Maryam: OCA Graphic Design

As important as it is to know your strengths, it is critically important to understand your own weaknesses. Keep in mind that both your strengths and weaknesses will change and evolve over time because these are not static attributes. A weakness might be a skill you need to develop or a gap in knowledge and understanding. Once you identify a weakness you need to make a choice. Is this a weakness you can live with or is it something
you want to work on? Depending on what you identify you might decide to fill the gap in knowledge through research, sign up for training, or put in more time to develop a specific skill. To start this research task you need to identify a weakness in yourself. Identifying a weakness can be
challenging because you don’t know what you don’t know. A mind map can be a helpful tool to think of ideas at this stage. Review your own learning log – have you been including the challenges you faced
throughout the projects and assignments? Think of things that you would like to do, but that feel impossible at the moment. Maybe you would like to design a complete typeface but you don’t know the software? Perhaps you need to make more professional connections in the design industry but you don’t know who to turn to or how to ask? Perhaps you really struggle to find the time for all the things you want to do? Once you have identified one weakness you want to focus on right now it is time to put together an action plan to overcome it. Research the kind of resources that are available to deal with the topic. Depending on the weakness, you might find books, articles, podcasts, YouTube channels, or people in
your network that have previously faced the same thing.
Review all the available resources and decide what is most likely to work for you. Deciding factors could be anything from the time commitment required to complete additional training or budget restrictions,
you might find certain approaches just resonate with you, or you might have even tried something before and it didn’t work so now you need an alternative.
Once you decide on an action plan write it down. Include specific and reasonable timelines by which you
want to reach certain goals and set reminders in your calendar to check in how you are progressing against
the action plan.

Action Plan

Step 1: Identify Weakness

Step 2: Research Resources

• Explore platforms like Skillshare, LinkedIn Learning, or Coursera, Alison.
• Look for beginner-friendly guides and tutorials on YouTube.
• Connect with professionals via LinkedIn to ask for insights.

Step 3: Select Resources

• Enrol in a specific online course
• Dedicate 30 minutes daily to tutorials

Step 4: Create Timeline

• Week 1: Complete introductory tutorials.
• Week 2–4: Progress through the online course.
• Week 5: Organise an opportunity to practice speaking in front of group of people.
• Week 6: Reflect and reassess next steps.

Step 5: Track Progress

• Set weekly reminders for self-check.
• Adjust plans as necessary based on challenges faced.

Resources:

• Alison (2024). Public Speaking. Available at: https://alison.com/topic/learn/126146/reduce-time-spent-on-speech-preparation. (Accessed: 30 December 2024)
• LinkedIn Learn app
• YouTube (2024). The public speaking lesson you never had | DK . | TEDxNelson. Available at: https://www.youtube.com/watch?v=xSp78RwcAS4. (Accessed: 30 December 2024)

Brief

What is the skill, talent or ability that provides you with a distinct advantage? This might be something related to design practice (eg. you know all the Photoshop keyboard shortcuts) or it could be a human
skill (eg. you are an incredible listener) or it might be something completely unexpected (eg. you practice sustainable foraging). Select one aspect about yourself and explain in graphic form how you go about doing this unique thing.
From the examples listed above, you could create an infographic to summarise all the keyboard shortcuts, you could design a mockup for an app that helps develop listening skills, or create an illustrated map and design the layout for a magazine article about sustainable foraging.
Include a reflection that explores how this skill, talent, or ability might fit into your professional practice and how this unique aspect about you might provide a career advantage.

Skill or Talent: Procreate Mastery

Graphic Idea

Create an infographic or Instagram post that highlights the process and expertise with Procreate.

1. Title: “Mastering Procreate: A Digital Artist’s Guide”, “Watercolour Floral in Procreate”
2. Sections:
   • Tools of the Trade: Highlighting favourite brushes, palettes, and layer techniques with visual examples.
   • Workflow Showcase: Step-by-step images showing the transformation of a blank canvas into a finished piece.
   • Personal Style: Showing how to use Procreate to bring unique artistic vision to life (e.g., bold line work, vibrant colours, or realistic textures).
3. Instagram post size: 1080px by 1080px

Design process

Final design: Instagram Post (Slideshow)

Reflection on the Skill

Procreate is more than just a tool, it’s a powerful extension of my creativity. Mastering it has helped me develop skills that are directly applicable to professional practice:

1. Speed and Efficiency: Procreate’s intuitive interface allows me to create high-quality illustrations quickly, making it ideal for client work and meeting tight deadlines.
2. Versatility in Design: Whether it’s concept sketches, storyboards, or finalised pieces, I can adapt my Procreate skills to suit various creative needs.
3. Experimentation without Limits: Procreate’s non-destructive editing encourages experimentation, which fuels innovation in my designs.
4. Professional Presentation: The ability to export layered files, time-lapse videos, and high-resolution artwork enhances how I deliver work to clients, providing added value.

Procreate’s capabilities, combined with my artistic vision, give me a distinct edge in the creative industry, allowing me to produce dynamic, polished, and highly costomisable work efficiently.

Resources

Pexeles (2024). Rose. Available at: https://www.pexels.com/search/rose/ (Accessed: 25 December 2024)

Design practice is continually shifting and morphing alongside advances in technology, cultural changes, and the evolving needs of the clients and businesses that rely on designers. Today’s professionals are yesterday’s students. The designers you admire and recognise were once just starting
out. First, identify two or three influential designers. These should be people influential to you – not necessarily famous. It could be designers you know personally or people you have only heard about online or even someone you follow on social media. Next, in a paragraph or two write what assumptions you have about them purely based on their work. Include some examples of their work for reference. Some questions to guide your writing:

Another way to look at this would be through the lens of a client or employer. Imagine what someone who is looking to hire a designer might see when they look at this person’s work. Finally, reach out to them. If you follow them on Instagram, send a DM. If they are an acquaintance or
colleague give them a call, and if you are unable to reach them in person try to find articles about them online or look for their work on a portfolio platform like Dribble or Behance. Compare your assumptions about them
against what they can actually tell you about their place in contemporary design practice and how they found that place.

Identifying Influential Designers

1. Jessica Hische
   Jessica Hische is a lettering artist, illustrator, and author known for her intricate and beautifully crafted typography. Her work includes iconic projects like the title design for the movie Moonrise Kingdom, the Daily Drop Capproject, and numerous editorial and branding commissions.
2. Alan Ayoubi
   Alan Ayoubi is a digital artist and motion designer whose visually arresting 3D animations explore themes of futurism and abstract storytelling. His work has been featured in campaigns for tech companies and music videos, often blending surreal aesthetics with hyper-realistic textures.

Assumptions About the Designers

Jessica Hische
Jessica’s portfolio reflects a dedication to craftsmanship and a love of storytelling through lettering. Projects like the Daily Drop Cap reveal her ability to balance discipline and creativity, suggesting she has a meticulous and highly structured process. I assume Jessica’s professional success was built through a combination of personal passion projects and high-profile collaborations, like her work for Moonrise Kingdom, which likely opened doors to more prominent opportunities.

I imagine she works with a close-knit network of art directors, editors, and branding experts. She probably negotiates projects based on her strong reputation and unique style, which stands out in editorial and publishing. Her next projects might include more work in education, such as workshops or resources for aspiring designers, building on her existing books. Her unique contribution is her ability to elevate typography into a form of art that feels both timeless and fresh.

Alan Ayoubi
Alan’s 3D animations suggest he is deeply inspired by the intersection of technology and art. His work often features fluid, dream-like movements and high-tech elements, implying a deep understanding of software like Cinema 4D and Blender. I assume his career trajectory involved early experimentation with digital tools and a breakthrough project—likely a viral or widely recognised campaign—that put his skills in the spotlight.

Alan likely collaborates with tech brands, musicians, and advertising agencies. His process might involve experimenting with algorithms, physics simulations, and textures to create his surreal visuals. His next projects could explore AR/VR experiences, given his futuristic aesthetic. Alan’s unique contribution is his ability to transform abstract concepts into captivating, immersive visual experiences.

Reaching Out and Comparing Assumptions

I reached out to both designers:

• Jessica Hische: I visited her official website and filled out the contact form with a question about her approach to balancing personal and professional projects. I haven’t received any response so I’ve got some information from her ‘About’ page on her website.
• Alan Ayoubi: I sent Alan a message on Instagram after seeing his latest 3D art post, asking about his creative process and inspiration.

Comparing Insights

1. Jessica Hische
   • For nearly 15 years I’ve had the pleasure of collaborating with amazing clients—creating custom lettering artwork for established brands, classic books, postage stamps, and so much more. I’ve travelled the world speaking at creative conferences and colleges, and I’ve befriended innumerable internet strangers while navigating the depths of social media. I cut my creative teeth in Philadelphia and Brooklyn but am now (and forever) based in beautiful downtown Oakland, California. When I’m not drafting letterforms, manipulating beziers, writing kids books, or letterpressing on my Vandercook, I’m doing my best to help others find the same happiness and fulfillment that I’ve found in my work.
2. Alan Ayoubi response
   • My journey has been about passion, persistence, curiosity and constant learning. I started like many others, experimenting with different tools and styles, always curious to see how far I could push my creativity. Over time, through lots of trial and error, I found my niche in design and education, which led me to creating courses and sharing what I’ve learned.
   • In terms of projects, I’m always looking for ways to create new content that helps aspiring designers grow their skills, whether that’s through new courses, tutorials, or collaborations. I think staying open to new ideas and connecting with people in the industry has been key for me. The design community is full of inspiration, and I’ve learned a lot by simply being part of it.
   • When it comes to negotiating projects, I believe in knowing your worth but also being flexible and open to opportunities that allow growth. And as for the future, I see it as an ongoing creative journey! And I’m always excited to keep exploring new technologies and trends that shape the design world.

Reflection

This exercise highlighted the importance of digging deeper into a designer’s journey. While many of my assumptions about Jessica’s structured approach and Alan’s technical expertise were accurate, their personal motivations and specific career breakthroughs added layers of understanding. Both designers exemplify how blending personal passion with professional collaboration can lead to a fulfilling and impactful career.

Resources

• Alan Ayoubi (2024). Available at: https://www.alanayoubi.com. (Accessed: 22 December 2022)
• Jessica Hische (2024). Available at: https://www.jessicahische.is. (Accessed: 22 December 2024)

You should now start to think about your critical review. A Critical Review is a short academic essay. It can also include a bibliography and any appendices you wish to add. The critical review is a core component that you will work on throughout this unit and submit with your selection of creative work and other coursework for assessment. Starting the process now will allow you to develop your ideas, conduct the necessary research, and you’ll also have more opportunities for feedback from your tutor. Your critical review is an opportunity for you to research, articulate, and visually represent your interests, passions, or opinions about a topic of your choice. The critical review can be submitted in one of two formats.
You can submit:
a 1,250 word written essay with visual references,
OR
a 10-minute presentation filmed speech or a screen recording with voice-over.
Start by mind-mapping all the possible topics for your critical review. Within each topic identify more specific aspects you might like to explore and any potential research questions you might like to ask.
For instance, if you listed three contemporary graphic designers, is there an aspect of their work that links them and could that be something to write about? It can be helpful to reflect on the exercises you have found most interesting so far in this, or any previous, unit – they may be the basis for further research and critical thinking. Your initial thoughts may
be quite general at this stage. You will be supported to refine your topic and develop your writing.
To begin with, compile a list of ideas/questions/topics for your tutor to give you feedback on
outlining:
Your initial ideas about the topic(s) you might want to research. The questions you want to explore through your critical review. Any books, links, or other reference materials that you feel will help to inform your ideas. The critical review is an academic essay, as such it is expected that you follow academic writing guidelines.
Academic Writing
Academic writing is a style of writing used for essays, journals, books, and other academic material. It is designed to set out, and question, ideas and debate in structured, well researched, and evidenced ways. The use of conventions such as citation make it easier for the reader to see how your piece of academic writing connects to others. The tone of academic writing is usually formal.

Mind mapping

Typography in Communication Design

• Criticising the effectiveness of typography choices in real-world designs.
• How does typography impact readability and aesthetic appeal?
• Are the typographic hierarchies effective in guiding the viewer’s eye?
• Does the typography align with the brand’s message and tone?
• Compare examples of strong vs. weak typographic decisions in advertisements, websites, or posters.

The Role of Colour Psychology in Branding

• Analysing how colour choices affect brand identity and consumer perception.
• How effectively are colours used to convey emotions or ideas?
• Do the colour palettes align with the intended target audience?
• Are there cultural or contextual implications in the colour choices?
• Criticising the colour schemes of successful vs. unsuccessful branding campaigns.

Minimalism vs. Maximalism in Graphic Design

• Comparing the two design philosophies and their effectiveness in different contexts.
• What are the strengths and weaknesses of minimalism and maximalism?
• How do these styles affect user engagement and retention?
• In which industries or audiences are these styles more suitable?
• Reviewing product packaging, website design, or editorial spreads.

User Experience (UX) in Interactive Design

• Evaluating the usability of websites, apps, or interfaces.
• Are the interfaces intuitive and accessible?
• How do design elements support or hinder user tasks?
• Are visual hierarchies and navigational elements effectively implemented?
• Conducting a case study of a website or app with both positive and negative UX features.

Sustainability in Graphic Design

• Exploring sustainability in graphic design.
• Does the design promote inclusivity (e.g., accessible fonts, diverse imagery)?
• Are there sustainable practices in production and materials?
• Is the design used ethically, avoiding manipulation or misinformation?
• Criticising campaigns or products that have sparked ethical debates.

Cultural Representation in Graphic Design

• Investigating how designs reflect or misrepresent cultures.
• Are cultural symbols used appropriately and respectfully?
• How do designs contribute to cultural awareness or perpetuate stereotypes?
• Are there examples of successful cross-cultural design?
• Reviewing advertisements, logos, or campaigns targeting global audiences.

Evolution of a Design Style

• Examining the historical development and current trends of a specific design style.
• How has the style adapted to technological or societal changes?
• What are the distinguishing features of the style?
• Are there contemporary examples that innovate or imitate this style?
• Studying Art Deco, Swiss Design, or Brutalism.

Branding and Visual Identity Systems

• Criticising a company’s visual identity system.
• How cohesive are the logo, typography, colour palette, and imagery?
• Does the branding effectively communicate the company’s values?
• Are there inconsistencies in the application of the visual identity?
• Comparing successful vs. rebranded visual identities.

The Impact of Technology on Graphic Design

• Discussing how emerging technologies are transforming the field.
• How have tools like AI, AR, or VR influenced graphic design?
• Are traditional design principles still relevant in digital spaces?
• What challenges and opportunities does technology create for designers?
• Analysing AI-generated art, AR marketing campaigns, or VR environments.

Brief

Your local wildlife park wants you to develop a logo that supports the idea of a popular and fun family-centred experience, but also helps to make people more aware of the conservation work they do. 

The trustees of the park have recently visited Toronto and London Zoos to see how they balance the need to attract visitors and funding with a commitment to educating people about animal welfare and habitat issues. They liked what they saw and have put together a small budget for the design of a new logo for the wildlife park. This logo will be the starting point for future work the wildlife park will be undertaking in conservation work. The new logo needs to appeal to families with young children and also convey the commitment to serving wild animals through conservation work.

The logo will be used in many contexts and across different media. Visitors to the wildlife park will see it on wayfinding signage and the park map, there will be a smartphone application, advertising and merchandise in the giftshop. Supporters of the wildlife park,including members of charities and corporations, philanthropists and partner organisations for conservation work will see the logo on letterheads, business cards, reports and conference materials. Therefore, the design needs to be versatile. You will need to ensure the design can stand alone, for example when people enter the park. It will also need to work alongside other visuals, for example, each habitat (arctic, desert, rainforest, or temperate) across the zoo might have a slight variation of the logo to show which animals live in the habitat.

Start by finding out more about your local wildlife park. If there are no zoos or wildlife parks in your area you can select any wildlife park you have been to in the past or one that you find online. You will need to follow the design process that you have been introduced to throughout the unit. This includes:

• First stage — initial idea generation and visual experiments (both based on your research). 
• Second stage — idea development and testing.
• Third stage — idea selection and refinement. 
• Final stage — reflection. 

Your final logo design will need to be presented in a lookbook (if you are not sure what a lookbook is, read this article from Design Shack: What Is a Lookbook?). The trustees of the wildlife park need to be able to get a sense of how the logo will be used in different contexts. This means that they need to see exactly what the logo will look like when visitors enter the park, the need to see what the logo will look like on the map and smartphone app, and they will also need to see a range of other applications from stationary to toys and gifts. You can use digital mockups to show the logo being used in context, or if you can print the logo and photograph the objects you create.

The lookbook can be a PDF document, slide deck,  or you can use your learning log and create a page or section where you host the final lookbook. The purpose of the lookbook is to present the logo design in context to the trustees of the wildlife park.

Analysing the brief

• Create a family-friendly, fun, and appealing logo.
• Highlight the park’s commitment to conservation and education.
• Ensure versatility for multiple media and contexts.
• Key Audiences:
  • Families with young children (fun, engaging, accessible design).
  • Conservation supporters (professional, respectful of environmental themes).
• Applications:
• Physical signage.
• Digital platforms (smartphone apps, online presence).
• Merchandise (toys, gifts, apparel).
• Official stationery (letterheads, business cards).
• Inspirational Sources:
  • Toronto Zoo.
  • London Zoo.

Mind mapping

Research – local wildlife park

Marwell Zoo, located in Winchester, Hampshire, is a large wildlife park and conservation center that features over 1,000 animals from around the world. The zoo is known for its commitment to conservation, with a focus on endangered species. Visitors can explore themed habitats, including African, Asian, and Madagascan zones, and enjoy close encounters with animals such as giraffes, tigers, penguins, and rhinos. Marwell Zoo also offers educational programs and interactive experiences to promote wildlife awareness and preservation.

Research – analyse competitors

Research – audience

Families with Young Children:

• Vibrant, cheerful colours that attract attention and feel approachable.
• Elements that spark curiosity and joy, such as cute animal illustrations or playful designs.

Conservation Advocates:

• Natural and eco-friendly themes that reflect responsibility (e.g., green hues, tree or leaf motifs).
  
• Colour Palette:mix of playful colours and earthy tones (greens, browns) to bridge family appeal with conservation themes.
  
• Imagery:Incorporate animals that resonate with children, conservation symbols such as leaves, trees, water ripples, or the globe to signify environmental care.
  
• Typography:A font that is legible and approachable:Sans-serif fonts for modernity and clarity, rounded edges for a playful feel.
  
• Shapes:organic shapes (e.g., circles for unity and inclusivity, or natural flowing lines for landscapes).

Research – look book

I read the article on design shack about the “Lookbook” and examined different examples.

Idea generation – sketches

Idea generation – visual experiments

I began with a traditional approach, starting by crafting a stamp out of clay. Using brown acrylic paint, I experimented with stamping techniques to create bold impressions. Additionally, I incorporated watercolour techniques combined with wax for texture and depth, finishing with intricate details added using black and white fine liners. This mix of media allowed for a dynamic and layered exploration of textures and styles.

Next, I used Procreate to add digital effects and enhance the design’s visual appeal. I then imported the image and its textures into Adobe Illustrator, where I refined and finalised the logo, ensuring it was polished and versatile for various applications.

Typefaces

I conducted research into handwritten fonts with playful and engaging characteristics to suit the logo’s theme. After exploring various options, I selected “Gloria Hallelujah” for its fun and approachable style, which perfectly aligns with the family-friendly and cheerful tone of the design.

For other elements of the design, I chose Futura due to its modern, clean, and versatile characteristics. The combination of Gloria Hallelujah for its playful charm and Futura for its contemporary professionalism creates a balanced and appealing aesthetic that caters to both family-friendly and conservation-focused aspects of the logo.

Design process

Lookbook

Self – reflection

This project was such a fun challenge! Designing a logo that could be both playful and professional wasn’t easy, but it pushed me to think creatively and experiment with different techniques.

I started with a hands-on approach, using clay to make a stamp and playing with textures using acrylic paint, watercolour, and fine liners. I tried the same design in Procreate for some digital effects and then finalised it in Illustrator.

Picking the fonts was another key part of the process. I went with “Gloria Hallelujah” for the logo because it has a fun, handwritten vibe that felt perfect for families. For the other elements, I chose Futura—it’s clean and modern, which added a nice contrast and kept things looking professional.

One of the biggest challenges was making sure the logo worked for both kids and adults. I wanted it to feel playful but not too childish, and still reflect the serious conservation work the park does. Testing the logo in different contexts, like on signs, maps, and merchandise, really helped me refine it and make sure it worked everywhere.

I learned a lot through this project, especially how important it is to combine creativity with practicality. Researching other logos and experimenting with textures and fonts taught me how to make designs that stand out but also fit the client’s needs.

If I could do anything differently, I’d spend more time creating variations for specific habitats to make the logo even more connected to the park’s themes. Overall, I’m happy of how it turned out and how it reflects both the fun and the mission of the wildlife park.

Resources

• Design Shack (2024). What is a Lookbook. Available at: https://designshack.net/articles/graphics/what-is-a-lookbook-examples/ (Accessed: 2 December 2024)
• Freepik (2024). Flamingos. https://www.freepik.com/free-photo/flamingos. (Accessed: 4 December 2024)
• Google images (2024). Zoo logos. Available at: https://images.google.co.uk (Accessed: 3 December 2024)
• Marwell zoo (2024). Available at: https://www.marwell.org.uk. (Accessed: 2 December 2024)

Brief

While the visual language of logos can create a sense of permanence or heritage, the same approach can leave them rooted in a particular era and therefore outdated and out of touch. It’s vital to update the visual language of logos over time to keep them relevant, without necessarily changing the content of the message. This is not a problem if the logo in question only has a limited shelf life, for example a short-running venture, but for more established organisations changing their identity can have its risks. Many of the logos mentioned so far have been visually refreshed to bring them up to date.

Identify examples of well-established organisations, companies or other groups whose logos have evolved over time. Alternatively, pick examples of historic logos and compare them with contemporary ones. Ask yourself – What do these changes tell us about shifts in approaches to logo design? For example, can you pick out particular historical or contemporary trends?
Try and choose a range of examples that draw on traditions of logotypes, emblems, insignia, or use mascots. Plot the development of these logos, describing how their form has changed over time.
Document your examples and reflect on your findings in your learning log.

Exploring Logo Evolution and Design Trends

Logos are not just identifiers; they evolve to reflect a brand’s changing identity, social trends, technological advancements, and audience preferences. I examined the evolution of logos from well-known organisations, highlighting how design trends have shifted from ornate complexity to modern minimalism, flexibility, and digital adaptability.

1. Coca-Cola

• Historic Logo (1886): Coca-Cola’s first logo was a simple serif font. Shortly after, the iconic Spencerian script was adopted, which reflected the ornate typography trends of the late 19th century.
• Contemporary Logo (2023): Despite numerous refinements, the script remains the same. Today’s logo is cleaner and sharper, with simplified swirls and modern presentation for digital formats.
• Insights: Coca-Cola’s consistency reflects its emphasis on nostalgia and heritage. Minor tweaks have kept the logo relevant while preserving its historical identity.

2. Apple

• Historic Logo (1976): Apple’s first logo depicted Isaac Newton under an apple tree, accompanied by an elaborate banner.
• Contemporary Logo (2023): The bitten apple is now sleek, simple, and monochromatic, designed to adapt to product finishes and digital platforms.
• Insights: The shift from complexity to simplicity mirrors the brand’s focus on streamlined, user-friendly technology and minimalist aesthetics.

3. Shell

• Historic Logo (1900s): Shell’s early logos depicted realistic shell illustrations, reflecting its origins.
• Contemporary Logo (2023): The shell is now a bold, simplified icon with bright red and yellow colours. It is instantly recognisable and adaptable to various media.
• Insights: This evolution highlights a trend toward abstraction and bold colours to ensure memorability and flexibility for global marketing.

4. McDonald’s

• Historic Logo (1948): McDonald’s early branding featured a simple “Speedee” mascot, emphasising efficiency in food service.
• Contemporary Logo (2023): The golden arches have become a universal symbol, refined into a clean, minimalist “M.”
• Insights: The move from mascots to symbolic simplicity reflects modern preferences for timeless, easily recognisable designs.

5. Starbucks

• Historic Logo (1971): The original Starbucks logo featured a detailed, two-tailed mermaid in brown tones, reflecting a maritime aesthetic tied to coffee’s origins.
• Contemporary Logo (2023): The mermaid has been simplified into a bold green-and-white emblem, losing text for global appeal.
• Insights: This transformation aligns with trends toward simplicity, colour branding, and visual storytelling without words.

6. Nike

• Historic Logo (1971): Nike’s first logo combined the now-famous “Swoosh” with the brand name in a bold serif font.
• Contemporary Logo (2023): The Swoosh now stands alone as a minimalist and universally recognised icon.
• Insights: Nike’s logo evolution reflects confidence in brand equity and the global shift toward symbolic logos.

7. Penguin Books

• Historic Logo (1935): The early Penguin logo featured a realistic penguin in a circle, accompanied by detailed typography.
• Contemporary Logo (2023): The penguin is now a simplified black-and-white figure, paired with clean, sans-serif fonts.
• Insights: This change mirrors the move toward flat design and modern typefaces, catering to digital readability.

8. BMW

• Historic Logo (1917): BMW’s original logo was based on the Bavarian flag, featuring a black circle with blue-and-white checkered quadrants.
• Contemporary Logo (2023): The current logo is a flat, minimalist version of the classic design, with transparent backgrounds for digital compatibility.
• Insights: The evolution showcases a balance between maintaining heritage and embracing flat design trends for digital use.

Key Trends Observed in Logo Evolution

1. Shift to Minimalism:
   • Many brands have simplified their logos, reflecting modern design preferences for clean and uncluttered visuals.
   • Examples: Apple, Starbucks, and Shell.
2. Emphasis on Scalability:
   • Logos now prioritise adaptability across physical and digital platforms, requiring simpler designs and fewer details.
   • Examples: BMW and McDonald’s.
3. Colour as a Branding Tool:
   • Vibrant colours are used for memorability, while monochrome logos add sophistication.
   • Examples: Nike’s black Swoosh, Shell’s bold yellow-red palette.
4. Typography Evolution:
   • Ornate and serif fonts have been replaced by clean, sans-serif typefaces, improving readability and modern appeal.
   • Examples: Coca-Cola (refinements) and Penguin Books.
5. Global and Digital Appeal:
   • Logos increasingly drop text (e.g., Starbucks, Apple) or adopt flat design principles for cross-cultural and digital adaptability.

Reflection

The evolution of logos across well-established brands reveals the importance of balancing heritage with innovation. While historical logos often reflect the design trends and storytelling methods of their time, contemporary logos prioritise simplicity, adaptability, and timelessness. By analysing these changes, designers can learn to craft logos that resonate with both tradition and future-facing appeal.

Resources

• Axies degital (2024). Evolution of logo designs. Available at: https://axies.digital/evolution-of-logo-design/. (Accessed 28 November 2024)
• Design mantic (2024). 100 years of logo evolution. Available at: https://www.designmantic.com/blog/infographics/100-years-of-logo-evolution/ (Accessed: 28 November 2024)
• Penguin (2024). Penguin books logo history. Available at: https://www.penguin.co.uk/articles/2020/09/penguin-books-logo-history-edward-young-allen-lane (Accessed: 28 November 2024)
• Web flow (2024). Famous logos. Available at: https://webflow.com/blog/famous-logos (Accessed: 28 November 2024)

Brief

For this exercise you will curate a collection of logos into your own personal reference guide for inspiration and future development. Although it is impossible to familiarise yourself with every logo, you can get a good sense of the variety and breadth by searching through curated resources available online. To get started you can explore: the Logobook Archives to find a collection of logos curated by Svizra, a community of international branding designers. The criteria to be included in this collection include that the logo must be strictly black and white and use icons. UnderConsideration curates the content for Brand New to discuss and chronicle corporate and brand identity work including redesigns and new designs for products, companies, services, and organisations across all industries and locations. Once you’ve done a little exploration:
Identify a range of logos Aim for at least 100, although this could easily expand to many more. Aim to include a wide range of styles from diverse industries. Include the full range of historical to contemporary designs, explore diverse cultural backgrounds, national affiliations, and heritage. Seek out controversial logos as well as logo ‘fails’ Limit the familiar and easily recognised designs. Develop your own taxonomy and criteria for rating successful/unsuccessful logos. The taxonomy you develop could be based on absolutely anything. It could be chronological or by colour, it could sort logos by characteristics such as typographic, logos with animals, logos with faces, logos with double-meanings etc. For example, one of the categories used by the Logobook archives is called ‘Nature logos’ in which you will find the subcategories of ‘birds’, ‘eyes’, ‘fire’, and ‘planets, globes, and moons’ among numerous others. Compile your collection into a reference guide. The format of the reference guide could be a dynamic website that allows you to search and filter through the collection using your own taxonomy or it could be a book with indexes and tabs to navigate through the collection. The final format of your collection is up to you. Try to make it as comprehensive as you can. Consider including further details about the logos – who was the designer? What evolutions has the logo gone through? Include details about the company or products the logo is associated with.

Research

Logo taxonomy

Logo taxonomy is the classification of logos based on their design style and composition. A clear understanding of logo types helps businesses select a logo that best represents their brand identity. Here’s a breakdown of the main types of logos:

1. Wordmark (Logotype)

• Definition: A logo consisting of the brand’s name in a unique, stylized font.
• Examples: Google, Coca-Cola, FedEx.
• Key Features:
  • Focuses entirely on typography.
  • Works well for brands with distinctive or easily recognisable names.
• Use Case: Best for companies that want their name to stand out and be memorable.

2. Lettermark (Monogram)

• Definition: A logo made up of initials or letters.
• Examples: IBM, NASA, HBO.
• Key Features:
  • Simplifies long brand names into memorable acronyms.
  • Relies heavily on typography for recognition.
• Use Case: Ideal for brands with long names or established reputations.

3. Pictorial Mark (Brand Mark or Icon)

• Definition: A symbol or icon that visually represents the brand.
• Examples: Apple, Twitter, Target.
• Key Features:
  • Typically represents the brand’s essence or product visually.
  • Relies on simplicity and memorability.
• Use Case: Best for brands with strong visual identities or global recognition.

4. Abstract Mark

• Definition: A geometric or abstract shape that represents the brand conceptually.
• Examples: Nike, Pepsi, Adidas.
• Key Features:
  • Doesn’t depict a specific object but conveys meaning through form and colour.
  • Highly versatile and unique.
• Use Case: Ideal for brands wanting to evoke emotion or stand out creatively.

5. Mascot Logo

• Definition: A logo featuring an illustrated character or mascot.
• Examples: KFC (Colonel Sanders), Michelin (Michelin Man).
• Key Features:
  • Adds personality and a human touch to the brand.
  • Can appeal to families or children.
• Use Case: Effective for brands that want a friendly, approachable image.

6. Combination Mark

• Definition: A logo combining text and a symbol or icon.
• Examples: Doritos, Burger King, Lacoste.
• Key Features:
  • Offers flexibility to use text and symbol together or separately.
  • Highly versatile across different applications.
• Use Case: Suitable for brands wanting to reinforce their name and symbol.

7. Emblem Logo

• Definition: A logo where the text is integrated into a symbol or badge.
• Examples: Starbucks, Harley-Davidson, Warner Bros.
• Key Features:
  • Often has a traditional or classic feel.
  • Can be intricate and detailed, evoking prestige.
• Use Case: Best for brands aiming to convey heritage or authenticity.

8. Dynamic (Responsive) Logo

• Definition: A logo that adapts its appearance based on context or medium.
• Examples: Google’s Doodles, MTV.
• Key Features:
  • Flexible and changes to fit different platforms, seasons, or campaigns.
  • Keeps the core elements intact.
• Use Case: Effective for brands with strong digital presences or evolving identities.

9. Letterform Logo

• Definition: A single letter that represents the brand.
• Examples: McDonald’s “M,” Pinterest “P.”
• Key Features:
  • Simplistic and memorable.
  • Focuses on strong typography.
• Use Case: Great for brands looking for a minimalist identity.

10. Minimalist Logo

• Definition: A simplified, stripped-down logo design focusing on clarity and simplicity.
• Examples: Airbnb, Dropbox, Mastercard.
• Key Features:
  • Relies on clean lines, neutral colours, and minimal details.
  • Often follows modern design trends.
• Use Case: Perfect for tech, lifestyle, and luxury brands that value sophistication.

Mind mapping

I explored websites like Logo Book and Brand New to research various categories for my logo taxonomy. While there were many options to choose from, I decided to focus on the theme of nature. This choice reflects both my personal interest in nature and the global shift towards nature-inspired concepts.

To structure my taxonomy, I identified seven subcategories within nature: flowers, fruits, birds, animals, landscapes, the sun, and eyes. From my research, I selected 18 logos for each subcategory, creating a comprehensive collection that highlights the diversity and creativity of nature-inspired designs.

Colour palette

Design process

For my cover design, I wanted to create something that seamlessly combines the themes of nature and taxonomy. My goal was to ensure the design not only reflects the natural world but also conveys the organised structure and categorisation inherent in a taxonomy. To further enhance this connection, I selected a colour palette inspired by the hues found in nature, such as earthy greens, warm tones, and subtle neutrals. These colors not only align with the concept but also bring a sense of harmony and cohesion to the overall design.

Final design – booklet

Self – reflection

I thoroughly enjoyed working on this project, as it allowed me to deeply analyse logos and understand why some designs are more effective than others. It also prompted me to reflect on my initial instincts toward specific logos and uncover the reasons behind those impressions.

It was interesting to see the most effective logos tend to be representational rather than literal, often using abstract shapes or forms to symbolically convey the identity of a company or organisation.

Another key takeaway was that the strongest logos had a sense of flow and cohesion, avoiding a cluttered or disjointed appearance. They featured just the right balance of elements, with each component working harmoniously as part of a unified whole.

This project has been an insightful experience, and I’m excited to apply what I’ve learned as I continue designing logos and building brand identities in the future.

Resources

• Logo book (2024). Available at: http://logobook.com (Accessed: 1 December 2024)
• Under consideration (2024). Brand new. Available at: https://www.underconsideration.com/brandnew/ (Accessed: 1 December 2024)
• Vista print (2024). Types of logos. Available at: https://www.vistaprint.com/hub/types-of-logos?srsltid=AfmBOop8ON4hi986YzXH1J2IZolMPn-4FdqrHIxlpbYyUY8Fv2c2qggI (Accessed: 1 December 2024)

Brief

Identify examples of organisations, companies or other groups whose logos have evolved over time.
Consider redesigns and new designs of notable products, companies, services, and organisations across all industries and locations. How have the logos developed? When or why were changes made?
What happens once the novelty of the change has worn off and the new logo is the new normal?
Compile a collection of the logo redesigns you have found to be the most interesting. Include a short explanation of why the particular design was (or wasn’t) successful. Challenge yourself by analysing what these changes tell us about shifts in approaches to logo design. For example, compare and contrast some historical or contemporary trends.
Include your collection, explanations, and analysis in your learning log.

McDonald’s