Logo Execution Styles
I showed you some you know, just in some of my own work different um some different approaches and sometimes what happens is that when you do a logo um you know a lot times you get chosen for logo based on your portfolio and stuff that you've already done and so a lot of times you'll actually beginning directive look I like these little girls and you know the client says I want something in this sort of in this sort of in this style so it's somewhat you know, predetermined but another good resource um is the logo lounge trends report in bill garner who started local lounge puts out a trend report of what he sees from all the annual interest of local on site um and uh look at so much for trends but different except in a different styles of execution because sometimes that style of execution can really help reinforce that you know concept if it's something that you know that's fragmented or pixels you know that you know then that implies that it's the you know the business is digital or ...
just something like that so let's look at a few few examples um very simple direct you know, single line work andi I just pulled these there's like a least ten years worth of these trend reports so you don't have it is a membership site so if you want to access like see all those there's I don't know how many hundred thousand logo's are on their butt so you can search by category by design firm by once they're in the books. So it's a great reference site, but it is like it's about a hundred dollars a year, which, when you figuring you're getting like a forty five dollar book are an entry and entry fee and like anything you posted, this site is entered in that year's competition, so if, like if you compare toe, you know, so it's basically, like entering two things in any other design competition, you know, for what? For a year's worth of access um, again using using shapes, familiar shapes and then filling those with type um again combination these air at least recently, the terminology bad like a badge? Uh, these be called badges were kind of everything is is contained within a shape. Um and you know, so I've already shown some that stuff in my work, um, season broke, you know, isn't broken line as well as negative negative space, and then I noticed in the assembly logo where they've actually like broken just in a couple of letter forms they've broken it toe add that to reinforce, um, the broken line in their logo, and it doesn't have to be across the whole fun um three dimensional um the only thing I sort of caution about three dimensional is usually you have to have incorporated radiant to make the pull that off um and you know the more complex the great um it's more you know, like the more colors that shades that incorporates as you try and simplify that for other like if you try to do that, break it into two collars for a silk screen or something a small side it just doesn't so for digital applications it's great, but um it's not real flexible for a lot of other things um fascinating. Uh, well seemed like the faceted portrait ce that you know, people time they did the one for me kevin spacey and, um transparency overlapping objects umm it's it's good to convey enough its transparency or something along those lines need to be conveyed, but again it iss is tricky. Um it is tricky when you get into other applications and it does it does dictate that you probably use more than a couple colors um over printing. Um and, uh, one of the things about this that I don't, you know that I don't think many people think of is that when you're printing when you're putting off set and when your when your you know when you're using color spot collars other than seeing my k those air transparent so you can have the same effect that you get with, you know, combining sea and my cake ahlers by over printing to get the third color um, it's a little trickier and figuring that out because, you know, even though there are some guides that show different over printing of some pantone colors, it's not, you know, it's not extensive, but you can actually get printers to do to do draw downs or the old print one color over the other, just on a piece of paper saying, see, with so it's possible, I could get a lot, you know, if you do three flat colors you could get, you know, even more color combination, so something I don't think designers think about a lot, especially as we're moving away more from print for a lot of things, if you do three colors, you said, if you did, like, three pen like spot colors so pant on colors, custom colors so, you know, like the more colors that you over print more colors, combinations that you can get, and then there's obviously screen, you know, screen tents that khun factor into. So because I worked for the early jobs, I work for a firm where we did a lot of clients did a lot of work that a lot of work, but the budgets weren't bigger than runs weren't big so we had a lot of two color works so to try and be creative you know, we've always trying that at least you know, three colors out of three colors at a job I you know, buy strategically over printing the colors um taking individual object screw them together to make you know a silhouette or ah combining the chemical shape um so this is something like as you're getting ready to execute your logo just to look at you know, just to look at to see if there's a you know there's a style that's different than what your typical approaches or again if it's just it's something can really help reinforce the concept amusing a style of, uh line um and then again like there's opportunities and negative spaces these good examples where they're getting additional uh giving an additional message and getting additional object is in the negative space is of the main illustration alright doctor drawing I think I I mentioned this earlier for logos because they need to go in various mediums and given size um they're not resolution dependent like something it's pixel based it basically it just it works by mathematical equations that send basically tells you know, like your your monitors an example program is just telling there's no object there it's just telling your monitor how to render you know what you what you've created with software same thing that goes toe output toe to a pressure it's just instructing how that's to be uh how it gets executed in any given you know, form out of output um again I think it's important and not only is this not only at this point when you've got either when you've got a concept or even at the point where you're you've done your first rendering but I like to step away and then step back and look at it with fresh eyes like I said you you will, you know, see things or notice things that you didn't see just because you know you've been so intently just concentrating on getting it, getting it done and maybe for focusing more on one aspect on another. Um, anything I would tell you to do is to print it out because you're also probably going to see things you're almost never looking at it at actual size you're looking at most of time you're looking at it, you know different parts of it up close or you know or smaller s ow it doesn't hurt to take a look and see how it looks went when it prints out one of the things that happens is you know you're not you're not looking at it at a small size sometimes and then so when your first time you print out a small size you realize that you've been looking in the large scale. And maybe some of your secondary type is too small. Or you've got stroke waits there to ten or something about.