Groove Dust.

Groove Dust Logo


Groove Dust Logo (black variation)


Groove Dust Logo (orange variation)


Brief: 

I was approached by an aspiring film creator to design a logo for use as both a corporate marque and for the purpose of inspiring (via animation or a short filmed piece) an ident for the film company she was starting. This logo would be used in the aforementioned ident at the start of any films the company produce as well as being a corporate marque, setting the groundwork for their brand identity (in typeface/colour scheme/imagery etc.)

The client was specific in stating that the logo must have a contemporary feel to it – in keeping with modern logo trends, a simple colour scheme (primarily of black, white or orange), make use of the meaning of the name (Groove Dust referring to the grooves in a vinyl record, and the dust collected on the stylus) and be designed whilst keeping in mind the need for it to be incorporated into either an animated (or filmed) ident in the near future.


Development:

I began by choosing a typeface that I believe portrays that contemporary feel the client wanted. It’s professional, serious, but clean and artistic.

After some back and frothing with the client, she decided she was drawn to the “GrooveDust.” type, with no spaces and a fullstop. It portrayed the name in a clean, creative and slightly unique way, without losing any meaning.

 

My first attempts at a marque I attempted to replicate the vinyl style. But neither of these really brought across that tangible “vinyl” feel.

These “sleeve” designs went a bit further into showing this, but they still felt oddly spaced and shaped, and overall felt a bit too childish – like clipart.

The client stated a desire to use real vinyls in the ident, so I sketched out what the typeface logo looked against a real record.

It occurred to me that these centre stickers could be made use of for the logo and then elaborated in the ident when placed in context alongside a real vinyl.

Pulling the design back to that “coming out of the sleeve look” brought an interesting unique “rainbow” look to it that felt both nostalgic and appropriate.

After some variations, it appeared the “sunrise” logo looked the best.

Any attempt to round the edges (left) or add actual grooves left the logo looking busy and took away from the “emerging from the sleeve” look. So the harsher edges (right) remained.

The open space of the “imagined sleeve” created a much more identifiable logo than if I included the sleeve (above).

And so the variations sit as such.


 

Professional Design Practise

LECTURE #1: Professionalism

  1. Skills & Expertise: As an educated graphic designer, you are a working professional with skills people need that are not to be taken advantage of or belittled. Taking yourself seriously and recognising your skills and opinions are valid will allow others to take you seriously and earn you the respect you are deserved.
  2. Providing a Service: A big part of your professional persona involves the relationship with a client, associate or otherwise people who require your service. This involves forging a bond based on ethical and legal rights.*
  3. Public recognises authority of professionals: You have a voice that carries weight and a professional opinion. This can mean any unprofessional practise and unacceptable behaviour will affect your professional reputation and perhaps the reputation of those associated with you. Alternatively it gives your voice more credibility and good professional practise can aid in upping your reputation further.
  4. Independent of the Influence of State or Commerce: Being an independent practitioner // Influence of state // Working to a brief, monetary downtrend. // Expressions of interest – .
  5. Educated, not trained: Graphic designers and creatives are approaching a professional setting with different skill sets to those trained to do a job. Professionalism involves taking this into account and approaching
  6. Take responsibility: Credibility through

Professionalism in Practise: 

There are a number of organisations that can aid in credibility and esteem such as:

Essentially these collective bodies of professional designers aim to regulate quality and maintain respect and integrity of design as a professional practise. Much like the “Bar” for professional lawyers designates who can be trusted to practise law. These regulations help build trust in individuals and companies and these collectives aim to help establish and maintain design as a modern professional career. However it can be argued that many of these organisations can be bought into, thus weakening the professional practise’s credibility and exclusivity, whilst others maintain some sense of regulation through approval of work.