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Studio Junglecat’s mission is to connect with broad audiences through the creation of uniquely memorable experiences that elicit thought, dialogue, laughter, and response. By collaborating with forward-thinking organizations and individuals, Studio Junglecat aims to participate in shaping our collective culture and environment—and to do so with humor, wit, and personality.

Studio Junglecat is an independent design consultancy powered by Matt Wizinsky. The studio is located in Chicago, IL and was built on gritty Midwestern-American optimism.

You Know Your Business

FocusRx is a small consultancy with a finely nuanced understanding of pharmaceutical laws and systems. Using this specialized expertise, they partner with large health care provider organizations to develop prescription plans that work and make sense for the end-users. We are talking about ridiculously complicated, labyrinthine systems that would make the average head spin. FocusRx sought a graphic identity that could portray this narrow specialization within the health care field and demonstrate its value. Because they operate in an industry where efficiency and precision are a mandate, their identity must be clear, simple, and direct, but with a character that distinguishes this company amongst its peers.

My question was this: Can an identity articulate such scrupulous qualities and still have a little fun?

Look Around / Look In

Much of the medical and health-related identity landscape is occupied by crosses, hearts, stethoscopes, mortars and pestles, the staff of Asclepius (often mistakenly as the caduceus), all kinds of pills, plants, flowers, herbs, rising suns, setting suns, healing hands, apples, and a whole universe of colorful, leaping, joyful little figures that Michael Bierut has deftly coined “the neutered sprites.” However, FocusRx represents the planning and strategy behind prescription plans, not the medicine or care provided. Therefore, the objective was to create something smart that demonstrates narrow specialization—apropos of the focus in their name.

Three primary references sprang to mind: the eye, the lens, and the Venn diagram. These symbols also appropriately correspond with three themes at the core of the company’s purpose: the body, technology, and strategy. Notably, these all take a circular form with centrifugal energy that guides attention toward the center—to that which is in focus. From this conceptual starting point, I explored a range of abstract symbols conveying these traits.

Speaking of Symbols

The next step was to typographically organize the company’s name with its LLC status and a tagline linking the new business to its parent company. Having represented the company’s specialization (focus) via the graphic symbol, the goal now was to balance these various elements while drawing attention to the pharmaceutical nature of their work, which was again right there in the name: Rx. While the origins of this symbol are uncertain (is it the Eye of Horus? an abbreviation for the Latin recipere?), the important fact is that it clearly communicates “prescription,” and this allowed for a simple, typographic solution. In order to highlight Rx, conventional wisdom would dictate making it bigger, bolder, or increasing its contrast. Instead, I discovered through exploration that a lockup with focus with the tagline isolates the Rx symbol, allowing emphasis on the angular negative spaces forming these letters. Using lighter stroke weights in this approach proves more dynamic by activating the surrounding white space and contrasting the bold, curvy letterforms of the preceding word.

Tying it all Together (in a Big Kinky Knot)

One parameter from the outset was that this new identity must include a visual tie-in to Cazma, the parent company of FocusRx. The simplest and clearest method to accomplish this unity was through the use of color—namely, the red brand color of Cazma. This is where it started to get fun!

The application of color revealed a secondary meaning taking form within the symbol. By slightly shading this red circular mark, it creates the illusion of an endless loop of kinked red tape. Because FocusRx exists solely due to the complicated bureaucracies of a health care system that no one person or organization alone can comprehend, this additional layer of symbolism was a perfect fit. The client loved this idea of imbuing a subtle dash of humor—certainly something unique to their market—within an otherwise direct symbol of their function.

The resulting identity system is bold, clear, and unique. By combining acuity and wit, it conveys the pharmaceutical specialization at the core purpose of the organization while demonstrating humanity with its sense of humor. Hopefully, this will sustain its life for many years to come—like a carefully balanced regimen of medication.

Contact Studio Junglecat

Studio Junglecat web site: http://www.studiojunglecat.com
Visual Thinking blog: http://visualthinking.studiojunglecat.com
Email: matt@studiojunglecat.com
Call to discuss your project: 513 659 6634

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As an identity designer for twenty years, I can quickly evaluate ideas. Experience allows me to imagine what a rough idea may look like once refined, to imagine its use for different mediums, the issues it may encounter, and to know if I have seen something similar before. I am quick at doing this, but no way quick enough to do it while a client is sitting across the table from me. I fear that a really bad idea will come out of my mouth before I have the chance to edit it. Worse than the bad idea coming out is the thought of a client jumping on it and hanging on for dear life.

I don’t spend time thinking about ideas until I have gathered information and reviewed it, asked more questions, done more research, fleshed out a creative brief and direction, and created a mind map and a vocabulary for the project. Even at that point I don’t think brainstorming works for logo design. For me, logo design is an exercise in minimalism, balance, and abstract forms. It is something that doesn’t lend itself to discussion but rather to exploration and experimentation on paper by one individual or a number of designers working individually and then coming together.

I believe clients risk damaging the value of the final deliverable by being involved in the early visual stages of logo design. I recommend that instead of focusing on ideas, they influence the design through information. The time they spend providing information is much more valuable than time spent throwing around ideas with me.

Perhaps brainstorming with a client works for other designers and for other forms of graphic design. Does it ever work for logo design?

Steve Zelle is a logo designer and consultant with over twenty years’ experience working with clients. Based in Ottawa, Canada, he operates as idApostle and is the founder of Processed Identity. You can reach him through his website or on Twitter.

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One way we have found which helps pave the way for colour choices is the use of a moodboard before any creative work is done. If the moodboard feels right to the client, as a combination of colours, visual and typographic elements, then we know we’re headed in the right direction and once the concept (presented in black and white) is approved, subsequent colour explorations are much easier to handle.

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One of the key factors influencing a client when selecting a design studio, is its past work. A portfolio is seen as proof of talent, experience, and design aesthetic. Clients are drawn to work that is often in the same business space as they are in or that has a similar approach to what they would like to accomplish. They expect that what they see is a good indication of what they will get. While most designers and studios are open about the work contained in their portfolio, I do know of situations where this is not the case. I think clients often miss asking some pretty important questions.

What clients rarely ask when selecting a studio is “Who designed this particular piece, and will they be working on my project?” It is seldom discussed, but portfolios can contain work by designers no longer with the studio, or who will not be working on every identity project. Is there any value in seeing work you like by a designer who will not be directly involved in your project?  What can clients and designers do?

For Clients:

Ask the right questions so you know who was responsible for what portion of the project. Even solo designers sometimes work with a partner or subcontract work out.

Ask:

• Who are all individuals that worked on this particular project?
• What was everyone’s role?
• Will the same individuals be working on my project?
• Will they be designing themselves or overseeing other designers?

For Designers:

Be transparent with clients; explain who did what in your portfolio. If the client likes the work of a designer who is no longer with you, you have an opportunity to manage the situation head on. If you can justify the inclusion in your portfolio of work by a designer no longer associated with you, you may overcome the clients concern. If you can’t, then you may want to reconsider keeping the work in your portfolio.

Managing Expectations

On both sides of the equation, managing expectations is something that needs to happen from the beginning of a project. The success of any project is a result of the people involved, perhaps even more so when speaking about design. Realistic expectations can be set by openly discussing the skill sets and experience of those that will be directly involved.

Steve Zelle is a logo designer and consultant with over twenty years’ experience working with clients. Based in Ottawa, Canada, he operates as idApostle and is the founder of Processed Identity. You can reach him through his website or on Twitter.

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Seven25. Design & Typography is a multidisciplinary design consultancy specialising in work for not for profit and cultural clients. It was founded in 2000 by Isabelle Swiderski and existed as a freelance practice running parallel to employment elsewhere until 2006. It is now a 3-person studio with a network of collaborators to call upon when the need arises.

Isabelle has lived and worked in France, England and Canada as a freelancer and in studios of various sizes for over 15 years. She completed her Master’s Degree at the Royal College of Art in London and teaches part-time at Emily Carr University.

The project

We were approached by Garbage Critic—a waste reduction and management consultancy—to design an identity for their startup. As a new agency with extensive experience in the public sector, it aimed to position itself as the leader in the field, as an innovator but also as a valuable team player in the quest for widely adaptable solutions to the waste problems we face. One of our challenges was to represent waste—something few people wish to think about—in a way that was engaging and eloquent.

We engaged in a thorough discovery process, examining audiences, competition and goals to distill our findings into useful information. This phase culminated in the presentation of a moodboard and proposed messaging.

Upon approval of the design brief we engaged in the creative phase and explored notions of expression (the agency provides commentary on industry practices and case studies), exchanges of information, waste and conservation.

This eventually led us to two promising solutions, which we refined into tight sketches to present to the client.

The Solution

Upon further discussion with the client it became obvious that the garbage lid was the preferred avenue for its rich dual meaning when coupled with the maze. It illustrates the conundrum we face and hints at the multiple possible paths to effective waste reduction solutions using simple and accessible symbols.

Check it out: www.seven25.com
Email: isabelle@seven25.com
Give us a call: 1.604.685.0097
Follow us on Twitter: www.twitter.com/Seven25

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The topic of revisions is one of the more confusing aspects of any design project and possibly even more so when designing a logo. A great logo is usually a simple image in perfect balance, where nothing can be added or taken away without having a negative effect. Because of this delicate balance, small changes to the design can have a big impact. There are times when the goals of a project, and therefore the client, are better served by starting over, rather than changing and weakening a presented concept. It is a subjective decision that needs to be made by the designer and client every time revisions to a presented concept are requested. The difference between a revision and a redesign is open to interpretation, so it’s important to provide as much clarity as possible.

Here is how I mange revisions and redesigns.

Revision:

Every request, no matter how small, is compared to the creative brief.

If the requested change has a negative effect on the project goals or on the integrity of the presented concept, I discuss the request with the client, referring to the creative brief for the rationale behind my opinion. This can sometimes result in a different revision to the presented concept that manages to improve the design. If the presented concept cannot be altered to incorporate the client’s requests and remain true to the creative brief, a redesign would be necessary.

If the requested change has the potential to improve on the presented concept, and reach the project’s goals, it is explored. This does not mean simply incorporating the requested revision, but exploring why it would improve things and determining if it is the most effective way to achieve this.

While I state in my contract the number of rounds of revisions a client can make, I am flexible as long as the process remains productive and I typically do not charge Author’s Alterations. Author’s Alterations (AA’s) are changes by the client to the design or content beyond the scope of the quote. They are typically charged by the hour and can have a minimum charge per set of requests.

Redesign:

I would love to say this has never happened to me, but it has, on very rare occasions. The best tool to sort out where things have gone wrong is the creative brief, developed and approved by the client and myself at the beginning of the project.

If the presented concept provides an appropriate solution to the creative problem outlined in the brief and the client wants a new design, a revised quotation is provided and the creative brief would have to be modified to reflect the changes in direction.

If the presented concepts don’t solve the creative problem outlined in the brief, I haven’t done my job and it’s back to the drawing board after discussing where things went wrong and clarifying the project goals.

What can clients do to reduce risk and clarify expectations?

They can get involved by investing resources in understanding the creative process, and the impact of the information they are being asked to provide. In addition clients should ask the designer:

• What the designer considers to be revisions versus redesigns
• What is the hourly AA charge?
• Is there a minimum charge per set of requested revisions, and how is it calculated?
• What are the average additional charges billed by the designer for the last six identity projects, and why?

What can designers do?

The subject of revisions and redesigns remains sensitive and subjective. Transparency in the creative process can help create reasonable expectations and build trust, resulting in a better and more cost effective solution.

Steve Zelle is a logo designer and consultant with over twenty years’ experience working with clients. Based in Ottawa, Canada, He operates as idApostle and is the founder of Processed Identity. You can reach him through his website or on Twitter.

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Identity design is one of our great passions, and we relish working with the foundational elements of great brands. Just as Cicero said the eyes are the window to the soul, we believe that an organization’s logo is a glimpse into its inner life. While an identity won’t say everything about a organization, it is a key distillation of the power, energy and culture of that brand.

Shevet Achim is a charitable organization that brings together Palestinian families and Israeli surgeons—to provide life-saving heart surgeries for Palestinian children while breaking down cultural barriers. Even though their strategic work of peace and compassion spoke volumes, the identity needed an overhaul. We wanted to amplify the core message, allowing the great humanitarian work to shine through.

Shevet Achim required a redesign that would speak to US-based fundraising markets while still remaining relevant to Middle Eastern audiences. The emotional drive behind Shevet’s mission was to help mend the divide between two cultures, bringing them together in a powerful way. How would we address this in a single mark?

Sometimes The Obvious Answer Is The Right One

Shevet Achim previously struggled with inconsistent, scattershot messaging, attempting to communicate too many aspects simultaneously. Prior to the concepting phase, we worked with them to trim their message to its essentials—what the organization did, and why. This quintessence would be the basis for the mark. So, this meant that the ideas of connection and some form of the heart were crucial to the visual story. Hearts and hands seemed to be appropriate symbols, but the real challenge would be to combine these into an interesting and unique mark that would also carry layers of meaning and metaphor.

Layers Of Meaning

The ideal interaction with the mark would work like this: at first glance, it would communicate a surface relationship—hands coming together to form a heart. Even if the viewer knows nothing about the organization and its mission, the logo speaks on certain levels of emotion and action. Then, as the viewer understands Shevet’s mission (allowing the medical needs of children to serve as the avenue to repair deep cultural division, when generous surgeons donate their services) the mark takes on additional layers of meaning with repeated exposure.

Technical Details

Once we settled on the basic concept of two clasping hands forming the “sides” of the heart, it became an issue of rendering—what style would be most appropriate for the audience, for the brand, and its targets? In this case, we were working with metaphorical and literal hearts, which allowed us to think about the often-cliched symbol in a broader way. Utilize a more literal heart, with ventricles, arteries, and the like might be appropriate, but would it receive instant recognition and “quick-read” value that every good mark requires? How would these symbols be integrated? Additionally, the types of reproduction to be used by Shevet Achim (website use and 4-color digital printing, mostly) meant that we could utilize a multi-color palette, which opened the door to more expressive rendering style, like the painterly style employed in the final mark.

While headquartered in the Middle East, Shevet needed fund raising and volunteer help from a mainly-Western audience, so the typography required an authentic Middle Eastern flavor, but needed to suit audiences stateside as well. There is a big difference between true Middle Eastern design and what the typical North American considers “Middle Eastern”. We had to consider that deeply, and make sure the end result resonated with both parties.

A Good Mission = A Better Logo

Beyond our process, it is much easier to design a great logo when the organization/brand itself is superb. The mission of Shevet Achim was so interesting, compassionate and meaningful that provided fertile ground for us to mine.

Check it out: www.hexanine.com
email: connect@hexanine.com
Give us a call: Chicago | 773.293.7068 & Los Angeles | 818.919.4751
Follow our blog: www.hexanine.com/zeroside
Follow us on Twitter: www.twitter.com/hexanine

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Biography

We are Him+Her was formed in October 2009 as an independent creative partnership that specialises in identity, packaging and branding.

Prior to founding Him+Her Glenn Kiernan (him) was Creative Director at renowned UK branding agency jkr for over 10 years. Ruth Galloway (her) has worked for the industry’s leading design agencies delivering award-winning creative projects for world-leading brands.

Together they form a dynamic creative partnership that offers bespoke services to the client, whatever the challenge. Collaborating with a halo of inspiring creatives, from copywriters to photographers, illustrators and web designers, We are Him+Her use specialist expertise to achieve the best solutions for every project.

A personal brief

Designing your own identity is a very personal project, and possibly the hardest job you can accomplish as a creative. The pressure of unlimited possibilities, working with the toughest client – yourself – and under the gaze of your peers’ critical eyes: it has to be right. It has to be bombproof.

We wanted to create a future-facing, flexible, bespoke creative agency, a world apart from the large international agencies we had experience of working within. Embracing a modern, collective way of working, we are passionate about collaboration. A collaboration that isn’t only with other creative talent but in the way we work with our clients. We truly believe that the sum is greater than the individual parts, and this is what we wanted our identity to express.

The process

True to our nature, establishing our identity was a completely collaborative process. Both partners worked on the project from start to finish, bouncing a flurry of ideas back and forth for several days, and when our initial experiment with neon lighting proved too costly for a restricted start-up budget we decided to develop something we had a little more control over. The initial concept of overlapping pieces originated from playing around with the letter forms of Him and Her and experimenting with ampersands. We knew we wanted a clean, modern architectural feel to the identity, but not something that was too derivative of a standard font. We desired the ability to evolve, change and develop our visual iconography just as we did as an agency.

The initial elements of the typography were cut out of paper and overlaid, giving depth to the identity. The letterforms for HIM and HER are formed predominantly from straight lines, so we decided to ditch the ampersand and concentrated on a more structural and modern ‘plus’ sign.

These straight forms quickly developed into a group of separate solid blocks, which we started to use as transparent elements, experimenting with light and tone. Allowing the colour to change where the ascenders and bars overlapped, we started to create the feeling that something different happened when these pieces came together, reflecting our collaborative approach to creativity.

After experimenting with various weights, physical manifestations and thicknesses we refined the final elements for the letterforms that form the identity.

The initial identity appeared in a variety of colours, reflecting seasons and disciplines, using a different bright spot of colour every time the elements overlapped. After playing the live application we settled on a simpler, more refined colour palette. This would help us retain consistency when printing, but also allow us to explore print mediums such as screen printing to help us achieve the best results. We wanted to use colours bright enough to give the effect of movement when put together: our final palette of pink, grey and blue reflected the customary and accepted male and female aspect, but also had the desired movement.

We have already started to flex our identity, bringing it to life by animating it on our website, and we’re looking forward to seeing where we can take it in 2010. We think the measure of success for an identity is its ability to live as a brand, changing and adapting to different environments, applications and media while not losing its initial creative thought. We have plans to construct the identity in large blocks of acrylic for our signage, and once established we will begin to play with the colour palette again and the structural nature of the identity.

It’s firm, bold and familiar at once, but more importantly, it reflects the nature of our work and practices: able to overlap, to collaborate and to create entirely new facets from simple inputs. Our agency is all about targeting our work to meet client expectations through bold and creative collaboration – and our identity was the first place where that belief begins to shine.

Check it out wwww.wearehimandher.com
email: info@wearehimandher.com
Give us a call +44(0)20 7378 5712
Follow our blog: http://wearehimandher.blogspot.com/
Follow us on Twitter: http://twitter.com/wearehimandher

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