- By now I've completed a study
of wordmarks, monograms, and icons.
I've narrowed my selections down on each approach.
Now it's time to combine them,
wordmark with monogram or icon.
I still have my defining attributes on a Post-it note
stuck to my monitor so I can refer to them
and make sure I'm not riding off the rails
and designing something that has nothing to do
with my project.
Many designers simply take an icon
and stick it next to a wordmark.
Yes, they work together,
but they are not two distinct elements
that sometimes need to be together.
The combination is the logo, all elements together,
a unified logo that feels harmonious and connected.
This is a confluence of factors, meaning, attitude,
shapes, scale, and positioning.
You're merging the complex forms of typography
with an icon or other letter forms.
It will take some patience and exploration
to reach the best solution.
Start by using the same 11 by 17 format
as the other studies.
Now take your three or four wordmark choices
and place them on the page,
and do the same for the monogram and icons.
Now it's time to mix and match.
I know it doesn't sound particularly analytical.
I'd love to give you a set of algebraic equation to follow,
but this is one of those times when you won't know
if it works until you try it.
This is still an exploration.
You are slowly funneling your options down
to a tighter selection.
Think of this as trying out an outfit.
I can match different shirts with the same khakis,
then change into jeans and do it again.
Now combine each wordmark with each icon.
I'm still in rough draft mode
so I'm not concerned about the exact position
and scale of both elements yet.
Next, combine each wordmark with each monogram.
Like our other explorations, some of these will be bad.
I've had a solution in my head
that I was convinced was the right choice.
Then putting it together in reality proved I was wrong.
And sometimes a combination
I'm sure will not work looks great.
Once you've completed this task, choose your favorite three.
It's time to create the logo lockup,
meaning the way the elements work together.
On each logo, create a grid to unify the forms.
Divide the height of the icon into several lines.
You now have a consistent proportional unit for placement.
Each grid area is one unit.
Does the icon scale to be six or eight units tall?
Is there one unit between the icon and wordmark?
Doing this helps ensure that the forms will be related
to each other and not arbitrary.
Feel free to use one half units
or base the structure on the size of the type.
And explore other options.
Try more horizontal guidelines or less.
You're not forcing your logo into the grid
but finding a grid that works well with your solution.
The final version of this is now the lockup.
If the icon and wordmark are separated,
the brand message could be weakened.
The logo is the way they will always be combined.
It is a single unit and piece of art that isn't adjustable
by others using the logo.
It sounds uptight, but you've taken the time
to manifest abstract concepts of the brand message
into a physical and visual form.
Multiple variations of an idea were explored and refined.
This deserves respect.