The making of the Alfekka logo

Working with the name proposed by the client: Alphecca.

Carefully listening to the client telling us about the correct techniques of diamond cutting and the Hearts and Arrows pattern. Trying to use various elements: an aster flower head (since Astra is Latin for a star), a crystal heart, a crown (reference to the Corona Borealis constellation).

Deciding to implement the idea with the counterform of a crown in a diamond. Simultaneously considering gradients, textures and patterns.

Showing to the art director, who asks to look for an alternative that would use the type design to the best effect.

The client gives us the example of the laconic Nespresso and the trailblazing Di Alpino. Exploring both directions.

Reversing the second K allows to put an accent in the middle of the shape created by the union of <>. The type based on beveled elements—that’s the feature that will create the style and become the basis for the pattern.

Art director: You’d better look for a dot-crystal.

Highlighting the common letters in Cyrillic and Latinic versions of the logo: the first and last As, the middle E.

Now it’s time to sketch. Trying to play with a diamond symbol, a glare on a surface, faces, holders, a star.

Art director: Nope, neither works.

Assembling a mood board.

Looking for new variations for the logo.

A letter with an Oriental ornament?

A crystal with a heart?

A combination of a crown, letter A, a star, a diamond and in the middle of it all—a heart?

A + dynamite + heart?

Stylized aster flower?

Art director: Go with the crown, just be bolder.

Trying to introduce texture, move away from the inner symmetry and make the logo look more alive.

The art director advises to switch back to the previous approach. Returning to the mirroring Ks, but replacing the dot with a larger object—a cut stone.

The name of the star is Alphecca, we propose to disregard the original spelling and use letter-to-letter transliteration: Alfekka.

The art director offers his solution. Showing the logos to the client, he chooses the one proposed by the art director.

Looking for lookalikes among existing logos, examining everything that might employ similar graphical devices.

Sending the logo to the type designer and showing the result to the client.

The client asks to touch up the logo to make sure the symbol could not be read as letter O. Adjusting the color and getting the final approval.