As the in-house designer for Peter Lucas Project Management, I worked to build up the visual brand be consistent and better aligned with their core values.
I created an extensive brand guidelines document, refreshed all logo variations using a grid system, and created or refreshed brand assets. I also maintained excellent organization of all assets for easy work flow to ensure efficiency and brand consistency across all marketing collateral as well as many internal/external deliverables.
Skills highlighted: Brand identity, logo design, brand guidelines creation, brand consistency, creative direction, art direction, graphic design, sketching and concepting, illustration, colour accessibility, typography, layout, video editing, social media design.
The below video is a quick overview of the brand guidelines document. I created an initial (shorter) version in the summer of 2023 when first starting at the company. After about a year, I gave it a much needed update with some updated brand assets (including a logo refresh) and a lot more detail regarding asset usage.
Due to the nature of project, I am choosing not to show details of this document publicly.
If you are a hiring manager or potential client and are interested in viewing it as a portfolio piece, please contact me at malcloke.studio@gmail.com.
The logo ‘refresh’ initiative
The purpose of this was to clean up the typography and spacing between elements to better align with the rest of the brand. This was not a redesign and I wanted to keep the logo mark as close to the original as possible as it’s recognizable to the brand.
The result? The difference between the old and new logo marks is minimal and generally not noticeable—but now it is based on a grid to ensure consistency between the mark and type across all versions.
The below images show a comparison of the updated logos from the original and a detailed rationale of each.
The logo mark is only used on its own in circumstances when a primary logo is near or within the document and shouldn’t be used alone without a primary logo (some exceptions apply, such as merchandise).
X
The width or height of each part of the P and L as well as the minimum white space around the logo. X is 4 grid spaces.
Y
The white space between the P and L in all directions. Y is 3 grid spaces.
The logo mark remains the same on each version of the logo and every form of measurement for the following versions of the logo are based on multiples of X and Y.
ORIGINAL
I tested a few different grid options and found that the shown grid system was the closest to the original logo mark meaning each component was extremely close to either 3 or 4 grid spaces in size and only needed small adjustments to be exact.
The square logo is best used on social media, in visual marketing documents and cover pages, and on signage when it best fits the space.
LETTER SPACING/KERNING
On this version there is approximately 1 to 1.5 grid spaces between each letter of the logo type.
ORIGINAL
The kerning of the logo type felt a bit tight between some letters and the weight (Futura PT Medium) of the uppercase letters didn’t align with the brand aesthetic.
NEW (left), ORIGINAL (right):
The horizontal logo (two lines) is best used on official documents such as letterhead, and on signage when it best fits the space.
LETTER SPACING/KERNING
Approximately 1.5–2 grid spaces between letters in order to appear like the square version as well as ensure justification.
LINE
The line separating the logo mark from logo type is 1 grid space. This is thin compared to other components to in order to be a subtle separator.
ORIGINAL
The logo type wasn’t justified, the spacing between components didn’t follow any grid stucture, and the kerning of the logo type felt tight.
NEW (left), ORIGINAL (right):
The horizontal logo (one line) is best used on official documents such as letterhead, and on signage when it best fits the space.
LETTER SPACING/KERNING
Because the height of the logo type increased, there is approximately 6 grid spaces between letters in order to appear like the other versions and to be clear when small.
ORIGINAL
The height of the logo mark is not the same height as the logo type, the spacing between components didn’t follow any grid stucture, and the kerning of the logo type felt tight.
NEW (left), ORIGINAL (right):
What changed?
All: The logo type was changed to bold which is more consistent with the overall brand aesthetic. At a smaller scale, the bold type tends to stand out more.
Square version: The white space between the components of the logo mark and logo type is exactly the same using the grid.
Square version: The height of the logo type is exactly twice the height of the white space between mark and type.
Two line and one line versions: Increased leading (space between first line and second line of text) and kerning of the logo type for added white space between all components. This makes it much more legible at a smaller scale.
Two line version: Fully justified logo type.
One line version: Increased height of logo type to be the same height as logo mark.
While the difference is subtle, the result is that the overall aesthetic of the logo looks cleaner, more modern, and a lot more legible.
Tagline illustration
An additional and optional brand asset for the tagline to primarily use on more social, marketing, and engagement pieces when the tagline in plain text didn’t seem like enough.
Colour options were the three primary brand colours—dark grey, red, or reversed (white).
This was not to be used in place of the logo.
more assets coming soon