Logo design process for VISSUMO

VISSUMO is a provider of next generation touch technologies for industrial, architectural, retail, transportation, instructional, and entertainment applications. The company has recently undergone a name-change, from Infini Touch to VISSUMO, and it was my task to create the new logo and business card.

Design brief

My client expressed concern that it would be too difficult to capture the company technology using an image or mark, and a logotype was preferred from the outset.

This ties in with a rule I like to follow revolving around company names — an interesting or original name (such as Vissumo) should utilise a simple design (think Google), whereas a generic name should show a more complex design (think Sun).

Specific keywords for the project were clean, professional, durable, and technology-based (which gave me thoughts of a sans-serif font).

Brainstorming

Sketching

Logo option 1

A visual slice has been taken from the text, leaving a symbolization of two surfaces — the finger and the touch-screen. The slice doesn’t travel the full width of the company name, with the leading character (V) forming the connection that drives the technology.

The typeface used is Verlag Black, by H&FJ.

Logo option 2

The designer who came up with the VISSUMO name wanted to create a “visual” reference, with “sumo” having a size connotation. This design idea splits the syllables, placing emphasis on the visual, and incorporating a surface-like mark.

The typeface used is Knockout Sumo.

Colour options

We experimented with a number of different colours, with the final decision coming down to either red or blue. As one of the main competitors uses red (3M Touch Systems), the options (above) were decided against, and you can see the chosen blue below.

VISSUMO logo applied to the website

VISSUMO business card design

VISSUMO durability tests

The unique selling point is that users can interface with any semi-rigid touch screen surface — glass, plastic, metal, stone, wood, ceramic, or a combination of materials.

VISSUMO touch screens can withstand the force of a 9mm bullet — impressive (Engadget thought so too).

Test video #54 (spray paint vandalism) is another I liked, and you can view more VISSUMO video demos here.

Client testimonial

Because of a spin-off, our business needed to update our name and logo in a short time period. I was familiar with David’s work, but not sure if he could work with our time frame. To my delight, David accepted the project and quickly completed a fantastic design. We feel he understood our goals and created a great logo we can use for a long, long time. Kudos.

Garrick Infanger
President, VISSUMO

It was a pleasure working with Garrick, and I wish the VISSUMO team every success for the future.

HP invent

Hewlett Packard set a design brief for the recent D&AD Student Awards, and one result in particular stands out.

Brief:
Present an idea which promotes HP Workstations ability to bring to life anything the creative mind can conceive.

Response:
Focusing on the synchronisation of a range of HP products, printers become an orchestra in an aesthetic symphony conducted by HP Workstations.

HP - invent from Tom and Matt on Vimeo.

Filmed, edited and directed by Matt Robinson and Tom Wrigglesworth.

The two designers are recent graduates from the Design Communication degree course at Kingston University, London, and they’re currently looking for experience within the creative industry.

Good luck in your search, guys. Love the video.

HP – invent on Vimeo via Johnson Banks.

Music © Round Table Knights.

Henri Ehrhart logo design process

Henri Ehrhart is a French wine producer in the Alsace region. Cyrille Ehrhart asked if I would redesign their corporate identity, and it was a pleasure to do so. Here’s an insight of the logo design process.

A brief introduction

The company has been operating for more than 50 years, and is focused on standard and medium range wines (mainly distributed in supermarkets). It sold 4,500,000 bottles last year.

“We are a young and dynamic company but with a strong historical past. (today we are the 7th winemaker generation) a brand who is accessible and reflects a product of high quality.”

Cyrille requested a simpler design than the previous logo (shown here).

The previous heraldic logo is too detailed to work across a wide range of applications. The serif type offers a traditional feel, but the crest-like symbol won’t work efficiently at small sizes without the loss of detail.

Brainstorming and sketching

I researched topics including the Alsace history, wine production techniques, the notion of terroir and Henri Ehrhart’s competition.

I presented ideas relating to the Alsace region, such as crowns from the Alsatian flag, and the stork — part of Alsatian scenery for many centuries. The initial designs were deemed unsuitable, and after clarification a number of new concepts were drafted (some shown below).

Unused design #1

Leaves signify growth, the vine, and the rolling hills of the Alsace region. The pattern is arranged to mimic the rising sun along with the high amount of sunshine symbolic with the Alsatian vineyards. The curve subtly represents the form of the grape, while the repeating pattern offers a sense of continuity, suggesting the 50+ years tradition of the company.

A single leaf icon can be used as a separate design element for a variety of purposes e.g. website favicon, embroidered motif, pin badges etc.

Client feedback stipulated the need for a simpler, less aggressive design, favouring the creation of a monogram.

Unused design #2

The “HE” in the above monogram represents a wine glass and bottle.

The smooth, flowing lines relate to the young, dynamic brand of Henri Ehrhart, with the traditional typeface keeping a level of heritage.

When the mark is used in isolation (without the name) it clearly tells a relevant story, although client feedback ultimately ruled it out.

“It is more important to express the origin of the wine (soil, vineyard, grapes, vine stock, leaf, vine shoot) rather than represent the objects we use to taste the wine (glass, corkscrew, bottle).”

Chosen idea

The revised “HE” monogram is formed using a hand-written script (my personal hand-writing) to offer a unique, more flowing and natural outcome than shown previously. The curves symbolise the vine shoots from which Ehrhart grapes are grown, as well as the hills of the Alsace region and the roundness of the grapes hanging from the vines.

It works equally well when reversed, and one of the final steps in the process was to send a PDF with various colour options (link downloads a small PDF file I sent to Cyrille).

The new identity is more adaptable than the previous heraldic crest. Picture it appearing online as an animated signature, or as a stamped seal of approval on boxes of wine being shipped overseas.

In total, I created six different logo options (with some variations around each idea), and the timeframe from initial contact to supply of final artwork was approximately six months.

Client testimonial

We were looking for a logo with a touch of modernism. David grasped our needs and produced a stunning design. When feedback was needed, new versions of the logo or any modifications were made very quickly. We really appreciated David’s flexibility and efficiency. It’s great to work with someone so open-minded and responsive. Thank you!

Cyrille Ehrhart
Henri Ehrhart

The art of packaging

Procter & Gamble coined the phrase ‘First Moment of Truth’ (FMOT) referring to the consumer’s first exposure to the brand – at the shelf in a store. At that split second, the first impressions of the brand are formed.

The “first moment of truth,” as P&G calls it, is the three to seven seconds when someone notices an item on a store shelf. Despite spending billions on traditional advertising, the consumer-products giant thinks this instant is one of its most important marketing opportunities.
[Dina Howell, director of FMOT at P&G] says packaging should “interrupt” shoppers on their shopping trip. P&G has developed a set of questions that a package must answer: “Who am I? What am I? Why am I right for you?”

The appeal could be a function of packaging, display, merchandising – the entire gamut of possible interactions with the brand at a store level. The importance is heightened in modern trade formats where it’s a one-to-one between the brand and the consumer. In this context, packaging – the form, shape, material, brand name and graphics – is paramount, specially in consumer goods. In India, my impression is that we are not as advanced as the West when it comes to quality of packaging design & graphics. It is not yet a widely practiced specialist function. Part of the reason could be that Art Schools place less emphasis on this discipline and most Advertising Agency art directors are more comfortable with mass media advertising. In creative award shows, Packaging is just another category. The bigger categories hog all the limelight. Radio, on the other hand has specialist award shows like the Mirchi Kaan Awards. And helped by the FM phenomenon, Radio is seen as a category where creative work can be done. And it shows in the importance given to the medium by Creatives.

There is no dearth of inspiration from the West. Herewith some packaging that caught my eye:

Traidcraft Tissue

Toilet paper. Kitchen towels. Wipes. Not the words that evoke great imagery. And if you are the designer responsible for the packaging design, having fun wouldn’t be on the top of expectations with the project. But look at what Studio Blackburn did with Traidcraft Tissue range.

This won a Silver at the 2009 European Design Awards, under Packaging (Miscellaneous).

Help, I Need Help

I had neither heard of Help Remedies nor seen this packaging before. But I am sure for all of us this completely changes our mental images of pharmaceutical products.

Simply loved the nomenclature and the ‘dare to be different’ approach to packaging.

Cosmos Paint

The ads are colourful. The cans aren’t, usually. The environment in which it is sold is also dull and unlikely to be ever visited by the end consumer. It could be different in Greece, where this was designed.

Agency: K2Design

Waitrose

A typical reaction (and perhaps right) to this would be: this won’t work in India. Labels in this category tend to be filled with graphics and copy, but this could appeal to clients who address the very top end of the market in India.

Designer Turner Duckworth, United Kingdom

Designer: Lewis Moberly

Designer Pearlfisher. Loved the way the designer has organized his portfolio.

Rexona Men

While packaging designs for sophisticated, high end markets can afford some experimentation, this is as mass-market and supermarket shelf as you can get. And I think it evokes an instant, positive reaction.

Agency: Pierini Partners

This was awarded the Most Irresistible Packaging Solution by Unilever in 2008 and also won at the Penta Awards, 2008.

Tesco Tortilla Chips

A Platinum Award winner at the Penta Awards, 2008 this supermarket design for Tesco Tortilla Chips takes a quirky approach with the use of a Mexican character.

Agency: Pemberton & Whitefoord, UK

The Harry Potter tweet ::: the chance to send potions and cast spells

In the UK for the release of the latest Harry Potter movie, Warner Bros has decided to "use" Twitter. On a dedicated website Twitter users get the chance to send potions and cast spells on the people following them.

via:Revolution

Sorry I'm a copy cat

the Copy

Credits:

Client:Tunisiana

Ad agency: JWT Tunisia
Music: Whan

the Original

Blink presents - Sorry I'm late - (2007) 3:11 (UK)

This stop motion animation was shot against a gym floor.

Credits:

Music composer Keith Kenniff

Written and directed by Tomas Mankovsky

Buzzing the Art Institute of Chicago’s Modern Wing

Energy BBDO helped create buzz for the Art Institute of Chicago’s Modern Wing using OOH, Print and Digital media - in short, they went all out.

The basis of their idea is that the most modern thing of the modern Wing is the museum itself - architecht Renzo Piano has created a fitting masterpiece to host all others.

OOH work included: train cards, bus kings, double-decker bus wraps, two-sheet posters, bulletins, retailer windows; while the Print included newspapers and magazines; and the digital space utilized banner ads. All elements worked together to bring news of the new wing of the AIC to Chicago, Mid-West and NY art enthusiasts.

print:

Credits:

Client: Art Institute of Chicago
Project: Opening of the AIC's Modern Wing
Agency: Energy BBDO
Photographer: Dave Jordano