There has not been anything up for some time now, because the project kept changing, and again, an idea generation stage had emerged, wherein additional elements to aid the identity were to be thought. The key words moved from contrast and customisation to words such as surprise, impossibility, curiosity and larger than life.
These key words proved to be far more interesting and could actually lend themselves to something more visual. Here is where the flying pig comes in playing the role of a mascot, that stands for the firm's vision of achieving the impossible. If pigs were to fly is a common phrase, and one can find its reference in music and literature.
The red one is the refined one, though there may be more refinement that comes with it.
The first one is what I had started with.
Tuesday, September 28, 2010
Sunday, September 5, 2010
02 Panel Discussion
My progress this time has been pretty much in terms of quantity, however, when looked as something which is final, there is only one logo symbol that has been finalised. Since I have been spending all my energies in creating an effective type integration, I have paid little attention to the other aspects of the branding project. Alison suggested that I work on things simultaneously, and even if the visual language has not been figured out completely, I could work on other things like the content flowchart for the website, or things that do not require the visual language to play a major role.
Looking at the book of rejected logos, many ideas emerged, and the four of us brainstormed a little on how there could actually be booklets of my rejected logos, since they kind of show how much work goes into making the identity, and how the evolution of the final logo could actually be a flip book. If put simply, the process could be a collateral. Alison showed a poster that she had done which was an infograph on the making of the museum. Danika suggested some websites which print these booklets at a cheap price.
The review panel thought that I was thinking at various levels, one being the logo and the identity, one being the experience of creating a visual language for DKM, and one being the long term promotional ideas, which actually wont be part of my project, but they are still part of my thinking. I should perhaps, make a choice now. I should either start thinking of the "me" bit in this project and the "he" bit... if for any reason, the collateral and work is not enough then I should make collateral on my own, heedless of whether its taken forward as final production or not.
And most importantly, I should chalk out my deliverables and the whole visual application alongside.
As part of the visual application, I was wondering if there could be a series of posters which everyone in the studio could produce on a particular topic. This would show variety and would be an interesting contribution. This would also show how the medium changes the message. This idea too was liked.
This meeting was also very important in terms of me familiarising the panel with what dev kabir malik design is all about, and the kind of work they do. This helped in everyone understanding the scope of the project.
They had a look at my rejected logos, and liked the graphic design tool kit idea a lot. If some personalised DKM specific icons could be created, it could be taken forward in terms of application. They also liked the cluster idea, in which many DKMs seem to be fluttering... they suggested that it would look nice if the logo was disseminating like that.
Looking at the book of rejected logos, many ideas emerged, and the four of us brainstormed a little on how there could actually be booklets of my rejected logos, since they kind of show how much work goes into making the identity, and how the evolution of the final logo could actually be a flip book. If put simply, the process could be a collateral. Alison showed a poster that she had done which was an infograph on the making of the museum. Danika suggested some websites which print these booklets at a cheap price.
As far as the application of the visual language is concerned, they like the idea of visual collages a lot, since the logo too is a collage in a way. There should be stories behind each of these graphics, because that automatically adds value.
The review panel thought that I was thinking at various levels, one being the logo and the identity, one being the experience of creating a visual language for DKM, and one being the long term promotional ideas, which actually wont be part of my project, but they are still part of my thinking. I should perhaps, make a choice now. I should either start thinking of the "me" bit in this project and the "he" bit... if for any reason, the collateral and work is not enough then I should make collateral on my own, heedless of whether its taken forward as final production or not.
Mr. Ravindra suggested that it was time for me to define objectives and ask him a few questions, which though I have considered before, I haven't asked him properly. How much is he planning to expand? Is he planning to expand in terms of business or services? I should get his statement of "purpose".
And most importantly, I should chalk out my deliverables and the whole visual application alongside.
As part of the visual application, I was wondering if there could be a series of posters which everyone in the studio could produce on a particular topic. This would show variety and would be an interesting contribution. This would also show how the medium changes the message. This idea too was liked.
This meeting was also very important in terms of me familiarising the panel with what dev kabir malik design is all about, and the kind of work they do. This helped in everyone understanding the scope of the project.
Wednesday, September 1, 2010
Final proportions: the symbol
After such a long and winding process, this is the final symbol for the identity for DKM.
// I have to figure out a whole unit for the symbol to go with. // The collateral and visual system for the identity to work in. // Additional, slightly disconnected elements to aid the identity, because this identity is not the kind that can be taken forward. For example, a monogram, or a pattern. //The "underlying" source of inspiration is too generic, and hence it is very very difficult to come up with an entire visual system, and there is very very little time at hand.
Let me know what you think!
concept: The key word used here was contrast, and the fact that DKM's work is structured, yet is unstructured. The 'k' is derived from Dev's signature, adding a memorable element to the whole logomark.
Typeface: TYPEFACE SIXPOINTFIVE, and hand lettered K
// I have to figure out a whole unit for the symbol to go with. // The collateral and visual system for the identity to work in. // Additional, slightly disconnected elements to aid the identity, because this identity is not the kind that can be taken forward. For example, a monogram, or a pattern. //The "underlying" source of inspiration is too generic, and hence it is very very difficult to come up with an entire visual system, and there is very very little time at hand.
Let me know what you think!
concept: The key word used here was contrast, and the fact that DKM's work is structured, yet is unstructured. The 'k' is derived from Dev's signature, adding a memorable element to the whole logomark.
Typeface: TYPEFACE SIXPOINTFIVE, and hand lettered K
Tuesday, August 31, 2010
Friday, August 27, 2010
Feedback and New directions II
When I presented my key findings to the client, they added a few more, which included restraint. They also said that I should get more familiar with the way they handle their clients and about how they like their clients to trust them completely and they tell them what to do unlike ad agencies where what the client says is considered true.
These elements of course do not need to come into the logo, but they need to come out in the whole branding.
We decided that we will keep the logo the consistent element in all the applications, and everything else can really be "out there".
Contrast was decided to be the key word that would be worked with to create the positioning of the firm. Again, we tried to find other design firms who had interesting logos, and were surprised to find that most of them had a plain, neutral, minimal logo type. Here the discussion went to hand writings and the starry "k". Here I happened to mention to Dev that my review panel thought that his signature would make a whimsical identity, and he decided to give it a try.
I am unsure about it, but I think the starry K idea has been fixed upon. I have to wait for Dev to give me his version of the K, since it is from his signature, ideally he should do it. I will then contrast it with a bold typeface.
Currently, I am staying away from the logo for a while. It is really time for me to put my head into the whole brand and consider how everything is going to be applied and where will the visual inspiration come from.
My head is usually brimming with the wildest ideas, but now that I have been asked to go wild, I find myself coming up with the sanest solutions. How very ironic.
These elements of course do not need to come into the logo, but they need to come out in the whole branding.
We decided that we will keep the logo the consistent element in all the applications, and everything else can really be "out there".
Contrast was decided to be the key word that would be worked with to create the positioning of the firm. Again, we tried to find other design firms who had interesting logos, and were surprised to find that most of them had a plain, neutral, minimal logo type. Here the discussion went to hand writings and the starry "k". Here I happened to mention to Dev that my review panel thought that his signature would make a whimsical identity, and he decided to give it a try.
I am unsure about it, but I think the starry K idea has been fixed upon. I have to wait for Dev to give me his version of the K, since it is from his signature, ideally he should do it. I will then contrast it with a bold typeface.
Currently, I am staying away from the logo for a while. It is really time for me to put my head into the whole brand and consider how everything is going to be applied and where will the visual inspiration come from.
My head is usually brimming with the wildest ideas, but now that I have been asked to go wild, I find myself coming up with the sanest solutions. How very ironic.
research and findings
Mission
To guide our clients in choosing effective solutions and making
communicative material more engaging and easier to comprehend
Vision
Having
a name not only in the design world, but also in the local, national and global
scenarios
Why
was this company created?
To
translate thoughts into effective visual communication media that is backed by
multi-layered meaning and concept.
What
products and services does the firm have to offer?
Communication
Media in print and web.
Who
is our target market?
Broadly put, people looking into new business ventures, revitalising their existing
business, events organisers, publication houses, content organisation related
fields, campaign and awareness related organisation.
What
is out competitive advantage?
Contemporary
work which is excellently executed and based on the classic principles of
design, yet different. Bold and sophisticated, contrast is brought out in
different ways in all outcomes.
Customers
who wants something younger, more engaging and distinct.
What
is out there?
There
are a few broad categories in which the existing firms in India could be
placed. These include conventional and traditional, quantitative, minimalistic,
contemporary and individualistic.
How
do we currently market our services?
Website,
word of mouth, clients, market reputation and goodwill.
KEY WORDS
communication
multi-layered
holistic
____
CONTRAST
traditional vs. untraditional
bold vs. elegant
familiarily vs. unfamiliarity
structured vs. unstructured
big picture vs. details
typography vs. image making
_____
personalised and individual attention
translation of thoughts into visuals
Responsible
bold, sophisticated
KEY WORDS
communication
multi-layered
holistic
____
CONTRAST
traditional vs. untraditional
bold vs. elegant
familiarily vs. unfamiliarity
structured vs. unstructured
big picture vs. details
typography vs. image making
_____
personalised and individual attention
translation of thoughts into visuals
Responsible
bold, sophisticated
Feedback and New directions I
I had a brainstorming session with Dev and two other firm employees, Sakshi and Rashmi. They went through the options and we discussed what was good and what was not working at all and why. The problem that came out of this was that in an attempt to create more options, a concept was lacking in the iterations.
First of all, Dev asked me to go back to the research phase of my project, and really chalk out what they as a firm stand for and what tone of communication they want to use. How do they want to position themselves? They did not know, it was my job to figure that out.
What he did know is that he wanted a compact unit which would fit like a seal. He pointed out that this did not mean that I should necessarily put DKM in a seal like I had done in one of my iterations. A logo should be able to communicate it without the extra visual baggage of the seal itself. The current identity does not look like a logo, because of which the firm is losing a lot of marketing.
He also said that when a project is done in college, there is no responsibility attached to it. If the assignment is type integration, the sole purpose is to create one, and there need not be a full fledged concept behind it. Not everyone gets the entire concept behind every logo and it does not matter if people do not get the concept behind their logo, but what matters is that they should know what story lies behind their identity and if some one asks they should be able to say more that it being just a type integration.
Decide which type of typeface to use according to the key words of the firm. Is it going to be a serif or a san serif. The details of weather it is humanist or transitional or classical can be decided later, those are just details which should come only after the idea has been finalised. What I have been doing till now is "treating" a logo, not creating a story behind it, except for the "starry" K, which has some idea behind it in terms of it coming from his signature, but why does it juxtapose to more variation? There work is not always all out, it also has a lot of restrain and an implementation of a classical principles in design. It is not completely "funky", but is made memorable through the tweaking of something more traditional.
He asked me to think of the ideal clients the firm would like to reach out to. What I need to do is come up with a set of key words, from which a story can be derived. A logo is just the tip of the brand triangle.
After this there was a brief discussion on how other design firms have positioned themselves in the market and how DKM should position itself.
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