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How to set a text-only logotype 0660
set a text-only
logotype
Key is to work with the
natural pattern of your
letters. Heres how.
Continued
How to
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2 of 23 How to set a text-only logotype 0660
How to set a text-only logotype
Key is to work with the natural pattern of your letters. Heres how.
Every word has a natural
pattern. Before setting type,
take a visual inventory. Even
handwritten (left), we can see
a descending g loop and repeat-
ing as, which form a trio of
roundish shapes more or less in
the middle. Nagano starts with
an angle (N) and ends with a
circle (o), both of which have
open ends that lead the eye out-
ward. It has six letters. Visually,
Nagano is an average word. Its
easy to say (NOG-uh-no), and it
has strong Japanese associa-
tions. These qualities will form
the foundation of our designs.
Welcome to Nagano
Urban Grill, a popu-
lar midtown hang-
out. Our project is
to design its logotype. A logo is a
companys signature; its a distinc-
tive way of writing its name. Some
logos include graphics, but most
do not. A good logo is bold, clear
and attractive, and it conveys an
appropriate sense of the company.
These qualities can be difcult to
combine in one word. The place
to start on a text-only logo is with
the natural pattern of its letters.
It goes like this:
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3 of 23
How to set a text-only logotype 3 of 23
A logotype starts with the alphabet
Letters have distinct shapes. Get familiar with these shapes. Each has its own kind of
expressiveness. The shapes will also determine what you can do with your design.
aceo bdgpq
hmnu ilt fjrs
Circles are soft, serene, enclosing Circles with straights or hoops (the g)
Hoops are lively, playful Straights Curls and half-circles
Angles are unstable, edgy, restless
kvwxyz
Typeface Avant Garde (shown here), which consists
mainly of simple straights and circles, is especially good
at revealing letter shapes. Shown are the main groups;
different fonts will have small variations.
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4 of 23
Illinois
For example . . .
The name j.jill consists solely of straight letters that do not convey softness like
round letters do. Conversely, round pod is not naturally sharp and edgy.
lolliooo icicle
j.jill ooo
ba-ba-ba-ba-bummm-bummm-ba-bummm . . . ba-ba-ba-ba-ba-ba . . .
ba-bummm-ba-bummm-ba-bummm . . . ba-bummm-ba-ba-ba-ba-bummm-bummm-ba-bummm . . .
ba-bummm-bummm-bummm-ba . . .
A words pattern can be expressed rhythmi-
cally. Rhythm is an unseen factor that affects
how we perceive a word.
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5 of 23
Find your pattern
Start by setting your name in uppercase and lowercase, and notice the pattern that
forms, even if its subtle. Pay special attention to repetitive lines and shapes.
NAGANO
Two angled One round Two angled One round
Nagano in uppercase Futura Book (above)
has two groups of mirrored angles (NA-AN)
alternating with two round letters, a rhythmic
but subtle pattern. Lowercase Avant Garde
(right) forms a line of all-round letters, a
strong and interesting pattern.
Uppercase
nagano
All round
Lowercase
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6 of 23
Pattern breakers
Your name in some typefaces will not form a pattern.
Letters that look alike in Avant Garde look different in Adobe Garamond (above),
and the pattern disappears. The g that before was a circle is now a snaking, twist-
ing line. As a rule, the more detailed the typefacedetails include serifs, terminals,
lets, varying stroke widths and so onthe less visible the pattern will be.
Nagano
No resemblance
No resemblance
Texture Patterns are big. When repetitive
elements are small (common in detailed
typefaces like Adobe Garamond), they
make texture. Above, you can see four cir-
cular counters and other repetitive shapes
in the middle of the word.
Shape Related to pattern is shape, which
refers to the overall form of the word.
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7 of 23
Pattern makers
Your name can be given a pattern by the typeface. Pattern-making is the main
function of most decorative type.
Calligraphic Sloop has a strong, graceful patternits letters arc and ow smoothly
from thick to thin and have common angles and loops. Extra swashesnotice the N
create similarity with other letters where none exists naturally. Any word set in Sloop
will automatically have a pattern and will always be beautiful.
Nagano
Repetitive loops
Similar curves. Note the graceful
thick to thin of the strokes.
Repetitive angle
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8 of 23
Shape makers
Similarly, your name can be forced to take shape. The two easiest techniques are
expansionspread your name outand compressionsqueeze it together.
Expansion (Above) Spreading your name way out disconnects its letters from each other. This
breaks whatever pattern may be present and creates a new onea neat row of dots.
The panoramic result conveys a sense of grandeur both understated and elegant. Very popular in
movie titles. The technique works with almost any typeface; set all caps for the cleanest line.
Compression (Above) Conversely, setting your name in a highly condensed typeface, then
packing it tightly together, yields a dense, powerful block. This technique is also popular in the
movies, because it can convey a massive, overwhelming presence, especially in all caps. At
small sizes its dense shape carves a distinctive silhouette thats easy to work with.
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9 of 23
Next, design a card
So far, weve seen that the letters in a name can form a pattern. The typeface can make
or break the pattern. The typeface can impose a pattern of its own. In every case, the
typeface also adds meaning. The key to a great logotype is to nd a typeface that makes
the name look good and conveys the appropriate meaning.
To see this at work, well next set the name on a business card in nine different type-
faces. The card will give us the added tools of color and layout. We will use only type,
with no graphics of any kind. Pay special attention to this, and youll see how clearly
and beautifullytype alone can communicate.
Standard U.S. business card is 3
1
2 x 2.
For this demonstration well put the name on
the front and ignore the contact info, which in
real life would be put on the back.
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Bright chain of hoops and circles runs edge to edge and can be seen from
across the room! Urban grill subtitle is also in Avant Garde. Green and yellow
are fresh, secondary colors that can easily be swapped (right) with equally
bold results. Single-line design conveys restraint, a counterpoint to the exu-
berant circles. Note the letters are very close but not touching. Asymmetrical
divisions of spacewide, medium, narrow (above)keep the design active.
nagano
urban grill
nagano
urban grill
nagano
urban grill
nagano
urban grill
Avant Garde
brings out Naganos natural pattern. Simple shapes are bold and youthful, especially
in lowercase. Colors are interchangeable. This would be a fun, trendy place.
Wide
Medium
Narrow
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Nagano
U R B A N G R I L L
Real power always appears natural and unforced, as if it simply required no
effort. (If it looks like youre trying, it doesnt work!) To project this, you want
a centered layout, which has no motion; it is calm and at rest. Silver and
gold colors suggest wealth, but here theyre light, quiet, discreet. Superlight
subtitle (Helvetica Neue Ultra Light) is barely there; its tiny size and con-
trasting Roman style supports without competing. Whats interesting is that
for all this formality, Nagano is a boisterous midtown GRILL, a juxtaposition
of name and image that would probably work just ne.
Sloop
has airy, sweeping lines that convey grace, elegance and taste appropriate for a visit
from the Queen (really). Centered layout and light, metallic colors add formality.
Nagano
U R B A N G R I L L
Nagano
U R B A N G R I L L
Center the layout in both directions.
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URBAN GRILL
Distressed serif typeface looks rough, weathered and crate-stamped, oppo-
site the hard-edged minimalism of its urban environment. Earthy colors add
warmth. The words can be put just about anywhere except straight and
aligned; you want it to look a little thrown together. This technique looks espe-
cially authentic in a stenciled typeface
(inset), which hints of cargo, military,
nautical, safari and so on.
Adobe Garamond
is a text face in which Nagano has no pattern but a small amount of texture. Go with
what it has, and add more texture! Cockeyed setting is correspondingly rough.
URBAN GRILL
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Even in very small sizes, a panoramic setting projects a wide-screen image
and conveys feelings associated with spaciousness and grandeur. Its quiet,
too; the centered setting is motionless and stately. Below, Copperplates
tiny serifs help the eye span the gaps between the widely spaced letters.
Copperplate Gothic 32BC
has tiny, straight serifs that give it old, industrial-era overtones suitable for an
urban environment. Its clear, wide body makes it good choice for panorama.
n a g a n o
urban gri ll
n a g a n o
urban gri ll
n a g a n o
urban gri ll
n a g a n o
urban gri ll
Any colorlike hot magenta!
works in panorama because theres
so little of it. Dark background adds
class; for a party look, make it bright.
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If you like Legos, youll like designing with Bureau Grotesque, whose dense
blocks you can stack and reposition endlessly and usually get expres-
sive results. Pay attention to the negative spaces that form (white blocks,
above left), which are as important as the positive. Light Urban and Grill
colors recede, so the name stands out; note that both are tints of the
background color (above, center). Above right, artistically spare design
yields a powerful focal point; note the color emphasis on urban.
Bureau Grotesque Extra Compressed Black
forces words into blocks that can be t together like masonry. Brick-wall colors
and artistic composition are right for an artsy, jazzy, bluesy, midtown hangout.
85%
70%
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urban grill
u
r
b
a
n
g
r
i
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l
Planet Kosmos
is an alphabet of nearly identical characters that hints of Japanese animation. It looks
fast (the italics), edgy (its angles), youthful (cartoons) and clean (simple lines).
Rad Angled setting is edgy, vibrant;
it says the restaurant is full of
young energy but is probably not
a place youd go to relax. Use the
angle of the italics (below) rather
than a random angle.
Faster For maximum speed the
name touches both ends; the eye
moves straight along the name
and off the page.
Slower Smaller name creates
an enclosing frame that the eye
unconsciously traces, which
slows it slightly.
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Nagano
urban grill
HTF Didot in lipstick red on white will stop trafc, and
in this case, because of the name, it also has Japanese
overtones. Didots superne lines make the presentation
unusually striking. An ideal complement is Helvetica
Ultra Light, whose line weight matches
Didots serifs (inset). Red, gray, black and
white are always powerful together.
HTF Didot
is the look of New York cityall glamour, a beautiful choice for a chic, cosmopolitan
restaurant. With its fashion-model overtones, this would be a place to be seen.
Nagano
urban grill
Didots pattern is seen in its repetitive vertical
strokestheyre not even slightly slanted, a trait
shared by other typefaces but not often so obviously.
Curvy as and gnote the beautifully undulating
thicks and thinssweeten the middle of the name.
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Nagano urban grill
Lettrs Eclates
is a mangy but oddly cheerful typeface full of repetitive elements that have both
pattern and texture. The two-color setting adds class. Sublimely funky.
The scraggly typeface has the street look you want,
but how do you keep it from making a scraggly
card? By centering it in a single line on rich black.
The result is artistic and textured, framed like art in
a gallery; slight color difference is just enough to set
Nagano apart yet keep the line intact.
Not a straight line anywhere, angles and ovals give
Lettres Eclatees its texture and our name something of
a pattern, which may be easier to see if its reversed:
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Helvetica is the look of the modern, mechanized worldbeauti-
ful, controlled and aloof. You can use it for anything, as long as
its tightly aligned, usually to the top and left. Helvetica looks best
tightly set and in a single size; differentiate words only with weight
and color. Its a cold typeface; youll need re-on-the-grill colors to warm it up.
Helvetica Neue
imparts a look of Swiss minimalism wherever it appears. Graceful, geometric and ice
cold, it is one of the worlds most famous typefaces. Expect stainless steel and glass.
Note tight letterspacing,
line spacing and
upper-left alignment.
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nagano
urban grill
nagano
urban grill
Typefaces
1 (ab) ITC Avant Garde Gothic Book
a) 73 pt, 80 letterspacing
b) 17.5 pt, 10 letterspacing
2 Sloop Script One | 80 pt
3 Helvetica Neue Ultra Std Light | 8 pt
Article resources
Colors
C30 M30 Y30 K100
C0 M30 Y100 K0
C50 M0 Y100 K0
C0 M0 Y100 K0
C0 M0 Y0 K20
C15 M17 Y35 K0
4
5
2
1b
1a
3
5
4
6
8
4
9
6
7
Nagano
U R B A N G R I L L
Nagano
U R B A N G R I L L
Nagano
U R B A N G R I L L
nagano
urban grill
nagano
urban grill 7
8
9
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URBAN GRILL URBAN GRILL
j.jill
Typefaces
1 Adobe Garamond Regular | a) 84 pt,
30 letterspacing (Distressed in
Photoshop using the Eraser tool)
2 (ab) Clarendon Light | a) 16 pt,
10 letterspacing; b) 20.5 pt,
15 letterspacing
3 City Stencil D Medium (Distressed in
Photoshop using the Eraser tool)
4 Lettrs Eclates | 34 pt
Logo
5 JJill.com
Article resources
Colors
C0 M0 Y0 K100
C14 M62 Y96 K2
C40 M90 Y100 K10
C0 M25 Y75 K5
C0 M90 Y80 K20
C51 M73 Y71 K69
C30 M30 Y30 K100
C4 M75 Y100 K0
C23 M64 Y87 K16
6
7
8
9
10
2a
1
2b
11
13
12
14
4
11
12
13
3
1
Nagano urban grill
5
7 6 8 9 10
12
13
14
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Typefaces
1 (ab) Copperplate Gothic 32BC
a) 18.5 pt, b) 8.5 pt
2 Bureau Grotesque Extra
Compressed Black | 64 pt
3 OL Franklin Triple Condensed
25 pt, +10 letterspacing
Article resources
Colors
C0 M0 Y0 K30
C23 M64 Y87 K16
C0 M100 Y0 K0
C0 M20 Y100 K0
C5 M5 Y5 K60
C9 M46 Y69 K2
C40 M68 Y62 K67
C19 M86 Y97 K8
4
5 1a
6
7
8
n a g a n o
urban gri ll
n a g a n o
urban gri ll
n a g a n o
urban gri ll
5 4 6 7 8
1b
2
3
10
9
11
9
10
11
2
2
2
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Typefaces
1 (ab) Planet Kosmos | a) 50 pt, b) 20 pt
2 HTF Didot | 80 pt
3 (ab) Helvetica Neue Std Ultra Light
a) 24 pt, 30 letterspacing;
b) 47 pt, 30 letterspacing
4 Helvetica Neue Std Bold | 47 pt
60 letterspacing
Article resources
Colors
C100 M0 Y0 K0
C50 M0 Y100 K0
C100 M90 Y10 K10
C0 M0 Y0 K100
C0 M100 Y85 K0
C0 M0 Y0 K30
C13 M25 Y44 K2
C13 M34 Y76 K0
C23 M64 Y87 K16
C19 M86 Y87 K8
C40 M90 Y100 K10
C36 M70 Y73 K61
9
8
10
5
6
7
8
urban grill
Nagano
urban grill
Nagano
urban grill
16
11
12
13
14
15
6
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7
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4
3b
2
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1b
1a
23 of 23 | Printing formats
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Before & After magazine
Before & After has been sharing its practical approach
to graphic design since 1990. Because our modern world
has made designers of us all (ready or not), Before &
After is dedicated to making graphic design understand-
able, useful and even fun for everyone.
John McWade Publisher and creative director
Gaye McWade Associate publisher
Dexter Mark Abellera Staff designer

Before & After magazine
323 Lincoln Street, Roseville, CA 95678
Telephone 916-784-3880
Fax 916-784-3995
E-mail mailbox@bamagazine.com
www http://www.bamagazine.com
Copyright 2007 Before & After magazine
ISSN 1049-0035. All rights reserved
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