Start Here October '22

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64 S T A R T H E R E 2 0 2 2 I ask them to look at the images and pick out three they like, and three they don't like and send them to me. is process is amazing at narrowing down the size of the design forest you are navigating through. It allows you to look into the client's head to discover their likes and dislikes without drawing up examples to illustrate the same thing. 3) Identifying the end-viewer expectations Who is the customer that will be viewing the logo and what design, image or graphic will they respond most favorably to? Is your product unique, rare, or not something used every day? It's critical to be clear and concise in both readability and visual clues to help all of the first-time viewers of the logo (the potential new patrons of the business). 4) Outline the uses of the logo How will your client be using the logo? If it's for their website, where else will they be using it? What will they use the logo for regarding their products and services they offer? Will they need stickers, labels, pens, hats, uniforms? How about a sign? How about social media uses? e ways that your client will be using the logo controls how the logo needs to be designed. ere is a rule of thumb in logo design that I came up with forever ago that I have yet to find an exception to, and that rule of thumb is this: Design your logo to be readable on a sign at 100 feet away, and it will remain readable at any size, no matter how small you make it. Design the logo for viewing at arm's length, such as on a smartphone, then it most likely will not be readable at a long viewing distance. CASE STUDY: BURRATA & BUBBLES Illustrating point No. 3 is a logo I helped fine-tune to present a "more visually informative graphic" that tells the eye precisely what "Burrata" is in one quick look. Amanda McGrory-Dixon, the owner of Burrata and Bubbles (, had an original logo that was very lively looking — bubbly would be the most appropriate phrase and one of its features was actually hindering its function, and that was the readability of the font. From a glancing distance, not only was Burrata a fairly uncom- mon term in most circles, the loops and hoops of the letter style, combined with the unstable italicizing that some fonts have, and it was a less-readable-than-desired approach that simply needed some clarification for the viewer. I didn't want to completely aban- don the branding efforts she has successfully attained, so I left the original B font in place and combined it with a cleaner font. e icing on the cake was the graphic that may not directly describe what Burrata is, but the graphic indicates that it must be cheese, since the "bubbles" aspect is represented by the champagne glass. I played with the cheese and glass a few times before Amanda chose the logo assembly shown here. It was tough because bur- rata cheese is the shape of a lump of something in cheesecloth. It has very little iconic impact and there was nothing available that even came close to representing it so that anyone seeing it might say: "Oh hey, hot burrata, let's eat!" "As a foodie, I'm obsessed with burrata and mistakenly thought everyone knew it was a cheese, but over the years, I found that's not quite the case, Amanda says. "To me, this (revised logo) gives the reader an instant idea of what kind of recipes they can expect." She goes on to say, "I've seen some logos, especially in the food industry, that try to cram in too many elements, and your eyes don't know where to focus. It's also important to keep in mind how it will appear online, particularly on mobile devices." Pictured is her original logo, and her new one. e graphic ele- ments are all hand-drawn originals I created for Amanda's new logo to capture the quintessential graphic image that says it all about her food blog. Logo before: Logo after:

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