Here are some tips for you to have a more professional looking logo:
1. Think about the message you're sending with your logo. What is your logo saying about you as a designer? How do you want to "sell" yourself professionally?
2. Search for references [logos] which were also created with initials [or just 2 or 3 letters]. Research is a very important part of the designer's work.
3. Sketch. Sketch. Sketch. It will help you to free the ideas on your mind and make your logo more personal.
4. Try to keep it simple but smart. You want people to be able to easily recognize and understand your logo. Sometimes less is more.
5. Try not to use more than 2 different types of fonts.
6. Look for a type that says something about you. Serif types tend to say "traditional" and "elegant". Sans serif types tend to say "more contemporary", "more informal". Cursive types tend to say "spontaneous", "personal interference".
7. Never distort a typeface. Always use the SHIFT key to maintain proportions when changing its size in Illustrator or Photoshop.
8. You can create your own typeface by converting the chosen one to outline in Illustrator (CTRL + SHIFT + O).
9. Whether you can use Illustrator well or not, don't let the computer stop or hinder your creative mind.
10. Don't give up and remember, push yourself further, always! =)
Monday, August 30, 2010
Project#01_Personal logo
PERSONAL LOGO
Due date: September 16
From the signature letterforms and seals os ancient Mesopotamia to the graffiti forms found in our contemporary society, people and groups have used graphic symbols and shapes as a way of marking their documents and their territory or kingdoms. Each unique and personal.
A successful MARK is a distinctive combination of form. Its stylization should be sophisticated and clean with respect to its overall presence and purpose. It should function at almost any size or scale. Take a long look at the type-driven marks for large corporations as well as some of some indenpendet designer logos. Now take another look at the marks and logos for small restaurants and retail stores. How do they reflect not only their ideology but also their audience?
THE SPECIFICS
It must be built from your initials (all two or three).
How will potential clients interpret your logo?
What will it suggest about yourself? This isreally a figure/ground relationship problem, only in a more abstract way.
*Examine how letterforms connect and interact. Work only in black and white for now. Be aware that fine lines and gradients reproduce poorly at small sizes. Also consider a drawn or implied containment for increased stability.
RESTRICTIONS
Do not start this on your computer. Instead, start by doing some small drawings (thumbnails) and collage type found in magazines and newspaper. It might also be a tracing in pencil first and then fill it in using india ink or a black marker. You should begin by experimenting with any and every letterform you can get your hands on. You may wish to combine typefaces or abstract them somehow.
You will need to bring to class 25 thumbnails which might later be developed into your final image. It might be necessary to narrow down those 25 into 5 and do additional 25 of each. Whatever it takes to make the image strong, personal and as unique as you are as an artist. Leave no stone (or typeface) unturned.
PRESENTATION
Overall final presentation size: Spraymount/adhere your print output and apply to a 12"x18" board (if you want to use 11"x17" boards use them in all of your projects. Remember to keep things consistent).
Your print should contain a BW and a color version of your logo.
Due date: September 16
From the signature letterforms and seals os ancient Mesopotamia to the graffiti forms found in our contemporary society, people and groups have used graphic symbols and shapes as a way of marking their documents and their territory or kingdoms. Each unique and personal.
A successful MARK is a distinctive combination of form. Its stylization should be sophisticated and clean with respect to its overall presence and purpose. It should function at almost any size or scale. Take a long look at the type-driven marks for large corporations as well as some of some indenpendet designer logos. Now take another look at the marks and logos for small restaurants and retail stores. How do they reflect not only their ideology but also their audience?
THE SPECIFICS
It must be built from your initials (all two or three).
How will potential clients interpret your logo?
What will it suggest about yourself? This isreally a figure/ground relationship problem, only in a more abstract way.
*Examine how letterforms connect and interact. Work only in black and white for now. Be aware that fine lines and gradients reproduce poorly at small sizes. Also consider a drawn or implied containment for increased stability.
RESTRICTIONS
Do not start this on your computer. Instead, start by doing some small drawings (thumbnails) and collage type found in magazines and newspaper. It might also be a tracing in pencil first and then fill it in using india ink or a black marker. You should begin by experimenting with any and every letterform you can get your hands on. You may wish to combine typefaces or abstract them somehow.
You will need to bring to class 25 thumbnails which might later be developed into your final image. It might be necessary to narrow down those 25 into 5 and do additional 25 of each. Whatever it takes to make the image strong, personal and as unique as you are as an artist. Leave no stone (or typeface) unturned.
PRESENTATION
Overall final presentation size: Spraymount/adhere your print output and apply to a 12"x18" board (if you want to use 11"x17" boards use them in all of your projects. Remember to keep things consistent).
Your print should contain a BW and a color version of your logo.
Keep it clean. No oversprays, smudges or stray marks. Craftsmanship is extremely important.
.
Welcome class!
Hey guys!
It was really nice to meet you all last Wednesday. I hope we all have a productive and fun semester.
Best of all,
Clarissa
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