This content provides a comprehensive guide to logo design, emphasizing the foundational principles of graphic design and demonstrating a practical workflow using Adobe Illustrator to create a logo for a fictional iced coffee brand.
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This video is brought to you by Envato.
What's the secret to designing a logo that leaves a lasting impression?
Well, it's all about mastering the fundamentals of graphic design.
Hello, my name is Daniel White, also known as Dansky, and I'm a designer
and instructor with Envato.
In this course, we're going to dive into the logo design process using a recent
logo that are created for a fictional coffee brand, Luke's Iced Coffee.
First of all, let's talk about the importance of a logo design in branding.
A well-designed logo is pretty essential for branding as it serves as the visual
cornerstone of a brand's identity, and if done correctly,
it can create a memorable first impression, communicate the brand's values
and personality, and help distinguish the brand from its competitors.
It builds trust and can significantly influence consumer perception
and loyalty.
In summary, a logo is a powerful tool that encapsulates the essence of a brand,
making it instantly recognizable and relatable to its audience.
Now, let's do a quick overview of the logo design process.
This typically begins with understanding the brand's identity, their values,
and who their target audience is, often through a detailed design brief.
This is then followed by brainstorming and sketching some initial
concepts, exploring various ideas and visual directions.
You can then refine your best ideas and digitize them using graphic design
software like Adobe Illustrator.
During this phase, you can experiment with color schemes, typography,
different styles and shapes to create a cohesive and appealing design.
Now, if you've seen me work before, my logos will often undergo
many, many iterations just to get the design just right.
And of course, you'll need to factor in any feedback
from your team or client too.
And finally, after working through any revisions, the final logo
can be presented to your team or client, and it's a good idea
we're presenting to showcase the design mocked up in a few real-world scenarios.
For example, this could be on the header of a website or some signage
or some printed material, something that's actually going to be used.
This video is brought to you by Envato, the unlimited creative subscription.
Find and download quality graphics, templates, photos, and fonts.
Follow the link in the description and start creating now.
So this particular logo was mostly designed live across multiple days,
streaming on YouTube, together with a bit of work from home, a bit
of work from London Airport, and during my recent flight to Louisiana.
So I was working on this all over the place.
And being a fictional brief, this one was relatively open, and we came up with
the brand name, Luke's Iced Coffee, and it was always intended to be fun,
like a pop-up style van business sellingiced cold drinks in the summer.
And the identity needed to embody a refreshing an energetic esthetic,
with ideally some calming colors that evoke the chill and invigorating
experience of drinking Iced coffee.
And in terms of the brand's values, it's all about the quality of the coffee
and the customer experience.
So professional and reliable, they're not too serious or corporate,
so including some more fun and playful elements is a must.
And the target audience is young professionals, college students, and busy
individuals aged around 18 to 35 who are looking for a convenient and delicious
way to stay energized throughout the day.
The brief here was very loose being just a fictional project and for fun.
But if you have a real brief you're working to, it's always
a good idea to refer back to it as your design progresses, just to check
that what you're creating is fulfilling the requirements set out in brief.
Now, in terms of software, this logo was created almost exclusively within Adobe
Illustrator using a variety of different tools and techniques that I'll be
demonstrating a bit later in the course.
Personally, I don't sketch out anything on paper like ever.
I'm more of a digital guy, and I predominantly design with a mouse or
trackpad, unless it's something that has a lot of lines and a lot of curves,
or perhaps some more organic shapes, in which case I will definitely be using
a pen tablet or pen display because it just makes life a lot easier.
So brainstorming brainstorming really is the beginning of the creative process
for me, whether that's mind mapping ideas or having a bubble with ideas coming off
it or just sketching out things very crudely in the software,
I can pull together some initial ideas that will hopefully branch out into new
ideas that will be a bit more exciting down the line.
Now, let's cover a bit of design theory.
And design theory is essential in logo design as it ensures logos
are visually appealing, effective, and convey the intended message.
Balance ensures that the logo feels stable and harmonious.
Symmetric balance provides a sense of formality and order,
whereas asymmetrical balance can create a dynamic and interesting design.
Proportion maintains the relationship between different elements, ensuring that
no part of the logo overwhelms another.
Proper proportion contributes to a cohesive
and esthetically pleasing design.
Emphasis highlights the most important elements of the logo, guiding the
viewer's attention to the focal point, and this helps in conveying the brand's
message clearly clearly and effectively.
Rhythm can create a sense of movement and flow within a logo,
leading the viewer's eye across the design in a deliberate way.
Rhythm can also add a dynamic quality and ensures that the logo is engaging.
Contrast differentiates elements through variations in color,
size, shape, or type, making the logo visually interesting
and ensuring that it stands out.
Throughout the design process of the Luke's Iced Coffee logo, I meticulously
refined every element to ensure that everything was perfectly balanced,
particularly with the logo mark.
I started by exploring different layouts and arrangements,
and as you could see, some ideas are wildly different to others.
And by adjusting things like the size and placement of the text
and the logo mark, I was able to achieve a cohesive look that maintains
visual interest and readability.
Emphasis was created through a strategic combination of fills and strokes to make
some areas appear bolder, which I think helped the logo to stand out, especially
when compared to some of the earlier designs that were more linear in style.
Contrast was another key consideration, so I experimented with various colors
and tones to ensure that the logo would stand out.
And by balancing the light and dark elements, I was able
to achieve a color combination that ensures the different parts
of the logo stand out from each other.
Actually, these 4-5 colors also form a lovely color palette, too,
that, as you'll see later, can be used for other brand assets,
whether it's for the website, packaging, or a repeatable pattern.
Now, let's talk about typography.
Typography plays a crucial role in logo design as it can convey the brand's
personality and values through the style and arrangement of text.
The choice of font can evoke specific emotions and associations.
For example, seraphonds often suggest tradition and reliability,
whereas sanseraphonds convey modernity and simplicity.
Good typography is easy to read and is memorable, making the brand name
easily recognizable and distinctive.
The spacing, alignment, and the integration of text
with other elements are also vital in creating a balanced and cohesive logo.
So essentially, good typography not only communicates the brand's message,
but it also enhances the overall esthetic and the effectiveness of the logo.
Here you can see an example of another logo I designed For this one,
both the logo mark and the logo type have similar slightly rounded edges.
This is so both elements of the logo fit together nicely, and this approach
also aligns with the brand's values.
Now, if we switch this out for some alternative type spaces,
you can see this drastically changes not just how the logo looks,
but the feelings that it can evoke.
I typically get my favorite fonts from Envato.
Just look at these.
They have so many good fonts to choose from, and you get everything all within
one subscription, and they come with a commercial license, too, which is great.
Okay, so that's typography.
Now, let's talk about color.
Color theory is vital in logo design because colors evoke emotions.
They convey messages, and they influence perception subconsciously.
The right Color choices can significantly enhance a logo's impact, making
it more memorable and recognizable, and different colors and combinations
can communicate various brand attributes.
For instance, blue often signifies trust and professionalism, whereas red
can evoke energy and passion.
An understanding color theory helps designers select colors
that align with the brand's identity and appeal to the target audience.
Additionally, color contrast and harmony are crucial for ensuring the logo's
readability diversity and visual appeal across different mediums and backgrounds.
In short, color theory helps create a powerful visual identity that resonates
with viewers on an emotional level.
For this logo, I never really left the beige, creamy, caramel-style
colors, but I always wanted an accent color, something completely different,
to give the brand a more unique flavor and to help it stand out.
Now we're going to jump into Adobe Illustrator, and I'm going
to show you the tools and techniques that we use to create this specific logo.
So you can see I've created a new document in the Illustrator, and this is going
to be interesting because I've not worked on this logo for quite a while now.
And typically, as part of the logo design process, a design can evolve
with small iterations bit by bit.
But now I'm looking at the completed logo design with all these different shapes,
lines, and curves, and I'm thinking, how am I going to create this?
So now we're going to get stuck into some tools and techniques
that are perfect for logo design.
And I think you'll actually appreciate where things don't go to plan because
these are common problems that I come up with, and I'm sure you do as well.
And I'm going to show you how to get around them.
So first of all, I'm going to zoom in and I'm going to start by grabbing
the rectangle tool and we're going to draw the base of the cup.
Now, let's make sure the fill is set to none and we're going
to thicken up that stroke weight.
Now, with the direct selection tool, I'm going to select just
the top two anchor points and then press S for the scale tool, and we
can now scale just those two points out.
We've got the bottom tapered in slightly.
Now, I'm going to grab the ellipses tool and we're going to click and drag
and create an ellips or an oval.
Now, if you've got your smart guides turned on, you can move this around
and you'll see it marks the center very nicely.
If we copy this shape and paste in place, we can then drag this copy down slightly.
I'm also going to stretch it out to the side.
Remember, you can hold Alt or option to scale from the left
and right sides at the same time.
Now, let's click and hold shift to make a circle.
We're also going to move this into position, making sure everything
is centrally aligned.
If you're not sure, select everything and click this icon here just
to double check.
Because a big part of this design will be symmetrical, and this attention
to detail is going to increase the quality of the final result.
Now, we've got a lot of lines going on, so with the direct selection tool,
I'm going to remove that bottom point on the circle, and this will just
make everything a lot easier on the eyes.
Let's move this down into position, and I might actually
remove this top line here as well.
So any of these lines that you're not going to be using as part
of your design, I would definitely remove them to make things visually
a bit easier to work with.
Let's maybe scale these down a bit.
Another really useful tip to switch into outline mode with Command
or Control Y, and you get a styler wireframe of your design.
As you'll see later in the course, this can be very useful
for troubleshooting problems.
Something else I like to do is copy certain shapes and then
move them out to the right or left with the arrow keys, just in case
I make changes to the design and then I actually need that original shape.
When I say make changes, I mean this, selecting everything,
grabbing the Shapebuilder tool, and then holding Alt or option and clicking
on those endpoints to trim them off.
You can click and drag through different shapes to combine them together.
But we'll get back to that a bit later.
For now, let's just scale this down and line everything up.
There we go.
Something else I like to do, if you've ever seen me work live,
is I like to drag over everything and make copies all over the place,
just Just in case something goes wrong, I've got that version to fall back on.
Let's trim those away with the Shapebuilder tool.
That's a pretty good start.
Very quickly and easily, we've got the main shape of the cup.
Now for the bottom, I'm going to delete this with the direct selection tool.
I want this to curve slightly to follow the contour tools of the top part.
You can use the curvature tool, but it doesn't mark the center point, which is a
bit annoying, so you get a smooth curve, but you're not sure if it's perfectly
symmetrical, so that's a no-go for me.
Instead, I'm going to grab the pen tool.
You can see this one marks that center point, and I can click and drag.
Now, it can go all over the place.
If you hold down shift, it's going to snap nicely.
As I mentioned, there's going to be a lot of symmetry in this part of the design.
What we can do is we're just going to fine tune the left half of the cup.
Let's just make that perfectly smooth on that corner.
Now, I can actually delete the the entire right side of that line,
and I can select this here and then click O on the keyboard for the Reflect
tool, hold Alter option and click, and then copy that vertically.
Now I have perfect symmetry on both sides.
To join these together, I just need to drag over these two anchor
points, go to Object, down to Path, and select Join, and it will now
join these into a single shape.
At least I know that this part of the design is perfectly symmetrical.
Now, I need to separate this ellips into two halves, so I'm going
to copy it, paste it in place, and move one copy I'm going
to delete the bottom half of this one.
Then on the other copy, I'm going to probably maybe move this down.
I'm then going to delete the top half of this one.
This is why I move things around with the arrow keys because I
can now just put them back in place, and I know they're going back in the
exact same position they were in before.
Now, again, I'm going to select everything and use the shape of the tool
together with Alt or option and click to remove these points.
We now have a dome shape, and I have this other half over here
that I can pop back in position.
I'm just going to adjust the stroke weight a bit.
We'll make this one a bit thinner and the outer one a bit thicker.
We'll make this bottom one match the top one.
We now need to make space for the straw at the top.
Let's just make a rectangle.
We'll sample white as the color pop it in the center, and then again,
we're going to use the scale tool to scale that on the left and right edges.
Now, I'm going to grab the pen tool and I'm going to just
complete this bottom shape.
It doesn't need to be perfect here, but I do need to be able to swap the fill
in the stroke with shift X just I can give this a solid black fill.
Of course, it's messed up the contours of the ellipses now, so I need to
select the ellipses and with the Eyedropper tool, just hold, shift,
and click to set the fill color to white.
Now, I think I'm actually going to move this part out again,
so let's put that over there.
I'm going to delete this part and bring this back in.
You can see why I kept this part earlier, just in case
I needed it, and there we go.
Now I'm going to grab the width tool, and what I can do is use
this tool to make certain parts of a stroke thicker or thinner, or I can
double-click and enter a specific value.
That bottom part is going to be thicker.
This part at the top is going to be a little bit thinner.
With this circle selected, what I'm going to do is I'm going
to go to Object at the top, down to Path, and choose Offset Path.
I'm going to enter a negative value, and this will create a copy
of this ellips, but on the inside.
Now, it's got those same modifications to the width, so I can change the width
profile and set that back there.
I'm going to delete that top point.
Now, I can use the width tool again.
However, instead of doing it on a full ellips, I'm now
doing it just on this one line.
What we'll do is we'll start with the middle, we'll set the width there,
and then I can go to either end and taper those in.
There we go.
We'll try and scale that up a little bit without messing everything
up we've just done.
Let's bring that down.
If you want to use the width tool to adjust one side of a stroke instead
of both, you can hold Alt or Option and drag when using this tool.
Let's just spend a second finetuning everything we've done so far.
Right, now let's play around with negative space, and I'm going to draw a little bit
of a curved cut into this part of the cup, and I'm going to use this
to try and add a bit more depth and reinforce the shape of the cup.
I've created this shape, and I'm going to set the fill color to white,
and we need to match that curve to make it blend smoothly with the other lines.
I'd recommend zooming in super close to get maximum precision.
It's not perfect right now, but we can always come back to that.
Right, now let's create another rectangle for the straw,
and we'll thicken up that stroke.
We probably do need this extending down into the drink, Dan.
There we go.
Another reason I like to move certain elements
out with the arrow keys on the keyboard is because if they're a bit more complex,
I can work on them independently.
Then once they're done, I'll put them back into the design.
What I'm going to do here is create an ellipses the same width
as the rectangle, delete the top part, and we'll bring that down.
Then to create the pattern on the straw, what I'm going
to do is grab the Arc tool, click and hold shift to create an arc.
I'm just going to drag this with Alt or option and shift to duplicate it,
and then press Command or Control D to repeat that same action.
There we go.
We pretty much have the straw.
What I'm going to do now is, while I'm moving it back in manually, I should
have used the arrow keys, but I didn't.
This does highlight a problem.
It's not central at the minute because something is throwing
off the alignment, and it turns out it's actually these arcs.
They extend outside of the rectangle, and so I need to select them
all and just scale them in so they line up with the edge.
There we go. Perfect.
Now, if I zoom back out, I should be able to align this all centrally.
There we go. Lovely.
Now, for the ice cubes, we're going to grab the Polygon tool, click anywhere,
and type six as the number of sides, rotate it 90 degrees, and with the Pen
tool, click in the center, and we can then click out each of those corners.
We now have a 3D cube or what will become an ice cube.
With all of those lines selected, I'm going to press Command and Control X
to cut them, just round off the corners of that shape and then
paste those lines back in place.
Now I have that same 3D shape, but with slightly rounded corners.
If I create a few copies of this, I can resize them.
We'll start with this one in the middle here.
Pop that there because that one is going to be perfectly upright.
Let's make that a bit smaller.
Then I'm going to duplicate this, make this one a little bit bigger,
and rotate it slightly to the left.
I think the lid and the straw might need to move up slightly.
Then I'm going to drag with Alt, or option to duplicate it again
and rotate it the other way.
Now, I need to extend this curve a bit, and I can do that with the pen
tool, so something like this.
Let's zoom in and fine-tune that so it all lines up smoothly.
Rather than try and do that pen tooling again in exactly the same way
the other side, I'm just going to delete that entire right side.
Again, press over the Reflect tool, hold Alter option and click,
and then reflect it vertically.
I'm feeling confident, so let's get rid of that backup
and then copy this, paste in place, and then move this out to the left.
I'm going to use the Shape Builder tool to remove that top part, and everything
that's left, go to Object and expand a couple of times.
What I need to do here is use the Shape Builder tool to remove the black part
of the bottom and just leave me a copy of that ellipse in the middle.
There we go.
Now I can go to the color picker and we'll pick a color.
Let's go for red, something nice and contrasting.
Let's create another copy of this, move it up slightly.
With them both selected, press Shift X to swap the fill and the stroke.
I'm going to scale this top ellips slightly, and you'll see
what I'm doing in a minute.
If I select them both and use the shape board or tool, I can knock out that
top part and then nudge this back in.
I've created a really shallow crescent moon shape that fits nicely
along that bottom edge of the lid.
Just like we did before, we're going to use negative space to create shapes
reinforce the shape of the cup.
In this example, it's just going to make everything look a bit more round.
Right, now let's spend a minute just fine-tuning everything we've done.
Now, again, we're going to use the Shape Builder tool, hold down Alter option
and click to trim those endpoints.
There we go.
Actually, that didn't really work.
What I'm going to do is grab the Pen tool instead and use the same technique
that we did on the bottom of the cup to create a nice smooth curve.
Again, let's just go and fine-tune that so it is a perfectly smooth curve.
You probably know what's coming next.
Now we've got the left side done.
We're going to delete the right side.
Just make sure that you look for any stray anchor points like that lurking around.
And again, we're going to use the Reflect tool to reflect a copy
of this shape vertically.
And if we zoom in here, there's a gap.
Let's select both points with the Direct Selection tool
and then go to Path and Average.
And this will pull the two points into each other, and then you can
join them together like we did before.
Right, so you can see we're getting there.
There probably is a smoother way to do all of this, but that is a big part
of using Illustrator is problem solving, trying out different tools and techniques
and combinations, and seeing which one gives you the best result.
I think we're definitely getting there.
Let's move this bit back up, first of all.
There we go.
I think I'll squash this bit down and maybe move it up.
Now, I think we'll create a copy of this one and we'll I'm going
to move this out to the left again, just in case anything goes wrong.
I think I'm at the point now where I'm going to start expanding shapes,
hence the backup copy on the left.
Let's select everything and expand everything.
Do it a couple of times just until you can't expand anymore.
All the strokes are now filled, and we could try and unite this together, but
as you can see, it doesn't really work.
We need to use the Shape Builder tool to remove any white
or transparent areas first.
Now what we can do is just select the black and then unite that together.
That should combine all these pieces into a single shape.
There we go.
If I zoom in a bit, you can see these corners aren't quite round, so I can
use the Direct Selection tool and click on that corner widget to round them off.
There we go. A bit of a lifesaver, that feature.
If you click and hold on the Shaper tool on the left, you'll find the smooth tool
hiding under there, and you can click and draw along paths to smooth them out.
Right, I've just grabbed another copy of this ellips, and I'm pasting it
in place, and I'm going to change the color to something different.
I wasn't really liking that shape before that was representing the rim the cup,
so I'm going to try and do this a different way and use this ellips
and maybe just adjust it a little bit so it still follows the contours, but I can
just get the shape and position right.
Let's delete this top half. We don't need that.
We just need the bottom half.
I think that's straight, but I'm not sure. I'm going to check.
Let's just draw a horizontal line. Yeah, that looks good.
Okay, must be just me.
Now what I'm going to do is set the stroke color to white.
We'll thicken this up a bit, and then I'm going to use the width tool again
to adjust the width at various points, tapering in that left and right side.
There we go.
Just a bit more fine-tuning.
Yeah, I think that's definitely better than the previous one.
Like I said earlier, it's just sometimes using different techniques to see
which one gives you the best result.
You can see I've I've deleted that other little corner cut as well,
so I'm going to recreate this and do a much better job.
Sometimes doing it in outline mode where you can just
see the path, that wireframe, is sometimes a little bit easier.
Yeah, I think that looks a bit better.
Maybe just a bit of fine-tuning and definitely a bit of smoothing out.
In fact, I'm going to take a second just to get this right
or it's going to bug me.
Right, now let's come back to the straw.
I'm going to select everything, expand those strokes into fills.
I can unite them all together.
Then what I'm going to do is grab the Life Paint Bucket tool, click
on the object to make it a Life Paint group, and I can now start adding colors.
Let's just add some gray in for now, just so we can see.
And in fact, actually, I think recreating this will be easier if I actually
add the colors that I'm going to use.
So let's just create a bunch of circles, and I'm going to enter the Hex code
for the specific colors I'm using.
So this first one is 58CAE8.
And the next one along
is F9C 166, 7C3 200.
And then the last one, AF5 315. There we go.
We have a lovely color palette.
So now I can select the Live Paint Group again.
And then with the Live Paint Bucket, I can click to add this color here, and then
use the Eyedropper tool to sample a different color, and then switch back
to the Live Paint Bucket and just click to add that different color.
So I for the Eyedropper tool and K for the Live Paint Bucket tool, just so you
can switch back and forth between them.
Now, let's make the rest of the cut that same darker brown
color, and I'm going to expand that live paint group on the straw just
so I can continue to work on it manually.
Now, let's bring the ice cubes back in.
Yeah, I think that's looking pretty good, actually.
What I'm going to do now is just maybe shrink that down and then
move the ice cubes and the straw.
I'm going to make a copy and move it up.
I think it'll be easier to work on this separately because otherwise,
it's just going to be too complicated with all these lines going everywhere.
Let's expand these ice cube shapes, and with each ice cube in turn,
let's unite them so all of those separate shapes are combined into a single shape.
There we go.
We can now use the eye dropper tool to sample that same color as the straw.
I think I might just make a few minor adjustments there.
We'll bring the straw down so it goes a little bit more into the drink.
Maybe push the ice cubes out to the side of it.
Again, we can select this and use the shape builder tool
to combine certain areas together.
We'll hold down Alter Option and click to subtract certain segments as well.
Now you can see the straw is clearly in front of the ice cube behind.
Now I've done that and not messed it up, I'm going to confidently
delete the other one down below, and then we'll just use the arrow keys
to nudge this one back in Position.
There we go. I think that's the right spot.
Now let's zoom in, select everything.
Again, I'm going to use the shape boarder tool to make sure that the ice cubes
are visible and that back part of the cup does not run through them.
You can see I've zoomed in nice and close, and I'm just taking care
to actually remove the right parts.
But of course, if you make a mistake, you can, of course, go to Edit,
Undo and just have another go.
Fantastic. There you go.
You can see it's all starting to come together.
Now, I want the ice cubes to look like they're sitting in the ice coffee, so I'm
going to use the pen tool to draw half of a curved shape, make that color white,
and then reflect it vertically just so it cuts off those two ice cubes.
I'm also going to add a solid brown shape to the left side of each ice cube.
This is just going to act as a shadow.
The top and right side of each ice cube is lit up with a light source, and then
the left side would be in shadow.
It's just going to help enforce that depth a bit more.
All of this could still work as a single color design if needed, which is great.
Now I'm going to create a coffee bean symbol with
an ellips and a horizontal line.
Let's remove that fill and just make sure everything's centered.
Very good.
Then with the line selected, we're going to add a zigzag.
Now, first of all, we need to set this to smooth and change the ridges
per segment to, I think, maybe about two.
Adjust the size and then you get that squiggle.
It's better doing it this way rather than drawing this line manually because we get
that balance and that symmetry, which gives us a better end result.
Now we can expand that stroke. Let's do it a couple of times.
Then we can use the Shape Builder tool to knock out the black line
from the brown ellips.
Perfect.
If we group both halves together, we now have a coffee bean that we can rotate
and we can move onto the cup.
Let's just flip it around the other way just to match the final design.
Yeah, you can see a little bit of back and forth, but
we are definitely getting there.
However, I've just noticed that the main body of the cup doesn't look symmetrical.
Unfortunately, something has gone wrong somewhere, and this is just one
of those things that's happened.
I'm going to move a copy of this out onto the right-hand side and try and fix it.
I'm going to start by deleting everything that I don't need to worry about.
It's just really the cup.
Let's go and expand everything a few times just so we don't
have any strokes there and we know that we're working with fills.
There we go.
With the shape builder tool, I can knock out that middle bit so it's transparent.
For that rim highlight shape, I'm actually going to click on it
to make it into its own shape.
This does change the color sometimes, so let's just set that back to white.
Now I'm going to take the left half, which I think is perfect.
That's fine.
I'm going to cover the right half with the shape and select minus front
from the Pathfinder panel.
That didn't seem to work.
If you get an error, just use the Shapebuilder tool instead.
Of course, remove any leftover anchor points.
Now we have that perfect half.
We can use the Reflect tool again to create a copy, and you could
combine these together or group them.
We don't want this cut out on both sides, so I'm going to remove it from the right
side, so it's only on the left.
Okay, symmetrical balance thing solved.
Now I'm going to create a copy of the other design and just remove everything
except the straw and the ice cubes and then drag this back into the center.
Nice.
Now, I do need to bring that gap either side of the straw back in.
So let's just move all of this up to the front and make sure
everything's centered.
And lastly, we just need to grab the coffee bean
and bring that in front as well.
Again, we're going to center everything.
And I'm just going to move the ice cubes in the straw a bit lower
and then just adjust that white shape so it's not extending onto the brown.
Yeah, that's a bit better.
Again, time for another checkpoint.
Let's put a copy over there.
And now I'm going to select everything and once again use the Shape Builder tool
to first knock out all of the parts that I want to be transparent.
When I say transparent, I mean have no color and whatever background
is behind the logo will show through.
Let's go and do the same for all of these shapes here.
When you have something a bit more complex like this with lots of lines and shapes,
I would definitely recommend zooming in lots when you're using the Shape Builder
tool, just so you don't miss anything.
Right, now let's use the Life Paint Bucket tool to add some color here.
We're going to grab that lovely caramel color over here.
We're going to click to add this in a few places.
We'll add it there for theiced coffee, but also theiced coffee
is flashing all over the ice cube, so we're going to add it there as well.
Now, if we zoom in, you will see some problems.
We get some of these weird oddities sometimes.
Again, going into outline mode is a great way to identify and isolate these
problems so that you can delete them.
Again, here I've got this weird thin border thing.
What I'm going to do is I'm just going to actually use the pen tool to I've got
some brown shapes around the outside.
It's not the cleanest implementation, but it won't matter in the end because
now I can just use the shape builder tool to combine all of these shapes together.
In fact, I'm actually going to combine a lot of the brown area together,
so the straw and the ice cubes.
Let's just merge all of these shapes.
It's all looking a bit complex at the moment, which
can cause a lot of problems.
Let's simplify it by combining as many parts together as we can.
I'm going to take a second now just to combine a few more pieces as well.
Now, when you get lots of these small
pieces, these lines, these can be
quite annoying to shape build at all because you have to be really Precise.
Sometimes when using this tool, it can also remove the color
from your shape, which is a bit weird.
Just select it again and reapply the color.
Sometimes rather than using the shape build a tool for these tiny pieces,
I would use the Direct Selection tool to just select them and delete them.
It's It's just quicker and a heck of a lot easier.
I think we're nearly done.
Let's just move all of this over there and let's pop the final one in the center.
I think it's time we actually got some words in there.
Let's move that off to the left.
With the Type tool, I'm going to type the word Looks.
Then from the Properties panel on the right, I'm going to select the font.
It's New Rubric.
If I just scroll down, I think it's a much bolder one.
Extra bold.
There we go.
Oh, no, that's the rounded version.
A bit too rounded for my liking.
I'm looking for New Rubric Edge. There we go.
A slight variation that rounds off the corners ever so slightly, which can
make the logo a little bit more playful, which goes back to the brand values.
Right, now let's start adding the other words.
We've got luke's, and then we neediced and coffee in there as well.
You can see I've got that blue accent color that I'm going
to use for the word luke's.
Then these bottom two words are going to be the brown.
Now I'm going to select all of the text, and I'm just
going to reduce the tracking slightly.
The tracking is the spacing between all of the letters as a collective.
They're now just a little bit closer together, and I'm now going to increase
the size of the text as well.
Let's just scale that up.
At this It's a bit of a point in the process, the logo mark just
felt a little bit strange.
Something I did was actually rotate this so that right edge
of the cup lines up nicely with the left edge of Luke's Iced Coffee.
Now, you can rotate this manually, but I prefer to use a specific numerical value
because if I need to revert back to having the cup perfectly upright,
I can just use a negative version of that value to put it back the way it was.
Now let's give these two elements a bit of breathing space and then
try and center Luke's Iced Coffee with the logo mark on the left.
Now we're going to add a background color.
Let's zoom out and send this to the back.
From the color picker, I'm going to sample this nice caramelly Iced coffee
color, and then we're going to go with a super light version, like a creamy beige.
Yeah, something like that looks This logo design does work
as a single color as well, which is great if a business wants to do
a one color print in black, for example, which can be a lot more cost-effective.
Right now, I'm just going to lighten that background ever so slightly.
There we go.
Of course, if you spend a bit more time refining everything,
you can end up with something like this.
Something else you absolutely must check out is Envato's platform that
offers millions of creative assets that come complete with a commercial license.
You can use these on your design projects and you don't have to worry
about any of that legal stuff.
So for this particular logo, I downloaded several different mockups to help me get
a better feel of how this would actually look when used in different places.
And locking things up in this way makes it a lot easier when trying to sell or pitch
your designs to teams or clients. There we go.
That wraps up the course.
Hopefully, you've enjoyed our time together and can now
take everything that you've learned and apply this on your next design project.
Thank you once again to Envato for having me here.
Care and I'll see you next time.
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