DER
KAY
hi there.
i’m an icon
F
or this part of our final project we were asked to design logos for six different kinds of companies using the word of our object in the name of each theoretical company and a version of our object. Due to logos classically using visuals that follow the rules of semiology, I chose to keep my object and make one other version of it for use so that I could find intelligent ways to marry typography, secondary graphic elements, and my icon. The project serves a strong purpose for challenging us as designers to problem solve in such an intense way that come real world versions of logo design, we will have no issue finding intelligent ways to correlate two concepts as it is highly unlikely they will be as obscure as these were.
T
his logo is meant to grab towards that desire for quick breakfast foods that are healthy but also easily accessible like fast food. The heavy font (Futura Condensed Bold) and warm yellow is meant to echo an inviting space where things are bubbly, yet clean. Logo designs of this period have been very successful when using two colors, heavy line, strong fonts, and simple isotypic elements when choosing to emulate visuals. People tend to respond well to these elements, along with having the company’s purpose echoed in both visual and textual ways through the logo (the word ‘bagel’ and a visual bagel also).
115 M
I
n the case of Key Organics, the hope was to play off the form of the key to create a visual pun of sorts by having it create a barn with a green field of farm land extending out. In reality the coloring and minor additions create the sense of this when in fact the base elements are the outline of a key. The type chosen is again much like the Key Bagel logo is in the fact that it is a heavy weight, but it uses a nice curly serif form that then fills out at the ends. The text has also been set italicized to give direction for the eye to follow while also activating the visual portions of the logo.
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187 M
I
n the case of Key Mart, the big box store, the hope was to create a visual representation of the name that was aesthetically appealing while not limiting the demographic whatsoever. The color choice was meant to fall between male and female without being too pastel (fitting to more of a child style). The text line below is a curved rectangle that has a ballooning feel, which is echoed in the squeezed feel of the font as well as it’s heavy weight. The visual to text is seen in a silhouette of a key in the bottom shape making use of implied line and creating visual illusion that is captivating to the viewer, further encouraging curiosity and a heightened chance for consumer interest via design choices.
2935 M
L
aw office logos and branding tends to follow a very strict trend and although some may argue moving out of this realm could be intelligent in order to separate oneself as unique from the pack, however the choice elements currently employed are very effective in bringing in consumers already. For law, people respond well to serif text, ampersands, and catchy tag lines. In turn this logo sticks to all the classical rules while adding a few secondary elements. The key restates the office name through visual communication and the bounding stroked box gives a sense of control to the logo, thus tying in ‘lock’.
406 M
432 M
R
ecord labels are clasically about incorporating their individual style as people and a company into a logo so as to attract music artists while also branding the kind of company they are. Because it is an art field however and with how the industry has developed more music labels are focusing purely on effective typography and unique graphic design which attracts much more attention than musicly styled logos. Although some of them are still effective, the other style has worked well for many labels. In this case, I had to fit a key into the logo so I felt that the original style could be used better. The color red is strong and illicites varied emotion in viewers which is good for shock value. The record plays two roles much like other logos in this book. The font is clean and modern while also filling the negative space of the key neck, driving your eye to the record.
KEY RECORDS
KEY RECORDS
484 M
S
ports team logos tend to play upon elements of the sport itself coupled with strength, power, masculinity (if the team is male), speed, and all around glory. The goal is for the logo to embody the team’s essence, the sport, and a sense that those two things in conjunction equal winning. This logo is for a hockey team by the name of the Skeleton Keys. The font choice is meant to have a dark sort of essence. The color scheme also goes along with what one might imagine fits for ‘skeleton’. There is a lot of visual to textual plays within this logo. The key type is a skeleton key, there is a physical representation of the skeleton set inside the negative space of the key ring, and it is a key. Overall this sports team logo is meant to be frightening rather than strong (sharks, tigers, bears, oh my, etc.) but this is an equally effective method of grasping that same ‘winning’ essence that a sports team tries to embody within a logo.
406 M
designed / crafted by
elias theroux