Speaker 1: In this video brought to you by Vectornator, I'm going to be showing you the rules of logo type design. Logo type 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're 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 drawing out. So I'm going to use my iPad and I'm going to use a couple of apps to show you the rules of logo type 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 the way that I'm going to do this is go to my gothic brush and I'm going to do the word untie. Now, this is just a sketch process, so 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 the components. Each letter of a font or the alphabet has got multiple components. And in a typeface, which is a style of lettering, the components differ. So, for instance, the U and the N are very similar because they've 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 would take this part of the U, would create a good version as I'm going around. Then we can go ahead and color it in. When we color it in, it actually helps our eyes 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 where possible to get that consistency. The second rule for logo type design is balance. How do we check for balance? Well, balance comes in the easy form of an 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 than 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 ability. It's more unique than other designs. But the problem is it's not balanced. So what happens when something's not balanced? If it's not balanced, then you're going to have a hard time putting this on a masthead, for instance. The way that I like to do this is to create a square around the type. But the problem is up here, this has come out of the square. This rectangle is the rectangle of balance. This means that we know that this has 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 end, for instance, we could come down here and create this, which would create another form of balance. Now, this is just a sketch, obviously. Obviously, we have some issues over in this corner and this corner because it's not vertically balanced. However, for this logo, I like the T being a bit crazy on the top. It works well. Another point about balance, but sort of as to more of the consistency side of logo type design, is the consistency of where the grids are. Now, in type design, we have like the X height and the ascender height. And they look like this in grids. This is the X height. This line here is the ascender. Now, if 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, descender. Having these grids, the X height grid, 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 ascenders. 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 next rule is legibility. Now, there's no point in having a logotype without it being legible. If 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 logotypes is to get across the name of the company or entity or person. This is why a lot of designers nowadays with their 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 logotype works and it's balanced and it's readable and that it works all the way across is to go ahead and use a Gaussian blur. In Procreate, I can do that 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 all the 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 shapes 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. It's too weird here. It 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 to look a bit more like a G in this round, but it also looks like a number nine. 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 logotype. 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 effects. Well, Vectornator have actually solved 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 it 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 don't have to 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, whilst this image is selected, I'm going to go to style and there's an auto trace option. Again, what this will do is it will 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 going to 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 a 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 tracing is it allows you to do proof of concept. It 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, ungroup it and I can actually change each node as I like. See these, we 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 pen tool or if you need to get that aesthetic vibe or even if you were 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, the iPad app store and even the iPhone. So go ahead and download it today. I'm going to take this 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 vectored in the space for 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 learned 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 ding the bell and I'll catch you in the next video. See you soon. Goodbye.