William Harllee

For this project I was hired as

brand designer for a DFW/Austin

based Country artist.


The goal was to clean up their

original logo design, and build a

cohesive brand around it.


The result is a suite of logos and

a design language that is scalable,

and adaptable for all relevant

mediums and applications.

For this project I was hired as

brand designer for a DFW/Austin

based Country artist.


The goal was to clean up their

original logo design, and build a

cohesive brand around it.


The result is a suite of logos and

a design language that is scalable,

and adaptable for all relevant

mediums and applications.

The original design on the left has very strong shape language

and passes the silhouette test with flying colors. But, it wasn't quite

the style the band wanted, and only existed as a PNG file.

The creative brief was to look to old pre-war cartoons and

aesthetics as primary inspirations.


CLICK TO EXPAND

The original design on the left

has very strong shape language

and passes the silhouette test

with flying colors. But, it wasn't quite

the style the band wanted, and

only existed as a PNG file.

The creative brief was to look to

old pre-war cartoons and

aesthetics as primary inspirations.


TAP TO EXPAND

TAP TO EXPAND

The most difficult aspect of the logo

was the font. It needed to

balance playful and edgy. The one I

created is a custom typeface of fat

rounded shapes with sharp corners

and a sheriff's star on the p to tie in

the Western influence.


For the mascot, I looked to pre-war

"rubber hose" style animations per

the band and polished the linework.


Then I fine-tuned small aspects to

create the finished look; I moved

the eyes, added arms, made the hat

droop, etc.


I also kept an eye out for icons that

could expand the brand, and make

it more flexible at different scales.

I chose crinkled paper as the main

background element. Most Country

iconography contains tactile

materials like wood, metal, or

leather.


Crinkled paper both fills that niche

and separates itself as unique from

other artists in the space.

The color palette is black and a faded

off-white. This both keeps branding

streamlined, and hearkens back to

old black and white TV's to help create

an overall vintage feel.


The secondary text is reminiscent of cut

up newspaper printings, adding some

edge to the overall branding.

The most difficult aspect of the logo

was the font. It needed to

balance playful and edgy. The one I

created is a custom typeface of fat

rounded shapes with sharp corners

and a sheriff's star on the p to tie in

the Western influence.


For the mascot, I looked to pre-war

"rubber hose" style animations per

the band and polished the linework.


Then I fine-tuned small aspects to

create the finished look; I moved

the eyes, added arms, made the hat

droop, etc.


I also kept an eye out for icons that

could expand the brand, and make

it more flexible at different scales.

I chose crinkled paper as the main

background element. Most Country

iconography contains tactile

materials like wood, metal, or

leather.


Crinkled paper both fills that niche

and separates itself as unique from

other artists in the space.

The color palette is black and a faded

off-white. This both keeps branding

streamlined, and hearkens back to

old black and white TV's to help create

an overall vintage feel.


The secondary text is reminiscent of cut

up newspaper printings, adding some

edge to the overall branding.

The biggest shortfall of

the main logo is it loses

legibility at small sizes.


So I made several

variants to work with

various scales and

applications.

The biggest shortfall of

the main logo is it loses

legibility at small sizes.


So I made several

variants to work with

various scales and

applications.

Uncle Punt is now a brand
with a distinct and flexible
identity.

Uncle Punt is
 now a brand
with a distinct
and flexible identity.