There are no strictly accepted golden rules for logo design, but designers agree on many issues and should be adhered to succeed in creating a trademark. Many people starting their adventure with computer graphics decide to create a logo, because at first glance (considering knowledge of vector graphics programs) it seems something simple. Nothing could be more wrong. Logo design is a lengthy process that requires an open mind and observing skills.
A few words about the graphic symbol.
I would like at least some of the people reading my text know what it is that really the logo. First of all, it’s not just a signet ring and text to it. In order for a graphic sign to be properly constructed from the very beginning, it must be “designed”. It consists of such things as proper proportions, neatness, usability, colours, appropriate typography. Often in the logos, we can meet the typeface designed only and exclusively on the needs. This is the case with the Coca-Cola or Pepsi logo, for example. So before you start designing a logo you must be solidly prepared. If you are already aware of the bar that you set, let’s move on.
In my personal opinion, this is the most important part of creating a logo. The first thing we should do at this stage is to recognize the product or speciality of our client.
It is best to Scroll through several pages of a brand site. What you sometimes notice is that the brand name is a word game. With this word game in their heads, ideas are slowly being born. The next step is to find inspiration on the Internet.
The summary of all searches is to pick up a pencil and sketchbook and draw all associations that come to mind after previous “Research”. After such preparation, we are ready to proceed to the first sketches of the correct graphic sign.
It’s difficult to start creating a logo directly in graphics programs, although I know people who approach it so. Personally, I recommend a pencil and sketchbook. Even if we can’t draw, we only need to find an idea that we can then bring to the screen.
The first work on the program.
Once you have your sketches transferred to the program, reduce the opacity and try to do everything as planned. Personally, I always work with black first, in this way my thoughts are focused only on the signet ring, thanks to which the effect is more interesting. In addition, I design the logo separately and try to match or design typography. The exceptions are logos which they contain in the signet ring.
This is in my opinion much easier than designing typography at once, signet ring and matching to them at the same time colouring.
Choice of variations.
When I have several suggestions and know which one I like better, I always try to get a second opinion. I do it because the human eye gets used to the picture. What I think is obvious may be difficult for others to interpret.
At this stage, I also take a short break from work or work on another project to return with a fresh look.
After returning to work, I already know which offer suits me better. Now is the time to think about typography. Remember, don’t rush it. Poorly chosen typography can completely ruin a project. When you made your choice, search again. It is also worth consulting with colleagues. Not only that you have insight into the opinions of others, you can still learn a lot from each other.
Different composition systems
Behind us already two of the three most important steps, we have a signet ring and we have typography, we still have colours, but before we get to it we need to know how we want to set our signet ring relative to typography.
Believe it can be much more. It’s not all about you remember what I wrote on the topic and graphic sign of what he is made? There was the word “proportions” there, so at this stage, we still have to design the appropriate relationships between the dimensions of the signet and typography and the whole logo. And this is the moment when many graphic designers (including “professional” ones) grab their heads when they design a logo with typography.
As I mentioned, colours are the 3 most important elements in the logo. It only starts when the logo in one colour (black) looks really nice. When looking for colours, I do it in the same way as for sketches, i.e. I use associations.
There is an easy way to colour in Illustrator without getting tired of paths and masks. Namely, we select the logo and enlarge it as much as possible in Photoshop in the form of a vector. Then we change to a raster and colour. When we found the right colour combination for us. We transfer again by copy, paste into Illustrator and replace the raster with a vector.
In this way, Illustrator obtains paths that are already coloured. We should also remember to develop a logotype in grayscale and in one black and white for different backgrounds.
The logo is ready. We still need to sell it somehow, showing the client that it looks very positive. The best way is visualization. So we have to create examples of using the logo in a graphics program.
Book of Mark.
Often, the client also requires us to develop a book of logos for the logotype we invent. It is, in a way, a user manual that contains information on how and where to use our logo. And in what way it should be used. I recommend preparing such books even for developing your own brand. This shows the “professional” execution of the graphic symbol.
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