What do you believe a great logo must do first?

Brandon: At the get-go, a great logo should quickly and clearly communicate what the business is and what it stands for. Ideally, it becomes so recognizable that even without the name, you know exactly who it belongs to.

And honestly, it also has to look cool. For me, that usually means there is a solid concept behind it. I like when a logo has some kind of connection to the brand, whether that comes from what the business does, its personality or even something as simple as a letterform. Sometimes I will start with an initial and shape it into something that feels meaningful. Not every logo needs a heavy concept, but the best ones usually have a clear idea driving them.

At what point does a logo stop being “design” and start being “strategy”?

Brandon: A logo becomes a strategy when it becomes part of a bigger system. If we’re only asked to create a mark, it’s just a logo. But when it’s paired with a brand guide, a look and feel, and rules for how it’s used in print, digital and motion, it becomes strategic.

That’s when you think about how it works in different sizes, on merchandise or across multiple applications. You set up rules for colors, spacing and variations so the logo can live consistently everywhere while still being flexible. The design is no longer just a mark — it’s a tool that drives the brand.

How do you translate something abstract — a brand’s values, personality, culture — into a visual mark?

Brandon: I like to start with the essentials: A logo has to work big and small, in color and black and white. One example that comes to mind is the Arts & Science Council logo. The challenge was translating something broad and abstract — the idea of arts and science in Charlotte, which covers everything from the Mint Museum to Discovery Place — into a single visual mark.

I could have gone literal, like a paintbrush or a test tube, but I wanted it to feel fun, energetic and eye-catching. I played with primary colors and used a swirl effect in Illustrator to create motion and energy. Layering colors and shapes, I developed a visual that suggested artistic movement and exploration while keeping it simple and readable.

The key is making sure the logo is flexible: It needs to be recognizable and work across sizes and applications. That balance between creativity and practicality is what makes an abstract idea come alive visually.

When should a brand evolve its logo versus completely starting over?

Brandon: It’s really case by case. If you’re lucky, you create something timeless the first time. Nike is a great example. They’ve adapted the swoosh over time, but it’s always been recognizable, and eventually they reached the ultimate logo designer’s dream: The swoosh alone is enough, no name needed.

Otherwise, it depends on the brand and context. For example, when we updated the Wray Ward logo a few years back, it was partly to clarify our name for people outside Charlotte. Some logos I did at the beginning of my career feel outdated now, so it’s worth revisiting the work regularly. If a logo clearly reads as belonging to another era, and it’s not part of the concept, it’s time to evolve.

How has your definition of “good” logo design changed?

Brandon: Over time, I’ve moved toward making logos cleaner. Early on, I leaned into chaotic, grunge-inspired designs, but now I try to keep them simpler and tighter. Depending on the client, a little roughness or illustration can work, but even then I aim for clarity and cohesion — logos that feel deliberate and polished without being overcomplicated.

Young designers often either try to put too much into a logo or not enough — which I know is somewhat ambiguous to say — but I always look for something that references what it represents, even in a small way. After that, it’s about aesthetics.

For me, a good logo should catch your eye. As John sometimes says, it’s the one that makes you go, “Ooh, I want the T-shirt or the hat.” It doesn’t solve every problem, but if people want to wear it, you know you’ve got something that works.

Do you ever tinker with brands you love, even if they don’t need a redesign?

Brandon: Everyone has opinions on the best-known logos, but honestly, if a logo is famous, it’s probably already doing its job.

I’m usually more interested in taking smaller, lesser-known places and seeing how I can make them better, just for fun. I’ve tried my hand at some small businesses and, more recently, a few of my favorite local breweries. I’ve experimented with creating art and a system for things like beer cans, T-shirts, hats and more. Projects like that are fun because I get to experiment creatively while improving something that already has a good foundation and that I have a personal interest in.

Interested to learn more about our creative approach to helping brands stand apart in a crowded marketplace? Let’s talk.