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Logo Design Love (I. Principles of an iconic logo (Simple (Versatility,…

- - - - 1) Focus on initial recongnition - shape or outline gives it away
      - 2) Secondary is color
  - - - 1) Sketch an idea in 30 seconds
      - 2) Thumbnailing
- - - - Initial Form/Interview
        
        Preliminary Information
        
        Business Summary
        
        Project Summary
  - - - it’s critical that you understand from the outset why your client wants to rebrand.
    - - When you’re working on a project in which a client with a well-established identity is seeking a redesign, ask at the outset whether any focus groups established the need.
    - - Corporate to Familial (Rupp)
      - A little more fine tuning (JCJ Architecture)
      - Unifying the Elements (CGH)
      - Show some diplomacy
    - - Ask instead whether the current image is doing the company justice, and then focus on the positives of what you can bring to the table.
  - - - Generating ideas
      - Collecting your thoughts
      - Getting into a creative flow
      - Associating words with images and symbols
    - - starting word directly relates to the design brief and to the client.
      - Once the map is complete, I’ll make a separate note of the key words, which helps me to focus on the most suitable connections.
      - I get stuck, I go back to the design brief and pick another important word, add it to the map, then search for connections.
      - A thesaurus can also help kickstart the process when you draw a blank.
      - spend at least a couple of days of each project mapping word associations.
    - - keep an open mind and not limit yourself when sketching.
      - produce as many ideas as possible before turning to your computer.
      - Sketch based on a single thought. Merge two together. Combine a group. There should be a huge array of possibilities.
    - - Show only 1-4 ideas
      - Don't pass judgement to general public
      - Don’t include any designs you think might be unsuitable
    - - Leaving color until near the end can be good because it’s a detail that is much easier to change than the overall idea.
      - If you choose to show color when sharing a few different ideas, try using the same palette for each design to avoid client bias on the basis of color alone.
    - - key to helping your client visualize how great you can make the company look
      - focused on the end result, so the more tangible your concepts appear, the more the client will be able to visualize the benefits.
  - - - Briefly state the project background—why a new or refined identity is needed, what the goals for a new design are, and how having a new identity will actually help the company to increase profits.
        
        The more time that has passed, the more detail you’ll want to provide.
        
        Make your points clearly, without jargon, and keep them related to the original design brief.
      - Outline the ground rules
      - It’s your task to remind everyone that while their input is critical, they should resist the temptation to start doing your job for you.
        
        Let them know that what you need from them is strategic input and executional freedom.
        
        You could even share what constitutes good feedback with the committee,
        
        you have the ability to bring balance back to the committee when insiders can’t.
    - - Part of your definition should make clear at which points in the process input will be helpful, and when it won’t.
      - The committee will be far easier to work with when it’s included in development along the way—especially on the strategic issues that characterize the early part of the relationship—rather than apprised of it afterward.
      - Your goal at each meeting is to attain approval and consensus among the committee.
    - - So when you’re unsure how long a task will take to complete, always give the client an estimate that’s longer than the amount of time you’re guessing it will take.
    - - Remind your client as often as necessary to focus on just the idea—the story behind the design concept—not the intricacies of the mark or the particular choice of typeface.