Big Logo

Mount Gay Rum painted their logo on their distillery which I think is cool. I may try something similar with the Papa Loko Distillery.

Printed Publication

I went for the simple black dot on the front cover and the other information down the spine. The print came out ok. some little issues with the cutting but it has turned out good.

DC Cover

Dc Publication

Open publication - Free publishing - More bespoke

Bottle Shots

Looking at different ways to shoot bottles. I will experiment with birds eye view shot but I think the classic front on, maybe a little looking up at the bottle will be a winner.

Album artwork

Here are some examples of album artwork that I think are cool. When an album has an innovative idea with great typography and cool imagery it makes the music seem more appealing.

Kethcup

The use of old style typography and the cool illustration create a very interesting and high end look for this ketchup.

Brian Hoff Steps to a successful logo

Steps of a Successful Logo
Design Process

by Brian Hoff

The strategies behind designing a successful and memorable logo involves a process which progresses through various stages of listening, research, development, feedback and changes. Below I share my logo process I go through when designing a logo:

Step 1: Defining the problem and understanding the goal

Getting the right amount of details and having a clear understanding of a client’s problems and goals from the beginning is the most important factor when starting a new logo design.

Asking questions such as, How does your company differ from its competitors?, What keywords should best describe your new logo?, or What type of logos typically appeal to you?, will help you and your clients become more on the same page and set up for a successful deliverable. Personally, each of my clients receives an interactive Logo Handout that asks questions about their company and project.

Step 2: Research

After receiving the Logo Handout and initiating phone conversation to get additional details the handout did not provide, I begin researching their company and competitors to get a better feel for their market – this helps in the overall look and message the final logo conveys.

Step 3: Inspiration

Every so often I’ll flip through some logo design books or online logo galleries to get the creative juices flowing. When not designing I focus as much as possible on bettering my own skills and becoming a more aware designer, this way I stay inspired and helps when approaching new work.

Step 4: Sketching and mind mapping

My designs, whether it’s logos or websites, always start off on paper. This allows me to get my brain moving in the right direction and get down as many ideas as possible. Jumping directly onto the computer can slow the creative process – it takes more time to execute ideas and one can tend to pay more attention to minuet details early on. Mind mapping also helps in exploring and growing your topic. You can easily expand upon ideas and keywords. Consider it the sketching of keywords.

Step 5: Digital implementation

After I’ve seen some sketches starting to come alive and take form, I then take my ideas to the computer. My software of choice is typically Adobe Illustrator for creating logos. Lines and shapes in Illustrator use vectors that are easily scalable and retain consistent clarity.

I also in the early stages of the process I do not add colour until I have decided on a couple of ideas that I feel are successful or the client would like to see more of. This allows me to focus more on the mark itself — a good logo should work well in both black, white and colour.

Step 5, 7 and 9: Client feedback

Working closely with my clients is not only essential to my business objectives, but without a doubt helps in the process of creating a logo that represents them and their company.

I do my best to touch base with my clients frequently and get their feedback through various stages of the logo design process. This also helps in building their trust, as the gain a better understanding of what their money is being invested into.

Step 6: More digital implementation

After some client feedback I tend to head back to the computer and make changes or provide additional samples. This gives me the chance to take in more ideas from the client and understand their vision more clearly after the initial feedback.

Step 8: Colour and typefaces

After I’m at least 80% satisfied with the logos I have so designed I play around with colour combination and font variation.

I typically provide my clients with at least 3 different logo samples, each having colour variations and typefaces that work well with the mark and company’s message.

Step 10: Final revisions

After the client comes to an agreement of the best overall solution for their logo, I will go in and make any additional minor changes I feel are necessary, if need be.

At this stage I’ll also mock-up what their new logo will look like on their existing website or stationery. This helps your clients see how the logo works as a collective, not just a stand alone object.

PTARMAK Interview

Interview – 

JR Crosby, Creative Director, PTARMAK.

How do you ensure the integrity of your work?

Well here are 8 things that help set the stage for a consistent quality of work: 

(note: this list applies more to teams of designers vs. freelancers or artists)

1. Obviously, you need a standard of intent. Are you aiming for ‘great’ design or successful design? Work only with folks who share that viewpoint. “Both” is not a viable option as an approach.

2. Surround yourself with good people who view design as a lifestyle (vs. a career).

3. Develop a kit of briefing tools that (actually) yield valuable context and direction, and (actually) evaluate your work against it. 

4. Select the right clients. You need a standard and you need to stick to it. It’s ok to say no on principle OR gut… but do so graciously.

5. Establish and defend a culture of trust and validation – it’s paramount for productive internal critiques and a collaborative process with your clients.

6. Stay teachable & be receptive. The idea is more important than the ideator. Ideas should be group property and everyone is qualified to contribute.

7. Decide which hill(s) you’re willing to die on. If you wait to consider this until the heat of a disagreement with the client, you’ll either fold or risk a rash decision. It’s obviously a good idea if your client knows where your flexibility stops before you begin.

8. Don’t show work that lacks integrity. And quit taking yourself so seriously.

What are your favourite aspects of the design process?

I don’t know where I’m headed here - but I’ll start by stating the thing I love most about the act of designing. I’m all about the exaltation and humiliation of discovery. It’s a spiritual experience for me.

In the design process, I’ve found two things that really fertilize discovery; observation and intuition. Observation is great. It’s always honest and informative. But my favourite aspect of the process is the role of intuition. Sometimes it’s the lock. Sometimes it’s the ignition. Usually, it’s the key.

The interesting thing about intuition is that, when properly filtered, it makes our discoveries hauntingly familiar, in a very personal way. It’s a key informer to the process but it biases our solutions as designers. It exists prior to creation, and still it offers the highest creative reward. Fulfilment. A taste of creative freedom. I think that’s beautiful. 

However, it’s as important to challenge intuition as it is to give it air. If intuition is misappropriated for selfish gain or overindulged for personal expression it becomes a trap door to the process. Intuition can be a tyrant. But I’m not sure there’s a creative force that’s more critical to design.

Ok, I just have to add… I also love those epiphanic moments when some incredible idea (finally) leaps forth from somewhere deep in our right lobes. It’s the idea all other ideas were suffocating and it comes floating on a stream of serotonin. You know… the idea. “YEHSSS!’, we shout, triumphantly… ‘dude, that’s IT!” Frantically, we look around for someone to share the moment with. We drop our pencils or Wacom™ pens – maybe take a victory lap around the studio. We’re so excited to make it real… to give it life! Those innocent seconds are the greatest of our careers. If we’re lucky, we have a few of them throughout the course of each project. I try to relish in them. They’re usually followed by two panic strickening realizations that mean hard labor. What if it’s been done before? What if they don’t go for it? That’s when the really good work begins.

Was it a desire of yours from the start to find and run your own studio?

Yes and no, not exactly. As a youngster, I often dreamt of owning my own shop ‘one day.’ I talked about doing it. I came up with names and logos. But my plans had no plan whatsoever. I daydreamed in escape from any real opportunity. I ‘paid my dues’ to avoid risk. Like most twentysomething creatives, I was chock full of naiveté and wanderlust – driven by boundless energy to ferret out ‘corporate’ injustices, and passionate about my own theories (i.e. oversimplifications) on cures for the common client. 

Looking back, I realize those dreams were simply my own misappropriated desire for creative freedom. Owning and operating a business didn’t interest me until I understood what it meant. Specifically, not until I saw the opportunity (or need) for a unique business structure… An operating model adapted to the specific needs of small and mid-sized creative shops. The idea seemed like a suitable experiment. Enter » the corporate collaborative… and the birth of what we affectionately refer to as Ptarmak, Uncorporated.

PTARMAK

Peter Gabriel

A high version of Peter Gabriels album including a high spec print work and a cool usb stick. Its very high and bespoke which I think is cool.

Ole Smokey

The moonshine from Tennessee have created a real interesting and innovative packaging for an alcohol which stan out from the crowd. They also have created a good branded environment in their store.

Kraken

Really well designed alcohol bottle, with a good brand made thought the illustration black and white bottle and the innovative double handle bottle.

 

Howling Monkey

Packaging for a beer. The old style and illustrative style  packaging creates a really interest product.

Franks

Good example of branding a whole environment. They have thought of everything and have created a real atmosphere through the application of the brands identity.

Edge Board

Thought this was a clever concept for an identity for the chopping board. The