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50% OFF MY NEW LOGO DESIGN COURSE! http://bit.ly/1Wojxog Fiverr Rant! Roberto Blake : https://www.youtube.com/watch?v=FcOD5TyHFLE Great Graphic Design Resources! https://creativemarket.com?u=Willberto Instagram: http://instagram.com/willpat Thanks for watching! Hope you enjoyed this video! If there's anything you would like me to cover in a Youtube Video, then let me know by commenting down below!

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The distinct curves of an oval emit a beautiful frequency of design, this shape enhances the design of a badge logo design. Most oval shaped badges of late maintain a touch of the classic vintage feel, but they still have a tidy design aesthetic. I hope this collection sparks your creativity! If you…

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Established in 2005 and launched in 2007, Chobani is a brand of Greek yogurt available in the U.S. that was started by Hamdi Ulukaya, a Turkish immigrant, when he bought a defunct yogurt factory in upstate New York and grew it to build the number-one-selling brand of yogurt in the country. It is the Greek yogurt of choice at UCllc headquarters. Chobani has grown so much, it became an official sponsor of the US Olympic Team in 2012. Aside from making super delicious yogurt, Chobani is a super awesome and generous company: among other perks, Ulukaya gave all of the employees shares in the company in 2016 to share the riches if and when the company goes public (or it sells). Positioning themselves for further yogurt-market-dominance, Chobani yesterday introduced a new identity and packaging designed in-house, led by Leland Maschmeyer, who joined the company - after co-founding and working for many years at Collins - in 2016 as Chief Creative Officer.

A sampling of the old look.

Logo.

Brand architecture.

Identity elements.

Despite an intense affection for this yogurt I always disliked its old logo. The heavily geometric wordmark with the Art Deco-ish aesthetic felt too harsh, fragmented, and cold in contrast to the smooth, creamy texture and flavor of the product. The new wordmark manages to capture that feel-good sensation of the product in a rich, smooth, curvy, chunky serif that looks absolutely fantastic. Drawn by Berton Hasebe - who also designed the extended type family in collaboration with Christian Schwartz of Commercial Type - the new wordmark is the best-in-class, end-of-the-road example of the slowly rising trend of serif typography, particularly of the 1970s, Windsor-esque realm. I think it is literally and absolutely perfect not just in execution but in representing the product. The green color is unexpected but it looks stunning on the typography and more so in the packaging.

Product photography.

Lifestyle photography.

Culinary photography.

The brand's new photography style, and overall presentation, has an Amélie-meets-Norman Rockwell-meets-Works Progress Administration aesthetic that feels earthy, nostalgic, and wholesome but without being cloying. The extra saturation of colors gives it a nice contemporary feel.

Stationery.

Employee brochures.

Postcards.

Buttons.

Tote.

Uniform.

Chobani Cafe render.

The corporate and marketing materials and lovely too, from the simplicity of the stationery - centered typography, OMG! - to the richness of the employee handbooks to the playfulness of the tote and buttons. The identity can work on different visual wavelengths but it all feels consistent and coherent.

Packaging, before and after.

Like, the old logo, I never liked the old packaging. Too generic and it felt... distant which, again, seemed contrary to the niceness of the company. Like the new logo, I also love the new packaging. It feels like the wholesome boyfriend or girlfriend you want to bring home to meet your parents. It has a very classy look and the new off-white background color makes a huge difference in adding warmth to the packaging.

Family of products.

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New look introduction video.

32oz range.

5oz range.

Drinkable range.

A Hint Of... range.

Smooth range.

The illustration work across the family of products is amazing, striking a great balance of quirkiness and seriousness, and abstracting each fruit just enough that it feels expressive but not too artsy fartsy.

Flip range.

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Flip introduction video.

The one product range that feels off is the Flip, which looks like its aimed more at children. There is a lack of elegance and right kind of playfulness that is clearly evident in all the other products. Still, it's nice but not as nice.

Point of purchase renders.

"Fighting for Happily Ever After" spot.

Overall, in case it hasn't been evident so far, I absolutely love this redesign and I think it's one of the best revolutions - screw evolution! - of a leading product in its category that further separates it from the competition and it's doing so in its own unique voice.

Thanks to Hugo Reyes Luna for the tip.

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Established in 2005 and launched in 2007, Chobani is a brand of Greek yogurt available in the U.S. that was started by Hamdi Ulukaya, a Turkish immigrant, when he bought a defunct yogurt factory in upstate New York and grew it to build the number-one-selling brand of yogurt in the country.

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My Links! http://instagram.com/stebradbury https://www.facebook.com/stebradburydesign https://twitter.com/FallenDesignsUK http://www.behance.net/SteBradbury http://www.stebradburydesign.co.uk Hey guys! So in this tutorial I am showing you an easy way to add highlights and shadows to your vectorised lettering work.

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Image: ©Barbican Centre/North

Here we take a look at some of the very best examples of brand guidelines documents, also known as 'style guides'. A great Brand Guidelines document not only sets down the rules for using your 'brand assets', including logos, colors and fonts, but also injects life into your brand, and makes visual branding a joy, not a chore!

From exhaustive style bibles to cutting-edge guides breathing new life into traditional corporate identities, we'll pick and choose the best lessons from each guide, and suggest how you can apply these tips to your own brand design work.

Need inspiration? Find stunning Brand Templates from Envato Market and Envato Elements.

1. What is a Style Guide?

Freelance illustrators, photographers and designers. Small businesses. Multi-national corporations.

Foursquare Brand Guide
What do the above have in common? They would all benefit equally from having a style guide-a document that sets down the rules for applying their 'brand assets', which include useful things like logos, brand colors and brand fonts.

easyGroup Brand Manual

The primary purpose of a Brand Guidelines document is to give guidance to others as to how they can use the company's branding when they create anything new, such as business cards, advertising, websites, packaging... basically anything that visually represents the business in any way.

Even if your company has just one employee (i.e. you!), a style guide will help you tie together all the different ways you present yourself visually, and help to create your 'brand identity' in the process.

Whatever the scale of the business, creating a style guide serves a practical purpose, and is fun to do too!
'I like creating and designing things, it's really fun! So why would I need a document that's going to put restraints on how creative I can be?'
2. Why Do I Need a Style Guide?

Or, as that question should really be phrased:

Designers fall into two camps-if you work for yourself, as a freelancer, or for an agency, and do varied work, you might be used to working within the restraints of various clients' brand guidelines, but you might feel you have a bit more creative 'freedom' in your everyday work.

A client might outsource to a freelancer or agency to get a different perspective on their branding, advertising or marketing, and as a result might be willing to lift the restraints of their corporate branding a little to reap the benefit of that fresh creative insight.

After all, bigger clients often have in-house design teams whose jobs revolve around conforming to the company style guide and creating more standardized company materials. Enter the second camp-designers who work in-house exclusively for one business or organization.
'A style guide should do just that-guide, but never restrain, creativity'

Barbican Brand Guidelines
The first camp of designers might feel a bit sorry for the second camp, as they think those in the second camp don't get as much creative work. This may be true for some in-house designers, but for others this simply won't be the case. It all comes down to the quality of their employer's brand guidelines. If your style guide is successful, it won't stifle creativity, it will channel it!

Which leads us to this grand statement, and essential motto for any style guide creator:

Let's take a look at some style guides which adhere faithfully to this motto and give some guidance on the essential building blocks of a successful style guide.

's exhaustive (literally exhaustive; the original British Rail Corporate Identity Manual runs to four volumes) brand identity manual is a classic; but only to be read by ultimate branding fanatics. You have been warned...

doesn't want anyone to get the colors of their logo wrong...even when it's in sepia.
3. The Building Blocks of a Style Guide

A cover

A contents page

A brand ethos/motto (optional)

A logo guide

A color guide

A typeface guide

A guide to graphics and/or photography

A guide to best practice, with helpful examples

A note of thanks to everyone who has read the guidelines through to the end (they deserve it!)

Rome wasn't built in a day, as the saying goes. And brand guidelines are just the same. Every style guide takes a bit of work; but how much work is really up to you. The following will guide you through the essential elements of any good style guide, but it's completely your choice if you want to expand the guide to or British Rail proportions (see below).

Every style guide worth its salt will have the following elements:

Let's take a look at some successful examples of these in action:

1. The Cover

Foursquare Brand Guide
The Front Cover of a style guide is the first port of call for a reader, and as a result is a great place to make a statement about your brand identity. It's the perfect place to both summarise the main elements of your brand ( logo, colors and principal typefaces) and to show off your branding style in a creative, attention-grabbing way.

University of East Anglia (UK) Brand Identity Guidelines
Here, hip app company Foursquarecombines the three main elements of its brand identity-logo, colors and typefaces-to create a simple yet striking cover design that has a vaguely hypnotic effect on the reader, which is no bad thing.

The University of East Anglia's cover balances formality with simplicity, pairing the UEA logo at large size with the strong brand blue of the university. No unnecessary fuss here.

2. Contents

Whether your document is a few pages or a few volumes (we're looking at you, British Rail), it's always a good idea to include a Contents page as part of your style guide. This helps readers orientate themselves, and transforms the document into a brand manual that readers can use to find guidance on fonts, for example, by simply looking up the relevant page.

Lloyds Brand Guidelines
What makes a good contents page? Keep it simple, free of clutter, easy to read (no tiny font sizes here please), and divide the contents list up into sections if it's looking a little lengthy.

Insurance brand Lloyds jazzes up its contents page with a range of brand colors, without compromising on simplicity and ease-of-use.

3. Your Brand Ethos

Most big companies these days love to include a brand ethos or motto at the beginning of their style guides.

Foursquare Brand Guide
If you're a one-person freelancing business this may seem a bit much (though my motto would no doubt be 'Always Drink Coffee Before Attempting to Create Brand Guidelines'), but for bigger businesses this can be a nice way of letting your employees know how the company's branding relates to the bigger picture, and how it will develop the company's progress and success in the future.

easyGroup Brand Manual
Foursquare sets it out in simple terms (and large type).

easyGroup set their 'brand values' in easy-to-read, brand-friendly orange frames.

4. Guide to Logo(s)

Whether you're a freelancer or the CEO of Apple, your business's visual identity will be rooted in its logo.

A logo is the most instantly recognisable component of your brand identity. It might be type-based (perhaps a signature or simple typeset design), symbolic (just a graphic) or a combination of the two, but you're definitely going to want to lay down the rules for how your beautiful logo should be used.

Penguin Logo Guidelines
Some things to consider and spell out in your style guide:

Penguin demonstrates the recommended minimum print size of its iconic logo, and suggests guidance for margins.

Don't mess with the NASA branding team. They'll be really angry if you apply the logo in one of the many incorrect ways demonstrated in their 'identity system'.

5. Color Guidance

Unless you can only print your branded stationery on an ancient black-and-white laser printer, it seems very likely that you will be looking to use color on your branded materials.

Color can breathe life into a brand, making it exciting, approachable, luxurious, serious or light-hearted, amongst so many other emotive qualities that we associate with particular colors and color combinations.

Do you have a principal brand color(s) which should be used in the first instance? Do you have supporting brand colors that can be used on a website, advertising materials, etc.?

Define the Pantone swatch of each brand color, and include CMYK, RGB and HEX code versions of each as well, so the color can be applied across print and online media.

Color can also be sadly and unjustifiably abused. To avoid anyone applying a neon 'glow' to your brand typeface or reworking your beloved logo in shades of pastel, devote a page of your style guide to the correct application of color.

easyGroup Brand Manual
Things to think about and include on the guide:

MailChimp Brand Assets
easyGroup gives readers the full range of options for applying its instantly recognisable brand orange.

MailChimp only provides its brand colors in HEX code format. Perhaps not as traditional, but it suits the digital-only company well and makes for easy application of the brand colors online.

6. Tame Those Typefaces

The typefaces and weights of each (e.g. Regular, Bold, Light) that make up your typeface portfolio.

Do you have one font for headings, and another for body text? If so, make it clear!

Do you have size specs for your text, i.e. this font should never be larger or smaller than x.

Do you have preferences for typography (e.g. drop caps, paragraph alignment, tracking etc)? Remember, if you don't say it, no one will know what your ideal brand typography should look like.

You might have a typeface that you use exclusively on your logo. Spell it out if you don't want it to be used anywhere else.

Stop your colleague from defacing your business cards with a novelty font by laying down the law for how your brand typefaces (fonts) should be used.

Barbican Brand Guidelines

It's important to define the fonts you'd like to use for branded materials, as well as define rules for how the fonts should be used. Consider including guidance on:

The Barbican Theatre's brand guidelines are a considered and highly effective example of how to present information about typefaces in a design-forward way. Blowing up 'Futura' and setting it in a contrasting color gives the font more significance and memorability.

Guidance on type sizing and alignment is presented in a playful, colorful style that makes the rules seem inspiring not irritating.

Can your logo and/or brand type be set over the top of graphics or photography? Advising others to avoid setting your logo over busy backgrounds is usually a good standard tip that will apply to any brand design.

Do you have graphic elements that can be lifted from your logo design, and can be used in a flexible way across materials (see below, Swedish Armed Forces example)?

Should the photos and graphics that are chosen to run alongside the logo have particular subjects or emotive qualities?

Are there photos and graphics that should be avoided?

7. How to Use Graphics and Photography

Swedish Armed Forces Brand Manual

No brand exists in a bubble. Successful brand design responds flexibly-most good logos will be just as effective teamed with graphics and/or photography as they would be on their own.

But (you guessed it) you do need to specify in your style guide how images should be used alongside other elements of your branding.

Barbican Brand Guidelines

Bagel Street Café Visual Identity
Be sure to think about the following, and provide some images to demonstrate good (and bad) examples:

The clear, concise style guide used by the Swedish Armed Forces features simple, minimal pages devoted to appropriate use of graphics and photography.

8. Best Practice

You may have included a couple of examples of your brand in action here and there, but it's also a great idea to devote a page or two of your style guide to showcasing examples of best practice.

These can be real-life examples of posters, exhibition materials, flyers etc, as demonstrated in the Barbican example below. Or you could include some simple mock-ups of business cards and other items, showing how your brand assets (logos, type, color etc) should be positioned and printed.

Swarm Online Resources
The Barbican guide's best practice section shows the stylish Barbican brand in action, pulling together graphics, photograpy, type, logo and color to create perfectly branded posters and flyers.

Why not show off the flexibility and creative potential of the branding by featuring examples of branded packaging? Here, the Bagel Street Café brand expands to stylish water bottle labels.

9. Say Thanks!

A cover

A contents page

A brand ethos/motto (optional)

A logo guide

A color guide

A typeface guide

A guide to graphics and/or photography

A guide to best practice, with helpful examples

A note of thanks

While it is certainly not an essential component of a style guide, it's a nice touch to give a brief note of thanks at the end of your guide. If the reader made it through to the end of your document, this means they're much more likely to care about the brand and how it is presented.

Don't assume everyone else at your studio/business/company is going to care as much as you do about your brand. Most will receive a hefty PDF in their inbox or in-tray and promptly forget about it. This is why so many companies now provide an online brand 'portal' for their employees, which is a more concise version of a style guide that exists solely online. And it's instantly more accessible and useful, providing instantly downloadable logos, fonts and graphics for employees to use.

If you're sharing brand assets with a number of other people, consider hosting your brand online.

The brand (owned by Foursquare) provides a range of logos and icons on its website for users to download with ease.

Conclusion

Brand Guidelines should help you or your employees feel confident with creating branded materials that are going to stick to your brand rules, but also give them the guidance and freedom to be creative with the brand. After all, designing, even within the constraints of a brand 'look', should be fun!

Take inspiration from the fantastic examples above, and try creating your own style guide using the following simple structure:

If you'd like more guidance in creating your own style guide, check out what we did to create the Team Awesome style guide here at Tuts+, and feel free to share your own style guide ideas in the Comments below!

Brand Templates From Envato Elements

Take your brand to the next level! Explore an unlimited selection of Brand Guidelines Templates available on Envato Elements.

Lay out the important details of your brand in style. This awesome template features a sleek and sophisticated design inspired by trendy low poly forms. Get access to two convenient sizes with master pages, editable text, and so much more!

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Image: ©Barbican Centre/North Here we take a look at some of the very best examples of brand guidelines documents, also known as 'style guides'. A great Brand Guidelines document not only sets down the rules for using your 'brand assets', including logos, colors and fonts, but also injects life into your brand, and makes visual branding a joy, not a chore!

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The 5 MAIN Elements of Logo Design - 2016

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My Logo Design Course: http://bit.ly/1ri38Jq Los Logos Book: http://amzn.to/1SAYr4q Great Graphic Design Resources! https://creativemarket.com?u=Willberto Instagram: http://instagram.com/willpat Thanks for watching! Hope you enjoyed this video! If there's anything you would like me to cover in a Youtube Video, then let me know by commenting down below!

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Logo Examples (Hidden Image & Negative Space)

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33 Skillfully Crafted Brewery Logos In today's blog post I've curated 33 brewery logos that I've come across while exploring logos online, I hope this collection of logos sparks your creativity! If you've designed a great logo mark then send it to us by using the submit form.

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Spreadshirt Page https://shop.spreadshirt.co.uk/SteBradbury My Links! http://instagram.com/stebradbury https://www.facebook.com/stebradburydesign https://twitter.com/LetteringAddict http://www.behance.net/SteBradbury https://dribbble.com/SteBradbury http://www.stebradburydesign.co.uk Hey guys! So this I recently posted a tutorial on how you can create shadows and highlights for your lettering work to give it a bit of a 3D sort of effect, so in this tutorial, I will be showing you some different styles of shadowing/cuts you can use to help make your work stand out and give it some depth.

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Logo Design Tutorial Part 5 - Fine Tuning Logo in Illustrator

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56% of America's fastest growing companies use blue or dark colors (black and gray) as primary colors for their logos. 66% of these companies use both an icon and a wordmark. 94% of the logos are minimal.

Could certain logo attributes be linked to success? Smart Sign analyzed 2000 logos from the 2016 Inc. 5000 List of America's Fastest Growing Companies for common logo characteristics that successful companies possess. Here are the findings.

Share this post with a designer friend and voice your views in the comments below.

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What Do The Logos Of Successful Companies Have In Common?

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56% of America's fastest growing companies use blue or dark colors (black and gray) as primary colors for their logos. 66% of these companies use both an icon and a wordmark. 94% of the logos are minimal. Could certain logo attributes be linked to success? Smart Sign analyzed 2000 logos from the 2016 Inc.

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There's article after article on websites that talk bout how to make a great logo. But If you're a logo machine, and you've been doing it for a long time, chances are that you've developed some pretty awful habits. How do I know this? Because I suffered from some of the same habits I'm about to talk about. A true master of logo creation will refine their work on every project, forcing themselves to get better with each design. It all boils down to a few key things to avoid when you're creating a logo. While you can take a stab at selling generic logos on places like GraphicRiver, you'll do your best work when you deeply understand your clients and their company. Now lets dive into the ways you can stop making bad logos.

Throw Out Extreme Detail and Intricacy

While some of the best designers and illustrators often find themselves wanting to flex their illustrative muscles, and express the insane levels of detail they're capable of producing, this often makes for terrible logos. Don't forget to realize that your logo is going to show up in a lot of places at a lot of sizes. No one can see your pen and ink stippling from a thousand feet away. Don't worry though, even some of the most simple logos that exist today once went through a difficult dry spell. If you found yourself creating complex logos in the past or even are creating one now don't kick yourself just keep chopping away elements until you're left with the true soul of the logo.

Take a look at these examples of the old and new Nike and Apple Logos. Two logos revered to be extremely simple now, once went through a complex stage.

If I was Isaac Newton, I'd Sue.

Never Use Other Peoples Stuff

It doesn't matter how? Another person's work shouldn't ever end up in one of your logos. First it should be a point of pride that the entire piece of work was created by you from scratch. Design can be an incredibly noble profession, and our ability to come up with something that defines a company in the form of an image is incredibly powerful. Now, do you want that image to be from iStock.com?

On top of all of this the fact that if a client was paying you, they would feel cheated and be absolutely furious if they discovered that their logo comprised of elements that they simply could've found on the Internet.

Even if you're running the da Vinci Art Museum, you shouldn't be putting the Mona Lisa in your logo. If the logo is for a company or theme that's derivative of another person, place or object, spend time trying to come up with something that represents that person, work place or object, not make the literal copy of it. You'll have a happier client, and be able to share the pride that you created it yourself.

Please Don't Make it in Photoshop

I've said this 1000 times, but it bears repeating. Do not make a logo in Adobe Photoshop. Period. When I began to study Graphics, I approached my teacher Mr. Adie and proudly declared that I was a master at Photoshop. Know what he said to me? "Teenage Girls use Photoshop to cover up Acne! If you want to impress me, master Illustrator." Now, I'm not saying that a teenage girl can't create a great logo. But, what I am saying is if you are a true designer, your logo will be created in a vector art program like Adobe Illustrator.

Photoshop is simply a photo editing tool. That's what it was originally designed to do. It doesn't create art that's ready to print on the business card, a T-shirt or any other item. So, the bottom line? Keep your Evelyn and Bas filter and bubble textures off of my logo.
Sincerely, your client.
Don't Just Put a Thing Next to Text

You may be up in arms about this one, but hear me out. I know there's probably 1 million logos out there that are simply a thing sitting right next to a piece of text. But there's more to it than that. If you have a symbol that represents the company, do you need the company name at all? If I showed you a blue app on sale would you be able to tell me it's Facebook? Some of the world's most timeless logos are ones that don't incorporate an image at all. FedEx, The GAP, Microsoft (until recently LINK), Google, and the list goes on.

The real thing I'm trying to get to here is, don't paint yourself into basic patterns. Exercise your muscles every single time you create a logo. Do something different than you did last time, and the time before that. You'll find it makes you a far better logo creator, and a more versatile designer.

Quit With the Overly-complex Metaphors

Dear client, enclosed in this email is your logo. It's a Ford model T with the license plate BTSYRSS. That's because the automotive industry is American, and Betsy Ross was asked by George Washington to sew the first American flag!

Pretty good logo for Joe's American burgers, right? Although some designers who have a minor in philosophy want to be seen as creative intellectuals by their clients, it's never a good idea to design an overly complex metaphor.

I couldn't make this up if I tried.

A logo needs to tell a story, symbolize a company or an idea. I don't care that you've been studying the works of Stanley Kubrick for the past 12 months, if you have to explain the logo every single time you show it to somebody, then you're doing it wrong.

Logos are tag clouds, they're not storybooks, they're not mission statements, and they're not decorations. But great logos may be all of those things at once. Simplicity, clarity, and meaning define a great logo. Take the extra effort to refine your idea and like a fine jam, remove the impurities, cut the fat and distill your idea down to the single most meaningful thing that you can think of. (Sounds sweet! - Ed.)

Don't Throw Type to the Wind

Unless your logo is so bold, meaningful, memorable, and recognized as a symbol, you're going to need to use type in your logo. Even then, you may want to keep it simple. Too often is text lain slovenly like a deluge of keystrokes with the kerning set to default. Letters, typefaces and all the properties are part of your logo too.

The Cleveland Browns logo is an orange helmet. I wish I was kidding.

It's a step beyond just saying no to Comic Sans, it's spending hours (Or days, or weeks if you have to) handpicking the right font. It's knowing about how typography works, and understanding the flow of words and the relationship of text size and space. And if you're venturing into the realm of cliché, just by putting a bold word next to an un-bolder one, switching or alternating colors, you may have lazy typography on your hands.

If your companies really just one word, think of more interesting treatments. What size, shape, Pat can you text follow. What's the relationship between the words you're trying to emphasize her de-emphasize, or jam next to each other? Type can make or break your logo.

Stop Being So Darn Unoriginal

This may seem completely obvious, but originality is crucial. People go and create logos, either without checking what other people have done first, or simply developing the first cliché they can think of. Remember, a logo is meant to represent a company. If your logos going to stand the test of time it must be original. That means you're not going have to re-brand in another two years, because you did something that looks " So 2008". A logo is more than something to put on a website or business card. A logo is a stamp, a mark of pride, a family crest. Logos should be something that a company says this is us, and no one else.

Take a look at the BMW Logo. You can't really mistake it for any other automotive company right? Until you take a look at the RAPP MOTOR logo. The Designers at BMW were charged with bringing legitimacy to a new brand, and while their iterations and current look juxtapose in a sea of chrome swirl logos in the car industry, their original design was not much more than a copy cat.

And there you have it. Some simple ideas here but mistakes we too often make when designing a logo. Now go forth and create great stuff. Or, ya know... Better stuff.

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There's article after article on websites that talk bout how to make a great logo. But If you're a logo machine, and you've been doing it for a long time, chances are that you've developed some pretty awful habits. How do I know this?

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25 Beautifully Designed Hand Logos In today's blog post I've curated 25 beautiful and unique hand logos that I've come across while exploring logos online, I hope this collection of logos sparks your creativity. If you've designed a great logo mark then send it to us by using the submit form.

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1 Negative Space in Logo Design and Illustrator

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Negative space is, quite simply, the space that surrounds an object in a image. Just as important as that object itself, negative space helps to define the boundaries of positive space and brings balance to a composition.

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Logo Design Tutorial Part 6 - Business Card Design

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How YOU Can Design The BEST Logos Everytime (Real Life Project)

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Image: Gary Waters/Corbis

This article is part of SWOT Team, a series on Mashable that features insights from leaders in marketing, brand-building and public relations.
A handful of brands keep their loyal advocates excited and engaged by using hidden design language to tell the bigger stories in a highly visual, yet subliminal manner. And that is exactly why we are drawn to them: We seek to be "in-the-know."

Secretive design language is widely used on web sites as " Easter eggs," within products as hidden features, as hidden offerings by food providers (In'N'Out's secret menu or Bible citations on the packaging, for example) and even on passports as security enhancements, like Norway's next passport design.

Utilizing design secrets to share underlying themes is a powerful brand statement - one that helps gain buzz and keeps believers lining up for more.

Very much like the speakeasy that has no sign out front and is incredibly hard to find, we are attracted to brands that challenge us intellectually and hide elements from plain sight. Seeing and connecting them makes us feel special, and that is one wonderful feeling that a brand can trigger within their audience.

Here are two ways your brand can turn to the subliminal to get its audience engaged.

Opportunity 1: Let your brand identity speak through design

Image: Mashable Composite. Image Zoo/Corbis

Brand identities, or simply 'logos,' are the most common place to find hidden messages and deeper meaning at the very top of the visual brand pyramid. The arrow between the letters 'E' and 'x' in the FedEx logotype is the go-to example for subliminal messaging in logotypes, but you can find them all around you.

As shown by Amazon's " delivering a smile and products from A-Z" to Baskin-Robbins' " 31 flavors," key messages are often hidden within a logo. Today's clever tech startups that understand the power of brand story telling are right on their heels.

A brand's identity needs to say many things, and graphic designers go beyond the obvious to achieve all, or at least most, of the objectives, having to pull out some visual tricks to fit them all in. Once the audience finds out about a hidden element in the brand identity, it feels more connected to the brand itself, as if it's part of their secret.

We love sharing that secret with others. Today, we call that virality. Your logo alone can get people talking about the deeper meaning behind your brand.

Opportunity 2: Add unexpected layers to your brand atmosphere

Your brand atmosphere is your visual foot print. It is what your audience sees when they get in touch with your brand image. It's everything from your collateral and online presence to trade show booths and your email signature. Brand atmosphere represents another opportunity to tap into the power of hidden design language.

When my brand consultancy was asked to create the visual image for Martian Ranch and Vineyard a few years ago, we were thrilled to learn that the name actually stemmed from the founding couple's sons, Martin and Ian. Cleverly, they put the two words together to formulate a name for their next big offering, the winery Martian.

Given the name, the client's directive from the get-go was to craft a Martian character to grace the wine labels and represent the Martian brand. My agency, however, did not love the thought of being greeted by a Martian, not with a $22-$35 bottle of biodynamic California wine and a brand that stands for much more than what the name implies.

Ensuring a happy ending, or a happy landing so to speak, we allowed the Martian to make its way onto the brand's label, but we restricted its appearances in a refined design language. When a consumer opens the bottle, for example, Martians are dancing around the cork, drinking in a festive manner.

Then, when a site visitor goes to Martian's landing page (no pun intended) for longer than 30 seconds, a tiny Martian character beams itself onto the site. It shares random thoughts like "Reality is a nice place, but I would not want to live there." Needless to say, the Martian hunt was on and the buzz quickly spread, one glass at a time. All it took was one extra layer being subliminally added to the design language.

You need to dig deep into the core values of your brand. Is it humor, like Martian, or is it choice, like Baskin-Robbins? Incorporating hidden design language that speaks in unison with your brand values is useful and cost effective; you're already going to pay to develop your brand's identity and visual atmosphere. Let the cleverness of your brand speak quietly, and you will hear the echo from your audience.

Fabian Geyrhalter

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How subliminal and hidden design messages can boost brand engagement

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This article is part of SWOT Team, a series on Mashable that features insights from leaders in marketing, brand-building and public relations. A handful of brands keep their loyal advocates excited and engaged by using hidden design language to tell the bigger stories in a highly visual, yet subliminal manner.

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Sage advice

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When you start gaining clients, it's important to understand what kind of clients you're taking on. In this video, I explain my mistakes by taking on clients I should never have taken on. Hope you enjoy! Great Graphic Design Resources! https://creativemarket.com?u=Willberto Instagram: http://instagram.com/willpat Thanks for watching! Hope you enjoyed this video!

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A logotype is the name of a brand or a company designed in a visually unique way for use by that company. The logos of Google, Coca-Cola, Facebook, Disney, Cadbury, Nokia and Philips are examples of famous logotypes. The wordmarks are created using a custom or an existing typeface.

If you're looking to create a custom logotype, check out this handy tutorial by Skillshare that features Mackey Saturday, the designer behind Instagram's script logo. He takes you through his essential process and shares some useful tips to keep in mind.

1. Generate ideas by repeatedly sketching the brand name
2. Shortlist and refine your sketch on tracing paper
3. Take a photo of your sketch, and bring it into Illustrator
4. Trace your sketch with the pen tool in Illustrator, using minimal anchor points
5. Compare letterforms for consistency
6. Flip vertically to fine-tune spacing
7. Present your final logotype

Share this post with a designer friend and voice your views in the comments below. Video © Skillshare.

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Designer Who Created The Instagram Logo Shows You How To Design A Logotype

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A logotype is the name of a brand or a company designed in a visually unique way for use by that company. The logos of Google, Coca-Cola, Facebook, Disney, Cadbury, Nokia and Philips are examples of famous logotypes. The wordmarks are created using a custom or an existing typeface.

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Flavourful Branding For Tacos on logoinspirations.co

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Tacos Brand Identities In this brand collection, we've compiled some of the best taco identities. The flamboyant and bright colours bring to life the Mexican themed brands. If you're working on a similar project, I hope you find inspiration in this. If you'd like to have a free logo reference guide, click here.

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minimal logo design tutorial illustrator 2017

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Minimal Logo Design Tutorial Illustrator 2017 | Satori Graphics

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A logo design tutorial in Illustrator 2017! It's Tom with Satori Graphics back with another graphic design Illustrator tutorial; today we will be making a minimal logo design in todays Illustrator tutorial. I have made sure to keep this logo tutorial under 5 minutes today, and I cut straight to the chase!

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My BEST LOGO Of 2020!? *Project Process Success*

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Logo Design Step 1 of 3 | BRIEF | Graphic Design Stories

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Do Brands Look Better Stripped Back? This was a fascinating design project kicked off by the talented Mehmet Gozetlik, all the way back in 2010 as part of a project called ' Minimalist effect in a maximalist market .'

Since then it's picked up plenty of attention in places like CreativeBloq and went kinda-viral on LinkedIn thanks to this post from Becky Murray , a creative recruiter.

Yet this whole time, it's been missing one crucial thing -

We were interested to know whether the general public would embrace these stripped back, minimalist designs (which we all really liked); or whether the busier, but more familiar designs would prevail.

In other words, should brands be acting on the design inspiration provided by Mehmet, creating a more refined and clean look to differentiate themselves in a noisy marketplace...or are their existing designs essential when fighting toe-to-toe for consumer's attention in the supermarket?

To find out, we asked 500 consumers which product they would prefer to purchase (after all, the yardstick by which to measure designs for consumer packaged goods is surely commercial success).

We did this by presenting the first 250 people with the more modern design on the right; and then we flipped it, presenting the next 250 respondents with the more modern design on the left.
The results(Minimalist designs on the right, original on the left.)(Minimalist designs on the left, original on the right.)
As you can clearly see, the simple, elegant pared back designs were universally rejected by consumers.

Just a single one of the minimalist designs (Schweppes), out of 10 products, came out on top. And that was only with one of the 250 consumer segments.

Which means all of these brands can give their product design teams a big slap on the back (and maybe a raise?) for getting it so right.

Does it also prove that minimalism can't work in the consumer packaged goods category if you're looking to get mass-market adoption?

That would be reading too much into it.

More likely this shows that consumers prefer what they know over dramatic changes.

Collectively these brands have spent hundreds of millions of pounds (at least) on promotions and brand building over the years, making their packaging feel more comfortable and familiar to their millions of regular customers.
Minimalist men, ageless design, stripped backed London
Across all 500 respondents and the 10 products, men were 57% more likely than women to prefer purchasing the updated minimalist design.

Do millennials prefer a more minimalist design?

Not according to the data, where those under 30 had roughly the same preferences as the overall population. However when looking at those aged 50 and over, there was a much stronger preference for the traditional packaging.

Interestingly, people who work in London (regardless of gender) showed the same overall preference for the stripped back designs as men did (regardless of region) - t hose working in the capital were 57% more likely to prefer purchasing the updated minimalist product designs than were consumers who worked elsewhere in the UK.
In conclusion
The marketing teams behind the 10 brands featured in this design experiment should be happy. Their brand-building has paid off, with the UK overwhelmingly preferring to purchase the original designs than the stripped back ones.

However that doesn't mean there aren't some strong pockets of support for a more minimalist approach - particularly amongst men and those in London - meaning that if you're considering a more targeted product extension with a specific focus on these demographics, you might consider a cleaner, simpler approach to packaging design.
Want to test out your next packaging design ideas before launching them in-market? See which will perform the best by utilising Attest's Consumer Insight Platform today (and you'll have the results tomorrow).
Original images from the concept:

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Do Brands Look Better Stripped Back? We Have the Answer!

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Do Brands Look Better Stripped Back? This was a fascinating design project kicked off by the talented Mehmet Gozetlik, all the way back in 2010 as part of a project called ' Minimalist effect in a maximalist market .'

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Mackey Saturday: Advice for Designing a Winning Logo | Adobe Creative Cloud

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Brooke and Paul traveled to NYC to meet up with Visual Identity and Logo Designer, Mackey Saturday, for this next episode of Make It. Mackey takes us through his process of "extracting and distilling" the identity of a brand, a process that helped him create logos for Oculus, Luxe and Instagram, to name just a few.

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Logos express complex ideas and concepts with simplified illustrations and typefaces that communicate distinctively and effectively. They are one of the most difficult aspects of graphic design for this reason. Some logos are incredibly clever and effective while others are poorly made and fail to communicate.

Lets start with the great:

Jack in the box

The new logo for Jack In The Box is modern, fun, and quirky - just like their mascot (Jack). The brand extensions for the different types of sandwiches they offer are also fun. The only thing off about the new logo is the "in the box" text that just seems to be placed under the image as an afterthought. This project was designed by Duffy & partners.

Pyramid Beer

The redesign of the Pyramid Breweries Logo is simple and distinctive. The new logo places more emphasis on the geometric pyramid symbol. The type in the new logo is also much easier to read. The new simplified logo communicates boldness and distinctiveness. The new logo is also accompanied by several new and bold label designs.

Kentucky fried chicken

KFC has a nice refresh of their logo - The colonel has taken off his suit coat and put on an apron - like he's ready to serve you. This version of the logo is much friendlier and inviting. The new angled backdrop to the logo also adds a nice dynamic feel and implies quickness - this isn't a sit down restaurant! The only thing I don't enjoy about this redesign is the integration of the type into the symbol. It feels like the type should be more of a separate element rather than attempting to integrate it with the illustration.

Detroit lions

Sprint

When Sprint merged with Nextel a few years back they underwent massive re-branding campaign. Nextel's attention getting black and yellow color scheme was merged with The Sprint name. The new symbol is based on sprints signature 'pin drop'. The switch to a nice sans serif typeface also does wonders for making the logo look modern. This logo really shines when the symbol is set in motion.

UPS

Paul Rand is probably rolling over in his grave over this redesign. UPS decided to re-brand themselves a few years ago (2003 to be exact). The new design feels much more modern and and clean. That being said I could do without the 3d effects. The logo was designed by New York-based FutureBrand.

Chicago Olympic Bid

While I was sad to see the brilliant Chicago torch logo go, the new version of the logo is just as brilliant. The new logo features warm gradients that represent the sunset and cool gradients that represent lake michigan. The star is a design element that is borrowed from the city flag and represents a compass pointing in all directions radiating out to the world. Overall I think this is a great redesign full of rich symbolism.

The Bahamas

After some extensive research I could not find the original Bahamas logo, but the design itself is amazing enough to mention. This identity is fresh, dynamic, fun and colorful - much like a vacation in the Bahamas. Read more about the logo at the Duffy & Partners blog.

Argentina

I was unable to find the previous branding for Argentina. The new logo is part of an evolving and dynamic design system. The ribbons of the logo communicate passion, expressiveness and change. Designed by Guillermo Brea & Associates

Citi

Can you imagine designing a logo in just a few seconds (and 34 years of experience)? Paula Scher did just that in a client meeting with then named Travelers group insurance. The company was re-branding but wanted to maintain their distinctive umbrella symbol. This logo is simple and brilliant in the way it combines a simplified version of an umbrella and simplified type. Designed by Pentagram.

Delta Airlines

More of a realign than a redesign - this new delta logo is sharp! The colors in the new logo are more subdued and the choice of a all caps sans serif typeface makes the logo feel more modern. The new symbol also has a nice dimensional aspect to it without getting into cheesy 3d effects. Designed by Lippincott Mercer.

Cisco Systems

BP

The BP logo redesign takes a boring, static shield with initials and transforms it into a bright, colorful clean flower. This logo is an attempt to move the company in a completely new direction (or just reflect that in the image). Designed by Landor.

Gatorade

Envato

The eden/envato re-brand a logo update is refreshing and simple. I love that they kept some of the elements from the original logo and included them in the leaf. The original logo and named portrayed a sense of springing to life with creativity and this has been carried through to the new design. Designed by Collis Ta'eed.

Best Buy

Best Buy takes a step away from their large, chunky yellow price tag and ultra bold typeface for a more modern, less in your face logo. The new design still features the signature yellow tag - but in a much more subtle way.

Swisscom

The new swisscom logo is dynamic and simple at the same time. The new word mark includes a simple sans serif with curves on the I and the M that reflect the curvature in the mark. This logo really shines when it is set in motion and applied to packaging. Check it out here. Designed by Moving Brands.

NBC

Burger King

The new Burger king logo takes a dynamic spin on a classic logo. This new design takes some cues from food packaging that features white highlights. The logo retains part of the color scheme and includes a new yellow and blue.

Starbucks

The original Starbucks logo sported a wood cut type illustration of a siren from Greek mythology. Today the current incarnation of the logo is much more streamlined and and memorable.

And now the not so great:

Sierra Mist

The sierra mist design was not great before, but now its just a blurry mess. This is a far to literal interpretation of the brand.

Tropicana

Wisconsin

The Wisconsin department of tourism decided to undergo a re-branding of their state in order to help attract visitors and display a positive image of the state. First off - the typeface is very strange. I've never seen a W or an N quite like that. The text is also warped to show a faux-3d effect. The effect is not taken far enough so it just makes the text look off. The man doing a cartwheel symbol is also cheesy. This logo could have been approached in an entirely different manner and been much more successful. I'm sure there were other more iconic aspects of the state of Wisconsin (cheese???) that could have been incorporated into this logo.

Walmart

Kraft

The Kraft re-branding is wrong in so many ways. It is slightly reminiscent of several non descript-random-swooshy pharmaceutical logos I have seen time and time again. While the original logo may have not been stellar, it was a staple for such a long time that the decision to re-brand seems like it was made on a whim. Perhaps a refresh would have been a better option rather than a complete re-branding. This project was designed by a combined effort of consumers, employees, and Nitro Group.

Mountain Dew

The new 'MTN DEW' design is part of the pepsi re-brand. I'm not digging the text-message style rename or the ultra slanted and abstract illustrations on the new can.

Recovery.gov

This isn't really a redesign at all, but I think this logo misses the mark a bit. The recovery of our economy is a complex process, but this logo could be simplified and unified. The Recovery.gov type gets lost in the detail of the logo. I think the type should be a separate element from the symbol.

London 2012

I have no doubt that hours of thought and hard work went into the design and research of this logo. The result however looks very amateurish and trendy. The shapes that make up the '2012' aspect of the logo are almost illegible. The typeface that 'london' is set in reflects the edginess of the logo - but is still difficult to read.

Capitol One

Xerox

At first glance this logo looked vaguely familiar - distinctive X and a sphere. Looks sort of like the Xbox logo. I much preferred the older 'pixilated' version of the logo. It was so much more distinct.

Quark

AT&T

I like the updated symbol of the ATT logo, but i don't understand the lighter blue circles within the globe. Looking at all the circles makes me slightly dizzy. I also preferred the all caps typeface from the pervious version of the logo.

Google

I use Google every day for email, search and calendar. While their services are amazing their logo is not. Although it is extremely distinctive (because of popularity of their services) Google's logo is horrible! Drop shadows, beveling and emboss make this logo horrifying on the eyes. Maybe this is a case where bad design can be successful?

Citroen

The new Citroen logo misses the mark by going the route of an overused metallic 3D graphic effect. The typography looks futuristic and cheesy. I do like the new softer shape of the arrows. Less 3d and a better typeface choice would do this logo good.

Sunkist

The lettering of this new logo has a nice swirly quality to it. I'm also enjoying the nice u-n ligature. While I enjoy the lettering the amount of swirls are completely overwhelming and cause my eye to move around the design way to much.

Fanta

I think the bold type sans the perspective of the previous logo is a step in the right direction but all the other elements in the design make it far to busy.

Toronto Blue jays

Another great classic sports logo has bit the dust. This new logo design misses the mark - removing the maple leaf and the red makes this logo less distinctive and boring.

Dollar General

The original logo was not very eye catching or distinctive and neither is this iteration. I do however like the updated typeface. The containing shape represents a stretched dollar, but I think this gets lost in the details.

The new world trade center memorial foundation logo bland and not memorable. It almost seems to light for such a serious topic. I much preferred the footprint and building mark combination of the previous logo.

By Niki Brown

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20 Great (and 20 not so great) Logo Redesigns - Design Reviver - Web Design Blog

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Logos express complex ideas and concepts with simplified illustrations and typefaces that communicate distinctively and effectively. They are one of the most difficult aspects of graphic design for this reason. Some logos are incredibly clever and effective while others are poorly made and fail to communicate.

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Another year and another collection of halloween related logos, this time it's skulls. Share these logos and help us promote the designers and their high quality work, let's inspire great logo design. You can view other logo collections by clicking here.
Stay updated through our other social media platforms, follow us on: YouTube, Facebook, Twitter, Instagram, Pinterest and Tumblr
Learn logo design in a masterclass by the team at LogoCore. The course is for beginners and even intermediate designers who are looking to improve their skills. [ LEARN MORE]

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Celebrate Halloween With These Brilliant Skull Logos on logoinspirations.co

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Skull Logos for Halloween Another year and another collection of halloween related logos, this time it's skulls. Share these logos and help us promote the designers and their high quality work, let's inspire great logo design. You can view other logo collections by clicking here.

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how to use the golden ratio for logo design

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Logo Design Tutorial | The Golden Ratio ✏️

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A video you guys have wanted for quite some time is one about how to use the golden ratio with logo design. I've always put this off as it's not as simple as I've put it in the ten minute video. Hope you guys find this helpful!

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Exceeding Expectations - What smart brands know (2:35)

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Exceeding Expectations - What smart brands know (2:35)

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Exceeding Expectations — What Smart Brands Know

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http://www.risingabovethenoise.com This video is part of a groundbreaking post featuring Top 23 Most Influential People on the Value of Exceeding Expectations. The article features quotes from Daymond John, Richard Branson, Mark Cuban, Ashton Kutcher, Howard Shultz, Danny Meyer and many other brilliant minds. Each are geniuses in their own right.

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why tech companies always use animals in their logos

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Why Tech Companies Always Use Animals in Their Logos

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You probably never noticed this but many technology companies use animals in their logo's as secret weapon. Twitter, Firefox and Adata for example. It's not only because people can't ignore small fluffy kittens. One of our favorite tech geekettes Kalie Moore, the Berlin startup girl, explained to IntoTech just why this is.

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Car Guy - Unused proposal for company who deal with sale and purchase or old cars. Car Guy is place where you can find everything about car. Please feel free to comment which one you like and wher...

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Mermaid Logos - 20 Creative Mermaid Logos - logoinspiration.net

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Mermaids Logos Bringing A Tide of Inspiration Mermaid logos - Today we’ve curated a collection of creative mermaid logo marks. The mythical shape and form

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You guys loved the last video all about the golden ratio! So here's another break down for you. :) Sponsored by .Space Coupon: BREAKDESIGNS URL: http://bit.ly/2mN7bzT Instagram: http://instagram.com/willpat Thanks for watching! Hope you enjoyed this video! If there's anything you would like me to cover in a Youtube Video, then let me know by commenting down below!

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I work with many different clients on their branding and logo designs. In this video I'm showing the logo design process for a geometric logo design made in Adobe Illustrator CC 2017. Thanks to DevMountain For Sponsoring This Video: http://bit.ly/2e3HEK6 Instagram: http://instagram.com/willpat Thanks for watching! Hope you enjoyed this video!

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Logo Design Strategies for Achieving the Perfect Logo Design

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What makes a logo design successful? In this video I share with you some strategies that I have come across for achieving the perfect logo design. Whether you are a graphic designer looking for tips on how to design a successful logo or if you are a business owner looking to get your logo designed or redesigned, this video is for you!

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Yondr Studio is the ever moving studio of Nathan Yoder currently located in Seattle, WA. An Oklahoma native, Nathan specializes in traditional forms of illustration as well as typography and dad puns. For inquiries and donations towards rent, feel free to contact him at the email listed above.

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Superhero logos are now everywhere because of comic book block buster movies. Capitalising on the hype, Canadian design studio Baboon Creation has created a beautiful series of Superhero emblems in an animated line art form.

It's quite an extensive collection and it's also mesmerising to see. Share these logos and help us promote the designers and their high quality work, let's inspire great logo design. You can also view other logo collections by clicking here.
Stay updated through our other social media platforms, follow us on: YouTube, Facebook, Twitter, Instagram, Pinterest and Tumblr
Learn Logo Design

Learn logo design in a masterclass by the team at LogoCore. The course is for beginners and even intermediate designers who are looking to improve their skills. [ LEARN MORE]

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Superhero Logos by Baboon Creation on logoinspirations.co

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Superhero Logos In Animated Line Art Superhero logos are now everywhere because of comic book block buster movies. Capitalising on the hype, Canadian design studio Baboon Creation has created a beautiful series of Superhero emblems in an animated line art form. It's quite an extensive collection and it's also mesmerising to see.

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Use vector shapes in Adobe Illustrator CC to create a logo that looks good onscreen and in print. Vector art scales to any size without losing quality.

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Proposta di progetto grafico per il concorso finalizzato alla realizzazione del brand turistico della città di Cefalù.

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How To Present A Logo Design To A Client | Logo For A Client | Satori Graphics

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How to present a logo design to a client, brought to you by Tom with Satori Graphics. Hey I'm back again with another graphic design Illustrator tutorial; today I am going to show you how to present a logo design to a client online and not in person, this is my method of presenting a logo design to a client and not the only way however.

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It was 1985. After a long corporate power struggle, thirty year old Steve Jobs was forced to leave the company he co-founded nine years earlier. There was, as yet, no iPod, no iPhone, no iPad, and no hit movie releases flowing out of Pixar Animation Studios. There was just Apple Computer, Inc., a company in trouble, and the blame for that trouble fell on Jobs. The bitter truth was that Steve Jobs had come to be seen by many as a no-talent bullshitter and hot-tempered diva unfit to manage a publicly traded company. When he left, Apple's stock price didn't go down as usually happens after a shake-up. It went up. For Steve Jobs, the world was turned upside down. What's a young Silicon Valley zillionaire to do after being forcibly retired at the age of thirty?

"No, I will solve your problem for you and you will pay me. You don't have to use the solution. If you want options go talk to other people."

- Paul Rand

How Much Is That Logo In The Black Box?
Steve Jobs's answer was to start a new computer company from scratch. A new baby that would grow up to put his former company and the suits running it to shame. He named it NEXT. As a startup, NEXT would be without a product or a single customer for many months. But true to his reputation for being obsessed with appearances, the design of the company's offices and the search for a company logo were, for Jobs, a top priority. As for the logo, Jobs needed a symbol equal to his aspirations and his anger, one that foretold the coming of a great triumph while secretly screaming into a pillow. Jobs was referred to a man from Brooklyn, New York born in 1914 named Peretz Rosenbaum. A man who, shortly after entering the world of graphic design, rebranded himself as Paul Rand. He went on to become one of the pre-eminent graphic designers of the twentieth century. If anyone knew about reinventing oneself, it was certainly Rand. In Steve Jobs & the Next Big Thing, historian Randall E. Stross writes: ". . . Jobs decided, over the objections of the early employees, to spend (in today's dollars) $220,000.00 - to commission a logo... . . . Jobs had met with four designers, none of whom asked for anything close to that amount of money, but all had failed to please Jobs. He decided to give the commission to Paul Rand. Rand had done the corporate logo for IBM, and Jobs could take satisfaction in being able to buy for his own little company the same expertise that mighty IBM had hired."

The terms of the deal are worth a look. First, the price was outrageous, many times more than what IBM paid. And Rand demanded that there be no negotiation. He would not accept a penny less than was asked. Second, the fee was to be paid in full and in advance. Third, the fee covered one design only and Rand would not be obliged to revise or rework it. As Jobs told it in a 1993 interview, "I asked him if he would come up with a few options, and he said, 'No, I will solve your problem for you and you will pay me. You don't have to use the solution. If you want options go talk to other people.'" So, put simply, in return for a fee of nearly a quarter million dollars up front, Jobs would get a logo. He could like it or lump it. But either way, Rand would keep the money. Nice deal for Paul Rand, right? Damned right. He did, however, throw in a couple of unexpected perks.

Surprise, surprise
First, Rand took the liberty of altering the name of the company from NEXT to NeXT by using a lowercase e instead of an uppercase E. If Jobs adopted the logo, NEXT had to become NeXT. Forcing a change in the name of the company like this was a bold move. Now, perhaps, in part, as a way to explain and thereby soften that boldness, Rand put together an accompanying booklet that presented, in an informal way, his thoughts about the logo. As for the lower case If you like reading about how designers view their own work, the NeXT booklet can still be found in different formats here and there on the web. Rand had a high reputation for writing about design very engagingly and spent many years teaching at Yale University. He was not only an incomparable practitioner but a very influential theorist, as well. e, for example, he explained the need for it visually and how it could take on a function, standing in for "education, excellence, expertise, exceptional, excitement, e=mc2". NeXT started up in September 1985 and closed up shop in February 1997 by merging with Apple Computer. The original investors finally cashed out with Apple paying about 640 million in today's dollars. Steve Jobs was paid in Apple stock only, no cash, and the deal included Steve coming back to Apple as a consultant. Jobs was later appointed interim CEO of Apple in 1998 and in early 2000, he took the position permanently. Steve Jobs's world was right side up again. And Apple's stock price went up, and up, and up, and up. NeXT never became a viable company in the sense of growing a market for its products and earning a profit on sales of those products. NeXT's most important function was keeping Steve Jobs active in the computer industry under terms that he could accept.
The prophet returns from the wilderness

Paul Rand gave him a banner under which he marched for twelve years. Here it is again: Four glyph elements, $55,000 per glyph. NeXT is no more than a footnote in the history of Silicon Valley, but its logo is still getting publicity after 32 years. You tell us-was Steve Jobs right to put that much trust in Paul Rand?

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For his NeXT trick, Steve Jobs buys an expensive logo

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It was 1985. After a long corporate power struggle, thirty year old Steve Jobs was forced to leave the company he co-founded nine years earlier. There was, as yet, no iPod, no iPhone, no iPad, and no hit movie releases flowing out of Pixar Animation Studios.

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To create more awareness for endangered animals, four designers; Daniel Bodea, Cajvanean Alexandru, Petar Shalamanov and Martigny Matthieu have come together to create a beautiful set of logos and bring attention to the plight of endangered animals across the globe. Scroll down to view the complete collection.
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Designers Create Awesome Logos for Endangered Animals on logoinspirations.co

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Endangered Animal Logos To create more awareness for endangered animals, four designers; Daniel Bodea, Cajvanean Alexandru, Petar Shalamanov and Martigny Matthieu have come together to create a beautiful set of logos and bring attention to the plight of endangered animals across the globe. Scroll down to view the complete collection.

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I don't know about you but I love to see examples of how other designers work-they reveal better (or worse) ways of doing things and allow me to gauge whether my methods are mainstream or totally whacked-out. "If anyone finds out how I obsess about this stuff," I tell myself, "they'll stick me in a home."

The problem is that step-by-step examples are rare. Why? Mainly because unless you are interested in sharing such information, there isn't much reason for recording it. And even if you are, detailing the steps can get in the way of the process. If I'm ready to move to the next stage of an idea, I am normally not interested in recording what I've done to get there.

The good news is I rarely let normal get in my way. What follows are some of the steps I took to create a recent logo. I saved some of the graphics I created along the way and have attempted to recall a little bit about what I was thinking. There is, of course, more to a logo design process than what you see here-this exercise includes little about the typical ramp up of preliminary discussions, research, and so on-space, time, and vanity limit me to showing just a portion of the process.

I don't know about you, but I start out on paper. I find it most productive to sketch out ideas in a notebook. A Moleskine notebook is my weapon of choice-its small and sturdy enough to carry in my back pocket.

I'm most concerned with concepts at this stage-not designs. To my way of thinking, designs emerge from concepts, concepts do not emerge from designs. My goal in creating a logo is, at best, to demonstrate the benefit of using the product or service and at minimum to create a visual symbol of the subject matter.

I often show my clients those rough ideas. I have found that getting feedback on basic concepts is best for everyone involved. It allows us to weed out ideas that look good to me but don't work for the client. It acknowledges that the client knows the subject best, no matter how much research I do.

What may appear to me to be a great solution to the problem sometimes just doesn't work for reasons I could not be expected to know.

The logo I'll discuss here was designed for a helicopter transport company-Metro Aviation. I started by going through my sketches and choosing the concepts I thought had most merit.

Step 1 (below) > I created some slightly tighter drawings of five of the ideas-the first, something to symbolize the basic rotor and lift dynamics.

Step 2 > Second is a helicopter with bird wings. Yes it's ugly (looks like a bat-copter)-but we're just exploring concepts, not designs.

Step 3 > Next, a more realistic rendition of a copter integrated with the type-perhaps a flyover where the aircraft casts a shadow in the letter form.

Step 4 > From the outset, the client expressed an interest in using a hummingbird as a symbol for the helicopter so I began to explore that idea as well.

Step 5 > The problem with the hummingbird was that, as I began doing research, I found lots of other helicopter companies were using something similar as their mark.

Step 6 > That didn't rule it out, it just meant I would have develop the idea further to make it distinctive. To me, this version looks a bit more like its hovering.

Step 7 > But it was this design that made me think, "I'm onto something,"-the combination of the hummingbird, the implied motion of hovering, and the additional visual element of rotation added the extra something I was looking for.

My confidence was strengthened further when the client chose it from the lineup.

Step 8 > The rest, as they say, is history. The idea of the hovering bird stuck and I began to develop a design. First, I gathered together some photographs so that my actual design would reflect the correct proportions and positioning.

Step 9 > Research is crucial. If some aspect of your subject is inaccurate, you can waste amazing amounts of time pursuing a design your client will reject out of hand. In this case, you can see how different the beginning shape of the actual artwork (right) is from my original sketch (left).

Step 10 > The problem with logo design is you have to create finished art or something close to it to communicate your idea. I may tweak it after I get the client's okay, but I've got to be 95 percent finished with the art to sell it to the client. My software of choice is Adobe Illustrator. Here, I started by roughing out the body.

Step 11 > I created the feathers using a series of ovals.

Step 12 > Then I rotated the body and wing into hovering position.

Step 13 > You have to mine a lot of rocks to find the gold. This is one of many ideas I experimented with in my attempt to show "rotation." Really awful isn't it?

Step 14 > What seemed to work best was to use some type of oval to simulate the blur of the blades.

Step 15 > Even better was a swirl. I took this clip art element...

Step 16 > and scaled it down vertically. Then I tilted the bird's body back to a vertical position so I was sure to get it centered correctly. What follows are variations of this basic design.

Step 17 > First, I added color and used the top of the swirl to define the division between the bird's body and its head. I also added a slight gap between the bottom of the swirl and the tail to accentuate the division between the swirl and the body. Finally, I added another oval below to act as a shadow.

Step 18 > Dividing the swirl into two colors helped to further accentuate the swirling motion.

Step 19 > I tried adding another shape as if the swirl were casting a shadow on the lower body. It works, but I thought it was getting a little too complex.

Step 20 > And I tried changing the black swirl to gray.

Step 21> This version includes a couple of light gray shapes I thought might give the image a little more of a sense of movement-nope.

Step 22 > I finally settled on filling in the spaces between the bird's body and the swirl. My thinking was to simplify the final version as much as possible and, for me, removing the negative space helped.

Step 23 > I was actually really happy with this basic design. I even went so far as to work it into a business card layout using the colors the client requested.

Step 24 > But here comes a reality check. The client decided the idea of hovering just wasn't convincing enough. He liked the design but thought the hovering motion would be more true to form if it was above the body as it would be on a helicopter.

Wow. Its always difficult to hear when a client isn't as excited about your solution as you are. But I can tell you the axiom "the customer is always right" is always true. At least if you want to stay in business.

I could spend the time necessary to provide the client with carefully considered, well-spoken reasons for going with what I created, but clients are no different than designers-if it doesn't work for you, it doesn't work for you-period.

Step 25 > So back to the drawing board. How do I glue these pieces together in a way that works?

Step 26 > First, I had to re-think the wings. The swirl took the place of the wings so I had to get them back in there.

Step 27 > That worked for me, but the swirl didn't.

Step 28 > I needed something simpler. A solid shape? Nope too massive.

Step 29 > Again, I found simpler better. It worked for me and, more importantly, it was just what the client wanted.

Step 30 > Next, I adjusted the colors to match the helicopter color scheme (blue and yellow) and added the shadow.

Step 31 > The final hurdle was the tail. We tried several different versions. One...

Step 32 > Two...

Step 33 > Three...

Step 34 > and four...

Step 35 > I like it when clients push. Though I may cry and moan to myself at the time, more often than not, we end up with a better solution. That said, in this case, I personally prefer the interim solution, but then I'm not paying the bill.

Logo design is legalized gambling. When I take on a project I don't know if it will take eight hours or five days. In fact what I've shown you here is the tip of the iceberg. Above, in PDF form, is a summary of some of the many iterations of the logo.

Though it is a challenge from all sides, there is nothing quite so exciting for a designer than discovering, developing, and implementing an image that becomes the visual representation of an entire organization.

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Step-by-step logo: Discovering, developing, and implementing an image

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I don't know about you but I love to see examples of how other designers work-they reveal better (or worse) ways of doing things and allow me to gauge whether my methods are mainstream or totally whacked-out. "If anyone finds out how I obsess about this stuff," I tell myself, "they'll stick me in a home."

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Logo Creation Process from Sketch to Vector

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This is my logo process from sketched art and then converting into vector using Adobe Illustrator and some Photoshop. Step by step captions will explain each process including the pen tool, stroke, fill, opacity and more. This is MY current logo creation process for brands and other identity.

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Please Note: This article was originally published in August, 2012. Occasionally we re-publish articles that we feel are still relevant, and interesting for our readers.

1. Use a Visual Double Entendre

Some of my favorite logos in the world utilize a technique that I like to call a visual double entendre, which is an overly fancy way to say that it has two pictures wrapped into one through clever interpretation of a concept or idea.

The WinePlace logo below is a perfect example.

This logo takes on the shape of a thumbtack, which suggests "location" or "place," but it also clearly looks like an upside down wine glass. Logo designs that use this technique come off as clever and memorable. Viewers love the little mind game that you're playing and are more prone to appreciate a design because of it.

In the past, I put together a post of fifty fantastically clever logos like the one below. Check it out if you love this type of logo design as much as I do!

2. Color is Vitally Important

One of the most important considerations for logo design is the color palette. This is not a superficial decision, color carries meanings and communicates ideas.

Sometimes you're pegged to the colors of a brand, but other times you'll have the freedom to explore. I love the rich palette used in the Zion logo below.

The colors here grab you and pull you in, they bring life to the illustration and give further context to the shape of the landscape. That being said, remember that a good logo is versatile and will still function well in grayscale:

Beyond a grayscale version, I like to also provide clients with a true single color version, using only black and negative space. This would be a little tricky with the logo above, but definitely possible.

Always consider what it is that the logo will be used for and whether or not the various use cases require different versions.

3. Avoid the Cliché

Every few years or so, some new fads come along in logo design. I personally love to study design trends and you might even find me suggesting jumping onto a few bandwagons to keep up with the times, but with logos I just hate it when a bunch of designers use the same idea over and over.

The basic archetype above is being used again and again in logo design right now and it's getting old fast. Why not use a design that you actually thought up yourself rather than ripping off what everyone else is doing?

"Why not use a design that you actually thought up yourself rather than ripping off what everyone else is doing?"

We have an entire article dedicated to showcasing logo design clichés, be sure to check it out to make sure you're not guilty of uninspired logo design.

4. Make it Ownable

I don't believe that "ownable" is a real word, but you nevertheless hear it quite a bit in marketing (marketers love to make up words). The concept is definitely an important one that ties closely to the previous tip.

Rather than following the herd and using a cliché design, you should instead strive for something that is uniquely recognizable. I've always appreciated the Evernote logo in this regard:

It's really just an elephant head, which doesn't sound like a very unique concept. However, the way it's drawn with the curled trunk and page fold in the ear makes it instantly recognizable.

As you're designing logos, consider whether or not your design is generic or unique. Is it likely that others will produce something similar? Remember, your first idea is typically your most generic (it's also everyone else's first idea). Try filling a notebook page or two with some rough sketches before choosing which ideas to pursue further.

5. Everybody Loves Custom Type

While we're on the subject of being unique, there's almost nothing that can give your logo a unique feel quite like some awesome custom lettering.

Too often we see logo design as simply a trip to the font menu to see which typeface makes the company name look best. If someone is paying you to "design" their logo, they probably expect you to put a little more effort into it.

"Too often we see logo design as simply a trip to the font menu to see which typeface makes the company name look best."

Custom type helps ensure that your unique logo will stay that way. Lowlife designers will rip off your work in a heartbeat if they discover which typeface you're using, but it takes some real skill to mimic custom hand-drawn type!

Keep in mind though that if your logo is famous enough, people will always try to rip it off. This certainly holds true for my favorite script logo:

The awesome Coca-Cola script has been stolen countless times in awkward parodies throughout the last few decades.

6. Keep it Simple Stupid

Let's face it, not everyone can bust out beautiful, hand-drawn script on a whim. Just because you're a designer doesn't mean you're an awesome illustrator or typographer (though it helps). If you fit this description, fear not, there's nothing preventing you from making awesome logos.

In this situation, remember these four powerful words: keep it simple stupid! Simple but powerful logos permeate the business world and always prove to be the best icons for standing the test of time.

In considering how to construct one of these types of logos, let's discuss the Apple logo. The silhouette of an apple is nothing special or memorable:

It's that missing bite that takes it to the next level. It gives the logo character, makes it unique, and drives the meaning deeper (computers and bytes, get it?). Without the bite, the apple is boring, with it, the apple is suddenly iconic.

Always think about how you can go that extra mile and turn your boring logos into unmistakable brand marks.

7. Consider Proportion & Symmetry

Some people can get carried away with discussions of proportion and symmetry (see the new Pepsi logo pitch), but if we strip out the crazy, there's still some important lessons here. Consider the new Twitter logo as an example:

Here circles aren't used to convince you of some strange cosmic tale that makes no sense, they're simply used as a guide to create a well balanced logo with consistent curves and arcs.

Despite the fact that the bite seems to violate the symmetry of the Apple logo above, if we dig deeper we can see that there was still a lot of through put into proportion and symmetry here ( image source):

8. Think About Negative Space

Along the same vein as a double entendre is the age old trick of utilizing the negative space in a logo in some clever way. The industry standard example for this technique is the FedEx logo and its hidden arrow.

Don't see it yet? Keep looking, it's there. That's what I love about this logo, the use of negative space is so subtle. Most people in the U.S. see the FedEx logo daily or weekly for years as it drives by on the side of countless trucks and they never even notice the arrow.

Logopond is chock full of great logo designs that utilize negative space in a cool way. Check out the example below, which blends together the idea of bull horns and a wine glass.

9. Passive vs. Active

One interesting facet of logo design that I've been considering a lot lately is the concept of instilling motion or a sense of activity into a logo. This isn't always appropriate (such as with the Apple logo), but sometimes it can really give a logo the boost it needs, both from a visual and conceptual standpoint.

As an example, let's look again to the Twitter logo. Way back in the early days, the bird went from sitting perched and passive to becoming active and taking flight.

In the most recent iteration, they took this concept even further by pointing the bird in an upward direction to indicate that it's climbing into the air rather than floating along the same old trajectory.

A sense of motion is especially important when it comes to logos with mascots. The image of the marlin below doesn't depict the fish merely lying still, instead it's leaping into the air in a victorious pose.

This concept even extends to typically inanimate objects. Consider how much better the logo below portrays the concept of "rough house" by instilling a sense of motion.

10. Know What it Means

Every good logo has a story. Far beyond simply a pretty sketch, strong logos are filled with meaning, both obvious and hidden. We discussed this in several cases above. The FedEx logo's arrow indicates moving forward and making deliveries, the Apple logo has a "byte" missing, and the Twitter bird is flying in an upward trajectory.

"It's great when you as a designer can show a client how much thought and reasoning went into the logo that you produced for them."

Half the time I wonder if logo designers don't come up with the meaning after the logo is already produced, but regardless, it's great when you as a designer can show a client how much thought and reasoning went into the logo that you produced for them.

Clients might think that all they want is something fresh and cool, but if you instead provide a logo that ties into the company's core values and mission, you'll blow their minds and they'll love you for it.

If you're into hidden logo meanings, check out our post titled " Five Fascinating Things You Didn't Know About Famous Car Logos."

Do Your Logos Suck?

Now that you've read our tips for designing logos that don't suck, leave a comment below and let us know what you think of your own work in this area.

Are you an awesome logo designer or is it something that you struggle with? Which of the tips above are useful to you and what tips can you offer to other designers?

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10 Tips for Designing Logos That Don't Suck

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So you're designing a logo. It sounds like an easy enough task, right? Draw a circle, type in the company name and you're done (I've literally heard a designer suggest that very process). Unfortunately, if you're really worth the money the client is paying you, there's a lot more to it than that.

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About

(Est. 2002) "With more than 5 billion rentals to date, Redbox is America's leading source for affordable new release movie and video game rentals. Redbox offers DVD, Blu-ray Disc® and video-game rentals through the nation's largest network of more than 40,000 conveniently located, self-service entertainment kiosks."

Design by

N/A

Related links

2016 Brand New Noted post
There is no other announcement and the old logo is still on their website but their emails, Facebook page, and kiosk user interface do have the new logo.

Images (opinion after)

Logo.

Facebook cover image.

Opinion

The old logo was an expected, acceptable, and decent evolution of the original Redbox logo. It sill wasn't a great logo but it was properly executed and it shed the start-up-y vibe of the first logo. All Redbox had to do was stay the course and slowly implement the 2016 redesign unto the thousands of kiosks all around the U.S.. Instead, only a year after the redesign, they have changed to what is possibly the worst logo of the year. I hate this so, so, SO much. I have the feeling that many of you will think I'm overreacting but everything about this execution - because there is no concept to speak of - is appallingly wrong and amateurishly mediocre. The way the letters touch is horrible, the slabs are clumsy, the "e" is wonky, and they have made the cardinal sin of the "db" pair, which is spacing them so tightly that they look like a penis. Then there is the purple period, which is useless and gratuitous. Finally there is the tagline, "So smarter"... which is neither clever nor cute and aside from making zero grammatical sense it makes no sense to the product. There is nothing so smarter about renting DVDs from a giant red box. It's efficient, cheap, and convenient. Nothing more. I hate this all so much. Ugh.

Thanks to Jason Barry for the tip.

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About (Est. 2002) "With more than 5 billion rentals to date, Redbox is America's leading source for affordable new release movie and video game rentals. Redbox offers DVD, Blu-ray Disc® and video-game rentals through the nation's largest network of more than 40,000 conveniently located, self-service entertainment kiosks."

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Drone logos - Drones are soon becoming a part of society in ways we never imagined, pizza delivery by drone will be a norm. So many drone companies will be popping up, which means they'll need logos too.

These logos are some of the best we could find. Keep watch for our collections that pertain to a particular group of logos, if you have a topic in mind or if you want to suggest any ideas, do let us know through the contact section.

Also share these logos and help us promote the designers and their high quality work, let's inspire great logo design. You can view other logo collections by clicking here.
Stay updated through our other social media platforms, follow us on: YouTube, Facebook, Twitter, Instagram, Pinterest and Tumblr
Learn logo design in a masterclass by the team at LogoCore. The course is for beginners and even intermediate designers who are looking to improve their skills. [ LEARN MORE]

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20 Impressive Drone Logos on logoinspirations.co

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Drone Logos Up In The Air Drone logos - Drones are soon becoming a part of society in ways we never imagined, pizza delivery by drone will be a norm. So many drone companies will be popping up, which means they'll need logos too. These logos are some of the best we could find.

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We wanted to bring this awesome tutorial back up since it's springtime again! Together we'll create a vintage-style logo illustration from open-source fonts and stock images to fit on current design trends. Let's dive right in to this hipster logo design!

Tutorial Details: Trendy Vintage Style Logo

Program: Adobe Illustrator CS6 - CC 2015

Difficulty: Intermediate

Topics Covered: Typography, Effects, Drawing Skills

Estimated Completion Time: 25 Minutes

What We'll Create

Step 1

To start, import a stock photo into Adobe Illustrator. The tulip image below was downloaded from Unsplash. Under Effect > Blur > Gaussian Blur, apply a blur effect of 34 pixels or so. This will give you a bright and unobtrusive background for your design.

Step 2

With the Rectangle Tool, draw a square over your stock object. Select both and Create a Clipping Mask by hitting Control-7. Now you have a perfect space in which to create your logo design!

Step 3

In order to help you define your logo's space, draw a circle with the Ellipse Tool. We'll delete this circle later, but for now it'll give us a place in which to create our illustration's composition.
Using the Type Tool, write out your word of choice in the script font of your choice. I've used Intro Script R H2 Base.

Step 4

Select the word "Spring" and go to Effect > Warp > Arch to apply a Horizontal Bend of -41% or so. My goal is to match the bend of the circle.

Step 5

Go to Object and Expand Appearance so your warp effect is permanent. Then, Expand your type object. Ungroup and delete the S. We'll be using a slightly different S for the final design.

Step 6

Once again, type out the letter S with the Intro Script R H2 Base font. Convert it to an outline. Lock your other objects in the Layers panel so you're only working with the letter S. Using the Eraser Tool erase the connecting shape from the S to other letters as well as the serif on the top curve.

Step 7

Use the drawing tool of your choice (I'm using the Blob Brush Tool, but I also reccomend the Pen or Pencil Tool) to draw a new curve from the top of the S that swings downward. Use the Smooth Tool to help smooth out any rough edges in the path of your object.
Once satisfied with the changes you made to the S, place it with the rest of your word. You can also alter any of the other letters or even use a different script font for your S if you prefer.

Step 8

My other words, "Hello" and "to" are simpler. The sans-serif variation of the Intro Rust font was used so focus is kept on the theme of "spring". Also note how much smaller each word is compared to "Spring" as well as its placement. You want it to be readable while still dynamic in placement.

Step 9

Let's add some nature illustrations to our design! In order to speed this process up, use a stock photo (mine is a flower image from Unsplash) and trace its elements with the drawing tool of your choice.

I used the Paintbrush Tool to outline each petal of the flower. This allows me to change the path's width in the Stroke panel or change the calligraphic brush used in case I want the style of the flower to change before expanding my paths.

Step 10

Fill in the details of the flower with smaller brushes and thinner strokes. Add other flowers or leaves in order to fill in the design, either drawing freehand or from another stock image. Once satisfied with your illustration, Expand the paths so you can easily Scale the illustration as needed.

Step 11

Place your nature illustration(s) at the bottom of the design. At this point I've deleted my circle that defined my compositional boundaries, but you may still wish to use it in order to gather illustrated elements along the bottom edge.

Step 12

Along with other flower shapes, I wanted to add a banner to the bottom. Using the drawing tool of your choice, draw two curving lines beneath the "S" and "P" of the word "Spring". Notice how the line breaks at the letter "P". Start drawing the banner's tail and thicken the stroke's line up a bit.

Step 13

Complete the banner. Notice how thick it is. This will allow us to write something inside of it. Also note how the bottom edge of the banner follows the contour of the top edge as well as how it flows into the curve of the flower placement.

I capitalized the word "TO" and have drawn a small curved line on either side of the word in order to fill in the space between "Hello" and "Spring" a bit more. The letter "G" curves upward more as well. All of this is in response to the circle we drew at the beginning of the tutorial.

Step 14

Using the Type Tool write in the year in the banner. Warp the text with the Flag effect so it follows the contour of the banner (use the Preview option in order to make sure it fits) and then Expand the type and its Appearance.

Step 15

As a final touch, use the Line Segment Tool to draw short lines radiation outward from the center of the design. Try to delete or limit any overlapping lines and vary the length so every other line is long and every other line is short.

Conclusion

Finalize your design and Expand all stroked paths into objects. Group your design together when finished in order to keep your document organized. Consider more complex phrases, logos, and illustrations in this style. Now that you have the basic technique down, there's no end to the vintage style pieces you can create!

Mary works under the brand Acrylicana® and has illustrated and designed for companies like Disney, Jakks Pacific, Jada Toys, Envato, and more. Check out Acrylicana.com for artwork, tutorials, and more. Follow Acrylicana on Instagram, Facebook, and Twitter!

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