Join Nigel French for an in-depth discussion in this video Adding perspective and texture to logo idea 2, part of Designing a Logo for a Band.
Continuing with idea number two, I just want to show you how I created those last few iterations beginning with the perspective. So I'm going to come and choose my perspective grid tool, and then I'm going to come to the view menu to perspective grid. And I want a one point perspective grid. I'm going to pull that down from the top, and just, move this around a bit to adjust the shape of the perspective grid. Something like that. Now, with my perspective grid selection tool, I'll select my type.
And I'm going to drag this, onto the grid. I can scale it. What I can't do, is have the grid actually print. That is, unless I draw the grid as it's own separate element, because the perspective grid is, of course, non-printing. So I'm going to switch to my rectangle tool. Now I need to make sure that I start out by drawing the rectangle outside of the grid itself. Otherwise it will be drawn to this perspective. I'm just going to draw myself a rectangle like so.
And then I'm going to come to the object menu. Path, and choose Split into Grid. And the number of rows and columns that I choose is going to be suggested by what I'm seeing here. How about we have ten columns and 14 rows. We want to make sure that the gutter space for both. Is zero, I'll click okay to that. I want this to be stroked as opposed to filled so I'm going to press Shift X to toggle my fill and stroke. I'll then come and change from a black stroke to a 50% gray stroke.
And I'll now select this with my respective selection tool and drag the whole thing over my perspective grid. And even though it's not the same size, that actually works out better for me at the size that it is, but if I did need to change it's scale, I could do that. I could just pull it around to adjust its scale and if we now turn off the perspective grid. We are left with the grid that we've just drawn. I need to select the type, both pieces of type. And then I'm going to bring these in front of those grid lines.
Command Shift right bracket. Moving now to my next art board. For this version, I put texture inside the mountain range, and the lines in the road. And this is going to involve using an opacity mask. And this will be made easier. If I go and tear off my transparency panel, which is no longer there, so I'll just come and open it from the window menu. I'm going to select the texture file and I'm going to cut it.
Then I will select this shape. And I need to make sure that that's, both the mountain range and the lines on the road which it is, and then I'm going to make a mask for that. When I do that, the mask ends up being black which I don't want it to be, so I'm going to uncheck clip box. I need to make sure I click on to the opacity mask itself so that it has the orange rectangle around it. And then I will. And we can see this more clearly if I open up my Layers Panel.
I'm now going to paste that texture file on to the opacity mask. And then I can just adjust its position. Like so. And now to my final version I have this shape and I want to use this to create an envelope distortion. So draw yourself a shape, in this case I've drawn this shape which is going to indicate the perspective of the type. And I'm going to place this. Over the type. I'm going to select both.
And then from the Object menu, I will choose Envelope Distort Make with Top Object. Now, my type remains editable. If I click on the resulting envelope distortion,. On my tool options I can click on this icon to edit the contents and we see that they type still has a baseline. It's a little bit tricky to work with because what you see is the distortion that if you want to edit it, it's preferrable to do that without the distortion. So you may find it easier just to switch to the outline view mode.
Where you can make any changes that you need to, to the type so long as you haven't yet converted the type to outlines. And then when you're done with that, you can switch back to your preview mode. I did try this the other way around with the same sort of perspective that we saw. On this version here, but the problem with that was it just gave too much emphasis to the word shy. So that's why I've done it receding to the left, as opposed to receding to the right. So there, just some different versions, all suggested by this starting point, idea number two, and I'm calling this lost highway.
Want more information about building a solid logo? Check out Nigel's Designing a Logo Topics include:
- Exploring type casing, weight, and alignment
- Evaluating typefaces
- Adding an enclosing shape or lines
- Presenting different ideas to clients
- Choosing colors
- Fine-tuning the design
- Saving separate versions of the logo