The process of creating my own identity…

Going through the usual procedures of multiple mind maps and doodling endless name associations from a religious perspective ‘Parson’ in my sketchbook, it was apparent to me that these connections didn’t really reflect myself or my personality as an individual or a designer. (This development work can be viewed below – Click here). It was the documenting of my hobbies and interests that highlighted an extremely significant period in my life from the perspective of my military service. It is so significant to me that I still believe it plays an influential part in my attitude and personality today. As a designer I find the same determination and discipline that was instilled into me through this early career has remained with me. My abilities to work with others as part a team and also the focused attitude of taking control and responsibility when working alone, have all become major factors in my abilities and attitude. Dealing with pressure, focused attention, determination to find a solution, an aggressive attitude to getting on with a task, willingness to work hard, adaptable, attempting alternatives and the resolve to deal with a problem till the end. All these qualities have transcended into my career as a graphic designer, so it was appropriate to translate these qualities into my self branding and reflect the elements of this with a connection to this early military influence.

Figure 1

Figure 11 Military Gun Range Target

Figure 2

Rank of Lance Corporal Chevron

Rationale behind the logo identity

Figure 3

After collating research of the DPM (Disruptive Pattern Material) camouflage patterns, my rank as an infantry soldier and various other military influences such as, stencilled typography, military file records and range targets. I amalgamated various geometric aspects from the hexagonal top of the figure 11 target (figure 1) and the chevron from my rank of Lance Corporal shown in figure 2. Combining these elements with influence from the UK 95 DMP colour pallet (Also sown in figure1), I utilised this connection to the geometric aspect of the targets and rank chevron with a typeface I designed called ‘Iso Gridletter’ shown in figure 4 from another project ‘Type Case’. The elements of the logo consist of the chevron and my initials AP (Figure 3A). They interlock because of the isometric grid structure from the typeface, and overlay to read as an A on its own (figure 3B), but use the colours to separate into the individual elements through use of an overprinting colour technique that allows the viewer to still read the A, P and the chevron individually (Figure 3C). From my earlier research I found it important to understand that modern logos need to be adaptable and make considerations for the potential platforms they could be used on. Seeing blue chip companies either re-designing their identities, or having to adapt an additional alternative to suit within the ever increasing demand for modern technologies, such as smartphone app icons or social media platforms. Rob Walker (2017) from fortune points out that the thinking and purpose of a logo has evolved quite a bit in recent years. They now need to be recognised in this app environment too. This was something that I took consideration for when designing this final logo, as an unknown logo, it will not carry the weight of the recognisable features we can easily associate from familiar brands and therefor not necessarily be as adaptable. The final logo icon shown in figure 3D demonstrates its standard form of use that fits within the majority of modern platform dimensions I previously mentioned. Future possibilities can still be utilised through the change of a colour pallet and use of the geometric aspect of the identity. This geometric reference was also developed into the camouflage pattern (figure 5), as part of continuing the familiarisation and association across other branding elements, and at the same time referencing back to the military inspiration.

Figure 4

Iso Gridletter: This two dimensional isometric typeface I designed acts as a futuristic display font, paying homage to the Gutenberg Blackletter Gothic typeface that revolutionised the movable type movement.

Figure 5

References:

Walker, R. (2017). The evolution of a logo. Available at: http://fortune.com/2017/06/16/business-logos-evolution-importance/ [Accessed 12 Aug. 2017]. Figure 1: Figure 11 Military Gun Range Target. (n.d.). [image] Available at: https://www.redbubble.com/people/electricfi eld/works/9991274-fi gure-11-military-gun-range-target?p=photographic-print [Accessed 11 Aug. 2017]. Figure 2: Windsor Medals (n.d.). L/CPL Chevrons ( Old Style Number 2 Dress Lance Corporal Stripes ). [image] Available at: https://www.windsormedals.com/L_CPL_Chevrons_Old_Style_Number_2_Dress_Lance_Co_p/n2db01.htm [Accessed 11 Aug. 2017].

Project Development

Document detailing some of the research and development behind the projects design rationale…

Project Details

Project Personal Branding Client Self Initiated Project Date September 2017 Skills Concept Development, Branding, Typography, Packaging, Website Design

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