The making of the Petrovka XX name and logo
We start by searching for name ideas. Getting a look at the place.
Looking at what business centers are generally named in Moscow and Saint Petersburg.
- Senator on Maly Avenue
- Voronezhskaya, 33
- Senator on the 17th Line
- Ligovsky, 50
- Office house
- Senator on Popova, 37
- Office-M Malevich
- Office-M Bolshoy Avenue, 76
- The Baltic Sea Center
- Bolshaya Monetnaya, 16
- 20th line
- Office el 27
- Zhukova, 19
- Mertens House
- Olminskogo, 6
- Kurchatova, 10
- The Alexandro-Nevsky Manufactory
- Koli Tomchaka, 10
- Sirius Park
- Hanoi Moscow
- Dominion Tower
- Art Residence
- Neo Geo
- Seven One
- The Red Bogatyr
- Central City Tower
- East Gate
- Olympic Hall
- Orlikov Plaza
- Obukhovskoy Oborony, 130
- Business Delo
- The Nobel Road
- Tambovskaya, 8
- Alfa Pulkovskoe
- Ligovsky, 133 B
- Sheremetyevskaya, 47
Noting that often a place’s name is its address and that there’s a lot of English and English-inspired names as well as “monumental” ones.
Looking at the property.
Searching for the perfect candidate for the name.
Writing a list of alternatives.
- Petrovsky Lines
- Petrovka, 20
- Petrovsky Office
Trying them on websites of companies offering office space for rent.
Coming up with new ideas, showing them to the client.
- Business Heritage
- Petrovka Complex
- Business Petrovka
- Petrovka, 20
Then adding some more.
- Titul / Petrovsky Titul / Titul on Petrovka
- Almanac / Petrovsky Almanac / Almanac on Petrovka
- Petrovskie Linii — Petrovsky Lines
The client chooses Petrovka, 20.
Starting to work on the logo. Drawing the first sketches.
The art director tells us it has to be more elegant.
Producing new designs.
The art director chooses the most promising ideas. Elaborating them a bit, trying on the façade and talking to the artistic director.
The artistic director criticizes all the ideas and suggests his own. Visualizing it.
Inviting the second designer to the project. Getting inspired by the surroundings.
The art director sees in the logo a fence, the number 20 and the letter П and asks to make the symbol more geometric. Making it more crystal-like and putting it in line with other trendy guys.
Exploring different versions of the logo and the text.
Trying it all on the façade.
The client chooses the logo with the Roman numerals.
Finalizing the shape of the logo.
Art director: I’ve got an idea: We can make the П straight on the outside but keep the curves inside.
The type designer creates the lettering.
Finalizing and putting everything together. The artistic director does not approve the kerning.
Spending a lot of time moving the letters, but in the end the artistic director does the kerning himself.
Starting to work on corporate documents. Creating business card designs.
The chief typesetter asks to look for a different solution. Trying something else.
Artistic director: OK.
Simultaneously working on the sign with business hours.
Chief typesetter: Too much information. Look at the lettering on ancient Roman columns.
Looking at the columns.
Applying that style, removing excessive information.
Art director: I can’t see the text on the plate. If there are Roman numerals in it, it’s too much.
Changing Roman numerals back to Arabic.