Loaves & Fishes Logo Design – An In-Depth Case Study

by Ben Toalson | Jan 20, 2014 | Case Studies, Featured Work, In The Boat, portfolio

I had been looking into getting a full-time job as a graphic designer at First Presbyterian Church in San Antonio, TX. The initial interview went well enough that they asked me back for a second interview. For the second interview they asked the remaining candidates to design a logo and showcase our skills for “Loaves & Fishes”, a ministry of First Presbyterian that provides a monthly meal for the homeless and hungry in their community. The final presentation would be due at the second interview which gave us one week to complete the project.

To be honest, initially I was a little hesitant to move forward. This felt a little like spec work and I had already had a few bad experiences with spec work in the past. As I thought on it more, however, I decided that I would treat it like a pro-bono piece and make it, at the very least, a useful portfolio piece and case study for my website, and at best, a piece that would afford me an opportunity to take a cool job. I also decided that I would do a hand lettering piece to accompany and possibly include the logo.

Spending quality time with the content and goals

My process began with reading the church’s very thorough description of their goals and content. Feeling confident that I had all of the information I needed, I simply wrote the words “Loaves & Fishes” on a blank page in my composition notebook. I let the words sit there on the page and in my mind for a little bit. As I thought on it, an idea popped into my head for the hand-lettering piece… “Let my hands & my heart be like loaves & fishes for the world.” I thought this phrase really captured the nature of the Loaves & Fishes ministry and, though at the time I didn’t know it, would later become a springboard for the direction I would take with the graphic representation of the logo.

With a few words hanging out on a page and in my head, I continued to dig a little deeper into the goals of the project, allowing some research to confirm what my experience and expertise told me would be a good style direction for the logo. Then I went back to the paper.

Sketching out some ideas

This opened up the sketch phase of my process which is one of my favorites. Here I let my pencil loose on the page, exploring different ideas and concepts.

I worked first on the hand lettering piece and as I was working out word arrangements, I kept getting an image of slab serifs for the “Loaves & Fishes” part of the phrase. The audience is very diverse in this case, but communication efforts in church are often geared toward drawing generations together toward a common purpose. I knew the design needed to appeal to younger and older generations, but not just to be an appeal, but a strong call to action. The slab serif has an air of traditional style, but has also recently taken on modern associations. It is a strong typeface that grabs attention, which I later underscored with a thin line shadow to make the words slightly more assertive. I like that the little imperfections in the hand-drawn style pull it in a more tactile direction and draw out the human, hands-on nature of the Loaves & Fishes ministry. I decided that this would be a great direction for the actual logo which meant that my hand lettering piece would actually include the final logo.

When a fish is not a fish

For the graphic representation I sketched out several different ideas before, almost by accident, I made a connection between the five loaves and five fingers of a hand, and how the fish, if arranged in the right way, could resemble a heart. This ministry is about offering hands and hearts (and food) so that Jesus can multiply those gifts in others.

I really liked the idea, but knew that making it overly obvious would highlight the cleverness of the idea more than the ministry itself. I opted to go with a more subtle representation of the idea, with a solid filled illustration outlined by negative space and nestled in the shape of a circle. A solid fill is generally more pleasing to the eye and also makes shapes and forms more memorable. The simplicity of the lines by way of negative space give just enough visual information for the viewer to discern what it is, without cluttering up the illustration. The circle has long been a strong relational symbol and is more recently being widely adopted by social network applications as a standard avatar frame. The association between the circle and the human face continues to grow stronger and further relates this shape to the human experience, which I believe is very applicable to this logo. I decided to maintain the hand-drawn style to be consistent with the typeface which lends further to its humanness.

Once I arrived at a brainstormed solution, I took what I sketched out in various places all over my composition notebook and began to do a final draft of the piece in my artist’s notebook.

An in depth look at how I took this piece from a sketch concept, to a completed digital design

I begin by penciling the piece:

1. Quick Sketch: First I sketch out each word very lightly, focusing on the layout rather than the more detailed elements.
2. Guidelines: After I’ve erased and made adjustments and every word is where I want it to be, I draw guide lines, often using a ruler, to give the piece more structure.
3. Detail Sketch: I go back over each word and sketch out the letter forms, focusing this time on the detail and character of each letter. I erase and make adjustments until every letter is perfect.
4. Zoom Out: I find that when working in detail, I hover very close to the page. Funny as it sounds, my eyes miss things up close that I can see very clearly from far away. It may be something to do with the balance, tracking or kerning, line height, etc. If I need to make adjustments here I will, even though I could fix it digitally, because this is the last opportunity I have to make it perfect before I seal it in ink. I will often use this as an opportunity to make adjustments based on design decisions, bringing the piece into further alignment with the goals of the project.

After the penciling stage is finished I begin to ink the piece. Here’s how that goes:

1. Outlining: I go over the outline of each letter very carefully with a very thin pen (micron 001). I find it best during this phase to not even think of the letters as letters, but to regard each line and stroke. If I make a mistake I may zoom out to see if it’s something I can compensate for somewhere else. If it’s not something I can fix, I get over it and get back down to outlining. This is, for me, the most stressful part of the process. I often put on some headphones and listen to a podcast or some music, which helps me focus more on the lines and less on the content.
2. Erasing: I erase the pencil lines that I no longer need and an outlined version of the piece is revealed. I take a deep breath and enjoy the fact that the stressful part is over.
3. Filling in: I zoom in again and fill in each letter, backing out every so often to see if there are any minute adjustments I need to make. I have to remind myself to slow down here because I get excited being so close to seeing the finished inked piece.
4. Final erase and adjustment: I erase any remaining guidelines and outlines and zoom out to see if there are any other minute adjustments that need to be made. If it’s done I stare at it for no less than 60 seconds with absolute silence.

When the inked piece is completed I work on a final digital draft:

1. Bringing it into digital world: I either scan or take a high res photo of the piece and send it to myself
2. Cleaning up: I first bring it into Photoshop where I add contrast where necessary and isolate the inked portion of the page.
3. Preparing the image for vectoring: I make small adjustments if needed and add a layer of solid black to cover the letters and design elements in the piece so that there is absolute contrast between black and white.
4. Vectorizing: I bring the layer into Illustrator and run a live trace on the piece using the options to find the best representation of the words and forms.
5. Cleaning it up: Still in Illustrator I go through letter by letter and shape by shape to make line adjustments and to clean up the vector. With really precise pieces I may take a great deal more time to make all of the lines and shapes perfect, whereas with pieces that will maintain more of the “hand-lettered” look I will allow many of the imperfections to stay, only making adjustments to serve the piece as a whole.
6. Final Arrangement: I bring it back into Photoshop as a single shape layer and will often break the piece up word by word so that I can make any necessary adjustments to spacing or size. This also helps if I want to apply different colors to different words.
7. Coloring: I make color selections and take care in applying colors to different elements, keeping in mind the project goals and target audience.
8. Texture and image overlays: This is for use mostly in my personal pieces, but can be a fun exercise to include in presentations. Sometimes I will add texture to the words or the background or both. Sometimes I will allow the words to sit over an image. Whatever I do, I always make sure that the artistry does not take away from the readability of the words in the piece.

That’s it!

The finishing touches, or as I like to call it, the last 40% of the project

After scanning the piece, outlining it for vector and making final line adjustments, the piece was more or less done for black and white… Here I began the process of adding color and, where applicable, texture and image.

For the colors I went with a bold, yet natural palette. Bold to support the strength of the statement and natural to support the human element. It was somewhat important for the fish and the loaves not to have bizarre colors. I went with a muted dark reddish-brown for the fish/heart and a muted yellowish brown for the loaves/hand. The red serves as a great attention grabber and can be used for a main heading while the yellow can be used for pulling out highlighted content in body text. I brought in a couple of blues for the circle/plate to give a feeling of comfort and authority and also to tie it into First Presbyterian’s main logo. The darker blue can be used in the other headings and in paragraph text because of its high contrast against white. As a side note, red and yellow are widely used in the food industry to create feelings of hunger, so when people see this logo they may actually have a physical empathetic hunger response, making it more likely that they would want to commit to participating.

I decided to add some texture distressing to the logo to make it a little edgier and appealing to a younger audience, but was careful not to go overboard with it in order to keep it well within reach of a diverse audience.

For accompanying fonts I went with fonts that were already widely used on their website to create a sense of familiarity and belonging for the new logo. The two fonts chosen are sans serif fonts which accompany the slab serif in the logo very nicely as if to say “alright, now here is some information.” FjallaOne is a strong condensed font that shows nicely for headings. It is naturally bold and does a great job of creating visual hierarchy. Myriad Pro is very easy to read and makes for natural looking paragraph blocks, allowing the reader’s eyes to glide easily through the content.

Packaging it up

The final package delivered to First Presbyterian included the following:
-process shots
-the final hand lettered piece
-the logo in simple form (black and white, no texture)
-the logo in its finished, full color form
-pantone guide including numeric values
-type rules including hierarchy, font and color
-a two page document detailing my process and design decisions (which included much of the content found in this case study)

As is true with many ministry titles that find their origins in Biblical accounts, there are many “Loaves & Fishes” out their. Because many churches are working toward the same purpose, it is not surprising that different churches would share many similarities. However, though there are many churches who have similar ministry titles, church names etc., each church is unique and has a unique expression of ministry. I believe this logo captures the unique identity of First Presbyterian Church and expresses their unique ministry through Loaves & Fishes. I believe it will serve as an encouragement for many of those who call First Presbyterian their home to share their loaves/hands and fishes/heart with the homeless and hungry in their community.