I got to work on sketching my primary ideas and sent them to Tim, he absolutely loved the first skull I did so I drew it again and then inked it with fine liners and sharpies to capture details.
This lead to another update sent to Tim which he urged for me to keep going and get the digital reproduction to the same quality as the hand-drawn one.
Feedback received from the digitally rendered illustration was that it was perfect apart from the gap between the crosses. We agreed it should of been a bit wider so I amended that and got to work on the type.
First choice was a font called Haymaker. This has a similar aesthetic to the original logotype except it has a bit more structure and is cleaner
Using the layout I first pitched with the sketch with the name on top, location underneath and then the year split on the sides I showed the type as an example.
I wanted to also give an alternative as I wasn't really feeling this one. I looked over a typeface named Geared Slab (an ironic name already), it had very interesting slab serif characteristics at the same time as being obviously inspired from industrial signage which could perfectly match the city's industrial history as well as the mechanical theme of a bicycle.
I absolutely loved the outcome with this typeface. Prime example of contextual decisions shaping work in a much more profound way than "it looks nice". I used a simple grid system to make the spacing perfectly balanced throughout including the type sizing acquired through the golden ratio.
Feedback from this was that it fit the bill perfectly. To pull everything together I brought the identity to life with a few alternative logos/logotypes for us in spaces that do not permit the full logo.
Next up will be the branding guidelines, this will set the rules and restrictions for the rest of the designed materials and allow the development of the rest of the brief.
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