This document provides an introduction to typography and logo design. It discusses the history of typography and differences between serif and sans serif typefaces. It also covers branding, definitions related to type including kerning and leading, and examples of logos. The document recommends applying knowledge of typography and logo design principles to evaluation tasks for a Unit 10 graphics project, including developing a logo and incorporating typography appropriately.
The Ultimate Guide to Typography & Logos. In which we discuss font use in identity design PLUS 30 type-related terms and concepts you really should know before designing a logo.
Almost every logo will feature a type component, generally the company name – perhaps a tagline or strapline – and this part of a logo is as important as the icon or symbol it sits under, on top or around. Selecting an appropriate typeface is every bit as critical to the success of any particular design, though this step is often viewed by designers and clients as a “throwaway” – a final step where some letters are slapped ad hoc on top of the graphic centerpiece. Trouble is, in this era of social media and adaptable logos, there will be times when it’s necessary for the logotype to stand on its own, and it behooves us to pay as much attention to the type portion.
Logopalooza 3 - The Art of Brand & Logos. Digital design magazine.The Logo Factory Inc.
Digital magazine celebrating the art of branding and logo design. Case studies, examples, tech tips logo trivia and more. Volume 3 in a series. A relaunch of an earlier digital magazine. 32 pages of logo goodness.
Concept
After reading the questionnaire and browsing the competitor’s website, it is understood that we are not talking about ordinary computers. These are custom-made powerful machines built depending on the client’s specific needs. The esthetic aspect is important but what makes these computers unique are the internal components, processor, memory, motherboard, etc. in other words, “THE FIRE IS INSIDE”
Shape
An illustration of a flame of fire could result in an overused idea with a cheap appearance. We found the right solution to communicate this idea by using the initials of the brand’s name. We placed the letter C under de letter W turned 90 grades. The final result is a simple shape where the negative space represents a flame. This concept supports the tagline “THE FIRE IS INSIDE”
Typography
We are using a sans serif font on the name and the icon. This is the perfect style to communicate the client’s values: Bold, exciting modern pure energy, and fun
Color
The colors selected were orange and black. Orange to represent the fire and the black to achieve a better definition of the shape
Serif or Sans Serif typeface? Which do you prefer? This infographic illustrates the difference between Serif and Sans Serif and when and how these typefaces should be used.
The Ultimate Guide to Typography & Logos. In which we discuss font use in identity design PLUS 30 type-related terms and concepts you really should know before designing a logo.
Almost every logo will feature a type component, generally the company name – perhaps a tagline or strapline – and this part of a logo is as important as the icon or symbol it sits under, on top or around. Selecting an appropriate typeface is every bit as critical to the success of any particular design, though this step is often viewed by designers and clients as a “throwaway” – a final step where some letters are slapped ad hoc on top of the graphic centerpiece. Trouble is, in this era of social media and adaptable logos, there will be times when it’s necessary for the logotype to stand on its own, and it behooves us to pay as much attention to the type portion.
Logopalooza 3 - The Art of Brand & Logos. Digital design magazine.The Logo Factory Inc.
Digital magazine celebrating the art of branding and logo design. Case studies, examples, tech tips logo trivia and more. Volume 3 in a series. A relaunch of an earlier digital magazine. 32 pages of logo goodness.
Concept
After reading the questionnaire and browsing the competitor’s website, it is understood that we are not talking about ordinary computers. These are custom-made powerful machines built depending on the client’s specific needs. The esthetic aspect is important but what makes these computers unique are the internal components, processor, memory, motherboard, etc. in other words, “THE FIRE IS INSIDE”
Shape
An illustration of a flame of fire could result in an overused idea with a cheap appearance. We found the right solution to communicate this idea by using the initials of the brand’s name. We placed the letter C under de letter W turned 90 grades. The final result is a simple shape where the negative space represents a flame. This concept supports the tagline “THE FIRE IS INSIDE”
Typography
We are using a sans serif font on the name and the icon. This is the perfect style to communicate the client’s values: Bold, exciting modern pure energy, and fun
Color
The colors selected were orange and black. Orange to represent the fire and the black to achieve a better definition of the shape
Serif or Sans Serif typeface? Which do you prefer? This infographic illustrates the difference between Serif and Sans Serif and when and how these typefaces should be used.
Thomas Phinney, “Fonts. Everything is Changing. Again.”WebVisions
Just when you thought it was safe to go back in the font-water.
On September 14th, representatives from Microsoft, Adobe, Apple and Google made a joint font announcement in Warsaw: OpenType 1.8 was unveiled, featuring variable fonts, a.k.a. OpenType Font Variations, based on an all-but forgotten Apple technology, GX Variations.
Variable fonts enable type designers to create fonts that have one or more design axes, such as weight or width. Use of a design axis frees designers; for example, if there is a weight axis, a designer is free to choose any arbitrary weight within the font's design space, not just a few pre-set weights.
Many type designers have long used such technology for font design, so there is a backlog of existing typefaces that could be adapted to this technology. But two previous axis-fonts technologies did not take off: Apple's GX/AAT Typography allowed it, and Adobe's Multiple Master did as well. Why should this be different?
. . . . . . . . . . . . . . .
Thomas Phinney is President of FontLab, the font software tools company. Previously he was product manager for fonts and global typography at Adobe, and then senior product manager for Extensis. In the 2000s he was instrumental in driving the adoption of OpenType, both within Adobe and in the marketplace.
Typography is one of the most essential elements in graphic design. It can be used to convey a message and even affect how people perceive your business’s brand.
If you want to create an eye-catching logo that stands out from the crowd, it’s important that you learn about typography and its various types so that you can choose the right typeface for your logo design project.
In this article we’ll explain what typography is and why it’s important in logo design before getting into some examples of each type so that you’ll have an idea of which one might work best for your brand!
Why is typography important in logo design?
Typography is the art and technique of arranging type. It’s used to create a visual identity for a brand, website or logo.
A good example of typography in logo design is when you look at Nike’s “swoosh” logo.
The entire shape of their famous logo was inspired by an athletic shoe called the “Nike Air Kix” but they didn’t just copy it exactly—they made subtle changes that made it unique from other brands’ logos at the time with “Nike” written across them (which would have been extremely easy for competitors to do).
What are the different types of typography?
There are many different types of typography that can be used in logo design. We’ll cover these below, but first let’s discuss the basics:
Serif fonts have small endings on the ends of their strokes (think “a” in “apple”). Serifs were popular in print until the mid-20th century and still tend to be used today by newspapers and other publications.
Sans serif fonts do not have any decorative flourishes at all—they’re simply plain drawings without any decoration or flourish whatsoever. The most famous sans serif font is Helvetica, which has been around since 1957 (and we love it). This typeface was designed by Max Miedinger as part of an advertising campaign for Swiss watchmaker Breitling; however, Helvetica isn’t just restricted to this typeface either! There are several other variations available online if you’d like something more customized than what comes with your standard computer monitor screen font selection system.
1. Serif
Serifs are small strokes at the ends of letters, and they’re used to make text easier to read. They can also be found in print and digital media, like logos or magazines. The most common serif font is Times New Roman, which was created in 1857 by William Morris as part of his production company’s printing press equipment.
2. Sans Serif
Sans serif fonts are easier to read on screen than serif fonts. They’re often used for body text and titles, headings, and headlines.
The most common sans serif typeface is Helvetica Neue—the same one that’s been around since 1957!
3. Cursive
Cursive is a type of script that uses some combination of straight lines and curves to create an elegant, friendly look. The letters are generally small and delicate, with many letters having little or no vertical space between them.
Cursive is a type of script that uses some
Thomas Phinney, “Fonts. Everything is Changing. Again.”WebVisions
Just when you thought it was safe to go back in the font-water.
On September 14th, representatives from Microsoft, Adobe, Apple and Google made a joint font announcement in Warsaw: OpenType 1.8 was unveiled, featuring variable fonts, a.k.a. OpenType Font Variations, based on an all-but forgotten Apple technology, GX Variations.
Variable fonts enable type designers to create fonts that have one or more design axes, such as weight or width. Use of a design axis frees designers; for example, if there is a weight axis, a designer is free to choose any arbitrary weight within the font's design space, not just a few pre-set weights.
Many type designers have long used such technology for font design, so there is a backlog of existing typefaces that could be adapted to this technology. But two previous axis-fonts technologies did not take off: Apple's GX/AAT Typography allowed it, and Adobe's Multiple Master did as well. Why should this be different?
. . . . . . . . . . . . . . .
Thomas Phinney is President of FontLab, the font software tools company. Previously he was product manager for fonts and global typography at Adobe, and then senior product manager for Extensis. In the 2000s he was instrumental in driving the adoption of OpenType, both within Adobe and in the marketplace.
Typography is one of the most essential elements in graphic design. It can be used to convey a message and even affect how people perceive your business’s brand.
If you want to create an eye-catching logo that stands out from the crowd, it’s important that you learn about typography and its various types so that you can choose the right typeface for your logo design project.
In this article we’ll explain what typography is and why it’s important in logo design before getting into some examples of each type so that you’ll have an idea of which one might work best for your brand!
Why is typography important in logo design?
Typography is the art and technique of arranging type. It’s used to create a visual identity for a brand, website or logo.
A good example of typography in logo design is when you look at Nike’s “swoosh” logo.
The entire shape of their famous logo was inspired by an athletic shoe called the “Nike Air Kix” but they didn’t just copy it exactly—they made subtle changes that made it unique from other brands’ logos at the time with “Nike” written across them (which would have been extremely easy for competitors to do).
What are the different types of typography?
There are many different types of typography that can be used in logo design. We’ll cover these below, but first let’s discuss the basics:
Serif fonts have small endings on the ends of their strokes (think “a” in “apple”). Serifs were popular in print until the mid-20th century and still tend to be used today by newspapers and other publications.
Sans serif fonts do not have any decorative flourishes at all—they’re simply plain drawings without any decoration or flourish whatsoever. The most famous sans serif font is Helvetica, which has been around since 1957 (and we love it). This typeface was designed by Max Miedinger as part of an advertising campaign for Swiss watchmaker Breitling; however, Helvetica isn’t just restricted to this typeface either! There are several other variations available online if you’d like something more customized than what comes with your standard computer monitor screen font selection system.
1. Serif
Serifs are small strokes at the ends of letters, and they’re used to make text easier to read. They can also be found in print and digital media, like logos or magazines. The most common serif font is Times New Roman, which was created in 1857 by William Morris as part of his production company’s printing press equipment.
2. Sans Serif
Sans serif fonts are easier to read on screen than serif fonts. They’re often used for body text and titles, headings, and headlines.
The most common sans serif typeface is Helvetica Neue—the same one that’s been around since 1957!
3. Cursive
Cursive is a type of script that uses some combination of straight lines and curves to create an elegant, friendly look. The letters are generally small and delicate, with many letters having little or no vertical space between them.
Cursive is a type of script that uses some
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1. Typography / Logo Design
History of Typography
Definitions (Serif and Sans Serif)
Branding and Logo Design
Application to Unit 10 Graphics
Logo Examples
Vin Kelly
2. Aims
To offer an introduction to typography and
logo design
3. Objectives
• To give a brief history of typography
• Definitions (Serif & Sans Serif etc)
• Branding and logo design
• Application of lecture to Unit 10
9. Type and technology
Technological advancement impacts on
typographic styles:
•stone-carved letters of ancient Roman
monuments
•hand-cut wooden type used in early
printing acid-etched metal type
•typefaces designed for modern digital
output
10. Type and technology
Other influences:
•social and artistic trends
•widening distribution
•changing applications of printed materials
17. Serif & Sans Serif
Serif type has "hands and feet" — serifs (or
curlicues) — on the ends of the strokes and
the characters are made up of both thick and
thin strokes.
eg
Times Roman, Garamond, Palatino, Bookman
and New Century Schoolbook
S
18. Serif & Sans Serif
Sans serif type has no serifs - the characters
are made up of lines of constant thickness.
S
eg
Helvetica
19. Serif & Sans Serif
Research shows that serif typeface is
more easily read
But serif can look old fashioned and
loses definition when displayed on
monitors below 14pt
23. Definitions
Kerning - to alter the fit of certain letter
combinations i.e. adjusting the spaces
between pairs of letters
Tracking – to adjust the spacing
between characters in a line of text
K erning
Tracking along line of text
24. Definitions
Leading – derives from early printing - strips
of lead metal used for vertical spacing
between lines of type.
Now - vertical distance from the baseline of
one line to the baseline of the next.
Gaps between
Lines of text
25. Definitions
Here is some left aligned text blah blah blah blah blah blah blah blah blah blah blah
blah blah blah blah blah
Here is some right aligned text blah blah blah blah blah blah blah blah blah blah blah
blah blah blah blah blah
Here is some centred text blah blah blah blah blah blah blah blah blah blah blah blah
blah blah blah blah
Here is some justified text blah blah blah blah blah blah blah blah blah blah blah blah
blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah
blah blah blah
27. Anti aliasing
Avoid anti aliasing for text below 10
point – reduces clarity
Photoshop implements anti aliasing
automatically – to turn it off:
Layer / Type / Anti-Alias none
28. Branding:
Visual identity of
related group of
products or services
from a common
source.
Logo is an important
part of brand image
29. Logo
A name, symbol, or trademark
designed for easy and definite
recognition,
(dictionary.com)
Vehicle for expressing philosophy
of company.
Protected by copyright
36. Application to Unit 10 – Evaluation Task 2, Task 3
Evaluation – evidence of research into font
styles, font colours and layout schemes,
should be part of Task 2 Design Realisation
and Task 3 Implementation.
Why has a certain font and font size been
used?
Why was a certain colour chosen ?
(readability, evoking an atmosphere…..)
For large areas of text – use of columns,
grid, justification of text
37. Application to Unit 10
Create main body of text using
Illustrator 10
Be aware of readability – avoid
‘rivers of white’ and extremely
small font sizes.
Kerning and tracking – mention
any use of in your evaluations
The appropriate font should be
used to serve the purpose.
38. Application to Unit 10 – Illustrator Element
Create
a logo, incorporating text
(perhaps for your ‘design
company’, to be added to the
credits appearing on your
cover art)
and
your CLIENT Logo design for
the CD Covers.
39. Application to Unit 10 – Illustrator Element
Note:
In Illustrator - make your design at lot larger
than you actually need.
Save your Illustrator work as an .eps file.
DO NOT FLATTEN THE LAYERS
Save your Illustrator files alongside your
Photoshop files to be handed in on the same
disc.
40. Application to Unit 10 – incorporating text
Using files from the web
Scanned Images
Digital Photographs
Develop your client logo in ILLUSTRATOR.
Your client may have an existing logo for you
to work on and develop.
Your client may want you to start from scratch
and develop a completely new logo.
Produce your own personal Designer’s Logo.
41. Application to Unit 10 - incorporating text
Illustrator has many functions relating to text.
1. Turn on the type controls
2. Be aware of the technique applying ‘text to
a path’
3. You can also warp text in Illustrator,
Photoshop and Serif Draw 7.
4. Be aware of and identify your client’s text.
5. Look carefully at all materials your client
gives you (business cards, letterheads,
brochures etc.