The making of the Yakitoriya logo and corporate identity

Inviting more designers to join the fun and generate new ideas.

Preparing a presentation.

The client chooses the one with the crane, but asks to use the text from the one with the roll. Checking out how it might look.

Right before the client meeting the manager and the designer hold a bet whether the client will pick the crane logo. The designer loses and has to walk around the studio with a crane puppet on his hand for two days.

As for the logo, right now the crane looks more like an illustration: there are too many random lines. And we need it to look like a nice sign instead. Trying to construct it without losing the elegance of the original.

Art director: It looked better with a larger gap, now you can’t easily see the chopsticks. Number 3 is the least awful. The wrist is too thin for my taste.

Making the wrist thicker and trying the result on a façade.

Nope, too thick, making it thinner again.

Before and after:

Client: Let’s make the forearm a bit more graceful and the chopsticks thicker where they come together. The image is in the attachment.

Let’s.

A couple more pictures with sensible suggestions from the client.

Right.

Starting to work on the style elements. The first approach.

No. The second approach.

Meanwhile, the type designer sends the English version of the logo and all necessary descriptors.

We also get the idea to create a sign without the black segment for uniform dark backgrounds (and without the white one for light backgrounds).

Slightly increasing and reassembling the descriptor.

Returning to style elements and patterns.

Thinking about wait staff uniforms.

Choosing the corporate typeface.

The illustrator draws a wonderful pattern using images that can be used independently.

Assembling yet another presentation and showing to the client.

The client rejects the colorful variety, picks one of the geometric patterns and asks to make others in the same style. OK.

Typesetting the style guide.