Next, I needed to set a mood. For some reason, this didn’t take long to decide. I grabbed the nearest Moleskine-like journal and scanned a blank page to get that subtle texture for the background. By incorporating Sketchetica for headlines and a cut-out style banner here and there, I just began placing information in a hierarchy. This became my approach to all pieces. I began with designing the postcard which was to be handed out to students on college campuses. This same mood and feel translated over nicely to the landing and download pages for the web site.

Designing the look of the web site was a lot of fun. Because I’m not a code guy, I usually get overwhelmed by trying to figure out how to put great ideas into HTML, CSS, PHP, and the like. Not so on this project. The Great Steven Peercy was commissioned to program the back end of this simple site which gave me free reign to exercise my creativity. O the delight to see my designs come alive with rollovers, working forms, and smooth functionality!

Although this was a small and quick project, I was given a lot of room for creativity which makes my job a lot of fun. Special thanks to Brock Starnes for excellent management and business acumen. Visit www.speakuptour.com to see the real thing up and running.

Landing Page for the Speak Up Tour

Downloads Page of Speak Up Tour's Web Site

This fund was established in partnership with the West Tennessee Healthcare Foundation to benefit the new Casey Jones Railroad Museum. The logo needed to stand alone, apart from the various enterprises under the banner of the Casey Jones Village. Originally, I wanted to try my hand at a horizontal, rectangular wood-cut image of a train. However, after we discussed the project, the client had envisioned a circular design resembling the front of a steam engine. Open sketchbook.

Since late April, I’ve been pouring over train books noting details in train design as well as turn-of-the-century promotional design (I LOVE the public library!). I am still in the process of forcing this obsession on myself; I think this is only the beginning. Any-hoo, one thing I’ve noticed about this period in design is the typefaces. These faces range from the very stout sans-serif to the elegant, scripty style such as I used in this logo. I particularly love the embellished jut from the lower portion of the ‘J.’ I decided to use the initials in this decorative way because I didn’t like the alternatives I kept coming up with. Any image would be a departure from our train-face; a number, as is common in such spots on trains, would confuse the message of the logo. I saw this as an opportunity to develop an identity that is strongly rooted in the period style rather than a literal depiction of what the fund was established to do. 

The sketch you see below was a rough idea of what I wanted to do. In the beginning, I tried tracing this sketch but you can never underestimate the subtleties of a well crafted typeface. I ended up using Harrington as my base and altered the design to achieve the solution you see here. And there’s the key word: solution. Much of design is problem-solving. Sometimes the problem is simple and it doesn’t take much to solve it; sometimes the problem is great and takes a lot of time to solve. Unfortunately, some logo projects, if executed well, will seem like it took ten minutes to accomplish. I’ve grown fond of telling clients that logos are “deceptively simple.” What seems like an obvious and quick solution may have taken hours to accomplish. 

The end result here was completed by our deadline and the client was pleased. I love having a fresh start to an enterprise. Unlike other projects commissioned by Casey Jones Village, I get to be involved in the Historical Fund’s identity from the beginning. Stay tuned to see the development of the Casey Jones Village, the Old Country Store, the Casey Jones Home and Railroad Museum, and the Casey Jones Historical Fund projects. I’ve had a blast working with them and can’t wait to show you more.

Casey Jones Historical Fund Logo

After sketching out what seemed like a full sketchbook of ideas, I kept coming back to the initials, I.O.I. The organization is referred to by these initials more than anything else so I felt strongly that the logo needed to communicate this. The result is the flaggy treatment of the initials. By creating the solid ‘I’s, we were able to insinuate the ‘O’ between them by only placing the negative space. What we are left with is a memorable logo mark that isn’t completely dependent on the text to its left. 

The organization’s main location of operations is in Addis Ababa, Ethiopia. Surrounded by a lush and muddy countryside, Addis is full of greens, dark oranges, and various shades of neutral colors. It seemed natural to establish these colors as I.O.I.’s palette. 

I am happy to report that after years of hailing Papyrus as a worthy font choice, I.O.I. has reconsidered its typefaces. Hallelujah. You can visit them on the web at www.ioiusa.org.

One of the curses of being a graphic designer is that EVERYTHING must have a logo. The good thing about that is that you can develop your wife’s side business into a brand. We began with a quick, rough logo. My wife refuses to capitalize anything so naturally, the logo would be all lower case. I thought the brand should reflect her care-free, cheerful personality so rather than searching for the right font, I sketched the type with Illustrator’s pencil tool (when’s the last time you used that one?). I fashioned a quick outline of a bug in the background and called it a day. It worked for a little while but I started cringing every time she asked me to print her some more business cards. 

I began sketching ideas for a revision. I came up with some great concepts but was having trouble translating it into crisp, clean vector lines. As a designer who prefers those wonderful vector lines to their jaggy raster counterparts, I had to resist the temptation to scan the sketches and start tracing. That’s cheating isn’t it? Well, after several frustrating attempts, I fired up my Epson and started tracing.

This process has really opened a lot of possibilities for me. I realized that no matter how complicated the idiosyncratic anomalies of hand drawn images are, they have to break down into simple lines at some level. This could only strengthen my design skills. One of the complaints about the vector preference is that things tend to be too neat. It would be great to master the ability to force vectors to behave and look more like rasters (without the scanning, of course). All of this comes from a distain for the size and color limitations you have with a raster image. 

Anyhoo, the results were quite nice. I ended up with a lovely logo for my wife that reflects her personality and business. You can see the process below. For gift ideas for moms and moms-to-be, visit bug-a-roo.

Original Bug-a-roo logo

A Sketch

Another Sketch

THE Sketch

Bug-a-roo Logo

The owner had a vague idea of using wings for his logo. After many sketches, we settled on a classic fork-and-knife motif with a wine glass. Playing off of the three glass wine flight idea, we continued using the ‘three’ theme: three tiers on the wings, fork-knife-glass, etc. 

The logo turned out well and I’m quite proud of it. My wife and I finally ventured to Memphis to see the logo in action and try the experience for ourselves. There is nothing more satisfying than walking to a swanky, established business and seeing your concepts and hard work plastered everywhere. When entering the restaurant, you have to walk beneath a three dimensional (there’s that number 3 again) carved version of the logo that is 3 or 4 feet wide (in my memory anyway). The logo is also stamped on the menu covers and printed on the receipts. We ordered from the eloquently type-set menus on which  we worked so hard. It was gratifying to say the least.

Next time your in Memphis, I recommend and evening at Flight. These guys have worked extremely hard at getting where they are and it shows.