97% Off: Get the Professional Graphic Designer Bundle for Only $29

Original Source: http://feedproxy.google.com/~r/Designrfix/~3/xnY2Bl1LGHY/97-off-get-the-professional-graphic-designer-bundle-for-only-29

Graphic design is a top choice job for a lot of people. It allows you to put your creative juices to good use, there are opportunities for advancement, and good pay. The downside is that the cost of training can be quite expensive. There is no guarantee that you’ll get a job after the training. […]

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SitePoint Premium New Releases: Design Systems, SVG & React Native

Original Source: https://www.sitepoint.com/sitepoint-premium-new-releases-design-systems-svg-react-native/?utm_source=rss

We’re working hard to keep you on the cutting edge of your field with SitePoint Premium. We’ve got plenty of new books to check out in the library — let us introduce you to them.

Design Systems and Living Styleguides

Create structured, efficient and consistent designs with design systems and styleguides. Explore materials, typography, vertical rhythm, color, icons and more.

➤ Read Design Systems and Living Styleguides.

Build a Real-time Location Tracking App with React Native and PubNub

In this guide, we’re going to use React Native to create real-time location tracking apps. We’ll build two React Native apps — a tracking app and one that’s tracked.

➤ Read Build a Real-time Location Tracking App with React Native and PubNub.

Practical SVG

From software basics to build tools to optimization, you’ll learn techniques for a solid workflow.

Go deeper: create icon systems, explore sizing and animation, and understand when and how to implement fallbacks. Get your images up to speed and look sharp!

➤ Read Practical SVG.

Create an Offline-first React Native App Using WatermelonDB

In this tutorial we’ll create an offline-first movie search application with a title, poster image, genre, and release date. Each movie will have many reviews. We’ll use WatermelonDB to provide the database functionality for our app.

➤ Read Create an Offline-first React Native App Using WatermelonDB.

And More to Come…

We’re releasing new content on SitePoint Premium regularly, so we’ll be back next week with the latest updates. And don’t forget: if you haven’t checked out our offering yet, take our library for a spin.

The post SitePoint Premium New Releases: Design Systems, SVG & React Native appeared first on SitePoint.

95% Off: Get the Facebook Ads and Facebook Marketing Course for only $9.99

Original Source: http://feedproxy.google.com/~r/Designrfix/~3/A7AEcqUZf1c/95-off-get-the-facebook-ads-and-facebook-marketing-course-for-only-9-99

Over the last decade, there were hundreds of social media channels introduced on the market. Some have stood the test of time, while others never caught on. Despite the introduction of different social channels, Facebook still remains to be the biggest social media platform to date. In fact, this behemoth social media platform has over […]

The post 95% Off: Get the Facebook Ads and Facebook Marketing Course for only $9.99 appeared first on designrfix.com.

How to Get Your Newsletter Read

Original Source: https://www.webdesignerdepot.com/2019/09/how-to-get-your-newsletter-read/

Being in the business of building websites, it’s easy to forget that no matter how great they look, how well they perform, or how optimized they are for search, a website alone will not attract visitors back to it. You have to give them a good reason to return.

Blogging and other content generation is one way to do this. Running special promotions is another. Lead magnets are a good idea, too.

That said, we still run into the problem of how to let visitors know to return and see all of this new and awesome stuff that’s been added to the site.

A newsletter is a great way to do this. The only thing is, you have to, first, convince them to subscribe and, then, create a regular newsletter service that’s worth reading.

You also have to figure out how to make this free service one that’s worth your while. In other words, how do you get visitors to not only subscribe and open your newsletters, but to click on the links and take action on your site?

What Makes a Newsletter Successful?

Let’s start by looking at what makes a newsletter successful.

In a 2019 email marketing report by GetResponse, they revealed the average newsletter performance for all their users:

These are the metrics you must pay attention to when assessing the success of your own newsletter:

Open Rate: An email service provider will first remove the number of emails that bounced (i.e. were undeliverable) from the count. It then divides the number of opened emails by the total number of subscribers. This tells you at what percentage of subscribers opened them.

# opened emails / (# sent emails – # bounced emails) = Open Rate

Click-through Rate: A similar calculation is performed to identify the rate at which people clicked on links in your emails. This is a more important metric as it indicates that subscribers not only received the email, but cared enough about the message to take action (and go back to your site)!

# clicked emails / (# sent emails – # bounced emails) = Click-through Rate

Click-to-open Rate: This formula takes it a step further and asks you to look at how effectively you’re converting over email. In other words, for the people who were persuaded to open your newsletter, what percentage of them followed your call to action?

(# unique clicks / # unique opens) = Click-to-open Rate

Unsubscribe Rate and Spam Rate are also important to keep your eyes on. These metrics will give you a good idea of how subscribers feel about your newsletters and whether they’re missing the mark or are a valuable asset in your marketing arsenal.

How to Increase Your Newsletter Open and Click Rates

Your newsletter data can do a lot more than just tell you whether or not your email marketing efforts have been successful. You can use it to identify problem areas, too.

Learn how to read the data and you’ll be able to repair the email marketing flow to get more people to sign up for your newsletter, open it, and click back to your website.

When You Don’t Have Any Signups

There are a number of things that may be wrong here, but they all stem from your website and, more specifically, the newsletter subscription form on it. For starters, how are you serving the form to your visitors?

Is it as a pop-up? That may be your issue right there. Our visitors are inundated with pop-ups: push notification requests, lead gen giveaways, cookie consent requests, site abandonment warnings, and so on. Don’t design your form so that it’s easy to dismiss.

What about the design itself? Does it stick out on the page like a sore thumb or, conversely, get lost in the design? Are you asking for too much information? Are there any other red flags?

Scroll to the very bottom of this page and you’ll find WebDesigner Depot’s ever-present subscription form:

Not only is this form easy to fill out, but it includes all sorts of positive encouragement and trust marks around it.

Sharing the number of subscribers, promising exclusive access, and asking for explicit consent are all great ways to start a relationship with a subscriber. That way, when you do send that first newsletter their way, there’s no confusion as to what it is or what kind of value they’re going to get from it:

When There Aren’t Many Opens, But Bounces Aren’t an Excuse

Let’s say your bounce rate is low, so you know that subscribers are getting your newsletters. Yet, your open rate is abysmal (like below 5%). What’s going on here?

Something’s happening the second your email hits their inbox.

First, take a look at your sender email. Does your address match the name of your brand or is it something like jason12456@hotmail.com? If you have a website, then your email address needs to match the domain name. The same goes for the name that shows up in the “From:” field.

Another thing that could be happening is that your subject line is turning subscribers off.

This is Social Native’s newsletter:

Notice how the message comes from a real person (with a photo and all) whose email address matches the domain name. That’s good. Also notice how appealing that subject line is: “July Content Awards! Were You Featured? ?” Heck, it even includes an eye-catching emoji. That’s even better.

The subject line is short, snappy, and inviting. What’s more, it tells subscribers exactly what they’re going to see in the newsletter.

While a little bit of mystery might work in some cases to increase open rates, be very careful. Unless your subscribers know you well and trust the content you send them, sending a subject line like “How many fingers am I holding up?” likely won’t help your open rates. Always err on the side of clarity and positivity if in doubt.

When Your Newsletter Is Getting Opened, But CTR Is Too Low

Like I said earlier, it’s important to know your open rate, but it doesn’t mean much if you get 40% opens but no clicks. If that’s what’s happening to you, then there are one of a few underlying issues here.

The first is that the design sucks. It could be a number of things: the color palette is jarring, the images aren’t loading, the typography is difficult to read. Or it could be because there’s no design at all, like this example from the Library of Congress:

The newsletter has no visual component and the content itself is poorly composed. Notice how it says “You are subscribed…” under the first instance of each blog post title.

The second reason you might not be getting clicks is that there’s nothing of value in the message.

This is a great example of how to provide value in your newsletters. This one comes from MyEyeDr.:

It’s beautifully designed, there’s a clear offer for $100 off what would otherwise be an expensive set of glasses, and the calls-to-action make it easy to take next steps.

Another thing to be mindful of is the length of your newsletter. Unless your subscribers signed up to receive lengthy diatribes from you every week, save those speeches for your blog. You need the content of your message to be concise, valuable, and readable if you want people to click your links.

When You Have a Good CTR, But Your Landing Page Bounce Rate Is High

Okay, so you’ve gotten your subscribers to open and click. For some reason, though, there’s nothing happening on the landing page you’ve directed them to.

The problem here is obvious: the landing page doesn’t fulfill the expectations set in the email.

If it’s a blog post you sent them to, review the content of it. Does the description match the post? Is the topic too shallowly explored? Are there broken links, missing images, or other errors on the page?

If it’s a sales landing page you sent them to, are you clear in the newsletter where you were about to send them? Does the landing page match the rest of your site or could it possibly pass for a phishing page? Is there an overwhelming amount of content to get through?

It doesn’t really matter where the link goes so long as you set the right expectations in your newsletter and then deliver on the linked page.

For example, this is a recent newsletter from Stephen King:

It summarizes a new book he’s about to release. The link then tells subscribers that they can get more information about the upcoming book as well as an excerpt. And that’s exactly what happens when they arrive on the beautifully designed landing page:

You’ve earned the trust of your website visitors for them to subscribe to your newsletter. And you’ve impressed them enough with your email to persuade them to return to your site. Don’t betray their trust by directing them somewhere that hasn’t been as well thought through as everything else until this point.

Wrap-Up

You might find after all this that your metrics are a mixed bag. Sometimes you get a lot of opens and clicks, and other times you don’t. That might just mean that your newsletter content is inconsistent and that you need to refine your strategy so you only deliver the kinds of content your subscribers find the most value in. It also might mean that you need better list segmentation.

If you suspect something is off and that your open and click-through rates should be higher, A/B test some alternative designs and content. You may be surprised by what you find.

 

Featured image via DepositPhotos.

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50 Cool Cosplay Costumes Design, Vol. 2

Original Source: https://www.hongkiat.com/blog/amazing-cosplay-costumes/

Cosplay is a great outlet for fans to show off their awesome self-made costumes, beautiful craftsmanship, and the love for their favorite fictional characters. There is an entire spectrum of the art…

Visit hongkiat.com for full content.

The Top 5 JavaScript Frameworks for 2019

Original Source: http://feedproxy.google.com/~r/1stwebdesigner/~3/9ofTNyVzHE4/

JavaScript, as defined by Mozilla, is:

“a scripting or programming language that allows you to implement complex things on web pages — every time a web page does more than just sit there and display static information for you to look at — displaying timely content updates, interactive maps, animated 2D/3D graphics, scrolling video jukeboxes, etc. — you can bet that JavaScript is probably involved.”

Essentially JavaScript, often abbreviated as JS, is used to power the interactive content/media on a page. JS helps you do more with your content so you can provide the user with animations, content relevant to them based on certain parameters, and special graphics. This is used far and wide by websites and global companies for a variety of purposes. Some popular examples include:

Netflix distributed services
Facebook’s creation of React
Walmart marketplaces

In this article we are analyzing the top five JavaScript frameworks for 2019.

What’s a Framework?

A framework is “an abstraction in which software providing generic functionality can be selectively changed by additional user-written code, thus providing application-specific software.” Frameworks are built on top of languages to speed up processes and develop specific tools, you can see some examples of CSS frameworks for design here.

Vue.js

Example from Vue.js

Vue is a progressive framework for building user interfaces. Vue is designed from the ground up to be incrementally adoptable, making it easier for integrations and connecting to existing projects.

Vue is also super-fast, with 20KB min+gzip Runtime and minimal optimization needed to power your applications.

The way Vue works is through template styles similar to Angular. It is a fast and easy language to work with for apps, UI, and interactive interface development, and it has the ability to power single web page projects too.

One of the biggest reasons people like Vue over some of the other frameworks is because a lot of time is saved during rendering. Vue tracks the component’s dependencies so the system already knows which components need to be re-rendered when something changes.

See examples of cool websites, apps, and projects made with vue.js.

Angular

Example from Angular

Angular is built for the future. The framework is maintained by a team of engineers who share a passion for making web development feel effortless. They believe that writing beautiful apps should be joyful and fun. Learn more about Angular here.

Angular is useful today because it utilizes cutting edge Typescript for larger applications. Typescript is defined as ‘JavaScript that scales’. Because of the way Typescript was designed, millions of developers are able to use existing JavaScript code, incorporate popular JavaScript libraries, and call TypeScript code from JavaScript. This makes it a much easier process for large projects with lots of collaborators. Having Angular built on top of this is efficient and allows developers to focus more on speed and performance.

Angular follows a classic MVP (Model View Presenter) pattern for complex applications. This is a concept people use to break down large projects into specific ‘separation of concerns’ and areas to focus on developmentally. You can read more about this concept here.

Check out made with angular to see cool examples of projects built on this framework.

React

Example from React

React is a JavaScript library for building user interfaces. React was created by Facebook, initially for use in the newsfeed and Instagram applications. The framework was open-sourced at JSConf US in May 2013.

Similar to Vue, React is efficient in rendering and only changing necessary components when interacting with the state. React also changes the way people can interact with states and works to evolve the development process. It is component based, meaning each encapsulated section can manage its own state, which is important in large scale and complex UIs.

What is React?

This video does a great job breaking down exactly what React is and how it is used.

Express

Example from Express

Express is a minimalist framework that runs on top of Node.js, a JavaScript runtime built on Chrome’s V8 JavaScript engine and used by many large scale applications.

Express is a fast and minimal web app framework for both web and mobile applications. Think of it as the framework for building websites. Express helps you quickly get your apps live, while providing a number of methods for creating APIs easily, too.

A lot of other popular frameworks are built on top of Express because of the simplicity and ease of integration. You can view the full list here.

Express.js Tutorial: Build RESTful APIs with Node and Express

Recommended video from Programming with Mosh on Express:

Redux

Example from Redux

Redux is a data management system that is mainly used with React. For large scale projects with lots of moving parts, Redux helps to organize the data and keep everything running predictably even in vastly different environments.

Redux places a focus on debugging and ease of use. They write:

“The Redux DevTools make it easy to trace when, where, why, and how your application’s state changed. Redux’s architecture lets you log changes, use “time-travel debugging”, and even send complete error reports to a server.”

One important thing to note about Redux is that you should not use it unless absolutely necessary! According to the Redux FAQ, “the need to use Redux should not be taken for granted.” Multiple early contributors to the project proclaim that it is something you’ll know when you need, and that you only need when other problems arise.

Dan Abramov says: “I would like to amend this: don’t use Redux until you have problems with vanilla React.”

So just keep that in mind before jumping in full steam to this powerful, and somewhat advanced framework. It is definitely useful, but only at large scale and when dealing with large amounts of data changing over time.

Read more about recommended uses for Redux here.

Going Beyond Vanilla JS

One thing all of these frameworks have in common is that they help developers accomplish more in less time. That’s a big part of their appeal.

Each framework has its strengths, weaknesses and ideal use cases. Which one you choose really depends on the specific needs of your project.

But, now that you know a bit more about them, you’ll have a head start on picking the right one.


How to make a photo collage in Photoshop CC

Original Source: http://feedproxy.google.com/~r/CreativeBloq/~3/5nGuQVedp3c/make-a-photo-collage-in-photoshop-cc

There are several reasons to learn how to make a photo collage in Photoshop. Where individual photos capture only single moments in time, collages can be used to illustrate a whole story, celebrating anything from a partner’s birthday to archiving a treasured family holiday. Collating one is also a good way to test your composition skills.

There are a great many collage maker apps out there for assembling images (including the new auto-collate function in Photoshop Elements), but none of them will give you the same degree of control as Photoshop CC, which allows you to complete the whole process using just one app, including any image adjustments.

Photoshop is one of the most commonly used apps for this type of work. If you’re not already signed up, get Adobe Creative Cloud to access an impressive range of creative software.

In this Photoshop tutorial you will learn how to import images into Photoshop, lay them out onto a single page and border them with coloured frames.

01. Choose your images

You can use a photo organiser to make your job easier, but previewing them in Finder will work just as well.

First up, pick your images. It’s impossible to condense a whole photo collection down onto one single page, so you need to be selective, sticking to a maximum of 5-8 pictures. Image choice is important if you want to retain the interest of the viewer – collages aren’t just spreads of random images, but represent a flowing narrative, displaying a diverse range of angles, shapes and styles.

Try to use images that suit different frames sizes, picking only your best and most appropriate images. Theming the collage along the lines of one consistent colour or common element can bring the whole thing together, while contrasting images create tension and tend to draw the eye. Every image should be well-exposed and in focus.

If you aren’t sure what looks good, check out some magazine layouts for inspiration. Using a library organiser, like Lightroom or Bridge, streamlines the process, making it easier to sort through multiple photos at once, although Finder works just as well. Use this stage to make any necessary adjustments to your images before bringing them together.

My collage will feature a photoshoot of a Porsche 964 Carrera, so I have included wide, action shots as well as close-up details of the interior, showing the car off from every angle.

02. Create the document

The New Document window provides a choice of pre-loaded templates, which are a good starting point for any project

When you create your document, the size of the canvas will depend on the intended output of your collage, namely whether it’s for digital or print (most collages look better in landscape format). Photoshop’s New Document window presents a range of ‘document presets’ to make this choice easier, whether it’s page sizes for print or standard digital sizes for web and mobile. If you want a custom size, there are also options to change the width, height, resolution and colour mode. You can edit this later in Image > Canvas Size. I have used a document size of 1920px x 1080px, RGB, a standard HD screen.

03. Import images

You can drag all of your images into Photoshop, straight in from the Finder window. Holding the Alt key down will add them as linked layers

There are various methods for gathering images into one file. Perhaps the simplest is dragging and dropping images from Finder, directly onto the canvas, which imports them as smart objects. The benefit of doing this is that you can reposition and resize them without any loss of quality. 

Alternatively you can embed the images as linked layers, which means they will appear on the canvas as low-res versions, while linking back to the original files on your computer, avoiding slow rendering times. Do this by holding the Alt key down when dragging and dropping your images into the file.

Another technique is to open all the images in separate Photoshop windows, selecting each with Cmd + A, copying with Cmd + C, then pasting into the master document with Cmd + V. You can also change your window arrangement to show two files at once, then literally drag and drop layers from one to the other.

04. Roughly position images

Use the Free Transform tool to resize layers on your canvas, trying different positions for greatest visual appeal

Before spending too much time refining the collage, you need to have the right images in the right positions. Move the images around the canvas, using the Selection tool, until they all seem to roughly fit the page. You can turn layers on and off using the eye icon to the left of each layer, in the Layers panel. Scale and rotate layers using the Free Transform tool (Cmd + T), grabbing the handles of the transform frame. Holding the Shift key will maintain the proportions, while holding the Alt key will scale out from the centre. You can find further options for transforming under Edit > Transform.

05. Draw borders

how to create photo collage in Photoshop

You can change the colour of shapes in the Fill window, where you can also add new swatches and create gradients

Add a single border using either the Pen tool (with Stroke applied) or the Rectangle tool, to break up the images. I drew a long white rectangle across the canvas, duplicated it with Cmd + J, moved and rotated it with Free Transform, then repeated the process until I had all my borders laid down, including one around the outer edge as a frame.

If you’re struggling to line up your images, you can drag guides out from the rulers (turn these on with Cmd + R or under View > Rulers). You can also select multiple layers and use Layer > Align to straighten them up.

06. Mask the spare image

ow to make a Photo Collage in Photoshop

Use masks to hide unwanted areas rather than deleting them outright, since masks can be edited later if you change your mind

With the borders now placed, it will be obvious that some of your photos are overlapping. Use the Marquee Tool to select unwanted areas on each layer, inverse this selection by right-clicking and selecting ‘select inverse’, then press the mask button at the bottom of the Layers panel (this looks like a circle in a box). You can edit your masks later, if you change your mind, by painting black and white into the mask area. Repeat this step for each layer until they’re all sitting flush against the border lines.

If you imported your images as Smart Objects, you can simply delete the unwanted areas instead of masking them, since you won't be losing any of the original image. If you then want to move the image inside the frame, double click on the layer to open the smart object window and move it there.

07. Add text and export

how to make a photo collage in Photoshop

Photoshop CC has plenty of options in the Character tab, including live text which changes the typeface of your copy as you scroll down the list

When you are happy with the layout of your collage, you may wish to add a title or a message. Select the Type tool from the toolbar and draw a text box onto your canvas, preferably over an area that is either very dark or light. Select a typeface and colour from the Character tab, then insert your text. If the text is unreadable, you might need to draw a solid box behind, then soften it by reducing the opacity or changing its blending mode. I also added an underline stroke, using eyedropper to pick the yellow from the image.

Save your image as a .psd file, so you can edit it later on, then export in whatever format you need.

Read more:

The best free Photoshop actionsThe 10 best alternatives to PhotoshopThe best laptops for Photoshop right now

Futuristic Digital Art by atelier olschinsky

Original Source: http://feedproxy.google.com/~r/abduzeedo/~3/HKkJcCF9lcE/futuristic-digital-art-atelier-olschinsky

Futuristic Digital Art by atelier olschinsky
Futuristic Digital Art by atelier olschinsky

abduzeedoSep 03, 2019

It’s time for some digital art inspiration, today brought to you by the amazing people over at atelier olschinsky. They create several concepts exploring a futuristic look really taking advantage of perspectives to create very stylish compositions. In addition to that we can see a masterful color selection, especially the second image from top to bottom. 

Atelier Olschinsky, founded in 2002 is a small creative studio based in Vienna, Austria. Peter Olschinsky and Verena Weiss are operating in various fields such as graphic design, illustration, photography and art direction. In addition to their jobs for clients they also run several independent projects, always trying to develop and refine their work. 

“It is just so important to work as much as you can, to learn and to be open to new things. The journey is the award.”

Futuristic Digital Art


Logo design: everything you need to know

Original Source: http://feedproxy.google.com/~r/CreativeBloq/~3/eS4DFZgDR64/pro-guide-logo-design-21221

If your company needs a new logo design, you'll probably be exploring your options. Do you go for a completely different logo or tweak the logo design you already have? Either way, you might be questioning: what makes a great logo design? And how do you design a logo that captures the essence of a product, person or brand?

We're here to answer all of your burning questions about logo design, and we've even collated the best logo design tools around to help you even further. Use the links opposite to jump to the section you're interested in. 

And if you're looking to design amazing logos across a range of devices, you should also check out our countdown of the 5 best logo design apps.

Why is logo design important?

Your logo is you or your business' first point of contact with the outside world. If people connect with your branding, the likelihood is they'll be more open to whatever it is offering them. Great logo design requires a complex mixture of design skills, creative theory and skilful application. 

Any designer worth their salt can create a fit-for-purpose logo, but truly mastering all aspects of the craft takes time. Of course, logo design is just one small subset of branding, but the logo or brand mark remains the centrepiece of most branding schemes. And we all know that it's often the part of a new identity that is most picked apart by the public.

If you want to see how it's done, why not head over to our pick of the best logo designs ever?

The best logo makers

A logo design app is not going to create a branding masterpiece – but you know this. Some people are simply looking for a quick, cheap logo that reflects their start-up brand until it has expanded enough to merit a full brand identity created by a professional designer or agency. Here are five logo design makers that are fast, sophisticated and good value. 

Alternatively, if you've got Illustrator, here's how to design a logo in Illustrator. Or if you have Photoshop only, here's how to make a logo in Photoshop (note that Illustrator is usually preferred for logo creation).

01. Canva

Canva logo design tool

Canva is a multi-talented application

Canva is a full, browser-based graphic design suite that just so happens to contain a great logo design tool. Okay, it doesn't offer the design capabilities of Adobe Creative Cloud, but Canva's simplicity, variety of useful tools, and inspirational learning assets make it a great way to design your branding. If you use your own image and design elements in Canva, then creating a logo is free. If not, design elements cost from $1.

02. TailorBrands

TailorBrands logo design tool

TailorBrands costs a little more but that means more options

TailorBrands promises not only a logo design but a full branding package with its browser-based software. The tool is simple to use and has no pre-made logos – instead, the platform is powered by AI to design a unique logo for every user. There is a cost involved here, but it is paltry compared to hiring an agency, starting at $3.99/month for its Dynamic Logo package and rising to $15.99/month for the full Premium package.

03. Hatchful

Hatchful logo design tool

Hatchful is a logo design generator

Hatchful is a simple browser-based logo generator which allows you to customise your logo from hundreds of templates, icon, and colour combinations. You can test out logo variations and create a one-of-a-kind logo that’s perfect for whatever business you have, and the logo generator is so simple to use that you become an expert in minutes. The logo generated comes sized for all major social media platforms, you get a favicon design thrown in, and all it will cost you is your email address (although premium logos are available).

04. Logoshi

Logoshi logo design tool

Logoshi charges nothing unless you are happy with your logo

Logoshi is a super-simple tool that looks a bit Web 1.0 but provides neat, simple designs at a very reasonable price (prices start at $5). It provides square, transparent, and cropped versions of your logo once it has been signed off, and you get bitmap and vector version of your logos all bundled into one cost.

05. Ucraft

Ucraft is probably best known as a website builder, but amongst its browser-based web tools you'll find an excellent logo maker. It is also completely free. The designs are compatible with all major social accounts: Instagram, Facebook, Pinterest, LinkedIn or even Twitch, and you can download it as a PNG or an SVG file (although the latter will cost you $7).

Now discover everything you need to know about logo design, starting on the next page with brand identity expert David Airey's 10 golden rules of logo design.

Next page: 10 golden rules of logo design from David Airey

David Airey's 10 golden rules of logo design

When you think of a person who’s impacted your life, it’s almost certain that you can picture what he or she looks like. And so it is with the brands from which we often buy. We can easily picture the logo just by thinking about our experiences with the product, company or service.

Where there was once just a handful of companies operating within a particular market or niche, there might now be hundreds, maybe thousands, all competing for attention, all wanting us to look at them first. That creates increasing need for brands to visually differentiate themselves so they’re not confused with competitors. 

That differentiation is achieved through brand identity design – a range of elements that all work together to form a distinctive picture in our minds. Depending on the company, the identity can include uniforms, vehicle graphics, business cards, product packaging, photographic style, coffee mugs, billboard advertising, and a raft of other items, right down to the font choice on the website. 

When we look at something, we don’t read first. Before anything else we see shape, we see colour, and if that’s enough to hold our attention, then we’ll read

David Airey

It’s important to remember that when we look at something, we don’t read first. Before anything else we see shape, we see colour, and if that’s enough to hold our attention, then we’ll read. So in every instance, regardless of company, the small but essential element in the brand picture is the logo.

Our job as designers is to distill the essence of a brand into the shape and colour that’s most likely to endure, because visual appearance plays a critical part in forming a connection in our brains between what we experience and who we experience it with (the brand). In many respects, a company’s logo is akin to our loved ones’ faces.

When the right logo is aligned with an excellent product, and when it’s in place for a significant amount of time, it can eventually become a priceless asset for any company. The Nike swoosh, McDonald’s golden arches, the Michelin man, Mercedes’ three-pointed star, the Woolmark symbol – these are just a few of the more high-profile examples. But besides their ubiquitous nature, how do you give a logo the best possible chance of reaching a similar status? There are universal traits within every successful logo project, and I’ve outlined some here to help improve the quality of the marks you create.

01. Lay the groundwork

Logo design: lay the groundwork

Logos such as Mercedes and Woolmark have become priceless assets for their respective companies

One of the most interesting parts of being a designer is that you get to learn new things with each new project. Every client is different, and even in the same profession, people do their jobs in many different ways. 

To make it easier for consensus to be reached on your design idea, you need to ask your client the right questions from the outset: Why are you here? What do you do, and how do you do it? What makes you different? Who are you here for? What do you value the most? 

Those questions might seem quite straightforward, but they can be challenging to answer, and they’ll lead to further questions about your clients’ businesses. What you discover in this phase of a project will help to determine the strongest possible design direction.

02. Treasure your sketchpad

Logo design: Treasure your sketchpad

Sketches of Firefox mascots by Martijn Rijven, who was commissioned by Wolff Olins

Using a sketchpad is a chance to rest our eyes from the glare of brightly lit pixels that tend to dominate our lives. But more importantly, recording different design ideas can be much quicker when there isn’t a digital device between our hands and our brains. So if you wake in the night with an idea you don’t want to lose, the pen and paper by your bed is the ideal way to remember. Sketching also makes it easier to put shapes exactly where you want them – there’ll always be time to digitise your marks later (see our sketching tips for further sketching advice).

When you’re describing design ideas to clients, prior to digitising a mark, it can be helpful to share a sketch or two, making it easier for them to visualise the outcome without distraction from typefaces and colours. Don’t share too much, though – only the best ideas.

03. Work in black and white

Logo design: Work in black and white

The inner detail of the Apple logo has changed over the years, but the silhouette remains

Leaving colour until near the end helps you focus your attention on the basics of the idea rather than something that’s much easier to change. A poor idea can’t be rescued by an interesting palette, whereas a good idea will still be good regardless of colour. Picture a well-known symbol. Think of it now. It’s the form we remember before the palette. It’s the lines, the shapes, the idea, whether that’s the bite from an apple, three parallel stripes, four linked circles in a horizontal line, or something else.

04. Keep it appropriate

logo design: V&A

Pentagram founder Alan Fletcher created the V&A logo in 1989

A mark must be relevant for the ideas and activities it represents. An elegant typeface will suit a high-end restaurant more than it will a children’s nursery. A palette of fluorescent pink and yellow isn’t going to help your message engage with male pensioners. 

Crafting a mark that bears some resemblance to a swastika, regardless of industry, isn’t going to work. You know these things. They’re obvious. But it goes a little deeper. The more appropriate your rationale behind a particular design, the easier it becomes to sell the idea to a client. And that can often be the most challenging part of a project. Designers don’t just design. They sell, too.

05. Aim for easy recall

logo design

The 1974 Deutsche bank logo by Anton Stankowski

Simplicity aids recognition, especially when so many brands are competing for our attention. You want to give onlookers the opportunity to recall a mark after just a quick glance, and that’s not possible with an overly detailed design. A trademark has to be focused in concept – have a single ‘story’ – and in most cases must be uncomplicated in form. This is because it needs to work at a variety of sizes and in a range of applications, from a website icon in a browser bar to signage on a building.

06. Strive for difference

Logo design: Strive for difference

The 1999 Tate logo by Wolff Olins united the Tate’s four galleries across the UK

When your clients’ competitors are all using a particular typographic style, or the same kind of palette, or a symbol placed on the left of the brand name, do something different. It gives you the perfect opportunity to set your clients apart rather than have them blend in. 

But so much similarity in the marketplace doesn’t necessarily mean your job has become easier, because it takes a brave client to buck the trend. By showing imagination in your portfolio, you’re on your way to attracting the kind of client you want.

07. Consider the broader identity

Logo design: Consider the broader identity

Wolff Olins created a new typeface for Macmillan cancer support in 2006; part of a wider repositioning

It’s rare when you see a logo in isolation, on its own without the context of a website or business card or drinks menu or app icon. That’s why a client presentation needs to encompass a variety of relevant touchpoints to show how a logo appears when seen by potential customers. It’s a little like when you’re stuck in a rut – it can help to step back, to look at the bigger picture, to see where you are, what you’re surrounded by. 

In design terms, the bigger picture is every potential item on which a client logo might appear. But always consider how the identity works when the logo isn’t shown, because while important, a symbol will only take an identity so far. One way to achieve cohesive visuals is to craft a bespoke typeface that’s not only used in the logo, but that’s also seen in marketing headlines.

08. Don’t be too literal 

Logo design: Don't be too literal

The logos for Penguin and Shell don’t give any clues as to the types of company they represent

A logo doesn’t have to show what the company does, in fact, it’s better if it doesn’t, because the more abstract the mark, the more enduring it can become. Historically you’d show your factory, or maybe a heraldic crest if it was a family-run business, but symbols don’t show what you do. Instead, they make it clear who you are. The meaning in the eyes of the public gets added afterwards, when associations can be formed between what the company does and the shape and colour of its mark.

09. Remember symbols aren’t essential

Logo design: Symbols are not essential

Johnson Banks’ 2004 wordmark for shelter – with its pitched roof ‘h’ – helped reposition the housing charity

Often a bespoke wordmark will do the job, especially when the company name is unique, such as Google, Mobil, or Pirelli. But a version of the logo that works in small confines will always help. That might be as simple as lifting a letter from the name and using the same colour, or it might incorporate a symbol that can be used as a secondary design element (wordmark first, symbol second) instead of as a logo lockup where both pieces are shown alongside one another.

Don’t be tempted to overdo the design flair just because the focus is on the letters. Legibility is key with any wordmark, and your presentations should demonstrate how your designs work at all sizes, large and small.

10. Make people smile

Logo design: Make people smile

Designed in 2000, turner Duckworth’s wordmark for Amazon adds wit with a hidden smile that goes from A-Z

Injecting some wit into the work will not only make your job more fun, but it can help your client to become more successful, too. It won’t be appropriate for every profession, such as weapons manufacturers and tobacco firms, but whether you choose to work with those companies is another thing. The somewhat less contentious law and financial sectors are filled with companies identified by stuffy and sterile branding, putting some humour into the identity for such clients is one way to set them apart. 

There’s a balance, though. Take it too far and you risk alienating potential customers. But regardless of the company, people do business with people, so a human, emotional side to your work will always have a level of relevance.  

Next page: Logo design research and strategy

Before pen hits paper on any new logo design project, thorough research is essential. Here are five logo design tips for nailing this crucial first stage of the process.

01. Understand your competition

Logo design: Apple

Apple cut through the traditional computing sector like a hot knife through butter in the ’80s, and has since evolved into one of the world’s most valuable brands

Before you even start working up a logo design concept, ensure you research your target market thoroughly. Your client should be able to provide some information about their competitors to get you started.

Compare all the logos in their competitive set. This research may well reveal some entrenched branding conventions in that market sector, and that can sometimes help your process by playing on familiar visual associations. 

But bear in mind that many of the world’s most recognisable logo designs stand out specifically because they eschew trends and think differently.

02. Ask the right questions

Logo design: Macmillan

Wolff Olins’ copywriting-led branding for Macmillan Cancer Support, referenced in Johnson’s book, is built around a series of ‘we…’ statements that help answer some of the key brand questions

Strategy is becoming an increasingly important part of the branding process. What this means in practice will often depend on the scale of the project, but it all starts with asking the right questions.

Michael Johnson’s book Branding: In Five and a Half Steps is dedicated to Johnson Banks’ creative process, and covers complex challenges such as formulating brand strategy in far more detail than we could ever hope to here.

In it, Johnson advocates asking the following six things of the brand you’re working on as a starting point:

Why are we here?What do we do, and how do we do it?What makes us different?Who are we here for?What do we value the most?What’s our personality?
03. Stay flexible during the process

Logo design: Branding

Branding: In Five and a Half Steps is highly recommended reading to help you get to grips with all the key stages of the branding process, and the grey areas between them

Once you’ve formulated a strategy, you don’t have to set it in stone. There’s a reason that Johnson Banks’ creative process has that extra half step: that 'and how do we do it' part of the question represents the grey area between strategy and design.

According to Johnson, it can be a two-way street. Some conceptual, strategic ideas that work in theory may fall apart in practice when visualised; conversely, a compelling visual solution that emerges from left-field during the design stage can feed back into stage two and help evolve the strategy retrospectively.

04. Respect a brand’s heritage

Logo design: Coop

North’s Brand Impact Award-winning rebrand of Co-op reawakened the affection that many consumers felt for the organisation

The so-called ’retro branding’ movement was kicked off by North’s much-lauded rebrand of Co-op, which reinvigorated its original 1960s mark and won one of Computer Arts magazine’s coveted Brand Impact Awards in 2016 in the process.

NatWest and Kodak followed within a few months, and we've seen countless examples since. Brands need to be wary of jumping on the bandwagon for the sake of it, but where genuine heritage and untapped potential exists in a mark, avoid throwing the baby out with the bath water and consider bringing it to the fore – see our advice on how to reawaken a brand's heritage.

“It's vital to put your ego to one side and not dismiss designs created by others – and in doing so consider evolution as well as revolution,” argued North co-founder Stephen Gilmore in an essay in Computer Arts.

05. Remember: a logo is just one ingredient

As Brand Impact Awards judges Bruce Duckworth and Mark Bonner discuss in this video filmed during 2016’s judging day, logo design is just one small part of the modern branding process.

As Bonner puts it, the pyramid has inverted: people now engage with a brand through a huge variety of different touchpoints, and the logo is not always their first point of contact with a brand.

Keep this in mind as you develop your logo design: stay versatile and flexible, and consider how the logo interacts with the rest of the brand experience, from packaging to tone of voice.

Next page: Typography in logo design

Choosing the right typeface is a critical part of the logo design process – indeed, many of the world’s most recognisable brands are wordmarks, relying entirely on typography to convey their message.

Here are our logo design tips to get more from your typography.

01. Choose your typeface carefully

Logo design: Google

As part of a major identity overhaul, Google abandoned its distinctive serif logotype after 16 years in favour of a clean, modern sans serif

Sans serif fonts have dominated logo design in recent years, often going hand-in-hand with the minimalist movement – examples include Pentagram’s high-profile rebrands for Windows, MasterCard and the University of the Arts London.

In 2015, Google famously exchanged its longstanding serif logotype for a much friendlier, more contemporary sans serif. But don’t let trends cloud your own judgement: a serif font could still be the right choice for your latest project, particularly if you need a stylish and luxurious or traditional and professional feel, so take the time to research your options.

02. Tweak and refine to add personality

Logo design: Company Folders

Company Folders’ design uses a tweaked typeface to form a chopper chassis

If you use an existing typeface in a logotype, particularly a near-ubiquitous one such as Helvetica, there is often more pressure on other touchpoints, such as imagery, colour palette, tone of voice and so on, to develop and enhance the brand’s personality.

Skilful tracking and kerning is essential when setting a simple logotype in an existing typeface. Wide-tracked type can feel sophisticated and authoritative, while tight, meticulous kerning can help lock individual letterforms together as self-contained unit.

Logo design: V&A

Testament to how simplicity can lead to longevity, Alan Fletcher’s effortlessly stylish V&A logotype relies on the interplay between the ampersand and the A

Once in logotype form, tweaking and modifying the typeface can also smooth links between letterforms, or add a unique twist to fit the tone of the brand – one example would be shearing off letter terminals at matching angles to give a sharp, progressive feel.

03. Consider illustrated, fully-bespoke type

Logo design: Coca-Cola

With only relatively subtle tweaks over more than a century, Coca-Cola is proof that illustrated type can stand the test of time in logo design

Sometimes an existing typeface just won’t cut it, and a hand-drawn typographical treatment feels much much more appropriate for the brand. Perhaps the most iconic example, which has evolved gradually over more than a century, is Coca-Cola.

Compared with its fierce rival Pepsi, which has been through at least seven major iterations, the market leader sports much the same logo as it did in the late 1800s. If Coca-Cola had ditched that familiar scrawling script for a sans serif, like Pepsi did in the 1960s, there would have been uproar.

The point is simple: get a truly unique, custom bit of illustrated type spot-on and you’ve bought yourself some powerful brand recognition with genuine longevity. (Although if all else fails, these free handwriting fonts are pretty great options).

04. Explore serendipitous letter combinations

Logo design: YSL

Yves St Laurent’s dollar-sign-esque lockup is a simple but effective emblem

Monograms don’t have to be restricted to dressing gowns and wedding invitations, and when given the right treatment, company initials formed into a typographic lockup can make for a simple but effective emblem for a brand. 

This is notably true in the fashion sector – Coco Chanel’s interlocking Cs and Yves St Laurent’s dollar sign-esque lockup being standout examples. Also see our best 3-letter logos for other marks that combine characters in effective ways.

Logo design: FedEx

Landor’s simple but effective FedEx wordmark regularly tops lists of the best logos of all time, all thanks to its hidden arrow

Sometimes even the simplest typesetting can reveal serendipitous ‘accidents’ that, developed properly, can lead to twists of genius. One classic example is Landor’s FedEx mark, the hidden arrow between the ‘e’ and the ‘x’ making an otherwise plain sans-serif logotype the toast of logo design critics the world over. 

Try typing out the brand name in different typefaces and perhaps a similar happy accident could occur in your own work. See our post on logo Easter eggs you might have missed for more examples of hidden messages in logos. 

05. Take ownership of an entire typeface

Logo design: ITV

Fontsmith’s award-winning logotype for ITV was expanded into a brand-wide typeface, to ensure a consistent tone of voice across all channels and applications

If your client can afford it, working with a specialist bespoke type design agency such as Dalton Maag or Fontsmith to develop a fully branded typeface family can put typography front and centre of a brand’s personality, transcending the logotype and permeating all brand communications.

Between them, these two agencies have worked for an array of brands including Nokia, Lush, Rio 2016, Sainsbury’s, ITV and Lloyds. “Type defines the tone of voice of a brand by its emotional qualities,” Dalton Maag founder Bruno Maag told Computer Arts in the video interview below.

“A grotesque typeface such as Univers, Arial or Helvetica feels more masculine, mechanical and engineered – colder – than, say, a Frutiger, which is a humanist sans serif with more open, warm, friendly, approachable tones. Whereas a serif typeface may appear old-fashioned, or bookish.”

Next page: Shape and symbolism in logo design

Some of the world’s most iconic brands are recognisable when the company name is removed. An even more exclusive club has achieved ownership of a particular shape so that it doesn’t even need to be fully realised into a logo form to be associated subconsciously with its brand.

Here are five logo design tips to help you master shape and symbolism.

01. Strip it back to basics

Logo design: Nike

A student at the time, Carole Davidson was originally paid just $35 to design the Nike swoosh: a wonderfully simple shape that can be sketched with a couple of quick strokes of a pen

There are a few golden rules to which all the best examples of logo design adhere. Firstly, and perhaps most importantly: simplicity. 

Put thought into your concept, but don’t overwork the execution, or adorn a mark purely for the sake of it. You want ease of recognition, as well as versatility of scale and application. Think: will it work as well when used tiny in the footer of a website, as it will emblazoned on the front of a building? 

A great way to test the simplicity of your concept is to keep subtracting elements until you reach its most basic form. Be brutal here. Is it still recognisable if you sketch it quickly with a few rough strokes? What are its most unique, defining features? Generally speaking, the simpler a logo design, the more memorable it will be.

02. Understand shape psychology

Logo design: Bauhaus

The yellow triangle, red square and blue circle have become a visual symbol of the Bauhaus School of Design – and embody a principle that can be applied to logo design, as expressed by this print by Marco Ugolini, entitled Bauhaus Revisited

There are certain ‘clip art’ style visual cliches guaranteed to make any logo design expert gnash their teeth. Avoid common offenders such as lightbulbs to represent ’ideas’ or globes as shorthand for 'international’ at all costs.

But shape psychology goes far beyond the obvious. Often used as a symbol of the hugely influential Bauhaus School of Design are the yellow triangle, red square and blue circle – the product of research by Wassily Kandinsky, who argued that shape and colour can transcend cultural and language barriers.

Kandinsky argued that bright, zingy yellow complements the angular sharpness of a triangle; cool, spiritual blue is a perfect match for a circle; while an earthy, visceral red partners nicely with a square. We’ll explore colour theory in a bit more detail later on.

03. Master grids and structure

Logo design: Deliveroo

Revealing specific details of the geometric construction of a logo mark to the public is increasingly common, and DesignStudio’s rebrand of Deliveroo is no exception

It’s becoming increasingly common for design agencies to air their sketchbooks in public, whether on online platforms such as Behance or Dribble, or as part of project case studies on their own websites, or released to the design press.

Logo design: Twitter

Twitter’s most recent icon is built around a series of interlocking circles that, according to this diagram, conform to the ‘golden ratio’ of 1:1.618

Often these workings include the technical side of a design’s composition, revealing and discussing the grid that underlies its construction and the specific curves and angles that define the shape. 

Such projects can be invaluable reference points to inform your own work, and can help make abstract design principles such as the golden ratio come alive in application.

04. Employ negative space

Logo design: NBC

Even the most subtle use of negative space can be incredibly effective. For NBC, it only takes a little notch to transform six rainbow-coloured droplets into a peacock

Smart use of negative space in a mark can raise a smile, using wit to aid brand recognition. As discussed, FedEx is an oft-cited example of smart negative space used in a purely typographic mark, but there are plenty of stand-out examples of symbols employing it too.

Used cleverly and appropriately, negative space can also pack extra meaning into a logo design, reinforcing the theory that simplification through subtraction can lead to a more memorable brand mark.

05. Make use of wit and humour

Logo design: Amazon

Turner Duckworth’s Amazon logo is an oft-cited example of cheeky wit in branding

Negative space is just one way to raise a knowing smile. The late, great Alan Fletcher, founding partner of Pentagram, was one of the leading pioneers in employing simple wit in graphic design, a practice that lends itself beautifully to logo design in particular.

Originally written by Beryl McAlhone and David Stuart and revised and updated by Nick Asbury and Greg Quinton at The Partners (now Superunion), seminal design book A Smile In The Mind: Witty Thinking in Graphic Design is an ideal reference if you’re keen to introduce wit and charm in your work, packed with inspirational examples from the world’s leading exponents, including Fletcher.

As Quinton and Asbury say in their introduction to the 2016 version: “Wit is big business, integral to the success of giants such as Google, Apple and Coca-Cola… wit is the alchemy that turns suitcases into adventure vehicles, vacuum cleaners into household friends.”

Next page: Colour theory in logo design

The psychology of colour is fascinating, and plays a pivotal role in building a brand association, whether you’re crafting a symbol-based logo or a wordmark. 

Here are five logo design tips to help you employ colour theory in your work.

01. Understand the colour wheel

At the core of colour theory is the colour wheel, an essential tool for combining colours in different ways that was originally sketched by Sir Isaac Newton in 1666. The most common version features 12 colours, based on the ‘RYB’ colour model.

Here, the primary colours are red, yellow and blue, with the three secondary colours (green, orange and purple) created by mixing two primary colours. Finally, six tertiary colours are created by mixing primary and secondary colours.

Logo design: Colour wheel

The colour wheel basics explained

There are six main techniques for creating pleasing colour harmonies using a colour wheel. Complementary colours are opposite each other on the wheel (such as red and green, eg. Heineken, or blue and yellow, eg. IKEA, which tweaked its logo design very slightly in 2019); analogous colours sit next to each other on the wheel; and triadic colours involve three evenly spaced colours around the wheel.

Ikea logo

IKEA’s complementary colour scheme is instantly recognisable, and makes for a punchy, high-contrast logo design

Other schemes include split-complementary (which uses two colours adjacent to the main base colour’s complement); rectangular, a four-colour scheme based around two complementary pairs; and finally square, another four-colour scheme where, unlike rectangular, the colours are evenly spaced.

02. Manage colour schemes carefully

Many of the colour harmonies above require careful management in order to be successful in a logo design, and colours often shouldn’t be used in equal quantities.

Complementary colours can be too intense if used excessively, for instance, while analogous schemes have the opposite problem: they are gentle and pleasing to the eye, but lacking in contrast – and you should select a dominant colour, using the others as support and accent colours only.

Logo design: BP

Landor’s rebrand of BP attracted its fair share of controversy for ‘greenwashing’ the oil giant, but one thing’s for sure: it’s a great example of an analogous colour scheme

Triadic schemes are much more vibrant, but again pick one dominant colour of the three. For beginners, it’s often safest to opt for a split-complementary scheme as there’s a good natural balance of contrast and harmony.

Rectangular and square schemes are both relatively versatile given the extra colour to play with, but again one should always be dominant – and you should pay particular attention to the balance between warm and cool colours.

03. Use colour to control mood

Logo design: McDonalds

Like BP, McDonald’s is an example of an analogous colour scheme – but on the warm side of the spectrum, to invoke feelings of happiness and fun

Your choice of colour palette can make or break a logo design, partly for simple aesthetic reasons, but also because of the psychological associations of colours – which we touched on briefly as part of the Bauhaus theory on the previous page.

On a simple level, colours on the warm side of the spectrum – such as red and yellow – are bold, uplifting and energetic, while their cooler counterparts, blue and green, exude calmness and feel more reserved. 

This is particularly relevant when it comes to branding: on an emotional level, in terms of how consumers feel when they look at it; but also on a practical level, in terms of market standout.

Read our designer’s guide to using colour in branding for more on this.

04. Research sector-specific colour trends

Logo design: Cadbury

Sometimes ownership of a colour becomes a legal matter, as in Cadbury’s battles with Nestle to protect the use of its distinctive shade of purple

A brand 'owning' a colour in its sector can provide an enormous competitive advantage, achieving instant recognition – in some cases even without a logo, or even a mention of its name.

Of course, owning an entire colour isn't easy, and it goes way beyond the logo design: skilful planning and execution is needed across all elements of the brand and its advertising. 

Depending on the popularity and market saturation of a particular colour, we could be talking as specific as an officially registered Pantone shade (such as Cadbury 2685C), or as general as being the only brand in competitive set to use that colour.

In order to achieve colour-based standout in any given market sector, the first step is to understand what the prevailing trends are – blue, for instance, is commonly used in the financial sector, while green is frequently found in branding for environmental organisations. Sometimes it pays to avoid the obvious.

05. Don’t forget black and white

Logo design: Woolmark

Designed by Italian graphic artist Francesco Saroglia, the Woolmark logo is a triumph of monochromatic design, and is lauded as one of the greatest logos of all time

After all this talk of colour, it’s easy to forget that some of the world’s most iconic logo designs are purely monochrome, and make powerful use of the stark contrast that this palette affords.

Of course, even if your primary logo design is in glorious technicolour, it still needs to work effectively in black-and-white for different applications. 

If your logo design uses colour to convey meaning, think about how you can reflect that meaning when the colour is removed. Sometimes this may mean changing the contrast between different elements of your design so that they still convey meaning when reproduced in monotone.

Next page: Putting your logo design into practice

Logos don’t exist in isolation: they need to be applied. Once you’ve perfected your logo design, the final stage is to bring it to life as part of a wider branding scheme. 

Here are five logo design tips to get this important final stage spot-on.

01. Always get a second opinion

Logo design: Brazilian Institute of Oriental Studies

Logo for the Brazilian Institute of Oriental Studies. Presented without comment

Don’t underestimate the value of a second (or third) pair of eyes to identify things that you might have missed during the design stage. Once you’ve worked up your logo design concept, always make the time to sense-check it for unforeseen cultural misunderstandings, innuendos, unfortunate shapes and hidden words and meanings (see our logo design fails for more examples).

Many design studios advocate pinning work-in-progress up on the walls to enable constant peer review, but if you’re a lone freelancer then try to find some trusted peers to cast an eye over your work – and return the favour, of course.

02. Develop the rest of the brand world 

A logo design is just one small component of a branding scheme – and should be developed in tandem with other activation points as part of a wider ‘brand world’.

This term is integral to the branding process at London agency SomeOne. And as co-founder Simon Manchipp sets out in the video interview with Computer Arts above, it’s much better to achieve coherence between different elements than simply consistency.

“Consistency is solitary confinement – the same thing every day,” he laments. “Cohesive is different: a more flexible, smarter way of doing things.”

03. Consider how to bring it alive

In the modern branding marketplace, a static logo that sits quietly in the corner of a finished piece of design work is often not enough. Consider how your logo design could come alive in motion for digital applications, and collaborate with animation or motion graphics specialists if necessary to explore its potential.

Here are a couple of examples of logos brought to life through animation: firstly, Function Engineering by Sagmeister & Walsh, which adds a playful, Meccano-like twist to the mark. Note that Sagmeister & Walsh is no more, see our story on new studio &Walsh.

And secondly, the University of the Arts Helsinki by Bond, which bends, twists and distorts to enhance the dynamic, modern feel of the type-led logo.

Logo design: UAH

University of the Arts Helsinki’s animated logo twists and jumps

As VR trends continue to evolve, more advanced immersive brand experiences are becoming increasingly accessible, and in recent years branding agencies have also explored the potential in generative design and user participation to introduce a much more dynamic, unpredictable component to logo design.

This is not always possible, of course, but keep an open mind and experiment with new techniques when you can. 

04. Help your client roll it out

Thorough brand usage guides should cover everything from colour options, to minimum and maximum sizes at which logo designs should be used, positioning rules, spacing – including exclusion zones from other design elements – and any definite no-nos, such as stretching or distorting. See our favourite style guides to see how it's done. 

Some agencies swear by them to ensure a smooth, consistent handover to a client’s in-house team; others feel they can be overly restrictive and prescriptive. 

05. Deal with public criticism

Logo design: Premier League

Like Airbnb the previous year, DesignStudio’s high-profile rebrand of Premier League attracted more than its fair share of criticism from traditionalist football fans

Over the last few years, social media has become more prevalent, and every man and his dog has developed an opinion about design. Accordingly, this final point has developed from an occasional annoyance into something that anyone working on a relatively high-profile rebranding exercise should bear in mind.

As we’ve set out above, a great branding scheme is about much more than just a logo design, but on platforms such as Twitter, when a newly released project is often encapsulated by a single image, this is often the first and only thing the public jumps upon. 

London-based DesignStudio has experienced this backlash several times in the last couple of years, first with Airbnb and more recently Premier League – it explains how it deals with social media criticism in the video clip above.

Logo design: Mozilla

Johnson Banks’ open-source Mozilla rebrand whittled down various creative routes in the public eye, taking feedback on board

Johnson Banks embraced the growing interest in design, and harnessed it during the design process itself in a hugely ambitious, fully open-source rebrand of Mozilla – involving the public at key stages of the process and enabling them to steer the creative routes chosen. Firefox also took a similar route in 2018, and asked the public to help pick its new logo. 

Be thick-skinned: take valuable feedback on board, and let the rest wash over you.

Related articles:

The best audio logos and why they workWhere to find logo design inspiration5 logo redesigns that got it right

5 Resources to Help Identify a Font

Original Source: http://feedproxy.google.com/~r/1stwebdesigner/~3/y34DNspwCbM/

Every designer has had this problem: You visit a website or see a graphic with an awesome font you’d love to save for use in your next project. But unless the font is credited somewhere, which it often isn’t, there’s no way to easily tell what its name is.

Luckily, you no longer need to spend hours combing through font sites trying to find similar typefaces. Several resources exist online that can help you quickly identify any font – or at the very least, find a similar one.

Let’s go over a few of the best font identifiers now.

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WhatFont

Example of WhatFont

Want to hover some text and instantly see what font it is? WhatFont does just that, naming almost any font on a website at the click of a button. It can also identify fonts that are served from Typekit or Google Fonts. Get it for Chrome, Firefox, or even as a bookmarklet.

The one problem with this is that it only works on webpages; if you need to identify fonts in an image or photograph, you’ll need to use one of the services below.

WhatTheFont!

Example of WhatTheFont!

With one of the largest collections of fonts at 130k, WhatTheFont allows you to compare the typeface in any image against the huge selection at MyFonts. Just drop in an image and adjust the crop box to the text you want to identify. You can even use images with multiple fonts and lines of text.

The search results show the text within the crop box so you can compare it directly, and just keep clicking “See more” to get more results.

You’ll only find commercial fonts however, so if you know that a font you’re looking for is free or want to find free similar fonts, this might not be the best tool.

Font Finder

Example of Font Finder

Font Finder is an advanced tool that compares fonts against a library of 550k. It takes a bit more work to set up and has some limitations, as more than one line of text or more than one font in the same image can confuse it.

To make up for this, it comes with an image editor that allows you to increase contrast for dark images, crop out irrelevant portions, and reduce noise, among other tools. These allow you to get more accurate results than other font finders. You can also sort results by free or commercial.

Fontspring Matcherator

Example of Fontspring Matcherator

Upload or link to any image, crop the text you want to identify or rotate flipped images, and you’re on your way with this identifier. It automatically matches shapes and glyphs, but you can manually input glyphs as well. You’ll find free and premium fonts in the results, and just click to see the download page.

Identifont

Identifont

If all else fails, or if you’re trying to identify a popular font, try Identifont. It asks you a series of questions about the typeface’s style, then gives you a few results and several similar fonts. It also lists info like the designer and where to buy it.

Find Any Font

Before these font identifiers were popularized, it was a time-consuming process to locate a font you were looking for.

Your best bet was asking the person who made the graphic or website. And if you found it in the real world, all you could do was search through font repositories or even books of fonts. And there was no guarantee that you would ever find it.

Thanks to these programs, that’s a thing of the past. Now, just take a screenshot or scan a font and get results in seconds. Even if you can’t locate the exact typeface, you can still try the similar fonts in the search results instead.

Try them out next time you stumble on a font you want to try. You’ll be surprised at how accurate these tools are.