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 designers secret weapon.
Your organizations 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.
28
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
29

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