Ministry Pass<\/a> – Magnolia, Texas<\/p>\n<\/blockquote>\n\n\n\nBeware of \u201cI\u2019ll Know It When I See It\u201d Design<\/h2>\n\n\n\n As we already discussed, the \u201cno limits\u201d approach to your logo doesn\u2019t create the one thing you need most in your design: boundaries.<\/p>\n\n\n\n
At Shrein Media we give our clients the choice of selecting how many rounds of revisions they would like. Most designs can be completed in three rounds of revisions because prior to agreeing to work with a client, we address the \u201cI\u2019ll know it when I see it\u201d approach to logo design.<\/p>\n\n\n\n
This mentality is often present when there is a higher priority placed on what the logo will look like versus what it communicates and represents. And that\u2019s okay. It may not be the wisest approach to branding your business, but when a business owner wants something that simply looks good to them, we will often direct them to the \u201cno limits\u201d services.<\/p>\n\n\n\n <\/noscript>Crowdsourcing services like 99Designs give business owners dozens of options that run an inch deep. Your deliverable is typically something that is aesthetically pleasing but not central to your business brand.<\/figcaption><\/figure>\n\n\n\nAnother reason this mentality might creep in during a process is because the process is hard. Making decisions that will impact your business identity for the next five to ten years is daunting and you want to make sure you get it right. We build up the decision so much through the process that it\u2019s easy to want an \u2018ah-ha\u2019 moment of clarity so you can say, \u201cThat\u2019s it!\u201d If that feeling doesn\u2019t come it feels like you\u2019re settling, when in reality you\u2019ve actually created something that accomplishes exactly what you need – though it may not be what you thought you wanted.<\/p>\n\n\n\n
The understated value here is to know what you want in a design and design process, then match up with the right partner, as we discussed above.<\/p>\n\n\n\n
There\u2019s a good chance if you\u2019ve made it this far you are interested in creating an amazing brand and less interested in choosing from a bunch of graphic designs. There\u2019s nothing wrong with wanting to see a lot of designs, but we advocate for selecting from a few strategic designs with depth, rather than a myriad of whimsical designs.<\/p>\n\n\n\n
As you arrive at a final logo design, you will want to begin to consider the immediate placements for your new design. As we covered above, there are several approaches to your final design: logomark, logotype, and combination mark. How will your logomark look when it needs to appear in a banner? How will your logotype look when it needs to appear in a square? How will your combination mark look stacked when it needs to be printed in a wide newspaper ad or in the header of your letterhead?<\/p>\n\n\n\n
These placements should influence your primary logo and also inform whether you need a secondary or alternate logo layout.<\/p>\n\n\n\n
For instance, if your company is on social media you will want to use your logo for your company profile image. Typically, the profile image is going to be a 1:1 ratio, otherwise known as a square. If you choose a combination mark that places the logomark to the left or right of the logotype, there is a good chance that your design will look \u2018squished\u2019 in the profile image. In this case you would want to either use the logomark only or use a stacked version of your combination mark.<\/p>\n\n\n\n <\/noscript>Your logo needs to be versatile so that it looks great in a landscape, portrait, or square design, such as a social media profile image and cover page image.<\/figcaption><\/figure>\n\n\n\nA Portrait Logo Design<\/h3>\n\n\n\n A portrait combination mark logo design, otherwise known as a stacked design, places your logomark on top and your logotype underneath. You can swap their positions if desired. This stacked logo gives you a great portrait layout for taller, thinner applications.<\/p>\n\n\n\n
A Landscape Logo Design<\/h3>\n\n\n\n The landscape combination mark logo design places the logomark to the left or the right of the logotype – typically to the left. This application is great for banners and wide placements. It is also a strong application for 16:9 (widescreen, HD) ratios that are common across all entertainment type screens.<\/p>\n\n\n\n
In addition, many website headers will favor a landscape layout because it prevents the header from taking up an unnecessary amount of space. Our team most always uses the landscape version of the logo for website headers, thus we ensure that no matter what design the client chooses, they have a landscape version available.<\/p>\n\n\n\n <\/noscript>The logos above show the difference between a portrait (stacked) combination mark logo and a landscape (horizontal) combination mark logo design.<\/figcaption><\/figure>\n\n\n\nThe Logomark Design<\/h3>\n\n\n\n As mentioned earlier, this is the design where the logomark is on its own, no words or logotype. This version of the logomark can be an exact duplicate of the primary design logomark or an adapted version that is to be used only when unaccompanied.<\/p>\n\n\n\n
Using the solo logomark on its own is great when the application contains the company name elsewhere in the design, for example in in an email signature where the company name is listed along with the employee name and job title. In this situation it would be redundant to use the full combination mark so the logomark on its own is perfect.<\/p>\n\n\n\n
The Alternate Design and Layout<\/h3>\n\n\n\n Out of the portrait and landscape designs you will choose a primary layout. This is the layout used when the spacing and ratios are a non issue. The other logo will be your secondary layout.<\/p>\n\n\n\n
A primary and secondary layout are typically all you will need, however, there is sometimes room for or a desire to have a third, alternate layout.<\/p>\n\n\n\n
The alternate layout is often birthed out of a specific need or desire – either in how the logo communicates or how the logo looks. This alternate version may be created to cater specifically to a type of printing. Perhaps your primary and secondary designs have a large logomark and smaller logotype. However, when you go to embroider your design, the words need to be larger in order to be more legible. The third, alternate design would be the same as the primary logo, but with an enlarged logotype.<\/p>\n\n\n\n <\/noscript>The two designs on the left are the primary (top) and secondary (bottom) designs. On the right is the alternate design for Warner Family Practice in Chandler, Arizona.<\/figcaption><\/figure>\n\n\n\nThe Font Only Logo<\/h3>\n\n\n\n As much as the logomark is what people think of when they visualize their logo, your design doesn\u2019t have to include a logomark. Brands like Coca-Cola, Google, and Dell have done very well for themselves with a logotype only font. As mentioned above, creating this type of design is very difficult, not only in terms of design but in also satisfying the client.<\/p>\n\n\n\n
Our designs almost always include a logomark because when only presenting a logotype we will typically hear comments along the lines of, \u201cIt\u2019s just a font.\u201d When clients are wanting to be wowed, presenting with a logotype design may be exactly what their company needs but unless they specifically ask for it, it\u2019s a tough sell.<\/p>\n\n\n\n <\/noscript>Developing Workers utilizes their primary design (left) for nearly everything. When necessary, the wordmark (right) is available for specific applications where it makes the most sense.<\/figcaption><\/figure>\n\n\n\nCombining artistic design with a readable font (custom designed or adapted), and incorporating the company\u2019s brand into it is a trifecta that is even more difficult than a hockey hat trick. The designs are usually very simple and very classic.<\/p>\n\n\n\n
When we design a combination mark we invest a lot of time in getting the font selection correct. Even though the logomark gets most of the attention and the praise, the logotype is what needs to be readable and engaging. When we deliver a final logo package, we include a logotype only design because we know the company will need it – and be grateful for it when the time comes to use it.<\/p>\n\n\n\n
Having A Versatile and Agile Design<\/h3>\n\n\n\n Going through a thorough and professional branding and design creation process and working with a qualified illustrator and\/or communication company is going to ensure your logo is versatile enough for nearly every application. The professionals handling the project will be anticipating all the different ways and places you\u2019ll be using your logo and will be thinking on your behalf to ensure the perfect iteration is ready to go when you need it.<\/p>\n\n\n\n
Beware of Warping Logos<\/h2>\n\n\n\n After all the time and effort you put into designing your logo, it is very important to understand the concept of warping and be able to spot it when it\u2019s happening.<\/p>\n\n\n\n
A warping logo has the appearance of being squeezed, scrunched, or stretched out. This is often done inadvertently when trying to get a logo to fit on a document, in a presentation, or otherwise place it in a location where it doesn\u2019t fit exactly. While designers and company owners typically know to keep the design consistent and not stretched, other team members don\u2019t have the same eye for design and are just trying to get their task done – not knowing any different.<\/p>\n\n\n\n
Having a variety of layouts often mitigates any inadvertent distortion of the logo; even still, it is important to educate anyone who might be using your design about the importance of maintaining consistent dimensions and ratios for the logo and that the logo shouldn\u2019t be changed in any way or form; if a different size is needed, that\u2019s what the additional layouts are for.<\/p>\n\n\n\n
Warping your design in client facing documents is one way to immediately lose any power your design had to compel and engage the client. Having a variety of layouts really helps keep the design integrity across all applications.<\/p>\n\n\n\n
Choosing A Standard Font for Company Correspondence and Design<\/h2>\n\n\n\n Every time you open your word processor you have a choice of standard fonts to choose from – and quite a few not-so-standard font choices. When you want your document to have a little bit of flare and energy, it\u2019s easy to begin scrolling through fonts to find one that feels right. The problem is that \u2018feels right\u2019 is subjective and what \u2018feels right\u2019 to you may not \u2018feel right\u2019 to another member of your team.<\/p>\n\n\n\n
As you go through the process of designing your logo, you need to consider the benefits of choosing standard company fonts to use for presentations, letters, print, and other areas where you want your brand to be present.<\/p>\n\n\n\n
It is standard to select two fonts as your company wide font design; one serif font and one sans-serif font. Strategically selecting two different fonts that match your brand will give even the plainest of documents an element of design that is in line with your brand.<\/p>\n\n\n\n
Combine your font selections with your color palette and you can turn virtually anyone on your team into a designer just by limiting their choices.<\/p>\n\n\n\n <\/noscript>When selecting company wide fonts, you\u2019ll want to select a serif font and a sans-serif font. One of the fonts will be used for headings and titles and the other will be for the paragraph body. In this example, Campaign Donut has selected the Montserrat and Zilla Slab fonts.<\/figcaption><\/figure>\n\n\n\nYou have your logo just about finished, you have a great color palette, and you have selected standard fonts for your company. That will cover a lot of uses, but not all. For instance, what images will appear when you share your website on social media? What about when you have an event coming up and you want to create a flyer or a promotional image, what will that look like?<\/p>\n\n\n\n
Having these three items – logo, color palette, and standardized fonts – is a great start to your visual branding, and if that\u2019s all you did it would put you light years ahead of your competition. However, you don\u2019t want to stop short of having a great all-around visual branding strategy.<\/p>\n\n\n\n
What you want are visual marketing assets that establish visual standards for all your design work. These visual assets will bring continuity to your brand and design elements across all mediums. If an employee gives a presentation in Detroit, when an attendee searches for your company online, they will find a website that matches the presentation slide deck. It is really that simple.<\/p>\n\n\n\n
In the same way that your company brand is established through the interactions clients have with your staff, your company brand is also created through the visual representation of your company on all channels and all mediums. Every time a user or client sees your company name, what do they think? Can someone easily associate your email signature with your website? Does your stationary have a similar look to your social media accounts?<\/p>\n\n\n\n <\/noscript>Compile a list of graphic needs you will have. The above image is for Campaign Donut; their visual marketing assets cover a need for event graphics, quote graphics, featured blog post graphics, spotlight graphics and more.<\/figcaption><\/figure>\n\n\n\nWhen there are no standards to your visual marketing, three things are likely to happen.<\/p>\n\n\n\n
\nYour company\u2019s visual brand will consist of graphic templates found on free graphic design sites, as opposed to a collection of branded visual assets.<\/li>\n\n\n\n You or someone from your team will spend hours every month creating new designs for every application you have, rather than relying on several templates meant to work for all applications.<\/li>\n\n\n\n Your brand standards will be replaced by the individual visual preferences of whoever is designing graphics for your company.<\/li>\n<\/ol>\n\n\n\nHaving a collection of visuals created to inspire and guide all your additional visual design will help you maintain a consistent visual brand across any and every medium where your brand could be communicated.<\/p>\n\n\n\n
Creating A Brand Style Guide<\/h2>\n\n\n\n As you approach the finish line of creating your visual design standards, it\u2019s time to collect your logo, colors, visual marketing assets, and other visual collateral into one place. That one place is called a brand style guide.<\/p>\n\n\n\n
Style guides are a lot of work to put together, but a lot of fun to look at. More importantly, they are really helpful for keeping everyone – employees, vendors, contractors, and designers – all in the proper design lane.<\/p>\n\n\n\n
When you begin looking at creating an official style guide you will quickly find there are several levels of depth you can pursue. A simple style guide might contain the following:<\/p>\n\n\n\n