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LogoLounge 6 by Bill Gardner, Catharine Fishel

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(Text)
Ruhland & Ruhland
Identity Start-Up
Jessica Hische, Brooklyn, New York
The Ruhland & Ruhland project is one that illustrates Jessica
Hische’s belief that referencing is fine—to a point. Slavish repeti-
tion of a historical style or overornamentation shows no creativity,
and it also reveals a lack of confidence in one’s own drawing skills.
Case in point: Felix Ruhland wanted to open a gourmet deli in
Germany that would do what delis do most everywhere else—pre-
pare sandwiches and offer foods from around the world. But delis
in Germany are something of a rarity, so the identity for his store
would have to speak
clearly about what a
deli is.
He contacted Hische
and gave her lots of
images for inspiration,
mostly ads and pack-
aging examples from
the late 1800s and
turn of the century in
the United States and
Europe.
He was looking for
something Victorian but not stodgy. The effect needed to be
somewhat modern, recalls Hische. He also wanted the store to
look like it had been there for a long time, and that it should look
neutral—neither overly American nor European.
The designer’s thoughts after viewing all of the client’s materials
were to do two approaches—something script-ish and something
more straightforward‚ both with ornaments that had a vintage feel.
“For the small type, I had already created a lowercase alphabet
based on Engraver’s Gothic. Engravers Gothic is a really useful
font with a vintage feel that works great as tiny type, but this
needed to be a bit quirkier with a bit more of a handcrafted feel-
ing. The alphabet was going to be a very important supporting
element for this project,” she says.
Hische, who does most of her sketching in Adobe Illustrator, drew
skeletons of the type she had in mind and worked from there.
She keeps the final application of the design in mind as she works.
“If it’s going to be the
size of a billboard, I
would go crazy with
ornamentation. But
this would have to
look good on a busi-
ness card. The pro-
cess is very addictive.
I have to recognize
when I’m overworking
it,” she says. “Over-
ornamentation is a
way to mask your
inability to draw or
your ability to set type beautifully. You have to be able to fix those
little Illustrator errors, not add more stuff. People forget the pur-
pose of design—to communicate, not to decorate.”
The client ultimately selected the all-caps version of Hische’s
design rather than the script. Hische specified a neutral gold-
yellow for the ornament and black for the type, which made for
a good neutral vintage color palette while still keeping the type
very legible.
Above: Designer Jessica Hische created two possible logo candi-
dates for her German deli client. He selected the Roman version.
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2
3
4
5
A B C D
1C 1D
2A 2B 2C 2D
3A 3B 3C
3D 4A 4B 4C 4D
5A 5B 5C 5D
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D
= Design Firm
C
= Client
D
Sakideamsheni
C
ACT
D
Sakideamsheni
C
Expo Georgia
D
Sean Heisler
C
Ayasdi
D
Karl Design Vienna
C
Unesco (proposal)
D
Gizwiz Studio
C
Chuah Shue Ping
D
Rise Design Branding Inc.
C
CBIN (China Business Information Network)
D
Rise Design Branding Inc.
C
Higien Medical Inc.
D
Sebastiany Branding & Design
C
Pepsico
D
Braue: Brand Design Experts
C
Lloyd Großverbraucher Service GmbH & Co.KG
D
KW43 BRANDDESIGN
C
Fujitsu Siemens
D
Porkka & Kuutsa Oy
C
Indufor Oy
D
Retro DC
C
Artemis
D
Porkka & Kuutsa Oy
C
URV Oy
D
BrandBerry
C
Innova Biotechs
D
KITA International | Visual Playground
C
church congress proposal
D
Today
C
Proudfield
D
Tom Hughes
C
Organized Light
D
Tom Hughes
C
Picasa / Idealab
LOGO SEARCH
Keywords
Type:
Symbol Typographic
Combo
All
Shapes
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