The making of the Dragtimes logo and corporate identity
Looking at the photos taken at events organized by Dragtimes. Studying how the previous corporate identity was used, internalizing the racing aesthetics.
Circling around the old logo.
Trying flexible graphic ideas inspired by racing and sports. They will later be used to create a scalable corporate identity.
Thinking some more. Dragtimes organizes many automotive events that have their own styles and logos. It would be great to create a simple solid logo that wouldn’t draw over too much attention.
Choosing two promising designs with the art director, recreating them in vector and trying on different objects.
The artistic director votes for the wings. Preparing the presentation.
The client approves the concept.
Starting to work on the corporate style elements. We need to create a basic set (business cards, letterheads, envelopes) as well as clothes: shirts, hoodies, t-shirts and caps.
Exploring two directions at the same time. One of the designers draws an aggressive industrial style in which a hard geometric logo is contrasted against expressive colored shapes. Any objects can be easily spray-painted to become branded.
The second designer creates a more reserved style based on the symbol’s geometry.
Inviting the type designer to work on the text portion of the logo. We want a geometric grotesque face with accents that would rhyme with the symbol.
Designer: The result is smooth and gentle. What if we try it a bit more harsh and sharp? It’s mostly men’s business, anyway.
Type designer: How about this?
Designer: It lacks character. How about we make it more of a display face with harder apexes? The D in the first design had an interesting serif that rhymed with the symbol. Something like that?
Designer: The r, i and m look Chinese now and the text is too playful. Looks like the good old PT Sans, only slightly skewed. Let’s try to make it more strict, geometric, monumental, as if it was cut in stone.
Type designer: A totally different idea, then.
Almost there. Adding a bit more character and it’s OK.
Continuing the search for the style. Trying different approaches.
Art director: The colored smoke is cool, but too funky. Let’s develop the one with the diagonal grid.
Tying the logo to the grid. Inserting pictures into diagonal modules. Coming up with volumetric letters for additional graphic elements.
Assembling a presentation and showing to the client.
The client approves the latter approach. All the pieces look good on their own but the rules for using the symbol and the text are still unclear.
Starting to work on the final versions. Polishing the logo and the text.
Evolution of the logo from sketch to the final version.
Working on the corporate documentation.
Formalizing rules for the use of elements of the corporate identity.
Creating two variants of the monochrome versions, for dark and light backgrounds. Making sure the light always falls from the top.
Modeling the 3D version of the logo.
Testing it in real life.
Wearing the branded cap and armed by the rules, dispelling client’s final doubts and getting the final approval for the logo. The question with branded clothing remains open. The client asks to make it brighter.
Meanwhile, new tasks come in: we need to develop a corporate pattern and souvenir products. Inviting another designer to join the project.
The second designer makes first attempts at the pattern.
Art director: Let’s develop the latter ones. Only right now they look more like kids room wallpaper.
Art director: That’s OK.
Immediately trying the pattern on various objects.
And another design.
Moving on to the uniforms.
Some ideas make it on to other media.
The first designer sends over old sketches with a texture-filled logo.
Bringing the logo to life.
Putting all ideas together for presentation to the client.
Meanwhile, it’s time to make final decision about the stickers. After several failed attempts, the designer approaches them from a different angle.
Art director: The last three ones are OK.
Art director: What’s that Word Art at the end?
Moving on to laptops. We have an idea to make it with a stereo effect.
Art director: The idea is OK, but in reality the transition stages won’t be as clear-cut. Try something else.
Art director: The one with the blur is OK. Also, let’s add a carbon print, too.
An idea comes in from the States.
Suggesting to create a set of stickers and let users do the bombing themselves.
Getting a new pattern from the illustrator, trying it on the media and showing everything altogether.
Another miss. But we seem to have reached a decision regarding souvenir products. Preparing mock-ups for printing the pilot t-shirt sample.
While it is being printed, coming up with color schemes for different categories:
Looking at the sample, drawing conclusions.
Adjusting the shape and dimensions of the print, correcting the text on the back, choosing the colors for shoulder patches and getting the t-shirts printed.
Preparing bags of various sizes for printing.
Going back to the stickers. Another idea comes from the States.
The client likes it. Asking the type designer to help with the shape of the letters.
Going back to laptops.
Art director: You shouldn’t draw a button that can’t be pressed. The second one is OK, but replace the dragster with a stock car.
Making the changes. Adding another design with the logo on the corporate pattern and showing to the client.
The client goes with the most laconic design.
Receiving the new pattern from the type designer. Choosing colors, trying it on the boxes and demonstrating to the client.
The client is happy. Adding gradient coloring and preparing the pattern for real life.
Handing over the final versions and preparing the announcement.