01
The team at Eventbrite liked the casual writing style of this logotype but definitely saw a lot of room for improvement. It was created in house and, as it wasn’t the company’s primary mark, had been developed relatively quickly.
02
During my initial presentation, I highlighted some of the inconsistencies and errors that could be found in the original mark, including those shown here. The red strokes show how inconsistent the letter angles are throughout the logotype, and the circled portion of the “n” shows an area that would need to be finessed for legibility and optical stroke weight.
03
For the first round, I created several updated versions of the mark. The original logo was a true monoline script with no contrast between thicks and thins but optical adjustments had not been made to compensate for areas where strokes overlapped. The first two versions shown here are redrawn logos meant to emulate a monoline look but with many small adjustments to improve legibility and create even color. The third version was created upon request to see what the logo would look like with stroke contrast, and the fourth version is again a true monoline, made of one continuous stroke.
04
Once a direction was chosen (and adjusted to be weighted between the two options shown), we explored different ways of drawing the “e”. My preference was the bottom “e”, but there was a concern that in creating the letter this way it no longer felt like a continuous line drawing. There is a precedent for creating an “e” this way in calligraphy, but it does not follow how an average person would write it.
05
In the second round, we began creating small scale versions of every option for comparison. Here you can see the large scale and small scale logos shown at the same size, to emphasize their differences. The small scale logos are much wider because the letter spacing is more open, which improves legibility when they’re set small.
06
When set small, you can immediately see the difference between the small and large scale logos. The scaled down large logos feel very dense, and would likely pose legibility problems.
07
When you see the two versions of the logo together, most would assume they were the same mark at two different scales—which is the ideal outcome. These tweaks are invisible to all but those with a ton of typographic savvy, but make a huge difference in legibility.
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