Logo feedback

Presenting the experimentations for feedback received some comments on how to further develop the logo. 

So far the logo compositions effectively communicate the brand's aspect of 'material manipulations' through the process of manipulating a singular 'M' and communicates a certain level of quirkiness through the unconventional combinations and representations of the letters M and W. What it does not communicate so far is the clients process of using colour and texture. These were the points of discussion during feedback. 

Adding colour to the logo itself however may or may not be ideal for the brand. A neutral colour scheme seen on most fashion logotypes is beneficial as it allows the colours of the products to be the focus on promotional material. Silver and grey hues were suggested as an alternative to the typical black and white. 

Colour can also be introduced through filling the logo with the designers content. Communicating a logo that is versatile, dynamic and tailored specifically to the designer and it also allows it to change according to the collection. This idea can also be used to add texture. 

Screen printing the logo and scanning it in on textured stock, recreating it with cut tape, painting it and digitally adding noise were other ways commented to add texture to the logo. 

Stacking the logo was an option presented however the overall form of the logo does not communicate 'MW' as well as setting it horizontally. The vertical set type causes a clash between the two letterforms, reducing readability. 

The problem with this version of the W however is that it is reminiscent of the Emperio Armarni eagle logo, which was unintentional and unfortunate. The logo should not be reminiscent of any other brand. It should stand alone and be recognisable through its own design. The relation between the two only demonstrates Armani's equity and effectiveness in establishing itself. 

There was a comment on how these brands communicate a sense of Britishness about them which led to the idea of possibly relating the logo to the client's nationality. 

Surprisingly this composition was well received, being described as contemporary and futuristic because it is unlike most fashion logos seen today. The large flat forms allow the logo to sit boldly on the shopfronts, the brands collateral and imposing itself onto the consumer, generating appeal and curiosity. 

Second most commented on was this composition as this still retains the original idea of having an optical zig zag line going through the logo. The subtly of the asymmetric M and W communicates a playful and quirky representation of the brand. 

Ultimately, presenting these logos to the client will narrow down the range of logos to develop further. 

Logo development

Writing out the clients name in different weights, sizing and styles provides an idea of how the letterforms work together.

From this write out, it is clear that the lowercase 'w' can be turned into an 'm'.

The combination of the two letterforms produces a zig-zag line that looks like the inside stitching found in everyday wear. Therefore there is already a relation between the logo and the nature of the clients work. The benefit of this typeset is that the logo still reads as mw regardless of its orientation. Hence it provides an opportunity to be playful with the logo, creating a lighter tone of voice that is found in the branding of up and coming fashion labels.  

Prior to progressing forward with the idea, speaking with the client provided more focus as to what the brand should represent.

As a designer, Michaela works with colour, texture and designs through a process of manipulating materials. She wants the brand to communicate qualities of being quirky, unexpected and gross. These descriptions therefore require a logo that represents these qualities, hence a typesetting that is unconventional and leans towards the branding of more independent labels.

As a starting point, a Bold Extended 'M' of Univers is chosen as the wide proportions of the letterform make the M sit firmly on the page. It is a strong letterform to act as a basis for manipulation. By slicing the original letterform, new variations and a bespoke W can be formed to produce a unique logo that follows the same process of 'material manipulation' of the client. This creates a logo design that is informed directly by the client, which is a more effective representation of the client.

Altering the letterforms this way produces a sharp, angular logo that forces the eye to move across the logo, reading M W.

Taking the same forms and filling them in produces a more symbolic translation of the initials. This solution is unlike most logotypes in fashion branding as the letters of the designers name usually remain unaltered. Logos in fashion are often more imagery than letterforms, for example the symbol of the polo rider for Ralph Lauren. This unconventional solution communicates the quirkiness the client describes whilst the simplistic, harsh forms can be interpreted as 'gross' as they are atypical of aesthetically pleasing shapes. 

Experimentations were also done with the Black Extended weight. The effect is visually stronger logos because of the larger proportions. 

These are extreme yet primitive representations of the letters M and W. The more removed the representations are of the original letterform, the better it is in communicating the concept of the brand. 

The combination of the two experiments create a highly graphic and obscure logo that definitely test the readers recognition of M and W. This peculiar combination and other unconventional compositions can create a specific and unique identity for the brand, separating itself from the others.

Unlike the previous compositions the letterforms are made from 3 parts rather than 2. 

M

W

This produces an unusual asymmetric M and W that gives character and personality to the logotype. Having the larger counter from the right of the 'M' contrast against the thinner left counter of the 'W' retains readability of the logo.  

Type Specimen

Type 38 is a modular design that is designed around a 3 by 8 grid. The restrictive grid system forced me to be creative with designing in such a tight form. It made me understand better the intricacies of letterforms, readability and recognisability. Working in the grid however has created the typeface's unique identity.

This is was a personal project that aimed to better communicate my interests and personality as a designer, out of frustration from the lack of internship offers during summer. 

The specimen follows a 3 by 8 design, same as the typeface, with a 3 by 8 grid structure for the content layout. The original grid size is displayed on the front. A neutral grey cover compliments the off white stock inside. 

The subsequent pages are meant to best showcase the typeface to the reader. On the right are zoomed in views of the letterforms to show detail and shape. 

This page helps to illustrate to the reader the various sizes of the typeface. 

Tony Brook

Sascha Lobe

Mirko Borsche

Patrick Thomas

What makes the specimen unique is that each middle page is bespoke to the recipient. Each design is meant to reflect their style of work and content in order for them to better understand how the typeface will work in context.

The last few pages are decorative and are meant to showcase the typeface. The last page features several of the original grids to allow the reader the possibility of drawing their own letterforms.  

The specimen comes in a custom envelope, demonstrating a level of effort to get a response from these designers. 

The letter double as a decorative piece of design that the recipient can use as a artefact to remember me by.

A response letter was also included to persuade a response from them. 

You've Got Mail

Studios & Designers Identified

Chris Ashworth, Creator Director of then RAYGUN Magazine
- 90s post-modernist approach to typography and editorial design

Mirko Borsche, Founder of Bureau Mirko Borsche 
- Experimental typography, editorial and branding
- Previously contacted before

Idea Magazine, one of the first magazines in Japan that focuses on graphic design and typography
- Will be useful for CoP dissertation

Sascha Lobe, Creative Director of L2M3
- Typography, Exhibition branding, signage systems

Hagihara Takuya, graphic designer in Tokyo
- Colour theory, unique graphic compositions, useful for dissertation

MadebyAnonymous, multidisciplinary studio in Singapore
- Exhibition branding, typography 

Studio Laucke Sieben
- Experimental typography, Identities, Editorial design

Patrick Thomas
- 'Graphic art', traditional print technique, typography

ZakGroup Office
- Art Direction, Exhibition design, Identities, Editorial

OK-RM
- Identities, Art Direction, Editorial

8vo

MuirMcNeil

Hamish Muir, Co-Founder of then 8vo and now part of MuirMcNeil
- Experimental typography, technical design, process driven 
- Previously interviewed

Tony Brook, Spin Studio
- Identity, Exhibition design, editorial, typography
- Practicing 'modernist' design today

These studios and designers were chosen based on personal interest within graphic design.

For this task, it would be appropriate to create a type specimen for a personal typeface designed during summer. The specimen will communicate my interest in typography, editorial design and my interest in the 'style' of graphic design I want to create.