Design Logo With Letters

DESIGN LOGO WITH LETTERS -  Excelente (informativo y muy útil) artículo sobre alternativas para diseñar Logos con letras. Para leerlo (obtener una copia en PDF) tiene que ir al lugar del enlace y enviarse una copia a si mismo (a su e-mail.)

Cortesía de BEFORE & AFTER MAGAZINE

Criterios de Evaluación

ART 425 - CRITERIOS DE EVALUACIÓN

Cada uno de estos parámetros de evaluación equivale al 20% de la evaluación

CONCEPTO:

Aspectos relacionados al concepto (estrategia) de comunicación y la aplicabilidad de este "mensaje" al producto/servicio, al consumidor (audiencia). Consideraciones de efectividad en lograr el propósito de la comunicación (estrategia creativa) incluyendo la relación entre el texto y la imagen visual y el acercamiento recomendado (tono/estilo de comunicación). (¿Que queremos que el consumidor haga? ¿Cómo este concepto facilita, estimula a que ocurra?)

DISEÑO:

Aspectos relacionados a los elementos formales diseño incluyendo: formato, composición (localización de componentes), uso de color, tipografía (tipo, tamaño, efectos), selección de imagen(es) y el efecto (impacto) general en relación al concepto de comunicación y su aplicabilidad (efectividad) en relación al consumidor identificado (y a su nivel de literacia textual y visual). (¿Llena nuestras expectativas estéticas, las del consumidor?)

TÉCNICA/MEDIO:

Consideraciones relacionadas al montaje del anuncio y al despliegue de destrezas en la selección, la utilización y el manejo del medio y técnicas y a la aplicabilidad de estos al proyecto. (¿Son apropiadas, logran representar la estrategia publicitaria y el concepto de comunicación del anuncio lo más cerca posible a su estado final de una forma clara y efectiva?)

PRESENTACIÓN:

Incluye todos los materiales de apoyo requeridos (bosquejo de investigación, análisis y desarrollo de estrategia creativa, X número de bocetos preliminares) y la calidad de la presentación del trabajo final. (¿Está "presentable", limpio y debidamente "protegido"?)

ENTREGA:

Se refiere a la "entrega" y presentación preliminar. Se descuenta 1 punto por cada día de clase que se atrase la entrega hasta un total de - 20%. Los estudiantes tendrán la oportunidad de re-someter su trabajo para evaluación final como parte de la evaluación de su portafolio (fechas de entrega serán anunciadas próximamente.)

Proyecto #2 LOGOS - Food for Thought

Tom Greisman de Chermayeff & Geismar
Entrevista con Tom Greisman, socio principal de la firma de diseño Chermayeff & Geismar creadores de muchos logos para importantes compañías y organizaciones: Chase Manhattan Bank, PBS, Mobil, NBC, Univision y Armani Exchange entre otras.

Paul Rand

Website del diseñador gráfico Paul Rand, director de la firma de diseño responsable por el diseño de muchos logos tales como : Westinghouse, UPS, ABC, IBM, NEXT Computers y Yale University entre muchos otros.

PROYECTO #2 - DISEÑO DE LOGO

III. LOGO AND CORPORATE IDENTITY

The word, LOGO comes from the Greek, Logos (λόγος), "a word by which a thought is expressed, or the thought itself, the reason." Greeks thought that "man was above all creatures, because he possessed logos" and Aristotle used it to refer to the logical appeal of a speaker, noting that "the two major elements of logos are evidence and reasoning." The term Logos was soon adopted by early Christians to refer to the word of God. To the Gnostics this was the term for deity manifest in the universe, "the creative principle and underlying law of the universe." The Gnostic "logos", is the product of a careful reflection (dianoia), and refers, for its truth-value, not to the immediate moment of “grasping” a phenomenon (prolêpsis), but to the moment of reflection during which one attains a conceptual knowledge of the phenomenon, and first comes to “know” it as such—this is gnôsis: insight.

A variation of this term was also used in the late 19th/early 20th Century to identify the trademarks, or brand names often formed with letters and/or graphic images joined or cast together in metal as one piece (LOGOTYPE) to be used for printing, on packages, labels and ads.

Most businesses and organizations, large or small, require and identifying image that will be present in all printed and visual materials used by the company or group. The purpose is to establish a distinctive (unique) and memorable identifier that identifies and distinguishes business, a product or an activity from its competitors. This image has to be able to convey the essence and "personality" of the organization, product, or brand it represents. It also reflects the position of the organization's products and/or activities in the market and its public image.

The content of this identifying image can be very specific to the organization, product, or brand referring directly or literally to its name or its attributes. This image could also be a symbol, a metaphor that suggest a concept, rather than a direct (literal) statement.

The best LOGO (most effective and lasting) is simple to read, speaks for itself and for the products or services, and in the best situation does not need additional information to convey their message. The most common applications of a LOGO are on letterheads (paper and envelope) and business cards. However, its use is often extended to product labeling, packaging, signs, promotional objects and advertisement, and sometimes developed further as part of a corporate identity scheme. For this reason the ideal LOGO has to be able to "work" and be "readable" in different sizes, colors and positions.

LOGOTYPE: Symbol and/or identifier (emblem, badge, insignia) of an organization, a corporation, product/service, or special interest group. The minimum expression of the entity or product/services characteristics (description) and "personality."

• Has to be "flexible" and versatile, has to "work" in different situations and reproduce at different sizes (scale/proportion) and be "legible" in color(s) or B&W.
• May incorporate graphic element(s) and/or typographic element(s) (initials or full name of product/service/organization).
• May also include company/product slogan or "tagline" as well as contact information.

PROJECT #2 - LOGO DESIGN ASSIGNMENT

Create a LOGO that can be used for the overall promotion of the products, organizations and/or activities identified. The LOGO should be designed to "work" in "full-color", black and white or in "spot (single/multiple) color(s)." The final design would be used in various applications including, letterheads, business cards, catalogue cover, poster, and other promotional materials.

The final LOGO should be designed to be printed and will include the development of materials that show the use of LOGO in specified context (applications). The logo development project will be carried out in two stages:

I. DEVELOPMENT OF CONCEPT AND LOGO ("GRAPHIC IDENTITY IMAGE)" FOR EACH OF THE FOLLOWING:

 Individual / self-promotion - Personal logo design, as an Artist (self expression), Art Educator, Free-Lance designer (Graphic, Industrial, Fashion, Interiors, etc.), Illustrator (animation artists) and/or Photographer (film maker). Some have already decided what's their professional goal, others may want to "cover all the bases" by promoting themselves as an artist with various interests and skills.

 Programa de Artes Visuales, Universidad del Sagrado Corazón - Visual Arts Program (BA) within the Communications Dept. of a private non-profit post-secondary institution. Multi-disciplinary focus (art for self-expression, art/design for communications and art education).

 Juice Drink Beverage* - Local (Puerto Rico) fruit drink beverage for general consumption. Juice beverage product details (type of juice(s), target consumer, brand name and packaging) will be provided by students.
*Other similar consumer products/service concepts can be considered for review and approval. (alternative client/product options have to be pre-approved)

Students will be required to develop and present for review at least three (3) "graphic identity" concept sketches (roughs, thumbnail) for each of the 3 design projects (a total of 9.) Class review of concept development and rough sketches of ideas on Tuesday, February 28, 2012.

II. DEVELOPMENT OF FINAL LOGO AND APPLICATIONS FOR EACH OF THE 3 DESIGN PROJECTS.

After review of concept sketches (thumbnails), students will select one for each for full development of logo and preparation of final comprehensive art and presentation. Presentation will include LOGO (4" x 4") and sketches of applications for personal/individual logo (paper, envelope, business card, packaging, labeling, or similar applications) Review of the selected logos and of rough sketches for logo applications on Thursday, March 1st, 2012. Class presentation of final logos and sketches of proposed logo applications on Thursday, March 8, 2012.

BRAINSTORMING

The Brainstorming Process Is B.S. But Can We Rework It?

Two recent articles argue that brainstorming doesn't make people more creative. So how might we remake the brainstorming process, given what science tells us?

Alternativas de Composición (organización de los elementos)

5 Step Formula Based on Work of David Ogilvy

Ads and sales fliers are common desktop-published documents. Whether designing ads for clients or for your own business, you can improve the effectiveness of those ads with just a few time-proven design strategies.

When readers look at your ad what do they see first? Research indicates that readers typically look at:
1. Visual
2. Caption
3. Headline
4. Copy
5. Signature (Advertisers name, contact information)

in that order.

One method of making sure your ad gets read is to arrange elements in that order, top to bottom. However, your ad should also lead with its strongest element. Sometimes the visual may be secondary to the headline. In that case you may decide to put the headline first. A caption may not be necessary at all times and often you'll want to include additional elements such as secondary illustrations or a coupon box.

While this isn't the only way to design an ad, it is an easy to implement, successful formula for many types of products or services. On the next few pages I'll show you the basic layout and three variations on this format, also called the Ogilvy after advertising expert David Ogilvy who used this layout formula for some of his most successful ads.

Advertising expert David Ogilvy devised an ad layout formula for some of his most successful ads that became known as the Ogilvy. The illustration on this page is the basic design that follows the classic visual, headline, caption, copy, signature format. From this basic ad layout, other variations are derived.
Try changing the margins, fonts, leading, size of the initial cap, size of the visual, and placing the copy in columns to customize the basic format of this ad layout.



1. Visual at the top of the page. If you are using a photo, bleed it to the edge of the page or ad space for maximum impact.
2. For photos, place a descriptive caption below.
3. Put your headline next.
4. Follow with your main ad copy. Consider a drop cap as a lead-in to help draw the reader into the copy.
5. Place your contact information (signature) in the lower right corner. That's generally the last place a reader's eye gravitates to when reading an ad.

Variations on the  Ogilvy layout: Headline on top or Visual next to headline

             

Taylor's Six-Segment Message Strategy Wheel

http://www1.appstate.edu/~bodorw/Resources/six-seg.pdf