Logo Design Guide

Exploring the process and

value of a visual identity

Frank Maidens & Vivian Hui

Contents
3 Intro
7 Our Vocabulary
13 Where to Start?
14 Section 1: The Creative Brief
21 Section 2: Logo Design
33 Section 3: Visual Identity Design
40 Section 4: Notes on Presenting
48 Section 5: Revisions & Delivery
52 Closing

Version 1.0 January 2016

Intro
Whats this guide all about?
We spend a lot of time thinking about and working with logos.
Logo design was a major part of our design educations, and
represents a pillar of our studio service oering.

We believe logo designs have the power to dene the percep-

tion of entire businesses. ey can be the dierence maker in a
world saturated by similarity directing our aection, loyalty,
and hard-earned paychecks.

In the last ten years, there has been a major shift in the rela-
tionship between business and design. anks largely to the
meteoric success of companies dened by strong branding and
user-oriented products, more organizations have come to rec-
ognize the importance of visual communication. Its no longer
a conversation reserved for a handful of highly trained special-
ists and a minority of progressive boardrooms.

As such, there is a growing number of people in our circles

who show an interest in the curious craft of logo creation.
ey are freelancers, marketers, developers, educators, and
entrepreneurs smart, engaged people that want to learn more
about the principles and benets of good design.

Intro 3
Who are we writing for?
We imagine this guide will nd itself in the hands (aka download
folders) of various professionals working in the design space, or
those whose work is related in some way to a design deliverable.

Specically, this guide is intended for three primary audiences:

Creative Professionals with an interest in visual commu-

nication who want to explore another perspective of the
design process, or include logo design as part of their
service oering.

Clients & Entrepreneurs who want more tools to assess

the quality of design work, or become more deeply involved
in design conversations.

Project Managers, Marketers, Sales Professionals who

want to better understand and communicate the value of
design and the benets of visual consistency when applied
to brand collateral.

This guide is for: Creative Professionals

Its an exciting time to be a designer. e world has nally
awoken to the opportunities created by the Voltron-like force of
design and business working in tandem. More and more com-
panies and business owners are interested in seeing how design
strategy and targeted communication can help them achieve
their goals; gone are the days of design as an afterthought.

Intro 4
As entrepreneurs incubate and bring their ideas to market,
they create a steady stream of companies and products that
require positioning in the competitive landscape. And as busi-
nesses mature and oerings change, those iterations often
require updates to the existing visual representation. is
constant demand for design work creates a well of opportunity
that is dicult to ignore.

We hope that this guide will nd its way into the reading lists
of designers. Ideally, it will contribute to their understanding
of the design process as it applies to logo design and encourage
them to incorporate it into their service oering.

This guide is for: Clients & Entrepreneurs

It takes guts to own a business, or to own business decisions.
eres a lot at stake, and a lot of responsibility. Savvy business
people know their strengths and are able to step back from
decisions they may not be fully suited to make. But that doesnt
mean they should check out of the conversation completely.

is guide is meant to assist decision makers by elaborating

our terminology and design philosophy. It aims to walk them
through some important processes, and communicate the
value of conceptual thinking paired with consistent execution.

We want to convince clients that design is worth the invest-

ment and provide them with some tools to better understand
whats going on under the hood.

Intro 5
This guide is for: Marketers, Project Managers,
Sales Professionals
A design education teaches someone how to create beautiful,
meaningful things. However, a conventional design education
doesnt always tell the whole story. It sometimes fails to express
that a beautiful, meaningful design doesnt sell itself. If the
client on the other side of the table is not convinced of its value,
that design will likely never see the light of day.

It can be dicult to articulate the value of design. A designer

may have an understanding of why something resonates,
but struggle to express that understanding with brevity and
condence. is guide is partly aimed to address that issue.
We want to express our perspective on the value of the design
process and the positive eects of visual craft and consistency.

Intro 6
Our Vocabulary
ere seems to be an ever-growing collection of words used
when referring to design, so a quick recap of some general
denitions will help us get on the same page.

What is a logo?
Logos have been used by people for thousands of years.
Ancient merchants relied on markings to delineate ownership
between similar-looking clay pots and burlap sacks. Likewise,
owners of livestock would also (and still do) mark their animals
as a means to prevent confusion and confrontation.

Eventually, trade guilds and trade unions started marking their

products with symbols of authenticity. Since their products
were typically of higher quality, those markings would come
to suggest superiority and reliability to the end user. Consumer
anity and loyalty soon followed.

Logos now have a role representing businesses, organizations,

and individuals, in addition to products. ey are symbols that
capture some key aspect of a brands culture, character, value
proposition, or aspirations.

In many cases, these marks are used to dierentiate between

products that may otherwise seem identical. ey can also
come to embody a service or group that has no other kind of
visual representation. Logos have the power to make two

Our Vocabulary 7
similar things feel completely dierent and are sometimes the
only visual manifestation of a service, collective entity, or eort.

Wordmark
A wordmark is a kind of logo that relies solely on the use of
letterforms. It has no additional graphic accents or icons. It is
an ecient mark that usually oers the viewer less visual in-
formation to interpret.

Brand Icon
A brand icon is a symbol that can be used independently or in
conjunction with a wordmark. ese potent images can easily
speak 1000 words (whether simply and directly or with a powerful
ambiguity).

Combination Mark (Lockup)

is is a word we use when a wordmark and brand icon appear
together. Combination marks can eectively encourage brand
recognition, as they help the viewer make a visual association.
is pairing can also be called a lockup because they will often
appear in the same conguration. Businesses may have a small
set of dierent lockups for various design applications.

(Keep in mind that not all logos are going to fit neatly into these three
categories. Sometimes a wordmark will incorporate some kind of
non-typographic element so is it still technically a wordmark? Not
really Which part of the combination mark is the logo? Put simply,
all of it. Logo is a term that can casually refer to any wordmark,
brand icon, or combination mark. When encountering a design that
is hard to classify, just say logo!)

Our Vocabulary 8
Logomark
is is a slightly fancier way of saying logo. To us, there is no
real dierence in meaning. Its just a handy piece of honoric
language that can be used to add a bit of reverence when refer-
ring to a particular logo design.

What is a visual identity?

e term visual identity is used to describe the graphics,
typography, and other visual elements that appear alongside a
logo design in various design pieces.

Logos are seldom seen oating alone in empty space. Usually

they live on posters and packaging, in apps and websites. ese
design environments need to be curated. rough the careful
use of supporting typefaces, colours, photography, illustrations
and patterns, a more dynamic and targetable communication is
made possible. If a logo is the lead singer, a visual identity is the
whole band capable of creating rich layers of communication.

Visual identities also outline how to consistently display the

logo and other supporting visual elements in various applica-
tions. ey can standardize alignments, primary/secondary
colour systems, typographic relationships, photographic treat-
ments, and other art direction.

Typography
We use this word to refer to the style and treatment of letter-
forms. Its a term that can also describe how a particular font is
used in a visual design.

Our Vocabulary 9
Type Pairing
is phrase refers to the selection of two (or more) typefaces
that appear together in a single context or application.

Art Direction
Art direction is a term we use when referring to the combined
visual mood/tone of various curated elements in a design piece.

Creative Direction
We use this term to refer to high-level conceptual approaches to
a design solution. Creative direction guides the communication
strategy; art direction guides the execution and visual tonality
of that idea.

Design Collateral
Design collateral refers to any piece of media that is a product
of the design process and is used to represent or promote the
associated brand.

Deliverable
Similar to design collateral, deliverable is a word used to
describe the nal product of a design process. Its the thing
(or package of things) that is ultimately delivered to the client.

Branding
We use this term to refer to all the core visual identity elements:
wordmarks, brand icons, combination marks, and alternate logo
versions are all considered to be pieces of branding.

Our Vocabulary 10
Brand
A brand is a little more dicult to describe. Its a word that
refers to the full sensory experience of an organization (or
individual) not just the visual stu. is includes social media
presence, customer service experience, interior design, and
even things like the choice of music in the elevator or the qual-
ity of paper towels in the washroom.

Our Vocabulary 11
Another Thought
Why are identities important?
e nal design of a logomark is important, but should not be the
end goal of a branding project. Visual designers need to ensure a logo
looks intentional when applied to various pieces of brand collateral.
ese collateral pieces will each have their own range of content
requirements (text content, image content, other visual elements). e ap-
pearance of this information needs to be considered if the logo (and
brand) are to communicate the intended feeling successfully.

Without a clear denition of elements like supporting typefaces,

colours, and image treatments, the logo is left to wander in a hap-
hazard environment. Even high-quality logo designs cannot stand
up against an ill-considered backdrop. Logomarks need a plan to
ensure they sing, regardless of the context. Visual identities provide
that plan.

Our Vocabulary 12
Where to Start?
We believe that the creation of a visual identity system should
be the end goal of any logo design project. Logos dont live in
isolation. e designer needs to provide a plan for the accompa-
nying visual elements that support a logo design in application.

Before the identity can be explored, the logo itself needs to

be resolved to a functional degree. Logos are the cornerstone
of visual identities. eir visual avour and structure will
inuence design decisions made at the identity level, and in
collateral application. As such, we feel the design process needs
to begin with the logo to establish communication goals before
moving forward into any supporting identity treatments.

Before starting work on a logo design, the stage must be set by a

creative brief. A creative brief is a document created through
conversation and collaboration with the client, and is the essen-
tial starting point of any visual design challenge. is is where
our design process begins.

Where to Start? 13
Section 1
The Creative Brief
e brief is an essential document as it describes the design
problem and provides the means to measure the success of
future creative work. Its the strategy roadmap for the duration
of the project. e creative brief helps to calibrate the designers
mind to the task, and also holds the client accountable to an
approved creative direction. It should be used when it comes
time to review design concepts, and will help to diminish the
eects of personal bias (more on that later).

is document also denes boundaries that are benecial to

the designers creative process. Limitless opportunity can
sometimes inict a paralysis of choice. But knowing where not
to step can clearly illustrate the path forward.

Essential elements
In general, the creative brief should cover the following bases:

Describe the company

Its history, personality, and values
 is& That Inc. is a luxury design and lifestyle brand for the cat connoisseur.
Th
Founded in 2014, the company has grown into the destination for design-
obsessed cat owners who are looking to invest in high-quality feline furniture
and goods. This& That is the Chanel of cats.

Describe the task at hand

e challenge, restrictions, and project deliverables
 is& That requires a new logo and supporting identity system for the launch
Th
of their online store. In addition to digital applications, a 1-colour version
of the mark will be required for laser engraving on wood and metal. An icon
version of the logo must also be considered for use in various social media
properties.

Section 1: The Creative Brief 15

Describe the target audience
Tailor design solutions to specic audiences for maximum eectiveness
 e primary audience is 3050 year old cat-obsessed professionals in North
Th
America who are willing to invest in high-quality, design-focused objects for
their cats. These aficionados are tech-savvy and engaged in interior design
trends, always seeking the latest and greatest; they are split 70 % female and
30 % male.

Outline the main communication goals

e objectives for the work and priority of main messages
 ll deliverables should position the company as the high-end choice in feline
A
goods, represent a commitment to animals and the environment, and reflect
a dedication to quality and craft. Though This& That should project a feeling
of luxury, communications should also be approachable and speak to the
audience in an honest way.

Assess the competitive landscape

Knowing other companies in the same space helps the designer intelli-
gently position any new work
L ocal competitors include Global competitors include This&That is also
indirectly competing with luxury furniture brands, such as

Provide a high-level creative direction/key concepts

A succinct roadmap for the conceptual foundation of the work, which can
sometimes be achieved through a list of adjectives created with the client
 ll brand communications should feel: confident, refined, luxe, well crafted,
A
and vibrant. Avoid cutesy, whimsical or traditional cat iconography (no
whiskers, paw prints, cat ears, etc.)

Section 1: The Creative Brief 16

Steps to a successful brief
e appropriate path to a creative brief depends on the size
of the project and the expectations of the client. e exact
approach varies, but the general process stays the same:

1. A
 sk questions
discovery meeting/interviews with stakeholders
Questionnaires/forms, user interviews or surveys
Learn about company, goals, values, audience
Understand how the company wants to be positioned visually

2. R
 eview answers
Process the responses
Identify key points, eliminate redundancy
Distill into a single document
(email, , website, ppt, shared doc, wood carving, etc.)

3. A
 rrange and present the important points
Use phrases, sentences, bullets, infographics
Reference visual examples, read between the lines
Submit for client review

4. R
 evise and get approval
Incorporate feedback, embrace clarity
Insist on client sign-o before design commencement

Section 1: The Creative Brief 17

A rough framework
e quality of the brief is determined by the quality of the
questions asked. Depending on the size of the project or expec-
tations of the client, the creative brief can range from a simple
email to an elaborate, multi-page document. Consider some of
the following questions (this is by no means an exhaustive list):

Company Background
Who is the company? What is the product or service? What are the
core values and what does the brand stand for?

P
 roject Overview
What is the purpose of the project? Does the project face any specic
challenges or restrictions? What are the project deliverables?

C
 ontent & Messaging
What is the project trying to achieve? What are the main communi-
cation objectives? What is the priority of key messages?

Target
 Audience(s)
Who are the primary, secondary, and incidental audiences? What is
their current relationship with the product or service? Why should
they care about the product or service?

C
 ompetition
Who else exists in the competitive landscape? What are their dier-
entiating factors? How are they speaking to their audience with art
direction and copywriting?

V
 oice & Tone
What are the desired adjectives to describe future communications?
What are the goals for the art direction and visual design?

Section 1: The Creative Brief 18

Crafting and delivering
a creative brief

Good Awesome!
Discovery: Discovery:
Prepare a Google doc questionnaire or Google form Hold a multi-day discovery session to fully explore
Have a discovery phone call to review answers or various discovery questions
ask additional questions Conduct independent stakeholder interviews to
further elaborate business/communication goals
Creative Brief: Send out user/customer surveys
Email a basic creative brief for client approval, state Interview members of the target audience
the following:
Perform comprehensive competitive landscape
the design challenge research
communication goals
general audience profile Creative Brief:
Prepare a PDF or web page to present the
competitive landscape
creative brief
5 adjectives for creative direction
Consider including the following sections:

company profile
statement of the design challenge
communication objectives
list of key ideas to express through design
priority of messages
list of adjectives for creative direction
detailed audience profiles (primary/secondary)
visual mood boards
competitor analysis (local/global/indirect)

Section 1: The Creative Brief 19

Another Thought
Im just not a fan of yellow.
A clients personal bias is a common issue encountered by designers.
Whether its a (strange) anity for the colour brown, or the dismissal
of an eective typeface because of one previous bad date, decisions
made on unfounded gut feelings rarely improve a design solution.

Eective logos and successful identities are designed to resonate with

a particular audience. Sometimes the client needs to be reminded
that they arent a part of that group. e creative brief helps keep the
conversation centred on the expectations, visual/cultural vocabu-
lary, and other sensitivities of the target audience. It doesnt matter
that the client hates yellow if that colour communicates the right
message to the intended audience.

Use the creative brief as a shield against personal bias when presenting
and reecting on the eectiveness of a design solution. Allow it to be
the justication for the creative work and all parties will benet from
a stronger solution in the end.

Section 1: The Creative Brief 20

Section 2
Logo Design
Designers dont sell logos. ey sell a process. is process
will ultimately deliver a solution to the clients problem, and
should be tailored specically to each client based on their
needs and budget.

It may seem like a trivial adjustment to consider the process

(not the logo) as the project deliverable. However, we nd this
shift helps the client recognize the time and eort required
to create a simple, eective design.

The logo design process

1. P
 roblem Denition
Put simply, the designer needs to know what problem they are try-
ing to solve. In terms of logo design, this could be a problem with
a brands position in the market, a lack of existing visual represen-
tation, or a logo that is illegible at small sizes. Whatever the case,
everyone needs to fully understand the design challenge before any
solutions can be tabled.

2. R
 esearch
Before a designer can start their creative process, they need to
study up on the competitive landscape, audience, and production
techniques.

A competitive landscape review is essential. It helps prevent the

presentation of a design that may be embarrassingly similar to a
competitor, or other tangential company or product. It also gives
the designer a view of the visual language used in a particular
space, allowing them to position the new mark intelligently.

In addition to the competitive landscape, the designer must have

some perspective on who will be looking at the logo, and which

Section 2: Logo Design 22

 group of people it is important to appeal to directly. Every human
being has their own conguration of visual and cultural vocabu-
laries. e designers job is to use their powers of empathy to an-
ticipate how a particular group will respond to certain forms and
colours. Once the audience is dened, the designer can research
the expectations and preferences of that audience (through an assess-
ment of visual design precedents, audience interviews/surveys, review of
social media commentary, etc.), and build that knowledge into their
design execution.

We also recommend a designer quickly research the opportuni-

ties and limitations of various production techniques that may be
applied to the logo design. Are there opportunities for simple and
meaningful animation? What are the visual eects of letterpress
or screenprinting? Can the logo present a smaller, simpler version
of itself in extreme contexts? Investigating various production
methods may inspire a particular treatment or other conceptual
approach.

Research can be an exhaustive step in the design process, but it

ultimately leads to more successful work. Designers should treat
research like investing: a greater contribution will yield a greater
return.

3. D
 ivergence
is is the sketching (aka braindumping) phase. Once the designer
has calibrated their mind for the design challenge (problem denition,
communication goals, audience prole), they are ready to let loose with
their ideas and creative intuition.

Most importantly, divergence is a time reserved for unedited

exploration. Weve encountered many junior designers who believe
sketching equals drawing the solution they try to solve the whole
problem in their head and then draw the nal answer. We take a
dierent view: sketching is a time for exploring how dierent key

Section 2: Logo Design 23

 ideas or messages can be presented visually. Its about seeking vari-
ous components of a solution, not the nal solution itself.
Designers should use this stage to experiment without the fear
of failure. e goal of this phase is to capture a dynamic range of
ideas and expressions.

We recommend that designers stay o the computer and actually

sketch during this phase using pencils, pens, whiteboards, or
whatever is most comfortable. Filtering ideas through cumber-
some digital tools can interfere with the meandering of the mind,
or force a designers ideas into too much structure prematurely.
Alternatively, using a pen or pencil is like a mainline to the brain.

Its also important to note that divergence can happen any time,
and doesnt need to be so strictly or linearly dened. Designers
may be inspired by a particular piece of research, or even during
the creative brief phase. Just remember that design is the solution
to a problem so a solution that arrives before the problem is fully
understood might not be the most successful answer.

4. Convergence
e goal of the convergence phase is to measure the eectiveness
of the sketches by using the creative brief. What ideas stand out
and what makes them successful?

Which ideas most directly communicate the key messages (e.g. bold,
established, traditional, innovative)? Which ideas have the greatest
chance to resonate with the intended audience? Are there certain
components to a sketch that can be successfully combined with the
components of another?

e designer needs to isolate the eective concepts and invest

more time in their visual execution. is means rendering them
in vector, choosing proper typefaces and type treatments, and
conducting further exploration digitally with colouration, size
and form.

Section 2: Logo Design 24

 5. P
 resentation
Creating beautiful, meaningful things is a wonderful ability. But
unless the client understands the value and appropriateness of a
piece of work, it will not see the light of day. Since the clients ap-
proval determines which idea goes live, the presentation itself can
be as important as all the underlying design work.

Presentations are an opportunity to uncover aspects of a concept

that arent satisfying the requirements found in the creative brief.
ey can initiate conversations on key issues and provide oppor-
tunities to better understand the audience and the task at hand.
ese deeper levels of understanding lead to stronger work.

We never show up to a logo presentation without some support-

ing examples of logo application. ere is limited value in seeing
a logo design oating alone on screen. Logos are applied to things
they live in various printed and digital spaces, surrounded by
other information. By taking the time to explore how the various
logo concepts look in context, we give the client a more valuable
perspective on the proposed logo designs. ese unpolished ex-
ample applications remind the client that a logo is part of a larger
identity system, and needs to be evaluated in that way. Section 4
dives deeper into the intricacies and philosophy behind good visual
identity presentations.

6. R
 evisions & Implementation
Collaboration between the client and the designer is an essential
part of the logo design process. When approached correctly, it
leads to stronger solutions.

How many rounds of revisions are appropriate? at depends

on the design team and the scope of the project. But we suggest
stating a limit to the number of rounds of revisions in your project
agreement. Whether its two or 20 rounds, its necessary for all
parties to agree on the number before the project commences,
otherwise this phase of the design process could go on forever
(Note: if a client expects 20 rounds of revisions, gtfo).

Section 2: Logo Design 25

 For identity design projects, we generally scope two rounds of revi-
sions with any additional rounds billed hourly (if required). Section 5
takes a closer look at the revision process.

What makes a good logo?

Good question! Its dicult to provide a standard for the as-
sessment of logo design. No two design challenges are the
same, and dierent audiences have their own set of subjective
criteria. e same design viewed by two dierent people may
evoke completely dierent reactions. Even so, we believe there
are some core tenets of logo design. By adhering to these tenets,
designers will be more likely to create a successful piece of
communication that stands the test of time.

Good logos are: Simple

Generally speaking, a logo should be simple. As we mentioned
previously, the natural state of a logo is in application it is
crafted to be used in various design pieces. Sometimes those
pieces have limited space for the logo to appear, or present
some other display-related challenge. Overly complicated
designs, or logos with extraneous details, are not versatile and
perform poorly at small sizes. If a logomark cannot scale down
in size (think favicons and mobile social icons) and retain some
legibility, it fails as a design. Additionally, if a logo cannot be
replicated in a single colour, its potential for success in certain
applications (and therefore its value) may be limited.

Simple things are attractive. Succinct visual designs deliver

their messages with potency, condence, and renement.
Brands want to benet from the positive eects of focused

Section 2: Logo Design 26

communication. It is for these reasons we believe a logo should
be simple, rst and foremost.

How can simplicity be achieved?

choose one main concept to express in the logo (recognizing the logo is
only one facet of the identity, and doesnt need to say everything)
e liminate any superuous visual elements that dont contribute
directly to the expression of the main concept (extra circles, underlines,
hipster Xs, etc.)
learn to rely on the beauty of unaltered typography (someone
already spent years crafting those letterforms; maybe they dont need to
be messed with?)
e nsure all graphic/visual elements are sized generously enough to
remain visible when the logo is reduced in size, or provide alternate
versions with simplied solutions to be used at small scales
be mindful of supporting/tagline text sizes
m
 ake sure the logo design has a 1- or 2-colour fallback option in case
certain production methods are required

Good logos are: Memorable

A good logo should be simple, but not without character. ere
needs to be some expression or identiable characteristic the
viewer can recognize and use to recall the mark later. After all,
part of the logos job is to help build anity with a company,
product, or service. If it is not memorable in some way, it does
nothing to help the viewer recognize the associated brand and
ultimately build a relationship.

A designer should ask: how is this logomark ownable? e goal

is to create a mark that feels like it belongs to the associated
brand, and no one else. When viewed from the perspective of

Section 2: Logo Design 27

ownership, a more tactile dimension is added and it seems
easier to feel specic visual details.

How can memorability be achieved?

explore intentional colouration that helps the logo stand apart in
the competitive landscape (requires some competitive research)
c raft a logo design that enables strong alignments, allowing it to
appear condently and consistently in various layouts
d ont be afraid to step outside of the well-worn channels of type
selection (maybe everything doesnt need to be in Gotham?)
u
 se clever or meaningful graphic/visual elements that accent the
name or key message
a im for high visual craft, pleasing forms, smooth curves, and
sensitive proportions

Good logos are: Meaningful

A meaningful logo design successfully represents a key charac-
teristic, goal, or value of the brand. is means that each visual
component of a logo (like form, typography, and colour) are chosen
because they depict, or combine to depict, a facet of the brand.

A designer must also take the target audiences visual/cultural

vocabulary into account when choosing visual components.
e forms and colours of the logo must speak to the audience
in a language they understand.

How can a logo become more meaningful?

typography should be selected to present or accent a desired commu-
nication objective (friendly geometric sans serif type can feel approach-
able; condensed uppercase sans serif type can feel mature/confident)

Section 2: Logo Design 28

 s pecic colours or colour combinations should be used to dene or
underscore a key message (if the logo needs to feel approachable, perhaps
blue is more eective than red; if the logo needs to feel condent, perhaps red
is better than green)
e liminate all decorative elements in a logo design: decoration is
never meaningful
look to the use of visual metaphor to communicate with poetic
potency (an apple can represent knowledge, a turtle can represent reliability,
wings can represent freedom)

Good logos are: Well crafted

Logomarks must be expertly crafted and beautiful to behold.
As ambassadors for brands and representatives of the collec-
tive eorts of entire organizations, logos should be dressed to
impress. Even though the audience may not be equipped to
articulate the visual quality of a logo, poor execution still has a
negative eect on viewers. Like bad karaoke, the audience can
hear when something is o-key, even if they are not trained
singers themselves.

What contributes to a well-crafted logo?

ensure all kerning (letter-spacing) is specically adjusted for an opti-
mal presentation of text
e nsure that the wordmark uses proper typographic marks (apostro-
phes instead of footmarks, optically sized trademark symbols, etc.)
a void machine skewed type eects by using actual condensed, ex-
tended, italic, or bold typefaces when required
p ay attention to the appearance of curved lines (making sure there are
no unwanted bumps, wobbles, or nipples)
a void creating awkward shapes or gaps when overlapping elements
by giving each component room to breathe

Section 2: Logo Design 29

Tackling the logo
design process

Good Awesome!
Research: Research:
Do quick internet searches on the list of competitors Research local/global competitors; build image
provided by the client; build a small reference folder resource folders of their branding assets; take notes
of logo images and site bookmarks on their messaging strategy and other art direction
Look at the social properties of various competitors Build a file that demonstrates the primary brand
and review the audience of people who are colour of various competitors
engaged in conversations with those brands Look at the social properties of various competitors
and review the audience of people who are
Divergence: engaged in conversations with those brands
Set aside 1 or 2 afternoons for divergence and Prepare a questionnaire and conduct user
visual exploration interviews to determine how people feel about a
E xplore how different ideas can be expressed in particular product or service
sketches; stay off the computer
Divergence:
Convergence: Reserve at least 1 week for divergence and visual
Identify the most effective sketches and convert exploration
them to vector Keep a sketchbook on hand at all times
E xperiment with stroke weight, colour, proportion, E xplore how different ideas can be expressed in
and positioning sketches
Choose meaningful typefaces that align with the Push past the initial layer of ideas; find other ways
creative brief to represent key ideas; combine approaches to
create new concepts
Presentation: Stay off the computer!
Email a PDF presentation with notes or conduct
a screen share to review the concepts
Convergence:
See section 4 for suggested approaches and Identify the most effective sketches and convert
content of presentations them to vector
E xperiment with stroke weight, colour, proportion,
Revisions & Delivery: and positioning
Include at least 1 round of revisions in the initial
Isolate successful vector renderings and perform
project scope
additional cycles of digital divergence; see how else
Ask for the clients feedback in writing that idea can be represented visually
Make revisions to the selected concept based on Apply meaningful type selections to each concept;
client input explore a range of options

Section 2: Logo Design 30

Tackling the logo
design process

Good (cont.) Awesome! (cont.)

If additional rounds of revisions are required, Presentation:
estimate and bill for the time required Meet with all stakeholders to present concepts;
Prepare approved logo files for delivery see provide print outs or follow along screen
section 5 for tips on building out the final Logo presentation; provide a PDF after the presentation
Pack deliverable with slides and summary notes of each concept
See section 4 for suggested approaches and
content of presentations

Revisions & Delivery:

Include at least 2 rounds of revisions in the initial
project scope
Ask for the clients feedback in writing or provide a
written summary of revisions discussed in person
Make revisions to the selected concept based on
client input
Continue to refine the mark if an additional round
of work is required
Prepare approved logo files for delivery see
section 5 for tips on building out the final Logo
Pack deliverable

Section 2: Logo Design 31

Another Thought
Music is a time machine
A metaphor is a form of communication that equates two things
by highlighting some hidden or implicit similarity between them.
Music is a time machine is a metaphor because music does not
literally transport someone back in time. By claiming that music is
a time machine, the phrase identies points of comparison between
both things and suggests a fundamental connection.

When metaphors are used in logo design, the viewer is encouraged

to consider the similarities between the brand and the objects and
ideas in the logomark. Twitter is a good example: a tiny songbird is
used as a metaphor for mobile communication and community dia-
logue. By using a songbird as their brand icon, Twitter successfully
associates their service with the idea of short, sweet messages that
can be shared from essentially anywhere. at little bird does some
very heavy lifting.

Keep in mind that metaphors dont need to be explicit illustrations,

or actual pictures of something the application can be much more
subtle. Selection of a bold font for the wordmark can communicate
stability, trust, or condence. Using rounded geometric forms in a
brand icon can be a metaphor for playfulness or youth. Rigid forms
in the logomark can equate the brand character with a concept of
maturity or precision.

e overt or subtle use of metaphor in a logomark is a sure way to

add layers of meaning while increasing the potency and eective-
ness of the design.

Section 2: Logo Design 32

Section 3
Visual Identity Design
Logos are designed to be used. We believe that the relationship
between the logo and supporting elements is the real design
deliverable. e client doesnt need a great logo the client
needs a great logo that is brought to life by a beautiful system,
one that helps communicate more dynamic and targetable
brand messages through the thoughtful combination of visual
elements.

A good identity design considers the requirements of logo

application to various collateral pieces and provides a plan
for consistency. is is achieved through the design of mock
pieces, which are then presented alongside each logo concept.
ese example pieces can be further explored and revised
once the client chooses an initial design direction to pursue.

In addition to a logo design, our identity presentations propose

an art direction through typography, type pairing, colour, and
image treatments.

Typography
Typography is a vessel for mood and emotion, and the selection
of supporting type is the soul of every visual identity.

An eective supporting type system will identify which font

size and style should be used to present various pieces of writ-
ten information. Headlines, intro paragraphs, body paragraphs,
emphasis text, and numeral treatments are a good starting
point. Identities that more articulately describe the use of fonts
will benet from greater consistency across various collateral
applications.

Section 3: Visual Identity Design 34

Type Pairing
Blending the use of two (or more) typefaces is similar to the
blending of avours: a more interesting and dynamic experi-
ence can be the result. And pairing two typefaces can help the
designer satisfy the brief. For example, if the brief calls for the
design to feel established and approachable, perhaps that result
could be achieved by combining a professional-feeling serif
wordmark with a friendlier, humanist sans serif body typeface.

Colour
A meaningful colour palette will elevate any identity system.
It has the power to symbolize an idea, evoke emotion, and relate
directly to cultural stories and values. Colour is a core element
of visual language that people process before they are con-
sciously aware of it. Because colour is such a powerful element
of visual communication, its important to use it intentionally.

Primary, secondary, and supporting colour families should be

selected with the audiences visual vocabulary and expectations
in mind. Designers should also give the competitive landscape
special attention to ensure the identity design is intelligently
positioned in the group, either through harmony or contrast.

In addition to single, 2-colour, and full colour versions of the

core logomarks, there are other special applications of colour
that need to be considered. e identity should dene digital
palettes (like links, button colours, and web typography) and other
targeted treatments that may be used by specic applications
(like the colour of uniform material, or Pantone specials only achiev-
able in oset printing).

Section 3: Visual Identity Design 35

Building a rich system
Type and colour are usually the pillars of a visual identity sys-
tem. An art direction can be further enhanced by incorporating
graphic elements such as photography, illustration, and pattern,
and through specic, consistent usage of design principles.

P
 hotography & Image Treatments
A consistent approach to photography, both in style and subject mat-
ter, creates an additional through line that audiences recognize and
associate with the brand. Intentional image crops, standard colour
treatments, and other lters/eects are important to consider when
establishing an art direction. For example, if the tabled identity
concept suggests portraits of people are an eective way to connect
with the audience, make a plan for consistent lighting, cropping,
background, and model styling/tonality if possible. is will result in
a style of photography that is as memorable as the logomark itself.

I llustration
Illustration is a great way to capture abstract ideas in a visual form
(something that is often difficult with photography). ey can be informa-
tive while adding additional character to the brand voice. Like
photography, illustrations also need a consistent approach to visual
execution, visual tonality, and subject matter to maximize their
eectiveness in an identity context.

P
 attern
Just like a brand mascot or illustration style, the use of pattern in
an identity system can become an iconic element that the audience
recognizes and gravitates towards. Whether its a single pattern used
in various applications, or a family of dierent meaningful patterns,
they can be a successful way to visually communicate an additional
layer of brand character. Well executed patterns also provide a brand
with more visual versatility, as they can be applied to specic visual
environments that other identity elements may have trouble with (like
wrapping papers, textile designs, and backgrounds for text).

Section 3: Visual Identity Design 36

Showing a logo design
concept in context

Good Awesome!
Sample Applications: Sample Applications:
Consider these simple logo applications that dont Consider these more complicated logo applications
require the design of additional layouts: to help show the concept in context. These may take
presentation folder more effort to create since they involve more content
tshirt /uniform and craft than just applying a logo to a space:
mug business card
step & repeat pattern responsive web design
app splash screen presentation deck
truck graphic brochure
bag postcard
environmental graphic corporate badges
billboard
See section 4 for more info about the full contents print advertising
of a visual identity presentation
See section 4 for more info about the full contents
of a visual identity presentation

Section 3: Visual Identity Design 37

Another Thought
Youre just my type
Type selection is one of the fastest ways to make or break an entire
visual identity system. Each typeface comes with a world of meaning
and history baked into its humble glyphs. Good designers can antici-
pate how a typeface (or type pairing) will resonate with a specic
audience, and can make intelligent selections that will deliver the
intended meaning of the text.

Interpretation of type is always subjective, and is based on the visual

and cultural vocabulary of the viewer. However, there are some
common audience reactions that can be anticipated: serif typefaces
tend to feel more traditional than sans serifs (thanks to the history and
chronology of type design), uppercase text settings typically feel more
mature/rigid than lowercase settings, and Comic Sans shouldnt be
used on anything that wants to be taken seriously.

Beneath the more obvious layers of association is a world of typo-

graphic nuance and subtlety that is experienced on an emotional
level. e designers careful engineering of these characteristics
should be explicitly noted in a visual identity presentation to sup-
port each concepts rationale. An example comment could sound
like, is rounded font used in a lowercase setting feels friendly
to directly appeal to the desired approachable quality dened in
the creative brief. Its important for designers to clearly justify and
articulate their type choices so that clients can better judge the
eectiveness of those selections.

When selecting type for wordmark concepts and as supporting type

pairings, consider the following:
h
 ow does the font feel visually (based on its geometry/structural
detail, overall weight, style)?
a re those feelings meaningful to the key concepts in the crea-
tive brief?

Section 3: Visual Identity Design 38

Another Thought
Youre just my type (cont.)
w
 hat text setting (lowercase, Title Case, camelCase, ALL CAPS, etc. )
or tracking/letter-spacing is suitable for the font in order to
convey the right message to the audience?
a re there any existing cultural references to the typeface that
should be weighed? (e.g., Didot and other modern serif typefaces are
dripping with fashion references in our visual landscape, which may
cause a mixed message if used incorrectly)
a re the selected typefaces well crafted and technically suitable
for the needs of the identity system? (e.g., if print collateral appears
in English and French, does the selected typeface provide the appropri-
ate French accents?)
i s the selected type complementary to the message or meaning-
fully opposed?
i s the selected type pairing visually and conceptually harmo-
nious? (whether the pairing is selected based on complementary or
contrasting geometry or the history of the typefaces, its important
that the pairing is meaningful to the creative brief )
w
 ill the selected fonts provide enough versatility to satisfy all
the needs of the visual identity system and deliver the right
feeling and message across all touchpoints?

Section 3: Visual Identity Design 39

Section 4
Notes on Presenting
Good design does not sell itself. A thoughtful and articulate
presentation of design work is essential if a successful concept
is to become a real solution. e designer needs to capitalize
on their intimacy with each concept and clearly explain how
they solved the challenge.

Many successful designs are simple. Designers must reveal the

intentionality behind these seemingly simple solutions to their
clients. Clients need to be shown that a particular typeface, or
some other visual treatment, has been chosen because it directly
applies to an aspect of the creative brief.

We never share sketches with the client they contain too

many ideas for a targeted, eective presentation. Sketches also
typically fail to demonstrate an articulate solution. Instead, we
usually share our rst round of logo convergence. ese ideas
are condently dened, but still oer the client an opportunity
to weigh in on the visual design early in the process.

We always table at least 3 logo/identity concepts. is allows us

to explore multiple interpretations of the creative brief and can
help the client condently choose a design direction to pursue.

We dont include any concepts that make us nervous, or that

we wouldnt want to see live in the world. Sometimes a client
will ask us which option we prefer personally. We tell the cli-
ent that we believe in all of the concepts presented, and that it
doesnt really matter which we prefer they should choose the
concept they believe will resonate most powerfully with the
audience dened by the brief. Research is extremely valuable,
but designers will never have the same degree of audience

Section 4: Notes on Presenting 41

intimacy as the client. e client is in the unique position
to select a design based on their deep understanding of their
business, audience, and communication goals.

Tips for murdering a design presentation

1. R
 eview the brief
Every visual identity presentation should begin with a quick recap
of the approved creative brief. is will calibrate all parties prior
to the assessment of work. Design is the solution to a problem, and
each design needs to resonate with a target audience. Referring to
the brief before sharing concepts provides a refreshed perspective
on the task at hand. And by encouraging all parties to view the
work from the audiences perspective, personal bias is reduced.

2. R
 eview the competitive landscape
Occasionally, our presentations take a quick spin through the
competitive landscape before showing design concepts. Sometimes
competitive landscapes can be dominated by common themes or
colours we use this as an opportunity to show how specic con-
cepts could be positioned against those existing designs. For clients
that live in more saturated or ercely competitive spaces, this sim-
ple positioning step provides a valuable vantage point for assessing
the eectiveness of the following concepts.

3. H
 ighlight the details
Each concept needs to be thoroughly explained. Details that may
seem obvious to visually-minded designers can be lost on a client
who may not have as much experience reviewing and assessing
visual nuances. We leave nothing to chance. We feel its better to
err on the side of thoroughness than to have some valuable strat-
egy or detail go unnoticed. Additionally, each concept should be
presented with as little personal bias as possible, allowing the client
to assess how each solution meets the needs of the creative brief.

Section 4: Notes on Presenting 42

 4. S et a comfortable pace
Pacing describes the rate at which concepts and slides are present-
ed. is is highly variable and needs to be adjusted on a per case
basis. Our general recommendation is to go slow. Designers spend
hours staring at and rening visual concepts. ey are intimate
with the details, but can forget that clients are seeing the work for
the rst time. Clients need time to take in the details and assess the
work from the perspective of the audience.

In addition to moving slowly between slides in a presentation, we

also suggest putting pauses between each concept. Like a bite of
pickled ginger between sushi pieces, blank screens between iden-
tity concepts can cleanse the visual palate and build anticipation
for the next bite.

5. S how each concept in a standardized way

Present all logos and example applications in a standard format.
We strive to establish a consistent visual system to show the com-
ponents of an identity so the client is better able to focus on the
dierences between each creative solution, rather than variations
in the presentation itself.

In general, we include the following slides for each concept:

P
 rimary logo design
e logo design should be shown alone on white space at a reason-
able size (not comically large) so the client can appreciate the marks
details and communicative value.

S ize reductions
Demonstrate that the logo can be reduced to very small sizes and
still retain legibility if it doesnt work small, it doesnt work at all.

1-colour
 version
Even if the client has not requested a 1-colour version, include one
to demonstrate the versatility of the logo design, and its ability to
anticipate any future production requirements.

Section 4: Notes on Presenting 43

 Alternate
 versions / lockups
Show any secondary lockup congurations that may be required
for specic deliverables, such as square social icons.

Colour
 palette
Isolating the colour swatches from the logo design helps the client
fully consider and appreciate the palette so they can judge its e-
ectiveness.

T
 ype pairing
Choose a sample text setting of relevant content to outline the pro-
posed fonts for headings, subheads, body text, etc. Provide licens-
ing information and costs associated with each proposed typeface.

B
 asic applications
Choose example applications that are relevant to the clients busi-
ness goals or audience expectations. Apply the logo and other
identity elements to these applications to demonstrate the viability
of each proposed identity system.

S ummary
Include the main logo design, size and colour reductions, selected
example application, and a short written summary of the approach.
Ideally these summary pages should be printer-friendly (so no solid
black backgrounds).

6. S ummarize each concept

As mentioned above, its important to include a summary slide at
the end of each concept before moving to the next. is provides
a concise picture of the proposed identity concept and gives the
client an idea of the whole system. Each summary should include
the logomark, size and colour reductions, a couple of important
example collateral applications, and a short written description.

These summary slides can be pulled out of the presentation and

delivered in a solo, printable deck for the clients convenience.

Section 4: Notes on Presenting 44

Recipes for a successful
identity presentation

Good Awesome!
Presentation Intro: Presentation Intro:
Bullet point notes, audience recap, and key Full reiteration of the creative brief details,
concepts from the creative brief summarized in bullets points and diagrams
List of biggest competitors as a reminder of how the Audience profiles and summary to remind everyone
work will be positioned who the work is trying to reach
In-depth competitive landscape analysis with visual
Logo & Visual Identity Presentation: examples and notes about each competitor focus
Present at least 2 concepts to the client on the tone and voice, general art direction, and
Each concept should include: their approach to copywriting and logo design

the logomark
Logo & Visual Identity Presentation:
size reductions of the logo Present at least 3 concepts to the client
1-colour version of the logo Each concept should include:
an example icon treatment
the logomark
basic type pairing
size reductions of the logo
a simple example application to demonstrate the
logo in context (e.g., tshirt design) 1-colour version of the logo
alternate lockup versions of the logo
summary
colour palette in use (swatches and any
associated mood images)
Delivery Format:
Prepare a single flat image for each concept type pairing and licensing info
Email the presentation with notes to elaborate example icon treatments in context for various
each design solution or conduct a presentation via social media uses
screen share a variety of more complicated sample applications
Request client feedback and revisions by email to demonstrate the logo in context (e.g., business
card design, print ad, example use in the nav of a
web page with proposed type systems)

summary

Delivery Format:
Prepare an annotated, multi-page PDF or
presentation web site with all concepts
Provide written rationales for each aspect of the
concept (not just the logomark)

Section 4: Notes on Presenting 45

Recipes for a successful
identity presentation

Awesome! (cont.)
Schedule a meeting with all stakeholders to walk
them through the designs on screen; provide print
outs to reference during the presentation
Capture first blush feedback and answer questions
to help validate concepts
Following the meeting, email the printer-friendly PDF
presentation with summary slides of each concept,
or leave a copy of the presentation on USB
Schedule another meeting or call to discuss
additional feedback and revisions
Request client feedback and revisions by email or
capture verbal feedback in writing for the client to
review and confirm

Section 4: Notes on Presenting 46

Another Thought
Presentations need to be designed
It might sound a little meta, but presentations are design pieces
themselves. Beyond solving the initial design challenge of creating
eective logo and visual identity concepts, designers face an ad-
ditional design challenge of deciding how to best present (and sell)
those concepts. In the case of a logo presentation, the client is the
audience. Designers need to fully consider the best way to appeal
to the clients sensitivities and tailor their presentation. How much
time and patience do they have? What would comfort or confuse
them? What are their expectations and what is their level of visual
acuity or savviness?

In terms of pacing a design presentation, we approach the problem

by considering what the client is expecting to see, based on our
past interactions and discovery meetings. Designers make a living
on being able to empathize with others and consider dierent user
experiences from their perspective; crafting a presentation is no
dierent.

By delivering a presentation within the comfort zone of the client,

you are less likely to scare them o or make them nervous (unless
that is the desired effect, in which case, ignore this advice!). Suppose were
presenting a logo redesign and throughout the discovery process
the client has seemed reluctant to move away from the existing
logomark. Well take that into consideration when crafting our
presentation. Our presentation may start with a logo concept that
feels closest to home, reassuring the client that were taking baby
steps. From there, we would slowly migrate to concepts that feel
like more of a departure.

Section 4: Notes on Presenting 47

Section 5
Revisions & Delivery
Revisions are a fact of life and a vital part of the design process.
ey provide opportunities to delve further into the most e-
ective ideas.

Client feedback should be centred around the identity concept

that most successfully addresses the requirements of the crea-
tive brief. Revision notes should be framed as issues (this concept
doesnt feel confident enough) rather than solutions (make the logo
blue). is allows the designer to explore diverse solutions to
the problem, rather than implementing a revision that may not
address the core issue.

Revisions to a concept should always be captured in writing

so there is a list of approved changes for everyone to reference.
Whether the client provides feedback via email, or the design-
er sends over meeting minutes of the requested changes for the
client to approve, its important that the revisions are written
down. is helps ensure everyone is on the same page and
makes it easy to track and delineate the rounds of revisions.

Once the nal identity design is approved, the logo les should
be packaged in a way that non-designers can easily use: think
and transparent of all versions. Source artwork,
fonts, and colour palette references should also be provided
for anyone who needs to work with the visual identity in the
future. Bonus points are awarded for more specialized le for-
mats that may be requested down the line: , , or legacy
working les.

Section 5: Revisions & Delivery 49

Logo Pack FTW

Good Awesome!
Revision Process: Revision Process:
Include at least 1 round of revisions in the initial Ask for the clients feedback in writing or provide a
project scope written summary of changes discussed and make
Ask for the clients feedback in writing and make revisions to the selected concept based on input
revisions to the selected concept based on input Continue to refine the mark if an additional round
Continue to refine the mark if an additional round of work is required; estimate and bill for the time
of work is required; estimate and bill for the time required
required Prepare approved logo files and visual identity
Prepare approved logo files and visual identity design for delivery (the Logo Pack ZIP)
design for delivery (the Logo Pack ZIP)
Logo Pack Contents:
Logo Pack Contents: Table of contents readme.txt providing direction
All logo files in full colour, 1-colour, and alternate on when each logo file should be used
lockups provided as AI for use in print All logo files in full colour, 1-colour, and alternate
All logo files in full colour, 1-colour, and alternate lockups provided as AI, EPS, PDF for use in print
lockups provided as JPG, transparent PNG, and All logo files in full colour, 1-colour, and alternate
SVG for use in digital lockups provided as JPG, transparent PNG, and
Collection of square logo JPGs or PNGs in different SVG for use in digital
colours for use in social properties, app icons, etc. Collection of square logo JPGs or PNGs in different
Master AI file of all logo lockups in all colours with colours for use in social properties, app icons, etc.
organized/named colour swatches Master AI file of all logo lockups in all colours with
Fonts used in the logo and visual identity design organized/named colour swatches
(depending on license) PDF or web page style guide of typography
PDF or web page colour reference sheet with Licensed fonts used in the logo and visual identity
swatches, cymk, and rgb/hex values PDF or web page colour reference sheet with
swatches, cymk, rgb/hex, and Pantone values
PDF or web page of basic logo standards guide for
alignments, clearspace, other usage details, and
dos and donts
Library of any additional art direction elements
like pattern swatches, sample photography, PSDs
of photo filters, or GIFs showing approved logo
animations

Section 5: Revisions & Delivery 50

Another Thought
How much for a logo?
We recommend designers look at every new project through the
lens of process (not delivery) when building an estimate. Its impor-
tant to remember that identity design is a multi-phased eort that
takes time, even if the end deliverable is a simple graphic mark
expressed within the boundaries of a simple visual system.

When it comes to quoting, the best a designer can do is spell out

their process and decide on a price that is fair compensation for the
time and skills required. is can be done by tallying hours required
by each step of the process, or by considering the nal solution and
charging a xed fee based on the value it delivers. Whichever the
case, clients should understand that quality design requires skill, and
that successful identities have the power to dene businesses and
drive prosperity.

Section 5: Revisions & Delivery 51

Closing
TL;DR: design is a process that delivers a solution to a problem.
When it comes to their audiences, most brands want to be taken
seriously. Even if the underlying message is lighthearted or
whimsical, good design can ensure that a brand feels credible
and trustworthy.

Visual identities are more important than logos. e quality of

an identity design directly represents the quality of a business,
service, person, or product. Sometimes identity design is the
only visual manifestation of a particular service or company.

Last but not least: identity systems allow brands to communi-

cate with consistency. A sense of consistency is valuable be-
cause it promotes memorability and recall. It creates trust and
builds anity. Consistent visual communication facilitates
brand loyalty and all the great things that follow: rewarding
experiences, referrals, and repeat business.

Thanks for reading!

We hope youve discovered something useful about the crea-
tion of visual identities that can be incorporated into a future
project. If you found this information valuable, please share it
with a colleague.

We released this as a pay what you want resource so more

creative professionals would be encouraged to examine what

Closing 52
goes on behind the scenes of a logo design. If you feel this guide
is valuable to your workow or business, consider making a
contribution at studiofunction.com/logo-design-guide/ or help us
spread the love with a tweet.

More from our brains

If you have the energy for more words from us, we also wrote
e Dev Pack: A guide to preparing design mockups for devel-
opment. is resource recommends and outlines dierent ways
to prepare visual designs for dev hando (beyond sending a psd).
Grab it from studiofunction.com/dev-pack-guide/ and let us know
what you think!

About Studio Function

Our studio is built on three key ideas: We want the freedom to
ask the right questions. We want to produce meaningful, func-
tional, beautiful designs. And we want to partner with clients
that are solving important problems.

Special thanks
All illustrations in this are by Sam Island. Check out more
of his work at samislandart.com. Copy editing and general good
vibes provided by Caleb Sylvester.

Colophon
is was created using Adobe InDesign. e text is set
in Crimson Text by of engineering student Sebastian Kosch,
available via Google Fonts. Headlines and other chunky bits
are set in Nimbus Sans Novus by .

Closing 53
Help us improve this guide
Our visual identity design process has been a work
in progress over the last decade. Were always on the
lookout for dierent approaches and would love to
hear your feedback. Tweet @studiofunction or email
us at [email protected] and lets chat.