"What do you mean?" is the most common response when I tell people I work with rebels.
I proceed to tell my core belief that being different is more important than being better. But there's more to it than that. What drives this core belief home is that I live it. Perhaps not in gigantic ways, but here are a couple examples:
I refuse to be on Facebook and Instagram.
I don't drink or partake in other substances.
I rarely take calls or meetings in the morning.
I plan on staying a small company for the foreseeable future.
These are stories about who I am as a person that seep into my business as well. Stories like these are strong because they are genuine, I don't have to put on a face to live out the truth I proclaim.
When you build your brand, tell your story. Open up your ugly, the things people will think you are weird for. I guarantee there are people who will not like it, but the flip side is that there will others who appreciate it.
Tell YOUR story. Not the one you think people want to hear.
What do you mean a rebellious logo?
Well, rebellion in its simplest form is this: when everyone goes left, are you willing to go right? Rebellion means looking at the context your company is in and figuring out what is missing.
At the onset of every identity project there needs to be a common goal between the designer and the owner of the logo. This goal is assessed by drilling down on the story, voice and tone, character, ideal customer, and the mission, vision, and purpose of the brand.
After getting introspective about who you are, you need to see what's already out there, especially in terms of a logo. It's astounding to see how the marks used by your competitors are similar. In fact, I'd guarantee you find at least two recurring motifs like an image or color palette used multiple times. The goal here is ascertaining what NOT to do.
After observing what's already out there, now you can formulate concepts that are different from your competitors. My recommendation is to think of them in categories: a pictorial mark (something that is a representation of a real object), typographic (word-based mark), and abstract icons (shape-based marks that don't resemble something real). You'll find that at least one of these categories makes up the majority of your competitors' logos. Don't pick that one.
Black and White:
Every good mark works in both a solid black and a solid white version. If you have to rely on color to make the mark effective, go back to the drawing board.
If you're good to go on the black and white versions of your logo, move into choosing colors. Remember, the key is to choose elements that are different from what's already out there.
Logos are special because of the things they live on. By placing your mark on business cards, marketing collateral, signage, digital environments, and at varying scales, you can forecast against placement issues in the future. This saves thousands of dollars ensuring that the mark doesn't incur printing hazards down the line and can retain its structure regardless of where it goes.
Go get em rebels.
Nothing is ever perfect. Every brochure, marketing collateral piece, logo, company name, website, all of them have things that could be better. Now, you have two choices: try and attain perfection, or make something good and prepare to iterate based on feedback.
You cannot keep throwing spaghetti at the wall and expect to go anywhere. You need to launch, get actual feedback, and then pivot.
Whatever you are working on, launch it. If it sucks, at least now you know and can change.