The Office of Advancement at Georgia Gwinnett College (GGC) has a newly expanded program, the Corporate Affiliates Program (CAP). This program develops strategic relationships between students, the college, and successful businesses in the Atlanta Metro area. They called me and asked if I could help them develop an identity and online strategy for this new program. The tricky part of this identity and strategy was that the CAP identity could not use any of GGC’s current or past logos or institutional marks. Further, any programs, departments, or organizations affiliated with GGC were not allowed to incorporate new fonts, create new color palettes or new logos. With all these restrictions, CAP still had to look like it was part of GGC.
There were more restrictions than there were liberties. But that’s fine by me. Having worked with University of North Georgia’s re-branding efforts, and guiding the use of that institution’s new marks, I was well-equipped to design around these restrictions. Aware of my branding experience, they hired me right away and said this strategy needed to be in place and operating before the summer’s end.
My research began. I scoured the internet for information about the program, its goals, what people were saying about it, what it was doing. I look for participants, affiliates, businesses–anything that would help me give GGC a sound, educated recommendation. GGC also sent over some information to help me understand CAP’s objectives.
After a consultation with the Office of Advancement’s CAP team, I worked closely with them to develop an online strategy, program identity, social media graphics, custom hashtag, and Microsoft Office templates. I identified which social media platforms would best reach their target market, and what to post on each. I talked about creating a “Voice” for the program to use online, and gave them descriptors for how the Voice should sound.
Once I developed everything they needed, I sent all my advice over in a Strategy Guide. They received a custom MS PowerPoint template, MS Publisher tri-fold brochure template, plus flyer and invitation templates. I customized social media logos to use in those templates. These mostly-blank templates were designed with “holes” in them where GGC can drop in photos, graphics, text or content updates. The structure and design of the templates remains the same, but I prepared them to easily incorporate updates as the program evolves.
They received everything they needed to get this program running and looking like the professional organization it is. In the end, they received an extensible, flexible visual strategy they could use for years to come, yet stay within the college’s visual media restrictions. See the deliverables in my portfolio.
You see, Photo Buzz Studios works with a lot of exclusive clientele. They aren’t setting up photo booths with goofy hats and wonky glasses at weddings, these rock stars set their aspirations even higher. To align with their goals, I suggested truly eye-catching, memorable pieces which would feel like gifts. My idea would most certainly catch the eye of industry executives, but this was not going to be a cheap venture. For these “gifts,” I designed ultra-thick, metallic-edged, suede-coated black cards stamped with two foil colors. They were, indeed, as exquisite as they sound.
But you probably also noticed in my portfolio the white business cards. There was a strategy to designing two sets of cards, each with a very different price point and purpose.
I surmised that, in addition to the un-economical idea of doling out the black business cards willy-nilly, they also needed less expensive cards they could hand out indiscriminately. These cards still needed to feel “high-end.” Enter here the second set of business cards: suede-coated, white business cards. The white set has the same basic design as the black set, but the white cards are printed with two Pantone colors on 16pt stock. Each set shared a non-traditional size, butter-soft suede coating, and matching layouts to connect them conceptually.
Photo Buzz Studios is gonna blow their clients away with their attention to detail, and I know they have many years of success ahead of them. I was honored to be a part of their story and look forward to seeing their name in lights someday. Good luck, Photo Buzz Studios!
Have a gander at the gallery:
White, suede-coated business cards
Suede-coated black paper with 2-color foil stamping
Fresh off the artboard is Cone Head 8020’s label design for 30E Lager, so-named for the state route running through eco-conscious Cape San Blas. This label features sights from St. Joseph Bay, including the its pristine beaches, underwater sea grass, and scallops.
“Scalloping is huge here,” says Dwayne Piergiovanni, owner of ConeHeads 8020. “I would like the label to be indicative of St. Joseph Bay, without being cluttered, including the seagrass, scallops, sand, urchins, crabs, etc…things under the water.”
The phrase at the top, though, is a bit of locals-only knowledge. “It is one of the few places on earth where the sun rises from the water and sets back into the water,” says Piergiovanni. The phrase could also serve another meaning: the beer is a “session beer;” not some monstrous 7% beer, so you can responsibly sip while fishing during the day.
Since 30E was brewed especially for Cone Heads 8020 by a local brewery, my strategy was to keep the look somewhat similar to their labels yet still include elements from Piergiovanni’s vision and the beer’s pre-existing tap handle.
If you’re looking for local beer in Cape San Blas, check out 30E at Cone Heads 8020. They also have ice cream for the little ones and burgers, pizzas, soups, salads, and appetizers for the hungry ones. Cheers!
When Photo Buzz Studios sought to hire a graphic designer to help them develop their new logo and branding package, they turned to me. Eager to get it right the first time, but also on a short timeline, Kelly Williams shot me an e-mail detailing her needs. In short, Photo Buzz Studios is an exclusive mobile photography studio serving professional, and formal occasions, including classy corporate gatherings and full-service event planning agencies. Photo Buzz needed to be recognized as an creative experiential firm. Quite abstract, yes? That’s okay.
“A graphic strategist is truly what I’m looking for!”
We exchanged thoughts and talked about the process, she shared a mood board with me to help me understand her vision for Photo Buzz. I boiled all this in a cauldron and poured out a feast for your eyes. Their logo focuses its inspiration on the understated, sleek look of exclusive night clubs in New York City, Los Angeles, Miami, and Atlanta. The breaks in the letters are a subtle reference to neon lights and the purple is a color common to high-end nightclubs. The forward slash is a reference to Photo Buzz Studios’ more edgy, after-dark approach.
This is a web-resolution version of the fully printable branding guide book Photo Buzz received. This branding book offers tips for using the elements in the new identity package plus guidance and exmaples for creating a clear, consistent brand.
Implementation of the various logos
The Pantone Color Palette
Photo Buzz Studios’ color palette represents colors commonly seen in night life and neon lights. Their colors communicate energy, vibrancy, dynamism, and contrast. The typefaces complement a “feel” Williams sought in our discussions, and each typeface is available for free as part of the Google Fonts project. Using Google Fonts makes the typefaces easily accessible for all her employees and presents no licensing issues. Plus, they are suitable for both web and print applications. Finally, I conceptualized the accent marks for use wherever and however Photo Buzz sees fit.
Photo Buzz Studios also received an easily shareable reference page for their new identity.
Featured photo by Gansevoort-Provocateur-Club-NYC, of CityGasm.
As you may (or may not) already know, brewing, serving, and educating others about craft beer is one of my favorite hobbies. The people I met in craft beer are some of the best folks I know.
That being said, you can imagine how honored I felt when I was hired to produce Fort Walton Brewing Company’s logo. Fort Walton Brewing company intends to be a central location where homebrewers, small-batch craft brewers, and beer lovers can congregate to brew and sample beer. I did some research on Fort Walton, asked locals what they thought about the city, and considered my own intuitions about it. The consensus was that there was no consensus; Fort Walton Beach is viewed by many as a somewhat difficult to define. And I put that in the logo.
This logo focuses primarily on the city of Fort Walton Beach. Being a historic city built on military, tourism, and a dash of pirate folklore, the variety of typefaces in this logo take root in the variety of experiences one finds in Fort Walton Beach. The word “Fort” gives a nod to the U.S. Air Force with the use of it’s official typeface, Berthold Akzidenz Bold Extended. “Walton” takes on and older, more established yet whimsical look in honor of the town’s 1838 name, Camp Walton, and its pirate folklore. “Brewing” uses a font with terminals that are reminiscent of germinated malts: where the hull splits. Some letters are slightly out-of-place, recognizing that Fort Walton Beach refuses to conform to any singular idea.
If you’re an information junkie (like me) and religiously update your Podcast Addict app (like me), then you might wanna know about this new podcast out of Austin, TX: How Do You Life?
The husband-and-wife duo of How Do You Life? tackle common and not-so-common “How Do I…?” questions most grown-ups only learn through experience. Their first couple of episodes, How Do I Start My Own Podcast (so apropos), and How To Brew Your Own Beer, are laced with the couple’s energy and capricious humor.
How Do You Life? needed a logo to capture the sometimes overwhelming challenges of adulthood. You know that deer-in-the-headlights look first-time homeowners have when they first sit down to sign mortgage papers or pay property taxes? Yeah, that’s the look we were going for. The variety of colors and customized letters help communicate the uncertainty that comes with learning.
When their website is up and running, I’ll be happy to update this post with a link. Good luck, kiddos, and know that you’ve got a subscriber in me! #HDYL #IHaveNoIdeaWhatImDoing
A logo is your story in a single mark: the essence of your business, if you will. Some folks can get away with text-based logos. Other people need some sort of icon or visual cue to help them remember who the logo belongs to or what the business does. Not all logos need icons. Not all text-based logos are successful. It’s not my job to tell you what to choose, but it is my job to dig into the meat of your business, find out what you like, what’s already out there, then present you with well-informed and meaningful logos that you’ll enjoy using.
Let me illustrate (I swear that was the only pun!).
Imagine a business that says everything it does in the name: Pensacola Pressure Washing, for example. The words already say everything that needs to be said, so additional information might seem redundant or unnecessary. Sure, it’s a pretty generic name, but it’s an easy one to remember. It could be also argued that a highly-stylized or uniquely arranged text-based logo itself becomes an image to the brain; the brain no longer reads the letters for what they literally represent and instead sees a shape or a picture. A prime example of this is “Disney.”
Now imagine a business with a person’s name or unclear mission, such as Jack Dawson, M.D., or UprightPro, Inc. Studies agree that imagery paired with text helps people with recognition and recall in memory tests. That’s why lots of logos include icons, imagery, or objects in place of or in addition to words. This approach makes sense in cases where names are forgotten, or what your business does or sells is ambiguous. In these cases, it would be prudent to consider imagery, icons, or some other visual cue for onlookers.
It’s 2016, and some folks are still using table- or or Adobe Flash-based web design. What is that, exactly? Well, here is an example of table-based design:
Table-based web design is a boxy layout, with a clear separation between content, background, and images. Adobe Flash sites flicker, move and exhibit large, full-screen animations–difficult to convey with a screenshot.
What, exactly, do viewers think when they see table-based layout web design? The general consensus is, “outdated.” This style of web design was popular 10+ years ago because it enabled designers to control–with absolute certainty–the arrangement of the page elements with respect to a viewer’s desktop monitor. And, most influential, smartphones were not nearly as ubiquitous, so mobile-friendly websites were barely a twinkle in our eyes.
If you have an iPhone, you know it doesn’t play nice with Flash video and animations. Google Chrome and Firefox disable Flash by default. Even Steve Jobs had an opinion about its use back in 2010. If that wasn’t an omen, I don’t know what is. Flash is a vulnerable plug-in, prone to security issues, reliability failures, and bogged-down performance. Sure: a slick animation looks great, but be sure your designer doesn’t rely on Flash for that. Further, full-Flash websites are difficult and expensive to update.
Whether background music or an embedded video, let your users decide if they want the noise. They could be riding on the subway, shopping while nursing a newborn, in a public restroom–or not paying attention in a meeting! I always strongly discourage background music on websites because it’s often disruptive or intrusive for viewers.
You might think I’m nuts, but if you don’t plan to monitor and respond to the e-mails that come through that web contact form, don’t bother adding one. Not only will your lack of response hurt the professionalism with which people view your business, but also your pocketbook–you’ll pay for it in lost sales leads!
I’m always happy to offer free evaluations of your current or prospective website. If you’d like to have a no-strings-attached chat, gimme a shout.
After a fresh revision to a business’s branded communications, everyone is super-excited about the new look. There’s a whole new color palette to choose from, brilliantly creative supporting marks, inspiring imagery, and fancy typography.
Perhaps your company is large enough to have departments like Sales, Customer Service, and Human Resources. Maybe you’d like for each of them to be differentiated just a little bit, and you want each subsection to have its own “feel” for its internal and external communications.
After a while, the shiny wears off, and people might want to see some new things. That’s a reasonable desire, since everyone’s tapering off that high they experienced from the excitement of new things. Maybe a subsection of your business–let’s say, Sales wants their own “look.” They want to stand out in the company. They get tired of seeing the same thing over and over. Sales wants this, for example:
Well, it’s time for some tough love: It’s not about you, Sales. It’s about the company. We all admire your enthusiasm, but you have to keep the big picture in mind here, Sales. You have to understand that every time you send out the some-ol’, same-ol’ thing, someone in your audience is seeing it for the first time.
Seeing the same thing over and over is precisely the point. You’re building consistency into your brand. You’re sending the same message to your audience again and again so it sticks with them. They recognize immediately that this message came from you. Your company sees these images and this look every. single. day. Of course they will get tired of it. The shiny will wear off, and that’s okay.
The change can reinvigorate colleagues; it gets them excited about the company again. They want to to use all the new elements. On everything. Immediately. A change in your identity must be implemented slowly, even if you receive all the new elements at once. Use the same photo with the same logo placement again. And again. And again for a little while. If you’re doing it right, you’ll likely hear from colleagues, “We’re tired of seeing this same thing over and over.”
Once you’ve established a good “base” identity, and you’re reasonably certain people recognize the foundation your brand is built upon, it’s okay to start tinkering with it.