Andrew Shu

GUIDELINES ON DESIGNING A LOGO

Andrew Shu · 1 October 2021 · Leave a Comment

Per usual practice in every business, having a business name and some sort of graphic identification is the primary endeavor to introduce the business to the public. Picking a business name is part of branding efforts, designing a logo for the business is the next step after the business name. Although, there are some businesses that barely have a logo.

Logo might be not so essential for the business and it is less critical than the business name that can transform into a trademark while logo from time to time needs to evolve. Some designers will be disagreeing with this premise however, the business name is the identity and the logo is the face. As the business name does not change, the logo evolves every certain period.

Almost never a business changes its name without affecting its commercial existence. When a business changes its name because of the merging or change of ownership or any other reasons, it is considered as a new entity. Changing the logo or rejuvenating the logo into a better form is a different case. Refer to the case of many, Shell for one famous example.

For every year, Shell evolves its logo but it keeps the name/trademark. Like a person who is keeping the name but the person’s face changes over time.

Shell Logo Evolution

Although a logo is not a real must, having one is not a bad idea. Just put an analogy of talking with someone over the phone for so many years, knowing the person’s name but not knowing the person’s face. Now, creating a logo for the business is just like putting the face into the person.

There are several types of logos, some say 7 types some other say 9 types and some other say 10 types of logos. There is a monogram logo (lettermark), wordmark logo (logotype), pictorial mark, abstract logo, mascot logo, combination mark, emblem, logo symbol, etc. Regardless of the claims on how many logotypes are there, what are they called might not be that important and relative in nature. It is just semantics. What is important are how we design the logo from the scratch and how we implement the logo into practice.

Designing a logo is not drawing a painting. The process of a good logo design takes time and study. Some designers design logos in a mediocre way and shallow. The logo might be designed with an artistic sense and impressive for common eyes at the first glance. A logo needs to survive much longer than its first day of existence. The logo becomes problematic for an accurate reproduction when the original components are misplaced or even no longer available.

Creating a good logo requires research and study, The research on what category the business is in, are there any corporate colors already in place, what the competitors have for their logos, etc. And the study of what the logo should convey, the company culture, messages to bring across, etc.

Pasadena City College Lancers logo with round outliners

Pasadena City College Lancers logo finalized

A logo can be extremely expensive or just a price of a burger. The thing that costs so much of a logo is not the sketch but the process. If you go to a website like Fiverr to get a $5 logo, you are very likely to end up with a mundane logo. Although, on a very rare occasion a client receives a great logo for paying peanuts. Refer to the case of Nike where the logo was paid for $35 in 1971 which today’s conversion is less than $300.

It is not always the case that expensive logos are good logos. Refer to the case of Symantec with a rumor that the logo cost over $1 billion, but later debunked. The whole $1 billion budget was spent out not only on the logo process but the branding efforts and logo implementations. The VeriSign logo is embedded into Symantec logotype causing too many pixel components that render problematic in reproduction and scalable works. It happens again and again, expensive spending does not guarantee great logos. Consequently, cheap spending almost always resulted in mediocre outcomes.

Symantec logo

If we are talking about what to avoid in designing a logo, there could be too many to mention before we can come up with an idea of what a good logo is. Rather confusing with the don’ts, let’s focus on the dos. Here, I list 10 helpful guidelines on designing a good logo that can be standardized over a stretch of application.

Simplicity, a good logo should carry the simplicity instead of complex graphic elements and itty-bitty details. Imagine when a logo that has too much detail components and complex needs to be scaled down. Every detail in the logo will be merged and creates a clutter, the logo becomes messy. A good logo can be scaled down up to less than 1 inch and still keeping its integrity.
Philosophy, a good logo carries a meaningful idea, messages of the entity. Although, there are occurrences when designers just make things up once they finished designing logos only to justify the logo they design. Yet, it is better to put in mind what idea and messages we need to convey to anyone who gets the glimpse of the logo. When we start from that point, it will be much clearer than we go to the drawing board and start doodling without clear direction.
Solid Color or contrast colors, no gradient colors, no close similar colors stand next to each other. Colors in the logo is eye-catching, however there are numerous examples beautiful logos are not necessarily a good example of standardizable logos. It is advisable when designing a logo, we start in black and white approach. The question to why is there are implementations that are “color-blind” which is colors might be unable to apply. The perfect example of this argument is a black and white facsimile, yes today we have facsimile feature in color printers (laser or inkjet). One bad example of the logo is when a designer decides to use gradient colors which creates a problem when it comes to certain applications, embroidery as one example. Gradient colors and similar colors stand next to each other pose similar problematic issues on applications. Solid contrast colors are better, even when they come in gray-scaled applications, the difference of colors is still conspicuous.
Versatility, think about the implementations when designing a logo. A good logo should be easy to adapt any application and medium whether the logo is applied on paper, fabric, metal, wood, plastic, etc. Complex logo with so many details or gradient colors will cause troublesome situations.
Memorable. As the second identity after the business name/trademark, logo should be recognizable and stand-out. Too many details and complexity hardly to achieve this objective.
Long-lasting. Uniqueness is a key, avoid following a trend. A good logo should stand on its own, stand-out from the crowd. Average designers tend to follow a trend causing the logo has a very short lifespan. Avoid using available fonts in the market when possible. Copyright claim is one issue.
Standardization. Consistency is a must across the logo implementations. A logo may come in a few alternatives in an application like a full form and stackable form for certain application where the full form would be too long for the medium. It is a luxury for a company to have a graphic standard manual (gsm) or other designers might call it different for the logo application manual. In the principle, graphic standard manual helps and guides how the logo to be applied. All information such as standard colors complete with the cmyk/rgb/hex colors instruction, the scalable sizes, the fonts, the measurement, the do’s and the don’ts, etc. Why the graphic standard manual is a luxury, the answer is to create such guideline requires a long process and study. In some cases, it costs more than the logo work itself.
Vector-based. Photoshop was not created for such design work, yet there are people creating logos using Photoshop which is a no-no. Photoshop is not a vector based application. If you are using Adobe CC, Illustrator is a perfect solution for logo design. There are a few other vector based softwares for this purpose, such as CroreDRAW, Vectr, Sketch, etc.. There are free vector based design softwares available. Good logos are saved in vector-based file without losing its integrity.
Balance is not a symmetry. It is optical when we see a logo and we feel some feeling that the logo is tilting to one side like Pisa tower. I don’t mean that a logo should always straight up, what I mean with balance is a logo should perceivable balance. This is a subjective matter and it is not always agreeable. As for me, it is hurting when seeing a logo with so many elements on one side and one small element, not even perceivable when scaled down, on the other side.
Space. Creating a logo in a “canvas” does not mean we must fill all areas in the canvas. The sentiment of more is merrier does not harmoniously working together with balance and simplicity. Especially when it comes to the smaller size of the logo as previously mentioned in point 1 where the logo becomes cluttered and messy.

I have seen bad logos designed by designers who graduated from expensive and prestigious design colleges. Some of these designers just followed what the clients wanted without objections, some others were simply do not understand the concept of designing a logo. Hopefully, this article is helpful in creating a better logo.

MORE DEPTH WITH THE PHOTOGRAPHY EXPOSURE TRIANGLE

Andrew Shu · 16 August 2021 · Leave a Comment

In the previous article, “The Three Most Basics A Beginner Photographer Should Know”, there are graphics and explanations on Aperture, Shutter Speed, and Film Speed/ISO scale. In this article, I would like to share more depth about them. All three are represented by numbers, in the photography world, the interval from one number to another is called “stop.” Either stop up (increment) or stop down (decrement), for example, Aperture of f/5.6 to f/4 is one stop up, and f/5.6 to f/8 is one stop down. The same thing happens with Shutter Speed and Film Speed/ISO. Shutter Speed 1/125 to 1/250 is one stop up, and 1/125 to 1/60 is one stop down. While for Film Speed/ISO 200 to 100 is one stop down, and 200 to 400 is one stop up. Just remember avoiding confusion, “up” and “down” is about the [amount, time and sensitivity] light goes into the film plane [in film photography] or digital sensor [in digital photography], NOT about the numbers.

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There are terms in film photography, push and pull. The term of “push” is used when taking pictures using ISO 400, but the setting in the camera is set to 800 known as “push one stop.” The reverse situation is when ISO 400 is set as ISO 200 A.K.A. “pull one stop.” Why old-school photographers do that, push or pull the Film Speed? A couple of answers to it, in my experience, some photographers during an important moment ran out the preferred film stock on hand. The only film stock in hand was ISO 400 while the shooting took place was in a music concert where the light is low and inconsistent. The ideal ISO for that situation let’s say ISO 1600. So, the photographer set (push) the ISO to 1600 in the camera while using ISO 400. In the development process, the photographer or the lab developed the film at ISO 1600. For the result, the film was developed at ISO 1600 produces more noise, maybe a bit more noise than the genuine ISO 1600. However, the result gave an artistic felling, that is another reason.

Although in all three (Aperture, Shutter Speed, and Film Speed/ISO) if we look closely from one number to the second next number exactly doubled multiplication. In the most common lenses, the biggest aperture is f/1.4 stands next to f/2, and the following number is f/2.8 which is exactly the f/1.4 times two. The number f/2.8 stands next to f/4, and the next after f/4 is f/5.6 which is exactly f/2.8 times two. Do you get the idea?

manual-lens-with-aperture-settings — Manual Focus Lens

In digital photography, the Aperture has more increments and decrements than in film photography. Thanks to technology advancements, digital cameras (DSLRs) have increments up to 1/4 stop. Not only the Aperture has more increments in stops, Shutter Speed and Film Speed/ISO have them as well. All offer more creative freedom to photographers to explore the making of stunning photos. Not all DSLRs is created equal, some have more capabilities beyond others, however, the basic principles are the same across the platform.

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CALIBRATING THE EXPOSURE READINGS

As I have mentioned earlier, three basics (Aperture, Shutter Speed and FilmSpeed/ISO) must correspond in conjunction to obtain a proper exposure. Prior to setting the Shutter Speed or Aperture, Film Speed/ISO must be preset, and White Balance must be assigned for a DSLR. Let’s say, taking pictures in the outdoors with suitable light during the day, ISO at 100 is advisable. White Balance is either set in Auto While Balance or Daylight (when setting White Balance to Daylight, always remember to check when the location changes between indoor or outdoor, and cloudy or nighttime). Occasionally, I have forgotten to change the White Balance setting when changing locations, although I always can fix the white balance when I shoot in RAW using the photo software i.e. Adobe RAW or Adobe Lightroom, I always set my White Balance in Auto White Balance (AWB). Taking from my experience, Auto White Balance is not entirely accurate, but it is still preferable to set the white balance at the Tungsten setting while shooting Daylight.

Note: RAW files acronyms: CRW or CR2 for Canon, NEF for Nikon, ARW for Sony, RAF for Fuji, etc.

White Balance setting in every DSLR camera is virtually similar with some probable slight variants: AWB (Auto White Balance), Daylight (5600K), Shadow/Shade (7000K), Cloudy (6000K), Tungsten (3200K), Fluorescent (4000K), Flash (5500K), Custom White Balance (where you set your own preference to the white point of reference). Through a convention, Kelvin degree is used to measure the color temperature in photography and beyond. The daylight is between 5000K – 5600K where the white looks white.

As I mentioned in the article “The Three Most Basics A Beginner Photographer Should Know” film cameras have no white balance feature, the white balance in film photography is set through film type. Digital cameras use image sensors like video cameras hence the white balance feature is a helpful tool to balance the grayscale. White Balance setting might be obsolete might be not, one always can fix the white balance through the advancement of photo software. There are arguments say Auto White Balance also varies from one camera brand to another, as each brand calculates the white balance formula to compensate the light ambiance differently.

SHUTTER SPEED PRIORITY

Once the ISO and White Balance are set, I move to Aperture or Shutter Speed. Which one, it depends on what I want to shoot. If I want to be sure that my kids’ pictures in the outdoors are always in focus during their activities, I go with Shutter Speed Priority (“Tv” in my Canons, “S” in Nikon, Sony, and others). Having the Shutter Speed priority guarantees the pictures I take are always in focus. What Shutter Speed I set? Assuming, above 1/125 suffices to answer the challenge, I always can go with faster Shutter Speed if I see the need arises once my kids go Flash or Superman fast.

Talking about Shutter Speed, one thing I need to note is that the camera focal length comes into consideration. The longer the focal length of a lens, the faster Shutter Speed is needed to achieve the steadiness for our hands to manage the camera weight while taking pictures. Unless a tripod is in use, the Shutter Speed number is suggested no less than the focal length of the lens. For example, using 105mm lens shutter speed must be 1/105 or faster to curb camera shake during a handheld shooting. This technique has been practiced in general as a cardinal rule on the reciprocity between shutter speed and lens focal length.

After Shutter Speed priority (“Tv” or “S”) is selected, Aperture will adjust itself following the preset Shutter Speed for the right exposure. The same happens when Aperture priority (“A”) is selected, Shutter Speed will adjust to follow the preset Aperture for the right exposure (Exposure (Exp) points at “0”). Let’s take it into a hypothetical practice, refer to the tables below:

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For each change of the Shutter Speed (in Tv preset), the Aperture setting changes accordingly. The table shows from Shutter Speed Priority (Tv) 1/125 at f/8 when the Tv changes to 1/60 the Aperture adjusts to f/11. When the Tv changes to 1/250 the Aperture adjusts to f/5.6, and so on. The same principle happens when Aperture Priority is selected and the Shutter Speed follows suit. Knowing this principle helps when we choose to learn the full Manual mode. In that case, always mind the exposure (EXP) points at “0”.

APERTURE PRIORITY

In Aperture priority, Shutter Speed self adjusts to compensate the proper exposure following Aperture [and Film Speed]. The reason we set the Aperture priority is to control the depth of field and set a certain opening for the light in an attempt to record images. A bigger opening in the aperture produces a shallow depth of field and allows the subject stands out from the foreground and the background. Arguably, prime lenses do better than zoom lenses when it comes to the maximum aperture.

aperture-1.8-shutter-speed-1/500 — Shallow depth of field

aperture-22-shutter-speed-0.3 — Deep depth of field

Setting Aperture as the priority is switching to “A” on the dial mode in the camera. Stopping up or down the Aperture to our liking for the desired depth of field will automatically adjust Shutter Speed for the proper exposure. When we put the Aperture at f/5.6 and the Shutter Speed adjusts to 1/60, but when we set 2 stops up the Aperture to f/2.8, the Shutter Speed will automatically go 2 stops down from 1/60 to 1/250.

FULLY MANUAL MODE

There was a time when I got baffled then I questioned myself on why I should go the full manual mode while I can prioritize one of two. It is true when we go full manual mode; it slows us down than using the priority modes. Since, we need to take control of both, Aperture and Shutter Speed, the full manual mode is a must. The full manual mode might not be ideal during time-critical moment shoots like documenting important events. Nonetheless, the full manual mode offers total control in the creative process, furthermore, it prevents the misreading on the subject that has different contrast and exposure. The Full manual mode also enables more control to a photographer to take time-lapse photography. Like some say, the creativity in photography goes beyond the full manual mode. Some images cannot be produced without the full manual mode like an image with a drastic range of contrast and exposure.

The Full manual mode offers the opportunity to a photographer to control Aperture, Shutter Speed, Exposure Value, Depth of Field, Focal Point, Focus, and more. The advantages cannot be offered by the priority settings, especially the Auto Mode feature. It takes practice to use the full manual mode. The priority settings are a baby step to mastery.

THREE MOST BASICS A BEGINNER PHOTOGRAPHER SHOULD KNOW

Andrew Shu · 17 July 2021 · Leave a Comment

When we purchase a decent or even a high-end camera that comes with variables of feature, using the “Auto” mode all the time is fubar. Knowing the basics is not a lifetime learning, mastering photography is. Just like music with the basics of seven notes creates countless symphonies, employing the right combinations of notes. Photography has three basics for combinations, employing these three basics offers virtually unlimited possibilities of creating beautiful images.

Without further ado, three photography basics that create the right exposure on an image are Aperture/F-stop, Shutter Speed, and Film Speed/ISO (International Standards Organization). For a brief clarification on the acronym of “ISO”, it is the International Organization for Standardization who came up with the term ISO to determine the film speed used in photography. Meanwhile in some countries use the term ASA (American Standards Association), and DIN (Deutsches Institut für Normung) term used in Europe, basically, they all are the same.

THREE BASICS

Before coming to the understanding of the correct combination from those three basics, there is a need to know the idea of each. From a certain grasp of the three basics is explained in a simple language:

APERTURE

Aperture is the condition where we set the opening of the “window” of aperture blades for the light to come through to the film plane in film photography or to the image sensor in digital photography. Some say, “photography is painting with light” because without light photography cannot be done. In another word, we set to “how much” the light comes through.

SHUTTER SPEED

Shutter Speed is the condition where we set the duration for the light that comes through to the film plane or the image sensor. In another word, we set to “how long” the light comes through.

So, in a brief context, Aperture refers to the quantity, and Shutter Speed refers to the time.

FILM SPEED/ISO

The last of three, Film Speed is the condition where we set “how sensitive” the film or the digital sensor [in digital cameras] on catching the light for an image to be recorded. To understand the film speed we need to go back to film photography.

In film photography, the sensitivity of film to record an image depends on the emulsion coating on its surface. This emulsion coating enables the film to record images. The coating method defines the sensitivity of the film to record with less light or requires more light. In digital photography, the function of the emulsion coating on film is replaced by the image sensor.

Without being so technical on the process of making a film or a digital sensor which we are not here for that detail, in the practical the three basics facilitate a photographer through a camera to produce a correct exposure on images.

WHAT ARE THE APERTURE EFFECTS?

Aperture affects brightness. A bigger aperture makes brighter images.

The bigger the number in Aperture, the smaller the opening of the diaphragm of the camera lens that lets the light come through. The opposite happens, the smaller the number in Aperture, the bigger the opening of the diaphragm. The Aperture numbering concept might puzzle newbies in photography.

Aperture also affects the depth of field. The depth of field is the span of the focus area. The small opening produces more focus area, and the big opening produces less focus area.

colorful-bowling-pins-toy — Image by Andrew Shu

WHAT IS THE SHUTTER SPEED AFFECTS?

Shutter Speed affects motions. The faster shutter freezes motions, the slower shutter blurs motions. When we photograph motions, the right setting for Shutter Speed is crucial to deliver a result as intended. Sometimes, a photograph uses slow shutter speed to blur motions in the image for reasons, mostly aesthetic ones. Take the example of continuous taillights of cars during the night taken with slow shutter speed. or a river with water flowing like smooth velvet.

There are types in photography that require completely sharp moving objects, the faster shutter speed is a must. Sports photography, children photography, or taking pictures on moving subjects demand fast shutter speed. Fast shutter speed freezes fast-moving objects

In the correlation between Shutter Speed and Aperture, slower shutter speed is used in a lower lighting condition to compensate for the small aperture for proper exposure. Or bigger aperture is used in the same lower lighting condition to compensate for the fast shutter speed for proper exposure.

WHAT IS THE FILM SPEED/ISO AFFECTS?

Film Speed/ISO affects the graininess of images. When the ISO is set to the higher setting, the graininess appears coarser. Higher ISO allows lesser lighting conditions, however, it compromises the quality of images. The higher ISO is used when the first two basics, Aperture and Shutter Speed are no longer efficient in capturing images in the proper exposure, in certain light conditions ISO is the solution. In the “Knowing The Functions In Your Camera” article, I share some other limited options that can be employed before the ISO takes charge.

LIGHT METER IN CAMERA

Every SLR (single-lens reflex) camera, film camera, and digital camera (that includes DSLR mirrorless cameras, has a light meter feature to measure the exposure. It does not matter where it is located in the viewfinder. It could be at the bottom side or at the right side in the viewfinder. The light meter shows the state of exposure, the pointer should point out to ‘zero’ as the correct exposure that corresponds to the Aperture, Shutter Speed, and ISO at the right setting. When the pointer points to the minus, underexposure happens. On the opposite, when the pointer points to the plus, overexposure is expected. To adjust it, one of the three must be compensated with one thing in mind the rules of adjusting one of the three will result in a different outcome.

Refer back to what each of the three effects in the previous paragraph above. Assuming that the camera setting is in full manual mode. When the priority is set to Aperture, the Shutter Speed will adjust itself to the correct exposure following every time the Aperture moves. When the priority is set to Shutter Speed, the Aperture auto-adjusts following the Shutter Speed changes.

So, before exploring more depth of employing the three basics and putting them into practice. Let’s get the SLR camera (film or digital).

BEFORE TAKING PICTURES

SETTING THE ISO

Firstly, set the ISO, bear in mind the location where the shot will be taken. If we have enough light or the shots that would be taken are outside, let’s set the ISO to 100.

NOTE: In Digital SLR cameras, the setting for Aperture, Shutter Speed, and ISO is considerably more wide-ranging than in film cameras. The Aperture set can range from 1/2 to 1/3 and even 1/4 of stops if not more. The same happens with the Shutter Speed and the ISO from 100 can be up to over 100k in digital photography.

NOTE: The creative push, pull, and cross-process in film photography are no longer known for most of the new breed of digital photographers. Some arts are missing in digital photography yet have been replaced with another kind of advantage.

WHITE BALANCE

There is no white balance adjustment in film cameras because the white balance is determined by the type of film used. Since the digital cameras are not using film, but image sensors, therefore the white balance feature is added. Although in digital photography one always can readjust the white balance during post-process, setting the white balance is recommended before start taking shots. If the white balance settings give you a nerve-wracking situation, just set it to AWB (auto white balance).

SHUTTER SPEED or APERTURE PRIORITY?

Presumably, we are not taking pictures with a full manual mode where neither Aperture nor Shutter Speed becomes a priority. The full manual mode is the most creative process of taking shots, but only when one has advanced knowledge and experienced enough with the three basics.

Before setting one over the other, the idea of what kind of shots are about to happen comes first. When the depth of field is the most important, whether the shallow depth of field or deep depth of field, Aperture is the priority. Shutter Speed becomes a priority when catching motions is more important, whether to have the moving subjects in focus or blurred.

NOTE: Most DLSR such as Sony and Nikon use “A” in the dial mode for Aperture Priority and “S” for Shutter Speed Priority. But, Canon uses “Av” for Aperture Priority and “Tv” for Shutter Speed Priority.

TAKING PICTURES

Indoor photography has more consistent light while in the outdoor, light changes all the time. Clouds, shades, reflections to subjects, and some other conditions make a photographer keep adjusting the camera setting. White Balance might be a minor issue when using AWB (auto white balance), the ISO rarely needs to be changed under a normal condition. Either Aperture Priority or Shutter Speed Priority leads, the adjustment always needs to be made between shots.

Happy shooting!