• Graphic design
  • The making of the Orlyonok logo

    Overview• ProcessMemes

    Drawing the first sketches and showing them to the art director to determine the direction. Using the traditional Orlyonok symbols in almost all of the logos: a circle with a campfire and three flowers, as well as important additions: the observatory, the sea and a pearl.

    orlyonok process 01
    orlyonok process 01 2
    orlyonok process 01 3

    The art director chooses variant 19 but asks to remove Oriental motifs and add the Orlyonok boy to the composition.

    Making the changes.

    orlyonok process 02

    The art director doesn’t like the result: still too Oriental. He also asks to make the boy flatter.

    Doing so.

    orlyonok process 03

    No, now it looks like an enameled pin. We need to rework the symbol and add more patriotism.

    Starting from scratch.

    orlyonok process 04
    orlyonok process 04 2
    orlyonok process 04 3

    The art director believes these versions are better but asks to think of a way to make the boy more modern (maybe by adding headphones or a baseball cap with a scarf and some modern clothes).

    orlyonok process 05

    Art director: 7.

    Designer: Am I to treat it as complete (as a concept)?

    Art director: You need to create a couple more characters in the same style. And find a suitable background.

    Suggesting variants of the boy.

    orlyonok process 06
    orlyonok process 06 2

    Art director: The new logo shouldn’t be worse than what they previously had. And this is two times shittier.

    orlyonok process 07
    orlyonok process 07 2
    orlyonok process 07 3

    The art director asks to go back to the original head.

    orlyonok process 08

    Art director: This will be fine as a sketch. But the style is endlessly lame and Komsomol-like. We need something modern.

    Designer: I think that this is because the existing logo has the boy from old Soviet pins, although I can be wrong. What should I do with the sketches? Can we use them in a presentation?

    Art director: Shrewdly observed. And you need to make him more modern. Why is the oval, the typeface and the overall impression look like they’re from the 1980s? We can’t show this. You need to work on it more.

    Changing the shape and the typeface.

    orlyonok process 09

    Art director: 6 is getting there.

    Changing backgrounds in 6.

    orlyonok process 10

    Art director: Also try the hexagon that you had under 4, I think. The text position is shitty, too.

    orlyonok process 11

    Art director: Better. Also be sure to try darker backgrounds: blue, black. The text is still shitty.

    orlyonok process 12
    orlyonok process 12 2
    orlyonok process 12 3

    Art director: Yep, this is what we’ll show to the client tomorrow.

    Designer: All of them?

    Art director: Yes, it will be easier that way. But we’re missing variants with black background.

    orlyonok process 13

    Art director: OK. But make one of the elements more noticeable, like red or green headphones for example.

    orlyonok process 14

    Getting feedback from the client.
    —We need to retain history, and it is embodied in the legend connected with the Orlyonok boy in budenovka hat.
    —The result looks like a logo for a ski resort, not a summer camp.

    orlyonok process 15
    orlyonok process 15 2

    Art director: We need to make a choice.

    orlyonok process 16

    Client: We’re not against fun backgrounds, but they look too simple, they don’t symbolize anything.

    orlyonok process 17

    Art director: The logo is OK but the text is lame.

    Designer: What if we make it more compact like this?

    orlyonok process 18

    Art director: Just go with a fat dense typeface.

    orlyonok process 19

    Art director: Something like this. And use the letter ё.

    orlyonok process 20

    Art director: Make it a bit more compact. And position the text differently, for example at an angle.

    Designer: Make the text itself smaller?

    Art director: Just place it better. Anything will do.

    orlyonok process 21

    Art director: Something like 3. What if we distort the letters so they’re straight but the line maintains the angle?

    orlyonok process 22

    Art director: That’s what they used to do before they invented computers.

    orlyonok process 23

    Art director: Yep, that’s it.

    Client: Questions and feedback for the logo.
    —the hump on the hat is a rudiment of a star that once was there; now it’s gone, so the hump needs to go too. The golden Orlyonok is a good solution.
    —How will you incorporate the theme of childhood? Will there be more elements, reliefs? Or just the head with the text?

    Designer: Made a new version based on the feedback.

    orlyonok process 24

    Art director: Looks like he has a condom on his head.

    orlyonok process 25

    Art director: Now it’s a stupid sauna hat.

    orlyonok process 26

    Art director: OK.

    Client:
    —The boy needs to change. Going with the way he used to look doesn’t make sense: why did we start it all in the first place? Where is the modern reading?
    —The peak of the hat is associated with Smurf hats. We would recommend you to study the design of budenovka, especially its side elements.

    Designer: I’ve created a new boy. What do you think?

    orlyonok process 27

    Art director: A Smurf from Yakutia.

    Designer: What about this?

    orlyonok process 28

    Art director: He’s got a khinkali on his head and a look of an idiot.

    Instead of the pin, trying to use the monument located in the camp as a reference.

    orlyonok process 29

    Art director: Not bad, but he should be facing right.

    Rotating the head and slightly adjusting the neck and the face features.

    orlyonok process 30

    Art director: He doesn’t have a motivated gaze. Looks like a corpse.

    Designer: What about this?

    orlyonok process 31

    Art director: 4, 5, 7 are OK.

    orlyonok process 32

    Client: No. In the new version Orlyonok became unattainable, flying high above over us. A teenager won’t compare himself to him, won’t want to walk beside him but instead realize that he is not worthy and follow him with his eyes as the dominating guy in something indiscernible on his head flies high above him. There is no feeling of involvement. We don’t accept the boy. This image is foreign to us.

    Designer: Hi! I’ve got three versions of the logo (the last one I drew after our conversation). What do you say?

    orlyonok process 33

    Art director: Good (really) but looks like a negative image.

    orlyonok process 34

    Art director: Sure, you can also create more like these, just with neater hats. Right now he looks drenched in some shit. Make the color cleaner.

    orlyonok process 35

    Art director: All are OK. We’re only missing the simple designs, red and black.

    orlyonok process 36

    Art director: OK.

    Showing the designs to the client. The client asks to cover the empty space with a side flap of the hat.

    orlyonok process 37

    Art director: OK.

    Client: Again, you did not understand the design of the hat.

    orlyonok process 38

    Art director: Yep.

    Client: We’ll take the “golden” boy and the design with the sea wave. Our director asks to change the excessively smooth shape and bring back the star.

    The second designer joins in and tries to make the boy look more courageous.

    orlyonok process 39

    Art director: We’ll show it to them so they have a choice.

    Client: The boy should look like a boy, not something average.

    orlyonok process 40
    orlyonok process 41

    Art director: OK.

    Client:
    —The boy became too beautiful.
    —The peak of the budenovka can’t be the same as the peak of a baseball cap.

    Second designer: Here’s a different Orlyonok.

    orlyonok process 42

    Art director: We can send it to the client.

    Client: Now it’s good. Let’s create a version with a red start and add more contrast to the shadows.

    orlyonok process 43