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Printing Industry Exchange ( is pleased to have Steven Waxman writing and managing the Printing Industry Blog. As a printing consultant, Steven teaches corporations how to save money buying printing, brokers printing services, and teaches prepress techniques. Steven has been in the printing industry for thirty-three years working as a writer, editor, print buyer, photographer, graphic designer, art director, and production manager.

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Custom Printing: Enhancing Logo Design

I discussed logo design in a PIE Blog posting last week. Jim Krause makes a number of suggestions on this topic in Design Basics Index. He suggests starting with an image, transforming it into an icon, and then presenting it along with the business name in a dramatic way that reflects the essence of the company.

Tonight, I turned to another design text: Design Workshop by Robin Williams. She includes a number of logo creation suggestions in her print book as well.

“Tweak a Letterform”

One section, called “Tweak a Letterform,” illustrates ways to make a logo stand out by altering the type a bit. For instance, an italic treatment of the Goldfeather logo draws out the base of the “f” letterform into a swash (like a flourish with an ink pen) and then adds a feather to the top of the “f.” All of this is printed in gold, while the rest of the logo prints in black. What makes this logo treatment effective is the addition of an image that reinforces the company name.

Another sample Robin Williams includes is the Lightning Studios logo. In this case she replaces the second “i” in “lightning” with a lightning bolt. The lightning bolt prints in yellow, while the rest of the logo is black and beige. As a bright, dynamic color in contrast to the balance of the logo, the lightning bolt jumps off the page.

In another logo for Hamlin Garden Townhomes, Williams does much the same thing by swapping the letter “i” in Hamlin for a large tree with ample foliage.

The Take-Away

In all three examples, Williams’ logos work because they contain an element of surprise (the letter replaced with an image) and they use an image directly relevant to the company. The replaced letterform brings an associated image directly into the name of the company, a simple and elegant way to associate the name of a company with its actual business focus.

“Add Elements”

The next section of Williams’ Design Workshop expands the options for logo design by marrying a graphic to the name of the company (in ways other than replacing a letterform with an image). This might include adding clip art, illustration, and various stylized icons. (This is similar to Kline’s discussion of icons in Design Basics Index.)

A number of Williams’ sample logos appear to be for technology firms. Williams has added various swooshes and multiples of dots in bright colors, perhaps to indicate flashing lights on a console. The simplicity of the type choice in the five iterations of the ChromaTech logo, for instance, highlights the contemporary, bold nature of such a company.

Another interesting logo treatment for a company called Riverside Mall uses repeated, interlocked swooshes in various shades of blue to suggest waves. The five overlapping marks placed under the words of the logo provide a visual base while at the same time referencing the river (presumably) in front of the mall. Williams chose a modern sans serif typeface for the logo. Several of the letterforms have unique and unexpected strokes, and the thinness and grace of the letterforms impart a sense of elegance to the presentation.

The Take-Away

All of Williams’ logos include a visual element in addition to the type treatment. In all cases the visual elements suggest something relevant to the company but only in a stylized manner. For instance, the image suggests elegance or movement or a futuristic bent. Unlike the logo marks Williams includes in “Tweak a Letterform,” these logomarks seem more abstract. They suggest rather than state outright. However, in all of these cases the logomarks are simple and dynamic presentations of some actual item (computer indicator lights, waves, the rays of a sun).

“Add Clip Art” and “Add Illustrations”

Robin Williams includes two more sections on logo design, giving designers the option of adding some form of illustration beyond a simple icon.

The logo for the Soup Kitchen, for instance, benefits from an actual illustration in a way no icon could accomplish. The artistic style of the soup, the steam coming off the soup, and the glass of wine suggests a relaxed mood. The illustration is effective specifically because of its more complex rendering. In addition, the typeface Williams chose for the company is informal and playful, complementing the tone of the image.

Another example in this section of Williams’ print book is the Idea Swarm logo. Williams added a handful of lightbulbs (clip art) above the playful typeface to suggest a swarm of ideas, and then adjusted each of the letterforms so they would not be on the same baseline and so they would be tilted in some cases. This gives the logo a sense of movement—like a buzzing swarm of ideas. Finally, she moved one of the lightbulbs slightly away from the others to give it more prominence.

The Take-Away

Humor goes a long way to make a logo memorable. And an unusual treatment of the type in a logo (like the bouncing letterforms in Williams’ design) can complement the humor in the illustration. Also, don’t assume that clip art has to be boring or commonplace. It all depends on how you use it (multiple images in this case).

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