*Transcription Disclaimer: the following transcription was automatically generated, and may have errors, or lack context.*
Good morning. Can everybody hear me? Looks like it's working. Hi.
Hi. Hello. Welcome to the stream.
This morning we are going to be crack looking into Illustrator and making badges and new, fun little coffee designs. But really, this is kind of a goal to teach you guys how to build your own beautiful little badge logo system for any business that you might be kind of building right now. Because I know a lot of people are working from home.
A lot of people have a little bit extra time to devote to their own little special projects, and that is incredible, and I'm excited for you guys. So we're going to work on it together. Let me know if you guys have any issues with the audio.
I think we're probably good. I think. Let's see here.
Cool. So anyways, if you are on YouTube, come on over to Behance to hang out and chat. I know we've got a lot of really great moderators in Chat to help you if you have any questions.
How you guys doing? Steve. Andrea. Zalk.
Valentina. Hello, everybody. Welcome.
Greetings. Tell me where you guys are from. Can you increase your volume? I can increase my volume, absolutely.
Hello, Paul. How are you doing? Excuse me. Cool.
Perfect. Everybody's hearing me now? We're good. Great.
Awesome. Well, if you guys are viewing from all around the world, it is 730 O'clock in Portland, Oregon, where I am. I've got my coffee.
So we are going to be building a coffee brand together just for fun. So tune in. I also don't put on music because I want you guys to have your own music.
You can put on coffee shop vibes if you want. You can put on anything you want this morning or evening, depending on where you are in the world. I am Alex Lazarus, and I run my own design firm out of Portland, Oregon.
And you can see my work at my Behance page. So come check it out. There's some things in there that I think you might like.
We've done this on Adobe Live before, sorbo tequila. So you go check that out. Bulgaria, Maryland, Pennsylvania, Canada, Germany.
Grew up in Portland. Wow. Guten, Morgan.
Guten. Evening. I'm just going to make up my own German now.
All right, cool. So anyways, so today, if you haven't worked in Illustrator before, we're going to have our own little artboard. This is kind of what the first doc looks like from the start within Illustrator.
But I don't like working with just artboards, so I like to do Command Shift H. I'm working on a Mac, so I'm going to be using all Mac commands, but you can substitute them for Windows pretty quick. Command Shift H allows me to have the whole artboard be white, which I think is very, very useful for designing badges, logos, anything that I'm not shipping immediately that needs to be exported in artboard.
So I like to do a lot of really fun things. Chat really quickly. How many of you guys have worked in Illustrator before who's completely new to it? Want to make sure we're happy.
Everybody's getting some really cool, fun little tips together. We are going to be leveraging some vector assets from Adobe Stock, Adobe Fonts as well, and our own little lockups that we do. So this way you'll have a really good baseline of building basic shapes, badges, lockups, kind of everything that will give you kind of a really nice logo basis for your business.
Advanced beginner. That's awesome. Steve.
Yep. Well, I think I feel like I'm also an advanced beginner, so that's awesome. So we've got a bunch of great basic shape tools to start with within Illustrator.
And these are going to be the basis for our badges, essentially. I don't know why my throat is killing me today, but I've got water, so we're good. So the fun thing about the square and rectangle unrounded rectangle tools is that it gives us a lot of customization for our badges.
So right now, you can just see these are the basic shapes. But if I was to build a star tool, if I go up to the star mesh tool in your shapes tool, if you pull the star and then you take your arrow key and you press up or down, it adds an extra point inside the star, which is really cool. You can also go all the way down to a triangle.
So if you wanted to do a lockup that's in a triangle, you can always do that. Or if you want to do one of those really cool, like, wow stickers, I'm going to press Command or Shift X to change it to Outline. And then I can throw in everybody's favorite type, comic Sands.
I'm going to say wow, and then I'm going to grab it. Comic Sands bold. And grab this type to be bigger because it's really small right now.
Wow. That's like right behind my head. Sorry, guys.
So then if I wanted this badge to feel consistent, I could just bump up the strokes, and it's starting to feel a little bit more in alignment with the thickness of the wow, things like that. I can also go in this beautiful, beautiful corner tool that we now have in Illustrator. Back in my day, when we first started working in Illustrator, we didn't have this great shape.
So we'd have to build all these with the pin tool. But now we can do stuff like that really quickly and change the angle of the corners, which is pretty incredible. I love this stuff.
And you can do it specifically just to one point by just grabbing that one point, clicking it, and now only take this one angle. So this tool right here, the corners tool, is going to work in all of your squares and things. So fun thing to notice is like, if I was to take this rectangle and grab the top two points and then just drag them in.
I have a nice arch, which would be a great foundation for a badge system. And I can just pull these down and make it kind of like a window and I can write type around it. So those are just little fun things to know really quickly.
We're going to get deep into it today, guys. The short bus of fonts. Yeah.
Comic sense, guys. All right. The kerning.
I know that was default, guys. There you go. A little bit better now.
Much better. Great. Wow.
We're going to put this on our design later on. Somewhere at the end of this, we should have a bunch of different badges coming out of this and we'll get Chat to vote on their favorite. But right now, since you guys are some wizards in Chat, I need some coffee brand name ideas.
I've got, like, magic bean or hot take or something like that. But I would love your opinions on what names we can throw out there for this brand. They don't have to be serious, but if you are wanting a serious one, we can do that as well.
All right, so we've got basic shapes here. So I'm going to start just kind of like messing with things. I'm going to take this larm Ipsum I got.
I'll probably change it out. So I started. Oh ha.
Let's go into this. We're going to go to Fonts Adobe.com fonts Adobe.com
and check this out. This is a great way to start building out your logos and stuff. If you start to leverage the fonts that Adobe has provided for you with your creative cloud, you're going to be miles and miles, miles ahead of people.
So I got to explore Font Packs because I'm kind of curious what they have. Not really seen anything that's really speaking out to me. Maybe this build a brand by Tad would be a good fit, but I think that there for me the one that the band poster font pack is really sticking out for me.
Steve is asking, what's up, everyone? What logo are we making here? We're going to make a coffee logo together and I need some name ideas for a coffee brand. But we're going to teach you all the things you need to know from kind of basic illustration stuff and basic Illustrator tools in order to leverage Adobe to make your sweet little badges for your business. So I've grabbed these.
I think there's a couple interesting ones. Gin regular is a pretty cool one. OOH this lisbeth display.
So I've already downloaded this, which means my computer's already synced at all, so I can just start messing with stuff. I'm going to actually just blow this out just so it's bigger for stream. All right.
We said lisbeth is cool. Lisbeth display kind of interesting. I don't know where it's going to land yet, but we'll see, say hot coffee starting to not look as interesting.
This is what exploring type looks like, right? Like finding out what works and doesn't. This looks cooler in the mockup calf fiend. OOH, I like that.
Calf fiend. Brew beans. Okay, brew beans is cool.
Let's do this. We're going to need all these because we're going to be doing lots of different lots of different logos and badge lockups there. And each one will have kind of its own little idea of what it feels like based off of the word.
So I want to lean into that. The mean bean. That's a good one.
Love all the coffee puns. That's great. Let's see here.
DJ brew. Oh, got it. Oh, my gosh.
Tim. Oh, Tim. Oh, man.
Oh, I'm gonna be stuck with certain letters not working because of that. Let's see here. Java.
Joust. These are great. Good job, Chat.
You guys are so clever. Caffeine. What's? Copy.
We'll do that, too. Copy. All right, Chat, what else we have here? Pause for coffee.
Pause. Coffee. Coffee break.
Maybe moonshine. Moonshine's. Not a coffee brand.
Come on, guys. Let's see here. What else? Any other names? Spice.
Spice. Could be work. Coffee house.
Okay, what else? Oh, man. Hot. See here, hot take.
All right, so now that we've got this really messy typeface working on everything, let's see what else we got. Genregulars, right? So genregular. Cool.
So what I'm going to do armedes like rum. What up, Carol? How you doing? Lazarus Roasters Co. Oh, man, nobody would go there.
All right, slumber be gone. OOH, that sounds good. OOH, daily brew.
There we go. Thank you, Chat. Jumping java.
Do we already get jumping java? No, we didn't. Jumping java is a good one. Steam.
Steam. Nice. Cup, cup, cup, cup.
Cool. And then we'll do cup of Joe. All right, Chat.
Good job. We did it. We've got lots of things now.
All right, so what we're going to do is we're going to take this actually, I need to get the rectangle fixed real quick. I want to start doing some little text budges with this stuff. We'll see how this goes.
All right, so we got a nice, beautiful little window portal thingy. Right now I'm going to take the type on path tool. I'm going to go to the type and do type on a path tool and then click in this bottom left corner.
That way my type starts to wrap all the way around it. And I'm going to do the Lazarus Roasters and Co because it's the longest name. Roasters and company.
A coffee shop. Yep. It's for a coffee shop.
Elizabeth, how you doing? Coffee beans. Nice. See, look at that.
Starting to look really nice because that's such a long text. And then I'm going to lock it up with a little bit of tuck underneath it just to kind of sell the brand a little bit and do probably like hot coffee. Cool.
Friends. I don't know. We'll see if that works.
Hot coffee, warm friend. All right, actually, let me pull it up. So actually, if I'm moving too fast or if I did something weird or that you didn't see, please let me know.
I'm essentially just moving things around. I'm pressing shift and holding my mouse to scale things. But when I scale it from the center, I'm holding Alt at the same time that I am also moving it.
So that way it spales from the center rather than spanning from the side. So Alt shift and drag from the corner, and I'm going to decrease the tracking. I think that's what it is.
Between the letting text type. Why do I not know the words letting? All right, the letting by actually just pressing option and up to get it closer. You can also just do it in this tool here and you'll see it get closer and further away.
I like to do it just by bumping it up with option up or on a windows. So this might be all right. Let's see here.
Trying to see if I can get it to align more on the horizontal spaces. Cafeteria man, that reminds me, everybody's playing Terraria lately on game streams. All right, so what I ended up doing, which you guys should absolutely leverage, especially when you're trying to build out logos and stuff, is using just Adobe stock.
If you've never used Adobe stock, it's a great tool. There's a lot of really great vectors and stuff. Obviously, try to make them your own just so it's a little bit easier.
But I did coffee bean illustration, and a lot of the times you'll find these really great illustrations. I've already licensed these, too, but they're already in Illustrator for you. So they're ready to go.
Vectors. And they look really good with locking it up with objects around. Oh, this is great, too.
I didn't see this one earlier, but this kind of is a great example of what you can have at your disposal. So I'm going to actually license this really quickly, and it's going to just download it to me. For me, it's going to sync to my library.
Or it'll also download and you can just click open it. And so we're just going to grab this guy. I'm going to get rid of the background because it's not necessary.
I'm going to double click into this. Sometimes it's already grouped for you in Illustrator files. So it's going to do this and you're going to be like, how do I get in there? What you're going to do is double click in it.
It's going to grab that one object. I'm going to grab it. So I'm going to command C.
Isn't it cheating if you don't do it yourself? I don't think it's cheating. For what? Depending on what you're trying to do, essentially what you're doing is you're buying these assets so you have the license and the right to use them however you see fit. So it's absolutely not cheating, especially for somebody who's a beginner.
I honestly can't even do these illustrations. This is so much work and also just a lot of talent. And if I can't afford to hire an Illustrator for my project, I might as well get a vector project, I think.
As I've become more senior in my design career, I've learned oftentimes the difference between a junior designer and a senior designer is knowing where to spend your time and how to take. Like, I can solve problems a lot faster than a lot of junior people because I've seen a lot of stuff and I know how to get things done more efficiently so I can go through them. Like iteration, iteration, iteration really, really quickly versus spending time on things that's not going to make me more productive.
Right. If I spend 100 hours just trying to get something even remotely close to this for a client, they're not going to be necessarily any more thrilled than if I just purchased this for them and tweaked it. So I can tweak it, obviously for them and they'll be happy, but it doesn't have to be completely always original.
So this looks great, but the type doesn't seem to match this illustration. So what I'm going to actually do is I'm going to see if I can find a really quick typeface inside of Adobe type within this, so I can actually go in here in the filter section and start sorting out things. Yeah, work smarter, not harder.
Guys, what are my top ten tips? Top ten tips for what? Yeah. Don't try to reinvent the wheel. Somebody's already done it.
And you can leverage it in a way that feels authentic and new. That's the way to go. Obviously, having ownership and doing something completely new is also awesome.
Oh, gosh, Bradley. That's actually not bad looking. But I need to find something that's not handwritten.
I just need to find distressed. Let's see if I have anything. I'm going to turn off show activated font so I can see a bunch of other things as well.
Let's see here. I want to find a distressed typeface or something that feels in alignment with the thing we just bought. Carol says, this philosophy has worked for me.
Do what you do best and let others do what they do. Yep. This Yusuf, was an illustration from Adobe stock.
Let's see if we can find a distress type. Might actually just see if I can find one in it'll. See, we can always texture it later as well by adding in our own little vector shapes on top of things.
Sometimes I wish there was an easier way to find exactly what's in my head, which is not any software problem. We'll just leave it for right now. But you can kind of see, if I wanted to, what I could do is actually go in here, and I could actually just remove a bunch of these little illustration points.
So this is also something similar that would happen if you were to take an illustration or an image and then do, like, image trace inside of Illustrator, which is also a great way of getting an asset really quickly. Let me remove that. I'm going to see if I can just really quickly fatten up this badge itself.
What are some ways to tell if a font matches the illustration? So I look for characteristics within the typeface that would also fit within that feels like it's cohesive. So this feels really textured in distress. It has all these little nibs and nubs throughout it.
It also has some really thick points, so I'd like to find something that doesn't feel it also has these shapes throughout here that are wavy, like it's drawn with a paintbrush. What I can do is actually do effect. Oh, my goodness.
Stylize roughen. Where is roughen? Oh, do I need to do so right now? This is too smooth, right? So the outside of these typeface, the illustration, is very hand drawn, so it already feels like it's incoherent. So what I'm going to do is actually build it and do it in roughen.
So this typeface feels a little bit more cohesive. Let me see here. I think I'm going to command click and then create outlines for this, which I don't recommend doing at the start of your project unless you're really trying to get finagling in there with your typefaces.
OOH. Kathleen illustrated. Kathleen's up next, I believe.
Let me see here. Yep, Kathleen's up next, so make sure you stick around. She is incredible.
We've worked together on Adobe Live before and had a great time. She's brilliant, so definitely stick around. You're going to learn a lot with her.
Let's see here. I've got to figure out where Ruffin is in Illustrator effect, distort Transform Roughen. There we go.
There we go. Chat. We did it.
When in doubt, Google it up. All right, let me scroll in. So I've outlined the type here.
Actually, I don't think I need to outline the type to make this work. Yeah, let's see here. All right.
Window effect distort transform rough in. So you can see how the type is getting really crazy right now. It's too crazy.
We don't want that. But we got the preview on, so we can see if you turn off preview, it's not going to show you what's happening in real time. Maybe you can delete some points and make the image smoother.
Absolutely. So let's see here. Let's just move this down to, like, 2%.
Actually bump this up. Too crazy. Okay.
So I don't want all that detail. Let's see here. We could probably get here pretty quick, so already just adding a little bit more texture kind of helped.
We can also just let me just redo that real quick. Distort Effect, distort rafu, get a little bit closer. Oh, it didn't have it selected.
Ha distort. It's too bumpy right now. There we go.
And I want those corners to feel a little bit smoother on there as well, just so that it doesn't feel sharp, because we don't really have that many sharp lines throughout this illustration. Cool. I'm just trying to match the thickness of the actual pin illustration with the outside of the type.
So it's pretty similar. So I think we're going to call that good enough so you can kind of see it's a little bit better. What we could do later on is add in our own vector textures on top of it, and then it would feel a lot more in alignment with this.
What we could also do is we could essentially just add in a stroke if we really wanted to, to thicken up some of these points. Too much. Way too much.
Probably just a little bit goes a long way with such a detailed thing. I was thinking it was like we could take out these, like, each individual point in here, give it a little bit more breathing room, and have a thicker piece. But I'm going to leave it for right now.
All right, so that's kind of the basics under the help menu. Yan I love this. Looks like some jittery coffee.
That's what I like, jittery coffee. Coffee to make me jitter. If you make changes to a font, could you save it for use later as a font in its own right? Technically, I guess you could.
It depends on how much change you make. Probably. I don't know the exact legal ramifications of doing that, so I'm not going to comment on that.
But I know a lot of companies take an existing typeface and then rebuild a lot of the characters, and then they use that as their own, especially for, like yeah, just leave it at that. All right, so we've got the basic illustration there. That's cool.
All right, so that's kind of just one basic shape. We can start leveraging that out, like I said earlier, with the star tool, the polygon tool works the same way. You can start adding in more points in there throughout, which is really cool.
So now we've got kind of one little badge lockup there. So what we're going to do everybody loves circle badges. I love circle badges.
I like to do, like, rotating gifs of things. So I'm going to do the type on tool, type on Path tool. Again, I'm going to just click at the top and then say what else we got? We got mean bean like, oh, no, my type is at the bottom.
So you can either just rotate the whole circle and I'll go at the top, or you can also just move these text. I don't know the technical term for it, but these text kind of guides where your text would stay in it the whole time. Just a great way to kind of leverage different type throughout a circle or an object.
It kind of controls where in the world it goes. But for the sake of this, I'm going to actually just keep copying and pasting that way I have a nice little rotation of type. Oh gosh.
Mean bean. Let's go here. All right, so I'm going to actually bump up the type now so it spins around the whole circle.
This is a great way to also like you can really quickly animate this stuff in After Effects, just have it rotate. It's a cool little detail to add to any of your projects. So if we wanted to, we could also lock up some more type in here.
We can also do a detail like this. Yeah. When in doubt, call it a handle.
Yeah, these handles. All right, let's see here. Oh no.
All right, so what we're going to do is we're going to start building out some more intricate shapes with these badges. So my type is black. I'm just going to press I to bring up the Eyedropper Tool and click white boom, POW.
And then I'm going to shift click the type circle and the background circle. I'm going to go up to my Align widget and just do horizontal line. I don't want it to align to artboard.
I'm just going to do selection and I'm going to click horizontal line and the vertical align. And now we've got our type perfectly centered within the circle or in Photoshop if you're scared of After Effects. Mike like me.
Yep. You can do it in Photoshop as well. Totally agreed.
So you can do like a white background in there. And now you got like a little boo boo. You got a little donut with it, which is totally fine.
I don't really like how this typeface is actually like bumping up against each other and I just don't like how the type actually looks inside this section. Let's see here. Let's see here.
Does this work better? I actually bought a typeface earlier. I know I wanted to keep everything a little bit more on Adobe fonts, but I saw a typeface and I had to get it, which is a very real problem when you become a designer just buying typefaces all the time. So it's called glam, I think.
Gaul clear filter glam. I have it in the corner somewhere. All right, so I got this tight.
Rose says, I had no idea until yesterday these live streams are happening. So cool and informative. Been wanting to take graphic design classes for years but never has fit in my schedule.
Well, welcome to the stream. Hang out. There's lots of really good content today.
I'm just always on here. It's kind of incredible. I've been doing this for about twelve years now and I'm constantly blown away by the talent that it's on the Adobe Live and all the things you can learn just by hanging out.
And it's all free. You can just watch the YouTube videos later if you have to run to do errands. It's great.
All right, so I don't like this type in a circle, but maybe it's Magic Bean. This seems a little bit more psychedelic. Magic Bean.
All right. If you have any questions, Rose, definitely ask. If I can't answer them, somebody in Chat will.
Kind of crazy how wonderfully talented and caring and kind this community is. It's pretty awesome. All right, so we got this little, like, magic Bean.
The C doesn't really feel like a C, though. So let's see if maybe there's a this probably need, like, kind of a hippie dippy vibe. See what it looks like.
All commands. So I'm going to just drag this over by doing shift command over. That way it's duplicated and I can just go to the Type tool, which if you just press Command T, it will pull up the Type tool.
And then I'm going to try All Caps to see how it happened. Don't type everything in your projects with All Caps. You're going to hate yourself for doing it.
So just use the All Caps Button or the Capital Case Button. So make your life easier down the line. All right.
Yes. This typeface is very groovy. So groovy.
It needs, like, waves and things, though. With it, I typically just build all my logos inside of black and white just so that people don't get distracted by the colors. But this needs, like a really nice, deep, funky purple.
Just certain things kind of whenever you're working these projects, just like, oh, man, that needs this treatment. Like, this could be cool. Could even probably do like a maybe not that yellow.
Probably needs to be a little bit more there's a lot of different options. Let's see here. We can also start building help.
So we got some of these, some of those. All right. We need to do a better version of this.
Let's fix this stuff. Everybody's favorite. We could always do din.
Kind of likes personality, though. Hey, Shauna, how are you doing? Welcome. Sorry about your Internet.
It's always the Internet with you. If you guys don't know who Shauna is, shauna does really incredible illustrations and type work. She streams on behance in Adobe live as well.
And her Internet hates her, so it's fun. So feel free to pop into her chat and tell her Internet's awful. She will not mind at all.
She's also got a really cute puppy named Teddy. I guess not. Puppy full down dog.
All right, so we're at Magic Bean. Let's see here. Basic shapes.
Start doing some type treatment. So what we're going to do now is we're going to leverage some more backgrounds there mean Bean. I'm going to do hot friends, cool coffee, and grab this grab these illustrations just as a placeholder.
We can always do, like, our own custom ones later on. But it's a good way to show how the content can be leveraged. It's great.
Also if you are working with an Illustrator to kind of use it as placeholder stuff for them to do their own custom stuff. We can always do stuff like this as well, where we take this background image and bring down the color all the way and then do some type over it. It's kind of fun.
You can see this in coffee shops everywhere where it's just like, kind of got a graphic in the background. It could be brown if we really wanted start to get the coffee vibes going. Yeah, just creating a beautiful mess.
All the mess. Yeah. If you see anybody's artboards that look completely like sane, it's fake.
It's fake. This is all about messing around and getting messy inside your artboards and seeing what ideas work and which ones don't. Leverage this guy in this space.
And I think I'm going to try to do a type. We can also use our type in a way that there's this 3D tool up here as well. I typically don't like to do this because it seems to warp the type a little bit too much.
But you can definitely use it subtly for things if you need to. So you can use it like this. It so you can kind of see how it starts to get distorted at the top, which is why I don't like to typically use it.
What you can do though is you can go back to doing the, like, circles you could build. Oh, gosh. All right.
What we're going to do is actually just copy this path. Essentially. I'm going to build it all the way across with the pencil by pressing P.
And then I'm just going to pull and match that curvature. And so right now, what you're looking at is just one type or one path that we've done rest with. The scoop is awesome.
Yeah, raw beans are a bit iffy. A lot of people don't know what coffee beans look like in the world. It's true.
All right, so I'm going to do the type on path tool again. And then I'm going to do me bean. I'm going to lower down the type a bit.
So type on path tool is going to be kind of your godsend for this stuff. It's really, really helpful to kind of build out custom shapes if I wanted to. We can also do like a crazy curve just as an example.
We're not actually going to probably use this for anything. Um, what? Hot friends. Cool coffee.
Cool coffee. So you have pretty much unlimited flexibility within Illustrator to do all this stuff, which is great. So you can leverage that as like a type system.
Maybe you need to use it over and over again, which is kind of cool. So what we're going to do is I'm going to use the type, flip this over, do a circle badge. Now it's probably easier if I just start over with the type.
Bond buff is what we're going to name this one. So that's now top centered. Good.
I'm going to take this bean. Beanbag. I'm going to take the beanbag and grab it, put it in the center.
Later on, we can change the typefaces to feel a little bit more in alignment with the the bag illustration. All right, so now we've got this. Actually, I'm going to make this black feel a little bit more consistent.
Grab type. We can do some type treatments on the side of it as well. Ah, establish 2020.
I can always treat it with, like a get all hipster with these badges. Once you build a logo, can you transfer it to Photoshop? You can absolutely do that. You can absolutely bring it into Photoshop.
I actually prefer to build out the logos in Illustrator and then bring them into Photoshop to show them to a client. So I'll build, like, mockups of things. So perfect example of kind of doing that is so this Muse project that I did here's, like an example.
Bring it into Photoshop, place it on the object, place it in the sky. Great example of showing it in a design system is like, starting to mock it up as like a surfboard. And then Photoshop it, texture it, make it look like it's a worn surfboard.
Bring it in, put it on a beer bottle. Beer can, put it on coasters, matchboxes walls. Like, everything like this.
So it's a great way to help sell the concept to our client and just present a more cohesive brand style guide to people. So absolutely highly recommend doing that. And Carol is asking about dimension.
You can use it also in Dimension to kind of, like, show they have a coffee cup. So if you wanted to, you could put it on an actual coffee cup so you could see what it looks like in 3D, which is pretty cool. Carol has asked, what's new in Dimension? I haven't been streaming Dimension lately, but Dimension has got, I don't think, any new features.
But I will stream it on my personal page soon. I've been dealing with things, so I haven't been able to stream lately. All right, so we've got this starts to feel a little bit hipster.
Because the type is so big and blocky, it lends itself to having some nice blocky text elements super easily, as Kathleen says. Yeah, to mention for mockups, like coffee. Coffee things.
We ever get to a point with this project that I'm feeling really happy with the badge lockups. We can throw it in Dimension and just show you really quickly. But yes, everything works super lovely inside of the Adobe ecosystem.
We can also do, like a black background for some of this stuff. So now we're starting to riff on just a general direct for.
