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A great logo is often basic, composed only of essential parts, but simple is not always easy. Designer Nigel French distills over a decade of professional design and teaching experience in Designing a Logo. He discusses the principles and techniques of what makes a logo work, and explains type-only designs, type treatments, and logo symbols in depth. He also explores how to work with clients on defining job parameters and selecting a final design, as well as how to prepare the logo for print and web publication. Nigel demonstrates each of these techniques in the course of designing a new logo for a real client, so viewers can either follow along or apply the techniques to their own work. Exercise files accompany the course.
Some logos that use warped type and in the case of this one here, Latitude, extruded type to create 3D drop shadow. Let's explore these options. In Illustrator, you can see the exploration I would be making here, starting with a simple piece of type, warping it and then experimenting with the 3D Bevel option and then applying a gradient to the type. So let's do this from scratch. I'm using a font called Arnold Boecklin. It's a very art nouveau style of font, kind of suggested by the Latitude logo. I'm not sure I would ever really use it in real life but now is my opportunity to cut loose and experiment with this one.
I'm going to come to the Effect menu and down to Warp where I'm going to apply this as a live effect, an Arc. And 13 degrees is probably just about right, okay? Lovely. And next what I'm going to do is I'm going to convert my type to outlines. So that's going to be necessary so that I can apply a gradient to it. If I want to commit to that angle or that degree of arc, I might want to expand my appearance so that what I'm seeing and my anchor points are one and the same. It is going to narrow my options in terms of backing up to this point but I'm going to live dangerously and do that anyway. Expand Appearance so we now see the selection outlines and my objects are not different things.
Now I'm going to apply the gradient to that and I want to change the angle of the gradient. What's happening at the moment is the gradient is filling each shape independently. And I actually want it to go across the whole of the range of letters and I want it to go from bottom to top, something not quite like that but maybe more like that. I can just keep swiping over it with my Gradient tool until I get it right. What I want to do next is I have got -- all of these elements are grouped and to really fine-tune this what we need to do is probably mess around with the beveling on each of the letter shapes individually. I'm not going to do that because that can be too time consuming and about as interesting as watching a paint dry, for you to watch me do that but that's what we would need to do to really refine this and in order to do that I need to make sure that these objects are all un-grouped.
So I'm going to come to the Object menu and Ungroup them and now I'll go to my 3D > Extrude & Bevel. If I turn on my Preview, there will be a pause; it's quite demanding of the processor this. Now that's not I want at all. So I'm going to turn off my Preview and just move this cube around to set the angle of my Extrude & Bevel, something like that. So it's a pretty much head-on view.
And turn on my Preview back on again. That's more like it. I want to increase the depth of the extruded type to about 80 points and then the last thing I need to do here is to change the shading from a gray to a black. I need to come down to these options. Now if you don't see these options come and click on this button right here. You will see that my shading color is actually black already but what's making it gray is the Ambient Light, which I need to take down to zero.
And there I now have a black extruded 3D shadow. We have arced it, then we applied a gradient to it, having first made into outlines and having ungrouped those outlines and then we have gone to the Effect menu to apply Extrude & Bevel and there is our result.
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