March 2020 – Joshua Siegel’s Mastery Journal

Multi-Platform Delivery Mastery Journal

Overview

Multi-platform Delivery, the ninth course in the Media Design MFA program from Full Sail University, continued the development of a brand identity for a fictional client: Boxpark Sushi, located in East Side Milwaukee.

My classmates and I used the design briefs and media delivery plans that we developed in the previous course to create final logos and media assets for the brand. Finally, we collected all the brand details and visual assets into a comprehensive brand guide.

Connecting / Synthesizing / Transforming

This month I was reminded of the importance of proximity and space in graphic design. In an early draft of the Boxpark Sushi logo, the logotype suffered because it was three degrees away from stasis. In other words, the Boxpark and Sushi type were separated by distance as well as font and color differences.

Boxpark Sushi draft logo

To better understand the design principles of proximity and space, I read an article by Matt Smith on graphic design education website Edgee.net and chapters from the book The Elements of Graphic Design: Space, Unity, Page Architecture, and Type by Alex White.

As noted by Smith (2014), close proximity of design elements indicates a relationship or connection between the elements. Things that are unrelated are not grouped together. White (2011) agrees that the proximity of related elements adds unity to a design.

I applied this knowledge to revise the Boxpark Sushi logo. Although the fonts and colors are still different, I shortened the x-height of the Sushi type and overlapped the Boxpark type. Joining the type in this way strengthened the connection between the two elements to form an effective logotype.

Boxpark Sushi revised logo

Problem Solving

Creating a logo that stood out from other sushi brands was a daunting design problem. Sushi rolls and chopsticks are ubiquitous in the category, so differentiation required thinking of other elements that visually represent the characteristics of Boxpark Sushi.

Having established the Sushi Sensei as the personality of the brand, I sketched many logo concepts based on Japanese martial arts or philosophy, such as the Yin-Yang symbol. I also sketched many versions of the Sushi Sensei as a brand mascot.

logo concept sketches

The solutions featuring a simplified Sushi Sensei were more successful because they literally put a face on the brand while also expressing the brand’s characteristics (Yalanska, 2019).

Innovative Thinking

Restaurant mascots have become less illustrative over the years as designers recognize the importance of simplicity in logo design.

My own work on the Sushi Sensei mascot followed a similar arc as the design evolved from illustrative concept sketches to an iconified design where every shape serves a communicative purpose.

Sushi Sensei concepts, draft logo, and final logo

For example, the first rendered draft of the logo featured the sensei within a diamond shape that mirrored the headband diamonds. However, this design element was decorative rather than communicative, so it was removed. The bottom edge of the design now resembles an open book that reveals the sensei, expressing the brand’s educational aspect. The bowing expression with closed eyes was also changed to a friendly wink, expressing the brand’s fun side.

The final Sushi Sensei logo demonstrates innovative thinking by evolving quickly during the design process rather changing after years of public exposure. The simplified mascot also uses cool colors appropriate to sushi and wisdom rather that the bright red hues used by fast food brands to stimulate hunger.

Acquiring Competencies

The following are concepts, skills, or new resources learned in the Multi-platform Delivery course. They are categorized as Academic (pertaining to schoolwork) or Occupational (pertaining to work in the Media Design field), and Technical (pertaining to software or other design skills) or Conceptual (new terminology, procedures, or ideas).

Brand mascots are a powerful way to connect with a target audience. Mascots provide emotional triggers while supporting the voice of the brand. [occupational, conceptual]

Designers must consider font personality when developing a brand’s typography. The shape, weight, and angles of letterforms all have psychological associations with characteristics like strength or compassion. [academic, conceptual]

A logomark is a simplified symbol that represents a brand but does not include the brand name or other written words. [occupational, conceptual]

A logotype (or word mark) is a brand name that has been visually styled to reflect the brand identity. [occupational, conceptual]

To deconstruct a design means to analyze its separate components in order to understand how it helps communicate a message. [academic, conceptual]

Visual space is used to connect and separate elements in a design. Space also creates hierarchy and improves legibility while conveying a variety of meanings. [occupational, conceptual]

Colors and other design elements have different cultural associations and meanings. When choosing design elements, it is important to research the target market and make appropriate cultural considerations. [occupational, conceptual]

Close proximity of design elements indicates a relationship or connection between the elements. Unrelated elements are space farther apart. [occupational, conceptual]

Carefully organized project file management makes it easier for designers to locate important files and maintain a catalogue of past work. [occupational, technical]

When using design mockups, it is important to consider transparency with clients, appropriateness and inclusivity of the image, and the usage rights. [occupational, conceptual]

Clear space, also called free space or white space, is the minimum amount of space that a logo must have on each side. Without these guidelines, logo usage will be inconsistent and far less effective. [occupational, conceptual]

Adobe InDesign master pages keep layouts consistent across many pages in a publication. [occupational, technical]

A brand guide ensure that the successful brand identity solution continues to be used effectively and consistently in all all future designs and brand media. [occupational, conceptual]

References:

Smith, M. (2014, September 15). The Principles of Graphic Design: How to Use Proximity Effectively. https://www.edgee.net/the-principles-of-graphic-design-how-to-use-proximity-effectively/

White, A. W. (2011). The Elements of Graphic Design: Space, Unity, Page Architecture, and Type. Allworth Press.

Yalanska, M. (2019, March 13). Design Me Live: The Power of Mascots in UI and Branding. https://blog.tubikstudio.com/design-me-live-the-power-of-mascots-in-ui-and-branding/

Boxpark Sushi brand guide

The final project for the Multi-Platform Delivery course was designing a brand guide for Boxpark Sushi, a fictional brand we’ve been developing for several months.

Multi-Platform Delivery Week 4 Live Session

The Purpose of Clear Space

Clear space, also called free space or white space, is the minimum amount of space that a logo must have on each side. Hardy (2011) says that defined clear space gives logos room to breathe and protects the integrity of the brand from nearby graphics and copy. Furthermore, clear space around a logo helps designs feel less cluttered or messy, characteristics that you don’t want associated with your brand (LabelValue Team, 2016). This is why it is important to define a logo’s clear space in a brand style guide that can be referenced by printers and designers working with the logo. Without these guidelines, logo usage will be inconsistent and far less effective.

Using Master Pages for Consistent Layouts

Adobe InDesign has many tools to help create professional looking documents and publications. Master pages are one of the most useful tools, especially for longer publications, because they keep layouts consistent across many pages. A master page is like a template that contains elements you may want to repeat on multiple pages such as a background, logo, page number, or guides to aid in design. Applying a master to a page saves time in the design process because the recurring elements only have to be placed once (Mohamed, 2019). This also makes layouts more consistent, requiring the designer to override master page elements that they want to change (Bernardi, 2018). Individually placing a page number on each page could lead to inconsistent positioning and a greater chance of incorrect numbering. Instead, placing a page number element on a master page means the page number will be consistent and accurate no matter how many pages are added or changed.

From Design Brief to Brand Guide

When creating a brand identity, design briefs and brand guides are both used as agreements between a client and designer. A creative design brief is an agreement between the client and the designer on the specifications that will lead to the most effective solution (Hardy, 2011). The brief includes information about the brand and its target audience that guides all design choices, leading to a successful solution to the design problem presented. After a successful brand identity has been created, a brand guide is used as an agreement between the designer and the client to ensure that the successful solution continues to be used effectively and consistently (Chan, 2019). The road map provided by the design brief leads to the solutions presented in the brand guide. In turn, the brand guide is a road map for all future designs and brand media.

References:

Bernardi, S. (2018, May 25). InDesign master pages: save time in your projects. https://redokun.com/blog/indesign-master-pages

Chan, S. (2019). How to create a brand style guide. https://99designs.com/blog/logo-branding/how-to-create-a-brand-style-guide/#inspo

Hardy, G. (2011). Smashing Logo Design: The Art of Creating Visual Identities. Wiley.

LabelValue Team (2016, May 31). What’s clear space? How should I use it for my business branding? https://www.labelvalue.com/blog/custom-label-information/whats-clear-space-how-should-i-use-it-for-my-business-branding.html

Mohamed, I. A. (2019). Mastering Adobe InDesign 2020. Packt Publishing.

Boxpark Sushi production retrospective

What was the original Problem to be solved by creating new identity branding? Has the purpose of the brand been met in your materials?

The original problem identified in January for the Strategic Development course is that many American consumers are confused or intimidated by sushi and its ingredients. To address this issue, the Boxpark Sushi identity is built around the Sushi Sensei personality. All of the brand’s media assets utilize this wise but fun identity to make customers feel more comfortable about eating sushi. For example, the back of the Boxpark Sushi takeout bag features words of wisdom with a dash of humor. The education aspect of the brand could be further expressed by printing quotes and fun facts about sushi and Japanese culture on other media assets like napkins and in-store décor.

Will the brand identity and asset designs be perceived as appropriate to the brand attributes? What aspect(s) of the design, specifically, make it so?

Boxpark Sushi is wise, fun, friendly, and helpful. One way the brand identity reflects this is in the Sushi Sensei design. The sensei communicates wisdom and helpfulness with a bowing pose, demonstrating fun with a wink and friendliness with a smile. In addition, the logotype fuses the brand’s strong and precise side with its fun and organic side, like a well-trained sushi chef preparing a maki roll.

Does the design convey the intended message? If so, explain how. If not, how might this be corrected?

My biggest concern is that the Sushi Sensei will be mistaken for a sushi chef or just a random character used to make Boxpark seem like the KFC of sushi. After feedback from professor Argo, I tried to be sure that every shape and line in the logo served a communicative purpose. However, it’s difficult to know how successfully the logo conveys Boxpark Sushi’s message without any means of measuring the success. I’m hopeful that the next course in the Media Design MFA program will help in that area.

Are the media choices effective in sharing the community’s brand? Explain how the design leads to increased interest or better visibility.

East Side Milwaukee residents in the target audience are young and educated. They are open to new experiences, and Boxpark Sushi provides a stress-free way to learn while sharing a great meal. Assets like the “Official Sushi Black Belt” magnet help build the Boxpark Sushi tribe and expand brand awareness. Furthermore, street advertising like pole banners visually introduce the brand to the local community more effectively than radio, television, or internet ads.

Is the design expected or unexpected? Is that good or bad? Explain why.

Boxpark Sushi’s logo and media asset designs stand out from competitors because they are unexpected. After all, sushi restaurant logos are more likely to feature chopsticks and sushi rolls than brand mascots, which are normally associated with fast food. However, mascots are an effective way to literally put a face on a brand, making it easier to connect with the target audience. The Sushi Sensei mascot expresses the brand personality without cheapening it or making it seem too childish.

Is there anything about the design that should be finessed, adjusted, or reconsidered?

Even after researching color theory and the psychological associations of colors, I still don’t feel confident in my choice of color palette for the Boxpark Sushi logo. There is a strong rationale for using orange and blue to depict fun and wisdom, but something about the pairing or my choice of hues doesn’t feel right. Maybe I’m too dependent on tools like Coolors and Adobe Color. On future projects, I plan to use mood boards to find inspiration in colors from images that capture the brand characteristics.

Boxpark Sushi final media assets

Signage

The strategic purpose of the Boxpark Sushi exterior sign is to capture the attention of shoppers and visually explain the brand. A dark gray background and its border represent a chalkboard, evoking the educational aspect of the brand. At the same time, the background mimics the dark shipping containers that constitute the architecture of the Boxpark mall.

The Sushi Sensei mascot breaks free of the background, demonstrating the brand’s fun energy and welcoming customers with a bow, a smile and a wink. This simplified facial expression communicates the wise yet friendly nature of Boxpark Sushi. Wisdom and competence are also expressed in the aqua blue colors in the headband and darker teal color of the Boxpark text and the Sensei’s karate gi (Kolenda, 2016).

In contrast, the orange color Sushi text communicates the brand’s warm, fun energy (Kolenda, 2016). Furthermore, studies show that warm reds and oranges can increase one’s appetite (Przybyla, n.d.). Because Boxpark shoppers already know where they are, the Boxpark text does not stand out on the sign as much as the bright orange Sushi text that tells them what the restaurant serves.

Pole Banners

Eye-catching pole banners provide a quick brand introduction to passers-by, whether they are pedestrians or motorists. Demographic data shows that a large majority of East Side Milwaukee residents drive to work (Point2Homes, n.d.), so it is vital that the banners attract attention and communicate clearly to motorists who may have only seconds of attention to spare.

For that reason, the banners are brighter and lighter than the Boxpark Sushi signage while remaining consistent in the use of brand colors. The orange color stands out against the sky and other urban backgrounds as well as representing the brand’s association with “energy, ambition, and enthusiasm” (Cousins, 2012).

Paired side by side, the two banners have an abundance of negative space that communicates openness and freedom (White, 2011). The Sushi Sensei once again breaks free of the background, expressing the fun side of the brand.

Magnet

Printed magnets are an inexpensive promotional item that reinforce loyalty to the Boxpark Sushi tribe and spread brand awareness. The “Official Sushi Black Belt” magnet is an award to loyal customers, promoting a sense of accomplishment and addressing self-actualization needs. Felton (2013, p. 22) lists self-actualization as the highest level in Maslow’s hierarchy of needs. This helps the brand rise above competitors who only address the lower needs.

Although magnets do not stick on the back of all vehicles, they are mobile advertisements when used to replace bumper stickers. Magnets are also popular decorations for laptops, spreading the brand message to the customer’s workplace and social hangouts.

In addition, magnets are often placed on a refrigerator. Zee (2017) refers to a Purdue University study which found that people open their refrigerators an average of ten to twelve times per day. Numerous visual impressions with a hungry audience can lead to more sushi orders from home.

Takeout Bag

Boxpark Sushi’s distinctive, eco-friendly takeout bags have several strategic purposes. Branded packaging for take-out orders turn customers into walking advertisements as they carry their meal to work, school or home (McQuarrie, 2014). The bags include inspiring thoughts that are laced with humor, providing a novel way to connect with customers and a fun introduction to the brand for the customer’s co-workers and friends. New quotes can be added on a regular basis, adding to the novelty.

The Boxpark Sushi takeout bag also contains space to promote social media accounts, the Sushi Sensei app, and other ways of staying connected with customers. Plant-based ink on recycled unbleached paper give the packaging an organic feel while supporting the brand’s wise and conscientious nature. Multiple logo elements, like the diamond headband pattern, provide brand cohesion despite the lack of color. The quotes on the back of the bag reinforce the brand’s wise but fun personality.

References:

Cousins, C. (2015, February 12). How Color, Type and Space Can Impact Mood. https://designshack.net/articles/graphics/how-color-type-and-space-can-impact-mood/

Felton, G. (2013). Advertising: Concept and Copy (Third). W.W. Norton.

Kolenda, N. (2016). The Psychology of Color. https://www.nickkolenda.com/color-psychology/

McQuarrie, L. (2014, July 11). 38 Take-Out Packaging Designs. https://www.trendhunter.com/slideshow/take-out-packaging

Point2Homes. (n.d.). East Side Milwaukee Demographics. Retrieved from: https://www.point2homes.com/US/Neighborhood/WI/Milwaukee/East-Side-Milwaukee-Demographics.html

Przybyla, D. (n.d.). How Color Affects Appetite in Marketing. https://www.colorpsychology.org/color-appetite/

White, A. W. (2011). The elements of graphic design: space, unity, page architecture, and type. Allworth Press.

Zee, B. (2017, July 21). Discover Why You Should Be Using Magnets to Promote Your Brand. https://stickerbeat.com/discover-why-you-should-be-using-magnets-to-promote-your-brand/

Multi-Platform Delivery Week 3 Live Session

Proximity in Design

When designing brand logos and media assets, it is important to consider the role of proximity in graphic design. As noted by Smith (2014), close proximity of design elements indicates a relationship or connection between the elements. Things that are unrelated are not grouped together.

The principle of Proximity in design is based on human psychological associations. For instance, if two people are walking down the street with distance between them, their relationship is unclear. If they are walking side by side holding hands, they obviously have a close personal connection (Williams, 2015, p. 33). For that reason, it is important to visually organize elements and information based on their relationship.

Project File Management

Modern media designers work with a massive number of digital files, so it is important to establish an organization system to manage those files. Vukovic (2013) lists several benefits of a good filing system. Searching for a file takes time and leads to frustration. However, knowing where everything is provides a feeling of control. High levels of organization can also help resolve client issues like “proving the amount of work that was put into a project or when a design was ﬁrst created” (Hembree, 2006, p. 61). In the system recommended by Vukovic (2013), each client has its own folder with sub-folders for each project. For every project there are file folders:

Assets: photos, vectors, and other design elements used in the project.
Business: estimates, schedules, contracts, and other business files related to the project.
Client input: notes, documents, and other files received from the client.
Design: design files like Photoshop or InDesign documents with each version saved as a separate file.
Production: final delivery files for the client including PDFs and prepress files.

This kind of project file management makes it easier to locate important files and maintain a catalogue of past work.

Considerations for Using Mockups

Mockups are an important tool to help clients see what a design will look like in a real-world context. However, there are certain considerations to keep in mind when using design mockups. Ellison (2015) recommends that you always be clear with clients, letting them know which part of the mockup is the design as well as showing the actual deliverable design files separately.

If the mockup contains images of places or people, it is also important to consider the appropriateness and inclusivity of the image. For example, if all your mockups depict only one type of user such as a young white male, they can send a message that the brand is only for certain types of people and can make others feel excluded (Saucier & Shariat, 2017). Lastly, when using mockup templates created by other designers it is important to check the licensing and terms of use to be sure you can legally use the file for commercial projects.

References:

Ellison, K. (2015). The dos and don’ts of design mockups. https://99designs.com/blog/tips/dos-and-donts-of-design-mockups/

Hembree, R. (2006). Complete graphic designer: a guide to understanding graphics and visual communication. Rockport Publishers.

Saucier, C.S. & Shariat, J. (2017). Tragic Design. O’Reilly Media, Inc.

Smith, M. (2014, September 15). The Principles of Graphic Design: How to Use Proximity Effectively. https://www.edgee.net/the-principles-of-graphic-design-how-to-use-proximity-effectively/

Vukovic, P. (2013). How to keep your design files neat and tidy. https://99designs.com/blog/tips/how-to-keep-your-design-files-neat-and-tidy/

Williams, R. (2015). The non-designer’s design book: design and typographic principles for the visual novice (Fourth edition.). Peachpit Press.

Boxpark Sushi media assets drafts

Signage

Boxpark Sushi’s exterior signage is appropriate for the Boxpark container mall, yet distinctive enough to draw the attention of busy shoppers. The Sushi Sensei mascot logo welcomes people with a friendly smile. The orange color of the sushi text communicates the brand’s warm, fun energy and the secondary teal blue color of the sensei headband denotes intelligence and competence (Kolenda, 2016).

This asset utilizes more grays than the brand logo for several reasons. The neutral gray background and Boxpark text are reminiscent of a chalkboard, representing the brand’s intelligent aspect as well as tying with the dark container architecture of the Boxpark mall. The border and neutral background also help the brand colors stand out.

A study quoted by Designhill (2019) says “A majority of people notice a local business by seeing its signage while passing by.” Therefore, the strategic purpose of the sign is to capture the attention of shoppers and visually explain the brand. Because Boxpark shoppers already know where they are, the Boxpark text is not as important on the sign as the bright orange Sushi text that tells them what the restaurant serves.

Pole Banners

Strategically placed pole banners can effectively increase Boxpark Sushi’s visibility in the community. However, Commerce Color (n.d.) notes that most drivers will look at a pole banner for only two to four seconds. For that reason, the Boxpark Sushi banners are bold and easy to read with no unnecessary elements. Depending on where the banners are located, additional information like an address or website can be added.

The two banners are meant to be paired side by side, providing more visual space and openness to the design. Spreading the Sushi Sensei mascot logo across both banners adds cohesion to the design, as do the repeated headband pattern borders on the top and bottom.

To capture the brief attention of drivers, the banners are brighter and lighter than the Boxpark Sushi signage while remaining consistent in the use of brand colors. The orange color stands out against the sky and other urban backgrounds as well as representing the brand’s association with “energy, ambition, and enthusiasm” (Cousins, 2012).

Sticker / Magnet

Printed stickers and magnets are relatively inexpensive promotional items that can reinforce loyalty to the Boxpark Sushi tribe and spread brand awareness. Watson (n.d.) notes that sticker marketing helps turn customers into brand advocates by building a personal relationship with the product. The “Official Sushi Black Belt” magnet is a reward for loyal customers, promoting a sense of accomplishment and addressing self-actualization needs.

Felton (2013, p. 22) lists self-actualization as the highest level in Maslow’s hierarchy of needs. This helps the brand rise above competitors who only address the lower needs. Other sticker designs were considered (see above), but a slightly higher cost magnet that is exclusive to frequent Boxpark Sushi diners adds the higher level of prestige.

In addition, magnets last longer than stickers and are often placed on a refrigerator. Zee (2017) refers to a Purdue University study which found that people open their refrigerators an average of ten to twelve times per day. Numerous visual impressions with a hungry audience can lead to more sushi orders.

Takeout Bag

All restaurants need take-out packaging, so it only makes sense to use that packaging as a media asset. Branded packaging for take-out orders turn customers into walking advertisements as they carry their meal to work, school or home (McQuarrie, 2014). Boxpark Sushi’s distinctive, eco-friendly takeout bags include inspiring thoughts that are laced with humor. The quotes on the back of the bag reinforce the brand’s wise but fun personality.

Plant-based ink on recycled unbleached paper give the packaging an organic feel while supporting the brand’s wise and conscientious nature. Multiple logo elements, like the diamond headband pattern, provide brand cohesion despite the lack of color.

In addition to being a cost effective way of marketing, the Boxpark Sushi takeout bag design contains space to promote social media accounts, the Sushi Sensei app, and other ways of staying connected with customers. Instead of a plain white box or blank paper bag, Boxpark Sushi’s take-out bag is a novel way to connect with customers and a fun introduction to the brand for the customer’s co-workers and friends.

References:

Commerce Color. (n.d.). 5 Ways You Can Supercharge Your Pole Banner Promotions. https://www.commercecolor.com/blog/5-ways-you-can-supercharge-your-pole-banner-promotions

Cousins, C. (2015, February 12). How Color, Type and Space Can Impact Mood. https://designshack.net/articles/graphics/how-color-type-and-space-can-impact-mood/

Designhill. (2019, December 12). 3 Tips to Design Memorable Signage to Attract Customers in 2020. https://www.designhill.com/design-blog/design-memorable-signage/

Felton, G. (2013). Advertising: Concept and Copy (Third). W.W. Norton.

Kolenda, N. (2016). The Psychology of Color. https://www.nickkolenda.com/color-psychology/

McQuarrie, L. (2014, July 11). 38 Take-Out Packaging Designs. https://www.trendhunter.com/slideshow/take-out-packaging

Watson, H. (n.d.). The Forgotten Advantages of Sticker Marketing. https://thefridgeagency.com/blog/discover-the-stickiest-method-of-advertising/

Zee, B. (2017, July 21). Discover Why You Should Be Using Magnets to Promote Your Brand. https://stickerbeat.com/discover-why-you-should-be-using-magnets-to-promote-your-brand/

Boxpark Sushi final logo

Rationale

The Sushi Sensei embodies the Boxpark Sushi brand’s wise but fun personality while incorporating Japanese tradition. The simplified mascot in the logo is friendly and hip but not gender specific. Its skin color is a lighter tint of the sushi orange, and the headband’s light blue color helps it stand out against the black background and hair. Its smile and bowing pose demonstrate both friendliness and respect for our customers.

Precise straight lines and sharp corners in the Boxpark type and diamond shapes reflect the brand’s intelligence, while the soft curves of the Sushi type demonstrate the brand’s friendly and fun sides. The type’s curves and rounded corners are repeated in face, hands, and hair of the sushi sensei. Together, the mark and type convey the Boxpark Sushi’s fun, friendly, and wise personality.

Media Asset Production Plan

WEEK 2
Wednesday, March 11 Signage sketches Pole Banner sketches Magnet sketches Takeout Box sketches	Friday, March 13 Signage drafts Pole Banner drafts Magnet drafts Takeout drafts	Sunday, March 15 Signage drafts submission Pole Banner drafts submission Magnet drafts submission Takeout Box drafts submission
WEEK 3
Wednesday, March 18 Review of Peer work	Friday, March 20 Signage final version Pole Banner final version Magnet final version Takeout Box final version	Sunday, March 22 Signage final version submission Pole Banner final version submission Magnet final version submission Takeout Box final version submission

Multi-Platform Delivery Week 2 Live Session

Deconstruction of Logos

Media design is about communicating a message, and this is especially true for brand logos. Research by Foroudi et al. (2017) examines how the shapes, color, and type choices of corporate logos all impact the way consumers view the brand and respond to its message. Understanding how these components work together is an important part of logo design, and much can be learned by deconstructing popular logos.

To deconstruct a design means to analyze its separate components in order to understand how it helps communicate a message. An article from The Logo Company (n.d.) does this by deconstructing the logos of several successful brand. The process examines logo colors, shapes, and font choices while analyzing how each component influences viewers. Designers can utilize the same deconstruction process to advance their knowledge and find new inspirations. When deconstructing a logo, it’s important to look at the brand’s history and previous versions of the logo. This helps designers understand how logos evolve with the brand to better reflect its values and message.

The Role of Space in Design

Designers “reveal the meaning of their messages by using type, imagery, and space” (White, 2011, p. 9). It’s important that all three work together to send a cohesive message. Space is used to connect and separate elements in a design. Space also creates hierarchy and improves legibility while conveying a variety of meanings (Bradley, 2010).

White (2011) notes that an abundance of empty space in a layout will express vastness in the design and a smallness or quiet aspect to the type or graphic that the space surrounds. When type or graphics fill the space, it feels loud or claustrophobic. The use of space should directly relate to the design’s message. For example, a design that utilizes wide, regular margins of empty space and light type denotes comfortable, open characteristics. Conversely, a design with heavy text that fills the layout is more appropriate for a bold in-your-face message.

Cultural Considerations in Creating Meaning

Designers create effective messages by carefully considering the meaning behind each word, shape, and color. However, designers should also “consider the role the audience themselves play in the construction of meaning within the context of visual communication” (Noble & Bestley, 2011, p. 134). It’s important to remember that colors and other design elements have different cultural associations and meanings.

For instance, most Western cultures associate the color orange with warmth and energy. However, orange is associated with mourning and loss in much of the Middle East (Cousins, 2012). For that reason, a restaurant serving Middle Eastern cuisine might find another color more appropriate for their logo. Before choosing colors and other design elements, it is important to research the target market and make appropriate cultural considerations.

References:

Bradley, S. (2010, June 21). How To Use Space In Design. https://vanseodesign.com/web-design/design-space/

Cousins, C. (2012, June 11). Color and Cultural Design Considerations. https://www.webdesignerdepot.com/2012/06/color-and-cultural-design-considerations/

Foroudi, P., Melewar, T. C., & Gupta, S. (2017). Corporate Logo: History, Definition, and Components. International Studies of Management & Organization, 47(2), 176.

Noble, I., & Bestley, R. (2011). Visual Research : An Introduction to Research Methodologies in Graphic Design: Vol. 2nd ed. AVA Publishing.

The Logo Company. (n.d.). Logos that Stick: Analysis of the World’s Most Famous Logos. https://thelogocompany.net/blog/logo-design/logos-stick-analysis-worlds-famous-logos/

White, A. W. (2011). The elements of graphic design: space, unity, page architecture, and type. Allworth Press.

Boxpark Sushi logo refinements

The top three concept sketches for the fictional Boxpark Sushi brand were developed into vector graphics in Adobe Illustrator.

Concept 2: Chalkboard Contrast

The Boxpark Sushi brand is educational but fun, with the personality of a wise and friendly Sushi Sensei. Logo concept sketch 2 is based on a logotype developed previously for the Boxpark Sushi static vision board. The Pill Gothic 300mg typeface was chosen for the “Boxpark” type because it is both strong and condensed. According to Kolenda (2016), condensed fonts convey tightness and precision, traits that are valued in sushi preparation. The combination of the font’s bold and thin weights implies a balance of power and sophistication.

The idea of balance in continued by using the script typeface Funkydori for the word “Sushi”. The gentle curves of this font reflect the organic nature of the product and provide a feminine balance to the straight lines and hard angles of Pill Gothic 300mg. This logo concept uses the idea of an old-fashioned school blackboard to frame the Boxpark type, representing the brand’s wise characteristic as well as recalling the rectangular shapes of Boxpark shipping containers and providing visual contrast to the logo.

This solution is the simplest of the three presented logos. As noted by Airey (2014), the simplest solution is often the most effective because it helps meet other requirements of iconic design like “think small” and “focus on one thing”. However, this logo is also the least distinctive of the three solutions.

Concept 3: Squared Yin-Yang

Research of other sushi brand logos confirmed that the most overused logo elements are chopsticks, sushi rolls, and Asian script fonts. Therefore, none of my concept sketches contains those elements. Instead, I focused on imagery inspired by Karate, a Japanese martial art whose teachers are called “sensei”. Several of the concept sketches were in inspired by the yin-yang symbol, which represents the balance of light and dark or feminine and masculine.

This solution is the simplest of yin-yang inspired concepts. The squared yin-yang logo is a fun, modern take on the traditionally round symbol. It visually represents the box aspect of Boxpark as well as the wisdom and balance associated with the symbol. The squared yin-yang can also be utilized for brand patterns used in marketing, merchandise, and in-store decoration.

The squared yin-yang solution incorporates tradition in a simple yet distinctive logomark that is easy to commit to memory and works even at small sizes. For these reasons, the logo meets many of the elements for iconic design (Airey, 2014). This solution is also more innovative and distinctive than the simple logotype of Concept 2. A Google image search for “square yin yang symbol” revealed nothing too similar, which means other brands are probably not using the same design.

Concept 10: Simplified Sushi Sensei Mascot

The Boxpark Sushi brand is built around the concept of a friendly Sushi Sensei who helps customers become a “sushi black belt”. This persona helped shape the fun and wise characteristics of the brand and was the inspiration for many Mascot style logo concepts.

Mascots are a strong way to transfer and support a brand’s voice and tone (Yalanska, 2019). Custom characters like the Sushi Sensei reflect the brand qualities while adding emotional appeal and more personalized interaction with customers. Mascots can be simple like the Twitter blue bird or more complex cartoon characters like Tony the Tiger, a mascot designed for Kellog’s Frosted Flakes in 1952.

Many variations of the Sushi Sensei mascot were sketched, including sensei-inspired emoji and more detailed renderings. Several simplified sensei were sketched, but the first stood out because it best captured the fun aspect of the brand. The character is smiling, and the visual balance of light and dark in the logo is reminiscent of the yin and yang symbolism.

Curves in the mascot’s hair mimic the sushi type, while the black diamond framing and headband elements represent the box part of Boxpark. Although this logo is the least simple of the three solutions, it still works at small sizes and is very distinctive.

References:

Airey, D. (2014, August 20). Logo Design Love, Annotated and Expanded Edition, Second Edition. Peachpit Press.

Kolenda, N. (2016). The Psychology of Fonts. https://www.nickkolenda.com/font-psychology/

Yalanska, M. (2019, March 13). Design Me Live: The Power of Mascots in UI and Branding. https://blog.tubikstudio.com/design-me-live-the-power-of-mascots-in-ui-and-branding/