The NAI 2012 logo: Not literal

It’s been two weeks since the NAI National Workshop in Saint Paul ended, which means one thing: We’re counting down to next year’s workshop in Hampton, Virginia, November 13-17. (Also, we’ve almost gotten the smell of lutefisk out of our hair.)

I lived in Richmond, Virginia, an hour or two down the road from Hampton, for basically the entire 1990s, so I entered into designing the logo for NAI 2012 with a sense of the place. My first thought was that the logo should feature a steady stream of cars hurtling at 70 miles per hour along Interstate 64 and disappearing suddenly and horrifyingly into the middle of the Chesapeake Bay. This idea was borne from repeated and horrifying trips that I used to take across and/or through the 3.5-mile-long Hampton Roads Bridge-Tunnel between Richmond and the beach. (Thanks to the Virginia Department of Transportation for the horrifying photo I’ve used here.)

There’s a lot going on in Hampton that would make great fodder for a logo. The region is rich in Native American heritage, Colonial history, a contemporary military culture, and an abundance of natural beauty. I briefly flirted with the idea of coming up with a cartoon character like a blue crab in a three-cornered hat, but as a designer, I felt my chief responsibility in coming up with a logo for NAI 2012 was to exercise restraint. (I’ve always said that a logo is the face of an identity system, not the entire body.) It would be all too easy in trying to literally represent all of the noteworthy aspects of the Chesapeake Bay area for the logo to degenerate into a cluttered mess—or worse yet, a collage. (There’s nothing worse, in my opinion, than a collage masquerading as a logo.)

So I started with this image of the Chesapeake Bay from a site called My Desktop Wallpapers. Of all the photos I found online of the area, I chose this one because it most closely reflected my memories of the sunlit skies over the bay.

I imported the photo into one of my favorite color-palette websites, Kuler, and it generated the palette pictured above. (I wrote a post about Kuler way back in March 2009 here.)

While I was not trying to literally represent natural and cultural features of the area, I certainly wanted to suggest them. Guided by a theme settled on by our Workshop committee, “Chesapeake Reflections,” I used the palette above and typographic composition to mimic a sunrise over water. I chose to juxtapose a handwriting typeface and a bold, architectural-feeling sans serif to represent the diversity of cultural heritage in the area.

Based on feedback on the first draft, I darkened the colors a little (particularly the yellow-orange of “NAI 2012”) and changed the handwriting typeface to one with more of a historical feeling—as though it could be from a 17th-century explorer’s journal.

One note on the type: I felt that the zero character in this typeface (on the left) was too intrusive, so I changed it to a lower-case O (on the right), which I feel works better and is a little more visually interesting.

As the art director for an organization of individuals who interpret an incredible diversity of nature and culture, I try to strike a balance in everything I do. I try to be careful that our magazine, Legacy, does not focus too heavily on either nature or culture. When I go looking for photos or other visual elements for our publications, I try to be sure that for every photo of a stream or a mountain, that there’s an image that represents the cultural heritage that NAI members interpret. (And vice versa.)

In the end, some people liked what we ended up with for the NAI 2012 logo, and some people wanted it to say more. However, in designing the logo, I decided that trying to fairly represent all of the natural and cultural resources in the Hampton area (or even some nature and some culture) would result in a logo that was too cluttered. Ultimately, it was my responsibility to settle on abstractions rather than literal representations.

That said, I still plan to use images of the great natural and cultural heritage we’ll find in Virginia next year—just not as part of the logo. If you go to the Workshop website right now, you’ll find three photos in the banner at the top. These will change throughout the year. Right now, there are two natural features depicted (seagulls and a horseshoe crab) and one cultural (a boat), but if you keep score between now and next November, I bet you’ll find that the final tally will be pretty close to even.

And when we’re actually in Hampton, I can tell you one place I won’t be going: That scary bridge-tunnel.

Color Scheme Designer

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I’ve written in the past about two online resources that allow users to generate color palettes based on photographs: Kuler and the DeGraeve Color Palette Generator. Friend of IBD Brian Trosko turned us on to another way of generating color palettes online called Color Scheme Designer, found at http://colorschemedesigner.com.

This free site uses the color wheel to generate color palettes based on six different schemes, as simple as monochromatic and complementary or as complex as accented analogic. It allows users to choose a primary hue by spinning a cursor around the wheel, then adjust the resulting scheme based on contrast or saturation. It generates a list of web codes for colors, which can be plugged into any page layout, image editing, or vector art software.

I’m sure this is exactly what Isaac Newton had in mind when he devised the first color wheel in 1666.

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To test out your color scheme, the site generates light and dark sample pages, all of which feature an eerie, blurry female figure looking disapprovingly at you for letting the computer do your work for you. (You can’t see her face, but I know what she’s thinking.)

As with all decisions, your color choices should be meaningful and appropriate to your site or organization, so we don’t encourage you to rely too heavily on this sort of thing. But it’s interesting to fiddle around on this site to explore the effects and impacts of different types of color palettes.

Color Palettes: They’re All Greek to Me!

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First, I have to offer my sincerest apologies for the terrible joke in the headline of this post. It’s not funny and it’s never been funny, but this post involves Greece and it’s the law.

We wrote some time ago about a website called Kuler that generates color palettes from photos. Nerd Herd member and friend of IBD Amy Ford turned us on to another site, www.degraeve.com/color-palette, that does something similar. I decided to use this site to generate a color palette for the program guide for the NAI International Conference in Greece, which starts in just two days.

As any designer should when letting the computer do his work for him, I started with an idea of what I was looking for. I found a photo that I considered iconic of the Greek coast, where the conference will be held, then let this website suggest some color palettes. (This can easily be done in Photoshop with the eyedropper or color sampler tools, but it’s always interesting to try out new resources.)

ic2009-program-p8Of course, I didn’t accept the website’s palettes as gospel. I started with two colors from the “vibrant” option and made one a little darker and the other a little lighter to increase contrast. The result is a palette that is consistent with my original vision and appropriate to the region where the conference will be held, while also serving the basic design needs in terms of contrast and legibility.

See the result in the thumbnail page image posted here.

How to do it: The DeGraeve Color Palette Generator asks you to enter the URL of an image. To do this, find a photo online, then control-click (on a Mac) or right-click (on a PC) on that photo. Depending on the browser you’re using, you’ll get an option like “View Image” or “Open Image in New Window.” When you select this option, your browser will open the image in its own window. The URL that appears in your address bar is what the color palette generator is looking for.

Paste the URL in the field on the DeGraeve website and click “Color-Palette-ify!”