Jill Kogan Consulting & Fractional Services is a boutique firm specializing in independent consulting and fractional services tailored to meet diverse needs. With over 15 years of global mobility experience, the firm provides customized solutions and hands-on support to each client, whether it is a startup looking to establish its first international hire/assignment, an existing program looking to scale, or a well-established operation seeking to refresh its talent mobility strategy.
For this project I developed 4 logos inspired by the values that its founder wants to convey, reinterpreting the concepts of globality, creative solutions, adaptability and informal professionalism; in simple visual elements that are attractive, functional, timeless and with a feminine touch. In this way I seek to provide a sense of brand that brings credibility and is the visual watershed to create strong professional bonds based on adaptability, trust and human support.
The first proposal is based on the concept of "scalability" as a focus area of the founder, and I translate it into a functional and adaptable monogram. Understanding this term as "the ability of a business or system to grow in size”, this visual element is composed of the two initials of Jill Kogan's name. Graphically, I wanted to convey this term as a larger projection of the letter "K" compared to the letter "J". For this reason, from the center to the left, the typography appears to be close to closing, with a slight taper. On the contrary, from the center to the right, there is an obvious growth that takes two slopes and gives the impression of trying to get out of the delimiting square.
For the logotype, I implemented a serif typography that gives it a feminine touch in the curves and corners, continuing the concept of "scalability" in the letter "g," which, while visually cut at the bottom to fulfill an aesthetic function, also begins to project a diagonal line that crosses the central oval and seems to extend to the right.
The second proposal is based on the "adaptability" concept as an important area within the tailored solutions approach. My goal was to have the initials of “Jill Kogan Consulting & Fractional Services” come together to form an isotype that identifies the brand. In this scenario, “adaptability” translates into letters of different sizes and positions, but that together share the same thickness and ability to inhabit the same space.
Following the linear style of the isotype, I implemented a wide san serif typeface for the logotype that maintains the same thin but legible thickness. The text "Consulting & Fractional Services" is also inserted between the founder's name when the use of the isotype is not necessary, as a further extension of the “adaptability” concept.
The third proposal is inspired by two terms: "global mobility" and "fractional services". The classical representation of a globe is composed of parallel lines, each with two different thicknesses, with the intention of graphically conveying a change after passing through certain points. These points, in the "global mobility" term, represent a pause, indicating that not all movements take place in the same point between one line and another. Complementing this, the "fractional services" term shows a change at the same point, but in thickness, representing that the services provided can be scaled up or down according to the changing needs of the companies. The two concepts appear in opposite ways, as mirrored lines from the center of the isotype downwards, completing the notion of globality.
On the other hand, the logotype acquires a feminine nuance through the use of serif typography. The “mobility” concept is perceived as a tilt in the word "Jill"; while the “fractional” concept is also present at the bottom by splitting the text "Consulting & Fractional Services" into 3 lines.
Finally, the fourth proposal is inspired by the "measurement" and "evaluation" concepts as part of the focus areas, to create an isotype that also includes the letters "J" and "K" but with a different meaning. The intention was to subtly represent the checkmark symbol by merging the curvature of the letter "J" and the upper slanted line of the letter "K". At the same time, the representation of a growing graph is implied by the letter "K" ascending from its bottom line to the left, descending, and ascending again, but this time vertically.
With a slight whimsy to Wes Anderson's aesthetic, the logo is composed of a bold symmetrical san serif typeface with slight curves in the letters "l," "a," and "n" that break up the overall linear style. The decision to use uppercase and lowercase letters was made to give it a friendlier and approachable essence, as opposed to the inflexibility that some uppercase letters can project.
