Hazelwood Holiday Park Logo & Branding By Exeter’s Design Credo

South Devon’s Hazelwood Holiday Park have commissioned Design Credo to develop a new visual brand and logo.

This new look will be applied to standard printed business materials such as letterheads and compliments slips as well as brochures and flyers. In addition to this the design will be applied to signage around the South Devon holiday park.

The design is an evolution of the existing brand and has been created with ease of use and consistency across various types of media in mind. The new look is currently being implemented across digital media and communication as well as signage throughout Hazelwood’s quality holiday park. In addition to this specific logo forms have been developed for Hazelwood’s Facebook and Twitter pages.

Rather than ‘re-invent the wheel’ Design Credo chose to refine and simply the elements of the existing brand whilst adding new secondary aspects to communicate the fun of a Devon holiday.

Hazelwood Holiday Park Logo & Branding

Exeter’s Design Credo Creates New Logo for London’s Perfume River

Perfume River Logo
Exeter based Design Credo have created a new logo for London’s Perfume River. This logo will be applied over the coming months to their dress labelling and website which is currently being re-designed.

The online retailer of flower girl dresses approached Design Credo having seen the recent rebrand for Sarah Treble Couture now based in the South West. Ha Ngo of Perfume River said that she was impressed by both the crisp clean design of Sarah’s new brand as well as the new Sarah Treble WordPress based website designed by us.

The brief was to create a simple clean logo that expresses “wedding” simply and effectively. This logo will need to be applied across a range of media, from websites and print to stitched dress labels. In order to accommodate the latter, a simplified version of the logo has been created.

It was felt that the existing logo (below) wasn’t suitable for Perfume River’s planned future developments whereas the new design will support future developments

Old Perfume River Logo

Old Perfume River Logo

In Helvetica, big brands trust, but not GAP’s Logo

Gap Logo?

Gap Logo?

Let’s make it very clear, I have far too many shirts and in my collection, towards the ‘lower’ end of the selection there are some from the house of GAP, one of which I quite like, the others not. Yes they really ought to be taken back to the charity shop from whence they came.

Now some of you may have been aware of the Gap Logo issue this week and some may agree that Gap were just playing with the crowd, us. Whichever way it does seem to have opened up the Anti-Helvetica flood gates a bit recently.

Helvetica Grrrrrrrrrr

There is no doubt about it, Helvetica is very prevalent in logo deign and visual branding. This isn’t really too surprising given Helvetica’s popularity. I for one am willing to stand up and be counted along with the others who voted it top of Die 100 Beste Schriften. I have previously posted Michael Bierut’s marvellous comments about life before Helvetica.

OK so I am seeming a bit of an enthusiast, yes my Twitter Avatar is a photo of me at the Barcelona exhibition about the font, and yes I have watched the film and enjoyed the evening when TV celebrated this typeface.

In Helvetica, big brands trust,
BrandGuardian – Twitter

In many ways we really shouldn’t be too surprised by all this. Helvetica is indeed very easy to read, a prerequisite of a good logo. It is available in a wide variety of weights and indeed variants. What does reassure me though is the fact that when applied these logos, to my eyes anyway are distinct and different.

You will find more examples here.

Familiarity Builds Contentment

I used to teach a Yr9 graphics lesson that used a brilliant starter courtesy of Fi Darby, you can have a look here. Basically hide most of a known logo or brand with a box and see how little of it the viewer needs to see in order to identify it. It is almost shocking how little of a logo one needs to be seen in order to be able to identify it.

I have always considered that there are a couple of lessons to be taken out of this. Firstly we are actually quite visually literate, we understand logos and icons and for whatever reason we remember them. However further to this we carry quite complex associations about brands based on form, shape, colour. This is all very useful to the brand owners.

Hold an iPod up and people will tell you that it is an iPod whether or not it says iPod or Apple on it, they tend not to. As I sit looking at this MacBook there is no logo to be seen (unless I close the lid), the keyboard that I am using has an Apple key (it’s an old Apple Pro Wireless) but other than that there is no overt branding, the form and colour says it all.

So, the logo is just part of the brand story and the font is just part of the logo. The font that Mac use now is Myriad a relatively recent one from the ’90s, it features at number 31 of the top 100. Of course until recently Mac were branded with Apple’s version of Garamond, which is number two in the list. Garamond (my second fave) dates from the early 1500s and for me, paradoxically that is a greater achievement than the popularity of my fave Helvetica)

Gap? I think the problem that most people had was the silly blue box, and that suggests to me quite a discerning audience.

New Branding Exercise By Devon’s Design Credo

Working on behalf of Yorkshire’s Techserv Cutting Systems, Exeter based Design Credo have created a brand for a range of newly developed machines.

More Than a Logo

The scope of the project extended beyond simple graphic design and logo design. Design Credo initially advised on product names creating a ‘brand-family’. Part of this advice extended to researching suitable domain names.

The rationale behind the logo design was to create a simple clear design that would communicate the accuracy and quality of the Techserv products. The logos were designed using simple geometric shapes with reference to the letters a&j, p&j, r&j.

Techserv have already commissioned Design Credo to photograph the first of these machines.

New Brand Design For Sarah Treble

Exeter graphic design company Design Credo have created a simple clean and minimal design for Sarah Treble the bespoke and couture wedding dress company now located in Devon.

Sarah was looking for a development of her existing look and wanted to avoid the overly ornate ‘Nuptial Script’ look. The brand needs to be applied in a number of ways ranging from small dress labels to websites, and Design Credo are already involved in the creation of the latter due to ‘go live’ in the coming weeks.

The new brand uses different weights of Helvetica Extended. However the simplicity of a look like this can hide the depth of the process. Many other typefaces were considered before Helvetica was selected. Once the typeface was chosen considered thought was given to he weights, spacing of letters, words and objects within the group as well as the colour.

Ultimately though this look can be considered as ‘less is more’, the brand should in no way interfere with the beautiful design of Sarah Treble’s wedding dresses.

New Logo for PDM Design

PDM logo

Design Credo have recently developed a new logo for PDM Design, the Topsham (Exeter) based architects. Phil Domville-Musters asked us to develop his brand identity further as part of the preparation for his new blog website also currently being developed by us.

Often when asked to ‘breathe on’ an existing idea we find that there are frequently good elements in the customers’ ideas. Phil was keen to keep the existing colours, being a fan of things Italian such as his Ducati and his Colnago. The first task is to unite the existing elements of the idea, the parts all need to be ‘friends’ with each other.

Phil’s original idea used Baskerville and Verdana. We felt that Baskerville designed in 1757 would be better complimented by Helvetica, introduced a further two centuries later and, having just watched Helvetica (the film) at the DID event in Exeter I am more than happy that we are in good company. As with architecture there is a case for mixing the old and the new. In this case we have used the extended form of Helvetica to achieve a suitable balance. The word architecture serves to unite the two dominant forms without detracting from the overall shape or ‘bounding box’ of the device.

As with all logo-forms it is essential that they will can be used in a variety of applications. On paper, where white is the dominant colour PDM will use the version with the grey ‘design’ whereas for the website the word ‘design’ appears as white.

Keeping it simple with respect for typographical heritage makes all the difference.

Original PDM Logo

Original PDM Logo