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Designing Logos – Graphic Design for Everyone

Learn How to Design Logos Using the Basic Principles of Graphic Design

Graphic design is everywhere you look; some of it good, some of it bad, and some of it just plain ugly. In this free video clip you’ll learn the secrets designing logos that will ensure your promotional materials always looks their very best. Lesa Snider explains her approach to designing logos, make sure you check out the whole course to learn all the secrets.

Designing Logos – Video Transcript

designing logosOne of the reasons that I was so anxious to teach this graphic design course for everybody is it’s wonderful when you feel like you can take control of your own visuals. It’s very empowering. And it’s wonderful to be able to create professional looking visuals to get more business and keep the business that you’ve got.

So we’re gonna start out with logos. A logo is really your visual signature, if you will. That’s how it seems to me, your visual signature. So we’re gonna talk about logos that have graphics in them, we’re gonna talk about logos that don’t have graphics in them, and then we’re gonna create a whole bunch together today during class and putting them to use on business cards.

So the first ones that we’re gonna talk about, are those that haves graphics in them or mainly graphic based. And you might have seen these guys. So we’ve got Apple on the left, we’ve got Twitter in the middle and then we’ve got Nike on the right. These are some of the best examples of graphic based logos that you’ll find around.

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They’re very simple. They’re very clean. And as a result they reproduce really well at small sizes, which is also important. If you think about all the different places that you’ll use a logo, it may need to be pretty small if you need to have it on a letterhead or there’s so many situations where we need to reproduce well at very small sizes.

Business cards too are pretty small, so about two and a half inches by three inches or so. So these are some of the best logos around. You’ll notice that two of them also infer motion. Okay. So if you look at the Twitter logo in the center, that bird is tilted up just a little.

Its body is curved in such a way that it infers action. It infers flying or taking off. So that’s kind of an interesting thing. The Nike logo as well, infers a little bit of movement or motion. So these are some of the best ones around. Now I do need to say we’re not affiliated with these guys at all, I’m just using their logos for illustrative purposes.

So these are some of the best ones around.
>> Lisa: Now if you can’t draw graphical elements like that yourself, of course you can purchase them from stock image companies. The thing about doing that is, while you, the different stock companies have different policies on if they allow the usage of their illustrative art to be used as part of your logo.

The folks over at iStock photo, say that the art cannot be recognizable in the form you use it as its old form. So it has to look very different from the original art that you download okay, for you to use it. Then you can use it. The folks over at Fatolia are okay with using their illustrations in your logo.

However you cannot trademark it or register it. Okay so that would be the caveat to that. So if you can’t draw some kind of a graphical icon like this, then you can always purchase it. But do realize that if unless you change it and it doesn’t recognize what it used to look like at all, then you just can’t trademark it.

But is that a big deal? I’d say no. We talked about that a little bit yesterday. Unless you’re on the same level as some of the logos we looked at a moment ago, Apple, Nike, those kinds of things, you’re probably not gonna need to trademark it. Where that comes in is if you think there’s somebody else in the market space that will try to make it look like they’re you, or that they’re your product.

So if that is not a big concern for you, and I’d say for a photographers, it’s probably not. Really and that’s just my humble opinion. I wouldn’t worry about it too much. That said, you can always put that little TM that stands for trade mark next to your logo anyway.

If you don’t go through the process of trademarking it. Basically what you’re saying when you do that is, hey this is mine. Don’t take it kinda sends that message. Now whether somebody will still rip off your logo, that’s, who knows about that. For photographers in most businesses, smaller to medium businesses, I wouldn’t worry about it so much.

Now, this is not the class for advanced theories and principles for branding experts and art directors. Okay, so obviously this class is called Graphic Design for Everyone, so I’m not talking about big companies. So if you’re doing a big branding campaign for a large company then there are different concerns.

So we’re talking about making your own designs for your own companies and your own products. All right. So this is an example of some of the art that you can download from fitolia.com, and what I did was I just typed in camera and I made sure that I turned on their illustration database so I got back vector artwork.

So artwork that’s been created in programs like Adobe Illustrator or Freehand, and so it’s not photographic, okay. So these kinds of things would work well in your logos if you would like. So just a little bit about that. So no matter how much I would love to do it I could not trademark or register this logo.

I could use it. I think it will be great for a. A heavy metal concert photography business. I would really like to do that. So this is an icon from istockphoto, actually. The one on the left. So I could trademark the name part of it, the text part of it.

But I could not include the little hand, as much as I would love to. So, now let’s talk a little bit about typographic logos. Typographic logos are actually my favorite kinds. They are timeless. You don’t have to worry about the style of art that you use in your logo going out of style or looking out of date.

Typography is timeless if you do it right. And we learned so many principles yesterday that we’re gonna put into practice today. And I think you’ll be amazed at how easy it’s gonna be for you to produce beautiful typographic logos for yourself and for other clients. So let’s take a look at a few of those.

One of my favorites is FedEx. It’s clean, it’s simple. I’m not positive what font this is. It could be an Arial rounded, Situation. Can anybody see the movement that’s been inferred in this logo? Anybody in the studio? Raise your hand if you. Susan, do you see the movement?
>> Susan: Yes, there’s an arrow.
>> Lisa: Very good.
>> Susan: I think there might be more than one arrow. Is there more than one arrow?
>> Lisa: I think there’s one.
>> Susan: Okay, there’s one.
>> Lisa: Yeah. As Susan wisely pointed out, there is an arrow. So look between the E and the x.

And it’s beautiful. It’s natural, and it’s subtle. And it’s so perfect for FedEx because what do they do? They move packages. So inferring movement, just typographically is quite brilliant, okay. So you would recognize this logo anywhere and that really is the point of having a logo like this, it’s brand recognition.

So you want people to know who you are, recognize it when they see it and trust it. We talked about visuals art. Visuals are what people use for their first indicator of trust. So this is a nice rounded, happy, friendly font, okay. So it’s happy. It’s clean, okay.

It’s also thick, so you get a sense of stability, boldness. Like FedEx is gonna be around a while, nice big thick fonts tend to send that message. So this is one that I really love. Another one that you have probably seen is the Coca-Cola logo. Okay, now in this situation, it is extremely important for them to be able to trademark and register this.

Because you don’t want to be drinking some other product that has a similar logo. Cuz it wouldn’t be the same thing. This one is interesting because it’s a custom type situation. So some might probably drew that and then created it. So it could either be something that you’ve drawn and then digitized.

So custom text is not something that anybody else would be able to come up with, because it’s something that you’ve drawn. Or you can take a font and you can customize it yourself. And we’re gonna take a look at how to do that a little bit later today and you won’t believe how easy that is.

So, even if you don’t wanna go the route of creating a completely custom text situation like this. All you have to do is change the existing font just a little bit, so start out with the font. You can turn it into outlines in Illustrator or Photoshop and then you can tweak certain parts of it.

Now this logo is fake for the Maintainers, but it might look similar to a movie franchise that was quite popular called the Transformers, okay. So the Transformers logo that’s copyrighted by Paramount Pictures and Hasbro. All the designer did for the movie posters was what I’ve reproduced here on this fake logo.

And that is, they started out with a font. They turned it into outlines, which means they turned it into an editable piece of art. And all they did was they grabbed the little bottom of the m and they dragged that descending part down. And they clip it off in an angle and they did the same thing on the t and that’s it.

So it’s very easy for you to do this kind of thing in your own logos. So we’ll take a look at how to do that today as well. So this would not be nearly as difficult to create as the Coca-Cola logo that like I said. Was either drawn by hand and then created as a piece of art or was some kind of custom text situation that they had made for them.

So we’ll take a look at how to do this file and that’s just a texture that I added in there, it’s actually a picture that I downloaded. I think that one came from photo, so I just clipped the texture, so that it’s being pushed through the text. So it makes it looks like it’s made of metal, I thought that was kind of clever.

So transformers, what’s the opposite of transforming? Maintaining. The maintainers. I have to entertain myself somehow. So this is another custom text logo or a custom type logo. So we’re talking about fonts that have been tweaked. So we start out with a font, turn it into a piece of art and then you customize it.

So this is one that my husband Jay Nelson made for a very special couple, very special friends of ours, Ben Willmore and his new wife, Karen Willmore. So Ben does some teaching here at Creative Live. And we wanted to make a logo for them as a married couple.

And we have our own logo. And so what we did was we took a b and a k, we looked for a font that kind of resonated with them. And they have a vintage bus that they live on and it’s quite curvy in it’s nature, rounded. And they just, the roundness just kind of fit with them as a couple.

They’re very happy. So we looked for a round font and we found one and we turned it into outlines. And then what we did was we flipped the b and then we tucked it over on top of the first part of the k. And then we made, because that made it too thick there in the center once we overlap those two pieces.

And then we just made that center piece thinner or narrower, okay. And then we took the k and we tucked that in a little bit, so it kinda squished it just a little bit. And once we were finished, we had something like this. Put it inside of a circle, and we made a lovely business card for them, and presented it to them, and they just loved it.

So now they have a business card to give out for their personal married life, which was really neat. So we’ll take a look at how to create this logo in class as well.
>> Lisa: Some of the simplest logos however to make are typographic in nature. And as you can see here, I just used my own name, one of my names.

And I quickly came up, like in the span of about 30 minutes with 12 different logos. These all exude a different feeling, a different message. So let’s talk a little bit about them. The one at the top left, so we’ve got good contrast going on here, because Nelson is so small in comparison to the word photography.

Here that’s good contrast. The reason this works so well, is because there is such a huge size difference. If the word photography were a little bit smaller, it wouldn’t work as well cuz it wouldn’t be enough contrast. And contrast is one of the principles that we talked about yesterday.

And I shared with you that it was oftentimes my most challenging, is challenging sometimes to build in enough contrast. Because you really do have to be brave, it kind of gets you out of your comfort zone. So you need to be able to go large with one of the words and very small with the other word in order for that to work.

That’s the exact same font. So that one is future of light and the Nelson part of it, it’s about 38 point and the other part is about 82 point. So there’s quite a big difference between the sizes of those two words and we’re gonna take a look at how to create these.

As well a little bit later on. So let’s move down one and also, when you’re using Futura which is what the first, at least the first two in the first column are based on. It’s a very round, happy font. So you get happy feelings and it’s clean and clear and trustworthy and visually pleasing.

So the next one down is based on the same font, so Futura as well, but using a bold version up next to the light version. That also builds in contrast between the thickness of the first word and the thinness of the second word. And that’s what allows you to shove them together where it looks like a single word and that’s why it works.

Okay. But if the Nelson, if that were any less bold or weighty, then it would not work against that Finn font. So the contrast part of this is really, really important and you need to be brave and be willing to try out even black versions. So a black version of Futura would be a little bit heavier in nature than the bold version.

Okay, so it may be a little bit uncomfortable. Might make you a little bit squirmy, making say photography in the first logo in the top left that big. Maybe a little bit uncomfortable for you, but the contrast is necessary for it to work. So let’s keep going down, so the Scripts versions.

So we’re looking at the third one down in the first column. This one is a bit more classy, it’s a bit more elegant. It exudes a feeling of grace a little bit. So it all just dependson what resonates with your target audience. What kind of customer do you wanna attract to your photography business?

Or whatever business it is, it really is worth spending some time thinking about that. That doesn’t necessarily mean that the clients you have are the clients you want. But you wanna design to the clients that you want What kind of visuals resonates with that person? Do they need something very clean and clear?

Do they need something that’s cursive or scripty in nature? So the script version here on the left, third one down. No surprise, that’s my favorite font. Adios script pro is the open type font that we looked at yesterday, and if you highlight he N, then you could change it to a different contextual alternate or one of those swash examples that we saw that had the extra flourish on it, just to pop this up another notch, or like Emeral says, kick it up a notch.

So the script at a large size works very well, even though it’s thin in nature and the word photography is also thin in nature, but again, what makes it work is that the script is so different from the plain version underneath it. And I believe that’s also future light underneath the scripts there, I love future of light, well the whole family of future is just fabulous.

You can get so much mileage out of it cuz it’s got a light version, a bold, a black, a semi bold, I mean it;s just wonderful. So what makes this works is the size of the script against the smallness of the lower case letters of photography. And I’ve also added some tracking here, so photography has been spaced out a little bit.

Now let’s talk about the one at the bottom left. The bottom row is really type stacks, and stacking type in this way works incredibly well and can be engaging. It gives you a nice, strong focal point on whatever visual that you place this on, whether it’s an ad, or if it’s a business card.

Since the type is kinda stacked together and kinda weighty then it’s a job that I write to it, which is great. And even though I’ve rotated the word studio so that it’s kind of tucked up against the right hand side of Nelson and portrait, it’s still very readable because studio is a short word, so if photography needed to be that piece that was rotated, it wouldn’t work as well because that’s a longer word.

So if you’re gonna do this kind of little rotation, stacking, or you can think of it as building blocks, is kinda what it feels like because I try to kinda nestle it in. You’ll notice out the S in studio kinda tucks into the space that the T creates at the end of the word portrait.

Can you guys see that? How it’s kind of tucked in there a little bit? But they are not overlapping and touching. So this can be a fun exercise, and for that one you really would need the text and you would need at least two text boxes if you were doing this in InDesign or a couple of different type layers if you’re doing this in Photoshop because you need to be able to rotate studio.

You can get away with Nelson and portrait on the same type layer, same text box, but you’d have to do a separate one for studio just to rotate it. So by experimenting with size and these different words, again, three words right? Not four. Because three is more visually pleasing than four, okay?

Then you can play around with the sizes and just kind of see how the tight blocks can fit together naturally. So I didn’t know exactly how that was gonna fit together until I started playing with it, and then I saw the S and the T, and I thought oh, that’s pretty cool.

Oh, yeah. And it’s exciting. It does wonders for your confidence and your self esteem when you can create these kinds of visuals that you are assured are sending the right message for your company. It feels really good, feels like your taking control of it and you’re on top of it and that’s good.

Now let’s talk about the second column. So we’re back up to the top of the screen here. This one, so we’ve got Nelson at quite a large size paired with photography in a very small size. In where we’re building in contrast in the weight of the fonts here, thick versus thin, as well as initial caps with all lowercase that’s giving us an extra boost of contrast as well.

So this one would almost make me think that he was a newspaper photographer, right? Because of the font that we used here. That font is American typewriter and it kind of looks like a typewriter, right? We talked about that a little bit yesterday. So you can see how these are sending messages and communicating, so you need to think about what message you wanna send when you’re choosing your fonts.

So that one would definitely make me think newspaper photography, or reporter, okay? The second one down makes me think of somebody who shoots outdoors. Because the font, which I think is Caslon Antique, but I’ll tell you when we get into this file and start creating these things. So a couple of things are going on with that one.

So we’re in the second column, second one down. It’s a distressed font which means it has a little bit of texture in it, okay. Actually the edges are a little bit uneven. It makes me think outdoors, it makes me think possibly western.
>> Lisa: It’s also angled just a touch, which gives it a feeling of roughness, or edginess.

All that’s just coming from a font. I didn’t customize this font in any way, I didn’t turn into outlines or do anything to it. That’s just the font itself, so you can see the power that fonts can have. So we’ve got contrast again, not only in font weight, so the thickness of Nelson compared with the thinness of photography, but we’ve also got contrast in the use of initial caps for Nelson and all caps for photography.
>> Lisa: And this time photography’s not tracked out, and I use the same font, so Caslon, I believe that’s what that is. Caslon has several different styles within its font family. So I just used a version that didn’t have that distressed edge on it, and it pairs very nicely with Nelson.

And we’ve also got contrast in the slight rotation of Nelson between the perfectly horizontal photography. So let’s look at the next one down. We’ve got again, thin paired with thick. And which word should you do in the thick weight, or the bold weight? Whichever one you want to stand out just a little bit more than the other.

So since there might be a lot of Lisas out there I felt that the last name, in this particular logo, needed to be weighty, so that’s why I bolded, or used a black version of style for Nelson. And again, so we’ve got contrast between thin and thick, and then we’ve got contrast between the size of the Lisa Nelson block, and the photography word, and it’s also tracked out probably using Future light as well.

Now the next one down I have squished together with leading, right, so we talked about that yesterday. Leading is the control that lets you manage the space between lines. And if you go into the negative leading values then your text will start crashing into each other, and it can be a useful design element.

Now if these words were any longer it probably wouldn’t work as well, but it works because these words are short, so if your words that you are using for your logo are relatively short like that, then you might try this squish together, negative leading look to see, what it would be like.

So let’s pop up to the right, the top right of the slide here. So again we’ve got contrast in the thick and thin. Everything is right aligned. This logo might make me think, children’s photography, it’s kinda happy, and round, and approachable. Doesn’t feel formal in any way. So that works out.

We’ve also got, it’s all lower case, so that’s very approachable. Don’t be afraid to use lower case, lower case is in V1ogue right now, it really, really is quite popular. Now the next logo down, so we’re in the third column, second one down. I love this font so much.

Does it look familiar to anybody? Anybody in the studio? Todd’s shaking his head yes over here. This font is based on Star Trek. Yay. And it’s called Federation. And I cannot tell you where I got it from but I have it. And it’s very bold, and doesn’t it exude motion?

Doesn’t it feel active, just the way that logo is? So that’s another look. It kinda conveys the feeling of fast, young, full of energy, that kind of thing. So the contrast is coming in here, with size. We’ve got similar weights, but because Nelson is so large, in comparison to photography, it looks like it’s weightier, but it’s really not.

It’s exact same. There’s only one style of Federation font. So and then I reduced the leading so that the two words are crashing into each other just a little bit. And when I add color to this, and we are going to that later on, then you’ll see the top of that word photography is laying on top of Nelson just a little bit.

So if we did two different colors for those two different words, then that would be a really neat effect. So again, it’s all about what message you wanna send. The next one down is really spaced out, or tracked out as designers would call that. This one to me exudes a feeling of grandeur and spaciousness.

Very, very responsible, very trustworthy, very classy. I probably wanna dress up. They probably don’t take a lot of kids photos, see how the messages kinda come through. So this font is called Copper Plate. And it’s a great one, because it’s kinda narrow so it’s really great for spreading out like this and making it very wide.

So what I did is I set it in all caps and I just added a lot of tracking to it, to spread that out. So we’ve, our contrast is coming from the size of Nelson in comparison to the size of Studios. And so Nelson is set at about 45 points, and Studios is about 20 points, so there’s about a 20-point difference there in the type sizes.

And again it’s the contrast if you’re gonna get it from size, it has to be to the extreme or it won’t work. Okay, so when we’re creating these a little bit later, we’re gonna look at that. So I’ll show you the difference. So we’ll make Nelson kinda big and Studios a kinda little, but you’ll see that it won’t, the contrast won’t quite be there.

And you just need to go bigger, and that’s the bravery, that’s where that comes in, you gotta be brave. A little bit uncomfortable. Is that too big? Probably not. It’s probably gonna work just fine. The next one down is set in, I think that may be Helvetica Neue and I never know how to say that word.

But anyway, it’s a very thin, very clean, crisp, austere font. And I would probably expect to walk into that studio. So we’re talking about the one at the bottom right. I’d expect a lot of stainless steel, to be honest. I’d expect the studio to be very crisp, very clean, quiet.

Not a lot of comfort, not a lot of cushions hanging around. Kind of minimalistic. So the contrast here, there’s not a whole lot of contrast. But, if we put that logo on a business card, and that business card had quite a bit of white space around it. That would be your contrast.

So the contrast would be between the block of text, and then the free space, or the negative space. But it’s very clean, very clear. I’d expect that to be family friendly. Happy, friendly, approachable, probably affordable. I would expect the one at the bottom right to be more affordable than the one above it.

See what I mean about that? So you can kinda, you can send a message about your rates as well. What’s the other one in here? What would you expect the other, more expensive studio to be, in these examples? Anybody have any ideas? Todd.
>> Todd: Yeah, I think the most expensive studio would be on the left hand column, third one down.
>> Lisa: Yep, the Script, definitely. Yeah, isn’t it fascinating all the different messages that you can send with these things? And most of these fonts are on your system. Most of them have been installed with the Adobe programs. If you’ve got any of those you’ve got some of these fonts already.

And if you purchase the course you will get this file as a layered Photoshop file. So that will help you re-engineer some of these things that I’ve done for you on your own even without having to go back and watch this particular segment which you could do also if you purchase the course.

Does anybody know why these are all in black and white, why we don’t have any color going on? Anybody wanna take a guess on that?
>> Lisa: Yes, Bill.
>> Bill: You wanna make sure that it’s printable on, or usable on a variety of ways first. Also in black and white you can see better the balance that you’ve been talking about, and the contrast between the elements, and then you can add color later if you’re going to print them for color.
>> Lisa: Absolutely. So we can see if the contrast is there, if enough of the contrast is there, the big thing is that if it works in black and white, it will work even better in color. So if you can get something that you like in black and white, and I always start out in black and white, then if you’re happy with it there, then when you add color, you’re gonna be even happier with it.

So always start out with black and white, no matter what you’re designing. I add the color last. After I’ve set the text for that. Another reason is that it is likely that you will use this in newsprint. Pretty likely. This lets you know that it’s absolutely going to work in news print.

So all of these would work well. The only one that I’d be a little bit scared about putting it in newsprint, but I think it’s large enough it would work, is the one on the bottom right. And that’s simply because the letter forms are so thin and newsprint has an absorptive quality, and you just wouldn’t want the characters to kinda get lost on the newsprint.

It’s just paper. So when you’re designing ads for a magazine, or a coffee table book, or tomorrow we’re gonna design some branding for a photo book, a portfolio. When you’re doing that kinda thing, you know that you’re gonna be using, what’s called, coded paper. And coded paper just has a quality to it that keeps the ink from absorbing into it.

So you don’t have to worry about the ink kinda bleeding out a little bit. Newsprint is typically printed on uncoated paper, so it doesn’t have that quality so expect the ink to bleed a little bit. So you wanna be careful using really, really thin characters. And also, I think tomorrow morning is when we are gonna get into designing for newspapers.

But you wanna be careful of reversing type So yesterday we saw a couple of ads that had a color bar at the bottom and we reversed the type and made it white instead of the black. That’s why we’re saying we reversed it. You’d need a bold font any time you do that because there’s so much ink in that one space.

And the text being white, it would need to be quite thick to hold up so that you are ensured that whatever is in that color block is still legible. And if it’s your URL, that’s pretty dadgum important. So we’ll talk about some specific concerns for news print. But designing in black and white really lets us focus on the shape of the logo, the shape of the font that we’ve chosen, the message, without adding color into the mix.

Which at this point in the design process can be a little bit distracting. I also tend to start out with sketches, super rough, thumbnail sketches, and I’ve got some examples here for you. I just use a graph pad of paper, okay, and I’ll show this around on the other side here in a second.

And I just start out really, really rough with pencil drawings, just to kind of get an idea, and then I move to the computer. So my sketches are really, really, oops, really, really rough. So it’s a great way for me just to kinda start out and see what won’t work, so I can quickly eliminate a few possibilities if I don’t like the look or if I don’t like the shape that I’m seeing.

Then I don’t have to bother creating those on the computer. But to be quite honest, you can be very fast creating lots of different typographic logos on the computer. Now the graphic based logos, that takes a whole lot more time and I would definitely start out with sketches, and I would get the sketches pretty tight so that I knew what I was creating.

Because otherwise, first of all, you’re gonna be faster with pencil and paper, and I know some of the photographers out there are going, I don’t draw. I am not gonna do this. It’s fun. Because you’re so fast at just little rough thumbnail sketches, you’re gonna be more creative.

Things are gonna come to you, ideas that won’t come to you if you didn’t have a pencil in your hand and a piece of paper underneath that. Ideas will come to you that you would’ve never come across on a computer. It’s just a different medium and it stimulates your brain in different ways, so that’s what I always do.

So we’re gonna add color to these guys here in a little bit and see what we can create from them. The third kind of logos that I want to talk about are logos that are mostly typographic in nature, but also have a graphic element, so we’ll call those a little of both.
>> Lisa: This is a logo that I did for a large coaching company, so not really psychotherapy, but a little bit psychotherapy in base, so coaching people how to work together. So big corporations will bring in this company and they will teach all of the employees how to work better as a team, okay?

So one idea that I came up with, again, starting out in black and white. So this was post thumbnail sketches on graph paper, and I use graph paper just because it’s easy to kinda line things up. I prefer graph paper rather than paper that doesn’t have any lines, so it’s real handy.

We started out with the one on the left and this is another idea. So once you get your logo, most of it typographically set, then you could be clever with the last word of it if you’re using kinda like a type block. So this is another example of a stacking type, and it works so well because it’s equal in width.

So anytime you’ve got words that are kind of similar in length, they don’t have to be exactly, but kind of similar in length, then you could experiment with this kind of treatment. It works very well. We’ve got contrast with the thinness of Kimura and the thickness of the weight of coaching.

And then, we’ve got contrast with the uppercase of center and the lowercase of Kimura and the thinness of center versus the thickness of coaching. So what we did to kind of balance out or anchor that block of text if you will, is to add a color block behind it and reverse the type.

So we reversed it from black to white, and it really anchors that. And doesn’t that black box to you make it feel like that company’s a bit more solid, that it’s gonna be around, it’s got a good base, it’s strong? So that’s another thing that you can do.

So that adds a little bit of a graphical element. Another idea, and the one that they ended up going with was the one on the right. So, I couldn’t believe it, that the I is so perfect to swap out for this little stick person, right? Because the I with the dot on it, well, the stick person with the dot is the head.

It works absolutely perfectly and it even helps convey what the company is all about, it’s obviously a company that is working with people, it’s all about people. So if you can put a little graphic element in your logo as well, then it can oftentimes work extremely well. And that particular graphic is a built in shape in Photoshop.

Really, there’s a slew of built in shapes and I’ll show you how to find that. You have to load them, they’re not all turned on or visible by default. So I’ll show you how to turn that on. So this is a good example of adding a graphic element to a mostly typographic logo that works very well.

All of these would produce very well at small sizes, so that’s also good. Here’s another example. This is part of the new branding campaign that I did for our favorite restaurant on Pearl Street in Boulder. So I don’t know if you’ve ever had this happen to you, if you haven’t, you probably will have it happen now.

Once you learn a few rules about typography, and the way things are suppose to be versus the way a lot of things are when we see them. Imagine going into your favorite restaurant over, and over, and over again, and just being so appalled by the menus that you just can’t take it anymore.

That’s what happened to me. So our favorite restaurant, we’ve gotten to be very good friends with the chef and I just couldn’t handle it. I said Guillermo, I’m gonna redo all of your visuals and your menus and your logo and everything because I just can’t take it anymore.

It was really, really kind of frustrating and upsetting because it was reflecting negatively on his business. I mean it really was awful. And you know it’s expensive to pay rent on Pearl Street in Boulder. It’s the pedestrian mall so there’s a lot of foot traffic, so all the restaurants, they wanna be right there and the rent is insane.

It’s like $10,000 a month. So you’ve gotta be pulling in a lot of money to be able to pay your wait staff, pay all your cooks, pay all of that stuff, and remain open like that. And there’s a lot of restaurants on that strip. So it made me sad that I didn’t feel like he was bringing in the business that he could because his visuals were so bad.

And I mean awful. Menus done in Word that had no alignment, Microsoft Word, just really terrible. So what we did, was I sat down with him. He had me come out for lunch when it was real slow, one day in the summertime. So I went in at about 1:30, and this is also a great way to get free meals.

Great tip here. I’ll never have to pay to ever eat at this restaurant again. So anyway, we sat down and I had my graph paper and I just started asking him some questions. So the owner and chef’s name is Guillermo Casarubias and he’s Mexican, trained in France, cooking Italian food.

So just try to wrap your brain around that. Anyway, he’s very, very proud, and I started asking him, I was like tell me why you’re doing this. Just started asking him some questions. And before long it came out that he makes everything fresh there. It’s all homemade. Everything you get there .the pasta is homemade.

His wife is pastry chef. Everything is made there with love. And then I started asking him why Italian? Why are you doing this? Why not Mexican food? Why not French food? And he said, Italian is just so rich and it’s all about family. Because in Italy, sitting down to a meal is a huge deal and it is a long affair in time.

Two hour, two or three hour thing. And so this family sense started coming out and loves feeding people and he kept saying the word fresh. And so then I asked him, well because he has some fairly simplistic items on his menu, why are you doing that, Guillermo? Tell me a little about the items that you’re offering.

Well I just want it to be approachable, it’s not too heavy, it’s stuff that you can eat every day. So I was listening and I was kind of writing down little notes that he was saying, whatever I intuited that I needed to write down I was writing down.

And when I came home I started looking at everything and the word fresh just popped right out at me. The word everyday just popped right out at me. So that’s when I started to sit down and do some sketches. So we came up with this tagline for him that is very descriptive about what you’re going to get should you choose to eat at this restaurant.

Everyday Italian. So that makes it approachable, right. It’s not oh, so filling you can only eat here once a month. And then the other important thing to him, made fresh here. That’s very important, that sends a really big message. And that sets him apart from Antigua Roma, which is the other Italian restaurant that’s on the next block.

And Jay’s Pasta which is like a fast food Italian place. It’s probably as Italian as Olive Garden. So that’s the logic behind and the kind of the questions that I asked him to get to this point. So then what colors am I gonna use? Start thinking about colors.

Well what’s in the Italian flag? Red, white, and green. That’s done, next. [LAUGHS]. So then I went into font explorer, we looked at that yesterday, font management software. I typed in Trattoria on Pearl and then I just started tapping my down arrow key to go through everything. I knew I wanted to serif font because I wanted to give it that solid feeling with a base.

You know, he’s solid, that restaurant’s gonna be there, it’s not gonna disappear in a month. And I wanted a rounded based serif. So I found this font and it worked perfectly. He loves sunflowers, the whole restaurant is decorated in sunflower paintings from a local artist that are quite beautiful.

And some flowers are kind of indicative of Italy. So I wanted to bring that in, something with a little color. So I found a piece of art that was a sunflower inside of a, it was an illustration, but it had a whole lot of other elements with it.

So in illustrator, I just picked out the face of the sunflower. And it had just a huge plethora of colors already in this piece of art and you pop it on to the eye, and you’ve got a beautiful logo. At least what, in my humble opinion is a beautiful logo..

So we’ve done a whole new branding campaign with it. So his menus are all new, his signage is all new, business cards are all new. And that restaurant has a lot more business than it used to. And like you say, I will never have to pay to eat there again.

Yay! Just wait until my food photography business going, in Boulder. I’ll never have to pay to eat anywhere. And that’s my goal.
>> Speaker 5: So Lisa, I just wanted to pop in and say that we had a question-.
>> Lisa: Oh yeah, thank you.
>> Speaker 5: A little bit earlier, before you started talking about this.

From Benj Cooper from England and he was like, is it ever too late to change your logo? And I think you just answered the question.
>> Lisa: That’s a great point, thank you so much for asking that. It’s never too late to change your logo. It’s really not. It’s really not, not in my opinion.

Your target audience may change. And just like people update their websites fairly frequently, feel free to update your logo. Give it a refresh. A fresh kind of paint or fluff it up a little bit. So that is totally fine to do. When you do that, when you alter it just make sure that you do update everywhere it appears so that you don’t have two different versions out there because that would be a bit confusing and send conflicting messages.

Here’s another example of a mostly typographic logo with a little bit of art. So Digital Camera Conference, what’s that big piece of art in the background? It’s an aperture, right? Shutter? You know, pretty illustrative of what that company or that conference is going to be about. You know it’s going to be about cameras.
>> Lisa: So on that note, do we have any questions from the audience? Or additional questions from the Internet about what we’ve been talking about in logos so far, graphic based and typographic based?
>> Todd: Yeah, I have a question. In the graph where we had all your logos on one page-.
>> Lisa: Okay, so I’ll go back to that.
>> Todd: In the contrast that we’re pulling here, you’re emphasizing, and you have so many logos that you’ve done it several different ways where you’ve emphasized photography, or you’ve emphasized Nelson. In doing that, I mean, Nelson isn’t exactly Madonna, where you emphasize that one word and people would flock to you.

But, I’m assume if you’re handing your card to somebody they all ready know you’re a photographer. How do you decide what emphasis you wanna place? Is that as important as I think I’m making it be?
>> Lisa: Not quite, but it’s good that you’re thinking that way. So what I would do if you’re a photographer is find your two best images.

And you’re gonna put that on the card at a large size, so it’s gonna be quite obvious what you do. So you pair the photo, which sends a message, right, along with one of these logos and people are gonna understand. It’s gonna be quite obvious that you’re a photographer.

So I would let the image speak louder in this case, specifically for photographers or real estate agents, I would let the image speak louder than the logo itself. But they need to go together, and we’ll look at several examples of that, yeah. So if you weren’t going to use an image on your business card, and I’m not real sure why you wouldn’t, if you’re a photographer.

But let’s say you don’t want to. Or if you really want to make a statement, you could put that logo at the top left on the front, and then have a couple of your prize winning images on the back. How many would you put on the back? Either one or three, right?

So that would be another way to do it. And if you did put the one at the top left On a business card, on the front, dead center, you’re gonna have a whole another level of contrast, because of the white space that’s all around it. So it just depends on what kind of feeling and message that you want to send with it.

Any other questions?
>> Speaker 5: Yeah, and actually it’s perfect that you’re on this slide. A lot of questions specifically about this. So it’s pretty clear that a lot of people were also watching yesterday because this question proves it. Let’s see, we’ve got Henry’s Photo Mom and Lena Regina asking about the vertical studio word there on the bottom left.

And they’re saying, yesterday she said no vertical type, does she consider the word studio done vertically vertical type? Remember yesterday?
>> Lisa: It’s not really. That’s a great question and I’m so glad that that came up. It’s not really vertical type, it’s just rotated. So the type that we looked at yesterday, was vertical.

So had I done that, the S would have been on top, and then, the U would’ve been underneath that, and the T, and then the U, and the D, I, O, that way. This to me is just rotated, horizontal type, okay? It works because it’s paired with the other type that has not been rotated, and that carries the weight, studio is an after thought.

That’s not the most important piece of information. If you were doing this for a restaurant, and it was Guillermo’s Mexican Food, if you rotated food, that’s not the most important word. So it’s okay if it takes the viewer’s brain a little bit longer to read that, but again, this is rotated horizontal type, not true vertical type.

And I’m glad that came up.
>> Susan: Okay, there are so many good questions. So a question from Adrian Far, who’s from England, and then Sam Cox also asks about, and people in the lounge were talking about, how do you pick one? So Adrian Farr says if 80% of people you ask like your logo and find it easy enough to read, but 20% find it difficult to read or they don’t like it, should you keep spending time trying to please everyone or just go with the majority?

And then Sam asked, if you’ve come up with several candidate logos, how do you go about selecting the best one? Do you get help, maybe pass it around, ask for help.
>> Lisa: Great questions, thank you for asking those. The person that you need to worry about pleasing is yourself.

You’re never gonna be able to please anybody, it’s never gonna happen. And you’ll drive yourself crazy trying to do so, but that’s it’s not to say it’s not useful to get some feedback. So I would ask close family and friends, but also do some tests yourself. Let’s say you had several of these logos that you thought would work.

Try them out, do a little fake business card and print it on your own printer at home. Cut it out. Stick it in your pocket. Walk around with it. Live with it for a week and see how you feel about it, but really, you’re the one that started your company.

If it’s your company, it’s you that you need to please. Only you know the kind of message and the feel that you want to send. You could also, let’s say I was trying to pick myself between all these logos. I might set this as my background screen on my computer and live with it that way for a few days.

Or have this on your screen and just walk around your studio. Just kind of look at it from different angles. You will be drawn to a precious few of these at some point if you spend enough time looking at them. Okay, so I wouldn’t worry so much about the 20% that is always going to fuss, because people always fuss.

They like fuss so you can’t please everybody. But print it out small see how, if you’re having trouble deciding between a couple of them, then you might see how they reproduce at small sizes to kinda help you narrow down the choice. One of them might be a little bit more legible at a small size than the other one, so that would also help you determine which one might work better for you, be a little bit more versatile.
>> Lisa: Any other questions?
>> Susan: Yes.
>> Speaker 5: Yeah.
>> Susan: We have a ton of questions.
>> Speaker 5: Yeah exactly.
>> Lisa: Cool. We can go for a little while yet.
>> Susan: Okay, great.
>> Speaker 5: Okay, EG Photography asks, is it possible to have a logo be fun and classy slash expensive at the same time?
>> Lisa: Absolutely, and in my opinion the one at the top left does that. I think it’s the roundness, the extreme roundness of it makes it very friendly and fun I think, and it’s also classy. Thin, so it’s got that elegant feel going on. Anything that’s thin has that elegant feel.

So if you pair thin with round, you’re good. So the one at the bottom right, to me, also feels like it could be a little bit more expensive. Yeah, so I’d say yeah. Just look for a font that’s got a lot of roundness to it and go with Futura.

Futura is fabulous. This is Futura Light. It’s great font. You can’t go wrong with it.
>> Susan: So NL Design says hello. This is Chris from New York City. I just wanted to tell Lisa, or ask you what you think of buying stock art photo for your logo. If it’s such a good idea when basically everyone can have your logo if they know where to get the stock form, and it kind of makes me wonder even about fonts that everyone uses.

How much effort do you put into being original versus just having a really good look?
>> Lisa: That’s a great question.
>> Lisa: I’m gonna say something that’s gonna make you all a little uncomfortable. I wouldn’t worry about being original with your logo quite so much. Worry about being original with your photography, and you’re gonna put that big picture, or two big pictures on your business card, and that is gonna carry most of the weight.

You want your logo to be clean, and clear, and legible. As far as using stock imagery as part of your logo, there is so much stock imagery that, you know how hard somebody would have to work to try to find the exact piece of art that you may have used in your logo?

So I wouldn’t worry about that being used in the same space, and think about where you’re advertising, okay? Most photographers, where are you trying to get clients from? It’s a local situation. So the chances of another photographer in your geographic area coming across the same piece of art, or using the same font, or even if they did use the font you know they didn’t watch this class, so you’re logo’s gonna look a lot better than theirs anyway.

So I wouldn’t worry about it so much. Now on the part of the question regarding fonts that other people have access to and could be overused. What you do with these fonts is gonna be unique. Okay, there’s not a whole lot of people doing this kind of thing that you see on screen here.

So what you do with it’s gonna have your own little personal, individual spin on it and, or it may be unique in color, but these fonts, they work because they’re and true, and they’re really, really good. So I just wouldn’t about coming across somebody else that used the same font, in particular, in your business, cuz that’s not what’s really, really important in this situation.
>> Susan: Cool, perfect.
>> Lisa: Cool, yes Bill?
>> Bill: You talked about roundness of the fonts and how that kinda is more playful and more approachable. Are there feelings about tall X heights that also yield some kind of meaning implicitly?
>> Lisa: Yeah, we talked about X heights just a little bit yesterday.

So in case you didn’t tune in, an X height is referring to the vertical height of the big part of the letters. So, for example, if we look at the logo at the top left, in the word photography, the X height is the height of the O, okay?

Or the round part of the G or R or the A. Okay, it doesn’t include the descender, and the descender is the little tail that’s on the P, the G, the P, and the Y, or the ascender, which is the tall part of the H, or both H’s rather in photography.

So, x-height is talking about the middle section, the meat of the the letter form, if you are a character. The bigger the x-height is, the easier it is to read the font, and that’s where the feeling of approachability comes from, is your brain is interpreting the ease of reading it.

That’s transferred to the content. Just like if you use a font that you can’t read or you set your logo in some kind of crazy, decorative thing that’s incredibly difficult to read, then people will transfer that feeling to the content, to your studio, or your business, or whatever it is.

So that’s the main reason that the one at the top left looks so friendly, as well as the one at the bottom right is because those have a little bit bit bigger x-height, so just readability, really. Yeah. Does that help?
>> Bill: Yeah, you had mentioned about the readability yesterday, like I said I was trying to translate that into the sort of emotional feeling it might lend when you’re doing it as a logo.
>> Lisa: Right, yeah, just friendly, easy, approachable, round things do that. So, there are a ton of really, really good questions.
>> Speaker 5: I’m just gonna kind of bring up something that I’m seeing a lot of coming up in the chat rooms. Which is, people are wondering if you’re available for critiquing their logos, so maybe we should talk about that that right now, because I think we’re going to get a lot of that today.

So yeah, JayJay22 wants to know if they can contact you for critique and Welsh Photo is asking if there’s a place where they can go. Maybe not you specifically, but is there a community out there that you think you could refer people to to bounce ideas off of?
>> Lisa: I’m not having a resource pop into my mind. Of course, you’re welcome to email me. Do understand I get about a thousand emails a day, and so I can’t often times get back to you as quickly as you may need to. I do have a little donation button on my website, photolisa.com, and if you were to make a $5 donation or something like that, then I’d be happy to look at your logo.

But, I don’t have a whole lot of free time, so I can’t just do endless critiques, unfortunately. Because you guys wouldn’t work for free, would you? Uh-uh.
>> Speaker 5: There you go.
>> Lisa: So, yeah.
>> Speaker 5: Okay, yeah, just thought we should mention that.
>> Lisa: The thing about, so I’m hearing this question come up in a few different ways, is extreme concern about everyone else thinks.

I really wouldn’t go down that rabbit hole quite so much. It obviously needs to be legible and it needs to send the right message. If you feel like it’s legible and you feel like it sends the right message, and you have put in practice the principles that we looked at yesterday, and that is contrast, repetition, alignment, proximity, okay, otherwise your designs are gonna look like what?

C, R, A, P. If you’ve put those into practice as well as the typographic dos and don’ts that we looked at yesterday, you’re gonna come up with something nice, if it looks remotely like any of these examples that I’ve got here. And this is by no means the only things that you could do with these fonts.

It’s endless, cuz there’s a bazillion fonts out there in the wild. I think it’s gonna look good, so pass it around your immediate, your trusted circle of friends and family. The problem with putting something like this up on the Internet is, people will be so incredibly mean to you, you will not even believe it.

You just will not even believe how incredibly mean people will be online because it’s an anonymous situation. So if you can take that kind of feedback at, the feedback that you’re going to get from your trusted circle of friends and family is going to be critical for you because those people care about you and they want you to succeed.

You cannot say that about anonymous people on the internet, as awful as that is to point out. So I would never put something up on the internet and ask for feedback on it like that because I’m not sure that what you get back is going to be useful.
>> Susan: Well, like she said, we have a ton of questions, but I think we’re ready to move on. We could sit and ask you questions for another hour.
>> Lisa: Great! So let’s pop over into Photoshop. And I’m just gonna use Photoshop, cuz I know most photographers have that.

The techniques that I’m gonna be using, like I pointed out yesterday, as far as formatting, are exactly the same in Illustrator and InDesign. So let’s pop on over to those programs and let’s create a few of these guys. And we’re not gonna worry about adding color just yet.

When we come back from break here pretty soon, then we’re gonna dive into some color theory. And we’re not gonna go too deeply into it but we’re gonna go into it deep enough where you’ll be able to pick a color palette that works well together and sends the message that you want to attract the clients that you’re trying to get.

And again, that doesn’t necessarily mean that’s the clients you currently have. We’re targeting the clients we want, so spend some time thinking about that. So let’s pop out of this right here. And again, if you purchase the course, you’re going to get all of these files in their wonderful, editable goodness.
>> Susan: Can you explain that a little bit more, what you mean by that?
>> Lisa: I would love to. So what I’m going to do is, I’ve prepared a bunch of files for you. So we’ll just start out with the custom text logo that we made for our opposite of Transformers movie, the Maintainers.

So when I say editable goodness, I’ll zoom in here to my layers panel so you can see it. You’re gonna get the editable file, so all of these files are layered. So you’re gonna be able to reverse engineer what I’ve done. So for example, here you can see that I’ve got a solid color background layer going on.

Okay, here we are in Photoshop and I’ll expand my layers panel just a touch so we can talk about what we’ve got here. At the bottom of the layers panel we’ve got a solid color fill layer. That’s where our black background is going on. Above it we’ve got a text layer that is turned off at the moment, so it’s not visible.

The reason you have that is because that’s the original text that I started out with, so that you can see what I started out with. So if I turn all the other layers off, and I turn this one on, I’m gonna do that with a keyboard shortcut and it’s option automatic or Alt on a PC.

Hold down that modifier key and if you click the little visibility icon to the left of the layer, that will toggle all the rest of them off and only leave on the one that you optioned or Alt-clicked on. So that’s a nice little tip for you. So if I zoom back out, you can see the original text that I started out with, and you can double click it to see what font I used.

You can see up here at the top left that this is Stone Sans ITC. And if you don’t have that font, you will get an error message saying, hey we can’t find that font on your system. It’s going to be substituted, but you don’t have to substitute it.

If you don’t edit it, it’ll still open and look nice. So, you could at least, if you wanted to go find and purchase that font, then you’d know what the heck it was. But this is really just to illustrate how this is done so that you can do it yourself.

So, I always try to provide quite a few exercise files. So you’ve got a bunch that are downloadable for today and tomorrow. And I do encourage you to keep those hanging around. So if you open up these layer files and you play around with it. Just don’t save over that file.

Because it would be good if you kept these because if you forget a little something or you’re trying to do this technique yourself. And it’s not quite working out, then you can go back to my files, and you can figure out if you missed a step. So, what we’ve got here, is just a word in all caps.

The maintainers. Okay, so I’ll zoom in just a little bit more.
>> Lisa: So what we’re gonna do now, is we’re gonna convert that text into outlines and you can also do this in Illustrator. In the next example, we’ll use Illustrator so you can see how you can do it there.

Photoshop text used to print out really terribly, because it wasn’t truly vector in nature. Vector meaning it’s based on points and paths, so it won’t pixelate if you increase its size. But Photoshop text has been vector for several versions. So doing it here is the equivalent and will end up doing it in Illustrator.

So if you’re more comfortable in one program over the other one, it’s pretty much the same. So what we’re gonna do, is we’re gonna create outlines out of this text. So we’re gonna trot up to the Type menu. Now the Type menu’s new in CS6, so if you’re one of the CS5 you’re not gonna have this menu, but the same option is gonna appear in the layer menu, okay?

So CS5 and earlier, look in the Layer menu. CS6, look in the Type menu. So we’re gonna come down to the Convert to Shape option. And watch what happens on my screen to my text when I do this. Okay.
>> Lisa: I meant to show you the layers panel.

There we go. So, Photoshop created a vector layer out of that text. Okay? So if your doing this at home you’d want to duplicate that top layer first because you’d want to be able to get back to it. So I missed that step. So let’s undo by pressing command z on a mac or control z on a pc, and let’s go ahead and duplicate that layer.

And it’s easy to duplicate a layer in Photoshop just press command j. I think of that is for jump. I’m gonna jump this content on to another layer, Ctrl J on the PC. So let’s go ahead and do that. Now we’ve got our text, still fully editable, because when you turn it into art, or you turn it into outlines, you lose the ability to edit it.

So I’m a little bit lazy so I like to duplicate that layer so I don’t have to retype it again. Not that it would take me long to type maintainers, but anyway. So we’re go ahead and do that again, so we’ll go right back up the type menu in CS6 or the layer menu in earlier versions and we’re gonna tell Photoshop to convert it to a shape.

And over here in our Layers panel, we can see that Photoshop did indeed create a vector out of our text. And we know it’s a vector because it has that special little icon on it, which is indicating that the contents of this layer is now made from points.

And pads in between the points which gives it the infinite scalability without the edges getting all pixelated. So now what we can do is use Photoshop’s vector editing tools to change it up. Okay? So what we can do is come over here to the tools panel. And we’re gonna grab the direct selection tool.

Okay? It’s the white arrow so just look down your tools panel in Photoshop until you find the T for the text layer and the vector tools are underneath that. So you want the little white arrow, not the dark arrow and I’ll zoom in so you can see that a little bit.

So you want this guy right here, the direct selection tool. So if you click and hold your mouse button on these tools that have that tiny little triangle to the bottom right. That lets you know that there’s other tools hidden inside that tool set. So just hold down your mouse button and that little menu will appear and then you can just choose direct selection.

So now we’re gonna come up here. I’ll zoom back out, and I’m going to zoom in to the text only so we can see, and I’m pressing Command plus or Control plus to zoom in. So if I click on the bottom portion of that M, see how now I’ve got points and paths?
>> Lisa: So what I can do is I can click and drag. I’m gonna hold my shift key down because I don’t want to swing the M around. I want to constrain my drag to be perfectly vertical. Okay? I’m just gonna click and pull it down. There we go.

Now I’m gonna scoot over.
>> Lisa: And now we’re gonna scroll till we get to the other, the T right here. And I’m gonna click.
>> Lisa: And then click and drag while holding the Shift key.
>> Lisa: Downward. Okay? Now the other thing, I’ll zoom back out so you can see what we’ve got so far.
>> Lisa: There we go. So as I’m clicking with that tool, I’m able to edit a piece of the letter form. Okay, so I can do that with the N too, if I wanted or maybe the R, space it out a little bit. So let’s grab the R.
>> Lisa: Hold down the Shift key, cuz you don’t want to have that going on.

You want the letter to still be recognizable as what it is. And then just pull it down, like that. You can also space these guys out. The reason we’re using the, and I will zoom back out so you can see the tools panel.
>> Lisa: I will zoom back out so you can see the tools panel.
>> Lisa: There we go. The reason we’re using the Direct selection tool instead of the path selection tool is that the path selection tool is gonna grab the whole letter. So I zoomed back in a little bit. For example, if I click the T with the path selection tool.

Then I can effect the whole letter, but in extending that piece of the letter form, or character rather, I only wanna effect one little piece of it. So to grab one little piece of it, you need to use the other arrow tool, the direct selection tool. That lets you just effect one part of it instead of the whole thing.

Okay? So pass selection tool if you wanna grab the whole letter and let’s say, move it around, if you wanna create a little bit of a stacking effect, which would be terribly hard to read. But for this one I could use the path selection tool to select the whole path and then scoot it around.

So since I’ve turned this type into outlines or into a shape rather, I can’t kern it like we did yesterday with the kerning controls, cuz kerning controls only work with editable text. This has ceased to be editable text at this point. So you could adjust the spacing between the letters by using the Pass Selection tool and just tapping the arrow keys on your keyboard.
>> Lisa: Okay, so like the S is much too close to the R so I could space that out. But again, to alter the letter forms themselves or a piece of them, then you need to grab the Direct Selection tool. Now the other thing that we can do to make this look more like the Transformers logo, is we need to grab this little corner of the new descenders that we made, and we need to drag it inward a little bit so that it makes an angle out of that part.

So let’s go ahead and zoom in a little bit more to our R here, since we’re. Over on that side of the logo anyway. So again with our direct selection tool, the y arrow, we’re going to click that corner point and then just drag it inward a little bit.

Or drag it up, rather, so that it forms an angle. So we’ll scoot over, and we’ll do that on the other descenders that we made. There we go. So I’m just going to click the corner point, and drag it upward. And you could press and hold the Shift key on this one as well to keep from making it thinner, unless that’s the look that you’re going for.

So if you Shift drag, then you can’t alter it. You’d have to try really hard and move your mouse a whole lot to be able to alter the width of it. So that’s all that the designers did. Can you imagine getting that job? Can you imagine how much the designer got paid for that Transformers logo, and this is all they did?

That is working smarter not harder. So this is another option for you. Oops. So, okay, I did this on purpose. She says, oh, that grid is terrible. Okay, so what happened here is, I grabbed hold of the control handle, instead of the actual point. So that’s why I’m getting this curve situation going on right here.

But that could be an interesting thing too. I’ll go ahead and press Command Z, or Ctrl Z on a PC, to undo that move. That lets me undo the last thing that I did, but if I add the Option key or Alt to that combination, I get about 25 levels of undo, okay?

So Command Option Z on a Mac, Ctrl Alt Z on a PC, and that lets you keep stepping back for however long you hold down those modifier keys and keep tapping the z key on your keyboard. It’s really a keyboard shortcut for step backward in your history panel.

That’s all it is. So here, again, we’ve still got the direct selection tool active. And we’re just gonna click on that point, and press and hold our Shift key to drag it straight up. And then we’ve got that slant.
>> Lisa: Pretty amazing, huh? The last thing I did, and we’ll do this all again, together, the last thing I did was go grab some texture.

This one is from Fotolia, so I’ll go ahead and use our Option or Alt-clicking the visibility eye trick to turn off everything else and turn on the textures so you can see it. And now we can’t see it for some reason. Oh, because it’s clipped to the other one.

Okay, there we go. There’s the texture that I found on Fotolia. And I shoved through our Transformers text. Now this is something that we’re gonna do a couple more times later in the afternoon. So I’ll just go ahead and undo what I did. There we go. So I brought in that texture, and I shoved it through my newly custom text that we made here.

And I did that by simply grouping those two layers together. So I’ll undo it again so you can see what I did. So all I did was bring in the texture, place it above the item that you want to shove it through. This is how you place photo inside of a text or any shape, a brush stroke, it could be anything.

So you just wanna pay attention to your layer stacking order. Make sure the texture, or the photo, that you wanna push through the shape is above the shape layer. And then all you have to do is press and hold the Option key on a Mac or Alt on a PC.

And when you do, and you point your cursor at that dividing line between those two layers, see how it changes to a square with a little down pointing arrow? That lets you know that, should you click while that icon is visible, that whatever is on that layer, is gonna be pushed through the shape of whatever is on the layer underneath it.

Whether it’s text, whether it’s a vector layer as we have here, or if it’s a brush stroke on a transparent layer. It’s gonna be shoved through it. In CS5 and earlier, that icon is two intersecting circles. They changed it to be a little bit more illustrative of what’s gonna occur in CS6, which is nice.

As soon as you click on the dividing line between those two layers, again, we’re holding down the Option key on a Mac, or Alt on a PC, then the layer itself scoots over to the right. And you get a downward pointing arrow, right here on the left side of it, that lets you know that hey, I am clipped to, or grouped to, connected to, attached to what’s underneath me.

That’s what’s going on here. And to liberate whatever is on this layer so that it is not shoved through the shape of whatever’s on the layer below, then you just do the exact same thing again. Hold down Option on a Mac or Alt on a PC, and this time, when you point your cursor at that dividing line between the two layers, you get a little slash through the arrow that lets you know, hey, you’re fixing to unclip or ungroup this from the other layer.

So you just give it a click, and then it pops back over to the other side, and then last but not least, you can see here that I added a layer effect or a layer style. I added a stroke just to kind of finish off the letter forms, because there are some parts of that pattern that are pretty light or pretty dark, rather, in nature.

And we talked about that a little bit yesterday because if you’re putting texture or a photo into text, if part of that texture or photo is similar to the background color, it can leave the letter form looking like it’s open. So I’ll just turn off the stroke here.

So, see how some parts of that S kind of disappear because the background is similar in color to that piece of the texture? That’s why I like to add a stroke when I do this. So it just finishes off those letter forms, so they don’t feel like they’re open, and like, this is awful, bleeding out.

Oh, it’s terrible. But when I do that, I will decrease the opacity quite a bit of that stroke, just so it’s subtle, just enough to kind of finish off those letter forms. You can see here that I’ve lowered the stroke to about 50% or so. So it’s a thin stroke, and it’s quite see through.

So that’s why it works. So let’s take a look at this one more time. So it’s a handy one, I highly recommend doing this. You’re sitting at home, whatever, just play. Type your name in a font, turn it into an outline, and just start grabbing it and pull it around.

Interesting things will happen. So, let’s turn off these layers that I made for you, and let’s go ahead and delete the extra layer that I made a moment ago. So that we are back to our original text. Now, what are we gonna do? The first thing we’re gonna do is duplicate that type layer because we’re lazy, we don’t wanna have to retype it, or remember what font we started out with.

So let’s press Command J on a Mac, or Ctl J on a PC, and then let’s turn off the visibility eye of the original editable text layer. Now, with the copy active, we’re gonna trot up to the type menu in CS6, or the layers menu in earlier versions.

And then we’re going to choose, Convert to Shape, and that is gonna turn all of our text into an outline. It may be hard to see on screen, but as soon as you do that, Photoshop puts a thin, gray outline all the way around the text. I’ll zoom in so you can see it.

You can kind of see it here on the N. And that’s just letting you know, hey, this is a path. That doesn’t print, so don’t worry about it. You cannot get rid of it if you try to get rid of it. It’s just Photoshop’s way of letting you know that that’s a path.

So now we can scoot over to one of the letters that we wanna alter So we’ll start with the M, and we wanna go down toward the bottom like the bottom third of your tools panel, to where you see an arrow. And if you’ve not use these tools before, you’ll likely see the black arrow.

So I’ll zoom in this a little bit so you can see that. This guy right here on the left. Click and hold down on that icon and choose Direct Selection Tool. Now we’re gonna come up to the area that we want to change, so just give it a click, hold down your Shift key and then grab the portion that you want to alter.

So if we wanted to, we could grab this part of the M and do something completely different. So it’s very, very easy to edit text in this way. Okay. So I’ll undo that by pressing Cmd+Z, it will make it look like a Transformers logo again. Actually, I’ll grab this part of the M and bring it down.

Now, if I was doing this for real, I would probably turn on my rulers in Photoshop and I would drag a guide down. So that way, I would make each of these newly enhanced descenders even, horizontally. Okay, so now I’m gonna go ahead and grab the point at the bottom right.

Hold down the Shift key again, and we’re gonna drag it up, to create that angle. So, now let’s come over here to the T. So we’re going to give it a click, press and hold the Shift key, and then click and drag down. And then we’re going to click that right bottom point.

Hold down the Shift key, and again that’s just constraining our drag to be perfectly vertical or horizontal, whichever direction we’re dragging it. And pull it up, and now zoom back out and see what we’ve got. Cmd or Ctrl Minus
>> Lisa: Let’s say, we like to look at that.

So now we’ve come over here to start spacing those letters out. So we could grab the path selection tool. To do spacing, we wanna grab the whole path. So then we can click to activate our and just use the arrow key on our keyboard to space out these letters so that they’re not crashing into each other.

Unless you want them to crash into each other. So let’s click in, move the T over a little bit, move the I over a little bit.
>> Lisa: There we go, let’s call that good. Then the last thing that we did was we brought in some texture, and I’ve provided that file for you.

So let’s go ahead and place that like you would if you were doing this for real. So you go up to the File menu, choose Place, and then you would navigate to where the file lives. These files that we’re working with right now are in the Logos folder and it looks like I lied to you.

Looks like I didn’t actually give you that texture file. So, sorry about that. But right here, we would just be able to click and drag it in. I’ll go one more place and see if I happen to include it. I did not. Okay. So you would place whatever texture file you want.

Let’s pretend like this one just came right in
>> Lisa: Okay so let’s pretend it came in right above our text layer. If it didn’t just make sure that the texture file is above the text layer. Because whatever you want to push through the type has to be on a layer above it.

Not below or it won’t work at all. So here we go. So let’s say the texture just came in. And now let’s hold down our Option key on a Mac, or Alt on a PC and point your cursor at the dividing line between those two layers and give it a swift click, and the texture comes right through the type.

Now if you wanted to resize the texture, you can. So we just summon our free transform tool. So we could trot up to the Edit menu. And choose free transform or just use its keyboard shortcut which is Cmd+T on a Mac, or Ctrl+T on a PC. And now we’ve got our transform handles around that texture, cuz we wanna make it a little bit smaller, cuz the texture’s a little bit too large inside the letters right now.

But arguably it’s harder to grab those corner handles if you cannot see them so this is a fabulous keyboard shortcut for you. So if you don’t remember anything else about today, this will make it worth the money. Is Cmd+0 on the Mac or Ctrl+0 on a PC and Photoshop will resize your artwork, just enough so that you can see all four corner handles, so that you can grab them.

So now I’m gonna resize this texture. I wanna keep it proportional, so I wanna preserve the aspect ratio by pressing and holding the Shift key. And then I wanna resize from the center point so that all four of my corner handles are going in at the same time.

And you can do that by pressing and holding the Option key on a Mac or Alt on a PC. So I’m holding down Shift+Option on a Mac or Shift+Alt on a PC. And then we’re just going to grab any corner handle and drag it inward to make that a little bit smaller.

And then I’ll release the modifier keys and move it over a little bit. Press Return when you’re finished. And then you can press Cmd+zero or Ctrl+zero on a PC again and Photoshop will resize the screen once more. And that’s just the keyword shortcut for choosing view, fit on screen.

That’s all. But that’s an easy one to remember. There you go. And then the last thing that we did is add is a stroke. So let’s go ahead and do that by clicking the tiny little effects button at the bottom of the layers panel. Choose stroke. Now if you’re using CS6, you will notice that these items in this layers, styles or effects menu have been rearranged.

So, if the order on my screen is different than the order on your screen, don’t let that throw you. They rearrange them in CS6. So go ahead and choose Stroke. And now what we could do is zoom into our image just a little bit and for stroke color we could pick up a color that already exists in the texture.

Okay, so I’d go down in stroke size, I’d make it pretty small, maybe two or so, and to change the color, let’s go ahead and click the color well which opens the color picker. But if you mouse away from an open color picker then you can steal any color that lives in your image.

Okay, so I might pick up one of these lighter blue colors or something like that. Click OK and then let’s drop the opacity, down quite a bit to maybe 50% or so. And I’m not seeing that show up on my text layer. Why? Because I had the texture layer active when I added that.

So all you have to do is click and drag the stroke down to the layer you actually want to apply it to. If that happens to you. A lot of people don’t know that those layer styles, you can drag them from one layer to another. You just click and drag on the name themself.

Or the name itself. You can also copy them between layers. So to copy this stroke to another layer, I would just hold down the Option key on the Mac or Alt on the PC and then drag that stroke to the other layer that I wanted to add it to.

And that way you can be assured that your, let’s say you had a second word you were doing this effect to. You would be assured that the stroke is exactly the same, has the same attributes as the original one.