Transcripts
1. Introduction to Wordmark logo mini-course: Hey, and welcome to
this mini course on Word Mark logo design. In this course, I'm
going to be taking an exclusive module from my
brand designer Pro program to help you understand the world of word Marks just that little bit better so that as
a brand designer, you can develop better
looking wordmarks and logos for your clients. Now, this logo that we're
about to design together is a real life project for
a real life client. And I'm actually being hired
through my branding agency Clementine House to design this logo for a
real life business. So I Can Await the dive in
with you. Let's get started.
2. What is a Wordmark logo?: Okay, so what is a wordmark? A wordmark, it's kind
of in the name, right? It is simply a logo
focused around text, okay? So text in a distinctive
or unique way. This could be manipulating the font to just be
more distinctive, or it could be something
like that X ray example, where it has a little hidden message hidden in the letters. So instead of
depending on an icon or some sort of symbol like
abstract and pictorial logos, Word marks just focus on
the alignment of text, the formation of the text, the kerning, and the actual
style of the font itself. So how do word marks work? Well, a wordmark is essentially a custom font or a custom
typeface formed as a logo to ultimately symbolize
the company and give some sort of suggestion
in regards to the company's character
and their values. And you can do some
really cool things with word marks that can really
push you as a brand designer, for example, using
a certain type of spacing between each letter
or the kerning, you know, as I'm sure you to create a certain
perception and to make the logo either look more
futuristic or more kind of modern and simple, you can use different weights. You can use certain
fonts and typefaces that allow you to curve
certain corners to make it a little
bit more distinctive. There's tons of different ways, and we'll go through them all a little bit later
on in the course. But I just wanted
to highlight some of the pros and cons
just so you can kind of understand ultimately
what a word mark is and also how and when
you should use them. So when should you
actually use a wordmark? Now, a great situation to
use a word mark is when you just want to make it look
super professional and simple. So, for example, if we were to rebrand Berkshire
Hathaway you know, to fix that curning that
is extremely concerning, we would use a word mark
to choose a typeface or a font that suits the brand's message and
characteristics and DNA. Then we would fix that
curning 100% because it's absolutely terrible and we'll learn more about curing a little bit later
on in the course. And then we would ultimately refine the color
to make sure that that color is distinctive within that market and the brand space. Now, if you understand
how to do word marks, it can really help you not
just in regards to word marks, but also every other
type of logo as well, because every
single type of logo includes a word mark in
some way, shape, or form. So if you can master word
marks as a separate skill, it's going to elevate
every single type of logo that you do from now
until the end of time. So let's take some
time to summarize everything about a word mark that is important and
when we should use it. And then we can start to
actually understand how we can create grid wordmarks and I can give you some
tips in order to do so. Now, Google's a
fantastic example of a wordmark done
really, really well. And it isn't even
that complicated. So we're going to cover how to actually create word marks, and I'll give you some
tips in regards to how to, you know,
create word marks, which are a little bit more, you know, interesting
and distinctive. And I'll also show how
to use word marks and manipulate them and refine them to match your icons better, because that's going to
be a whole other lesson and approach and process. But anyway, we'll get to
that a little bit later. I hope you're enjoying
the course so far, and I will see you in the
next lesson. See you there.
3. Amazing Wordmark logo examples: Let's look at some
incredible wordmark logos as examples of how a word mark should
be designed and what makes a good word
mark from a bad one. Now, a word mark
should be unique enough to stand
out in the market. And in Maga standing out, there are a couple
of ways to do this. You could take an approach
like for example, Coca Cola and Disney, where both of those
fonts are just super unique and super
distinctive to the brand. For example, if you
take the Disney logo, and then you just take the
D from the Disney logo, you still know that it's
representing Disney. That gives you a
branding system to allow you to use that word mark
in many different ways. You can have the Disney
logo with the castle, which is kind of the
full brand mark. Then you can have
just the word mark, which is just Disney by itself, and then you can just
use the D as an icon, as a favicon, or if you need to apply it somewhere
super small. And then you've got
the Coca Cola logo, where you can not only use the word mark itself as a word, Coca Cola, but you can also use the typography as a pattern
to decorate something. So you can actually take that particular word mark
and blow it up to a huge size and then use it to actually decorate
a background or, you know, just a square
or something that is related to Coca
Cola with that red, and you're still
going to be able to relate it back to
the brand itself. Now, I think we
can all agree that Disney's logo and Coca
Cola's logo are great, and they've got tons of different ways that
you can use them. However, Google's
logo is just as good, and they take a completely
different approach. Now, Google's logo is developed using the
font product Sands, and that was a font specifically
created for Google. Now, this might not look
like a very distinctive logo to you or even a very
distinctive typeface, but trust me, there's a lot
of thought that goes into developing a font like this
for a company like Google. And the reason why
Google has essentially created their own font
is because instead of licensing a typeface for them to be able
to use worldwide, it's going to be far cheaper to just peer a designer to create a custom font for them so they can use it however
they wish forever. And there's also
tiny little details in regards to Google's logo, where the G, for example, is designed in a
very specific way, so it looks like it's
symmetrical and it looks like it is kind of
designed mathematically. But there's actually a lot
of nuanced little details which the average person
is not going to see. We can kind of maybe cover that a little bit later
on in the course, but just to let you know
that this logo is a lot more complicated and well thought out than it appears
to be at first sight. So anyway, with a wordmark logo, you don't have to be
super creative and do something that's like
handwritten and script related. Can do something which is
a little bit more simple, and it all comes
down to refinement. It obviously depends
on the client and what the client's
trying to achieve. But just keep that in mind, if you feel like a
wordmark logo is something that you want to
become a specialist in. In the next lesson, we're
going to actually cover the process of developing
a wordmark logo, which we're going to
go through together. So on that note, I will see you in the next lesson.
I'll see you soon.
4. Researching for Wordmark Ideas: Okay, so the first
step to developing an incredible wordmark for
a brand is to discover. Okay? We need to go out and explore the world of word
marks, and ultimately, how are we going to communicate a message which is
distinctive and unique to the company
within letters? Now, I know it seems difficult,
but it isn't, trust me. The first step all starts with talking to the
founder and getting a really nice brief of what they're trying to
achieve with their logo. Now, when I'm
speaking to a client, I am ultimately looking to get direction or directions,
should I say? For example, within the package that
we're working with with this real client
that we're going to design a logo for together, they have four logos
to choose from. I'm going to be developing four different IDs with
different approaches, then they're going to choose
which one they like best. For this one, the direction
that was confirmed with the client was all
around ascending, improvement, how can we
do that with letters? Now, there's tons of
different ways to do it. Some are slightly more
distinctive and some are used again and again and again. Anyway,
we'll get to that. For this brand called acenter, we need to create a
message of ascent or improvement or elevation or something like that within
the letters themselves. Now, how are we
going to do that? We're not going to put pencil
to the paper just yet. We're going to first look at actually understanding how we
can communicate elevation, ascending, improvement,
something like that with visual cues, and a visual icon or
something like that. Although we are
going to be put it inside a letter, let's
start with this. So Elevation. We're going to
look at elevation. This does not help me at
all, okay? Icon that's some. That's not how you spell icon, but I'm sure, okay, we're getting somewhere, we're
getting somewhere. So we have buildings again. And we've got this,
and by the way, everything that I find, I'm
going to just stick in here. Okay, so this is interesting,
right? So we've got this. We're going to stick this in
here. Elevation. I get it. Elevation I get it. Okay. Perfect. Now, this doesn't mean
that we're going to use these icons or use
stairs for the icons, but I'm just trying to understand
when we see something, what do we associate
instantly with improvement and elevation and ascending, that sort of stuff? Ascending is going to
be good ascent icon. Let's check that out. That's
going to be interesting. So this is kind of interesting, but also, there's a lot of
just arrows going up, right? There's a lot of
arrows going up, upwards trajectory,
okay? Okay, okay. Okay. I think we've
exhausted pinterest. Okay. So let's go
on to this one. Okay. Ascending icon, we have arrows. We have, we've literally just got arrows.
That's literally it. Okay, Ascend, what about
ascend? Ascend icon? We've got Oh, okay, so it's basically giving me a
paper aeroplane for ascend, which is weird,
okay, fair enough. We've got stairs again. I don't know what
it is with stairs. Why are there so many icons
with stairs? It's crazy. We've got another
one here. Um, Okay, what else could we
search? Elevation icon. See if there's anything else
that comes up on Google. Okay, so now we're starting to get like mountains and stuff. Now, this particular brand that we're developing
the identity form, the word mark, they're
a technology company. So we can't really
use a mountain. That's not really going
to wash very well, but what we could use is
the shape of a mountain, just not like it
being too obvious. But if we look at
the actual icons that I've sort of captured, they all seem to have a very similar kind
of vibe or feel. So they're all kind of looking to either going this way
or that way, like this. These two here, the rest
of them are not really. I mean, even this one, to be
honest, it's going top left. This one, going
to the top right. This one top right, top right, top right, and this
one's just going up. I think what I need to do is to take the actual
letters of the center, and in some way, shape, or form, communicates
something like this. So going upwards or to somewhere, it needs
to go somewhere. Now, from a process
of elimination, the two Ss, that's going to be very difficult to do. So
I want to take those out. The E, maybe. The kind of has this sort of
elevation thing going on. So that's potential.
Maybe we can kind of cut that
out or something. So it's like a single line, and maybe that can be kind
of the elevation part, the T, not really. So we're kind of with the As, maybe we can do something. Okay, so the As
kind of bookshelf, the actual word mark,
if that makes sense. So what if we kind of
had them Because I mean, here, we've got them going this way, we've got
them going this way. What if we had the two as either side kind of coming
together like that? That could look cool.
And the only other way that I can think of
it is the two Ss, the E, and the T, kind of, like, it's kind of impossible,
at least in my opinion. So we're kind of left with
the N of that kind of ascending and the kind of middle the middle
part of the E, which the good thing about
the two As is we kind of start and stop with the E. So if we kind
of bring them together, we could actually create
something absolutely awesome. Okay. I'm going to ultimately
start trying to craft some as to bring something together that can look
good as a wordmark. I'm not sure what
font I'm using yet, that'll come a little bit later. I just want to understand how I can use theirs to bring
something together, which feels like the actual
word mark comes together. Also because it's the start
of the name a for a sender, we're also going to be able
to use that as a fabricon as the icon if we can
make it distinctive. So okay, awesome, I'm happy with that as
the discovery phase, at least for this
particular direction. Again, with the actual client, I'll be looking at three
other directions as well, but for the purposes of
this little mini course, I'm going to be focused
on this direction, and we'll be developing
it together. So on that note, I will see
you in the next lesson, which is the sketching
phase. See you there.
5. Sketching Your Wordmark Idea: So now we understand the brief and we've
done the research, and we have some
inspiration that we've captured from Pinterest
and Google, for example. Now it's time to start
sketching our wordmark logo. Okay, so for a center, we are essentially
looking to get an ear or two ears
that can kind of come together to create a
message of ascending or improving or basically having a positive impact, right? Now, we kind of have this sort of upward trajectory thing,
which I kind of like. We also have the actual
letters for a center, and I said in the
last lesson that the N or the As are going
to be the best approach. So let's just start sketching some stuff and let's see what we can do to ultimately create
something that looks cool. So let's start with the
actual sketch pad itself. So, I like to break
things up into two different phases, okay? So the first phase
is at the top, and that is phase one, and the
second is phase two, okay? That looks like an
R, but never mind. Now, with this phase, I'm essentially looking to take a very short amount of
time to develop some IDs. I'm not trying to paint in
the mon laser here, okay? I'm trying to keep
things super simple and basically get my IDs
down on paper, okay? So we've got the E and the N. So that's just a typical
E and N, obviously. Now, why or how can
I get this sort of shape or kind of
upwards trajectory installed inside the E
or the N. Obviously, with the N, it's a little
bit simple, right? I can just take this away. Then I can just kind of maybe
do something like this, which looks pretty cool, right? Maybe we can do both. I'm not sure if we can do both, but let's just see because
this looks pretty subtle, but it does look
pretty cool, right? So maybe we can do that.
And maybe for the ear, um, maybe for the ear,
we could just do this. For example, here,
so we've got the, which is kind of like
pointing upwards. And for the ear,
we could just do, it's a little bit cliche. It's been done 1
million times before, but maybe just do something like this where
it's just kind of like, okay. It's like a triangle. So scent, and then have the other ear like this, like at
the other side. Okay. And at this
stage, as well, within phase one
of the sketch pad, I'm basically looking
to just jot down, like, 20 ideas in a really
short period of time. Like, I probably take,
like, half an hour, 45 minutes just to sketch
20 for this direction. Now, for the purpose
of this course, I'm obviously not going to
do 20 because it will take, like, you know, it'll
take a long time, and I want to keep
the lessons as short and sweet as possible. But I'm probably going to
do like three or four, Okay, just to kind of look at a couple of different options. So this end actually looks
okay. I kind of like it. The reason I don't like these is because it just looks a little bit too, like, predictable. So I want to look at, Okay,
how can I do that whilst also including this middle bit? We could do something like this. So, for example, if we have
the two ears the side, we could do something like this, where it's kind of like a
bridge or something. Like that. So it's kind of like going
upwards or going inwards. That's an option, 100%. But, I mean, it doesn't
kind of match this where it kind of has a little
bit more of a techie curve, if that makes sense, so it kind of looks
a little bit cooler. We could actually
try that. And I also don't like how kind of, like, long and thin these
actual letters are. Let's make it a
little bit wider. And also just look to make it. And I'm only focusing on
the N and the E right now. That's all I'm focusing on. I do not care about any other
letters right now. That's all I'm doing
because this is ultimately going to be the distinctive
element of the word mark. So the rest of the letters
will just be built around this design, okay? So we've got this, so A and A, and then we like
this kind of curve. Okay, so let's maybe try that. Let's maybe try
creating some sort of curve like this, maybe? How does that look? Is that? And then do I do it
okay, so I can't do it. So either I have to do it the same way as the N like this, or I need to do it like this, which is basically the two together like this, where
it's coming together. I actually don't know if I want to do the
N in the same way, simply because it
kind of breaks it. So we've got kind of two
things coming together, and then the N is kind of just like doubling up on the
left to right side. So I think if I
do this approach, I'm probably just going to
focus on the E. But let's see. I can digitize this afterwards and play around
with it and stuff, but yeah, there's kind of
going to be two options. There's kind of going
to be two options. Okay, we'll check
that out. I kind of like this,
though. I like this. I like this. I like how
they kind of come together, and that was kind of the
original idea anyway when I was sort of looking at the
different icons and stuff. And I also think that it kind of makes a lot of
sense for a center. So let's look at phase two, which is essentially to bring the ideas from here and to
refine it a little bit. So let's just develop one
of these A's, this one. Let's just develop
one of these A's, and then we'll kind of
go from there, okay? So let's just do a
really simple A. Okay, from here, let's just
develop a really simple A, which is going to do this. Okay, so we've got an A here. That's cool. Okay,
so how can we change this to be a little bit more distinctive
and unique, okay? A little bit like this. So in order to do that, we'd
have to change this. I'm gonna change this
out, so swap that out. Then we would probably close
this off, close this off. And then we need to
add this element here. So I'm not sure if
we would add it and make it, like, smaller. So it starts like
the full length and then basically
ends like a little bit shorter, like this big. Or if we just keep
it the same size, I think just talking
from experience, if we make it different
sizes and widths, we need to replicate
that throughout the entirety of the word mark, which I'm not sure is going to look very good when
you get to, you know, letters like S, like E, like T. It's going to just
look super unbalanced. So I think we need to keep
things the same width, just to keep things
super consistent. So let's do this. And then let's try and
join these together. Okay, so wait a second. Okay, so let's do
something like that. Okay. Sketching this out. Okay, I can already see I can always see just
by looking at that, that it kind of, like, droops down, and it doesn't
feel very positive, right? It actually feels
quite negative, 'cause it feels like
it's kind of like going downwards. I don't want that. I want it to look like
it's actually got kind of, like, an upwards trajectory,
if that makes sense. So I want it to look like
it's kind of still going up, and it still looks like
it's going to be going up. So let's just get rid of that. And then let's edit this so we can Okay, yeah,
something like that. Something like that
doesn't look too bad. Okay. Okay. I don't hear
that. I don't hear it. I don't hear it. Okay.
Okay, okay, okay. Not bad, not bad, not bad. Okay, so we've kind of got
something going on here, which doesn't look too shabby. It's communicating what
we needed to communicate. And also, it doesn't
look too bad. Maybe even put, like,
a little bit of, like, shading or something here
for one of the icons. Obviously, it's
not going to be on every single version
of the brand mark. We'll get to kind of developing brand identity systems later on. But this is kind
of in front of it, so it kind of makes
sense to have a little bit of shadow,
if that makes sense. But I kind of like this. I
like how it's coming together. Obviously we would replicate that for this version as well. So we kind of have
the two playing together coming together as part of the ascender wordmark. Okay, so I'm actually
really happy with how this is coming together. I love how it is, have a
little story behind them. I love how they're both at the end of the actual wordmark, so they're kind of
coming together. Obviously, at the
moment, I'm probably going to play around with a couple of different typefaces, but I like how the story is being told with the two E.
I think with the N, it wouldn't have worked as
well as what it does now, so I'm happy with where
we are right now. The next step is to ultimately digitize this idea
in Illustrator, and start really
tidying things up, adding color, you know, seeing the actual logo in certain digital
environments, you know, like, for example,
on a business card, on a website, all
that good stuff. But yeah, I'm super excited. So on that note, I will see you in the
next lesson. See you.
6. Digitising Your Wordmark Sketch: So it's finally time
to take the design for a center and put
it inside Illustrator. So we can just make things
look professional and clean and minimal and
just perfect, right? Because obviously, it's digital, so we can really
spruce things up. Let's dive in and let's start
making things look great. Okay, so we have our
sketch inside Illustrator. How do we actually start to
digitize it and polish it up? Okay. So we understand
the concept. All I'm going to do
is for the word mark, at least this
particular word mark is I'm just going to find a tips
that I think works for it. For example, let's
go for something which is a little bit thick. I want it to be not too
thick, but thick enough. Maybe a mansa could work. Yeah, it could work.
Okay, let's go for that. Let's go for that
I'll look soon. Okay. So we have that now. Obviously, we only need to
actually do some sort of animation to the ears and also, if we do it with this one, then we can just replicate
it and do the exact same with the other e. Let's
just copy and paste that, put this over here so
it's out of our way, so we can just focus
on doing the E. That was a rhyme which I did not anticipate being so good, awesome. Now we have the E. Let me just do this so we can
make this slightly bigger. Focus back on this. Perfect.
So we have the year now. All we need to do now is to
basically create the outline. I'm going to put this here and I'm going to put this here. Now, when I'm looking at this, obviously, we need to get rid of this part of the year here. So let's just get rid of
that first and foremost, so we can create
this shape here. And what I'm seeing is this has this little
ledge here on the ear. Well, I'm not sure
if I actually want that little ledge here. What I can do is I can try
and add an anchor point here. Then I can put it literally in the same place or
at least level. Then I can move it out slightly to see if it
works better or not. Slightly, but it doesn't make a whole lot of difference to be completely brutally honest. I'll tell you what, I'm
actually pretty happy. I've taken away
the sangra point. I'm actually pretty happy
with how it is now. I don't actually
need this little EA section, this little ledge. I actually don't need
this little ledge below the ear now we've got
this. I'm going to do is. I'm going to turn this to
the side or at least here. Too. Okay. So we've got a nice example
of how thick this should be. And then we've got
a guide of how thick that particular element
should be at the top. Do we want it to be a
little bit thinner or not? I think we tried that in
the sketching phase, right? So we want it to be the same. Okay. Let's make it the same. So we know that if
we connect this to this and this to this, we know it's going to
be consistent, right? So that is ultimately the next
thing that we need to do, not with a polygon. Okay. So I'm going to
just make it green. It doesn't really matter at
this point, to be honest. Okay. And then we just do this. So all we're basically
doing is just connecting this little
edge here with this. It's all we're trying
to do. We can do that by There we go. Okay. Perfect. We've done that. Then the next step is to
do the same with this. Now, we might have to
make this slightly bigger because we need to make
sure it's consistent with. We don't want to
run over the edge. We wanted to stay consistent
with Let's do this. Okay, okay. So I'm literally just playing around with this trying
to get it right. It's almost that.
It's almost that. I just a little bit
more. There we go. There we go. Perfect.
Tweaker. There we go. Awesome. Now we have this
section pretty much done. All we need to do now is
to basically get this, create a box below it. Also actually, we'll
just do a box, I think. And then just get this section here to be straight
against this. Actually, we don't even need
to do that, to be honest. We can just literally
use the ear, so it's going to be even easier. I'm actually not the best person on Illustrator to be
completely brutally honest. I'm actually better at
creating the actual messaging. But, um, Yeah. You don't need to
be absolute wizard at Illustrator to make money. Being a brand designer.
It's not necessary. You need to know a
couple of things, a couple of simple things, but apart from that, everything else is
just additional. So what I'm going to do
is I'm just going to take this shape because
if I take this shape in this shape and
this shape and I just basically use this Divide tool. I can cut this off.
I can cut this off. I can cut this off, which I don't need. I can cut this off. And then with this one, this
one, this one, and this one, all I literally do
is just this and cut them all in a
different color to show you, and there we go. So we literally have
the ear that we wanted pretty much ready to go. Like, it looks and feels great. Let me get rid of that,
so it's nice and clean. So that looks and feels pretty
good to me, to be honest. Is it exactly the same as that? No, it actually
looks a lot better. So now all I want
to do is I'm going to take this upper level
because right now, what we have is the
front of the ear right. It looks a little bit
different to the others. So what I can do is I can
merge those together, so it's one single piece. And then what I'm going
to do is I'm going to create an opportunity to
create a gradient. Okay? So let me just save
this. Just put this to the side so that
if anything happens, then we are still safe. And what I'm going to do here is just section out
part of this a here. I'm going to ungroup
this. I'm going to take this and I'm going
to divide it again. Now the reason I'm divided again is actually really simple. I'm going to use this as
well again to divide again because I want to have
control over this and this. These two sections here. The
reason I want that is so that when I create let's just do it like bright
red, for example. That's bright red, that's
bright red, that's bright red. Then what I can do is
I can actually create a gradient between each of those letters and also
here as well, probably. Yeah, I should probably do it there as well to be
completely brutally honest. Let's do it there
as well. Again, I'm just literally
creating this gap. Okay. Okay. Here. I've got more
control over here. These are the sections
that I want control over, and the reason I
want them is because I want to create a
little gradient here, a gradient here and
a gradient here to separate and make this look like it's in front
of the other elements. The way that I can do that now once I've done all
the hard work, while I see hard work, I can then take this, the gradient, make this to 90 probably
and swap that round and just use my mouse
to alternate that, make that a little bit shorter. Perfect. Then I just take
the eyedropper tool and do that and then take this
eyedropper tool and do that. Here Presto. Looks like this. Then the best thing
about this is you can literally do the
exact same thing, 90 with that and then just Copy and paste that
so that it shares the same properties
and then just move it so that the angle
is slightly different, and you literally have
the perfect gradient to showcase this
difference in depth. This is obviously in front
and you can see this is behind it looks super
realistic, super fast. Then you can also do this. This isn't super
difficult to do. That looks pretty good
already, to be honest. You can see here though,
there's a little bit of overlap and you can see it's cutting into it so it
doesn't look as smooth. So all you do is just
obviously now look, it's at the top,
that doesn't look good, it looks pretty weird. So all you do is just change it. So it looks so probably about, so it's looking okay there. But what you need to do is you need to just
heighten this up a little bit so you get a
little bit more separation. So that's looking a
little bit better, right? Then just let it down a
little bit and there we go. It's just kind of
filling around with it until you get to a point where you're kind of happy
with how things look. Oh, what have I done there? I've knocked something
out, I did something. What I done there?
Well, there we go. I'd kind of move
that whole thing, which obviously isn't
great, great move. Okay. I'm literally just trying. What you can actually, this
is a good little example. You can change it to
a really crazy color so you can actually see
exactly where the gradient is. I actually looks pretty
cool, doesn't it? You can just manage the gradient and control it a
little bit better, and then once you have
it where you need it, then you can be a
little bit more, a little bit more careful with
the color that you select. For example, here,
you can see here there's a little bit of a
layover which isn't good. Okay. Let's do a
little bit more. There we go. That
doesn't look as bad now. Just change that,
change it to that. Here, Presto, we're
pretty much there. Then all I'm going
to do is basically take this section here. We can get rid of that now because we already have what we need. We can get rid of this. We'll just put it
down there. We'll get this, move this over. This should still
be the same size. We're going to create
an outline for that. I'm also going to get this. No, we won't get
rid of the ads yet. We're going to copy and paste this and just
get the same color. Then we're going to do
the last little part, which is this while
we get the A, we put it exactly on top. This is actually a
really simple word mark. It isn't complicated to do. But I'm just trying to show
you the process of how to do a simple but effective
wordmark which tells a story. That's the overarching lesson
that I want to create. I mean, if we look at this, it looks pretty good.
It tells a story. It does the job. It does
the job as a word mark, and it literally took 30 minutes to actually do from
start to finish as a concept, it
suits the brand. Could you make these
particular letters a little bit more unique?
Of course, you could. You could maybe purve
one corner, for example, and do the same for this
is me just kind of, you know, doing things
for the sake of it. But you could
definitely, you know, make it slightly
more unique and, you know, play
around with things. But overall, overall, it
doesn't look too bad. I actually like it just the
original how it was before. Maybe you could curve the
corners a little bit and play around it a little bit and
refine it a little bit more, put the little symbol here that either if it's
a rechest trademark, once it's red chested,
put the there. Once it's applied as a trademark, then you
can put the TM there. So overall, I mean,
it's a nice wordmark. It does the job.
It tells a story. And ultimately, the fact
that we've achieved this in such a short period of time,
I'm pretty happy with that. So yeah, I hope
you enjoyed seeing inside my process you
took something away that you can implement
into your own processes in your own wordmark
development process. But apart from that, thank
you so much for your time. I really appreciate
it, and I'll see you in a future lesson.
7. Wordmark Project Time: Teaching brand designers
and working with them to improve their
skills and help them build more profitable
businesses is by far the thing that I'm
most passionate about. And just seeing the
designer become more confident and more capable and also see them have more success with
their design business, it brings me so
much fulfillment, and I'm so grateful
to be in a position where I can help brand
designers on a personal basis. Pretty much every single day. Now, if you are an
ambitious brand designer and you really want to accelerate your learning and become the best brand
designer you can be, I love to invite you
into our community, the brand design
abroad community, to help you to get to
where you want to be as a brand designer and building your brand
design business. I really do put a lot
of effort into making the content look great
and also trying to be as informative and as
helpful as possible to help support brand designers to ultimately be the best
version of themselves. I'd love you to share one of your logos that you've
designed that you're super proud of as a
project this course. That way I can give
you some personalized feedback to really help to accelerate your
learning and just add a little bit more value after
you've taken the course. Anyway, I just want to
really say that I'm super grateful for you
spending the time, watching this course, and yeah, hopefully we'll connect again
sometime in the future. Anyway, I'll see you
very soon. Take.
Scott Adam Lancaster, Branding Expert, Fiverr Pro & Coach
