You created the ring?  If you did, then you are done.  Not sure what you mean.  I would create one triangle ( use the image as a template )  >  then use the reflect / rotate - copy to create a second triangle  >  repeat for the third triangle  >  Group the three triangles  >  rotate - copy the three for another set ( butt them together )  > repeat for the third set of three and Group all three sets once assembled  > Reflect - copy the three sets for the opposite side, then select all > Group.  Just a note of caution.  Whenever you find something on the internet, it does ot automatically become yours.  Even in training, you should get permission from the originator to recreate their artwork for personal training purposes.  Believe it or not, you recreating something is copyright infringement.  To be safe, pay a licensing fee for wherever you found the artwork or, at a minimum, get permission. ... View more

Each one of your samples are significantly different.  Each one would have its own approach.  Given that, you have a few different options at your disposal.  One is to create a brush using a segment of the border.  Then, create a rounded rectangle and apply the brush to that.  Those samples are each custom artwork.  I would print each one as large as you can using whatever printer you have available.  This will give you a chance to measure corner radius diameters to be applied throughout.  In your first sample. I would create the outside corner radius using the ellipse tool ( say one inch ) at around 12pt stroke, no fill.  Discard top anchor point and right anchor point, should leave you with a corner.  Select that segment and use Offset Path > experiement until you get the spacing you want > repeat for the third segment.  When you have the three corner segments done, select all > covert to paths.  You will now duplicate the three segments for each corner of your design ( if necessary ).  You can now extend the ends of the corner to reach its destination.  So, I have given you two ways to achieve the first sample: one using a brush, one creating the corner manually.  Again, each sample is considerably different.  You can also create a tracing Layer to help follow along the original artwork ( Place the image or artwork on a Layer, then create another Layer to use for your tracing ( artwork ). ... View more

"intended for laser printers or inkjet printers, since those are RGB devices."   They are?  You won't find they have 3 color cartridges 1.) R, 1.) G, 1.) B.  Terminology may be a bit off.  When you work in a "closed loop" and your output device is a "photographic" RGB printer ( Canon, HP, Epson ), then you can send an RGB file to it ( may be advantageous in type of color you are expecting ).  Most printers can output CMYK, some better than others ( photographic vs. proofers ).  You fail to mention anything about your file other than it is vector.  So, without knowing more, it is a little difficult to reconnend anything specific.  Monika mentions Black output, which could be a concern.  So, in short, it depends on the final output device and the file itself. ... View more

Okay, first.  Illustrator has always been both an RGB and a CMYK based program.  It is my personal opinion that you really cannot control the way other people see color on their specific monitor.  Add to that there are many web browsers that do not use color management.  Here's my recommendation.  Create separate files ( i.e., 1.) spot color [ Pantone }; 2.) CMYK ( using color work spaces already established ); and 3.) RGB ( using numbers already established ).  That will mean creating swatches for each file.  Upon saving for web, apply sRGB as the profile on the #3 file ( which now becomes 3A.  The matrix has already been established by your brand manager who has dictated how color will be interpreted.  You are in a good position because most of the work space parameters have already been set and you have to honor them.  The problem is you are preparing files for an open-loop scenario ( web ).  Beating yourself up to get an exact match is almost futile, but all part of the discipline. ... View more

Let me take a stab at this...   1. Is either format (shape or outlines) linked to a font? In other words, can I publish it online without bothering with CSS or embedded fonts?   No.  Once you convert the link is broken.  Always convert on a "copy" of the original so you retain "live" text should you ever need to go back and edit. 2. Will the bloated file size I experience with beveled text disappear if I change the text to a shape or outlines, then apply the same special effect? No.  But, you can "Expand" the appearance that may reduce the file size.  Are you planning on saving the file as .svg? 3. Are there any other non-text formats I should be aware of?   Not that I am aware of. Thanks.   You're welcome.  Just a side note.  There are what are referred to as "web fonts".  CSS may be able to embed a web font, so it loads along with the rest of your web resources. ... View more

Try Select All > Pathfinder > Divide.  Then, delete everything except that line segment ( on a copy of course ). ... View more

Always make a copy of the original file ( Save As > rename ).  This will allow you to make changes and still have the original file intact.  Your newly renamed file becomes your logo file.  Delete the Layers that hold the previous text elements ( or delete the text itself ).  What I usually do is print the original file and spec the type in that print.  You will, over time, build your own font book ( if you have not done so yet ) for reference.  It is always a good idea to have a reference to your available fonts so that you can spec type in a design such as yours.  I myself use a type ruler to get the sizes I need, but in your case it will probably be try as you go.  For instance, the monogram font could be something like 72pt Times Bold; HS ( horizontal scale ) 85%; Tracking 120%.  These are terms you will become accustomed to seeing on a daily basis.  So, basicly you want to use the Type tool, click somewhere close to where you want the type to land, and type H.M. ( I would not use any placeholder text ).  In your Character palette, select Times Bold ( you can also set your HS and Tracking in the Character palette ).  Do these steps for the remaining text elements.  When done, save another copy of your logo file and convert the text you just created to "Outlines" ( always keep a copy of the file with "live" text just in case you have to change or edit anything in the future, you have the live version intact ).  I notice "HALEY MOORE FOUNDATION" is considerably longer than "LUXURY BRAND" 12 characters vs. 20.  "LB" looks as though it has been or is a wide font.  There are things you can do to sort of match within reason.  But, if that font was set without any modification in the HS, then you could condense it to fit ( HS @ 85%, 75%, 66%, etc., etc. ).  There are limits to how much you can condense.  This is where your design sense will become very useful in solving the problem.  Good luck.  I understand you are just starting out, so let me know if you have any other questions. ... View more

"trying to re-create a new logo"... usually is done in reverse of what you are doing RGB-to-CMYK.  In reality, a new logo consists of branding and establishing a brand identity.  Maybe I am getting ahead of myself.  Typically, your logo would start with "spot color(s)".  Pantone for instance.  As Monika has suggested, you would ( or I would ) refer to a Pantone Solid-to-Process print guide book.  Your color on my monitor looks like a Pantone 357C to me.  Given that, my eyes are different than yours.  Add to that my monitor is different than yours.  But lets just say your client likes what I have come up with ( 357C ).  In Illustrator, you apply that color to your artwork for the print file because now you have an established and approved color.  What a lot of designers ad web designers over look is this standard approach to logo design.  Logo design is not or should not involve RGB or CMYK color as a first step.  I used Photoshop's Color Picker to find, under my Color Settings, the color values consisted of 51R - 102G - 51B, 95C - 31M - 100Y - 20K, and HEX @ 336633.  So, all of these numbers originate from the established Pantone 357C.  The purpose of starting with the spot color is consistency.  The print vendors, sign makers, etc., all will refer to the original 357C.  My only advice is if you like a particular RGB as seen on your screen, use Photoshop's Color Picker to find the closest Pantone color.  Photoshop will also give you the CMYK and HEX color info, but be forwarned, the visual representation of color on your monitor will not be an accurate representation of the actual color.  As Monika has suggested, the best way to determine a color is a reflective color from a printed color swatchbook ( i.e., Pantone swatchbook ). ... View more

My only caution is that you may not be able to protect your artwork because you will not be able to claim you created an "original" in your application for copyright protection.  Now, as previously stated, their might be language in Illustrator's Use Agreement ( because it is a rental app ) that has limited use or exclusive use terminology somewhere.  As far as I know, you have access to the Brush libraries because you have paid into the licensing of the product ( i.e., Illustrator ).  I am not sure your question relates to Adobe's copyright protection or your own copyright protection using their Brushes.  Read their licensing agreement, it probably has terminology related to Symbols, Brushes, etc. ... View more