Digitally developing a logo

In this installment of 'To Create a Logo', I embarked on a journey that involved taking an initial logo sketch (as can be seen in 'Logo initial ideas + primary research'), reproducing it in vector form, and then taking it down twelve different modification routes. The design proved to be rather flexible.

 Original

'DG' expanded/rim narrowed

At first glance it may seem that the blue dominates the roundel too much, but I believe this may be remedied by applying a gradient to this area, much like in the design below. 

'DG' with a gradient

Simply adding a little more tone to the logo gives it more of a physical presence, like a metallic object that one could almost touch.

 

 3D depth added to the inside section

The inside section is now less abstract through adding a radial gradient. As a result, this change would be great in conjunction with the design above (adding a gradient to the blue 'DG' shape).

  

'D' made to flow into 'G'

This take on the 'DG' shape means the centre is less vertically-biased, and seemingly more fluent and compact; both of these results, I believe, are desirable.

 Print-style typography below logo

Text outside of the logo seems to work best because it doesn't detract from the roundel; I wish to keep the roundel the centre of attention rather than any sort of text.

Handwritten-style typography below logo

Here, the roundel and text clash excessively, most likely due to the colour of the text. Black would be a good substitute, as the text in blue is too bright. The typographic style is mismatched also, but this is not as detrimental.

Print-style typography inserted into rim

Inserting the text into the rim of the logo makes the roundel excessively busy.

'DG' reflected horizontally

The reflection creates confusion, in that the centre is now read as 'GD' rather than 'DG'. The purpose of this design was to ascertain the clarity when both the G and the D are not reflected horizontally, and it seems the clarity is compromised. 

'DG' and inside section colour changes #1

A rather random variation, this design was to test the coherence of a bright centre within a black rim. It is not favourable in this application, but it may work elsewhere when the outer rim is omitted.

 

'DG' and inside section colour changes #2 

This design does not work very well, due to it seemingly accentuating a letter 'C' in the design as opposed to the D and G, which is what is intended. The colour choices for the letters are not cohesive. Perhaps two shades of the same colour would have been more appropriate for each of the two letters.

Colours inverted and stroke highlighted

Another wild experiment, this oddly seems to work, albeit not for this application. The highly-contrasting selection of colours fight for attention and in doing so intrigue the onlooker.

It appears that many of these experimental details have great potential, especially if several are combined. For instance, I can see myself combining the expansion of the rim with a 3D inside section for better form, applying a light-to-dark gradient for the 'DG' section and rearranging of the 'D' and 'G' for more fluency, as well as making some colour alterations to make the scheme slightly brighter and cohesive. 

Logo initial ideas + primary research

Now that a sufficient amount of research had been undertaken, it was time to produce some initial ideas for my logo. For the sake of time, I decided to take the old-school route by taking out a piece of A3 paper and a HB pencil to put down these ideas as they germinated within my imagination. At this point it was important that the influence from my previous research on graphic design companies and existing corporate symbols be made evident within these designs, if only using the most subtle of cues; however, it was not imperative that I remained within these boundaries as some of the symbols within the research, e.g. that of Westfield and Telegraph, were not relevant for the disposition and feel of my envisioned logo. 

The logo research and analysis influenced the initial ideas the most as had I carefully selected these examples for the kind of visual style that I would like my logo to feature. I only looked to the logos that came from the graphic design companies after the inspiration from this had been exhausted. Rather than create 10+ similar initial ideas, I produced 7 unique examples overall and chose to develop most of these instead. Development entailed making the ideas clearer, more pronounced, but most importantly, allowing them to substantially depart from the existing logos that inspired them.

To aid me in my next steps in further refining and then realising a selection of these ideas in traditional and digital techniques, I have also collected a multitude of logos and textures as primary research:

This high-visibility arm band provides a unique shiny, plastic texture.

This phone provides two-for-one textures: rough, leather-like on one end, and smooth metallic on the other. 

This button provides a rounded shape, and gives a reference of how the light falls on such a shape. Potentially useful for a round logo.

This phone shows the iconic Apple logo in use. Provides an indication of metallic tone.

This laptop provides both a metallic texture, as well as an example of typography and arrangement within a logo.

This game controller provides a dark, grainy texture of the main body, as well as the Xbox logo in use and how the light falls on the plastic surface.

This instructional book features the AA logo, a simple yet recognizable logo, which is the kind of logo I aim to produce.

This velvet case provides a soft texture that is accented by a metallic strips. 

Another, top-down view of the velvet case.

This paintbrush is an element that could be used for one of the initial ideas above by itself...

...or in combination with a pencil.

A selection of logos on a smooth, undulating plastic surface. Another reference for tone.

A logo on a smooth, leather-like surface.

A logo in use on a plastic surface .

This intricate metallic logo is an indicator of tone for a logo of this type.

Researching graphic design companies: III - Imagination

Imagination are veterans in the design industry, having been around since 1978; their work spans from corporate and visual identity to advertising and PR. The experience and versatility means that they are often tasked with injecting new life to brands that require visual rejuvenation.

Sample of porfolio

Westfield's visual identity

Westfield's evocative typography and red colour combination means that people are likely to be enticed to visit the shopping centre.

Shell's visual identity

Shell's visual identity is successful chiefly because of its logo. The simple, reproducible design resplendent in the solid, bright yellow-and-red combination means it is memorable and therefore easily recognisable; these are traits that I would really desire to see in my own logo work.

Mazda's visual identity

 Mazda's visual identity, likely intentional, hints that the company wants to be seen as 'green', or environmentally friendly. This is evident in the lack of geometric shapes in the logo and the use of natural colours (bar the use of the metallic grey in the logo, which is there to maintain a link to the industry).

Jaguar's visual identity

Despite what the name suggests, Jaguar's modern visual identity is far from organic. This contrast is for a reason however, as the extensive use of metallic greys suggests the company and its products today are, much like metal, robust and resilient.

Sample of clientele

 

  

Researching graphic design companies: II - Bostock and Pollitt

Bostock and Pollitt are a design agency with a heritage of award-winning. In their earlier years they specialised in literature work but are today keen to affirm that they do not restrict themselves as a means to grow as a company.

Sample of portfolio

Foxhall London website

The use of wood textures and brown suggests that Foxhall want to be seen as rugged and somewhat old-fashioned clothing company. The typography of the logo is rather basic, but the disjointed shapes within it create a connection to this idea of woodwork. A rather effective design all in all.

Macmillan Cancer Support binder/planner

Macmillan's identity is made memorable by the combination of cartoon-like typography and greens of several shades. A clean and consistent design.

The Body Shop values report

I admire The Body Shop's logo very much. Clean, versatile typography enveloped by a compact arc. 

Revitalising the Directgov brand

Basic, stern typography which makes good use of the arrow shape. The orange provides a fine base that makes the logo and additional text exceptionally clear.

Sample of clientele

 

  

 

 

Researching graphic design companies: I - a fish in sea

The next step in the quest for my own logo is to research existing graphic design companies and observe if there is any correlation between the logo and the kind of clientele that it attracts. This will allow me to change my direction in terms of the logo as necessary. 

a fish in sea (note the phonetic similarity to 'efficiency') is London-based graphic design agency. Their work encompasses web, logo, and general graphic design.

Sample of portfolio

London Zoo signage

These signs make a good, faithful use of natural colours as would be appropriate for a zoo. The logos are not exceptionally clear to read, which is an issue, but they are not as vital as the main text, which is pleasingly clear due to the colour being darker than the background.

Dell marketing campaign microsite

The Dell logo is one that is pleasing to me due to its simplicity and memorability. The layout of the site elevates and isolates the most important aspect - the logo - well. The continued use of the corporate blue is pleasing as it encourages coherence.

Ultimate Bad Boy  (automotive tuner) logo

 I am not particularly fond of this logo as it seems unevenly weighted. The gradients also seem crude. However, I will commend it for being a somewhat original creation.

Book jacket design

A rather forgettable design. Apart from the imagery, nothing of the colour scheme or typography is particularly evocative. The blue text against the grey background means it is not sufficiently clear to read.

Sample of clientele