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How to design a logo of letters 0363
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Logo of letters!
Design a
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How to design a logo of letters 0363
How to design a logo of lettersAre you known by your initials? Turn those letters into a terrific signature!
Cable News Network www.cnn.com
American Dental Association www.ada.org
�
Cotton Incorporatedwww.cottoninc.com
Jack in the Boxwww.jackinthebox.com
®®
General Electric | www.ge.com
Companies of every kind sign their names with linked letters called ligatures. Ligature means to tie. Ligatures make excellent business signa-tures. They’re handsome, simple and compact. And they’re fun, too—we all have initials! Some letters link in one typeface but not another. Others link in lowercase but not in upper. What follows are a variety of ways to get your letter pairs beautifully together.
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How to design a logo of letters 3 of 18
HK are an ideal pair; each letter is distinct from the other, but their adjacent stems are identical. Link by removing either stem and abutting the letters. Two colors put the emphasis on one letter or the other. This is a good way to handle an acronym in which the second letter is the more important.
Use shared strokesMany letter pairs form natural links; they have identical parts or complementary shapes that fit like hand in glove. Let’s begin with the easiest letters to link—those that have iden-tical adjacent strokes.
Almost-identical strokesPairs like UR share not-quite-identical strokes, yet often flow naturally together. To link neatly, you must usually sac-rifice some parts; here, the R gave up a foot, the U a serif.
In Illustrator, set the letters, Create Outlines, and move together. Cut away the unneeded pieces, leaving the remainders overlapped, then in the Pathfinder dialog, select Add to shape area (below).
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Angled to verticalAngled strokes often link well to vertical strokes. The easiest technique is simply to cut the angled letter in half.
Halving the A joined it neatly to the B, but the crossbars did not align. Borrowing the flourish from atop the A was an easy and artful solution.
Try a different font Similarly, letters that don’t link in one typeface may link in another. Try many! Typefaces that would be too stylized for everyday use often make excellent ligatures.
Try changing case The lowercase alphabet is much different from uppercase, and many letters that do not link in one will link in the other. As a rule, lowercase imparts a less formal, more casual image.
If your letterstrokes don’t quite match . . .
AN ANAN an
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Uppercase-lowercaseUppercase letters can often link to lowercase with excellent results. An uppercase I, though, won’t link to anything—its body just disappears! But a lowercase i has the advantage of its distinctive dot and can link with many letters.
How far apart? . . . Here, a lowercase i has been doctored to link with an uppercase M. Letters can be separated by distance, color, typestyle or any combination.
Distance Color Style
Curved to verticalThe more decorative the typeface, the more easily dis-similar strokes can be linked. Even a curving stroke can replace a vertical. You need gentle curves, though, circles won’t do (far right).
Many letter pairs can be made to link but shouldn’t be; for example, this odd assembly looks like we’ve invented a new character! A key attribute of a good ligature is that its letters read as individuals even after being joined.
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Crossbars link so obviously that in sans-serif typefaces they can appear to be merely tightly kerned. To avoid this impression, add a pattern (above) or an outline (left). Better is to use a serif typeface and share the serif (left)).
Mid-letter crossbarsMany letters, such as ABE-FHPR, have mid-letter cross-bars that can be connected with a little help—just cut the letter apart and s-t-r-e-t-c-h the bar!
Horizontal crossbarsA few letter pairs share top crossbars, which are easy to link. Similarly, some typefaces have exaggerated serifs that can be linked.
O U T F I T T E R S
Key to this technique is to keep the letterforms distinct. You can do this by separating the letters with two colors (above) or for a one-color ligature by making a gap in the intersecting stroke (left).
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How to design a logo of letters 7 of 18
Remove a strokeHere, a phantom stroke hints at what’s not there! This is par-ticularly effective with Mod-ern typestyles such as Bodoni and Didi that have extremely thin strokes.
Remove part of a strokeLetters with angled and over-hanging arms—FKTVWXYZ—benefit from this technique, which is especially attractive in serif typestyles. The illusion is that of a stencil; the line is interrupted, yet our eyes “fill in” the missing part!
What’s in the negative space? Negative space is the area in and around your let-ters; it has shape and volume and always affects the viewer’s perception. Negative space is always pres-ent. In the best design it plays an active role, as it does in the TP above. Watch your negative space!
cosmeticsRemove one leg and move the letters together.
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Crop!Your intrigued reader will lin-ger for valuable moments on this design! Crop away the bot-toms of your letters, and the viewer’s eye must complete the image. Add a company name or other horizontal graphic to span the gap (far right).
Reverse the fieldPut negative space to positive use! Add a same-color field behind your letter, then reverse the second letter out of the field. Especially effective with three-character acronyms.
Reversing the field (light on dark) modifies the look and often improves it. Always check!
(Colors added (for clarity)
. . . add a field . . .Set tightly . . .
YO!YO!
. . . color.
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Disconnect and attachAn entertaining ligature unique to the T, disconnect one arm and attach it to its neighbor!
To maintain the form of both letters, keep the stroke widths the same.
Follow the white lineCreate the illusion of attach-ment! Rather than abut letters, leave a gap, then make a flow-ing centerline that draws the eye smoothly around.
Don’t close it! Doing so breaks the flow.
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OverlayA simple alternative to inter-locking is to lay one letter atop the other, then “link” with a common fill or stroke. Here, a colorful gradient turns two letters into one object.
InterlockCircular letters flow most naturally into other circular letters. Interlocked here like wedding bands or Olympic rings, two complete letters function as one.
Set In Illustrator, set the letters, Create Outlines, and move together.
Cut Use the Direct Selection Tool to click an intersec-tion, then Cut.
Divide Select both letters, then in the Path-finder dialog, click Divide (below).
What colors?Easily create a pleasing gradient by using analogous colors (colors adjacent on the wheel), in this case green to blue. Analogous colors always work well together.
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Build bridgesThis technique works when nothing else will! Abut your letters, then conceal the junction with a decorative graphic, line or a series of lines and shapes. Easy, fun and always engaging.
Lay on top Evenly spaced dots just lie on top.
Paste into Diagonal lines are “pasted into” (InDesign).
Replace letter parts Barely touching letters are brought together by playful shapes and colors.
Fill a space The diamond does double duty—it links the letters and helps form the shape of the R!
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No software stunts here. Just draw and color funny shapes behind the let-ters, then paste everything into a box.
Do you like the overlap effect but need strong colors? Keep your colors at 100% opacity, but in the Blending mode dialog select Multiply, which adds the colors of an object to the ones beneath it.
Color the negative spacesFinally, some stubborn letters just won’t link physically. So try linking the background! Put the letters in a box, and color the negatives spaces; you can get all kinds of energetic results!
Use transparencyTransparency softens. Create a gossamer effect on even the boldest ligature by lowering the opacity of one or more charac-ters. Here, all three letters are set at 50%. cab
interior designcab
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16
17
15AN an
Article resources
Colors
C100 M60 Y0 K50
C70 M60 Y0 K10
C0 M100 Y85 K30
C0 M15 Y100 K0
C0 M70 Y0 K30
C26 M7 Y24 K3
C73 M15 Y38 K6
C37 M66 Y6 K3
1011
12
13
2
11
12
13
14
10
1
14
3
Typefaces
1 Adobe Garamond Bold
2 ITC Serif Gothic Heavy
3 ITC Goudy Sans Book
4 Futura Medium
5 Helvetica Neue Std Roman
6 Russell Square Roman
7 Spring
8 Avenir 55 Roman
9 Bodoni Roman AN
7
16
17
9
4
4
6
5
8
15
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Article resources
Colors
C26 M91 Y100 K35
C46 M27 Y100 K35
C43 M68 Y51 K70
C40 M35 Y65 K25
C89 M25 Y87 K23
C0 M91 Y91 K0
C20 M100 Y0 K0
C7 M24 Y37 K0
C20 M100 Y100 K15
C100 M0 Y30 K5
8
9
10
11
15
16
17
14
12
13
Typefaces
1 Clarendon Roman
2 Helvetica Neue Std Heavy Italic
3 Gill Sans Bold
4 Eurostile Extended #2 (Modified)
5 Didi
6 Helvetica Neue Std Ultra Light
7 Century Old Style Std Regular
O U T F I T T E R S
29
1
11
8
10
1
4
13
14
3
12
cosmetics
7
16
7
17
5
15
6
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17
18
Article resources
Colors
C0 M50 Y100 K0
C33 M93 Y0 K0
C0 M53 Y26 K0
C72 M22 Y42 K0
C100 M60 Y0 K10
C100 M90 Y0 K0
C29 M63 Y53 K8
C11 M43 Y67 K8
C0 M100 Y85 K0
C0 M20 Y100 K0
10
18
17
13
12
9
119
1 10
2
15
16
16
15
14
12 13
5
Typefaces
1 Futura Extra Bold
2 Bernhard Modern Roman
3 ITC Leawood Book
4 Helvetica Neue Std Black (Modified)
5 ITC Goudy Sans Bold Italic
6 Futura Bold Oblique
7 ITC Franklin Gothic Std Heavy
8 Adobe Garamond Regular
4
68
14
11
7
3
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Article resources
Colors
C100 M0 Y90 K30
C100 M0 Y40 K0
C100 M60 Y0 K0
C0 M30 Y100 K0
C40 M80 Y0 K0
C60 M100 Y0 K0
C80 M0 Y100 K012
10
9
8
7
6
11
Typefaces
1 Futura Book
2 ITC Kabel Std Demi
3 ITC Goudy Sans Bold
4 Bauer Bodoni Roman
5 Gill Sans Ultra Bold
19
2
4
9
11
5
12
10
3
6
7
8
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Article resources
Colors
C0 M100 Y100 K40
C40 M35 Y65 K25
C60 M30 Y10 K15
C19 M37 Y59 K0
C4 M6 Y4 K0
C20 M0 Y100 K19
C0 M53 Y100 K0
C40 M45 Y0 K0
10
8
7
6
5
4
9
Typefaces
1 Vectora 95 Black
2 Sloop Script One
3 ITC Goudy Sans Bold
1
8
3
4
5
6cabinterior design
9
10
11
7
2
11
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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 directorGaye McWade Associate publisherVincent Pascual Staff designerDexter Mark Abellera Staff designer
Design advisor Gwen Amos Before & After magazine323 Lincoln Street, Roseville, CA 95678 Telephone 916-784-3880 Fax 916-784-3995E-mail [email protected] www http://www.bamagazine.com
Copyright ©2005 Before & After magazine, ISSN 1049-0035. All rights reserved
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Ho
w to
de
sign
a lo
go
of le
tters! 0363
0363 H
ow
to d
esig
n a
log
o o
f lette
rs!
Logo of letters!
Design a
Ca
ble
Ne
ws N
etw
ork
w
ww
.cnn.comA
me
rican
De
nta
l Asso
ciatio
n
ww
w.ada.org
�
Co
tton
In
corp
ora
ted
ww
w.cottoninc.
com
Jack
in th
e B
ox
ww
w.jackinthebox.com
®®
Ge
ne
ral E
lectric | w
ww
.ge.com
Co
mp
anies o
f every kind
sign th
eir nam
es with
lin
ked letters called
ligatures. Ligatu
re mean
s to tie. Ligatu
res make excellen
t bu
siness sign
a-tu
res. Th
ey’re han
dso
me, sim
ple an
d co
mp
act. A
nd
they’re fu
n, to
o—
we all h
ave initials! So
me
letters link in
on
e typeface b
ut n
ot an
oth
er. O
thers lin
k in low
ercase bu
t no
t in u
pp
er. Wh
at fo
llows are a variety o
f ways to
get you
r letter p
airs beau
tifully togeth
er.
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fore
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fter | w
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Ho
w to
de
sign
a lo
go
of le
tters! 0363
0363 H
ow
to d
esig
n a
log
o o
f lette
rs!
HK
are an ideal pair; each letter is distinct from the
other, but their adjacent stems are identical. Link by
removing either stem
and abutting the letters. Two
colors put the emphasis on one letter or the other.
This is a good way to handle an acronym
in which the
second letter is the more im
portant.
Use
share
d stro
ke
sM
any letter p
airs form
natu
ral lin
ks; they h
ave iden
tical parts
or co
mp
lemen
tary shap
es th
at fit like h
and
in glove. L
et’s b
egin w
ith th
e easiest letters to
link—
tho
se that h
ave iden
-tical ad
jacent stro
kes.
Alm
ost-id
en
tical strok
es
Pairs like U
R sh
are no
t-qu
ite-id
entical stro
kes, yet often
fl
ow n
aturally to
gether. To
link
neatly, yo
u m
ust u
sually sac -
rifice so
me p
arts; here, th
e R
gave up
a foo
t, the U
a serif.
In Illustrator, set the letters, Create O
utlines, and move
together. Cut aw
ay the unneeded pieces, leaving the rem
ainders overlapped, then in the Pathfinder dialog, select A
dd to shape area (below).
An
gle
d to
vertical
An
gled stro
kes often
link w
ell to
vertical strokes. T
he easiest
techn
iqu
e is simp
ly to cu
t the
angled
letter in h
alf.
Halving the A
joined it neatly to the B, but the crossbars did
not align. Borrow
ing the flourish from atop the A
was an easy
and artful solution.
Try a d
iffere
nt fo
nt
Similarly, letters that don’t link in one typeface m
ay link in another. Try m
any! Typefaces that would be too stylized for
everyday use often make excellent ligatures.
Try cha
ng
ing
case
The low
ercase alphabet is much different from
uppercase, and m
any letters that do not link in one w
ill link in the other. As a rule, low
ercase imparts a
less formal, m
ore casual image.
If you
r lette
rstrok
es d
on
’t qu
ite m
atch . . .
AN
AN
AN
an
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Ho
w to
de
sign
a lo
go
of le
tters! 0363
0363 H
ow
to d
esig
n a
log
o o
f lette
rs!
Up
pe
rcase-lo
we
rcaseU
pp
ercase letters can o
ften
link to
lowercase w
ith excellen
t resu
lts. An
up
percase I, th
ou
gh,
wo
n’t link to
anyth
ing—
its b
od
y just d
isapp
ears! Bu
t a low
ercase i has th
e advan
tage o
f its distin
ctive do
t and
can
link w
ith m
any letters.
Ho
w fa
r ap
art? . . .
Here, a low
ercase i has been doctored to link with an
uppercase M. Letters can be separated by distance, color,
typestyle or any combination.
Distance C
olor Style
Cu
rved
to ve
rticalT
he m
ore d
ecorative th
e typ
eface, the m
ore easily d
is -sim
ilar strokes can
be lin
ked.
Even
a curvin
g stroke can
rep
lace a vertical. You
need
gen
tle curves, th
ou
gh, circles
wo
n’t do
(far right).
Many letter pairs can be m
ade to link but shouldn’t be; for exam
ple, this odd assembly looks like w
e’ve invented a new
character! A key attribute of a good ligature is that
its letters read as individuals even after being joined.
Crossbars link so obviously that in sans-serif
typefaces they can appear to be merely tightly
kerned. To avoid this impression, add a pattern
(above) or an outline (left). Better is to use a
serif typeface and share the serif (left)).
Mid
-lette
r crossb
arsM
any letters, su
ch as A
BE
-F
HP
R, h
ave mid
-letter cross -
bars th
at can b
e con
nected
w
ith a little h
elp—
just cu
t the
letter apart an
d s-t-r-e-t-c-h
th
e bar!
Ho
rizon
tal crossb
arsA
few letter p
airs share to
p
crossb
ars, wh
ich are easy
to lin
k. Similarly, so
me
typefaces h
ave exaggerated
serifs that can
be lin
ked.
OU
TF
IT
TE
RS
Key to this technique is to keep the letterforms distinct.
You can do this by separating the letters with tw
o colors (above) or for a one-color ligature by m
aking a gap in the intersecting stroke (left).
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fore
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Ho
w to
de
sign
a lo
go
of le
tters! 0363
0363 H
ow
to d
esig
n a
log
o o
f lette
rs!
Re
mo
ve a stro
ke
Here, a p
han
tom
stroke h
ints
at wh
at’s no
t there! T
his is p
ar-ticu
larly effective with
Mo
d-
ern typ
estyles such
as Bo
do
ni
and
Did
i that h
ave extremely
thin
strokes.
Re
mo
ve p
art of a stro
ke
Letters w
ith an
gled an
d over-
han
ging arm
s—F
KT
VW
XY
Z—
ben
efit fro
m th
is techn
iqu
e, w
hich
is especially attractive
in serif typ
estyles. Th
e illusio
n
is that o
f a stencil; th
e line is
interru
pted
, yet ou
r eyes “fill
in” the m
issing p
art!
Wh
at’s in
the
ne
ga
tive sp
ace
? N
egative space is the area in and around your let-ters; it has shape and volum
e and always affects the
viewer’s perception. N
egative space is always pres-
ent. In the best design it plays an active role, as it does in the TP
above. Watch your negative space!
cosmetics
Rem
ove one leg and move the letters together.
Cro
p!
You
r intrigu
ed read
er will lin
-ger fo
r valuab
le mo
men
ts on
th
is design
! Cro
p aw
ay the b
ot-
tom
s of yo
ur letters, an
d th
e view
er’s eye mu
st com
plete th
e im
age. Ad
d a co
mp
any n
ame
or o
ther h
orizo
ntal grap
hic to
sp
an th
e gap (far righ
t).
Re
verse
the
fie
ldP
ut n
egative space to
po
sitive u
se! Ad
d a sam
e-colo
r field
b
ehin
d yo
ur letter, th
en reverse
the seco
nd
letter ou
t of th
e field
. E
specially effective w
ith th
ree-ch
aracter acron
yms.
Reversing the field (light
on dark) modifies the
look and often improves
it. Alw
ays check!
(Co
lors a
dd
ed
(fo
r clarity)
. . . add a field . . .Set tightly . . .
YO!YO!. . . color.
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fore
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Ho
w to
de
sign
a lo
go
of le
tters! 0363
0363 H
ow
to d
esig
n a
log
o o
f lette
rs!
Disco
nn
ect an
d attach
An
entertain
ing ligatu
re un
iqu
e to
the T, d
iscon
nect o
ne arm
an
d attach
it to its n
eighb
or!
To maintain the form
of both letters, keep the stroke w
idths the same.
Follo
w th
e w
hite
line
Create th
e illusion
of attach
-m
ent! R
ather th
an ab
ut letters,
leave a gap, th
en m
ake a flow
-in
g centerlin
e that d
raws th
e eye sm
oo
thly aro
un
d.
Don’t close it! D
oing so breaks the flow
.
Ove
rlayA
simp
le alternative to
inter-
lockin
g is to lay o
ne letter ato
p
the o
ther, th
en “lin
k” with
a co
mm
on
fill o
r stroke. H
ere, a co
lorfu
l gradien
t turn
s two
letters in
to o
ne o
bject.
Inte
rlock
Circu
lar letters flow
mo
st n
aturally in
to o
ther circu
lar letters. In
terlocked
here like
wed
din
g ban
ds o
r Olym
pic
rings, tw
o co
mp
lete letters fu
nctio
n as o
ne.
Se
t In Illustrator, set the letters, C
reate O
utlines, and move
together.
Cu
t U
se the Direct
Selection Tool to click an intersec-tion, then C
ut.
Divid
e
Select both letters, then in the Path-finder dialog, click D
ivide (below).
Wh
at co
lors?
Easily create a pleasing gradient by using analogous colors (colors adjacent on the w
heel), in this case green to blue. A
nalogous colors alw
ays work w
ell together.
Be
fore
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fter | w
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Ho
w to
de
sign
a lo
go
of le
tters! 0363
0363 H
ow
to d
esig
n a
log
o o
f lette
rs!
Bu
ild b
ridg
es
Th
is techn
iqu
e wo
rks wh
en
no
thin
g else will! A
bu
t you
r letters, th
en co
nceal th
e ju
nctio
n w
ith a d
ecorative
graph
ic, line o
r a series of
lines an
d sh
apes. E
asy, fun
an
d alw
ays engagin
g.
Lay o
n to
p
Evenly spaced dots just lie on top.P
aste
into
D
iagonal lines are “pasted into” (InDesign).
Re
pla
ce le
tter p
arts
Barely touching letters are brought together
by playful shapes and colors.
Fill a
spa
ce
The diamond does double duty—
it links the letters and helps form
the shape of the R!
No softw
are stunts here. Just draw
and color funny shapes behind the let-ters, then paste everything into a box.
Do you like the overlap effect but need
strong colors? Keep your colors at 100%
opacity, but in the Blending m
ode dialog select M
ultiply, which adds the colors
of an object to the ones beneath it.
Co
lor th
e n
eg
ative sp
aces
Fin
ally, som
e stub
bo
rn letters
just w
on’t lin
k ph
ysically. So try
linkin
g the b
ackgrou
nd
! Pu
t the
letters in a b
ox, and
colo
r the
negatives sp
aces; you
can get all
kind
s of en
ergetic results!
Use
transp
aren
cyTran
sparen
cy softens. C
reate a go
ssamer effect o
n even
the
bo
ldest ligatu
re by low
ering th
e o
pacity o
f on
e or m
ore ch
arac -ters. H
ere, all three letters are
set at 50%.
cabinterior design
ca b
Be
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of le
tters! 0363
0363 H
ow
to d
esig
n a
log
o o
f lette
rs!
Article
reso
urce
s
Co
lors
C26
M91
Y100
K35
C46
M27
Y100
K35
C43
M68
Y51
K70
C40
M35
Y65
K25
C89
M25
Y87
K23
C0
M91
Y91
K0
C20
M100
Y0
K0
C7
M24
Y37
K0
C20
M100
Y100
K15
C100
M0
Y30
K5
891011
151617
14 1213
Type
face
s
1 Clarendon R
oman
2 Helvetica N
eue Std Heavy Italic
3 Gill Sans B
old
4 Eurostile Extended #2 (Modified)
5 Didi
6 Helvetica N
eue Std Ultra Light
7 Century O
ld Style Std Regular
OU
TF
ITT
ER
S
29 1
11
810
1
41314
3
12
cosmetics
716717
5
156
1617
15A
N an
Article
reso
urce
s
Co
lors
C100
M60
Y0
K50
C70
M60
Y0
K10
C0
M100
Y85
K30
C0
M15
Y100
K0
C0
M70
Y0
K30
C26
M7
Y24
K3
C73
M15
Y38 K6
C37
M66
Y6
K3
1011
1213 2
11
121314
10 1
14 3
Type
face
s
1 Adobe G
aramond B
old
2 ITC Serif G
othic Heavy
3 ITC G
oudy Sans Book
4 Futura Medium
5 Helvetica N
eue Std Rom
an
6 Russell Square R
oman
7 Spring
8 Avenir 55 R
oman
9 Bodoni R
oman
AN
7
1617 9 446 5
8
15
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fore
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fter | w
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de
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tters! 0363
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ow
to d
esig
n a
log
o o
f lette
rs!
17
18
Article
reso
urce
s
Co
lors
C0
M50
Y100
K0
C33
M93
Y0
K0
C0
M53
Y26
K0
C72
M22
Y42
K0
C100
M60
Y0
K10
C100
M90
Y0
K0
C29
M63
Y53
K8
C11
M43
Y67
K8
C0
M100
Y85
K0
C0
M20
Y100
K0
1018 17
13 12 9119 1
10 2
1516
16 15 14
1213 5
Type
face
s
1 Futura Extra Bold
2 Bernhard M
odern Rom
an
3 ITC Leaw
ood Book
4 Helvetica N
eue Std Black (M
odified)
5 ITC G
oudy Sans Bold Italic
6 Futura Bold O
blique
7 ITC Franklin G
othic Std Heavy
8 Adobe G
aramond R
egular
468 14 117 3
Article
reso
urce
s
Co
lors
C100
M0
Y90
K30
C100
M0
Y40
K0
C100
M60
Y0
K0
C0
M30
Y100
K0
C40
M80
Y0
K0
C60
M100
Y0
K0
C80
M0
Y100
K012 10 9 8 7 611
Type
face
s
1 Futura Book
2 ITC K
abel Std Dem
i
3 ITC G
oudy Sans Bold
4 Bauer B
odoni Rom
an
5 Gill Sans U
ltra Bold
19 24911
512
10 3
678
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fore
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fter | w
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w to
de
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a lo
go
of le
tters! 0363
0363 H
ow
to d
esig
n a
log
o o
f lette
rs!
Article
reso
urce
s
Co
lors
C0
M100
Y100
K40
C40
M35
Y65
K25
C60
M30
Y10
K15
C19
M37
Y59
K0
C4
M6
Y4
K0
C20
M0
Y100
K19
C0
M53
Y100
K0
C40
M45
Y0
K0
10 8 7 6 5 49
Type
face
s
1 Vectora 95 Black
2 Sloop Script One
3 ITC G
oudy Sans Bold
1
8 3 456c
abinterior design
91011 7 2
11
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