Better than breaking your pencils in half out of frustration, you might as well apply them to your creative work, right? Graphic designer Hilka Riba did such a thing while re-creating the logo for her creative company GRAFIXD. The letters were made up of coloured pencils and formed using a glueing–slicing–cutting technique.
I created the logo for the new Spider-Gwen comic series debuting this week. I provided the folks at Marvel with a full webbed-up version of the logo as well as a stripped down alternate to use as they see fit across the 20+ variant covers. Lots of early buzz swirling around this book so get your copy now and be one of the cool kids.
For anything that actually has a logo, logos are important. Television show openings are all about showing you the logo. Logos are strange in that they are deliberately made to bore into the unconscious mind of the viewer - often to such an extent that successful ones elicit warm, fuzzy feelings when encountered in the wild. “Hey, look at that! I know of that!” BAM! Instant familiarity.
Logos are arguably the most important thing. If you have a good logo, you’ve pretty much bought yourself some leeway with the actual quality of your product. Look at McDonalds or Resident Evil 6 or something. Pretty nice logos (if you’re into that kinda thing on the RE6 end, anyway - hoHO!), but eh, not that good in terms of quality. Yeah. That’s the power of a good logo.
For people who know what they’re doing, logos can be big business.
I’m not particularly sensitive to fonts. Maybe I would be if typography was part of my coursework when I was learning art stuff (always happy to put my alma mater on blast). But, that people can look at a font - letters and digits and symbols - and derive feelings and meanings from it eludes me. Why else would I use Century Gothic for gosh-darn near everything? If it weren’t Century Gothic, then it would probably be Courier.
As far as the thought process for font selection in the initial thumbs goes, I asked myself “hey, does this seem mechanical/military/computer-like?” Yes? Then roll with it. Next!
For the non-font visuals, My favorites were B, C/A, and H (possibly I too). C/A kinda made me feel like a discount Shinkawa-Wood-Amano hybrid. I really like the loose feeling of the inked part. I think B had the strongest silhouette (which for logos is pretty damn (read: all-) important). H holds a special place in my heart because it tells a simple story. Enough fuzzies, let’s move on.
Woolie chose B with the mechs from C/A. I think that was the best possible choice. From there, it was just a matter of playing with the placement.
Hey, kids! Does a week of mecha speak deep to your soul? Do you want to spread the gospel of Mechaweek? Feel free to use these on forums or wherever!
BB is a multidisciplinary design studio specializing in digital design, visual identities and communication design. In their Munich office they create visual identities , digital design , editorial and print designs for a wide range of customers across a variety of media and disciplines. They are big enough to take up a senior role design and small enough to follow projects from start to end.
This story is about Swedish company (called LOCUM). Once upon a time they decided to send a heartwarming Christmas greeting. So why shouldn’t they use a heart in their logo? Well, there is a little problem…
If you don’t see the problem, you are one of the most purest and innocent people in the world. Get out of the internet, start running and don’t look back. Run from all pervs online. Otherwise you can become one of us - with dirty mind.
The hand-colored version of the “non-problematic” Blackhawks logo I’ve been working on (rough sketch | cleaned-up sketch). I’ll probably take it into Illustrator to finish it, but I wanted to do a color test first.
It’s hard to imagine a time in which a well-crafted logo was not deemed crucial to the success of a business. Paul Rand’s unmatched ability to represent a brand with just a few strokes of the paintbrush helped the logo break free from its chains of underestimation. He also possessed an eye for the future; amazingly enough, the IBM logo has only been changed ONCE since 1956. Thanks for the pocket-sized work of art, Rand, a talisman for now and years to come.