Logo Design Round-Up Part 16 – How Designers Brand Themselves
This is Part 16 of the Logo Design Round-Up series, ongoing collection of logos and brand marks, self submitted by a bunch of freelance designers, in many creative areas.
If you want to be part of this logo design series, then details can be found at the bottom of this post.
Logo Design Round-Up Part 16 is very long awaited. Really rather pleased to see so many designers submitting their own brand logo designs for this logo design round-up series.
Unfortunately there were a few too many submissions to include in one post. For those of you who have submitted your brand logo please be rest assured that they will feature in the Logo Design Round-Up Part 17 which will be posted next week.
If you would like to join the fun and have your own brand logo showcased with a written description then flick through this post: Submit Your Logo For Logo Design Round-Up Series
All there is to do now is present ten of your logo designs with some juicy descriptions to boot. Enjoy.
Logo Design Round-Up Part 16 – How Designers Brand Themselves
Franck Juillot: Brand Designer – http://franckjuillot.com
I feel like I’ve been working on my personal logo for ever. Countless styles, shapes, logograms, letter combinations – I think any perfectionist designer knows the hard and sometimes painful process of branding himself.
This logo is maybe the first & only version I’m quite satisfied with so far. I focused on curves, stability and space to create this symmetrical logo. Diagonal lines were added in the last step of creation to enhance the “fj” shape, which appeared too plain to me. Besides their graphical purpose, diagonals are also for me a great tool that I use regularly, and reflecting that in my personal logo appeared logical to me.
I use this logo to promote myself as a Logo Designer mainly on the Web, and I use an other identity for my local business in general infographics and web design. I feel each logo should contribute to a specific purpose, thus I designed this one to promote efficiently my branding projects.
Homer Gaines — homergaines: Interactive Designer and Developer — http://homergaines.com
The idea to start Airborneapps came after Adobe debuted Adobe Air back in ’08. The idea was to design mobile apps for the AIR runtime under the name. Instead of jumping in head first, I took some time to just design mobile UI’s instead. Although I had a catchy name, I wasn’t sold on the initial logo designs I came up with so I sat on it in addition to that, it gave me some time to plan out the direction I wanted to take.
It wasn’t until after working on a personal design project where I designed cloud icons to represent the current health of a network that I had the “AH HA!” moment for Airborne. Initially I took my cloud icon and added “Airborneapps” underneath it. At that time, the cloud had a smiley face but that soon changed because it just didn’t fit. Everything about it felt cluttered. On top of that, I wasn’t happy with the type face.
To lose the clutter and excess visual noise, I took the smiley face out and left the name under the cloud. I’m all for minimalism but when I did that, it was just too plain. What am I going to do with this empty cloud? The cloud alone was not enough to support the idea of being airborne and that’s when I had the idea for the rocket. a few sketches and 45 min later I had come up with the logo you see today.
Even though I had the design how I wanted it, I had not solidified the type face for the name. I probably spent the next 3 hours looking through fonts on my machine and on the web. The first type face, “Candice” I knew was a place holder. I tried to go the 8 bit route and use a pixel type face but that was a fail mainly because like ” Candice “, it just didn’t fit. I wanted a type face that would compliment the strokes and shape of the logo and finding one was a beast! Then I came across a font buried deep in my archives called “Days”. It fit perfectly. I was so pleased with the results, I spent the rest of the night designing a whole family of logos based on the airborne theme.
Travis Ulrich — Ulrich Design — http://ulrichdesign.ca
Naming my company was a pretty straight forward process: My last name (Ulrich) + “Design”. I actually designed this logo back in 2006 but at first it took a different form (see top-right corner of image). It kind of looked like a take on the Nintendo 64 logo but in shades of blue: It was one solid 3D block with a “U” (for “Ulrich”) carved into one face and a “D” (for “Design”) carved into another.
A year later, I ran into the problem of wanting to be able to have a one-colour version. I didn’t want to have just outlines, and filling it all in one colour would make it unrecognizable as anything. So I started thinking about how the light would hit this logo if it actually was a 3D object and took pieces away and when I took away the face of the ‘D’ and the the inside of the ‘U’ I found that my eye would still allow me to fill in the missing parts and it suddenly became this logo that was a flat-laying brand mark but also 3D. I kept the original font choice (Eurostile) since I was pleased with how boxy it was, which matched the icon, without having 90° corners.
I also decided to go with a white-on-black colour scheme. While my logo is technically white, I’d say that black is my colour. Black, to me, feels like a blank slate. It leaves interpretation open-ended, though I see it as the colour of “creativity”, and everything goes with black and black makes other colours look bigger and brighter.
I get a ton of compliments on my logo and recently, I was told by someone that my logo reminded them of a Rubik’s Cube which is a great symbol for marketing: Solving a puzzle and finding a solution. While that wasn’t my aim it did sort of ring true about what I do and how I created my logo.
Marvell Lahens — Marv: Freelance Graphic Designer — http://cargocollective.com/marv
After two years as an architecture major, I realized that my true passion lied within branding. As the authority on corporate identity Tony Spaeth states, identity is “an enchanted apple, that spoiled the taste of other fruit,” and I plan on never looking back.
Although I’d much rather spend my days now designing logos, over my days as a CAD zombie in the architecture studio, there are many lessons that I carry forth from my time in “archi-torture.” Most significant of these lessons is the idea of being decisive and bold, while maintaining a level of purpose in all design aspects.
Carrying over ideas of geometry and symmetry, for this particular mark, I wanted it to be bold and be able to stand on its own. Without being as literal as using a pentagon, or, even more so, a pentagram, I wanted the symbol to be as geometric, and a-symmetrical as possible, i.e., the misalignment of the two halves, while still retaining a completely symmetrical shape, i.e., the mirrored halves.
What results is a striking, unmistakable mark that really can stand on its own.
Thomas Murrin — Pixeltuxedo: Logo, Web & Motion Graphics Designer — http://pixeltuxedo.com
The name of my business is Pixeltuxedo.com and I named it that way for a few reasons. Now I have to admit that I don’t think a business should be named the way I did it, but I am making it work. I started with the word ‘pixel’ because I like the idea of one dot in a sea of other dots that make up a digital image. From there I went on the marvelous trek of finding a .com to work with pixel. After a few days and hundreds of possible names I fell on Pixeltuxedo.com. I thought that it was slightly comical, but had an air of seriousness to it. So I chose it and began the branding.
The logo has gone through development hell to get where it has today, and to be honest, it will most likely change it in the future. I didn’t have a clear direction of where I wanted to go and I found myself more or less just copying other company designs.
After a few months in business I began to mold who I wanted to be as a business, which is one that creates custom designs. I didn’t want to copy the next guy or use a template in my web work. I wanted each project I work on to look and act differently than the last. I wanted to tailor each look to the ideas and dreams of the client I am working with and not the business they admire. This is where I came up with my tagline of “Your digital tailor.” A designer in the digital realm that creates custom tailored designs for a client.
This finally lead me to the logo I have today.
I was inspired by my tagline and business direction, which reminded me of the fashion business where they are constantly cranking out new designs. My name, tagline, business model guided me to a clean typeface (Gotham Bold) that can easily be placed on most backgrounds. The spacing between each letter can be interpreted as being open to new ideas, as well as, taking the necessary time to create a design. The red dot points to creativity and a reference to a pixel. That is the history behind my logo and I hoped you enjoyed it.
BrandMooreArt — Brandon Moore: Independent Graphic Artist — http://brandmooreart.daportfolio.com
Sometime last year I started redesigning my personal identity, not because i wasnt happy with what i had, but because i felt it didnt align with the clients i was trying to attract. For the sports design world i needed something more, well, sporty. I think most designers will agree that oneself is the hardest person to design for, so to make this identity makeover easy as possible i treated myself like any other client. I outlined in a project brief with what i wanted to communicate, who my audience was, and why anyone should care.
My new personal logo needed to reflect my style, my personality, my approach to design, and maybe an influence or two. After filling a few pages in the sketch book, I arrived at a concept i liked, placing a stenciled letter M inside of a shield. Any shield design comes with the connotations of respect, honor, and power, and though I wasnt going for a royal or military feel, i do think it gives the idea of being a “well respected, quality designer”. The reason for the letter M (as apposed to a B or BM) was simply because the straight lines and angles of the letter fits so well inside this shield design. I also really love the broken lines in the middle of the letter. Because the whole logo is built with lines that are straight up and down, those odd angles add some variety and breaks the boring, ridged flow of the other lines. It’s just interesting.
The choice for the orange triangle is simply to fill that negative space (add visual weight) and to have an element where i could add a third color. I like working with odd numbers because Bob Ross taught me long ago that odd numbers are more interesting and organic. Why? because Bob Ross said so. Another reason for the stencil letter (and my color choices of black/white) is a tip-of-the-hat to my favorite artist, Banksy. His work always reminds me that ideas > aesthetics.
Going into this i had pretty much made up my mind of what color palette i wanted. black, white, and orange was clearly the choice for me. (also a touch of grey in some applications). The orange isn’t exact, but i wanted something close to Hemi orange, an engine block color from the muscle car days of Dodge and Plymouth. Since i was 14 I’ve loved 60s-70s American muscle cars and the Mopars have always been my favorites. I felt like Hemi orange would give an energetic, fun, and youthful vibe to my identity. It also was appealing because I haven’t seen much orange in other designer identities. So just being different was reason enough to do it.
You’ll see 2 different versions of the logo (black shield or white shield) on 1 of 4 different background. This application decision comes from college football where we are seeing more and more that universities are not defined by 1 iconic helmet/logo but their identities are flexible, providing many color combinations for game day. Schools like Oregon, Arizona State, and Oklahoma State have the ability to wear a different uniform for each game of the year but still remain recognizable by the color palette and supporting elements of their identities. i prefer a white background but for places like twitter and dribbble, an icon with an orange background really attracts the eye even at a small scale. its hard to pass it.
I call myself an “independent graphic artist” simply because “freelance graphic designer” sounds so dull and is the common title. Also, Graphic Artist seems to align better with Brand Moore Art which is as much of a statement as it is a play on my name. I’ve always thought of myself closer to a fine artist than a designer as well. (My apartment is currently lined with canvases waiting to be finished with the table top sporting books on street art and art theory) To finish off, it had to be built with the golden ratio. You cant go wrong with the golden ratio, it is built into our DNA to be attractive. I check my proportions and alignment with the golden ratio on nearly every project.
I’m not sure if my whole identity will ever be finished, I’m always changing something about the word mark, a background, a secondary font, etc. I am quite happy with this logo though. I think i was able to communicate everything i wanted. Since i made the switch to this, business has picked up, so i guess it’s working. :)
Angus Ewing — FUZE: Design Director — http://fuze-sa.com
The main theme behind our brand derives from the idea of four creatives joining forces to deliver a single, convenient and comprehensive marketing package to the business environment – ‘the whole enchilada’ if you will. The unanimous agreement to name this collaboration “FUZE” ignited the brand’s motivation.
The process of building the brand identity was swift and painless – two weeks as opposed to the preceding three weeks spent selecting a suitable name.
Our initial commitment to a using a black background wavered initially, but soon won when it became increasingly apparent that this option was fat more striking than its plain white counterpart.
The FUZE brand reflects a ‘fusion’ of marketing media and disciplines. The original image was one of four energy cables fusing into a single dazzling image of inspiration and creativity.
The preference for a circular device as opposed to one with corners reflects a desire for a more streamlined wholesome image more representative of unity and completeness. It’s naturally repeating cycles also imply continuity.
The black background was felt to be more sophisticated and symbolically more representative of the environmental noise and confusion within which FUZE crafts its magic. That said, occasionally for the sake of convenience, FUZE’s logo also has to ‘shine’ on a white background which it does courtesy of the striking red and orange colours. The beauty of the design is that the role these two fiery colours play also duplicates quite dramatically on the black background without any additional amendments necessary.
The simplicity of the overall design is also representative of FUZE’s work ethos. A more simplistic and crafted design is usually preferred, and is often more dramatic whilst less confusing.
The four circular frons emphasize the integration of talents and skills from the four creative partners. Another fortunate facet of the name is the typographical aspect of the name – four letters like the four partners, each equally dramatic and ‘fused’ to represent how the collection of talents synchronize.
One font was used in our logo, namely ‘Big Noodle Tytling Regular’.
Sam Thompson — Shrinkpad Designs: Graphic Designer — http://shrinkpad.com
With nearly twenty years of experience and dedication to bespoke graphic design (contemporary and traditional), Shrinkpad Designs works not only with well established companies, but also with start-ups. All with the same passion and honesty.
So what is Shrinkpad? I get asked this a lot. Well Shrinkpad is me, a made up name by my older brother of nine years when I was born. A reference to being a small and cushion like baby. Yeh – go figure!
Established (born) in 1975, Sam ‘Shrinkpad’ Thompson didn’t become Shrinkpad Designs for 19 years, after studying at The London College of Printing and Distributive Trades.
I have always used the name when freelancing in my spare time whilst working for other studios, but didn’t create the logo until I decided to head out into the world by myself. This was about eight years ago.
Having mainly worked in print based design companies, I have always had an appreciation for mono produced work, hence the simple black and white. My first website was indeed all black and white. The logo uses Georgia as a traditional serif font, whilst using range right lowercase to lend itself to a more modern design. Playing with leading and kerning to unite the two words.
By applying certain printing techniques, the logo can elevate the overall brand. My business cards are a gun-metal foil on Colorplan 700gsm (American Psycho, eat your heart out!). Although I used a classic printing method, my logo filled three quarters of the card, again playing on contemporary and traditional design. Like all good designers, it is important to have the end use of a logo in the forefront of your mind.
Mark Gongalski — Unruly Brewing Co: Designer. Builder. Brewer. — http://unrulybrewing.com
After a few pints of mitten-made craft beers while meeting with my trademark attorney, I was asked to be a partner in a brewery development here in Muskegon, Michigan. Now being an award winning home brewer and a lover of handcrafted beer, of course I said yes.
He named the brewery “Unruly Brewing Co.” – I was hooked.
Brand identity is a passion of mine, I truly dig it. So of course, that night I sat down in front of the laptop, opened illustrator, filled another pint glass of my favorite brew for inspiration and started to brainstorm Google for all things unruly. Now this attorney involved in the development moonlights as lead singer/guitarist for a punk band. I Google’d “punk band” then “rock and roll” then “crowd.” Clicked to view “images” and then it came to me.. the rock hand.
Copied a pic over to illustrator. Live traced it. Set it aside.
Scrolled through Adobe’s font list for something bold… Impact lit up like a lighter in the dark at a rock concert. Then I laid the UNRULY BREWING CO. text on the screen, outlined, scaled to fit and then moved the rock hand illustration over next to it. Something didn’t quite “fit” right. So I dropped the “U” in UNRULY, adjusted the rock hand to appear more like a “U” and now things were much better. Added rounded corners to all the text complimenting the profile of the hand and then added the “TM” symbol. It still needed more edge to it, so I rotated the whole thing 5 degrees. The logo was edgy –punk even. It was complete.
This really was a fun logo to design. In two hours, concept to completion, a kick-ass logo had been created for our new brewery. It was exciting and extremely fast paced. Sometimes a design takes months, having countless hours of racking brains and proofs and redesigns to come up with something one is still not completely satisfied with. Other times, it just seems like things come together seamlessly for a perfect product. Maybe I should charge clients by the amount of 16oz pours had during a design session rather than charging by the hour. Although, I don’t think I would have made much money on this two pint logo :)
Some of the much older collections: Part 1, Part 2, Part 3, Part 4, Part 5, Part 6, Part 7, Part 8, Part 9, Part 10, Part 11, Part 12, Part 13, Part 14, Part 15, Part 16, Part 17, Part 18 if you have missed it.
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