I have a feeling if I’d presented the initial concept, before the tilt factor (technical term), it wouldn’t have been anywhere near as well received as it could have been. Not only did it look wrong, but it ‘felt’ wrong, and I think that’s where designers are able to add their experience, their knowledge, and their talent to a design project.
The key in this example, is that the typeface was chosen to indicate movement and attitude, but the logo itself needed to reflect that confidence, and provide balance and a strong foundation in order for it to work as a whole.
The first feedback I got whilst working through the initial concept went from “Cool badger, but…” to “I love it!”. Simple change, but what a reaction! The emotional response is something you’re always looking to achieve, so by changing one aspect of the design and hitting that indicator, I felt confident the client would be happy with the end result.
Had that not been achieved, I’m fairly certain the overall concept would have felt somewhat diluted, and I would have had questions come back from the client. When that happens, as a designer you often know you haven’t nailed the brief quite as well as you may have hoped.
This emotional response is something the best designers understand is essential to developing design work that resonates with clients and consumers, leading to (hopefully) positive emotion when deciding whether to use one product or service another. A small side-effect, perhaps, but worth noting.
It also brings me on to the designer’s vision, or the eye for design that remains a fundamental advantage when developing your brand or marketing strategy.
I was reminded by this recently by a video from Pantone, the colour system standard for designers and industrial designers working with colour day-in, day-out.