27

Here's how I tackle layout and workflow concepts. Do something. Anything. And do that thing knowing that it doesn't have to be good. It just has to exist. It's not an end, it's a beginning. It's just a way to stop you from staring at a blank page. Then do an alternative design. Quickly. Don't think about it too much. Then another. Don't despair if they'...


20

Well since you all are leaving the question open here's my genuine answer: When I run out of ideas I like to do things like booze, sex, go to the beach, read, write, paint, sculpt, dance, travel. My mind has never been expanded less then when trying to force expansion while stuck. //Edit Wanted to clarify the booze - I mean among friends at a bar, lounge, ...


20

Real world use is not that applicable. Sure they are nice for the designer's eye... but in most use cases an ambigram is less clear and less defining than easy to read text/symbols. Form vs Function. If you can't immediately read what is being represented, then using an ambigram is often contrary to its overall purpose. In many instances ambigrams ...


18

When talking about textmarks the reason is probably: Designers do not usually get to pick the name. Therefore the palindromic/mirror and or rotationally symmetric quality of the logo is up to chance. While you can manipulate the situation a bit, conditions leading to this kind of feature are quite rare. At least if you intend to avoid hard to read ...


16

Something like this should get you started. The key is to imply motion by making the text appear to be trying to go somewhere. and because we read from left to right, make go from left to right. Otherwise it will appear to be moving "backwards". Note: the graphic is awful looking, but it is there to demonstrate a concept.


16

You may find this answer slightly off-topic, but let's look at what the case mixing means in that particular example rather than in general. To get some context, it's helpful to look at the other varieties of peanut butter offered by this brand. In this context, I think it's clear that each design is trying to convey something about the product's taste ...


15

I completely realize this is hypothetical, but that head appears to have been specifically created to correlate to the uterus. It's neither strong nor dominant in my view. I would not be comfortable presenting that animal head as being "strong and dominant". To address the unspoken issue.... I feel that people are always going to see things in your art ...


13

5 simple steps for producing ideas James Young's A Technique for Producing Ideas outlines a deceptively simple system that requires great discipline to complete. I followed pieces of his approach instinctively before discovering it but keeping Young's five steps in mind has helped me expand my output. Gather raw materials: Flood your brain with the subject ...


12

I'd start by looking into the business decisions for having both MyCompanyLLC and MyCompanyCo. It seems to be more of an accounting/legal distinction rather than any purposeful branding/marketing decision. At that point, you need to decide if the objective should be to better distinguish between the two companies, or if in the eyes of the customer (be it ...


12

To add a bit of science, here three things that are counter-intuitive but important to know about vision. They explain why viewers navigate visuals by drifting from a focal point, following any natural flow - and why it feels so much more jarring when there isn't a natural flow to follow. Your vision outside of the very centre of what you're focussing on ...


11

You're not alone in this problem - supermarkets and department stores also often need to advertise different products to different audiences in the same space. AFAIK, there are two basic approaches. Choose the first if your brand identity suits all three products, and the second if each product requires a different personality and tone. One brand, ...


11

I happen to have one particular image you may find useful. I didn't create this just happen to have found it and thought it was worth adding to my scrapbook of ideas. Its simple, eloquent, and even humorous while showing 3 distinct products that are, at least in theory, for 3 distinct demographics.


10

Simple answer: Curiosity. Some detail; It depends on the composition. @Yisela had some great examples of focal point (and balance) here, I'm going to use one to explain my thoughts on the eye movement. So example: Obviously you focus on the the people in the center immediately. But take a second to notice where you naturally looked next. For me, it ...


10

I've used a method where the boxes are actually pieces of post-it notes. Today I use cellphone sized ones because they are usually big enough. You can cut them in shape put text on them. But the best function is that you can move them about. Even better your client can move them about. The thing is the mockup stage can not look too finished. People who are ...


9

FedEx uses the arrow in their design: As other people point out italics often represent speed as well. Here's an image I found googleing for things that might help. This combines an arrow moving right (The direction that it is being read) with speed lines on the left (again, the direction it is being read.) In addition, the word "express" is in italics, ...


9

After researching and researching on the internet I was unable to find any official documentation regarding novelty notes. Yes there are ton of web sites that passingly state, "It's fine if you aren't trying to defraud." But some random web site having this posted with no follow up was not solid enough for me. The closest to an official stance I could find ...


8

Transfer the problem to something completely different. For example, if you are stuck with a webdesign, sketch what the design with similar brief could look like were it a building, a dress, a wallpaper, a airplane, ... -- The idea here being that you can forget about the actual limitations of your media and technical requirements and think about the ...


8

Look and feel is a brand thing Your visual decisions should not only be based on information architecture but an essence, a personality that's unique the brand in question. Your first steps should have nothing to do with execution. No type, colors, images, graphics. That will come later as a logical extension of the brand. Start with Demographics ...


8

Interesting and very big question. Research with eye-tracking shows that people "take in" a visual object differently. If you have a black-and-white image with one red dot, many people will have great problems afterwards to tell you what else but the red dot was there. However, placing another red dot somewhere will pull the gaze towards that too, and most ...


8

There is not only cultural variation, but there is also variation on a single culture during different time periods. Also, how people are affected by different color stimuli varies from person to person. Some studies find that color can affect mood. However, these studies do not agree on precisely which moods are brought out by which colors. The ...


7

My feeling is that if the company name is genuinely the same as the parent name with "Co" rather than "LLC," you should do a variation on the LLC branding. Not an exact pickup, but let's say if the LLC's corporate colors are burgundy and black and the typeface is Bodoni, the Co's logo should use a gray and a pale red (not a pink, but a tint of the burgundy) ...


7

Welcome to GD.SE, and thank you for a great question. It's one that challenges designers often enough that I'm guessing there will be plenty of answers. Based on what you say, I think the key is, "I'm confused because they are." The way to reduce any confusion, in design or anywhere else, is to pick ONE item out of the morass and start with that. It almost ...


7

The problem you actually have isn't the one you think you have, but it's one that every designer faces often: the clients actually have no idea what they're looking for, so they have given you a list of vague concepts instead of a clear design brief. Your job at this point is not to start trying to design something. It is to work with the client as long as ...


7

Can I just point out that the use of a combination of both have a long history? They are half-uncials) They were rather common in days of yore. You can see them for example in these kind of fonts: I know of places where people write capital R in a regular handwriting, otherwise consisting of lowercase. This I found in Ireland particularly, and maybe that ...


7

Control reactions with your pitch As a designer you should have a presentation/pitch deck ready to lead your clients through your vision and design choices. That being said if you didn't have one or use something similar to layout where you came from in your designs, you can mitigate the questions by then explaining your process and apologizing for any ...


6

One of the best places that I use to get creative is Stumbleupon. Between that and getting to the gym early in the morning, I can usually break out of a creative block. Creativity is all about discipline, but those two things help me a lot.


6

I think it's better to show 3 different concepts but that also depend on your contract and how much time you want to spend on this. With design, I like to say "everything is possible it's just more expensive." So it depends on the budget of the logo, how fast you create and in how much time it needs to be done. If you work as an in-house designer for a ...


6

If you listen to the godfather of corporate logo design, Paul Rand (and really, you should) you show one idea: The arguments for this approach is that the client has hired you based on your existing work. As such, they want your skill set and experience and they should trust your skill set and experience. You, as a trusted, experienced designer should ...


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