*Transcription Disclaimer: the following transcription was automatically generated, and may have errors, or lack context.*
Kristine Arth:
Hello, everyone. Welcome to Adobe Live. I am your host, Kristine Arth, and I am here with Alex Lazaris. He is of we are Lazaris out of Portland. Not Portland, Maine. Portland, Oregon.
Alex Lazaris:
Portland, Oregon.
Kristine Arth:
That's right. So yesterday we had Alex on, and we were busy designing some saucy packaging. Maybe you could take us through a little bit of that opening of what we did yesterday that'll lead us into what we're going to do today because we're going to get into dimension.
Alex Lazaris:
Yeah, we are getting dimensionalized.
Kristine Arth:
Oh, we're going to dimensionalize. I like it.
Alex Lazaris:
Crazy in dimension.
Kristine Arth:
All right.
Alex Lazaris:
But yeah, yesterday we were just starting to get a little bit spicy with some of the packaging work.
Kristine Arth:
Yes, we were.
Alex Lazaris:
A lot of type system stuff.
Kristine Arth:
Lots of sauce names.
Alex Lazaris:
Exactly.
Kristine Arth:
Yeah. Chat helped us out with a million sauce names. At least a million.
Alex Lazaris:
We learned a lot of new languages. Yeah, we did for Fire, but I'm having a hard time remembering which ones are which.
Kristine Arth:
Oh, me too.
Alex Lazaris:
I just have the word vocal.
Kristine Arth:
I was like, I know that one. It's a darleano.
Alex Lazaris:
Exactly. Other than that, I think I know the Polish one is posar.
Kristine Arth:
Oh, good. Yeah, we've got some we've got some Comic sands in there, so this is great. Maybe a chat. You can say hello to us. Oh, eric Seuss says that Oregon's awesome.
Alex Lazaris:
Oregon is awesome.
Kristine Arth:
Oregon. I like the way he spelled it, too. Oh, and for those of you who are here, we have got sticker mule today. So if you're in Chat and you are chatting with us, you have the chance to win 100 free stickers. So we'll put the countdown on a little bit later, and yeah, it'll be good.
Alex Lazaris:
And you better win.
Kristine Arth:
You better win.
Alex Lazaris:
And you're just a posar.
Kristine Arth:
Yes. We are the posar. All right. Hey, Mo Beast, you're back. Jonathan Beal. Diego Anibas Kara Blue. Dustin. Thank you guys for joining us. Lee. Richard. Everybody's here. This is great.
Alex Lazaris:
Perfect.
Kristine Arth:
Yeah.
Alex Lazaris:
Welcome back, everybody. Yeah. So yesterday we kind of just stopped off on a bunch of different type explorations. We kind of talked about which typefaces would work, but I guess before that, we really jumped into what our virtual shopping aisle on hot sauce looks like. According to Google shopping for hot sauces? And we saw a lot of reds, a lot of green bottle tops and labels themselves and then a lot of yellows. If you think about Sriracha or this crystal Louisiana hot sauce, that motif is carried through a lot of hot sauce bottles, and we don't want to do what everybody else is doing.
Kristine Arth:
Or the hot yellow.
Alex Lazaris:
Yeah, that super hot yellow. And chalula. Like Valentina. My favorite hot sauce is Valentina.
Kristine Arth:
Really?
Alex Lazaris:
It's not really that hot. It's, like, super cheap. Look at that. It's 34oz for a dollar 50.
Kristine Arth:
Oh, yeah. That can't have any heat in it whatsoever. You're paying for red water.
Alex Lazaris:
Well, it's super thick, too. It's delicious. It's just the best. It goes on everything. Highly recommended.
Kristine Arth:
Are they paying you right now?
Alex Lazaris:
Yes. No.
Kristine Arth:
I mean, I like tapatillo personally. Yeah, tapatillo. I put on all Mexican food. Sriracha, I put on everything else.
Alex Lazaris:
If you put Valentina on your Mexican food, you are going to have a life changing experience.
Kristine Arth:
Really?
Alex Lazaris:
Over tapatillo.
Kristine Arth:
Absolutely. I mean, that's a big promise.
Alex Lazaris:
You can at me if it doesn't go well.
Kristine Arth:
I can't wait. But anyway, Phil Graves agrees with you, by the way.
Alex Lazaris:
Yeah, it's amazing. And it's so cheap.
Kristine Arth:
And he says their packaging design not so great.
Alex Lazaris:
Yeah, I don't think they were looking to invest a lot of money in it.
Kristine Arth:
I mean, it's a dollar 50 for sauce.
Alex Lazaris:
For a lot of sauce. It's a huge bottle.
Kristine Arth:
They probably aren't looking to pay a brand designer.
Alex Lazaris:
Exactly.
Kristine Arth:
Get anything going? Yes. Dustin Reed. I'm with you.
Alex Lazaris:
Dustin. Fighting words.
Kristine Arth:
Maybe we'll have to have you come back in and you can do a rebrand of Valentino.
Alex Lazaris:
I think we need to do a hot ones style episode and just, like, have very saucy fingers and that maybe we'll do finger painting.
Kristine Arth:
Yeah.
Alex Lazaris:
But anyway, so we just saw this motif carried throughout everything, so I wanted to take more of, like, a luxurious and atypical approach to the packaging design. Typically, hot sauces and stuff also have a very whiskey focused brand aesthetic. So a lot of textures and a big blocky wood typey style distressed everything, and we don't want to do that either.
Kristine Arth:
Illustration too. Lots of illustration as you're looking right there.
Alex Lazaris:
Lots of, like.
Kristine Arth:
Little jalapenos pepper, pepper content.
Alex Lazaris:
This one's a little too happy.
Kristine Arth:
Oh, yeah.
Alex Lazaris:
He's, like, smiling. And it looks like a sun's, like a lemon, folks.
Kristine Arth:
Home style.
Alex Lazaris:
Yeah, this is kind of nice for just a very simple type system. Yeah, I don't really like the bottle cap trough, but I like that. The rest of it's kind of nice. Anyways, lots of illustrations. This is kind of like a more different approach with it kind of being bold and blocky, but ghost. I'm scared already. Maybe the lavender in there makes it nicer. I don't know. Based in Brooklyn. Bushwick sauce company.
Kristine Arth:
Interesting. Well, it's got to be hot because it's $15 worth of packaging.
Alex Lazaris:
That's true. For 8oz.
Kristine Arth:
I know.
Alex Lazaris:
Well, I'm going to have my little brother try it out because he lives in Bushwick.
Kristine Arth:
Yeah, you're probably going have to to send him $15 just to get it.
Alex Lazaris:
Sure. His birthday is coming up.
Kristine Arth:
That's fine. You're like, guess what I got you?
Alex Lazaris:
Yeah. $15 for hot sauce. You're welcome. How many desks by hot sauce? So we started messing around with what the type could look like, and it started ended up coming into, like, how do we start messing with some of the numbers? And scoville is the rating units for Heat on Hot Sauces and peppers, and apparently 13,000 isn't the hottest you can have.
Kristine Arth:
Seriously? There's something higher than that.
Alex Lazaris:
Apparently. You can go insanely high.
Kristine Arth:
Can you go to the million?
Alex Lazaris:
I think you can, because I think gosh. There was another sauce that I saw that was, like, 250,000.
Kristine Arth:
Oh, no, thank you.
Alex Lazaris:
And so on that scale, I think a bell pepper is zero. And then, like, a jalapeno. I don't remember anymore.
Kristine Arth:
Ghost pepper. Do we know?
Alex Lazaris:
There was a chart that I had and I lost it.
Kristine Arth:
Know what the Scoville for ghost pepper is?
Alex Lazaris:
Besides four tiers minimum?
Kristine Arth:
Yeah, because if that's ghost pepper, I think, is, like, the bare minimum for a death. So we have to be above ghost pepper with our Scoville, because we've had one death. That's true. Nearly killed both of us yesterday.
Alex Lazaris:
We just don't know if they were prepared right. Like, if you just sprung our hot sauce on somebody, maybe they weren't ready and they just drank it. And so we started messing with some type. I didn't really like any of the directions that I kind of ended up with yesterday, but that's kind of the process. I really liked how this block lettering and the monospace type being condensed and blacked out and bold looked and felt. And I thought it would be good for collateral, but for some reason there was like a voice in my head that was just like talking to me and saying, we need to go back to having a little bit more elegance in this project and not just doing heavy, over the top, big text block stuff. I even explored that a little bit more just to see if it would work, and it didn't. Oh, so this is my, like, I like it metaphor.
Kristine Arth:
That's your metaphor for ghost pepper for.
Alex Lazaris:
This whole project is, like, everything's on fire because we have a billion different memes for fire going on, so might as well.
Kristine Arth:
I'm like, that's how I feel right now. I'm like, this is fine.
Alex Lazaris:
This is fine. It's a little hot.
Kristine Arth:
It's okay.
Alex Lazaris:
I think we need to turn up the heat in this room. So we're just sweating at our I know.
Kristine Arth:
I already took my coat off. I was like, whoo?
Alex Lazaris:
Amazing.
Kristine Arth:
Did you see that Dustin Reed said 855,000 for ghost pepper?
Alex Lazaris:
Well, I was looking at brian also said ghost pepper is at a million.
Kristine Arth:
What? No way. Oh, is that, like, the abbreviation for Scoville?
Alex Lazaris:
Yeah, it's Scoville heat units. Right?
Kristine Arth:
Oh, that's kind of fun.
Alex Lazaris:
Yeah.
Kristine Arth:
Wow.
Alex Lazaris:
So if anybody wants to tweet at us eating a ghost pepper, that's great.
Kristine Arth:
That's great.
Alex Lazaris:
Won't show on stream, but we'll watch it.
Kristine Arth:
That's great. Good for you.
Alex Lazaris:
So anyways, I started just pushing things around after I kind of took a break and stepped back from it. So pro tip if you're feeling like you're struggling with your designs, step back for a little bit, take a walk, see what's going on with it, or.
Kristine Arth:
Get a fried chicken sandwich. Sometimes you need a fried chicken sandwich.
Alex Lazaris:
It helped. It was full of inspiration. Did it have any hot sauce on it? No, I like it when they do.
Kristine Arth:
It with the buffalo sauce. Yeah, that's when I'm well, actually, I.
Alex Lazaris:
Think the coleslaw has, like, a little bit of jalapeno in it. So there's a little bit, but it's not, like, over the top.
Kristine Arth:
That's good. It gave you inspiration for today.
Alex Lazaris:
Exactly. So, anyway, so I started playing with the serif type again because I think I was getting frustrated with how it was looking at a very large scale. I even tried it again, like, what does it look like here? Which is starting to feel a little bit better than it was. The original stuff that I was kind of getting frustrating with, which now, looking back on, it doesn't look as bad as I thought it did originally.
Kristine Arth:
I love that sometimes you have to go back and be like, all right, maybe this was a good spot to be in.
Alex Lazaris:
Yeah, this is exactly why you just move things around on your artboards. Because eventually you might come back and be like, oh, actually, that's not bad. That's not terrible. Or, there's a nugget in there that I can unpack and pull out and kind of keep tweaking. So don't do destructive editing in Photoshop and move things around in Illustrator. You can always clean up your artboards later on another document. So I started playing with what did space look okay? And then thinking, okay, do I bring in the caution part of it and start laying out what scoville rating is plus the definition? But then I felt like that kind of took a backseat again. Like, if we want the brand name to be all about this fire motif, putting it into the third line felt like it was kind of taking too far of a backseat and not really showing any benefit. Kind of like the idea of showing the ingredients on the front. But we also still have the whole back label where we can do a really nice layout of ingredients and, of course, nutritional facts and warning labels and death symbols and whatever else we want to do.
Kristine Arth:
I love it.
Alex Lazaris:
And then I started playing with what could it look like if I just gave everything a lot more space? Right. So going back to the almost a boutique cosmetic line where it's like, nice simple type, lots of open space on the label, kind of doing the opposite of what every other packaging does for hot sauce, where they crem in every illustration possible and every single flame and hot pepper and everything, it's too much. So just kind of simplifying the label down a bit. So I moved over to danger. Yeah, we get a little bit of danger in there and then kind of like a caution symbol you might see or caution sign you'd see in another country or with just a bunch of different languages for fire, so you just don't know what's going on. Lee asks question for Alex. We kind of touched on this, but do you prefer to create designs without graphics or pure typography? Depends. So, like, recently, I just did a project called Part.
Kristine Arth:
I'd love for you to know we never got to take time yesterday to hop through some of your previous work. I wonder if now would be a good time.
Alex Lazaris:
Yeah, we can do that.
Kristine Arth:
That would be great.
Alex Lazaris:
I like to play to type strengths. So this one for a packaging project, was based on the design system, which wasn't necessarily illustration focused, but had a flexible pattern system, and that kind of helped tell the story behind the brand collateral. And the marketing collateral can all be leveraging this fun whimsical patterns bouncing around this in my head would work really well with motion design. We just never really had the chance to do any really cool motion. Blobs coming in and out. The armpit is gross. Hey, that's my armpit. Be gentle. Just kidding. Yeah, we don't need to show that project. But that was a thing of making fun of the Goop Labs candle, so I made my own armpit smelling candle. But yeah, so this project was just kind of like a pattern based system, and you don't always have to use illustrations to tell the story, but kind of leveraging it across images. This is an example for a sound music company that I was doing work for. And this was like trying to build out a flexible design system that incorporates patterns, colors, illustrations of photography all at once and just kind of start seeing how the system is built. But again, not doing all rely on one illustration. Jason Vestry and I worked on this project. If you guys give him a follow. He did the brilliant dimension mockup of the hot sauce bottle that we're actually going to be using.
Kristine Arth:
Yeah, that's right. Get yourself a jason.
Alex Lazaris:
Yeah. Get yourself a jason. There he is up there. We worked on this airflight project together, which was doing a new helmet line for icon and showing what that design system could look like. Right. So we did everything from designing what the helmet looks like, how does it play in the marketing collateral, what does the motion look like, how do posters work for it? Again, not necessarily just an illustration, but we do have a vectorized version of the helmet. And then going into the actual helmet designs, teasing that with patterns and type and the actual 3D asset that also, again, Jason made. So Jason did the helmet, rendered it out beautifully. He did all the motion graphics work for it. That looks so insane.
Kristine Arth:
Kind of right in your wheelhouse.
Alex Lazaris:
Oh, yeah. So actually, Jason and I met while racing motorcycles, and we were in the same racing league. He's a much better racer than I am, so he's at a different level. So I raced on smaller bikes, he raced on bigger bikes, but he's wicked talented. This was a really fun project to like.
Kristine Arth:
So cool.
Alex Lazaris:
Definitely 3D muscles and stuff.
Kristine Arth:
Especially when it's something that you're really near, personally, it makes it that much more enjoyable to work on.
Alex Lazaris:
Totally. So that's kind of like you can mess with illustrations wherever there's a time and a place. But I personally love to use type.
Kristine Arth:
We have those.
Alex Lazaris:
We have them. Sure.
Kristine Arth:
Where are they?
Alex Lazaris:
They're in the other room.
Kristine Arth:
I should go get them.
Alex Lazaris:
We can get them in.
Kristine Arth:
Like we'll get them. I think there's a magic paco that they're on.
Alex Lazaris:
Bar cart thing.
Kristine Arth:
Yeah, the bottle.
Alex Lazaris:
Bottles, yeah.
Kristine Arth:
So fun. Yeah, he brought some in.
Alex Lazaris:
Yeah. So this was done last time I was on Adobe Live, so make sure you guys follow, because after this project, I will build out all the actual bottles. I'll build them out further in dimension, render them, post them, and then also use actual photography to help sell it.
Kristine Arth:
There's also Paul Tranny here in the house. Paul, come here.
Alex Lazaris:
Yeah. Paul, take some shots.
Kristine Arth:
Yeah, Paul. This is real liquor. That's why I came in. Alex, I'm loving it. So fun. We've got Paul in the house. Handstands. Are we doing it? Oh, my goodness. Thank you for joining us, Paul. So now that we can see these in real life oh, good. If I hold it up, you can even see through it.
Alex Lazaris:
Yeah, it's kind of awkward to see.
Kristine Arth:
Through because well, the background. Yeah, background pretty good.
Alex Lazaris:
Yeah. So whenever we're thinking about it, whenever you start using Dimension, you could start playing with where does the warning labels go? And the packaging design, all that good stuff, and then bring them into studio, obviously, is always a really fun way to help explain the brand process and show it in collateral. Start seeing how Type lays out making sweet gifts, because I love doing gifts.
Kristine Arth:
Sweet gifts.
Alex Lazaris:
Gifts are, like, my favorite thing. I grew up doing stop motion photography.
Kristine Arth:
I'm big into that always.
Alex Lazaris:
It's always fun whenever we have to retouch a series of gifts, though, because then that's every photo. You have to retouch every single element for our series of nine to ten photos.
Kristine Arth:
You're like, oh, man. Oh, man.
Alex Lazaris:
Yeah, it's like, fun way to show the brand aesthetic and get a little bit higher fidelity into the project. So you can do this all at home. All you have to do is get a bottle or package. If you want to see the old stream, it's right there in the project.
Kristine Arth:
Sure. That's awesome.
Alex Lazaris:
Yeah. So that's just kind of like if you're getting into packaging design work, you can go buy a bottle of whatever wine soap, get your own labels printed, make it in dimension, and just, like, photograph them.
Kristine Arth:
And that's a great segue for us to even go back into sauce.
Alex Lazaris:
Yeah. Back into the sauce.
Kristine Arth:
We've got sauce for you guys. All sauce all day. That was kind of fun to have Paul jump in.
Alex Lazaris:
Yeah, he was dancing behind the camera. You didn't even see it.
Kristine Arth:
I know, you guys, he was being amazing. He was being Paul.
Alex Lazaris:
So then I started playing again with the spacing of the type and how balanced it felt on a label. Obviously, we still have to go into unsee that armpit mockup. That wasn't an armpit mockup. That was a real photo.
Kristine Arth:
It was a real photo of his real armpit.
Alex Lazaris:
Real photo. Yeah, it was great.
Kristine Arth:
Real pit. I love that, by the way. I think it's great.
Alex Lazaris:
Thank you. I would like the disrespectful type things a little bit like little out there. We did a whole with you. We did a whole photo series. You can look at it down in my portfolio where it has, like we recreated American Apparel ads with men or like, college kids and kind of, like, contrasted that between the overtly sexualized women photos with just men in their place and created a really nice conversation around why this is inappropriate. Stuff like that. I love it. Fun way to have social contact.
Kristine Arth:
Brings up good conversation. Exactly.
Alex Lazaris:
So I'm currently liking both of these guys. I don't know which one I like the most, yet I think I still like the bold serif more than I like the sand serif on top of it. I'm not sure if I need to unbold this. Maybe I need to just make that regular, I don't know. But we'll see once we start playing with it in Dimension, and then we'll see what the colors and stuff actually need to be. But right now I'm currently feeling like this might be a nice oh, yeah, here's another version of just doing, like a blocky thing.
Kristine Arth:
Super nice.
Alex Lazaris:
And that might be nice, but I don't think it would look as good on the current bottles that we have because they're kind of tall, and I think if there's a squattier bottle, it might work better.
Kristine Arth:
Very good. We've got a lot of folks out there saying hello. Joe Maloney. Lee Gaynor. Dustin Reed. Phil Graves. Howard is here. Hello, Howard. Alicia. Brianne. Got a lot of fun people out there. Jordan crawford said hello earlier. I wanted to make sure to say hey back. And for those of you who are just joining us, we have Alex Lazaris here and he is hot on the Habanero. So we are going to see some dimension design with these labels soon. We've also got the Chat and Win countdown up on the screen. So in about seven and a half minutes, we will let our magic bot choose somebody pretty special to win 103 by three die cuts from Sticker Mule.
Alex Lazaris:
There we go.
Kristine Arth:
Yeah. And the rest of us will just be losers. But you're like yeah.
Alex Lazaris:
So I like the idea of having these super hot sauces using a very white label with subtle color to them, you can kind of start seeing nice just a tiny bit. We don't know yet if that's going to be the actual good color or not, but anyway, are we going to.
Kristine Arth:
Do a set of three?
Alex Lazaris:
We are going to do a set of three. Good.
Kristine Arth:
Just making sure. I know we talked a little bit about it yesterday.
Alex Lazaris:
Got three different bottles.
Kristine Arth:
Oh, good.
Alex Lazaris:
I need to obviously texture them correctly in dimension, which might be a little bit of a pain. Obviously, this isn't completely white balanced correctly because it was shot on my counter with my iPhone.
Kristine Arth:
Oh, dale says habanero is misspelled. Oh, is it Dale?
Alex Lazaris:
I probably did that on purpose.
Kristine Arth:
I love how he's like, oh, is this where we get into the segment where we strategically defend our mistakes?
Alex Lazaris:
Yeah, no, that's completely intentional.
Kristine Arth:
Yes, Dale.
Alex Lazaris:
We are taking creative license with the slash every other language right now. But anyways, I love these three colors. Yes. I'll fix that one day, hopefully before it goes to print, which I didn't do the other day, which is great. That's a segue for a different topic. The hot sauce on this left one is a nice red. You can see the chipotle flakes in there. Whatever the danger flakes, I don't think.
Kristine Arth:
The chipotle danger flakes.
Alex Lazaris:
And then the chipotle sauce is nice brown, and then the extreme one is a little bit more warm red fire to it. So we'll see what happens with that. In actual studio, I think that these colors that are a little bit lighter will look a lot better. I think it's also a little bit more elegant.
Kristine Arth:
I like that.
Alex Lazaris:
Just a subtle change in it because you'll already see a difference change in the sauce. But do you think 100% paint is a newbie beginner design?
Kristine Arth:
Maybe. Never know.
Alex Lazaris:
I'm not going to critique their design. I think there's a reason why people make the decisions that they make that we are not privy to, which could be a client saying it has to be this way, or the target demographic resonates really well with that. Right. Like, if you're looking at how totally.
Kristine Arth:
In context, it might be the best selling thing.
Alex Lazaris:
Correct. Right. Like, if you're looking at the lineup that they have for sauces, it might make complete sense that that's the design system that they've had. Right. They've got two very similar designs. They've got this distressed butcher paper style brown paper, and then they've got this cork board style texture on the other ends of it. So you could see them kind of riffing off that same style for our system. So I don't know if it's selling for the client and the client's happy. Is it really a bad design? I would say it's not exactly so. There's mesh tricks that, you know, debate on forever and ever and ever, but oh, yeah.
Kristine Arth:
Oyen Khan Karunwe is here. For the first time. Welcome all the way from Nairobi.
Alex Lazaris:
You're stuck here now.
Kristine Arth:
Yeah. You'll never leave live.
Alex Lazaris:
So this is just a quick. So Jason, like I said, go to his page. Like him, follow him, whatever. What are the words here? Follow Jason. Him and I are working on a bunch of really cool Dimension projects right now. So you want to stay updated with that.
Kristine Arth:
Nice.
Alex Lazaris:
And we've got this beautiful bottle that he made. So I'm going to just zoom in. Actually, you can press F and that will take you full screen. Cool. But because I have dropped in this gigantic seamless mockup, if you don't know that seamless is where you take one gigantic large piece of paper and you kind of just fold it and typically.
Kristine Arth:
Put a seam in it.
Alex Lazaris:
Correct? Yes. No seams, no copy pasting on there. That's typically how I do most of my shots. It's a really efficient way to do it. It's pretty cheap to get gigantic large seamlesses. I think it's like $35 for a five foot wide seamless.
Kristine Arth:
And if it gets dirty, you can.
Alex Lazaris:
Rip and you rip it off. And if you take care of it, you don't have to rip it off that much. Exactly. Yeah, it's a great way to I don't think I've destroyed any of my seamlesses and I've shot a lot with them.
Kristine Arth:
Good for you.
Alex Lazaris:
It's because I'm cheap.
Kristine Arth:
I'm like, yeah, we're just going to give an old pat on the back.
Alex Lazaris:
I did it. No, I've actually used 2ft of one seamless.
Kristine Arth:
Oh, wow. I know you have a lot of shots in there too.
Alex Lazaris:
Yeah.
Kristine Arth:
Wow.
Alex Lazaris:
I try to not ordering seamlesses every time is a good way to save money.
Kristine Arth:
I'm going to agree with Howard that that tiny bottle on the massive yes. Is incredible.
Alex Lazaris:
That's all you need. You just need a tiny bit of this hot sauce.
Kristine Arth:
It's actually a 1oz.
Alex Lazaris:
Yeah, exactly.
Kristine Arth:
Really small. It's like those tabasco trials that they give you when you get oysters. Exactly.
Alex Lazaris:
So I'm actually going to take the backdrop and just scale it. Oh gosh, no, I did it. Wrong size.
Kristine Arth:
So how long have you worked in Dimension?
Alex Lazaris:
I am pretty new to Dimension, so if anybody sees me doing something wrong, please let me know.
Kristine Arth:
Me too. I mean, Dimension is relatively new.
Alex Lazaris:
Dimension is relatively new. It's been one of those programs I keep bouncing in and out of trying to get better and better at. And as they keep adding new and new things yeah, it gets better.
Kristine Arth:
It's cool because there's a lot of different models that are already in there that you can work with. So it's pretty fun to play around and add things to the library that already exists.
Alex Lazaris:
Exactly.
Kristine Arth:
We've got just about a minute before Chat and Win Countdown gets crazy. So I wonder what we're going to wonder what the question is going to be today.
Alex Lazaris:
Hot things come in small packages. The question for today I've got it.
Kristine Arth:
You've got it? Okay, good. We'll keep it under our cap, quite literally. So right now you're looking at scaling this.
Alex Lazaris:
So in dimension you can make very long and very wide things. You can also just grab the points if you'd like and just grab them and make them bigger.
Kristine Arth:
Nice.
Alex Lazaris:
But I'm going to probably just take the backdrop because it seems a little I like this.
Kristine Arth:
Making that bottle oh, gosh. Much bigger.
Alex Lazaris:
Scale x. Oh, no, I keep doing this wrong.
Kristine Arth:
That's great. No, it's great.
Alex Lazaris:
Rotate size.
Kristine Arth:
Let's do all right, we've got the question ready.
Alex Lazaris:
All right, so the question is if you were to learn one language that is not your native language, what would it be?
Kristine Arth:
OOH chat and win. Go. Okay, we are back from Chat and Win. Let's see what's your language that you'd like to learn right now?
Alex Lazaris:
Right now I've been playing a lot of a game called Escape from Tarkov and that is a Russian game. And for some reason Russian right now would be a great language to learn.
Kristine Arth:
I love it. I absolutely love it. Yeah. I'm kind of with Jordan Crawford. Japanese would be amazing to learn. It would be so difficult for me, most maybe everybody, but yeah, and Italian.
Alex Lazaris:
Oh, Italian would be great too.
Kristine Arth:
Yeah. Just because I like the food.
Alex Lazaris:
That's a great one. Yeah. And if you learn enough of it, you can just survive in Italy for a while, right?
Kristine Arth:
You can. We've got a lot of interesting answers out there. Dothraki Jonathan wheel. You win. Dothraki.
Alex Lazaris:
Did they make Dothraki like Elvish where.
Kristine Arth:
You can I feel like you can download and learn that. It's probably on babel. That'd be amazing. Duolingo, I'm sure, has a key option for you. That's pretty great. A lot of people wanting to learn French.
Alex Lazaris:
French is a good one.
Kristine Arth:
French is a good one. Eat lots of croissants, go to Paris.
Alex Lazaris:
Sure.
Kristine Arth:
Oh, we have a winner. Blue Oranges. That's fun. That is a great name. That's a language in its own fruit language. Congratulations. Blue, oranges. You have won three. Well, you've won 103 by three. Die cut stickers from sticker mule. And for those of you who did not win, which is all the rest of us, stickermule.com Adobe Live 20 will give you ten stickers for a dollar. So it's a pretty good deal. Try it out, see what you can create. You can add to my back of my computer, I need some new stickers.
Alex Lazaris:
So I've finally got the backdrop kind of set up correctly.
Kristine Arth:
Perfect.
Alex Lazaris:
And this will kind of emulate how for the most part I would shoot this in studio. So right now we're kind of like looking at how we might concept it, what the labels might actually look like. So for number one, I don't like the color of the current backdrop, which is kind of the default one. So I. Go in, I can click into the properties of the stage backdrop itself, and then I can change the base color, and we can go crazy.
Kristine Arth:
Yeah, we can get spicy back there.
Alex Lazaris:
Yeah, we can get very hot, very red, very crazy. I typically, as you can probably see from a lot of my photo shoots lately, I've been enjoying shooting on a yellow seamless by Savage Universal. I think it's just their deep yellow is what it's called, I think. So then I'm going to just mess with that just a tiny bit. Probably even just lower it down a little bit and see here.
Kristine Arth:
So cool. Oh, blue. Orange is first time winner. That's great. If you were a second time winner, I'd be concerned.
Alex Lazaris:
Somehow you beat everybody.
Kristine Arth:
Yeah. You're like, he did it twice. Be like, something tricky here, and I.
Alex Lazaris:
Grabbed a light direction earlier, and then you find it.
Kristine Arth:
So you guys can see that the design feedback countdown has been put on the clock. We have just under an hour for you to submit into today's challenge. So yesterday we looked at creating a badge with bevel and emboss, and today you're using a custom pattern to define what the pattern is in the texture tool. So take a look at that. Try applying your pattern to a piece of space equipment, and you can see what that challenge is. If you go to the bar on the right and click the challenge tab and submit in Discord. So pretty cool. You're going to have your number two challenge, and then we'll take a look and review everything at Discord before the end of the show.
Alex Lazaris:
Perfect.
Kristine Arth:
Yeah.
Alex Lazaris:
So I felt like the background was getting a little bit too distracting because we haven't figured out everything yet. So I just turned it down to.
Kristine Arth:
Good old basic love.
Alex Lazaris:
It basic white, just so everybody can see kind of what's happening.
Kristine Arth:
Nothing wrong with basic white.
Alex Lazaris:
No, there's not. So Jason built out this bottle really well, so I've got a lid. So if you're not familiar with Dimension, which I'm assuming a lot of people aren't yet, you can actually throw on your elements onto each layer and particle. So if I wanted to this waxy plastic top that he put on there, if I wanted to change it, I could actually just bring it in with a metal and just drop it on there. Whoa.
Kristine Arth:
It's got, like, this foil wrap to it.
Alex Lazaris:
Crazy foil wrap. If I wanted to make it look a little bit more like a wax top, you can pull that in. And right now, everything in Dimension, as it currently looks for us, looks very fake. Right? It's because we haven't put it through the rendering engine and stuff like that. So don't get discouraged if you're looking at this right now and you're like, that doesn't look real to me, you can adjust the lighting and a lot of the other rendering settings and the backdrops and then run it through a render engine. My laptop here is a little bit older, so I'm probably not going to render it on stream just because it might take a bit. But I can show you kind of like the render preview and how that kind of starts working.
Kristine Arth:
Cool. This sounds great. It's nice to see the process and know that you can make quite a bit of specific changes to really absolutely make it your own. And also it's helpful for renders. They're great. Especially if you're working with packaging comps, mainly because you can give direction visually to whomever is going to produce the end product.
Alex Lazaris:
Exactly. And so Jason also built out this label to be the same size as the old label.
Kristine Arth:
Right.
Alex Lazaris:
We probably aren't going to want to use this original label. So I'm just going to turn down right now. Turn down for what?
Kristine Arth:
Turn down that label so I can.
Alex Lazaris:
Throw on an image if I want or I can just copy paste things in.
Kristine Arth:
Yeah.
Alex Lazaris:
So let's see what happens with this. So used to just clicking on Illustrator all the time that I forget that I'm using a different program.
Kristine Arth:
Yeah, I know what you mean.
Alex Lazaris:
So you got this option to do a decal placement, or you can do a placement as a fill and then a pool and stretch, which a little bit too big.
Kristine Arth:
Too big, but that's cool.
Alex Lazaris:
But you can set it to do a repeat as well. So you can play around and background and you see it's like, okay, that's too many.
Kristine Arth:
You're like it's a lot.
Alex Lazaris:
Yeah, maybe too many repeats. Four. Oh, gosh.
Kristine Arth:
Hello. Diego and Voodoo Val is in the house.
Alex Lazaris:
Sorry. You can see if you have a bunch of different labels or if you wanted to create a label sheet, like mocked up in Dimension.
Kristine Arth:
Right.
Alex Lazaris:
You can do this on 2D objects as well. I saw somebody did an iPhone mockup where they put their XD File in the dimension on it. I was like, whoa, that's actually very cool. Use of dimension and XD.
Kristine Arth:
How fun.
Alex Lazaris:
Yeah, very cool. Things I didn't even think about before always just been like, oh, I have a Photoshop mockup of a device. But instead, if you just have a 3D object of it, you can start playing with some really interesting parts of it.
Kristine Arth:
So cool.
Alex Lazaris:
So I'm going to grab my little arrow key guy and I'm going to grab the corner and just stretch it.
Kristine Arth:
Nice.
Alex Lazaris:
And I can turn off this guy, I think, or just delete it. Bottle label.
Kristine Arth:
So right now Alex is in Dimension, taking elements from Illustrator and placing them in layers as decals so that he can see what it looks like in context on the bottle.
Alex Lazaris:
And this is where I'm getting stuck. Let's see here. Translucent. So it looks like whenever I'm doing the graphics, maybe I just don't do the label and I just do like, a paste on the bottle.
Kristine Arth:
Yeah. I believe if it's separated versus putting it in the same layer.
Alex Lazaris:
This is.
Kristine Arth:
Looking cool already, though.
Alex Lazaris:
Yeah, look, it went straight to the lid, and I didn't realize it that's kind of fun.
Kristine Arth:
You're like, we're just going to put it everywhere.
Alex Lazaris:
Yeah, now it's everywhere. Let me see here. New action.
Kristine Arth:
And then Oyniken has a question when you're ready. How did you get the seamless backdrop in Dimension?
Alex Lazaris:
So this is actually a I want to say it was a free asset in Adobe stock, and if not, then it might be included in the Adobe stock subscription thing. So if you have got a couple credits oh, my goodness. Look. Sneaky. It pasted all the way in there.
Kristine Arth:
You're like, hey there. Hey, file. Did not put you where you are in the background on my backdrop. You're like, you strange.
Alex Lazaris:
File like, where are you going now? Just control Z until it goes away. There we go. Good.
Kristine Arth:
Oh, Kerwin. Good question. In the app itself, are there plans to create objects? I believe that this is for manipulation of pre existing objects. As far as creation, you can do.
Alex Lazaris:
A lot with just the manipulation of.
Kristine Arth:
The item you can extrude in there. Already there's the ability to extrude and change shape of an existing object.
Alex Lazaris:
Yeah, like, we were already kind of showing this where you can just like so if you got an object that's close enough, like a wine bottle or a Coke can or whatever, you can actually just pull it apart a little bit and make it the size that you want.
Kristine Arth:
Kerman's like OOH got you. Yeah.
Alex Lazaris:
And I believe any 3D object that you can save, any 3D program that you can save as an object file, you can just bring into Dimension. So you might find a better resources on, like, a sketch mockup or something.
Kristine Arth:
Yeah, and there's quite a bit in the Adobe stock library that you can.
Alex Lazaris:
Download from so many so many place graphic on model. So I'm looking like I'm struggling. Do I have to save this as an image file before I can just put it on any Dimension experts in Chat so I can't copy paste it without it going somewhere, import it. Okay, we'll do the import life.
Kristine Arth:
And then Chat is saying habanero with an HBA.
Alex Lazaris:
HBA. Habanero.
Kristine Arth:
Habanero.
Alex Lazaris:
Oh, that would make so there we go. You're right. And I said that I was going.
Kristine Arth:
To correct it, and I that way they won't have heartburn.
Alex Lazaris:
Yeah, I think Zach was the one who was asking put it in the ingredients. And I think I blame Zach.
Kristine Arth:
I blame Zach too. I blame Zach for everything. Hey, Ashi Eunice, welcome. Phil Graves is here. Kay Saravantes. Thank you for reminding us about Habanero.
Alex Lazaris:
Yeah, thank this relic beard.
Kristine Arth:
Cool.
Alex Lazaris:
All right, let's see.
Kristine Arth:
I'm always curious what music they're listening to out there, because we can't hear it. It's just you and me and Paco breathing.
Alex Lazaris:
Oh, Paco's the heaviest breathing I know.
Kristine Arth:
The heaviest. He's like really heavy breathing over here. It's a good thing he's not Mic'd.
Alex Lazaris:
We're never going to be asked to come back.
Kristine Arth:
It made him sneeze.
Alex Lazaris:
I honestly was about to sneeze as well.
Kristine Arth:
Really? Oh, my gosh. Sympathy sneeze. Yeah. I wasn't what does that mean?
Alex Lazaris:
You weren't sniffing the hot sauce?
Kristine Arth:
No, I wasn't. That's right. Too funny.
Alex Lazaris:
So this went back on the label again, which is driving me crazy. Okay, I'm going to just do it again. Just do it. Let's see.
Kristine Arth:
It'S. I think we're in label file.
Alex Lazaris:
We are in the Label file.
Kristine Arth:
Yeah. If we go out of label file, then we import it as a separate layer.
Alex Lazaris:
Okay, let's try that. So I do this.
Kristine Arth:
I think since we're selected on layer select on bottle. There we go. Now we can import a new layer duplicate action.
Alex Lazaris:
Now move to ground underneath.
Kristine Arth:
Let's see.
Alex Lazaris:
On bottle, edit canvas, label lid. No label. So if I open it up, it does this thing again. Can I just control click command click? Well, anyways, we're just going to run with it.
Kristine Arth:
We're running with it right now.
Alex Lazaris:
So I just matched the color technically, but it's not looking very good. Yeah. So it's like the opacity just is that whole file, which is frustrating.
Kristine Arth:
So see if you can drag label above bottle.
Alex Lazaris:
That's the whole folder. Okay, I see what you're saying because right now it's and maybe wrapping. No clue.
Kristine Arth:
So new folder with new label.
Alex Lazaris:
So that just groups new folder.
Kristine Arth:
Yeah, we'll do a new folder. Put it above bottle.
Alex Lazaris:
Okay. New folder. Where is new folder?
Kristine Arth:
And Howard also says that in the base color picker, you can choose an image. So that helps.
Alex Lazaris:
As know I might do. Here's how I'll try to cheat it. I'll take this default material and see if I can just chroma key that and then that's whatever close enough. And then I can just scale this.
Kristine Arth:
That works.
Alex Lazaris:
Not as accurate or pretty, but now it's going to crop it.
Kristine Arth:
So you can hide Gray Label and add decal to glass bottle.
Alex Lazaris:
I got it. Hide Gray Label and add decal to glass bottle. Okay, we'll try that. So I'll hide the label and then bottle. And then just click in and drag this guy over. There we go. Chat. Legendary, legendary. Blue Oranges.
Kristine Arth:
Blue Oranges is the winner.
Alex Lazaris:
The winner of our stickers.
Kristine Arth:
I love how he also says check.
Alex Lazaris:
That's brilliant.
Kristine Arth:
Or she brilliant.
Alex Lazaris:
Where'd you get your name from? My question.
Kristine Arth:
Blue Oranges is great.
Alex Lazaris:
That was really good. Delete that. Reapply it just in case I skewed it on the way in. Oh, no. Why do you do that? Okay, cool.
Kristine Arth:
Nice. That looks good.
Alex Lazaris:
Yeah, it's really interesting. I kind of like that it doesn't wrap around it completely.
Kristine Arth:
I do too, actually.
Alex Lazaris:
But then I'm like curious, how am I going to include all the other necessary ingredient stuff? Right, like double ingredient. Yeah, we could do that. We could even do a blue oranges. 3d artist man legend. Thank you. Thank you.
Kristine Arth:
Blue oranges for the win. Indeed.
Alex Lazaris:
So, yeah, I think we could do it where it's almost like the sorbo bottles, where I use another clear adhesive on the back where you can't really see it, but it just kind of gets all the nutritional information.
Kristine Arth:
Yeah, I think that would be nice.
Alex Lazaris:
Mainly because we could do it on what's it called colored ink on a clear transparent sticker. And this feels like almost like an old timey, like, medical bottle a little bit.
Kristine Arth:
It's tabasco medicine.
Alex Lazaris:
Exactly. It'll clear out your throat.
Kristine Arth:
Yeah.
Alex Lazaris:
Let's see. So now we can just do a test preview. So if you click this upper right image show render preview, it will start getting all pixelated and crazy. You can kind of start seeing how the file might render, and you can already see it's starting to look a lot more like a real bottle over the kind of super plasticky looking dimension.
Kristine Arth:
It'll give a little bit more of that texture.
Alex Lazaris:
Exactly.
Kristine Arth:
And also you'll be able to read the type. So yeah, I think that's the thing that always gets the designer in there, put in my file. Why can't I read anything? I know, I use Vector.
Alex Lazaris:
It's like the InDesign whenever you have it on high performance versus whatever, it's just pixelated or lines and you're like.
Kristine Arth:
You'Re like, I swear it's good. And the client's looking at you like, what? Exactly.
Alex Lazaris:
So essentially, this render preview, every time you move the cursor click in, it's going to want to rerender. So it's kind of a process. So I typically just save it for later.
Kristine Arth:
Yeah, it does take a bit of time, and I think that that's just natural. If anyone's ever worked in CAD or anything, it's very intense and you probably.
Alex Lazaris:
Can'T hear it, but my computer sounds like it's taking off and like, oh.
Kristine Arth:
No, this is yeah, it's like getting ready to fly. You're like, please don't fly right now. Yeah. The nice part about dimension is it's like half the amount of time of a normal render.
Alex Lazaris:
Absolutely. I think they also have a new thing where they're trying to like you can offload some of it to do cloud rendering. I think it's a beta right now. Yeah, I think that's correct. So anyways, so I can take this bottle now and zoom out just a tiny bit and I can duplicate it. So now I have another bottle so good. And I can move this guy around.
Kristine Arth:
You're like, I'm going to move it off.
Alex Lazaris:
I'm going to just move the whole screen around and you can just move the bottle behind it.
Kristine Arth:
Little duplication action.
Alex Lazaris:
This is nice.
Kristine Arth:
That's the coolest thing about dimension. So if you see what Alex just did is by changing perspective. You can start to you find out.
Alex Lazaris:
That you didn't place the label correctly.
Kristine Arth:
That's another thing you can learn when you change the perspective.
Alex Lazaris:
So funny.
Kristine Arth:
Love it. You're like, I'm just going to shift this over a little.
Alex Lazaris:
But the great thing is you can also set, like, shot list and you can send even just a 3D view for people to see, like, the complete wraparound of the bottle.
Kristine Arth:
Totally.
Alex Lazaris:
Which is a very nice feature to have, especially when you're it's really hard to get the full sense of what the label is going to do around the bottle before either investing in a label itself and you're showing your client and you're like, but it's going to work this way. And you have to create a bunch of 2D mockups. This is a little bit easier to be able to show a full 3D concept to them quickly.
Kristine Arth:
And it's also easier to do your gift.
Alex Lazaris:
That's true.
Kristine Arth:
Just a screen grab.
Alex Lazaris:
Very true.
Kristine Arth:
Shoot, shoot, shoot.
Alex Lazaris:
Yeah. And you can rotate the bottle by a certain percentage and all that stuff.
Kristine Arth:
Yeah. Lee Gaynor says that off centers all the yeah, and if it is a habanero, I'm sure they're just going to be stickering that and not paying. You know, they're not registering burning anyways.
Alex Lazaris:
Very hot sauce.
Kristine Arth:
Hello, Marcos. Welcome.
Alex Lazaris:
Now we can import. They don't mind, like the ghost pepper one.
Kristine Arth:
Nice.
Alex Lazaris:
What is our third one going to be? Anybody in Chat want to give us.
Kristine Arth:
A is Tabasco a brand name or is it I think it is, maybe. Yeah, chat let us know. What the other the third pepper picante.
Alex Lazaris:
Picante, yeah. What else are there? Of course. I've been searching for hot sauce things all day.
Kristine Arth:
Yeah. You're like, I mean, we really just want Chat to tell us.
Alex Lazaris:
Yeah. And now I can't remember anything, so chat save us.
Kristine Arth:
Chat save us.
Alex Lazaris:
Ghost pepper.
Kristine Arth:
Ghost pepper.
Alex Lazaris:
Paprika. No, I like the word paprika.
Kristine Arth:
I do too.
Alex Lazaris:
I was it's a brand name. Oh, hey, Brian. How you doing? Oh.
Kristine Arth:
Dustin reese says Carolina reaper.
Alex Lazaris:
Carolina Reaper.
Kristine Arth:
That's a pepper.
Alex Lazaris:
That sounds spicy.
Kristine Arth:
Oh, yeah.
Alex Lazaris:
Oh, yeah. So Brian said Tabasco is a brand name. Brand name, yeah.
Kristine Arth:
Got it, got it. Thanks, Brian. Thanks for ruining our dreams.
Alex Lazaris:
I grew up, actually.
Kristine Arth:
Oh, the Peruvian puff pepper.
Alex Lazaris:
That's cool. Peruvian puff pepper. Void pepper.
Kristine Arth:
Awesome. Maybe you should just do a bunch of them. Scotch Bonnet is a hottie, hot chili. Scotch Bonnet. Jeez, that sounds very hot. I know. It's making me tear up. I was like, are you crying over.
Alex Lazaris:
That?
Kristine Arth:
Yeah. Harisa pepper. Wow. I love that everybody's got these crazy peppers. Trinidad Maruga Scorpion. Now that just sounds deadly. Yeah, that sounds like a name of something that would bite you and then your leg would fall off. Yeah, like black widow spider. DA peppa.
Alex Lazaris:
I don't know if I like this with that or not.
Kristine Arth:
The pink, the pink. I do like the juxtaposition of these hot, hot sauces with this very pastel. Like it's not going to hurt you.
Alex Lazaris:
Yeah, not at all.
Kristine Arth:
If you like peppers, this won't hurt you.
Alex Lazaris:
Yeah, I want to get them even potentially closer to, like, a white. So it's just really subtle. We can do that. So if you drag over your colors or whatever you're using to do coloring, you can actually go up to the top right there where my mouse is. And you can do recolor artwork. And then it'll pull up all three or however many colors you're doing. And then you can go into the there's a wheel button. Right? I forget the wheel button. Edit. There we go. And you can kind of see where they lie together. And you can even assign a like you can do segmented color wheel. You can assign them to complementary, split, monochromatic, all these things, and it'll stay. So just say left complementary and then you go to edit. And then it should yeah. They all have to move together because they're complementary colors. So color picking can obviously be a very daunting thing. But this recolor artwork tool is super helpful. Especially you don't know how to do your colors or you're thinking you're still learning or whatever. I use this tool all the time. You can make some really good stuff. Even that doesn't look too bad right now. It's kind of a nice way. And the recolor artwork, like, showing it in a live preview is super helpful.
Kristine Arth:
Yeah. It's quick to make adjustments so that you can see things all at the same time. Mainly because if you're not, you're picking each individual color.
Alex Lazaris:
Exactly.
Kristine Arth:
Gets kind of tedious.
Alex Lazaris:
Yeah. I just want to you're like I.
Kristine Arth:
Just want to make them soft.
Alex Lazaris:
Bring the saturation all the way down. Like, I don't want to lose too.
Kristine Arth:
Much of the differentiating.
Alex Lazaris:
Yeah. Or like the warmth and everything.
Kristine Arth:
I almost feel like ghost pepper should be the bluish.
Alex Lazaris:
Yeah, just like more of a the.
Kristine Arth:
White because it's kind of a ghosty and ethereal.
Alex Lazaris:
Like a cloud. It's a good idea. Habanero. Can be yellow. Calorie line reaper. I know I said we won't do yellow or red.
Kristine Arth:
Maybe it goes more like orangey.
Alex Lazaris:
Maybe that's a good idea.
Kristine Arth:
Oh, Carolina.
Alex Lazaris:
So we can see really quickly.
Kristine Arth:
I do like the light yellow, though. It's nice.
Alex Lazaris:
Yeah. I think once we see it on an actual bottle, too, it might play really nicely.
Kristine Arth:
Totally.
Alex Lazaris:
A lot of these colors on the actual liquid itself will change as we get light bouncing on the glass.
Kristine Arth:
Totally. And it's nice to be able to go back and forth in context through dimension to be able to see what that looks like.
Alex Lazaris:
Exactly.
Kristine Arth:
We've got some fun stuff coming in on discord. I hope you guys are all working hard over there. You've got 30 minutes until we take a review of all of the patterns applied to badges.
Alex Lazaris:
If there was a color chat that you would not want to see on a hot sauce, what would it be? Because I'll probably use that.
Kristine Arth:
I like how you went there. Oh, I like that with the purple.
Alex Lazaris:
Yeah, the purple.
Kristine Arth:
Purple feels very ghost pepper.
Alex Lazaris:
Yeah. You're like, oh, I just died to some lavender.
Kristine Arth:
Thank you. Or just a lot of scary spooky. Things are usually purple and black. So are royal things, but there's a lot of spookiness to the purple. Yeah, Kerwin said brown. Good call, Kerwin. We don't want to see brown.
Alex Lazaris:
Dang it. Now, I can't use brown, but I.
Kristine Arth:
Do like where you're going with this. The green is nice.
Alex Lazaris:
Yeah, I know. As I've bashed for 15 minutes at the both beginning of the streams. I know, but still, like, not going to use green. Not going to use yellow. And I'm like, actually green.
Kristine Arth:
Yeah, that's like a dusty, mossy light.
Alex Lazaris:
So never say never chat.
Kristine Arth:
Never say never chat. I like these. Yeah, these feel good.
Alex Lazaris:
Feeling fun.
Kristine Arth:
Yeah.
Alex Lazaris:
Just want to do another riff on the green real quick just to see if I can get it a little bit more dialed.
Kristine Arth:
Yeah, I like that quite a bit. Feels fresh, which is good.
Alex Lazaris:
It does feel fresh.
Kristine Arth:
Do you think the purple come down a bit? Yeah, both of those could come down to match the yeah, this is great.
Alex Lazaris:
Yeah.
Kristine Arth:
The values will then be a little bit closer. This is nice.
Alex Lazaris:
Still a little bit more.
Kristine Arth:
Yeah, it feels like it got a little black in there. Weird.
Alex Lazaris:
Yeah. Weird, right?
Kristine Arth:
Yeah. Right? We're both like yeah, right? Yeah.
Alex Lazaris:
We're just hoping that chat's monitors have the correct color and chat's like, I.
Kristine Arth:
See really strange things going on.
Alex Lazaris:
If you're not always leaning into your screen.
Kristine Arth:
Oh, gosh. I know. Really designed to have those little hunchbacks. I mean, all of us.
Alex Lazaris:
You're like a chiropractor's best client.
Kristine Arth:
Totally. I like that.
Alex Lazaris:
That's fun.
Kristine Arth:
It feels light and fresh whenever you.
Alex Lazaris:
Stared at a design too long, and you're like, that doesn't feel right anymore. Now I'm like, I should center the text. And I'm like, no, it's fine.
Kristine Arth:
No, we can do that because you can do all sorts of versions. Who after? Who knew?
Alex Lazaris:
Who knew?
Kristine Arth:
Yeah. I really like this color palette.
Alex Lazaris:
Yeah, it's fun.
Kristine Arth:
Yeah, the freshness of it is nice because it makes it feel like it's made from real vegetables, comes in, becomes a sauce. But I also really like the idea that it is not as scary.
Alex Lazaris:
Yeah.
Kristine Arth:
Yet it has this punch behind it.
Alex Lazaris:
Totally. But we have also discovered that if this is at 13,000 scoville, it's apparently a walk in the park for some people because they're eating a million scoville.
Kristine Arth:
Totally.
Alex Lazaris:
Ghost peppers.
Kristine Arth:
I think this is for the aficionado of true. You know, like, if I was really Scoville's, I would be no, no, I don't do tabasco. I go for the high end top shelf of shoes.
Alex Lazaris:
That's really all we need.
Kristine Arth:
Shu scoville heat units.
Alex Lazaris:
Is that what it feels?
Kristine Arth:
Yeah. Shauna Lynn's like it's hovering. Art directors. Adobe lifestyle. Love it.
Alex Lazaris:
Nudge that over a little bit.
Kristine Arth:
A little bit of left. Bring out the contrast. Yeah. So fun.
Alex Lazaris:
That would be great.
Kristine Arth:
I know. I'm telling you, I really want to have a little button on my palette where I can actually pipe in anyone on Chat. Oh, my gosh. You can turn it on and off, and it's like, when I'm done, I'm just like, all right, Chad, I'm done getting a lifeline. Yeah, right.
Alex Lazaris:
We could have used that earlier with the mission.
Kristine Arth:
Completely. I think people would love that because, one, they'd get to see process in the making, but you also get to have valid feedback from a community, which is nice, especially since so many people are working from home these days.
Alex Lazaris:
Exactly.
Kristine Arth:
And that's definitely know society in general is going.
Alex Lazaris:
Let's see here if I can move the directional lighting.
Kristine Arth:
Yeah, Dustin, I agree. Scoville sounds like a name of a city. I'm sure it is a name of a city. Nice. Yeah. Look at that, guys. You can change the rotation of the lighting and the oh, yeah. Get some gleams on that bottle.
Alex Lazaris:
Hmm. This is where it comes down to so much. Just personal preference on how you like to lay your scenes and bottles and stuff.
Kristine Arth:
Oh, yeah.
Alex Lazaris:
I don't know. I don't really like to have it centered. I don't know why.
Kristine Arth:
I don't either. I also like to have a lot of contrast.
Alex Lazaris:
Yeah, contrast is great. The intensity too much.
Kristine Arth:
Too much. We lose the color. We lose the color. We absolutely do lose the color. But lighting again, all of these are such crafts where you can really get deep into unique characteristics of using the tools within dimension. It's just like Illustrator. There's so many features as well as so many practices and purposes for the unique use, whether you're illustrating or whether you're like us and you're doing design.
Alex Lazaris:
Absolutely.
Kristine Arth:
It's quite a different set of preferences that you'll start to use.
Alex Lazaris:
Absolutely. Completely agreed.
Kristine Arth:
I like that. We agree. Yes. We also like hot sauce and this color palette. And fried chicken sandwiches.
Alex Lazaris:
Fried chicken sandwiches.
Kristine Arth:
Oh, and nachos, which is both of those are hot sauce friendly foods. That's true. I think we're onto something here.
Alex Lazaris:
Fried chicken, sando pizza. Maybe you could try it.
Kristine Arth:
I like, I know someone who puts French fries on their pizza, and I'm.
Alex Lazaris:
Going to knock that before I try it.
Kristine Arth:
I'll just say I'm not a fan. I haven't tried it. But he really seems to enjoy.
Alex Lazaris:
Here. So now we need another one, as DJ Khaled would say. Yeah, let's just duplicate this guy. Get the last bottle in there.
Kristine Arth:
Kerwin says these bottles are soothing.
Alex Lazaris:
They are. They're soothing.
Kristine Arth:
He's like, It's like my mouth is on fire, but I'm finally figuring my life out, y'all know?
Alex Lazaris:
Exactly.
Kristine Arth:
I love it. Yeah. Agreed. Kerwin so funny. See, and that's why it would be great to have a little Adobe Live button. You could be like, you know what I need? I need a little Kerwin encouragement right now.
Alex Lazaris:
Exactly.
Kristine Arth:
Oh, no, howard just went there. He's like pineapple on pizza.
Alex Lazaris:
Absolutely.
Kristine Arth:
I don't think so. Howard, why would you divide everyone's, like, a thousand percent?
Alex Lazaris:
We're, like, in the final hour of the stream, and we're doing so good. Agreeing on everything.
Kristine Arth:
I I know know. Now we're divided, although we went with the French fry thing, and I'm like I'm telling you.
Alex Lazaris:
Yeah.
Kristine Arth:
I'm not into it. Although it's kind of like mango chicken stir fry, which I do like. So I get the sweet, savory thing. I don't know, though.
Alex Lazaris:
This is great.
Kristine Arth:
I love this view.
Alex Lazaris:
So what I just did there was I did not know what I was doing, so I pressed F because that makes it go full screen, and then it zoomed in on one of the bottles because that's all I had selected. Yes. And then I selected all three of the bottles, and then it was like, check this out. We can pull it full screen, have a nice little stage for you. So that's kind of a nice, totally little feature, but I still kind of need them to I don't know, I guess they moved somehow.
Kristine Arth:
Did they?
Alex Lazaris:
They rotated.
Kristine Arth:
Oh, you're rotating them?
Alex Lazaris:
I'm rotating it right now, but they rotated because it was flat a second ago.
Kristine Arth:
You're like, I guess they moved. I'm like you did that.
Alex Lazaris:
No, I did not do that. You definitely did that.
Kristine Arth:
I watched. We can replay it later. That's the best thing about this show.
Alex Lazaris:
The ghost paper has it.
Kristine Arth:
Ghost paper.
Alex Lazaris:
The ghost pepper has its ghost paper backdrop.
Kristine Arth:
You're like, my seamless. Ghost paper did this.
Alex Lazaris:
Exactly.
Kristine Arth:
This is amazing.
Alex Lazaris:
I blame the ghost, so throw in the last bottle label.
Kristine Arth:
So fun. I blame the ghost, too.
Alex Lazaris:
When in doubt, ghosted out.
Kristine Arth:
Yes.
Alex Lazaris:
All right, let's see here.
Kristine Arth:
So good. I like it.
Alex Lazaris:
It's getting fun. Now I'm just, like, worried about the perspectives and stuff. How did that happen?
Kristine Arth:
I like it.
Alex Lazaris:
I like the way the light hitting.
Kristine Arth:
On it looks nice as well. It's a little bit flat on the front left top, but that's probably because you rotated it.
Alex Lazaris:
I don't know how I did that. It's crazy. A mind of its own. I'm going to stack it a little bit. Oh, gosh.
Kristine Arth:
Oh, yeah. Make it up to you're. Like and this is a miniature size.
Alex Lazaris:
Yeah. And this is what you get. How did I do that, too?
Kristine Arth:
Oh, I don't know, but that's kind of fun. So good. So you guys have 20 some minutes left to keep entering into discord. Today's current challenge is to apply a pattern or texture to the badge that was created. Yesterday. There's some cool things that I'm seeing come in. This is great.
Alex Lazaris:
Moving the stage down to the bottom. I'm going to rotate the stage just a little bit. Why do I do that? It looks like even the stage got tilted.
Kristine Arth:
Shauna says you could make a Lazaris Pepper where you die and then come back.
Alex Lazaris:
Wow.
Kristine Arth:
I like that.
Alex Lazaris:
Biblical. I like it.
Kristine Arth:
Yeah, me too.
Alex Lazaris:
I typically like to have whenever I'm shooting, I like to have the camera slightly above the horizon point just so the bottle top looks a little bit flat. And it doesn't, but sometimes you have to be a little bit underneath it. If you have a clear bottle, sometimes you don't want to see the yeah.
Kristine Arth:
You don't want to see the underneath part.
Alex Lazaris:
Exactly. Yeah.
Kristine Arth:
Because then you end up having to retouch it out and it's weird and all the things and it gets very intense.
Alex Lazaris:
Yeah. Like, why does this guy look stubbier than the other ones?
Kristine Arth:
He was warped a little.
Alex Lazaris:
Yeah. Ghost Pepper did it.
Kristine Arth:
Ghost Pepper definitely did it.
Alex Lazaris:
I'm just going to rotate it and make him feel a little bit nice. Just adjust these guys.
Kristine Arth:
Oh, yeah, that one's labeled off center.
Alex Lazaris:
Yeah. Ghost Pepper.
Kristine Arth:
Ghost Pepper. Ghost pepper knows what's up? And I think Carolina Reaper looks like that because its label is a little big.
Alex Lazaris:
I think you're right. Let me adjust him because he's all the way in the back.
Kristine Arth:
Ye old eagle eye.
Alex Lazaris:
Lazaris Pep.
Kristine Arth:
Biblical heat. Oh, yeah. Nice cat.
Alex Lazaris:
Good moji. That guy over there. All right, now this guy's bothering me. Oh, no. Okay, one more time with this label. That will be good. So essentially what you really want to do in Dimension is you're going to have to finesse a lot of things, but once you finesse them, it's going to be absolutely worth it.
Kristine Arth:
So good blue orange, it says maybe there's a lens distortion.
Alex Lazaris:
He was right before there was a camera button. Let's just save it. So I clicked a camera bookmark, so now it's going to be able to stay there.
Kristine Arth:
Nuno Diaz is back. Hello, Nuno.
Alex Lazaris:
Feel the view. There we go. So I can get zoomed in there.
Kristine Arth:
Very cool. This is looking gorgeous.
Alex Lazaris:
Gorgeous, gorgeous.
Kristine Arth:
Hot sauce. It's hot sauce for the epicurean.
Alex Lazaris:
Let's do a C. Let's do a C. Do a little C, a little render. It looks like I might have way too much intensity on the light. I'm just blowing everything out right now.
Kristine Arth:
Yeah. And there might be a little bit of lens distortion. I think he's right.
Alex Lazaris:
Yeah.
Kristine Arth:
But it's still good.
Alex Lazaris:
Yeah, it's getting there. And I need to just adjust the directional light or the environmental light. What's the difference? Anybody an expert on this? Let's see. Let's just do a quick render on that.
Kristine Arth:
Oh, yeah, here we still, he says, missed the beginning about the font selection. Would you guys consider having a custom typeface and if so, when would that be?
Alex Lazaris:
Woof. Custom types are great, but having a client with a budget big enough for a custom typeface for their brand is very unlikely.
Kristine Arth:
At least less for packaging. I would say it's more useful for a brand that is a global brand specifically.
Alex Lazaris:
Yeah, I've worked with a lot of large companies and they still don't want to spend the money on that. Some of them really do, like PayPal has PayPal Sands and I did that. Did you really?
Kristine Arth:
Well, I didn't do the font, but I did the logo and we commissioned Dan Radigan to do the font from.
Alex Lazaris:
So like the opportunity is there for larger brands where they want to feel unique and they don't want to pay the licensing fees for some of those stuff. It gets crazy. Even when I was at Twitch, we were looking at hundreds of millions of page views a month. Right?
Kristine Arth:
Yeah. I think when it makes sense is either having a global brand that's going to use quite a bit of web presence and they're going to be paying for that font, especially if it's not a free font. But then again, it really depends on the budget. It depends on the designer that you're working with for a type because there's a lot of instances where maybe working with a typographer for a bespoke logo could be really valuable and using a font that already exists for licensing for everything else is pretty great.
Alex Lazaris:
And oftentimes if a client wants like a custom logo type, that's pretty easy to do. And I'll use like an existing typeface and then butcher it and rebuild a lot of the parts of it. But I don't necessarily always start from scratch on some of those. I don't know if that answered any of the questions.
Kristine Arth:
Hello, Marianne. Welcome.
Alex Lazaris:
Just trying to see what the rendering is looking like with the light. I think that's kind of going to be the game changer on some of this. I'm trying to play with the height, intensity and rotation, see if I can get a good understanding. I think the original goal with even just having such a light label was that in Photos on the aisle, depending on how you're lighting it, the label itself will fade into white to some degree. So you kind of only see it as a white label for the most part, but then it has hints of color. This one's actually not feeling bad now. It's kind of feeling a little bit nicer.
Kristine Arth:
Hello, Massimiliano. Welcome. It's fun to say your name.
Alex Lazaris:
Yeah. So I think I'm going to screenshot. Oh no, see what I did was I moved it and then it has to rerender. So I'm going to rerender.
Kristine Arth:
Looks good though and very good.
Alex Lazaris:
Pull that in and start playing with some of the collateral things. See what we can do with that because we could spend quite some time actually messing with the renders and I think we should probably start working on some collateral, but this is a great way to start laying out and concepting how I'm going to actually do a photo shoot. Kind of like the staggered approach. What I could even do later on is I go to the objects and grab, like, a square box or something and put the bottles on top of them, throw the boxes sideways, start staging kind of like a shot a shot list, essentially.
Kristine Arth:
Yeah.
Alex Lazaris:
My computer is cooking.
Kristine Arth:
Your computer is cooking? It's frying a little bit.
Alex Lazaris:
It's like, please let me go.
Kristine Arth:
Yeah, it's looking good.
Alex Lazaris:
So bringing this in. Say, what does a poster look like? The ghost pepper to me looks pretty good.
Kristine Arth:
Oh, nice. Do a little collateral.
Alex Lazaris:
Yeah. Command D to duplicate the same step you just did. I'll probably do, like, a purplish gray somewhere there, maybe there. And then probably have, like, a white one. You can start playing with the actual type itself and bring that in. Maybe we'll bring this guy in. Command Shift H to go off your all white. Beautiful doc. I didn't know that when I first started using Illustrator a long time ago. So I always just made a gigantic artboard to cover my whole screen. Turns out you don't need to do that.
Kristine Arth:
You don't need to do.
Alex Lazaris:
It'S because I keep putting it behind that layer. So I'm going to copy and paste it. Press command B to paste behind it. Are there any good ghost pepper images on Adobe stock?
Kristine Arth:
Oh, let's find out. I'm sure there's got to be ghosts. I don't know about ghost peppers. There we go.
Alex Lazaris:
There's little skulls, of course, because funny.
Kristine Arth:
Ghost pepper.
Alex Lazaris:
Let's license this guy.
Kristine Arth:
It's very red. What a great color.
Alex Lazaris:
That is true. I'm wondering if I can almost treat it like a texture rather than downloading, or is it just go to my library. Let's see here.
Kristine Arth:
Super.
Alex Lazaris:
Libraries. Got my saucy library.
Kristine Arth:
Nice. OOH saucy library.
Alex Lazaris:
It's important to have. What? I thought I licensed it. What did it happen? Why would it bring me to that?
Kristine Arth:
Maybe it hadn't gone through yet.
Alex Lazaris:
What are you doing? I clicked license.
Kristine Arth:
You're like.
Alex Lazaris:
Come on, Adobe.
Kristine Arth:
Is it still loading?
Alex Lazaris:
I don't know. It didn't start downloading. So maybe it's just, like, acting like I'm because typically whenever I do it yeah, it'll download. It'll download automatically.
Kristine Arth:
There we.
Alex Lazaris:
Go.
Kristine Arth:
There we go.
Alex Lazaris:
The sweet adobe credits.
Kristine Arth:
Maybe click to manage.
Alex Lazaris:
It's going to Saucy anyway, so we're good.
Kristine Arth:
You're like it's? Saucy.
Alex Lazaris:
Saucy.
Kristine Arth:
Yeah, very saucy.
Alex Lazaris:
Does it work now? Nope. Okay, great. Good job. All right, well, anyways, we can use.
Kristine Arth:
That one for now.
Alex Lazaris:
Yeah, totally.
Kristine Arth:
Yeah, it's just probably just loading now.
Alex Lazaris:
It did. No, it didn't. Fine. It's fine.
Kristine Arth:
Everything with the cloud. It's loading.
Alex Lazaris:
Those clouds are getting heavy.
Kristine Arth:
They are. They're made of pepper.
Alex Lazaris:
Exactly. So I'm curious, like, what if I started messing with some of the opacity properties of these guys, what would happen?
Kristine Arth:
Getting very ghosty.
Alex Lazaris:
So ghosty.
Kristine Arth:
Gosh, I love playing with the filters.
Alex Lazaris:
The filters are the best.
Kristine Arth:
Although I really love it in new Photoshop.
Alex Lazaris:
Thank you. You just arrow down and it goes everywhere.
Kristine Arth:
Yeah, I can't wait for them to do that in Illustrator. I was like, you did it in one, do it in the other one.
Alex Lazaris:
I hate when the features get lagged behind. Sometimes you're like, oh, it's so close.
Kristine Arth:
Be great.
Alex Lazaris:
I always forget which one I clicked.
Kristine Arth:
Oh, yeah. You're like, Wait, have I been there? I've been there. That's why the new hovering in Photoshop is brilliant on that.
Alex Lazaris:
Let's see here. Yeah, the new hovering. So nice.
Kristine Arth:
Totally. Yes. We've got about ten minutes left for you to participate in today's daily challenge. If you go to the right of the screen, you'll see a challenge tab, and you can take a look at what that is. All you have to do is I'm like, all you have to do is yesterday's challenge was to create a badge, and today you're applying pattern to that badge. So if you didn't do yesterday's, you can still catch up, make the badge bevel and emboss, and then throw a pattern on there and upload it to discord so we can take a look because Alex is going to give you some advice, criticism, accolades, all the things.
Alex Lazaris:
High fives.
Kristine Arth:
High fives.
Alex Lazaris:
I need just some copies, so I'm just going to pull some about from Wikipedia. Ghost peppers. Oh, actually going to SchoolVille.
Kristine Arth:
So good.
Alex Lazaris:
16 million chemical responsible for Tabasco red peppers. So Tabasco red peppers rates from 2000 to 5000.
Kristine Arth:
Could you imagine having to pick those out there? I mean, that must be a scary job.
Alex Lazaris:
Couldn't imagine.
Kristine Arth:
No.
Alex Lazaris:
Just take out some of this type.
Kristine Arth:
Oh, thank you, Masamiliano.
Alex Lazaris:
So I've time to catch up.
Kristine Arth:
Yeah. Ketchup. Howard.
Alex Lazaris:
It's Howard's favorite sauce.
Kristine Arth:
Howard.
Alex Lazaris:
So I'm just going to oh, Howie might make it light.
Kristine Arth:
I like these. So when you're creating these, where would you imagine that we'll place them?
Alex Lazaris:
I could see this being just a informative poster. I would like to also, I pulled in some interesting let me see here if I still have stock photos that saved correctly. So I saw this photo and I thought, okay, it's a little too clean for me. But it felt like, okay, I've got that colored seamless. I could see this just saving me time. If I was like, I need a pepper shot. I need this or something, I want to bring it in as an opportunity to edit it enough that it's a little bit more considered and not just so polished and clean.
Kristine Arth:
Totally.
Alex Lazaris:
But you can kind of start seeing if this was like an educational poster about where we harvest our ghost peppers for these beautiful sauces we do and things like that. You can see it happening real time. That's probably not going to work very well, but we could even just do, like, a quick layer on top of it to color it. Bring in, like, a purple and then do an opacity on color, and maybe.
Kristine Arth:
That'S a little bit better.
Alex Lazaris:
Maybe multiply.
Kristine Arth:
I like where that's going.
Alex Lazaris:
No, not multiply. Soft light. Harlow light. No saturation, no color, maybe.
Kristine Arth:
Nice.
Alex Lazaris:
I'm just keeping monochromatic for right now, but you can start seeing how that might work. I was thinking even if we wanted I was trying to find images from the medieval times about Dante's Inferno or the devil and flames and cities and stuff, because I like that idea of being able to keep with the very.
Kristine Arth:
It'S high lofty pollutant theme. Exactly. I do, too. I think that that's really nice. I pulled this guy it feels right with the font chosen. Totally having something a little bit more biblical in proportion.
Alex Lazaris:
So this is like a tarot card. So make sure whenever you're pulling images from things on the Internet that they're actually not owned by other people or somebody else's work. Just make sure that you are getting everything from either a stock photo or a creative common.
Kristine Arth:
You're like, we do not condone stealing image.
Alex Lazaris:
That's bad practice. But this, like, this is a great example of a really cool tarot card illustration that is free in the public domain and has complete license control that you can have. So you don't always have to buy a stock photo. You can actually find Creative Commons images, so you can use that to your advantage.
Kristine Arth:
Yeah, I like that image quite a bit. It feels right.
Alex Lazaris:
Yeah, it's kind of nice. Let's see if we can crop it in an interesting way that maybe we can just get the devil into the fire. I'm going to pull that in. Of course. Now I got to RECROP it to get that little last edge out. Come on, guy, let's go.
Kristine Arth:
Like, we got this. Come on.
Alex Lazaris:
I love whenever you're using the crop tool and it, like, snaps to the yeah.
Kristine Arth:
Oh, gosh. I know.
Alex Lazaris:
I just wanted a what? Maybe even, like, bringing this in. Maybe I'll take this guy and put it on him.
Kristine Arth:
Good pun, Dustin. The devil is in the details.
Alex Lazaris:
Brilliant, brilliant, brilliant. Brill, what's the ghost pepper color again? Ghost pepper. Is this, like, blue?
Kristine Arth:
Yeah, it's purpley blue. I love it.
Alex Lazaris:
Maybe that guy needs to be, like, bigger, and then we start playing with size, and maybe this guy comes down to that. Maybe he needs to become it's looking good. Command T to bring up my type layer. Make them all capped.
Kristine Arth:
Love it.
Alex Lazaris:
Probably. So I use Alt up to shorten the vertical height. Let's see what we got going.
Kristine Arth:
Looks really fun. Yeah, and when I say fun, I mean sexy. It's a sexy ghost pepper poster.
Alex Lazaris:
Get it going. Get a little bit closer. Maybe this guy needs to be like, I could see this being an insert, potentially for a pamphlet that we're doing where it's, like, cropped.
Kristine Arth:
Yeah. I love that image. I think it's great being able to find something that pairs well with the typography and helps to represent the seriousness of the heat of the peppers. Yeah, I think really helps to show just what you're creating. Nice. Hey, James. James, how's it going? Katie Humble says, I like how this is looking.
Alex Lazaris:
Yay.
Kristine Arth:
We have just a few minutes left before we're going to look at all of the designs and give feedback. So make sure that you have submitted your daily challenge.
Alex Lazaris:
Maybe this guy needs to actually just be a full bleed. Full bleed. Let's crop it a little bit more. So I also like doing the dirty crop. You just throw on a layer mask on top of it. So I make a white layer, and then I right click, I put them together and make clipping mask, and then just go back. Boom. Maybe this guy needs a little maybe just a little hint of a saturation. Just enough to make the color consistency across the rest of the project. So then I'm going to turn down the opacity just a little bit. Nice.
Kristine Arth:
Yeah.
Alex Lazaris:
And then throw that behind that tiny. Maybe this guy needs to be shrunk down, and then I can pull in, make this feel like it's an informational booklet. So I'll say, like, oops, the history of.
Kristine Arth:
The history of the ghost. Pepper.
Alex Lazaris:
Make it sound like a drama film or something. Be great. Then just center align those alt, right click, whatever to center align, but then not sure how I like where this is going right now, so I want to make sure that I move him up really quickly. I can open up the appearance. Mask. Where's the mask? Where did my mask go?
Kristine Arth:
You're like. Hey there, Mask.
Alex Lazaris:
You were here, and then you're not. There we go. I'm just going to pull him up a little bit so that the type can breathe, move it up, and then command B. Post that layer back. Just change that. So we got 29 seconds.
Kristine Arth:
I love how you're counting down. I was like, don't worry, we'll have time after we look at all this. You can keep going. We'll have a good 20 minutes afterwards. So funny.
Alex Lazaris:
Still think might need to actually just be a dark purple layer. Yeah.
Kristine Arth:
So good. And moody.
Alex Lazaris:
So moody. There we go. Close enough.
Kristine Arth:
Go pepper.
Alex Lazaris:
Save your files, kids.
Kristine Arth:
So cool.
Alex Lazaris:
Did it with a second of spare.
Kristine Arth:
Yeah, you did. All right, let's take a look at discord. We are in here. And today's challenge was to create a pattern or texture or grab one and apply it to the badge. So yesterday we looked at all of the badges. Today we are looking at textures. So let's see.
Alex Lazaris:
Look who Thulu. Nice. I like that. You also looks like you brought in your badge from yesterday as well.
Kristine Arth:
Yeah, right? Pretty cool. And the duplication of it. Let's see Mrs. Rosemary trying to do a spicy one.
Alex Lazaris:
I like it.
Kristine Arth:
A star is born.
Alex Lazaris:
Interesting.
Kristine Arth:
This is the draft of where it was brought.
Alex Lazaris:
Cool. Cool.
Kristine Arth:
Yeah.
Alex Lazaris:
I like the duplication of the stars throughout it. I think the type gets a little bit hard to read on the stars born in that, I guess as a moon or like an asteroid.
Kristine Arth:
Yeah, it might be from the even. This is a little bit difficult to read, so maybe just finding a different image to pattern on there. If you want it for legibility, absolutely. C or J Lewis.
Alex Lazaris:
All right. You're cheating. Before pattern after pattern, you're placating to voodoo. Val's love.
Kristine Arth:
Yeah, I know. These are all space themed. I'm like. But the badge itself was space themed.
Alex Lazaris:
That's true. Come on. But, like, the lightsabers.
Kristine Arth:
Yeah, that's pretty.
Alex Lazaris:
I can cover those to come in here and give high five.
Kristine Arth:
I know, right? Nice work, J Lewis. All right, let's see John JT.
Alex Lazaris:
Okay.
Kristine Arth:
Yeah. A little berry pattern.
Alex Lazaris:
I don't know why. It reminds me of the video game Doom. Like the green helmet that he wears.
Kristine Arth:
I don't know that game, but I.
Alex Lazaris:
Was like, oh, yeah, I'm going to drop a lot of random game talk.
Kristine Arth:
It's more like protest march. Reminds me of, like, Che Guevara.
Alex Lazaris:
That's true.
Kristine Arth:
Like a more space badge from yesterday with the pattern as a background.
Alex Lazaris:
It's a great way of using your patterns and textures to help bring those badges to life a little bit more.
Kristine Arth:
Voodoovail says ten point Slytherin Tan 2019 super. More like a space bib. I'm like, totally space bib. You wear that and make sure that everything slides off when you eat too much.
Alex Lazaris:
Yeah, it's like almost like the wakanda chest plate.
Kristine Arth:
Yeah, or like those balinese necklaces. They're like yeah. Very cool. Nice job. I like that. The pattern is all beveled. John JT part Two Decided to design a pattern with the shape tool and layer it in.
Alex Lazaris:
Nice. I like that everybody's like pulling in the space for a little extra texture, right? Yeah.
Kristine Arth:
And extra bevels too. Yeah, all sorts.
Alex Lazaris:
That's cool. I like the framing. The frame is a nice touch.
Kristine Arth:
All right, let's see. Lynn.
Alex Lazaris:
I suck at the pin tool. The pin tool in Photoshop is such a pain.
Kristine Arth:
You'll get there. You'll get there.
Alex Lazaris:
I'd rather use any other tool.
Kristine Arth:
No worries. Just keep practicing. That's all we can say. We were all there before everyone who starts with the pen tool, it takes a long time to get those beziers.
Alex Lazaris:
Yeah. I would say start an Illustrator pen tool and get the basics down. It'll teach you quickly.
Kristine Arth:
All right, Freddie, let's see. Oh, orchid in space. Nice. Space orchid. Although I missed the bevel on this top one. It seems like the lighting direction is opposite from the ones below it.
Alex Lazaris:
Oh, yeah, that's true. Can't you do like, a global lighting, too. So you might have, like, just had it turned off on that one versus the other ones are all global lighting.
Kristine Arth:
Yeah.
Alex Lazaris:
So it might be a good thing to think about the three finger swipe.
Kristine Arth:
I didn't do that, did I?
Alex Lazaris:
Yeah, it's your desktop thing.
Kristine Arth:
Oh, sorry about that, guys. I was going into hyperdrive.
Alex Lazaris:
Yeah, there you go.
Kristine Arth:
We're going platinum speed space cowgirl.
Alex Lazaris:
Oh, cool.
Kristine Arth:
All right.
Alex Lazaris:
That's a good use of using the Astrological super cute charts. Is that what they're called?
Kristine Arth:
Cartography?
Alex Lazaris:
Not sure.
Kristine Arth:
Where Bevel? Oh, there's a little Bevel in there. Yeah, in here.
Alex Lazaris:
Yeah, even around.
Kristine Arth:
Yeah. Cool. Yeah, I like that. That's like artwork. Yeah, totally. All right. And I think we have a few more Ken collie.
Alex Lazaris:
Nice.
Kristine Arth:
OOH, this is like a bustier. I was like, oh. I was like, ken, this is very can.
Alex Lazaris:
Also a good way to do. I know that's probably not the goal of this challenge or not. But you can bring in your own metal tool images from Photoshop or Google and put them in there and then use those to texture and mask and give you a little bit more of the distressed or textured feel instead of it being super, super uniform.
Kristine Arth:
Totally.
Alex Lazaris:
That might just help make it feel a little rough, a little stick, and give you that little extra detail.
Kristine Arth:
Nice. And then we've got let's see. Whoa, moody. This is a different way to bevel. You're getting a whole different experience.
Alex Lazaris:
Yeah. And you got the drop shadow on it as well.
Kristine Arth:
Yeah. Super crazy lambs abstract space pattern. Oh, yeah, we saw that one in there.
Alex Lazaris:
I could see that being on like a you could put that on a pillowcase mockup.
Kristine Arth:
Totally.
Alex Lazaris:
It could look really good in a.
Kristine Arth:
Lot of these modern oh, and Valeris, this is really nice.
Alex Lazaris:
Yeah, good use of showing and the gradient on the right side of it. Helps with the light a bit. It's a nice job.
Kristine Arth:
Nice job, everyone. This is great. Fantastic work. And keep it up. Tomorrow's challenge number three. So keep going. All right, so let's hop back onto your screen and see where we are. We've got some Ghost pepper to work out.
Alex Lazaris:
We got a little history of the ghost pepper. Guy working.
Kristine Arth:
History of the ghost pepper.
Alex Lazaris:
I love it. Like a novel as well. So we can start playing with what does this actually look like? So I'm going to treat this I'm going to make this white. Maybe use this as like because we're using the type as our system for this brand. So doing editorial content might be a really good way of giving that extra reader content so that they understand what's happening in the spice world.
Kristine Arth:
Totally. Spice world. Spice world. I was like, we got that. I was like, what is happening in the spice world? When are they going to reboot that again?
Alex Lazaris:
I swear I just saw something about.
Kristine Arth:
The I think I did, too. I was very excited. I was like, oh, wow, that took me back. Spice Girls. Yeah.
Alex Lazaris:
Did you at the Spice Girl?
Kristine Arth:
Yeah, I did. I was like, yeah, spice Girls. Couldn't help myself.
Alex Lazaris:
What an era.
Kristine Arth:
What an era. Yeah, I was on Very Polar Opposites when the Spice Girls came out because I was really deep into listening to radiohead. Then Spice Girls came out and I was like, oh, but they're good too. And I was like, I'm so torn. I mean, I know I can listen to both, but they're just very different feelings. Yeah. Spice up your life. Dustin Reed gets that. Good with the puns, man. This is very good.
Alex Lazaris:
For Alex is the chili's photo? Overlapping text. Okay.
Kristine Arth:
He's like, about readability, readability.
Alex Lazaris:
Yeah, it's fine.
Kristine Arth:
He's like, no one's going to read this anyway.
Alex Lazaris:
Yeah. Right now I'm just like making pretty things. There's like a part when you start getting really into editorial design where you're.
Kristine Arth:
Just like you're like, I'm not there yet.
Alex Lazaris:
It needs to be form and it needs to be function. But mostly if you want people to be really engaged and you want to win a design award for editorial, it's got to be mostly form.
Kristine Arth:
You're so funny.
Alex Lazaris:
I don't know. If you look on the behance for editorial work, it's not typically always just super legible. It's like, what are you doing? I mean, it's gorgeous work, but right now we're just trying to see what the brand does. If I was really having readability issues with it, we could either lower the background image a little bit more and this was kind of just a placeholder, but I was thinking even like, oh.
Kristine Arth:
Right, because your other ones hadn't loaded yet.
Alex Lazaris:
That's correct.
Kristine Arth:
We could check and see if they did.
Alex Lazaris:
Maybe we could. What I would do with this anyways, is I want this to feel like it's a printed booklet anyway. So what I would do is I would add in a little bit of noise with it and then lower the opacity of the image just a tiny bit as well, so it feels like it's recessed into the paper.
Kristine Arth:
Nice.
Alex Lazaris:
So that you would have a little bit more of that readability on top with the black typeface.
Kristine Arth:
Nice. I'm in love with that image. I mean, not because it's so evil, but because it's just really good find.
Alex Lazaris:
Yeah.
Kristine Arth:
The slytherin me came out. I'm like, I really like that image.
Alex Lazaris:
The Great betrayal.
Kristine Arth:
Oh, yes. That's great.
Alex Lazaris:
Oh, my gosh. Where is the type? Autocorrect?
Kristine Arth:
They don't have autocorrect.
Alex Lazaris:
They just added it.
Kristine Arth:
Did they?
Alex Lazaris:
But I haven't turned it on because.
Kristine Arth:
I am don't worry, I'll dictionary it for you.
Alex Lazaris:
Betray.
Kristine Arth:
Betrayal. A-L-Y-A-L.
Alex Lazaris:
There we go.
Kristine Arth:
No. Y-T-R-A-Y-B-T-R-A-Y-A-L. No. Betrayal. The history. Death again, like you said, this is just for fun. The beginning of death. The beginning of the end of the death. I love it. Hey, look, we know that designers aren't writers.
Alex Lazaris:
Yeah. But you can sometimes like, I've met some designers who just love writing all this.
Kristine Arth:
Oh, yeah, I do.
Alex Lazaris:
And it's like, man, I just want to make it.
Kristine Arth:
I love it. I'm like, I'm going to write the copy for this. And then I get stuck writing the copy, and I'm like, OOH. Oh, Courtney. Lucock says thank you to whoever put autocrecked in Adobe. I love you.
Alex Lazaris:
Have you figured out how to put it in? Because I haven't.
Kristine Arth:
That'll be the next session.
Alex Lazaris:
Yeah, exactly.
Kristine Arth:
The beginning, the tragedy, the death. I love it.
Alex Lazaris:
Like that one.
Kristine Arth:
So fun. So good. Well, this is perfect. We have about ten more minutes, so we've got just enough time to make this preface.
Alex Lazaris:
I'm glad that this is not a spelling stream.
Kristine Arth:
No, it's not, because I would have.
Alex Lazaris:
Been out a long time ago.
Kristine Arth:
She's like, no writing for me, no copywriting. Yeah, sorry.
Alex Lazaris:
A lot of people feel the same way.
Kristine Arth:
Oh, too funny, Tim. Moby's lorem ipsum doler sit happens. That's so good. Tim, did you make that up? That's really funny. I want that on a T shirt in helvetica obviously so good. Oh, Tim, I'm just gonna have to.
Alex Lazaris:
Say it so good.
Kristine Arth:
So good. Oh, yeah. It's under edit spelling. You can turn auto on.
Alex Lazaris:
That's what I was looking for. Spelling, auto, check spelling. Great. Now we have beautiful red on everything that was from Wiki.
Kristine Arth:
Thanks a lot, Courtney. That was real good. Now we're in trouble. Now we'll get all the habaneros.
Alex Lazaris:
Yeah. Dang it.
Kristine Arth:
Maybe we shouldn't zoom out. Don't do it.
Alex Lazaris:
Nope. We're stuck here now.
Kristine Arth:
This is all if we zoom out, all we're going to see is red.
Alex Lazaris:
Highlights, which is a design aesthetic that I obviously chose.
Kristine Arth:
Yes. And then Joey Maloney says that it's. Edit spelling, auto check spelling. You're like, oh, yeah, I got that.
Alex Lazaris:
I got that now. Doesn't help me because I'm not still messing with it. I'm going to not pay attention to it anyway.
Kristine Arth:
Nope, I wouldn't either. Too funny. You guys are great today. I love chat.
Alex Lazaris:
I love lamp. It's a great movie.
Kristine Arth:
I do too. Ruben Dunberg is asking, what is this font?
Alex Lazaris:
This font is called Monetta. M-O-N-E-T-A.
Kristine Arth:
Monetta.
Alex Lazaris:
Monetta mo betta.
Kristine Arth:
Let's see. Yes. Designed by Edwin Hewitt. You can get it on my fonts or urban fonts. Very nice font.
Alex Lazaris:
It's a nice font. Has nice little editorial feel to it. I don't like it in black, though. No, currently, maybe I do, but maybe I don't.
Kristine Arth:
No black letter for you.
Alex Lazaris:
I love black letter. Oh, my God. I have a really hard time finding it or even trying to make it. Leon Ingram, who's a guy I've worked with a bunch and is a rad dude, he does incredible black lettering. Incredible. Just like. Lettering in general.
Kristine Arth:
You should check out Boogie Paper.
Alex Lazaris:
Boogie Paper?
Kristine Arth:
Oh, yeah.
Alex Lazaris:
Who is that?
Kristine Arth:
Julian Priest. He's an amazing no, no. French. Yes. You guys should all check him out. He's very talented in Black Letter and beyond.
Alex Lazaris:
So for some reason now, I don't like the table of contents being so prominent. Feels like it needs to just be a little bit lighter.
Kristine Arth:
Alexandra Heatherington is saying, what are you making now? Are we done with bottles?
Alex Lazaris:
We are kind of sort of done with the bottles. I'm going to work on them off stream. I want to just see how, like, now that we got the bottles kind of done in dimension looks good. Little spicy, a little nice.
Kristine Arth:
Did we ever render those out?
Alex Lazaris:
We didn't do an official render because my computer would probably die, but we kind of had a good sense of it. So I'm going to work on dimension, on a computer that can handle not here without making my lap burn or, like, just the heat come off my computer burning fingers.
Kristine Arth:
The hot pepper heat totally knows what it's designing right now. Like, hey, look, you're designing some spicy stuff. I'm going to burn down the house.
Alex Lazaris:
A little extra, which is great.
Kristine Arth:
We're like, how did we melt the green room?
Alex Lazaris:
Yeah, exactly.
Kristine Arth:
Your computer got set on fire from its hot sauce.
Alex Lazaris:
We'll just be this guy for the rest of the stream.
Kristine Arth:
This is fine. Yes. I love that guy.
Alex Lazaris:
So good.
Kristine Arth:
So perfect for this stream.
Alex Lazaris:
But now we're just kind of because we don't have, like, an official logo, and the brand is essentially the type system, we're trying to build out a collateral system that works with the bottles and any marketing collateral so we can see, like, a larger I love that brand perspective.
Kristine Arth:
Look at that. The history of the ghost pepper. This is great. I think it's also important if we're going to charge, like, $25 for this bottle, which I highly recommend you do that there comes a pamphlet with it that talks about the history of the pepper, the history of the farm and plantation that this pepper is grown on.
Alex Lazaris:
I could see this becoming, like, a really nice subscription thing where you get, like, one really nice hot sauce packaged really nicely, limited amount every month, and you get, like, a pamphlet about it.
Kristine Arth:
Hello, Marcus. Greetings from Germany. Thank you. Guten guten guten Morgan. Morgan or Guten Tug.
Alex Lazaris:
What time is it there? I think it's probably nighttime, right?
Kristine Arth:
Nighttime, yeah.
Alex Lazaris:
Daytime. Nighttime. I need more dramatic words.
Kristine Arth:
Preface is not dramatic enough.
Alex Lazaris:
Well, I need to, like I like the I've just duplicated it, so I need more dramatic words.
Kristine Arth:
More dramatic words.
Alex Lazaris:
What do you have?
Kristine Arth:
What is it? Yeah. Let's see the breakdown.
Alex Lazaris:
Hinged. Oat box. Yeah, I was thinking, like, a black box where unveiled and on top of it, it was like a very apple, unboxing feeling where you got this beautiful editorial thing on top of it.
Kristine Arth:
Destruction.
Alex Lazaris:
Destruction.
Kristine Arth:
Kerwin's in with it. Destruction. Oh, my goodness. Oh, you did not. We were talking about wings so much yesterday. Paco just brought spicy hot wings.
Alex Lazaris:
This is ghost pepper.
Kristine Arth:
Okay, so there's ghost pepper, spicy hot wings. And this is like, just around the time where we're wrapping up the show, isn't it? Oh, my God. Okay, so you're going to eat those.
Alex Lazaris:
We both are.
Kristine Arth:
Are we? I don't know. You can't just sit here and not yeah, give a closing and then we'll my hands are behind my back. Oh, my goodness.
Alex Lazaris:
Okay, we're going to cry.
Kristine Arth:
I don't want to cry. So that's least spicy and that's most okay.
Alex Lazaris:
All right, well, I guess we're going to wrap this up and then okay.
Kristine Arth:
Let's show what you've done so that we can say this is fine.
Alex Lazaris:
Amazing. Holy wow. God, I'm so nervous.
Kristine Arth:
I'm nervous, too.
Alex Lazaris:
Okay, so anyways, so we've built a type based system. We've explored what not to do for hot sauces. We've explored what to do for hot sauces.
Kristine Arth:
Your voice is like, cracking now.
Alex Lazaris:
You're like if you smell these chat.
Kristine Arth:
Yeah, we can smell them.
Alex Lazaris:
They're spicy. Yeah. Anyways, all right. So anyways, we tried different explorations throughout with some serifs. Thank you.
Kristine Arth:
Paco just brought in water off screen.
Alex Lazaris:
Perfect.
Kristine Arth:
Thank you.
Alex Lazaris:
And we also laid out some scorville, tried out a bunch of different things, brought them into Dimension, tried our type fit. You're.
Kristine Arth:
Like, I can't concentrate on what I did. You guys, there's a lot of wings.
Alex Lazaris:
I don't know how they do it for a whole hot ones episode. I can't even do this now.
Kristine Arth:
I don't know. So anyways, my eyes are starting to burn.
Alex Lazaris:
I don't think she's going to handle this very well either.
Kristine Arth:
I don't do sponge.
Alex Lazaris:
We got to tap out. So we started building out the actual dimension files, explored what that looks like, how to adjust your lighting, everything like that. So good. And then started working on some editorial collateral. So definitely check out my behance follow there. I'm going to do a whole dimension case study and photo study and collateral build out for this whole project anyways, and it should be a lot of fun.
Kristine Arth:
Super fun. I'm already very worried.
Alex Lazaris:
This is how Alex and Kristine die. Yes.
Kristine Arth:
On film death. Like, two deaths have happened from this hot. You guys are going to witness both of them.
Alex Lazaris:
Perfect. We got to get that out of that zoom chat.
Kristine Arth:
Yeah, this is real.
Alex Lazaris:
It goes from not as spicy not as spicy to spicy.
Kristine Arth:
Are we starting?
Alex Lazaris:
Yes, you do? Yeah. Okay, let's go do it. All right, so what's the first one? Do you know that one's? Mango. Habanero.
Kristine Arth:
That's nice.
Alex Lazaris:
That's actually really good.
Kristine Arth:
That's really good.
Alex Lazaris:
Okay, I'm going to try to power through these so that Chat's not watching me just digest.
Kristine Arth:
Yeah, right, chat. We're just eating here. This isn't a design show. This is so what's that? Hot show?
Alex Lazaris:
Hot ones.
Kristine Arth:
Hot ones.
Alex Lazaris:
So which one's this guy? Korean. Korean, I think. Korean hot sauce.
Kristine Arth:
That's got a kick.
Alex Lazaris:
They're all really yummy. I feel like this is not the.
Kristine Arth:
Death that Chat wants from Texas. What?
Alex Lazaris:
Your eyes are watering.
Kristine Arth:
Are they? I was like, that one's spicy, guys. Oh, jeez. Okay.
Alex Lazaris:
Korean one is awesome.
Kristine Arth:
I really like the Korean one too.
Alex Lazaris:
Jalapeno. These are actually the prettiest wings I've seen in a very long time.
Kristine Arth:
Okay.
Alex Lazaris:
That was really good.
Kristine Arth:
That's good too. Mmhmm.
Alex Lazaris:
All right. And then grand finale. All right, grand finale. Ghost pepper, man. I'm, like, scared of it, but the other ones haven't been that hot.
Kristine Arth:
I can't do the ghost pepper. I'm too scared.
Alex Lazaris:
You can do it. You're on the last one.
Kristine Arth:
You get to, like, all my water.
Alex Lazaris:
All right.
Kristine Arth:
That was too hot. It was too hot. Oh, my God.
Alex Lazaris:
Oh, it's so good.
Kristine Arth:
Oh, my gosh. Are you crying yet?
Alex Lazaris:
Not at all. That one's actually a lot hotter than the other ones.
Kristine Arth:
Yeah, but it's not that bad. You just talked about the death of people.
Alex Lazaris:
Yeah, I mean, I might be crying, like, as I get on my plane.
Kristine Arth:
Anything on your keyboard? Oh, my gosh. That would be the end of good reminder, right?
Alex Lazaris:
Chat don't do this and type.
Kristine Arth:
Chat never do this at all.
Alex Lazaris:
Thank you, Adobe, for such an incredible wings.
Kristine Arth:
So this happened. I'm really.
Alex Lazaris:
Val is not impressed, but yeah, these are it okay. The heat's, like, starting to okay.
Kristine Arth:
I was just about to pick it up, and then you said that, and I was like, I can't do it. That was my I'm scared dance. Chat all done, too. You want mine? Go for two.
Alex Lazaris:
Go for two. I think I'm okay.
Kristine Arth:
We're going to go for two.
Alex Lazaris:
The poor person on the plane is going to be sitting next to me, and I'm just going to be sweating, and they're going to be like, what's wrong with him?
Kristine Arth:
And we're going to be like, well, here's what happened.
Alex Lazaris:
And coughing is bad, right? You shouldn't cough. Don't, because I have, like, an itch in my throat.
Kristine Arth:
Really?
Alex Lazaris:
And the coughing is bad for you. Right?
Kristine Arth:
Sorry. I was holding all the napkins. I was like, do you need one?
Alex Lazaris:
This was amazing, though. So much fun, you guys.
Kristine Arth:
Well, we've had such a great show last two days with Alex Lazaris from We Are Lazaris. Please come back next week. It's going to be a fun time. I'll actually be here next week designing Live, so I'll be a guest instead of a host. It'll be fun. Yeah. I'm not going to have hot wings, but we will have kombucha. So totally different show happening now.
Alex Lazaris:
You see me. I'm like, crying.
Kristine Arth:
Yes. Thank you, Alex, so much.
Alex Lazaris:
Thank you.
Kristine Arth:
It's been wonderful. We'll just wrap this up by eating.
Alex Lazaris:
Thank you, Adobe.
Kristine Arth:
Thank you, Adobe.
