I applied the logotype to a range of 330 ml cans, one color per flavor, using a can mockup in Photoshop. The wordmark runs vertically up the can, large enough to wrap around it, with “Protein” and the flavor in the brand’s accent colors.

To check that the logotype holds up in the real world, I placed it where skaters would actually see it: on a deck and on a set of die-cut stickers on griptape.

The assignment was to create two custom logotypes: a brand name turned into a mark through lettering alone. Each one had to start from hand sketches, carry a few key ideas about the brand, and come with a palette and a smaller version that still works at small sizes.

Before choosing, I sketched names for five imaginary brands, each with its own three key words:

1. GoofySkateboarding magazine: pop, fun, urban
2. FloréalFlorist chain: delicate, optimistic, fresh
3. BloomFruity protein desserts and drinks: energy, freshness, indulgence
4. KronoExpress delivery: speed, dynamism, reliability
5. VektorIndie video game studio: retro gaming, geometry, technology

Bloom speaks to sporty foodies: fruity protein desserts and drinks, a culture of energy, pleasure and vitamin-bright colors. I wanted the logotype to look written in one quick gesture, like a signature: leaning forward for momentum, with full, generous shapes for indulgence. The two “o”s follow each other like round fruits, and the word itself seems to bloom. My references were Poppi, Olipop and Nocco, and the world of smoothies and fresh fruit packaging.

The base is Courgette, a handwritten typeface by Karolina Lach. I kept the capital B and L, and thickened “oom” so the end of the word feels round and full.

• #9BC53D
• #4A2C7A
• #1E1A1D
• #E2335F
• #FFF4E8

Goofy speaks to skaters: a culture of stickers, customized boards and bold, flat colors. I wanted a logotype that looks as if it was stuck on a board: round, puffy, a little off-kilter, like a letter drawn by hand. My references were Thrasher, Palace, Santa Cruz and Stüssy, along with the Pop Art of Roy Lichtenstein and Keith Haring.

The hatched script sketch had the right energy, so I rebuilt it digitally on Pacifico, a script typeface by Vernon Adams, then reworked it: heavier, rounder letters, a bold black offset shadow for the sticker effect, and a swoosh underneath, like a board under the word.

For small formats I drew a Gc monogram that keeps the swoosh, and set everything in a pop palette: a loud orange, a sunny yellow, black outlines, an electric blue and a warm cream.

• #FF5B1A
• #FFD447
• #141414
• #2148F5
• #FFF3DC

Starting by hand gave each logotype a personality that a typeface alone would not have had. Reworking an existing typeface taught me what to keep and what to redraw. Designing a monogram for every logotype made me think about how a mark behaves at very small sizes, such as an app icon, which is exactly the kind of constraint I want to explore further in UI design.