Madison Morrow: Process Documentation

Corporate Identity, Fall 2017

Table of Contents

Project 4: Restaurant Logo
Project 3: Museum Logo + Identity System + Branding Guide
Project 2: Olympic Bid Logo
Project 1: We Stand Together
Jump to Bottom

Restaurant Logo (Project 4)


12.5.17

Partner & Class Critique

3 Positives
+ Cohesive patterns and colors throughout.
+ Readability is clear throughout
+Good craft

3 areas of improvement
+Opacity of the letterhead pattern. 
+Adjust the positioning of the envelope.
+Watch where certain shapes get cut off (letterhead).

3 ways to improve
+Lighten the opacity of the letterhead pattern. Perhaps make it one color.
+Readjust the envelope, open up the logo to fill the side of the envelope. 
+Reassess if all shapes are needed.

letterhead front & back

Critique 12.7.17
1. This is what I heard: 
business card—
Keep the egg yolk, but without the flap. The business card works much better with the organic edge rather than a flap format. Fix leading and spacing. 
letterhead—Print the pattern as a full bleed 13x19 and then print the inside with crop marks. Center both on the page. 
envelope—Watch where the logo falls, could be on the barcode area. 
menu—Try using the enlarged letterhead pattern on the back of the menu. Adjust the spacing between menu items. Right align all the prices. Continue the blue bar across the entire bottom of the menu. Some shapes aren’t working very well. 
cup/sleeve—Create a cup? The cup could be full color but with patterm perhaps the green grid. 
box—Make a bag instead.
website—Add the browser window to the mock up.

2. This is what I think: My menu needs a lot of work still. Spacing is a main issue. I feel more confident moving forward with the non-flap business card. The two sided printing should work better doing the full bleed printing, perhaps for both the letterhead and envelope.

3. This is what I’m going to do: I am going to use the whip cream pop ton paper for my business card. Along with this paper I will make the needed changes on the business card. The logo’s 4 bars need adjusted and I will try just 2 lines instead. The pattern on the letterhead could be incorporated other places in the collateral.

11.28.2017

business card: Add hours (days/week), chef/owner/manager/, phone number for take-out maybe

Critique

  1. This is what I heard: 
    Collateral: Squiggle line pattern in yellow—on menu back, specials in the center, fix spacing, heavier text w/ waffles and pancakes is off balance compared to specials; polaroid pieces for marking visitors and their location; play around with take-out box or bag
    identity system: business card circular folded in half with yolk in the middle—type on the outside, flip the flap outside with the yolk showing, logo horizontal fitting in the space above the yolk; envelope white and yolk flap in yellow; letterhead back larger and maybe full color or one color; adjust the icons to be more like the icons used in 1st 3 logos with shapes;
  2. This is what I think: I’m going to adjust and continue working on my menu. More content and organize the menu items better. Make sure the collateral relates better to the identity system. Decide whether the business card will be circular or with the flap. Push the egg/yolk concept more in the envelope. Revisit the icons and refer back to an original logo idea.
  3. This is what I’m going to do: I will fix and organize my menu and print it on a larger paper (also experiment on paper stock). Scrap the sandwich wrapper, decide if sandwiches will even be on the menu. Go forward with take-out/leftover boxes and bags for collateral. Icons need to relate more to the logo, use more pattern and shapes in the icons.

1st Finish ID system

((i need to photograph the 1st finish i revised the original files already opps))

11.21.2017

R/R

successful in concept, visual aesthetics and execution

This brand’s menu utilizes the typical Mexican cuisine use of bright colors and arranges them in an interesting flow with arrow queues and bold headings. The identity system easily transitions to the collateral. Using the abstracted/pictorial donkey image relates to the geometric boxes of the menu. They contrast successfully with the script logo.

Chipotles has a successful identity and collateral. Both the take-out bags and disposable cups have an engaging design and content that keeps customers in tune to the fresh natural products they sell. The cups are recognizable yet simple. The menus as well continue the branding identity with the brown paper and dark type. They include small icons for each item sold that relates back to the bags and cups.

Critique notes
get away from overlapping, circle elements that are reminders of breakfast, less large blocks of pattern and do more small patches, egg yolk envelope all yellow, pattern in yellow for envelope, vertical letterhead?, pattern/repeated logo on letterhead, (take picture of layout for letterhead) board of directors no comma, shrink pattern in G the dots are better at a small scale like in the circle on the letterhead, circle business card or rectangle with an egg insode and pattern on the edges, incorporating pattern of the icons on letterhead, business card flap that opens to be a cracked egg vertical open, incorporate the blue and pink more into the identity

Collateral materials:

+coasters
+menu
The menu would be similar in design to the business cards. I want to continue the concept of the cracked egg flap opening. A gatefold menu may be the best way to execute this idea.

+email flyer
+sandwich wrapper
This would be a wrapper on a bakery good or specialty sandwich that would be ordered and made separately from the teppanyaki experience. Incorporating my icons onto this wrapper would make it successful. I would include the pattern of the logo as well.

+website
+motion graphic
+an app
The app for the restaurant would be as simple as the designs mimicked on the envelope. Continuing the egg concept, I would also include more basic patterns and geometric shapes.

+t-shirts
+bookmark
+notebooks
+pencils
+brochure
+mugs
+coffee cup sleeve
The coffee cup sleeve would be for coffee-to-go. The base color would be pink, yellow, or white with the blue-green text making the sleeves two-color. These would utilize a pattern and the triangular geometric shapes.

+napkins
+take-out
Take-out boxes would be cardboard/brown bag colored and have either pink or blue-green text. These containers would stay rather simple, perhaps only having a pattern on them or a single color.

+uniform
+bag
+banner
+frequent shopper punch card

*BACK TO TABLE OF CONTENTS*

11.16.17

Library Research images/inspo

Textures

Patterns/Shapes

Ideas for layout/format (?)

Cool end pages that i think i want to use in my identity. Creating icons that relate to the restaurant

Logo/Brand Usage:

+ take patterns and shapes (dominant shapes) and colors and use them in other parts

+ easy to use pattern and line

+ letterhead or envelope could have the shapes in them

Color palette:

+ Since your color palette is so expensive I would suggest selecting 2 to 3 main colors to move forward in the identity system. pink teal blue? < Agreed

+^strongest colors

Typography:

+sans-serif

+ maybe line up for display in a way that replicates the angles in your logo

+ Typewriter font maybe with an actual typewriter?

+ simple to not compete with complex logo

Layout/Grid:

+ stay horizontal axis to build great around

+ take elements like angles from logo

+ geometric shapes fam

Format:

+ horizontal format

+ maybe your card could be one of the shapes in your logo

+ Eggsssssssss

pattern/texture photography illustration icon/symbols:

+ Textures use on inside of folder envelope etc. illustrations/symbols in first round of logo variations color and texture of secondary elements icons on menu?

+ repeat pattern in folder business cards on collateral

+ utilize the idea of <word i cant make out>/”vintage” tech…polaroids?

+ easy to create textures with the patterns you already created

Paper materials:

+off white

+ smooth off white

+ off white for a vintage look

11.14.17

Critique notes:

  1. This is what I heard: Typeface is reading better than 1st try but have other people read it and see if they can make out the name. Keep the line that was used int he color trial. Make the hashtag all lowercase. Use two colors to split up the hashtag.
  2. This is what I think: I’m much happier with the outcome of this logo. I will take what I heard in critique and revise. Readability of the logo is the most important. Color could be adjusted and maybe shrink it to 3 colors.
  3. This is what I’m going to do: I will ask and show people outside of class if the logo reads “Eggsthetic.” The h may be the problem area, it may read as a b.

typeface reads better, line works maybe double or triple the line, all lowercase-use color to split the words (also kerning)

make sure the letters can be read, have some ppl read it

11.10.17

11.9.17

11.7.17

  1. This is what I heard: The bold type is working the best, it is the most readable and has good contrast. In the abstract type logo, every letter except “g” and “s” are working. Hibachi style dining isn’t read within the logos, the concept is lost. The logo that includes the small icons would work well with a thicker type so it will stand out. A hashtag tagline would benefit in bringing the concept closer to the logo.
  2. This is what I think: I’m not very confident in any of the 3 logos, but I think combing the 3 into a cohesive logo will help me find a balance. I think the bold typeface works the best. Incorporating a tagline with a hashtag I think is a good direction, #HibachiHashbrowns #ServedSizzled #GriddleService #TeppanYokey
  3. This is what I’m going to do: I want to move forward utilizing the small Memphis icons with the bold typeface. I’m really not interested in the abstract letterforms, I don’t like how horizontal the logo becomes. Taking the icons and throwing them over the logo will help the idea of the grill and interactive experience of the restaurant.

Tagline ideas???
#FlippedToastedGrilled
#MadeToGriddle
#TeppanBreakfast
#CaptureTheFlip
#CaptureThe

11.7.17

10.31.17

10.30.17

Cont. Research

Target audience
“Millennials grew up in an electronics-filled and increasingly online and socially-networked world. They are the generation that has received the most marketing attention. As the most ethnically diverse generation, Millennials tend to be tolerant of difference. Having been raised under the mantra “follow your dreams” and being told they were special, they tend to be confident. While largely a positive trait, the Millennial generation’s confidence has been argued to spill over into the realms of entitlement and narcissism. They are often seen as slightly more optimistic about the future of America than other generations — despite the fact that they are the first generation since the Silent Generation that is expected to be less economically successful than their parents.”

“Millennials grew up with computers, the Internet and the graphical user interface (GUI). This familiarity makes them adept at understanding interfaces and visual languages. They tend to adjust readily to new programs, operating systems (OS ) and devices and to perform computer-based tasks more quickly than older generations.”

10.24.17

Shoreline presents a breakfast location with a diner quality to the menu. It utilizes diner typefaces and a logo that mimics signage that the typical 50s diner would have. The complimentary colors are eye catching and relate well to the title “Shoreline.” From looking at this menu, I can assume it is a vintage diner designed breakfast location near or by the ocean. The collateral surrounding the menu as well suggests an All-American theme with the Mill Valley postcard exuding vintage tourist posters. My restaurant will be a breakfast diner similar in style to this one. I was first captured by the colors and logo which related well to my concept. I wont be going as far as the American influence but this menu design has some ideas I will consider.

Hornhuset caught my eye immediately with their use of bright colors, especially the pink. The use of letters as a dominant piece throughout the collateral is an interesting direction. After examining the pieces, each letter represents the item it is naming, M for Menu, D for Drinks and so on. I really enjoy this minimalistic approach. Their usage of this color scheme fits well together to create a bold and fun brand, very eye catching. Using bright colored paper stock fits more with the usage of colors than putting the menu on plain paper. The white is incorporated nicely, however. These bold colors and their application will influence my use of color in the Memphis style diner.

10.23.2017

Namestorming — Concept #1

—sit-down dining, hot coffee, healthy, savory, fragrant, intimate, social, diner-like, hot n fresh, interactive, interesting, bright, welcoming, breakfast,

breakfast: 1st meal of the day, fulfilling, variety,

interactive: collaborative, “never a dull moment”, participation, energizing, an experience

healthy: fruits, vegetables, fresh, smart, expensive, lifestyle, diet,

diner: fast-paced, nostalgic, photographic, bright,

social: group oriented, conversation, friendship, looking for an experience,

Thesaurus

breakfast: first meal of the day, morning meal, early meal, brunch

interactive (mutual): bilateral, collective, reciprocal, associated, communal, conjoint, conjunct

interactive (reciprocative): participated, communal, public

social (likely to seek or enjoy the company of others):boon, clubby, companionable, extroverted, gregarious, outgoing, sociable, convivial

social (tending to group with others of the same kind): gregarious, sociable, colonial, associational, consociational, subsocial

healthy: able-bodied, bouncing, fit, hale, hearty, robust, sound, well, well-conditioned, whole, wholesome, booming, boomy, flourishing, golden, halcyon, prosperous, lush, palmy, prospering, roaring, successful, thriving

Examples/Types

breakfast—hot or cold, cereal, pancakes, waffles, toast, bagels, eggs, crepes, bacon, sausage, avocado, coffee, juice, tea, fruit, oatmeal, french toast, water, milk, donuts, smoothie, potatoes, hashbrowns, yogurt,

sit-down dining— diner, restaurant, cafe, bar,

Phrases/Sayings

Wakey wakey eggs and bakey
whats cookin good lookin
cup of joe
wake up and smell the coffee
rise and shine
up and at em
the most important meal of the day
breakfast in bed
breakfast of champions
flat as a pancake
bring home the bacon
whats shakin bacon
bad egg
not my cup of tea
selling like hotcakes

Words/Phrases related to Memphis Style/Italian Movement

breakfast — “colazione”

scrambled eggs—”uova strapazzate”

coffee—”caffè”

cup of coffee—”tazza di caffè”

“ephemeral design featuring colorful decoration and asymmetrical shapes”

“inspiration from such movements as Art Deco and Pop Art”

“1950’s Kitsch styles and futuristic themes”

Mix n Match:

Cup of Energy

Rise & Fried

Hot & Cold Diner

Pancakery

Colazione Calda

Eggsthetic

Sunny Side Up

10 Taglines:

Make Your Friends Jelly-ous

Your Daily Breakfast Post

No Flash Photography

Home of the Photogenic Pancake

The Classic Cappuccino & Cornetto

American Diner meets Italian Delicacy

Wake Up and Capture the Bacon

Insta Breakfast

______________________________________

Hotcakes, Hot Coffee

Eat with your eyes

Breakfast Right Before Your Eyes

Comforts of Home

Sweet & Savory

10.19.2017

Concepts:
Memphis Style—Hipster/Millennials Targeted—Flavored Water Bar-All Liquid/Healthy Infusions, smoothies, IM DOING SOMETHING DIFFERENT NOW…..Location inspo: Portland, Oregon, Possible location: Toronto
—> TEPPANYAKI PANCAKE HOUSE, they make ur breakfast right in front of you, scramble those eggs, flip them hot cakes, sizzle the bacon… mmm yes

Pancake house—Smokey Mountains breakfast spot—Cozy, log cabin, fire crackling—Locals favorite but a must visit for tourists
Location: North Carolina or Tennessee (GSM resides in both states)

Soup and Sip—Serves various soups and beers/wine—Jazzy, upscale

*BACK TO TABLE OF CONTENTS*


Museum Branding Guide


12.7.17

  1. This is what I heard: N/A
  2. This is what I think: I added a table of contents to further organize my branding guide. While I created a book, I am not going to be able to print and bind it. Some spacing and alignments need fixing. The don’ts/incorrect pages are a bit messy and could use more order and clear wording to depict what cannot be done.
  3. This is what I’m going to do: On the color usage pages I need to add the HEX and and RGB colors. I need to further reiterate what to not do with the logo, distort, warp, reflect etc. I as well need to add in my collateral and identity system, along with more photography. This also includes showing the website and app mocked up for the museum. There is a lot to still add but I will attempt to finish strong.

11.30.17

  1. This is what I heard: Create a table of contents to organize the information displayed. Include pagination. Organization needs revised, keep the vertical and horizontal logos together. Make entire pages/spreads dedicated to what to not do and emphasize the importance of the DO NOT. Mock up the ID system and bring in collateral. With typography, show examples of how to use the type in headings, sub-heads etc.
  2. This is what I think: I am going to plan out my branding guide better. Im going to draw out where my contents are going to go. Organization is very important especially with a such a specific guide. Perhaps change the format to a presentation rather than a book.
  3. This is what I’m going to do: This weekend before Thursday next week I will spend more time on the guide and organize my items. I will put my collateral and ID system into mock-ups to present them more professionally within the guide.

*BACK TO TABLE OF CONTENTS*


Museum Identity System


11.16.17

  1. This is what I heard: Revise the brochure and take out the inside white and put a photograph on the outside green. This brochure is still a such strong concept. Make the envelope folder larger and add the spaceship UFO logo on the front. fix the placement on business cards and center UFO on the back. release the tension in the lower right corner and bring the board of directors onto the left side in a vertical format.
  2. This is what I think: I plan to do a postcard with coloring book aliens on the front. I will try to rework the brochure. I may not keep the green envelope folder because the greens are not the same color. The manila folder may work better because it can use more colors.
  3. This is what I’m going to do: I attempt to revise the brochure even though it may not be what I like it to be. I will re-adjust the letter head positioning of the lower text.

10.26.17

The Hochschule Trier school has an unsuccessful rebranding in its difficulty to read and failure to get their concept across clearly. Within the reading, Hochschule typed each letter out three times to represent their 3 campuses. This results in disconnected letters that cannot be put together as easily.

Woke’s logo is representing a business for staying on top of the latest information and media. Appropriately named and designed, the O letterform mimics a rising sun pushing the concept of being “woke” as in waking with the day and being up to par with latest trends, politics, and social issues.

Veon was the strong identity system I was attracted to. This brand utilizes the large V in a striking way to demand attention with its color and scale. While the letterheads and business cards are straightforward, the envelopes push the V concept further in the triangles creating the flaps and being the centerpiece for posters.

Critique:

Add who the company people are “Council of Trustees” “Board Members” etc
Go with a light green over using the brown-red
Vertical arrangement of logo
Get rid of circles, just one instance
Opacity of all green front letterhead, letterhead with border/thinner
Value of textures is good, static one is noice, applied to back of letterhead

Manila folder LOL, with confidential written acrss

Envelopes, rounded flaps, reverse the envelop using the U underbelly
website applied to the top of flap rather than the rounded edge
Watch where you put information!! top right and bottom, using beam intruding into the envelope space

Pos/neg spaceship!!!! Maybe make it black with a green spaceship, different addition of color?
Add the location address
Left and right align to the center

If your logo is a particular size in one location and is similar size in another, make them the same size.


Museum Logo (Project 3)


10.17.17

  1. This is what I heard: In critique it was suggested let’s just get rid of the FO, the Shrek vibes are too strong now, I’m ogre it. Go with the horizontal logo. Adjust the location of the tagline, whether it’s below or smaller along the right side. In creating a vertical logo, curve the tagline above the U and straight under the U.
  2. This is what I think: From this critique I think I will adjust the horizontal logo and change the tagline text to an italic. I will as well create a vertical logo that works.
  3. This is what I’m going to do: I am going to adjust the horizontal logo and change the tagline text to an italic. I will as well create a vertical logo that works. The FO is going to be laid to rest to continue with a more professional museum logo.

*BACK TO TABLE OF CONTENTS*

10..12.17

Critique notes:

Adjust the “O” to be more like the “U”. Try halving the “U” and copying it to create the “O” so it relates better and the same size. Use the bright green from the gradient color trial as the UFO letter color. Keep the ship and text underneath black to stand out.

10 Tag Lines

  1. Aliens on Demand
  2. Come Crash With Us
  3. Locally Excavated and Guaranteed Authentic
  4. Roswell’s Genuine Extraterrestrial Experience
  5. Extraterrestrially Interesting
  6. Home to Roswell’s Extra-ordinary
  7. An Otherworldy Attraction
  8. Your Neighborhood Spot for all things Alien
  9. Roswell’s #1 Location For Ufos
  10. Wild West meets the Last Frontier
  11. U F Oh?
  12. Do You Believe?

10.5.17

  • What does the company want to say to their audience?
    The International UFO Museum wants to provide information about the history of Roswell and retell the incident that occurred in 1947. They are passionate about their subject matter and are looking to expanded the publics knowledge. They don’t want to frighten their audience, but suggest suspicion and mystery in the museum’s contents.
  • What value does the company bring to their audience?
    The museum is a quirky yet informational location that provides history about the Roswell UFO crash. Aliens are always seen as silly when portrayed as a “little green man” but the UFO museum is focused on the seriousness and importance of relaying this crash site information to the public.
  • What benefits do they offer above the competitors?
    Roswell, New Mexico is a city that is incredibly well-known to be the UFO crash site among other tourist locations. Not only could visitors stop by the museum, they are conveniently located in an area with multiple spots for an otherworldly fix.
  • How are they different from the others in their field?
    In the museum field, they are not an average museum, they display something otherworldly. However, they provide materials and the space to anyone wanting to research and learn more on their own time about Roswell and the incident with a research center. This museum differs from a location relating to space and NASA in their unique subject of specifically aliens and the famous crash in Roswell.

Critique Notes:

  1. This is what I heard: The logo is just as strong with the additional FO as it is standing alone. People responded positively to the logos with International positioned behind the ship a top the letterforms. However, the ship is lost within the letters. The typefaces Edmondsans and Nexa were two working solutions for the accompanying text. The FO should be drawn to reflect the U letterform. The beams of light would work well perhaps incorporated into the F and the O negative space.
  2. This is what I think: I agree with the critique in class that my strongest logos are the designs incorporating the FO. While the positioning of International behind the ship works well for placing, it however does take away from the UFO ship concept creating the beam of light. I think the text placement will work better below or pushed next the ship shape.
  3. This is what I’m going to do: I will continue with working on adjusting the FO letterforms to better fit and match the U. It will drive my concept further and push the playful aspect of the space ship. I’m going to use the typeface Edmondsans in the logo. The text will be positioned underneath the UFO logo.

9.28.17

Critique Notes:

  1. This is what I heard: Cacti and “U” with the beam negative space were the strongest of the three. The alien cacti would need to be simplified further if continuing on that track. Type underneath the logo would need refined and better positioning. The “U” might be stronger with adding “FO” next to it. Enlarge and fill in the spaceship. The name of the museum would fit underneath the full UFO letters rather than an afterthought next to it.
  2. This is what I think: I will continue with the “U” logo. The cacti aliens work well with the cliche humorous nature of the museum, but I think an upgraded sophisticated logo will transform it’s identity.
  3. This is what I’m going to do: With the “U” logo I’m going to add the “FO” and see how I can position the type. I will consider typeface choices and place the text accordingly, not as an afterthought. I will resolve the issue of the spacecraft looking like a hat on top of the U. In addition to adding the “FO” I want to play around with how I can incorporate other beams of light in the letterforms, either as the O negative space or within the F.

Studio time:
In the given work time I spent time adjusting my final black and white Olympic bid logo. I was having trouble translating critique notes to my logo design. I took out the lower circle filled with the Garden of the Gods silhouette as it wasn’t balancing my logo well. It gave me trouble placing type down below. I’ve solved this issue by instead cutting the shape of the rock formation out of the larger mountain, Pikes Peak, on the logo.

The type for my logo is still something I am trying to figure out. Rounded geometric letters would compliment my concept of placing the rings inside each “O” and rounded letter like “C” and “D” but finding a typeface that works best is proving difficult. I moved the 2030 behind the mountain for depth and replaced Winter Olympics with just Candidate City.

9.16.17 + Museum Process

  1. Understand your competition
    While ufo imagery should be prominent for a ufo museum logo, toning down and abstracting the picture might work best for originality and competition.
  2. 2. Ask the right questions
    Within the branding for the ufo museum scale is very important as the logo will be used across different collateral from posters to brochures to tickets. Simplicity is key.
  3. 3. Stay flexible during the process
    While considering a design without ufo imagery might work well professionally and through branding, the logo may not resonate well to the audience it is trying to attract.
  4. 4. Respect a brand’s heritage
    Roswell, New Mexico is full of interesting and spooky sites that should be considered in the logo. Bringing the style of the logo back to when the “aliens” arrived might work well for the museum and is worth trying.
  5. 5. Remember: a logo is just one ingredient
    Dynamic logos might be the best option for a museum brand as the collateral is varied. Lights and movement would enhance the branding of the museum to compliment the history.
  6. 6. Choose your typeface carefully
    A typical “alien” and “space” like typeface will be incredibly cliche to utilize. Modern and sleek fonts will bring this museum up to speed with the current trends and audience.
  7. 7. Tweak and refine to add personality
    A typographical solution to the logo might be the most successful to brand the museum. Adding personality to the type will be major is bringing a galactic yet retro look to the logo.
  8. 8. Consider illustrated, fully-bespoke (custom-made) type
    Due to the content of the museum, a hand-drawn type will not be as suitable as a sans-serif pre-made typeface
  9. 9. Explore serendipitous letter combinations
    Boldly using the letters “UFO” will create interesting shapes, negative and positive to find unusual balanced logos typographically.
  10. 10. Take ownership of an entire typeface
    The ufo museum logo will be able to be solved with using already created typefaces as it is a small museum in Roswell.
  11. 11. Strip it back to basics
    Ufo pictorial logos have been used over and over and a single ship or alien imagery would be hard to distinguish from among others competition.
  12. 12. Understand shape psychology
    Rounded shapes are typically associated with space and aliens and will be best used in this logo.
  13. 13. Master grids and structure
    I do not think I will be using a simple icon or picture to create the logo so a golden ration design for an image may not be of use.
  14. 14. Employ negative space
    Utilizing negative space in a typographical solution will add an extra pictorial level it may not immediately show.
  15. 15. Make use of wit and humor
    An alien or ufo in the background of the type logo would be a funny extra to insert into an otherwise simple and type driven logo.
  16. 16. Understand the color wheel
    Complimentary or an analogous colors would be great solutions to the logo.
  17. 17. Manage color schemes carefully
    Utilizing a dominant color for the logo will help especially since the logos will most likely be using black and white.
  18. 18. Use color to control mood
    Dark colors and blues are usually associated with space but a vibrant green would flow well and provide an instant dominant color to contrast.
  19. 19. Research sector-specific color trends
    Nasa and the Air and Space Museum are two major brands with colors that the ufo museum logo should break away from.
  20. 20. Don’t forget black and white
    Black and white will be an important pair to work with to create decent contrast to the varying colors included in a space theme logo, especially ufos and aliens.
  21. 21. Always get a second opinion (from a professional!) 
    These ufo logos, with too much emphasis on aliens and space could become too silly and childish if handled incorrectly.
  22. 22. Develop the rest of the brand world
    Shifting colors and small shapes will bring variety to the brand and create a dynamic logo in the process.
  23. 23. Consider how to bring it alive
    Ufos and space brings a world of possibility when it comes to animating the logo to life. This would be an interesting area to try.

9.14.17 + Museum Process

9.07.17 + Museum Logo Process

  1. What was your initial reaction to the Whitney identity system after reading the first article? I think the identity system works very well despite it’s simplicity. Having a flexible logo is quite different and works well especially for a museum that has a lot collateral that the logo must work well on. 
    2. In your own words, describe what responsive design is. What are the pros and cons of applying responsive design to an identity system? Responsive design works well when it needs to be implemented on multiple surfaces, platforms, and collateral. This type of design has a far reaching limit as to what is too far for a design, it can be interpreted and used in many ways. In this case, it can be quite unique compared to other identities, but perhaps hard to distinguish in a crowd of others. If the design responds differently per situation, the identity cannot stray very far from the original logo or else it will be difficult to recognize additional applications. 
    3. The new Whitney identity has been criticized as boring and duplicitous due its simplistic, open-ended design. Do you agree or disagree — why? Are boring and simple one in the same? I disagree because while it is incredibly simplistic, it doesn’t deem it boring. The W/zig-zag will be seen differently on a range of collateral for the museum, seeing it one way and the next will only heighten it’s interesting

http://www.roswellufomuseum.com/museum.html UFO MUSEUM

International UFO Museum & Research Center
Roswell, New Mexico, U.S.A.
http://www.roswellufomuseum.com/museum.html

Current Logo/Identity

114 N Main St
Roswell, New Mexico
(575) 625–9495
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UFO Museum Exterior
Noice little sign

Images of the library: http://www.roswellufomuseum.com/research.html

History of Roswell: http://www.roswellufomuseum.com/roswell.html

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Olympic Bid Logo (Project 2)


10.12.17

Short critique notes:

Adjust the letters “R” “A” and “D” input more space between A and D spacing. The colors need to be more vibrant and saturated and play around with the Olympic colors again possibly? Brighter orange and blue though. Track out or enlarge “springs” and thicken the letters in “candidate city,” possibly track them out.

Clear space lines, .75pt size at 60% black

10.10.17

10.3.17

R/R: What additional tweaking/editing/revisions you could apply to your Olympic logo to elevate craft and/or communication of the intended concept/message? 
—In my Olympic logo I could perhaps add a subtle gradient to the letters representing rings. The colors have difficulty standing out against the rest of the colors featured in the logo. This way my design will be less flat and boost how noticeable the rings are.

How can you avoid revisions/additions that may unintentionally become decoration, a passé trend, or compromise readability?
—In adding the gradient to the ring letters/colors it may decrease readability, but I would only know for sure if I try it. Adding a texture or gradient to the mountains would be too decoration, unless I add color to the lower mountain for depth and definition. This may only help my design, but again it could clutter the logo unnecessarily.

Color Variation Critique

—Adjust the letters D, N, and G. Shape the letter D around the A letter form. Rotate the C to become a D. Place the lighter blue mountain with the dark orange type. Get rid of the Olympic colors!! It is way too cluttered with the Olympic colors competing with the rest of the colors. Go with a 3 color variation, light blue, dark blue, and dark orange.

9.26.17

This is what I heard: Return to the idea of using the Olympic rings within the typography of Colorado. Incorporate a bold and thick typeface for basing the rings/circles off of. Rethink the positioning of the mountain and negative space of the lower circle. Possibly add in the “C” from the Colorado logo into the design. 
This is what I think: I agree with the statements made and will attempt to create typography utilizing the Olympic rings. I think it will be a much strong concept playing with the type more than the actual imagery.
This is what I’m going to do: I will create the rings using a bold typeface. Dismantling the circular logo will help drive a clear black and white logo design as well as an overall bid logo. Color should not dictate the design.

  1. According to the article, 81% of logos are one or two colors max. Why?
    Companies are using one or two colors to convey meaning through the colors they’ve chosen. Blue is the top most used color as it represents trust, a respectable quality any company would like to suggest to their audience. Using one to two colors effectively relays the information and color psychology the company is utilizing.
  2. Other than simply applying the Olympic ring color palette, what color combinations can support visual aesthetics and deepen your Olympic Bid Logo concept, especially in regard to your city? 
    Please create a one-color, two-color, three-color and full color palette with a rationale for each.
    For my color palettes I would like to additionally use light blue, dark blue, and orange representing the colors of the Colorado logo.

One color: Dark blue/Navy representing the dark blue shadows of the mountains as viewed at Pikes Peak. It also is a color featured on the Colorado logo.

Two Color: Dark Blue & Orange working as compliments are two colors very prominent in the Colorado landscape. Garden of the Gods brings this vibrant orange foreground against the blues and greens of the mountains.

Three color: Dark blue, Orange, and Light Blue would be the three colors best suited as they are the logo colors of Colorado Springs. They are meaningful to the city and represent the beautiful landscape and blue skies.

Full color: Adding to my three color palette I would include green to further push a natural theme in the logo. Colorado Springs has miles of hiking trails and parks to visit, important elements to consider in the logo and to the people of the host city.

9.19.17

Critique:

9.12.17 + Olympic Logo Process

  1. Understand your competition
    #12 features icons of Colorado Springs that show different activities and places that are available to explore. These are specific to the location. #40 as well has a specific shape, relevant only in CS.
  2. Ask the right questions
    #12 as well fits to express CS appropriately to create a specific look for the city.
  3. Stay flexible during the process
    #40 incorporates a well-known building from CS but creating a torch from it may not work as well once building the logo.
  4. 4. Respect a brand’s heritage
    CS has a logo in place for websites and it is important to acknowledge it. #20 has potential to use the logo within the type as well as #12.
  5. Remember: a logo is just one ingredient
    #26 has potential to change and work with the CS branding that is already in place. It can be simplified further to be used in multiple ways, #12 as well.
  6. Choose your typeface carefully
    #50 logo plays with type to create a working stacked typography so sans-serif will be important.
  7. Tweak and refine to add personality
    #26 will require some manipulation of type to flow within the defined area. Each logo could use a more playful approach to the more average applications.
  8. Consider illustrated, fully-bespoke (custom-made) type
    Hand-drawn type might work well for #12 it could be a good contrast to the geometric icons.
  9. Explore serendipitous letter combinations
    The C and S of Colorado Springs are hard to put together despite both utilizing rounded forms. The S and P in Springs is as well a difficult combination.
  10. Take ownership of an entire typeface
    I don’t think I will be creating a typeface for any of the logos as a san-serif will work just fine for any of the designs.
  11. Strip it back to basics
    #50 is quite simple and should work well large or small, but the icons of #12 need further simplified if they are to work well at any size.
  12. Understand shape psychology
    Triangles are a key shape to my logos as they mimic mountains, an important feature of CS.
  13. Master grids and structure
    #26 could benefit from trying to apply the golden ratio to balance the logo.
  14. Employ negative space
    Negative space is important and a key component in #50. Applying the rings to type will enhance the logo but leave lots of negative space.
  15. Make use of wit and humor
    My designs are not going to utilize this tip. The logos for the bid have little need for something humorous to be incorporated.
  16. Understand the color wheel
    Colorado Springs has its own branding and utilizes the colors blue, navy, and orange. These colors are reflective of the landscape and will be essential to use.
  17. Manage color schemes carefully
    Earthtones will be important to use, as well as taking colors from the beautiful landscape of Colorado Springs.
  18. Use color to control mood
    ^Manage color schemes^
  19. Research sector-specific color trends
    CS already has specific colors in place to push the host city excitement and pride.
  20. Don’t forget black and white
    These logos may not read quite effectively if they are in black and white.
  21. Always get a second opinion (from a professional!)
  22. Develop the rest of the brand world
    The logos each should read well up close and far away. Design should be quite simple, get rid of anything that might skew the design.
  23. Consider how to bring it alive

9.09.17 +Olympic Logo Process

9.07.17 + Olympic Logo Process

Research–Colorado Springs
–home to the United States Olympic Committee Headquarters, 20+ National Olympic Governing Bodies, more than 50 National Sport Organizations, the Colorado Springs Olympic Training Center and the future U.S. Olympic Museum
–the epicenter of the U.S. Olympic and Paralympic Movements
–at the base of Pikes Peak, the City of Colorado Springs has over 9,000 acres of parkland and 500 acres of trails that include renown attractions like Garden of the Gods and the Manitou Incline trail.
“Incline” — a local favorite hiking trail composed of an abandoned cog railway track scaling part of Pikes Peak
–diverse array of natural areas, including forested foothills, sheer-walled canyons, mountain streams, unique rock formations, expansive grasslands and scenic mesas.
–Pikes Peak, which inspired the patriotic song “America the Beautiful.”

http://www.visitcos.com/ LOGO

http://www.visitcos.com/about-cvb/about-colorado-springs/
–nicknamed “Little London” because of the many English tourists who came.
–one of the most popular travel destinations in the late 1800s United States.
–relatively mild winters, with large snow accumulations in the downtown area relatively rare, a strong warming sun due to the altitude, and only occasional episodic periods of sub-zero cold snaps and blizzards

BRANDING!!!!! http://www.visitcos.com/about-cvb/branding/

9.05.17 + Olympic Bid Logo Process

Olympic city: Colorado Springs — Winter

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We Stand Together (Project 1)


9.06.17

9.05.17 + Stand Together Process

  1. Reflect on a time when you copied an idea — what did you learn from that experience? Would you do it again? Was there a way to solve the problem without copying?

Throughout my drawing and painting classes in high school we directly copied images for learning purposes. We printed off the images, set up a grid and began drawing it onto another sheet of paper. However, I do believe this is where I learned a great deal about drawing and coloring. If it weren’t for having a guide to help me replicate an image, I don’t know how I would have been able to create images of my own. These problems could not have been solved any other way, my teacher always acknowledged that these were copied works, but it was important to learn from them and grow as artists.

2. Were you ever the one that was stolen or ‘copied’ from? What was your reaction to that? How did you deal with it?

In high school, I edited an image of a book cover to create a pun with the words and I later found the author using my edited image in a presentation on his book tour. My name and credit was never given to create the humorous image. It was awful knowing a well known author used my work without my credit or permission. I attempted to contact him to give credit, but with no luck. It was his book cover that I was editing on, but the results were of my creation.

3. Is anything original anymore?

People find it so important to be original and think of ideas that no one else could have possibly thought of for their art. With billions of people on this Earth, it’s very hard to believe that you are the only person to have ever thought of an idea first. Originality can be defined two ways, however. An original piece of work can be an idea or an original by a particular artist. An idea may have been used already, but when something is created by you/an artist, it is solely created by you/an artist, deeming it an original.

Logo Presentation/Critique: My strongest logo is the type logo. The circular shape represents a strong unbroken bond that is required with unity. The boldest text is “Stronger United” relaying it’s importance over the disconnected “Weaker Divided”. The surrounding text is divided by the center type, strengthening the message of unity and togetherness. While I find the type logo the strongest, I think additional shape elements would help capture attention without the addition of an image. Color is another area of weakness I should address as the soft blue isn’t as eye catching as a more vibrant color.

Logo Critique Notes: Change colors, make the type more stamp like, separate the “stronger united” a bit more

9.03.17 + Stand Together Process

8.31.17 + Stand Together Process

Logo Design Critique Notes

Simplify, type more unified, less noise
Images simplified further — new images, use of full circles, step away from the two total opposite idea, waaay to abstract to easily understand, Move forward with the hands imagery, rope = strength — hands unite to provide strength, rope made of clasped hands

  1. This is what I heard: The type logos have too much going on and need to be simplified to emphasize the actual message. The images are too busy. 
    2. This is what I think: I agree with the statements made about the logos. Each will need simplified and redrawn. The type and imagery should be more cohesive and flow together smoothly.
    3. This is what I’m going to do: Moving forward I am going to use the hand and rope imagery to strengthen the message of unity. The type logos need to be simplified into less typeface changes and better balance the entire logo. The type may need a new phrase about strength.

8.5 x 11 paper with all 3 logos, .25 line border, horizontal
larger margins, centered horizon/vert, .5 in between each square, group together, export save for web jpeg

8.30.17 + Stand Together Process

Additional brainstorming: working together, strength in numbers, sense of community, all in this together verse separated individuals

Togetherness: handshake, full circle, puzzle, crowds, embracing, interconnecting objects, rings, trees, tape, bandage, paperclip, spider web, needle and thread,

Separation: broken glass, frayed rope pulled taut, cracks, fork in the road, scissors, saw, loose paper, crumbled, unplugged, broken chain,

Final thoughts: Frayed taut handshake, Disconnected needle & thread, Sliced spider web

8.29.17 + Stand Together Process

Beginning of Corporate ID, 9am, here we are. Wow.
ADD A PHOTO, BOLD some text, italicize

Unity

antonyms
divided, broken, diversity, variety, discord, difference, separation, opposition, disunion, divorce, disagreement, antagonism, dissension

synonyms
togetherness, unbroken, completeness, whole, harmony, one, totality, solidarity, alliance, unification, union, uniformity, combination, unanimity

idioms
one for all and all for one, see eye to eye

quotes
“We are only as strong as we are united, as weak as we are divided.” J.K. Rowling
“Individually, we are one drop. Together, we are an ocean.” Ryunosuke Satoro

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