A Logo Redesign

Usually I don’t do instruction. But occasionally I like to show how the things I preach in this blog can be used to improve an existing design. If we can critique a design, we should be able to tear it down and rebuild it to make it work better, right?

This week we’re going to get into a logo I had cited months ago that certainly needed help. And seeing it on TV over this past weekend reminded me that this would be a good time to get into it. The designer chose a good font to start with, and that helps us as designers but also helps in understanding a few things in this lesson, one of which relates to type design, something that’s a pet subject of mine.

With a sans-serif font such as this one (Avant Garde), it’s much easier to see the letterform relationships: just how one shape of one letterform interacts with another by its close placement (proximity) to another. The elongated rectangular shapes make that much easier to see.

So let’s follow along, class, and see what’s going on. The top left visual shows the existing logo of the State of the Union show, emceed by the reporter Jake Tapper. The first thing we’re going to do is look at the way this was put together.

First, let me say that this logo has too many wacky things going on. Mixing uppercase and lowercase can work, but not so much with the major elements in play, here being the two large words, “State” and “UNION”. Not sure why the designer chose to mix them that way, because there is no interplay between them. Then we have two lines running between those two elements, having some unknown purpose. Notice the small space between the cap S and the cap U, which is not carried through to the two lines above it.

So with the top right visual, we can begin to look at just where those aforementioned relationships should occur. If you recall, one of the main tenets of good design is organization. And with organization, you have flow from one element to another. Good type design follows that tenet, because good type design recognizes letterforms as shapes.

I’ve taken the logo down to the main portions of it to illustrate a some of those wacky things apart from the uppercase and lowercase problem. And using a few dotted lines, we can see the things that are not lining up, consistently. The “t”s have almost exactly the same offset from the vertical elements below. The “a” misses the same opportunity with the “N” below it. And then those lines have a strange feature: they not only end at a place that has no relation to anything else in this design, they’re offset from each other where they end as well as each one being cut off on a diagonal. Not sure what the intention was with that—they play off no other diagonal. Maybe they tried to balance the overhang with the S on the other side, but that doesn’t work, either.

In the lower left visual, I’ve reset the design in a different alignment altogether, for a few different reasons. I couldn’t see the reason for the enlarged S and U, for one. I chose all caps because with just two main elements, it’s easier to line up vertical elements when you have stacked designs such as this. Here, the Ts go hand-in-hand with the U and I below, and notice how the A centers over the N right below it. Then I fattened up the type by choosing a bolder version of Avant Garde. There are a few things that still bug me, but we can bring it all together in a further step.

In the last visual, I’ve butted the word UNION up with STATE and kerned (tightened up horizontally) all the type. I like tight type arrangements. Also I’ve taken apart the U and widened it so the initial stem of the U is centered under the S, which also makes for a more unified type width across the word UNION. Then I set the small element “of the” in lowercase letters to fill the void at right.

It’s easily seen in the original design where the designer intended to use the United States flag colors. I would guess that maybe the two lines are supposed to reflect the flag’s stripes, but the stripes on the flag are red and white, while the stars are white. So…

Putting the star (now white) in the A where it lives in the blue ground like the flag (also as a shape more akin to the A itself) makes much more sense. Then I took the flag stripes and made them wave as a flag would do, but in the shape of the O. Finally, I added the words “with Jake Tapper” in a small area where you still pick them up visually.

Jake Tapper may not always be the host of the show (Lord knows, Meet the Press has had a few), and let’s face it, the words “State of the Union” are the important elements here.

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Tenets of Good Design, Part 1

  

Note: Dan Blanchette is taking the week off. The following is a reprint.

Design is organization. And without organization, we have no plan. We have noise, a cacophony. Let’s cite some examples.

Let’s pick music, for one. When you listen to a tune you like, it’s pleasant to your ears. The blending of instruments and the sounds they make produce something you find easy to listen to. Ever think of music as design? Well, it is. It’s organization of the notes on the sheet of music and the instruments to play that music—musicians call it “orchestration”. But it’s still design.

How about automobiles? There are cars people think of as great looking, others not so much. Why is that? A Chevrolet Corvette is a car most people would agree is a pretty sharp piece of work. A Pontiac Aztec, not so much. This is not comparing apples and oranges here: it’s merely an example of good v. bad design. One is pleasing to the eye, the other not.

How about this one: Let’s say we have a neighbor named Doris who has a bunch of framed pictures on her living room wall that have no purposeful arrangement. There are various gaps among the items, and upon asking Doris how she arranged them on the wall, she might’ve said,”Oh I just put them up in no apparent way. I just hung them wherever.” This is not design. Now we have our neighbor Gina, who has a similar arrangement in her living room. But this arrangement has maybe a close-quarter arrangement or grid pattern to it that makes it a much more pleasing thing to look at. She has a design.

One of the first things you learn in design school is how to compose an arrangement. There are terms like “dominant” and “subordinate” pertaining to shapes in that arrangement; but for the purposes of this article, let’s say you have a bedroom in which to arrange the furniture. You naturally place the bed first (because it’s the largest piece), then the dressers and nightstands follow. That’s pretty much how you design any arrangement. The placement of the most dominant first: that theme that flows throughout the music, the curving contours of that car, etc.

These are examples of cohesion. Good design has cohesion. Cohesive design is something you see, something you hear, even something you feel.

Most people (non-designers) can sense where and when they experience good design. But most people don’t know why they know it. But they feel it.

My cousin is a home builder. He has a good design sense, but he can’t define it. He just knows what “feels” right. And he’ll explain that in his homes that one thing “flows” from another or that the proximity—nearness—of one room or item to the next makes things easier for the prospective owner. To him, this feels like an organized plan. And he’s right. He’s a planner, an organizer.

Design is intentional.

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