1. & LOGO D E S I G N typography

2. PART 1 Review of The Basics

3. Font Families

5. SANS SERIF

6. OLD STYLE

11. Contrast or Conflict? o CONTRAST: Type that contrasts must contrast dramatically. o CONFLICT: Type that conflicts is too similar (not good).

12. AVOID

13. 5 Principles Designers Know o Words carry emotional impact. o Letter forms carry emotional impact. o The shape and design of a font impacts how we use the typeface. o Social connotations are connected to letter forms and typography. o Social contexts affect the way type is used and understood.

14. Leading, Tracking, Kerning

15. Illustrator Photoshop

16. Leading Leading is the space between baselines of type. Here’s how the term originated (to help you remember): In the olden days, lead had to be added to increase the vertical space when laying out type. This is normal leading for this size and family of font. Sans serif type usually needs a little wider leading to be legible than serif type does. This is wide leading, used for dramatic effect. Short blocks of text can have increased leading Like this. Often wide leading Is found in text that sits on top of color blocks..

17. Illustrator: Leading Photoshop: Leading

18. Tracking T r a c k I n g I s t h e c o n s I s t e n t s p a c I n g b e t w e e n l e t t e r s t h r o u g h o u t l I n e s o f t y p e. T h I s i s a n e x a m p l e o f i n c r e a s e d t r a c k I n g. This is normal tracking. When you loosen your tracking, its also a good idea to increase leading.

19. Illustrator: Tracking Photoshop: Tracking

20. Kerning Kerning is the space between letter pairs. All type 20 points or higher needs to be hand kerned. To adjust kerning in an Adobe program, place cursor between letters, use left hand to hold down Shift + Alt (PC) and use right hand to tap left arrow key. Tight kerning is preferred to loose kerning, generally.

21. Difference Between Tracking and Kerning Kerning is space between letter pairs that has to be adjusted to correct optical illusions of space (see below). Tracking is space between all letters in a line of type. It can be increased or decreased for dramatic effect (see above).

22. Questions Designers Always Ask oWhat font and why? oWhat point size and why? oWhat color and why? oWhat size leading, tracking, kerning and why?

23. PART 2 Logo Design

24. Type Design Relies on: o Type Contrast (create BIG differences in size, weight, and/or structure) o Bold, crisp graphics (in vector)

25. What is a logo?

26. oA logo is a graphic representation of a company name, trademark, abbreviation, etc., often uniquely designed for ready recognition.

27. A logo can be type only OR type plus another graphic symbol.

28. Logos are “sacred ground.”

29. Be careful what you communicate... accidentally.

31. The SLAMR Formula Simple Legible Appropriate Memorable Reproducible (and Reducible)

32. Simple o The most recognized logos in the world are very simple.

33. Common Techniques for Simplicity Type Only – type as graphic shapes (“letter forms”)

34. Common Techniques for Simplicity Abstraction – stays graphically bold

35. Common Techniques for Simplicity Illustration – less common, more complex, but still graphically bold

36. Common Techniques for Simplicity When full illustrations are used, they’re usually used as an option—sometimes the type alone is used, so it must be able to stand alone.

37. Legible o Must be readable if reduced to ¼ “ o PROBLEM EXAMPLE. Problem with logos that have large images and relatively small type is that they’re not legible when reduced.

38. Appropriate

39. Their more current logo

40. Memorable o Simple logos must still be memorable - unique o In this case, the type has been altered uniquely.

41. Reproducible Must be reproducible in black and white. - Logo on the left turns to muddy grays. - Logo on right stays strong.

42. Or create a B&W version as well

43. Final Concepts

44. Unity: Letter Forms are like Puzzle Pieces This type fits together well with an extended “g.” But it does not reproduce well in black and white.

45. Type Elements Are Always Puzzle Pieces

46. Kerning, Leading, Tracking Red and blue next to each other creates painful vibration on the eye. Solution: Separate them with white.

47. What’s wrong with this logo?

48. - Red and blue next to each other - Simple? No - Legible? No - Appropriate? Maybe - Memorable? No - Reproducible in black and white? No

49. Muddy BW Reproduction

50. What’s wrong with these? Instituto de Estudos Orientais

51. QUESTIONS? © 2007 Juliet Davis