Design-it-Yourself Graphic Workshop

PART 1: STEP-BY-STEP DESIGN

Use the typeface as is

Sometimes a typeface is so well designed

that you are better using it as is, without

any modifications. What makes it work as a

logo is the addition of a second, comple-

mentary typeface—typically a complex or

bold face for the main expression,

“Sampler River,” and a simpler face for the

supportive expression, “INN.”

Fit the words together

Another simple technique is to set all the

words in one or two typefaces and size

each word to reflect its importance. The

words are then fitted together like puzzle

pieces. Making one word capitals and

lowercase and another all caps adds a

second level of emphasis and visual

interest.

Use contrast

You can also use the differences between

faces to create an interesting, all-type logo.

Try using the contrast between intricate

and simple, bold and light, condensed and

extended, serif and sans serif, and so on. (Serif

letters have “feet,” sans serif do not. See page

37 for examples.)

What you need

Draw programs such as Adobe Illustrator,

CorelDRAW, and Macromedia FreeHand allow you to

covert type to line art. They provide powerful tools

for fine-tuning size, adjusting alignment, adding

color, distorting shapes, and so on.

STEP 8

Choose a Technique

All-Type Logos

A typeface is like a language—some

have a slight accent in a familiar tongue;

others coin a dialect all their own.

Type is the designer’s secret weapon.

Your organization’s name set in one or

two carefully chosen typefaces is a fast,

easy solution to creating a professional-

looking logo. It does not, of course, show

what your organization does, but if you

choose the typefaces carefully, the

finished logo provides a distinct

personality.

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STEP 8: CHOOSE A TECHNIQUE/ALL-TYPE LOGOS

It is critically important to pay close

attention to the spacing between words

and individual letters. Though most

computer fonts compensate for the

spacing (kerning)

between letters,

some do not do it

well. For example,

at the top (left) is

the word “alignment” as it was typed.

Below it is a version that shows the same

word after the spacing has been tight-

ened. You can see where to add and

subtract space by squinting at the letters

and by equalizing the space between the

shapes.

As with people, personality is in the

eye of the beholder. To the right are a few

faces and one opinion of the qualities

they represent.

SOURCES Typefaces: “River” Bickham Script, “INN”

Copperplate Gothic 33BC, “Forge” Franklin Gothic

Heavy, “SAMPLER…Fitness” Frutiger Light, Adobe

Systems, Inc., 800-682-3623, www.adobe.com/type;

“SPA” Giza-SevenSeven, Font Bureau, 617-423-8770,

www.fontbureau.com.

SOURCES Typefaces: Raleigh Gothic, Bodega Sans Light,

Cachet Bold, Charlemagne, Galahad, AGFA/Monotype,

888-988-2432, 978-658-0200, www.agfamonotype.com;

Century Expanded, Impact, Myriad Multiple Master 830BL

700SE, Frutiger 95 Ultra Black, Bickham Script, Postino,

Racer, Caslon, Adobe Systems, Inc., 800-682-3623,

www.adobe.com/type; Giza-SevenSeven, Font Bureau,

617-423-8770, www.fontbureau.com.

JOb : 04-35501 Title : DIY : Letter head & Logo

(Ps Overprint,MxB) (A)175# Dtp:116 Pg : 30-31

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