Fitucci Co., a comprehensive source for superior custom doors and windows, wanted to redesign their old logo and wanted the new one to be simple yet sophisticated. They also wanted the new logo to reflect professionalism, quality, uniqueness, luxury, innovation, and elegance.

After researching the company’s industry, the next stage was developing the logo. Ideas were sketched down and then experimented on a computer. The concept behind the Fitucci logo is based on the fact that the side rectangles can either be seen as windows or doors. After many experiments, the company was shown the completed logo and loved it. The large spacing in between the letters allows for the logo to be scaled down to an extremely small size and still be legible.

Another version was made for use in larger/smaller publications and for places that don’t require the text underneath the logo. When designing the logo, four principles were kept in mind: the concept, the typography, the colors, and the execution. The typeface used in the logo is a geometric one known as Avenir, chosen for its legibility and geometric nature that portrays modernism and functionality – reflecting Fitucci’s industry. The spacing between the letters gives it a sophisticated and luxurious feel as per the design brief.

Peter Verheul has designed a custom typeface for all forms of visual communications as part of the new brand identity of the Dutch government. They want to position themselves into society in a new way. There are currently 200 departments and ministries which all have different logos and use different typefaces as their brand identity.

From the beginning of 2008, Verheul was asked to take his typeface Versa and transform it into something usable for a larger audience. He changed the look and feel of the Serif version of Versa Serif and created a complete new set of letters for the Sans version. The fonts are named Rijksoverheid Sans and Rijksoverheid Serif – recognizable as “government” and used in every way of visual communication.

Rijksoverheid Sans will be used mainly for headings of text and in signage or wayfinding systems. Rijksoverheid Serif is used as bread letter for reading text. Verheul managed to finalize the fonts and released them in four different variations, from Regular, Italic to Bold in just less than nine months. At the moment, only the parties involved in the brand identity process have access to the Rijksoverheid typefaces.

After a year of consulting with members of the Bowdoin community and working with a graphic design firm, the Office of Communications and Public Affairs hopes to have fixed the Bowdoin polar bear’s identity crisis in their selection of a new logo. The polar bear has been through many graphic incarnations in its 96-year tenure as Bowdoin’s mascot.

The new logo is intended to serve as a consistent and timeless graphic identity for Bowdoin College. The new logo was conceived by the Morrow Creative Group of Portland, Oregon, alongside committees of Bowdoin students, faculty, staff, and alumni, and depicts an anatomically correct polar bear, rendered in a stylized black line drawing.

A cropped version of the new logo features the head of the polar bear of the main logo encircled in a black ring. Additionally, an entirely new typeface was developed for use in conjunction with the new logo. The polar bear became Bowdoin’s official mascot in 1912. Its affiliation with Bowdoin athletics is especially strong and the polar bear is also the mascot for all aspects of the Bowdoin community.

It is important to keep things simple. First, one must decide the purpose for the logo: for a company, service, or product. It must also be decided if it will be both a name and icon or name alone. Research should be done, starting with a list of existing logos and grouped into competitors, industry, likes and dislikes.

Design the logo in black and white in order to help one focus on typeface, shape and size. A design can easily translate into color but the reverse is more difficult. Make sure the company name is clear within the logo – if potential clients cannot read it, they may not contact you. Choose two colors as this is most cost effective to print.

Use a maximum of two typefaces and choose the style appropriate to your company but not too predictable. The logo must be legible in a variety of sizes and readability should be tested by shrinking it to the smallest possible usage size. Avoid using clipart as it will only look amateurish. If you can’t design the logo yourself then hire a professional to do it for you. Tryout a mockup of the logo on a variety of materials like letterhead, business card, and brochures.

Tasman District Council has decided to simplify its “Tasman District it’s the lifestyle that counts” logo to just the words, ‘Tasman lifestyle” in an effort to have a more relaxed and less busy logo. According to Tasman’s mayor, the new-look two-word logo illustrates the district as a rural area with a good environment, and a nice place to live.

The new logo was replacing one that was too busy, with a lot of colors and outlines, and too many words in an outdated typeface. When the old logo was on a moving background, like a flag, it was diminished. On a small scale, like a business card, it was too small to see and on a window it lost clarity. Minor changes were made to the style of the logo, mostly to aid with reproduction, and irrelevant words were removed, leaving just “Tasman lifestyle.”

The typeface was updated as it was not in keeping with the region’s relaxed, nature-lifestyle image. The new logo has been gradually rolled out, replacing the old one in stages. Big brands with lengthy logos often struggle to get recognized and this is even more of a challenge with destinations because people are more focused on the place and not the advertising. According to the Tasman Deputy Mayor, there was no real cost involved in changing the logo.