Logo Creed The Mystery, Magic, and Method Behind Designing Great Logos.pdf

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CREED
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CREED
YSTER
HE
M
T
G R E AT LOGOS
BEHIND DESIGNI NG
Y,
M
AG
I
C
,
A
N
D
M
E
T
HOD
C ON T E N T S
INTRODUCTION
Section 1:
Chapter 1:
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Chapter 10:
Favorite techniques
Bill Gardner
David Airey
Paul Howalt
Miles Newlyn
Brian Miller
Felix Sockwell
Sherwin Schwartzrock
Von Glitschka
Brainstorming
Group brainstorming
Solo brainstorming
Forced random connections
Did you try…
Amalgams
Concentric
Continuous line
Dry brush
Encrusted
Folds
Ghosts
Glassine
Handmade
Mezzotint
Monoline
Motion
Optical illusion
Orbs
Photographic
Pixels
Ribbons
Scribbles
Selective focus
Series
Shadow
Transparent
Triangles
Vibrate
Woven
Incubation
Reserve time to relax
What defines a great logo?
It lives (on at least) three levels
It has economy of line
It has quality craftsmanship
The “sweet line” is there
It has clever juxtaposition
It truthfully conveys who the client is
More perspectives
Refinement
Select a diversity of concepts
Select a diversity of styles
Preparing for presentation
Finessing
Considering color
Designing lockups
Predicting usage
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D I S C O V E RY
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Origins
The origins of identity
Corporations replace kingdoms
New business, new stories
The next step
The value of an identity
Differentiation
Aspiration and inspiration
The “R” word
Talk to me
The reasons why
Oral discovery
Visual discovery
Get to know the competition
Graphical differentiation
Study adjacent fields
What’s in the air?
International considerations
Practical concerns
Other special concerns
A last word on research…
Logo redesigns: Special concerns
Respect equity
Don’t make sweeping judgments
Anticipate obsolescence
Design for who they will be
What sort of mark should it be?
Logo/Symbol/Mark
Logotype/Wordmark
Combination mark
Icons and favicons
Chapter 2:
Chapter 11:
Chapter 3:
Chapter 12:
Chapter 4:
Chapter 5:
Chapter 6:
Chapter 7:
Chapter 13:
Section 2:
Chapter 8:
DEVELOPMENT
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Chapter 14:
Generating ideas
Draw, draw, draw, draw
Feed your brain wisely
Traps to avoid
What the process can look like
Case study 1: Miles Newlyn
Case study 2: Sherwin Schwartzrock
Case study 3: Paul Howalt
Case study 4: David Airey
Case study 5: Brian Miller
Case study 6: Von Glitschka
Case study 7: Felix Sockwell
Case study 8: Moving Brands,
with chief creative officer Mat Heinl
Chapter 9:
Chapter 15:
Chapter 16:
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Section 3:
Chapter 17:
D E L I V E RY
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“Symbolize
and
Presentation and preparation
Entering discussions
Reiterating objectives
The presentation process
Application
The brand
What should the DNA contain?
Meet the brand steward
The graphic standards manual
Implementation
Teaching a brand story
Preparing the ambassadors
Managing expectations
How to predict the future
Avoid the latest craze
Plotting design trajectories
Chapter 18:
Summarize”
Chapter 19:
Chapter 20:
EPILOGUE
CONTRIBUTORS
ABOUT THE AUTHOR
PHOTOGRAPHER CREDITS
INDEX
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M e e t Y O U R M e n t o r
...
Let’s BEGIN.
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