Graphic designer David Airey has become something of a go-to expert in the world of branding and design. He has worked with a broad range of clients on all aspects of brand identity, and has launched two design-themed websites – Logo Design Love, and Identity Designed – both of which resulted in publishing deals for books that have gone on to be released worldwide.
This new book still includes other designers and studios who kindly shared beautiful case studies and valuable project advice, but it felt right to talk about my own take on things, too. It’s a little similar to my first book, Logo Design Love, except with more focus on creating the broader identity.For almost 20 years now I’ve been hired to design logos and visual identities.
“If you need some distressed type, then print the type out, screw it up, photocopy it, re-screw it up, re-photocopy it, and so on, and so on. Distress it for real. Do not use a distressed font. “And if you’re not convinced, then take a look around. There are millions of examples of handwriting fonts, photoshopped 3D text, and models comped onto dodgy backgrounds. Don’t do it. Always do it for real.”
Pentagram followed the mindset and methods the artist used in his portfolio. Moholy-Nagy was known for his experimental photographs with light, referred to as photograms, and these directly informed the design team’s craft-based approach. A set of typographic forms were created by hand in the studio using a series of projections made with light and water. These intriguing letterforms are the basis of the fluid identity.
Something you mention when describing the book is the"the symbiotic relationship between creativity and strategic thinking". What does this mean in the context of design?
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