The aesthetic of your logo has a strong effect on how long people will be willing to look at it, so this is of high importance. People are attracted to beautiful things, and the things that catch our eyes are the things to which we will pay the most attention. This is very subjective, and you’ll find that everyone will have different ideas about it. In my experience, the best thing you can do as a designer is to look at as many logos as possible and think about why you love your favourite brands and why do you dislike your least favourites. What makes you look at a logo for a long time?

Here’s an example of how subjective this is. The colour green has certain connotations and associations for people. It could be green as in “healthy”, “vibrant,” or “environmentally friendly.” On the other hand, it could also be “green with envy.” A quick google search for what green means results in: “Green, the color of life, renewal, nature, and energy, is associated with meanings of growth, harmony, freshness, safety, fertility, and environment. Green is also traditionally associated with money, finances, banking, ambition, greed, jealousy, and wall street.”

Interestingly, only one of the big five Canadian banks uses green in their logo, despite the traditional associations listed above. Another quick search for the most common colour, red, results in other strong words such as power, energy, determination, and strength. Red is also a patriotic colour; it is featured in the Canadian flag. So again, there’s room for interpretation here, and you hold the power to tell your own narrative. 

On an even more detailed analysis, having straight lines can represent stability or retro analog technology (amongst other ideas), while curvy lines are traditionally more inspired by the natural world or could signify a sense of freedom, organic transformation, or ambiguity. Considering the use of lines is useful to keep in mind when looking at font choices. Most of the banks above, RBC, CIBC, and BMO, have chosen traditional serif fonts for their letters. The CIBC logo also features two curved, upwards-moving lines. I wonder why there are two lines, and why they are two different colours; does that mean something? The BMO logo features an “M” (representing, perhaps, a crown or the roof of a building) over a foundational straight, horizontal line. One more thing I notice on first glance is that the TD logo has an open “D,” which kind of seems to be representing an open door, or approach-ability. The two letters are connected, which to me, signifies connection in a larger sense. What do you notice about the use of lines in these logos? 

You might be wondering, who is actually dissecting a logo like that, other than designers? The latter might be true, but these elements can affect us whether we are aware of it or not, and if we’re not aware of it, it might actually affect us more. Without diving too deep into this topic, it’s helpful to recognize that we are conditioned to “feel” more than we “think”; we formulate feelings about visual brands regardless of whether we’ve thought about it. That’s why it’s important for you to consider these quick, emotive judgements. 

If you’re not sure what to think of a particular font or colour, the best thing to do is ask. When doing this, be prepared that each person you ask will have some kind of bias, and some of these opinions may be steeped in nostalgia or already-formed loyalty to a brand. Everyone will likely have their own thoughts on the matter, but not everyone will be able to explain why, or what it is exactly about the image that triggers those thoughts and feelings. Far more importantly (in my opinion), someone may notice something that you haven’t yet. As a designer, this is the most exciting response, because it offers a whole new way to look at something. Another graphic artist will have specific knowledge in colour theory, font choices, and placement of information. They will have studied how other brands have developed their images. Their opinion is not necessarily any more valuable, but they will likely have a better-formulated response and be able to explain what exactly it is about the colour or font that gives your work a particular “look” or “feel.”

While everyone is going to have a different opinion about how a specific image makes them feel, there are certain things that may be universally or culturally attractive. You may try to stick to traditional images and fonts that have been tried and true, and generally found to be widely-liked. For example, in the case of fonts, you might go for one that is highly-legible, because most people will not look at something for long if it causes discomfort. Then consider how you would cater to a specific crowd. For this, it is very useful to have an idea of your key demographic and a profile of your typical customer. It’s good to have a general aesthetic, but it’s even better to cater your aesthetic to the audience you are trying to attract most. 

Finally, there is something to be said about being unique and standing out against the competition, but this should be carefully balanced. For example, it can be helpful to have most of the features of your logo pleasant and generically attractive, and then have one extraordinary thing that stands out. For a more specific example: all of the elements might be straight lines except for one outlier to catch your eye. . If you do decide to do something drastically different, plan to make it deliberate and remember that you hold the power to make it work by telling your specific story.

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