Logo Design: Wordmarks

Lesson 11/11 - Assignment 2: Critique

 

Logo Design: Wordmarks

 

Lesson Info

Assignment 2: Critique

Ok, great well, you know, I think we're ready now to get into our next critique we've got the printouts ready so we'll move into that all right? Okay sounds good all right? And we'll get our students back up here and we'll do another critique will go to the overhead cam excellent. You're looking good. I love overhead campaign yeah, really comes in handy look weird if I had one in the house the, um let's just do the same day we'll go kind of a round robin or would you guys rather do random does it because a lot of chris should just jump right in and, you know, just comment on what? You see it you guys from what come from with that let's just do that. I'll let you guys comment what you see uh I immediately noticed the bali air, so I feel like the typeface that was chosen has a really nice balance of fictive and like the mark does there's a lot of thin details in it but it has a weight to it like the bird I guess the lettuce it's cool. I think one thing I could see this really wonderful i...

s the way these these wings curve by repeated here and there's actually three of them that's a nice, really nice uh, connection to me, which I think is great I think the thing I would probably further study is you know again you know the negative space um proportion maybe as a counterbalance to the thickness of these service you know if maybe if they're the same thickness some somehow um I know I'm not sure because right now we have you know, there's so much weight variation with with the's going take the thing here and then and so on um it seems like the thinness of these is out proportion by the weight everything up there in that symbol but it's just something I see um well what else you can see there's a lot of talk about here well, I think you're right nothing with ball here too is you know, you know I'm really senses to how shapes move so to me my eye does this right why kind of does this motion so that shape this this is actually placed in a really appropriate spot because it goes right into the it's like if you're doing calligraphy already right? So that to me is is a key point to so um with this one I kind of now got a triangular shape so the flow is kind of dissipated a little bit with the symbol in because this leads beautifully right into the right into the er how you reading leading to the to the type so now it's another thing I see could maybe try I don't at atlantis turnout that's a tough one that's a really bulky mark isn't it almost more video game ish yeah I'm not sure if the the mark slash a re doesn't a for me in atlantis I think if it was smaller it could've been yeah so when using symbols and this is now actually more of a word mark it's not necessarily a symbol you know that could be argued I guess but um you want to make sure that if you're using a symbol and it's it's in there with the type that it's um closer to the actual design of the characters of the type themselves um or make the character's a little bit more similar to what's the aspects are of that mark so friends that this is a huge design decision right cannot be used here or here right and cut things off so that characteristic comes into the type so because right now there it looks like it's it's a road block you know, it's it's typeface and then join official and then so they need to come to a middle point even more so you know, uh, that's one way to do also think typeface choice here I want to tell you about is don't forget that with with the way I've learned typeface choices, capital ways we'll give you a lot of indication this is a really good choice here because you have this shape in this shape so you have this swoop right? So uh pointed apex on a capital a geometric you're geometrics are usually have appointed capital a so that I'll give you an indication on I'm not sure what if this is too much or not but, um theater is a mature yeah a lot of them will have the gms twelve appointed a healthy avenue does too so you want to you want to mimic that since you have three of them because you have flat ones here unless you know we did that but we were not allowed to do that. So that's another thing you know those little connections of doing those that's good uh did you use did you use this neck of space has rhythm here? Yeah, I tried to yeah. That's very good. Very good. What else? Guys that her office stuff is done this time there's a lot there's probably a lot more you could do that subtly. Oh yeah with that, you know, definitely I just it would have not in time but uh I get this a lot of fury to my classes that putting paper over stuff just like that actually without the thought I tried even taking out the counter space from the symbol and seeing if I could use that for the dot but it wasn't working out either, but there's definitely more than one can be done and like you said that the idea of something coming back around and coming underneath I just you could try it I could try it with an a but it would I know we're going to take a little something that might connect is is a little bit more I just destroyed my way just tried this so I do this all the time so bear with me it's a little trick I don't on all my chris usually right I started trying to deconstruct the logo to try to make it a out of that but I'm looking at right there yeah I was wondering if you might have tried that too huh yeah sort of this a really shape but then it feels like probably was too wide or two yeah it was weird oven a yeah I did take it apart but then I didn't have enough time toe execute it but I think that helps their those threes if they were like that uh because it's kind of the symbol has a retro feel right you agree? Yeah so customizing a geometric mind just a little and it doesn't have to be a lot you know honestly you could do that and take out this symbol and just do that here and that's done yeah that's it definitely just bring this counter dot out here and this daughter this just has a corner room could be a small is that you know so this is this is a really great actually, is it? I mean just all everything we've done today because as designers we always have to find when do we do really subtle and when do we like poor on the personnel? You know what? All that stuff I used it tested to painting on if you guys taken like oil pity or anything but the key to painting is no we want to stop right? This is the same thing like how? Okay you they always say the greatest tool for dr designers the half is restraint, right? It is definitely where you used to stay. So what about singapore? How do we dio that's a challenge? Anyone in it is yeah. Okay. What do you say? I like the stacked a little um the type now that it's stacked in this feels like a unit like the singapore part with the bird. I also appreciate that the underlying under singapore airlines was removed. It gives it more breathing space. I think maybe airlines could have been chalked out a little bit it's a little tight, especially because it's all cabs but as faras I'm where it hits it's nicely kind of like in the middle for starting in the middle of this if you were spaced out or maybe it could be, um aligned with the end of us okay so I'm not to me on this and again this is just the way I was taught all times for the second lines or the taglines you'd want to line it up with some hard line but should be here plus you have the two halves of the word singapore so would be good to end it at a based on this or if you were to end it before that even if it was smaller you had ended at this line over here see it ended here based on that line um because what happens is with with when you ended at the middle in the a because your eyes always follow the stem in direction and our eyes what they always wanted to naturally is long things up because we're human right especially german humans so well we have as I follow this line as I have to come back over and around instead of having you know a clean and to whatever and that's again it's understates arrive it's just the way that I learned so if if our if if we needed to spread this out and make it larger I would stop it there may be or and again the type itself think of it as a small greeted the stones like I was doing with you saw how I was I'm not is making lines with this it is the grid they're the reasons of all the proportions same with this one all these decisions in the negative space should come from this. Singapore is tough because I, whenever I see this low, is like especially when it's small it's like all the type is really weak. No, yeah, it's like a second second cast or something seem with the uh I understand that you know, it's ah, the bali or maybe the lightest of all the years on the planet. I don't know. So I understand going really light in the wait here, but I'm not sure it connects with the marcus. Well, you know, most guys see do you like to refine? Maybe in your own if there is anything more so when I was your hand, singapore airlines something, eh? I don't know how well it comes across now, but thought about trying to match like the weight of this as the stem and like this negative space as the and encouraging our tracking, whichever is the appropriate term. I hear it's wider, you know, like the it's? Not quite a start of a contrast, but is that something that's worthwhile doing your job? Get into dangerous territory of them having a weird balance just to match the mark? No and again, it's, you don't have tio it's, one of those things where you want to explore, but it's not like a again depending on the brief want input is where you have to drive hardened faster the hoop kind of a thing you know if it is an expression um because just how I was looking at it just analyzing what you have you definitely have a thick and thin thing going on you have ah heavier weight in the upper half of slightly lighter weight in the lower half and can we use that system that they have in this symbol through the type and it may not work that way but that's definitely in one way to explore it you know you know, I think this is just one of many generations that you would use in a whole serious right um I think maybe, um again if if we're looking at weight ratio from this to this I mean it's it's really pretty subtle if we're only looking at the um well actually it's probably could be this with to this with is maybe half it's probably two to one right? So the question is, you know again we're fathers creator director do we have a two to one from here to here or is it three to one or four to one check you guys following orders? I like way too much matter with you so yeah that's another thing too the other thing about singapore's eagle is you know, if if I just looked at it this way I've always seen a w here, all right? And if it was a w it's pretty wide so I may want to use that extended, you know, heavy typeface that would work with the bulk of that bird better, you know? Because when I that's what world to my mind when I first saw here is that, you know, didn't, uh is done, I believe, right? You know, I don't even remember looks like do you think it could be didn't think definitely one of the ones I tried so so didn't didn't it's really very narrow, right? Indicated by the oh so that narrowness and then if this were like, even if this may be a hand of some kind or a w it's still kind of looks pretty wide to me again, that would be another kind of point I would explore as another option or road to go down as far as picking a thai fish based on character with maybe a program I don't know yeah there's all these two I mean would actually all three of these with its all of their it's amazing that you guys picked those actually were all taken to in kind of a thing going on, yeah didn't realize that before this one too I think there's lots options with their lance since you have a trying on super powerful I mean there's you could do this all day long and just putting it everything to left everything the right you know, having it starts right here and going because it's going to do that you know, because you have again I'm really sensitive to how you lied in and where your eye goes as far as the motion of it so to me it might be really kind of, you know, cutting edge your lounge e to put the type here because there I was going to do that that's something else I would want to look at. So what to where it's not like everything is on the same baseline or even where it hasn't two baselines, right? I mean it's kind of counterintuitive toe air travel I it's very linear air travel. Some of the planes I've been are not laying here doing this right? But you get my you get my point there, all right? Anything else you guys see? I mean, I'm curious just hear how you guys how did this critique help you guys doing this exercise hearing with each other thought about your designs was is helpful for you. Yeah, definitely yeah critique I mean, looking at it just like three feet away from it and then also up on the screen just a different perspective of stepping back from your work is always helpful but then hearing other people um talk about their projects to or like almost solving other people's problems sometimes help you think about your problem in a different way. So it's so he's good that's always a good skill to have is the designers to be able to have the ability to switch your perspective on a dime you know whether it's your work or not you know it's just looked at you know, kind of more I don't know subjectively if you will well, I love critics because to me this is where you were you usually get let everything out and trials and tribulations kind of a thing where um shoot I didn't think of that or you could have thought of that usually where it comes out in a crit one thing I see on this too is the one thing is tough on their offer here if if I have time is tio one thing I see overlooked quite a bit and design is is word kerney rather than character kerney here's another difference so curtis that altering the space between two characters tracking your letters basically or all the characters right but what's often miss when you have large type like this is is to cheat or our kernan you know the spacing between words as well ah, but you have to be really sensitive because they could run on so this in the thing is about this too, is you have this negative arrow here. And this this are, is kind of slightly indicating it. But could these could be days be close together? Where? It's not like three separate pieces, you know, because you have to be careful with words spacing because it's a desires responsibility, tio, in which the reader reads at a certain pace. Okay, for instance, if you start a letter space out, you know, fifty plus fifty tracking in body copulate say you're going to read at a methodical rate of, you know. So then again in the office it we smash everything together. You get this sense of, uh, anxiety like I could have finished this thing, right? So you have to be sensitive to that on a larger scale to of of how it's, how it's always questioned the rhythm on how it's being read, you know, is it their authors at a rafa, that kind of a thing it's good to like say it out. You know, when you see the visuals to see if it works, um, that's. Another thing to always look at as well.

Class Description

The wordmark is the most widely used of all logo types. Knowing how to work with typography when making logos is an essential design skill. Learn how to expertly manipulate letterforms in Logo Design: Wordmarks with Michael Stinson of TypeEd.

In this class you’ll learn the nuances of typography by exploring characters, weight, and overall balance and how they drive behavior. Michael will teach logotype development and how to create logos that stand the test of time. 

You’ll learn:

  • How to draw and customize letterforms
  • Working with digital vectors and bézier curves
  • Pairing personalities with symbols

Wordmark creation is an essential design skill – learn the tricks of the trade and develop a strong typographic sensibility in Logo Design: Wordmarks.

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