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Selecting Brand Elements

November 21, 2017 by Patricia

The design elements that are integrated throughout your logo and visual brand identity should be selected with intention and strategy.  They should point back to the heart of your business.

Font choices, design elements, and colour palettes should never be chosen just because they look pretty, or because they’re your favourites. Yes, your personality should shine through your brand, but it shouldn’t be the only thing that determines your choices either.  It is the role of your designer (and or brand strategist, if you’re working with one), to guide you in your choices, and even possibly decide for you, based on your brand values, ideal client, and overall mission.

(sneak peek of some floral elements I designed for a  wedding planner in Colorado)

(logo design for a party rental company specializing in children’s parties)

If you want a visual brand that will last through the years, your brand elements shouldn’t be randomly picked from whatever is trending on Pinterest, or even your current obsessions. For example, if you choose to use flowers in your brand, you have to know why, and what flowers.  Not because florals are very trendy right now, but because those flowers mean something to you and your business.

(This logo design project uses an anchor as a symbol of stability and leaf accents for growth. Note the design of the monogram.)

Brand identity design isn’t just putting together pretty fonts with pretty graphics. It takes a lot of careful thought and strategy to design a logo that tells your story, embodies your mission, and helps you reach your ideal client.

 

Filed Under: Branding Tagged With: brand identity design, brand strategy, logo design

About Patricia

Patricia Alix is the founder and creative director of Fancy Girl Design Studio, a luxury brand and web design studio based in Singapore. She specializes in crafting elevated brand identities and bespoke websites for interior designers and creative female founders who are ready to be seen as the leaders they are. Her mission is simple: to show the world just how good you are.

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Hi, I’m Patricia, the girl
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I love pretty things, clever words, fonts, colors, the Oxford comma, and exclamation points!
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THE EXPERIENCE CONTINUES ON INSTAGRAM @FANCYGIRLDESIGNS

The typefaces surfacing this week share a theme: n The typefaces surfacing this week share a theme: not serifs broadly, but a specific vintage register, letterforms with visible weight variation, a slightly worn edge, the sense that someone drew them by hand. 
The Ashcombe Hall has the gravity of a country house library, the kind of face you'd expect stamped in gold on a leather spine. Vintage Serenade moves looser, more lyrical, closer to something a calligrapher would have signed.
Design has swung this way before. When the Industrial Revolution made everything fast and identical, William Morris and the Arts and Crafts movement answered with ornament, with craft, with the visible mark of the maker. The clean grid had its long turn at the wheel. This particular kind of type, textured, hand-cut, carrying a sense of history in the strokes, is having its own.
The antiques returning to people's living rooms and this type returning to branding are doing the same work. Both are reminding us a skilled hand was involved.
The Victorians read morning glory as fleeting love The Victorians read morning glory as fleeting love. I read it as a flower that simply knows when to leave the party.
#vintagetypeart #botanicaldesign #floraldesign
She used to sit across from people while they figu She used to sit across from people while they figured it out.
Now she's the one they came to hear.
That's what this moodboard is all about.
Another sneak peek. Monograms are my favorite thin Another sneak peek. Monograms are my favorite thing to design.
The best marketing strategy? Be really, really goo The best marketing strategy? Be really, really good at what you do. Everything else works better from there.
There's a lineage running through this one. Ever There's a lineage running through this one. 
Every object here survived because someone refused to rush the first pass. That's what craftsmanship actually is, a decision rather than a finish, made once, correctly, by someone with the patience to do it properly. Cornicing nobody hurried. A pattern made stitch by stitch. A tack room that assumes you already know what you're looking at.
The eighteenth century understood something we're still relearning: ornament is a form of discipline, not decoration for its own sake. That's the instinct behind this palette, this pairing, this whole quiet insistence on doing it right.
I am so excited to be working on this brand identity!
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