Category Archives: Logo Development

Bashing designers is not my hobby

I seem to bash graphic designers quite often in this blog.

I grouse about reverse type, or type laid over a non-contrasting background.

I dis designers who immediately want to incorporate the initials of a company name in their logo designs.

Then there are the designers who use nearly-illegible type faces just because it’s “trendy” in Wired or some underground art magazine. And those who want to impart the latest fad illustration technique even knowing the style will date the brand.

But I must say, most designers do not make the mistakes just described. They’re looking for unique ways to present a brand while maintaining the style the brand naturally requires, and not resorting to fad-like, the-latest-thing me-to-ism.

It’s just that some designers do get carried away. My advise: tell them what you require – design that will last a while and represent the true core of the brand. Most will “get-it”. A few will not. When you run into one of them, don’t be intimidated – fire them.

There are plenty of good designers who know the importance of brand and how to design for the long haul. Seek one out.

Martin Jelsema
303-242-5975
 

Here’s a modest product with pro-like branding

Usually you’ll find me criticizing a branding travesty on these pages.

I can’t help it. There are so many of them and they stand out because they cause discord and disharmony. (And don’t give me the old story that any notoriety helps your brand. Not when with a little care and attention good vibes can be achieved for the same amount you’d spent on lousy branding.)

 Anyway, today I’m here to praise.

I saw an ad for a tattoo removing solution in last week’s USA Weekend. A 3/4 page, modestly colored ad with the headline “Finally…TATTOO REMOVAL. Beneath the headline a picture of the box was tied to the tagline, “It’s easy as opening this box.” The copy, a column on the right interspersed with visuals, speaks to the product’s advantage over laser procedures and a risk-free guarantee. Then an 800-number and an “ask for order” with bonus close.

Now I can’t vouch for the product, nor am I a prospect. I dodged a couple of “lets go get a tattoo” episodes in my college days. Sometimes I wonder how I survived those days, but that’s a subject this blog will not explore. Ever.

Anyway, the product’s name is WRECKING BALM.

 Wrecking Balm package

Isn’t that a great name for a tattoo fading product? See the tension? Isn’t it memorable? Won’t that be the kind of name people will enjoy repeating to friends and associates? 

The logo goes well with the name even though it smacks of patent medicines of a hundred years ago. Yet it does depict a character, Doc Wilson, who may or may not be real. Nevertheless his name lends some credence to the product.

 Wrecking Balm logo

The color palette, a faded rust and black, provides contrast and seems appropriate. If Wrecking Balm ever makes it to store shelves, it will display very well.

All in all, I’d say this was a first-class branding and advertising effort.

Now that this product’s on the market, perhaps I’ll look into getting that tattoo I nixed 50 years ago.  Nah.

Martin Jelsema
303-242-5975
 

Brands and Color:number seven in a series

Still going around the color wheel, we’ve finally come to primary color, red.

This is a color of mixed messages and associations.

First, red is powerful and aggressive. It tends to dominate other colors in combinations. We all know it’s a warm color. And at its most intense, red is associated with hot. It invokes excitement and action.

Red is the color of blood and violence. But it’s also the color of romance and valentines. And Santa Claus wears a red suit. It’s the traditional color of fire engines, rescue efforts and traffic signs/signals meaning “stop”. In nature, healthful fruits and veggies are often red.

 Apple red

We speak positively of red-letter days and the red carpet treatment. Negative expressions include: seeing red, being in the red, red tape, a red flag and a red herring.

Red’s cultural meanings and associations vary worldwide but are generally positive. Brides in Hindu, Islamic and Chinese cultures usually wear red. In India, a red mark on the forehead purports to attract good luck. Red in Singapore symbolizes joy. It is associated with good fortune in China.

Because red is vibrant and powerful, a little dab might be all you need to convey a message of action and vitality.

Green is the complement color to red. Orange and purple are analogous to red. Names for different shades and hues of red include scarlet, crimson, maroon, burgundy, ruby, flame, vermillion.

If you are looking to associate your product/service/organization/event with a festive, forceful, hot, bold, and/or dynamic color, red would be first choice. Brands associated with sports, energy supply and youth often look to red.

Logos using red

Those people who prefer red are usually impulsive, athletic and sexy. They are optimists and passionate about their activities. They want to experience life to its fullest, even though they will have swings in their emotional natures.

Although red is a popular color for branding, there are some darker shades that are not used as often that will also impart the associations provided by bright reds.

Martin Jelsema
303-242-5975

 

BRANDING & COLOR – Number six in a series

Back to blogging after a week of just “getting away”. This time I’m continuing the series about color in branding.

This blog’s subject: purple.

Or is it lavender?

Or perhaps violet?

Like the other primary and secondary colors – the purple family belongs to the secondary class – there are various shades and mixtures and intensities that can be included in any particular class. So I’ll discuss all itsdesignations under the class called purple.

Four shades of purple for branding

As a secondary color, purple and it’s mates reside between red and blue on the color wheel. Therefore, it is a little “schitzo” with attributes both hot and cool. Often, especially on the web, it’s difficult to differentiate a deep purple from a dark blue, or a violet from a wine-red hue.

Purple is traditionally associated with nobility, spirituality and magic. There’s also a suggestion of prosperity.

In researching for this blog, I was surprised that fewer companies had adopted purple as a primary corporate color. There are few negative connotations. Just purple prose and purple haze show up. But there is an association with death in Latin America.

The only brand I’ve discovered that actually revels in purple is the “purple pill”, Nexium.

 Purple logos for Starter, Nexium, Diners Club, Hobie, Fiat and Sun Microsystems.

Another user of purple is FedEx and I’ll comment more about that. Initially the FedEx colors were purple and orange. Today that combination refers to its overnight air express service. For their corporate colors they’re substituted gray for orange. Then for their ground service, it’s lime green and purple, for “Trade Network” it’s gold and purple, and for the FedEx/Kinko stores, purple and sky blue. As you can see below, the “Fed” word is always purple and the logo retains its typeface in each variation. Well done, FedEx.

An array of FedEx logos

As already stated, purple imparts dignity or nobility in its darker tones. When more toward lavender, the color is feminine and fashion oriented.

Across the wheel from purple is the primary color, yellow. As it’s complement, they make a contrasting and complementary pair. The analogous colors are red and blue.

Those people who favor purple are likely to be creatives or eccentrics. They enjoy being unique from others and can be temperamental. They are also sensitive and observant, and enjoy fantasy. I’ve read that comic books with purple on their covers sell better than those with another color dominating.

Anyway, if you’re looking for a color for your brand that hasn’t been already used to adnauseam, you might explore purple and its associates, violet, mauve, lavender, lilac, orchid, plum, et al.

Martin Jelsema
303-242-5975
 

Branding and Color– Number 5 in a Series

This week, the subject is blue. Blue has a lot going for it.

It’s a primary color with all kinds of tones and hues.

They range from an almost-black navy to the lightest of pastels, from bright sky-blue to dignified royal blue, from greenish turquoise to purplish ultramarine.

 blue sky

Basically, blue is a cool color. That means it’s complementary to the hot secondary color, orange. Analogous colors are green and purple.

Blue is the most-liked color. It has a universality of good associations beginning with sky and water. Yet, it is not a color associated with food, with the exception of blueberries. Blue has a masculine orientation as well.

Large companies seem partial to blue as a company color – IBM, AT&T, GE and GM among them. And of course there’s the Tiffany blue box.

array of blues in branding 

In general, blue imparts “good vibes”. It has come to represent importance, intelligence, stability, harmony, peace, confidence, masculinity, power, trust and serenity.

The word “blue” turns up in phrases that are generally positive: true blue, blue ribbon, blue skies, blue book.

Blue can also be associated with sadness and depression. Feeling blue and singing the blues come to mind.

In its lighter, brighter tones, blue imparts a freshness and a casualness. Blue-gray is a modern, formal color. The dark blues can conger formal and classic associations.

People whose favorite color is blue generally have a need for calm. They are usually gentle and sensitive and tend to form strong attachments and relationships. They display a high sense of responsibility, trust and confidence.

Medium and dark blues can be combined with warm and hot colors for contrast and tension. When dark blues are matched to dark colors like maroon, black and gold, a somber, dignified association is created. Lighter tones combined with earth tones like tan imparts a nature-oriented association. Mid-toned blues are mutually compatible with contrasting and monochromatic colors, and offers great flexibility.

No wonder it’s the most popular color.

Martin Jelsema
303-242-5975
 

Color and Branding – Number 4 in a series.

Today let’s look at green.

As with all color descriptions, green shares some seeming contradictory characteristics depending upon context, culture and color attributes.

First, we mostly think of green associated with nature – green forests, fields, grass and veggies.

forest-2.jpg

But there’s also the association, in the United States, with money. And on the negative side, envy and greed – the green-eyed-monster – and inexperienced – greenhorn – are also green associations. 

Today, the word “green” has positive environmental connotations. Except, perhaps when associated with the Greenpeace organization.

There are numerous shades of green: forest, olive, pea, lime, jade, sage, sea come to mind.

In the Color Harmony Handbook, green is labeled “fresh”. Because it is a combination of the warm, sunny yellow and the cool, peaceful blue, it is a “balanced” color that’s easy to live with and can find a home in either hot or cool palettes. The Handbook also suggests that green recedes when combined with other colors, making them stand out with more authority. Thus, green may be selected as a second, background color for a predominantly red, its complement.

 green-composite.jpg

When combined with blue, green really connotes nature, warm months, and new beginnings. Dark green combined with red certainly brings Christmas to mind. Again, dark green, this time with a deep blue or a rich gold, can convey a prosperity and dignity. And with deep browns, grays and other earth tones, green imparts a mature and resolute impression to the palette. When pale greens are used with other pastels, a feminine, fresh look is achieved.

If not the most versatile, green certainly ranks high on that scale.
 

Color & Branding –Number 3 in a series

Yellow is today’s topic as a prime color for branding applications. In its most pure, yellow is a primary color whose complement is purple and its neighbors are yellow-green and orange.

The color has two main attributes: it denotes a cheerful countenance, and it provides an effective contrast to black and deep blue. Thus, yellow was a “natural” for the “smiley face”, as it is for “yield” signs and high-lighters.

Yellow daffodil

Research, according to Pantone which is the company responsible for standardizing colors for print, digital and textile applications through their color guides, suggests a yellow background and black type provides the best legibility combination. They also claim yellow to be the first color the human eye gravitates to when the entire spectrum is presented.

Other positive attributes of yellow include caution, intelligence, joy, and Springtime. Like every color, there are possible negative associations with the color. And though I don’t recognize these as associated with yellow, according to Jason OConnor writing for http://www.sitepronews.com/ , laziness, criticism and cynicism are yellow attributes. I know cowardness to be associated – someone with a “yellow streak” – but not the others. Then we’re sometimes stuck with a “lemon”.

One problem with yellow: unless it’s a darker gold shade, it does not stand out on a white background. It requires additional colors, specifically dark colors, to make a strong impression. In that environment, yellow provides a spark.

The Color Harmony Workbook suggests that yellow creates “motion”, that it is particularly applicable for sports-related brands. The Workbook also states that, “Yellow is cheerful, uplifting and spirited; it stimulates communication, intellect and attention to detail.

Thus, in a logo or for a trade dress palette, yellow with a dark color provides contrast, “vibrates” and suggests “action”. But all by itself, it tends to fade into neutral backgrounds. Yellow best works as background or as an accent.

Here are some who have adapted yellow into their brand.

 Yellow logos and trade-dress
Martin Jelsema
303-242-5975

Good logo design means legibility first.

You can find quite a few hints and tips concerning logo design on the branding and graphics sites on the Internet. Many are helpful and worth considering.

But I don’t remember anyone addressing the shape of a logo.

I believe proportion is crucial.

It can really make a difference in legibility, particularly when logos need to be reproduced in a small size. Also, when a group of co-sponsors are listed, either on a web site or a print publication, their logos need to be reproduced with a uniform height and/or width. And so you see some logos that stand out and some you’ll be hard put to read at all. As the sample array demonstrates, square and circular logos don’t lend themselves to the co-op array at all.

 an array of logos

There are four branding elements that need to be considered here: name, font, symbol and tagline. For smaller logo reproduction, I’ll usually recommend the tagline be eliminated since it can’t be read anyway.

In designing logos, you’ll face your first problem if your name is a long, three-word descriptive group of words. Either you compromise the name (probably turning it into three initials) or you stack the words. Neither is a perfect solution.

This brings us to the second element, the font. Quite often a designer will resort to a condensed font if they’re presented with a longer name. But when shrunk, condensed type becomes illegible, particularly if it’s also bold face. Also, many designers are so intrigued with an unusual font “look” they’ll sacrifice legibility for the novel.

Finally, the symbol: legitimately, it might stand-alone in place of the name in logo form. But before that happens, it must become associated with the company and its name. One of the problems with using both a symbol and name together is the placement. If the symbol is placed to the left or right of the name, the entire line becomes too long and doesn’t standout when arranged with other logos. On the other hand, if the symbol is placed atop the name, when reduced to a standard height with other logos, it becomes far too small.

 Four approaches to the problem

So I suggest that when evaluating logo designs you ask the designer to show you how the recommended designs will occupy a one-inch by half-an-inch space. Or indeed, just download the array of logos here and ask her or him to overlay the recommended design on top of one.

Martin Jelsema
303-242-597