Take all the information from the brand research and develop concepts and work through ideation with design thinking and sketching to isolate directions.
- [Instructor] After I have audited a business, curated feedback through a creative brief, followed up with any questions, and done other research into the industry specific to the business, I tend to sit on all of the information and just think about it. This allows my mind to play with it and make associations and begin to form ideas. It's a slow boil process for me that helps me to produce effective concepts.
Then and only then do I start actively creating. You've heard me say it before and I want to reinforce it again now, drawing is design's best friend. If you avoid drawing, you're limiting your creative potential because the skill of drawing will allow you to more fully explore a greater range of design possibilities. It's not about becoming a full-blown illustrator. It's about leveraging ideas that require more illustrative approaches to solve a design challenge be it iconic or more organic.
So let's take a look at how drawing facilitated the ideation efforts for OneStop Pro. Now, when it comes to drawing, specifically thumbnail drawing which we're going to go over here in just a second, this is a process that is going to be perfected the more you do it. That's why I say process makes perfect because if you do the same flawed methodology over and over, all you get better at is mediocre so you don't want to do that. So when it comes to drawing out ideas, think of the Latin phrase you can find on money here in the United States.
It's E Pluribus Unum and it means out of many one. Well, I like to say E Pluribus Creatum when it comes to thumbnail sketching because out of many thumbnail sketch will come that one winner solution that ends up becoming the new, in this case, the brand redesign for a company. So here's a bunch of thumbnail exploration sketches and they're called thumbnails because they're small. These aren't huge. These aren't like five by five inches. They're maybe 1-1/2 inch by 1-1/2 inch so we're talking very small.
You can see that I've taken the brand name we've come up with and I start working out ideas and a lot of my ideas I'm trying to incorporate the services they're known for within the imagery that I'm coming up with ideas for. So this is one sheet of ideas. Here's another sheet where I start taking a different approach. I even did one with a skull and crossbones. Once again, you have to work through bad ideas to get to the good ideas so probably not appropriate for the primary mark of the business, although I think it could be a fun t-shirt down the road if they wanted to just have some fun with it.
I kind of like it, but I know that one's not going to fly. I just had to get it out there and move on and that's what drawing is all about. There are no bad ideas at this stage. The client never sees this stage I should point out. This is just for me to vet ideas and open up the floodgates and let ideas just flow out naturally and see where they lead. That's how I use this process of drawing. I like the three down at the bottom. I think those may have potential.
I keep drawing so here's another sheet. I'm thinking of linear one continuous line, maybe that would work for a brand mark. Here's another one with a character embedding the word inside the character itself. Another approach to that. Another approach to that. And now I'm starting to think more character-driven. I'm thinking back to the creative brief. He liked character-based logos so I'm starting to explore well what are ways we could work out a character in these bottom two rows here.
I keep moving towards that idea of a character-driven mark. I like the way this one's coming out here. It's symmetric with a nice shot of asymmetry in it as well and I'm moving forward with this character idea and then I draw out this one. I'm really liking this character in the bottom left here, but the tool which I intended it to be a monkey wrench looks like a giant F so that's why I put lame. That is not good.
And this is the point of when you're doing thumbnails, it's okay to use reference just to draw a little better so you can see the potential and decide if you want to keep moving in that direction. And on this, I kind of know what a monkey wrench looks like, but I know it doesn't look like this so that's where I'll start using reference. And I even came up with another idea where I did a little better on the monkey wrench, but still it's not really informing you specifically as to shape and form so this is where good photography of an actual monkey wrench...
I'm not even sure why monkey is in the name for monkey wrench, but monkey wrench, that's what it's known for. I don't know if that's slang or proper terminology, but this is what the tool looks like and then I just drew off of that tool. Once again, I'm not trying to be photo realistic here or even capture the exact proportions of it. I just want to make it look recognizable. Nobody would look at this and go, "I have no idea what that is." So that's what I want. I want that iconification of complexity to work on the mark's behalf and so I think that's what we've achieved with this drawing based off of the reference.
And now if I go back to this character and I add that in, you can see I think that's going to work really well. And it's with these ideas that I'm progressively trying to isolate down directions I could take. I think this is going to be one direction with this character-based design. I even like this lockup, even though I'm not so hot on what's supposed to be a pipe here so I'm probably going to use this type of lockup moving forward, but I then draw it out more precisely so this shows how I've worked out this exact character art so that I have a framework to build upon when I move the vector and these are three other marks that I'm going to build out.
I'm going to do a few more as well on my presentation, but this is where I've decided to move and drawing helped me work through all of it. So through the process of drawing, you want to sketch out the good, the bad, and even the downright ugly, then quickly move on to the next idea. With our concepts nailed down now, we'll now proceed to building the actual vector art. And for more about drawing out logo concepts, watch my Learning Logo Design course.
Join Von Glitschka, illustrative design guru, for this hands-on project that demonstrates what successful rebranding involves from the designer and the client. He takes the existing brand for a small plumbing and electrical company and asks questions to get a deeper understanding of their goals. He maps the answers to a new name and develops a logo that better represents the brand values. He solicits and incorporates feedback from the client, and then presents the final brand assets. Last, he reviews the uniforms, vehicle wraps, asset library, and advertising campaigns that were developed to complement the new direction.