1. Look at the form: How does it complement the mark?
2. Look at how the characters work together. Check your negative space. (particularly with logotype/wordmark, pay attention to tracking, kerning, leading)
3. Legibility--it needs to read at all sizes (really thick and thin strokes are probably not a good idea)
4. How does the type work along side the mark--build equality between the mark and the type
5. Don't be afraid to change the letterforms to fit your idea and with the mark--customize
6. Check style, family, creator, use, history of typeface--does it fit with your intended meaning
7. Look very closely at the forms--this will give you some clue as to how well the face is made
8. Build harmony/balance between mark and type
9. What does the form of the face say about the idea? i.e. A community-focused project might call for a softer humanist typeface like Gill Sans or an accessible and familiar typeface like Helvetica
From the book, Logo Design Workbook by Sean Adams, Noreen Morioka with Terry Stone
1. Answer who, what, why?
2. Identify, don't explain (should not literally describe the client's business--it identifies the company and reflects it's attitudes and values)
3. Understand limitations (trying it out)(a logo can't make a company good)
4. Be seductive
5. Make mnemonic value* (memorable)
6. Pose a question (make compelling)
7. Design for longevity (don't make too trendy)
8. Make the logo the foundation of the system (everything else should work with it: type, imagery, etc.) **
9. Design for a variety of media
10. Be strong
* First we see shape and color, second we put it in historical context, then we associate a meaning to it, then we make an emotional connection based on experience and memory
** A visual system is derived from the logo. It does not copy the mark's form but complements it. The visual system will include guidelines for usage of color, typography, imagery, copy style, and product usage.
From Experimental Typography by Rob Carter (with some of my own commentary)
1. For optimum legibility, choose classical, time-tested typefaces with a proven track record. (Can be more contemporary but should be designed by legit people like Tobias Frere-Jones)
2. Be mindful not to use too many different typefaces at any one time (unless that is part of your concept--otherwise, usually no more than two maybe three per campaign)
3. Avoid combining typefaces that are too similar in appearance
4. Text set in all capital letters severely retards reaading. Use upper-and lower-case letters for optimal readability (lower case letters are more interesting anyway)
5. For text type, use sizes that according to legibility studies prove most readable
6. Avoid using too many different type sizes and weights at the same time
7. Use text types of book weight. Avoid typefaces appearing too heavy or too light (I see alot of the too light lately)
8. Use typefaces of medium width. Avoid typefaces that appear extremely wide or narrow in width
9. For text type, use consistent letter and word spacing to produce an even, uninterrupted texture
10. Use appropriate line lengths. Lines that are too short or too long disrupt the reading process
11. For text type, use line spacing that easily carries the eye from one line to the next
12. For optimum readability, use a flush left, ragged right type alignment
13. Strive for consistent rhythmic rags
14. Clearly indicate paragraphs, but be careful not to upset the integrity and visual consistency of the text
15. Avoid widows and orphans whenever possible
16. Emphasize elements within text with discretion and without disturbing the flow of reading
17. Always maintain the integrity of type. Avoid arbitrarily stretching letters
18. Always align letters and words on the baseline
19. When working with type and color, ensure that sufficient contrast exists between the type and its background
20. (Once you've learned a thing or two more about type and image/design in general, then break the rules as much as possible.)
8.
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