AARON DRAPLIN OUT­LINES HIS LOGO DE­SIGN THOUGHT PROCESS

Computer Arts - - Special Report -

“The first thing is to cor­ner the client to have a call, or ide­ally have them come into my shop to talk to me be­cause email is tricky, as you can lose con­text. We talk about what the prob­lem is, and the bud­get, and to just get them to know they’re in good hands and be ex­cited to work with me. I’m lucky that of­ten peo­ple just come to me now be­cause they like my style. Once we’ve fig­ured out what they’re look­ing for, the first step is to do some re­search – see what the mar­ket­place looks like, where they’re re­sid­ing in it, what they as­pire to be, who their com­pe­ti­tion is. Then you start sketch­ing. I sketch by hand un­til some­thing feels ready to be vec­tored. Some­times I hit some­thing right out of the gate, other times it takes a lit­tle while and you have to re­ally push on it and feel around the dark. Pa­per is al­ways more fun, and I feel bet­ter. I’m al­ways sur­prised pleas­antly with what you’ll come across with pa­per – there’s some magic there, you know. “As soon as I have a bunch of sketches I jump into il­lus­tra­tor and start build­ing pieces and vec­tors and it­er­a­tions for that first pre­sen­ta­tion. Then it’s this back and forth: you give the client the PDF, they look at it, re­act then you get feed­back. It’s usu­ally three or four times back and forth, and you’re about done. Some­times that’s a long week­end, some­times it’s weeks or a cou­ple of months. “The best projects are the ones where there’s a chance to be pushed. Of­ten that’s when I’m work­ing for friends: when a project is larger or there’s a big­ger bud­get some of the en­joy­ment can be stripped out with meet­ings about meet­ings and ac­count man­agers, stuff like that. I can han­dle both ends of the spec­trum – a buddy with a food cart and a big cor­po­ra­tion – but it’s ab­so­lutely way more fun to work with your friends.”

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