The Process 4: Concept to Client

Once we’ve let our imaginations run wild, it’s time to start figuring out what we’re going to show to the client. This can be one of the hardest parts of the design process. Not only is this when we’re first held accountable, but it’s when we’re our own harshest critics. When you’re so close to a project and you’ve been throwing around so many ideas, it can be hard to look at your work objectively and determine what you’ve created that’s really special – even though you have so much internally that you want to change. Conversely, you may have a lot of work you’re excited about but you need to pick only the best so that your client doesn’t get overwhelmed. As hard as this stage is, it’s also one of the most exciting – this is when design goes from theory to reality and you take major steps toward a final project!.

Narrow it Down Pt. 1: Picking the best concepts

The first thing I do is look over everything I’ve created – from doodles to more refined designs, and pick everything with potential. Sometimes after stepping away from a more elementary design, it’s clear what it needs to become complete. If there’s a concept I really believe in, I do everything in my power to make it work. I don’t focus on numbers at this point, but this is finally the time to get critical – having dumb ideas around at this point stops freeing my mind and starts cluttering it.

Push them Further

It’s not enough for a concept to be conceptually great – it also has to fit the aesthetic. This is the time for ideas to step up to the challenge. I push daring font combinations, better lines, different styles – rougher, smoother, edgier, more refined – and take risks on shapes. Some concepts will show that they’ve reached their limit. Others show that they have the potential to go the distance.

Finding Meaning
Every concept presented has to embody not just a look, but layers of meaning. Sometimes when I design, deeper meaning will come through in ways I didn’t even intend. Other times, I’ll start with a concept and get so far away from it the meaning gets lost in translation. At this stage, I reckon with what each concept I like represents. I find it helpful to consult with not just teammates, but, where possible and permissible, a few select friends and family members. The impressions of lay people can be just as helpful as the opinions of professionals, because they’re more likely to view it in the eyes of our target audience.

Make them Computer Ready

If something only exists on paper, it’s time to translate it into scalable computer artwork (known as a “vector”). This is usually not a problem, but it’s generally a logo usability dealbreaker, so it’s crucial to know whether the concept translates digitally before a client falls in love with it.

Size Matters

Does the concept look as good big as it does small? You never know where a logo is going to be used, so it’s important to examine it at every size. This is often a great reminder to simplify a concept, since complex logos often look terrible tiny.

Pull it Together

I’m not usually a huge fan of splashy effects (like unjustified gradients, glosses, or 3d effects) but subtle refinements – like curving the corners a little – can pull a concept together and give it an extra edge of professionalism.

Narrow it Down Pt. 2: Slash and Burn

This is the hardest part – the final cut. I try never to present more than 5 concepts to a client, since this can get overwhelming and detract from the best ideas. I try to pick concepts that are as diverse as possible, so a client can pick an idea and feeling as much as a concept. If I have similar concepts that don’t make the cut, I keep them in the wings in case a client wants to see more from that direction. If there are more concepts I feel the client must see, I usually add them as a “secondary idea” presentation. That way whoever I’m presenting to can view more at their own risk, but they know what our primary recommendations are. 

It’s Never too Soon to Check for Penises

Have you ever seen those lists of logos with accidental innuendos? However unlikely, you don’t want to be the designer that gets lost in shapes and squiggles and ends up somewhere horrendous. My rule of thumb? Check for phallic symbols at every turn and if you have ANY doubts about whether something can be misinterpreted, scrap it. It’s unlikely you’ll find anything, but it never hurts to check.

Present

It’s time to go! We finally get to share what we’ve been working on with the client, and collaborate on where we go next.