The Horror of Logo Design by Committee
Design by Committee is one of the more frustrating scenarios when working as a self-employed logo designer, or more precisely, the horror of 'logo-design-approval-by-committee'. Obviously nothing touches on non-payment, but this whole shit-bags worth of: every board member, CEO, Director, MD, partner needing a say in what passes as a solid logo design for their new identity, really frosts my y-fronts.
The one thing that I can guarantee that will completely ruin your month, and screw you right up in ways you didn't think were possible? You believe you are working with the one person who is responsible for the smooth passage of the logo design process, you have established a great designer/client relationship, and you feel that this is a perfect, almost symbiotic, relationship.
They are critical but constructive, they are enthusiastic as well as grounded, they don't allow their personal subjective views of design to interfere with the logo design process, as they are clearly aware that what is right for the company, may not be right for them as an individual.
You are feeling so positive, so motivated and enthusiastic, that you are so personally and professional behind this new logo design in every possible conceivable way, that you almost feel invincible. Why of why can't every logo design project goes as smoothly, and as fantastically enjoyably as this one?
During the critical part of approving and/or fine tweaking an idea to reach that 'so close I can smell it' project conclusion, when you both have expended huge amounts of emotional and physical energy in the creation and formulation of the company's new identity, your soul is crushed, shredded and vaporised into the closest and biggest black-stinking-hell-hole.
How so?–By the way, if this doesn't sound familiar to you then I hope you never ever have to become familiar with it. At some point towards the apparent end, your amazingly cool client confronts you with, something along the lines of, "Well, now we have really created something amazing together, I'm going to present this to the board for their approval."
Queue temple and blood vessel throbbing of such extreme proportions that you want Thor's Hammer to smash repeatedly in their face.
Your brother-in-arms, your go-to-person, the best client ever, turns out not only to not be part of the actual logo design approval process, but they have somehow, and quite incredibly, been working to a brief that is completely foreign to the newly introduced logo design approval committee.
This is that moment in a graphic designers' life where you can literally feel the will-to-live ebb from your body. The bewildering realisation that what they have been on some kind of personal mission that shares absolutely no similarities with the completely different views/opinions of the logo-design-approval-committee.
The premise that a graphic designer is ideally designing with their clients and customers mostly in mind, and mostly not to personally please and serve each member of the committee, is of such horrid foreign nastiness, that they laugh and spit in your face.
It goes without saying that the story doesn't end at all well for all concerned, but it can be, and absobloodylutely needs to be avoided at all costs.
When you are close to confirming a new client you must, at all costs, ensure that the person you will be liaising with understands the following: that all persons, who will have say into the final design, are both kept up to speed during the project, and that any conflicting feedback they might have at any point during the project, is filtered into one cohesive voice before landing back on your table.
It is of no use for a client to send you 5 differing set of views on your latest logo design proposal, because every one of the 5 members of the logo-design-approval-committee have completely different opinions on what sort of design should be adopted. If they are unable, between them, to come to a mutual agreement about which opinion to go with, then that's more of an issue for them to resolve, not the designer.
For sure, I sometimes find it interesting to hear what these conflicting thoughts and opinions are, as they can actually create useful insight, but that's only when I know each member of the collective understands that the new company logo isn't going to be a personal reflection of their personal taste in design, and that the current set of comments have already gone through the process of being filtered into one collective voice.
Never allow/tolerate a client to surprise you, and put you in that very difficult position of having to wade through, and somehow make sense of, conflicting thoughts and opinions about the latest design proof, when you have previously been lead-to-believe you had been on the right track. It's simply not on, and also reflects poorly on the client if internally, they can't see eye-to-eye on something as crucial as their brand's new logo and identity design.
The key-word above is surprise. I think there are always exceptions to this rule, but only if you are confident about taking control, banging heads together, showing them you are the boss/professional etc.
You might already be aware, before getting too deep into the project, that there is a possibility of some challenges in getting people on the same page. Also, maybe the person you have been working so closely with, and whom sincerely believed they WERE working to a unified brief, are themselves surprised by those members of the logo-design-approval-committee. In these cases you can allow for time, maybe charge additional costs for time-wasted etc, but the worse possible case is having your go-to-person lead you on a merry dance all the way to the gutter, especially when you've done nothing but follow all that amazingly positive feedback for week-after-week.
Design by Committee Sucks
I have been known to pull the plug on the whole project if no one from the committee shows any willingness to budge/compromise on their own personal views. There really are times when there is no way to move forward until the committee can see how their collective stubbornness is actually damaging the natural evolution of the company's brand.
I get a lot of people filling in my logo design brief with junk copy just so they can get a sense of what questions are spread out over the five pages.
This actually bothers me for a few reasons, but the main one is the sense of disappointment I feel immediately after being excited at thinking another job has come through.
I see the email; I think I have a new job; the excitement hits me; I read the email and discover it's just been filled in with gibberish which ultimately leaves me with a huge sense of disappointment.
For example: job enquiries have been very quiet the last month, then last night three submissions came in! I was so excited. Turns out all three were from the same person, and all filled in with complete gibberish. But before realising it was gibberish, I thought I had three new jobs come in. That really does piss me off.
One-page logo design brief dummy
So to try and reduce this frustration, I have created a one-page dummy of the logo design brief which is downloadable as a PDF for you.
The thing is, one only need ask me for copy of the form rather than wasting your own time filling in 5 pages of complete twaddle. Just saying…
Now one doesn't need to fill in my form with junk just to get an idea of what questions I ask, and you'll save me the bitter disappointment in the process.
It's common for people to ask 'So, what do you do' as an opener in conversation, opposed to 'who are you'. Same with a project brief for a logo or identity design.
People believe that asking 'what we do' defines who we/you are and once an answer is given, we are labeled accordingly. The mass stereotype begins.
Society often steers definition away from the self to the collective. When we are asked 'what do we do' before anything more personal, we are demoted to being just a performing entity rather than a unique and sentient being.
Next time you are talking to someone new, and before you have asked anything personal, except maybe their name, show some real interest and defer from asking the 'so, what do you do?'.
An identity is not so much what you do
I had an interesting conversation the other day with a new client. During the process of the client providing me with information on the company for the upcoming logo design, I realised something far more important was being totally left out.
I really couldn't of asked for more information on what they have done and what they do and how they do it. (Bear in mind this this is a rebrand, so the company has been around for some time.)
The missing information was the personality of the company, it's soul, it's own unique characteristics that stand it out from all the other similar companies. The personality differences that help contribute to a company having a USP 'Unique Selling Point/Proposition/Position'
The client was so enthusiastic about telling me what they did and how they did it that I had little idea on the 'who' other than than how I perceived the them. How and where it all started, it's early formative years and how it has grown, how clients perceive and talk about it, and how the company had evolved was all unknown.
This wasn't a huge problem, but it was an interesting observation.
It's easy for a client to explain why and how they do what they do, but not so easy trying to verbalise the companies core identity. It's not something that all companies even really think about. I have worked for quite large companies that had a distinct lack of vision in this area.
Defining a companies personality and identity can be hard, not all of us like the idea of opening ourselves up to friends and families, it can leave us feeling vunerable. But for a company to have the best shot at being around a few years down the line, they need to 'really open up'. They need to put themselves out ther and that is scary stuff to commit to.
This is how I like to explain it.
You have ten companies, represented by ten naked manquines. They represent the companies but are devoid of anything really unique, 'who' they really are isn't particularly apparent.
The company that starts to show an interest in it's visual appearance/identity, how it looks and acts, will start to dress the mannequin up and work on expressing itself both visually and verbally.
It now becomes more attractive, more of interest than the other nine.
Then some of the others see this change, see their competitor wooing the customers, and they start to play 'dress up'. Some do it for the right reasons and some do it for the wrong reasons. Some play copy cat and some just do it because they feel they have no choice rather than really believing in it.
The companies that 'believe' in this transformative evolution will have higher odds of succeeding. It's not just a once over makeover though, it has to be maintained and altered as the mannequin gets older and starts performing other duties. In other words, once you start, you can't really stop. Hence company rebrands and logo updates and refreshes. All part of a company growing up.
This doesn't guarantee success of course, they are so many more variables, but a companies identity is just one crucial ingredient.
With your next client, make a point of poking around a bit more. Once you know what they do, found out about the more intimate stuff. You can't really design an identity for a company if you don't have all the juicy details. The logo may look pretty and cool but it will be skin deep, it will lack depth, character and real personality.
The more you know and understand, the more options and choices you will have to work from.
This isn't just about working on a larger identity project, it's just as important when working on the logo design. The more you know about 'who' the more you will be able to craft something that contains more than a descriptive icon of what they do.
If you're stuck trying to make sense of a clients brief or explanation of what they do, try simplifying the task and start again.
I will read the online form that potential clients take the time to fill yet all too often feel I am reading an obituary rather than a colourful and useful introduction to their business.
Not everyone finds it easy to verbalise such things or even consider that this business has potential to be a strong personality with a dynamic heart and soul. Often seen in a sterile and practical way, devoid of feeling and emotions.
My end game, deciding if I should take on a new project, is to get a more intimate awareness of this business. Only then can I truly gauge if my design style is an appropriate fit. I believe it's wrong to take on all logo and identity projects, even if you don't feel it's a right fit.
Show genuine interest in what they do
The following paragraph is an example of what I will send to a client in order to dig further under the skin. It is usually enough to evoke a deeper and emotional response from the client. Helping them to better perceive their own business, and how they describe it to others.
The idea is for us, both client and designer, to feel more more connected.
This is NOT an exact copy of what I send, it's just the points I usually make, shoehorned together. Feel free to borrow, edit and do as you like with this. It may sound a bit 'guh' and 'blah', but it can work a treat if you follow it through. Certainly will give you an idea of what I angle for.
A request for deeper insight
We are at a point where a deeper understanding and view of your business is needed. I have the facts, I have the details, but what I don't have is any emotion, passion and soul. Without these, we are like surgeons, not creatives. We might be able to fix and cure, but we cannot create and build (plastic surgery aside).
Could you pelase explain more about what you do, how you want/need to be perceived by potential clients etc. View me as someone who does not know anything about your business, I am someone you are trying to describe in detail, the heart and soul of what you do.
The trick is to imagine introducing a loved one to a dear friend for the first time, you will talk excitedly, you will be animated and passionate whilst explaining all the virtues of this person. The good points and maybe the bad, and the areas that are just unknown. Sometimes we find it awkward to talk openly about a person but we may get excited and motivated about something else in our lives, whatever sparks up that pilot light, use that to help.
It may feel awkward at first and quite foreign, but it is essential that you relate to your own company in an emotional and deeper way. Only then can you really understand what is required to brand and market yourself accurately.
To be able to visualize your business in a deep and meaningful way, is to see and hear all that you know, feel and think about it. Look at is as a person with an evolving personality, one that you are helping to put on the right track in life.
Without that deeper and meaningful description, we can only touch the surface with a visual representation of the company identity. If you want future clients and customers to build a profitable and emotional bond with your company, we would have to ideally built in a level of emotion to start with.
This is where some fail, business owners failing to understand the real driving force of a successful brand and company.
Back to me
As a designer you may feel uncomfortable with this, but it can be so important to creating a really strong identity. The times I have needed to put this in action, I have seen a real change in the clients response. One minute the brief is very solid but lacking in soul, the next minute I can really sense the real excitement and drive that made them start it up in the first place.
Often you then hear them saying what a useful exercise it was, to be reminded of some of these most basic feelings. This method is not needed all the time of course, but some of those projects that need that 'zest', it's a good thing, trust me.
More logo design tips for the creative designer
Every so often I add sections to my logo design brief form (always a work in progress), currently hosted by Google Docs. Anything to help in with the 'getting to know your client and their business' makes for a more exact and satisfying project. To this end I came by something else that one could add that I feel in some instances could be very informative and valuable.
It was quite by chance actually, during a conversation with a new client the other day. After they had filled in my own logo design brief, we arranged to have a conference call to further discuss the possibility of working together and what it was I needed from them in order to 'get them'.
Logo Design Tip: Testimonials and Perception
When I asked them to try and describe their good points, the MD jumped in with an interesting thought, it was all about how their existing clients viewed them and the product. It turns out that they a number of stellar testimonials, letters of praise, emails of encouragement and other forms of flattering feedback. Each one pretty much reinforcing the rest, all focusing on a few specific areas of their interaction with the company.
This was incredibly enlightening. I knew immediately this would be valuable insight to factor into the brief when working out the best strategy for the design of their Identity. It also seemed to spark a new level of motivation within themselves on the phone, it's like they had just realised how much they were appreciated.
Logo Design Tip: Incorporate into your project brief
The short story version. If your clients have stellar feedback, even better if it's received on a voluntarily basis, knowing how they are already perceived by existing clients is very valuable information. It means that you are not just taking the clients word at how great they are, but that you have firm proof about their existing perception and experience.
It needn't be specific to a rebrand or an existing company, in this case they have been in business for some time, but have a new commercial product that needs to be branded. This means we can apply the success of their current business and emotionally build this into the DNA of the new product, somehow.
Sort of seems common sense, and in some cases this information usually turns up at some point during conversations, but for me it's going to be a key part of my logo design brief. So rather than it being 'information to acquire' it will be addressed right at the beginning, when you are first collating your thoughts and impressions on the new project.
Clearly not all clients will have this sort of client feedback but for those that do, it could prove very information to sift through and incorporate into the identity in some way.
Cover both bases
Would make sense to also ask if they have had any negative feedback and ask to see these, so at least you are aware of the full story. You never know, for every one good testimonial, they might have 2 negative ones. Last thing you want to do is be lead down the garden path.
Not all clients will have an accurate idea of how a logo design is created, some may have a good idea, some may think they know but don't and some just admit to not knowing the first thing.
In the past, I have had a number of occasions where I assumed aspects of my logo design process were obvious. Fail. Confused and unhappy clients can be avoided if you lay it all out on the line before commencing work.
Writing detailed logo design process posts is a big help here, but it's not the only thing you could be doing.
Confusion is easy to make, easy to remedy
The confusion is easy to understand when you consider that most logo designers have their own unique way of working. How many ideas will you first show, how do you go about generating ideas, how do you submit ideas to your clients, how much you do envolve the client with your idea process? There are many more aspects to our job that can be hard for a client to understand.
Just securing that next logo project, getting the brief and getting stuck in is not enough. Do you want a sound footing from which the client can understand and fully appreciate how and what you are doing? Then the more you can communicate your methods and what the client can expect the better. No matter how much they are investing in you, we all need to be reassured that what we are spending out hard earned money on is in good hands.
Silence is not generally conducive to a happy and assured client.
I can't tell you exactly how to achieve this, as I mentioned a few paragraphs back, we all have different ways of working. Consider this. Even if your client understand and appreciates design, they are still unlikely to know and understand your own unique way of working. This much you can pretty much be sure of.
Try not to assume that they will see what's coming, or when to expect something or know how you plan to present your ideas. Do you have any unique skills, do you work significantly differently to other designers you know? If so, you need to try and communicate your intended process once you ready to get started.
How I roll
I have a rather organic way of working, no two projects start the same. It all comes down to the brief and the nature of the logo design. My process is very free flowing and can appear to be quite scatty if you look at my process out of context. Even though it's all perfectly natural and methodical to me, to others it can seem quite disjointed.
In the past I would fall back into 'assuming' a clients understands my way of working, and I would forget to fully explain myself at various stages. Even though I have outlined my basic approach at the proposal stage, this is still not enough to satisfy any doubts or concerns or expectations a client might have.
With each new client, I need to explain my methods as they present themselves. My explanations are tailored to the client and to the job in question, so there is always a personal feel to my communications, even if the email takes hours to write.
I don't present 3-5 complete concepts, then expect the client to choose one. Then go through a round of tweaks and revisions. This method has always seemed sterile, forced and just odd to me. That's just my own personal view.
Trust your brief, Trust your instincts
I trust my gut. I trust my instincts. Having a thorough brief is essential to starting on the right track, an incomplete or scatty brief and you have a uphill challenge. An example of how an incomplete brief 'my fault' derailed a project can be seen in the logo process post for Apple & Eve.
Experience has shown me that I tend to 'imagine' a solid idea right from the outset, (even if I have a incomplete brief, go figure) and this is where I focus my time. I have to feel totally sure about it, I have to be able to sell this initial idea with all my heart.
Now, how I go about showing this initial idea can vary, it can be a loose pencil sketch or it can be a neat Illustrator vector file, it all depends on the project. But this is where it has and could go a little topsy turvy. If I don't put into context this initial idea/concept, the client could be assuming this is actually the 'finished' idea, especially if you are showing vector artwork.
It just seems to be that if you show someone a vector file, with fonts and colours, they will naturally see it as a finished idea, unless ofcourse you say otherwise.
An example of this is a recent logo design for MyModernMet. My initial idea/concept is on the left, the final artwork is on the right.
I don't always start sketching, often I can start visualising direct in Illustrator. Other times I will have pages and pages of pencil doodles, it just depends on the project. So this is a good example of how this initial gut idea/sketch/concept can evolve. Quite a difference between the two, but the left hand image was created to just 'portray' my general idea and direction, without jumping fully in.
The initial idea was VERY loose, but in my head it was fully formed. I have to keep reminding myself that clients don't actually have access to my thoughts.
It was chosen as a framework from which to explore and expand upon, even though in it's present form, it was less than appropriate for the clients requirements.Without explaining your methods and your reasoning, showing the left hand idea without any explanation is likely to 'freak' someone out. It might seem obvious, but one can forget that you are the only one that truly understands your design process.
I have started using this screenshot as an example of my process with new clients, it demonstrates quite effectibly how a seemingly raw idea can spring to life, given the trust and confidence of the client.
I do stress to each client that during the early stages, what they are seeing are basically the raw visions in my head. I ask them to imagine this image being scribbled in pencil on a napkin. Anything I show at this stage is an 'idea/sketch/concept' and needs to be viewed as such. That the client is seeing the raw interpretations of the brief knocking around my mind, rather than a polished final piece of artwork.
I keep reminding the client of this until I am in a position to start showing them more final artwork.
It's down to you
This was just to give you an idea of how I tackle this particular issue. Providing graphic examples of your process, a before and after can greatly help a client get on board with your logo design process. How you go about it is ultimately down to you, but it's something I still have to keep reminding myself to do. Just because it's second nature to me, for others it's likely to be a totally foreign experience, and baby steps are needed.
The more the client understands 'you' and 'your process' the happier you all will be, and the project will more likely bop along quite nicely thank you very much.
Foehn & Hirsch Identity Development
I was approached late last year by Foehn & Hirsch and asked if I would consider taking on the job of rebranding their existing identity. In terms of client prestige, this was a huge motivational boost me. Certainly the most comprehensive project I to date.
This isn't just a logo design, this is the redesign and implementation of the core brand identity, the visual personality that speaks and attempts to establishes itself as a worthwhile brand in the eye of the consumer.
This post tries to summarise the process we used to create the above visual identity for Foehn & Hirsch. I can only touch on aspects, as the project is still ongoing in terms of website design, product packaging design and the corporate guidelines. However, there is plenty here to get a good idea of what was involved with the creation of the logo and identity.
The new identity is still being prepared for mass roll out, so the existing identity is still around. Over the next few months, the new will replace the old.
Foehn & Hirsch
Website : http://foehnandhirsch.com
Twitter : @foehnandhirsch
The old brand identity (current)
You can see their existing brand identity below. The logo is used in two parts, the initials and the main wordmark. The initials are used mostly to brand the actual products, whereas the full logo is used for the website and product packaging.
Looking at the existing identity
This is a good example of how a trending style of typeface can actually age before you expect it to. You look at this font and thing it's pretty modern, it has nice curves and it on the whole it's a clean and solid font.
Casting a critical eye over existing identity
Knowing what's wrong or what needs to change with an existing logo design is crucial first step when evaluating a redesign. It's not the only step of course, but knowing where are how it falls down allows you to instantly improve before you have even started. If there are technical reasons why a design fails to deliver, then this does not fall into the tricky topic of 'subjectivity'. Not making the same technical mistakes is a 'almost' guaranteed win, so long as you don't then incorporate a new set of technical design issues failures, which is quite possible.
Quite simply, the italics and the tracking let this down. The tracking is way too tight and with incorrect individual kerning pairs. The ampersand certainly looks a little awkward and out of place, with it's weight being noticeably thinner than the wording, which just adds to the poor ampersands awkwardness. The ampersand itself is fine, nothing wrong with it but in the context of the Foehn & Hirsch wording, it's way out of place. It's almost indicating you should whisper 'and' and that it's embarrassed to be associated with 'Hirsch', like a poor cousin.
The ampersand issue is a big fail with this existing design as it plays a significant part of the identity. It's not just a small feature, or a hidden detail, it forms a fundamental role in the brand name. Yet, as it appears here, it seems to be missing a chunk of style. The most noticeable issue is the void left between the ampersand and 'H', although it does fit snugly next to the 'F'.
There is also a small but typographic problem with the height of the ampersand. As you can see in the image above, the top and bottom curve fall directly on the baseline, when in an ideal world it would of been nice if the top and bottom dipped over the line, just for the visual optical purists out there. The blue indicates the original ampersand, the black version with the horizontal guides shows the ideal placement.
Personality assassination complete.
Just a mock-up of how the logo might look on the side of their building. About the length of 3 double deckers.
A brief is useful in a rebrand, he say's rather nonchalantly. It's crucial of course. I mean, I could have just gone ahead and designed something pretty, and I'm sure it would have looked nice. But that's not quite the point here, this transcends my own individual tastes and design style. Without a brief, without a breakdown of why Foehn & Hirsch feel they need to update, I would be clueless as to a design direction and thus would be behaving rather irresponsibly as a logo designer.
The brief was pretty intensive, so I can't fully go into detail here, but I will try to sum up the essentials. Fortunately, the clients are design savvy individuals, so already knew a fair bit about the changes and style direction to take, where to improve and such like.
It's always useful to find out if your client does have any design knowledge, as it can make a difference to how you relate information back to the client. It can however cause it's own set of problems if personal design style precedes the more rational and subjective nature required from a rebrand, but on the whole, it can help to have a design savvy client as part of your team.
First up on the table. Looking at the competitors.
The main brands that F&H needed to align itself alongside were Sanyo, Toshiba, Goodmans, Samsung and Philips. These are direct competitors in terms of product cost and would be found on the same page by a customer if conducting say a price range search. Crucial to know what brands could be side by side with each other. Essential then to know how they market themselves, their own reputation and their own success. What do they do right, what do they do wrong, look for things you can improve on and leverage to get your clients brand a solid bunk up.
Brands such as Sony, Apple and Olufsen & Bang were mentioned as the brands we should pay attention to in terms of brand recognition and awareness. We were not talking about F&H being more than it was, but more an aspiration angle. No harm to see how the top dogs align themselves, how they portray their identity, after all, so much valuable stuff to learn from. Better to look forward and up, than backwards and down, but also retaining a sense of realism and sensibility, to not loose sense of what who and what F&H represents.
For example, I want to be a top logo designer. I am not yet, far from it, but it helps for me to start leveraging aspirational aspects when marketing my own brand. To hint at subtle associations with more established and prestigious designers. Careful not to overstep the mark, selling yourself as the best when you are not the best is a recipe for a brand meltdown, but if done carefully and realistically, can actually help determine and steer your brand perception into this 'create your own future' mind set.
It's akin to portraying yourself as an 'authority' on a certain subject. I know a fair bit about logo and brand identity, enough to be confident talking about, give advice and tips, but the important point here is that being an 'authority' doesn't necessarily make you the 'best' at what you do. So this is a safe middle ground, and frankly, being 'the best' is a little unrealistic, OK, a lot unrealistic, but being an 'authority' is well within a lot of people's reach.
Power of labels
We want to try and place F&H as a brand that people are interested in, that they feel good about spending money on F&H products. F&H are not the best persai in the entire global universe of all brands electronic, that falls to Apple. F&H know their place, but they are trying to be the best, the most attractive and unique in their relative brand space, by creating a stylish visual identity that looks a natural fit on their products, but stylish enough for consumers to be tempted to buy.
The consumer mentality of, 'Oh, I like that label' is a powerful one to harness, especially in the competitive world of electronics, gadgets and geeky toys.
The target customer base would generally be gadget ad tech conscious individuals who appreciate a classy and stylish brand identity. Customers with a sense of financial sensibility, appreciate fine things but not looking to 'blow' needless cash, in other words 'affordable luxury'.
Getting a firm grip on how these other brands positioned themselves was crucial prep work. From this early stage I felt there was definitely room for a new F&H look, these existing brands have less than inspiring identities, in fact one could argue many in need of a refresh, but that's just my own view. Although improving on Sanyo or Goodmans would be easy, the challenge was to keep it real. Dressing up F&H to be more than it actually is would be a disastrous move, making a brand look too much better than it actually is will not fool paying customers indefinitely. It might prove a short term success, but mid to long term it would no doubt prove fatal.
You will notice a distinct lack of sketching in this particular logo process post. Simple reason being that as it was a typographic solution. Sketching out whole words time and time again would have proven to be the end of my sanity. So in this case, playing with multiple typefaces direct in Illustrator was the quickest and most effective solution to explore many ideas at once. Had there been a need for a more creative logomark, then I'm sure my moleskine would have made an appearance.
I could see where I needed to go in my head, so the first practical step was to look at typefaces. I knew this would be a mostly typographic solution, it had to be to fit in with existing brands so this created a instant boundary to play within.
Designers go about their logo and identity design in a manor of different ways, so there is no one right way, but there can be many wrong solutions. For me, I spend a vast amount of time and energy looking at typefaces for most of my logo projects, this is usually the first step for me.
The typeface of a logo portrays so much of the identities emotion and personality. As I have mentioned elsewhere on my blog, the right typeface choice is crucial to the success of a new logo or identity. Select the wrong typeface and you can destroy an otherwise sound logo. Therefore it is worthy recipient of your patience to seek out that perfect typeface.
I provided the client with a number of initial ideas, some of which were intentional outsiders and some were honest contenders. I wanted the client, in this case, to see a large variety of typefaces. For various reasons, the project was paused at this point. The client had these selections, so in away, they had time to sit with the presented ideas. When the client was ready to start up again, they had valuable feedback on the typeface choices I initially made. At no point this project was rushed, so although it moved along slowly, it did move along. I am pleased now in retrospect it worked out this way.
With plenty of time to reflect, I also ended up looking at a fresh new direction, myself not convinced with the initial selections. The next choice was the winner. The moment the client saw my mock-up, they knew they had the winner. This was reassuring as I of course felt exactly the same way. So this is a small example of the benefits of not rushing on such crucial decisions. In hindsight, I am quite horrified to compare the typeface we used with some of the early selections, at least we covered all the bases.
We had a winner.
Owning the brand
So with typeface chosen, the next step was to personalise it. Somehow creating F&H an ownable brand mark. What do I mean by ownable? It's a feature of an identity that is unique to the brand in question, could be subtle, could be in your face. For F&H it needed to be very subtle. A logomark is the usual way to create a unique identifying and ownable mark, using unique colours is another solution. Some companies commission a custom typeface, you can't get much more unique and ownable that that.
If your logo is to be a regular typeface, no matter how stunning that typeface is, it will never be unique. This is why some brands that rely heavily on a strong typographic wordmark will incorporate a stylised container, such as Samsung or Goodmans. This adds the 'ownable' aspect, but can add clutter and noise if poorly executed.
It is worth mentioning that F&H is a Registered Trademark, so now you know.
Ampersand a go go
Looking at the the structure of the F&H logo, the emphasis would always fall on the ampersand, regardless of what logo version was used. The ampersand was the constant, be it the initials or the full wording. One of the solutions with the F&H logo, was focusing on the most loved ampersand.
The solution was to create a custom ampersand. Not as simple as it sounds. This ampersand had to be unique but not so out of context that it would look out of place. I resorted to creating a hybrid ampersand, using two typefaces as my platform.
As you can see below, merging the two styles together, creates a 'bastard' but most loved ampersand.
Graham's 10 Step Ampersand breakdown
Given how ampersands seem to capture peoples imagination, I have provided Graham's 10 Step breakdown of this ampersand hybrid merging process.
Step 1 : We start with the original ampersand, minus any plastic surgery.
Step 2 : The magenta colour shows where the first alteration is to occur, adding a 'slab foot' to a sans-serif font.
Step 3 : The second procedure creates a nice solid mid level platform, leading the way to 'Hirsch'. A few tweaks to the overall sizing required to keep the size consistent.
Step 4 : Third major alteration adds a slab foot, to the foot.
Step 5 : The result of Steps 1 - 4.
Step 6 : Now we have some subtle detail alterations to make. The magenta line shows the original contour from Step 5, the inside radis is a little too angular, so I smoothed this line out, the cyan line is the refreshed version.
Step 7 : This is the bonus round. This is where I made my 'mark', the subtle ownable element to this ampersand. The magenta line shows the angular cut I will make. It's a small detail, but enough to add some interest to the ampersand.
Step 8 : Nearly there, and in fact at one point I was almost ready to rock and roll with the ampersand. However, after living with it for a few days, I noticed that the the inner radius of the blue line, area in question shown by the magenta line , looked a little off. The magenta line shows the new contour.
Step 9 : After tweaking on Step 8, I then noticed that the continuation of this outer radius was also a little 'off'. The cyan line is the original contour, the magenta line shows the revised contour.
Step 10 : The final and completed F&H ampersand.
Within the above process, a few other tweaks were made to the overall shape.
The image above shows the original and new ampersands as an outline overlay. The first example shows the structural differences between the two, the grey outline is the overall shape and proportions to keep too, the blue outline shows the slab portions I transplanted to the grey outline.
The second example shows a pair of green and red lines, these show where I needed to keep an eye on the overall thickness at various points. This was essential to keep the overall proportions the same as the main wording. The red line is the optimum width, the green line shows where I need to 'pull' the width in just a smidgen.
Learning from the disparate combination of ampersand in the original identity, we need to make sure we don't fall foul of the same oversight.
So a bit of nip and tuck needed.
With the balk of the new logo design complete, we looked at ways to add more impact to the overall logotype. At this point we had Foehn & Hirsch as one logo version then also the initials as a standalone mark. The initials would be used for all product branding, the main wording for websites and packaging etc.
But I felt something more solid was needed for other aspects of the identity, to help create a more expandable and flexible identity. It's one thing to keep things simple, but sometimes you need to add a 'focus' area.
A 'BOOMmark' is what I call it.
A interchangeable logo and identity, modular if you like. So rather than being fixed, we can create a few specific logo variations depending on the environment and situation.The more elements you have to an identity, the more you have to control the use and application of the logo. One logo is easy, two versions can create significantly more complications, add three parts to a identity and the possibility of the logo being accidentally abused is rather considerable.
If you create an identity that has more than one interchangeable element, then as a designer you need to keep a firm hand on the application and use of that logo, hence the need to create a set of Identity Guidelines is imperative.
A solid black box was the first idea to come to mind and was pretty much the only option I decided to focus on. I instantly felt this was appropriate for the F&H identity. It's bold, it's simple, it's flexible, it's smart and provides a strong visual 'boommark'. Clearly it's not an overly creative idea, but often the most obvious solution can be the best solution, it then comes down to how you execute the 'obvious idea'. I looked at a few variations of boxed container.
Fortunately for me, the one idea I really liked is also the idea that the client went for as well. I decided to place the F&H initials in the lower half, with equal spacing left, right, bottom. If you cut the box horizontally in half, then the margin from the top of the initials to the cut line would in fact be exactly half the total space on the other 3 sides. So the measurement 'Z' is half the height of measurement 'Y'.
Small detail I know, but I like details, if you can tie up details like this, then it feels just nice and looks well proportioned.
Consistency and variation
We now have a visual identity that can be applied to a number of different formats, providing a more dynamic and consistent brand identity. The boxed version will be used on stationery and corporate materials, as well as product packaging. We also now have a convenient social media brandmark, which will work well as a Twitter profile picture and website favicon.
The initial only version will be mostly used for placing on the actual products such as a badge, printed onto various surfaces and etched directly onto bare metal surfaces.
The main wording, minus the initials and container, will be used also for some aspects of product branding, areas of the website and corporate materials where the boxed version might add too much noise.
Realise this identity development post has been rather lengthy, so congrats if you actually managed to read up till this point. It has been a epic project and is worthy of a thorough explanation, as well as being a valuable explanation of my methods for new potential clients of course.
I was delighted to hear that the powers that be at Foehn & Hirsch were delighted with the final result, so much so that a invitation to work on another identity project is in the works.
As I mentioned earlier, it is still early days with the roll out of this identity, something which is in process as I write this. It will be rewarding to see the new F&H initialmark emblazoned on forthcoming products such as TV's, MP3 and DVD players to name just a few products. It's one thing to design a logo for website or even for a company, but designing a new identity that will feature your new design on products for, hopefully, years to come is a wonderfully rewarding experience.
It will prove to be an interesting few months as the new identity is rolled out, to see exactly how this redesign has affected brand in the eyes of the consumer. It's quite one thing for the client and even myself to be saying 'job well done' but quite another with regards to consumer perception and acceptance.
In rare moments of clarity, the odd thought pops into being. Nothing ground breaking, often consisting of nothing but common sense and reason. As well as the former and latter, they act as a timely reminder to myself and those I may work with.
In writing a letter to a client, the following statement came about. The words gracefully appeared as I attempted to explain and justify my own unique way of working on logo designs. The topic of finances and appropriate budgets necessitated a explanatory communication, and thus...
"I like to think every logo, if it's purpose is to represent a company of which you [the client] are relying on to earn money from, should be well considered and well thought out."
That sentence was in reply to a situation where the brief presented was disproportionate to the budget. In other words, big needs, small reward. A common situation for many designer. I felt this sentence aptly conveyed a more diplomatic and considered response.
Will tackle this subject in more depth soon, just felt obliged to state the above. It's a solid angle of reasoning and explanation. :)
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The Logo Smith : Freelance Logo Designer, Brand Identity & Graphic Design Studio
Providing PR Services with The PR Room: Technology PR, Smart Home PR, Internet of Things PR and Lifestyle PR Agency.
25 Years Experience in: Logo & Brand Identity Design, Graphic Design, Advertising, Marketing, and Commercial Print.