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Bēhance

A Stark Contrast branding

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  • A Stark Contrast branding
    December 2010 | for Dan Stark
  • Dan Stark, a fantastic British web designer/developer, agreed to work on the development of my blog/portfolio site (in progress) in exchange for me handling his branding. He wanted a typographical solution, grounded in history, with a custom ligature between the "s" and "t" of stark. I started my usual process of mind-mapping and discovery, and eventually created a solution that he was not ashamed to use!
  • Mind-mapping.
    I didn't go to the extent of mind-mapping that I usually do, due to extensive and detailed conversations with Dan about what he was looking for. However, I did highlight the words that I chose to take into sketching/conceptualizing.

  • Unused concepts.
    I started sketching, and quickly realized that if Dan were to ever want to display his logo using webfonts (as he expressed an eventual interest in doing) that I'd need to stick to webfonts, and it would be easier to work with the fonts themselves than with my pencil and notebook. I also decided that it might be easier for the entire word "stark" to be a swash or ligature instead of just the "s" and "t." These are a few different directions that I pursued in the concept stage, but ultimately wasn't satisfied with them.
  • Concept one.
    This is the first concept I was happy with, and the first concept I sent to Dan. While he was thrilled with the direction, he felt that the italic and pen angle seemed too steep and not natural for the kind of work he did. So I went back to the drawing board...literally.
  • Sketch, concept one revised.
    This time, I found the opposite to be true for when I'd initially started to sketch concepts: I discovered that I had more control over the pen angle and italic of the typeface by sketching it out than I did by handling each individual anchor point in Illustrator. This is my initial redrawing of the "stark" swash.
  • Sketch, cleaned up.
    After taking the scan into Photoshop and cleaning up the edges a little, I realized that the italic was still too steep and in some places wasn't consistent. So I took the liberty of editing it enough to take it into Illustrator for the final conceptualization.
  • Final logo.
    After redrawing the mark in Illustrator and cleaning up certain strokes, I felt that the mark was where it needed to be. I revisited the rest of the logo text, and decided along with Dan to make the logo all one color so that it would suit whatever need he had for it. This is the final approved logo.