I was fortunate to create this lettering for Yosi Sergent and the Get Out The Vote project.

Be sure to check out more at: http://govotenov6.tumblr.com/

A portion of the preliminary sketch used as a template layer for the finished lettering.

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Preliminary color comp versions of the wall poster with off registration colors and scratchy surface texture. 

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Bold freehand lettering with plenty of contrasting shapes.  This piece was very complicated to finish with almost a year of reworking the composition. Though the lettering looks random, it took many pencil sketches to figure out placement of the words.

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Earlier this year I worked on a logo project for My Social Brand.

http://www.my-social-brand.com/

What made this a challenging logo to produce was the client request that each word be surrounded by interlocking talk bubbles. After a concept sketch was selected for vector I did some additional sketching to figure out  the rough shape and position of the individual letters. The sketch was imported to Illustrator to use as a reference guide. I had to make numerous adjustments during the vector drawing process as the logo was going to used for repro from small to large sizes. I quite often view the logo in reverse to avoid any odd contrast.

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Ellis Brown was script logo project with retro influence. I looked at some 50's and 60's style lettering for reference and  drew a series of roughs for presentation. This was one of those "need it yesterday" commercial lettering projects with not much time to produce the sketches or vector lettering.

The client selected the bottom version with the request that both words be centered. A quick Photoshop modification was  applied to the  selected rough on the bottom right.

The modified sketch image was used as a template in Illustrator. The template was only a starting point to provide reference for the basic shape of the letters. 

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Tejas is a recent lettering project. A good example of sketching and contrast development.  In my younger days I learned from a master designer that one of the key elements of lettering is black and white contrast. To this day I often work in reverse with white letters on a black background. I use this method to fine tune the overall contrast by closing gaps.

The client sent me a rough draft of Texas which had some problems. The contrast was off balance with thicks of the e, a and s which overpowered the vertical weight of the j and a. There was nothing unique in the cap T or j.  

The only way to properly develop Tejas was to spend time rough sketching. Sketching is the ultimate skill to find answers for what may  or may not work. After some time with pencil and paper I  developed the circled version which definitely had some potential for vector lettering. The client select 2 versions to refine in vector format.

  

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Another quick practice study with a Condor fountain pen. When I attempt this style with a Speedball C4 nib I end up tearing the paper with the nib or getting a stray stroke. I may have have too heavy of a hand for Speedball nibs. With the Condor fountain pen I can push into the surface of the paper or barley touch the surface

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Finally had some free time to play with a Condor fountain pen again. My goal was to create a lettering script for print production within 1 hour. I wrote on top of a quick pencil sketch with the fountain pen. No time for creating vector lines with this practice study.

The lettering was scanned, imported to Photoshop, blurred slightly to reduce some of the stray pen marks and drop out the pencil lines. The levels were adjusted to hold a textured edge. Had this been for an actual print project the file resolution would have been adjusted for higher dpi to create a streamlined vector path.

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Toast the Holidays is wine label lettering created for a client I have worked with for many years. This was a rather challenging project due to a rush deadline with very complex lettering.


I drew the rough sketch on the left within a few minutes. No details, just a basic concept to show my client what was possible. After showing the rough concept I was asked to provide to provide a tighter sketch the following afternoon. I spent the next morning creating refined drawing and got the approval to proceed.




All the lettering was hand drawn from scratch and at times I had to change areas of the design on the fly due to contrast and legibility issues. What might look great in a sketch may not work when reduced as clean vector letter forms. One of the problems I ran into was the script for UP. What I originally sketched for UP was off balance with the overall design and did not tie in with the embellishments throughout the wine glass. I spent many hours redrawing thos two script letters till I had a visual solution.


The final labels were printed in two different color schemes for both red and white wine bottles. This was some of the most beautiful lettering I had created in 2011 and a nice project to end the year with.

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I had some more free time to continue working on the AKL logos. My 3rd logo attempt was OK but I wanted something more complex. I did some additional sketching and picked a few roughs to refine. However, none of the roughs held my interest until I began playing with a spencerian style. I did approximately 50 quick spencerian sketches and ended up with only one decent version to import as an Illustrator template. While drawing in Illustrator and zooming out to view the lettering at small scale the overall contrast was not the best so I reworked the composition over and over until I had something that held up visually.



The 3rd logo in the project.

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AKL is a logo I created for Arno Karthollnig Lettering. Basically a fun little lettering project to do while enjoying a break from recent commercial deadlines.


My first logo attempt turned out OK but I had some reservations about the legibility with a close lockup of all 3 letters.


The initial sketches were studies of 3 combined letterforms A, K & L. I used a PITT brush maker and knocked out a bunch of roughs. I taped them to my office wall for review and selected several to scan and import for use as a drawing template. My intention was not to duplicate the rough letter shapes in Illustrator. The template was nothjing more than a visual reference starting point.


I posted the logo on Dribble and a fellow lettering artist commented the logo read as "AIR". At that point I thought it best to separate the K & L and redesign the piece with perhaps more elegance. I drew another rough and and started over in Illustrator. The second logo attempt turned out rather nice compared to my first effort.

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Last March I was contacted by Ink Butter to develop a logo for a skin care product they planned to launch this year.
The original logo concept Ink Butter sent to me was a good starting point but rather difficult to read. As modified set
type it had no unique identity.


Knowing the logo was to be printed on a small 2 oz. bottle I began sketching concepts with minimal flourishes and a lockup of the cap I & B. The sketches were produced with pencil and Pitt marker brush. As with most lettering projects all the concept sketching is a trial and error process best defined as making many visual mistakes to find answers and solutions.


After the first series of sketches I had to concentrate on letter specific flourishes and additional development of cap IB lockup.


A series of 5 concept sketches were selected for presentation. The 2 versions on the right of this image were selected and elements of each were combined to create the drawing template for Illustrator.


The Ink Butter logo is currently in use on both the product bottle and website. It looks beautiful and is one of my all time lettering career favorites.

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I received 3 images this afternoon and I am so pleased to see my No Kid Hungry Taste of the Nation lettering in use.

I am very fortunate to work with such talented people at this time in my lettering career. The following images are courtesy of Marco Escalante, design director for Wallace Church. Marco provided me with the sketch concept for this project. It all turned out beautiful and for a great cause.

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A while ago i was asked by a designer I have worked with for many years to letter a pro bono logo for a charitable cause. This was a project that I gladly accepted.

The lettering was drawn In Illustrator from the designers sketch. Quite a challenge as all the letters had to be drawn in an arced configuration. I was not able to use the envelope distort filter due to the extreme distortion of x-height and curve for every letter. A lot of trial and error in vector drawing to make the logo readable. Sometimes there are no easy vector software tricks to depend on when hand lettering a logo. It becomes a matter of drawing, more drawing and a lot more drawing to get the overall color working properly.

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I recently created a new logo for Typo-Graphical. An article showing the process can be viewed here. John also included a brief interview following the logo development process.

One of my favorite logo projects in a while and definitely an improvment from what John initially had oh his site. This logo will hold up aswell designed lettering for many years ahead.

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Yes Sir is my attempt at a formal script sample. Something a bit more commercial than a freeform gestural script.









I started with a loose pencil sketch to set up the basic vector lines. As the compostion progressed I strayed from the sktech to make all the letters readable. Eventually I toned down the flourishes and added a inline give the letters some depth. The initial vector draft was a bit too complex.

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This lettering piece is my abc practice for today. Even though I started with a sketch composition everything changed as each letter was drawn. At times I turned the template layer view off and drew by intuition and flow.


The initial sketches.


The composite image created from the sketches. This was the drawing template.


This image shows the difference between finished lettering and the drawing template. The drawing template is just a starting point. It's good to let things happen along the way that are not planned.

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