This video brought to you by Vectornator.
I'm going to be showing you the rules of logotype design.
Logotype design is a bit different from icon design.
Because there are a lot more nuances when it comes to
creating letter forms that are going to be used as a logo.
So these rules are going to help you in creating them
whether you're on iPad, whether you are on paper.
And I'm also going to be showing you a cool new feature
inside of Vectornator for any of you hand lettering artists out there
or any of you who want to start designing and
vectorizing your own logo types that you've been drawn out.
So I'm going use my iPad and I'm going to use a couple of apps
to show you the rules of logotype design and
Why they're slightly different from just standard logo design?
The first rule is consistency, which is quite similar to normal logo design.
The word "Untie" is what I'm going to pretend the company name is.
And when I'm working this out. I just start drawing and
maybe I'll do some calligraphy.
So what I'm going to do this is go to my gothic brush
and I'm going to do the word Untie.
Now, this just a sketch process.
I'm not looking to make this perfect but I'm trying to get
an idea out on paper as to what it could be like.
So let's take this as the first idea.
Now, what we've got here is just the sketch.
The main part of consistency comes in a couple of forms.
The first part of consistency comes with each shape.
Now in type design, it's really important to understand component.
Each letter of font or the alphabet has got multiple components
and in a typeface which is the style of lettering the components differ.
So for instance, the U and the N are very similar.
Because they got these two arcs here and they come down like.
So this is the same here.
This is one component.
These two need to be similar.
So that means that when we're creating the logotype.
We can create one very good arc or stem here and repeat that
across from the U U N N T
Just drag it up the I, and kind of the E until we get down
here to this part. I'd take this part of U and
create a good version as I'm going around. And then we can go
ahead and color it in. When we color it in.
It actually helps that I see the shape for what it is.
It doesn't look like a stroke.
So it changes the way that what we call in type design
the color of the typeface, which is the amount of positive space
inside of the letter.
And you can see here, we're getting a more consistent typeface
and we'll have to change this every now and then.
But for here with the N we've got this.
So for here, what we can do is create a couple of lines like.
So now imagine doing this all the way around.
You'll start to see that we get a really nice unified looking
logo type because of the consistencies. Our brains aren't
having to look at exactly the different parts of this.
They're looking at the same part all the way around.
So reuse shapes are possible to get that consistency.
The second rule of the top design is balance.
How do we check the balance?
But balance comes in the easy form of a even distribution down the middle and across.
If there's a decent distribution in all the levels
in these quadrants of the logo, then it seems to be more
balanced then if not. So to know the balance is to be
experienced in logo design, which can be difficult sometimes.
But what we've got here in this situation with this logo, Untie.
On the horizontal axis we have got nothing down here, but
we've got a lot going on up there.
Now that can be a good thing for a lot of logo designs,
because what this means is that it gives you an air of unique abilities
More unique than other designs.
But the problem is, it isn't balanced.
So what happens when something is not balanced?
If it's not balanced, then you're going to have a hard
time putting this on mass head for instance.
I like to do this is to create a square around type.
The problem is up here, this is come out the square.
This rectangle is that the rectangle of balance.
This means that we know that this is got like a symmetry to it.
And there's quadrants inside. What happens when we come up?
Well, generally speaking, what you can do is just make it
symmetrical by adding other ligatures.
So for the N for instance, we could come down here and create this.
Which would create another form of balance.
Now, this is just a sketch.
Obviously, we have some issues at over in this corner and this corner.
Because it's not vertically balance.
However for this logo, I like the T being a bit crazy on the top.
It works well.
Another point right balance but sort of it as to more of
the consistency side of logotype design is the
consistency of where the grids are. Now in type design
we have like the x height and the asender height and
They look like this in grids.
This is the x height.
This line here is that the asender.
Now we copy this line and do one down here as well.
If it did have a descender, it would be in this line down here.
Having these grids, the x hight grids
especially for this one means that we can consistently make
sure that our letter forms are stopping at the same line.
The same is said, for when we have asenders for instance
if we had another L in here, we know that this is the line
where it needs to stop.
It can't come above it, and it really shouldn't come below it
unless it needs to for other design purposes.
So we can create balance and consistency by using normal type grids.
Now, typography is quite a systematic thing.
It's not really art in itself.
It's using components in a certain form.
So it creates a universal look all the way around.
That's how we create a type style.
The the next rule is legibility. Now is no point of having a
logotype without it being legible
You can't read it, or you can't see it as a unique icon.
Then there's no point in doing it at all.
The whole point of good typed is to get across the name of
the company or entity or person.
This is why a lot of designers nowadays with the modern
designs, such as myself, stay within the sans-serif realm of
typefaces, because it's easy to read.
It's like a universal font that doesn't take much to read at all.
For logo design projects where things are a bit more ornate.
Such as this one, the Untie.
Then we've got to make sure that people can still read it.
And the way that we do this is a few different kind of methods.
One method that I love to use a lot of the time to make sure
that the logo type works, and it's balanced, it's readable.
And then it works all the way across is to go ahead and use a gaussian blur.
In Procreate I could do it very easily and I just blur it out.
What this does is it allows me to see the main components of
the type to see if it works.
It's like squinting your eyes, but a lot easier.
And it shows you mistakes within the actual logotype.
Another way to make sure that your logotype is balanced and
consistent way through is to go ahead maybe duplicate it and
we're going to flip it horizontal.
This is reflecting it.
What this does is it allows you to see any mistakes a lot easier.
The reason being is because we see these not as letters anymore
but as shaped and we can see the shapes and where
they've gone wrong. I can more easily identify problems in here.
Now, such as this part is too weird here.
Should be coming a bit more straight there.
Obviously we can see that this is not straight at all.
We can see that the E is starting look a bit more like a G in this realm.
But it also looks like a number 9 and even blurring this again
will allow us to see key mistakes the ones that really
make the difference for scalability.
And the biggest one that we see is that this G here is obviously not straight.
The lines should be straight all the way down.
This is why we grid.
This is why we do all this sort of straight line, gridding.
It fits a straight line logotype.
You can see that these lines are not straight down and
We need to edit that if we were going to make this a perfect logo type.
Now let's say that we don't want to make this a perfectly vectored logotype.
We want to still have a bit of roughness to it like we've got here.
The only problem is coming out of Procreate or Sketchbook.
You're not going to be able to vectorize it and get the
same level of roughness without adding a load of affects.
Well, Vectornator actually solve this issue for us
inside of their free app.
It allows us to basically scan the image, and it will
automatically create vectors out of it.
And the great thing about it is that will give you a slightly
rough look if that is what you're going for.
What I'm going to do is take this logo design that I've got here
and I'm going to go ahead and copy it.
You know I use procreate.
You can use paper and just scan it, into taking a picture on the iPad.
And what I'm going to do is press this button up here
which will paste the actual image into Vectornator.
Now, when the image is selected, I'm going to go to style and
there's an "Auto Trace" option.
Again, what this will do is it'll automatically trace the image into vector.
And the great thing about it is that it has a vintage aesthetic to it as well.
which is perfect for this project.
So I'm going to change the type from photography to sketch
I'm gonna put the contrast up to 100 complexity up to 100 as well.
But you can change these very easily.
I'm just going to press Auto Trace.
And in the second, we have literally got vectors.
Fully scalable, fully vectorized, looks great
Looks vintage with a modern vibe.
And we did that in a few seconds.
Now, the great thing about Auto Trace is that allows you to do
proof of concept, allows me to see the scalability of this.
I really like this, but I see a problem with the T right there.
So for this, what I could do is select this scale it up and group it.
And I can change each node as I like.
You can add and take away nodes that we do not need.
We can spend some time doing it like this.
This is great, especially if you don't want to be spending
time drawing with the pencil or if you need to get that
aesthetic vibe or even if you are going to make a typeface.
But as you can see here, each node is already there and
it's working really well together.
Vectornator is free to download from the Mac App Store
iPad App Store and even the iPhone.
So go ahead and download it today.
I'm going to take this a hand lettered image here, and it works
as well with hand lettering.
We can copy this paste it in, go to the Auto Trace feature,
go to sketch press Auto trace and it will do it automatically
giving us a vector hand lettering piece right there.
Fully vectorized in the space of a few seconds and
We're getting great results from this quick and easy vectoring
without the hassle and for free. There you have it.
This is how you can create great logo type designs
rough, vintage ones as well.
And I hope you learn a lot about the actual method of creating them.
It's been a bit of an advanced video.
And thanks for watching. If you would like to see more of this
let me know in the comments. Don't forget to subscribe and
ring the bell and I'll catch you in the next video.
See you soon.
Goodbye.