When I was satisfied with the chosen logo I printed enlarged versions to work on to produce the final drawn logos which needs to be detailed and of a high quality so the vectors are accurate. Some logos needed to be redrawn a couple of times to get the right composition, and Lavazza was split between two versions so refined both to see which worked better.
From these enlarged detail drawings I was able to transfer the scans to Illustrator using the pen tool to draw around the letterforms accurately. Some minor changes were made to elements of each logo, for example, the cross bar on the t in Starbucks below. I was unsure of it's position in the final sketch but saved time by altering it digitally to test whether it was more balanced above the 'a', in line with the top curve or running through the counter. This has showed me that digital applications are a big part of hand rendered type and lettering today in terms of speed of production and useful when making several minor changes.
Some logos, including Starbucks, have multiple versions of their logo where the text sits at the side and underneath the image, so I tested both ways to see which was more balanced with the new version of the text logo.
The original sketch I made for Airbnb had a slightly thinner line weight than the logo after I'd vectorised it, so increasing the stroke weight until it matched the Belo (Airbnb brand symbol) made the lettering more fitting as a complete logo. This is another adjustment that digital programs are capable of that makes technology an effective tool for assisting hand lettering creation in the modern day.
The LUSH logo was written with a brush marker and although the change in opacity on the strokes of each letterform was a relevant feature to comply with the handmade element, to work well with the existing brand colours I felt blocking out the shapes was more successful because it still maintains the stroke motion and irregularities only apparent in hand lettering.
Similarly, I tested the Scotch logo as a vector shape by using the outline of the tape
Later I created an uppercase S to match the original Scotch logo which balanced the overall aesthetic by reducing the negative space in the top left, keeping the contrast between colour even across the rectangle. I decided against the block colour in the end, and reserved the texture created by the tape against paper. It also appears darker in places where the tape overlaps, reinforcing the idea of security and attachment in the brand.
No comments:
Post a Comment