>> I'll confess, the first few went really fast.
But the more I did, the harder it was to think of new ideas.
Here's my doodles just to show you where my mind was going.
The first couple I've just basically got a little bit
of a shadow to give it a sense of place.
On my third one on that top row you can
kind of sense that the shadow's way down below it, so
it kind of gives the sense that maybe the object
is far, far above the ground because the shadow gets smaller.
This fourth one, I like to play with the contour of the land or where it is.
You'll notice the shadow kind of drops down so you get a
sense, maybe this is sitting up on a hillside or something like that.
This one the fifth one in the top row, it's casting
the shadow of a house like a rock is somebody's house.
Or the first one on the bottom row, this idea of having more than one light
source going on, which is a kind of
interesting idea this idea that you're casting multiple shadows.
We just tend to think of a single shadow.
Middle one on the bottom row, I started
thinking the shadow that's being cast off of it.
There's light coming through for a happy face.
The very last one on here, I'm not sure my drawing skills did this any justice,
but it's kind of like what would happen if you had an arrow going through this ball.
And the shallow was actually cast in an entirely different direction so that you
can kind of see arrow's going one way, the shadow's going the other way.
I think this is kind of fun.
It's a good way to get you to kind of
open up your thinking about the different ways shadows can react.
One of the things that I've learned with shadows in logo design, is that
some of the most memorable are just that, because they tend to break the rules.
Now that you've seen how I treated these, you may want to
take some time after this course to try it out again.
After all, we're in one of those few professions where we
can refer to doodling as work, and get away with it.