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Syntha Harris Interiors

May 6, 2020 by Patricia

PROJECT: BASIC LOGO DESIGN

Syntha Harris Interiors is a small interior design boutique firm located in Northern VA, working with clients in Northern VA, DC and Maryland (Montgomery County) with a mid-to-high end demographic. They wanted a logo design that was elegant, timeless, and warm to reflect their own mission statement.

MOODBOARD AND COLOR PALETTE

moodboard and color palette for Syntha Harris Interiors, with warm and neutral colors

The moodboard, based on the client’s Pinterest board, is full of classic images: a camel trench, tan leather, burnt orange trousers, the Hermes logo for the shape of the letter H, and stripes. The color palette is warm, classic, bold.

LOGO DESIGN

Drawing inspiration from the letter H of the Hermes logo, and the client’s love for stripes and classic design, I came up with a monogram that integrated both. The tagline is framed on either side by stripes, echoing the ones in the monogram.

Syntha Harris Interiors logo design  mockup as letterpress on paper by Fancy Girl Design Studio
Syntha Harris Interiors logo mockup on paper, submark included

BRAND GUIDE

Syntha Harris Interiors Brand Guide by Fancy Girl Design Studio

When I showed the final set to the client, this is what she said:

OMG I LOVE it! So very happy! I would hug you if I could. EVERYONE I sent it to has loved it and that by the odds is not possible to have everyone love it but they do!

Filed Under: Featured Projects, Uncategorized

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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