Usually I don’t do instruction. But occasionally I like to show how the things I preach in this blog can be used to improve an existing design. If we can critique a design, we should be able to tear it down and rebuild it to make it work better, right?
This week we’re going to get into a logo I had cited months ago that certainly needed help. And seeing it on TV over this past weekend reminded me that this would be a good time to get into it. The designer chose a good font to start with, and that helps us as designers but also helps in understanding a few things in this lesson, one of which relates to type design, something that’s a pet subject of mine.
With a sans-serif font such as this one (Avant Garde), it’s much easier to see the letterform relationships: just how one shape of one letterform interacts with another by its close placement (proximity) to another. The elongated rectangular shapes make that much easier to see.
So let’s follow along, class, and see what’s going on. The top left visual shows the existing logo of the State of the Union show, emceed by the reporter Jake Tapper. The first thing we’re going to do is look at the way this was put together.
First, let me say that this logo has too many wacky things going on. Mixing uppercase and lowercase can work, but not so much with the major elements in play, here being the two large words, “State” and “UNION”. Not sure why the designer chose to mix them that way, because there is no interplay between them. Then we have two lines running between those two elements, having some unknown purpose. Notice the small space between the cap S and the cap U, which is not carried through to the two lines above it.
So with the top right visual, we can begin to look at just where those aforementioned relationships should occur. If you recall, one of the main tenets of good design is organization. And with organization, you have flow from one element to another. Good type design follows that tenet, because good type design recognizes letterforms as shapes.
I’ve taken the logo down to the main portions of it to illustrate a some of those wacky things apart from the uppercase and lowercase problem. And using a few dotted lines, we can see the things that are not lining up, consistently. The “t”s have almost exactly the same offset from the vertical elements below. The “a” misses the same opportunity with the “N” below it. And then those lines have a strange feature: they not only end at a place that has no relation to anything else in this design, they’re offset from each other where they end as well as each one being cut off on a diagonal. Not sure what the intention was with that—they play off no other diagonal. Maybe they tried to balance the overhang with the S on the other side, but that doesn’t work, either.
In the lower left visual, I’ve reset the design in a different alignment altogether, for a few different reasons. I couldn’t see the reason for the enlarged S and U, for one. I chose all caps because with just two main elements, it’s easier to line up vertical elements when you have stacked designs such as this. Here, the Ts go hand-in-hand with the U and I below, and notice how the A centers over the N right below it. Then I fattened up the type by choosing a bolder version of Avant Garde. There are a few things that still bug me, but we can bring it all together in a further step.
In the last visual, I’ve butted the word UNION up with STATE and kerned (tightened up horizontally) all the type. I like tight type arrangements. Also I’ve taken apart the U and widened it so the initial stem of the U is centered under the S, which also makes for a more unified type width across the word UNION. Then I set the small element “of the” in lowercase letters to fill the void at right.
It’s easily seen in the original design where the designer intended to use the United States flag colors. I would guess that maybe the two lines are supposed to reflect the flag’s stripes, but the stripes on the flag are red and white, while the stars are white. So…
Putting the star (now white) in the A where it lives in the blue ground like the flag (also as a shape more akin to the A itself) makes much more sense. Then I took the flag stripes and made them wave as a flag would do, but in the shape of the O. Finally, I added the words “with Jake Tapper” in a small area where you still pick them up visually.
Jake Tapper may not always be the host of the show (Lord knows, Meet the Press has had a few), and let’s face it, the words “State of the Union” are the important elements here.