PROCESS POST No.4: Designing A Logo And Wrestling With Branding

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Having taken quite a few publication classes, I cannot claim ignorance when it comes to the importance of branding. Though it has not been a specific topic we have tackled in this class, discussion of aesthetics (Week 1’s “vision board”), audience, and overall tone have taken place and continue to influence both the written and visual nature of my website’s content.

The issue of “branding” itself is one that I struggle since I don’t envision myself as a profit-oriented endeavour. At least for the purposes of my writings in this space, I am less interested promoting or publishing myself and my works. Instead, at this time in my life, I am using my voice in this space to interrogate, explore and critique thematics I encounter in the artistic world around me. This thought process of mine is why Debbie Chachra’s article (“Why I Am Not a Maker”) has resonated so much with me: the push to not define oneself by what is “created” because I consider what I do to be very much “in response” to dialogues around me.

However, with all of that hesitancy addressed, I still need to negotiate with the world around me. At present, that means embracing the need to have some sense of a personal brand. So when I was prompted to make a logo in another class, I decided to focus on the identity I envision for this website. As well, this is somewhat an extension of a previous post I made debating the pros and cons of watermarking. Have a look at my final design and rationale below:


This monogram was designed to prioritize the realistic needs of my ongoing photographic practice and written reflections under the name Leigh Ghimire––this website.
 
Notably, I knew that the final result would need to function not only as a monogram but as a watermark/“signature” of sorts; one that could be placed on or within images, but without detracting too much attention. Thusly, I knew I would be aiming for geometric arrangements rather than linear ones (such as a full name). These are also more apt to be timeless as opposed to decorative fonts—the irony, of course, being that the underlying typeface is Braggadocio. (For those who don’t know, this is considered an almost comical typeface because of its thick curvatures).

As well, because my work is geared towards the art world, my desires for the overall form were immediately quite different from that of a entrepreneurial photographer, who would prioritize recognizability. So, rather than looking towards arrangements with clearly decipherable letters or clichéd symbols (hearts, stars), I instead emphasized subtle hints towards my initials and sought to convey a more general “feel”.

In the end, I am quite pleased with this mysterious and unique shape, which hints at my initials without giving too much away. Overall, I achieved this result by doing two key steps: Combining with the best overlapping forms, while also considering the negative space, before finally experimenting with what could be left out but still suggest just as much.

I hope to eventually integrate this tastefully throughout the website itself, although that may not happen for another few weeks.