Creating the TVS Logo

Tactical Ventilation Solutions Ltd  are a small company run by personnel with background and experience in the Fire & Rescue Service, Urban Search & Rescue, and Engineering. The business deals with innovation. manufacture and supply of Tactical Ventilation Equipment for Fire and Rescues Services Worldwide. Creative Hat feel privileged to have been approached to create the new logo, which was created digitally from a hand drawn sketch using Illustrator & Photoshop CS5.

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Fig.1 For this project, the conceptual stage was quite short, as I had a clear idea of the best way to approach the brief. I sketched out a couple of ideas, and scanned in the one I wanted to work from.

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Fig. 2 After playing with the overall shape for a while, I went back and worked on some of the detailing for the logo, to look at how I would work the contrast and break it down into vectors that would ultimately work in black and white (part of professional logo design crieria).

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Fig.3 Once I had drawn the basic lettering, and was happy with the entire logo layout, I added the flame element, and started to create the layers in Adobe Illustrator for the chainsaw blade. I used guides and measured out the correct distances for the chainsaw links and drew the backplate.

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Fig.4 The next layer comprised of the individual links and blades which required a bit of technical work to ensure that the sizing was to spec, and measured up with the previous layer.

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Fig.5 Much the same method applied to the following layer, which comprised of the bushing holes. Again, sizing to spec, measuring and lining up the layers was key.

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Fig.6 Next layer comprised of the roller bushing, for which I used the polar grid concentric tool in illustrator. Once again, a bit of technical work was required in sizing to spec, measuring and lining up the layers.

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Fig..7 A technique I use when preparing to export layers, is to add greyscales to visually identify layers. This means that I can toggle view the individual elements of the logo and prior to exporting all of the vector layers into photoshop for texture rendering.

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Fig.8 Another technique I use, is to add a base colour on certain elements prior to exporting the layers into Photoshop. There are different techniques employed by designers, I use base colours under alpha layers in Photoshop to enhance depth and opacity to a layer without needing to duplicate it.

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Fig. 9 Yep, still in Illustrator, and doing a similar thing with the flame as with the base colour on the logo. I sometimes prefer to set the gradients in Illustrator, and export them into Photoshop, especially if I am duplicating the layers and applying alpha in Photoshop. It’s a personal preference.

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Fig.10 Finally, we are in Photoshop. In this particular instance, I applied a darker colour overlay to a duplicate layer for the lettering prior to applying the gradient, as this helps add to the depth of the element.

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Fig.11 Next, I applied the gradient overlay. There are many ways to achieve similar effects to this, it boils down to what you are used to. You may notice the slightly irregular shape of the curve element, which was modified to take the subsequent layers.

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Fig.12 I then imported all of the layers individually and named them for easy referencing during the next stages. Here we have the first chain layer in Photoshop, placed correctly and styled with a metallic polished steel finish

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Fig.13 The next layer goes on, and the trick here is in the blending. I generally try different blending techniques using the satin, inner shadow and alpha tools to achieve the desired effect.

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Fig.14 The next layer goes on, and the trick once again is in the blending. I will add some of the setting details further on.

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Fig.15 Nearly done now. The next layer goes on, and the trick once again is in the blending. I will add some of the setting details at the end.

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Fig.16 The next layer goes on, and the trick once again is in the blending. I create a duplicate layer for the flame, and add a polished glass effest over it. I will cover the style options next…

Satin-&-Contour styling

Fig.17 Blending tools – These are the settings for the satin & contour styling used for the glass effect on the duplicate layer.

Gradient-Overlay styling

Fig.18 Blending tools – These are the settings for the gradient overlay styling used for the glass effect on the duplicate layer.

Drop-Shadow styling

Fig.19 Blending tools – These are the settings for the drop shadow styling used for the glass effect on the duplicate layer.

Bevel-and-Emboss styling

Fig.20 Blending tools – These are the settings for the beve, emboss and shading styling used for the glass effect on the duplicate layer.

Voila

Fig.21 Voila…

 

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