Design: logo: an exploration of marvelous marks, insightful essays, and revealing reviews PDF
Preview Design: logo: an exploration of marvelous marks, insightful essays, and revealing reviews
Design: Logo 001-272_30930.indd 1 9/2/13 9:53 AM 001-272_30930.indd 1 9/2/13 10:59 AM ((FFooggrraa 3399))JJoobb::0088--3300993300 TTiittllee::RRPP--DDeessiiggnn LLooggoo (Text)((RRaayy)) ##117755 DDttpp::222255 PPaaggee::11 An exploration of marvelous marks, insightful essays and revealing reviews Paul Howalt Von Glitschka 001-272_30930.indd 3 9/2/13 9:53 AM 001-272_30930.indd 3 9/2/13 10:59 AM ((FFooggrraa 3399))JJoobb::0088--3300993300 TTiittllee::RRPP--DDeessiiggnn LLooggoo (Text)((RRaayy)) ##117755 DDttpp::222255 PPaaggee::33 Contents 6 I n t r o d u c tI o n 98 Logo Gallery 8 Logo Gallery 106 A Closer Look essay: desiGner BLind sPots 16 - Bill Gardner Chris Parks 108 Logo Gallery 18 Logo Gallery A Closer Look A Closer Look 116 26 JosePh BLaLoCk desiGn Fernandez studio 118 Logo Gallery 28 Logo Gallery A Closer Look A Closer Look 126 36 ruLe29 the Greteman GrouP 128 Logo Gallery 38 Logo Gallery A Closer Look A Closer Look 136 46 LeiGhton huBBeLL tim Frame desiGn 138 Logo Gallery 48 Logo Gallery 56 A Closer Look essay: meaninG 146 - Alina Wheeler Luke Bott 148 Logo Gallery 58 Logo Gallery A Closer Look essay: 25 years oF LoGo desiGn, 156 66 distiLLed hatCh - Sherwin Schwartzrock 68 Logo Gallery 158 Logo Gallery A Closer Look 76 A Closer Look Jeremy sLaGLe GraPhiC desiGn 166 mint 78 Logo Gallery 168 Logo Gallery A Closer Look 86 A Closer Look Joe BosaCk GraPhiC desiGn 176 randy heiL 88 Logo Gallery 178 Logo Gallery A Closer Look 96 Jon FLaminG desiGn 001-272_C69934.indd 4 9/24/13 12:12 PM 001-272_30930.indd 4 9/2/13 10:59 AM ((FFooggrraa 3399))JJoobb::0088--3300993300 TTiittllee::RRPP--DDeessiiggnn LLooggoo (Text)((RRaayy)) 0 9 - C 6 9 9 3 4 ##117755 DDttpp::222255 PPaaggee::44 5 6 I n t r o d u c tI o n 98 Logo Gallery 8 Logo Gallery A Closer Look 186 deviCe 106 A Closer Look essay: desiGner BLind sPots 16 - Bill Gardner Logo Gallery 188 Chris Parks 108 Logo Gallery 18 Logo Gallery A Closer Look 196 FeLix soCkweLL A Closer Look A Closer Look 116 198 26 JosePh BLaLoCk desiGn Logo Gallery Fernandez studio 118 206 Logo Gallery 28 Logo Gallery essay: desiGn For a nonProFit - Justin Ahrens A Closer Look A Closer Look 126 208 36 ruLe29 Logo Gallery the Greteman GrouP 128 Logo Gallery 38 Logo Gallery A Closer Look 216 thinkinG CaP desiGn Co. A Closer Look A Closer Look 136 218 46 LeiGhton huBBeLL Logo Gallery tim Frame desiGn 138 Logo Gallery 48 Logo Gallery A Closer Look 226 GyuLa németh 56 A Closer Look essay: meaninG 146 228 - Alina Wheeler Luke Bott Logo Gallery 148 Logo Gallery 58 Logo Gallery A Closer Look 236 mattson Creative A Closer Look essay: 25 years oF LoGo desiGn, 156 238 66 distiLLed Logo Gallery hatCh - Sherwin Schwartzrock 68 A Closer Look Logo Gallery 158 246 Logo Gallery orChestra A Closer Look 76 A Closer Look Logo Gallery 248 Jeremy sLaGLe GraPhiC desiGn 166 mint 256 Logo Gallery 78 essay: styLe is suBstanCe 168 Logo Gallery - Tracy Sabin A Closer Look 86 A Closer Look Logo Gallery 258 Joe BosaCk GraPhiC desiGn 176 randy heiL 88 Logo Gallery 178 Logo Gallery A Closer Look 268 Index 96 Jon FLaminG desiGn 272 About the Authors 001-272_30930.indd 5 9/2/13 9:53 AM 001-272_30930.indd 5 9/2/13 10:59 AM ((FFooggrraa 3399))JJoobb::0088--3300993300 TTiittllee::RRPP--DDeessiiggnn LLooggoo (Text)((RRaayy)) ##117755 DDttpp::222255 PPaaggee::55 Introduction We can all respect the heritage of the ubiquitous logos of corporate giants such as Samsung, McDonald’s, Walmart, Face- book, IBM, and Sony; but as designers, we realize that so many of these marks for large entities show obvious signs of being pushed, pulled, strangled, and beaten into creative submission and sterility. No matter how much the initial brief may tout the brand as being personable and able to provide an emotional connection to a community, the logo ends up reflecting none of the human qualities it brags about. The resulting logo ends up being merely an expensive, impotent placeholder—unoffensive yet uninspiring. This book is not about any of these. On the other hand, there are logos that grab us by the eyeballs, hug our souls, endear our senses, and don’t let go. If you’re one who has chosen graphic design and branding for a living, we doubt that you’ve been inspired to do so by the creative battles that produced marks for any of the corporations named above. I’d venture a guess that most of us were motivated by logos that displayed distinctively clever visual concepts, told a story, or were rendered with industry-defining style. I’m talking about logos such as the old Milwaukee Brewers “ball and glove” monogram from the ‘70s, the Armor All Viking brand character, the Baskin Robbins “31 flavors” mark, the Android OS logo, the Twitter bird and the Atlanta Falcons “F” symbol. We all recognize these logos as being brilliant, conceptual, and bold. We marvel at these marks, smile, and can’t look away. We embrace them with open arms. We run to become members of their brand tribes. They are, in a word, irresistible. Competitive brands are finding the need to court their cus- tomer and communicate their message quicker and more thoroughly. That’s a tricky tightrope to walk. Every detail and attribute of a logo needs to be carefully scrutinized before 001-272_30930.indd 6 9/2/13 9:53 AM 001-272_30930.indd 6 9/2/13 10:59 AM ((FFooggrraa 3399))JJoobb::0088--3300993300 TTiittllee::RRPP--DDeessiiggnn LLooggoo (Text)((RRaayy)) ##117755 DDttpp::222255 PPaaggee::66 7 7 We can all respect the heritage of the ubiquitous logos of incorporating into the final mark. A logo is no longer a simple corporate giants such as Samsung, McDonald’s, Walmart, Face- guarantee of quality and consistency. These days an organiza- book, IBM, and Sony; but as designers, we realize that so many tion’s logo needs to promise a specific emotional experience as of these marks for large entities show obvious signs of being well as a connection to a particular community. Logos must be pushed, pulled, strangled, and beaten into creative submission much more than they have been in the past, especially when and sterility. No matter how much the initial brief may tout the removed from the context of their supporting visual language. brand as being personable and able to provide an emotional Winning loyalty is secondary; getting them to fall in love is connection to a community, the logo ends up reflecting none primary. of the human qualities it brags about. The resulting logo ends up being merely an expensive, impotent placeholder—unoffensive There will always be a polarized school of thought when it yet uninspiring. This book is not about any of these. comes to discussing the correct approach to logo design and development. In the end, we know that a successful logo design On the other hand, there are logos that grab us by the eyeballs, is not about what pleases the client—its about a mark that hug our souls, endear our senses, and don’t let go. If you’re works. It’s about solving a visual problem. Actually, it’s about one who has chosen graphic design and branding for a living, solving a bunch of problems. we doubt that you’ve been inspired to do so by the creative battles that produced marks for any of the corporations named • Does the logo resonate in the souls of your target audience? above. I’d venture a guess that most of us were motivated by • Is it memorably simple, but not boring? logos that displayed distinctively clever visual concepts, told a • Is the style appropriate within its industry? story, or were rendered with industry-defining style. I’m talking • Is it more timeless than trendy? about logos such as the old Milwaukee Brewers “ball and glove” • Can you tell a story about it? monogram from the ‘70s, the Armor All Viking brand character, • Is it visually clever or conceptual in some way? the Baskin Robbins “31 flavors” mark, the Android OS logo, the • Can it (or a version of it) be reproduced easily across all media? Twitter bird and the Atlanta Falcons “F” symbol. We all recognize • Do you want to lick it? these logos as being brilliant, conceptual, and bold. We marvel at these marks, smile, and can’t look away. We embrace them I think we are starting to witness more designers stepping with open arms. We run to become members of their brand up their games with logo solutions that trade in geometric, tribes. They are, in a word, irresistible. corporatized abstraction for custom-tailored creations. Let’s celebrate what they do, figure out how they do it, and be in- Competitive brands are finding the need to court their cus- spired to create more ourselves. tomer and communicate their message quicker and more thoroughly. That’s a tricky tightrope to walk. Every detail and — Paul Howalt and Von Glitschka attribute of a logo needs to be carefully scrutinized before 001-272_30930.indd 7 9/2/13 9:53 AM 001-272_30930.indd 7 9/2/13 10:59 AM ((FFooggrraa 3399))JJoobb::0088--3300993300 TTiittllee::RRPP--DDeessiiggnn LLooggoo (Text)((RRaayy)) ##117755 DDttpp::222255 PPaaggee::77 Logo Gallery 1 2 8 4 9 3 5 11 6 7 12 1: COMPANY: Art Chantry Design / CLIENT: Dave Crider, Estrus Records / DESIGNER: Art Chantry 8: COMPANY: REACTOR design Studio / CLIENT: Ado Blow Dry Lounge / DESIGNERS: Julie Sebby, Chase Wilson / ART DIRECTOR: Clifton Alexander 2: COMPANY: Chris Trivizas / CLIENT: Christos & Tassos Manesis / DESIGNER: Chris Trivizas / ART DIRECTOR: Chris Trivizas 9: COMPANY: Schwartzrock Graphic Arts / CLIENT: Winsted Arts Council / DESIGNER: Sherwin Schwartzrock 3: COMPANY: Fernandez Studio / CLIENT: Lost Cowboys / DESIGNER: Carlos Fernandez / ART DIRECTOR: Anita Cleland, Wes Spiker 10: COMPANY: Device / CLIENT: Macmillan Publishing / DESIGNER: Rian Hughes / ART DIRECTOR: Rachel Vale 4: COMPANY: Fernandez Studio / DESIGNER: Carlos Fernandez / ART DIRECTORS: Rich Goidel, Alan Deeter 11: COMPANY: Fernandez Studio / CLIENT: Lincoln Park Zoo / DESIGNER: Carlos Fernandez / ART DIRECTOR: Peggy Martin 5: COMPANY: Melodic Firtue / CLIENT: Byre / DESIGNER: Aaron Tanner / ART DIRECTOR: Aaron Tanner 12: COMPANY: Schwartzrock Graphic Arts / CLIENT: Freshwater Church / DESIGNER: Sherwin Schwartzrock 6: COMPANY: Pollard Design / DESIGNER: Jeff Pollard 13: COMPANY: Glischka Studios / CLIENT: Brandimage / DESIGNER: Von Glitschka / ART DIRECTOR: Tamara Kramer 7: COMPANY: REACTOR design Studio / CLIENT: Julie Wei, MD / DESIGNERS: Julie Sebby, Chase Wilson / ART DIRECTOR: Clifton Alexander 001-272_30930.indd 8 9/2/13 9:53 AM 001-272_30930.indd 8 9/2/13 10:59 AM ((FFooggrraa 3399))JJoobb::0088--3300993300 TTiittllee::RRPP--DDeessiiggnn LLooggoo (Text)((RRaayy)) ##117755 DDttpp::222255 PPaaggee::88 Former logo I designed in 2000. Life Church Logo Redesign 9 Page # I wanted to retain as much of the original logo as possible but also provide a new look that represented growth, maturity and hopefully atypical for a church logo. There was criteria I set for myself to ensure this. The fluidity of the type was essential; I chose a calligraphic approach for it to appear traditional and serious but loosened it up for more flow and freedom. Existing Freeway Sign New Freeway Sign (with optional message/event board) I wanted to move away from a predictable religious element and explored a branch/leaf/flame combo but felt it was forced and needed simplifying. To me the flame alone had a quicker reference to the client and their identity. I’d say ‘passionate people’ could best describe them. But I didn’t feel it was as fire, uncontrolled and reckless. But more as a controlled flame with intent and purpose. Initially I had the word Church detached but discovered with slight modifications I could blend it with Life - which just furthers the custom appeal as a logotype. I feel that because Life has so much flare to it, I needed a complimentary standard typeface that was sans-serif and could work for other brand peripherals as well. The color choice seemed obvious with Black and Red, but it’s a very demanding color scheme and I was cautious to suggest it. But one thing I know of Don and Ann Finley is that they are brave and not afraid to take risks. This project had very quick resolve. Literally one revision and Existing Building Sign New Building Sign on to final. It’s a designer’s dream to have full creative freedom so I embr8a ced it completely and designed it in such a way it would be a church I’d personally attend. I did and would again. Apparel Graphic Rough Sketch First Draft Final Design 9 10 Former logo I designed in 2000. Button / Decal Life Church Logo Redesign I wanted to retain as much of the original logo as possible but also provide a new look that represented growth, maturity and hopefully atypical for a church logo. There was criteria I set for myself to ensure this. The fluidity of the type was essential; I chose a calligraphic approach for it 11 to appear traditional and serious but loosened it up for more flow and freedom. Existing Freeway Sign New Freeway Sign (with optional message/event board) I wanted to move away from a predictable religious element and explored a branch/leaf/flame combo but felt it was forced and needed simplifying. To me the flame alone had a quicker reference to the client and their identity. I’d say ‘passionate people’ could best describe them. But I didn’t feel it was as fire, uncontrolled and reckless. But more as a controlled flame with intent and purpose. Initially I had the word Church detached but discovered with slight modifications I could blend it with Life - which just furthers the custom appeal as a logotype. I feel that because Life has so much flare to it, I needed a complimentary standard typeface that was sans-serif and could work for other brand peripherals as well. The color choice seemed obvious with Black and Red, but it’s a very demanding color scheme and I was cautious to suggest it. But one thing I konno two foinf aDl.o Int’ as nad d Aesning nFeirn’lse dyr iesa tmha tto t hheayv ea rfeu lbl rcarveea taivned fnroete daformai ds oto I teamkeb rraisckesd. iTt hciosm pprolejeteclty h aandd v deerysi gqnueicdk i tr einso sluvceh. Lai tweraayl liyt wonoeu lrde vbies iao nc haunrdc h Existing Building Sign New Building Sign I’d personally attend. I did and would again. Apparel Graphic Rough Sketch First Draft Final Design 12 13 Button / Decal 1: COMPANY: Art Chantry Design / CLIENT: Dave Crider, Estrus Records / DESIGNER: Art Chantry 8: COMPANY: REACTOR design Studio / CLIENT: Ado Blow Dry Lounge / DESIGNERS: Julie Sebby, Chase Wilson / ART DIRECTOR: Clifton Alexander 2: COMPANY: Chris Trivizas / CLIENT: Christos & Tassos Manesis / DESIGNER: Chris Trivizas / ART DIRECTOR: Chris Trivizas 9: COMPANY: Schwartzrock Graphic Arts / CLIENT: Winsted Arts Council / DESIGNER: Sherwin Schwartzrock 3: COMPANY: Fernandez Studio / CLIENT: Lost Cowboys / DESIGNER: Carlos Fernandez / ART DIRECTOR: Anita Cleland, Wes Spiker 10: COMPANY: Device / CLIENT: Macmillan Publishing / DESIGNER: Rian Hughes / ART DIRECTOR: Rachel Vale 4: COMPANY: Fernandez Studio / DESIGNER: Carlos Fernandez / ART DIRECTORS: Rich Goidel, Alan Deeter 11: COMPANY: Fernandez Studio / CLIENT: Lincoln Park Zoo / DESIGNER: Carlos Fernandez / ART DIRECTOR: Peggy Martin 5: COMPANY: Melodic Firtue / CLIENT: Byre / DESIGNER: Aaron Tanner / ART DIRECTOR: Aaron Tanner 12: COMPANY: Schwartzrock Graphic Arts / CLIENT: Freshwater Church / DESIGNER: Sherwin Schwartzrock 6: COMPANY: Pollard Design / DESIGNER: Jeff Pollard 13: COMPANY: Glischka Studios / CLIENT: Brandimage / DESIGNER: Von Glitschka / ART DIRECTOR: Tamara Kramer 7: COMPANY: REACTOR design Studio / CLIENT: Julie Wei, MD / DESIGNERS: Julie Sebby, Chase Wilson / ART DIRECTOR: Clifton Alexander 001-272_30930.indd 9 9/2/13 9:54 AM 001-272_30930.indd 9 9/2/13 10:59 AM ((FFooggrraa 3399))JJoobb::0088--3300993300 TTiittllee::RRPP--DDeessiiggnn LLooggoo (Text)((RRaayy)) ##117755 DDttpp::222255 PPaaggee::99 Logo Gallery 14 15 22 16 17 24 18 19 26 20 21 28 14: COMPANY: Gardner Design / CLIENT: Danse Arte / DESIGNER: Brian Miller / ART DIRECTOR: Brian Miller 22: COMPANY: Brandcentral / CLIENT: ACM SIGGRAPH / DESIGNER: Gerard Whelan / ART DIRECTOR: Gerard Whelan 15: COMPANY: REACTOR design Studio / CLIENT: REACTOR design studio / DESIGNER: Chase Wilson / ART DIRECTOR: Clifton Alexander 23: COMPANY: Schwartzrock Graphic Arts / CLIENT: Kevin Walz / DESIGNER: Sherwin Schwartzrock 16: COMPANY: Dotzero Design / CLIENT: Lucia / DESIGNERS: Jon Wippich, Karen Wippich / ART DIRECTORS: Jon Wippich, Karen Wippich 24: COMPANY: Schwartzrock Graphic Arts / CLIENT: Kingstone Media / DESIGNER: Sherwin Schwartzrock 17: COMPANY: Melodic Firtue / CLIENT: Open Shut / DESIGNER: Aaron Tanner / ART DIRECTOR: Aaron Tanner 25: COMPANY: Sevenfiles / CLIENT: Ribeiro e Dias / DESIGNER: Carlos Ribeiro / ART DIRECTOR: Carlos Ribeiro 18: COMPANY: Dotzero Design / CLIENT: Live Wire Radio / DESIGNERS: Jon Wippich, Karen Wippich / ART DIRECTORS: Jon Wippich, Karen Wippich 26: COMPANY: Schwartzrock Graphic Arts / CLIENT: Target / DESIGNER: Sherwin Schwartzrock 19: COMPANY: Melodic Firtue / CLIENT: Burnt Prairie Print Shop / DESIGNER: Aaron Tanner / ART DIRECTOR: Aaron Tanner 27: COMPANY: Gardner Design / CLIENT: The Church of the Latter Day Saints / DESIGNER: Bill Gardner / ART DIRECTOR: Bill Gardner 20: COMPANY: Design Center, Inc. / CLIENT: DSI / DESIGNER: Sherwin Schwartzrock / ART DIRECTOR: John Reger 28: COMPANY: Schwartzrock Graphic Arts / CLIENT: Target / DESIGNER: Sherwin Schwartzrock 21: COMPANY: Duct Tape & Glitter / CLIENT: Abby’s Gift / DESIGNER: Luke Bott 29: COMPANY: Jon Flaming Design / CLIENT: Jon Flaming / DESIGNER: Jon Flaming / ART DIRECTOR: Jon Flaming 001-272_30930.indd 10 9/2/13 9:54 AM 001-272_30930.indd 10 9/2/13 10:59 AM ((FFooggrraa 3399))JJoobb::0088--3300993300 TTiittllee::RRPP--DDeessiiggnn LLooggoo (Text)((RRaayy)) ##117755 DDttpp::222255 PPaaggee::1100
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