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.