Endure: Logo Design

Link: https://www.demilked.com/ecobranding-clever-logo-design/ utm_source=bp002&utm_medium=link&utm_campaign=focus

Popular Brand Logos Made More Eco-Friendly Using Less Ink

The ideas of conservation have been penetrating almost every aspect of our lives for a while now. And recently there was an introduction of another one called Ecobranding, which suggest big brands, who put their logos on millions of products every year, to make small adjustments in their logos and save dramatically on paint.

This conceptual experiment shows that changing the logos just slightly, you can reduce the amount of paint needed by 20% or in some cases even more. And when you multiply this by every product, printed ad, billboard and so on, you’re looking at a meaningful number. And that’s not even mentioning that some of those logos look even better with less dye in them.

Considerations:
How to make a brand as waste free as possible

• outlined text reduces ink production
• remove weight when possible
• recycle logo - spiral - cause & effect - loop / what comes around goes around
• A circle connotes infinity - cyclical nature of the clothing - production, distribution
• target audience: youthful, current, all-inclusive (populist)
• tone of voice: activist brand that seeks to infiltrate from within (alternative vs mainstream) - basic branding to be simplistic enough to be far-reaching however with a youthful zest / edge

The initial design looks into ways the letters can be joined in order to connote the productions line, and the idea that the clothes are being passed on.

The design also explores the word itself, and different typographic treatments to discover an appropriate tone of voice.

(San-serif / serif / various weights)

Moving forward, the design wanted to explore how the logotype could depict elements of the concept. Here it tries to visualise a ladder or the idea of taking steps (to progressive change). The repetition of the E was something that sought to be explored as this could be used as a design tool to communicate reuse, recycle etc. 
However these designs seemed to look too heavy and not give the desired tone of voice. The design sought to be more playful and less harsh. 

Linking the letters was trialled for this same concept, however the result mirrored a sort of battery company. The squared corners and rigid lines made the design too heavy and intimidating for its caring agenda. 


As such, the design goes on to look at the framing of the logotype. How a shape can be used, as well as the negative space. The typographic choices until now seemed to be too loud so lowercase variations were trialled which in tern became more effective, friendly and feminine. 




The use of Futura brought the design into a populist context through its neutral and clear qualities. The final logotype focuses on the simple idea of disrupting the 'end'. The ligature of the 'd' and 'u' continues the logotype but on a new level, mirroring the idea of reusing clothes but in a new up-cycled way. It is not the end of the old garments, but a new beginning. This subtle translation is effective and informed for the visual identity and branding of the company. 

finally a circle was trialled in place of the square to see it this shape communicates a less harsh logotype. Although achieving this, the circle seems too informal. Trialling this vision allows the final logotype to be best legitimised for its purpose.