Houston-Based. Nationwide Service.
Houston-Based. Nationwide Service.
Original logo concepts drawn for your business from a written brief — not generated, not pulled from a template library. You see several distinct directions, choose one, refine it with the designer directly, and keep the editable vector files.
The word that matters in that definition is original. A template marketplace sells the same arrangement of shapes to everyone who buys it. A generator assembles a mark from a finite library of icons and typefaces, which is why generated logos from different tools tend to resemble each other. Custom work starts from a blank artboard and a set of constraints that belong only to you.
Those constraints are the actual job. Where will the mark appear — a shop window, a truck door, an app icon, an invoice, an embroidered cap? How small does it need to survive? Does it have to work in one colour? Is the business name long, or does it carry a character that most typefaces handle badly? A designer who asks these questions before drawing produces something that fits. One who skips them produces something that looks fine in a presentation and fails at the sign shop.
What you receive at the end is not a picture. It is a set of files built to be reproduced: vector source artwork that scales without softening, the horizontal and stacked arrangements a fabricator will ask for, a single-colour version, and a reversed version for dark backgrounds. Those variants are what turn a logo into something usable rather than something you have to keep asking a designer to re-export.
You have the name, possibly the entity, and nothing visual yet. This is the cleanest starting point — no existing artwork to protect and no habits to unlearn.
You have been using a typed business name, a stock icon, or something a relative made. It works until a supplier, a landlord or a customer expects something more considered.
The output looked acceptable in the preview and then could not be produced. Rather than repair it, you would rather have something drawn properly the first time.
The business outgrew its improvised identity. Presentation now affects who returns your calls, and the gap between how you work and how you look has become expensive.
Your mark will sit in a deck, a data room and a conference badge. It needs to hold at very small sizes and look like it was made deliberately.
The company changed, the name changed, and the identity has to follow. This is original creation rather than a redesign, because there is nothing to carry forward.
Most people arrive here at one of two moments. The first is genuinely early: the name is decided, the paperwork is filed, and every next step — the sign, the cards, the website header, the van — is waiting on a logo that does not exist yet. The logo is blocking work rather than decorating it.
The second is later and slightly uncomfortable. The business has been running for a while on something improvised, and the gap has started to show. A supplier asks for artwork you cannot produce. A larger customer’s paperwork sits next to yours and yours looks thinner. Nobody says anything, which is exactly why it goes unaddressed for so long.
Both are solvable, and neither requires the process to be slow or expensive. What it does require is being specific about what the mark has to do. A logo destined mainly for a phone screen is a different drawing from one destined for a fascia sign, and knowing which you are commissioning is most of the work.
One distinction worth making early: if you already have a mark customers recognise, you probably want a redesign rather than a new logo — that route protects the recognition you have already paid for.
A cross-section of original marks across different business types, shown to demonstrate range and construction rather than to claim any particular client.
Vector construction means the same file drives a favicon and a building sign. You are never re-buying the logo because a supplier needs it bigger.
Original work cannot show up on a competitor's van, which is a real risk with template and generator output sold to many buyers at once.
Marks drawn with fabrication in mind avoid hairlines, tight counters and detail that closes up when cut, etched or illuminated.
One source file feeding the site, the print, the vehicle and the packaging is what stops a business looking like three different companies.
Editable vector source artwork is handed over. You are not dependent on one supplier to reproduce your own identity later.
Revisions are a conversation with the person drawing, not a ticket queued behind an account manager.
The visible difference between professional and amateur logo work is usually invisible until something is produced at size. Underneath, three things separate them: how the shapes are built, how the type is handled, and how colour is specified.
Shapes are drawn as bezier curves with as few anchor points as the form needs. An auto-traced mark carries hundreds of redundant points sitting slightly off the intended curve, which is visible the moment it is enlarged and impossible for a fabricator to work with cleanly.
A typeface is a starting point, not a finished wordmark. Letter spacing gets corrected optically rather than mathematically, problem pairs are kerned by hand, and where a character needs redrawing for balance, it is redrawn.
Colour is specified in values that survive translation between screen, ink, vinyl and thread. “The blue from our website” is not a specification; a defined value that a printer and a sign shop can both match is.
A mark that works at sixteen pixels almost always works large. The reverse is not true. Testing at the smallest real size early is what prevents a logo that only looks good in the presentation it was sold in.
Stamps, embroidery, etching and single-colour print all strip colour out. Designing that version on purpose — rather than flattening the full-colour mark and accepting the result — keeps it strong.
Horizontal and stacked arrangements, plus a defined minimum clear space, mean the logo behaves predictably when someone else places it in a layout you never see.
If your existing artwork is a JPG or PNG rather than a drawn file, the fix is rebuilding it as true vector artwork, which is a different service from designing something new.
You describe the business, the audience, and where the mark will appear. Signage, vehicles or packaging plans should be mentioned now, because they shape the drawing.
We agree the territory before drawing — whether you want a symbol, a wordmark or a combination, and roughly where on the traditional-to-modern axis the business sits.
You receive several genuinely different directions, presented at realistic sizes rather than only large and centred on white.
You pick one, or combine elements from two. Blunt feedback at this stage is worth more than politeness and shortens everything after it.
Spacing, weight, proportion and colour are resolved, and the mark is tested small, large and in one colour before anything is called final.
Vector source files plus the export formats your printer, sign company and platforms will ask for, including reversed and single-colour versions.
AI and EPS artwork — the editable master every other file is generated from.
Universally openable and the first thing most printers and fabricators request.
For web, documents, decks and anywhere the mark sits over a colour.
For platforms and systems that refuse transparency.
Sharp at any screen size and light enough to keep a site fast.
Full colour, single colour and reversed, in horizontal and stacked lockups.
Custom logo design at Logo In Hours starts from $125, with nothing paid upfront. Where a specific project sits above that depends on how much drawing it needs rather than on who is asking.
Three things move the number. The first is the type of mark: a wordmark built on refined typography is a different quantity of work from a custom-drawn symbol or an illustrated mark. The second is how many directions you want to compare and how many rounds of refinement follow. The third is scope beyond the logo — if the project also has to produce stationery, signage artwork or packaging files, that is additional work with its own value.
What is worth comparing between quotes is not only the headline figure but what arrives at the end. A cheap logo delivered as a flattened image, with no editable source and no single-colour version, generates costs later that were never in the original price — usually charged by the first supplier who has to redraw it before they can start.
Our logo design pricing page sets out what is included at each level and what pushes a project higher.
Most custom logo projects run a few days from brief to final files. The variable is almost never the drawing — it is how quickly feedback comes back and how decisively the choice between directions gets made. Projects that stall usually stall between rounds, not during them.
You can compress it meaningfully by preparing before you start. Knowing the exact business name, having a short list of marks you like and dislike, and being able to say where the logo has to appear removes most of the back-and-forth that lengthens a project.
When the timeline is the binding constraint rather than the design, same-day logo design explains what is genuinely achievable in a single working day and what is not.
All three produce a logo. They differ in what you own at the end, how the artwork is built, and how it behaves when something has to be manufactured. If you already have generator output you like, it can often be rebuilt rather than replaced — that is covered on our AI logo redesign page.
| Custom Designer | Template Marketplace | AI Generator | |
|---|---|---|---|
| Originality | Drawn for one business from a brief | Sold repeatedly to many buyers | Assembled from a shared component library |
| File quality | True vector, minimal anchor points | Usually vector, quality varies by seller | Raster, or an auto-trace of one |
| Typography | Selected then optically corrected | As supplied by the seller | Default spacing, often approximated letterforms |
| Small sizes | Designed at favicon scale first | Rarely tested below intended size | Frequently breaks down when reduced |
| Production readiness | Prepared for sign, print and embroidery | May need adjustment | Usually redrawn before it can be produced |
| Revisions | Refined with the designer until right | Limited or none | Regenerate and hope |
| Ownership | Editable source files handed over | Licence terms vary; check exclusivity | Often licensed rather than owned |
A mark judged only at large size on a clean white slide will disappoint on a business card. Judge it at the sizes you will actually use before approving it.
Fine internal detail is the first thing lost to embroidery, etching, small print and distance. If the mark needs its detail to be recognisable, it is not finished.
Colour is persuasive and distracting. A logo that only works because of its palette usually has a weak underlying shape. Judge it in black first.
Taglines change more often than names. Building one into the mark so it cannot be removed creates an avoidable rebuild later.
Legal entity names, licence numbers and certifications need somewhere to sit. Planning that space prevents the appended-text look that undermines a clean mark.
If no editable vector file is handed over, every future change and every new supplier costs money. Ask before you commission, not after.
Van-led visibility, one-colour reproduction, legibility at distance.
Suite signage, directory legibility and patient-facing paperwork.
Yard signs, listing sheets and personal marketing alongside a brokerage brand.
Awnings, menus, packaging and delivery-app thumbnails.
Trailers, DOT lettering, packing slips and gate signage.
Bags, tags, tissue, listings and marketplace thumbnails.
Restraint, typography and marks that read as considered rather than decorated.
Apparel, class schedules and window graphics.
If what you actually need is a wider visual system — palette, typography and usage rules alongside the mark — that is brand identity design rather than a standalone logo project.
Logo In Hours LLC is based in Houston and works with businesses throughout the United States. Logo design is one of the few professional services that transfers cleanly to remote work: the deliverable is a file and the substance of the job is judgement, brief and feedback.
Projects run by phone, email and screen share on U.S. business hours. You speak with the designer drawing your logo rather than a coordinator relaying notes, which is the part of the arrangement that actually affects the result.
Every concept is drawn to a brief in professional design software.
You work with the designer, including when the honest answer is no.
Editable vector source artwork is handed over at the end.
From $125, with nothing paid before work begins.
Logo In Hours LLC is a Houston-based logo and graphic design company serving businesses nationwide. Concepts are produced by human designers working in professional vector software, delivered as editable source files, and revised with you directly.
We do not publish awards, ranking claims or client counts, because we would rather state only what can be evidenced. What we can point to is the work itself, the file formats delivered, the process described on this page, and the fact that you deal with the person drawing your logo throughout. Whether a designer answers your questions clearly before you pay is usually the most reliable signal available to you.
It is drawn for one business from a written brief, on a blank artboard. A template is pre-made artwork sold to many buyers, and a generator assembles marks from a shared library of icons and typefaces. Custom work means nobody else receives the same result.
From $125, with nothing paid upfront. The final figure depends on the type of mark, how many directions you compare, how many rounds of refinement follow, and whether stationery or signage artwork is included.
Several genuinely different directions rather than one idea recoloured. Comparing real alternatives is how most owners work out what they want, and it is far cheaper to change course at that stage.
Refinement is part of the process rather than an add-on. A mark you are quietly unhappy with tends to get replaced within two years, so it is in nobody’s interest to stop early.
Yes, including the editable vector source files. You should not need a designer’s permission to use your own mark, and you should not be dependent on one supplier to reproduce it.
Vector source artwork in AI and EPS, a print-ready PDF, transparent PNG, flat JPG and SVG, plus full colour, single colour and reversed versions in horizontal and stacked lockups.
That is designed in rather than hoped for. We check the mark at small sizes and in a single colour, and avoid hairlines and tight internal detail that cutting, stitching and etching cannot hold.
Yes. Colour is specified in defined values rather than described, so a printer, a sign shop and an embroiderer can each match it. If you already have a brand colour, send the value you use.
It depends on how the business is found. A distinctive symbol is recognised faster at distance and works better as an app icon. A wordmark builds name recall and suits businesses judged on documents. Many projects end with a lockup that can do both.
Very. A sketch communicates intent faster than a paragraph, even a rough one. Send it with the brief and say whether it is a starting point or simply an illustration of the idea.
Yes. Logo In Hours is Houston-based and works with businesses across the United States by phone, email and screen share. Location does not change the process or the price.
Say so plainly and explain what is missing. That feedback is more useful than approval, and redirecting at concept stage is normal rather than a problem.
Send the business name, a short description of what you do, and where the logo will need to appear. That is enough to begin, and anything else can be filled in during the first conversation.
Tell us the business name, what you do, and where the mark has to work. You will get original concepts drawn by a human designer, refinement handled directly with them, and editable source files you own outright.
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