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Designing Game Logos
by Simon Dean on 04/25/13 01:08:00 am   Expert Blogs   Featured Blogs

The following blog post, unless otherwise noted, was written by a member of Gamasutra’s community.
The thoughts and opinions expressed are those of the writer and not Gamasutra or its parent company.


In preparation for hopefully releasing Folk Tale on Steam Early Access next month, we needed to re-design the game logo. Pooling my prior marketing experience and Jennifer's artistic abilities, we set to work designing one of the most prominent assets and documenting the process in the hope it might help other indie developers, or simply be of interest to members of the Folk Tale community.

The Brief

Before any visualization work was started, I prepared the creative brief that Jennifer would be working from, splitting design goals into mandatory ( 'must' ) and optional ( 'should' ) including: 

  • Must work as a 'rubber stamp' that looks natural when combined with other marketing assets e.g. screenshots, cover art
  • Must reflect the artistic style of the game ( hand painted with high detail )
  • Must communicate the theme of the game ( fantasy medieval theme )
  • Must be reproducible at different scales from large posters to small web banners
  • Should work in black and white for reproduction on fax machines ( mostly legal documents )



With the creative brief in hand, Jennifer set about selecting a number of candidate font faces, and presenting a black and white candidate board for consideration. Typography ( aka 'the font' ) can communicate so much about a product that quite often you'll see game logos made purely from typography without additional artwork. It demands the greatest attention of all elements in a logo, and preparing a simple black and white board helps focus purely on the type. For illustration purposes, here are four fonts that communicate four very different things:

Four fonts communicating very different things 

Kerning, line spacing, and weight all needed consideration before arriving at the final font face. We didn't want a lightweight font that was too thin because it would get lost at small scale and not support the 'rubber stamp' goal. The default kerning ( spacing between characters ) was also too broad, so we condensed it.



It should really have been included in the creative brief, but early on we found that Jennifer would require direction on where within the style spectrum the logo should sit. We didn't want pure illustration which is often more aligned with cartoons and products targeting children, nor does the in-game art style focus on realism. Using other games and logos as references, I was able to communicate the desired art style.

Art Style Scale


Early Theme Concepts

With our selection made from the candidate fonts, Jennifer set about developing rough theme concepts. As all but one would be throw-away work they were quick and dirty, in some cases pulling from in-game textures.

Early Theme Concepts

The team ( representing the target audience demographic of gamers aged 18-34 ) really liked the tree rings texture and green for the leaves; the orange leaves were lost against the brown of the tree ring board. The metal color of the font would introduce an additional resource from the game ( wood, iron, stone, food ).


Concept Refinement

Having identified elements from the early theme concepts that we wanted to take forward, we added a few more ideas and Jennifer set about refining the concept.

Concept Refinement

We tried different alignments, and settled with a broader offset that would allow us to add a prop. The oak tree further compounded the leaves at the edges of the logo, so this was ruled out because it didn't add to either the 'story' being told or visual impact. The rendered in-game ruin was discounted because it didn't feel right. The sword and shield however developed the 'story' by adding a hint of adventure to the theme. It still felt a bit busy, so we dropped the shield from the design.


Key Design Features

With the final elements chosen and checked against the design goals, it was time to add the detail. Throughout development various tweaks were made, including

  • Specular highlights reduced on the leaves to make them less thorn like, reducing the risk of a subconscious emotive response that the game would somehow be painful;
  • Detail was left extra-sharp so that it would be retained during the smoothing that happens when scaling down;
  • Shadows were added to the leaves to add depth;
  • Leaf color variations were added to help the logo blend with various backgrounds such as screenshots. Folk Tale maps have a lot of different ambient zones including snow, lava, green hill, desert, and swamp. The logo needed to blend against all of these without getting lost.
  • A subtle drop shadow was added to the text to help lift it off the brown tree ring board
  • A black outline was added to text to help readability
  • A cyan rim light was added to help color contrast near the shadows
  • Leaves were de-cluttered to prevent obscuring the text
  • Consistent directional lighting was added
  • Bloom was added to enhance the metallic feel of the text
  • The cooling blue hue was added to metallic elements to help differentiate them from the warm natural hues of the leaves and wood


Key Design Features 


A final round of testing was performed to check for any scaling issues, and to validate the logo would work in nearly all scenarios.  Below is but one of the test slides. 


Minor refinements were made during testing, and three weeks after the initial meeting, we had our final logo:

Final Logo Design


About Folk Tale

Folk Tale is a fantasy city-builder strategy adventure game for PC, Mac and Linux developed by indie studio Games Foundry. For more information, please visit

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Eric Shofe
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Eloy Ribera
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Good design! However, I keep reading "FoUR", but maybe it's just me. "L" and "K" are too close and the ending of the first letter seems to merge into the second one. Also, leafs on the "K" seems to hide the trace of an "R". Don't know why.

Globally, the logo seems to fit well with your different scenarios, and your chosen colours make your logo stand up, so very good work.

Simon Dean
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Thanks Eloy. Time to scale back that leaf just above the k. I see your point about the kerning of the L and K in Folk ( but only after you pointed it out ). While its unlikely we can do anything this close to release because it would require a major rework, altering that leaf and its shadow may help reduce the effect.

Eloy Ribera
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Yeah, reducing the leaf over the K will also reduce the effects of kerning. I'm pretty sure that, as the eye will no longer read "FoUR", the problem will disappear.

As I said, your logo is very consistent and representative of the game, so it's almost perfect IMHO.

Benjamin Delacour
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I didn't see it until it was pointed out either, but it's much harder to read it that way on the "Early Theme Concepts" or "Concept Refinement" pics where the leaf is smaller. Nice logo! Thanks for the writeup.

Wes Jurica
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Thanks Simon. We'll try to keep this stuff in mind when creating our logos.

This looks really nice by the way. I didn't notice what Eloy was talking about.

Gary LaRochelle
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Looking at your testing results, may I suggest placing a slight light colored glow around the logo. This will help separate the logo from the background images.

Carlos Garcia
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It's a beautiful logo, and it succeeds in the message you're trying to send. I still don't know anything about your game but it already got me interested in it!

Simon Dean
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Thanks Carlos.

The final logo design image has now been updated taking Eloy's comments into account.

Shivang Ahuja
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Beautiful and ya i also thought its Four instead of Folk :)