Jessica Hische: recommendation

Transcript context

…Let's talk about actually thinking through my new logo and brand. Can you just talk about what you had in mind as you started to explore directions and we started narrowing what was the mindset, and the approach, and the vibe? I think with the Lenny's brand, you are what I would call a person that has a beloved fan base that we don't want to exclude or offend by shifting gears super crazily. When I was looking at redoing your brand, it was about what's here that we can look at that we should keep or at least explore keeping in order to make sure that it still feels the same on the other side? We didn't want to do anything super drastic. Some of the things to think about in that way are you have this sort of handwritten approach to a lot of the parts of your brand, and I was like, "How do we do something that feels handwritten, that feels like it could jive with the handwriting scripts and stuff that you were using but might feel a little bit more refined moving forward and in a way that could blend with illustration so that the illustration and the letter forms all feel like they were created by the same hand?" A lot of times for me, when it comes to doing an exploration like that, it's about how do we make sure everything feels like it was created at the same time and not that we just tacked on new things? Figuring out how to blend everything together is important. Color was also a big one. I feel like people's color stories are something that is an immediate read, where if you blur your eyes and look at a brand, you can recognize it by its color, and so I think keeping your color similar was a big one too. But then I really wanted to try different approaches with the typography, doing stuff that was a little bit more clean, doing stuff that still had a bit of a funky edge to it. Because your original Lenny's podcast type had this sort of cut papery, a little bit off kilter vibe to it, and so trying to capture that but with new cleaner typography. That was really fun. I was using a typeface Degular as part of it, which has a nice wonkiness to it. It was drawn by a friend of mine, James Edmondson, who I love all of his stuff. That was one of the things that we approached because I felt like it could capture the look of the original cut paperesque type. But yeah, it was really fun to try a lot of different things and work within the iconography that you had used on a few stuff with the microphones, and also marshmallows, and campfires, and all kinds of things, and just trying to make a more unified system. Are there things that didn't work as you tried to explore this process that you recall, that might be worth sharing of just like, "Oh, that was a cool concept," but didn't quite work the way you thought?…

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