Print and Retail Superimpositions

I have carefully chosen mockups that would express the aesthetic of the business and clearly communicate and visualise the importance of the content.

Content Designing [2]

Lifestyle and Brand Imagery (Featuring variations of the corporate graphic mark)

When designing my content, I wanted to display a flair for creativity that would express the forward-thinking and alternative imagery that is explored within the business.

Here when showing the corporate colours, rather than using a simple square box, I chose to erase the outline with the graphic marque to run the brand image through subtly. (It also gives that impression of a colour swatch, something to be associated with fabric and material – fashion)

Attempting with superimpositions, however this image is difficult to work with in terms of texture and depth, perhaps trying flat, minimal mockups?

Much more successful, and allows me to successfully communicate my design and understand how the identity would look once applied.

Content Designing

Working with hierarchy to differentiate importance of information, Calibri Bold font too distracting? Maybe just using Light italics instead for consistent weight (Would correspond from graphic marque and logotype)

Content Designing

I chose to produce a manual that was of a near square size, something that would correspond well with the dimensions of the corporate marque.

Experimenting with Composition, Style and Content

I chose to work with the font Playfair Display (Headers, Sub-Headers/Display) and Calibri (Sub-Display, Body text), I felt these two were characterised enough yet legible enough to sit in the background, in order to let imagery speak (As I am designing for a creative business/fashion and lifestyle photography)

More Composition Experimenting

Base Grid and Columns

After working by free-hand, I looked to using a base format/grid and columns that would allow all elements on each individual page to more or less work well together in terms of composition and to keep a consistent format that would be easy to follow and understand, however be creative in terms of direction.

Designing the Stationery

The Marque [3]

I continued on with the marque, and wanted to introduce a graphic feature that would stand as an iconic memorable feature of the brand.

I tried using the paint brush tool, which allowed me to display the creativity element that I wanted within the brand image and ‘personal’ feel that can be suggested with ‘vintage’.


I chose yellow as I felt this packed punch and ‘popped’, which is the direction which I wanted to take the style and representative of the fashion-forward and pop/modern-cultural fashion they produced.

The graphic line appears well, and I wanted to form it into a square that would make an outline and form a aesthetically conforming image. The one stroke works well,however I want it to appear more cohesive and something that could transfer well across the brand?

Below I thought of the idea of transforming the strok into dashes, that would then resemble sewing patterns or patches, and could relate to the product context of the business. Therefore the audience could relate the identity to the product creating a strong relationship and originality.

I thought the graphic line appeared too thick and distracted from the top significance (the logotype) Perhaps decreasing weight of line?

This appears better and balances out well with the pen-style weight of the logotype.

Testing with Graphic Lines

The Marque [2]

I’ve been looking at cursive and script fonts. The font I found (shown below) displays a varying width that represents the pressure and flow of ink – characteristics that bear resemblance to a signature, which is what I’ve been after.

“Dr Sugiyama” Typeface

Font Tweaking (In progress)

I’ve edited the font in illustrator, and something which I’m interested in is the drooping connection between the ‘i‘ and ‘n‘. I’ve tried writing the word out multiple times by hand, getting a feel of how I would subconsciously write each letter and which ones I would and would not join together. (See below)

  • The ‘a’ needs to be touched up, more fluid
  • When tweaking the ‘e’, twist the letter around to be parallel with the rest, however still in direction in joining with the descender of the ‘g’

I favour the designs where the individual letters are balanced in size, proportion and spacing whilst still collected together and legible as a natural handwritten font.

  • Coat hanger – potential emblem? Initials’V’ and ‘C’ stacked resemble this shape.
  • ‘V’ needs to point more towards the descending half, decrease in size (potentially ‘C’ too?)

I am extremely pleased with the final logo, after making minor tweaks I think all the elements (size, proportion, weight, spacing) have come together well.

I have made a small adjustment on the letter ‘e’, as the flick was wider than it needed to be, moving away from the circular nature of the letter and pen flow. I gathered this in and changed the pressure slightly towards the end to resemble the finishing ‘flick’ as a written signature may do.


I experimented working with ‘The’ within the title, however I felt it distracted from the collected nature of the logo and the complementing font pair of ‘Vintage’ and ‘Club’.

I downloaded a few fonts from Google, as I wanted a formal, fixed font for ‘Club’ that would sit well with the cursive face.

  • Capitals seems to take away from the ‘Vintage’ and disrupts the flow.
  • A ‘slot’ has been created for the ‘Club’ which appears to sit collectively within nicely.
  • *The font needs to be almost of a circular and even nature to parallel the cursive logo*

Testing with Fonts

I have chosen the ‘Raleway’ font in ‘Light’ weight for ‘Club’. The small flicks on the ‘l’ and ‘u’ give it a minor character and alternative quirk, a reflection of what I envision for the brand image. Also the thinner weight creates a juxtaposed hierarchy, acknowledging that ‘Vintage’ is the Key word.

The Final Logo

The Marque – ‘The Vintage Club’

The Vintage Club is a high-end fashion label specialising in vintage clothing. As a creative business, I wanted to inject some personality and craft. As a fashion-conscious person myself, I understand ‘vintage’ can either be defined as:

  • Minimal and Chic (Reiss, Ralph Lauren)
  • ‘Vintage'(Literal meaning) Worn and dated clothing from past eras

I’m attempting to bring together the off-beat aesthetic of vintage and the clean and simple ‘high-end’ to design an original brand.

Current brands (shown below) display a distinct variety of messages, the high-end (top) show that simplicity and class are all a good brand needs, perhaps even a memorable emblem. The alternative vintage brands are playful in their character, representative of modern culture and interest.

I’ve practiced with hand-generated type in various medium and styles, trying to capture the essence of a ‘ribbon’ look, significant of a fabric material – incorporating the product.

Using pure hand-type might end up looking illegible?  – Tweaks needed


Transferring this to illustrator, I’ve tested spontaneous ideas and concepts, I like the idea of using illustrative marks (pencil, paint etc.) for a personal touch and ‘happy accidents’, moving away from the fixed and dull compositions of a professional corporate manual.

I like the strong, calligraphic lines of this particular pen tool, however the behaviour and mechanics behind the tool leave irregular and filled parts. It seems I’m not achieving the perfect shape and style what I’m after, maybe consider looking at cursive typefaces – then tweaking?