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TELEPHONE ASHLAND 4160
August 26, 1926.
Mr. P. Ci. Cooper,
Y/estfield, N. J.
Dear Mr. Cooper:
Will you illustrate this poem with some
of your little "funnies". The pictures to take up about
the same space as your editorial page cartoonettes in
Please quote me a pric^ before geling ahead
provided you will take this on.
i 1 m
LOGO, FONT & LETTERING BIBLE
Opposite page, the restless mind at work: Fred
Cooper (1883-1961) emblazoned this letter from
a national magazine with rough monogram designs
for the editor and art director. Watch as Cooper's
ideas take flight, sequencing from one concept to
the next. (This page was reprinted from the
author's book The Lettering and Graphic Design of
F.G. Cooper, 1996, Art Direction Book Co.)
No less ingenious is Daniel Pelavin, who creates his
thumbnails in marker, below, scans, then auto-
traces them to e-mail to clients. This method has its
merits. The client understands that these are roughs
and doesn't take anything too literally at this point,
leaving the artist lots of leeway to embellish later.
Yet, despite the sketchiness of these roughs, little
doubt is left as to the direction the artist is heading.
Note that while color is not yet indicated at this
stage, the all-important interplay of light and dark
contrasts is already fully developed in Pelavin's
mind. He adds letters beside each sketch so the
client can say, "I like F, it's perfect! But could you
just make one little change..." Bear in mind that a
less accomplished designer than Pelavin might not
get away with such sketchy comps. The finished art¬
work, right, was done in Adobe Illustrator.
After the research and reference phases, the next step
is thumbnail sketches, so called because they are
done about the size and shape of those 1950s-style
spatulate-type thumbnails that Jack Kirby always
drew on Sergeant Fury. Thumbnails, leading to larger
roughs and "comps" (the almost-finished sketches the
client will see), are an important step in logo design
because concepts can magically emerge as we sketch.
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