Showcase the final chosen design and core brand assets delivered to the client.
- [Instructor] Up to this point in the creative process, we've been using raw colors. We have the overall design locked in and finalized, but the branded colors need to be addressed before we can produce the final brand asset resource files we'll give to the client. So this makes up the entire brand system, all the various pieces that are going to be provided as final art on this brand redesign. Now, when it comes to colors, we've been working in these raw colors here, and they work great on screen and they work great through the comping process and the building process for our art to get it to a point that we could present to a client to sign off on it.
But now we need to make sure that we can dial this in using Pantone process colors as well. So you can see in this middle column here, we have the design, and we've picked associated Pantone process colors that represent the blue here, we're using 287 color process color here, and for the gray we're using Cool Gray 4 for that color. Now, one thing I'll point out is when you go to the Pantone books to pick colors, certain colors are very hard to find.
And one color specifically, one type of hue that is very problematic, in my opinion, is orange. There is not a great Pantone-specific orange, so I've left the middle orange color the raw color, because it is working and giving me the look and feel I want, and it's going to work in process just as well since we don't have Pantone colors, we're still going to be okay. I've done this before in the past, it's one of those rare things most of the time you don't do but every now and then there's that certain hue that is very hard to get, and the only way to do that is to spec the raw color break for CMYK to pull it off.
Now, sometimes you can use the Pantone process color book, but even with that, I couldn't find a nice orange color that was going to work well, so I stuck with the raw colors for the final CMYK colors. Now, when it comes to the Pantone spot colors, those are relatively easy to find exactly what you want because it's not made up of cyan, magenta, yellow, and black, it's just a pigment. It's an actual ink that is that color pre-mixed, and they just order the Pantone ink, put it on the press, and print it.
Spot color is becoming more and more rare, though, in our industry, because it used to be process was more expensive, but now process is far less expensive than printing with actual ink. So I think at some point we're going to see spot colors go away, everything will become process-oriented. But until then, you still need to spec process colors, and these were the ones I specced for this. 287C, 1585C, and Cool Gray 4 are going to work well.
Once I have the colors dialed in like this, I'll set up a style guide. So this shows the simple style guide that I created for this small business client. Now, if I'm doing work for an ad agency, I never do this part. I just provide the raw art, and they have their own proprietary system for creating style guides for their own clients. But because this is a small business, I want to simplify what usually is a very complex tome of information that an agency will provide in terms of a style guide, and simplify the process so a small business can discern it, understand it, comprehend it, and utilize it.
It does no good to make it overly complex, it won't be sustainable, and by setting up a style guide I ensure that it'll help them keep their brand continuity intact and remain consistent, moving forward with various vendors they use. So let's go ahead and zoom in on a few of these things, and I'll show you. So on the CMYK, I have those colors called out here. I have the artwork shown here, and it also refers to the exact file name that is provided in the source file so they know which one to provide.
Here's the spot color representation. I do note in the style guide that these colors for spot are meant to go on stock-coated, on coated paper, not uncoated, that's important. You'd have to pick uncoated spot colors in order to get that. I usually just always use coated spot colors within my style guides. Here's the black and white equivalents to the logo. Then if we go to page two, here's the secondary brand elements, such as this lockup of type, same thing, CMYK, spot, and black and white.
And then the third page of the style guide is the iconography. Now, one thing that changed between the client picking this direction and me providing the final art is that the iconography, it used to only be three when I presented the idea, but he wanted to market his generator service and some of the remodeling services, so we created iconography that represents those categories of service as well. So a brand is a living, creative entity, so you're always going to go back over time if you work with the same client and continue to add to their overall branding to help them market themselves moving forward.
So if we go back to our original file, as part of the identity, one of the first things you want to do after you have all the logos, the brand color locked in, and everything's ready to move forward to produce the other elements that are going to help promote and market the services for this company, you need a good business card. And frankly, their business card that they've been using is just one of the worst I've ever seen, I'll just be honest with you. But the thing I really want to point out that I think is the most troubling aspect about this business card is the unspoken or unwritten aspect about what it's communicating, and that is, they're using fear to communicate here.
There's no other way around it. A lightning storm, oh, look what could be happening to your home, you know. You better call us, or you might have problems. This is never a good way to market a business. People know when they're going to have problems, people are going to run into those problems. You don't have to use fear-mongering to try to promote them to try your business. This utilizes the old, poorly crafted logo, it's complicated, it doesn't read well, and frankly, they're giving away free advertising to other brands on the back of their card, which in my opinion never makes any sense.
So not working very well, and I think we improved it. By utilizing the new branding, we crafted their own brand aesthetic. In actuality, by designing the business cards, this is establishing an overall brand vernacular we're going to carry through in other ways moving forward, as you're going to see really shortly. And it's really going to inform our design and layout of other aspects in that communication of their new identity to the public at large, and it's really going to work well.
So this is the direction we're taking, and for more comprehensive information on style guides and final brand asset files, watch my Logo Design: Illustrating Logo Marks course. I really go over it in more extensive detail there, but from this point moving forward, we're now going to flesh out all the other various components of this brand redesign to facilitate and give this company a solid foundation to move forward on.
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.