Design your 'Best Logo Ever' for a niche Architect firm! | Gary Van Zyl | Skillshare

Design your 'Best Logo Ever' for a niche Architect firm!

Gary Van Zyl, Design Intelligence

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8 Lessons (1h 26m)
    • 1. Introduction to Class and Teacher

      2:17
    • 2. Lesson #1 - What makes a Great Logo?

      8:20
    • 3. Lesson #2 - A Great Concept

      13:37
    • 4. Lesson #3 - A Great Design

      14:58
    • 5. Lesson #4 - Step1 The Brief

      16:50
    • 6. Lesson #5 - Step2 Design Building Blocks

      8:45
    • 7. Lesson #6 Step3 Scamp your Ideas

      8:53
    • 8. Lesson #7 Step4 Design Your Logo

      Logo Design Model.pdf
      12:30

About This Class

AUDIENCE

Beginner or intermediate Graphic Designers who are either studying and wish to supplement their education, or who are not studying formally but wish to grow their design skills independently. These people are probably pursuing a career in Graphic Design, but if not, it does not exclude them :)

TOPICS TO BE COVERED IN THE CLASS

1) Introduction to the highly experienced Teacher and Class

2) So what is it that makes a Great Logo? Is it Magic or Method? What do 'the Greats' have to say about it?

3) How do you come up with a Great Concept? (Did you know there are different categories of concepts?) - learn all about these to make your concept origination easier!

4) How do you come up with a Great Design? (Did you know there are different ingredients that make a great design! Learn what these are to make sure you add ALL the right design ingredients to your design.

5) How to 'scamp' or sketch your ideas? (This is ALWAYS the best way to start designing almost anything!)

6) Start Designing your Best Logo Ever! Convert your ideas and sketches into reality on the preferred digitl platform of your choice.

CLASS PROJECT

To create the first 2 stages of the Logo Design process, showing

1) Your Design Rationale for your Logo and

2) Show your 'scamps' or sketches of your ideas for your logo. 

Stand the chance to Win a movie voucher and one-on-one design consultation with me.

Submit by 15 December 2014 to be entered into the contest

Transcripts

1. Introduction to Class and Teacher: Hey, guys, Welcome to the course that I've been titled Design your best logo ever, just to give you a bit of a background to myself on into Gary Frenzel. I'm a graphic designer with 16 years experience in agencies. Most recently in my lost agency. Out was the moderator and head designer. I'm over that period of words over a range of brains from Blue Chip International brands. Aziz One is the brains off listed companies. The purpose of this course is really to give you the tools that you gonna need to create your best lover ever. I will take you to the process that I followed that I go through when I'm trying to create a really awesome like what we're gonna be looking at in this course is what is it that makes a great lawyer We're gonna look at What is it that makes a great concept? How do you come up with a great concept? Isn't just this magic that you lucky enough to stumble on? Or is it something that if you follow a process, you can really get it right every time you know, in the woods off Pull ran one of the great designers about tongue. He says, Don't try to be original. Just try to be good. And I'm totally, totally resonate with that and agree with that because you can be original mount again. But you can be good all the time. So we're gonna be looking at what makes a great concept. We're gonna be looking at a great design. What is it that makes a great design? One of the ingredients off a great design. Once you've been through all those steps, we're gonna be looking at a case study where demonstrates the process, but which I arrived a designed for one of my clients and take you through that full process off. Howard designed it. Step by step, Andi running the end. Once you've gone through that, you're going to see that there's a project. Then you're gonna be able to take on yourself. And I'd like to encourage all of you Teoh, take on the project to post your project so that we can compare the work and at the end for the project that is best for the design that is best followed. The process on that person will get a price off a movie voucher as well as a one on one consultation with me. So let's go ahead and do, of course. 2. Lesson #1 - What makes a Great Logo?: Hey, Gaza, and welcome to the course of entitled Design your best logo ever. I'm very excited to be presenting this course to you and Ah, basically, what we're gonna be looking at in this course is I'm gonna be showing you a comprehensive and giving you a comprehensive guide to how to design your biz longer to give yourself your best chance at designing or a good chance Very good joints and designing your best logo ever. And what I've also included is a concise case study. And this basically looks at one of the logos, that of design. It was very successful, and it really is a good example off the rock paralysis to go through when designing your your best logo. And obviously, just to mention there's a lot of sort of ways you can go about it. This is certainly not the only way, but in my years of experience, and this is really of all the information out there of how to design a great logo, this is what I have distorted down to. And this is the process are followed when I'm trying to design a really awesome logo. So the question is then big. What makes a great logo? I think sometimes we often think that a logo a great Logan is a little bit like a magic trick. Where, um you sort of see the guy pulled a rabbit out the heads, and all of a sudden, uh, you know, it's there, you know, out of nothing. I mean, there was nothing that to start with. You saw the you thought just off this No possible way. You could hard this rabbit anyway, but sure enough, he pulls it out the head, you know? And I think sometimes we think that logo's are like that. You know, where we always somebody's sort of come up with this great idea. And you think that perhaps the way it happened was there was just fortunate enough this granite, It was kind of drifting around and know the lucky ones, too kind of, you know, grab onto it, you know, sort of hit the jackpot. You I like playing the lottery. Almost. You kind of you. Lucky enough to come up with a great idea or you're not. So once again, looking at a magic trick, you know, you ask the question. Is it magic? Or could it be that this method behind the magic I mean, as much as you look, you can see the method, you know? But is there method behind the magic? Well, if you look at a great magic trick like the pulling the rabbit out the hat Andi, if you look at if you go into the background of how it actually is that a magician can pull a rabbit out ahead, uh, and you invest against, did you see that there's a step by step process that something that appears magic has actually got a very calculated, very practice process behind it? And the conclusion that I want to drop on by looking at this metaphor is that it takes method to make a logo magic. There's a process involved that you can follow to make a longer magic. I think the person who said it best for me off of all the people I've looked into was poor rent, he said, Don't try to be original, just try to be good. And he's of course, designed some tremendous brains in his time and and you know something? I realize we're when I looked at the others quite it really resonated with what I believed , you know, um, in logo design, you know its inspirations. Importance. All those things are important being originals important. But what's more important, you know, is being good and what you do following the right process in what you do. And and that's really, really the right way to go about having a sustainable career in brand developments in logo design. I mean, you might stumble upon people who will do a great brand, and then you never hear from them again because they had a magical moment. They were original for once. But you know, that perhaps wasn't a good paralysis that they went through to arrive by that logo, and so they weren't able to repeat it. And I would like to say, you know, just a backup would pull Render saying is that You know, you can be original and he can be magical now and again. You know, you can always be that lucky to have really a winner idea, but you can be good all the time. You know, no matter what concept you come up with, you can be good all the time. You can follow the paralysis all the time, no matter what logo you design. And even if you do come with a up with a really original concept and a really great idea, it should still be measured against the process. Because it's could be that that original I Do you come up with is not necessarily right for that brand. So then the question is, what? What? What is the method? As there's a method behind a magic trick that you that you see the end results and it appears magic? Um, the question then is what is the method that makes a logo magic? And I've basically broken it down into two primary ingredients, which might not seem tremendously, uh, earth shattering, you know, the first time you hear it, but as you'll see as we break them down, you will see why. You know, those are the two key ingredients in a great longer. And in any great logo. You see, I believe you could break it down to these key ingredients and over my 16 years and doing what I do. And in doing this, this is what I've distilled it down to. The 1st 1 is a great concept the second is a great design. It was equal a great logo. So what is a great concept? And this is my own definition that I've come Teoh after doing this for so many years, and that is that a great concept is an idea that you come up with for the logo were added to thought It's on a deer. It's a concept. This concept is relevant, appropriate and clever, giving another layer off meaning to the longer and creating intrigue that extends beyond the initial impression off the design. So what makes a great design a great design is wondered, visually allows. And in Ebel's visual is the key with the the great designers, one that visually allows and in Ebel's that great concept that you've come up with So you come up with the concept first. It enables that great concert to come alive in a manner that places its that brand appropriately within its market. Yet, and this is key differentiated enough. It's making Arconic here is just a look. Look at some what some of the locals that I've done over my career. Okay, so, yeah, this is he's just he's just a few of the locals that I've done over my career and effectively on two levels. They they work from a design point of view and from a conceptual points of view each of course, in their own way and in their own unique way, with many sort of ideas and concepts within the two hemispheres, off design and concept. And this particular lager over here sort of in the third column, second from the top Genesis. Still, that's the one that we're gonna be doing a case study on as we go into the into the into the other lessons. 3. Lesson #2 - A Great Concept: right, guys. So this is the second. Listen, I'm gonna look a what is a great concept And, uh, how do you come up with a great concept? Perhaps Sometimes you feel as confused as this guy. As I was saying, sometimes you you think it's the sort of magical idea you need to come up with, and I'm gonna show you that's that. It's not like that and that if you just follow the right process that you can come up with the great concept. So just to recap on our definition of great concept isn't out there that you come up with for the local. And this idea needs to be relevant, appropriate and clever, giving another layer of meaning to the logo in creating intrigue that extends beyond the initial impression off the design. And as I mentioned before that not all great ideas you may have or write for the brand just because it's a great idea and that it's sort of relates to the brand. It doesn't necessarily mean it's rot for the brand, and there are three key factors that make up a great concept. The 1st 1 and I've touched on them earlier on, and I'm still expelling them a bit more. But the 1st 1 is that it needs to be relevant around the idea that you need to come up with musk. It is to relate to the brand personality and the industry you're designing at four and ultimately connect with the brand that might not commit immediately. But ultimately it must connect. And, uh, in the case off in the case off the Coca Cola logo. The idea, I would say, Well, the concept or just one of them would be the smooth, flowing liquid lines that relate to sort of the experience off the off the drink, you know, which is flowing, which is energetic. So in, in my opinion, you know, one of the concepts here this has really come across in the treatment of it, but it's a relevant treatment. If they had done something that was sort of most solid and strong and cold and you know not as friendly asses, then it wouldn't have been relevant, perhaps on one important point to mention also on that is that that sort of flowing idea that they came up with, they translated it eventually into the swish that you see underneath the word Jessica and then once again under friends. And and basically they've taken that concept, that relevant concept, all this off the smooth flowing lines. And they've created a generic shape. Because, of course, Kaka color is used in so many different countries. And a shape off course has it isn't constrained by the limits off a language or a dialect. So they are not able to extend the attributes off the Kaka color lager and the treatment off the Lego into a shape that can be a universal across all languages. So you are that that worked out really well for them. Okay, appropriate. Now, this isn't an actual logo because I couldn't find one bad enough. But this really illustrated the points I wanted to get across that I just created this very quickly in a very centerist ical mockery kind of way. But appropriate is the next point. Your concept has to be appropriate. Now if we read what I've written had the idea has to be in good taste and appropriate within its markets so that the market resonates with its message and its mood and are not repelled or pushed away by it. Don't be clever for the sake of being clever, be appropriately clever. Now, the example of used here. As I said, it's a hypothetical situation. But so, for example, there was a God called John Wayne, and this is his actual birth name. His first name's joiners, Surnames wing. And, uh, unfortunately, his parents called in that and Ah, and he's through his laugh obviously carried the Western association, you know, of a cowboy with his man so basically and have experienced this before where the client has a set idea in their mind off. Exactly. This is the root there. Wanna go? This is how they want their brand to look because this is what they personally relate to, whether it's appropriate for the brand or not. And so, in the case of John Wayne over here, you know whether he was gonna be a plumber, whether he was going to be accountant, whether he was going on a beauty seven, you know, he had this idea. It is here that he was always gonna have the sort of Western look to his logo into his organization. Whatever it was that he whatever industry he went into. And of course, this kind of look, you know, with the sort of slab sphere of funds is not appropriate for the accounting for the accounting community. So that's s so yeah, the idea, that is, it has to be appropriately clearer. But just because it's clever, it doesn't mean it's gonna work for that, Brandon, for that market now, four. And I did to be cover, you need to come up with a concept that when the view it gets it, he needs to have the response off. Okay, that's cool. I get it. Kind of Ah, Eureka moment. The last. Come on, These concepts, these these are usually concepts that the viewer doesn't see straight away. But as they are intrigued and engage with the logo and the Brende, the lights come on. Sometimes the idea comes across straight away. And sometimes, once you look at the logo further or you maybe read a story about the brand, it kind of the penny drops and you get it, you know, and sometimes the the clever ideal. That concept has two layers to it, you know? And if I look at the at the apple brand, you know when I guess could draw their own conclusions about what the apple brand means straight away. I mean, you see that you see the obviously the fruit straight away, and you start to think on that first level. I mean, what I think of in nothing, it's officially, they are there. But what I think of you know, an apple brand has become very accessible. Very simple, very pure in the information and computing world, you know? And that, for me, certainly is. Ah, an apple in the fruit world. You know, Annapolis certainly Arconic in the fruit world, you know? So that's kind of the association that adroll from it on the first layer. But when you come to understand on the brand about more and you investigate more, you realize that the initial idea off the apple logo goes one step further and what it actually isn't where it came from was off when, as Agnew Tim, sort of supposedly legend has it that the apple fell on his head and you gotta say, Wow, this idea will gravity, you know, And you just came up with that whole theory and that's what we have today is gravity and and and And this is very appropriate and relevance and clever association with with the Apple Brandon with Apple parts. Because, of course, they are always having these ingenious, original thinking ideas you know about technology. So yeah, So just to just to sum it up then And as in the case of this brained, uh, the concept needs to be clever or or it can be clever and we're going to go into that in further detail in the next stages. Now, basically, the three things are. The three lawyers are looked at all sort of different levels off concept and and in my experience, off branding and logo design over the years on. And I've narrowed it down to that that there's three levels of concepts that can be applied to your longer. And it's important that you choose the right one. You see, because some lagers don't require, you know, don't necessarily need a clever concept behind it. Like if you look at the coca color concept and you look at the Apple concept, you know that Apple had more of a deeper hidden meaning. Where is the Coca Cola logo was more of a treatment concept and all, And and I think we can get very stuck on thinking to ourselves. Well, I will certainly have over the years where when I'm doing a like, I think to myself this leg, I try to create this sort of hidden concept in this mysterious concept behind it when it's actually not necessary for the Brent. And what we're gonna do now is just look at those three different levels or tops of concept that you could possibly use when designing your no go and just to touch on it again. So the Coca Cola Logan out. This, I would call, is, which is what you would call a stylistic concept. All right, stylistic being the the key wouldn't stylistic meaning in the way you treat it. So let's read through the 19. This is when you give a treatment to the design off. The longer that is either number one appropriate with that brand's markets or industry number two echoes attributes off the product or service off the relevant brand. So in this case, you know, I would say that what speaks more loudly for me is there, and because the attributes off the parts off the smooth, flowing, energetic Coke heads life drink. And so this is what I would call a stylistic concept. Where you through The way you render it through the way you treat it, you communicate a effective message for the target audience. The second level on is our eyes. What I would call an obvious concept. This is when you create in our condo mark independently from the local atop or using the longer top. And that is based in this country and this from a monk and is based on a concept which, literally or obviously acres and simple, as is the brand with the name of the brain. So what we're saying here is that you cream are con separate from the from the lug atop you . This particular brain is called the Hartford Whaler Nation. And basically, this is the Akron, okay. And basically, this Arkan can stand on its own away from the text, um, or it can stand to give it with a text. Or you could say, take one of the letters in the text and turned that into a Narcan. But effectively either one of the letters off the off the leg atop all the arc on itself has a symbolism in it, and this symbolism is not sort of hidden or satirical. It is very obvious. So they've obviously chosen I a whale's tail and this and that. This sort of, you know, the accepted sort of use off the off. The whale's tail is kind of the tail flapping out of the water. That's how people associate ID. People come to know it, and it works appropriately with this brain, and it's very it is very obvious that that's a whale's tell. So I would call that an obvious concept, a level three as we've looked at and discussed the apple logo. This is when you create a Arkan or Mark independently from the Lega top of using the lugged it up, which is the same is off course in the previous one. That is based on a concept which is subtle and hidden but ultimately found, which echoes and symbolizes the brand or name off the brand. We're a bigger idea, not immediately understood by the viewer. So what we're saying here is it's It's basically exactly the same as the previous on a concept where it's an obvious contact or any difference is that this time the concept is hidden. You kind of your mutt gets some sort of meaning from it straight away on That brings some level of intrigue, but you based. But as you look further or as it's revealed, further bother by the brand through their communication that basically, there's another layer of meaning to the logo and white. When you get that sort of extra layer of meaning and you kind of get it, then the Brende resonates and connects even more with you. Um, so you know, that's expect. That's basically that what I would call the hidden concept. And once again, as I explained on the hidden concept in the Apple brand, of course, was the idea of the apple landing on the hit off as a mutant. Of course, then this sort of had this great eureka moments. Spark of genius, spark of ideas. So that's the hidden concept 4. Lesson #3 - A Great Design: Hey, guys, Welcome to listen Number three in how to design your based longer ever in. And in the last lesson we looked at how to come up with a great concept and what is a great concept mean, what makes a great concept. And in this list, we're gonna look at what makes a great design. And how do you come up with it now, dear friend of he has come up with these great concept. But now, of course, how does he roll the satin so great design? Just to recap on the definition off a great design is that a great designers one that visually allows and enables the great concept that you just come up with to come alive in a manner that places it appropriately within its market. You differentiates it enough to make it iconic. Now, to come up with a great design, you need Teoh, break down your design into the fundamental building blocks. Like for example, if I could Ah, you know what? If you wanna look at a meal, for example um and ah, pastor, for example, the ingredients off the pastor would be pastor itself. It would be the Napolitano base, which of course, is made up of its own ingredients. It would be the meat, and it would be the vegetables, for example, and those so four main ingredients that we bring. If you bring them together with heat and a bit of oil, you know you get your end result. So it's pastor plus tomato source plus meet plus vegetables plus oil, plus, um, heat. And then you get your pastor in the same way. There are building blocks or ingredients that make up a great design, and all of these ingredients and components need to be carefully considered. When you are creating your great design. These are the building blocks that have broken it down to, and if you follow these and you deal with him, step are stick. These are the steps that will enable you to systematically and methodically come up with a great design that is going to allow your concept to come to laugh and make it medical. The building blocks on mood composition shape, Icahn funt color relationship refinements. Now these building blocks are not to say that these are the early bowling blocks. They are other building blocks, perhaps on do you can look at other ingredients for, uh, for the great design that you want to come up with. But these are just basic ones that I've come up with to guard you. And let's look at them one by one. The 1st 1 the first building block is mood. What is the mood off the brand and the industry? Because the mood is translated into the style. For example, if you were building a brand for a steel company, the mood would probably be very cold, hard, masculine. The colors would probably be cool colors, not sort of warm colors, but that could possibly be one that could be called a warm, cooler. Colors come to my mind first, but basically, you know, those are the ones that I would associate with say is still brand. That would be the mood. So it put kind of a mood board together. Would you look at the industry and I would put together all the different brands and sort of images of steel, and I put all these things together to establish the mood off that particular brand because what that would do is that would really start to layer and lay foundations in my mind on off the end result. The mood. For example, say a beauty company on that I like a beauty shop, for example, or a beauty parlor would be sort of very elegant and feminine, with thin, flowing lands in use of pink and lots of white space. And it would be very feminine. Um, that would be the mood. So that's what we mean by the mood. And that's a very important thing that you need to establish. In fact, I would say you need to establish that first before you move onto the next stage. What's in the next building block composition and shape. Most often, but not always. It helps to choose a composition that will invoke the appropriate psychological associations with your brain because you see if we look at the various sites that you get and compositions that you get, these shapes basically could either be a shape within your loca or they could form a composition by which you base your logo Design on. For example, when you put your longer together in your text and your strep lon, they could form a square shape as you symbol if they could form a vertical shape that you see is number two, a horizontal landscape cyp on a good former triangular shape or a circular shape. And there were different associations with these shapes. For example, if you were doing it for a corporate organization, you would probably use like, for example, a law firm or a or something like that. You know, you would probably use something like a rectangular composition on diesel. Just basis is, really. I mean, your loga doesn't have to be this perfectly shaped rectangle, but you certainly take your inspiration. And you can take your cues from those compositions because there are psychological associations with all of these shapes, and you on a capitalize off of those associations subconsciously in the man off the viewer and in the mind of the markets to create the correct response to the Brent too crude to create the desired response to the brand. A circular logo, for example, is a bit more friendly, you know, so you would use that, you know, with other brands. So it's important that you research the associations of various shapes on the psychological associations of each shape, so that you potentially when you if you're struggling with your lawyer to come up with a composition or something. When you look at the association's off the composition, that would help you to find the right composition for your brand. Not all ogres have icons that I have to have. Arkan's The the Coca cut off logo, for example, is doesn't have a Nikon. Well, it doesn't now. It has the flowing the flowing ribbon, but originally it didn't have an icon on. But the logo is still iconic. So a lot of people sometimes, I guess, think you have to have a Narcan or yeah, I think that's what a lot of designers think. I think they have to have an Akron, but you don't necessarily have to have a Narcan, but certainly whatever you do, I mean, if you just if you just type the text and you treated correctly, that becomes Arconic, as I say, like the Carbon con, a lawyer on the Arkan can be something that lives separately from the loader. Well, sometimes it's one of the letters off, the longer on one of the letters off the logo becoming oh isn't icon, and that that is a very powerful way to do an icon because you can. You can still have the whole word with the icon, or you can have the Aklan on its own and people will also associated with the brand. And that's the benefit off Narcan. The choice of funds is the next key building block, and you obviously need to choose a front. It's appropriate, and, um, and sometimes you can even create your own funds. This is very often what I do with the with the logo design, because, uh, if it's a very if it's if the logo is a very funt driven Andi logo, in other words, there's no, um, icon. Then I would be more than likely designing my own front. Sometimes what I will do is I will take an existing funds, and then I will just customize it a bit to make its move more Arconic for that particular brand. I will just ultra habits or I will modifieds event and just to make it to to take more ownership of it and to make it mawr iconic for that specific brand and more unique for that specific brain. But obviously coming back to the point is that the choice of funds is obviously, really, really important. You obviously need to make the citizens between Sarah Ford or or sans serif on thick, thin metallics, a combination off those all caps, all lower case, you know in the first, let the first constant being capital of and risk being lower case. All of those are key ingredients in your choice of funds we get. As with shapes and compositions, there are psychological associations attached to colors and assess. They need to be chosen purposefully and carefully. Once again, you can lock with the shapes you can research colors and the various associations with color coming back. Teoh the branch we looked at earlier, the color used by by Coca Cola off rid off course, whether they intended to or not to have this benefit. But I mean, colors really is everywhere in the world, and rid is one of those colors that is just everywhere in the world, you know, it's just used everywhere, and it's just so common. It kind of almost United Nations that crosses borders, just crosses all nations the color of red. It's the it's the color with the greatest, you know, wavelength on with color spectrum and in the rainbow, you know? And that's why, of course, you see red robots because it's the most noticeable. Um, yeah. And of course, if you're looking on a shelf in is a whole lot of products next to each other because of that color association, because red is the most powerful color, you know, you see the red ones first. So if I'm choosing between a range of soft drinks, I'm gonna, you know, see the red one before I see the others. Technically speaking, so color is a key key association relationship when designing. And then this is a relationship between you and your client. This is relationship between elements off the logo. You can win designing a logo that hasn't act on. More specifically, this is the relationship becomes important. A longer top in a strip line, for example, an icon a load it up in a strip club. It is imperative that the relationship and positioning to each other off these is aesthetically balanced. The relationship between the your AC on your lager top and your strip plan is key. It really exposes you as a designer, you know, and this is something where you really have to do research. I don't notice any sort of hard and fast rule as to the relationship off off these elements . The logo, the icon. Look atop the icon in the strip lime. Andi, I don't know. There's any a hard and fast rule out there, you know? But you come to know what works and what doesn't work. I mean, generally, the various options that people go for is is having an icon to the left off the lawyer top above the longer top on to the rocks off the lager top, never really below the lower top. I haven't really seen that much. Below the leg atop normally goes the strap line. So yes, relationship is a very, very key element that you gonna need to look at and research. Um, when it comes to really putting your longer together in its final stages. And this is one key point. Once you've done all of what we've spoken about before, this is refined, refined and then refine again. Think of it like a screw that's been put into a hole and it's ah or an, and it's attaching a hinge to a door. And if that screw isn't touch and and if the wood that it's in isn't holding it securely, then that door is gonna become loose the more it's handled an eventual full. It's the same with the design. Once you've gone through all the stages off and off going through all the key building blocks, you've got to concept you. You've put all the correct colors together, funds all these things. You you put the icon to get of the lager top in the You know, all this engine eater of finding you need to look at them individually is individual elements that I can individually, let's look at the lug atop individual strip on the relationship, and you need to refine, refund refined Look at it. See, Is there anything that stands out that just doesn't work, you know? Is there any way you could improve on it? Is there any way you could make it better, you know, is the relationship between the elements correct? Try a variance. Try variance off colors. Try as many as you can. Try as many relationships as many color variants as you can. Aziz many permutations as you can, because by doing vets. You are ultimately gonna arrive at its a refund logo where when you look at it, you'll say, men, there's absolutely nothing that I can do to make this more perfect, a little bit like when they're mining for a diamond. Or maybe that's maybe that's not the best example. Let's look at gold when they're mining for gold. I think they have to take a ton off or out of the ground to get like a few grams off gold and in the same way and in the way. And the way that they do it, is, is, is by fire. You know, through fire they're able to eliminating. Get rid of all the dress, you know and all that, all that junk so that eventually all that's left is pure gold, and this is how you want to be with your design. You want to refine it and test it and try it and get input from your colleagues. Get input from people who you respect their opinion, you know, and by doing that, refine it until it's absolutely, absolutely perfect. 5. Lesson #4 - Step1 The Brief: Hey, guys. So now that we've laid that foundation off, what makes a great logo being a great concept on a great design? And we have now outlined what a great concept and what a great design is and how you get there. Uh, let's go to step one off. Designing your longer for your client. The first step is the brief. Now, the brief is moment is something that the clients about supplies you and I said normally, which in theory should tell you everything you need to know about what they require for the new logo. But the reality is that your client is more than likely ignorant to all the things that he or she needs to consider. We're creating the new logo you see years. The professional in this area is gonna need to guide them through the process. You're gonna have to have a Siri's off question that you're gonna ask them so that they had said You get ALS the information that you need to do a great logo, you'll need to extract from them all the valuable information required of you to accurately address their needs. Now, don't get me wrong in this you see, they maybe don't know what they need to give you, so you need to guard them through that process. But one thing absolutes in creating a great logo for an organization is that it's definitely a partnership. This thing's about their brand that you don't know. You worked with lots of brands. They only have one bread, so they know their brand. They know more about the brand than what you do. And I certainly wouldn't advise going into it with the attitude of, Well, I know everything in, you know, nothing. So just let me do this for you and I don't really value your information. You know your input into the creativity. I've certainly learned that you need to be humble in this area and and be willing to gather as much information and input from your client as possible on because the input that they give is really helpful on in you creating the best possible solution for the brand and ah, good, quite that I heard once, which absolutely resonates with this with spot that I'm sharing in this and the quite goes like this. None of us is good as all of us and the collective is always much greater than the individual. Bucket is a metaphor. It's a little bit like a fashion designer Now. This is when it comes to the brief when you're designing a wardrobe for someone, if it means the designer would need to understand that person's unique makeup and the personality before designing artoms off clothing that accurately and effectively expressing personality. So what I'm gonna do? Nice. I'm gonna guard you through a range of questions that you can ask your clients and a little bit like the building blocks in the in design. These are would sell the building blocks off, getting a good understanding of what your clients off Rio clients is and what their goals are so that you accurately, uh, creates a design solution for them. The first question is obviously understanding. Who's they all? Um, what is the name? Are they happy with that name? And even if they're all happy with that man is that name rots for them, and I'm often challenged, uh, clients on this, you know we're there. Sit on a name and I'll tell them Listen, I don't think that that name is is the best possible name for you, but most of the time they're stuck with it. But off what? Also times we've been able to come up with new names and suggest new names for companies that are more appropriate and relevant. What do they do, although a service orientated industry or their products or entitle industry? Um, if there as a service or product or intensive industry, do they have sub brands? Well, sub services within their industry, for example, of a you know, an architectural firm and the And they have sort of industrial architecture, a residential architecture and commercial architecture as sub brands within the one brand. Um, if their product business, do they have one product only, Or do they have a range of products? If it's say, sort of a brand off, off cool drink all their different flavors within, you know that brand it will need to be considered. So what do they do? And who are they? What is their structure? Um, another important point immense. And just before I go into, the next point is that generally with brains, you get two scenarios. A company can either be a branded house or a house off brands. A branded house would mean that the company has a monolithic brand and the monitors analytic brain could be cold on Neptune, for example, you know, and Neptune, as an organization, has five services that they offer the clients. And so Neptune would kind of be the roof on the house and the and the pillars of the house would be Neptune would be the pillars of the house would be sort of the services and the monolithic Brandl. The mother brand would be called Nettuno, and then the first service would be called Neptune A the 2nd 1 Neptune Be and snitchin See and Elgindy, so on and so forth so they will be labeled Neptune. But in a house off brands, the group or the riff brand could be called nature. But the neck chin could have five products that the offer and all the products are different. They don't relate to each other, you know, on their muscle. Be cool drinks, for example. But those products all targeting different markets, and as such, they all need their own identities. So that's a house of brands, and that's something important to identify and to be aware off if it's relevant to your particular client and how they do things and have a structured we were their target market . Uh, this is important because obviously, if you talk, the market is you know, all the people you know who struggled with Assad's or your target is young sort of school teenagers. That is all going Teoh dick tight. You know your building blocks, your bowling blocks will be completely different or your your your solutions were building , but you're building your design building block answers the mood, the funds for color, the compositional. Those things are gonna be different depending on the target market. Because obviously a younger market would appreciate a design that looked a lot more contemporary on very current sort of very fashion ist ic, you know, sort of funky colors. Frankie funds, you know, very contemporary design where they say a lawful. You know, we need a lot more of a corporate design, you know where it's a lot more reserved using deeper colors, you know, more elegant fronts and not so not funky. It'll actually you know. So once you understand the market, then you will create a relevant and appropriate a design for that bread once you understand the market because ultimately you gotta ask yourself, The question is what I'm doing is what I'm designing, going to resonate with my market. Is it going to speak to my market? Is it going to convert my market into using this product into using the service? What is the goal? Is an organization for growth? Um, do they just want to achieve, um, awareness? You know, I just didn't want to increase their awareness in the market on. Do they want to increase sales? What does they go? These are all things to be considered when designing the longer who were their competitors . This is very key to understand, because, um, if you are going to be competing in a certain industry, it's important that you need to. As I mentioned in my in my in my great design Reston Mall, you need to fit in with the market, but you need to be Arconic enough to stand at from the market. And, for example, if I could just using the destruction if I if I'm going into the to the the crisps market, what chips as we call them in my country um and and I've never been in the market before. And now there's four other people or four other competitors that have got crisps on the self in this law. If I went to If I want people to be comfortable with trying me out as a new product, I need to look not too different from the wrist. Like, for example, them. It may be a better example if I'm if I'm selling moat. And over the decades people have been selling milk in blue containers, and all of a sudden I don't want to start selling in an orange container, you know, and it's it's not necessarily gonna work because there's a reason. While markets and blue containers and people the market have come to trust, uh, Mulk, it comes in blue content. It's all of a sudden, if you see it in a storage container, you gonna send you don't think I'm gonna try that, You know, it doesn't give me the right feeling, you know, and they might not decided consciously, but on a subconscious level, they're going to go with the safer choice, So it's important to know your competitive and what they're doing, and How do they look also once again, not so that you can blend in, but so that you can. You can blend into a degree, but then the next level is to you could be safe. But then the next level is into differentiates above them and pass them so that at the point of purchase, the consumer decides to go with your brand. This is an important question, not always relevant, that you're gonna take cognizance often, but but very often you need Teoh. Just appreciate the fact that they have seen logos that grab their attention more than others. And the reason this is important in my experience is because, um, the clients sometimes has seen brains that he likes. And what this does is it points you in a direction so that you not straight off the bet, going to design something that's completely different from what he's looking for, You know, because as much as we have what what we call our expertise and our knowledge and all those things at the end of the day, you know, the client is still gonna want what he wants, you know, and I'm not saying you need to give him what he wants, but I think it's important to look at what he lacks and to see if there is merit in that. And if there's merits into the inlet to get inspiration from that, to give him something that if it's work, if it works and if it connects with your rational, uh, then you've got a better chance at pleasing him the first time around. This is also very important. As with the previous point, Do they have any preconceived ideals regarding color? I've experiences recently with a brand with ah Winters, what are believed to be correct. But they were debt sits on a specific color. They wanted a specific Connor, and although the specific color isn't normally associated with that market or that industry intrinsically and inherently, there wasn't really a problem with it. And it wasn't if it was something that was radically incorrect, I would have I told them, but because it was what they wanted it because it worked. It was ultimately what we went with, and it's very important to ask them this question if they have any preconceived ideas regarding color, because you could, for example, present to them a great Lego, a great design, but you've designed in the color that they don't like. And they look past the great design, and all they can focus on is this leg is in the wrong color, and then you've lost. The merits of your grant is not, which is why we're not present. Legos are generally present him in black and white first so they can appreciate the design . And then I saw it in a variety of color of concussions. We will then logo mainly be used. This is especially relevant today because a lot of companies are unlike only and they're not in print. Andi, of course, the and a nursery and on that same point and on other companies you know, are mainly in Prince. You know, they haven't online prisons, but they mainly in Prince like in the case study that I'm going to show you end. While it's important, because there's certain limitations in print and there's certain effects with a logo that cannot be achieved in print, and they don't look the same in print as they do on screen, and these are important things to be considered. Otherwise, you could create a longer. That's not practical for, um, that's not practical for its end usage. Now, at the end of this particular lesson, listening before we rebooted the brief on this is step nimble wonders of said. And ah, what I'm going to take you forward from. Step One is to look at a case study of a client, that adult, that A that a full corporate identity for a successful corporate identity. And they are Genesis still in Johannesburg, South Africa, and I'm gonna take you through the four stages, put all the stages off the off the design process, and, ah, and using them as an example. So to conclude this, it was First listen along this fourth. Listen, step noble one. Um, what I'm going to do is just basically give you the answers to the brief. In other words, I went through the process of all the steps that we've discussed in terms off, asking the client of various questions and understanding them to get information from them . And these are the answers basically to the brief for this particular brand for which we doing like I study Genesis. Still are I still wholesaler who actors middle men between those still manufacturer and still supplier and lies a cutter industry they supply all forms of still required by their market. And as such are leaders the target market or mainly men off age groups ranging from early twenties to sixties. Their goal is to be perceived as a leader in the market to the markets and competitors, which will shift the currents perception and ultimately create a sense of confidence in the market as well as in the competitors market To drive and increased sales and market share. The main competitors, Max Steel. They have no preconceived preference to a specific color, and that concludes Step number one. And with this valuable information on hand, we go on to Step two, where we start to conceptualize the logo. 6. Lesson #5 - Step2 Design Building Blocks: right, guys, this is listening. But five Step two. And in this step, we're gonna be looking at the design building blocks Onda. Of course, we established that we establish what the building blocks were to make great design. And now that we have them information we've established from the briefing Listen, we can ask, sit in place the design building blocks before we start conceptualizing and designing and a very important part off, um, creating the design building blocks is doing the research. First of all, what the research is we look at the range off competitors within the market and the way I've done it in this particular example shown in this screenshot is that I've just Googled still logos South Africa because that is with the competition are and where they come and where they are situated on dso. If we look at what I've found, we see a range of loggers within the South African still market. And when I look at this, I start to get a feel off treatments um cyp Icahn's colors overall mood. If I look at this particular screenshots, um I see. And of course, of what of Google's here is more still manufacturing and the client is not really a still manufacturing. There are more of metal man dealing with kind of end products, sheets of still channels, all the various shapes that still comes in and how it in the sites that it is used by the other by the retailers. And, um so we look at this particular screenshot. We see that the manufacturers have colors off warmth associated with them reds and yellows and blacks um, associate ID with what they do moving to the next screen shot we see that's more colder. Colors are also associated with still graze cooler blues, cool grays, colors like That's so now that we've done that, we've established, Ah, we stop. We've started to put a layers in our mind the foundation of our mind off color and feel and things like that, which will their foundation when we start designing and conceptualizing, avenge trying and still is one of the competitors Onda we can see from this logo. Uh, we can see the masculine use of fun. Now, this is all part of the research process. We researched the industry. Now we researching the competitors and we can see from this competitive. They've used very masculine shop shapes, which are obviously very, uh, consistent with with still on bond. This is what you call a a branded house where the avenge lager is the monolithic or the mother brand and the trial and still is the sub Brent underneath the monolithic brand and avenge actually ever range off the visions underneath them represented like lis. But obviously with different names will be avenged, Lis, and avenge that. And what they've done is they've my intended equity of that particular brain by including it in the sub brand. This is not really a competitor of this off object of Genesis. This is more a generic steel symbol. Um, but it certainly helps towards confirming the direction that we're gonna be taking with us brand in terms off the sharpness that strength, the masculinity off the treatment. Max Steel is also one of the competitors. And ah, you are obviously not not a tremendously designed like a, but once again, also use of cold color now, as mentioned before on these considerations, are vital because they help us to understand who they competing against. But more importantly than that we need to understand and decide how we're going to differentiate them from the competitors. Score Metals Group This is more of a corporate Logan, Not very masculine but quite masculine, with sort of softer nuances in the way the funded of chosen and the Akron Andi certainly, you know, certainly masculine, but looking a bit more towards the corporate sound. So what we're gonna conclude now is in this section is there is. It was really conclude with the Russian mall or the design building blocks that were not established. Um, after having been through the brief and after having research the market have income to understand that clients having come to understand the competitors have income to understand the mood off the steel industry. So based on on this information of established that my composition is gonna be horizontally rectangular, not vertically rectangular, horizontally rectangular obviously is also more practical for San egx Andi horizontally rectangular is symbolic off strength and stability. Obviously very great associations in general, as a company, but also from a product point of view, obviously steel being and a product off strength uh, cyp now shape obviously means, you know, if I'm being the icon I would consider using a square shape, Um, not really composition, but more than more this shape that I could include in the icon on by saying possibly a square for the icon, which, of course, symbolizes stability, strength, reliability and then bringing in perhaps curved edges to soften the hardness off the sharp corners. Because obviously, you could also come across being Quat, um, sort of unfriendly, you know, with Logan, it's all hard lands in no sort of roundness to it, but it certainly would be a mixture of about 90% hard and 10% friendly, because it's certainly not a feminine feel that we want to bring across. Um, I kind of decided that it'll definitely work on an icon idea to make the logo mawr Arconic to differentiated from its competitors. And Teoh ultimately create mawr brained equity cause obviously, a on Arkan is very often not always, but very often a lot more memorable than a logo top. In terms of the funds I'm going to use. Something is very strong, masculine but still corporate. Um, we're not going to do something like that. John Wayne logo in terms off masculine. Not that kind of masculine, more of a corporate masculine and definitely not think, because this would be a bit too feminine. Well, this very masculine brain, in terms of colors of decided to go with cold, neutral colors, possibly blue. But whatever color I would use, I would definitely complemented with a Great because it just makes absolute sense to use the gray color, Um, with still brand blue, of course, his greatest associations off being corporate stable, uh, evoking trust. Gray, of course, is Thomas. It's just still stability and maturity. And of course, this particular organization has been around for some time. Andi. It's not led by sort of some young sort of hipsters, you know, trying to make a quick buck. It's people that have been around in the industry for a very, very long time, and we certainly want to bring that sense of trust and maturity across to the to the market . 7. Lesson #6 Step3 Scamp your Ideas: Hey there, guys. Welcome to lesson number six, where we could look at step number three off Scam Ping Europe is now that we've then these critical 1st 2 steps the first step being getting all the information from the client coming to understand that fully, um, following the steps off the brief looking at step number two where we with that information research the market and let a foundation in our minds, Um, regarding the Brent and regarding the markets and we put in place the building blocks, we established things like composition. Oh, established things like color shape funds. I'm all those things and and now that we know that we have the information, we can start building and our bread start building a longer and mental, that information that you've gathered has started to, um, lay a foundation in your mind whether you've whether you're aware of it or not. But it lays a fundamental foundation in your mind. And really, what happens from here on becomes a result off that foundation. It's a little bit life of golfer who who hits a ball, you know? Hey, goes through all the steps of practicing off keeping his head down, you know, keeping his hips straight on his feet in line with his shoulders and all the steps. You know, off practicing that it does for years and years. And eventually, you know, when he eventually hits that ball in his first major tournament, he doesn't in his mind think hit down feet like the soldiers like that, because it all happens in a split second. But because he's put all that sort of muscle memory in him, you just automatically hits the ball beautifully. And it's because he's laid that foundation in the same way. You know, in his previous step one and two, you've laid the foundation in your mind in terms of where this brain is going to go, even though you might not have an idea in your head as yet. So this is now where we get to the point where we start scam ping our ideas and don't you ever go straight into the computer. But start with a layout pad and a pencil or a pen. That is really the only way you can really think freely and have fun, Um, with the design and with the ideas, and this is really something I believe in. And that's believe you always need to Do you know, when designing a logo especially, um, you know, otherwise what you'll do so end up doing something within the constraints of the program. And it becomes very obvious to the trained up that logo hasn't Bean carefully thought through and designed on paper first. So once again, we have established the design Russian mall for Genesis still, And so what I'm going to show you now is so you must scamps. Now, this is the actual skimps that I did A managed to track them down. Unfortunately, as you conceal, stop but find numbers written on the top end squiggles and doodles and you know what I mean . But this is the original stuff over three pages of it. And basically, to show you here, I really just started to play with the letters off the loga, you know, on to try to come up with something on a conceptual. For that, I did look at a range of other options which I haven't included in these video lessons, but I have included them as extra files that you can download and have a look at where I looked at our cons. Edward, based on the letters so you can see them. But I'm not gonna take you through those. I'm just going to focus on the scamps where I am designed it based on the letters and try to come up with a unique shape based on the letters. And if you look at these scamps that I've done, you'll see I'm trying to work on different relationships and looking at different possibilities where amusing lower case letters, uppercase letters, turning letters around, trying to join them, you know? And And that's and that's really what I'm what I'm playing with and you start to see coming into play here. Some of the design Russian, all that are laid in step number two in terms off rectangular sort of shape, um, straight strong lines with curved edges. All of those things start Teoh start to come into play in my scamps. This is the next page. Rapps have taken them a bit further and you can really have fun at this point. Here we see some more, and if you look on this particular page, you're going to start to see eventually what the final logo became, but basically I started to play with the Gina Isn't the one on the extreme left Andi You'll see there? I've really found what I believe to be a really must seamless relationship between the G and this on DSO that really it was the first layer to get a good relationship between the G and the S. And I really, really, really enjoyed the way that the GME is came together in the one on the extreme left and on the extreme rats. Because, Andi, you'll see that what I've done you'll notice is that I just created a very subtle gap where I was going to now differentiates this from the G so that you would see it as one. But then you would see them as to the first impression he was here. There's one unit is a shape as a mark. And then on the second level, you would then in the second level in your mind, you would see it as two letters a G. And it is by just breaking it in between. The Jimmy is and this was very important because there was a possibility that this logo could start looking like CS, you know? And of course you don't. And I have been in those situations where you can see it, that it listens, the clients going to say, but that looks like a C s. You know, we're notice or something like that. So you know, they're gonna ask that Christians are rather deal with it early on. And that's why I are brought in a break in the letters on and for me. Yeah, I was really happy with the way it worked out. As you'll see in the further slaps to follow on. If you look in the middle, you will see now and once again coming back to my point over a fun refining refund again. Once I established the right relationship, I didn't stop there. I didn't say, OK, I'm happy with that is my Logan. That's not the way to be thinking. You need to be pushing the boundary if I come back and I say, Okay, I'm happier than I've traveled the sins, but I'm happy with where it was originally and you go back to that. But you have to push the boundaries. So I said, I can't find I'm happy with the lack of love. The relationship second stage was that introduced. We get between the C, g and s, um and and I'm happy that they're communicating. Then what I did, if you look in the middle, is you'll see are basically turned it on and sort of about 45 degrees are rotated it on the center access, you know, So that informed, sort of like a diamond shape, and then in illustrator, our angle that up to give it perspective. So I took the first level was the G s relationship. The second level was having the having that shaper and tight ID. And I saw this in further detail later on and then eventually angling it up to give it a bit more to make it look a bit more dynamic. And to give it a thickness as though it was a cut plates of still. So you can see this particular process I'm talking about on the left. You see the G s relationship and this is all my original stuff, and I didn't quite break it there, but that was sort of I love the merits of this because it was my original drawing as I just that you can see I was still looking to Where can I break this letter said. Then it could look like a G ender is. I've been rotated it. And then on the third stage on the rats, you see that I've angled that. I've kind of given in perspective and depth. So and that's really And if I stop just that, the first stage it would have been a boy would be a good like, but it's possibly a bit boring, and I basically just pushed the envelope delicate, a point where I was really happy with the results. 8. Lesson #7 Step4 Design Your Logo: Hey, guys, welcome to listen. Number seven, which is the final. Listen, andan this. We're gonna look at step number four. We're now we're going to start designing and what we're gonna be doing at this point is, obviously we've now, then our steps. We've scanned our ideas. We've got to go over to the point where I'm happy with the way the GS is working together are then looked at rotating it. I've been looked at bringing its interpretive perspective to give a depth and really, what are then achieved. We look here, I'm looking back at these three steps is I can see now. Obviously it doesn't look finished because it's just a hand drawing. But obviously, I know in the end, you know, this is a very important point as well is that you have to start with the end in your mind . So I'm Scam Ping, knowing that when I take this into application, how it's gonna look in its final application, and, um, basically, what I've achieved here if we go back to our building blocks is on. This is why I'm proceeding to execute it into design. It is because ALS the bullet points that are sort of touched on in the building blocks in terms of the composition, in terms of the shape, in terms of the alarms, in terms of a thickness off the lands, in terms, off color, in terms off front of established all those things. I haven't sort of established the fight IDs, but I haven't had during my head based upon the scamp that I've done on day how the front is gonna look because the thing that really involved creativity and that required skimps was the ark on. And because an icon is quite, you know, sort of elaborate and attention grabbing on what you want to do is you don't want to. Then go to the same thing with your top with your local top. You're gonna do something very simple so that the simple complements the creative and the creative. Arkan Compliments simple, like a top. So once again, as you can see, a you know the first thing I step process. Step one was establishing the G s relationship, figuring out a way to break it, which are still haven't figured out yet at this point on, then rotating it, not stopping just that stage one, but then rotating and saying like I like it And the reason I did that was because I didn't . I wanted this on this longer to look on. One of this are constant looked like the letters, but I didn't wonder Toe obviously look like the letters like a g n s next to each other. I wanted to make it like a mark. And then people say, Wow, that's a really beautiful mark. It gives me a feeling of strength. It gives me a feeling of steel. I can relate, You know what a powerful brand. And then on the second level to see the Jian this you know eso. So let's just take the boxes to see if I've come up with a concept that's relevant, appropriate and in clever. So basically, yes, I would say that it's certainly relevant because I've tried to make it look like thick cut . Still, eso that's relevant to wants to what they do in the products they offer. Is that appropriate? Yes, it is because it's a very it's a burst of corporate simplistic, a symbol, you know. And obviously the market there are dealing with, you know, um can relate to that can appreciate. And certainly it certainly evokes a sense off confidence and stability and strength. So it certainly appropriate and clever. Yes, absolutely. As well. Because, as I said, what I've tried to do is create something that starts off as a really powerful graphic symbol of strength and stability. And secondly, as they look at it further, they get to see the G and the S off Genesis still, which then makes it even more effective and more powerful. Now, what I'm gonna do, the next lad is basically jumped ahead a bit and show you kind of an end result of how it got to the Akron in its final treatment. And then I'll take you through how I created it. So on doing this so you can see a classical process off development and once again coming back to the point right in the beginning, that's there is method to the magic. And this is the method starting at Step 1234 and get all the way through about six or seven . It would get to see the process that I followed because starting at Step four, you can see have basically. And this is not really how are designed, but is basically, how should the client, you know, how articulated for him? I came to the process by building in upstate Busted. So we see instead before the G of Genesis. And then we see in step five the this off still, and you can see here where I've chosen to separated and you can see in number step for in five minutes. Two dimensional capacity. It's powerful. It's working, but we've taken it a step further. Steps six. Okay, I saw them in the final relationship together is one graphic shape where you can differentiate sort of the G from the s sort of the web centered and foreign five. You see, it is a unit, but you see the very subtle separation really, really powerful and strong. All those things we spoke about in terms of the design rational or coming through. Um, Step seven. You can see now how have sorry rather step it up. Got my numbers mixed up here. Step HTC River. A title it on. Then the next step. You see, what I've done is I've taken it and I've given a depth. We're basically, and how I did this was an illustrator. I took the Flett two dimensional version off version six off Step six and are basically gave it depth. As you can see, they're not too much because in a little looked a bit kitchen a bit corny. So in step seven, you see there by how much are a title? It I'm well angled it to give it a bit more dynamism. And in step number nine, you see the final Aklan. And really, as a designer, I'm really, really happy with our client is nothing I feel like an air to. It is nothing I feel I want to take away from it. It's simple. It's effective. It's powerful that strong really, really works well and works mass, obviously, in the two color levels were not brought in the blue, which works as the recessed area or the shadow Aerial. The darker area and the gray is on the top surface, so you are really, really beautifully treated Once again. If you could just appreciate with space the spacing between things you know they run in between. The Guiana is all consistent, so it's been refund refund refund to create a really sort of aesthetic and result, you know, that I feel I wanted add nothing to and take nothing away from so basically showing how I created it. This is the victor our plans that basically show how I put it together in the two different layers the first layer being the background, which is the which becomes the blue eventually and once again when I always designed these things are designed them in black and white first because otherwise the color can throw the client. Um, you might have a different platform to what I use, but I used a baby in design. You matches illustrator or some other victor Platform really? Doesn't matter, I guess. But, you know, generally it would need to be a victim platform because of Victor. Platform gives you artwork that can't be scaled Teoh any size and the sharpest off all artwork. You know, you generally don't want to be creating these things and finish up on. This is a web based longer because what I've done here is an in design. I'm showing you how have done it, however, applied the color of my colors that are chosen beforehand and I've applied them to the various two layers and levels. The fund SIPRI Take a look here. I've chosen of fronts called, um, Vatican New because it's a very pure, very simple front. It's not hard, like the avenge Lego with that's very shopping kind of bed man. You know, this is certainly a lot more corporate, Andi. It's not in danger of being feminine at all. And what you always want to do is you want to try. And she's a family that has at least three whites in it. Because when it comes to doing other communication like brochures and corporate stationery , you want to have a fun family, which has at least a bold and medium in a Latin version, because that gives you enough of a family to work with. When you creating brochure communication and other communication where you need that hierarchy and you need to decided hierarchy visually is with the funds of having headings and bald subheadings in a medium and in your body, copying a lot, for example. So that's a very important when you're choosing your Fanta, choose our funds with a good family here, you can see we're are really now taken this point and upset the letters. But I don't just talk about the letters and leave it like that. I take the letters are converted to APP plans and a really in very, very much detail, you know, going measure specifically toe alarmed, the laters So that they are line beautifully and perfectly. And precisely Now you can see as I don't have, the icon would have applied the colors. And I didn't put this in my skimps because I always knew in my mind it was kind of going to be running sort of on the right hand side of the icon. Onda knew it was gonna be a regular funded wasn't gonna be something with a concept because the concept was in the article. So So that's why you don't see it on the scamps. Um, but job I always knew it was gonna be simple. And as you can see, this works really beautifully on its own. And we've obviously tried to bring troops. Obviously Still try to make the logo top Arconic by bringing the words together. You know, there's no space between them and also differentiating them. I need about color. Originally, when I did this. I proposed to the client to not have to s is. But to have this at the end of Genesis being they'd be first letter of the word still. Uh, but you are. They just weren't brave enough to go that route. Yeah, but that would be really wasn't that would have really made the longer top very Arconic Onda without making It's too distracting from the icon. Now, this is the key part off relationship and J you can see I've used the grid using units as measurements and to establish the distance relationship between the icon and the text. And they have the final leg of the culmination. The end result off everything that we've put together that we thought through that we've planned. And by the time you get to this stage, you should be able to check all the boxes off your brief off, your design rational off your idea rational. You know that the the concept is right. It's irrelevant. It's appropriate. It's clever, the design rational, that the mood is right that the composition is run, that the shapes are right at the front is rats and then all those things are at the relationship between the icon and be longer, top of correct and, um, and that they really beautifully refund and balanced in relationship with each other. And then when I look at this as the final longer assets myself, man, there's nothing more I can add to that would take away from it, so I'm very happy with it as a final product.