After receiving feedback from the client, digital designs were produced. As the superyacht is huge in scale, the logos produced need to be able to be blown up to any size. To ensure this, designs were produced in Illustrator, as vectors can be scaled to any desired size.
To ensure that all the logos produced are aesthetically consistent as a set, Pantone colours were picked to constantly refer to and use. This was important to ensure that the presentation of digital outcomes looked professional and considered. B&R indicated that the logo would most likely go on the back of the boat, on a very dark grey panel. The closest Pantone colour to this was Pantone 419 C. As sharks were the main focus of inspiration in the idea generation stage, the colour scheme for digital ideas was also inspired by sharks, to keep the outcomes informed and consistent in concept. Pantone 425 C and 663 C are colours that were taken from the two main tones on shark bodies. Both colours were also inspired by close-up photographs of shark skin, and 425 C is also the main colour seen in shark tooth fossils.
Whilst sharks can be powerful, striking creatures, they can also be very illusive. This was one aspect that was also considered when selecting the colour scheme. Pantone 663 C produces a very bold, powerful aesthetic against the dark grey background because it is has a high contrast. Pantone 425 C on the other hand is less contrasting, creating much more of a subtle, illusive aesthetic overall. This difference in contrast was used to produce a really wide range of outcomes.
Certain shark-related images that suit the colour scheme set were gathered and used to create a range of initial logos. The first developed idea was the Megalodon tooth fossil concept. The initial sketches made were used to generate 3 main ideas. Out of these 4, the two to the right are the most identifiable in terms of representing the letter 'M'. The bottom left idea becomes difficult to distinguish when placed over the exterior box. For this reason, the two logos to the right were later developed and pitched forward.
The second bunch of ideas developed were those inspired by shark dorsal fins. Opposed to the illusive megalodon tooth ideas, the powerful, bold aspect of sharks was used as the approach. For this, the lighter pantone grey was chosen, as the high-contrast creates a more dominant aesthetic. For the typeface, a bold, thick sans-serif typeface was used. Serif typefaces are often delicate and light, which are not characteristics related to sharks. In this sense, a sans-serif typeface was much more appropriate. Uppercase letters were used to further emphasise the bold aspect and to make all the letters more uniform in terms of the x-heights - this makes legibility much easier. The ideas produced were simply inspired by the curved shape of dorsal fins, and also the unique notches in their fins. A variety of the initial sketches were experimented with and digitally produced to present to the client.
The third set of ideas were purely developed from the shark scar image found at the very start of the project. By using the initial sketch ideas, two digital vectors were made. To ensure that the jagged, natural aesthetic of shark scars were kept, a rough brush was used in Illustrator to replicate the effect. The lighter grey colour was used to make the two vectors more visible, as the lines are very thin and are difficult to see from a distance. Some extra information revealed that the client is Chinese. Because of this, some quick research was made into Chinese symbols, to see whether any relate to the two vectors produced. The symbol for 'water' is fairly similar in terms of there being 3 main stems and a horizontal line across them. Water is also very appropriate due to what the logos are for and the nature in which sharks live. As the symbol is quite fluid and curved, a more rigid, striking logo was produced to provide two different options to the client.
The fourth set of ideas focus purely on the use of up-close shark skin photographs as textures. Due to the varying tones in multiple shark skin photographs, the logos produced resulted in being an aesthetic mixture of illusive and bold. Like all the other ideas, these logos were developed from the sketches made initially. For this idea, focus was purely put on experimentation. Some of the logos produced were combinations of other ideas mentioned; one example of this is the letter 'M', which has a shark skin texture on top of it, multiple layers to hint at rows of shark teeth and cuts out the sides to emphasise dorsal fin notches. Others were inspired by the form of shark teeth and the curve of shark fins. Incorporating textures into the logos was one way to hint at sharks, without making the responses too obvious. This was picked up on later in the feedback received.
The last outcomes produced were the most obvious shark shaped typographic logos. This was the least favourable idea in the first feedback session. As agreed, the sketches were made in Illustrator to see whether the readability and legibility could be to a good standard. Because sharks are such elongated, condensed creatures, it was difficult to achieve a successful outcome. The two outcomes with the best readability and legibility were nonetheless used and presented in the following stage in the process.
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