This is a place for both creative buyers and corporate identification designers in the business of marketing communications to share positive insights about their profession. It is hoped that peer empathy will be keenly felt by all who visit and participate here*.
Corporate ID Commentary I
Logos. Keep them simple.
Simple logos work best for a bunch of reasons. First and foremost: they're easier to remember. That's why its important to create a look using as few elements as possible.
I particularly favor integrating design into the type itself to create the strongest of ID's. While adding an illustrative look or feeling without adding an element is much more of a challenge, increased memorability make it well worth the effort.
commentary by Andy Attiliis
Corporate ID Commentary II
No one ever came out and emphasized it, but after a few creative sessions I realized that background materials presented by the client, marketing director and/or research department were worth my complete and undivided attention.Especially as they related to the corporate identification's history and present condition. The odds that the creative rationales I offered would be understood were much greater if they were based on pertinent information rather than what I felt like doing at the time. Even with this realization proven beyond a doubt, it would have been helpful to tattoo such truth upon my arm. Because, in reality, maintaining one's creative spirit while getting in the mood to creatively and correctly enhance someone else's image doesn't come naturally. For me, it requires more than a little reflection to remember the magic feeling that works everytime...willingness. Once I've let myself become totally willing to get caught up in the focused research of others, the process can begin. Out of myself, into the work, it's not long before good, supportable ideas spring forth enthusiastically.
With the value of willingness now recognized, it seemed worthwhile to outline an entire routine. Such a mind set might enhance creativity, discipline and efficiency throughout the entire process. Once again, this is the kind of simple, common sense thing that is seldom spelled out. Only after a good bit of floundering does it hit home that a thoughtful plan could improve performance. For what it's worth, here's the general approach I bring to the table:
Review information and materials supplied by the marketing director and/or job originator. Organize and consolidate necessary input. Determine how this input is relevant to the development of a new or modified identity. List all the production parameters that must be satisfied during the finished art stages of design. Begin to develop a sense of feeling and style that will best carry the new message. If a name has not been approved, submit possibilities. As necessary, write theme lines that support the approved name. Upon approval of the name, render thumbnail** ideas. Review all the ideas to decide which is most likely to succeed. Present the decision and a written rationale to the client and/or other project originators. In some situations, to help make the final selection, provide the client with a fax survey form, e-mail survey form or multiples of enlarged thumbnails for a focus group study. Upon approval of the direction, provide semi-comprehensive (work-in-progress) versions of all the designs. With client input, complete final designs in digital file formats that satisfy all the necessary production parameters.
**These initial rough concepts facilitate the creative process in a variety of ways. Quick to do and easy to understand, they distill the idea into the simplest of forms so that its merit, or lack thereof, is very clear. Sometimes, after a great deal of creative exploration, that first thumbnail turns out to be the very best solution.
commentary by Andy Attiliis
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