Logo and corporate identity david airey epub. David Airey "Logo and Corporate Identity"
On kommunikatorov.net
Today our guest is the famous designer from Northern Ireland David Airey, author of davidairey.com . David is known for his stylish logos. In his portfolio, next to each work, he provides a link to a post in which he describes in detail the process of creating a particular logo. Here is an example of such a description. It was very interesting for me to watch the master at work.
So, meet David Airey, Northern Ireland!
Hello David! How and when did you start doing web design?
I started studying graphic design in 1995 and it has been my favorite thing ever since.
I would like to say a big thank you to Pavel Malyugin for giving me the idea to interview David. If you want to see an interview here with a designer, optimizer or blogger (foreign or Russian-speaking) that interests you, then write to my email.
Dessert Today - St. Patrick's Day Celebration in Belfast, Northern Ireland - hometown David:
Design for the soul, business for the money. Answers to the most common questions about starting and running a design business
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Title: Design for the soul, business for money. Answers to the most common questions about starting and running a design business
Author: David Airey
Year: 2013
Genre: Management, personnel selection, Marketing, PR, advertising, Foreign business literature
About the book by David Airey “Design for the soul, business for money. Answers to the most common questions about starting and running a design business"
This book, written by David Airey, author of the popular book Logo and form style", answers the most common questions that all designers ask when launching and running own business. Where should you start? How to advertise and position yourself? How to find new clients? How much should you price your work? How to negotiate? How to draw up the right contract? When is it necessary to tell a client “no”? How to work with difficult customers? These important aspects of the design business, relevant to any specialist who decides to start working for himself, are covered on the pages of the book.
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In format fb2:
Logos attack us from all sides. Think of the labels on clothes, sports shoes, televisions and computers. From morning to night they are constantly present in our daily lives.
The average American sees 16,000 per day advertisements, logos and labels - Dharma Singh Khalsa, MD, writes about this in her book “Brain Longevity”.
Don't believe me?
To illustrate the constant presence of logos in our lives, I decided to spend the first few minutes of a typical workday photographing the logos on the products I handled, starting with the moment I woke up.
The next series of photographs tells its story, revealing a little of mine daily life. This, of course, does not mean that at that very moment I was not surrounded by many other logos - on other food products, books, newspapers, clothes, on the TV screen.
Try it yourself. Well, maybe not immediately after waking up. What if right now? Take a look around. How many logos do you see?
In the journal Reuters wrote in 1997 that “in the last 30 years, humanity has generated more information than in the previous 5,000 years.” Because modern humanity generates such a huge amount of information, we are seeing logos that increasingly resemble each other. This is a challenge for companies trying to differentiate themselves visually, but it also presents an opportunity for designers who are skilled enough to create iconic symbols that stand out from the crowd.
Here, for example, 300million One of the UK's leading creative agencies spent two weeks designing and polishing this logo and made great use of the empty space by incorporating the silhouette of a spoon into the nib.
Guild of Food Reviewers
“What you take away is just as important as what you leave in,” said Katie Morgan, a senior designer at the agency.
Such a great design alone justifies the work of agencies like 300million and best inspires the world's designers constantly striving for brilliant solutions. Let's look at some more examples in the next chapter.
Chapter 2
The stories we tell
Why are brands important? Yes, because people often choose products according to their perceived value rather than their actual value.
Imagine a celebrity who drives Aston Martin, and not, say, Skoda, which in many European countries is constantly chosen as the car of the year and its mileage is much higher for a significantly lower price. It is clear that it is more logical to choose Skoda, But Aston Martin evokes images of luxury and status that significantly affect sales. Or let's compare Lexus And Scion. Which one will most pay more for and why?
Through competent branding, you can increase the perceived value of a product, establish relationships with customers for which time and boundaries are not barriers and which can develop into ongoing cooperation.
Of course, it's always good if there is good story. It's your responsibility as a designer to find that story and tell it smartly. Later in this chapter, you'll learn about several designers who have done this perfectly.
Real - only with this signature
Will Keith (WK) Kellogg invented wheat cereal and then corn cereal, which revolutionized the world of breakfast cereals and led to the development of what has since become one of the most successful cereals on the planet. But we would never have heard the name Kellogg if W.K. had not also turned out to be a smart business strategist.
Kellogg planned marketing campaigns, years ahead of their time. He used modern four-color printing in magazines and on billboards, while other companies were still thinking in black and white terms. And to distinguish Kellogs Corn Flakes from the products of others similar companies, he demanded that all packaging read: “Beware of counterfeits. The real thing is only with this signature: W. K. Kellogg.”
The company still uses this on the front of every breakfast cereal box. company logo, which appeared in 1906, but nowadays the signature is stylized and executed in red. This consistency has helped establish a level of trust and business with consumers over the years, resulting in Kellogg's established itself as a world leader in the production of grain products.
A company without a logo is like a person without a face
For thousands of years, people have needed and desired social identification. Imagine a farmer branding his cattle to mark his property, or a mason proudly carving his trademark.
Close your eyes and imagine McDonald's. What do you see? Maybe the golden arches? With products and services that have a strong brand identity, people often think about the style first and then the product itself. Let's take Microsoft, Apple, Ford And Target. Chances are good that even without seeing the logos in front of you, you will be able to imagine them quite clearly. Of course, to achieve this level of recognition, huge investments in marketing are required, but it is still important to “show the product face.”
Works by Gerard Huerta
Type Directors Club. Year: 1994
TIME magazine. Year: 1977
Waldenbooks. Year: 1979
Iconic designer Gerard Huerta hails from Southern California. He has been creating for decades famous logos, for example, for Time, Waldenbooks And Type Directors Club. You may be even more familiar with these logos than you are with the corresponding products and services.
Millions will see this
By the summer of 2008, J. K. Rowling's Harry Potter series had been translated into 67 languages and had a total circulation of more than 400 million copies. Therefore, when a creative agency from New York called id29 tasked with planning advertising campaign and develop a logo for the seventh book, it was clear that this work would be seen by millions, if not billions.
Writer and Art Director: Doug Bartow
Creative Director: Michael Fallon
Year: 2007. Times Square, New York
“We created a specific campaign aesthetic based on a central typographic element that can be used in everything from printed posters and bookmarks to multimedia advertising and network applications"said Doug Bartow, chief designer and director id29.
Quite reasonable. Just imagine the traffic in Times Square. Most people won't have time to read the message on a billboard, so the symbol is much more appropriate. By using a simple sign to identify the campaign, it was possible to ensure that even with one quick glance one could recognize the news of the book's release.
The result was amazing. “Harry Potter and the Deathly Hallows sold 8.3 million copies in the United States within the first 24 hours of release,” Bartow said.
Only if the queen agrees
The Queen of England, head of state and nation, understands the importance of corporate identity.
London firm Moon Brand, brand and communications consultancy, needed to get Her Majesty's approval of the Royal Parks logo.
“We decided to use the leaves of local, British, trees that are found in the Royal Parks in this logo,” said the director Moon Brand Richard Moon.
The logo tells the story of the park in its own language—the language of the leaves—and cleverly depicts, through one carefully chosen image, the relationship between the park system and the British Crown. This clarity contributed to the successful completion of the project.
IN Moon Brand reported that waiting for royal approval can take months, but in this case it came within 24 hours.
Symbols cross borders
To sell products around the world, your brand must speak many languages. Fortunately, easily recognizable symbols do not need translation. Understandable across cultures and languages, symbols enable companies to cross language barriers, compete globally, and maintain brand consistency across a wide variety of uses.
Take, for example, the international brand and design agency Bunch. Its designers used a seven-pointed star, inspired by the Star of Bethlehem, as the symbol of the new two-storey club, the Bethnal Green Star, which opened in the heart of Bethnal Green, London in 2008. The star sign, a play on the name of the club and the name of its owner Rob Star, has to work everywhere - from postcards to beer glasses.
The symbol had to represent a star in some form, says Bunch creative director Denis Kovacs, so the design team began experimenting with a traditional star, but it soon became clear that it was too banal.
“We realized that the five-pointed star would always be associated with national flags, communism and pagan rituals,” Kovacs said. – Rob already had a lot of followers thanks to the band's parties Mulletover, and we came up with the expression “follow the star.” He wanted the pub to become a beacon in Bethnal Green and attract people from far and wide. The Star of Bethlehem, seven-pointed and with a long tail, embodied the idea of moving forward.”
Kovacs and his team have created many possible options, but ultimately chose a simple star with a thick outline - not only because it is a brilliant design, but also because such a sign could be used as a template and reproduced in different ways in different contexts.
Bunch used a multifunctional symbol on bottles, food, DJ equipment. In the pub, beer glasses are engraved with a simple star shape, and screen-printed wallpaper features the same symbol, hand-drawn.
Project Bunch is a classic example of versatility. When creating a brand identity, you should always ask yourself if your logo can be adapted to in various ways applications.
Corporate identity design as part of our language
English design studio biz-R created this logo with a specially designed font for Amanda Marsden, a beauty salon in Devon (England). The designers then extrapolated the first two letters of the lettering, representing the client's initials and simultaneously the word "am", to create a modern, minimalist word symbol.
Amanda Marsden
The word was then included in various phrases used in advertising of services Marsden, and it turned out “am: beautiful” (I am beautiful), “am: relaxed” (I am relaxed) and “am: gifted” (I am talented), as in the postcards shown on the following pages.
Not every brand name has this kind of linguistic potential, but don't forget that it is possible: it's another tool in your design arsenal that you can use when the time comes.
(See color version in the Illustrations section)
Rethink the importance of corporate identity
Fair or not, we really do often judge books by their covers. This is why the perceived value of a product or service is usually higher than the actual value. A consistently visible logo inspires trust, and trust encourages customers to buy again and again. It's like associating a face with a name—logos help people remember times they've done business with companies.
These extremely important considerations can be outlined at the first meeting with the client so that they are convinced that they should use your design services.
Chapter 3
Iconic design elements
Anyone can come up with a logo, but not everyone can come up with exactly the logo they need. A great design may meet the goals outlined in your brief, but a great design must also be simple, relevant, durable, memorable and adaptable.
It may seem difficult to meet all of these requirements, and it really is. But remember that in any creative work, in order to successfully break the rules, you must at least know them. A top-class chef does not take ingredients out of thin air, but adapts a proven recipe and only in this way creates his own signature dish. The same applies to creating brand names. The basic elements of classic logos are the ingredients in our recipe, so let's take a closer look at each of them before you set out to win your own awards.
The simpler the better
Often the simplest solution is also the most effective. Why? Yes, because the simplicity of the logo helps to meet other requirements for brand design.
Simplicity allows the design to be more versatile. The minimalist approach allows you to use your logo almost everywhere - on business cards, billboards, badges and even web page icons (favicons).
In addition, simplicity makes your logo easier to recognize, thereby increasing its chances of longevity and independence from the trends of the times. Remember the logos of large corporations like Mitsubishi, Samsung, FedEx, BBC and so on. They are simple and therefore recognizable.
Simplicity helps people remember your design. Think about how our consciousness works and how much easier it is to remember one detail, for example the smile of Mona Lisa, than five: the clothes of the same Mona Lisa, the location of her hands, the color of her eyes, the background, the name of the artist (Leonardo da Vinci - but that’s you anyway already knew, didn’t they?). Look at it like this. If you were asked to draw a logo from memory McDonald's and the Mona Lisa, which drawing would be more accurate?
Let's look at another example.
National Health Service logo (NHS)– one of the most commonly seen in the UK, its use as the emblem of British healthcare was even announced in 2000 government policy.
Originally created in 1990 by the studio Moon Brand, this logo includes a simple, clean color palette and matching font. The fact that the design has not changed in twenty years is a testament to its success.
“We deliberately kept the design simple for three reasons: so that it would be easy to execute, so that it would last as long as possible and would not be noticed by the British media, who often view such branding programs as a wasteful use of taxpayers' money,” said agency director Richard Moon. - According to my own calculations NHS The branding program has saved tens of millions of pounds through the use of this easy-to-use, personal branding.”
Nothing inappropriate
Any logo you design should be relevant to the business industry for which it is being created. Do you work for a lawyer? Then no jokes. Is this a TV show about winter resorts? No beach balls, please. Cancer organization? A satisfied face would be out of place. The list goes on, but general idea clear.
Your design must be relevant to the industry, the customer and target audience. Putting it all together requires deep research, but the time spent on it pays off. Without a solid knowledge of your client's world, you cannot hope to create a design that successfully differentiates your client's business from its closest competitors.
However, remember that a logo does not have to literally represent what the company does. For example, a logo BMW- not a machine at all. A logo Hawaiian Airlines- not a plane. But both logos are beyond competition and at the same time highest degree relevant in their respective industries.
Josiah Jost from Siah Design in Alberta (Canada) worked with Ed's Electric, local electrical company on its new corporate identity. Josiah not only created an appropriate logo, but also made it something that most people who see it will have a hard time forgetting.
“In this case, the idea came to me when I was trying to see something in the empty space between electrical elements,” Jost said. “I immediately realized that I had hit the mark.”
Another design born within the walls of the studio Moon Brand, this time for Vision Capital, embodies this notion of trademark relevance. During long discussions with the client, before any creative work, designers Moon Brand We found out that the company is not just engaged in capital, it also creates funds for investors, using a strategic approach when purchasing portfolios of other companies. And they decided to play with this idea: “not only”, “more than”.
The result is a logo that cleverly conveys this idea. The letter V, placed on its side, the first in the word “vision”, becomes a mathematical symbol for “more”, making it possible to read something like the following subtext: “more than capital”, while the initials of the company are preserved and are quite recognizable.
Even if you create a logo related to the seemingly boring financial market, this does not mean that it itself cannot be dynamic and multi-valued.
Stay connected to tradition
When it comes to creating logos and branding, it's best to leave trends to fashion industry. Trends come and go, and what you definitely don’t want is to invest a considerable amount of your time and the client’s money into a design that will become outdated almost overnight. Durability is paramount and a logo should last as long as the business it represents. From time to time it can be refreshed, some details clarified, but the main idea must remain intact.
Rhode Island-based agency Malcolm Grear Designers created a logo for Vanderbilt University, combining two symbols long associated with it educational institution: oak leaf (strength and fortitude) and acorn (seed of knowledge). These elements also reflect the school's own arboretum.
“The hardest person to satisfy in any design project has to be the designer creating the sign,” said Malcolm Greer. – This is a difficult task, because you need to create something memorable and as durable as possible. I never chase fashion. I want to set the standard, not follow others."
The first version of the book “Logo and Corporate Identity” was published quite a long time ago - in 2011, and then it was truly a treasure trove useful information for creators and customers of corporate styles.
The second edition, supplemented with examples and author's notes, gained a little weight, adding more than 30 pages: David Airey added several dozen of the most famous and sensational logos in the media that have appeared over the past 5 years, as well as comments from their authors about the process of creating their works.
In general, I won’t say that the re-release has made the book “Logo and Corporate Identity” better or worse - it is still an excellent collection of tips that will help a novice logo and corporate identity designer understand the basics of this profession, and people who need a logo and corporate identity ( but which are far from the world of design), understand the designer’s logic - why the logo does not have to have a computer sign if the company sells computers, what color inspires confidence in the brand, why an unreadable font is not a “feature”, but a “bug”, and why forcing a designer to play with fonts is not a good idea.
Book on a bookshelf
Although a great variety of design literature has already been published, I would not recommend putting every book on your shelf. Most books on design describe really good techniques for solving certain problems, communicating with clients, correctly drawing up technical specifications, and the like. But to summarize, all these skills are acquired, if not from books, then from endless practice: 2 years of hard work as a freelancer replaces dozens of books read.
But “Logo and Corporate Identity” is exactly the book that I would put on my shelf: you can always turn to it if depression hits or a project just doesn’t get off the ground. And I’m not just talking about logos and corporate styles, although it would seem that this is exactly what should be in the book. The book “Logo and Corporate Identity” may well serve as a source of inspiration for both graphic and web designers, because inspiration is everywhere! And when you see absolutely incredible projects that were invented and implemented by ordinary people, just like you and me (well, even if they have many times more experience) - it pushes you to come up with something even cooler and more perfect!
For special connoisseurs of printed books: the layout and printing of the second edition have become much more pleasant, either because technology has improved over the years, or because of the new printing house of the Petersburg publishing house, but the fact remains that the book is pleasant to hold in your hands :)
Download for free “Logo and corporate identity. Designer's Guide"
Excerpt from the book “Logo and Corporate Identity. Designer's Guide" is available for free viewing at the link.
Buy the book “Logo and corporate identity. Designer's Guide"
The book “Logo and corporate identity. Designer's Guide" can be purchased in the online store of the Petersburg publishing house at a price of 721 rubles. V printed form or 299 rub. - electronic.
By the way, an additional discount in 25% can be obtained with a coupon infographics when purchasing through the publisher's website.
David Airey
Logo and corporate identity. Designer's Guide
Preface
Corporate identity design. Who needs it? To all companies on the planet. Who will make it? You.
But how to get famous clients? And how can you not lose your position? Design is an ever-evolving profession. If you're like me, one of your goals is to... graphic designer– constantly improve your skills in order to attract the desired client. Therefore, it is vital to learn and grow above yourself.
But who am I and why do you need my advice?
Let's put it this way: for several years now I have been posting design projects on blogs at davidairey.com and logodesignlove.com. In these blogs, I take the reader through the individual stages of developing my design projects. I tell you how I closed a deal with a client. I am considering in detail the preparation of the brief. Finally, I describe how the client can use the finished piece.
My websites are at this moment viewed a million times a month. More than 30,000 users have subscribed to my newsletters. This is, in general, a lot for a young guy from Bangor, in Northern Ireland. Readers tell me that my blogs give them a behind-the-scenes look at the design process and that this type of information is hard to find anywhere else. They claim that my content is useful, inspiring, and highly valued (honestly, I don't pay them for their comments!).
If you look through the portfolios of the most successful design agencies and bureaus, you will find plenty of examples of completed work. Some portfolios may even present one or two alternative concepts. However, almost nowhere can you read about what actually happens between designers and clients: the questions that designers ask to steer a project in the right direction, how ideas are born after creating and studying a brief, how to present their work to earn client approval . Such details are like golden sand for a designer.
That's how the idea for this book was born.
Never before have I looked at the design process in such detail and studied the various intricacies so deeply. Along the way, I recruited many talented designers and design firms who were extremely kind to share insights, details of the creative process, and advice.
When you finish reading this book, I hope you'll be well-prepared to set out to win clients and create iconic brand identities of your own. If I had known about everything written here when I started doing graphic design myself, I would have certainly saved myself a lot of sleepless nights.
Part I The Role of Brand Names
Chapter 1 There's no escape! (33 logos in 33 minutes)
Logos attack us from all sides. Think of the labels on clothes, sports shoes, televisions and computers. From morning to night they are constantly present in our daily lives.
Don't believe me?
To illustrate the constant presence of logos in our lives, I decided to spend the first few minutes of a typical workday photographing the logos on the products I handled, starting with the moment I woke up.
The following series of photographs tells its story, revealing a little bit of my daily life. This, of course, does not mean that at that very moment I was not surrounded by many other logos - on other food products, books, newspapers, clothes, on the TV screen.
07:02
Try it yourself. Well, maybe not immediately after waking up. What if right now? Take a look around. How many logos do you see?
In the journal Reuters wrote in 1997 that “in the last 30 years, humanity has generated more information than in the previous 5,000 years.” Because modern humanity generates such a huge amount of information, we are seeing logos that increasingly resemble each other. This is a challenge for companies trying to differentiate themselves visually, but it also presents an opportunity for designers who are skilled enough to create iconic symbols that stand out from the crowd.
Here, for example, 300million One of the UK's leading creative agencies spent two weeks designing and polishing this logo and made great use of the empty space by incorporating the silhouette of a spoon into the nib.
Guild of Food Reviewers
Year: 2005
“What you take away is just as important as what you leave in,” said Katie Morgan, a senior designer at the agency. Such a great design alone justifies the work of agencies like 300million and best inspires the world's designers constantly striving for brilliant solutions. Let's look at some more examples in the next chapter.
Chapter 2 The Stories We Tell
Why are brands important? Yes, because people often choose products according to their perceived value rather than their actual value.
Imagine a celebrity who drives Aston Martin, and not, say, Skoda, which in many European countries is constantly chosen as the car of the year and its mileage is much higher for a significantly lower price. It is clear that it is more logical to choose Skoda, But Aston Martin evokes images of luxury and status that significantly affect sales. Or let's compare Lexus And Scion. Which one will most pay more for and why?
