creating a brand identity.pdf

22 Tutorial Creating a brand identity

CAP65.tut_logo 22CAP65.tut_logo 22 25/10/04 6:39:21 pm25/10/04 6:39:21 pm

23Tutorial Creating a brand identity

When starting any company, your brand is of vital importance. Think of the worlds leading brands such as Nike or Apple you dont even have to see any words with the logo to know what the company is. While you may be way off achieving this kind of global status, you should still

envisage a logo that is recognisable, simple and re ects your company values. In this tutorial, Deep Creative shows you how to create an exciting original corporate identity, basing the nal logo on a well-informed, well-scrutinised process of experimentation and consultation.

The following tutorial will also be useful if youre designing a logo for a client. You must, for instance, know your clients needs, and the market they are competing in. You must also know your target demographic.

Its important to make sure the branding visually re ects the brand values it represents stick to these values and excite the target demographic with your mark. Finally, you must make your brand look the same everywhere in every size on every format. Its a tricky job, but after this tutorial, youll be heading in the right direction.

Expertise provided by Dominic James of Deep Creative. Deep Creative has recently celebrated its seventh anniversary and continues to provide brand solutions for companies all over the world. Contact Dom on [e] [email protected] or [w] www.deep.co.uk.

So, youve formed a new company and need an identity. Deep Creative shows you how to create one from concept to fi nal artwork

Creating a brand identity



Part 1: Briefi ng and inspirationThe fi rst step in logo design is about coming up with ideas

1 The fi rst thing to do is think about what you want out of your logo. You must be confi dent

that you understand whats required. Make clear notes, ask lots of questions and type them up to present to your creative team (if you have one) while its all fresh in your mind.

2 Heres our list of must-haves: key words, brand values, brand history and knowledge, brand

goals, target market demographic, social responsibility implications, longevity of brand image (that is, is this logo to last more, or less, than fi ve years?).

3 Do your research. Although you have tight deadlines, allocating quality time for a

well-informed and broad range of research is fundamental to the success of the new brand in its marketplace. Its important to know this market visually, to be able to approach the project tactfully.

7 Gather all of the material together for review. Create mood boards, stick your ideas up on the

walls, constantly analysing new concepts. This stage should be active in order to generate creative, original successful solutions.

8 Review with your team. You should now have ideas of colours, textures, themes and word

plays which start to create a feel. How appropriate to the brand is that feel? Get early feedback from others. Listen and take action on their instincts. Collate and concentrate on the strongest ideas.

9 Experiment with some of the ideas youve had. Explore new methods anything that creates

unpredictable results. Look for inspiration everywhere and anywhere.

4 The internet is the most convenient and obvious method of research now. Visit

competitors websites and use Google to search any subject around your brand. Find strong and sometimes unusual links that can equip you with powerful, unique tools when it comes to generating new ideas.

5 Collate brochures, folders, industry magazines; visit exhibitions, shops; take pictures of your

target consumers to understand their values, habits and level of communication. Create a profi le that will help design the right feel for the brand.

6 Take notes and sketch ideas, word plays, shapes, colours any visual ideas that the

research initially triggers. Collate textures, colours, objects, and any other visuals that could be shared with peers, seniors and the client. These are the beginnings of your brand profi le.



Perfect curvesIts essential to check any curves

youve used are smooth. Turn your

view to outline in Illustrator.

Select the Pen tool (P), press the

Ctrl/Cmnd key and click on the

point you want to adjust. Change

your Pen tool to the Convert

Anchor Point tool by holding

down the Alt key and dragging

out the handles. This gives you a

smooth curve with handles that

are of an even length.

10 Spend time looking through typefaces, logo fonts and letterforms which may fulfi l your

requirements. There are many fonts for many purposes. Try websites, books and font utilities to source these.

11 Certain typographic elements, shapes, images, patterns and colours will start to work. Building

ideas in Illustrator with the Pen tools will help refi ne and make your marks more physically editable.

12 Combining these simple ideas with the mood boards, the client can get a feel for the

directions that you have created for them. There may be more than ten ideas at this stage that are all varied, experimental and sophisticated.

Part 2: Generating marksStart to play around with logo ideas in Illustrator

4 Remain active. Be aggressive with the results. Duplicate ideas, make them bolder/fi ner, apply

curves and extend ascenders. There are always ways to change your mark, but use your instinct to leave it when it reaches its strongest form (this may even be the fi rst edition).

5 Each logo should be comparable by the same size and colour. They can then be judged on

there own strengths of form as a logo: spacing, weight, tactfulness. The overall feel and originality can be quickly assessed this way by your team members and yourself.

6 Constantly print out these ideas, because this is the best way to assess their physical success.

Look at them from a distance, stick them on the wall, show them to people this logo has a purpose which it should fulfi l.

1 Begin to generate logos from the feedback. You should now know the direction you need

to go in to satisfy your needs and achieve creative results. Take these ideas further. Start to create black logos in Illustrator. Keep them to a user-friendly size.

2 In Illustrator, create outlines of any fonts that youre using, and begin to make this a bespoke

typographic mark using the Pen tools. Tailor the fonts weight and curves so that a balanced individual strong mark is formed.

3 Use the rulers, guides and grid to create accurate curves and balanced spacing. Also

use the Transform tool to work on the mark using accurate dimensions.



7 Group feedback enables you to critically assess what you have created, and how its

communicating. Stick all the logos up on the wall for everyone to see. Which ones stands out to the eye? Which is most legible? Which is most exciting? Memorable, individual, appropriate? Or is it back to the drawing board?

8 For the three most successful marks, take these on a stage further. They work, but how can

they represent a brand that is stronger/more friendly/more professional?

9 Colour is as important as the mark in many ways. Colour alone can represent a brand if

used in an original context. You should fi nd this is something that should be a natural progression whatever inspired and dictated the form should also inspire the colour.

1 Scrutinise your artwork. Thoroughly check any curves and shapes that are used. There should

be no stray points, uneven edges or imperfect curves. Use the preview (outline) in Illustrator to inspect the edges in detail. This will also show up any stray vectors.

2 Any line strokes that youve used should be converted to outlines so that this mark is

scalable. Any fonts should also be outlined so that this logo can be universally exported.

3 Use Illustrator to combine shapes using the Compound Paths command or the Pathfi nder

tool, which enables you to merge paths and have full control of one single area.

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10 Now collate these marks in Illustrator for a printed presentation. Use a colour version, a

large version and the standard size in black (at which it has been designed). Colours should be considered too. Because this is still about form, you may fi nd colours that work in one mark that can later be applied to other marks.

11 Ideally, you should show these ideas to others in your fi eld and/or company. This is

something you and they will look at everyday, possibly for years to come. How will they feel about this in the morning? How will they perceive these marks in their work surroundings?

12 Think about how you can optomise colour use. How do you now see the logo against

your competitors? Does it need to be bolder or more refi ned? These are two questions you may fi nd relevant.

Part 3: Robust logoPerfect your logo and prepare it for use on different formats

Brand consistencyMaintaining brand consistency is

fundamental for the strength and

effectiveness of the brand. You

have given a client a unique

brand identity a strict set of

corporate guidelines that are

almost as important as the mark

itself. Use Illustrator to measure

out grids that show acceptable

spatial relationships and use of

the logo. Create PDF documents

from this that can be sent to

every user of the logo via email.



Typographic awarenessIf youve discovered an intriguing

font in your research and would

like to nd out what it is to

reincarnate it for your branding,

you can scan it and fax/email it

to [w] www.fontshop.com. These

guys will search their enormous

databases and source it for you.

Finding the perfect typographic

solution is very important.

4 Print the logo as big as possible in black.Your eye will easily pick up any weaknesses or

imperfections with this proofi ng technique.

5 Show this fi nal version to anyone who is fresh to this mark. Do they see any problems

that you cant?

6 Now create fi nal colour versions. Create CMYK, Pantone and web versions for its

many different uses.

10 Consider how much space the logo needs around it to breathe. Set a distance around the

mark to maintain its identity so users cant penetrate this space.

11 How should this logo be used on black? On white? How is it used on imagery? Can it

be used over imagery? Ensure you have every situation covered.

12 After all your hard work, theres only one thing left to do: assess the fi nished identity

as successful! ca p

7 It may be necessary to create a small version (especially if fi ne strokes are used) which is as

legible as the designed format. A large version may also be necessary. But make sure these are used to make the logo look the same, because its very important to retain a high level of consistency with successful branding.

8 You might need a version thats just the emblem and one thats just the typographical

element, for use on different formats.

9 Begin creating a corporate guide, with all of the brands values incorporated. Strict guidelines

for colour and sizes should be set out here to retain brand consistency.


creating a brand identity.pdf

Documents

brand values

new brand

brand solutions

brand goals

brand history

brand identitypart

brand identitywhen

nal logo