How Dave DeSan­dro cre­ated a logo that works in VR for games com­pany RGB Schemes

How Metafizzy – aka de­signer Dave DeSan­dro – cre­ated a logo that works in 3D for VR games com­pany, RGB Schemes

Computer Arts - - Contents - DAVE DESAN­DRO Founder, Metafizzy

THE DE­SIGN BRIEF Ger­ald McAl­lis­ter

RGB Schemes is a video game com­pany de­vel­op­ing vir­tual re­al­ity games, and we’re work­ing on our first ti­tle, which will be out this year. A friend men­tioned Dave DeSan­dro’s web­site to me and I be­gan look­ing through his work. I re­ally en­joyed his de­signs and felt they con­veyed what each com­pany did in­cred­i­bly well. I asked him to de­sign RGB Schemes’ logo, and things fell into place from there.

What I re­ally wanted the logo to con­vey is that this com­pany cre­ates fun ex­pe­ri­ences, not nec­es­sar­ily ‘money pro­duc­ing’ ex­pe­ri­ences. When peo­ple see the logo, I want it to re­mind them how much they en­joyed our games.

Vir­tual re­al­ity is a fairly new field that has many lim­i­ta­tions right now. One of them is lower screen res­o­lu­tions, but the logo needed to be eas­ily view­able in a VR head­set. We needed a logo that could trans­late well into a form that can be used in VR and for the com­pany name to be eas­ily read­able in VR.

WORK IN PROGRESS Dave DeSan­dro

Go­ing into the pro­ject, I knew I wanted to de­liver some­thing that would work well in the VR en­vi­ron­ment, even though it was a com­pletely for­eign medium for me to con­sider. RGB stands for red, green and blue, and when you have a dis­tinct, vis­ual name like that, it’s bet­ter not to over­think it. I knew the logo would have to be red, green, and blue, and th­ese colours lend them­selves to screen colour blend­ing. Red and blue over­lap to pro­duce ma­genta. Right off the bat, I knew I wanted to ex­plore that con­cept.

I fo­cus on it­er­a­tion early in my process. A hun­dred con­cepts have to die in or­der for one to live. I’ll start with a ba­sic idea, such as align­ing let­ters, or us­ing cir­cles, then try lots of vari­a­tions. Typ­i­cally, one idea sparks an­other. The best way to get that new idea is to stick

with the process and start do­ing some­thing. The blank page is so in­tim­i­dat­ing. Even when I start with the big­gest cliché I can think of, it helps get the creative juices flow­ing, which even­tu­ally leads to some­thing worth­while.

Nor­mally, I start off with pen­cil and pa­per sketches, but be­cause this brief was par­tic­u­larly based around colour, I opted to go with vec­tors first. This lends it­self to ba­sic geo­met­ric shapes, which ended up com­ing through in the fi­nal logo. I used Il­lus­tra­tor to copy and paste mul­ti­tudes of it­er­a­tions to make a messy col­lage. The use of red, green and blue made for vi­brant, al­most glar­ing vi­su­als, but they were ap­pro­pri­ate for the pro­ject, and helped con­vey the whim­si­cal and fun na­ture of the brand.

HON­ING THE TYPEFACE Ger­ald McAlis­ter

One of the trick­i­est ar­eas was the typeface that would be used for the com­pany name. We looked at lots of it­er­a­tions, and some of the orig­i­nal fonts were dif­fi­cult to read in a VR head­set. We ac­tu­ally had to cre­ate a tem­po­rary ap­pli­ca­tion to dis­play some of them and en­sure they were read­able while in vir­tual re­al­ity.

Ini­tially, I wanted the com­pany name to be more prom­i­nent in the logo, in or­der to con­vey

who we are. How­ever, this re­sulted in too much text, and was dif­fi­cult to read in VR. Be­cause of this, we went with the bird con­cept, which happened to be one of the first logo de­signs that Dave sent. Dave was then able to add in some 3D po­si­tions for the let­ters to cre­ate the bird, and every­thing re­ally just fit­ted into place from there.

SPARKS FLY Dave DeSan­dro

Squares are use­ful be­cause they can be lined up in mul­ti­ple ways. I tried out us­ing an iso­met­ric cube ar­range­ment, which is a logo de­sign cliché. By over­lap­ping the shapes, I was able to get those se­condary colours – cyan, yel­low, ma­genta and white. So I was work­ing with two con­ven­tions. The over­lapped let­ters made a nice pin­wheel shape. It was more ab­stract and unique than the cube ar­range­ment, which is re­ally im­por­tant when mak­ing a logo.

Look­ing it over, I saw a lit­tle bird shape, with the cor­ner of the R be­ing a beak, B form­ing a wing, and G giv­ing it a body and tail. Adding the cir­cle for the eye sealed it, so that you see the colour­ful bird first. Af­ter giv­ing it more time, you spot the R,G, B let­ters and how they over­lap.

CON­CLU­SION Ger­ald McAlis­ter

Be­ing able to turn our logo into a 3D ob­ject, while still be­ing fully rep­re­sen­ta­tive of the com­pany, has sparked tons of ideas for how we can utilise this both in our games and through­out our ad­ver­tis­ing. We have some ex­cit­ing ways lined up, and we can’t wait for peo­ple to see how they will be used in our games.

I am in­cred­i­bly im­pressed with how Dave de­signed this logo. When play­ing our first game, I am ex­cited to see the logo boot up every time I test it out. I also re­ally en­joy peo­ple’s re­ac­tions to it, and am ex­cited to pub­licly re­veal the game when it’s ready later this year.

“The bird is ab­stract and unique, and the over­lapped let­ters make a nice pin­wheel shape”

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05 The fi­nal logo when used on screen, with a black back­ground.

06 An out­line ver­sion is per­fect for mono­chrome ap­pli­ca­tion.

07 RGB Schemes is par­tic­u­larly ex­cited about how the logo can be ma­nip­u­lated and ro­tated in 3D.

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Metafizzy is Dave DeSan­dro’s one­man stu­dio. He codes a range of UX prod­ucts for web de­sign­ers, and cre­ates lo­gos di­rectly for clients. His Logo Pizza pro­ject in Oc­to­ber 2016 – 50 lo­gos in 30 days – has pow­ered his logo de­sign busi­ness.

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