Andrew DesignsBrand Development

When beginning a design we start by

playing with the words

Theseresponsesarechildish,diffiult

tounderstandandlackmeaning.

Wecanplaywithletterformsandcome

upwithaclevermixtureofsymbolsinan

attempttoconveynewdesigner.

Theseshapesclashtoomuch,Msits

harshly against the A and there is

awquardwhite-spacesurroundingthe

letters.Furthermoretheoverwhelming

natureoftheshapesuggests

construction,roadsignsandarchitecture,

not Graphic Design, typography or

modernist.

Mahercontrastsagainsttheshape,it

hastogo.WeareleftwithAndrewandan

opportunitytoplaywiththesecondword.

Amodularthemehowevercreates

dischord,whenabrandmustbeunified.

Difficultrulesgetputintoplayandifthey

arebrokenthebrandingisruined.

Asinglewordmustbesettledupon,

whynotmakethelogoaverb?

Thissolvesaproblembutleavesopen

another, how do I design and what do I

design?Apennibisintroducedtoinform

theviewerthatIdesigninawaythatis

relatedtopens.

Redischosen,notonlybecause

itstandsoutinfrontofaviewerbut

alsobecausebesidesblackitisthe

typographerscolour.Iamatheart,a

typographer.

The organic lines of the pen nib sit in

strongcontrasttotheconstructedlines

ofthetypefaceFFDin.Anotherfontmust

bechosen.

IdreamofworkingforMichaelBierut;the

greatAmericandesignerforPentagram

andmyfavouritetypographer.Hedesigns

oftenusingITCFranklinGothic,thelogo

hecreatedforMOMAissetinthis,itwas

thefirsttypefaceheusedstraightoutof

Vignelli Associates and it is one of the

finestexamplesofAmericanspragmatic

approachtodesign.itistheideal

typefaceforthisjob.

FranklinGothicscontrastingstroke

weights also sit perfectly against the

organic lines of the pen nib, creating a

perfectharmonyinthelogo.

Thiswasthebranddevelopmentfor

AndrewDesigns.