Table of Contents
From Idea to Brand
Following the Logo Design module, Module 8 took the next step: Corporate Design. This time, it wasn’t just about a logo, but about a complete brand identity – from naming to product mockups.
There were two themes to choose from: a transport company or a natural cosmetics label. I didn’t hesitate for long. I hardly use cosmetics myself – but when I do, I have a clear weakness for natural products. 😉 And above all: the theme allowed me to connect with what currently surrounds me. I live in Northern Sweden. The nature here is raw, quiet, and very tangible. That’s exactly what I wanted to design.
Naming: Norr Essence
At the beginning, there wasn’t a finished idea, but rather a collection of associations. In a mind map, I captured terms and moods that could represent Nordic nature and natural cosmetics: northern lights, fjäll, clarity, purity, vastness. Looking back, the final name was already embedded there—initially as “Nør” or “Nor Essence,” and even “Norr Essence” already appeared in parentheses.
So, the name accompanied the process earlier than I initially realized. However, it wasn’t officially decided until later—and then it immediately felt right: Norr Essence.
“Norr” is Swedish for “North” and refers to Norrland—Lapland, Norrbotten, vast forests, moors, birches. “Essence” stands for the essential, for a focus on what is necessary.
The name combines origin and attitude. It sounds calm, is internationally understood, and can be explained without needing an explanation.
Claim: Care from the essence of the North.
Three Logos, Three Attitudes
The assignment required the development of three distinct logos. This resulted in three different approaches, all of which are inspired by Nordic nature.
Option A – The Cloudberry
The cloudberry (Swedish: Hjortron) grows wild in the subarctic moors of Northern Sweden. It is rare, cannot be cultivated, is rich in vitamins—and possesses a golden color that is immediately well-suited for a cosmetics logo. It is often referred to as “the gold of the North.”
The resulting logo is highly abstracted and compact. I chose a warm gold for the color—a deliberate contrast to the cool Nordic imagery. The symbol feels warm, while the name remains cool.
Typography: Cormorant SC (Small Caps)
Design Rules:
- x = Width of the cloudberry
- Font height: approx. 1/3 x
- Distance between symbol and text: approx. 1/2 x
- Logo clear space = x
Feedback: Overall, the visual element and the typography have been combined very effectively here, forming a beautiful and aesthetically pleasing unit.
Option B – The Aurora Arch
Abstract, flowing lines in shades of green and blue. Modern, almost graphic-technical. As a phenomenon, the Northern Lights stand for purity, energy, and natural movement—yet they remain elusive. This is reflected in this version.
Typography: Inter with slight letter spacing
Design Rules:
- x = Height of the upper aurora bar on the left side
- Font height: approx. 65% of x
- Logo clear space = x
Feedback: Cool and clear, with something calming about it. The font could have been slightly larger.
Option C – Mountain with Northern Lights
The mountainous silhouette represents stability, while the arch above it stands for lightness. Graphically reduced, with clean lines.
Typography: Libre Franklin
Design Rules:
- x = Height of the mountain with the aurora arch
- Font height: approx. 1/3 x (also serves as the distance between image and text)
- Logo clear space = x
Feedback: The proportions within the visual element could be adjusted slightly. The green crescent appears a bit too large for the mountain peaks.
The Decision
I conducted small feedback rounds with friends. The result was clear: women preferred the cloudberry, while men tended toward the aurora. Since the brand is aimed at women, the decision was almost already made.
But I was also convinced from a design perspective. The cloudberry logo feels more emotional and human than the aurora versions. It possesses a warmth that the others lack. Furthermore, it works even at very small sizes—on a business card, on the website, or on a product label.
From Logo to Brand: The Applications
This was the part that challenged me the most—not because it was technically more difficult, but because I suddenly had to work with a product I barely know. I prefer designing for things that are familiar to me. But perhaps that is exactly what this exercise is about.
Design Rules
Behind the applications was a simple but deliberately defined design system. Clear space, text height, and the distance between the symbol and the typography are proportionally defined—ensuring the logo remains consistent across all media, from letterheads to product packaging.
Typography:
- Logo: Cormorant SC (Small Caps) – classic, calm, connected to nature.
- Body text & applications: Sans-serif complement for clarity
Color Palette:
Clear Space:
- Clear Space: One berry width = x
- Font height: approx. 1/3 x
- Distance between symbol and text: approx. 1/2 x
Letterhead and Business Card
This was the first time I could see whether the logo would function outside of the design phase. The letterhead and business card didn’t just have to look good; they needed to create a calm and consistent brand identity.
The letterhead design remained deliberately understated: a clear hierarchy, plenty of white space, and a subtle curved line at the bottom, which reappears later in other applications.
The business card also incorporates this line, visually connecting the front and back. Feedback suggested maintaining the central axis more consistently and omitting the icons—a valid point.
Vehicle Branding
The vehicle branding also follows the minimalist visual identity—with subtle placement and strong visibility from a distance.
However, the feedback pointed out a valid weakness here: the logo and the address are placed on the car door without a design connection. This version does not yet achieve the same level of clarity as the other applications.
Labels and Product Mockups
This part was more unfamiliar to me than the rest of the project—not technically, but in terms of content. I rarely use cosmetics myself and therefore initially had little idea of how such products look or are designed.
As a result, part of it was developed through research—and yes, with a little help from Google and AI. I particularly enjoyed working on the labels themselves. Evolving the cloudberry into a pattern and design element, experimenting with different visual styles, and incorporating natural structures felt surprisingly harmonious.
The products themselves were less familiar to me than the design surrounding them—and perhaps that is exactly what made the task so interesting.
Pure. Clear. Connected to nature. – three words that suddenly made sense here.
The Feedback
The feedback on the module was both appreciative and precise. I found this specific mix very helpful—it highlighted not only what was already working but also where more clarity could have been achieved.
The combination of image and typography in Version A, the calm clarity of Version B, and the more dynamic visual elements in Version C were all well-received. The applications were also perceived as aesthetic and harmonious overall—particularly the packaging and product presentations.
Not everything worked equally well. In the vehicle branding, the design connection between the logo and the address was missing; in Version C, the proportions did not yet feel fully balanced; and for the business card, it was recommended to adhere more consistently to the central axis and to omit the icons.
All of these points were easy to follow. I found it especially helpful that they weren’t just general statements, but specifically showed where the design already holds up—and where more clarity would have been possible.
The corporate design is therefore still expandable—which is a good thing.
Feedback from the OfG certificate of achievement (translated from German)
I read this sentence less as criticism and more as an invitation.
My Conclusion
This module has shown me that a logo is actually just the beginning. A brand only truly becomes visible when it has to hold its own across various media.
The connection to Northern Sweden became my anchor throughout the process. I didn’t have to invent a mood; instead, I could design something I am personally familiar with.
What I’ve taken away most of all is this: A good idea alone is not enough—it is consistency that turns it into a visual identity. And feedback is most helpful when it is specific.
Outlook
In the meantime, I have completed the graphic design course at OfG. Between then and now, there were further modules—including Marketing and Screen Design, which later led to the redesign of my website. I will be touching on some of these here.
And the cloudberry didn’t just disappear, either. I liked the motif so much that it eventually evolved into its own product designs.
If you have questions about my learning process or about logo design, I would be happy to discuss them.
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