SYMBOLS AND GRAPHICS SELECTION FOR SUCCESSFUL LOGOS

Generally, a logo/trademark is 2D (two-dimensional) but latest tools are capable of creatingadvanced designs

with 3D (three-dimensional) effects. 3D designs together with visual linkage create a dynamic and talking

image/symbol which is more expressive. Many organizations,particularly the commercial corporations prefer

3D logos to add stance to their logo design. The colour arrangement and signage say a lot about the status of the

company. However, in the entire designing kit, a logo is the first impression alsoa permanent image of the

company. The logo must include spatial values together with the fine artwork. The spacing must be used smartly

as it affects the entire design. The details, including lines, space, colours, texture, patterns, and forms, etc. may

sound ordinary but they affect the logo to a great extent. Considering designing a huge responsibility, the

experience cannot be the only requirement; the designer must be insightful enough to use the space, lines, and

forms to design a successful logo. He must be able to observe and improve the design from every one of the

angles.

Proper hold on element placement in a design helps in achieving a harmonious logo that scores higher on the

demand scale of organization and nature. The designer allocated with the task is required to understand the

subtle balance, Shiv & Shakti pulse, compatible shapes, complementary colours and principles of unity.

Geometric shapes including circle, square, and triangle must be used in a manner that is justifying the space

within a logo. Have a look at the logo examples, including diagrams of a globe holding initials of the

companies, placed over them; the composition as a whole represents the international associations of the

companies. Refer figure 4.1.

(a) (b) (C)

Figure 4.1

Eyes love to communicate to the balanced spaces in a wholesome design. On the other hand, eyes shift the

attention away from poor symbols that are imbalanced, clumsy, and inauspicious. This is because the eyes
owner or man is responsive and reacts consciously and subconsciously when sees a design. He takes notice of

each limb of the design, including shape, texture, colour, strengths also defects. Well, it is a plus if the designer

could include abstract expressions within the image.

In the present era, 3D signboards are in vogue. 3D designs have overtaken the market of 2D designs.Though, the

graphics and colour arrangement for signboards, logos and trademarks are equally crucial. Apart from the soft

designing requirements, the sorts of materials used for signboard add value to the graphics work done for it.

CATEGORIES OF SYMBOLS

In present times, we use emoticons to express our reaction without using words but this trend is not recent.

Ancient people did use symbols to represent their desire, mood, reaction, and wishes, etc. It would not be wrong

to state that they were more familiar with the correct use of symbols and similar thingsthan the folks today.

They did not use colours and shapes because of their appearance merely but for their values and virtues in

symbology. A range of different symbols is accessible on the basis of which different striking designs can be

composed. Symbology splits symbols into four categories, namely, animal, plant, natural occurrence, and

geometry. Refer figure 4.2 to see trademarks designed as per the mentioned categories.

(c) (d)
(a) (b)
Natural phenomenon Geometry
Animals Plant
Figure 4.2

All the symbols used in logos & trademarks hold a certain virtue. Holding certain virtues along with, the

symbols accordingly confirm their effect on the designs they are the base of which. Some symbols & their

values support the logos & trademarks are given beneath:

Animals

Symbols Virtue

Bat Wealth

Bear Masculine Power

 Crane Permanence

Deer Prosperity

Dragon Influence

Eagle Strength

Elephant Power/Perception

Fish Achievement

Fox Cunning

Lion Strength

Phoenix Feminine Power

Pig Prosperity

Rooster Trustworthiness

Snake Cunning

Tiger Valour

Tortoise Longevity

Unicorn Astuteness

Plant

Symbols Virtue

Bamboo Endurance

Chrysanthemum Autumn

Cypress Longevity

Iris Spring

Loquat Fortune

Peach Longevity

Peacock Splendour

Peony Summer

Pine Endurance

Plum Fortitude
 Natural Phenomenon

Symbols Virtue

Cloud Divinity

Lightening Rapidness

Rain Union of M & F

Rising Sun Confidence

Setting Sun Downward trend

Sun Beginning

Water ripples Prosperity

Wind Progress

Geometry

Symbols Virtue

Floral Splendour

Rectangle Balance

Circle Divine blessing/ completeness

Square Constancy

Triangle Unsteadiness

Trigram Mythical power

Trigram Qian Vitality/heaven

Trigram kun Prominence

Trigram chen Changes

Trigram kan Spiritual Power

Trigram ken Stumbling/Mountain

Trigram sun Development

Trigram li Severance

Trigram dui Fulfilment

Tortoise shell Longevity

 Zigzag shape Progress

Refer figure 4.3 and figure 4.4 to understand the use of some mentioned symbols in trademarks.

Checn Dui Kun Ken Kan qian sun li

Figure 4.3

Crane Fish Bee and Bamboo Suitable

trademark for honey products

Lion Deer
Dragon and Phoenix

Elephant

Figure 4.4

LINEWORK
Lines are like lanes that form symbols, patterns, and images. Clean use of lines gets the image a finished look

also helps in conveying the clear enough messages to the non-designers/viewers. Flawless placement of lines

ensures that an effective design would come out. Different sorts of lines used to intimate the business categories,

for example, zigzag lines usually used to intimate the aquatic dealings or items. Refer figure 4.5 for examples of

zigzag lines utilization.

(a)
(b)
Figure 4.5

Radiating lines remind you of the sun rays the moment you see them. These emerging lines get a sense of active

or directional functions such as photography. For case in point, a shop named K photography may use radiating

lines to indicate the camera shutters and flashes with letter K planned on it as a proper logo. Refer figure 4.6 for

example of radiating lines utilization.

Figure 4-6

Radiating lines also represent movement just like wheel spokes. Virtually, they support rapid growth as well.

The organization desires a rapid and continues growth may use a wheel pattern in their logo design. Lines can

be used in a myriad of ways to give rotation, reflection, symmetry, focus, movement and contrast. Refer figure

4.7 for the demonstration of line usage in different ways.

(a) (b) (c) (d) (e) (f)

Figure 4.7
Lines may be horizontal, vertical, solid, diagonal, free-flowing, and broken giving sense to the design. They

may represent growth, twist, potential, rhythm or regular pattern.Different sorts of lines could be drawn either

using certain software, tools, or by hand. Refer figure 4.8 to understand the different uses of lines.

(a)
(b)
Figure 4.8

Particular objects or implications can also be represented applying the lines merely. The motif created using

lines in figure 4.9 is precisely representing musical notes that a company selling music books may use.

Figure 4-9

However, lines cannot be connected haphazardly. Lines must be connected to each other in an acceptable and

logical manner to form a proportionate shape that people could understand and appreciate, rather than getting

confused with the design. For example, if a straight line is transiting towards a curved line, the movement must

be steady and contrary. Refer figure 4.10 to identify with graphics work worn by trademarks.

(c)
(a) (e) (g)

(b)
(d)
(f)

Figure 4.10
SPACE

The separating spacesactually unite the design. Nature is the storehouse of different shapes. Ordinary and tiny

looking things such as a leaf, branch, wing or drop can prove inspirational to the logo designer. A worthy design

can be created using one simple shape or two elements together provided the prepared design must be an effigy

of unity and harmony. Well, relevancy is equally important to the appearance of a design. A building logo as

shown in the figure 4.11 is relevant & suitable for a builder of traditional buildings.

Figure 4-11

The logo resides in the boundaries of size and space. Hence, the logo designer is accountable for arranging all

the elements within the limited space only but the creation must be attractive, expressive, and indicating in a

likely manner.The symbol within a logo must be leaving some space around it. The graphic forms must be

isolated from the space. The designer must make efforts to leave zero possibility of any sort of confusion in the

design.

A logo is classified under Shiv (positive) or Shakti (negative). Refer figure 4.12, the images are depicting

positive (Shiv) and negative (Shakti) spaces in the logos.

(a) (b) c)

Figure 4.12

The graphic forms and spaces together make a complete composition. Hence, they must be arranged in a clean

& clear manner with no possibility of any confusion. Refer figure 4.13, the designs are simply apt and relevant

to be used as logos/trademarks for companies dealing in sports equipment.

 (a) (b)

Figure 4.13

SHAPE

Shapes are the arrangement of lines that move the eyes. Some basic geometric shapes are square, circles,

rectangles, ovals and triangles. Each shape represents something, for example, the square shape is something

balanced, strong, equal and representing the earth -the circle is a decent shape,it is also balanced and represents

the heavens -a rectangle is a proportionate shape that gets a sense of steadiness -the oval appears as a spiritual

shape laden with feminine qualities -the triangle represents determination and can be modified in a variety of

forms like A-frame building, tent, and mountain, etc. - Zigzag or wavy lines are flexible and represent

perception, easy approaches and associations -floral motives clearly indicate feminine and natural products -the

star is also a well-known shape that certifies brilliance, intentions, and discipline. Figure 4.14. Figure 4.15.

(a) (b)

Figure 4.14

(a) (b) (c)

Figure 4.15

Geometric shapes are the easiest and genuine sourcesto be used for logo designs. However, it is crucial to use

them artistically in order to prevent dullness or senselessness while involving them in the designing plan.
Sometimes, the square, rectangle or triangle may be used twice or multiple times to symbolize energy &

progress. Refer figure 4.16.

Figure 4-16

In a logo formation, there is a leeway of combining and using two or three geometrical shapes mutually but

sustaining the simplicity and clarity in the design is imperative. Hence, the design shall use multiple shapes in a

design when he is capable enough to do justice to the shapes and end design. Together with the base of shapes,

innovation and colour scheme also contribute to a novel design making. The design must have the required style

& coquetry that could grab appreciation of the viewers. Designing not always involves doing a lot; sometimes

simple designs also look attractive and effective. Figure 4.17.

(a) (b)

Figure 4.17

Geometrical designs may look supplementary vibrant using 3D effects such as cubes, octahedrons,

icosahedrons, dodecahedrons and tetrahedrons. Some 3D symbols are shown in figure 4.17 for reference.

Remarkable abstract patterns come out with the ingenious interactions of designs and elements.

(a) (c) (e)

(b) (d)
 Figure 4.18

3D effects can be created using different techniques such as overlapping geometrical shapes, creating illusionary

angle drawing, and as the designer’s creativity agrees to. Figure 4.19.

(a) (b) (c) (d)

Figure 4.19

ABSTRACT DESIGN

Designs that are well-proportionate and sustain harmony within always succeed in establishing a connection

with the users. On the other hand, an abstract logo touches the emotions and takes one on the mythical ride. An

abstract design not only includes graphics but depicts the idea in a way too simple manner so it could appear

responsive.

The technique to create a simple yet interesting logo is referring to any tangible or everyday object as the

graphic pattern base. However, the logo must not look exactly akin to the reference object like the example of a

company logo selling bird nest as shown in figure 4.20. However, this rule is applied in case of logos where in

trademarks the exact and factual objects are used in graphic forms.It’s like paying the Pictionary game. Refer

figure 4.21 to see some examples of totally factual logos and trademarks.

Figure 4-20

(a) Umbrella maker (b) Bell maker

 (g) Trademark for spoon
(c) Key maker
(k) Food products for birds

(h) A company in Paris

(d) Bicycle maker

(i) Logo of a company selling small

sailing boats

(i) Clock maker

(e) Magnifying glass manufacturer

(m) Logo of a shipping company

with the initials OPB

(j) Insecticide manufacturer

(f) Pipe manufacturer

Figure 4.21

In case the object is being used to express the function of a company then the design must be more abstract.

Relevant examples are given in figure 4.21 (I) and (M).

Geometric lines and patterns used to compose an innovative, unique, and expressive design if are used

creatively and astutely. Different styles and symbols are used to simplify the composition for quick recognition.

Once the design base is ready, colours are added to make the design lively and interesting. A variety of patterns

as a logo design can be created using the same black & white and positive & negative patterns. Figure 4.22.
 (a) (d) (g)

(b) (e) (h)

(c) (f)

Figure 4.22

If inscription has been used in an abstract design, it must be comprehensible. Figure 4.23.

(c) A company with initials db

(a) A company with initials AUH (b) A company with initials IC

Figure 4.23

COLOUR SCHEME

The colours naturally affect the human mood, emotions also psyche. The colours used in a logo naturally

provoke the viewers. The designer well-versed in palette can play with the colours while making a design to

enhance its impact. Primary colours including red, blue, yellow, and magenta are quite powerful and enhance

the spur. Colours are transitional such as purple and green are developed colours with low tonal values and are

more subtle as depicted in figure 4.24.

 Figure 4.24

Color Chart

Colours play a significant role in creating 3D spatial effects in the logos and trademarks. However, this use of

colours is on a gross level where another important obligation of colours used within a design is to maintain a

subtle balance with Shiv& Shakti colours. The colours must be arranged/used within a design so they neither

look over-imposed (exceptionally masculine) nor mundane (exceptionally feminine). The simple & best

technique to decide colours for a design is, choosing colours that are compatible with the user’s birth element,

for example, if a person’s birth element is water the colour that complements water is blue so this colour can be

used within a logo. For corporate companies, a proper corporate palette shall be considered and used.

Fierce colours including yellow, orange, and red are masculine where modest colours including blue and green

are feminine. Taking the user’s birth elements and company’s corporate colour policy into consideration, two

shades can be used to maintain the colour balance.

As per an ancient belief, colours hold certain values and symbolism. For example, red stands for auspiciousness

& joy, green for endurance and youthfulness, yellow for reputation and royalty, black for gravity and grief, blue

for spiritualism, and white for remembrance and clarity.

Anything visible to the eyes has a colour thus colours are more important than forms yetin a logo design, both

the colour and forms hold equal importance and are unified because colours bedeck the form where form

embodies the colour. The colours can be used to cover or boost the form appearance. When a grey tint is put on

black, white or coloured paper, it looks more prominent more on the white than the black or colouredpaper. This

confirms that colours affect the form as well as its colour.

Another proven fact here is that the colour values are closely related to the apparent size and form of design

elements. Monochromatic, relevant or complementary colours can be used in the colour scheme of a logo
design. The complementary colours create harmony and used involving a fierce (masculine) and modest

(feminine) colour together. Refer figure 4.25 for a vibrant example of such colour scheme.

Figure 4.25

Figure 4.26. This logo has been designed for a travel agency. Two conflicting colours red (fire element) and

black (water element) have been used in this design which is against the rule of balance. The logo may turn

auspicious by adding the green colour.

Figure 4.26

Figure 4.27. This logo represents a publishing company with initials used in harmonious colours.

Figure 4.27

Figure 4.28. The following logos are of a blood donation organization. Red with black is a good example of

colour contrasting but as per Vastu black and red are conflicting colours because one represents water where

another represents fire. To turn it auspicious, green colour can be included in this colour scheme as shown in the

figure 4.29.

(a) Blood donation organisation (b) Company with initial B Company with initial M
 Figure 4.28

Figure 4.29

Figure 4.30. This logo particularly depicting Chinese cultural roots.

Figure 4.30

Figure 4.31.The logo contains a company name having four initials.

Figure 4.31

Figure 4.32. This complicated logo is suitable for a basilica builder to demonstrate his activities through the logo

itself.

Figure 4.32

Figure 4.33 (a). Yellow and black are used in this logo. Yellow represents earth where black represents water

and earth absorbs the water as referred by a destructive cycle of elements. However, using white could balance

the logo as white (gold) is compatible with water (black) as shown in figure 4.33 (b).
 (b)
(a)

Figure 4.33

Figure 4.34. This logo is a perfect example of a compatible colour scheme as red (fire) and yellow (earth) are

compatible with each other.

Figure 4.34

Figure 4.35. The logo includes colours green (wood) and black (water) that are compatible with each other.

However, triangle shape represents the fire element which is conflicting but the combination of fire, water, and

wood is auspicious.

(a) (b)

Figure 4.35

Figure 4.36. The logo includes blue (spiritualism) and yellow (earth) colours which is a compatible colour

scheme.
Figure 4.36