OptaDesign has completed a new identity design for Rosewood Stud. As part of a ‘Cambridge Virtual Skunk Works’, Malcolm and I joined forces with Julian Price to design a logotype and apply it to print and screen communications. Here’s a potted look at the variations we presented and some brief notes on the thinking behind each version.
Version one
The logotype here is an adaption of the typeface Mantinia by world renowned type designer Matthew Carter.
The most obvious feature is the bespoke ‘RS ligature’ which takes its
form primarily from the beautiful sweep of the leg of the R. Complimenting the type is a stylised rose ornament – again based on a
classical model – that whilst retaining the essence of a rose head, is
‘neither too sweet or too effete’. A more literal representation of a
rose is probably too closely associated with certain other products and
services, and it is for this reason we have gone for a more ‘iconic’
design/brand mark.
Version two
This is our ‘it does exactly what it says on the tin’ variation. The type here is a lightly tweaked adaption of a typeface by Thierry Puyfoulhoux
(the founder and principle designer at PresenceTypo) a studio based in
the French Alps. His typefaces typically reflect his desire to provide
a collection of high quality type to clients worldwide. Here the type is accompanied by a horse illustration. In choosing a
posture for the horse, we have to take into account it’s interaction
with the type, and the version presented here is a good fit with
‘Rosewood’ and ‘Stud’.
Version three
This variation makes use of the same rose ornament as in version
one, but this time with type that makes use of two unusual ligatures,
the ‘OO’ and the ‘UD’. As with the other two versions, we have used
well spaced CAPS for an ‘established’ look and feel, but this time made
a logotype with interacting characters for a unique design from this typeface. The blues compliment the muted rose tones for a simple yet classy
design, and it’s worth mentioning the rose can be used as a very
effective brand mark on its own in circumstances where space is limited.
Afert some ‘toing and froing’ and it was version three that was chosen – albeit without the ‘UD’ ligature. Here it is in action on an A3 poster:
