Download as PDF, PPTX
More Related Content
Similar to Branding, identity and logo design: Self branding
Branding, identity and logo design: Self branding
- 1. MA Graphic Design PRACTICE2: ART AND DESIGN (SAT) Self Branding Branding, Identity & Logo Design 01 Project Overview 02 Competion and Inspiration 03 Visual Research 04 Sketching & Conceptualising 05 Identity Design 06 Brand Guidelines NOAH TARINYEBWA AUGUST 2015
- 2. Project Overview PROJECT BRIEF Overview Designand develop a visual identity assembled within a set of guidelines for an aspiring graphic design company. Creative objectives • Logo • Identity Design • Stationery • Marketing Collateral • Apparel Design • Signage • Website • Brand Guidelines BACKGROUND I have spent the last 5 years working with highly creative and demanding agencies; meeting with clients, developing and executing briefs for branding, marketing and communication material, websites, presentations, videography and animation. In this time, I have garnered a great deal of knowledge and experience while working on varying projects that have tested both my skill set and managerial abilities; The ability to adapt to changing workflows, demands and requirements while meeting deadlines has all been a welcome challenge. As I continue to discover the endless possibilities of the graphic image, I plan to further my experience by developing projects and ideas that will benefit the professional practice and encourage my growth as a creative professional. My ultimate goal for the MA is of running my own company and mentoring aspiring artists in the principals of design; I believe this begins with actually putting a name and a face to this idea and for that reason a visual identity would be the best place to start. I want to build a company around myself, my skills and experience but as well as have it adaptable enough to grow into something more. MARKET & POSITIONING Micro Small and Medium Enterprises (MSMEs) are widely regarded as the driving force in economic growth and job creation in both developed and developing countries more so in a country like Uganda where they are considered the backbone of the economy which is primarily supported by MSMEs; They contribute about 90% of the private sector production (Uganda Investment Authority, 2008). With so many companies in the country regarded as SMEs, it’s easy to imagine that there is fierce local and international competition for work which ultimately limits substantially the productive capacity and competitiveness of SMEs in Uganda within the context of globalization but according to the Uganda Investment Authority, MSMEs are the prime source of new jobs and play a crucial role in income generation in the broader creative economy. Because of the nature of these types of companies that is, their size and annual sales/revenue; they have a tendency not to pay much attention to their corporate image or visual identity and I see this as an opportunity for potential clients since my own company would fall under the same MSME badge and could be used as a showcase of how a well-executed visual identity could mean growth to these companies. APPROACH According to The DELTA Companion (PSI, p. 29), A brand can be defined as a summation of everything your target knows and feels about your product or service. This includes knowledge and emotions that results from things like using the product or service, being exposed to it via advertisements, or even recommendations from friends. Making the brand an intangible object, something that lives in the hearts and minds of your clients and not on a shelf in the store. Since so many things can influence one’s perception of a brand, PSI’s DELTA Companion uses a Brand Onion composed of 3 key components ie the brand Position, Personality and the execution; to record the brand strategy and help manage it over time. BRAND POSITION A Strategic statement that Identifies the most compelling and unique benefit for the client. An experienced and understanding hand for effective brand management with quality guranteed. BRAND PERSONALITY A Strategic statement of 2-4 adjectives that help shape the tone of voice for all brand communications Understanding Quality Experience Statement Understanding and providing Quality services through Experience. BRAND EXECUTION Tangible brand elements that the target experiences, such as logos, colors, symbols, etc. 1 Noah TARINYEBWA | Practice 2: Self Branding 01
- 3. Competion and Inspiration COMPETITION Mycompetitors are design agencies that offer a variety of services–branding and identity design being the secondary service– they typically target large businesses in and around Kampala. They usually have 1-2 permanent designers on staff bolstered by a team of marketing and account executives. INSPIRATION There is plenty of competition in the market but finding designers that have built a brand image for themselves is rare and it has proved even more difficult to find designers that exactly match my brand personality. Presented are some designers and agencies that match one or more of my desired attributes. Killa Designs is a hands-on creative design studio providing advertising agency services at affordable rates. source: killadesigns.co Aggrey & Clifford is an Africa based full- service, fully-integrated advertising agency. source: www.aggreyclifford.com Just Creative was founded by Jacob Cass a freelance graphic designer & blogger. source: www.justcreative.com Founded in 2007 by a set of young yet vastly experienced advertising professionals who carry a desire to bring refreshing changes to the face and the core of advertising. sources: http://directory.ugo.co.ug/ listings/maad-advertising/, maad.co.ug Innovative, Quality Advertising and Media Solutions. source: nma-media.com The Logo Smith is a Logo & Brand Identity Design Studio by Graham Smith, a Freelance Logo Designer. source: imjustcreative.com 2 Noah TARINYEBWA | Practice 2: Self Branding 02
- 4. Visual Research COMPOSITION We organizeimages and text consisting of shapes, sizes, colours, and textures in many different forms of media produced in a wide range of formats, from two- and three dimensional, black-and-white design, through full-colour work, to three-dimensional, web- based, and time-based (moving) imagery. When I think of composition, I think of Control, so that the desired effect is achieved, and the intended message is communicated. Mehmet Gözetlik from design group Antrepo took some of the most iconic international brands and applied gradually increasing minimalist effect to see how many elements you can remove from a product packaging and still retain a product’s branding. source: http://www.youthedesigner.com/graphic-design-tips/minimalism-in-the-maximalist- market-study-on-brand-minimalism-by-mehmet-gozetlik/ TYPOGRAPHY Type designer Matthew Carter talks about the effect of tools on form where Type is very adaptable and unlike a fine art, such as sculpture or architecture, type hides its methods. He goes on to suggest that the thing he designs, is manufactured, and it has a function: to be read, to convey meaning. source: https://noahblogged.wordpress. com/page/2/ I am particularly fond of logos with bold cursive lettering because they communicate specific meaning, while also possessing aesthetically powerful characteristics in their own right. 3 Noah TARINYEBWA | Practice 2: Self Branding 03
- 5. Visual Research COLOR Colours havesymbolic associations in all societies depending on context; different cultures apply different meanings. The work by Dan Matutina–he illustrates for the Qualcomm Posters of the FIA Formula E Championship 2014-2015; He uses the country’s flag as the starting point for each poster with other flag elements present in every layout without being too obvious. source: http://abduzeedo.com/formula-e- championship-posters I am particularly interested in his use of High colour intensities that make the posters dynamic and create a feeling of movement. 4 Noah TARINYEBWA | Practice 2: Self Branding
- 6. Visual Research IDENTITY DESIGN Lookat any newspaper: the information changes every day, yet the paper looks consistent, day after day; at a glance we can easily and immediately identify which paper is which on a shelf. According to David Airey in the book Logo Design Love, people often choose products based on their perceived value rather than their actual value; in most cases it’s almost certainly down to the story a brands identity tells for example Skoda delivers much better mileage at a significantly cheaper price but it’s Aston Martin’s identity, which conjures images of luxury and status, that usually clinches the sale (Airey, 2010, p. 8). The essence of a good Identity design scheme is flexibility, along with visual consistency across different elements, over time, and in different contexts. From the logo design, to stationery, and other elements these identity schemes have been carefully implemented. 5 Noah TARINYEBWA | Practice 2: Self Branding
- 7. Visual Research Vibrant colorsare used in these book covers with africa-inspired illustrations to create a consistent look for the series, but also to portray the themes of the books. 6 Noah TARINYEBWA | Practice 2: Self Branding
- 8. Sketching & Conceptualising INITIALSKETCHES I began as any artist would, with a paper and pencil and doodled my name down. I started thinking about signatures, cursive fonts and how I wanted the Logo to have the idea of 1 continuous line which was in my head to represent a line of thought. The Logo felt and looked really Derivative. BACK TO THE DRAWING BOARD 4 Noah TARINYEBWA | Practice 2: Self Branding 04
- 9. Sketching & Conceptualising INITIALIDEAS Several days of writing my name down started to get a bit boring and I started to loose interest in the idea but then I started to think about blocks and how I could incorporate that into my Idea of flowing lines. The signature idea on it’s on lacked the necessary impact and as I found out my name isn’t necessarily the best for that particular purpose or I just couldn’t get it how I envisioned it. 5 Noah TARINYEBWA | Practice 2: Self Branding
- 10. Sketching & Conceptualising LOGODEVELOPMENT My work with blocked letters lead me to something vastly different from my vision of flowing lines but I figured I would explore it more and see where that would take me. The Idea evolved to a bold flowing logo that is minimalist in its form but complex in its execution. 6 Noah TARINYEBWA | Practice 2: Self Branding
- 11. Sketching & Conceptualising LOGODEVELOPMENT: FINAL Now that I had looked at both cursive and block ideas I started working towards merging the two ideas. With this Logo my aim was to get the impact missing in the cursive logos from the blocks and the flowing line missing from the block logo from the cursive logos. 7 Noah TARINYEBWA | Practice 2: Self Branding
- 12. Sketching & Conceptualising TYPEFACE Iwent with Source Sans Pro for the tagline typeface because I wanted something super light and upper case to contrast the bold lower case logo. I like how the font looked on the page so I decided it would be used for my body text. COLOUR After looking at illustrations from Dan Matutina and his use of bold simple shapes of colour, I knew that I wanted to emphasise simplicity and push my minimalist style so decided a single colour was the most appropriate for the Logo. PANTONE 187 C HEX #AB162B RGB 171 22 43 CMYK 22 100 78 16 Abcdefghijkxyz ABCDEFGHIJKXYZ 8 Noah TARINYEBWA | Practice 2: Self Branding
- 13. Sketching & Conceptualising FINALLOGO 9 Noah TARINYEBWA | Practice 2: Self Branding
- 14. Identity Design STATIONERY 5 NoahTARINYEBWA | Practice 2: Self Branding 05
- 16.
- 17. 2 CorporateIdentityManual INTRODUCTION The corporateimage says a lot about the organisation and the way we do things. A strong corporate image can make a good impression on the public and partners. It is important, therefore, that ‘noah’ maintains a strong corporate identity on all internal and external documents and materials. This makes it easier for customers to identify the organisation when they receive information from us, visit our premises, or see ‘noah’ staff and visit our website. The corporate identity manual is designed to help staff, members and contractors apply the corporate identity correctly, from which font is used on individual PCs, to producing publications, and how to use the logo. It is important that everyone within the organisation is familiar with the ‘noah’ corporate identity and knows how to use it so that our brand image is consistent. This will strengthen ‘noah’s position as a professional and effective organisation. This manual is intended to guide everyone connected with ‘noah’ on the applications of the logo and corporate image.
- 18. 3 When should Irefer to the corporate identity manual? The guidelines apply to all communication including: • ‘noah’ logo • Letterheads and all stationery • Internal and external signs • Publications and leaflets • Advertising (including job advertisements) • Typeface/ font for all internal and external documents • Staff clothing • Corporate gifts (pens, umbrellas, ties, mugs, souvenir plates etc) • Printed reports, agendas and strategies • All documents published on-line • Exhibition materials The guidelines need not be applied retrospectively, they will apply to documents (printed or electronic) and materials produced once these guidelines have been adopted by ‘noah’. By following these guidelines we can present a professional and efficient image of ‘noah’. Please contact us if you have any doubt or need further information regarding the brand, image, logo, for correct use of the logo and corporate colours.
- 19. 4 CorporateIdentityManual company logo Thesymbol must never be altered or redrawn, but reproduced exactly from the artwork in the manual. In exceptional circumstances such as signwriting, it must be cre- ated to the exact specification supplied.
- 20. 5 color reproduction limited use- black on white limited use - white on black signature backgrounds
- 21. 6 CorporateIdentityManual PANTONE 187C HEX #AB162B RGB 171 22 43 CMYK 22 100 78 16 corporate colors
- 22. 7 Source Sans Pro AaBbCc0123 abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890 abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890 Loremipsum dolor sit amet, consectetur adipiscing elit. Suspendisse luctus justo quis eros cursus vel rutrum neque aliquam. Suspendisse ultrices rutrum scelerisque. Morbi sit amet sem vitae tortor pulvinar porta. Vestibulum fringilla tortor quis orci molestie ut ornare. Primary Font
- 23.
- 24.