AC - Logo Development

Decided Logo to Develop

Responding to feedback I have decided to develop the logo above, due to its experimental nature it is most appropriate for the designer and her work as well as most appropriate for what the customer she is trying to attract once, as found out through research. Although I will not be using this logotype to be able to create the final logo. Rather in further response to the feedback, I've decided to use a high contrast serif typeface which I can ultimately edit myself to create something new and inspired by the work.

Ivy Mode

Originally planned as an addition to the LiveJournal family, IvyMode took on a life of its own during the design process, blossoming into a distinguished editorial face in its own right. This high-contrast subtly flared sans has diamond dots and angled extenders for extra style; novel ligatures, stylistic alternates, and bonus glyphs up the ante.

The typeface selected has the correct tone of voice for the brand itself as well as the target audience in which the brand is presenting towards due to its design style, although this is something that I will be editing in order to be up to fit the brand and being truly inspired by Abi's work.

Figure 1

Figure 2

As can be seen in figure 1 began by just typing out the name simply in a caps lock version of the typeface. This was to reflect the style of which the initial idea originated from. Although due to the name change it was discussed using lowercase lettering with the designer herself, in order to add to that sense personalised branding using the full name does. Through using the lowercase version of the typeface, it also allows for more variation within the stylisation of the extenders due to the fact that each of the letter shapes is highly different, in contrast to the uppercase version of the typeface, which due to its consistent structure offers less visual difference. Once again through using lowercase lettering diamond shaped tittle is added above the letter ‘I’ three of which were in the name, therefore giving get another alternative style to regular type, and visually representing the experimental style of the design herself.

Figure 3

Figure 4

The next stage of experimentation saw the addition of a wider kern. This is previously discussed in initial ideas allows for more room when the logos over placed over work the work to show through itself. I feel this is needed with this typeface due to the thick nature of the larger contrast, it is important that the logo does not cover up the work itself. As can be seen in figure 3 a wider kern than the original is needed, but as can be seen in figure 4 to wide of a kern starts to make the name itself looked disjointed, which may affect the way an audience perceives the name. Therefore, I will be moving forward with the level of kerning which can be found in figure 3.

Figure 5

Elements of the lettering were taken away in straight cuts, this is to resemble the way in which the designer herself uses shapes and the experimental manner in order to create her designs. The letters were cut off at the points where limbs are joined to the main body of each glyph. These points were the thinnest part of the typeface, to the extent of being so small that when removed it is not detrimental to the alliteration of the typeface. This is because of the typeface being a display type. 

At this stage, I was happy with the way the logo was looking and decided to go back to a critique session with my peers in order to get some feedback on the way in which you could be improved before presenting the final product towards the designer.