LETTERING LAYOUTS

A creative layout is the backbone of a strong lettering piece. The key to better layouts
is the knowledge that you are not bound by straight lines, you have the freedom to
draw letters in a way that captures the concept and expresses your style. Once you free
yourself from drawing on a straight line, the lettering world is your oyster!

This booklet will help you create strong layouts through the use of
balance, hierarchy, and style.

Balance
Striking a balance between words and space within the composition
is what a good layout is all about. Layouts need a framework to keep
structure throughout the piece. Achieving balance in your layout
takes trial and error; sketch different iterations until the layout
feels harmonious.

Hierarchy
Effective use of hierarchy communicates the message quickly.
Hierarchy is calling out the most important words by making them
bigger or bolder. Size, position, style and imagery can help direct
the reader’s eye. Before sketching, write the phrase and underline
the most important words. There words will require the most
emphasis in your layout.

Style
Style isn’t just about the shape of your letterforms; layout plays an
important role in expressing your concept. Consider how a quote
about a feather would look in contrast to a quote about an anvil.
Perhaps the feather layout is asymmetrical with words on curves
and the anvil layout has hard angles and straight lines.
DRAWING LAYOUTS
Planning a layout can be complicated. Just like
lettering, a layout needs framework. Think of a
layout like a construction site; the framework is
the foundation, the letters are the walls and the
ornamentation is the facade. Without a proper
foundation, your building will crumble. So don’t
let your lettering crumble!

To plan a layout, sketch out shapes and guides in place of words. Think about the
general proportion of the words, where important words will exist and how you want
to emphasize them. This method not only saves time because you can go through more
ideas much quicker, but it also allows you to be more flexible in the layout.

When you start lettering without a framework there is a tendency to draw the letters
on a straight line because a straight line is the quickest way to get from point A to point
B. Alternatively, using a framework encourages you to find new and interesting ways to
fill the composition. Your goal in lettering should feel more like a fun road trip than a
quick errand.

Tip
Flip the canvas! Sometimes it’s
hard to see if things are out of
whack when you’ve been staring
at it for hours. Looking at it from
a new perspective puts you in a
new mindset.
SKETCHING LAYOUTS
It’s helpful to sketch the layout first. That way, you can quickly get an idea down and
experiment with interesting lock ups before you jump into lettering. There are many
variables to consider that can rule one layout out in favor of another. The amount of
words, the concept, and the length of words are all important factors when choosing a
layout. The steps below illustrate the process of designing a layout.

1. S tart by sorting the hierarchy of your 2. Sketch simple guides and shapes
words or phrase. Determine the that are roughly the proportions
most imporant words that will drive of the words. It can be helful to
the look and concept of the layout. roughly sketch the words in, too.

3. P
 ush yourself to sketch other style layouts. It’s easy to get focused on one style and
not consider other possibilities. You may think your initial ideas are the best (and
that may be) but it’s good practice to push yourself to do those extra rough sketches.
4. C
 hoose a direction and sketch it at a
larger scale. Draw guides for the cap
height, x-height, and baseline. Then,
draw guides for the widths of letters.
5. U se the guides to rough in the
lettering. Use tracing paper to try
different iterations of the same
layout so you don’t have to redraw
the guides each time.

6. A
 djust the framework as necessary 5. U se tracing paper to create a clean
and add more detail to the letters and sketch or ink the drawing.
the weight desired.

The key is to slowly build the layout rather than rush into lettering. Once you have a
solid layout planned, you can put the focus on the lettering. It’s often poor planing that
leads to poor lettering. Issues like spacing and awkward shifts in scale to the lettering,
can be avoided with a little extra legwork in the layout stage.
TYPES OF LAYOUTS
There are so many possibilities when it comes
to choosing a layout. It’s important to expand
your catalog of layouts because a layout isn’t one
size fits all. Consider what will work best for the
concept and how the words will fit best in that
layout. In this section, we will discuss several
layout styles that you can start incorporating in
your lettering projects.
VINTAGE
A vintage layout takes inspiration from the past. Look at old labels, posters, and
ephemera and see how you can reinterpret that layout for your project. Use elements
from several different references to create a unique layout. Follow the vintage layout
exercise in the warm up section of this booklet for pointers on how to reinterpret
vintage inspiration to use in your project.

Victorian Retro

Art Deco

Victorian
A Victorian layout uses a lot of borders,
banners, and ornamentation.

Retro
A retro style layout is bold, graphic, and
uses shapes and thick lines to contain
text and add structure to the layout.

Art Deco
An art deco style layout includes graphic
ornamentation, illustration, and borders.
SHAPES
Using geometric shapes is a great way to organize the layout and give each word its own
space to live in. This style can help take the pressure off having to make the words work
together in harmony. It also opens up more possibilities to add illustration and play with
scale.

This layout works best for shorter phrases, a series of small headlines, or repeated words.
A long quote or headline can be hard to navigate if broken up too much in this style.
SYMMETRICAL
A trick to a simple and effective layout is using symmetry throughout the piece. It’s
pleasing to the eye, has balance, and is generally easy to read. Symmetry can be
achieved by stacking everything and center justifying. However, you can include
asymmetrical curves, angles, and illustrative elements, just make sure it has a
counterweight to balance the layout. This creates the illusion of symmetry.
FITTING
To create a playful layout that keeps your eye moving throughout the piece, use a
layout where the lettering fits together like a puzzle. This style layout works best with
short to medium length words. The illusion of creating a puzzle is lost when you have
one long word with tiny letters next to a short word with big letters.

Roughly sketch out the words and don’t Next, start adding more weight to the
follow the same baseline or scale of letters. letters. Try to keep the spacing between
Mix it up to create the puzzle effect. the letters and the weight of the letters
optically similar.

Revise until they fit together tightly. Continue to redraw, clean up edges,
and refine with each revision.
ANGLED
One way to have a simple but engaging layout is to line everything up on the same
angle. Working on an angle is a handy trick to save space for those pesky long words,
and can also strengthen your concept. Angled layouts can imply movement or intensity,
or feel like an important announcement.

Sketch the guides all on the same angle. Roughly sketch the framework and adjust
To further imply excitement, I sketched the letters to better fit the layout.
the vertical guides on a slight slant.

Add weight and adjust spacing between Continue to redraw, clean up edges,
letters until it looks just right. and refine with each revision.
ILLUSTRATIVE
If illustration is your strength,vv you can create an illustrated framework. Breaking your
layout into illustrated shapes takes the pressure off of your lettering and puts you in
your comfort zone. It may even result in some interesting lettering that you otherwise
wouldn’t have achieved.

Roughly sketch a layout to make sure Use that rough sketch to create the base
the words will fit. illustration that the words will live in.

Rough in the lettering and revise as Continue to redraw, clean up edges,

necessary. refine with each revision, and add color.
SILHOUETTE
Create an impactful layout by using a silhouette as the shape of the composition. This
works best with a distinctive silhouette. It’s most effective when there’s a lot of words;
that way you can change the scale of each word to fill out the shape. This layout can also
work with fewer words, just make sure the lettering isn’t distorted out of recognition.
LAYOUT FINISHING TOUCHES
Adding details to your layout is a good way to carry the concept and add interest. It can
also help add structure, balance, and that extra bit of polish that your piece needs.

Banners
A banner is a good way to call attention to a word or carry the concept. A banner can be
realistic, graphic, or illustrative. You can even create a banner out of the swash of a letter.

Curves
Position words on a curve to make better use of space and add interest. The space under
the curve is the perfect spot for a swash, smaller word, icon, or illustration.

Ampersands
Use an ampersand (&) in place of “and.” It acts as a little illustration within the lettering.
It helps tie two or more thoughts together in a more interesting manner. I generally
believe it’s best to use an ampersand in a short list or phrase rather than in the middle of
a sentence. For example “Keep Calm & Carry On” is the perfect use of an ampersand.

Drop Shadow
A drop shadow can help unite a layout
whether it’s applied to each word
creating a lock up, or on one word with
other words on top of it. It’s especially
useful when working with one long
word that needs to stand out in the
layout.

Filigree
Incorporate filigree into the layout to
add structure and interest. Find natural
spots for filigree and ornamentation to
occur. For example, a word on a curve
often has a triangular space under it,
this awkward space is the perfect spot
for filigree.

Consider the framework of your layout

the filigree can act as a decorative
exoskeleton, just like a snail’s shell!

Filigree
Banners Curves

Drop Shadow / Block Shade Ampersand

 LAYOUT BREAKDOWN
Every layout tells a story. This diagram outlines the considerations that drove me to
create this final layout. It’s good practice to step back and ask yourself why you made
certain decisions in order to understand your process.

Lettering on an angle allows you to have

a larger initial cap without wasted space Keep filler
at the top. filigree to a
minimum, it
should punctuate
the layout, not
overwhelm it.

Try to keep
everything on a
consistent angle. Look for opportunities
Otherwise, the to add symmetry.
layout can feel Swashes to strokes like
disjointed. the “D” and “T” here, are
a perfect solution.

Add a drop
shadow to short
but important
words. This
Initially, the helps with
words felt too hierarchy,
small in this but also fills
banner. Adding an otherwise
an illustration awkward space.
creates balance.
Having the
illustration
overlap the
banner also fills Small words can get lost in a layout. Drop shadows
the empty space. can help, but you may not want to over use them. Using
a banner is another great way to add hierarchy.
LAYOUT WARM UPS
A warm up is a great way to shake out the cobwebs. It can
clear out your bad ideas to make room for the good ones.
In this section there are exercises for you to try working
with guides, interpreting inspiration, and working with a
framework.

Warm Up Benefits
1. Y
 ou create a catalog of go-to layouts for your reference.

2. W
 hen you’re stuck on a project, refer to your warm up
layouts and start testing them out to see one of them
will work for your project. Best case scenario, one works
and half your work is already done!

3. T he more practice you get in, the better your layouts

become.

4. W
 orst case scenario, you have to go back to the drawing
board and invent a new layout for your project.

LAYOUT CATALOG
When I start a project, I always start with rough sketches
of the layout. If I feel stuck, I just go through my list of go-to
layout styles to see if it will work for my project.

In this warm up, take a short phrase and roughly sketch

that phrase in the styles previously discussed. Consider
how the layout style will best interpret the concept.

LAYOUT TYPES
• Vintage • Angled
• Shapes • Illustrative
• Symmetrical • Silhouetted
• Fitting
GUIDES
In this warm up, you will use the shapes and guides provided and fill in with your own
style lettering.
1. C
 onsider how the phrase, “Creativity
is Magical but it is Not Magic” is read,
underline the most important words.
2. L ightly sketch the framework of the
lettering in the guides provided.
Consider the weight and style of the
letters, and how they will work in
relation to the guides.
3. Add weight to the letters and erase
extraneous lines. Experiment with
the style of lettering, add serifs, drop
shadows, and details.
4. U se a fresh sheet of paper to trace
over the sketch. This gives you an
opportunity to make subtle changes by
seeing the sketch clearly.
CREATIVITY IS MAGICAL, BUT IT IS NOT MAGIC.
-Charles Limb
VINTAGE LAYOUT
Pick a vintage label from the collection below, study it, and recreate the design from
memory. This exercise is meant to build confidence in your decision making, and help
you learn to interpret inspiration. Rather than relying on your inspiration, you are using
a combination of your memory and design skills to decide your next move.

1. C
 hoose a layout and study what makes
that layout special. Take brief notes of
the proportions and what makes the
layout unique like; symmetry, a curved
headline, illustrative element, style of
lettering, or levels of information.
2. N
 ext, put the mood board aside and
lightly sketch out the proportions of the
composition from memory. Then, lightly
sketch guides that make up the layout.
3. O nce the layout is roughed in, make
guides for the words and add the
lettering in the layout and refine. It’s
okay to change the phrasing. Personalize
the piece by writing your own copy.
4. Compare your sketch with the original.
Look at the decisions you made and
how you interpreted the design. Those
decisions could be key factors in
understanding your style.
Badge shape composition
Symmetrical design
Bold and simple sans serif lettering
Bee illustration in the center
Shapes and banners that contain information
6 levels of information
FRAMEWORK
In this warm up, you will draw over the framework sketch provided, and interpret it in
your own style. Experiment with different styles and push yourself to move away from
the original framework.

1. S tudy the phrase and framework 3. Erase extraneous lines to see the sketch
provided, and consider which style to more clearly. Refine until the you are
use and where to add detail. Sketch out satisfied. Now add detail and other
these ideas in the thumbnails. ornamentation.

2. O
 nce you have a direction you want to 4. U se a fresh sheet of paper to trace over
take to final, lightly add weight and the sketch to refine the final piece.
style to the framework.
LAYOUT BASICS
The Lettering Pocket Companion will help you
on your lettering journey. This pocket-sized
guide to layouts is packed with:

• Sketching Tips
• Layout Guides
• Layout Breakdown
• Warm Up Exercises
• Chock-full of layout examples!

ABOUT THE AUTHOR

Mary Kate McDevitt is an illustrator and
letterer based in Philadelphia, PA. She
has worked on hundreds of lettering and
illustration projects with companies like
Chronicle Books, The Washington Post,
Nike, Fox, and Target.

Mary Kate is passionate about all things

lettering and this booklet is the foundation
of her process, and what she has learned
in her years of experience.

www.marykatemcdevitt.com
@marykatemcdevitt