All right, let's, talk about, uh, logo standards. Um, and this is something that even its not in your initial proposal or contract you should make. You should have that conversation with, um, and recommend that they recommend that they do it. Like I said it. It doesn't necessarily have to be a part of initial contract, at least something that they sign off on. Uh, but you can, as a part of that proposal, you know, after final artwork is delivered, a refugee of my decision for the logo concept was strongly recommend. But you, you know, you do basic standards, guide, and especially in the scenario, you just mentioned where they don't have an in house designer. So this logo was going to go in the into the hands of, you know, everybody that works with their logo to present to you, produce any type of marketing materials, or, you know anything if it's not done in house, it's, you know, it's going to touch a lot of different hands. So, um, you know, branding is, is that almost as much about ...
consistent, that consistent use of stuff that's been designed as it is the design of stuff itself, um, and, you know, there is a real danger of if you don't have guidelines if there aren't you know rules that you you know you enforces faras how things get I mean you know world designers is like if you give me something design it's like I want to change it I want to make it better you know um so there's always that you know there's always that tendency and you know you have tow er have to create some standards if if it's going to be used consistently so um also color standards are something that they want your guide is going to be use its guidelines so we'll have like clear like defining clear space color standards what the colors are um there's also some like do not do this like these air unacceptable things you cannot you know ways you cannot change or use the logo and then a type font recommendation that's beyond you know, maybe the type fonts that you're using in logo right? So anything this is this isn't really like a branding style guy it's it's basically and I like a logo usage you know more of a logo standards guide of how the logo confuse brand brand guys a little bit more comprehensive work gets in the style of photography and actual like verbal messaging and things like that that actually lots of good most companies now have like their brand guidelines and identity standard manuals online and pdf just so that they don't have toe you know, just so they can say it's on the web site you know, go go under this tab and grab it so that it doesn't take up any of their time, you know, getting it out to clients so there's lots of good examples out there um, so first you want to page that extent that, um basically establishes a clear a clear space, an area that you know, when you're placing photographs or type or something extra logo it's like you cannot get any closer to this, andi, I probably air on the side of you no more than less on dh usually which I didn't like what it wasn't good example for this, but usually that space you're goingto base on something in that like the height of a lower case letter or the haif of ah, you know, the height of the icon or something that they can run, you know, that's easily relate o relatable to in the logo itself, um said especially in the scenario where it's not going, teo uh and the nest designer it's going to go out of house for a lot of different things and you you don't know what you know what the level of designer uh, is this gonna work with it? What the application is, um so you don't want them changing colors or doing great in oak radiance or rainbow backgrounds or whatever um you know you don't want them like adding drop shadows to it on brother you know any other facts that they can just manipulate it in in the software uh you don't want to change the proportions so you know they can't like skew it you know, skewed horizontally or vertically to make it fit of space you don't want them adding any secondary elements that you know behind it or around it or whatever that make it look like those or part of a logo you don't want him to rotate or changed the original access and you don't want them tow you know, add outlines and things like that um so you're just gonna have to once you know, your client and what they use their little go for just think through someone and you know just at least do the standard things and there's something else based on who they are the types of stuff they do you could you know you could add to this but it's it's kind of the general um from the general things um color standards um you want to specify um the colors for um coded and uncoated paper um and then you want to pick those from the pantone guides um and then also put what the process equivalent of the process build to match the colors um you could put rgb um I don't but um you know, I just wantto be more complete you can do that I mean when it's open and converted to our gp, those values are going toe translate as well but uh it's kind of up to you it certainly wouldn't hurt again make sure the colors and your love and your print logos that you're presenting match those colors is closest possible you know, from whatever laser printer were in cheddar whatever method you're using to print those you want you want those colors to be dead on because that's important you know, brandon component and the colors they see are the colors that they're expecting when they you know, they're goingto uh they're going to marry themselves to these colors and so they don't want to find out that you know, we caught the real colors are actually slightly different than this um of course I think you know, one hadn't praying things that would become an issue um just some basic, uh applications the logo and black and white and the two you know, how many colors you're two or three or how many colors that you're specifying, you know the best case scenario version of the logo the color version of logo how many colors that incorporates then actually looking at it if they're scenarios where you know needs to be dropped out of a photo where it needs to be reversed showing that and then showing it like a version of the original two color version if it's against a light background or its skin you know that's against the dark background sorry to those there and then um acceptable like one color uh one color versions like the ones on the right where you're actually, um you only have one color, but you're, uh you might or you might not have a choice of the second color that you know there's, a color background that you're having to work with. So if you print the logo and so it's a way to get like it's also a way to get like three colors out of two or use the ground is color if you're flooding the background with the color, um then you can use the cut one of the colors from the logo and dropout type whether or not you know that might be something you don't want them to do but also, um gives them some flexibility if you do have a color that our logo that has limited colors and then um lastly, you want to pick either typeface or couple typefaces that look good um for secondary type, you know, like for burt was it would be in a brochure or, you know, even like that you would use in the type for cover letter you want to go through and find type that both er you know that probably contrast, but also complements the logo and obviously because it's going to be used for text, you wanted to be something that's, you know, that qualifies as a text. Uh, thought that's easy to read when it's reduced to a small size. So it can't be sara for sand saref. You don't want to have anything that's, you know, has a lot of detail to it. No display typefaces or anything like that. Um, the other thing is that you probably, um, first want to look at what our common system fonts across both platforms because particularly, you know, if it's a small client and you have concerns about them, like implementing this, too, you know, and basically, you know, being able tto police this on their own to begin with, and you create that, you know, that creates more work for them, or more responsibility is less likely to get adapted. So and the other thing is, like, you know, if you specify a thought that they have to purchase, um, well, then they have to purchase that for every computer that they have, which if unless it's an inexpensive font, you know, it might be talking about thirty you know, thirty dollars amore per person and I can tell you, you know, once they do the met once they do the math on how much going to cost implant a new font you know, for just for tax purposes that's probably not gonna happen, so the first place I would look is look too common you know, system fonts, ariel and some things like, you know, some some common fat's not assert times roman everything that butt stuff issue no is his system thoughts on windows and and macintosh to see if you can make that work because that's more likely you know, to be adapted if it's something that they don't have to take an extra step in an extra expense but you want to do this and again, you might wantto, um you might want to have, you know, two typefaces you kind of have to gauge your gauge, your client what, what they you know, what they do and how sophisticated they are, they're marking materials and so forth. But again, what you're what you're trying to avoid is basically have them to use any typeface they want, you know, for headlines on whatever in conjunction with the logo, because again, it just, you know, you've worked hard to create a nice logo and put these standards in place and if they follow these you know fairly closely, they're goingto have a consistent brand look. But if you know, they start using everybody, is this this? Whatever. You know, the typeface of the month is or whatever, they're going to be all over the place. So you kind of need, you know, when you're you know, when you're presenting this, or even when you're having talks about the standards manual it's, like, listen, you need this consistency is every bit as important as you know, the new design that year, a new design that you're adapting.