The following information will help you with the current assignment on understanding how logos and branding engage our interest. You do not have to make a logo, but it is useful to follow the process to appreciate its potential for generating aesthetic response.
A logo is a distinct, visual mark that signifies origin. The purpose of a logo is to serve as an identifier, to communicate a message, and to evoke a positive emotional response from the audience. A thoughtful design can enhance the client's image and give it an advantage against the competition. The logo is the heart of a corporated identity system, that is, anything that defines the character of an individual or company.

Three Basic Types of Logos

1. Illustrative logos - vector icons that are scalable and generally simple in shape.
2. Graphic logos - raster images that are photographic in nature: these logos are less scalable than illustrative logos; thus, generally one must work with many files at different resolutions.
3. Text logos -font-based: the treatment of the text creates an individual impression.

Combinations of these three methods are also used to create a logo.

Qualities of a Successful Logo

Timelessness - A good logo should be difficult to date. For example, monograms, geometrical shapes, crayon colors, and bold san serif typefaces are indicative of the 1960's and 70's. Slashes were popular in the 1980's, and no one would argue the excessive use of the swoosh in the 90's. Durable logos generally steer clear of fashion and make their own statements.

Simplicity - A simple logo communicates a message clearly and provides the best solution for reproduction and readability.

Unique Features - Distinctive features are necessary to create a memorable visual statement. An intriguing visual statement uses content which engages the audience, possibly using vivid colors, interesting illustrative elements or an optical illusion.

Symbolic Meaning - The visual statement should also have symbolic meaning, conveyed with either literal or metaphorical imagery.

Engaging Content - In an instant, a good logo must enable the audience to notice your firm, interpret your message, distinguish your firm from others in your industry, and remember your firm.

1. Assessment
2. Design
3. Production
4. Presentation
5. Delivery

Assessment

What is the purpose? To produce or evaluate a successful logo, one must first identify the intended function. Take initiative to solve any design problem. Do preliminary research. Build knowledge about the individual or company that you are trying to define at the most fundamental level. One must gather a great deal of information and then reduce it to a single focus - what will constitute the logo.

Who is the audience ? One cannot create a logo until one knows what it is supposed to do and to whom it is supposed to appeal. Know the audience. Different audiences read symbols and designs differently. Analyze the age, geography, culture, and other relevant information about an intended audience maximizes the potential of the logo and limits any liabilities.

Design

Form follows function. Once the preceding "needs analysis" is performed, one must generate creativity. The term used most often is to brainstorm. There may be one message, but there are a many ways to convey it. There are as many ways of getting ideas for producing a logo, as there are solutions to your design problem - infinite. One might do a number of thumbnail sketches, take the best ones, and create new ones from those. Good ideas generate better ideas.

• You might do a number of thumbnail sketches, take the best ones, and create new ones from those. Good ideas generate better ideas.
• Play with shapes on a computer screen.
• Make a collage
• Look at books, magazines, or other printed pieces.
• Check out symbol dictionaries at the library.
• Visit the bookstore, the zoo, museums, the arcade, churches, restaurants, etc. Examine media and architecture and think about the impressions the creators attempt to stir in you. You could apply these ideas to your own work. Listen. Listen to music; listen to people. Get the opinions of others.
• Educate yourself.
• Collect visual experiences for inspiration.
• Create lists of words, images, and ideas related to the project. Try free association. Try anything that will get your brain to shift into "creative mode."

Production

Form
Now that you have a direction and your brain is in "creative mode," you can evaluate actual forms.

Principles of Effective Advertising
There are several general principles to consider in the evaluation of symbolic forms used for advertising. The following represent some of the most essential principles of effective advertising.
KISS - Keep It Simple Stupid. Study simplicity and favor abstraction. Keep a balance of light and dark shapes. Apply parallelism and repetition. Create contrast. Strive to create forward, progressive movement in your design and search for unusual views or perspectives. To test the shape of a design, turn it upside down to see it anew and spot its flaws. Look at it from a distance. Can you still read the form? First impression - what does it look like at a glance? Your design should look as good on an ant as it does on an elephant. You never know what size or on what medium your logo will appear.

Color
Always design initially in black and white - color masks flaws in forms. Color is a secondary, but still important decision in logo design. Color carries emotional connotations (such as blue = sad) as well as functional values (such as green = go). One can transform colors traditionally associated with specific forms, but one should not completely disregard them as you design. Remember reproduction and viewing environments for color are difficult to control, and logos with many colors are attractive but can be cost-prohibitive to produce. If designing for the web, one must use the universal color palette, and if designing for print, one must use Pantone colors and CMYK composition.

Typography
Also, consider typography in a design. Serif is easier to read in print and carries a more traditional, conservative tone. San Serif is modern and easier to read on screen. Remember that decorative fonts are not always clear at small sizes and are better for other aspects of design than logos. Prefer all uppercase or lowercase, because a mix breaks the bounding box and can disrupt an otherwise attractive form. There are two common layouts of combination text and icon logos: title below the graphic and title to the right of the graphic. Prefer a design using both layouts, because different situations call for either a horizontal or a vertical graphic, on the web this means either a skyscraper or banner.

Meaning
Reflect on the meaning you convey with the forms, fonts and colors you choose. Observe the ideas transmitted visually in modern media and apply this symbolic language to your own work. For example, curves signify softness, caring and support, and straight, sharp lines are aggressive and show strength. Warm colors generally energize, while cool colors soothe and create a sense of calm. These underlying themes are as important as the overall metaphor chosen for the design.
Understand all of the nuances of a design, and develop a written concept for each logo that describes the ideas behind the creation of the design and the intended effect for the viewer. Often writing down corresponding ideas before and after a design process will help a design mature and help prevent underdeveloped ideas from reaching the presentation stage.

SAVE
As you generate interesting insights, interrpretations, or solutions - ALWAYS, ALWAYS, ALWAYS, SAVE YOUR WORK AS YOU GO. SAVE YOUR WORK AS YOU GO. SAVE YOUR WORK AS YOU GO. Save back-ups of your work on zip disks, on the web, on your hard drive, printed hard copies - all of these ways to save - do it - all of them. SAVE. SAVE. SAVE. Otherwise, you will live to regret it. It is inevitable.

Sort and Review: Managing the Client
Once a designer produces several solutions, sorted them into "good," "so-so," and "just plain ugly," one must prepare to show them to the client. Do not throw the ugly ones away. Put them along with the "so-so" in a "creatives collection" to pull out for later reflection. Now, look at "good" prototypes again. Are they all good? Are you sure? Are you absolutely-positively sure? There are two hard and fast rules that follow client selection of a design. One is that every client will want a mixture of elements from all that are presented (a common number is 3). A good designer foresees this and considers possible alternatives ahead of time. The other is that if the client does not want a combination of the three, the client will most definitely choose the most unattractive logo that is presented. Make certain that you can live with whatever mock-up the client may choose. ===================== 4

Presentation

Showmanship
Imagine you are a designer presenting to a client. What should you say -- and not say ? First, never present a client with a large number of prototypes, because this encourages indecision and lengthens the review process.
The designer or agency should decide which logo designs are best, and then present them in hard copy, black and white, and mounted on black mat. Explain your concepts as you present your pieces. Your logos should speak for themselves, but you must also inspire confidence in your client in your abilities to design analytically as well as creatively. After the client has chosen the form, then present the client with different color palettes. Showmanship and professionalism are important aspects of design. A client is often paying for the actual logo, presentation, and documentation.

Documentation
A graphic standards manual is the document that accompanies a logo. This document tells when, where, and how the logo may be applied. This document is very important, because it requires consistent use of the logo that is necessary for effective branding. Some companies have graphic standards manuals with more pages than Gone with the Wind. This kind of documentation can be under separate billing, but it doesn't hurt to initially put together a small document that briefly defines important information about the logo and how it should be applied.

Trademarks
Inform the client of the importance of trademarking the logo. Two good resources for this information are: NamProtect.com and 4Trademark.com

Delivery

After the client makes a final selection, you must deliver the tangibles. You should release the logo to the client in a number of formats. Adobe Illustrator native format (AI) can be read by Illustrator, Freehand, and Corel Draw. EPS can be imported into most Mac and PC desktop publishing software. You should provide these two formats as well as a 72 dpi GIF that is a screen ready version already sized for usage and a 300 dpi TIF. Also give the clients black and white and color hard copies. Don't forget to convert every element, including typeface, to outlines (a record of fonts used in the graphic standards manual). This measure will often forestall client troubles with file usage. Always save copies for your portfolio.

All that is left for you to do is to practice your talent, hone your awareness of your environment and how it affects you visually, attack your design problems analytically as well as creatively, and present your ideas with style and confidence. Your abilities will mature with experience.

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Logo Evaluation

What is the purpose of the logo? Does the logo fulfill its purpose?

Who is the perceived audience? How does the logo meet audience expectations?

Does the logo posess the following qualities, and if so, to what degree?

Does the logo look good in small sizes?     yes | no

Are the colors appropriate?     yes | no

Comments:

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A Deliverable Checklist Adobe Illustrator Format

EPS

72 dpi GIF (screen ready)

300 dpi TIF

Black and White Hardcopies

Color Hardcopies

Graphics Standards Document