- We'll start by me getting
the lens cap off that thing
from all the professionals
here in the shop.
Hi, I'm Aaron James Draplin,
and welcome to the Draplin Design Company.
Here we are.
Let's get going.
(rock music)
Here at the Draplin Design Company,
I mean, it's basically just me,
doing whatever it takes
to make cool stuff.
(rock music)
Along the way, a full
line of spirited merch,
plastic things with DDC all over it,
and of course, Field Notes.
It's just a little book,
and there's some staples,
and some paper, you know,
and nice little edges
and rounded corners.
(rock music)
I am surrounded by tons
and tons of things.
I've had to go dig it up in the
deadest, wierdest places, you know,
places where you have
to, like, talk to people,
and other sketchy stuff like that.
Out there in the world,
you're digging around,
you're looking at stuff,
you're going to find
stuff like that.
(rock music)
We're in this world where those programs,
they offer you a million, million options,
and you see too much used.
When you go back and you
look at this old world,
there's just sort of reminders
of just a simple little logo,
a simple couple little shapes.
I like things that worked 40 years ago,
and then work right now
in the smack dab of 2014.
(rock music)
Okay, you guys.
Lynda.com has sort of
challenged me to make a logo.
I picked one called All Base, right?
All Base would be, and the story goes,
they're from Tennessee,
and there's a sort of
heritage component, where they've been
doing business for a lot years.
It's slab concrete.
All Base Concrete Foundations, right?
What if they came to me and said,
"We've been doing business for 100 years,
"and we don't want to look like 2014.
"We want to look like something
"maybe our grandparents
might have signed off on
"50 or 60 years ago."
With any logo, just start
writing the name out.
Lower case, upper case.
We're just kind of taking a look at
what we're working with here.
Now maybe there's something about it
being this heritage quality,
where you're going to do
this handwritten thing.
But you quickly, quickly,
quickly, just this way,
kind of say, well, there's
maybe something there
that we go explore, right?
Now listen.
This is sketching.
This is meant to be fast and fun,
and just kind of like free.
Your hand is freer here than it would be
on your illustrator.
Now, of course, you look at
that and you kind of say,
that A, you know.
What if we just make
them a killer, burly A?
It's this big slab of concrete.
There's already colors
that start coming to mind,
these grays, maybe a
little bit of earth tones,
or wet concrete or something.
Right there you already
have a color palette.
You start making notes about stuff.
So you're just kind of saying, all right,
concrete, grays.
You're just sort of writing stuff down.
When you make this logo,
there's like a sense to me
that All Base needs to
pretend that All Base
is as big as their
biggest competitor. Right?
But more often than not in my life,
they're smaller and crustier. Right?
Design can elevate them.
There's a sort of
subversive quality to that.
When my buddies in the band
come to me, it's a fight.
It's a fight to say, "We're not funded.
"How am I even getting paid?"
But we're going to make them look as good,
or even better, or more considered,
than the guys in the major label.
That's been my life forever now.
The same thing sort of here.
Let's go take a look at -
We've looked at what
things look like out there.
You see a certain vernacular
and a certain flavor.
But what's most
appropriate for these guys.
What if we start making some slabs here?
I'm thinking of sediment and layers
and things underground and stuff.
You take a look at that thing and you say,
okay, we've got a little
A happening right there.
There's so many ways you could take it.
You think of, like, what
are the basics of an A.
This, this, and this.
Well, if we take that guy,
and there's our big old foundation.
Somethings coming out of that thing.
Now, listen, I already hit a couple things
just in the last two minutes
that I wasn't expecting.
That's the magic of a pencil on paper.
On Field Notes. On Field Notes.
$9.95 for three, you guys.
Come on, get it together.
(rock music)
So listen, I love books.
You can see behind me I
have a big old library here.
But to trace back, the
things that have been
super critical in my half-wit career,
it's two books here by Mr. Kuweyama,
any which one of these
pages, there's just,
you can see I have beat
this thing pretty good.
But there's just this sense of like ...
There's just this sense of clarity.
I'll just go dig around these things
to look at the simplicity.
Because listen, first thing to remember,
all this has been done before.
But yet, any one of these in
the right context in 2014,
it'll feel just as fresh today.
Now, I don't think that works the same
when you take something made in 2014,
and try to go back there to the dawn
of sort of like corporate design.
This is the stuff that I love.
Corporate Identity Manual.
It's just like, man ...
Corporate's a weird word,
especially in this town
of Portland, Oregon.
But you can't mess with
the sort of bedrock
of understanding how a logo
works all over the world.
Or let me just see if I can
find something cool here.
Oh, man, that is great.
How to handle it.
This idea of like, okay,
here's this Louisiana Pacific.
They made this killer logo.
But you really got to think,
they're going to be on trucks.
Big trucks, little trucks, sides
of trucks, hoods of trucks.
Here's how they go and look.
It's one thing to design that logo,
and have it just floating on this PDF,
and you're sort of drunk of white space
and negative space and just floating.
Rarely will you see it that way.
The way you're going to see it
is on some stupid little
Instagram in the corner, right?
Or on a guys business card,
or embroidered on his
sweatshirt or something.
That's where you're going to see it.
So at all times, show
context, show context.
(rock music)
Okay, we're going to take
a couple of those sketches
that we busted out pretty quick,
and we're just going to
go try to rebuild it.
So let's just start.
Everything is a basic shape.
So take this guy, and
remember, command and dupe,
and pull it off to the side.
Then you kind of say, well,
I want a little triangle
out of my Symbols palette.
I've got these guys already built
for quickness sake.
So we're just going to jump in here,
and kind of say, okay, let's get a color
that kind of weird.
Let's make a little line here.
That's going to be our
little separators here.
Let's just get these things
to snap on these edges,
because all we're using is we're
just going to try to go
make four equal parts.
There's one, two, three, four.
So we'll grab these
lines and pull them out.
We're going to center everything.
The top line and the bottom line
snap to these top and bottom edges.
But we want to go through and make sure
that those little guys are equidistant,
so there you go.
Now we're just going to be ...
Before we do anything, we're
going to click and drag
and dupe it.
Because here's the thing.
When you look at that,
you don't want to go
and start tearing this thing apart
until you, to make sure,
because what if you have
to take a step back.
You have to make sure that
you've got that thing.
Because now we're going
to look at that sketch.
We're going to put these
other little lines in here.
Just real quick, real fast.
We're going to click and drag again.
We're going to grab all that stuff.
We're going to make it white.
We've got a logo that we're already
starting to build there, right?
Look at that. That's starting to work.
Then you can quickly take this little guy
off to the side, group it all.
Make a tiny little version of it,
and then kind of just see how the feel.
There's already something
starting to happen there.
Now it becomes the fun part.
We've got something to work with.
Now maybe that top was
just a little too much.
We can take that little guy,
and kind of scootch it in a little bit.
Say, okay, that's cool.
Now pull it off here to the side.
Let those guys go white.
And then start messing
with some of this stuff,
to make these big old slabs.
So maybe there's an A
that's starting to happen.
But it's kind of getting
this pyramid thing going.
But now as you step back,
that's another version right there.
That's just a little different than
what we were having happening right here.
So you can kind of see here.
I've built this thing pretty quick.
When you go look at your outline version,
all that math is all nice and intact.
You've got it live.
Always keep it live.
Because now if we go grab a piece of type,
something's starting to happen already.
It's just some big
extended Akzidenz-Grotesk.
So now to quickly take
a look at that thing
and say, wait a second.
I kind of liked this one sketch
where I had the A kind of working off
some of the different pieces back there.
Let's go plop one in there.
So we'll go grab a little triangle.
We just started one right here.
We're going to get rid of this guy.
We're going to snap it
to the bottom of here.
We're going to get that thing in there.
We're going to bring it down.
We'll get rid of this other guy,
and kind of say, okay, now we're
getting into some zones here.
You kind of say, all right.
Maybe it's a little too much.
But remember, now we've got those pieces.
We can always go back to where we were.
So we can go back and say, all right.
Let's try this real quick.
You can take a version over here,
and just quickly say,
well, let's go try it
to where we have the triangles
on the inside of there also.
So quick ways to do it
are just go through,
flatten that guy.
What do you call it?
What do you even call that thing?
Just sort of minus front.
Go grab those two right there.
This is just to be fast,
because the math isn't
going to be totally perfect.
But if you got your math right,
things might start to feel good.
You can see here, I was doing this.
All these angles were all the same,
because I was using parts and pieces
to subtract and minus and kind of
pathfind my way out of it.
You start hitting right
here, you're saying,
all right, man.
We've got an A.
We've got a little base.
There's your All Base A, maybe.
As we're working through this stuff,
there's all sorts of pieces
you can start building.
Now I put it in some shapes.
I put a little type next to it.
You can see there.
Man, that things feeling pretty good.
As I start working my way over, it's like,
what if there's a gradation?
What if there's this little base part
that's a little bit darker?
We've got some quick ideas
of what this thing could be.
There it is working in concrete.
Here it is laid over a photo.
Here it is as just a nice shape,
and then a nice piece of type next to it.
If the type isn't, if
we're not feeling it,
okay, that's okay, that's okay.
Because there's a lot
of ways you can do it.
You can do it something like this,
and bring this guy in
a little bit smaller,
and just let it be, like,
there's your patch on
your had, already done.
But the cool part is, if we
pull this guy out of here,
it'll work that way, too.
As a way to test this stuff,
I have all these things
built in my symbol palettes,
just to kind of say, all right.
Those first t-shirts for
all the worker guys there.
We're just going to make some shirts
for the dudes out loading up the cement.
Bam.
You know, we were hitting
something over here,
and maybe that's it right there.
That might feel like a
little tent or something,
but we're just going fast.
Now let's just grab this guy real quick,
and plop something in there.
Now it's not going to be quite right.
But when you take this guy,
and put that guy on a t-shirt,
and you can kind of say, wow, man,
that might work, too.
That might work, too.
The thicknesses need a little bit of work.
But I left all those guys live in there.
So you can kind of take this and say,
all right, I want that thickness
to be brought up just a little bit more,
so there's all three equidistant pieces.
There's something starting to happen.
If it isn't feeling right,
you can kind of take a look at
what these things could be.
Here it is sort of 1960.
Here's a big old house industries.
Maybe to modernize this thing,
if you look at some of these characters,
they're these nice, big, chiseled edges.
There might be something there.
Let's just get those
colors all feeling right.
Make sure it's all nice and centered up.
You know, somethings starting to happen.
At all time, as you're going through,
what we're going to do is we're going to
quickly take another big blast of color,
and see what it feels
like on a dark value.
So at all times you want to make sure
that this thing feels
good on a dark value also.
Nowith you kind of say, well,
that's kind of hard to read.
That's kind of hard to read.
So, okay, let's give it just
a little bit of hierarchy.
There's our logo.
Here's our name.
Stuff is starting to happen.
(light rock music)
That was what?
A couple minutes of sketching.
Bring it into the machine.
Tuning things up.
Seeing how things felt.
I know if I go another 20 minutes,
or another couple of days,
that we're going to hit something
and be able to show them
seven, eight strong directions.
Complete with a nice rationale
of why we did what we did,
and what we were thinking.
It's kind of like a volume knob.
To kind of say, here it is,
what we think it could work right now.
But we get out into
the ether a little bit,
and it might be really fun that way.
That's just sort of my
job to show them a range.
It all comes from here,
and then quickly building it here,
and then getting into a nice presentation,
and well, sealing a deal.
(rock music)
When I went freelance in
2004 it was hard to leave,
because you left health insurance.
You left 401K's.
But equally my horizon opened,
to where I could take
on little crusty things,
and then take on things that
were maybe for no money.
But later on trick design into hiring me.
So that leap for me was just sort of like,
it just really freed me up.
Has freelance always been perfect?
Not even close, you know.
I've had guys stiff me.
The client completely
do like a big old 180,
and you lose all the work you've done.
But that's what we're up against.
I've found that in my
life, working for myself,
working with my buddies,
has been just more,
like a reason to want to
get up in the morning.
I feel better about it.
I feel excited.
I feel engaged.
I can dream.
I turned 40, and your bones hurt,
and your back hurts, and your feet hurt,
and whatever the hell else.
It doesn't matter, because I need to make
some new little logo for something.
I can't wait to see how
the sticker turned out,
with the cool little kiss cut in the back,
as much as the poster with six colors
and flash printing and weird paper,
and then how to ship them here.
Every time I turn around,
there's something to deal with here.
I love that little world I've sort of
built for myself.
