Jess from Rosy Revolver contacted me via my website after finding me on Pinterest and we immediately knew we were a great fit for working together!
Jess is a Silversmith and a Jewelry Instructor with online courses – I studied some Silversmithing back during my college degree and so having some working knowledge of her industry which meant I understood her business easily and intuitively.
At the beginning Jess said:
“I’m struggling to bring all the aspects of my business into one brand image – partly because I sell to jewelry consumers but also to other silversmiths. The one thing I know for sure about my client is that she’s highly create and individual… beyond that, I struggle with how to get started, finding the time to create the brand I know in my heart that RosyRevolver could be, and creating beautiful visuals that translate into the story that my jewelry and company try to tell…“
To unite all the parts of Jess’s business I created circular design that feeds into each of the logo varieties. It was so much fun to design with the wild rose theme and to make each design feel like a collection of trinkets – gathered, treasured, arranged.
Jess’s jewellery work is just like that – collections of repeating elements, sometimes including precious stones, vintage glass, African clay, and always with fine and sterling silvers.
She builds these materials into beautiful, wearable pieces that are bursting with stories to tell. It’s jewellery with heart and soul and history, ready for you to wear and layer with your own story and meaning after the many years you’ll treasure it.
Of course there was custom typography in this branding too – the little spiky thorns on the letters feed into our wild rose imagery. Jess has always had a rose motif within the branding for Rosy Revolver, we just shifted it to a Dog Rose – these wild plants grow by climbing up other plants and shrubs for support. This represents Jess’s online courses and resources and in person workshops where she helps others who have no formal silversmith training to create work they can feel proud of, supporting them through the process.
At the end of the process Jess said:
“I’m thrilled with the care and thoughtfulness Meg put into my brand design. Absolutely cannot recommend her enough – if you want something custom, curated, meaningful, and of the highest quality – Lemon & Birch is your best bet.“
I have questions asked of me over on Instagram often by fellow designers as well as small business owners. I always make a list of the questions I get asked so that rather than just answering once, I can create blog posts like this that help more people with the same questions! I also have some digital products and online masterclasses in the works right now so keep your eyes peeled for those launching in a few months time.
If you’re new to the world of branding, or are a designer looking to learn more about what the ‘best practices’ are when designing a brand identity for a client, I really hope the following tips are helpful to you. As I said, digital products I’m creating at the moment will expand on all this knowledge, but in the mean time, here are 4 ‘best practices’ for creating a brand identity design.
During the research phase when you’re gathering imagery to inspire the look and feel of the brand identity, it can be tempting to only look at other logo designs that have already been created. Worse still would be to look at only logo designs from the same field of business.
Of course you need to know what else is out there in the field of business you’re creating the identity for, but there is SO MUCH MORE to see, and I don’t just mean on Pinterest. Really dive deep and think about the story of the business owner and their journey to where they are now.
Are there little ‘story’ elements you can pick out, are there themes you can build on, are there any images that come to mind when you’re reading all the information your client has given you? It’s important that a logo design has elements that feel familiar and not totally ‘out there’ but that it also feels like it has something ‘new’ to offer.
The most original designs come from combining different inspiration sources together. For example, combining a style of typography or text layout you may have seen in another logo design with some interesting angles or shapes inspired by a tiled floor pattern that gave off the right vibe for your clients’ brand.
It’s important to know what the future goals of the business are so that the new design can be aligned with this. You brand for the future of the business, not the past or present.
If the business is looking to expand in some way, an objective of the new brand identity might be to diversify the overall design so that there is scope to add more product lines or service offerings. More design elements might be needed for product packaging, or set colour combinations for each new service for example.
If the business is looking to target a slightly different customer or an additional type of customer, an objective of the new brand identity might be to elevate the overall feel of the brand to bring it in line with the revised target market.
Always discuss goals and objectives so you have a marker on which to judge the effectiveness of the new brand identity.
There may be more than one font used within a logo design, but the main typeface or font used should not then be used in other parts of the branding like for headings.
There are always exceptions to the rule – sometimes if your logo has illustrative elements or has had lots of customisation done to the text, you could feel that the same font is going to work best for headings. However, as a ‘best practice’ try to find a heading font that blends nicely rather than using the same one – or at least use the logo font very sparingly. This will make the overall brand identity look and feel much more professional.
In addition, you might think that adding more elements to a logo design will make it stand out more, but this just makes things complicated. The best logo designs have one or two ‘wow’ elements (this could be an illustration and custom letters in the text for example). Don’t try to add too many ideas into your design so that it becomes confusing or too busy.
Make sure you think about (or talk about with your client) all the places the brand identity and logo’s might be used. If you go ahead and start designing using a really thin weight font in part of the logo and then it’s decided that the logo needs to be letterpress stamped onto stationery, it can be impossible to make a stamp at certain sizes to get the desired printed result.
Similarly if the logo is going to be blown up very large onto a shop sign, make sure it’s going to look perfect at this larger size! Hand drawn elements can sometimes be tricky at larger sizes and may need a bit more tidying up so they don’t look too messy.
Another example would be involving colours – some blues and turquoises don’t replicate well from screen (RGB) to printing (CMYK) and you may need to use Pantone printing to replicate the correct colour. Same with neons – spot colour printing is the only way neons are possible in print. Make sure your client is aware of any colour printing limitations if they are keen to use colours that might present problems and try to explain Pantones and spot printing if you can.
I hope these tips have helped you get clearer on some aspects of designing a brand identity. As ever, if you have any questions for me or things you’d like me to cover please do send me an email at email@example.com – I’m always happy to help!
When creating a logo design either for yourself or as a designer for a client, in some cases, all you really need is some unique typography to bring things to life.
Sometimes it’s best to keep your logo design type based so that you can bring in illustrative elements in other parts of the branding like on product packaging or as elements to build into a website design.
Or, you can combine typography with other elements to take your designs to a whole new level.
There are so many amazing things you can do with typography alone to make it unique and interesting, so I’ve pulled together my top 6 ways of being creative with type for you!
All of the examples below are my own work and have been created inside Adobe Illustrator (or as a combination of the Procreate app on my iPad and Illustrator on the computer).
The same effects could also be achieved in Affinity Designer which is professional design software that only requires a one-off purchase and works out much cheaper than Adobe Illustrator.
Typing onto an open or closed path in Illustrator is such a fun way to bring movement and fun into your typography!
In this first example for Tea and Crafting I’ve used this effect in each part of the text. For the main logo typography in pink, I created a wavy path with the pen tool and typed onto it. Then for the tagline I’ve typed onto a circular path.
The second word of the business name here was much longer than the first, and so adding the tagline in a circle to the left balances things out.
In this submark example for Susana Torralbo I’ve typed onto two wavy paths to create a playful and energetic look. I created a few different text layouts, then sent these layouts to my iPad Pro and opened them in the Procreate app – this allowed me to draw the faces around my typography so they fitted perfectly!
I drew in black at a high resolution, sent the png image back to my computer, ‘image traced’ the faces to turn them into a vector, and combined them with my wavy vector typography.
In this last example for Kate North Kinesiology, spirals were a big part of the brand design concept. To create this unique looking submark I carried the shape of my spiral vine on and typed onto the path I made. Simple but effective and it fits in so well with the rest of the branding!
Sometimes you’ll find a font for a logo design that feels like it is almost perfect…but there’s just something missing. In this case, think about how you add add to your letters to create the exact feel you’re looking for.
Maybe this means cutting bits off letters from another typeface and adding them into the typeface you want to use. That’s totally ok to do and is a lot of fun! To find what works you’ll need to spend the time playing around with different things.
You can also try adding illustrative elements either by drawing them or adding details with the pen tool in illustrator.
In this first example for Folk Rose Beauty, I found two typefaces that I liked for the design and wasn’t sure which was going to work. In the end, I took those curved embellishments from one typeface and added them to the other to create the perfect balance.
I also drew in some dots and the other detail on the K to add some more interest to the other letters. It’s important to not go overboard with adding your embellishments, they don’t need to be on every letter! 🙂
In the example below for The Prairie Wellness Co the font I’d chosen was very minimal and I knew we wanted to include some Prairie wildflowers in some parts of the branding.
It looked like far too much to add flowers to every letter, but the word Prairie was luckily the perfect length to add flowers to every other letter! I took an image of my typography into Procreate on my iPad to draw the florals, then ‘image traced’ the flowers to turn them into vectors.
When you need to create something really unique you can try combining uppercase and lowercase letters, or perhaps regular and italic letters. You’ll often need to work hard on the layout of these letters to make sure things look balanced and are readable.
In this example for Susana Torralbo it took a while to combine things in such a way that the text was readable still. All you can do is keep combining things in different ways until the composition feels balanced. Also notice ‘Torralbo’ typed onto a wavy line from my first tip, this follows through the the submark design.
Ask other people whether it’s readable still! My husband is a great help to me, he’s not a graphic designer and so he sees things in a different way. He can instantly tell me if something looks forced or if the text is no longer legible.
In the example below for Caro, I’ve spliced a couple of fonts together, created a completely new letter A, and combined them in an interesting way for this secondary logo. Having the A almost italicised and having the straight line on the right created some nice symmetry with the letter R which makes this layout work. It also works well with the text being laid out in a straight line for the main logo.
Don’t freak out when I say that, we’re not talking about creating your own serif typeface here. You can create some pretty awesome typography just with monoweight lines in illustrator.
For this example below for Artificially Intelligent Claire, I couldn’t find a typeface that had the right balance for her brand. So I created my own letters just using lines and those little squares. There is so much you could do with this especially for a brand that will suit a minimal type design and it doesn’t only have to be for techy brands like Claire’s.
Don’t feel like you need to go overboard with the type customisations each time. Sometimes all you need to do is make some minor adjustments to your letters.
In the example for Louise Howarth below I disconnected the middle line of the H and A, and edited the curve of the letter R. The design is super simple, and there were other logo versions that provided some more visual interest. To create a ‘high-end’ logo less is always more.
Similarly with the Balance Hot Yoga logo below, I changed the middle line in each letter A to point upwards. This made me think of a yoga pose in a very subtle way and was enough to make the logo typography unique when paired with other elements in the branding.
This can work nicely with so many different types of fonts. Some typefaces will have extra glyphs or ligatures (in Illustrator go to Window > Type > Glyphs to access the panel that will show you any extras that came with your font) where letters are already combined for you, but you can have some fun with combining things yourself too.
In the example below for Huma Qureshi I’ve combined the U and M in the first name – be careful with customisations this and make sure each letter is still legible in it’s own right! I’ve also combined the A and H after I lined them up to fit perfectly together, play around with your spacing to see if you can get things to line up.
Again, ask others who aren’t aware already what the words say if you’re unsure if you’ve gone too far with your design.
In the example below for Brilliantly Visible, I used some extra glyphs that came with the font but customised them to fit those little dots underneath the L and E.
I hope this has given you some fun ideas to play with for your next project. Remember to always seek balance with your typography logos and to not go overboard with embellishments and customisations. You never want your work to feel forced. Always ask for a second opinion if you’re not sure if things work 🙂
Find me over on Instagram at @lemonandbirch if you need advice on your typography!