Okay! since I am new here I don’t want you all to judge me lol, well I want to know the best tool where I can easily make my logo design work, please shoot in your awesome suggestions
Welcome to the forum, Alexis.
Adobe Illustrator is pretty much the standard for vector artwork, such as logos. Affinity Designer works quite well too.
As for “easily” making logos, the software isn’t the difficult part — it’s the research and coming up with the concepts.
I want to be a carpenter. What tool should I buy to make my work easy?
Doesn’t matter that I don’t know anything about wood joinery, but hey, anyone can swing a hammer, right?
Logos are printed, for the most part, so you need a toolset for print design:
An app that supprts CMYK/Pantone colors - which are used in print - such as Adobe Illustrator or Affinity Designer.
A wide-gamut, color-accurate display + a colorimeter to calibrate it properly.
You might also buy a Pantone Formula Guide Solid: Coated + Uncoated.
To make a logo work, you must make sure that it looks good when you print it.
You should always prepare two versions of a logo:
One for coated surfaces, that don’t absob ink, which results in brighter, more vivid and saturated colors.
One for uncoated surfaces, that absorb ink, which result in less saturated and vivid colors.
Each version requires a different CMYK color profile, for example Fogra 39 Coated + Fogra 29 Uncoated or US Sheetfed Coated + US Sheetfed Uncoated (don’t use the US Web Coated (SWOP) and US Web Uncoated color profiles).
When it comes to colors, there’s nothing better than Pantone Formula (Solid): Coated and Uncoated, since Pantone is a worldwide standard.
I’m going to point out here that those Pantone guides, the Coated and the Uncoated
are showing the same ink on two different kinds of paper.
You may have to spec a different Pantone color for use on uncoated paper stock but they are not two different color sets.
In the printing world, you have to be very sure of what you are doing and communicate totally with your printer. For instance, we don’t want any uncoated colors applied to files. All of the wide format machines I use or deal with in the US are calibrated for Pantone Coated even on matte media like fabrics. In Europe your mileage will vary as they sometimes use Uncoated colors there for fabrics. communication with printer is key.
Designers who use the two books as two different color palettes run into all kinds of handmatching charges if they specifically want the uncoated colors.
Adobe Illustrator is the industry standard for creating vector graphics and you should know how to use it if you want to work at a branding studio/agency.
Personally, I use Inkscape (to sculpt logos in black and white) and Affinity Designer (to colorize them with Pantone colors), but I work on my own, so I’m free to use any software I like.
I supply my clients with .SVG, .PDF and .EPS editable vector files, as well as .PNG raster files, a color palette and a short guide that exaplains how to use the files.
The color palette is crucial, because it contains the Pantone number, RGB value and hexadecimal code of each color for both coated and uncoated surfaces.
Best tools for Graphic Designing?
Not sure about that. The best tool for graphic design is your brain.
Adobe Illustrator is probably the industry standard for graphic production.
yeah, um, if you are using transparency effects then saving as a .eps, that doesn’t work.
They should stop using .eps. It is an old format that only works well for the most basic of art. It can barely handle gradients and doesn’t even know what transparency is. It will flatten transparent overlaps into shapes that no longer contain Pantones. And you should see what it does if you happen to interact an image with a transparent thing.
Oddly, I still have clients ask for various things in .eps format. I don’t know why, but I suspect it has something to do with something they read years ago or some bad information they’ve picked up more recently from someone else.
I usually talk them out of the .eps file, but when they persist, hey, I’ll make one for them.
I don’t do many stand-alone logos anymore, but when I do, I’ll include the following:
.ai files — It’s the source file and one that most designers will want. I’ll supply one in both CMYK, RGB, B&W, and greyscale, and their equivalents for use on dark backgrounds if needed. And, of course, there are the Pantone versions of the color logos.
.pdf files — Clients can always open them and, when saved with Illustrator compatibility, they can be used as vector source files after the client has lost the .ai files. As with the .ai files, I’ll supply variations.
a big .png with a transparent background — I’m not sure why this is needed. Anyone using one will know enough to make one to size from the .ai file. Even so, it makes clients feel like they’re getting more for their money.
A couple of big .psd files in RGB, CMYK, greyscale, and B&W with transparent backgrounds — As with the .png, I don’t think they’re needed, but I include them anyway for the same reasons as the .png files.
I’ll sometimes (depending on the job), create a separate, simplified version of the logo in the above formats for use in those instances where the large one won’t have optimum legibility at small sizes. Again, depending on the job, I might create a more detailed and blinged-out version when they request it for something.
What I don’t include are .svg files. Anyone needing one will be familiar with creating them from the .ai file.
I don’t include .esp files anymore (unless the client insists) for the reasons already mentioned.
I also don’t include .jpeg files since their quality is always lower, and if they’re needed, they should be made one at a time for the particular job at hand. In addition, I’ve noticed that .jpegs end up being the go-to files for naive clients to pass around and use for everything, so not supplying one helps head off that problem.
I’ll also include color specs for CMYK, RGB, hexadecimal, and Pantone.
I’ll also supply a brief style guide on logo usage if the client is willing to pay for it. I always include a style and branding guide with the larger logo and branding projects that I prefer working on.
Every job is different, though, so I’ll mix and match what I’ve mentioned above to meet the requirements, limitations, and budget of the project.