2000: CERULEAN BLUE: PANTONE 15-4020

How do you choose a colour for the new millennium? Pantone did exactly that for 2000, picking Cerulean Blue. Matching the colour of a clear calm sky, Cerulean Blue suggested serenity and inner spiritual peace during a major turning point in human history. As apocalyptic concerns evaporated with the passing of time, the tranquil Cerulean Blue proved to be tonal perfection.

2001: FUCSHIA ROSE: PANTONE 17-2031

A major departure from the calmness of the previous year’s choice, Fuchsia Rose is a sexy and stimulating colour, perfectly capturing the spirit of confidence and optimism of a world entering a new millennium and looking forward with renewed energy to a new era of creativity to be shaped by designers across the globe.

2002: TRUE RED: PANTONE 19-1664

The spirit of optimism took a severe blow when the September 11 terrorist attacks destroyed the twin towers of the World Trade Center. It was a time of grave reflection and remembrance, of passionate patriotic feelings and mourning for lost loved ones. True Red was a colour symbolising hope and love, the lifeblood of a nation in recovery.

2003: AQUA SKY: PANTONE 14-4811

In the wake of the devastating terrorist attacks that shook the Western world people needed to remind themselves of the optimism felt at the start of the new millennium. Aqua Sky can be seen as a return to the clear-sighted serenity suggested by the choice of Cerulean Blue in 2000. It was a time to plan ahead and rebuild, drawing upon the resilience of hope.

2004: TIGER LILY: PANTONE 17-1456

Continuing the trend throughout the decade for colours found in nature, the beautifully exotic orange of the tiger lily suggested a period of rejuvenation and cultural blossoming. Vibrant and energising, Tiger Lily’s orange was the perfect complement to Aqua Sky’s blue the previous year, suggesting a continuation of regrowth and the vital role creativity plays in it.

2005: BLUE TURQUOISE: PANTONE 15-5217

Another natural colour, Blue Turquoise is calm and cool, evoking a tranquil sea. Conjuring an image of looking out over the ocean at the horizon, Blue Turquoise can be read as both representing the need to gaze ahead into the future and the importance of escaping once in a while.

2006: SAND DOLLAR: PANTONE 13-1106

What does it say for a year when a neutral colour is chosen to represent it? Despite its relative warmth, Sand Dollar symbolised the need for quiet contemplation. Evoking natural environments like deserts, Sand Dollar was an organic tone inspiring focus and farsightedness without obtrusion.

2007: CHILI PEPPER: PANTONE 19-1557

Pantone spiced things up for 2007 by choosing Chili Pepper as the colour of the year. Bold and arresting, Chili Pepper reminded us of the need to remain adventurous and passionate when we design, inspiring us to keep our creative fires burning and to try something a little different and exotic now and then.

2008: BLUE IRIS: PANTONE 18-3943

Striking a perfect balance between blue and purple, Blue Iris symbolises the safe stability associated with the colour blue and the mysterious and magical quality of the colour purple. Blue Iris reminded us to keep our feet on the ground, but to open our minds to the many mystical experiences we encounter every day, which of course includes creative inspiration.

2009: MIMOSA: PANTONE 14-0848

Humans have always celebrated the life-giving strength of the sun, with most early cultures worshipping a sun deity. Mimosa evokes the sheer power and vitality of the sun and the diverse wonders it sustains. Cheerfully radiant, the colour was the perfect choice to uplift us as we neared a new decade.

2010: TURQUOISE: PANTONE 15-5519

When Pantone revealed that they had chosen Turquoise as the colour to welcome in the next decade they drew attention to the fact that the colour had long been valued as a protective talisman that symbolised healing and compassion. Turquoise also has a strong association with escapism, certainly a good positive way to usher in a new chapter.

2011: HONEYSUCKLE: PANTONE 18-2120

Bold and vigorous, the reddish pink of Honeysuckle is feminine and uplifting, encouraging confidence and creativity while elevating spirits. Dynamic and alluring, Pantone highlighted the fact that the colour attracts hummingbirds to nectar, which in turn results in pollination and sustains natural growth.

2012: TANGERINE TANGO: PANTONE 17-1463

Red hot and seductive, Tangerine Tango is the latest colour of the year chosen by Pantone for 2012. What does the colour promise for next year? Will it be a high energy period of intense creativity and passionate productivity? Perhaps it’s up to us to open ourselves to the sultry seductiveness of Tango Tangerine and live the next 12 months in a manner matching the stimulating hue?

What are your views on the colours chosen by Pantone? Do you have any recommendations of your own?

Article written by PrinterInks.com – suppliers of HP, Canon, Dell, Lexmark and Kodak ink cartridges, as well as printing products from other leading brands.

Image Credit by mishmoshimoshi

Source: http://designmodo.com/palette-trends-21-century/#ixzz1khi4JrR0

Web design has gone from a simple page presentation of certain information on the Internet to fancy design, with intricate details and complicated applications; hence it is an industry walking hand in hand with the increasing needs of the fast developing technology and trends.

Trends come and go, some of the old trends are hidden in a box, while other old trends come back to life and in some cases some totally new revolutionary trends appear that beat up all the rest. This is why web designers all over the world have to keep up with the latest trends in web design, because the client would always ask for this.

For example, you cannot ignore social network buttons. These popped up not so long ago as a trend, because social networks are very popular on the net nowadays and ignoring them would mean that you are practically not part of the crowd. Or else, you simply cannot forget about having a compatible design of your website for mobile phones and tablets. This is definitely one of the newest trends that cannot be ignored. The prediction is that soon the Internet will go mobile and if the future asks for it, a designer will have to keep up with that.

So this is why we have decided to let you know about the latest web design trends in 2011 and the upcoming trends of a new year. If you think you can add something to this list, we’d be glad to read it! There is no particular order of the presented trends. Each trend is important and it all depends on the type of website a designer is aiming for.

Big typography, small typography

Using typography in web design has been pretty “trendy” lately and it doesn’t fade away yet. The alternation of big typography and small typography can create pretty impressive effect, without even using fancy graphics. The minimal effort of creating the typography you need for your website will save you some precious time, surprisingly creating a perfect design.

Of course this doesn’t work for all the types of websites, but you might still use some impressive typography in the headers, logos or footers. You never know how you end up liking this trend and including it in more designs, coming up with new ideas at the same time. Using extra-large fonts and mixing bold and scrolling letters has become a trend and it can easily grab the users’ attention.

Go For Images and Photo Backgrounds

Just like big and noticeable headers and footers, images and photos are used on backgrounds in order to attract the visitors’ attention. We have already written some posts about photograph backgrounds that you can check out for more information, and this is more or less a pretty popular trend taking up the web lately. Remember the most important rules: use only high quality photos and don’t let the background mix with your content.

Social network buttons not to be ignored

As I have mentioned before, social media networks have conquered the web. People share and socialize and this is pretty much what life on the Big Web is. Hence don’t even try to forget about including social media icons and not just the most popular ones. People are different and there are so many social networks out there and it won’t hurt to include all of them so that people can share the information they like on their favorite websites.

Another thing to consider is the design of the social network icons. It all depends on the designer how cool and original they will look.

Don’t forget about creating personal pages on social networks. There is a greater chance that people will find your business there than your own website. This comes as a tip rather than a trend but it’s worth mentioning.

Draw your own design

This is a trend that I have found on one website and I simply loved it. It looked so original and funky. This is, of course if you would be able to create a “hand-drawn” design. I read somewhere that this is an upcoming trend in web design and I would agree with that from an aesthetic point of view.

It is simply original to see a hand drawn web design, and I am sure people will be impressed to see it and remember it. Even though this is not a new trend, but many web designers avoid it. I think this is a great way to get closer to your design, considering the fact that it doesn’t have to be perfect but you will definitely add a personal touch to your website.

One Page Layout

This trend is more suitable for personal profile websites. This will be like digital business cards, where one can present their most important information and contacts without creating some super website that in the end is kind of useless in this case. It’s all about going minimalist and present the information clearly but still in an elegant way. Go for one page layout if you are thinking of setting a personal profile on the web.

Compatible for touchscreen devices

Besides the already “old” mobile format for websites, you don’t have to forget the compatibility with touchscreen devices. With the increasing popularity of tablets and smartphones, you cannot but just go mobile and have a version of your website for smaller screens. Overall the design has to be striking as well, but as seen on a small screen, hence having a smaller resolution but preserving the details that you would like people to focus on.

HTML 5 and CSS3

Although there are plenty designers who simply adore Flash, it is slowly giving way to the upcoming HTML5. Flash is not that compatible with mobile versions of websites and as Internet users migrate to smartphones and tablets, web designers need to find how to fix that and the answer to that is – HTML5. It gives web designers and developers a chance to deliver their designs faster, at the same time ensuring flexibility and connecting data.

CSS3 is another upcoming trend for web design and developers are glad to meet it. You can build content-rich web sites with lightweight code requirements and you will have clean and fast-loading pages – what else would you want? Mastering CSS3 is another must for further designs on the web.

Animation and 3D

To add more depth perception to your websites a 3D design is probably the best option. Yes, it is difficult to master animation and 3D, but once you do that, you can be sure your website will be special and unique in its own way. Users will appreciate websites that ”think out of the box” and that have that something that no other websites have.

Source: http://designmodo.com/trends-web-design/#ixzz1khhZbp9B

• crystallization of the culture’s memory;
• a source of order;
• an ideal model for constructions;
• a lifestyle program;

The canon has 3 systemic levels and this is what models the structure of different points of view regarding the object.

The systemic levels of the canon are:

• a gathering of objects and structures that together form the cultural matter and at this level the canon determines the integrity of the material environment;
• the conceptual consistency that includes the system of symbols and superior values, referring to the life of humankind and their material world. This level sets the idea, being the starting point of order;
• the language of the morphology of the socio-material world as a perfect aesthetical system. This level determines the artistic techniques that can be determined through an analysis of the material environment seen through its system of values;
• the process of the consumers activities (let’s call it the instrumental position);
• the orientation of values and significations of the consumer as a member of the society or any other social group (the ideological point of view);
• the culturally-linguistic point of view;

Of course, every object, as well as all the cultures included in it, involves all the levels described above at the same time. They are inseparable in real life and the designer acknowledges one of these levels as the starting point of a project.

The instrumental point of view of the object

When seeing the object from an instrumental point of view, one has to spot the most important traits of the object, like – comfort, efficiency, user friendliness or the flexibility of its construction. The design solution of an object sets its qualities into information that describes the shape. In the real world though, the designer is offered sections where the possibility to rethink the functionalities of an object is not visible, hence it is not suitable for the given way of life. This kind of situation will ask for a way of thinking that is not trivial because this is when the usual needs of the consumer are destroyed and the designer has to come up with a new social behavior, bringing into the day to day life totally unusual objects.

As a methodic instrument while searching this unusual type of object, is the extendibility of the searching territory by attracting different reality domains. For example while designing an object for home use; one has to take into consideration the prototype of an industrial object, while the industrial object can be associated with an object taken from nature and so on. This is how the routine barriers are broken regarding the traditional set of objects taken from nature. You will have to adapt it to a new environment and the objects that surround it. This process of changing a given object in accordance with a new environment and functionalities is called metonymic and metaphoric morphology.

There are two main things to be considered:

• in the process of creation of a new functional object that would solve a new issue it is very important to see the imperfections right from the beginning;
• rationality, being on the right track, intuition and creativity – all of these are design and cultural triggers;

The ideological point of view over an object

This type of vision over the object is dominant when its designer knows that a point of view that is strictly seen as an utility that will not guarantee the best result. In this case, the designer will mostly concentrate on a symbolic signification of the object for the potential client. The object is now seen as a symbol and is expected to meet different socio-cultural values. This point of view is more related to the consumer and his needs, rather than focusing on the object itself. People buy objects because they want to fulfill their needs. For instance they don’t buy a carpet, but the comfort of their home through this carpet. It is then important to know the needs of the future consumer, in order to design objects that would fulfill them whether it’s ethnic, moral, regarding age, occupation or social status.

In this case, in order to obtain a non-trivial result, the so called “theatrical approach” will have to be applied. The object is taken from one environment to another; let’s say we can take an object that is usually used as a household and put it into and exhibit or a stadium, hence totally changing its environment. The object has the complicated role to meet up the growing human needs.

Analyzing and object from this point of view, the designer first tries to come up with a symbolic morphology, hence analyzing the relationships between objects and people. Another analysis method would be allegoric morphology, hence representing certain values specific for a culture (military clothes can for instance represent the military culture). Once the designer finds a good solution to his analysis, he can bring new brilliant ideas to life, having new significations.

The cultural-linguistic point of view over the object

This point of view specifies that one object is no longer related to other object hence replacing one another. In this situation the object is related to the used language and to the designer’s techniques. If the designer is smart enough and sensible to certain trends from different art spheres, then the stylistic point of view will certainly be reflected in his designed projects. All the different traits and skills met in arts, painting or architecture help the designer achieve his goals and in a way marks his artistic career. It is important to mention that in arts, any events that happen will finally come to an end from an aesthetic point of view. It is practically impossible to create an innovative object in an environment that is aesthetically outdated.

The search for the right communication and language in the designing process is important and should take place at all times. In order to master the cultural-linguistic point of view, it is necessary to have an artistic taste developed in the first place, as well as the ability to work with color, texture and other elements in order to blend them perfectly. Another important thing is to have a certain style and respect its boundaries. In case the designer decides to ignore the rules and the stereotypes linked with a style he has chosen, he will first have to think of a way to do it gracefully so that the designed object will not risk failure. This innovative object is then considered to be an artistic technique that makes it special and original.

In order to design a totally new and innovative object, the designer uses the so-called homonyms and synonyms’ technique:

• the homonyms technique focuses on the object on a cultural background where the object has its own linguistic traits. The cultural-linguistic environment chooses the objects and their purpose, hence building a relationship between form and significance;
• the synonyms technique reflects the interior of the cultural background and the object can be seen from a stylistic point of view. The designer will pick the most optimal solution in order to design the object;

While examining the designed object from a cultural-linguistic point of view, the designer should never ignore the ideological point of view as well as the instrumental proprieties of an object.

These three points of view over the object make the designer choose the one that would dominate the creation of an object:

• the instrumental coherence of the object
• the cultural significance of the object
• the expressivity of the used language

In the process of choosing the right point of view, the designer will first have to choose the object he is going to design, hence making the designer predict what kind of object he will have more success with.

The object soon to be designed will have to have the following:

• is easy to be integrated in the actual cultural ensemble
• keeps the symbols and values that the human have in this certain period of time
• tells the people about itself through a morphologic language

Three different points of view of the designer over the object

Hence the object is represented through these three points of view of the canon, following the objective rule of the creation of objects that exist nowadays.

Inspired from I. A. Rozenson

Source: http://designmodo.com/designers-see-world-differently/

Again if you wish me to create a sculpture for your new landscaped garden, I will probably feel more interested and comfortable because I will have much to improvise and exploit my abstract ideas.

Now, theprocess of website designingfalls in between creating a sculptor and building a bridge. Thus while developing a client’s site; we have to take care of two aspects: aesthetic and utility. The site should be attractive, innovative in design as well as serve the purpose of the client. The clients need may be for highly ornamental one or just informative. And we have to act accordingly.

We must adhere to the requirements of the client while developing the website. Else if we fail both out project and goodwill will diminish. We know that developing, hosting and maintenance of a website is fully technical, however the designing procedure can be based upon three elements – discovery, exploration and implementation.

Discovery

The discovery aspect of thedesigning processis totally based on research work. It is about learning the client’s nature and work. Gathering information about the client’s business, how they run it and what they want helps in developing the design, because the design and way the website looks reflects the client’s character and business orientation.

Ensure to study about the client’s business and its market prospects before meeting with the client. It may be the fact that at present they have no website of their own and they want one or it may be that they want a new website. Whatever the fact might be, you have to impress your client with your knowledge of his business and give him good commitments. If you fail to get enough information about your client’s business, gather info about that industry.

Another important point is that it is always better tomeet the client in personrather than having a telephonic conversation or web chat. A face to face conversation is the best way to sell yourself or your website. Making an impression is secondary. Try to find out what the client expects from you. Speak little and hear more. Take notes on a pad. If you want to show a laptop presentation, ensure that doesn’t take much time. You may use gadgets like iTalk Recorder for iPhone or Voice Recorder for Android to record your whole conversation so that you may find out many points at a later stage what have been out of the mind. But have your client’s permission for any such recording. I think using apadandpaperis the best way for no client will ever put an objection for it.

Here is a list of set questions which needs to be answered by your client:

1. What does the client’s organization do?
2. What is the client’s role in the organization?
3. What is the logo or brand of the organization?
4. Why to host a website?
5. What type of info should the website provide?
6. Who are the targeted audience? Is there any common demography like age, sex, location?
7. Who are the potential competitors and do they have websites?
8. Is there any example website to highlight choice?
9. What is the expected timeline?
10. How much budget can be spending?

But if the website project is just to redesign an existing website, and then these will be the questions:

1. What do the visitors search for coming in the website?
2. What are the drawbacks with the present design in the existing website?
3. What are the expectations with a new design?
4. Are there any elements of the existing website that is to be kept?
5. What might be the visitors’ reaction with a new design?

Remember, thisquestion answer sessionis important to gather information, therefore just do not stick to these listed questions alone but apply your brain and ask more questions to get further info. If you are a programmer don’t use technical terms while talking. Again if you are a designer, debar from talking about designs. Just give your ear to the answers and chalk them down. Technical terms will mean little to the client. A client will always want commitments and wait for the final product. It is useless to discuss with him about layouts, color schemes or other intricate matters.

Exploration

Second step in thedesigning processis the analytical part of the information that you have gathered. Now having some information at hand you need to analyze them, and start experimenting. You have to understand your client’s needs the type of products they deal with and services they offer. Then you need to arrange all these information for the final set up. For a moment think yourself as be a visitor in that particular website and try to understand what might be the visitors expectations from the website. How does the website help in buying or signing for a service? This technique will provide you much idea and help you to develop a website from the visitors’ point of view.

Ensure that youunderstand the informationarchitecture or IA in short. Information architecture is itself a career for expansive and complex web software. But the guiding principles help a designer in developing a small website too. The exploration stage needs our focus mostly on the content and design structure of the website. A whiteboard, a big pad of stick notes are the required tools to settle this stage.

First of all chalk out a list of all thefragments of the websiteand start arranging them into groups and sub groups. As these are most likely to move here and there, sticky notes are needed. You can easily try to make a note of every section and subsection, or page of the website and arrange them on a wall as it will give a clear look like the website page. Make sure not to provide too many options to the visitors as it will just confuse them. At the same time do not put any information deep within the site that your visitors will get frustrated with clicks and more clicks. Ensure that all information is easily accessed by a visitor. That’s all what is important.

Implementation

This is the third step whereby we will toimplement what we have planned. It is the right time to prepare the layout of the site. Forget about all the technological aspects at this stage. It is unimportant at this juncture to decide or storm your brain about HTML, a Ruby on Rail’s application, or a template for a content management. All is required is a paper to design the user interface and think about it deeply.

Right now I will not ask you to sit on your computer but simplyput your ideas on a paper. There is every possible chance that you may lose your focus while designing on a computer screen. A paper work will help you to think deeply about thedesign of the user interfacewhile helping you to put the technical ideas of CSS or limitations of browsers in the back of your head. You may think that most of the designers carry with them expensive hard bound sketchbooks and markers or paintbrushes to design classic web page layouts. They also probably think themselves to be another Leonardo De Vinci. But I use a 79 cent spiral bound notebook and any inexpensive writing instrument, sit at my own desk and work.

I start bysketching out a few layouts. Then I sort list a few and ultimately settle down on one. Then I open Photoshop, use the rectangle tool and bloke the areas that I have already marked on my paper. Once my layout has been defined, I start experimenting with background and foreground colors. I go on going this unless I am satisfied in finding a perfect color scheme. More experiments with Photoshop buttons and options till I am ready with a layout to show my client.

Well you may think that I haveskipped a few steps. But the thing is that being an artist I have some own ideas in my mind. These are the ideas which I have learnt or gathered from my art classes at college. I create my own unique layout. The truth is that learning designing is similar to learning programs. Everyone can learn but some fall in love and develop a keen interest on the subject. Just as there may be good and bad code, a design might be attractive or ugly too. If you gain some knowledge about the principles and conventions associated with the design procedure, you will realize just like Clint Eastwood what is good, bad and the ugly. Your design must be exclusively yours.

Source: http://designmodo.com/web-design-process/

Now presentations on paper can be textual or may contain images. Therefore your logo can be either text based or an image or a combination of both. The importance of a logo is evident by the fact that the example sentence that Webster gives for a logo is:

• The company’s logo is instantly recognizable all over the world.
• The above statements should be the core criteria when you are thinking of creating a new logo for your business.

You will be identified and recognized by your logo. It is the first thing people see about your business and in fact in some cases it is the first thing people see even before seeing your products. Therefore you must take utmost care in choosing it.

Take the example of Amazon. They have crafted this logo very carefully.

Few people might have noticed the fact that what the arrow in orange means? If it would mean nothing Amazon would never have added it.
The arrow points from a to z. This means Amazon sells everything from A to Z. Secondly the arrow (or the curve) signifies a smile that will appear on a customer’s face after buying from Amazon.

Some people argue that people like Seth Godin and J. K. Rowling do not have a logo for their business and therefore they too don’t need a logo. They say; “If they can succeed without a logo why can’t we?“. Well, Seth Godin is an established name. He doesn’t need a logo for publicity. His name is enough to attract customers.  And no matter how famous he is, he is less famous than Mark Zuckerberg and Bill Gates. Both of them have created logos for their businesses.

Secondly people like J. K. Rowling may not have a logo for themselves but their works contain a logo. See the images below to understand what I mean.

All Harry Potter movies write the protagonist’s name as above. Whether it is a poster, movie-ad or the movie itself – the above form remains unchanged. That is what is called branding.

The emblem of Harry Potter’s school, Hogwarts.

So what should your logo look like? And should you design it yourself or approach a designer? I have attempted to answer these questions in this article.

Do you need a designer?

Well this question cannot be answered in just a yes or no. It depends entirely on you. Logos range from very simple to very complex.

For e.g. Facebook’s logo is very simple. You can design it even on MS-Word in 2 minutes. You don’t need a designer for that. (By the way, this logo was designed by a designer.)

On the other hand if you are aiming for a logo that looks something like above and you are not a professional designer then you definitely need a designer.

If you have even the slightest of creativity and drawing ability and you don’t need a very complex logo, then you can do it yourself.  A software program like Photoshop is a must. If you don’t know Photoshop, no worries. There are hundreds of tutorials available on the internet both on Photoshop’s official website and on other sites like YouTube. Just do a Google search for something like “Photoshop text color fade effect tutorial” etc.  and you will find many results.

Photoshop is not a cheap software. (Amazon is selling it here for 650 $!) So if you can’t afford that you can Google for something like “free+alternatives+photoshop”. You will get satisfactory results and for no matter which software you select – you will almost every time get a lot of free tutorials.

If this doesn’t work for you then you may consider visiting websites like Online Logo Maker or Logo Maker. These websites provide free tools to create professional looking logos for free. No designing skills are required.

But if you don’t like the above suggestions and decide to approach a designer then keep the following things in mind:

1. Portfolio

Check the designer’s portfolio necessarily. Usually designers (like many other freelancers) have a portfolio page on their website.  There you will find the previous works done by the designer. See if you like that. If not – move on. There are plenty of designers available online. You can always find what you want with a click of a mouse.

2. Budget

Obviously you cannot afford to buy a logo for 400$ when your budget allows for only 50$. Check out the prices before pitching the designer.

3. References

Check out whether the references provided on his website are true or not. Don’t just be satisfied with big names there. Cross check.
Sometimes quoting someone out of context may change the entire meaning of a statement.

Think it over

No matter whether you approach a designer or not, you need to have at least some basic idea of your logo in your mind. Designers will usually ask you to fill out a form which will contain questions as to how you want your logo to be crafted. Although a designer can, of course, design a logo for you without any inputs from your side but it is always better to give him specific instructions for two main reasons.

If you’ll tell him to work as he wishes, he will probably think that you are a newbie and you know nothing about design and can therefore try to fool you. (I’m not saying all designers are like this, but there are black sheep in all trades. So it is better to be careful.)
Secondly suppose the headings, links etc. on your website are all blue in color. Then you should tell the designer that you want a blue color in your logo to match with the theme of your site. That looks visually appealing. More on this below.

The Theme

As I said above the colors used in your logo must be fine tuned to match those of your website. This means that if you have used the color red on your website, then you must use the same shade of the color red in your logo. It is better to know the HTML color code of that color and repeat the code again wherever required to preserve consistency. Else your website may look a little non coherent.

Some people prefer to create a logo first and then create their website. This gives them full liberty to choose colors for their logo. Some others prefer to first design a website and then use the same colors in the logo. So you may do as it suits you.

The Resolution

You will have to use your logo in different sizes. If you are using it as a Gravatar then it will be a thumbnail view and if you are using it on your site’s banner then it will be very large. It may be even published in books so it should withstand different sizes. For that to happen, your logo must be of a high resolution.  If a logo is of low resolution then it will get pixelized i.e. get blurred on enlargement.

The Originality

Nowadays people not only copy each others’ content but they also copy away other people’s logos. The anonymous blogger who calls himself The Blog Tyrant says in this post that some people copied away almost everything (including his logo) from his blog.

Such things usually don’t work. Take a look at any of the top websites. They all are original. Original in design, content and logo. An original logo not only will exempt you from the blame of being a cheater cock, it will also make you stand out of the crowd.

The Handicraft

Many people tend to forget this rule. If even after watching tutorials of all sorts and trying free logo maker websites, you are still unable to make your logo on your computer then leave your computer aside. Every one of us must have taken drawing classes in school. Use that knowledge instead.

Take a piece of paper, draw away certain designs, select the one that you like the most, refine or redraw it if required, color it, scan it and there you are. Take a look at this interview on Freelance Switch on how Steve Gadlin managed to make a successful business online through his strange nursery kid drawings.

So with this we come to the end. How did you design your logo? Or how are you planning to design it? Tell us in the comments below.

Source: http://designmodo.com/know-about-logo/