There are a few schools of thought when it comes to providing logo options to a client as a part of the design process. Some people would argue that providing options makes the design process confusing and leaves your client doubting your expertise–after all, you’re the expert, and your client is looking to you for guidance. Others would say that by creating a few carefully crafted options, you are showing your creative chops while illustrating how well you’ve listened to their ideas. I’m in the latter school of thought regarding logo design. I believe you add value to your logo design process by creating options…with a few important caveats.

1) Not every stage of your logo design process requires options.

By providing options in the early stages of the design process, you are involving your client in the decision-making process and gleaning more ideas about their preferences. Your creative brief might not contain all the details about a client’s preferences.

Rebellious Unicorns Production Company Inc. FINAL logo versions

However, once an option has been selected, there is no real point in presenting more options unless you’re simply adjusting your client’s selection for refinement. Presenting more options at this point might frustrate and confuse your client.

2) Make sure your logo options match the creative brief.

Example of a client request in a creative brief
Logo options for Plan Okanagan logo based on the creative brief
Example of a client request in a creative brief
Logo options for Plan Okanagan logo based on the creative brief
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Nothing is worse than having to explain why none of your designs incorporate the client’s set of must-sees. Be prepared for rejection if you can’t back up your creative solutions based on previously agreed-upon terms.

However, when each option follows the creative brief and represents a snapshot of possible options, you show that you have considered many viable solutions. Clients feel included and heard when they have a concise set of options to choose from. It is also important to note that a client’s preferences should be closely linked to their audience’s preferences. In order to do this, you will have to diplomatically suggest that every preference should be weighed against an actual goal. Then put those preferences and goals into a cohesive creative brief.

You can include a rationale that provides evidence to support your choices following the creative brief and allows your client some time to make a decision.

3) Make sure your logo options are recognizably different from a distance.

QUSIC logo options
QUSIC final logo

Simple colour tints and shades don’t make much difference in logo design’s early stages. If a set of options are simply subtle permutations of another option, pick your choice of one for presentation. The time for details comes last.

4) Don’t include logo options you don’t like.

This sounds like a very obvious thing to say. It’s easy to mistakenly include options we don’t like when we are trying to show our creative abilities to create options. Put a limit on the number of options you will present and stick with it. If an option is not working out, ditch it.

You should only present the logo options you would be proud to use yourself. A project you like is great for your portfolio. A project you don’t like will only haunt you.

NOTE: There is no image for this section. I do my best to delete the option that I don’t like and erase it from my memory. Why would I hang onto my worst work? A question for another post, perhaps.

5) Try to leave colour out of it.

comparison between colour and black and white logos
Osprey Handy Workz logo options in colour and black and white
comparison between colour and black and white logos
Osprey Handy Workz logo options in colour and black and white
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Logo options should be in black and white in the concept phase unless expressly requested otherwise. A good logo should stand out without including pops of colour. By removing colour, you force your client to assess the options based on form and function alone. Colours can be polarizing, and everyone has their preferences. I’ve seen some great designs overlooked because the client didn’t like the colour.

If you are going to have colour in the early stages, try to show what the logo would look like in black and white as well. There will almost always be a time when a single colour black or white logo can be used.

6) Don’t turn your logo options into a pick-your-combo lunch special.

This tip is difficult to get some clients to comprehend. When we are given too many options and don’t see something we like, we often try to create a new option. There is a desire to take different elements from various options and mash them together. The conversation then becomes similar to a combo lunch special where you choose a drink, a main, and a side dish–the possibilities are endless. The result is the soul-crushing Franken-logo that often leaves someone displeased with the outcome. Especially if you devote your time to creating the logo abomination only to get the same unsatisfied response from the client and you start the process over again.

To avoid this, you need to be confident in what you present. Make sure each option is on a separate page with rank indicators in order according to your favourites. It’s like being the chef who says “no substitutions” and has a day’s recommendation or special. Try to add a tab at the top of the page that indicates your first choice and provide a rationale.

TOP CHOICE logo option page.
SECOND CHOICE logo option page.

When this approach doesn’t work, I still try to keep the Franken-logo away from the villagers. I ask what the client likes and dislikes about each logo option and promise to create a new option that considers those thoughts.

7) Write a concise rationale.

Not everyone thinks or creates in the same way. If they did, the world would be boring. However, it is for this reason that you might want to consider your professional design choices. Evaluate whether they are based on fact rather than your personal preference. A client has the luxury of choosing based on preference, and that is a fact. The designer needs to create based on a combination of facts and preferences to develop the best-rationalized outcome.

Let me break it down using a couple of examples:
FACT: Black and white create the highest contrast possible. Colours opposite each other on the colour wheel create the highest contrast colour combos.
PREFERENCE: I like blue.
OUTCOME & RATIONALE: Dark blue on white and Dark blue on bright orange have been used to create the highest possible contrast while using your preference for the colour blue.

FACT: Bebas Neue Pro is a modern condensed sans serif font family that has been compared to Helvetica but is more affordable.
PREFERENCE: I want a modern font that’s like Helvetica, but I don’t want Helvetica.
OUTCOME & RATIONALE: Bebas Neue Pro was selected because it is modern and readable like Helvetica, but its uniqueness and affordability make it ideal for your new logo.

By stating things clearly in terms that address both fact and preference, you are providing a rational and pragmatic reason for your design choices that brings validity to your logo design option.


In the early stages of the logo design process, you are still getting to know your client and better understand their business. You are also in the process of establishing a business relationship. If your client is going to trust your decisions, it is important to include them in the creative process. You are the expert; however, you will have to prove it.

Logo options help guide the design process and give insights into your client’s mind. You’ll be able to understand their preferences for future design solutions by their choices.

By providing logo options, you show your dedication to completing the project correctly the first time.

Alternatively, by presenting one logo option, you are effectively saying that you know everything about your client and there is only one possible solution for them. This is dangerous territory to be in. If you get it wrong, your client may think your hubris isn’t worth working with you. You can also expect to have to go through many logo changes and reiterations to make it to the solution. If you get it right, kudos; your mindreading skills are on point. JK. This can happen from time to time; however, you can expect to get it wrong more than you get it right.

Finally, these tips are not rigid rules. I try my best to follow them, but there are always exceptions. By designing options, you add value to your logo design process. The main idea is that options are not bad; by creating options, you are boosting your creative problem-solving skills while involving your client in the design process.

Are you having designers block when creating options? Check out my blog on logo categories and their uses.

Want some help with your logo designs? Connect with me through my website

author avatar
Chris Bingham
Graphic Designer, Science Aficionado, Educator, Globetrotter and Creativity Alchemist are few of the hats Chris Bingham wears with pride. When he isn’t thinking of the next creative endeavour he can be found exploring his greater backyard of the Okanagan Valley in search of adventure.