0:00
Now that we've got a typographic skeleton to work with, we can start to begin to
customize the letter forms and move away a little bit from, perhaps,
the systematic rules of the typeface design and
start to look at a different kind of system that might apply more to
the relationship of the individual letters we have in our word.
So here is the version of S-CAR-GO that I chose to develop.
One of the first things I would probably ask myself is hmm,
why did I pick this one over the others?
So I would try and analyze it and
see what are the points of interest within this particular version?
So I would look at some repetition in the G,
the O, the C, and a little bit in the S that feels quite nice.
Again, I feel like the roudness is perhaps a reference to a snail shell, or
perhaps wheels, that's interesting.
I very much like the arm of this G pointing back in and
the way it almost lines up with a lot of the other horizontal lines.
And that feels like these could be areas of interest or
potential areas to make something happen typographically distinct.
I also feel like it's almost a sense of symmetry, where the only vertical
in this R is almost in the middle of the type itself, so that
there's quite a nice symmetry if you think of this folding over, the A goes to the R.
And there's counter spaces in both of those that feel quite similar,
the C to the G has a similarity, and even the S to the O.
1:34
So I feel like there's quite a lot of potential to work with.
And it overall, it's also very clean, very simple, and
I feel that was part of my goal as well.
1:44
So here are some variations where I'm trying to manipulate the typographic
form and to get it to move a little bit away from the typeface and perhaps start
to think about building relationships between these individual letters.
So let's very quickly look at these in detail and talk about them.
2:03
So here's my original version for comparison that I started out with.
And now here's a version where I'm starting to manipulate
the typographic form.
So you can see I've taken the cross bar from this A and dropped it down, and
dropped down the hyphens.
And the reason why I like this is because it perhaps indicates a sense of movement,
or the dotted lines on a road.
So I feel that has a good relationship to my company.
It might also be the trail that a snail had left behind.
2:39
So if we look at this next version,
you can see I'm trying to do something similar with the line, but
now I'm putting much more emphasis on this arm of the G connecting.
And instead of lowering the bars in the other letter forms,
I've actually raised them so I can try and align them all together.
So we can look at the two of these together and try and
judge which one we think is more successful than the other.
3:03
In this version, I'm adding some weight to the typeface, and
I'm also italicizing it, so it's getting a little heavier and a little blobbier.
And part of what I'm trying to do here is get a sense of movement and direction,
but also make the letter forms feel organic and snail-like.
3:21
In this version, I'm taking away the hyphens and instead,
I was using a change in weight to try and emphasize the differentiation between
the two words that are contained within scargo.
So the car is now standing out, not because it's isolated with the hyphens,
but because of it being in a lighter weight.
So again, I like a little bit of the echoing of the typographic form here.
And these are alternate characters that exist within this typeface, McBean, and
they're quite interesting in themselves.
So you can see where the r is truncated here and flattened is quite interesting.
3:56
And in the final one,
I'm really looking at adding slab serifs throughout these letter forms.
And this makes the forms quite interesting,
again trying to relate this line.
But as you can see, it's perhaps a little too much going on.
Its starts to be very overly active and it isolates a little bit some of the rounder
characters so it feels a little bit uneven.
Perhaps a little bit too much going on in here and
not enough going on at the outside edges.
But again, all of these things are tests and
we're not expecting to produce five or six great logo types.
We're really just trying them out and seeing whether they have potential.
Michael WorthingtonFaculty, Program in Graphic Design
