How to design a logo: 15 pro tips

A designer learns how to design a logo using graphic design software on a tablet
(Image credit: Timbicus via Getty Images)

How to design a logo isn't something you can learn overnight. It requires a theoretical grounding, design skill, patience and the trained eye that comes from a lot of practice. Designers build up experience working with a range of different clients and going over numerous iterations to develop the skill needed to forge and hone a strong brand identity. 

The right logo is recognisable and memorable. Combined with the right product, it can become a priceless asset – think of the Nike Swoosh, the McDonald's golden arches and the Michelin man. But such logo designs don't tend to come about by accident. But everyone can take a leap forward by learning from the golden rules of logo design, which should be respected before they're broken.

Most successful logo designs share traits that can help us learn how to design a logo of our own or for a brand that we work for. In the guide below we've boiled things down to 15  golden rules of how to design a logo, from conception to implementation. 

Starting with the former, we'll first, we'll look at how to design a logo from scratch with David Airey's 10 rules for the perfect logo. After that, we'll turn to how to successfully implement a design as part of a wider brand strategy with tips from brand content strategist Nick Carson. 

If you need the right tools to create your logo design, see our pick of the best graphic design software. And need more pointers, don't miss our roundup of logo design inspiration, our pick of the best 3-letter logos of all time and our recommended 11 steps for creating better logos. If you want to expand your design skills to cover the burgeoning fields of UX and UI designs, sign up for our online UX Design Foundations course (opens in new tab).

First up, let's just remind ourselves of why logo design is so important. A logo is usually the first piece of branding that a potential customer sees. It's also usually the piece that makes the biggest impression on us and stays with us the longest (if it's successful, that is). A logo can tell us a lot about a brand, including (sometimes) what a brand does and what it stands for. When consumers connect with a logo design, they're often more inclined to invest their time or money in the company or product.

Logo design is by no means the only element in successful branding, but it's one that needs to be got right from the outset because it's often at the centre of the whole brand strategy. And while most designers can create a reasonably decent logo, it takes a special mix of design skills, creative theory and skilful application to execute a logo design that's truly unique, appealing and memorable. Take a look at our selection of the best logos for examples.

How to design a logo: The golden rules

There are hundreds, even thousands of brands competing for our attention, and this means brands need to differentiate themselves visually. This differentiation is achieved through brand identity design – a range of elements that work together to create a distinctive picture of the brand in our minds. Brand identity design can include everything from uniforms, vehicle graphics, business cards, product packaging, billboard advertising and coffee mugs and other collaterals, all the way through to photographic style and the choice of fonts.

When you think about a person who’s made some kind of impact on your life, you can probably picture what they look like. The same applies to brands. And a logo acts as a brand's face, allowing people to connect with it and remember it. The aim of logo design should therefore be to create something that people can easily picture when they think about their experiences with a product, company or service.

When we look at something, we don’t read first. Before anything else we see shape, we see colour, and if that’s enough to hold our attention, then we’ll read

David Airey

When we look at something, we see shape and colour before we read. Only if that’s enough to hold our attention do we start to read. The job of designers is to distil the essence of a brand into the shape and colour that’s most likely to endure. Below designer David Airey (opens in new tab) offers his 10 golden rules of logo design to help you do just that.

01. Do the groundwork

Mercedes and Woolmark how to design a logo examples

Logos like those of Mercedes and Woolmark have become priceless assets for their companies

One of the most interesting parts of being a designer is that you get to learn new things with each project. Every client is different, and even in the same profession, people do their jobs in different ways. Logo design should begin with some groundwork. Getting to know the client and their product well help you choose the strongest design direction and make it easier to get a consensus on your logo design further down the line. 

Make sure you ask your client why they exist. What do they do, and how do they do it? What makes them different from other brands? Who are they there for and what do they most value?  Some of these questions might seem so straightforward that they're unnecessary, but they can be challenging to answer and will lead to more questions about your clients’ businesses. What you discover in this initial phase of a project can really help ensure that you don't miss the market when you start developing your logo design.

02. Start with a sketchpad

Sketches of Firefox mascots to show how to design a logo

Sketches of Firefox mascots by Martijn Rijven, who was commissioned by Wolff Olins

With the many digital tools available today, you might consider going straight to your computer to create a logo design, but using a sketchpad gives you a chance to rest your eyes from the glare of brightly lit pixels and, more importantly, record design ideas much more quickly and freely. With no digital interface in the way, you have complete freedom to explore, and if you wake up in the night with an idea you don’t want to lose, a pen and paper by your bedside is still the best way to get it down.

Sketching makes it easier to put shapes exactly where you want them – there will always be time to digitise your marks later (see our sketching tips for more advice). It can also be useful to share some sketches when you’re describing design ideas to clients prior to digitising a mark. This can make it easier for them to visualise the result without the distraction of typefaces and colours, which can sometimes cause clients to dismiss a whole idea. Don’t share too much though; only your best ideas.

03. Begin in black and white

Apple logo evolution how to design a logo image

The internal detail of the Apple logo has changed over the years, but the silhouette remains

As we mentioned above, colour is an important part of branding, but it can sometimes be a distraction, and one that can make it difficult for a client to consider the basic concept of the logo. Leaving colour until later on in the process can allow you to focus on the idea of your logo design itself rather than on an element that’s usually much easier to change.

It's impossible to rescue a poor idea with an interesting palette, but a good idea will still be good irrespective of colour. If you picture any well-known symbol, in most cases you'll think of the form first before the palette. It’s the lines, shapes and the idea itself that is most important, whether it's a bite from an apple, three parallel stripes, four linked circles in a horizontal line, or anything else.

04. Make sure your design is relevant

V&A logo to illustrate how to design a logo

Pentagram founder Alan Fletcher created the V&A logo in 1989 (Image credit: V&A)

A logo design needs to be relevant to the ideas, values and activities it represents. An elegant typeface will suit a high-end restaurant better than it will a children’s nursery. Likewise, a palette of fluorescent pink and yellow probably won't help your message engage with male pensioners. And crafting a mark that bears any resemblance to a swastika, regardless of the industry, just isn’t going to work.

You know these things, and they may seem fairly obvious, but appropriateness goes deeper than this. The more appropriate your rationale behind a particular design, the easier it will be to sell the idea to a client (and this can be the most challenging part of a project. Remember, designers don’t just design. They sell, too).

05. Create a design that's easy to remember

Deutsche bank logo how to design a logo

The 1974 Deutsche bank logo by Anton Stankowski (Image credit: Deutsche Bank)

A good logo design is memorable, allowing a brand to stay in a potential customer's mind despite other brands competition for their attention. How can that be achieved? Simplicity should be your watchword here. A really simple logo can often be recalled after as little as brief glance, something that’s not possible with an overly detailed design.

A trademark has to be focused on a concept; on a single ‘story’. In most cases, this means it should have an uncomplicated form so that it can work at different sizes and in a range of applications, from a website icon in a browser bar to signage on a building.

06. Strive to be different

1999 Tate logo on glass door how to design a logo

The 1999 Tate logo by Wolff Olins united the Tate’s four galleries across the UK

If a brand's competitors are all using the same typographic style, the same kind of palette, or a symbol placed to the left of the brand name, this is the perfect opportunity to set your client apart rather than have them blend in. Doing something different can really help your logo design stand out.

So much similarity in the marketplace doesn’t necessarily mean your job has become easier, though. It often takes a brave client to buck a trend that they see all around them. However, showing imagination in your design portfolio is one good way to attract the kind of client you want, and demonstrating the appropriateness of your concept can help see off any qualms.

07. Consider the wider brand identity

Macmillan branding and logo how to design a logo

Wolff Olins created a bespoke typeface for Macmillan cancer support in 2006 for use in both its logo and marketing headlines

We don't usually see a logo in absolute isolation. It's usually presented in the context of a website, a poster, a business card, an app icon, or all manner of other supports and applications. A client presentation should include relevant touchpoints to show how the logo appears when seen by potential customers. It’s a little like when you’re stuck in a rut – it can help to step back, to look at the bigger picture, to see where you are and what you’re surrounded by. 

In design terms, the bigger picture is every potential item on which your logo design might appear. Always consider how the identity works when the logo isn’t there too. While it's hugely important, a symbol can only take an identity so far. One way to achieve cohesive visuals is to craft a bespoke typeface for your logo. That typeface can then also be used in marketing headlines.

08. Don’t be too literal 

Penguin and Shell logos how to design a logo

The logos for Penguin and Shell don't give any clues as to the types of company they represent

A logo doesn’t have to show what a company does; in fact, it’s often better if it doesn’t. More abstract marks are often more enduring. Historically you’d show your factory, or maybe a heraldic crest if it was a family-run business, but symbols don’t show what you do. Instead, they make it clear who you are. The meaning of the mark in the eyes of the public gets added afterwards, when associations can be formed between what the company does and the shape and colour of its mark.

09. Remember, symbols aren’t essential

Shelter logo image how to design a logo

Johnson Banks’ 2004 wordmark for shelter with its pitched roof ‘h’ helped reposition the housing charity (though it has recently had a redesign)

A logo doesn't always need to be a symbol. Often a bespoke wordmark can work well, especially when the company name is unique – just think of Google, Mobil, or Pirelli. Don’t be tempted to overdo the design flair just because the focus is on the letters. Legibility is key with any wordmark, and your presentations should demonstrate how your designs work at all sizes, large and small.

Of course, words sometimes just won't work in very small applications, so variations may be needed. This might be as simple as lifting a letter from the logomark and using the same colour, or it might incorporate a symbol that can be used as a secondary design element (wordmark first, symbol second) instead of as a logo lockup where both pieces are shown alongside one another.

10. Make people smile

Amazon logo how to design a logo

Designed in 2000, turner Duckworth’s wordmark for Amazon adds wit with a hidden smile that goes from A-Z

Finally, injecting a little wit into your logo design not only makes your job more fun; it can also help your client to become more successful. It's not appropriate for every brand or every industry (it certainly doesn't make sense for weapons manufacturers and tobacco firms, but whether you choose to work with such companies is another thing). However, the somewhat less contentious law and financial sectors are filled with companies identified by stuffy and sterile branding. Adding a little humour into such clients' identities can help set them apart. 

There’s a balance to be achieved. Take it too far and you risk alienating potential customers. However, regardless of the company, people do business with people, so a human, emotional side to your work will always have a level of relevance.  

How to implement your logo design

So you've got a logo design ready, now how do you apply it? A logo design doesn’t exist in isolation. Once you’ve perfected your design, the final stage is to bring it to life as part of a wider branding scheme. In this section, Nick Carson (opens in new tab) provides five logo design tips to help you master this crucial final stage.

11. Always get a second opinion

Brazilian Institute of Oriental Studies how to design a logo

Logo for the Brazilian Institute of Oriental Studies. Presented without comment

Don’t underestimate the value of a second (or third) pair of eyes to identify things that you might have missed during the design stage. It's incredible how easy it is to overlook possible cultural misunderstandings, unfortunate shapes or unintended innuendos, words and meanings (see our logo design fails for examples).

Once you’ve worked up your logo design concept, always take the time to sense-check it with other people. Many design studios advocate pinning work-in-progress up on the walls to enable constant peer review. It's often easier to notice something pinner up on a wall on paper than on a screen. If you’re a lone freelancer, try to find some trusted peers to cast an eye over your work – and return the favour, of course. And remember to check how it looks from every angle and on different shaped supports.

12. Develop the rest of the brand scheme

A logo design is just one small component of a branding scheme and should be developed in tandem with other activation points as part of a wider ‘brand world’. This term is integral to the branding process at London agency SomeOne. (opens in new tab) As co-founder Simon Manchipp sets out in the video interview with Computer Arts magazine above, it’s much better to achieve coherence between different elements than simply consistency. “Consistency is solitary confinement – the same thing every day,” he laments. “Cohesive is different: a more flexible, smarter way of doing things.”

13. Bring your logo design to life

In the modern branding marketplace, a static logo that sits quietly in the corner of a finished piece of design is often no longer enough. You'll need to think about how your logo design could come to life in motion for digital applications. That might require collaboration with animation or motion graphics specialists to explore its potential.

Here are a couple of examples of logos brought to life through animation: firstly, Function Engineering by Sagmeister & Walsh, which adds a playful, Meccano-like twist to the mark. Sagmeister & Walsh is no more, but you can see our story on Jessica Walsh's studio &Walsh.

Second up, this logo design for the University of the Arts Helsinki by Bond (opens in new tab), bends, twists and distorts to enhance the dynamic, modern feel of the type-led logo.

University of the Arts Helsinki's animated logo how to design a logo

University of the Arts Helsinki's animated logo twists and jumps

As VR trends continue to evolve, more advanced immersive brand experiences are becoming increasingly accessible. Branding agencies have also explored the potential in generative design and user participation to introduce a much more dynamic, unpredictable component to logo design. This isn't always possible, but it's good to keep an open mind and experiment with new techniques when you can. 

14. Help your client to roll out your logo design

Handing off your finished logo design and leaving the brand to use it as it sees fit can be a recipe for disaster. You should aim to provide the client with a style guide offering clear, thorough guidelines of how they should (and shouldn't) use your logo design. This should cover everything from colour options, to the minimum and maximum sizes at which logo designs should be used, positioning rules, spacing (including exclusion zones from other design elements) and any definite no-nos, such as stretching or distorting. 

See our favourite style guides to see how it's done.  Some agencies swear by style guides to ensure a smooth, consistent handover to a client’s in-house team, but there are others that feel they can be overly restrictive and prescriptive. Either way, your client will need some form of guidance on how to apply the logo design to ensure it works as intended.

15. Accept public criticism of your logo design

Premier League logo how to design a logo

DesignStudio’s high-profile rebrand of Premier League attracted more than its fair share of criticism from traditionalist football fans

In the era of social media, every man and his dog has an opinion about every logo design that's up out there. Criticism is therefore no longer an occasional annoyance or something that might come only from professionals. It's something that anyone working on a relatively high-profile rebranding exercise should be ready for.

As we’ve mentioned above, a great branding scheme is about much more than just a logo design, but on platforms such as Twitter, when a newly released project is often summed up with a single image, the logo is often the first (and only) thing the public jumps on. This is something you need to accept as inevitable.

London-based DesignStudio (opens in new tab) has experienced such a backlash several times, including with its work for Airbnb and the Premier League. In the video above, its former executive creative director James Hurst, now global creative director at Pinterest, explains how the studio handled social media criticism.

Mozilla rebrand images how to design a logo

Johnson Banks’ open-source Mozilla rebrand whittled down various creative routes in the public eye, taking feedback on board

Another example of how to handle, and even harness, the increased public interest in logo design is the case of Mozilla. Johnson Banks (opens in new tab) used public feedback in the design process itself through a hugely ambitious, fully open-source rebrand of Mozilla's brand identity. The project involved the public at key stages and allowed public opinion to steer the creative routes chosen. Firefox also took a similar route in 2018, asking the public to help pick its new logo

Of course, a designer needs to also remember that the public's initial reaction isn't always going to be a measure of the long-term success of a logo. Be thick-skinned: take valuable feedback on board, and let the rest wash over you.

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Logo and brand identity specialist David is the creator of best-selling design books Logo Design Love and Work for Money, Design for Love, and runs several design blogs, including Logo Design Love. Past clients include BBC, Ecometrica and Henri Ehrhart.
With contributions from