So, another quarter has begun at school, and I'm embroiled in one of the busiest, most convoluted classes yet, in my quest for a Graphic Design degree. However, it's been instructional, to say the least. I thought I'd share a little on logo design with you all, so you can get an idea of what kind of over thinking conceptual design goes into all the logos and branding you get bombarded with every time you watch a commercial, or see an ad.
Review of logo design
Graphic Design Solutions
4th edition – chapter 10
Visual identity helps to build a unique
presence to a brand in the market place and create a sense of trust
in the public. It's a visual and verbal package, including design
specifications and use of things like logos, letterhead, business
cards, and even websites. Together these form the brand identity.
There are many reasons to start a
branding project:
Launching a new company, service,
group, or product.
Changing a company name.
Updating a visual identity to new
market trends.
Redesigning a brand for a new audience
or demographic.
When companies merge.
And, when adopting integrated
consistency across a company; global, or otherwise.
A visual identity should be
recognizable, memorable, distinctive, sustainable, and flexible.
That is, it should be easy to
recognize, include interesting and unusual design properties, be
unique among its competitors, remain relevant for years in a market,
and be able to grow and adapt to fit various media and possible new
directions the brand or service might take.
Most visual identities start with a
logo. “A logo is a point of entry to the brand.” - Milton Glaser
A logo is the single graphic design
application that will be part of every other design application; also
called the symbol, mark, brandmark, logotype, or trademark. It should
be an immediately recognizable symbol of what the group, brand, or
even individual stands for, or provides. It should represent the
brand's image and quality.
There are several kinds of logos:
Logotype – the name spelled out in
unique typography or lettering.
Lettermark – creating the logo out of
a name initials.
Symbol – Can be representable,
abstract, or nonobjective.
Character icon – a caricature that
gives a “face” to the brand
Combination mark – a blending of
words and symbols.
Emblem – like a combination mark, but
never separated.
Conceptual design for a logo can often
start with a brand brief; a document that spells out the nature of
the brand – defining the essence of, direction of, or strategy of
the concept, product, service, etc.
A successful designer will be able to
condense the essence of that brief into s simple, recognizable point
that can be used for years, if not longer, and be able to serve as an
integral part of the visual identity of that brand.
A great place to start conceptualizing
is with the brand name; which often, itself, can provide clues to how
to attack the visualizing process. Often the name can inspire a
visual cue, or, itself, become a key component in creating a logo.
In designing a logo, keep in mind it
should both separate it from its competitors in its market, and do so
with a high degree of impact.
A logo will be used in many
applications; such as posters, CDs, packaging, and so forth. Therefor
it's very important that it can stand alone as a conceptual piece.
In creating a logo, there are a few
forms to consider; Self contained – where all elements of the
design are inclosed within a boarder, Breaking the unit – where
parts of the design may cross a boarder but still maintain the over
all form and design, and Free form – where the logo is, itself, a
shape, and isn't contained by an particular boarder, save its own.
In designing a logo, keep in mind that
what works for one identity might not exactly work for another.
Certain fonts, styles, and shapes convey a different meaning that may
compliment, say, an insurance company, but not an amusement park.
There are some fundamental ways to
conceive how you could depict shapes and volumes in a logo:
Elemental form – flat lines and tones
used to reduce complexity to simple shapes
High contrast – using hard separation
of light and shadow to suggest form
Linear – using line in design as a
main descriptive shape
Volumetric – using gradation in tone
to suggest volume (illusion of 3D)
Texture or Patter – using elements
like cross hatching, pantone, or smudging to create form and depth
Along with these techniques, utilizing
various line weights and styles can help to depict a whole range of
media and materials; such as wood cuts, fabric, cut or torn paper,
brush paintings, and so on. Also, logos can come in a variety of
shapes; open, closed, silhouettes, etc. Using beveled edges, spirals,
and shadows can help imply the illusion of three dimensional form.
Finally, be careful in selecting font
types in your creation; avoid bias in choosing your font in favor of
something that directly relates more to the over all design and
intent of the logo. In choosing a font type, make sure that it is
legible and that it's form is not only unique, but also reflects the
identity of the brand. It should work well in a range of sizes, as
well as in both black and white, and color. Keep a limit to how many
type faces you use in a deign; remember that less can be more, in
terms of design unity. The type face should be flexible and work
within a range of type elements, such as numbers and bullets.
And remember, your font type should
compliment your design, not just merely mirror it.
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