Part 5 Chance Housing Association

A typographical logo (selected one from three basic sketches) is required for a housing association. The logo will be used on the stationery (as a part of brand identity). 

First of all, I have studied and observed some logos of builders, estate agents, etc. as follows – 

Conclusion :

Most of these logos are combination logos, made with abstract graphic and text or abstract graphic, mainly. Most of them are really very similar. They look generic and not distinguished or unique. Not much innovation is recently seen in the logos of the housing market.

I would like to know whether the client needs a total redesign or just an enhanced logo version of the current logo, by site visit and by studying the design of the whole brand identity (logo used on the letterhead, business cards, ads, hoardings and banners, website, files and folders, etc.). I will suggest them a total redesign or a new design if they are new in the housing market or an enhanced version of the current logo, if they are well-established by now. 

There are actually infinite possibilities to create a logo for a housing association. 

My initial ideas for the logo – 

Sketches –


Vectorized logos using software CorelDRAW – 

Chance Housing Association Logo 1

Chance Housing Association Logo 2

I have finalised the following logo idea –


Logo worlks well on the black & white version too, without losing any details. Only single colour paired with white makes logo perfectly suitable for any layout.

Considered following typefaces –

Chance Housing Association typefaces

I have maintained consistency in appearance by maintaining limited colour palette used in repetitive way and only two typefaces – Eklektic Normal (decorative typeface) for logo and Chaparral Pro (serif typeface in varying weights and point sizes, bold and regular as wel as Italic) for the text. 

Mockups – 

(1) Letterhead – 

Chance Housing Association Letterhead


(2) Business card – 

Chance Housing Association business card


(3) Advertisement – 

Reference Advertisements (as suggested in the exercise) –

001 marvel 16x25 CREDAI Suppliment ad



Melrose Ad 02



My client’s advertisement (8.5 x 11 in) –

Chance Housing Association ad

(4) Presentation Pack – 

Chance Housing Association presentation pack

As suggested by my tutor in the report, I have tried this logo too –

Chance Housing Association presentation pack 2

Feedback –

Friends, family and the most important, the clients liked the styling of the logo, which looks corporate and distinguished from the typical logos for housing associations. So, the design is finalized as it fulfills the needs of the client. Also, the design is cost efficient and can be printed on high-end printers as well as simplest photocopiers. It is compatible for digital mediums as it is vector and be scaled to any size without losing any details or change in appearance.



Part 5 Research Point [Logo Design]

From historic era to today’s corporate world, the businesses are reliant on the logos to represt them and their values on which the businesses are based on firmly. Logos are crucial and integral part of the brand identity.

The logos can be categorized basically as

  • Text only
  • Text with graphic
  • Graphic only

The types of logos :

  1. Lettermarks (or monogram logos)
  2. Wordmarks (or logotypes)
  3. Pictorial marks (or logo symbols)
  4. Abstract logo marks
  5.  Mascots
  6. The combination mark
  7. The emblem

Some logos can stand as separate elements (as only text or as only graphic), though they are combined together initially. Currently, the animated logos are trending too, due to the advent of technology and high-end softwares as well as ease of creating GIF.

In logo design, modernism has sought to create simple and recognizable symbols that transcend cultural context.

The use of typography in logos is a deep field of study nowadays.

As per asked in the coursework, I couldn’t recall the logo of OCA at ease, to be frank –


The logo is combination of wordmark and lettermark, a striking combination of black and red colours. Yet, seems very simple to remember actually but not much unique or rare that it will be etched on the memory by even a glance once. It is not much distinguished characteristically. So, I found it hard to recall it.

I felt I have seen some logos similar to this logo. For ex. –


I have researched logos of following companies :

(1) Google :


Colorful and long, the Google logo has an important message to convey. It has two aspects – repetitive use of color and letters [typography]. It is a wordmark logo. This logo signifies a varied range of globalized content, just like the brand is known for. It is visually appealing.

(2) FedEx :


The white space between ‘E’ and ‘X’’ in the FedEx logo makes an arrow, suggesting a business moving forward. It also denotes ‘speed’ (in delivery), which is one of the key features and differentiators of the company. It conveys to customers why to choose FedEx over others for their logistics woes without explicitly having to say so in words. The logo of the famous shipping company is one of the best-known designs that carry a hidden symbolism. Even people who have been seeing the FedEx logo for years might miss catching the hidden image. The design has received more than 40 awards and has been ranked as one of the best logos in the last several years. The logo is wordmark logo.

(3) Amazon :


Thousands of people see the Amazon logo every day. However, not everyone notices the subtle meaning it conveys. The arrow from a to z conveys subtly that the brand offers just about anything and everything from A to Z. Also, the orange arrow hints at a smiling face, conveying a happy customer. It is a combination mark logo.

(4) Mercedes Benz :


Another of the most iconic logos known the world over, Mercedes-Benz showcases its triumph over the land, air and the sea with its logo which depicts a Tri-star surrounded by a circle signifying security. It is a combination mark logo.

(5) BMW :




BMW is one such example of tryst with history. With a color scheme of blue and white, signifying the harmony of air and speed propellers, the BMW logo traces its role as a part of the World War II when the company was intrinsically involved in creating airplane engines for its home country, Germany.

(7) Audi :



Audi probably has one of the most recognizable car logos ever created. The Audi logo is a representation of the merger of the four founding companies in the year 1932. The four companies that merged are Audi, Horch, DKW, and Wanderer; as a whole they make up the Auto Union.

(7) Baskin Robins :


The ‘B’ and ‘R’ in the Baskin Robbins brand logo, introduced in 2005, are made of two colors – blue and pink. When you focus on just the pink color, you will notice the number ’31’, which denotes the number of flavors the brand offers! So, the logo showcases the company’s ideology that the people have the opportunity to relish a new ice cream flavour every day of the month! It is a combination mark logo.

(8) McDonald’s :


A brand that is as iconic as its logo, McDonald’s is the perfect play of color that stays in the minds of its target audience forever. The red and yellow shades and the iconic arches make us feel tempted for the french fries and burgers immediately. Logo is combined as well as abstract lettermark logo too.

(9) Barbie :



The Barbie logo is among one of the most popular and instantly recognizable logos in the world. First introduced in March 1959 at the New York Toy Show, it has undergone several modifications throughout the years; however, its signature light-hearted, minimalist style has remained same. The current version of the Barbie logo consists of a simple wordmark which features the brand name in a hand-drawn, italic typeface which has an elegant, playful and traditional look and feel. Pink is a color that feels soft, gentle, sweet, young, feminine and optimist. All these qualities makes its use perfect for the Barbie logo.

(10) F1 (Formula One) Race :

Old Logo –


The logo design of Formula One reflects the core values of sports. The red color stands for energy and passion, while the black color represents determination and power. If you focus on the negative space between the two colors, you will see the numeric ‘1’. The F1 sign, along with red racing stripes, makes the logo truly representative of the brand. It has been used for almost past 23 years.

New Logo –


F1 revealed the new much simpler design that will be used from the start of the 2018 campaign.F1 commercial chief Sean Bratches said that the decision to change the logo had come about because the old design was neither useful for modern digital platforms nor merchandise. Logo was simplified to make it compatible for digital mediums.

(11) Penguin Books :



A flightless bird might seem an unusual logomark for a company that revolutionized publication of books. But in the 78 years since its first iteration, Penguin’s charming icon has become one of the top brands with cultural and political significance. Edward Young was asked to design the covers of the first set of 10 Penguin paperbacks, which appeared in the summer of 1935. In 1946, Young’s amateurish logo was modified by forward-thinking German typographer Jan Tschichold, who was invited to give Penguin a uniform aesthetic. In 2003, Penguin logo was refreshed by Angus Hyland in 2003.

(12) Microsoft :



The new logo was launched. According to Microsoft it takes its inspiration from their product design principles while drawing upon the heritage of our brand values, fonts and colors. There are two elements to this logo, the logotype and the symbol. The logotype uses the Segoe font in gray and although very different still keeps the joined up ‘f’ and ‘t’. The symbol of four coloured squares (red, green, yellow and blue) is said to be “intended to express the company’s diverse portfolio of products.

(13) Apple :


The original logo was designed by Ron Wayne, who started Apple with Jobs and Woz in 1976. In 1977 White sold his portion of Apple back to Jobs and Woz when they incorporated. The image is a pen and ink illustration of Sir Issac Newton leaning against an apple tree with a portion of a William Wordsworth poem running around the border: “Newton…A mind forever voyaging through strange seas of thought…alone” (Prelude, Book III, Residence at Cambridge). Steve Jobs decided to scrap this image because he felt that Wayne’s logo was too cerebral and not easily reproduced at small sizes. Regis McKenna Advertising Agency was approached by Steve Jobs to redesign and the Rainbow Apple logo was created. Later, gradually, Apple began placing sizeable and Monochrome styled logos on its products.

(14) Nokia :


Engineer Fredrik Idestam built his second wood pulp mill by the Nokianvirta River, which gave the Nokia its name. In 1871, Idestam and his friend Leo Mechelin, renamed and transformed the firm into a share company, thereby founding the Nokia Company. The first logo of Nokia was created in 1966 showing the image of a fish, inspired by the salmon fish of Nokianvirta River. In 1898, Eduard Polon founded the Finnish Rubber Works, which later became Nokia’s rubber business. In 1967, three companies, which were jointly owned since 1922 by Nokia, officially merged and created Nokia Corporation which adopted the logo which was all black rounded shape emblem, in which “Nokia” was written in white. At the start of its telecommunication equipment manufacturing, Nokia adopted the logo which was quite similar to the current one, but with the light blue color and the arrow like shape pointing upward. Arrow in the logo represents the Nokia’s progress and advancement in telecommunication industry.

(15) Samsung :



In Korean, the word Samsung means ‘three stars’ The name was chosen by Samsung founder Lee Byung-chull whose vision was for his company to become powerful and everlasting like stars in the sky.

Part 5 Poster and Flyer

To create A3 poster and A6 double sided flyer for a singing course by an organization named SingOut who have low budget and less efficient printer, I first needed to research how posters related to music and singing are designed when budget is limited. Some of those are as follows :

Conclusion :

Most of the posters are based on typography and simple vector artwork with limited colour palette which is used in repetitive form.

Following information is provided in the brief –

SingOut Brief

Some information is missing :

  • Age group of students as a part of the targeted viewers of the poster]
  • Duration of the singing course in which it will be completed
  • Name of the city / town where this course will be undertaken
  • Places where the posters will be stuck up or hung up

Other considerations are how to :

  • arrange the hierarchy of information
  • divide the information up to fit on both sides of the flyer
  • link the design for the poster with the flyer
  • make the poster eye-catching and effective using limited colours
  • explain the typefaces used and why they are used
  • plain white paper or coloured paper can be used for the background

I have sketched some ideas for the A3 Poster :





Typefaces considered for this project –

SingOut typefaces

I have created the A3 poster –

(1) Layout 1 –

SingOut 1

I have arranged the name and the attention-seeking statements and interrogative statement on the top along with the vector silhouette of hand holding a microphone at bottom left, denoting singing. The text is centre aligned as well as right aligned and bold, easy to understand, precise. Only two typefaces are used throughout the design – decorative typeface Beyond Wnderland and slab serif bold typeface Bevan. The colour palette is limited upto only black on dark yellow paper, to be cost efficient. Typeface hierarchy is bit interrupted at the centre of the layout as the text gets wrapped from the right of the silhouette. Yet it looks well-balanced.

Mockup –

SingOut mockup 1

Name of the organization catches the eye along with the silhouette of hand holding the microphone, denoting singing. The dark yellow catches the eye even from the far away distance. The use of black for text is perfect for legibility.

(2) Layout 2 –

SingOut 2

Everything is same like layout 1, except the hand-drawn style of typeface for ‘SignOut’. I have sketched it too thin by intention, to prove that a thin script or hand-drawn typeface isn’t good for a poster.

Mockup –

SingOut mockup 2

The name of the organization ‘SignOut’ is barely readable from the far away distance. Just dark yellow background or other elements of the design aren’t enough.

(3) Layout 3 –

SingOut 3

Here, I have deviated a bit and adopted a bit feminine touch with the use of pink coloured background along with white and black as well as softer, rounded sans serif typeface Arial Rounded MT Bold paired with script typeface Ballpark and decorative typeface Bauhaus 93. I have maintained hierarchy throughout the design. I have used silhouettes of male and female singers as well as the microphone, making it appealing visually.

Mockup –

SingOut mockup 3

The design is overall attractive even from the distance, but by night-time, the pink background might look different due to the street lights unlike throughout the daylight. The white colour has enhanced the design.

Over all, the layout 1 is perfectly suitable. So, I have created its double sided A6 flyer too.

A6 Flyer Side 1 –

SingOut A6 Flyer side 1

A6 Flyer Side 2 –

SingOut A6 Flyer side 2 png

I have arranged the name and the attention-seeking statements and interrogative statement on the side 1 along with the vector silhouette of hand holding a microphone, denoting singing. Those who love singing will surely turn over to the side 2 to learn more about the ‘opportunity’ mentioned on side 2 which contains all the remaining information. The text is centre aligned and bold, easy to understand, precise, only two typefaces are used throughout the design – script typeface Ballpark and slab serif bold typeface Bevan. The colour palette is limited upto only black on dark yellow paper, to be cost efficient as is the poster and looks similar.

Part 5 Research Point (Posters)

A poster is any piece of printed paper designed to be attached to a wall or vertical surface. Generally, the posters include both textual and graphic elements, although a poster may be either wholly graphical or wholly text. Posters have a rich history documenting everything.

The posters are created for various purposes and intentions, for example =

  • to sell goods and commodities
  • to create social awareness
  • to promote art, films, plays, sports
  • to announce events
  • to make requests to volunteer something

I like posters with designed with the influence of minimalism, graphical, typography as well as bright colours that are attractive visually and also posters from vintage and retro feel. Some posters are created in series too.

I’m presenting some of those which I liked –











Series of posters :








Part 5 Birthday List

I have created a birthday list as per required to include the method to convey the birthday wishes through card, text and present.

I have sketched the idea on the rough paper initially –



Using software CorelDRAW, I have created and edited the design layout (as per suggestions by my tutor)  –

Birthday List edited

I have used bright, vibrant as well as complimentary colours to create a feel of spirit and cheerfulness throughout. I have created and used the vector graphics like party-hats, glasses of juices and drinks, balloons and used a photograph of cake with candles rather than using vector graphic of cake. I have used decorative and script typefaces combined with the sans serif typeface ‘Hums521 BT’ [bold]. Used table tool to facilitate the creation of the tabular list.

Mock-up –

Birthday List edited mockup

I have photographed a corner of my room where the list would be easier to look at if stuck up on the wall / pillar.

Part 5 Judging a book by its cover

Book Cover Design :

I love reading books like ‘The Da Vinci Code’, ‘The Angels and Demons’, ‘Inferno’, etc. by author Dan Brown. Recently, his new book ‘Origin’ is published in various languages in various nations.

Some of the books by Dan Brown have a similar style of the layout :





There was a competition to design the cover for ‘Origin’. I had participated in it and had designed some of the styles. The publisher had provided a template of size and measurements, layout style, body text, vectorized the name of the author and the book that was to be used in the design.

Rough sketches of the design –

sketch 2

Software used : CorelDRAW

Design 1 (photographs / illustrations along with text) –

Book cover Origin 1

I have combined illustrations together to create a textured background with an image of DNA chain as it represents the human origin. The limited colour palette is making it visually impressive. The use of the serif typeface in uppercase is effective.

Design 2 (only typefaces)-

To design this cover using only typefaces, I had considered some typefaces in combination with the remaining body text.

Considered Typefaces :

Book cover Origin typeface

I have used a combination of serif typeface named ‘Andalus’ for the name of the author Dan Brown and script typeface named ‘Big Surprise’. Used just two colours that compliment each other.

Book cover Origin 2

Part 5 Research Point

I love reading since childhood and have always have bought many good books. I have preferred buying paperbacks rather than hardcover, as it is easier to hold for longer duration in hands.

I have been studying the cover designs and illustration on the book covers as well illustration inside the books on the  pages.

For this exercise, I have photographed some of those books for elaborating the styles and illustrations, designs of the covers of the paperback books which are like series or can be a part of series by following publications –

(1) Harper Collins –




The use of white colour and sans serif font for the name of the book, script or handwritten font for the name of the book and the author, use of illustrations and photographs with mysterious yet spiritual appearance that continue throughout the spine and the back cover, are the main characteristics of the books that are consistent and make the books appear as a part of the series.

(2) Westland Books (Westland Ltd) –

amish 7






These books are a part of trilogy (series of three books) actually. The use of white colour for the text, name of the book and the author and also for the publication for all three books is striking. Also, serif font is used on all the book covers. The background of the images related to Lord Shiva is creating a divine feel. The designs make the books perfectly suitable to each other as a series.

(3) Bloomsbury –




These books aren’t part of series. Neither are they designed by same designers. Yet, the style is consistent throughout. The author of ‘The Kite Runner’ became famous after it was published and hence, on the book cover, it is mentioned as it was written in succession to the previous book. The script font with handwritten look for the name of the book and serif font in uppercase for the name of the author is consistent.

(4) Hodder Children’s Books –




I had many of these mystery story books from the series ‘The Secret Seven’ by famous author Enid Blyton, during teenage but currently, I had only two of these. Use of script font with handwritten look for the name of the author is seen. The sans serif typeface with bold weight is used for the name of the book and the body text is continuously used. The style of the cover design is consistent . The designer is same.

(5) Three different publications from three different era s-




I had many of these mystery story books from the series ‘The Secret Seven’ by famous author Enid Blyton, during teenage but currently, I had only three of these.

First book appears to be a part of Hodder Children’s books as the style is similar to that of the series of ‘The Secret Seven’.

Another publication is from probably mid-80s and reflects the influence of emphasis on the illustration through the cover design layout.

The third publication seems to reflect the older era, when there were less effective techniques of designing, through the limited colour scheme, emphasis on simple illustrations and simplified text.

(6) Two different publications from two different eras –


One of the publication Aladdin Paperbacks uses only serif typeface combined with an illustration is really effective and vibrant.

Another publication has a consistence in style, throughout the layout considering it is part of the series of the detective stories [for example, the name of the book and the author being written in serif typeface and highlighted, use of illustration, number of series on the spine, etc.].

(7) Three different publications from three different eras –


One of the publication has a consistence in style, throughout the layout considering it is part of the series of the detective stories [for example, the name of the book and the author being written in serif typeface and highlighted, use of illustration, number of series on the spine, etc.].

Another publication maintains a vintage appearance and uses only limited colour scheme with a photograph, bold serif typeface for the name of the author and the book as well as the number of the book in the series is placed in the middle, making it easier to understand that it is the part of the series.

The third publication is reflecting a retro appearance throughout the cover design layout, including the choice of typeface, use of colours and style of illustration.

One of the publications that I chose for research is

Penguin books :

It was founded in 1935 by Sir Allen Lane, his brothers Richard and John, as a line of the publishers. Penguin revolutionized publishing in the 1930s through its inexpensive paperbacks. The first Penguin paperbacks were published in 1935.

Lane’s experience with the poor quality of reading material on offer at Exeter train station inspired him to create cheap, well designed quality books for the mass market.

From the outset, design was essential to the success of the Penguin brand. Avoiding the illustrated gaudiness of other paperback publishers, Penguin opted for the simple appearance of three horizontal bands, the upper and lower of which were colour-coded according to which series the title belonged to; this is sometimes referred to as the horizontal grid. In the central white panel, the author and title were printed in Gill Sans and in the upper band was a cartouche with the legend “Penguin Books”. The initial design was created by the then 21-year-old office junior Edward Young, who also drew the first version of the Penguin logo. Series such as Penguin Specials and The Penguin Shakespeare had individual designs. The colour schemes included: orange and white for general fiction, green and white for crime fiction, cerise and white for travel and adventure, dark blue and white for biographies, yellow and white for miscellaneous, red and white for drama; and the rarer purple and white for essays and belles lettres and grey and white for world affairs. Lane actively resisted the introduction of cover images for several years. Some recent publications of literature from that time have duplicated the original look.

The company strengthened its design under German typographer Jan Tschichold during the 1940s and Italian art director Germano Facetti in the 1960s. Under Jan Tschichold a disciplined and coherent approach to design was adopted. Tschichold designed a template for Penguin books unifying the design of the front, spine and back and redrew Edward Young’s Penguin symbol in eight variations. In 1949 Tschichold returned to Switzerland.

By the early 1960s Penguin had lost its edge in pioneering book design. In 1961 Italian art director Germano Facetti was appointed as head of design. One of his most inspiring projects was the redesign of Penguin Crime. The redesign was so successful that other variations were adopted for other Penguin series. In just over a decade at Penguin, Facetti succeeded in the modernising of its approach to design whilst also doing so in a coherent way across hundreds of titles.

Current book covers from Penguin books use a mixture of creative typography, illustrations and photography.