week 4

brand sheet



Being satisfied with the long form of my logo from last week, I focused on making a short form that could be a more eye-catching and memorable symbol. One of the ideas that came from the in-class feedback I got was to use color to create a symbol that gets incorporated into the letterforms I already had. I pretty immediately realized that the top curves of the T and S could form an eyelid, and the exaggerated curve of the S could be a pupil. I really liked the idea of an eye as an obvious but fitting symbol to represent concepts like curiosity and attention, and also skills in visual design, research, or copyediting. I also liked the idea of using CMYK as my color palette as another nod to design — initially, I wanted the colors to be layered on top of each other with a Multiply blending effect to show the secondary colors, but this quickly became way too busy for a logo. Right after class was over, I started sketching different shapes for the eye (see those below) — but in the end, my very first sketch seemed clearest to me. For one, it was important that the gap between the T and the S be only one color, to improve the legibility of the “hidden B,” but this version also preserved the continuity of the curves best while staying as simple as possible. I did tweak the anchor points and handles many, many times, trying to get the smoothest curves possible — shoutout to the Simplify tool on Illustrator, which as I just found out during this process can be used in anchor point chunks, and not only for the entire shape. In the monochrome version, the spot color should be lighter than the letterforms so that they remain legible, and the yellow portion is removed to both highlight the “hidden B” more clearly, as well as emphasize the eye as a shape.  

Other eye explorations

For the brand sheet, I used the typeface in the long form of the logo. I felt strongly about including Portuguese diacritics in the placeholder text, so I made up a sentence (“She drinks tea with sugar and watches TV in the attic”) with a variety of accents in order to see how they’re set. The mockup samples took a long time, since I shot and edited the photos myself — this was the first time I made one from scratch as opposed to using a free template. I chose my substrates based on my career and hobbies, and also to showcase a variety of textures. A business card is an obvious choice since it’s such a useful object, so I made sure to do it in a glossy paper to stand out from the other substrates. My second choice was a Moleskine notebook, on behalf of my love for sketching and writing, but also as an opportunity to emboss the logo with a leathery look (with the strokes going deeper than the monochrome cutout, for higher contrast). Lastly, the cross stitch pattern on a hoop is a tribute to the hobby I’ve picked up in the last year, with a very unique threaded texture. I did have to physically stitch the pattern to make it convincing, but in the spirit of manipulating the photo digitally (plus to save on materials), I did it in a smaller section of fabric and in only one color, so that I’d have to place and color it on Photoshop. Despite how long these took, I did find the process really satisfying, and I learned a lot of techniques while playing around with the images. 

My stitched logo in some leftover thread

Overall, I’m really happy with this work, especially given the timeframe. I think the shape of the eye has a smoothness to it, with an attentive and confident gaze to it. There’s a femininity in the curve of the eyelash, but it’s balanced by the boldness and saturation of the colors, so it doesn’t become cloying or condescending. I feel like both the graphic logo and the sample mockups do a good job at capturing my personality and interests. With more time, I’d play around with the shape some more, since there’s always more adjustments that can be made to those pesky anchor points and handles.