll be racing there like, dang it. Alex is there first. It's no longer an issue.
Alex Lazaris:
There you go.
Nick Longo:
That's a good one, Shauna. Cool.
Alex Lazaris:
I felt like you needed mascot.
Nick Longo:
Love it.
Alex Lazaris:
I'm just trying to figure out how do I make a smiley face for you?
Nick Longo:
There you go. That's pretty cool.
Alex Lazaris:
Digging that.
Nick Longo:
Just delete the I like the longboards thing. That's a good one. Let's hope it's no longer an issue with computer problems. Oh, dude. I like that. That looks killer. Yeah, I'm kind of digging. I think it's a cool tiki surf.
Alex Lazaris:
Very tiki, right?
Nick Longo:
It's got that mean, Andrew would probably dig this, but I can be longo tiki goods or something like that. Like, what else would there? Look at that ro. Oh, my God. That is so killer.
Alex Lazaris:
Now what we need is just I could probably just what I'm trying to do is where's this hard I am grabbing letters and essentially just deconstructing them so that I don't have to recreate a bunch of things.
Nick Longo:
Yes.
Alex Lazaris:
And by just doing that, I have some letter forms or I guess there's Swashes, too. What do they say?
Nick Longo:
Yeah. Oh, thanks, Val, for putting that link to the font. A lot of people are asking for it. I think to what you were just doing previous, by doing quick ding bats or all the symbols and stuff, you get, like, elements to build a very cool and comprehensive little icon to go along with that font. It's like you're building blocks like you did earlier yesterday.
Alex Lazaris:
Yeah, absolutely. Even this. I'm just trying to think, like, what do I do here? I can stretch it out a little bit, and then I've got everything.
Nick Longo:
No wrongo with longo.
Alex Lazaris:
Exactly. Just scratch out the wrongo.
Nick Longo:
I love it. Dude.
Alex Lazaris:
Throw on some red. Boom.
Nick Longo:
This is so going on Instagram. I can't wait if it's up.
Alex Lazaris:
No, it's all you, man. You're good.
Nick Longo:
No, I mean, if Instagram's working true.
Alex Lazaris:
I don't know if that's very cool. Maybe that needs, like, an opacity change.
Nick Longo:
Give it a little multiply.
Alex Lazaris:
Boom, boom, boom, boom.
Nick Longo:
Very nice, man.
Alex Lazaris:
Thanks. It's all because of you. Couldn't have done it without you. All right.
Nick Longo:
Team, baby. It's a team.
Alex Lazaris:
I feel like it needs a little maybe, like, some square elements.
Nick Longo:
Yeah.
Alex Lazaris:
Like a frame.
Nick Longo:
Oh, yeah. Looks like you got good yeah, it's got plenty of little elements to mess around with. You can puppet warp it, whatever you want.
Alex Lazaris:
Oh, my goodness. Puppet warp part two.
Nick Longo:
Yes. And you know these borders are going to overlap each other, right? You're going to have, like, crisscross corners.
Alex Lazaris:
Yes.
Nick Longo:
Now I'm just art directing too much. I love that one. Tim. Yeah. I'm going to be giving music lessons. Bongo with longo.
Alex Lazaris:
I love that. That's amazing.
Nick Longo:
That's great. I should tell my brother that we both play drums and my brother does drum lessons. That would be a good one.
Alex Lazaris:
What do you not do, Nick?
Nick Longo:
This is Bongo with Longo.
Alex Lazaris:
You're just a master of all things.
Nick Longo:
We call master. Love to try different things. You know what mean?
Alex Lazaris:
Yeah.
Nick Longo:
Can't sit at your desk all oh, you can't. No, you cannot. Yeah. There you go. That's really fun. What's neat, too, is when you see a font like this, to me, I think it just instantly inspires all the other things you can do for it. And you almost can use it for the entire identity in a certain way.
Alex Lazaris:
Like yeah.
Nick Longo:
Done all the work for you. It's got all the cool little consistencies in there and stuff. It's great. Yeah. Very much. Some cool Hawaiian vibes there.
Alex Lazaris:
Just pulling it so that each corner and each line isn't necessarily the same.
Nick Longo:
Same. There you go.
Alex Lazaris:
There's a bunch of different strokes happening throughout the whole I think we all.
Nick Longo:
As designers, look at that and you can see when something's been duplicated and not really altered or changed. So always good to kind of they're giving you tons of fun ones to use here, so mess around with them. Man, this is great.
Alex Lazaris:
Yeah, 1000%. Agreed. I just want to actually just not have it completely.
Nick Longo:
Yes.
Alex Lazaris:
Straight.
Nick Longo:
There you go. I mean, the font setting the tone right. There's not much parallel lines going on there. Everything's looking pretty cool.
Alex Lazaris:
Yeah. Well, some interesting shapes here. What's going on there? I like that.
Nick Longo:
I know. I'd love to know if this one was like I always look at this in question. Like, when they created this font, did they do it maybe brushstroke or maybe even marker or something and then went back and kind of just to get all of those different edges naturally, then digitize it and do something to create a font with it. But it really does feel truly handmade in a lot of ways, even though I'm sure it was digitally, too.
Alex Lazaris:
Yeah, I agree.
Nick Longo:
That's cool. Definitely got some good vibes in there.
Alex Lazaris:
I think this just be a little bit longer there.
Nick Longo:
Yeah. Just a reminder, too, guys, if you are watching on YouTube, come over and check us out on Behance. That's where all the action is. We got a great chat going on with everything. Much better viewing experience over here on Behance. So come check it out.
Alex Lazaris:
Absolutely. We're going to need some help picking colors and things for patterns.
Nick Longo:
See, you wouldn't be able to do that on the other side.
Alex Lazaris:
Exactly.
Nick Longo:
On Behance. We'll be here.
Alex Lazaris:
What else do we need? We need a memes logo.
Nick Longo:
Yeah, why not?
Alex Lazaris:
So we got longo. I think we might do a rectangle version of that as well, but we'll see.
Nick Longo:
Great.
Alex Lazaris:
Memes.
Nick Longo:
I like that.
Alex Lazaris:
Yeah, this was an interesting typeface because I looked at it and I was like, oh my gosh. There could be some really cool, fun things built with it, but it definitely will need some kidder consideration. So I think this is a good example of like, when you're working on these things at home or you're working on it for a client as you're building them, you can have these as great starting points. Be like, oh, this is a geometric project that maybe I need to just tidy up some of the lines. It'll be unique and custom. Yeah, just amazing.
Nick Longo:
That's really cool. And also, too, then it gives you those 45 degree lines that I almost feel like could be even intersect and go outside of the font a little bit and go back to our little racing line stuff. Everything that you're doing has a bit of that vibe.
Alex Lazaris:
Yeah, absolutely. This is one that I'm just going to immediately kill the editability on because pretty close to knowing what I already want to do with it.
Nick Longo:
What was the name on that one, by the way, before you get busy on there? Let's see.
Alex Lazaris:
This is Calvera. C a calvera. V-E-R-A calvera.
Nick Longo:
Sounds like a new Chevy. Introducing 2022 calvera So the funny thing.
Alex Lazaris:
About this typeface is that it at first glance, feels like it's symmetrical, but it's not. Yeah, and you're like, interesting. Like, the M here is a little off, so you could essentially use this as a starting point and completely rebuild it geometrically for yourself. Or I might keep some of the organicness, but we'll see.
Nick Longo:
And it's funny you look at that M and I guess structurally that makes sense. Like, if they're making these lines almost 45, if not a little bit sharper there, how else can you make that M in that small little gap without the line going so thin on that V? Yes. Thanks for oh, this one was right on defaunt. Look at that.
Alex Lazaris:
Is it really? I paid for that.
Nick Longo:
Oh, no, of course I paid for it. There you go.
Alex Lazaris:
Your tight boundaries. I'm going to pull this just I wonder if the E needs to go all the way to the edge or not.
Nick Longo:
Interesting. So the E looks like let's see. Is the M thinner than the E? Kind of looks like is that an optical illusion or just the overall width of the M? Is it the same width as the E?
Alex Lazaris:
Oh, good question.
Nick Longo:
Kind of feels like, oh, that's a full on optical illusion because it's dead on. Look at that. Isn't it weird? It looks thinner.
Alex Lazaris:
Let's see. Yeah. Each character is monospaced, so each character has the same spacing.
Nick Longo:
There you go. I guess the E has so much more call it horizontal strokes than the M does that it kind of feels whoa, that thing's got it looks a lot wider, but it's not.
Alex Lazaris:
Yeah, absolutely.
Nick Longo:
You got some funkiness going on there.
Alex Lazaris:
There's a lot of funk, which I like. Yeah, memes are meant I mean, memes are meant to be funky.
Nick Longo:
There you go.
Alex Lazaris:
Tongue slip there. Pronounced memes weird.
Nick Longo:
Oh, there you go. Build some got some personal guides.
Alex Lazaris:
Yeah, just some personal guides so I can not mess up the geometry.
Nick Longo:
Yeah. So now it looks like that H crossbar, is that the same thickness? It looks like it got god, I guess it is. But it's one of those optical illusions again.
Alex Lazaris:
There's so many optical illusions, I think.
Nick Longo:
Yeah. Just shy. Oh, it's the same. That is crazy. We have found one of those new puzzles to show people and be like, which line is thicker?
Alex Lazaris:
Absolutely. I'm not liking the E kind of.
Nick Longo:
Crossbar going yeah, I like that you have it in line with both the E and the H. I guess it makes sense. Not going all the way. Yeah, not going all the way over. There you go.
Alex Lazaris:
That's kind of cool. Is this too low now that it's not reading like an E?
Nick Longo:
Well, I don't know. Let's see. There you go. Maybe both can go a little bit higher. There you go. Because the h still works. That looks good. That's better.
Alex Lazaris:
Wondering, is this one of those things where you know how you were talking about stacking the crossbars earlier? I'm wondering if I don't know. I don't know what I'm thinking here.
Nick Longo:
Yeah, let me see. I'm trying to think, too. There might be a cool little solution there you could even do. Like, what if you stacked them, but you basically cut a diagonal line that intersects them when they cross and then it's just a negative space. So I'm thinking like, let me try to draw this. So you got both of them stacked, but then you subtract so I'm doing something like this, where you stack them like that and then you subtract a square that's slanted at that same angle in between the two. So the top one gets intersected at the bottom and then the top one gets intersected at the top. That makes lose. Did we lose Alex again? I think we lost Alex again, guys. Or yeah, we're going to go on standby again, guys. As soon as we come back, we're going to have that Intersected logo.
Alex Lazaris:
Baby. You ram it's, Sam.
Nick Longo:
Day four of our time with Alex Lazaris. We're back.
Alex Lazaris:
Hello, everyone.
Nick Longo:
Only you get four appearances in one day. I know. It's like not shoot for a record. Welcome back, guys. Thanks for being patient again. We are back. Hello, everybody. Thanks for chilling in Chat. Where do we leave off? We had a little issue, but tell us where we're at.
Alex Lazaris:
Yeah, absolutely. Give me 2 seconds. I'm pulling up the whip. Let's see.
Nick Longo:
Oh, excellent.
Alex Lazaris:
I've got a couple. Okay, so that one broke, too. So there's a couple of broken things. Pro tip always save your file.
Nick Longo:
Save.
Alex Lazaris:
Make sure that you've got everything up to date and saved. Yeah. Learn from me in my mistake.
Nick Longo:
There you go. Oh, we got a little something going here. This is great.
Alex Lazaris:
Yeah. So essentially what happened with the recovery? When my computer crashed, the things went away and died. So these are really good things to just remember. Save constantly, save forever. Make sure you're happy. Oh, your logo is kind of here.
Nick Longo:
Hey, did you use the recovered file?
Alex Lazaris:
This is the recovery file.
Nick Longo:
Perfect. And that's where it was.
Alex Lazaris:
Oh, there we go. We're saved. Actually, the recovery file is pretty good, guys, because see?
Nick Longo:
There you go. Perfect.
Alex Lazaris:
We're good. I'm just going to save that, and then I'm going to close it just in case we have any more issues. Sometimes the more things you have going on, it's probably not Adobe's fault or anything, but I noticed that whenever I was building web pages in Illustrator, because that's how I used to do it for a long time before XD existed. Back in the day, after you get so many artboards and so many files and vectors and things like that, sometimes it can start acting weird.
Nick Longo:
Yeah.
Alex Lazaris:
Just to be on the safe side, I've essentially just pulled a couple of things together on a brand new clean document.
Nick Longo:
Nice.
Alex Lazaris:
That way we don't have to stress about perfect.
Nick Longo:
Perfect. So we were creating this new one with this font that we all kind of took a look at. Here the calvera. Was it correct?
Alex Lazaris:
This one is Calveric.
Nick Longo:
That is calvera. Yeah. So, again, we were building, trying to just customize it a little bit and get it to something a little bit more active, a little bit more motion. It's a great starting point.
Alex Lazaris:
Super great starting point. I'm going to just do this as a line so I can see where I need to have the top go.
Nick Longo:
Here you go. Telling you, it was probably my sketch that made everything happen, because I should have just left it all to you. Did you even see it? Because I think that's right when we stopped it, but keep going, man. Keep going.
Alex Lazaris:
I'm going. I got it. All right, we're there. We got the crossbars going. And then I was thinking maybe we need to have the second meme, and Shawna says, Rip Dreamweaver. I know, right?
Nick Longo:
Yeah, I know.
Alex Lazaris:
Classic Dream Weaver. I'm wondering if I need to just how funky can we get with the M real quick? Can we pull it down here? Does that contrast that?
Nick Longo:
OOH. That was kind of cool angled.
Alex Lazaris:
It's like puppet warp tool.
Nick Longo:
It's the first version of it.
Alex Lazaris:
If I was to just pull this up, does that get weirder, or is it okay?
Nick Longo:
Oh, maybe yeah, I see what you're doing. And just dropping maybe the cross a little bit down below there, we huh? I think that might be a great solution for both M's. I kind of like that better.
Alex Lazaris:
Yeah.
Nick Longo:
The one on the far left looks like you took the MTV logo and just stretched it right.
Alex Lazaris:
Cool.
Nick Longo:
Amy caught my singing. I was hoping someone would catch that.
Alex Lazaris:
Amy's back for round two.
Nick Longo:
How you doing? Yeah, see, there's your MTV logo.
Alex Lazaris:
The weird part is okay, so that's the thing. All the other angles are following this.
Nick Longo:
Yes. And and that one went way and.
Alex Lazaris:
The M is just way sharper.
Nick Longo:
I think it'd just be too shallow of a V if it was that same angle. What do you think?
Alex Lazaris:
It could be or it could be perfect.
Nick Longo:
It might be better, to be honest with you.
Alex Lazaris:
Yeah, we'll see.
Nick Longo:
Yeah.
Alex Lazaris:
I'm sure the person who designed this typeface, if they're watching, would be like, why are you ruining my perfect typeface? It.
Nick Longo:
There you go.
Alex Lazaris:
Pull those anchor points.
Nick Longo:
Kind of killer.
Alex Lazaris:
All right. And then I will pull this and this down. This needs to stay up, right? No, it doesn't. What am I doing? How do you do type again?
Nick Longo:
Yeah, there you go. Oh, perfect. So you're even getting rid of this straightened cap and making it pointed. I think that works so much better for that angle.
Alex Lazaris:
Yeah, it seems like that might be the move.
Nick Longo:
All right, there you go. Now we're getting there.
Alex Lazaris:
Okay, so that's there. And then so that means this and this. We need to come over here and then flip.
Nick Longo:
Flip it. Flip it. Good. Perfect. So that's going to line up with the top. There you go. Oh, dude. Much. I can already see that M looks better. That looks great.
Alex Lazaris:
I need you like I said yesterday, I just need you in my corner. Every day when I'm designing.
Nick Longo:
I'm going to do a podcast where it's just me going. That's awesome. Yeah, that's great, man.
Alex Lazaris:
I would absolutely fall asleep to those positive affirmations.
Nick Longo:
We should do that. That'd be a great one.
Alex Lazaris:
I'm into it.
Nick Longo:
And then we could get different designers to guests, come on board and do the same thing.
Alex Lazaris:
Oh, man. Do you know how much I would pay to have Amy just tell me that I'm a good designer?
Nick Longo:
You're a rock star.
Alex Lazaris:
Yeah, you're a rock star, Liz.
Nick Longo:
Keep going.
Alex Lazaris:
Some days might be tough.
Nick Longo:
I think we're onto something, man. I think we're onto something. Nice.
Alex Lazaris:
Okay. That's a real short one, but it lines up. Does line up. What's a meme without a little bit of a meme?
Nick Longo:
Yeah, exactly.
Alex Lazaris:
Let's see here. Maybe okay, we'll just swap this guy out we'll swap out the shorty.
Nick Longo:
There you go. Shorty's. Looking good there. Love that.
Alex Lazaris:
I think if we elongate shorty as, like, the downward spiral.
Nick Longo:
Is something's happening here? I'm going to let the magic happen. Yeah, we'll get Paul Tranny to be a part of that podcast as well. He'll give perfect, really great affirmations. Telling you you're fantastic.
Alex Lazaris:
Does that mean so then I'm thinking what we need to do is the opposite of the E, where the E.
Nick Longo:
Goes down now and then same with the yeah. Ah, we're flipping it. I love it.
Alex Lazaris:
And reverse it, as Missy Elliott would say.
Nick Longo:
Yes. I would repeat the next line, but I don't know what she.
Alex Lazaris:
Said.
Nick Longo:
Something about a premonition or something.
Alex Lazaris:
All right, so now I can let's see if I can just take this transform reflect.
Nick Longo:
Yeah. All right, dude, I'm kind of digging that. So, yeah, the whole idea here is almost like it kind of feels like you've got the part going here and then it's going to peak and go downward from the middle M. Yeah.
Alex Lazaris:
Maybe then we might need to move the M up a little bit.
Nick Longo:
Oh, got you. Yeah. So that doesn't hit the bottom bar of the E there. That's a tech term for typography.
Alex Lazaris:
A bottom bar.
Nick Longo:
Bottom bar. We all know what that is. The last H is looking like an N. Yes, for sure. I think you're right. But he's got some plans, man. He's got some plans.
Alex Lazaris:
I'm a man with the plan.
Nick Longo:
All we got to do is maybe center that a little bit more and you probably got it center. Or if that crossbar of the H goes a little lower, it's going to feel more like an H than an.
Alex Lazaris:
Oh, yeah, you're absolutely right.
Nick Longo:
Yeah, exactly. So as a good little reminder, we are working with Alex here on some racing inspired logos. The idea here is not only to have the main brand he's working on, but some sponsorship logos as well. And then with time, at the end of this, we're going to start placing these on some really cool little mockups and can't wait to see how that's going to look. Yeah, nice.
Alex Lazaris:
This is probably not going to work because of the H being so low, but you know what? We're going to have fun with it. Why not?
Nick Longo:
Yeah.
Alex Lazaris:
There are no rules. It's a meme.
Nick Longo:
You're supposed to be a little bit off.
Alex Lazaris:
Yeah, exactly.
Nick Longo:
It's neat, too, when you make a few shifts of the points and maybe you didn't grab two or three of the points that you were hoping it does something really weird that is almost like just by chance.
Alex Lazaris:
Absolutely by chance.
Nick Longo:
I love those. Those always work out great for me sometimes. They've made it to some of the finals.
Alex Lazaris:
Oh, absolutely. Like, well, I didn't think about it like that.
Nick Longo:
Yeah.
Alex Lazaris:
And this little shifteroni.
Nick Longo:
Yeah. Hey, another reminder. You know what's happening october 26 through the 20 Eigth, don't you?
Alex Lazaris:
Is it your birthday party and you didn't invite me?
Nick Longo:
No, it's an online event. All of us are probably going to be there.
Alex Lazaris:
Sounds like Adobe Max.
Nick Longo:
Adobe Max is coming, man. Yeah.
Alex Lazaris:
It's already that time of year again, isn't it?
Nick Longo:
Hard to believe. I mean, it's such a neat thing to me. Now, Adobe Max is the beginning of, like if you guys haven't registered, please be sure to go on there now. There's so many great speakers and so many great events happening. Creators from around the world will be there to help life sign up and get yourself ready to go and take a look at the agenda. Should be fun.
Alex Lazaris:
So what you're telling me is it's kind of like your.
Nick Longo:
I will I will celebrate it two times a year now because of Adobe Max.
Alex Lazaris:
Perfect. Love it.
Nick Longo:
There you go.
Alex Lazaris:
I don't know. I don't know if it reads like it doesn't. Nico. Oh, yeah. My little brother is roasting me in Chat.
Nick Longo:
Look at that.
Alex Lazaris:
Like met men. It is. Met Men. That is exactly it.
Nick Longo:
It is. Maybe that's the name of the sponsor.
Alex Lazaris:
Yeah, that's it.
Nick Longo:
We just changed our name officially. I love it.
Alex Lazaris:
Yeah, I don't think it's terrible. What I do like about it is that there's kind of this natural arrow shape happening. Maybe it needs to be there.
Nick Longo:
Yeah. So you can kind of see the pointing upwards. I like that.
Alex Lazaris:
Yeah.
Nick Longo:
You are the meth man. Always good when family joins in, right?
Alex Lazaris:
It's good. Maybe this needs to yeah, there we go. Just where we want to align it a little bit.
Nick Longo:
Very cool.
Alex Lazaris:
So maybe this needs to be let me just double check the spacing between the letters real quick.
Nick Longo:
Sure. Yeah. The old build a block and repeat it.
Alex Lazaris:
Classic.
Nick Longo:
This is expert stuff right here.
Alex Lazaris:
This is how everybody makes their logos.
Nick Longo:
We know. We all do it. I've been using it too. Like when you have to center something and I'm like, I know. I got a guideline. I know it says it's centered because I aligned it, but I'll still build some blocks just to make sure.
Alex Lazaris:
Well, it's funny because then you start doing, like, little optical alignment things.
Nick Longo:
Exactly.
Alex Lazaris:
Those little things start to mess with it a little.
Nick Longo:
Hey, Nuno, thanks for joining us from Portugal. Some folks from all over checking that out today. Cool, man. It's looking good.
Alex Lazaris:
Let me just tidy that up just a little bit and then I think we'll be off to a good start.
Nick Longo:
Great, man. And then are we looking for another sponsor pretty soon?
Alex Lazaris:
Yeah, we can do another sponsor.
Nick Longo:
Is that what we want to do? Should we ask Chat if they could put their last name together with something that would be a really great sponsor company name? Maybe we choose one from there. All right, guys, so your last name and something else or some play on words, a pun on words with your last name, and you might be the next sponsor on Alex's final presentation here, so let us know.
Alex Lazaris:
I don't know if those lines work anymore, but there is something nice with that shape, and I don't know what I want to do to reinforce that.
Nick Longo:
Yeah. Question from Flavio is on how do you do presentations? I'm assuming he's saying use of color fonts, patterns of the brand, how many mockups, et cetera. Are there guiding principles there, or is it per case study kind of for you? What do you think?
Alex Lazaris:
For me, it really depends on the client and the case study. I know that's kind of a non answer, but yeah. So I don't believe in putting in mockups, like, a specific amount just for the sake of doing it. I'll make sure that it's always helping to reinforce what I'm working on. Yes, there's a ton of mockups out there in the world that you can use. Most of them may not work for your clients needs or the project you're working on. And so I never want to just do that for them without you need.
Nick Longo:
An appropriateness of it has to be a piece or mockup that works with it.
Alex Lazaris:
Yes, exactly right. I'm only doing it to reinforce the message or the idea and not to include just an iPhone for the sake of sure.
Nick Longo:
I think also, too, it depends on where I know with some of my students, when they're just getting out into the world and they've made their first portfolio, I think most people do stress that they want to see a lot more process, a lot more color theory, a lot more of that problem solving. But then later in your career, if you have a rich portfolio with a lot of great case studies, maybe it doesn't have to go as in depth anymore at that point, and it's truly just show off the brand. You don't even have to worry about application shots because I'm sure maybe real stuff was made to show as applications. So it really depends on, I think, where you are with that. I think a lot of people do like to see the problem solving of a young designer. We got a few good ones here. We have Lacey laces. That's a good one. Scatter. Goods. Goods. Hamas. Hummus Williams. Bracing.
Alex Lazaris:
I like that. I love it because Williams Racing is an actual racing team.
Nick Longo:
Yeah, exactly. He's already got one. That would be great.
Alex Lazaris:
A Hummus brand on their race uniform would be sick.
Nick Longo:
I know. Why not? You got to have a snack. It's good for you.
Alex Lazaris:
True. Okay. All right. Which one did you choose?
Nick Longo:
It's up to you, man. What do you think? I like that. Lacey Laces.
Alex Lazaris:
That's on. Wonder if I face for that.
Nick Longo:
That feels very scripty to me right off the bat.
Alex Lazaris:
Oh, yeah.
Nick Longo:
Anything with a capital L and, like, laces. I just see, like, how do you feel about comic?
Alex Lazaris:
Papyrus comic?
Nick Longo:
You've used it enough, my friend.
Alex Lazaris:
Let me see what I got here.
Nick Longo:
You and that font, it will always be embedded. I'll be like, oh, you should have been there one time when Alex used it on Adobe Live.
Alex Lazaris:
I can't wait for a real client to pay me for it. Exactly.
Nick Longo:
That's great. Yeah. We're going to cut him off, man. We're getting to use that one. I kind of dig that. That's a cool one. There you go. Nice.
Alex Lazaris:
I think this one might have some fun ligatures for it. Maybe an additional weight or two. No? One? Nothing. Let's see what glyphs we've got.
Nick Longo:
Yeah. All right, guys, let's pair up. Two terrible written off fonts that we should never use again. We need some more pairings. So we have our Papyrus Comics fans. Yesterday we mentioned Hobo Lobster, which I will create one day. We need some terrible font combinations combined into one.
Alex Lazaris:
Absolutely.
Nick Longo:
This should be good. You got brush, script. You got mistral. That's one of my favorites.
Alex Lazaris:
Okay. All right. I think I've got an idea. All right.
Nick Longo:
Times New Roman and anything. What's he doing? What's he doing?
Alex Lazaris:
I'm going to grab, and I might do a little insignia, a little stacky stew.
Nick Longo:
Bleeding cowboy madrid Marriott. That's awesome.
Alex Lazaris:
That's fantastic.
Nick Longo:
I think Bleeding Cowboys alone just needs to be sworn off completely. Yeah. Bleeding cow. Roman. I feel those people that actually use Bleeding Cowboy as the font of a tattoo have got to be regretting. It beyond belief. That has got to be one of the most quickest in and out fonts you've ever seen in your life. Gidy up times. All right. I like that dude.
Alex Lazaris:
Yeah. I don't know what that name is of that Glyph, but it's kind of nice. But I don't like how the letters are, you know?
Nick Longo:
Yeah, that a and E. Particularly the A. What's bothering you on that?
Alex Lazaris:
It feels like a really good headline typeface and not necessarily not so much a strong. That's what's causing sadness.
Nick Longo:
That CSTM one looks kind of cool. Whatever that was, keep going.
Alex Lazaris:
This one's super fun. I forget who this is. CSTM is the type foundry, I think, or wow. I think it's, like, an experimental one. It's a variable.
Nick Longo:
Oh, no.
Alex Lazaris:
Oh, my gosh. Yeah. Look at that.
Nick Longo:
Kidding me.
Alex Lazaris:
It goes from, like, this crazy cerulean.
Nick Longo:
And I love every step in between.
Alex Lazaris:
Yeah, it's so cool.
Nick Longo:
I have to buy that one. That is so cool. That is so cool.
Alex Lazaris:
I wonder if they've been updating it over the time.
Nick Longo:
I like, it just the way it was. That actually was such a cool starting point. That's pretty cool. Here's a great suggestion. All the folks that mentioned they still see Bleeding Cowboy out there on billboards and everything, you find that company and redesign it for them and tell them, I want to redesign it for you. There's your new client.
Alex Lazaris:
I'm so sad I don't have Bleeding Cowboy installed.
Nick Longo:
Oh, yeah. Gone long ago. I can't believe it was actually installed at one point. I can't remember where. Maybe we all got stuck into it during the day it was released.
Alex Lazaris:
Okay, so Val's asking a little bit more about variable typefaces. So variable typefaces are the future.
Nick Longo:
Yes.
Alex Lazaris:
We need, like, cool effects for that. Yeah, variable files are so cool. There's some places that do variables from San Serifs to Serifs and anything in between, which is crazy. But I think the most common variable is essentially.
Nick Longo:
Bold and thickness. Right?
Alex Lazaris:
Yeah, thickness. And getting in between weights and stuff.
Nick Longo:
Like that and going from, like, condensed to expanded. Think of any extreme contrast in a font, right?
Alex Lazaris:
Yeah. I'm trying to figure out which typeface I have that's super, I think, fixed.
Nick Longo:
And, folks, when you get them, all of a sudden, now you have the sliding kind of fixed part within the app that allows you to slide between all of the variables in between.
Alex Lazaris:
Yeah. I'm trying to think, obviously. So this is a good example of it going from, like, I can control the width, but I can also control the weight, so I can have super wide and super thin.
Nick Longo:
Yeah.
Alex Lazaris:
Which is really just so cool being able to do that.
Nick Longo:
And I'm assuming, too, when you download it or when you purchase it, is it a different prefix as far as the file of it?
Alex Lazaris:
No, it's the same.
Nick Longo:
Really.
Alex Lazaris:
It'll be an OTF or what is it? TTF.
Nick Longo:
Yes.
Alex Lazaris:
But typically you get a certain amount of weights with it, like this, and then the computer figures out the weights in between.
Nick Longo:
Yeah, I was just saying. Amy just said, too, she had only seen the weight thick to thin and then also condensed to expanded. But to see it actually swap from Serif to San Serif or for the one you showed I mean, it almost was like two totally different fonts and every step in between.
Alex Lazaris:
Yeah, absolutely.
Nick Longo:
I'm trying to figure, like, you're transforming it in Illustrator and you get all those little steps. What a great one. They showed that years ago at Adobe Max where they were going to do a thing. It was shown on the iPad, and it was going to be a new font app that you can download from Adobe. And it had all the sliders, and you were doing it right on screen. And whatever gesture you would do, it would do the same thing, and then you can save it and be like, I want this version, and you call it something. So I think this is what variable fonts has probably come out of from that experiment, because this is the coolest thing.
Alex Lazaris:
Yeah. It's incredible, the fact that you can really kind of get really custom with what you're doing. I'm speechless because it's just so exciting to see where we're going.
Nick Longo:
Yeah. And seeing that font that you first started with, the Lacey one down there, you're talking totally different fonts going in between there, where it's bringing in things that are almost like it's not even, like, an adaptable thing anymore. It's totally different.
Alex Lazaris:
Yeah, absolutely. I mean, a great example is the Collins work for Dropbox, where they essentially had sharp grow task built out. I think 124.
Nick Longo:
Yes.
Alex Lazaris:
Different, like, here's being a variable. So it goes from ultra wide decondensed and expanded. I think they did 124 extra weights to give them that flexibility.
Nick Longo:
That's amazing.
Alex Lazaris:
I'm trying to remember the type foundry that did I think it's called Bezier.
Nick Longo:
Yes.
Alex Lazaris:
And that's the typeface that is a really solid example of being able to go width wise and then also serif and send serif. So I'll try to find it.
Nick Longo:
Nice, man. Price wise. Are they typically comparable?
Alex Lazaris:
If you're trying to commission one? No. If you're trying to purchase one just for itself, you might be able to find some oh, no. Typeco does a bunch of variable typefaces.
Nick Longo:
Great.
Alex Lazaris:
Good. I know we've talked about Ono a couple of times, but my first thought.
Nick Longo:
Of it is the instant originality of it, where if you use something in that minute area in between oh, here you go. Yes. Love these guys. This is perfect.
Alex Lazaris:
This is just great. I should have just used this typeface for my logo, but yeah, this is a variable typeface as well. And this one, I think, just changes in how wide the characters are.
Nick Longo:
Yeah. Or how groovy it gets. It's got a groovy meter.
Alex Lazaris:
They love their grooviness. Anybody who does any mezcal work or even just names a typeface around mezcal, it's my favorite. So yeah.
Nick Longo:
There you go.
Alex Lazaris:
Fun. Highly recommend. Just checking it out.
Nick Longo:
Good to know. Because if you're looking for originality, if you're looking for something that no one else has, you get that moment to do it here. Somewhere in between. It's, like, completely customizable.
Alex Lazaris:
Yeah. And Amy says feature font has such fun options, and that's absolutely correct. As.
Nick Longo:
Yeah. Oh, I love that one. Do me a favor and just type it in Logo really quick so I can see how it looks.
Alex Lazaris:
Oh, of course. Easy.
Nick Longo:
There you go.
Alex Lazaris:
All right, we'll give you a couple of options as well.
Nick Longo:
Thank you so much.
Alex Lazaris:
You're welcome. That's great, dude.
Nick Longo:
Oh, my God. So many parts in there I liked. It was so cool.
Alex Lazaris:
The block letter is just amazing.
Nick Longo:
That's really becoming. I've yet to have a project or a client that has needed it. It's driving me crazy. So if anybody's looking for something in that zone, please hit me up.
Alex Lazaris:
What were we doing again? Lacey Laces. All right.
Nick Longo:
Yes. Lacey Laces. Perfect. Back to our regularly scheduled program.
Alex Lazaris:
I'm wondering if just, like, what if we just change Lacey Laces to, like, Lacey's?
Nick Longo:
Oh, Lacey. Yeah. Lace seas.
Alex Lazaris:
Yeah. I don't know how we spell that.
Nick Longo:
Have a little fun with it.
Alex Lazaris:
Yeah, just like laces or IAS.
Nick Longo:
That's kind of cool. Could be a nice abbreviated version of it. Could be fun. Feels a little Macy's ish.
Alex Lazaris:
Oh, my gosh. A Macy's. Oh, my gosh.
Nick Longo:
There you go. Amy had a great idea. I'm going to approach my local English pub right here in should. That's a perfect idea. Then I'll get my black letter branding project in.
Alex Lazaris:
I'm trying to think, what do we want to do? I know you. Okay? I'm going to do this for you. Okay.
Nick Longo:
Yeah.
Alex Lazaris:
Object path.
Nick Longo:
What is this? You got to outline it first. What is this crazy new tool you're using? I've never seen this before. Lazaris laces. You also have a lace company in addition to your racing company.
Alex Lazaris:
I only know of one shoe company that makes racing attire with velcro. Every good racer is only as good as their shoelaces.
Nick Longo:
Oh, my Lord. Love the freaking that s alone in its little shadow.
Alex Lazaris:
Trying to figure out if I want to give it, like, a faux 3D look.
Nick Longo:
Oh, yeah. With a little bit offset of a drop shadow.
Alex Lazaris:
Yeah, I could give it a little.
Nick Longo:
The longo his laces. Lazaris longo laces. There we go. When we do finally collab on something, it's going to be a line of laces.
Alex Lazaris:
Amazing. I need to get that stroke out of that middle there.
Nick Longo:
There's. Cool. So we've got about 20 minutes or so until we hit our spotlight, and then we have a total of we got about 40 more minutes.
Alex Lazaris:
Okay, perfect.
Nick Longo:
Yeah, we're looking good. Yeah, that offset is looking pretty cool on there. I love that.
Alex Lazaris:
So what I'm going to do is add that stroke. Now up it up just a tiny bit.
Nick Longo:
Command save.
Alex Lazaris:
I've been saving nonstop because I'm so.
Nick Longo:
Scared I'm going to be sending you chat notes. Save, Alex.
Alex Lazaris:
Save. Yeah, absolutely. I'm just excited to know right before I lay my head on my pillow tonight for sleep, I'll be like, did I save? Did I save?
Nick Longo:
Yeah, exactly.
Alex Lazaris:
Please, computer, don't crash anymore, please.
Nick Longo:
I love that. That looks cool.
Alex Lazaris:
Not bad.
Nick Longo:
I would even shorten that apostrophe a little bit too. What do you think?
Alex Lazaris:
Once you're all said and done?
Nick Longo:
Yeah, kind of looks like a big old chopstick hanging out there just going like, hey.
Alex Lazaris:
That'S so funny, man.
Nick Longo:
That lowercase s to me alone is.
Alex Lazaris:
Just like, yeah, it's got some funk and some fresh.
Nick Longo:
I'm going to be doing some designing later today. Just for yeah.
Alex Lazaris:
All right. There we go. So we just shorten it. Is that what you're saying?
Nick Longo:
Even better. See, it's even variable when you mess around with it. You got a lot of other looks.
Alex Lazaris:
Like there's a ton of dots in there.
Nick Longo:
Oh, my God. Could probably rebuild it faster.
Alex Lazaris:
Honestly.
Nick Longo:
I'm really anxious to try a few of these variables to just experiment with them and see what happens. This is really something else.
Alex Lazaris:
I dig it. Yeah. I'm wondering if they updated that typeface, because I know they've been working on it for a while.
Nick Longo:
Oh, that would be kind of interesting. When you buy a font that you actually get an update of it.
Alex Lazaris:
Yeah, I think that's the whole thing with fonts. Yeah, this is how that works. So you've got, like, a bunch of things happening, browse fonts, and I think they're kind of like yeah, see, it says, like, V one.
Nick Longo:
Yes.
Alex Lazaris:
So it's kind of like, oh, it keeps evolving.
Nick Longo:
And then you would just get an update, I'm assuming.
Alex Lazaris:
Yeah. Let me see if the X beer.
Nick Longo:
Oh, man, I'm seeing so many good.
Alex Lazaris:
New fonts that, yeah, this is the typeface I got. So it's still in progress.
Nick Longo:
Nice.
Alex Lazaris:
It's right here. Price $50. Boom, boom, boom.
Nick Longo:
Great.
Alex Lazaris:
Started in 2019. We would happily take an update, my friend.
Nick Longo:
Wow. I love it, man. Love it.
Alex Lazaris:
That's cool. So do we want to just pull this towards that a little bit? What are we thinking?
Nick Longo:
I don't know. Even shorter and then float it? Maybe it doesn't need to touch either the Y or it feels like it could be a super small little accent. There you go. Get that guy in there.
Alex Lazaris:
Not bad. That came from but it's got okay, sorry. Thinking.
Nick Longo:
Yeah, it looks like it has that's.
Alex Lazaris:
When Nick is not thrilled with my work and getting fine.
Nick Longo:
It was my art direction, so it was terrible.
Alex Lazaris:
I think maybe it just needs to be leave it as shorter and stubbier, maybe.
Nick Longo:
There we are. Nice. Yeah, it is kind of pulling some 3D vibes there. Looks good.
Alex Lazaris:
Yeah.
Nick Longo:
I'm happy with it.
Alex Lazaris:
Cool. Let's save it again. Apparently Google Drive doesn't like me saving these files lately. All right, so we got that. All right, so we've got our original logo, and I wanted to start exploring what a pattern could look like with it. Yes. Just get rid of the offset, the background, duplicate it. Oh, my goodness. All right, come here. Boom. All right, so we got this. I think that I'll take off the stroke. And you were saying yesterday that this could be a cool pattern make.
Nick Longo:
Yeah.
Alex Lazaris:
Famous last words. All right, I'm going to go to object pattern make, and then I've got a bunch of really cool options happening here. Essentially, it's just a column grid right now, but I can change it to control it. Bricks do bricks by columns. I can do hex. I typically like to do hex.
Nick Longo:
Yeah.
Alex Lazaris:
Because it seems to fill the space a lot. Nicer. And now I can control the width. Look at that height, and try to get them a little bit closer to each other. Yeah, there's still kind of some, like I don't know, maybe it's okay. There's some rivers.
Nick Longo:
Yeah. But sometimes, too, I think if it had just this continual tone, it might not pull you in enough to be like, does that say something? So maybe having those breaks still tells you it is something to begin with.
Alex Lazaris:
I'm going to just fill that pattern now and then I can do a background if I want, which maybe this will tell me that I need to do like a stroke on those things and we'll find out. Just command B to place behind. Have lots of vibrations happening right now.
Nick Longo:
Really cool.
Alex Lazaris:
Yeah. You can kind of see it coming together a little bit there.
Nick Longo:
Yes.
Alex Lazaris:
But what I really wanted to do was make a pattern with some of these elements here as well. So there's some fun little characters happening with the A's and the eyes, the lowercase and the other one. So I want to see if I can just really quickly just start pulling them apart.
Nick Longo:
Okay.
Alex Lazaris:
And then we got a graphical package out of it.
Nick Longo:
Nice. So just taking some of the favorites, putting them together for another pattern.
Alex Lazaris:
Exactly. Yep.
Nick Longo:
You're going all Gucci on us, aren't you?
Alex Lazaris:
I'm trying, man. Fast. Fashion is my thing now.
Nick Longo:
Fashion is my passion.
Alex Lazaris:
So good.
Nick Longo:
Very cool. We still got about 14 minutes before we're going to do our spotlight. So we are doing great on timing, and then our hope is to get a few of these and start showing you some great mockups to play around with. And that, to me, is where you're selling it. Every time you pop those applications together and show it to the client, it makes for such a difference.
Alex Lazaris:
Absolutely. Agreed. Yeah. I want to get into the mockups. I'm scared of what it's going to do to my computer, so that's why I've been procrastinating a little bit, because some of these mockups are pretty they're.
Nick Longo:
Beefy, especially the outfit one. I'm assuming that's got a lot of stuff going on.
Alex Lazaris:
It does, but it'll be worth it.
Nick Longo:
Yeah. There you go, man. These are fun.
Alex Lazaris:
Some little fun.
Nick Longo:
Kind of organic pulling it from the font.
Alex Lazaris:
Yeah. Literally just the counter spacing on the stuff is kind of just allowing me.
Nick Longo:
To yeah, I'm assuming too. I didn't catch it, but I think a few of those you just took the compound path off of the A.
Alex Lazaris:
Yeah, just took the inside counter off the letters.
Nick Longo:
There you are.
Alex Lazaris:
Yeah. David. How you doing, man? David is a wicked creative.
Nick Longo:
Hey, what's up, man?
Alex Lazaris:
Welcome.
Nick Longo:
What computer doesn't like the beefy files? Yes. So true. You just know when it's happening.
Alex Lazaris:
Yeah, exactly.
Nick Longo:
You almost anticipate it before a click. You're like, here it goes.
Alex Lazaris:
Neat.
Nick Longo:
Yeah, the R itself could be something.
Alex Lazaris:
Kind of yeah, I'm trying to just, like, abstract it out just a bit more.
Nick Longo:
Yeah, there you go. Make that curve.
Alex Lazaris:
And now I'm trying to just make that curve. Maybe just trying to get it further away from being an exact R. There you go.
Nick Longo:
So we're building a few racing inspired logos. The goal here is we're going. To get a bunch of these on some mockups lately, but it's basically the main company with some supporting sponsorship companies as well. You've seen it before. You can't have a suit or an outfit like that without 400 logos on it.
Alex Lazaris:
Exactly. No, they just look like a rookie. And everybody knows it doesn't matter how you perform, it only matters how good you look doing it.
Nick Longo:
Exactly.
Alex Lazaris:
Or at least that's the mantra I've always lived by. All right. That's a weird shape, but we'll count it weird works. I'm just trying to get it a little bit tucked in there.
Nick Longo:
Are you purposely making it a little bit OD? So when you make the pattern maker, some of these do lock in somehow.
Alex Lazaris:
Yeah, exactly. I'm going to show you all just like I did a second ago with the name in the pattern maker. But essentially we just want to have enough little tools that we can kind of move around inside that shape and get them to play nicely with others.
Nick Longo:
Nice. What's up, Eric? Thanks for joining us.
Alex Lazaris:
Transform.
Nick Longo:
Nice. It's looking good.
Alex Lazaris:
Thanks, man.
Nick Longo:
I see what you're doing now.
Alex Lazaris:
All right, so now we'll start with the pattern make and then see what shapes we might need. In the meantime.
Nick Longo:
This is going to be a fun little test, see what happens.
Alex Lazaris:
All right, so we got this as it currently is, but that's not good enough. So let's start seeing rows by column bricks. So you start to see like, as these shapes start to kind of fill out. Yeah, not opposed to that. Yeah, let's do that then. So what I'll do is I'll start to kind of try to break this pattern wherever I can.
Nick Longo:
Yeah.
Alex Lazaris:
So I want to just maybe.
Nick Longo:
Oh, here you go. That's helping. What a cool feature to be able to not only you're assigning it to this one sample, but you're seeing the preview of your live pattern as you do this.
Alex Lazaris:
Yeah, absolutely.
Nick Longo:
So cool.
Alex Lazaris:
This is my favorite. I just love making patterns and I think it's just a fun it's fun. I don't know. There's few things that are as calming to me as just playing around with patterns.
Nick Longo:
I think that's your task is to do a video series now of making patterns for meditation or for I'd be into it.
Alex Lazaris:
There's a museum in New York called the Cooper Hewitt and you can go in there and make your own patterns to be used as wallpapers. And it projects oh, wow. All the room in the whole entire room. So there's like an iPad in the middle of the room and go in there and doodle do whatever drawings and they'll plaster the room.
Nick Longo:
What a great idea.
Alex Lazaris:
Yeah.
Nick Longo:
Damn.
Alex Lazaris:
I don't know if it's still there anymore, but that's what you have there.
Nick Longo:
If it is before pattern maker here. Doing a seamless pattern is like one of the hardest things, most restricted things too. Right now, see, this is kind of neat too. So you're just drawing live within there as well.
Alex Lazaris:
I am getting this. Kidding me. What I want maybe I need to do just the normal paintbrush tool. There you go. Whoa. What are you doing here?
Nick Longo:
Easy, tiger.
Alex Lazaris:
Basic.
Nick Longo:
David was asking if you've tried the repeat pattern tool yet.
Alex Lazaris:
Repeat pattern?
Nick Longo:
Think I think I've done that. There's so many different ways now you can do this. And I think it's another step when you're creating I forget what it was.
Alex Lazaris:
Interesting. I don't know.
Nick Longo:
Or just making a square, swatch yourself and putting it into swatch. But then, like, you've got to do most of the elements that are becoming seamless. Whereas here what a cool little test you get while you're building it to see how it works throughout the rest of the pattern.
Alex Lazaris:
All right, Nick, I got a question. Can I not use the width tool?
Nick Longo:
Oh, while you're in here?
Alex Lazaris:
Yeah.
Nick Longo:
Did it not work?
Alex Lazaris:
No.
Nick Longo:
Let's see. Try it again. You click on it and then oh, it's giving you the can't handle that just yet.
Alex Lazaris:
Giving me the hands.
Nick Longo:
He's like talk to the hand, Alex.
Alex Lazaris:
I can do it.
Nick Longo:
Oh, wait, it worked. That was just a curved path.
Alex Lazaris:
I did it with a brush.
Nick Longo:
It might have had a brush applied to it, and that's what was making it difficult, I'm assuming. But just shapes. Yeah, that's cool.
Alex Lazaris:
Essentially, you just get to play with the shapes a little bit, see what's happening.
Nick Longo:
Oh, it's right under the pattern tool in the object drop down menu. Okay, we'll check it out.
Alex Lazaris:
Yeah, it's a great idea. I want to folks going crazy. Yeah. I'm just going to do the width tool again and start to play with some of this.
Nick Longo:
It's what's great about all these little tips and tools you're using is getting original art, getting original patterns, things that are not being you're not using other resources. It's 100% original to you or your clients work.
Alex Lazaris:
Yeah. And they're vectors. The crazy part about this is everything we're doing here can just be thrown onto a billboard or whatever.
Nick Longo:
Exactly.
Alex Lazaris:
Starts to get kind of fun.
Nick Longo:
Yeah. Have you been using Fresco much at all on the iPad?
Alex Lazaris:
I don't have an iPad.
Nick Longo:
Oh, okay. Got you. Yeah, it's like this perfect little companion because everything you do on there, particularly they do have vector brushes. And what's great is anything you do on there, you literally just say send to Illustrator, and from your iPad to Illustrator, a new document comes up and everything you just drew in layers is all vector.
Alex Lazaris:
That's bonkers.
Nick Longo:
I love that idea. Just getting to do having a little bit more control. I'd rather do the pencil than maybe pen tooling stuff at the first point. Love seeing that kind of real vibe come through of it being handwritten. But boy, they've done a nice job in kind of combining that with all of the Adobe apps. It's really cool.
Alex Lazaris:
That's awesome. All right, so I think that's enough to show the know. As I said, I think this is really relaxing, and I could spend years doing this.
Nick Longo:
That was wellness with Alex. Tune in again tomorrow.
Alex Lazaris:
Some people like coloring books. I prefer to just make patterns.
Nick Longo:
Make patterns. There we go.
Alex Lazaris:
Let me throw a background color on it and see what we got.
Nick Longo:
Nice.
Alex Lazaris:
What are we looking like on time for the artist show?
Nick Longo:
So we're about three and a half minutes away.
Alex Lazaris:
Perfect.
Nick Longo:
The art show.
Alex Lazaris:
Boom. Vibration Nation happening.
Nick Longo:
There's a bandana right there. I love it.
Alex Lazaris:
Oh, my gosh. These colors are really hard. All right, that's better. But so you can kind of see, that could work well for maybe a helmet or a pattern or necker chief that we saw earlier as well.
Nick Longo:
It looks great, dude. I like that it has a bit of those gaps in there and it's not fully filled out. Like, to me, it has so much more variety when you see it in that way.
Alex Lazaris:
Yeah, absolutely.
Nick Longo:
Very cool, man.
Alex Lazaris:
Yeah. So we could also do is by we could obviously go in there. We can duplicate this by save a copy and then call it New Pattern Three. That's not how you name things, but call it New Pattern Three. And what we'll do is we'll go in there and just double click.
Nick Longo:
There you go.
Alex Lazaris:
Hello. All right, there we go. And then you can start messing around. If you wanted to add colors to it, you can do it's going to look like confetti. Oh, gosh. Absolutely not intentional to only look like confetti. But throw some maybe orange, yellow, like that. A little bit of orange in there.
Nick Longo:
Take that.
Alex Lazaris:
So now we can just maybe we'll just do those three colors.
Nick Longo:
I like that. Yeah. Seeing the whole thing, too, while you act on it is just the best preview. It's really neat.
Alex Lazaris:
Yeah, it's so cool. And if that's too distracting for you, you can change that with the dim copies to 0%, or you can go all the way up to 100 if you need to as well. And you can see how many copies you can set that to, how many copies around it as you want.
Nick Longo:
They thought of everything.
Alex Lazaris:
Yeah. They've got you covered for sure.
Nick Longo:
And I think just even having the blue line is perfect enough to know that's the workable spot, everything else is just going to be a duplicate. It's great.
Alex Lazaris:
Yeah, absolutely. I'm going to actually make this a little bit like a red.
Nick Longo:
Got yourself a little bow tie there.
Alex Lazaris:
True.
Nick Longo:
Nice digging that.
Alex Lazaris:
Now I feel like this is like I don't know, it's a mess, those colors all over the place. But you can kind of see how this could work on colors, or you can put on a T shirt or pocket prints or whatever you need to do as well.
Nick Longo:
And it's fully inspired by your font and elements of everything you've been using in the logo. And just having that bridge, to me, keeps brand consistency alive just naturally because you've built it from the same elements.
Alex Lazaris:
Yeah, absolutely.
Nick Longo:
That's really cool. And I think look at the different I look at the one on the right, and to me, it almost feels gosh, I could see it working on that bandana and everything, but then you look at the one on the left, and it's pretty unique. Really cool.
Alex Lazaris:
Totally different all over the place.
Nick Longo:
Perfect. All right, so we're going to get a little bit of our other spotlight going. I'm going to send this over to you, my friend.
Alex Lazaris:
Yeah.
Nick Longo:
There we go. It is artist spotlight time.
Alex Lazaris:
And Smith says racing point F. One team used to have this pink color car. That is true. It was crazy.
Nick Longo:
All right, well, Joseph is going to be our spotlight of the day. Do we have that? Oh, there we go. Thanks so much, my friend. We had perfect.
Alex Lazaris:
There we are. All right, Joseph is our lucky winner.
Nick Longo:
Yes. Tell him what he's won.
Alex Lazaris:
He's won fame, fortune.
Nick Longo:
Fortune and everything that goes with it.
Alex Lazaris:
And a bunch of Joseph. Great. Joseph, you are the artist spotlight today, so congratulations.
Nick Longo:
I love it. Everybody here from Los Angeles.
Alex Lazaris:
Make sure you follow. Joseph. Give him likes, thumbs up, and all those good things as well.
Nick Longo:
Yeah. Let's take a look in, man.
Alex Lazaris:
OOH, dua lipa.
Nick Longo:
All right. There we go.
Alex Lazaris:
Nice. Starting off with the pencil sketch and showing how they converted it. Neat.
Nick Longo:
Very cool.
Alex Lazaris:
What did Joseph make this in?
Nick Longo:
Does it to? Let's see.
Alex Lazaris:
Wanted to do bandwagon Sigma Procreate and behance mobile. Okay.
Nick Longo:
Wow. Okay. Good stuff, man.
Alex Lazaris:
Nice. That's awesome. Congrats.
Nick Longo:
Melt it.
Alex Lazaris:
I love cheese.
Nick Longo:
Okay. For a stomach that's grumbling. Do not show me a mac and cheese sandwich right now. Yeah, that was delicious, but this is great. That must be the original logo. And then I love that he's showing some inspiration stuff there on the right. Some sketching and everything too.
Alex Lazaris:
Absolutely.
Nick Longo:
Great new logo. Show the old logo as well. The old menu. Yeah. That needs some work. Let's see what he's done. Cool. New layout, new inspiration. Nice.
Alex Lazaris:
Those wireframes much better.
Nick Longo:
I mean, even one color on the you know what I find too, is a lot of restaurants I'm working with, they are printing them on their own when they have to change they have to change pricing so often now just to do something like that and be set up that they can print it with on good paper. Great alternative for restaurants now.
Alex Lazaris:
Yeah. And you know how dirty these things get. So, like, printing them at home or whatever in the office is a super great solve for them.
Nick Longo:
Yeah. Oh, so even did some looks like some app creation, maybe here. Cool. Nice.
Alex Lazaris:
A little bit of everything. Great little case study using XD to create the prototypes. That's awesome.
Nick Longo:
Nicely done, man. Nicely done. What else we got? Fresh mango, fresh vapor liquid. Okay, man.
Alex Lazaris:
These would be great logos for racing as well. We need a sponsor.
Nick Longo:
Yeah. You got a new one. I love it. Oh, that's good. Now there's something neat. Those look like actual samples that he made and photographed, which sometimes does have a little more authentic vibe. Shot him outside, it looks like, too. That's great.
Alex Lazaris:
Very cool. Yeah.
Nick Longo:
And you got it perfectly set up to do other flavors as well.
Alex Lazaris:
I realize I missed a huge opportunity not having a mango sponsor or mango sponsor. But yes, for the sake of racing, just mango fast. Yeah. Really messed up.
Nick Longo:
So you're getting all the inspiration now.
Alex Lazaris:
I love it. Yeah. Now that was concluded. Cool Game of Thrones fans in here. We won't talk about season eight and how I'm probably not going to watch the new Dragon show.
Nick Longo:
Oh, I just saw some posts for it today. Right. Something new come out.
Alex Lazaris:
Yeah, I think they're doing like, the Dragon prequel. Yeah, it's a prequel that 200 years before the is that what it is? Lost? Yeah.
Nick Longo:
Okay. I'm sorry to say I've never watched one episode of Game of Thrones.
Alex Lazaris:
Wow.
Nick Longo:
Yeah.
Alex Lazaris:
Wow.
Nick Longo:
What was that? That was kind of cool.
Alex Lazaris:
Fun little sketches.
Nick Longo:
Yeah. Okay. That's great. I love it.
Alex Lazaris:
Nice. Awesome stuff, man. Go give Joseph a follow. Likes all those good things. Check them out. Yes. Tell them we sent you, joseph, if you're in Chat.
Nick Longo:
Nice work.
Alex Lazaris:
Keep it up.
Nick Longo:
Yeah, might do that right now. Give them a follow. Love that. This is the whole reason we do this is to kind of get the word out so you guys can find each other too. Hopefully. It's such a great community for folks that are on Behance to just reach out, tell someone you like their project, where they got their inspiration. I love using it for that whole reason right there.
Alex Lazaris:
Yeah, absolutely.
Nick Longo:
Even finding new folks to follow and everything. All right, so we've got ourselves about 20 minutes or so.
Alex Lazaris:
Going to do it. We're going to do a helmet. I'm hoping that the helmet is chill and stay gives me.
Nick Longo:
I think we're good. Let's see how this looks. Perfect. So you get full customization here. You got some fun stuff to play around with.
Alex Lazaris:
Yes. So there's lots of really good things. I'm going to just use my words today.
Nick Longo:
Yeah.
Alex Lazaris:
I'm going to turn this off. I'm actually just going to probably make it like, what do you think we should do for the helmet?
Nick Longo:
So this is the top part. Which part are we getting to first?
Alex Lazaris:
I think overall, color wise, what are we thinking? Do we want to do gradients, solid colors? What do you think, Chat? Tell us what you think.
Nick Longo:
Yeah, give us some.
Alex Lazaris:
My helmet. Your helmet. All those things.
Nick Longo:
Maybe go back to the source art so we know what we're talking about. Be we want it to be all of your this is the Lazaris racing, right?
Alex Lazaris:
This is going to be the Lazaris Racing helmet, but we got the sponsors, so we can absolutely start throwing those on. Yeah, let's start doing that. In the meantime, do we go with.
Nick Longo:
One of your background colors? Do you want more of a signature color that you're known for, or do you want a gradient?
Alex Lazaris:
I'm open to either or. I think maybe a solid color might be the easiest because this mockup has so many things divided that I think we'd have to true. It's not going to be as easy as just painting a helmet gradient. It's going to be like, good. I think the gradients will get a little bit wonky.
Nick Longo:
Okay.
Alex Lazaris:
Pretty fast.
Nick Longo:
So we're going to go with the solid first and then love seeing this stuff happen live. This is so cool.
Alex Lazaris:
Let's see how this actually should throw this somewhere and see where it wraps.
Nick Longo:
I love that I got the treatment to be the first official sponsor on there.
Alex Lazaris:
Of course, that sounds not too far off.
Nick Longo:
Yeah. So you get to do a position, check it out on the mockup and see where it's at. Gets a good idea of where the positioning should go.
Alex Lazaris:
Yeah, maybe we'll do like.
Nick Longo:
Ice blue.
Alex Lazaris:
And that way I can turn that off and see where that goes.
Nick Longo:
Nice.
Alex Lazaris:
So with mockups like this, you're just going to spend a lot of your time moving things around, and that's okay.
Nick Longo:
Whereas a lot of times on the most simpler ones, you almost get it on the first or second try. But this has got such good and then the angle of it and the perspective of it. That's great.
Alex Lazaris:
Look at that squish it just barely yeah. I liked this one because I could see the front end of it as well. So there's a couple of different sponsor logos happening. Also, I'm going to pull in my Subdog logo because I think that's fun.
Nick Longo:
Perfect.
Alex Lazaris:
Subdog. I think that would actually work really well.
Nick Longo:
Oh, yeah.
Alex Lazaris:
In the front, we'll see how it goes.
Nick Longo:
I love it. Nothing like putting logos that don't belong together.
Alex Lazaris:
Exactly.
Nick Longo:
Thank God for sponsorships. That's kind of where we see that happen the most, right?
Alex Lazaris:
Yeah, exactly. I just think it'd be so fun to go to a race and just have, like, a gigantic SUP dog, smiley face, hot dog logo.
Nick Longo:
That is the exact right position for it. Love it.
Alex Lazaris:
Boom. Done. Saved. Sold. Does it integrate it down just a little bit?
Nick Longo:
If you tilted it, I'm sure it's right, but does it look like it.
Alex Lazaris:
Needs to be I see what you're saying.
Nick Longo:
Counterclockwise just a bit.
Alex Lazaris:
Yeah, like that.
Nick Longo:
There you go.
Alex Lazaris:
So fun to say subdog. Yeah, it is great.
Nick Longo:
It is. Is it a real place yeah. Where is it?
Alex Lazaris:
It's on my behance.
Nick Longo:
Oh, there you go. I'm only asking because we got to bring it to life, dude.
Alex Lazaris:
I know. It needs to happen.
Nick Longo:
It needs to happen. It's so much fun, dude.
Alex Lazaris:
Yeah, it's a good one. Yeah. Cool. So that's there. So that's good. What other logos we got?
Nick Longo:
We got Lacey's.
Alex Lazaris:
Oh, yeah, lacey's.
Nick Longo:
Lacey's.
Alex Lazaris:
All right.
Nick Longo:
I think black and white is just going to look so good on that one, too.
Alex Lazaris:
Yeah, you think so? I was thinking we might what do you think? Yeah, I think you're right. I think we've got a little thing happening here where I think it's going to be a nice little monochromatic. Well, I guess we've got the red as a pop of color, but I think the helmet base works well with the blues, so I think I was thinking about doing a dark blue, potentially. Let's see how it goes with the black to start. Oh, the black and white actually does feel quite fresh.
Nick Longo:
Yeah. Do I have to pay more money for longo to get a little bigger?
Alex Lazaris:
Of course not. It's my job as the to make sure that your logo is massive.
Nick Longo:
You got it all there. Don't worry about it, man.
Alex Lazaris:
No, I've got to be like, just.
Nick Longo:
The full let's just be honest. Who paid the most?
Alex Lazaris:
Oh, perfect. Nick, dude, ship it.
Nick Longo:
I think sometimes the funny mistakes make for some of the coolest stuff sometimes.
Alex Lazaris:
No, I totally agree. Let me see. Save that. We can move Lacey's. Lacey's over. It needs to be over. Who would have thunk putting sponsor logos on everything would be fun. Laura says the longer logo looks super cool. It does.
Nick Longo:
I know. Thank you, Laura. I've got a cool new logo thanks to Alex.
Alex Lazaris:
This is awesome. I'll send you the working files.
Nick Longo:
Where are you putting where are you going to put the Lazaris branding?
Alex Lazaris:
Where does that that would go on the back of the where? Yeah, I think most of the helmets let me see Lewis Hamilton helmet back. See if I can find a photo of it real quick.
Nick Longo:
And graphics don't go on the visor at all. Do they? Like, nothing at all, or do they put, like, something so I feel like.
Alex Lazaris:
Most drivers put something, like, on the back end okay. To kind of yeah, they got their name kind of on the back, but sometimes you're talking about graphics, they kind of do this, like, shield oh, there you go. Thing on the top. So you can definitely do something up there as well.
Nick Longo:
Yeah, I was almost thinking, like, you know how Ray Ban's always on the little corner of the.
Alex Lazaris:
That'S another good spot for a longo logo. Yeah.
Nick Longo:
Your smallest sponsor got this tiny little insignia on the visor.
Alex Lazaris:
See what these parts colors are? So we've got some white colors right now, I think maybe let's go. Actually, I'm all over the place. I'm like, OOH, I'm like a kid at a candy.
Nick Longo:
Can't control this guy.
Alex Lazaris:
Stay focused, Alex.
Nick Longo:
We're almost there.
Alex Lazaris:
What we're going to do, so we're going to try to see if we can pull a blue ridium visor. Let's see here. So blue iridium visors kind of look like this. So what I'm going to do just really quickly is I'm going to grab this and throw it in here. And then I'm going to make a gradient out of it. I'll do it from a probably radial question mark. Maybe we'll see how that goes. Maybe see how that so I got blues. Grab blues. See which one's kind of close to it. Something like that. And then I can adjust the scale. Maybe it's below the air. It does linear. Oops.
Nick Longo:
What's diamond do?
Alex Lazaris:
Diamond makes like a crazy diamond shape.
Nick Longo:
Oh, I see it. Yeah, there you go.
Alex Lazaris:
Yeah, like that. I'll do reflected and then I'll angle it down. I think that might work. Is that giving me what I want? It's doing something. That's what I kind of want. It's just feathering it out from the middle. All right, that's kind of looking good. Now we can take that. Maybe that's where we can do like, the gradient stuff is sure. Through this. I'll copy paste that on top of the visor. It's kind of nice. All right. And then the back spoiler we will make like dark blue.
Nick Longo:
This would have stand out in a crowd.
Alex Lazaris:
Good. That's the intention. I'm wondering now. That is the goal, folks, if we take the so we started that pattern. And I'm curious if the pattern now.
Nick Longo:
Would be got to bring that in there somewhere.
Alex Lazaris:
Yeah. I'm trying to think what if you.
Nick Longo:
Even did it a full spread of that ice blue but fainted or something. Could try that. Or are you thinking a little space for it?
Alex Lazaris:
Specifically as is I'm open to all suggestions. So you're saying do a full thing of this yeah. And then the background and bring it.
Nick Longo:
Down to like 10% or something. Yeah, just so it's that faint.
Alex Lazaris:
OOH.
Nick Longo:
Gotta find that. Right. Opacity. There it is. Oh, that's kind of neat.
Alex Lazaris:
It's kind of got like a yeah. The mockups are this is the hard part with mockups is sometimes it looks good on your screen or whatever.
Nick Longo:
Expand it. You got to pump it up just a little bit so it shows through.
Alex Lazaris:
Exactly.
Nick Longo:
Nice. Now I'm feeling those vibes. Yeah. Right. From that one handkerchief and a few of the other things that we saw in the inspiration.
Alex Lazaris:
Yeah, absolutely right.
Nick Longo:
Cool.
Alex Lazaris:
What little fun things can we make really quickly for it? Let's see.
Nick Longo:
Do you put a number on it?
Alex Lazaris:
Oh, yeah, we can put a number in. That's a great idea.
Nick Longo:
We can also I'm trying to think what else needs to go on the helmet. Oh, we got that one too. Yeah.
Alex Lazaris:
Let me see if I can just do color blay and then just color match.
Nick Longo:
That nice.
Alex Lazaris:
I wonder with this logo, I wonder if I didn't let me see here.
Nick Longo:
Get it in one there.
Alex Lazaris:
I'm just trying to see if I can squash it down and then bring that below it and maybe that reinforces it.
Nick Longo:
A little color choice in the back, maybe. What are you doing?
Alex Lazaris:
I was thinking something like that, but maybe that's not cool. I don't know, man. This is the design process is like 90% of exactly whatever.
Nick Longo:
We have about ten minutes left, folks. Yeah, let us know any cool design questions, logo client questions as well.
Alex Lazaris:
Yeah, anything.
Nick Longo:
Go ahead and shoot. Where's this one going to land? Let's see.
Alex Lazaris:
I'm hoping right in the middle of.
Nick Longo:
The visor, but oh, nice. There you go.
Alex Lazaris:
The great thing about smart objects is how often you're forced to save.
Nick Longo:
Yeah. I wonder if there's any, like well, dimension would allow you you can live position and move it, but one day if there's a way to or is there a way you can have both windows open? Can you get, like, live PSD renderings as you're moving in any way?
Alex Lazaris:
I don't know. I wish. Because you have to save the smart object for it to let's just do.
Nick Longo:
You have any upcoming live events on Adobe Alex?
Alex Lazaris:
I don't know.
Nick Longo:
Nothing.
Alex Lazaris:
We don't have anything planned, but I'm always here. Exactly, man.
Nick Longo:
Yeah, we'll be on Friday with office hours. If you guys are around, we are on at 230 p. M. Pacific Time on Friday. And we're going to be doing a lot of fun stuff. We're going to be showing our calendar of events for what we're going to be doing during Max. We've got some fun stuff going on. We're going to do some viewing parties and you name it. Stay tuned for that. Yeah, I can't wait. It's almost bowing out on the bottom because of the curvature.
Alex Lazaris:
I'm going to try to you're going.
Nick Longo:
To mimic that a little bit. I got to go try to negative envelope.
Alex Lazaris:
Rasterize it right oh, yeah.
Nick Longo:
There he is.
Alex Lazaris:
Is there any easy envelope?
Nick Longo:
Well, it would be arc bottom. Yeah. There you go. You're doing it already. Hey, it's Rick's. First time watching a live.
Alex Lazaris:
Best.
Nick Longo:
You got the best.
Alex Lazaris:
Too much.
Nick Longo:
Got the.
Alex Lazaris:
Close, though. It's close. A little bit less.
Nick Longo:
Almost there. Just a little. There it is.
Alex Lazaris:
Cool. That should probably get us close enough to it.
Nick Longo:
Love it.
Alex Lazaris:
Close enough. All right, cool. So we got the menme.
Nick Longo:
That's good.
Alex Lazaris:
Met men. And then we got the longo Rongo, the laces. I feel like we can do just, like.
Nick Longo:
The number or what else?
Alex Lazaris:
I think we can do, like, funny things. Maybe trying to think, oh, inspired by.
Nick Longo:
Some of that inspiration stuff you found.
Alex Lazaris:
Like, close this and then right above the visor because you got to have it locked. Oh, yeah.
Nick Longo:
There you go.
Alex Lazaris:
Do this and then just quickly decrease my line height.
Nick Longo:
There it is.
Alex Lazaris:
Then go 200. Maybe that's closer. All right. Now I can just bump it. Bump it louder. All right. Now I need the winged dings.
Nick Longo:
So these are just fun little explanations off to the side. Like don't place any decals on this visor.
Alex Lazaris:
Yeah, exactly.
Nick Longo:
Now these are safety protocols.
Alex Lazaris:
That looks great. And then I'll grab that red and then oh, that's awesome. Maybe I'll do this as like keep closed.
Nick Longo:
There it is.
Alex Lazaris:
All right. That's a fun little scribble. We'll throw this in.
Nick Longo:
I love it, man. You've got a few minutes left, man. This is where the magic happens.
Alex Lazaris:
That goes in perfectly. I'll be very watch this.
Nick Longo:
Boom. So close. Just a bit. Just a bit. Outside.
Alex Lazaris:
Kelsey asked Alex, do you still review portfolios? I do review portfolios. Feel free to go to my website and hit me up through an email. Go to Alex. Well, just go to wearlogics.com and you can find my contact info there.
Nick Longo:
There you go. Now we got some humor going.
Alex Lazaris:
Yeah, I like that. What else do we need? There's a couple of things we can do with the screws and things.
Nick Longo:
But what would be another funny thing to write on there? That would be pretty cool. I can't hear I can't hear you. Yeah, I can't hear you. Can he do it in three minutes? Let's see what he could do. This is speed. There you go.
Alex Lazaris:
Or like maybe like I don't know. Where is gandalf? All right, don't do this from like a legal perspective.
Nick Longo:
Are you trying to get an ear or something?
Alex Lazaris:
I am grabbing an image that I feel like from a racing perspective is something you really need.
Nick Longo:
That's pretty cool.
Alex Lazaris:
And then I'm going to do just an object. Actually. Maybe that's fine. Maybe this just needs to be here. The corner where the visor is making the whole gandalf. The jokes of like, you shall not pass.
Nick Longo:
You shall not pass. That's perfect. I like that. It's almost feeling like warning stickers all over the place now, too. It's really.
Alex Lazaris:
The last.
Nick Longo:
Want to do a quick overview? Show the AI board and everything, what it took to get here. We've got about a minute or two left.
Alex Lazaris:
We have a healthy spattering of things. The gandalf sticker. Yeah, absolutely. I think that really ties the thing together. So we've done a bunch of type explorations. We have broken whip board, lots of crashes during these have.
Nick Longo:
It's real life, baby. It's real life.
Alex Lazaris:
Essentially. We got one really great logo that we liked out of it. We had a bunch of different explorations. We did memes. We made MEMS on the other artboards that you can't see. We did comic papyrus. We made a nico longo no, wrongo logo. Made a Lacey's logo. Talked about variable typefaces and some pattern work and then just started throwing everything.
Nick Longo:
Look at that, guys.
Alex Lazaris:
Looking good, dude. It's.
Nick Longo:
Been a great two days, my friend.
Alex Lazaris:
I've absolutely loved it. Thank you.
Nick Longo:
This has been awesome, bro. Yeah. We'll do this again soon, guys. Stay tuned for the XD Daily Creative Challenge replay with Elise Tod immediately following this stream. And Adobe Live is going to start up again tomorrow at 08:00, a.m. Pacific time. So with that, Alex, great again, man.
Alex Lazaris:
Thank you, Nancy. Bro.
Nick Longo:
Yeah. This has been fun. Thanks, guys. Thanks. Everybody in Chat. Have a great day. We'll see you soon.
Alex Lazaris:
Bye.
