Design and develop a visual identity assembled within a set of guidelines for an aspiring graphic design company.

1. MA Graphic Design
PRACTICE 2: ART AND DESIGN (SAT)
Self Branding
Branding, Identity & Logo Design
01 Project Overview
02 Competion and Inspiration
03 Visual Research
04 Sketching & Conceptualising
05 Identity Design
06 Brand Guidelines
NOAH TARINYEBWA
AUGUST 2015

2. Project Overview
PROJECT BRIEF
Overview
Design and develop a visual identity
assembled within a set of guidelines for an
aspiring graphic design company.
Creative objectives
• Logo
• Identity Design
• Stationery
• Marketing Collateral
• Apparel Design
• Signage
• Website
• Brand Guidelines
BACKGROUND
I have spent the last 5 years working with
highly creative and demanding agencies;
meeting with clients, developing and
executing briefs for branding, marketing
and communication material, websites,
presentations, videography and animation.
In this time, I have garnered a great deal of
knowledge and experience while working
on varying projects that have tested both
my skill set and managerial abilities; The
ability to adapt to changing workflows,
demands and requirements while meeting
deadlines has all been a welcome challenge.
As I continue to discover the endless
possibilities of the graphic image, I plan
to further my experience by developing
projects and ideas that will benefit the
professional practice and encourage my
growth as a creative professional.
My ultimate goal for the MA is of running
my own company and mentoring aspiring
artists in the principals of design; I believe
this begins with actually putting a name
and a face to this idea and for that reason
a visual identity would be the best place to
start.
I want to build a company around myself,
my skills and experience but as well as have
it adaptable enough to grow into something
more.
MARKET & POSITIONING
Micro Small and Medium Enterprises
(MSMEs) are widely regarded as the driving
force in economic growth and job creation
in both developed and developing countries
more so in a country like Uganda where
they are considered the backbone of the
economy which is primarily supported
by MSMEs; They contribute about 90%
of the private sector production (Uganda
Investment Authority, 2008).
With so many companies in the country
regarded as SMEs, it’s easy to imagine
that there is fierce local and international
competition for work which ultimately limits
substantially the productive capacity and
competitiveness of SMEs in Uganda within
the context of globalization but according
to the Uganda Investment Authority, MSMEs
are the prime source of new jobs and play
a crucial role in income generation in the
broader creative economy.
Because of the nature of these types of
companies that is, their size and annual
sales/revenue; they have a tendency not
to pay much attention to their corporate
image or visual identity and I see this as
an opportunity for potential clients since
my own company would fall under the
same MSME badge and could be used as a
showcase of how a well-executed visual
identity could mean growth to these
companies.
APPROACH
According to The DELTA Companion (PSI, p.
29), A brand can be defined as a summation
of everything your target knows and feels
about your product or service. This includes
knowledge and emotions that results from
things like using the product or service, being
exposed to it via advertisements, or even
recommendations from friends. Making the
brand an intangible object, something that
lives in the hearts and minds of your clients
and not on a shelf in the store.
Since so many things can influence
one’s perception of a brand, PSI’s DELTA
Companion uses a Brand Onion composed
of 3 key components ie the brand Position,
Personality and the execution; to record
the brand strategy and help manage it over
time.
BRAND POSITION
A Strategic statement that Identifies the
most compelling and unique benefit for the
client.
An experienced and understanding hand
for effective brand management with
quality guranteed.
BRAND PERSONALITY
A Strategic statement of 2-4 adjectives that
help shape the tone of voice for all brand
communications
Understanding
Quality
Experience
Statement
Understanding and providing Quality
services through Experience.
BRAND EXECUTION
Tangible brand elements that the target
experiences, such as logos, colors, symbols,
etc.
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3. Competion and Inspiration
COMPETITION
My competitors are design agencies that
offer a variety of services–branding and
identity design being the secondary service–
they typically target large businesses in and
around Kampala.
They usually have 1-2 permanent designers
on staff bolstered by a team of marketing
and account executives.
INSPIRATION
There is plenty of competition in the market
but finding designers that have built a
brand image for themselves is rare and
it has proved even more difficult to find
designers that exactly match my brand
personality.
Presented are some designers and agencies
that match one or more of my desired
attributes.
Killa Designs is a hands-on creative design
studio providing advertising agency services
at affordable rates.
source: killadesigns.co
Aggrey & Clifford is an Africa based full-
service, fully-integrated advertising agency.
source: www.aggreyclifford.com
Just Creative was founded by Jacob Cass a
freelance graphic designer & blogger.
source: www.justcreative.com
Founded in 2007 by a set of young yet vastly
experienced advertising professionals who
carry a desire to bring refreshing changes to
the face and the core of advertising.
sources: http://directory.ugo.co.ug/
listings/maad-advertising/, maad.co.ug
Innovative, Quality Advertising and Media
Solutions.
source: nma-media.com
The Logo Smith is a Logo & Brand Identity
Design Studio by Graham Smith, a Freelance
Logo Designer.
source: imjustcreative.com
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4. Visual Research
COMPOSITION
We organize images and text consisting of shapes, sizes, colours, and textures in many
different forms of media produced in a wide range of formats, from two- and three
dimensional, black-and-white design, through full-colour work, to three-dimensional, web-
based, and time-based (moving) imagery.
When I think of composition, I think of Control, so that the desired effect is achieved,
and the intended message is communicated.
Mehmet Gözetlik from design group Antrepo took some of the most iconic international
brands and applied gradually increasing minimalist effect to see how many elements you can
remove from a product packaging and still retain a product’s branding.
source: http://www.youthedesigner.com/graphic-design-tips/minimalism-in-the-maximalist-
market-study-on-brand-minimalism-by-mehmet-gozetlik/
TYPOGRAPHY
Type designer Matthew Carter talks about
the effect of tools on form where Type is
very adaptable and unlike a fine art, such
as sculpture or architecture, type hides its
methods.
He goes on to suggest that the thing he
designs, is manufactured, and it has a
function: to be read, to convey meaning.
source: https://noahblogged.wordpress.
com/page/2/
I am particularly fond of logos with
bold cursive lettering because they
communicate specific meaning, while
also possessing aesthetically powerful
characteristics in their own right.
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5. Visual Research
COLOR
Colours have symbolic associations in all
societies depending on context; different
cultures apply different meanings.
The work by Dan Matutina–he illustrates for
the Qualcomm Posters of the FIA Formula
E Championship 2014-2015; He uses the
country’s flag as the starting point for each
poster with other flag elements present in
every layout without being too obvious.
source: http://abduzeedo.com/formula-e-
championship-posters
I am particularly interested in his use
of High colour intensities that make the
posters dynamic and create a feeling of
movement.
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6. Visual Research
IDENTITY DESIGN
Look at any newspaper: the information
changes every day, yet the paper looks
consistent, day after day; at a glance we can
easily and immediately identify which paper
is which on a shelf.
According to David Airey in the book Logo
Design Love, people often choose products
based on their perceived value rather than
their actual value; in most cases it’s almost
certainly down to the story a brands identity
tells for example Skoda delivers much
better mileage at a significantly cheaper
price but it’s Aston Martin’s identity, which
conjures images of luxury and status, that
usually clinches the sale (Airey, 2010, p. 8).
The essence of a good Identity design
scheme is flexibility, along with visual
consistency across different elements,
over time, and in different contexts.
From the logo design, to stationery, and
other elements these identity schemes have
been carefully implemented.
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7. Visual Research
Vibrant colors are used in these book covers
with africa-inspired illustrations to create
a consistent look for the series, but also to
portray the themes of the books.
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8. Sketching & Conceptualising
INITIAL SKETCHES
I began as any artist would, with a paper
and pencil and doodled my name down.
I started thinking about signatures,
cursive fonts and how I wanted the Logo
to have the idea of 1 continuous line
which was in my head to represent a line
of thought.
The Logo felt and looked really
Derivative. BACK TO THE DRAWING
BOARD
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9. Sketching & Conceptualising
INITIAL IDEAS
Several days of writing my name down
started to get a bit boring and I started to
loose interest in the idea but then I started
to think about blocks and how I could
incorporate that into my Idea of flowing
lines.
The signature idea on it’s on lacked the
necessary impact and as I found out my
name isn’t necessarily the best for that
particular purpose or I just couldn’t get it
how I envisioned it.
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10. Sketching & Conceptualising
LOGO DEVELOPMENT
My work with blocked letters lead me to
something vastly different from my vision of
flowing lines but I figured I would explore it
more and see where that would take me.
The Idea evolved to a bold flowing logo
that is minimalist in its form but complex
in its execution.
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11. Sketching & Conceptualising
LOGO DEVELOPMENT: FINAL
Now that I had looked at both cursive
and block ideas I started working towards
merging the two ideas.
With this Logo my aim was to get the
impact missing in the cursive logos from
the blocks and the flowing line missing
from the block logo from the cursive
logos.
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12. Sketching & Conceptualising
TYPEFACE
I went with Source Sans Pro for the tagline
typeface because I wanted something super
light and upper case to contrast the bold
lower case logo.
I like how the font looked on the page so I
decided it would be used for my body text.
COLOUR
After looking at illustrations from Dan
Matutina and his use of bold simple shapes
of colour, I knew that I wanted to emphasise
simplicity and push my minimalist style
so decided a single colour was the most
appropriate for the Logo.
PANTONE 187 C
HEX #AB162B
RGB 171 22 43
CMYK 22 100 78 16
Abcdefghijkxyz
ABCDEFGHIJKXYZ
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13. Sketching & Conceptualising
FINAL LOGO
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14. Identity Design
STATIONERY
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16. BrandGuidelines

17. 2 CorporateIdentityManual
INTRODUCTION
The corporate image says a lot about the organisation and the way we do
things. A strong corporate image can make a good impression on the public
and partners.
It is important, therefore, that ‘noah’ maintains a strong corporate identity
on all internal and external documents and materials. This makes it easier
for customers to identify the organisation when they receive information
from us, visit our premises, or see ‘noah’ staff and visit our website.
The corporate identity manual is designed to help staff, members and
contractors apply the corporate identity correctly, from which font is used
on individual PCs, to producing publications, and how to use the logo.
It is important that everyone within the organisation is familiar with the
‘noah’ corporate identity and knows how to use it so that our brand image
is consistent. This will strengthen ‘noah’s position as a professional and
effective organisation.
This manual is intended to guide everyone connected with ‘noah’ on the
applications of the logo and corporate image.

18. 3
When should I refer to the corporate identity manual?
The guidelines apply to all communication including:
• ‘noah’ logo
• Letterheads and all stationery
• Internal and external signs
• Publications and leaflets
• Advertising (including job advertisements)
• Typeface/ font for all internal and external documents
• Staff clothing
• Corporate gifts (pens, umbrellas, ties, mugs, souvenir plates etc)
• Printed reports, agendas and strategies
• All documents published on-line
• Exhibition materials
The guidelines need not be applied retrospectively, they will apply to
documents (printed or electronic) and materials produced once these
guidelines have been adopted by ‘noah’. By following these guidelines we
can present a professional and efficient image of ‘noah’.
Please contact us if you have any doubt or need further information
regarding the brand, image, logo, for correct use of the logo and corporate
colours.

19. 4 CorporateIdentityManual
company logo
The symbol must never be altered or redrawn, but reproduced exactly from the artwork in the manual. In exceptional circumstances such as signwriting, it must be cre-
ated to the exact specification supplied.

20. 5
color reproduction
limited use - black on white limited use - white on black
signature backgrounds

21. 6 CorporateIdentityManual
PANTONE 187 C
HEX #AB162B
RGB 171 22 43
CMYK 22 100 78 16
corporate colors

22. 7
Source Sans Pro
AaBbCc0123
abcdefghijklmnopqrstuvwxyz
ABCDEFGHIJKLMNOPQRSTUVWXYZ
1234567890
abcdefghijklmnopqrstuvwxyz
ABCDEFGHIJKLMNOPQRSTUVWXYZ
1234567890
Lorem ipsum dolor sit amet, consectetur adipiscing elit. Suspendisse luctus justo quis eros
cursus vel rutrum neque aliquam. Suspendisse ultrices rutrum scelerisque. Morbi sit amet
sem vitae tortor pulvinar porta. Vestibulum fringilla tortor quis orci molestie ut ornare.
Primary Font

23. 8 CorporateIdentityManual
stationary

24. 9
signage - exterior
Plot 62 Luthuli Avenue
Bugolobi
Uganda
www.tnoahc.com
info@tnoahc.com
T: (+256) 702 008 988