I'm often asked how I get the jobs I do. Well like any business I have to advertise in one way or another to my target demographic. That is creative directors and marketing people. I ran this ad in a west coast trade publication and the marketing director for Lifetime saw my ad, loved the "Fuelosophy" exploratory work I did for Pepsi and hired me to develop the Christmas promotion for their network.So essentially I had to spend around $250 dollars to land this job.
我的这个case是从哪来的呢？就是从这个杂志上。客户看到了杂志上刊登的我为百事公司设计的字体，于是就找到了我。让我帮他设计一个圣诞节用的字体“Fa La La La Lifetime.”。佣金250美元。（也不是很多啊，哈哈）
Knowing my client desired to have a specific styling for their project meant I didn't have to explore a wide range of appropriate type styles. So I just began working out the details of for the wording "Fa La La La Lifetime." I started roughing out sketches on various letterforms and playing with the shapes.
Once I determine a direction or vibe for where I want to go I then begin to refine it and shape it until I have a finalized refined sketch I can then scan in and build from in my drawing program. I was after a festive feel and felt the lettering needed to read like a sing song voice of sorts.
After scanning in my refined drawing I place it into my drawing program and begin to build my vector shapes. There is no guess work, I'm just following what I've drawn out beforehand. I guess you could say I'm manually tracing my drawing in vector form.
My build process is a combination of point by point path building and shape building. On the letter "a's" I used the ellipse tool to form the circular part. It just doesn't make any sense to try and build that point by point, you risk it looking hinky.
I continue this methodology until I have all my basic paths complete. Remember at this point make a copy of your paths and put it on a layer that is turned off. This will server you in building other content as you progress and be vector insurance in case you mess something up along the way.
When building vector shapes an easy way to figure out where to place the points is to think of the shape as a clock. For example this loop of the "L" to top points are 12 o'clock, the right 3 o'clock, bottom 6 o'clock, left 9 o'clock and so forth. There are exceptions to this rule but I'll be doing another tutorial on this process later.When building curved shapes like this the key part to keep your bezier handles parallel to one another and at 90 degrees. Like any rules there are exceptions but in more cases than not it will apply.
creating compound paths with your vector shapes you'll notice that on shapes like the letterform "L" where the shape over laps itself it loses the intersecting content and you'll have to fix that in order to make it look like the letterform overlaps itself.
This is the part of vector building that requires some true craft and skill. There is no tool or pull down menu that will do this, it requires some good eyeballing to create the shapes you need to punch out the gaps necessary to give the illusion of depth in your design.
A smart designer will pull a copy of the "L" before creating the compound shape and from that inset it to help create the content needed. This is where you'll have to explore and figure it out on your own, I'm just showing you the end result of how I arrived at my punch out.
Once I have all my final paths done I drop in the color I want to use. At this point I continue to make any visual adjustments to balance the overall logo type. You'll notice subtle changes with each new incarnation.
Working digitally to me means I should be making any revisions to improve my design as I progress through each stage. I may draw it out beforehand but that doesn't mean there isn't room to improve it as I build the art.
No refinement is too small to make. It doesn't matter if the average Joe consumer won't notice it, if you do it needs to be addressed period. I decided to add some nice gradients to the type to give it a little more anchor.
Even though the client didn't request it I created some secondary support graphics for the mark too. I'll run it by them in case they'd like it as part of the overall motif. Considering it only took me about 20 minutes I think it's worth the investment.
I send the client three comps with two different color schemes and the various secondary graphic treatments.
Most often I get feedback from clients in the form of an email with them just telling me what they want done, or they call me and we go through it over the phone. In this case the marketing director made several photo copies and pasted them up and drew on it, than scanned it in and emailed me the image with his notes.
-Connect "la la la"
-Revise "F" to fit new layout
-Make "Lifetime" bigger
-Remove loop on "L"
-Revise "t" bottom so it's not a dagger
修改要求：把"la la la"连起来。修改F。让 "Lifetime" 大点。去掉L的拐角。修改t的下部，别让他看起来像把刀子。
First thing I did was placed the image my client sent me into my drawing program and scaled my base art to match it. Once I had it aligned I then had an absolute size to work from and fixed several of the areas they had problems with. I than printed it out and drew the connected "la la la" scanned my drawing back in and build the new connected letter forms.
收到客户的修改图片后，第一件事就是把客户的修改稿和我的原稿进行原大比对，这样就看出了问题所在。然后我手绘把“la la la”连上，然后扫描，然后再软件处理。（就是这么繁琐）
Personally I think the looping "L" looks better but they requested that the bottom be treated more like a traditional "L" letterform. So I drew out a new shape and followed the same methods to create it.
Once I had all my revisions implemented I had once again audit the shapes and and balance the forms so they worked well with one another.
Off went this new comp to the client.
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