BRAND CORPORATE IDENTITY - PROJECT 2

BRAND CORPORATE IDENTITY - PROJECT 2

12/04/21 - 03/05/21 (Week 3 - Week 6)

Chan Jing Wen (0340480)
Brand Corporate Identity
Project 2

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LECTURE NOTES

Lecture 3

12/04/21 (Week 3)

Recorded under Project 1.

Lecture 4 

19/04/21 (Week 4)

"A brand is a person's gut feeling about a product, service, or company" (Neumeier, 2003)

Ideal is what an individual think is perfect, most suitable.

"Brand Ideal is a higher purpose of a brand or organization that goes beyond the product or service they sell." (Garbe, 2012)

Brand values are the values that direct the business, the motivation and purpose of the brand.

Brand Ideals includes the brands' vision, meaning, authenticity, differentiation, sustainability, coherence, flexibility, commitment, and value.

Lecture 5

26/04/21 (Week 5)

The brand positioning statement should be written in the below format: 

“For target customers, company name is the market definition that delivers brand promise because only company name is reason to believe.”

For task 2, we will have to do:

1. Logo Rationale: Value Proposition Statement & Design Elements 
2. Logo Space Rationalization, Logo Grid, Logo Clearspace, Logo Animation

Lecture 6

03/05/21 (Week 6)

For the following assignment, below is the breakdown of our tasks to do for each week:

Week 6 - Logo rationale, create mood board
Week 7 - Stationery, Collateral
Week 8 - Environmental graphic, Digital Media
Week 9 - Design Finalization & Submission

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INSTRUCTIONS



PROJECT 2A

Week 3 - Week 4 (12/04/21 - 19/04/21)

We were told to do 28 logo analysis of different brands. We have to do 2 per day for 2 weeks. Below are the 28 logo analysis I did:

Figure 1.1 Logo Analysis

PROJECT 2B

Week 3 (12/04/21)

We have to create a logo for Darrma after understanding briefly what Darrma is about. Below is the mind map for my understanding on Darrma, and some of my sketches for this week.

Figure 1.2 Darrma Mind Map

Figure 1.3 Week 3 Sketch 1

Figure 1.4 Week 3 Sketch 2

Week 4 (19/04/21)

Ms Hsin pointed out some points I could work on (refer to feedback).

Figure 1.5 Week 4 Feedback

This is my revised sketches based on the feedback:

Figure 1.6 Week 4 Sketch 1

Figure 1.7 Week 4 Sketch 2

Week 5 (26/04/21)

Based on the feedback, I continued to explore more on the two options. I tried to make minor adjustments to the first logo options.

Figure 1.8 Exploration 01

I then decided to go for the third one in the first row. I tried to pair it with different typefaces. I used Montserrat, Poppins, Roboto, and Orelega One Regular.

Figure 1.9 Exploration 01 with different typefaces

For the other option, I tried to draw the text first before doing the logo. Below is the attempt.

Figure 2.1 Exploration 02

I decided on the second one in the first row (of logos) and paired it with the same typefaces that I used for the first options.

Figure 2.2 Exploration 02 with different typefaces

Week 6 (03/05/21)

After receiving feedback, I continued working on option 1. While I was rationalizing the space, I did two different versions of the logo. Below are the options:

Figure 2.3 Option 1 and 2 comparison 1

Figure 2.4 Option 1 and 2 comparison 2

Figure 2.5 Option 1 and 2 comparison 3

I was quite conflicted on which to choose. In the end, I chose option 1 after asking a few of my friends. Below is the compilated work based on option 1:

Figure 2.6 Option 1 progress PDF

After I received feedback from Ms Low, I redid my work for the project. I used option 2, but I moved the "commas" slightly outwards and reworked on the curves. I tried to use the lowercase "r" for the brand name but the lowercase didn't really look like the "r" I illustrated so I remained the text as it is. I also think the curves on the uppercase "R" mimics the curves in my logo better. With that, below is my final submission:

Figure 2.7 Final Submission PDF

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FEEDBACK

Week 4 (19/04/21)

General Feedback :

For project 2A, try to find local brands, brands that aren't that well established. If possible, also try to find brands that are more similar to Darrma as it might help with our logo creation for Darrma. For project 2B, try to think of the target audience. Try not to be too literal (drawing a symbol that is obvious). Try to work more with different widths.

Specific Feedback : 

For project 2A, the format seems fine, but try not to put a coloured background at the back of the logo. Others might mistaken it as a part of the logo. For project 2B, the logos are a bit feminine, but it's okay, no need to force to change the style. The ribbon seems workable, try to add the ribbon texture, width, to the designs. For the D+R, try to make the "D"'s curve more obvious so that it's obviously a "D". The "d+r" looks like it can potential become a pattern. Can try to work on that too if I have time.

Week 5 (26/04/21)

General Feedback :

Decrease the number of arrow points when you're constructing the shapes. It will be easier to control.

Specific Feedback :

The second and third choices are better than the ribbon one. For the second one, it seems like having a little bit of the curve coming out looks better than it being too squared. Try to adjust the space between the curves and the circles. Can also try to introduce a tail at the circle to make it look more like a "r". For the third choices, maybe try to work on the letters first then only extract the forms to form the logo. Have to try making the "d" and "r" look obvious.

Week 6 (03/05/21)

General Feedback :

Find an x value from your logo and adjust the logo details based on your grid. Don't over rationalize the points as well. 

Specific Feedback :

The logo looks a bit long, try adding details to support the legibility of the symbol so it's recognizable as two "r"s. Adjust the proportion of the symbol by using space rationalization. Right now the symbol looks a bit small with the brand name. Try another typeface that mimics the symbol a bit better.

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FURTHER READING

THE VIGNELLI CANON by Massimo Vignelli 

Figure 5.9 The Vignelli Canon

Semantics, defined by Massimo Vignelli, is the search of the meaning of whatever we have to design. When starting a new project in any form of design, graphic, product, exhibition or interior, we have to start by searching the meaning of it. It can start from the history of the subject, This would provide a better understanding on the nature of the project and to find the most appropriate direction for the development of a new design. Depending on the subject the search can take many directions such as information about the Company, the Product, the Market Position of the subject, the Competition, its Destination, the final user, or indeed, about the real meaning of the subject and its semantic roots. Research and understanding is crucial in creating satisfactory results of any design, so spend time on the search of the accurate and essential meanings, investigate their complexities, learn about their ambiguities, understand the context of use to better define the parameters within which we will have to operate.

Syntactics is the discipline that controls the proper use of grammar in the construction of phrases and the articulation of a language, Design. The components in a project is what provides syntax of a design. This can be the overall structure, the grid, the typefaces, the text and headlines, the illustrations, etc. Syntactic consistency is importance and can be achieved through grids and several tools. The relationship between different elements of the projects helps build consistency. For example, the relation between type to grids and images from page to page throughout the whole project, different type sizes, relation between pictures as well as the whole composition.

A design that isn't communicated well and understood is a waste of effort. Even if the design is semantically correct and syntactically consistent, if no one understands the result, or the meaning of all that effort, the entire work is useless. Brief explanation is acceptable, but it would be great if people could understand it without any clarification. After all, the purpose of designing something is for it to be comprehended by others. Clarity of intent will translate in to clarity of result and that is of paramount importance in Design. Confused, complicated designs reveal an equally confused and complicated mind. Designs should be intellectually elegant, beyond fashionable modes and temporary fads and as timeless as possible.

There are many ways to achieve a visually powerful design. For instance, contrast creates a strong impact. This can be achieved through scale, colour, form, texture, and more. In three dimensional design, manipulating light through different textures and materials gives infinite and effective results. Visual strength can be achieved also by using delicate layouts or materials. Visual strength is an expression of intellectual elegance and should never be confused with just visual impact - which, most of the time, is just an expression of visual vulgarity and obtrusiveness. Visual power is, in any event, a subject which deserves great attention to achieve effective design.