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THE CROWN BOOK GROUP

October 20, 2018 by Patricia

CLIENT: THE CROWN BOOK GROUP
PROJECT: LOGO AND BRAND IDENTITY DESIGN

The Crown Book Group is owned by two very enterprising young men who have set out to build an empire on books. This is the umbrella company where all their other ventures will fall under, (see the other brands here, and here) and so we sought to create a brand that would be timeless and powerful.

MOODBOARD

The moodboard is redolent of a gentleman’s library – all deep, dark colors, with rose gold for a luxurious touch.

LOGO DESIGN

For the logo design, the clients specified that the crown icon (because of course we would include one), would have 5 prongs instead of the more common 3. I sketched out ideas and came up with the idea of integrating the suggestion of a open books into the crown icon.

Here is the final logo design:

BRAND GUIDE

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
behind Fancy Girl Design Studio.
I love pretty things, clever words, fonts, colors, the Oxford comma, and exclamation points!
Won’t you grab a cup of tea with me and stay a while? Let’s talk all things pretty.

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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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