23.9.2024 - 03.1.2025 / Week 1- Week 13
Brand Corporate Identity /
Bachelor of Design (Honours) in Creative Media
Aliah Farhana Binti Mohd
Fauzi / 0357957
Task 2 - Logo
LECTURES
Week 5 | Positioning
Four different styles of positioning:
1. Arm wrestling - To take on the market leader and beat
them at their own game and it is possible if there is a well establish market
category with no clear leader. However, it takes lots of money and
time. Think Coke and Pepsi.
2. Big fish, smaller pond - The focus is on a niche market within a
larger market that is being undeserved, where there is a larger player who's
not meeting a specific need. Plus-point is the audience has a frame of
reference while the down-side is the market leader could match your
offer.
3. Reframe the market - This style of brand positioning reframes
an existing market in new terms. It makes the benefits highlighted by previous
market leaders irrelevant, or frankly, boring. This works if the product/
service features innovation or if there is a change in market need/
expectation.
4. Change the game - Reserved for when there is no market category for
what you do. You are the first of your kind and you get to invent your market!
Think market disruptors like Ubers or Xerox, and you'll know when you are
successful in changing the game when people say things like "I'm uber-ing
it"instead of booking a taxi/uber, or, I'm Xeroxing it, instead of
photocopying it". The advantage to this strategy is you'll be the default
market leader. The downside, without any major barriers (patents or
copyrights) people may be able to copy and beat you before you have a chance
to establish yourself. (Think Grab aka MyTeksi).
There are four essential elements of a best-in-class positioning
statement:
1. Target Customer: What is a concise summary of the attitudinal and
demographic description of the target group of customers your brand is
attempting to appeal to and attract?
2. Market Definition: What category is your brand competing in and in
what context does your brand have relevance to your customers?
3. Brand Promise: What is the most compelling (emotional/rational)
benefit to your target customers that your brand can own relative to your
competition?
4. Reason to believe: What is the most compelling evidence that your
brand delivers on its brand promise?
INSTRUCTIONS
<iframe
src="https://drive.google.com/file/d/1YrYhf17J2dXcfjkAQcB3360NfkipFkVh/preview"
width="640" height="480" allow="autoplay"></iframe>
A) Logo Research & Analysis:
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Collect 28 logos over 2 weeks, selecting the first two new
logos you see each day.
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For each logo, document:
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Type (logotype, logo mark, etc.)
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Style (descriptive, abstract, etc.)
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Graphic elements used
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Color scheme (warm, cool, primary, secondary)
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Font choice and style
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Present all logos in Google Slides and embed in your
ePortfolio.
B) Logo Development:
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Select a brand or occupation, then create 2 sheets of logo
sketches weekly.
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Start with mind maps to find key visuals and concepts. Sketch
ideas, narrow down promising designs, and refine into
concepts.
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Digitize the final approved logo in black and white before
choosing colors.
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Document all progress in your ePortfolio, labelling each
stage.
In order to start the logo sketches, Miss Lilian asked us to do a mind map on
the brand name as well as the business ideas. This mind map has helped to ease
my problem during the process of making the logos.
SKETCHES
PDF - sketches that have been made for ' RETROFLASH'
After gone through the grouping and personal feedback sessions with Miss along
with my classmates, I've improved my sketches based on the comments I've
received. Sketches process was not easy as we have to come up with a logo that
can represent the branding itself.
Besides that, watching my other classmates works somehow has given me plenty
of ideas to improve on mine logo and some of their's logos also inspired me to
do my best on creating a strong logo branding.
DIGITISATION PROCESS
FINAL SUBMISSIONS
TASK 2A - RESEARCH AND ANALYSIS
TASK 2B - LOGO
Submissions must be consists:
1) Logo in BW, reverse & colour
2) Logo space rationalization & clearspace
3) Logo with strapline
4) Logo with
rationale (brand ideals)
5) Logo
minimum size
6) Brand primary &
secondary colours
7) Logo/brand
typeface(s)
8) Patterns derived from
logo
9) Logo animation (GIF)
Submission item 1 - 8 in PDF format
Logo animation (GIF)
FEEDBACKS
2A Able to identify the types of logo analysed. Analysis is accurate and concise fulfilling the requirements of the brief. Room for more critical analysis (opinion, success, etc.) of chosen logos. Could benefit from having titles to help make content easier to identify (although bullets do help as do establishing your criteria being studied on slide 2). Do credit your sources. 2B Border/frame present on final submission is not needed. For logo space rationalisation, despite utilising a measurable and comparable component for construction, the provided artwork does not illustrate this idea well. Consider utilising lines to indicate the different sizes in relevant to the chosen dimension (x) instead of reducing the point size due to placement restriction. Moreover, it is not entirely clear which is the ‘x’ component in the first place in relativity to other measured components. Logo in minimum size exposes a weakness of final outcome which is the negative space surrounding the dot component (bleeds unto other parts or brandmark). See that the second pattern derived from logo joins components better to avoid having a slight gap of negative space (thin hairline between brandmark) which disrupts the flow of pattern. Introduction of ‘star’ as blocking element in gif introduces a visual element not found in any components of the logo design. Perhaps, the ‘dot’ on brandmark should be in colour to create focus and interest. Not sure if blurring effect applied on wordmark works to the advantage of the brand logo both visually and conceptually.
REFLECTIONS
Reflecting on this project, I realize how much I learned from both observing
existing logos and working on my own. By analyzing two logos a day, I
noticed details that usually go unnoticed, like the subtle power of color
schemes, whether warm or cool, and the way font choices impact brand
identity. Encountering logos in their natural environments on signs, in ads,
online helped me understand what makes certain logos memorable or why some
fail to connect. I started seeing how simplicity or boldness in logos can
shape a brand’s personality.
Working on my own logo sketches each week was an adventure in trial and
error. At first, I generated a lot of ideas roughly, some refined and also
relied on mind maps to explore themes and visuals that resonated with my
brand choice. As I narrowed down my options, I started seeing what made
certain designs stand out. Through this process, I learned how each tweak,
like adjusting the shape or space of a design makes a difference in the
overall impression. This exercise showed me the value of documenting every
stage, as I could see the design’s evolution and better understand why
certain elements work.
The digital refinement phase made me realise the importance of feedback and
iteration. I learned to embrace feedback to strengthen my design. Moving
from sketches to digital black-and-white versions helped me see the pure
form of the logo without distraction. When I finally applied color, the logo
came alive, and I could understand why the black-and-white phase is so
essential. This project taught me that branding isn’t just about making
something look good; it’s about crafting a visual language that speaks for
the brand.
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