Volume I | Issue no. 5
The Use Of Language In Logo DesignContent is third in the sequence of recognition behind shape and color because the brain takes more time to process language. Letterforms can be very powerful in creating content and meaning. The use of initials as an identifying mark has been around for centuries since medieval kingdoms became economic enterprises. Letterforms are often abstracted to create clever symbols which act as metaphor for the core brand positioning. These symbols combine a strong form and shape that influences content.
Many logos consist of only the name of the destination without any iconic symbol. These wordmarks or logotypes range in complexity from straightforward typesetting of an existing font, to a completely custom typographic mark. The most effective wordmarks have something unique embedded or changed in the typography that create metaphor and imply meaning. It can be a clever graphic inserted into the word, a texture applied to the letters, or the transformation of a letter(s). Too often travel and destination brands rely on cliches such as script typography to denote luxury, even though it doesn’t necessarily distinguish or get to the heart of the brand. It's not that these logos aren’t nice on the surface, but do they really speak to the core of the brand message? It's hard to understand why so many believe that script type is the only way to attract a luxury customer.
If you’ve ever had the pleasure of staying at the Lake Placid Lodge, the script type should confuse you. The Lake Placid Lodge is designed in the Adirondack Great Camp tradition. The script type has little to do with the resort’s heritage and brand position. | ||
This is a wonderful article. Beautifully and cleanly written. The documentation is persuasive and relevant. A terrific job on a potentially dull subject.
Thanks for this great, detail-packed newsletter. I really enjoyed your examination of logos from different angles. Design is not my strong suit, but I once heard something that seemed to make a lot of sense and stuck with me. I was told that a good logo can be easily drawn in the sand with a stick. I've measured the logos that have struck me as effective over the years against this principle, and it has really stood the test. The Windham logo you mention certainly passes this test. I'd love to read your thoughts on this.
Mark
There is some truth to your comment about being able to draw a logo from memory. I don't necessarily apply 'anyone has to be able to draw it' rule in order for a logo to be a good logo, but that benefit can help a logo have what I call the sticky factor.
Take for example the Peace Symbol. Anyone can draw it and they did - and still do. There are very few symbols that work that way and certainly very few that have become a movement. But because everyone can draw it and get it right, even if it is a scribble it can be adopted easily and grow. This enables that sticky factor. That doesn't mean it is a well designed logo, only a sticky one.
I loved reading this. It definitely took me back to your Graphic Design for Corporate Identity class, and helped in brushing up on my brand identity knowledge. Especially since I have to rebrand how the United Arab Emirates is viewed on the web. Thanks!
Thank you for sharing. It's always great to go back to the core of branding and remember why a logo is so important. This has reminded me that my love really is graphic design, something I seem to slowly be forgetting while working in the toy industry.