- [Instructor] What I'm about to show you in this movie
is something I've only done one other time
in context of a logo design.
In general, when it comes to graphics of any kind,
I never liked to build in distress.
I usually provide a design in a clean format,
then provide a distressed version as well.
But when the aesthetic is required,
this is how I pull it off.
So let me show you how.
When I approach one of the design directions
for Cascade Lakes, I wanted to keep it primarily
a logo type, it'll have a secondary kind of brand mark
embedded within the overall design,
but the focus is on the logo type itself.
Now this specific typeface that I'm going to use
has the most unique name I've ever seen on a font,
it's called Longhaired Freaky People Fonts.
It was created by checkered.ink,
you can check out their website
and this is what the font looks like.
It's almost like a grunge font
that you could use on event posters of sorts.
So I really liked the free flow nature of it
in terms of being able to go from a thick to a thin
and thick to a thin as you type it out, it's all upper case.
It's a typeface where if you type lower case,
it's like a thin, upper cases the fat,
so you can kind of play with that
and this is what I came up with.
What I didn't like is I didn't like how thick it was.
I didn't like, like how crude the line work was,
I didn't want that.
But I did like the general sense of how the letter forms
were carried, so all I did in this case,
is right now we'll just set this for like 20,
I just used it as a guide to build
the letter forms precisely in clean.
Once again, I prefer san serif typefaces,
and this is kind of what I wanted to turn this into.
They don't have this available in a clean format,
it's all grunge and so this is how I did it.
I just used it as my guide.
And then I built these letter forms,
which are going to work good.
We'll go ahead and color and black like this,
and that's great.
Now the other aspect to this design,
is I also wanted to create a brand mark that goes with it.
So my initial sketch look like this,
and it was to resemble Cascade, the mountain range,
and since the name is Cascade Lakes,
this represents the water lake.
I want it to be kind of a unique little mark
that could go along with the type,
and this is how I built it, fairly simple,
and ultimately it ness in with this typeface,
with the second part of the name Soda Company
and how it all works together.
Now, I like this, but what I wanted to do
on this direction was build in distress.
Like I said previously, I usually don't do this,
so this was like me going, "You know what?
I think this is actually going to look good in this case."
And when I say, build in stress, we're going to use textures.
So if I click on this, you can see how this texture
is just a bitmap TIFF image.
If I color it pink, right now it's white,
if I color it pink, this is all it is.
This was made from an old Xerox machine.
And if we zoom in, you can see how that distress
is going to affect the logo type.
It's going to knock out elements of that logo type.
This is all I'm talking about
in terms of adding distress to this design.
One thing I need to point out though,
is the TIFF images you use, they can't be gray scale,
they have to be what are called Bitmap TIFFs.
And it's easy to do that, you just adjust a gray scale
so you get it looking pretty much black and white,
and then save it out as a bitmap TIFF,
and when you place it into illustrator by default,
the white area of the TIFF is see-through.
The black area of the TIFF in this case,
which is the texture, will show up as black.
If I remove this fill color of magenta,
oops, you have to have the texture selected,
if I remove it, it just defaults to black.
But you can color it anything you want.
I'm just coloring it magenta so you can see it against
the typeface and how it's going to affect it.
Now, what I'm doing now is essentially using spot textures.
These are texture images,
if you watch my DVG Lab weekly series,
you know I love using textures
and here's a bunch of other textures
and I've colored them differently to denote each one.
But if I go to key-line view, I have a lot of textures
and I rotate 'em into place, so that will help me
figure out and compose how it's going to affect.
So you can see how I have this texture up here,
this one's magenta too.
If I move it over here, I have it overlap and rotated
just so it eats away at this letter form.
I have this green texture here, if I move it up,
oh, actually this is the yellow text or in the center,
it's going to eat away the center part,
but it's going to leave enough of the letter form
so they're easy to read.
This is all I'm doing.
So what I want to do now, is I have this texture down here
and I just want to move this texture up,
so it eats away the bottom of this logo.
And we'll position it right about there,
just so this eats into this and it'll knock out,
all these other textures we'll do the same,
but I think that's nice, that's going to work good.
And then I have this texture over here.
If I zoom out a little bit, this blue texture,
this was made from an ink roller,
and it was a complete larger texture
that just had a square crude shape,
and I just chopped off part of that TIFF,
made a new bitmap TIFF, and this one now,
I'm just going to simply drag over and position in place
to kind of eat away on the L and the C
in Cascade Lakes, like this.
So here's all the textures
I've composed them on top of my type itself.
We're going to lock the type layer
because what I want to do now, is I want to select
all of these textures like this,
and I don't want any color into 'em,
so I'm going to go no fill, they're going to default to black,
I'm going to group 'em, that way they're all in place,
ready to go, and with them group, I'm going to go up to object
and we're going to go to rasterize.
That'll open up this panel and it's going to ask you
how you want to rasterize it.
You can select bitmap or you can select gray scale,
we'll go ahead and select bitmap on the resolution.
It's going to default to 300 pixels per inch.
I'm going to go higher than that.
So I'm going to use other, and I'm going to type in
double this amount, 600.
The background can be white, that's fine.
And everything else I'll leave default and we'll go, okay.
Boom, we have it now, it's a complete bitmap TIFF image.
All we have to do is we have to trace it.
So we're going to go to window
and we're going to go open up image trace, like this.
And if you don't have the TIFF selected,
this will all be grayed out.
Once you select it, it'll show up.
The first thing we want to do is go advance,
we'll move this up a little bit.
We're going to go ignore white,
we don't want any of the white to become a vector shape,
we're going to trace this as tight as possible,
move (indistinct) all the way over to right
at a hundred percent and noise to left at one pixel,
and we'll click trace.
Based off of your machine, this might take a little bit,
so you can see how it's traced that.
Now we need to expand it up here in the top menu bar.
So we'll expand it.
And now we have what we need,
we can turn off the image trace panel,
and this is going to work great.
Now, one thing I want to show you,
if I open up my past scribe panel,
which is the plugin I use,
it tells you how many anchor points here.
We have 134,670 anchor points, a lot.
But we're not going to be using all of these.
And the first thing we want to do though,
is we want to go to appearance, and right now it's a group.
We want to change this to a compound.
And the way you do that,
if you don't have keyboard shortcuts set up, like I do,
you go to object compound make, notice I have F7,
so I never have to do that.
We're going to color this now.
The color magenta and I'll de-select it,
so you can see how it's going to interact
with the type underneath.
So all we have to do now is select our type,
we have the layer locked, let's unlock it.
We'll select the type, we'll select the texture,
which is on top, and we're going to go minus front,
this is going to act as a very complex cookie-cutter.
An illustrator might warn us this is complex,
but we're going to do it anyway, and we're going to click this.
Once again, it might take a while to process
based off of your machine.
And now you can see if we de-select,
how it affects the type that looks really, really cool.
This is going to revert though, once again, to a group.
So you'll want to make it a compound,
and now we want to use this kind of color scheme within it.
So what I'm going to do is I'm going to select this,
I'm going to fill it with a gradient,
but we obviously don't want to use that specific gradient,
so we'll open up the gradient panel here,
and I'm going to go ahead and pull this blue
down into this zone of the gradient
and this kind of lime green to this side
of the gradient here.
And I think that looks better.
We'll go ahead and adjust the locations here,
because I want more of the solid color to be there.
So you can move it like this, I'm going to move it down,
it's just easier at times to put it at 80% on this side
and the opposing side to match would be 20%, like that.
And now if I de-select this,
you can see what that looks like,
that looks really, really cool.
And the last thing I want to do is select this,
and we're going to go ahead and rotate this
about, I don't know, maybe 10 or 13 degrees.
And if you have smart guides turned on,
notice it telling you what those degrees are right here,
like that.
And then this is how the orientation
for this direction would be.
Let's go and zoom in so you can see all the textures,
I think that looks really good
and I think this came out great.
That's how you can texturize a custom logo type.
I kind of surprised myself on this design,
the whole time I wasn't sure I'd even like the end result,
but was pleasantly surprised when I finished it.
This certainly isn't a look and feel
you'll be asked to produce on a regular basis,
but when the time comes, you'll now know how to approach it,
to pull it off with relative ease.