black & white Instagram logo design with adobe illustrator

black & white Instagram logo design with adobe illustrator


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Simplicity in logo design

Simplicity in logo design


– Hey folks, one of the
things that often happens, when a business is having
a new logo designed is that the logo itself can
end up being too intricate, too complex, in terms of
what it’s trying to convey. When I’m creating logos,
what I’ll try and do is I will try to take the
basic ideas of the product, of the service that the
business is offering and see if I can distil it down into some basic ideas
or some basic shapes. What I want to do today is quickly do a walkthrough of a
logo, which we designed for a small delicatessen
business called Mirepoix. With that business, what we did was we took the basic elements of the idea and what the name of the business meant and created a very simple symbol, but which had strong links to the actual name of the business. So what I’m going to do
is I’m going to take you over to the computer and we’ll run through the stages of the
creation of that new logo. So there you are, folks, this is the name of the business, Mirepoix and Mirepoix is the fundamental elements of some classical cooking and that includes onions,
carrots and celery, so we have these basic elements and we want to create a
logo for this business. So we’ve got these three
vegetable ingredients here, as we can see and what we want to do is we want to take the
basic shapes of those, so you can see here,
what we have is a circle, we have a triangle and
we have a rectangle, the really, really base
elements and what you can do is you can take these base elements and start to combine them
into different shapes and see what forms you can produce just from these three
different shapes here. Now we did explore a lot of sketching and a lot of options and
combinations of these shapes, we want to make this quite
a quick walkthrough today, so I’ve just pulled out the main ones that we looked at and developed, so we have this one and
then we have this one here, which kind of looked a
little bit too funny, it looked like a face,
kind of a funny face, so it wasn’t really fitting, kind of what we wanted for the brand, we wanted something which was
a bit more sort of classical and a bit simpler and not
referring to, you know, try to make it clear that
it’s not a face or anything. So when we got to this one, there was the idea of possibly introducing some negative space to
represent one of the shapes, so what we did was we took it down to this and so we have the onion,
half an onion on the top, then the space could kind
of be the stick of celery and then we’ve kind of got a carrot, as if a carrot was
chopped in half as well, so you’ve got that shape there and this was forming a really
nice, simplistic shape, but embodied all of the elements,
that we were looking for, so we kind of settled on that one and then what we needed to do next was look at the typeface we wanted to use and where this shape would sit, tried having it inside for
the O and potentially the E, but it wasn’t really
working, it was a bit clunky, so we kind of decided no, we’ll
just keep it as the symbol and it will sit alongside the text, but the way we’d been developing it, we had it in this orientation, but when we sat it next to the text, it didn’t flow very well, that rounded bit leading
in didn’t really work, so what we did was we flipped it around, so that it sat up and nudged against the name of the business and we added in the word, delicatessen and it formed a really
nice combination logo, so you’ve got, you know, the text and the symbol working together as one and we settled on this font here, because we felt that
it represented the look that we were trying to
go for with this design, in terms of it being classical
in the foundational elements, we wanted to use something, which looked as though
it had a bit of age, so sort of this art deco type
font from the 1920s or so. We also realised that we
could make a nice heart shape by mirroring the symbol
across, which was excellent and it would be great for, you know, promotional campaigns in marketing, you know, I Love Mirepoix, it was just one of those things, which just, you know,
almost happened chance and it just was there
and it was perfect for it and from there, we then
obviously went on to explore labels and packaging and
all the other elements, that would be used to
go alongside the brand, when it was promoting
and selling its product and so this is how we ended up with the final logo for Mirepoix. So you can see how we
took the basic elements of Mirepoix, the onion,
the celery and the carrot and we boiled it, if you pardon the pun, down to the basic shapes
of each of those vegetables and then condensed it further, using some negative space elements as well to create that final logo design, which is a really simple, memorable shape, you want your logo to
be a very quick trigger, so if you see it somewhere
on packaging or a poster, then it will instantly remind them of the name of your business, which will then follow on to what you do and also how they feel
about that business as well. I hope you found this video useful, if you have, please give
the video a thumbs up and subscribe to the
channel and once you do, you’ll notice a little bell
icon, if you click that, you’ll be informed any
time I upload a new video. Until I see you next time,
Stay Creative, folks.

How to Create a Hand-Drawn Logo

How to Create a Hand-Drawn Logo


Hi, I’m Ray Dombroski. In today’s video, I
will show you how I make a hand-drawn and distressed logo. So, the first thing that
I do when I’m designing a logo, is I always start with a thumbnail sketch. And I work
that out very lightly in pencil. Once I’ve got that, I go over it in ink. And, in this
case, we don’t need the logo to be perfect. I want it to be sort of scratchy, and distressed,
and imperfect, and hand-drawn looking. So, once I’ve got that inked, I’ll scan it in
and I’ll bring it into Adobe Illustrator. And what I want to do is get all the arched
typography cleaned up and symmetrical. So, I just want to typeset this thing roughly.
So, I can print it back out lightly. And, then, I go in once again and ink it hand-drawn,
but over the typeset lettering. And, again, I’m working at a pretty small scale, probably
about twice as big as the original thumbnail. And the reason I’m doing that is because I
do want it to have a degree of chunkiness. So, I’m just looking for that right balance
of imperfect and perfect. So, once I’ve got it inked, scan it back in at high resolution,
about 800 dpi. And you’ll see that it’s still rough and hand drawn. But, the lettering is
a little more symmetrical, a little less bouncy. Sometimes, if you do hand-lettering and it
gets too cartoony, too up and down, too jumbled, it starts to look very juvenile, like a kid’s
design or something like that. So, I wanted to stay away from that, but I still wanted
to have the rough look. So, that’s it. Thanks for watching and be
sure to check out the links below the video to find out where you can get a free download
of Graphic Design Launch Kit.

5 Tips for an effective logo design

5 Tips for an effective logo design


– Hey, folks. I hope you’re well. Today, I want to talk about a few things that will help you to develop a much more effective logo. Now, this video will be
useful for business owners who want to hire a designer, and also for any young designers out there who are looking to improve on their logo design process. Let’s get right in and
run through those tips. My first tip for you is to make sure that you spend enough time
researching the industry that you’re creating the logo for. Study the competition in that industry. What are they doing well? Also, what are they doing not so well? Are there opportunities in there for you to stand above the competition? Maybe everyone’s using
the same typography, or the same colour scheme. You could buck that trend, and
go for something different. If you are going to go
down that route, though, you need to make sure that the colours and typography
that you choose are suitable. For example, blue is
probably not a great colour to choose for someone
in the food industry. You probably don’t want to choose that quirky typeface for anyone who is in the financial industry. By spending plenty of
time doing your research, you’ll get a better understanding of where your logo needs to be placed within that specific industry. Without doing any research, or with doing just minimal amounts, you could find that you end up creating a logo which just merges in with everyone else’s, or even worse, that really doesn’t suit
that industry at all, and therefore, the logo
becomes completely ineffective. I mentioned that you can
make your logo stand out by the use of colour and typography. There are many businesses out there that don’t use a symbol
as part of their logo. There is no design law out there that says you must have a symbol as part of your logo design. You can have a simple wordmark as well. A symbol can really
help with memorability, but you can also do the same with great colour choice
and great typography. The key here, though,
is to fully understand the meaning of colour, and to understand when a typeface is appropriate. For example, colours
can have both negative and positive aspects to them. Take yellow, for example. In Japan, it represents
bravery, wealth, and refinement, whereas, in France, it
can represent weakness. In China, it represents pornography. You can see, not only do colours have different meanings in different cultures. You want to make doubly sure that you choose the right colour
for the right culture, and also the right industry. When it comes to typography, that can also have specific
moods and feelings. There’s less chance of any culture shock, but for example, if you
were designing a logo for a lawyer or a funeral director, you really don’t want to
choose a quirky typeface for that specific set of industries. It just wouldn’t fit, and it would give completely the wrong impression of the business. Take the time to learn
about colour and typography. It will really help you when it comes to creating
your logo designs, and it could also stop you from having an international incident. The next tip is to spend time sketching before you move into your design
software on your computer. It can be very tempting to just open up your design software and jump straight into creating
that final logo design. The problem is, you may have access to an array of design tools, but without a solidly thought
out and explored concept, your logo is potentially
going to be very weak. You should spend a good amount of time exploring your concept designs. Ideally, you want to sketch on paper, or as I do, on a tablet, something that lets your
mind quickly explore ideas and iterations around a design. You want it to be free-flowing. You don’t want to be thinking
too hard about those designs. If you get too caught up
in refining and tweaking, you’re going to loose the
momentum of creativity. By pushing forward quickly, the bad ideas can quickly
be pushed to the side, and you can develop and hone in on the concepts which are probably going to be the more successful. Sketching allows freedom of expression, and lets our imaginations run free. Again, like jumping into your
computer design software, don’t be tempted to just
sit and work on one concept. The whole point of sketching is to explore every
possible avenue you can based around the industry
you’re designing the logo for. What I find useful is creating a mind map, selecting words which are related to the industry that I’m trying
to design the logo for. I can then pick and
choose, and combine words which will then bring in
visual imagery into my head, which I will then sketch
quickly onto the page, and see where that takes me. It can open up some really, really great creative avenues for you. I also know that it takes me at least half an hour before I really get into the flow of exploring the more unusual concept designs. The first half hour,
you’ll be producing designs which are derivative, and expected, and what probably 99% of other companies in that industry have. What you want is to create
something unique for your client, and to create something
unique takes time and effort. Make sure you push through that
first half an hour barrier, and give yourself the time to let your imagination truly free up, and see goals, and see options that may not have been
there right at the start. In combination with your earlier research, sketching is one of the
most important parts of the entire logo design process. Now, the next thing is to
try and avoid design trends. I know, I get tempted myself. You see something, and it’s pretty cool, a lot of the big designers are using it, but when it comes to logo design, you really want to stay
away from design trends because they come and go very quickly. Sure, use a design trend in your marketing or branding materials. Those things have a short lifespan. Your logo is going to be
around for a long time. If you decide to create your logo on the back of a current design trend, guaranteed, in a year or two, your logo is suddenly
going to look very dated. Rather than ride the trend wave, what you need to do is
try and design something that can become iconic for the brand. I say, “become iconic,” because no logo is iconic on the day that it is born. It takes time, and I’m talking years, to imbue that logo with meaning, story, and emotion. To help that journey, you want to create a logo which is simple,
memorable, and versatile. Think of some of the
major brands in the world. When they created their logo at first, it didn’t mean anything to anyone. The Nike swoosh, it
represents athleticism, sportsmanship, high quality. It’s just a tick. The Apple logo is a call to
many to think differently. It represents craftsmanship
and cutting edge technology. It’s a symbol of an apple. It took years of storytelling, living their vision, and
delivering on their brand promises to imbue these two simple shapes with all of that meaning. Strip that meaning away, though, and you’re still left with a versatile, simple, and memorable logo design. A good test to see if your logo is simple, versatile, and memorable is to ask someone to draw it from memory. It’s easy to do complicated. It’s hard to do simple. My last tip is split into two, and depends on which side
of the fence you’re on, the designer side or the client side. If you’re the designer, it’s your task to take control of the project. The client has hired you because you’re the professional, and therefore, you should take the lead. Don’t let them push you
down avenues and routes that really aren’t right for the brand. In many instances, the client will try and get you to create a design which they personally like. That’s not the focus of the project. The focus of the project
is to create a logo design that works for the brand,
not for the client. If the client questions your motives and the route for the logo, you should be able to back this up by showing them all of the research that you carried out at the
beginning of the project to show them that the route you’re taking is the correct one for the brand at hand. Now, if you’re the client, you’ve hired a professional designer to create a great logo for you. You need to let go of the reins somewhat, and let the designer
get on with their job. But how do you know if you
can trust that designer? Well, before you hire someone, ask them about their logo design process. What are the stages that they go through? How long do they spend on research? How long do they spend on sketching? Look at testimonials. Even contact some of
their previous clients, and speak to them one-on-one. Find out the experience they had of working with that designer. If you’re going to invest money into creating a logo design which is to last your business for years, you want to make sure that you’re going to be working with a designer that’s going to produce the
best possible result for you. In order for a designer to do that, they should be carrying out
a certain amount of research, and a lot of sketching. Some designers will carry out two to three weeks of research alone into the client’s industry before they even put pencil to paper. I’m one of those. You’ll also need to separate yourself from your likes and dislikes. You may not like orange. You may not like triangles, but if the research is showing that your target audience are
attracted to those elements, which means they will be
attracted to your brand, which will turn them into customers, you need to let go of some of the things that you hold dear in order to allow your brand to be successful. It can be really tough to put
aside your likes and dislikes, but you have to have trust
in the design process. By putting in the effort and understanding the
core elements of design, you’re going to end up with
a truly successful logo that will last for years,
and more importantly, become recognisable and
memorable to your audience. Thanks for watching this video. I hope you’ve learned from it. If you have, give it a thumbs up. Subscribe to the channel,
if you haven’t already, and when you have, make sure you click on that little bell icon to get notified whenever I release a new video. Until I see you next time, folks, stay creative.

Web Development – CSS3 Transform, Transition and Animation

Web Development – CSS3 Transform, Transition and Animation


Web Development CSS3 Transform, Transition and Animation Don’t Forget To Subscribe Our Channel Don’t Forget To Subscribe Our Channel Don’t Forget To Subscribe Our Channel Don’t Forget To Subscribe Our Channel Don’t Forget To Subscribe Our Channel Don’t Forget To Subscribe Our Channel Don’t Forget To Subscribe Our Channel Don’t Forget To Subscribe Our Channel Don’t Forget To Subscribe Our Channel Don’t Forget To Subscribe Our Channel Don’t Forget To Subscribe Our Channel Don’t Forget To Subscribe Our Channel Don’t Forget To Subscribe Our Channel Don’t Forget To Subscribe Our Channel Don’t Forget To Subscribe Our Channel Don’t Forget To Subscribe Our Channel Don’t Forget To Subscribe Our Channel Don’t Forget To Subscribe Our Channel Don’t Forget To Subscribe Our Channel Thanks For Watching

Photoshop CS Tutorial#Professional logo Design in Bangla

Photoshop CS Tutorial#Professional logo Design in Bangla


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Gradients in logo design – Pros and cons

Gradients in logo design – Pros and cons


– Hey folks and welcome along to this latest video from myself. Today we’re going to be
talking about gradients in logo design, and more specifically, the potential issues
that you may come across when using gradients. So what we’re going to do is
we’re going to have a look on the computer at some
of those potential issues, but also some workarounds
that will help you when it comes to reproducing your logo where you may have a limited colour option or a specific way of reproducing your logo that doesn’t allow for gradients. So let’s go over. Okay, so here we are. I’ve got three examples
of some stock logo designs that use gradients, and they
use gradients in such a way that they actually add
quite a lot to the design. So on the first one we’ve
got this M shape here, and we can see that we’ve got the gradient on the green parts and on the purple parts which gives that sense of depth as if it’s one piece of ribbon that goes from start to finish creating the M shape. In the middle we’ve got this
water droplet egg-type shape, and we can see here
that the gradient gives a real sense of depth, as
if there’s been some pieces carved out of it and gives it that 3D three-dimensional look. And then over here on
the right we’ve got this U shape, but it kind of
almost has that effect where it bends over, so it looks like it could actually clip
on top of something. So the gradient here is giving
it that 3D effect as well. And that’s one of the
common things that gradients are used for, is to create
a three-dimensional look to the logo design. So what I’m going to do
is I’m going to go through a few different things here
and show you the effect of limiting colour will
have on the gradients. So the first one that I want to look at is how will removing the colour
and only having grey scale. If you’re only allowed to
use grey scale, what affect would that have on the gradient shapes. So we could see here, I’m going
to move this out of the way, that it doesn’t affect the 3D look of the logos at all really. It just takes away the colour. So we still got that
depth to each of these. Okay so that’s grey scale. What if we needed to do it in
one colour, one flat colour. Let’s take a look at how that would look. So here we have the same logos. I can highlight them here. I can see that the shapes
are all still there. But by only having one colour,
we lose all of that depth. It doesn’t have to be black. We could choose any colour we want. Let’s just call let’s
just say bright pink. We still have that flatness there. Now in the first two, we
still have the M shape. The M’s still visible. In the other one we still have the egg or the water droplet shape. But over on this right-hand
side, we really lose everything of that design. You could still see it’s a U, but there’s no presence to it anymore. We’ve lost all of the
design elements really to it by going flat colour. So what can you do in that situation? Well, one thing you could do is you could convert to outlines and
just work with outlines. So what would that look like? Basically what you could
do is you could do this, and you could create outline versions, so that you’ve still got the shapes there. You don’t have the, there’s a slight kind of faux
3D, they are like a fake 3D, especially if you’ve already
seen the full-color versions, you’d be able to kind
of in your head remember what it looked like in 3D, so
that the lines do help that. But if you’d maybe not
seen the gradient versions, you may struggle to kind
of think what they’re like. But it does allow this
one over here on the right to look more like its
full-color gradient version as opposed to where we
have it in the one colour and it just loses absolutely everything. So where would you probably
want to use the outline version? Well, if you’re maybe getting
something laser etched, or maybe you’re having some
vinyl cut, some flat vinyl. You could, of course you
could have the vinyl printed. So you could print that
gradient and have it cut. But if you want to use
just sort of off-the-shelf flat-color vinyl, then you could do that. Also laser etching could
work there as well. If you want to have something laser etched you could do that or maybe embroidery. You can do some gradient with embroidery. It’s not the best, and that’s because you have a limited colour pallette, and I want to go over that next. And what we need to do is we need to switch over to Photoshop. Let me show what happens when you have a limited number of colours. And I don’t just mean
limited as in one colour like we looked at earlier,
but let’s just say you only have 32-color pallette or 16, how does that affect your gradient logo? So one quick way to do that in Photoshop is to use save-for-web option. So right now we won’t save as a PNG file. And right now we have 256 colours. So it’s looking pretty good. I can just make out some
slight banding on the gradients but it’s really not noticeable. I think most people wouldn’t see that. What happens though if we
go down to 128 colours? You can see now that the
banding is really starting to come into play. And that would come into play if you are saving your images for
web, and you really want to optimise your images so that they’re the smallest size possible. By optimising you tend
to be taking colours out and that will result in banding
as you see here on screen. So what we can do is we
can actually in Photoshop we can play around with
some of the presets. And if we add a diffusion, we can get rid of that
banding a little bit. We could try pattern. Pattern layer has got rid
of a lot of the banding and we’re still only at 128 colours so that’s worked really well. We could try noise and
noise is working out well. There is also, we’re quite lucky on 128. But what if we go down to 64? At 64 and noise you can
start to see it’s really getting a bit grainy. Let’s go down to 32. 32 we can see here that it’s
really not looking the best, to no dither at all, if we get into some
major, major banding here, I actually quite, I
quite like that effect, but it’s not what we’re
looking for when you compare it to how the logo should look. So as you get down to sort
of 16, get down to eight, you really start to lose
those gradients altogether. So as you can see, with
gradients you really need to think whether
your logo A, needs to have that gradient in the first place, or can you do a design or create a design that doesn’t rely on a gradient for depth or any special effects. So bear that in mind if you’re designing your logo yourself if you’re a designer, or if you’re a business
owner watching this video and you’re thinking about
having a logo with a gradient, you really need to
discuss it quite closely with your designer to
make sure that your logo is still adaptable, ’cause
it’s one of the core things that a logo has to be. It has to be adaptable
and suitable for uses in all sorts of places from single colour through to full colour. Well there you have it. There are some pros and cons to having gradients in your logo. This will help you make a clear decision on whether you would like
to include a gradient in your next logo design,
or you’d like to maybe play it a bit safer and just
work with some flat colour. I hope you found it useful. If you have, please
subscribe to my channel. Give this video a like and don’t forget to press that bell icon,
and you’ll be notified whenever I release a new video. So until I see you next
time, stay creative folks.