50 Strategies fO.

f - logos That Last

IContents

Iintroduction 9

Chapter One: iArts and Leisure 1.0

Chapter Two: IBuslnessand Technology 36

Chapter Three: jHeallh Care 77

..

Chapter Four: IHotels andR.estaurants92

Chapter Five:

Chapter Six:

Chapter Seven:

Chapter Eight:

Chapter Nine:

Chapter Ten:

Chapter Eleven:

I

'Luxury, Fa.shton,and Beauty 103

,I .

iFood and Beverage 122 I

I

IPhiianthropic and Educational Organiza.tions 136

iShelter 146

Iself-promotlon 157

ITransportatlona.nd Shipping 172

IYOLIth and Sports Market 178

i

,Directory of Desi.gners/lndex 190

I

IAbout the Authors 1.92

I

!ACknOWledgments

I I I I I

192

Introduction:

9

Introduction

Memo from the Design

and Marketing Department

Ever ask yourself why sales Is associated with marketing, while design is connectad to production? Certainly it makes sense for the designer to oversee production, If only to ensure Ihe printer's or packager's execution matches t~,e designer's vision, And the designer must have an intimate understanding of LtlG limitations of production, Which are atsoths limits of applied design. But this is only the vocational aspect of Ihe designer's art and craft:

When It comes to creating strong logos, design and implementation are the last steps along a long path. The design 01 a visual identity is essential to the marketing of any brand because logos are marketing tools. And the only way to create la great logo-aside from blind luck-is to approach it first from the marketer's standpoint.

A marketing assessmen I is so logical and essentlal that most designers intuitively ibegin each project by analyzing their subject through markstlnq's six p'g; product, place, price, packaging, promotion, and people. This assessment can be

.as Informal as a moment's thought or the charting of the six P's on a notepad with the details sketched around 1119m, Or the evaluation can take place over

the course of months through research, interviews, focus grO~JPs, competitive analysis, lest markets, and surveys,

101 course, any process can seem stralqhttorward when it's viewed out of conIltexI The logo designer's real cha.lIenge is to execute this feat of visual marketing prestidigitation while running a gauntlet of client demands, time constraints, saturated or shifting markets, divergent audiences, new technologies, and unusual applications.

The logos in this book are strong because they made it through these challenges-and many more--to reach their targets with maximum marketing impact and often impressive, measurable results. The designs run the gamut from ele,gant to Industrial. frilly to macho, serious to silly, refined 10 unpolished, quirky to Imainstream, striking to stark. Yet they nave a common trait that sets Ihem above ithe rest Th,y make " strong mock

Chapter One; Arts and Leisu~

Clean slJapeS lind simpl" Ii"",. assured Fran"" .. FroreNa and JavMn thaI this logo would be readable, Oath (J[I slage and In pn'nl.

Cllent:

IJaZZMn

Minneapolis, Minnesota, USA

Agency:

Franke + Florelia Minneapolis, Minnesota

The Challenge

IFOUnded in 1998, the nonprofrt JazzMn's mission Is to "promote, preserve, and perpetuate jazz through performance, the preservation of historical documents and artifacts, and through education," The organization's most visible component is JazzMn Big 8and, a professional orchestra that combines the talents of mustcians who hall from Minr.eapolls and SI. Paul. Performances ere an integral part at the organization's mission and a major source of its support. When JazzMn Meded an Identity that would appeal to audiences of all ages and be legible on

Idrum sets and bandstands as well as on letterhead, it called or. Minneapolisbased Franke + FiorelJa.

The Process

[The design firm followed a proven method for developing the i.dentity, 8eginning with a competitive audit and design exploration, they developed and refined numerous treatments, This led to a graphic treatment incorporating a highly stylized iIIustralion of a brass Instrument surrounded by a sleek type ireatrnent. all within anaval. Keeping tile shapes and lines clean and simple assured both the designlers and the client that the imege would be reedable both on stage and in print.

The Result

Complellng JazzMn's classic big band image, the brand identHy not only appears-and is easy to recognize from a distance-on stage equipment and instruments, but it also looks equally appropriate all the orqanizatlon's stationery, advertising campaigns, website, newsleHers, programs, and tickets.

~

ZEPHYR

Client:

Agency:

The word zephyr-

rhe nsm9 of/he Greek god oflhs west I'I'/nd-telea;. In modem l18ullcallerms (0 a wann breeze. The smoolhmoving Z executed with rtIIJ/llCO/Ofed signa/ /lag SlripeS cfiSlllIs Greek mytnolOgy B"d marllime Ihemes into 8 cohesl'le whole,

The concept of nautical lOne ,".s changed radically liM now bet}fS littl9 /0 no ,ssamb,'ance 10 traditional noun'caI deSign, Flather, II rflilecls Ihe leisura and lux· ti!)' 01 cwlslng,

ICirCle Line Harbor Cruises LLC/Zephyr New York, New York, USA

Lippincott Mercer New York, New York

IThe Challenge

A preeminent New York attraction for jive decades, the Cirole Une is an established source, offering full and hall crulses around Manhattan Island as well as orulses to the Statue of Uberty, seaport music cruises, harbor lighfs evening cruises, Bear Mountain fall lollage cruises, and The Beast high·speed adventvre tours. In an effort to appeal 10 both upscale local and international larget audio ences as well as to commemorate 50 years of service, Circle Line called on Uppincott Mercer to develop a brand lor its newest offering-the Zephyr, a lavish 600.passenger high·speed catamaran, created by Auatal USA, Which oHers a smooth cruise around the New York waterways. The premium line Is a unique r tor catered parties from weddings and bar mitzvahs to corporate events.

The Process

To start, lhe L1ppinoott Mercer brand essence team collaborated with the olient

in (he naming process, selecting anc soreening names for Internet uniqueness, Intellectual-property lights clearance, and potential linguistic and cultural conflicts. The final candidate was the word zephyr, the name of the Greek god of the west wind and, in modern nauticallerms, a warm breeze. The leam then developed a tocused brand positioning statement. story, and supporllng messages around the company's mission and services roster.

Rrmly basing their work on lhe company's pos~ioning statement end mission, the Lippincott Mercer design learn developed type treatments, symbols, and Iwordmarks, exploring Greel< mythology and nautical themes including maritime I signal flags. The rlnal solution expresses a nautical character woven into Ihe 'smooth·moving Z executed with multicolored signal fiag' stripes.

The Result

The Zephyr logo was applied to the catamaran itself. as well as to all the cornjpanv's collateral. and was animated on its website, www.zephyrcrutsas.corn. A launch party, catered by the Circle Line's catering oompany, was held to christen Zeph,'r's first harbor cruise on September 4, 2003.

The Zephyr, a lavish 600- passenger high-speed catamaro.rj. offers a smoorJ1 ride .nd upscale service along Ihe New 'rbrk waterways. II is based 11'/ Manhattan's Hudson

River Park.

12 Loges: Ma~ing ,,8lrofl9 Mark

TRE 10

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SEA.A!R & SPACE MUSEUM

Adventures in Heroism

98pr6 '5 redeSI9""-d .loge CDmmurllClllet'i U,13 name £iila ph'l-:;;ical structure more U7an the s/1I:0 ItSS#. l,'/,h.'lA emn/lasi7ling the ~mr e~ id 's cor(.J .'T,It::ssdge-hercism.

eliertl.

The Intrepid Sea, Air, and Space Museum New York, New York, USA

Aqsncv:

9BptS

New York, New York

The Challenge

Located on the Hudson River in midtown 'Manhattan, the Intrepid Sea, Air, and Space Museum has long appealed to a loyal core audience of war veterans and military buffs, But a general lack of awareness and cultural relevance caused recent visitor numbers to stagnate, The museum's sxlstinp visual brand was too masculine to appeal to a broad audience. Bottom line: To increase traffic and recognition, the museum had to update its brand image 'Nhile remaining true

to its military and historic equity.

Plays or; the cew !bgo's rw/itary (!;bbon m:.)Uf bring the sam6 :=;!rerlgU) of CO/Of and message to transit ads.

The Process

Tile 9Spt6 learn was charged with identifying a new untapped largel audience and creating an Image that would resonate with the new larqet. Aftsr filtering through existing research and conducting interviews that disclosed current barrio ers and potential attractions to the brand, they pinpoinleo baby boomers wilh preteen children, They discovered that although Vielnam-era boomers reject a strong military brand 01 aggressiveness and war, they are strongly attracted to underlying military values=-mcrals. character, and leadership,

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tvrll planes -:~.: ·~r~i.

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13 Arts and Leisure

The Result

Heroism became the brand's rallyil1g cry, and leadership became its vision, New Illessaging-including the use of the taqline "Adventures in Heroism" in the fina] visual treatment-focused attention on the real lives of rea' heroes and the historic alrcraf carrier that survived kamikaze attacks and served as lile rescue vessel lor 1he Mercury and Gemini NASA space missions. With military ribbons of honor as the overall design theme, a warm palette was fashioned into color bands that eello, but do not duplicate, actual military decorations This simple device Ihreads lhrougll the museum's signage, advertising, and collateral materials, reminding viewers that heroism call be found everywhere.

Conisns.sd to .:;:ill'ored borders, the fogo ..-nat,'f g,'foc~/vely dr 8wS me attenNon of cn,,'dren, VI/,110 INera prEN,'ously an undersBtllOd market lor the IntrePId.

The nsw I.ogo nO! only spawnea' a new l~itJe of L~i"f,mded merchano'ls€I bur also birthea .a new yDuth program on the Intrepi d,

in which c,""Iildren can "eem merr S tripes" by visiling sxnibits and parriclPll ring

In ac;fiv!Ues,

INTREPID

INTREPID

INTREPID I

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Agency:

The tnea~etr's sstls tic

director spen t six 1?70n ths with another stud«: beforo working witll Modem Oog

10 C(OOle a conlemprJrary IIna.ge rl",1 mliectoo the c-ornpan}/s reprJrtrire 'NlthorJi om towacc! e/lner d(tJma

or comedy.

THEATRE

14

ILogos: Making a Strong Mark

Client:

ACT Theatre

Seattle, Washington, USA

'Modern Dog Design Company iSeattle, Washington

The Challenge

Creative clients can be demanding on a number of levels. When your client is a musician or an actor, you. must remain objective as a designer, able to translate ths client's personal tastes and wishes while instilling your own sense of form and logic into the equation. Modern Dog; Design Company added a lot of patience to this to create the identity for the Seattle-based ACT Theatre, which produces contemporary work primarily by new playwrights. The theeters artistic director

i had spent six months wlthanother design studio, I rying to develop a mark I hal 'reflectec his vision, before he called in Modem Dog.

I

The Process

Professionalism and a complete understandinq of what the artistic director wanted led to numerous presentations to a variety of committees that oversee ACT Theatre's operations. A direct, dynamic typographic treatment was selected in the process, which Modern Dog applied 10 signage end mock tlckets For a final, confirming presentation. Although the image is compact and wide, it works effectively in the vertical outdoor signage system lhal was purchased and installed before the logo design was finalized.

The Result

ACT Theatre, Which was Seattle's first theater dedicated to new plays, loves the new identity. The Modern Dog design team feels that the identity's gr8slest SLlCcess is the applause it received from the client, who called it a real step up from its previous small-town theater image.

AC T Theatre's iden tity achieved its greatest $'1)(:cess Ifr Ihe applause il received irom the ciient, who feels it·s " real step up from Its prevjous smlJfJ- ie-vI! tneeter Image.

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15

Client:

House of Blues

Bellevue. Washington, USA

Agency:

Modern Dog Design Company Seattle, Washington

The Sasqustcl1llogo de" ws on a /011.9 rool< musi~ /?gaey 01 psychede5c OOtIds !lire lhe GfB~~'ul Dooo', Jlml Hendn'x, and Jefffirson AI/p18M, yel.'1 reels completelY COniempDtal)' and speaks dilectJy 10 Ihe CU''''''/ dN&SfI mw;/c,bvmg midience.

IThe Challenge

: Sasqual ch: is an annual music Festival produced by House ot Blues, Staged in The Gorge, a natural amphitheater carved out by the COlumbia River near George, Washington. the show Is a twelve-hour, three-stage lndla-rock marathon, MOdern Dog was approached to create e logotype that would sterid on its own .and accompany the existing Sasquatchl icon. No strangers to tight deadlines, Modern Dog dove in with a week to produce the final design.

The Process

Wit h aa m U C h pas slo n fa r Indie rock as p rot lOSS i onal de s'9 n, Mod e rn Dog's

d ,;signers pored over 1 he list 0 I bands playing at Sasquatchl Their la miliari1 y wilh the bends' visuals and music industry design trends led them straight 10 ,their sketchpads, where half a dozen sketches prooucec a rough that quickly was approved and refined into Its linal form: a reiro 101m that draws heavily from l'960s and 1970s imagery

iThe Resutt

The Sasquatch! logo achj,.ves ns purpose: II draws on a long rock music IBgacy, yet feets oontemporary and speaks directly to Ihe current diverse music·loving audience. Under the new Sasquatch! mark, acts ranging fromColdplay to Galactic 10 String Cllses8 Incident performed tor more than 20,000 ccncertqcers.

This sllin dffSign tor /he s"sQUBlcIl! M"sic FestIVal draws he8vlly from 1960s aod 1970s Imagary made famous ,by posters deSigned by Family fOf the FIllmore Wasl and other ven"es.

1 b 199'n: Making a Strong Mark

Modem Dog t;r~.-:.-;!j ted ~ younger. hippe r cousin of the Wasl7ingi"on $tats Lottery's Lotto Image; ,'I needed to sssra on its Q wI';' as wei.! as coexist willi tne prBv,ious Icga during a 'hr~'e~ye[;;lr tremnton.

Client:

Agerlcy:

E,'emenfS of play.'u!ness and the indisputable tl7riN of a chancs win suttuss LottG 's print .'ni;1 teda,'s.

Publlcls

Seatlle, \"/ashing ton, USA

Modern Dog Design Company Seattle, Washington

The Challenge

Ultimately, it's not whal the designer wants but what the client needs that drives logo design, When e brand is recognized by millions 01 people, improvements must t)e subtle. In ths case of the Wasllington State Lottery's Lotto logo, this challenge was compounded by a plan for the gradual introduction of the new identity, creating a three-year overlap in which both the old and new logos would be in use. For Modern Dog, this redesign meant carefully selecting which elements would be preserved an d wh ich elements wou I d be worked 0 n to effect a hi p pe r, more exciti ng brand without confusing the brand's huge existing customer base.

The Process

The Modern Dog leam studied lha current logo and afl its apphcallons. Although they reworked tl1e Iype, Ihey incorporated similar colors in the updated version ito minimize confusion,

The Result

The new Lotto logo is now being phased in by Pubiicis. Washing10n Stale Lottery's a dve rtis i n 9 ag B n cyan eve ryth I n g from TV co m m 8 rc ia I s to out door sig· nage 10 lottery lickels As one member 01 Ihe Modern Dog leam said, '·Our client is so thrilled, it makes lhe project a success story lor us."

A simpJlfJ:ed vers,'ofi at !'.Aooem Dog's neL-' ... !'ago $cpeaf$ on !;Jlli iOI'~ef}' ,I.'eke/s.

_,J II III ml1l1H1lllll1lllill ~m!llill ilb:

lIea/Acl; 17P!clures

StOCK Footage

Reai Action p,le/ures' logo pottrsys ItJe wi;der edge of 1'/tHfeS, skj rracks, tire tracks, and mOl)m.:;.lins in three simple J.>11~s-the fDCUS of ~he company's documentary action and extreme-sports stOCk footage.

Client:

Agency:

T.~e Real Action Pictures's website con veys everythlng the company does, from U8\teJing the t,\IOflt1 to capluring too tage of ~xo tic landscapes.

Rea IA ction Pic tures ~tock Footage

RAP International/nc,

www.rapftlrns.corn U'1 i?~

1 6 Lq90S: Making a S rong Mark

Real Action Pictures Calgary, Alberta, Canada

Morpheus Studios, Inc, Calgary, Alberta

The Challeng.e

Real Action Pictures shoals and produces three adventure television series as well as documentary action stock footage. The production company has an extensive catalog of surfing, snowbcardlnq, and other extreme-sports lootage as well as clips of tropical sunsets, waves, and other natural features shot in exotic locations around [he world.

Real Action Pictures' cutting-edge, hip TV and movie programming needed to be visually represented with a brandrnark that wouldn't become outdated in a few years. The rsal challenge faced by the design studio, Morpheus, was Ihat the company's brand image needed to be Simple yet symbolize so many things: action, waves, nature, and a fresh style of film production. The identity also had to be usable in a variety of formats and be cost- effective to reproduce.

The Process

Morpheuss founder, Greg MacDonald, started his exploration by viewing some of the company's footage and rsalizing what drives Real Action Pictures 10 do what they do. He quickly discovered everything the company does relates to traveling the world and capturing Footage 01 exotic landscapes and the men and women who try to tame, conquer, or just get an adrenaline buzz from these locations-vln short, humans in nature and nature in motion.

After playing with several geometric concepts thai expressed film and motion, the Morpheus team focused on developing a few Ideas around a loose strip 01 film that could be shaped into a wave, a mountain, Of a sand dune. The learn then overlapped the images to catch the many forms captured by Real Action Pictures' cameras.

The Result

In addition to appearing on their equipment at shoots in exotic and wild locations iaround the world, the brand identity was the starting poinl lor a complete

i rebranding of the Real Action Pictures' group of companies. The finished logo [was an integral part of the company's new website design.

Tile Chicago-besed (nealer group RJ,lIllllf1{J wilh SciSSOrs pMos I!sel'l on tJre(l/<Jng tne f't.Jles and c aling cmg;nal malenaJ. "S nama plsys Oil ,he adflga "Don't run w/{t~ sctssots!" B~U ss ma.'1Y oecple know. great tmngs can happen w'~efl y'OLJ brt.YJk rhe (()les and take chances.

Agency:

Applied .. lrn other elemenrs o.~ pn:1fflOti<1n81 posJers. 100 Running with Scissors /0 0 retBlns Its strength. even when vsoo in a small SIZ".

18 Logos: fA okm9 a S lrang Mark

RUNNING WI'lH SCISSOI

Cli nt:

Running with Scissors Chicago, Illinois, USA

Richard Zeid Design Evanston. illinOIS

The Challenge

The Chicago-based theater group Running with Scissors was lounded in 1999 by fourteen performance artists of diverse backgrounds, The group is committed to creating art that is rigorously inventive, timely. and provocative. seeking to examine I he social. political, and cultural landscapes of our times. The I 11 eater company prides I!seil on breaking the rules and creating original materiel in a Iheeler-rich city The challenge laced by Richard Zeid Design was 10 create a logo with no concrete context, reflecting the theater's openness.

The Process

Through extsnslve dialogue with the Running with Scissors creative team, the Richard Zaid Design learn unearthed the energy the troupe brings to their prolductions. As Richard Zeid commented, "They were very much like kids playing end creating work lrom their imaginations and not worrying aoout the 'adults' out there saying 'You can't do that!" Many people have heard the adage "Don'! run with sclssorsl" But as many people know, great things Can happen when you bend and break the rules.

The Result

The Richard Zeid DeSign team's solution pays homage to Ihe raucous. rambunctious child in everyone. The result is a warm, easily recognizable brand image thai beckons viewers to enter a world of limilless discovery, The name has also produced subbrands such as SNIPS (Scissors New Work in Progress).

Agency:

Canar:ing to B Gen- Y al1di~{lcel ire international music magazine Fader Dcwems the edgy sil1€ 0; pap cuuse. Staple Design '$ logo for ihe plJlJHcab;on IS remin.iscsn: 0.1 pvnk-era British PL)OHc8tions like

Th~ face.

THE

FADER MAGAZINE.

Fader's logo works IMail in B variety of COIOfS, set against strong, awardw.1nning pnorogtaphy. It alsCi works in an iconic ,'ersion on the bimonthly publication.'s ~'\.'€l~~$)'t'e (.'")ot shown h~re).

19

Arts and l.eisure

Client:

The Fader Magal.ine New York, New York, USA

Staple Design

New York, New York, and Tokyo. Japan

The Challenge

Catering 10 a Gen-Y audience, lhe international music magazine Fader presents pop culture ranging from new music and cutting-edge fashion 10 mspired photograpllY and innovanve lilm in a unique "new journalism" style. Amid a sea 01 similar publications targeirng 1hB same market, the bimonthly magazine needed an identity that would jump ahead of its cornpetuors on the newsstands wilhout battlinq other cover elements. The logo also had 10 resonate with its young, demanding readership. To accomplish Ihis not-so-simple task, the publishers called on Staple Design.

The Process

As Staple Design's Jeffrey C. Ng adrnltted, the process 01 creatlnq a visual rdsnlity Ihat could hold up in a vanety of colors accompanied by an even gre"'ter Flurnber or illustrative elements look "dozens and dozens 01 revisions." Each concept had to be tested against potential cover photos or the White Stripes, Yeah Yeah Yeahs, and Outkast, plus addi1ional typography. The final result was a raw, sans-serif type treatment rerruniscent of punk-era British publications like The Face.

The Resull

The beauty of Fader's finished logo lies in its sparse, clean design, which will altow il to function without appearing dated as each season's styles and tastes give way to those of the next. I n the music industry, styles change rapidty and

r res h ness is es senti al.

Client:

Agency:

Zambonl's ttvee- [jimefls/on~llogo speaks of the tee resurfaC9r's superh~ro ~ersona3S II glid~s aiong ;ne «e Slmrjf'jg nnk. In a tyro· dime.'l~nsJ vereon, 11 serves es (m 6mhiem u.sfJd on promotl'otl8.lllems and the COrflp,QfJY 's ~"_'ebsnfl,

20

Loges: Ma king a SI ron9 Mark

Zamboni'

Paramount, California, USA

Walk Design

Rocky Hill, Connecticut, USA

The Challel'lg,e

Everyone who has ever been IQ an ice skating rink or seen a profession~1 hockey game has watcnec with awe as the Zamboni cleaned the ice betwaan periods, The manutactursrot fhe ice resurtacer, the Catifornia-oased Zamboni Company, decided it was time to refresh Its identity for use on a line 01 promotional llerns: ' headgear" hockey wear, T-shirls, colleclibles_ accessories, novelties, and remotecontrol replicas, The company asked (I number of designers to submit proposals.

The Process

"I really was prafly green whenit came to working with a ~Iienl and understanding lhat it wasn't necessanv what I wanted our wl1allhe chent wanted wilh my creative Ihotlgl1l process mixed in: MattheW Walker or Walk Design aormued. But he fell rcrtunate in one respect: He'd grown up watching the Zarnbcnls clear the ice at New York Rangers games and had always been fascinated by them, making his design job a lot simpler.

Warker faced two major challenges in this project. II was his flrst professional iderllity job, and he had well-seasoned cornpetltion. Walker decided to make his submission a lun visual that coulc be seen even lrom the worst seats in Madison Square Garden. Reminiscenl 01 superhero emblems, the Zamboni Z is the focal point of rhaoval-tramec logo. Walker selected a bright blue and black color palette that would also appeal 10 younger audiences. The elienl chose his solulion.

21 'Arts and Leisure

The Zamboni Z Is used as an icon, ref/-5C1Ing tne ic~ res l..imj cec's motton on (l1i3 Skating (ink, I~em, n 's employeo' as art insignia on ti sports C8,0,

The Result

Walker's logo has been used in a variety 01 ways since Its unveiling, Althouqh it was Qriginslly employed on promotional items, the company eventually used tl1e design on the ice resurfacing rnachmes themselves, NQw, new generations of kids have a recognilable svrnbol to remember as they watch tile Zsmbonis clear I he ice,

The lull Zsmoor» ;Iogo has been "PDlicd on a line of promotone: ilems; hWJ.dgear, nockey W-9&r: T-shirts, co1lectibl'es, .:.Jccessories, novelties, ~nd remo re-ccotro: replicas,

22

Logos: M. King a St rang Mark

Client:

Mill Valley Film Festival Mill Valley, California, USA

Agency:

FutureBrand

New York New York, USA

The Challenge

Film festivals offer both presenters and viewers an opportunity to concentrate on a specific genre: foreign, independent, anlmatlon-cthe list goes on and on,

In more than 25 years, the Mill Valley Film Festival has earned its global reputation as a high-profile celebration of international cinema. It is America's fourth-larqsst film event anc Calilornia's longest-running fall festival. Committed to launching both American and foreign independent projects, the ll-day festivai stages teaturss,

d ocu menta ri es. short s. new rned i a, and v ideo, hosting a bout 200 intern atio n a I filmmakers. The festival presents more than conventional celluloid motion pictures: it also exhibits original videc and digital works, TO commemorate its 25" anolversarv, festival organizers called on FutureBrand ID relresh its brand image. The new visual brand had to encompass the Festival's multlmaola point of dir1erence and its .emoi ional legacv. It also had to be relevant to the film industry's future.

Mill Valley Film Festival

T.l1eJ ,I~i.'J' Va,l_ls}, F",'m Fern )-11.7" ,'ogo makes enecitve w'se or ,'ign i ana sha ao». reflect,'flg !hr~ 17t)xihl/l~ty of fi/Tn ervt IhS' m OLl.r'11a.ind U$ lsndscape or the evem'e location.

The Process

The FutureBrand leam conducted exten$iw interviews with partlcrpants and festlvalqosrs as well as an audit of the hundreds 01 lilm Iestivats held around the world. The team presented a range 01 concepts Irom simple typography to a symbol of postproduction technology. Four nnalists were selected, each with its own champion among the Festival board of film industry leaders The winner not 'Qnly rellected the festival's broad media scope but also scenic landmarks 01 its Marin County location+Muir Woods and Mount Tamalpals.

The Result

TI18 final visual image was initially applied 10 lelterhesd. business cards, invitations, and programs. It was then employed in both cinema and local public broadcasting system station commercials tor a month prior 1'0 the festival. The 2002 launch of the Mill Valley Film Festival's new identity signaled a change in the way the lestival was marketed. In tact, the 2002-2003 season was its mOSI successful ever.

"'"

MiIiVilll"YI1l"'~~.

The MIh' VaJ!ey /-=iIrJ1 Festival's MVr/n County toce Non ne« he,'Ped make ii' one Dr Ca,'iforma's IO.r1g€S(-ft..;'rirJIng. bes r-a tterdea 1~/m ino'usw/ svsnrs. Beceu.se the festi'/al oreser« ,..,;- f'lJJmetOlJ.':i film gente5:. /[.:' ,fogo 'leaderj 1 ~ renee; the S'[lent's tocetion more than ,'I'.Ii cornent.

VOOM Is an exciting new 'lome entertainrt1erlt serv/c,:e that oHars more than 30 true I-(DTV~q!j~.'ily programmirig cllgnneis with ,~eighl"n8d v.is:uats, sound quality, and ci,t']erna"sty,\e screen format, FuwroBrth'1d'S rogo and

Olll"rle (eRect the impact (fie serll'ce n[l$ on irs viG',4,'ers,

The \100M fogo portrt1ys the HD TV eXl:.;>-etience e~'€n wheti' applied to the set40p 1)0)(" remo te contn», and

sa tSl'lite dish, r~rrllnding po.tent/aJ v,'ewerS of the c;lfjrlty and derail t.hey miss by watching steoae«: cabte TV networks.

S!nc~ its la'uniifl, tn6 VC~GlM p(anq rea l)e6rl emiltaced by ~rj'-c.!>,r"(g;j;' in heaolt;nas ,,!lell as "Room 10 '100M, ' indica tifl9 tn» t It IS 'lief! on iii' ~"Y 10 bl!lcQmin{j 'part a! the o~ltfJC&1 vema edo« me IGgo, aP.ollocf on serVice iiVGKS, ;'mprirlts 1M' (;oinfJ"EJf1"s"S!fong massage on tl1eiW'!e-I,

Agency:

23

Atl sand leisu re

Client:

VOOM

Bethpage, New York. USA

FutureBrand

New York, New York

The Challenge

High-definition television (HDTV) offers viewers haiqhtened visuals, enhanced sound quality, and cinema-style screen format. With the development or H DTV monitors and broadcasi equipment came the launch of s revolulionary 1181'1 cable nelwork carrying more than thirty HOTV-quality programming channels that offer movies. sports. music, and more every day, Future8rand was commissioned to create 8 brand 10 announce this exciting new home entertainment service,

The Process

FuLureBrand studied consumer rsssarch Lo understand precisely WF1Y people mighl want multichannel, commercial-free HOTV proqrarnrmnq and what their expectations of this servtcs were, The creative team generated hundreds of names and visuals, each expressing a different aspact 01 the cable network's business, The one candidate that offered the desired impact was the word VOOM,

Most station names are acronyms of It'ie parent company's name, such as American Broadcasting Company (ABC), National Broadcasting Company (NBCi. ano Home Box Office (H801- Other names spell out the station's content, such as the History Channel, Discovery Channel, and the Food Network, The toughest job Future8rand faced was convincing the client that having a name that eschewed these conventions was the right brand slrategy. Consumer testing validated the team's belief: People couldn't get the name out ot their minds. VOOM was a wmnsrt

The tsarn portrayed the HOTV experience In every aspect of the logo, Primary and secondary screen pixel colors make up the identity's color palette, All printed literature is constructed according to HDTV's 9: 16 screen proportions and employs oversized and crisply detailed Imager/-reminding potenlial viewers of the clarity and detail they miss by watching standard cable TV networks.

The Result

On Ihe station's launch day in 2003, the logo appeared in 6-inch-high leiters on a full-page advertisement In the New York Times, VOOM's brand power Is already evident: the press has embraced the brand in headlines such as "Room \0 VOOM." indicating thai it's well on its way to becoming part of the cultural vernacular, As one new customer said in an exit interview, "I can hardlv wait to go and tell my friends I've got VOOIv1,"

1//0./[( O/tins' SOiUllo!'1 for Visit London is vefs-a V1e enougt: to portray the many estrections thE:! t draw visitors to thf$ dlversa city_ The PfltlnlOm of n?f~ O,ot'ra '$ mes« con trssts with S,~akespeare's Globe Theatre {above]. Sig Sen pa.'r"S off \.v.'lh Brt'{/sh Ainvsys' 740·meter·U!'i,'1 London E"e ingili/. Ana London's Underground

Tube logo IS Juxtaposed wdh tne ',lassie London btac.i<: cab {;'ar r .. giH j.

24

Logos: Making a Strong Mark

Client:

London Tourist BoardfVisit London london, UK

Agency

:Wolff Olins London, UK

The Challenge

: London has so many locally based businesses and institutions that use the word London In their names the city's uniqueness Is often laken for granted by residents and visitors. In fact, the word London had become trite. The London Tourist Board approached Wolff Ollns to create a new brand identity, commie-

I sioning the agency to develop a name and a logo that reflected the structural changes in London tourism. Besides needing a modern ani! dynarnlc municipal brand, the board also had to more closely ally its identity with oiher Brit ish tourism organizations such as Visi 1 Britain and Visit Scotland.

The Process

Tile Wolff Olins tsam concentrated its research efforts on two target audiences, surveying visitors and residents on their perceptions 01 the cily. Both discordant and surprising, the solution changed the way people see the wore London. IBroken into two stacked syllables, lhe image offers viewers two portals through which they can view the city. The versatile basic image allows London '5 diversity and wealth of attractions and achievements to be presented in a template IMl is instantly recognizable and highly legible. Contrast plays a major role in the image's implementation: Big Ben pairs off with British Airways' London Eye; SI. Paul's Cathedral is juxtaposed with the Gherkin; the Phantom 01 the Opera's mask contrasts with Shakespeare's Globe Theatre.

The Result

The new logo is used in a vast range ot merchandise and promotional materials, including Ille ofFicial website, www.visitlondon.corn. which provides visitors with travel, planning, and current events information. The new brand has helped increase interest in numerous London attractions of which visitors were previously unaware.

Sha Boom Boom himself to ves the «ten tity so m/.)ch he brands it wilh 8 ,,,bDer stamp on members of the e.ud,'el7ce at each s/l ow. TI7e fogo is &ISO os ed or: all DroIT' Olio,oM post em for UI6' performa.nces,

SHAI88=

GINDI. ILLUSIONIST TECNNlClAN

.908·~'S'·9"9

Ag,ency:

25 Arts and leisure

Americans wilh-Disabilities ACi (ADA) symbols were combined wit/l a ~I'rong type treatment to portray gender trenetotmettone. The arrows and sf ar$ impress the en ter1ainm en t quality r).nd te vel of surprise found ill She. Boom

Boam's pertotmence.

SHAI881

GEN.DER ILLUSIONIST TECHNICIAN

Client

Sha Boom Boom Brooklyn, New York, USA

The Missive

New York, New York, USA

The Challenge

! Keith Venter is a partorrnance artist who labels himsell a "gender llluslonlst technician" and whose stage name is Sha Boom Boom. He wanted a polished, clean ! identity that also communicates the costume arid gender transformations he :makes in hiS performances.

I

lAS The Missive's Jutian Leon admitted', "I never imagined creating a logo for a I drag queen. This type of performance art is difficult to associate with images :beyond the wigs and makeup thai are superficial to the art form,"

I

IThe Process

[t.son witnessed She 800m 800m's on-stage transformation and tried to capture Ithe work behind Venter's illusion. Then he embarked on creating a visual sxplana'tion, focusing on the entertainment aspect and its d@lightfut twist. A Fulua Xtra Botd type treatment was selected to emphasize tile onomatopoetic quality of Venter's stage name, Americans with Disa,bilities Act {ADA) symbols were combined 10 portray gender differences. The two shapes share a head, cornrnu-

I flicatirlg 10 VieV,,.8rs tile polarity of the individual. Tile arrows and stars impress tile entertainment and transformational qualities 01 Sha 800m 800m's performance,

The Resutt

The Missive's bold solution was a 101al hit. Sha Boom Boom himself loves the identity so much he brands it with a rubber stamp onto members 01 tha audience at each show.

danef

The use of IIgElIUteS and pain ted tenenorme in Dancing ute's /DgO Increases rho flu/Clily and humam 'of me name and implies mergmg ene<gIes,

0iJncing ute's wetlSlIe

G vOids the usa of Ngw Age symbols for yogs, shiatsIJ, and nalkl, ,Instead st~ssing the company's mission 10 pro'fide ils patrons L¥II~ tne /oois lor sell-emfX)W6fmenl lhro!fgh use of body energy

Client:

Agency:

Sometime" you may pref'-'j,

AU of these flip-preaches focus- an Ene-flY.a re ass. and hOr'lOrycuJ as nI'l8ItOlvln~crealiri@ person. ItwiU help to lrcreese yOU! lliwergv awerenaas end t.o develop a

COl"! esct ion with lyle u rse! f 11;1 r .e'I grs e lEI r belercs 0 f rn Ind, body and spirit

Srlia!5U

SMI~tsu is a system ct heD!th touch base On the Aslfl.l1 approach to hEl"lIn~, Instead of focuijlng 0(1 muscle groups es I" was.tam mf.I'j;$.ftge, US!} will sumnet.o tha meridli'lns, or I3nergy pe r.hwmys in you r body The c once PI t j s to traa t th lSI wholB indi,ldu,', I>ody, mind end ,plrlt,

You wliite on !.he floor on l!I comtts tbble sotftte-e and re:ei\lB s.upportitf8 pressure., ex£Irci~8 end HrBtchl0g tot' a

'- profound ensrgv·senslng olq)edence Common sensetlons

26

Logos: Making a Stron9 Mark

Dancing Life-Body Energy for Self-Empowerment Porsst Hills, New York, USA

The Missive

New York, New York

The Challenge

Subjects wi h a New Age or healthy living message allen tall into the same visual traps as corporate identities. Visual clicMs may be a comfortable place lor a designer to explore, but they do Ii Ills to create a marketable point of difference for the client Dancing Life's mission is to provide its patrons with the tools for self-empowerment through use of body energy, It also offers sessions in yoga, shiatsu, and reiki. The Missive was asked to create an identity that portrayed the nurturing, flowing, and merging nature 01 human energy,

IThe Process .

Every design exploration needs a direction. In The Missive's case, all roads led to a goal til at did n 01 i nclud e pictographs or svm b ots rolat ad 10 yo ga, 5 hia t su, 0 r reiki In the presentation. Going to Danclnq Lile's studio and gaining first-hand experience in a shiatsu session provided further inspiration, This led to experi-

I ments in Ihe use of ligatures in the typographic treatment to convey merging :energies and then to painted lelterforms to increase tile fluidity and humanity of the lettertorms. Insignia was chosen as the secondary typeface for its geometric rigidity and Asian characteristics.

The Result

Yin and yang (warm and cool) energies are signified by the soft blue and yellow color palette that completes Dancing Lite's meditative visual identity, The Missive's exira eflarl-taking time to experience the clienl's classes-is readily apparent in the linal mark, Which also uses thouqhrtul type treatments to convey the lone and personality of the client.

Manhattan

~ ~ .. II!!. ...,. ...

... IJ _"' ••

I ~ I!I' !!. ..iII ... •• ".'" .11 .' .. !! ". "' ••••

The ciient csme '.'Ilth tfle tasis jor this iQ~!he

jeC).'"i, The M,i~sive subtJ'y bowed to tradition, adding rt'le sprocket hoi~s c ( a filmstrp to 'he identity for the f!!r71 ptodJJcijofl company.

." liS.,,· II .•

TJ..I.:\l·wJ':::jl"li'".'Lrll'I(-r :~II·-'tl kl~~!;oC lL~rJth II~"')L" r-;'''I<rl)rk, 't~ Jtlr:]tJ!:;.

1 ... 1: ~1~~2 :N:q

Fto.~ :!I' :~7IJ t~:J I

r 1- !.!Ul r!.:lH:,[J.'~(1

Lft,'ng 8000ni an::! a p-'OI>'Ie!ail' dot-matrix font lyfY'l iJarltr'nenf, Mtl'fjilatta.!l Rims' I,J[J$I\'i~.s cards expand on tile (i,'mstrip motif, {r;tJrri.'flg both ttw; Icon ,s,iiO tJle typogmf)hir; uee ( . .......-rent in mdMo'-

Manha ttan Films' website cre.atas miJximum Impact with me icon by adding a cityscape, which draws it's inspiratlon from surree.iis r Rene Magrine's paintings.

Client:

Agency:

27

Arts and Leisure

Manhattan Films

New York, New York, USA

The Missive

'New York, New York

;The Challenge

iCreative crutches are not limited to the realm of writers. Designers can also faU .into the trap of utilizing Cliche imagery to convey a thought Filmmaking is a sub'[set fraught with visual islands: fllrnstrtps, clapboards, cameras, projectors, black : backgrounds. This was the first challenge faced by The Missive in tile design of Manhatlan Films' identity. The second was the client's request to incorporate a visual created by the film company's president himself. Originally commissioned 10 design the company's website, The Missive team offered to update the logo in an effort to achieve overall visual coheSiveness.

The Process

To convey Manhattan Films' mission to acquire, develop, and produce a broad range of 1 heater and television content, The Missive subtly bowed to the use of one traditional visual island in its Badon; and proprietary dot-matrix font lype treatment: the sprocket holes found on the edges of a filmstrip. But instead of attempting to parallel the concept of the ball element. they used a contrasting contextual approach to better effect. The Missive drew inspiration lrom surrealist Rene Magritte's paintings, floating the original logo like an all-seeing eye over a cityscape. This secondary icon ts employed as a stand-alone on the company's letterhead and website.

The Result

Although Manhattan Films' website was the primary reason for and application of The Missive's logo design update, the logo has since been adapted for use on ;the company's stationery program and presentation materials. However, it is as !background on tr18 Web pages that the logo really comes to life in myriad variaitions, accompanied by a variety Of complementary art.

I

28

Logos; Making 8 Strong Mark

Client

Asheville Area Arts CouIlcil Urban Trail Aslleville, North Carolina, USA

Agency:

Design One, Inc, Asheville, Nort h Caroline

The Challenge

TI18 Asheville Area ArLS CounCil developed a walking tour 10 promote tourism in the city's downtown area as well asto acquaint residents with the area's rich history. Filled with archltectural landrnarks and other pomls of interest, ths 30 slalion self-guldsd walking tour needed an identity that would identify SlOpS along the way_ The challenge Design One laced in tha creauon 01 I his idenli1y was lhe length 01 the nams~A~I'9ville Urban Trail'-which had to bllisgible alon9 the trail i isell as well as on planned promotional items,

The Process

Initially, the deSIgn team suggested using footprints to represent the trail: but Ithal proved \00 limiting and not In keeping wit h the character of the CII y when placed in context Typographic solutions were also explored, but, once ag'aln, I the concept didn't visually reflect either tha city or the trail.

After numerous pencil sketches, four downtown Asheville archnectural landmarks thai are also slops on the trail were hand-drawn. scanned. and sirnphned. The ,drawings were slacked 10 capture ths feel or the trail winding its way through tile cnv's hilly streets. A condensed serif type trealmentand a black and red color scheme added overall legibility to the mark"

The Re~lIlt

The Asheville Urban Trail's new mark, which debuted in 2003, now adorns banners throughout downtown Asheville and appears on T-shirts and other popular merchandise the Arts Council sells at the Urban Trail Arts Festival and at I he downlown visi I ors' cen I sr.

29

Arts and Leisure

Client:

Center for Craft. Creativity, and Design Hendersonville, North Carolina. USA

Agency:

iDesign One, Inc. 'Ashevllle, Norlh Carolina

The Challenge

The Center lor Craft, Creativlly. and Design is an interinstitutional University of NorHl Carolina public-service center whose mission is to support the advancement and integration 01 craft, creativity, and design, It carries out this work by promoting lifelong learning and providing solutions for the community through research, education, and community collaboration.

THE CENTER FOR CRAFT, CREATIVITY &DESIGN

When Design One was contracted to design the organization's identity, it faced two major challenges: The center's name is very long, and its mission is multifaceted,

/The Process

IThe design team explored numerous ways to express the center's core disciplines-craft, creativity, and design, A stylized typographic solution emerged as the most viable solution to the creation of an icon, The shapes of tna letterforms CeCD drove the decision to encapsulate the letlers that represent 1118 disciplines inside the C of Center, A crisp. letters paced treatment of the name balances underneath ths icon-a graphic rernlnlscent of Iypographic works created by

earl y t we nt i at 11- century mas Ie r printers.

The mlssloll of tne Cen refer Craff, Cnmtivity, and Design !$ epoerea: in its encaps ulatsd logo and Glas~ sic I ypogra,onic treetmear.

The Result

The arts and crafts style of the logo is a prefect marriage of the arts and crafts architecture to the center itself. The center's bold new icon and word mark have been implemented on the GCCD website and a stationery program and will be employed in future collateral and promotional projects,

THE CENTER faR CRAFi. CREATIVITY 81 DES I G N

eeeD's stationery system ensuIlls the tall c()rlllspono'ence perpetuates 1118 organization 's public servjce misss(orl,

THE CENTER FOR CRAFT, CREATIVITY

&DESIGN

,01)11 ~r'lC[ .... ~ 1'1'

I ~!~D!~I~h·'.I" Me ~.lIl

THE CENTIEFI. FOR CRAFT, CREATIVITY • 0 E S I G N

JUDITH BARBER FOUNOING DIRECTOR

pi] B28 890 2050- fiJX 828 890 2060 ludl:Ji'JrDet@ao/ c am

,on 0'" CE BOX 1117 HENDERSONVillE. NC 2B793

un III esc H~~ I .. III a.,.~ H~O

'·.;.u ... rrlCI 1<;0' '"II ~rNI')~"ON·"'IL_~ "t !~'~j

Minnesota

R. d·.·Public a ·.10

A 100([& III wblicly SlJppmled progromnlUl{l. MI"",,,sO I .. PtlNc Radio expressed lis growth and matumy as {j tucsccest

COrl tem provider with a new lOgo design. which IS p&jrod will! "um~'olls radio cail mnnlJefS OOllJCJ<llpS_

M.INNESOTA

PUBLIC

Tlloogl> MPR·s old bIflck-andwtJite /Og(J was /ut>cIion8J, over Vma. re(reshmenf seem"" di3siraDie.

RADIO

Client

Agency;

30 Logos: Making a S [rcng Mark

Mlnnesota·Pu:llllc Radio St. Paul, Minnesola. USA

Desgl'ippes Golle Group INew York. New York. USA

TheChaHenge

In 1M nationwide network of publicly supported leleviSion and radio stations, Minnesota Public Radio (MPR) is a leader ,in syndlcatau programming. The station produces shows such as the long-running Prairie Home Companion with Garrison Keillor. American Radio Works , and The Savvy Irsveler. It also broadcasts natloneuy svndtcated radio shOWS such as Ail Things ConSidered.

To retlect its growth and maturity as a broadcast content provider. MPR called io I Desgrippes Gobe Group to refresh its identlty. Besides faoing the challenge of 'viSually cornrnunicatlng the concepts 01 radio and sound, the design team had to work with a lellgthy name and the need for the identity to work in conjunction with various radio call numbers

The Process

'The Desgrippes GoM team explored radio's visual territory as oil fertile refuge"a private, emotional place in which a listener can learn and rsflect, The team also :exPlored the root of all meaningflJl communication and connection-people. ExpandTng ripples made by a raindrop as it genliy touches the surface of placid water was the image Ihal resonated through numerous sketches. The blue and ,gold color palette and Clean Iypographic treatment add accessiolllty to the design.

91.1 fm

95.5 fm

Expanding ripples made by a raindrop as IT gently touchos Ihe surface of plilCid wstSr re6'ocI Ihe broadcaster's positJon as a calming reluge for lis teners.

Broc.'lure t&mpiates and banners Ihat bear tile new logo, Golor palette. and the tag/rns R acto That Matters herald !h& bro. dc'aster 's new posuior: as 8' mature end growing syndicated content provi.der.

31

IArts and Leisure

The Result

\The finished identity is a distinctive and higl,ly effective portrayal of impact. The [client was extremely pleased and has applied it to a variety of materials ranging from stationery items and business cards to lockups with accompanying radio call numbers. Brochure templates and banners were also branded with the new MPR logo and color palette.

Radio That Matters

throughout the region

FRONT

Client:

Agency:

BACK

Festive toms were seec teo' to convey 'lit/ild RaJ'nbow Party's l1pbe.a t and Va(lie~ g8 fed personal,'ty and tne organiza tion's promise to create a party that ct.n:U1/S logethe, oeooie from all sorts 01 backgrounds.

32

Logos' Making a Strong Mark

W:LD RolnBO~

PUR~

A recurrent symbol in gay festive events-a rapidly spinnmg rajnoow fiagserves as a focal pOinl in The 1'11155,'1/'3 's solution [or

lhis .'ogo.

Wild Rainbow Party New York, New York. USA

The Missive

New York, New York

The Challenge

Population groups fall vlcum to visual categorization, just as businesses and professions do. Wild Rainbow Party produces documentary-style events such as the White Party and Mardi Gras that target a gay audience. The organization also creates and distributes documentary-style travel videos of these productions. The Missive's challenge in taking on this identity project was to create a visual

Ithat encompassed the organization's core market while steering clear of demographic profiles.

IThOU9h frequently identifiecJ in marketing and business plans as a lucrative market !with high disposable income, the gay population is, of course. extremely diverse. This diversity makes It Impossible to pigeonhole a specific image vocabulary that will appeal to every target viewer. The Missive faced two additional visual handicaps in designing this identity: the client '5 name is fairly long, and the rainbow-

a universal symbol for the gay movement-had to be employed, creating a complication when visual harmony had to be reached in the overall solution.

The Process

In the design exploration phase, The Missive searched for a way to establish

la relation among the words wild rainbow party. Festive fonts were selected to 'convey the audience's upbeat and Variegated personality and the organization's Ipromise to create a party that draws together people from all sorts of backIgrounds. A recurrent symbol of gay festive events was used as an illustrative lelement: the rapidly spinning rainbow Ilag.

iThe Result

,

The new festive. swirling brand has become a call to party for lts broad target

II audience. While the rainbow flag could be in danger of overbrsnding in the gay

/commLlnity, this unique take on the established icon imbues It with freshness and vitality.

n~e i'vHssi'le's challenge in taking on mrs identity pro/·

I eel' wss to crsa re B visual thai encompassed tn@ orge(ilzat.'orrts core msrkei. symboliz;,.;J br the rainbow-a universal s ymbaf at the gay movement. The- im~ge a/so had to slsw cle8r of aemogmphic profiles.

GEFFRYE

MUSEUM

Engl ish Domestic Interiors

The Geffrye Museum's "through the keyhole' messsge invires viSJtors 10 explore the intimate room sete and disco ver hidden facets of British culture.

Igerlcy:

34

Logos; Maktng a Strong Mark

Client:

Geffrye Museum London, UK

Lewis Moberly London, UK

I

IThe Challenge

l'Ihe Gelirye Museum is B registered nonprofit organization based in London's :East End, committed to preserving examples of British home interiors. The museum houses a permanent exhibition of Interiors and gardens dating from 1500 to the present day and offering a compelling look into the mstamorphosls at British interior design. Tile Gellrys called on Lewis Moberly to create a visual identity portraying Ihe museum's distinctive nature and appeal while helping convey the institution's uniqueness in a city fitted with museums and galleries dedicated to special-interest collections.

The Process

fin auditing the elements necessary to create the perfect brand image, the Lewis :Moberly design team became fascinated witn the museum's showrooms: a series of eighteenth-century almshouses. Each small space leads to another, .creatlnq an Alice in Wonderland-like experience for visitors. Major exhibitions 'that change quarterly complement the permanent collection. The team focused on conveying a "through the keyhole" message of Invitation to explore the intimate room sets and discover hidden facets of British culture.

Geffrye Museum Shop

Tne tormer logo oreseoted the _museum as alil/e and ouek», and yet kept viewers ourside the fence.

35 Arts and Leisure

The Result

IApplled to museum signage, literature, posters, arid website Iwww,gefiryemuseum.org.L1k). the lewls Moberly visual brand has helped distinguish Ihls onthe-beaten-path East End museum on Kingsland Road from Loncon's many tourist attractions, making it a must-sea destination,

iIliWnm""ra( grat<Ncs, SUCII a~ l/llft aeo.i!rtl>1 itt~ IIIIbW"l' to _of IM". ~armsll~~~:

Clien!;

Johnsono:iversey Sturtevant. Wiscor)sin. USA

Agency:

Uppincotl Mercer

New York New York. USA

The Challenge

A leader In rne lippincott Mercer design team was charged by Johnsol1Diversey to create a brand image that cornrrumicated the union of two companies->Johnson Wax Professional and DiverseyLever-whose combined and corn plementary capabilities afford greater market share in the cleaning, products. services, and management tndus: ry while retaining a brand equity link wilh both finns' eXls1ing, customer bases in more 1han 60 countries. Tile challenge also required the team to engage In name development and brand positioning lnitlalives as well.

'The Process

More [hell1 1,300 names were selected and 'feUed through preliminary legal, Ungu isuc, and Internet scraenlnqs batore the best candidates were idenl'ilied, The Lippincoll Mercer team then conducted extensive executive and customer intervlews plus an audit and review ot numerous media and analystreports before cralling a tocused brand positioning statement The deSign learn then concurren try developed creative solutions-including logotype~, symbols. and WOld marks-for a visual review of all the candidates and the fmal selection process, The negation of space between the partners' names placed under €I cacoratlve icon I hal implies trsshness, growth, and cleanliness highl ighls I he 1IJIly executed solutlon.

Johnson Diversey

SOffIQ,iml1!l /)I'l idenll/y IS best dA,\ned by whM'S miss/rig. White space IS esst3ntl~iJ I" C<l/1!fm.InJCBlmg cfelmII· n~s /(1 JdlinsonD,ivcrsey's logo and CD",'Qler~1 marerials. IJPP/IlCfJI! Mercer's I"fl1)

SOlo Hon ioolUreo 8 styl,z"d fotuS l)}OSSQlll. whlCll in {Juddh-ism repr"EJS&1l [S P~I'r.ily Bnct pgriec!ion.

The Result

When the final design solution was approved, the design team applied JohnsonDiversey's new Idel1tity to the marketing collateral system. presentation materials, corporate Stationery, and signage. The team also designed El Day One 'launch brochure and rrucrosite that enhanced Ihla idenlity w.ith the tagline 'Clean is just the beginning ." The learn also cratted an online identity standards manual 10 effectively and efficiently manage I hG brand's lurther application.

-

- ...

Lil!JflcM Pubifc Ro,'" flP"s " fl c,leVet pis,! on [.VOlO'S t/la.t desC,~,'!;Jes 11'1& compa,,,y's «>fa bvsil>ess: _'aunc/l"'9 proGLtG.ts 8f1d S€I"I:Ce-s. The .... mme i."'!Sp.'rso' ttl;.~ da,'ightilJi logo, wl11Ci' ~'/oke" a Po~dJeba~gam"--

Launchlr

PUBLIC RELATIONS

- ~ch~

'\ ""

-

... , , .... -

m-~'~~,.., 1""~",,f»' .... ~~.o:Qt'I

~~"",'_" ... II"\,M"I!) ~~::::lIlk.o",~,I',tJil'}

37

8 usi ness and fechnology

Clierri:

Launchlt Public Relations San Diego, California, USA

Agency:

Koenig, Creative San Diego, California

The Challenge

Public relal ions is an indu~1 ry devoted 10 getting new anc existing products ano services imo the public eye via the media. It is a business that rides on Instant hit-or-miss communication. A small Sail Diego-based public relations firm, Launch It Public Relations, needed a brand image that addressed il S mission: to launch its cnsras and fnair wares_ ObviouSly, the company's name is a clever play on words. The firm's brand imag,s had 10 capture the essence of the agency's pliayflJl name while maintalrling complete professicnalisrn and Ihe degree of seriousness I hal appeals 10 lts somewhat conservative cllern base, Tile pubtic relations form also wanted to apply a very limned budget. which required a brand image that could be rephcated in two colors

Th,e Process

II was a rare moment. Launchlt pubr.c R'el'atrons. loved the first design prasentaucnl Motion lines and a bouncing red ball 10 capture of the srnotlon Qf actlon were coupled with the nostalgic Vision of a paddillball game-a nearly universal icon thai conveys both the client's name and rrusslon,

The Result

The linal brand image was applied to Launohlt Public Relations' stationery and was given lile through a clever animateo version ror its website, The firm has received numerous compliments f rom bot h exlstinq and prospective ellen Is,

l

[

t

PURLIC R£LA 110M

1004 GarnelAven'Je 1iI'416 So, Di.go, CA nlO1'

B5a·~9O-1050 (po), 8SB·21HOBB (I,)

'Su!.an@lriU"lchl1:pr,com ~Ij\'ll,"<II,et.lnchf[p(.(orrt

iNs ~"'-P8P1<Gd ~rjjy t>OIlrree-S. afld 1i.11)flI> akfrIg Ift~ rjbm~nA leMnf',Brj Slid iJ~$ir{it!s "al,ill. wner fhe ><M~ was tk.'liJitled. tlle-Iogii OOl; e mlIUffika,,' IiltJlite;tbr .,nJ(r1fJo:on

(J> The Internet Fund

Resemb,'ing an it"lforma lion sign on an Interstate high· wa J\ In ternel Funo"s identity lails pOtenlial clients the company Is well ,'nform&d abau~ 1(1 vestment s and willIng (0 share its knowiedge.

<10 Kinetics Mutual Funds, Inc,

<10 Kin eties Asset Management Inc.

fn tne pro('(JoUonaJ m8rer;ais it becomes evtaen: tne:

Langton Chflrobino created such" .1'0"9 Identity that It drives the visuals beyona' the logo uno ti series of SUbbronds,

(b The Internet Fund

, "0 The I nternei New Paradigm Fund (b Th e I ntemet I nfraslrucillre Fund (f;> The Internet Emerging Growth Fund <p The Internet Global Growth Fund

The imrnediate success of Internet FundJs ,launch led w the development of e fami,y of fund fdent.'ties, Includ.'ng The Medical Fund and The Internet Fund's parent cornparlY, Kinetics ASS~I Management.

~ The Medical Fund

~ The Middle East Growth Fund

Agency:

38

Logos; Making a Strong Mark

Client:

The Internet Fund

Whits Plains, New York, USA

Langton Cherubino Group, Ltd. New York, New York

The Challenge

Langton Cherubino faced a true challenge at the end of the dot-com era, Its 'client-The Internet Fund-wanted a brand image that conveyed two themes. The lirst was the Internet, Which is associated with growth rlsk, revolutionary speed, and new opportunities. The second was investment, commonly paired 'with stabilily, assets. and long-term returns, The challenge was to reconcile these opposing themes In a world that lost its confidence in Internet investment .opportunitiss.

,The Process

'The Langton Cherubino design team explored Il1emes of growth and high techInology as well as traditional and aqqrassivs investment strategies. The team also .concentrated on the client's other dictate: to be seen as the authority on tnternet investment while being perceived as a consistently performing resource for financial security. After wallpapering their office with concept sketches, the design team began its exploration by playing '.'lith an i in a diamond that resembled an interstate highway information sign, The diamond shape then evolved into a varlation on the @ symbol.

The Result

The Internet Fund's brand image was employed to launch a marketing campaign that was featured with good success in the Wall Street Journal, Money magazine, and dozens of other trade and consumer financial publications. The diamond shape then became the linchpin for a family of fund identities including The Medical Fund and The Internet Fund's parent company, Kinetics Asset Management.

39

Business and Technology

Client:

Qualcomm Incorporated San Diego, California, USA

Agency:

Koenig Creative San Diego. Calttornla

e

@com

The Challenge

The establishment of the European Economic Community (EEe) changed the [way European companies perceive the globalization 01 business. Many European : firms now prefer to associate themselves with peer businesses rather than .American or Asian conglomerates. eO-COM was formed by the San 'Diego-based Ouafcomm Incorporated as a European company that provides wireless fleet-rnanaqement solutions 10 freight transportation companies. The Koenig Creative design team was charged with creating a corporate identity lor a company that offered localized pan-European service rather than less personalized long-distance service provided by an American multinational firm. Some elements of the Oualcomm identity had to be incorporated into the final solution. The Koenig Creative design team also had to partner with an Amsterdam-based agency to complete its mission-within a two-month time frame.

A QUA LeO M M® COM PAN Y

Universal symbology is oi'i'In essen tiel source 0 r insp,',"8- fiOfi_ Here, radio w,all6S depict communication and bold sans sarif ital.-cs imply v,l~a,' motion,

The Process

After a quick audit of current European design trends, the Koenig Creative design team offered seven design options. The final design solu lion was selected because of its simple, italic type treatment that depicted the motion lnrierant In the cuerrrs main business-transportation. The design team selected two elements to depict this business-oriented wireless communication firm: The Q represents the parent company, ouerccrnrn and the simple ray motif illustrates the Ilow of wireless communication. The Amsterdam-based design group contributed the color palette. which features bright green as the statement hue.

HQ com

~ (lu~~~O"M" CaoYl~.LMY

The Result

After the eO-COM brand image was applied to stationery, collateral materials. . print advertising, Web presence, trade show booth drs plays, and presentation 'materials, Ihe new mark was lauded by the firm's European counterparts, attesting to Its international appeal.

Floris van Tot Director

OpE!lations and Purchasing

De ~un 4413, 5503 I.S Veklhoven P.O. Box .3.53, 5500 AJ Veld hoven Th!O! Nelh'l!'ifand~

Tel: +31 (0) 40 1580 24 24

1'.>" +31 to)76511 1893

E-milllf: fIQri$@eq-mm.com

Fu!ureBrand crested a new '/1;sual tafiguage for the Dopod iO'€lfJtity by Shtlping 1he iOgotY,DS from a series of lechnology~ inspireo' citctes.

dopod

your world in one

Legibility a'aDena's as mucn on the I/i6wer as the designer. FutureBrand's ebstrect Dopod togo ts reada.ble by N"UJ product's targ6't mflrkel ot lech-

sa vvy consum ers.

nm logo blencis S'6'.am,fess,Y with inc Dopod's bl..;[[ons

/0 creete a futuristic hybrid 01 organic ano' teen mouon.

Dopod Communication Corporation Shanqhai, China

FutureBrand, Incorporated Singapore, Sinqapors

The Challenge

A new ChIna-based wireless technology company, Dopod, was geared to launch ItS namesake revolutionary product-Dopod, ths ~(st wireless pocket PC-Ln the cluttered and competitive consumer lachnoloqy market when it called on the Singapore branch of FutureBrand to develop its brand image. A technology pioneer that's leading the way in true wireless communications. the company wanted all identity that immediatel)' conveyed keen inspiration, relevance, and premium value to consumers.

The Process

Futurefsrand's naming experts created and .valuated more than 300 candidates In an expedited one-month process, The team's search led to the name Dopod, which tlley felt best conveyed the brand's promise to deliver innovation, usability, and act ivity to its targ et au d i ence. Til e flna I identity de ri ved its ins pi 181 ion from the backbone of sll computer tanguage-bmary coding, which uses only 0 and 1 to enumerate all possible combinations. Tile Future8rand design team translated thls theme using rive rings and three dots, syrnrnetricatly ahqned. TI18 rings also suggest the product's global coverage over five oceans. The do at the beginning and end visually imply energy, movement, and dynamism. (In Chinese, this same word means "the way. ") The p at t he name's fulcrum insinuated the word islands Iha: could be readily branded to Ihe product: phone, platform, pocket PC portable, play, and partner. Doped's tag!ine-"Your world 1[1 one"-substantiates the product's placement at [he center of the user's Universe, providing access to other worlds.

The Result

The FulureBrand design team applied this brand image to the company's stalionery and to the premium Doped 686, which retails for US$986 per unit, for its first offering. The group also rrnplarnsntso the brand on the company's product literature and corporate collateral materials. Last, it developed a comprehensive identity guidelines manual for use in corporate communications and line sxtsn-

s ion in itia ti lies.

vVitilin six months of us launch, the brand garnered high praise from tile technology industry. Even in customer surveys, the brand earned above-average preference over other inlernaliorlal brands in tile category.

your worl\lln one

1/;1] &!ensr,e (lse of viSua,1 unagery ~nd synl~ol"gy On Ih('J colla leta,' mr.terial','S' reinforcas the toga's unique ,'Emguage.

I ! \

o"pocl

4 I 8uSHless and TeChnology

Like a. Si:!<fectl''!e mlrtcr, l/'re teces useo In UrS ii1o'lert,'$rng 0: ,d on ,I>e paCkaging define (l1i0 auract rn~ largel eocecce.

,. '

."

l " .... O

The circuior symbols used

011 the /Xlr;Jr.aging eci'O Ih& A logo itself, in creasing th~ idenl~Y's F,rsr·sigllllegJb~'Iy.

Client:

Agency:

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42 Logos: Mak! og a Strong Mark

RED

Red Spade

Chicago, Illinois, USA

Richard Zeid Design Eval1ston, Illinois

The Chal,lenge

The dot-com, era came and went. Far more surprising than the Oddball business concepts that failed are the successful companies-the ones thai survived. Not only did they have to make it through startup, they also had to overcome the dot-com stigma. it's tough conveying an image of credibility in a post-boom world when your core business consists of providing Web performance audit solutions geared to helping clients improve their online presence. Red Spade ldentiries effective usabili Iy as 'Nell as usability gaps that contribute 10 loss ot revenue, customer frustration, and compromised competitive advantage. That's what Richard Zeid Design was charged 10 do with Red Spade's identity,

The Process

The Richard Zeid design team followed the method employed by Red Spade for devetopmq strategic plans for its own clients. The team ressarched, vetted. and se lee ted a few names 10 vi su a lIy exp 1018. In a second IOU nd, the simple icc n ie imag e of s red spade was selected for its sirnpllcltv ease 01 identification, and resonance wi I h a target audience seeking to dig through a mountain of data for answers to marketing problems and building presence in an unsettled environment.

The Result

Tile simple and elegant solui ion devised by the desipn team is the perfect answe r to those see kl ng a no- non ssns 8 fi rm IV h os e "m at rlcs- drive n so I ut ions reveal and address critical usabilily issues to realize a greater return on your Web-presence investment. 0

8 U Si ness and Tee hnolOgy

Client:

Cargill, 'Incorporated Wayzma. Minoesola. USA

Cargl-

TM

Agency:

"ranks + Fio.rella Minneapolis, Minnesota

A muftlfia!J'cl'h.'lf cOf'lgtcmer. ale th(J r msrkats, processesl aJKJ <iJslribUles ag .. ,cIJllLmi tooa and finanCial eoa "'d<Js,~J81 prOO'u~1 S we;! sBo/ices, Carr/JII needed " Ilogo thaJ COI.Ad be ur'/derSlood In 61 '0""/11<'$.

The Challenge

Cargill is a Minnesota'based multinat'ional conglomerate that markets, processes, and distributes aqrlcultura: Food as well as financial and industrial producl s and services. Ca rgill COlli act ad Franks + FioreJla to refreSh [ts idemij y by rel!ecUtlg Cargill's t 37 -year-lonq history, its hopes for expansion, and its exiSling reach across 6t countries. This was its first revIew in 36 years.

The Proc,ess

After a competitive audit of Cargill's existing identity, collateral materials, signage, and anCIllary applications. Ille Franke + Fiorella team developed type arod color palettes that reflect the company's agricul tural heritage, using a clean, direci Iypographic treatment.

1M R(lsull

As the client says, "Franke + Fiorells's design solution has been without controversy. II was applauded from I,M moment II was previewed. II is a forward-lookItlg, fnendly desIgn that captures who we are and whsre we are going. The new design has made our markelin9 job easier."

44 Logos: M.king " Strong Me rk

SCHMIDT&

Client:

Schmidt & Peterson Minneapolis, Monnesota, USA

Agency:

Franke + Fiorella Minneapolis, Minnesola

The Challenge

The Minneapolis-based accounting firm Schmidl & Peterson wanted 10 position itself as an approachable resource with a nontradi lional edge, speaking in plain Engtish rather than accounting-speak. Franke + Fiorella was given lhe brief to develop an Identity that reflected the company's obvious point of difference while mairuairunp a professional tone.

L

I

M

I

T

E

D

The Process

A competitive audit of other lax consultancies and accounting firms was Franke + Fiorella's first stop in the design precess, The designers developed s number of concepts, finally settling Gil a graphic solution. The image centers on a rnapnified. illustrated view of an adding machine, executed In a black-and-whi Ie line drawing slyle familiar to readers of business publlcatlons, Coupled with a tradltional-lcokinq seri I type treatrnen t, the visual brinqs together a messaqe of quick comprehension anc di'ec1 ness.

PETERSON

SDI"Vrildt & Petersc»: wan t€!d to positIOn itself ::IS an a.oproach8bie accounting firrri witt! r'] nOlitRJditlOf7al edge and e. profes$,'onal tone. tne jwaaposltion of ca.sual Wustration and formal ;'ype tre~lrnfJ{lt st.rik'.,~'S a :;lrong balance.

The Result

Schmidt & Peterson's new brand successfully sheds the 310dgy bland. unapproachable designs so common with older accounling lirm Idenlilies.

lion ollha slImQ'w-d proff!JS.'~n~J .~ ryle

Agency:

Once !he GtaptHCWise d@S','S'il' tee» O'rSOOl/rjreC1 /IIS r hOw (un era 5asY9CJil~9 the/1;101,..'$ ePfJCJ c;OrDo('~~e culture IS. '"IlIY'.Nng fe~ Ir'(O place lrem too p .. "ytoJlnytricl image 01 " mouse end B comp/,Jle.r /YlO!.iS'1;l to li'e

cck: r:;O,lor oa!el teo

~~"'M.111'1_1',,,,,ill.~ Hln"-'.!,.; ... no,dl'

1[j~~.~II ... ,~~ nlllO :~Cr[NIII:-".~i

MQU8SPad's curled~ comer i"!lBr,~,*,d tal<es its S/lSM ffom CQmpul~; mOllSe pads.

Busmese and Technology

Chenl:

MousePad, inc.

S~11 FcanciSOQ, California, USA

Graphicwise Irvina, Calilornia

The ChaJlenge

There '8 a fine line between run, engaging, approachable design and certoornsh visuals that won't Instill confidence in clients, This northern California-tJased company wanted lts iderllity to welcome technological neophytes. The I,ick was 10 make I he symbol 01 I he mouse as unique and memorable as possible while mainLaining the balance between enlertaining end protessiooal imagery,

The Process

Graphicwise's initial designs VlGre tar 100 structured and protesslonal, ernng safely away from playful graphics. Sui once the learn drscoversd just how fun and easygoing' ths company's corporate culture is, everylhing fell Inlo place. With the name MousePad, Graphicwise roved with images of mice and computer-related equipment The winner turned oui tobs an abstract IWbrid 01 animal mouse and cornpu ter mouse with 9 mouse pad background,

Th'e Result

The lighthearted Identity opened the door for other creative d'es;grl solutions, For example. each employee's business card is personalized with his or her lrnaqe in silhouette.

A fanciful. COfl(;""Q ,,~holJ' ette adds life t D ea cl'l MDusaPed employee'S business card, Besides COfl"<1llrio.",,1 ",/or"", uon, each cera ":so !is!S i.he person's hobbles.

111/111 11Ie'f~/N/t;

Ito"''''1,1~'n,~ .... t)tl-rI'

~ l"rl~"""oI':

Tila HAOW das/gn team d,'s· cm'ered [hat III rtJe world (}f 'Neb analysis and markering pradr..'crsl tha letter Q stands for ihe Q-sotling mettvxt. a txec tl'cal moons of sorting ~J1d 8fla.lyzfng ,large (orms of dJt8.

Clienl:

Agency:

45 Logos: Making" Streng Mark

aC2uantive

aQuantive

Seattle, Washington, USA

Hornall Anderson Design Works, Inc. ,Seat1le, Washington

The Challenge

aQuantive, Inc., is the parent company ot one of the industry's most successful digital marketing families; Avenue A and i-Frontler are interactive marketing agencies. and Atlas DMT develops tools for delivering effective digital marketing campaigns. Founded in 1997, the Seattle-based aOuantive helps global companies tap into online media's incredible marketing power. enabling marketers to reach one of the world's tastest-prowinq segments-the online customer. According to Jupiter Research 1. an online market research firm, online advertising expenditures in the United States grew to 56.2 billion in 2003 and will grow -to 8>14 billion by 2007, outpacing TV. print. and radio. The company needed a 'new brand identity that reflected ils growth in this rapidly expanding induslry and called on Hornell Anderson Design Works, Inc. (HADW), to develop a new look and feel.

The Process

iThe HADW design team uiscovered that in the world of Web analysis and marketing products, the letter Q stands lor the Q-sorting method, a practical means of sorting and analyzing large forms of data. Stressing the Q in aouannve's name points to a major service it provides its clients. The broken seril letterform is .enhanced in blue.

The Result

The hidden strength in this brand is its distinclive letter Q_ Split into a stencil style, it lakes on a parenthetical or encompassing quality-perfect for a parent company that embraces its subsidiaries,

I

ORIVO

Client:

Agency:

Orieo revllalizes brands Ihal 'vi/ere not previDusi1y reaching tre« po temi&i. Its logo newoo to look es t8~-"",,f,eCl and soNd wit,1-j e. ttmetess, European flair.

A dynamic, noninvasive presence, Iha Orivo logo derives its strength fram its $ tnking uppercase Iype trw tmen t end the con tres: between Ihs f.ifSJ and I'&.S r letters Qf its name.

47 :BusIMSS and Technology

:Orivo

.Seatt!e, Washington, USA

Hornall Anderson Design Works, Inc. Seattle, Washingtoll

The Challenge

Orivo is a Sealtle·based company that sells ideas. Founded by David Sinegal,

I he company revi lallzss brands by licensing brands that had not been reaching their potential and relicensing them. It also extends brands into new markets by identifying untapped opportunities. When Orivo launched its operation in 2002, it called on Hornell Anderson Design Works iHADWI to create a clean, simple, timeless identny wilh S EIJropean flair. The challenqa faced by HAm"J was that -Orivo cton' I want to look like a startup company des pile its newness. II needed 10 look estahlisherj and solid.

The Procass

Rather than researching graphic symbols and other illustrative elements that would detract from Orlvo's business position, the HADW team directed its attention to the creation of a dynamic but noninvasive presence. A strong type-only design solution was the result: rt combines s strikinq lowercase, SSIlS seril Iype treatment with a rich red palette.

Th", Result

HADW's design solution was an important part 01 the accolades Drivo received, including a Silver Northwest Addy Award for the design of their latest brochure.

On its GiJIJate!1J! maten'ais, 1M Orivo 0 becomes a reoeutive rna tif lh.a t cOrl'/eys a simole message: The company turns dreams

,nto roolily

Agency:

ScotchRlint

T' "1 Graphics I,

The commercial graphICs OMslen 101 3M Company,

1/19 Scolchprinl Grnphics btenrJ. fmcJ buill slrong equity ever Ire course 0' 20 yellrs wnh a loyal customer oose. Tne new ,cl<Jn/ily nOl on,'y reJnforced currem brand perceptions but also p lied /he way for future line exter.-SIOr.s,

48

Logos: Making a Slrong Mark

Client:

Scotchprint Graphics St. Paul, Minnesota, USA

Fran ke + Flomlla Minneapolis. Minnesola

The Challenge

The Scotchprlnt Graphics brand name had been estabHshed lor more than 20 years when the 3M Company's Commercial Graphics Division called on Franke ~ Fiorella to ere Is its brand 1m ga, Scotchprlnt Graphics, which employs 3M products to generate cus 10m applical ion graphics for vehicles, buildings, ucors, walls, banners, and any other place giant signage can be affixed, had a loyal commercial following. Consequently, the design learn had to develop visual branding Ihat resonated with I he target's current brand perceptions while enf19ncing its image for lui urs line exrenslons.

The Process

The Franke + Fiorella desIgn team executed an extenSive competitive audit before CQnducling extensive research and exploring a number 01 deSign opliOl1s_ They selected a bright poster-paint palette paired with a bold san·serir Iype treatment,

The Result

In addition 10 implementing the solution across all of the division's cornrnunications, the team also developed an animated soundrnark for use in the product unes electronic media presentations anel software splash screens,

Too~t~

~ h(1gh1 pt$tfJf,p!!1trt

FOl.inded by ~he Infolmatlon 5rOlfJ.gillndlJSlrr Camet ilSICj "I UCSD, Sta,re.getvetw(JrK'nq. org o([eIS ",,''ne s!JpcJO<l data S::(Jrag~ lOChno,'o9 Y uS So" gcow •. liS logo damonsu-ates U"'D company's .!!bJiity ro poin' tne '/;ay ~vW r,;" n we/l-org~f'!lzed s ~wc tare.

StcrageN e rwcrklng.org

llll"f1IloII".oiIGti~fIil. "-I~ ~F:lI~Ik,w

E....I_F.nIlJ,l·j\ '.~I·"iL.~ lI,d~ Td'f.l'IIIf'M' fu%: S"N-~.-lI.2..i

f!J.I: 11I.:j;o.: ~I:I 1- ~19.w fo-m~,I"J~\o'o!lrf,d ..... Ju

i,]lIpp'~.nJnj.!.lht! US;J.:Il'

of DI_lli Stcra ge 1\:chJ](i)ngy

T,'le Iwo~COIDr lag/ina at 1he bormm oj ru" Ielletl!G<K1 suooon« me logo, Tha len", C In tne compatW's l'amQ <JtJpicrs a ~I,; or ncae, WIJife tne flowchart I,'n€ e.lemeli te tepresem· t nG i,'Jterl.;onnoca "On o( me noWs.

49 Business and Tech nology

Client:

University of California, San Diego San Diego, Calilorrlla, USA

Agenoy:

Koenig Creative San Diego, California

The Challenge

Over the past decade. Ihe information storaqe, re!rieval. and distrlbunon business has exceeded Ihe confines of fils folders, storage cabinets, and warehouses.

SI orageNelworking ,or9 was founded by the Information Slorage lndustry Center (ISle) at University of Calilomia. San Diego. wilh a grant trom Ihe Storage Networking Industry Association (SN IA) and the Sloan Foundation to support

da! a storage ! e c 11nol09Y u sergrou ps so users can i ~I sraci wit h their peers and other experts about thls critical industry. The biggest design challenge ths Koenig Creative team faced was the lengtri 01 lhe orqanization's name, which had 10 be incorporated into a lOgO without abbreviation.

The Process

The Koenig Crealrve learn developed several idenlity concepts. Each conveyed a di uerent visual representation of tschnotooy and personal nalworkmq. The linal logo was chosen based on its simple typographic treatment. Tha use or the letter 0 In the name depicts separate disks or nodes, and the lIowGhan rrne elements represent Iheir interconnection,

The Resutt

The $torageNelworking.org sils is currently being beta tested. Both tile logo and the websile design have been well received by Ihe elienl and Ihe sus sponsors. who particularly like the design's slrnpllcity and rne way logo elemenTS carry throuqh the site.

St%_ag~N etworJgng.grg

T -- _

E~.~ I hI:lziI;l'II 'pj\GJ51lbl I :~d.Adv'l1!l!: IIJ~~ II;n'tKIr.:~ I ~

Supporting the Users

of Da ta Storage Tech nology

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AccordlS'S llOyD Inr;orporotes ,In Ofg.,'!rJk: CUf'lE! sweepillg ,',n,rOligJl a fnangU'J f{lat (J'eplcts act:ord benweon

me "'NO 6,Slinctty ddfer€fJ! R.,11Bpes Cine' c:rE:!S19S the Jetter A-:he first lottf".~ ".

I'fle GDmrlSny's nanle.

Agency:

accord 5

a c c o r d t s

The SI.,v{:xi.lting curle 1..-1 ACCOlWs'S tcoo«: I!;wer A is ecnoea I" rt 5'{'~'eepIn9 curl/a at the bas(1 of Irs letterhead',

50

Logos: M king a Slmng MaCK

Cllenl:

The Kudelski Group/Accordis Technologies San Diego, California, USA

Koenig Creative San Diego, California

The Challenge

The Kudelski Group '8 an Inlemalronal company thai oneraies a number 01 varied technology subsic iaries providing Inlegrated sscurl ty svs tsrns for bo Ih digital 1elevision and broadband networks. including digital decoders and encoders 1m lntaqratsc management systems used in evern venues. Until recently, each subsidiary had a dislincl corporate Idenfify Ihal lacked conUnuity Wilh its parent organization. Most 01 lhese brands were dated, Ilaving been created during Itle 19805.

A recent Kudelsk, Group acquIsItion. Accordts Technologies, was a startup business specializing in the develop/nan I of set-lop cable box technology, Koenig Creative was commissioned tc develop en identity that stood alone trcrn other Kudelskl brands bul clearll' conv yed its own message: a global player that creates technologies that Integrafe searnlessly WIth other set-top systems.

The Process

The Koenig Creative teem explored numerous solul iOIlS, including several that visualized the concept or harmony. Expenmenlahon with simple Zen symbolssquares, a ctrct , and a triangle-and the letter 0 recused on Illuslraling Accordiss de..~ire for Integration wrth other systems. The solution mcorporated all organic curve sweeping throuqh a triangle, dapicti ng accord between the two dlstrnclly dillerenl Shapes and creating the letter A-the first latter in Ihe company's name. The curve was repeatad as design element in I he company's stationery kit.

Tl-te Result

The final Accorcts Technologies loqo garnered higl1 praise from both the client and its European parent, Kudelski Group. The Identity was applied to stationery. colla teral, and packaqs brandlnq, and the product will be launched in 2004.

Accordis Tectrrroiogi s see c.a~les irI the deveIopmenl 01 set -too c"ble t)DX lachnoIogy. and liS logo i.. bml'lded on each oJ I(S IJ(O(luot., suet: as tho one SIlO",-. fie/e.

- ----- ~- --

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For Cosmic S"mo's Idemil:y, Me ttHew Walker created ("1 caries iure 01 a s umo wreslJer by (j",,'Y/ng P. 1 fJ50s car!ooo·slylc isce. He loo~ed W me seme em for hiS rypMace _election.

51

Buslno"" and Technology

cesmlesurne.eorn

New York. New York, USA

Walk Design

Rooky Hill. Connec1icLJt, USA

The Chall'enge

CosmicSurno.corn was developed as 8 cornmunltv-basad website where online 'Jiewers could find a hOdgepodge of lnlormatlon, The website's business and goals were still being lcrmulated when Matthew Walker was called in to crsate its idenlity, The big,gElsl challenge Ihe designer faced was that Ihe name really didn't mean anything. "The logo was really fun to design becausal had so much freedom," Walker explains. "But the freedom made it very difficult as well. It's hard 10 manage and live up lo a client's expectation when the goals and the slrategies aren't there,"

The Process

Walker did some basic research on sumo history and found that too daunling for tne target audience, Sohe decided to create a caricature ot a sumo wrestler by drawing a 1950s cartoon-style taca. He looked to the same era lor his typerace selection and presented the solution witl. three ditferant type treatments.

The Result

,A strong, content-rich site was built around the look and Feel of Walker's logo, The logo was used primarily for the website and secondarily for its stationery program.

The 1950" motif is amphasiled by lile ellipilal knock ·oifl on me front of me bifsines s ctlr(js tllld

Ih e a ramie s ymb ols 0 n botn sides,

WhiOh c.1me 'Irst? In : Ns case, Ihe ,IOgD was ,,_Ieri be/ora I1le welJs;le "nrj hfJav#y mn"erJcoo Ihe slIe·s clasign ond c .. ontem.

ager

systems

e

The Agef(\ sys;""", idenIiIy. dasigned 10 SiaM Cui emo.o9 .Ol'\1dam,'ilatl ay bA.18-I1r.;aO' ;edI-<Xienle<i kJgffi. was ~omp:eted i~ '2 weekS ana' Jal,)nG~d in 120 co! .. lIimas.

When 1/Ul Ilogo is embk!lzo"I'!d on a CD and CD case, iJ t!~comes 8{Jp-areF) ~ tro I I he dw/gn '. rxn low leer, but, raUl&. ~ dM"",,,, perspr.cUve on leel',"dlogy,

The mlrl/fm71!~ ( ty,Oograol1iC logo Set tne cie(1f7 iOr1tf1 fOf Agete Sy:;lems' C(J/J&lere/ materiaLs1 '/'I,h,'ch W6'/""8 also craOiM by j_'{Jpillcotl MfJrt;;9r.

52 LQgos: Making 0 Strong Mark

Cliant:

,Agere Systems

Allentown, Pennsylvania, USA

Agency:

Lippincott Mercer

New YOrk, New York. USA

The Challenge

Agere Systems is a premier provider 01 advanced in legraled-ci rcuit solutions 101 wireless data, high·density storage, and multiservice nelworking applications, T~18 company is 8 market leader whose 57 facilities worldwide Include design and application centers, sales offices, and manufacturing units, This technology-oriented operation commlssioned Lippincott Mercsr to develop a refresnen brand identity tna I reflsclSd its numerous interests. The new lden li ly needed 10 launch 11"1 120 countnes-ebut the real challenge was 1M schedule. The entire brand program had to be completed in 12 wssks.

The Process

The Lippincolt Mercer development ream worked hand in hand with the client to select more than 1. ,300 names and lollow through preliminary legal, tinguis,tic, and URL screenings to identlly the cesi candidate, The team I hen craned a focused brand-posHioning statement Ihrough extensive executive and customer interviews a cornpellllve audit, and review of medisianalysl reports, Logotypes, symbols, and wordrnarks for tive finalist concepts wele concurrently produced lor clienl presentation,

The Result

Til e soleci e d logo s n d des i gn syste muses a m u I t il ie red, lowerc a sa I yp e tree t ' rnent executed against a stark white backdrop to diffenmtiate Agere Systems In its highly compeuuve. predominantly blue-hued marketplace, Lippincott Meleer designed and produced Ihe launch kll materials for Agere Systems' launcll at its worldwide sales conference, The agency also created online guidelines with downloadable templates for ease 01 implementation on marketing collateral, presentations, sales rnaterlals, and signage.

Agency:

Chevr

lVhEfl Chel'ron and Tex.;Jco merged, UppinCOri A~e'cfJ' irlGOrpora~ecJ qLl'.a/Y~,'9S at eac/l com,Of)fI)\ discovered tnrc!,.Jgn exleFlsi'iS resesrcn, ,"(0" (J'opueltlry tvoetec«.

TO m8(f'li/jif1 (he integrUy Of tile IagOlype, the fogo {OOI Is rfjsa r vea fo! th I';raoo' rume m the' tns» C<ltryI1Tg m/er «no f)~her heao'lngs in JIm comPBny's ",,'ansi"s ro/latoral marerra.'s

53

Business and Tecnnology

Client:

ChevronTexaco

San Ramon, Calilornia, USA

Lippincott Mercer

New York. New York, USA

The Challenge

Two energy giants-Chevron and Texaco-uniled forces in 2001, becoming the wond's four1h largest publici)' traded inlegraled energy company and l11B second largaSI in the Un,led Stales. Active In over 180 countries worldwide, the conglomerate employs about 53,000 employees, not inCluding service station staffs, Ideally, a brand development agency is called early in Ihe process 10 assure that the newly formed organization presents e strong mission statement, well-staled goals, and solid supporting brand messages to both investors and the public, Lippincolt Mercer was approached lale in this vital process and was 91~.1I1 a tight deadline for the completion of the visual solution, hundreds of applications, and corresponding guidelines,

The Process

Ali audit revealed Ihal the merg,ng companies were each represented by more than a sihgle image, There were myriad colors, supporting symbols, and typs treatments. To faCilitate research and discovery, the UppincoU Mercer design team gaHlered the entire collection ot elements and crafted 8 rnaulx of the logo equines, More than an exceUent presentation toot, 1l1S matrix brought to tighl numerous posslbulnes for mergillg and/or emphasizing facets of each company's identrty during the conceptualization phase. Tile ultimate solution called lor 1118 creation of a proprietary typelace containing characteristics thai resonate with the ccrnomeo companies' existillg investors, larqet audrences, and prospective consumers,

The Result

The enormous applications program included apptying the mark to brochures, magazines, stationery and signage systems, a marketillg collateral system, a website (www.chevronlexaco.com). and awards, Upplncotl Mercer atso created printed and online guidelines with oowntoacaoie templates for Cnevronfexacc's numerous internal ional of1ices and licensees,

Clienl:

Agency:

.,

OUSEHOLD

I.

In an industry characterized by big, featurelass ba'Jking COlporalioos, HQuseholci's acooss!o.'e iCOn brings (J Vlann, human lace 10 America 's second largest issuer or private-labfJ.1 credit cnras.

Household's coJ18,wai male' n8iS extend !he humanness Ihrougl1 Itle Use Df il!USlrtJIN" and phOlograpn'C images of real people.

54

Logos: M~king a Strol19 Ma(k

Household

Prospect Heights, tliinOIS. USA

Lippincott Mercer

New York, New YOlk, USA

The Challenge

Household lnt manorial is a $123 billion provider of consumer loan. credit card, auto finance, and credit insurance products in the United Stales, the United Kingdom, and Canada. Serving Ihe linancial needs of middle-market consum rs since 1878, Household now serves more than 50 million people in all three nations and offers a broad set 01 llnanclal products and services. The company ranks as the eighth largest Issuer 01 MasterCard and Visa credit cards. Household is America's second largest issuer of private-label credl I cards.

In the United Kingdom and Canada, Ihe company also provides auto finance, tax refund lending, retail lunding, and Insurance products 10 its consumer and business clients.

The Process

The Lippincott Mercsr design tsarn was contracted to explore, present. and Implement a brand image that could encompass all 01 Household's services and multinational target markets. The learn developsc a wide range of design solutions that Included logotypes, wordrnarks. and syrnbots. After the clienl approved the concept, the team lest d the logo against the pOSitioning and Image attributes in extensive research, The solullon employs a Clean, conlidenl type treatment and a red earth COlor palette,

The Result

The enhanced visibility and Improved perception of the new Household entity contributed 10 its acqutsluon In 2002 by HSBC as a key component of the latter's expansion into the United Slates. Headquartered in London, I~SBC Holdings PLC Is one of tile world's largest bankrng and financial services orqanlzatlons, with more than 9,500 offices in 79 countries.

The logo 's t~191$ Crea(a a Io'(MlI palllffe liIat s rare 111 11111. flf18,~(:I"r worfCl's sea or ,P.I~t)B; (lI'!!Ys~ ifm'l grwetls.

-

TUNGSTEN™

Tl)ngstel'7'S dynamic red and gray ,'ogo aerosra« a ttf)n~ ~IOfi from ns discerning

Bu'o'jence Of mob}l~ prDfes~iont1ls ana' VUSI;,nesspeopis.

!

: D£SIGN = INNOVATIVE

5:;; Business and Tachnoloqy

Clienl:

Agency:

Able ,'0 gla.nd alor"!gsio'a its osrem l'agrY---f)8lmOnerl7e Tungsten :o'ent ity ma,'I,'tains its ookn of di,f(er'ence on (he proC1uc( itself and I'ts website.

palmOne, Inc./Tungsten Milpitas, California, USA

Turner Duckworth

San Franclsco. California: and London, UK

The Challenge

Because Tungsten had 10 live alongside palmOne's Zire logo and appeal to a differenl audience, its brand Image ncocco to incorporate both clear similarities and strong differences, Unlike Zire's general consumer and multimedia target base and Tree's srnartphona audience. the Tunqsten targ8led a very special and very demanding audlenco: mobile professionals and businesses who rely on these wireless. hancnetc comrnurucanon devices.

The Process

The Turner Duckworth design team worked Wllel palmOne 10 create a concise creative brief before developing a handful of significantly different designs. As with all of Turner Duckworth's projects, this work in progress was sent lCJ the San Francrsco oftica's London sister office lor a serious critique, The London team helped Ihe team edit and improve Ihe concepts before they wElre shown to the client, The selected logo did flat change after the Initial presentation, In fact, as wilh lhe Zire design, the cliern canceled the team's research phase because they were so sure this was the right answer.

The Result

The final Tungsten brand image employs a strong sans serif DiPS treatment and a red and gray palette that complements the parent company's red ann gold color scheme, TIle logo appears on the divisfon's products, packaging, the palmOne website, advertisinq, Slid all marketing materials. The Tungsten brand allowed palmOne to successfully larget specific products at demanding mobile and professional users,

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A raaical (ieparl ore 01 !Is ur,lgl~'le,1 CO,'Ot scheme, tJa}mOr~ 's 118'1.' identIty st(:Jnds OI.1t In a sea of bh.:es lJJld grays. aFolllft'lg lor t'j Oro~der, more dyn"l'nI~ m:"lgt!! of tu~!)'re J)r-and ex(ens,'or'lS Llflcfer a .'f3d

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Agency:

58

Logos' Making" 51'0[\9 Ma,~

palmOne, Inc.

Milpilas, California, USA

Turner Duckworth

San FrancIsco, Cahfornla: anc London, UK

The Challenge

Palm, lnc., made a name for ltsell In he 19905 as a leading manufacturer of handheld computers and srnartpnones, Its PalmSource division became the largSSI and most res pee led developer and ncenssr or tile Palm OS platform,

In 2003, the company acquired another industry leader, Handspring. Inc .. and made lans \0 spin 011 PalmSourc as a separate company, TI1e move lriggered Ille need to create a new brand Identity, palmOne, Inc,

Oesigners 01 the Original Palm logo, Turner Duckworth, had rec ntly finished developing the imagery lor palm One's subbrands Tungsten and Zire (see pages 55 and 58) when the team was commissioned to create the new palmOne Identity program,

The Process

Based In San FranCISco, the Turner Duckworth learn developed several concepts that underwent scrutiny by its London sister agency before they were presented to the clisnl. In addition to this process, Ihe learn created a special presentation lmended to encourage patmOne to abandon its existing blue palel1e for a bolder red range that tied In with the Tungsten end Zire subbrand palettes, The presenration demonstrated how many or palmOne's competitors emptoyed blue palelles. II also pointeo out how other COmpanies in other markets have suecessfully employed olsnnctlva color cornbinatlons as a useful point or dffference. fPalmSolirce has retained ine originaJ blue COlor scnerne.)

The Result

PalrrOne's condensed type treatment, wilh lis red and gold palette, Is being introduced on the company's product lines and packaging, It already offers a ursuncnve Visual presence on Its 'labsila. couaterat materials, and a bold print ad campaign. The new palm One logo and Its applications have helped the company and lIS acqulsmon, Handspring, make a successful transition With both investors and consumers.

Turner Dl,lclwlOTlh's 1I1i1S'iI" lor pD/mOM make. a "ItO~rJ SUlflJment flO! on.'y 011 IfS W<1bs,' o l<nd prlnr ad earnpargn. II """'~ presents " strong faoe on the prod"'C1 S I~""~ 4<lQ' 011 WIIW8ro f;ackag/ng, as ~~en ru3F6.

57 Business and TechnDlogy

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Appealing '0 ,d1 ente(Ulillmenr·or:emM, nor-so-tech· S8'/'/}~. youthful mafktJ/, Zire's color paleiC8 of'ld sccem t11'emenis fransl8tft kno a promise of fl)f1 wt~er. f:J.f),',.n(jti'ld for me Web.

Client:

Agency:

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58

logoS: Making B Strong Mark

palm One, Inc.

Milpitas, Catitornla, USA

Turner Duckworth

San Francisco, California: and Lennon. UK

The Chl'lilenga

lire had Ihe dubious honor ot being launched while its parent company was In a major transition phase. A subbrand 01 palmOne, Ihe lire handheld computer targets general consumers and rnulurnedla anthuslasl S. Tile product's logo had to be dynamic enough to appeal to an entertamrnent-coented, not-so-teensavvy. youthlul market in numerous media. including as an animaled identity Or'! the company's website,

The Process

The San Franctsco Turner Duckworth desiqn team worked hand In hand with ils London-based office to develop a handful of distinctive concepts, employing a sleek sans serll type treatment and a silver and orange palette I hal complements the parent company's red and gold color scheme, The chosen logo did net change after Ihe imlial presentation: the client canceled the research phase because they were confident 01 I he solution .

The Result

The final brand Image is used on products, packaging, the w bslte: advertisinq, arid all marketing materials. It even showed up on a f198! 01 branded Parisian taxis, The Zire brand allowed palmOne to successlully target new customers: ordinary consumers who ere not tech savvy. Consequently, the first lire product was the fastest-seltlng handheld in the company's rustorv.

"

Client:

Agency:

eavenlLj

Hea'rl-enJy's name posed e ret1i cha,lienge fer TUffler DuckworTn. Tile design

learn had to find non·clich~

ciemen rs to prescr. t til

strong rnes.sage for [J~is marketlr7g coosouencv that speciaiizes in o'o'lJo'rt-r(J-eanh thinking fur ItS clienrs

An almw cr~fited m me "egatJVe 8M"" be!ween th~ Igttse h and 1/1" star PQ/nl$ (0 He''''f'~IY's feet en-tregtoun"o' apprOfi)C:/i"I~[};ths tactics limd s1f$!egies it df!V6ior;JJ; f!!lf Its ~Ij"ms,

59

Business and Technctoqy

Heavenly London, UK

Turner Duckworth

San Francisco, California, USA: and London, UK

The Challenge

Heavenl)' is a marketing consonancy that specializes in down-to-earth thinking for its clients: The firm's name-the opposite of its nature-posed a challenge to Turner Duckworth when it was called in to create Heavenly's brand identity,

The Process

The fun part 01 working on this project was the name's brain-teasing dilemma, especially all er the Turner Duckworth eJesign team resisted the urge ro employ cliche heavenly Imagery. This meant no halos, angel wmqs, fluffy clouds, biblical references, or spiritual typsfaces. ney arrived at the solution by playing wore games, including "heavenly" as part of a statemenl. "Heavenly: a nice cup of tea" eventually led 10 "Heavenly",down-Lo·earth thinking," At that point, the word shed Its physical and religious meanings and became an emotive descriptor, allowing the team to revisit the name without Ille baggage_ Not an easy job, but very rewarding

The designers dove in, using Helvetica Bold for the type traatrnent. The graphic plays on the eye_ Initially, it appears that a star is corning down from the sky under the letter h. On second viewing, a hidden arrow appears in the negative space between the laHer and the star, The tsgllne-"dov'In-to-earth thinking"always appears with the mark.

The Result

Turner Duckworth's clean anc stralphtforward logo employs a tactic similar 10 the Fed Ex mark-a hidden arrow in the negative space, This bold new mark is as striking when used in full as when it is used more minimally with just the hand the star.

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jonline

broadband

UK OI1Iine's &19M. felrelil!8d Identify "If~,,,, an accesS-Ole, YOu th fIJi messf.Js;e 'Nn an oppfied 10 pnxiuCl paCI<!JrJ' Ing. as Sff)8n hero,

Bngm. yo/.)lI~fl.J/, Bnd dynamic ora tne SU':J.temenls made :;y UK OnIl'le's ider:. (11''1 progr~m wi)en treneJ.ated !I1to the var/OtiS .;om· pOnerHs Of its ',!,J'sbsite.

GO

LOgos; Making a StFO'lg MJrk

Client:

UK Online/Easynet Somerset, UK

Agency;

tnterbeand London. UK

The Challenge

The United Slates isn't the only country where lnternet technology and Web surfing have exploded lnto the mainstream, ln the Uniled Kingdom, UK Onlfne/Easynet was e pioneer service provider, and it continues to be a rnaror player in Ihis highly competitive Induslry. UI< Online's expanding scope of business demanded refreshment and evolution of the company's identily, The Interbrand tasrn was called III to breatns new life 11110 the brand while keeping il pcpullst, accessible, bright. and dynamic in the eyes of its vouth-orlenteo market. The mam problem the creative leam laced was how to retain some element 01 tllS originsl brand's Britishness without being too blatant,

The Process

Restraint IS 011 en essocjateo with B(itlsl1 culture. In theil- logo solution, the mterbrand team employed popular British imagsry-the Houses of Parliament and Big Ben-in the Oil portion of the logotype-with the appropriate amounl 01 restraint. Through the brand strategy development process, Ihe team discovered Ihe British public is strongly attracted to bnght and colorful pal ttes. wruch il associates wi1h friendliness and accessibility.

The Result

UK Online is in the process of Implementing the final Identity, which witl soon appear throughout all communications applications, from stationery EJnd collateral rnaieriats \0 il$ website lwww.ukonllne.rtatl and the packaging 01 lis ISP services, which include broadband, unlimited dialup, pav-as-vcu-surt. entertainment, news, and shopping services, The new mark. with Its roundac type treatment and Lor don skyline, is both approachable and memorable, sure to distinguish Ihe company among cornpetltors.

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Trust j1nttestmen: Bank's ttMd 1(J6rn1'Y clllverly comoines Russian 8n Enghs,'1 In!iuences In lit simple EImj Ci'f5creer r."7?~ge, The two Ts In me word TRU 8T poin t :"" 'fay /;.mness expandS DU' 01 Ihe R US, WIl,'C~ stands for Ih9lmHlflitlon's Russ'8l' dienreJe.

vllith promlses of oplimtsrr'1, OppCJrlunily. ""/f1USliism. ona po ter'ltiBI economiC grotwh, Trust invasrrnent Bank's IdGntllY also conveys cOnr7denr;6, pr(JreSSI~o"8)ism, and mlf~grity

01

OU':;:;llltI:::s~ i::L'IU I'I:!\'" III IUlu~r

Client:

Trust Investment B"nk Moscow, Russia

Ag ncy;

Interbrand London, UK

The Challenge

After decades of isolation [rom the capitalist world, Russia IS emerging as OJ vital new economic force filled with opportunities. optimism, and enthusiasm. Like every nation that has entered the global playing field in the last 20 years, Russia has r lied on both domestic and international investors for groW!!1, TI19 Trusl Investment Bank is one such clearinghouse for the linancial resources Russian·oased businesses ne d to succeed. lnterbrand was cause in to create s brand that would re1ieet the level of confidence, professionalism, and integrity investors, borrowers, and consumers expect lrorn an inv stment bank no matter where lt's located.

The Process

The Interbrand design team went through a lour-stage process to create Trust Investment Bank's brand. AI first. Ihe team developed brand strategy through extensive research and survey They then developed design concepts based on Ihat accumulated informal ion. The development and Jmplernentation stag s, whictl included locus grouping of a varisty of solutions, flelped Doth the team and the client realize U1e tinal candidate's potential fOI' use across a broad range of madla The selected brand idenllty cleverly combines Russian and Engllstr Influ nces in a simple and olscree: image, The two T's in the 'Nord TRUST point the wsy business expands oul of the RUS, which stands lor Ihe Institution's RUSsian clientele.

The Result

Trust Investment Bank's new identity. with its sophisticated and iorward-thinkin9 look, was implemenled in 2003 across the range of the company's busmess applications. from its brand book and corporate brochure to its stationery and w bsita (www.trust.ru). The company's brand and its core business have mel wlth rave reviews in Russia; surely lhe memorable logo has something to do with this.

t.RJn~h!iXi.lM ~.o()3, Tr~'S~ InVasi/'ll611t Ballk'~ I"gq 1>88 mat willi !"rV$ /eV~ ;1) Fills$lq, w,~a";r iI's sa,en l;in /NI C'O.I'I1p<lI1l's slgnsge a/let 1'1OlQ,iit6\

Royal Bank of Canada '$ ex.p;J}nsiCm JntCJ the United St81es c811ed for B refreshed [demity lila t would rasona Ie !/lith bo th tDyal Canadien consumerS and POirmtie/ American c1ients wf)Q knew (lotl)lng of the brand's equity as Canada's leading financial service provldet.

62 LogQs: Making a Strorog Mark

Client: Royal Bank of Canada Toronto, Ontario, Canada

Agency:

FutureBrand

New York. New York, USA; and Toronto, Ontario

The Challenge

Royal Bank of Canada, Canada's leading financial services provider, has the distinction of owning the brand with the highest unaided awareness In the nation, The first llnanclal institution to take advantage of the North American Fair Trade Agreement (NAFTA), Royal Bank of Canada acquired a number of financial Institutions in the United States, Its Initial purchase was Centura Bank, a personal and commercial banking operation located in the Southeast. This cross-border expansion called for a refreshed identity that would resonate witil consumers In both Canada and Ihe United States, Futurefsrano's challenge was to create a brand that ancornpassed the lnstltutlon's core services as well as Its new holdIngs without losing its equity with its loyal client base. To achieve the most effective results, FutureBrand teams in New York and Toronto collaborated throughout tile process.

The Process

In its initial research. the FutureBrand team discovered that perceptions of Royal [Bank's identity differed greatly in the United States from those found in its Icanadian homeland. The survSlj'ed U,S, market was unwilling to accept the con.cspt 01 banking with a Canadian bank. The same target group also rejected the r of banking at an institution with the word royal in its name,

The FutureBrand team created an initialism that stood for Royal Bank of

I'canada's her.itage: R. BC, The initialism was then applied to each of the bank's key services, including ABC Centura, RBC Builder Finance, ABC Financial Group. ABC Investments, RBC Mortgages. and RBC Capital Markets, The iFulUreBrand team then modernized the institution's lion and globe symbol-last 'updated in the early t960s-so it could be used with greater impact in print, broadcast, and Internet treatments,

1<1 Ioc<Js groups, MJetiG.)M rejected II,e ,deil 01 ~~nk/ng ar en /ns/'Iul/Oil wM, Ihe word rovalll'l ;Is ""me. SO th8 FUlUroBrBnd 100m ere.Ied an InWalism (hal s raod lor rlw financial iIlim,,~'''n 's strong hGellage ~nd al/ow~d lor line 1l;(la<lsi()Jl1; 10 eect: 01 ilS key """""00.

6$ Bus, ness and TecMolog,

The Result

FUlureBrand's New York- and Toronto- based learns used the modernized icon 10 create a set 01 RBC-branded core competencies/platforms for use in Canada as wellas a set of RBC·led cobrands for lise in Lhe United States. The sign iii can I brand revilalizalion program, introduced by RBC's new chair. launched the massive repositioning program across North America. RBO's idel1lily update was well accepted in Canada: consumers were happy that RBC was keeping up with the times by creating a lresh look for the company without losfl1g the equity il had accumulated over' 50 years. Financial mstltutlons t hat transttlcned to R8C have also bsen well received by consumers In the United States.

RBC's rebrsnd,'ng was weli Bcceploo in Canad8. Consumaro were ha!'py Hlai Rac W,;$ kooping up >Vif/llhe r_.s by clWlN>g a fresh look for Ille I;ompeny wllhollt 10$lng I~r S !50-rOar-1Ong equir~

Logos: Ivlaking S Stronq Mark

Client:

Oi

Rio de .Janlerc, Brazil

Agency:

Wolff Olios london. UK

The Challenge

Anywhere but Brazil, Ihs Brazilian mobile phone market would be perceived as saturated, The coun try already had 20 compai ing service providers when OJ entered the marketplace. Wolff Olins was cornrmssioned 10 discover a visual expression that would stand oul in Ihe marketplace, provide a point of difference in an arena dornlnalad by players offering complicated products and using bursaucrattc language,

To gtlin :sh",re in £I rr/l~("l-t.et· pl~ce p~ch,~d wil" 20 competmg seMCeS provi,:;}ers, 01 presents a OOQ/, casual, eon-ve;rsunt piErsonfJ to Its .[Iudience. Q. m aan. "111· m POClUg';9Sfl.

The Process

Since the maiority 01 Oi's cornpentors offered a formal and corporate presence. the Wolff Otms taam chose a COOl, casual, and human approach \0 their solulion. In Portuguese, Ihe word oj means "hi." From Iha! starting point, the team searched for typographic, calor, and visual treatmsn Is that would convey the message across the board.

The Result

The brand ident~y created by Woltt" Ollns was implemented consistently across a wide range ot applications including stationery. advertising, point-cl-sale graphics, and promotional narns, Wol!! OIins also designed Oi's phone packaging and re\ail sites, Oi reached one million customers In only rive months of existence. and 75 percent 01 its new ctrsrus let! its competitors. The Oi brand idenHty was a finalist In the 2003 International Design 7 (;:ffectiveness Awards as well as in Ille 2003 London International Advertising Awards. The Brazllran equivalent of Ihe Economist magazine, tstoe Dinheiro, called Oi's success "a phenomenon," In BraZil. Ihe word 01 has replaced the word cellular In current vemacular. Two Oi fan clubs and an Oi cha I room have been created

I! .... a l(/OIIImenl/o ilia (XlWfJif Ilf Sirl]pli<;:Jt);. 1:1'1/1 W\'lrd t}1 ~~ rep/8pi!q IOe .1iImIC<!I~,1ar r'rcwtrml

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Client:

Agency:

lue

Video Cornmunication Solutions

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65

livebylas, Inc.

AliSO Vieio, California, USA

Mark Mclaughhn San Diego, California

The Challenge

Documents arid slill images wereonce the only terms I hal I'raveled on the Internel or Irom computer to computer. More and more, video IS translerrad from one location to another between consumers, consumers and businesses, : and bel ween businesses Often, some level of privacy is desired, Sometimes ii's paramount. uvabytes developed a lechnology Illal conveys video IllroUgh secure systems. The company wanted a brand identity to broadcaS1 thai message 10 Its core audience: government Offices and corporate security departments, The logo had to convey an impression of constant motion, whether i I appeared in onlme media or in print: The challenge Mark McLauglllin faced was to convey confidence and security in lhat same image.

The Process

McLaLIghlinexplored several symbols that cornrnunlcate either rnovemem or security. He then developed a grid 01 small orange shapes that narrowed to II fine point, creating a sense of energy and motion. Fou' monitors rotate around each other in a rectangular formation, connected by the orange "energy effects," The finished image symbolizes a wall 01 protection in which enargy can rreely flow.

The 'R.esui,t

The identlty gained strong response wi thin thrss months of its launch, The technology company's sales rnanaqsr has referred to Ihe logo 85 8 sales prece In and 01 ';1&811. II has also been a topic 01 conversation raised by prospective cuerns rsferred from Livebyte's w8bs~e.

1I1e edga /"Nlmenls 01 Llvebyt-e"3 I slB'tionery fJre dymrmic complvmen1 s to Ill" BClive IDg" lise/I,

66 Logos, Mskong a Sl'ong Mark

CfearpolMl s logo offers

en Ipfo¥l$Ir"S and lobseekfJrs a cle.a.r higf'tV,IEW to SuCCdSS:

Two rO(lds converge and move u,O'W8r(j, forming a defmitlVe po;nt

Christopher J. Page Managing Partner

4275 Executive Square Suite 318 La Jolla, CA 92037 clearpotntsolu(!Ol1sfnc.com

T 858.373.2516

D 619.981.3632

F 858.455.0157 cpage@clearpointsolutlonsinc.com

Client:

Clear point Solutions La Jolla, Oallfomla, USA

Agency:

Mark McLaughlin San Diego, Calilornie

The Challenge

,Recruiling firms like Clearpoin1 Solutions do more than Find people jobs. Hecrultment begins by establishing relationships wilh companies that, inevitably, need to seek people to fill available positions, The process continues by identifying an individual's talents. skills. and potential, and then linding a position in which those elements can grow and Ihrlve. Clearpcint Solutions felt that both the employer and employee had to be represented in its brand and identified Mark McLaughlin as tha man for the job,

The Process

McLaughlin employed his own talent and skillS to develop a concept IMt reinforced Clearpomt Solution's rnlssion to help each employer successfully acquire the best person for each Job and to help each employee experience true achievement. After experimenting with a number of shapes and concepts. he discovered that two roads converging and moving upward together to a deflnllive poinl-the clearpoint=-best communicated this message.

Tne Result

The client's feedback has been extremely positive. The company has aslabllshec Iiself as 6 high-end staffing firm with strong brand reoognition and measurable growth: Clearpolnt Solutions has grown over 300 percent since the brand identity's inception,

Consumer &pJoror.;' idenlity 1]1'O"g/y conveY" tbe message lila, 1M compa"y gern 10 the cor« of nlerk.@ling strate..Ji~'s through Cr"Mtiv6 CCi"iSumar (esoort;il 1001 spells profils fer as' cbents.

eonaumer G3(plorE::rs

67 Business and Tech nolog),

Client:

Consumer EKplorers New York, New York, USA

Agency:

98pt6

New York, New York

Adages 8bOl)II COfl.s1ime~ rentcxce lila bra"d"s message 011 Consumer Explorers' game caro-I'ke business cards,

The Challenge

Consumer Explorers is an intelligent, intuitive, creative consumer research com" panv, Highly Imaginative and insightful ill its approach, the company is trequently contracted by large clients such s corporations and ad agencies to validate or discover rnarkehnq strategies thai could generate millions ot dollars. The logo had 10 capture I he company's creativity without sacrificing the bearing and appearance needed to negotiate In the corporate arena. Therein lay the difficulty for 98pt6, lhe brand essence company hired to develop the logo.

The Process

To create the perfect brand identity. tl1e 98ptB team convened a group of the best consumer researchers Ihey knew and conducted creative, brainstorming exercises. From these, they arrived at a tew Ihought-provoking VIsual metaphors for truth and the consumer observation process. The result: The logo's green apple, bitten to the core, is ser against backdrops in lively hues.

The Result

Though reminiscent at Seymour Chwast's classlc Illustrative work and color palette, Ihe fiflat result is utterly contemporary and memorable.

A Si.'Ong, brig"l palette aeeomp!J"res COlIS,.",... Explorers' green "!>Pie. 8CC09muatmg the silhouetted profilas formed at the

icon'« Ore,

68

Logos: M "king a Stmng 1>1" rk

Client:

Gore- Tex Fabrics Newark, Delaware, USA

Agency:

Bergman Associates New York, New York, USA

The Challenge

Introduced around 30 years ago, Gore-Tex revolutionized psrtorrnance outerwear, This miraculous fabric allows moisture to escape but repels rain and blacks wind, keeping wearers warm and dry in all sorts of inclement weather. Gore-Tax outerwear quickly became an essential wardrobe comnonsnt for every'one from inveterate advsn lurers to suburban soccer moms,

The GO(8- rsx logo has tJecome a seet of quaiity

to consumers. Its refreshed imag€ IS. sigfliticanny s1rong€( [/18.1"111,,,; prodecessof, Implying guar8n/~ea' oroteetlon from the e!erne"-Jts.

Gore-Tex fabric is available only to a limited number of better outerwear manufacturers, and every Item mads wilh Gore-Tax fabric carries the Gore-Tex brand, Thus, ll has become a seal of quality to consumers. Bergman ASSOCiates' challenge was to bring this classic logo up 10 date and to build on its hard-earned reputation.

The Process

Bergman ASSOCiates took cues from Gora-Tex's familiar wide, san-serif Iype treatment, slimming its appearance with an extra-black condensed font. The brand's signature red arrow was replaced by a vocabulary of live Icons that explain the fabric's qualities and Ihe company's regjstered tagline, "Guaral1teed to Keep You Dry,"

The Result

The new, robust Gore- Tex brand-In both a stand-alone typographic version and an iconic-complement version-is a radical rrnprovernent over and significanl change Irom the previous mark, Ne'fer1heless. it has such a timeless and appropriate feel that consumers are likely to think the brand looked Ijke that all along,

,,_a<Ji.'di~g 0(1 its Jl8rd-~a'Md r:ep,ft,M!on, thij Go(e- J:1lf (d(iIlidy irlC.lVdes ~VO!;atlUI~I </1'(i'/9 icqns tb~1 ~xp!8!n 'tne la.bn'c·~ qU<llit/es'afi(:J'(be' ,qQ;:'lpqny'~ ~i~t6\["'1 j!lgi,ba.' ·G.uar~f116W", (0 Keep You /ilI'I.'~

[ , 1'-'

A /f'fJrp"l cd ~'L-'al!e.s eno m.1"IIr!!;' d::1!0 e.p<esws /ho CO<e '" Descenl's bus/"(JSS.' rha Mile xnCI..vfl bUl' rapio',ly ~.'7r:Jlng dea{J-sea n1/r.'I r. lg Il'iCuS!ry

Agency:

69

t:::51J:SInU8~ L!.IIU 10::; .... '"· .... • .. 1:1'1

Client:

Descent

Bellast, Northern Ireland

The Missive

New York, Naill' York. USA

The Challenge

Demand for metals and minerals increases year by year. Meanwhile. land·bound resources are diminishll19. p::lVJng 1M way lor the emergif'l!J deep- sea mining induslry. This Sl1iH in sourcing has bred 1]19 need for new technologies [0 racinrate Ihe de!eclion and harvest of un1apped underwater resources, Belfast·based Descent is one of the pioneer d8~J!lopers of Ihese technokrqies. The Missive·s design c~lIenge was to I'1sually present tbe scope of Descent's core busmess. The New YOrk-based design studio h~d 10 conduct nearly sir of Its chent mtsraclions long diSI ance via emsil and pnor-e.

The Process

The Missive tsarn had 10 do extensive preliminary reading and research on this lilTI8 known, Ilighly specialized fl8ld. Exploration lad 10 dozens of rnartne- and mining-orlenled concept sketches Ihal exoancad into a union 01 ocean waves and mining drills, The appncanon of Eurostue ExleClded and Bank GothIC LIght in the type treatment convoys a visual msssaqe 01 expansion, ScreeCled-back abstract magnificalions 01 coral reel topography and sunken vessels explain where Descent COndllCIS lis explorations and tests.

The Resu'lt

Th i s eloquarn blend 0 I primal)' a n d S nconc a ry vi sual m as sages is ins I am Iy recognizable to Descent's core target market, As the industry gains recognition, lIie logo will surely oacoms ioslanrly recognizable 105 broacer audience as wallestablishing Descent VI.t,h more than just a leading posmonm the freld.

Scree" ad ·I:wc~ cbs'<trc I ma!J",rrcaloom; 01 c,,,W ""'" rOPO{j1i3[h~y <'I<>d sunk"", .11,'0$ on CeSG9m's !s'ler· h'ead OXpf!1ItJ Wflfj(f} InB r.o",psny CCfI<Iuc/s lIs 6J<p/OIaliol's MO I<'SIS.

De5'OQj1t's mon.Jn,"~1 b,jS,'· nt'lsil C~ld ~ln;g" reffect> Ih~ ,"lgh·lt;roh nil/tiff! at us bvtlr.!!SS,

Rsml'x's identiry gOt!s 'wh eire moSllago d""'9"" tees 10 treed. e'TJpioyl'lfJ a number of ryo face-::: ro convey H message about d8t 1] aJ'UJI'ySIS end clu1rtlng in a noatrediuOfl61 vll8y"

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Client:

Agency':

Halr/me nAGs conrain:r.g RfImI>r's Iype lrealmelll c;omrriU!iic~te thr;; ProO'~IC['S uirimam a,'Jpl'lcarIDrt in chBrr,ng progroms. Easy·lO·read ICOns ,tl.)rth~r 1'/1'1.)5 tret« the rnessage on rne back of /><1SI(I9SS c;m;ls

70 Logos. Mai<ing a S(,ong Mark

Remix Data

New York. New York. USA

The Missive

New York. Nel'.' York

The Challenge

Remix Data is an online retailer (hat sells raw stack data covering the years 1990 10 the present. This data is later imported 10 a charting program used by Investors lor analysis and lnvestment decision making. When this diviSion of Nasser Corporation-a software development. management, and consulting firm-wanted a propnetary identity that brought a fresh approach to a staid subject. it called on The Missive. For graphic esigners, mforrnatton and numbers are subjects that pose a true visual challenge, especially when Ihe client asks tor a nontraditional solution.

The Process

The Missive's design exploration directed the team toward a Iype-only approach, concantratlnq on I rle analysis of harmonious type relationships, They then focused on selecting a COIOf paiette thaI conveyed Ihe concept 01 progressive technology wrthout landing on such corntortable islands as gray and blue.

The word Remi)( is primarlty constructed in Akzid nz Grotesk {with the exce lien of the distorted Futura plus sign that serves as the letter Xl and placed 011 a diagonal perpendicular so the letters E and M are noticeably and legibly created by Ihe same leuenorm, The dot-rnairtx rendering ol tne word data In OCR·8 conveys the company's core product. Hairlma rules contain the treatrnen I and communicate the product's ultlrnats application in char1ing programs,

The Result

Every beginning designer quickly teams lhal Ihe only place (0 Ireely blend torus is on a ransom note, In Illls desiqn, however, The Missive demonstrated that successful. original designs can emerge when a designer knows tile subtleties 01 when and how to break important rules.

On Us w l.Jsit€J, Rermx IS flesh ponrevs: of SUdlS1tCS and charts conVBYS ,1 stf"Ong pcim of di/ference ~o 'J'"ifNierS

VVILDTVPE

To play I..'P the Wild in 'f,IildTyp". Branded Sluo)o dis!illed e W and {In I 10 form a s weeping c,'awmark (hat flr~lshes If"I B concise p01(Il_ molloll thaI pam/leis the company's ab.'i.'iY 10 graD ana ref,!ne mformaiio/?

)

71 Business and TecMology

NFORMATICS

Laboratory Tracking Solutions

Agency:

Client:

WildType Informatics San Diego, California. USA

Branded Studio, Inc. San Diego. CaJl10rnia

The Challenge

A scnware developer of laboratory Information management systems. WildType

I ntorrnatlcs produces solutions that are In demand ln the expanding San Diego biotechnology Induslry. Its brand-a logo developed in-house before its launchwas already established among Its clientele. Now the the company has grown. lis founders thought il was time to grow the iden1ity into a professionally produced mark.

The Process

Branded Studio was asked to recreate an Icon made from the letters Wand I in Ihe new identity. The learn wanted to make more use of the 'wild" pan of 1116 business's name, which they did by sharpening the points on the Wand plaYing with tl19 dimension until a claw was formed. The long wordrnark is broken up by diminishing lhe word informatics with Ihe help of screened type_ Similarly. the tagline "Laboratory Tracking SOIIJtior1s" is given secondary placement by means 01 a screened tint.

The Result

Branded Sludio managed to meld wild and precise into the image by avoiding cliche Chaotic portrayals of lhe concept. opting Instead lor this subtler animistic approach, Is there anything in nature as witd yet precise as a cal's claw?

'iVllile t>flcompaSS;"fl Ille p;J",,'IlfllIId. $arNot Publislle<s Mfxfta OroliP (SPMG), Ih!. 'CO" lor SPMG's Even! Mo,*~:infl DhlislQrl con talflS an

trbs iracl bur IJlfe<:n've mesS<lgs 01 people gstm.rin;} .QrOlJ(I.:1 the'S,

Agency:

Client

Senior Publishers MediB Group/Event Marketing Division San Diego. Calilomia, USA

Branded Studio, lnc, San Diego, Calltornla

The Challenge

According to a recent U ,S, census report. every 8.'1 seconds, another baby boomer turns 50, Between ,990 and 2020, tile elderly population is expected to increase to 54 million. This burgeoning market has more expendable income and buying power than its predecessors. tis ranks are also better educated and rood more than any other age group. Senior Publishers Media Group (SMPG) helps product s and services reach this powerful I arqet through its network of 300+ g,.~sSrool s senior publications, Reoenlly. 1.I1e company extended its range, launching an event marketing division Ihat organizes senior expos filled with product sampling, demonstrations. health seminars and screening as well as ens-on-one lnteracticn with sales representatives. This new division needed 10 establish a pomt of differenoe while retaining some element s of its parent identity.

The Process

Branded StudiO began lts exploration by taking the parsnt company's original vector tile of Its logo and ungrouping. the elements, Tiley rearranged I he pieces unlillhey found thai sncapsulalinq the SMPG mark in two large ctrcles and setting a large letter S in the backqround completed the picture.

The Result

The lTlulupla dol elements in the logo are a seemingly minor touch-a bit of background texture. Yet, clustered around the letter S, they represent the multi· tudes 01 attendees the division IS capable of attracting. The Event Marketing Division's iden1 ity has already been irnpleman led on video and CD·ROM presentations, CD·ROM packaging. sales book, and a wax stamp, II will evenluall)' be Introduced ooto its section of the SMPG website and otner materials.

Bn'ghl, $u,1d«(!I1c,"ed ",'m10' 91 a.ol}s osea on SPMG s

fJlin1 maWilliS m(Jke cooxete thO comoer. y 's- CPi,"mi$Hc miss,'Ct).

Breakthrough.

ROP' FSI LATINO CO-OP INSUT

Direct your message to the Latino and African American consumer.

ETHNIC

• ...

...

In their media. In their markets.

p 866.664.4432 ethnkprintmedlo com

• ...

...

ETHNIC

TREVOR HANSEN

al..t., _66 4. ~ 432 ;-;2.03 cence BS8_L.72_727.5 ~or

ethnic or! n 11'T_eoiJiQ, COin

vlc e jJle!I.ae-lIr. jl;lll:ll ... mcrk.tllj:tl~ trevor@f!liIl'u'lcpfil"ltmeOi(l.-com

Bra.nded Studio's sOJl,JtiOfl employs the clianl's eueblisl~ed cOiOt palette at warm golo', brtJrJ2e .. tan! cream, sno dark brown,

Client:

Agency;

ElM!!; Prinl Media Group'. ./ogo cornmU/1/ca.tes botn

La tl.nO .fll1d A fdean American themes while depicting d."Vers!iy. ;;rowtll. ethnicily. ::Inti s !rengU1.

7:> Buslnaas and Technology

ETHNIC

PRINT_MEOlA-GROUP

Ethnic Print Media Group San Diego. California, USA

Branded Studio, Inc. San Diego. California

The Challenge

The 35.3 million American Latinos spent $542 billion in 2001 alone. This market segment-representing 13 percenl 01 the nation's total poputatlon=has grown 58 percent over the past decade. That's spending power.

A division of Gemstone Productions, Ethnic Print Media Group is the premier Latlno prini media representativa in the United States, offering ROP (run of pression. page) and FSI Ifreestanding insert) ad placements in over 200 pan ner publications. The company planned an expansion of its scope to encompass an additional growlh market-African Americans.

The challenqe in creating this identity was that il had many messages 10 send 10 its tarqet market; the focus on Latino and African American themes and impressions 01 diversity, growth, ethnlcity. and strength.

The Process

Commissioned to develop the identity package, Branded StudiO developed dozens of concepts lhat employed 1 he client's established color palette of warm gold, bronze, tan, cream, and dark brown .. An leon depicting the expansion of a single idea Into an organic body 1 hat changes both shape and color struck a positive chord when presented 10 the client. A pronounced serif type treatment balanced' harmoniously wit 11 the weighty icon .

The Result

The client loves the balance and serene power of the new logo. which is now employed on the company's business cards. letterhead, brochures. sales books. reports, website. PowBrPoint presentations, custom presentation tolders: and trade show display graphics.

EthniC Print Me(R@ Group's icon depictifig ,'he expansion 0 f a sir'gie idea in to an or(F'fftic bady tre t chrmgeS' eo th shape [Jnd cO/Of strikes fJ positive chord when {X,J1r[.."'-O' witl1 English sra Spanish text, as seer: on this card.

tJt>ri~ed morwlhe 1~lin ~rd

, tmll'T'!-"l' q!Jb/lc (JSIheTiqg place ",I_/he /!idiCfaJ ~ ~S dilImll>dforansiGS is Ij,~ nl)e, ert ~I ttsoow and (m"!,,'Il,I!ItIme<IIali;lt), Mtri:#I ~ It!~IIM'' 18atI\8~.

~ .1"" •• , .''11;)0. ,,' '" ~

TIle, FW'IJir*$ /(I*'j(ll ~- 1/8J'isnHs'$rJod!rna a symbel CI MI/iMt R(j(l.l~. Qlrlhp(l!oo Of 1<iI.'llM~-, "(r:mell/l!1, (j(J!ir:I"rlSert:(Qtms- 61 ~'" ;'qt i~fii FI( /r.j.iiMd.im ' Inlo !l8p"G(f and ~ o;:tlIW1"m,ij OI(l .. ,j'1g .~ Iity6~1i ~ or IJ (Qfi?!n OIl -/;I~si:'. ""iw' ci..ta~ lJi1</ 15!i~l'd·

Agency:

74 Logo", MakIng" <Wong Mark

FORENSICS INSTITUTE, INC.

For,;mSicslnstillltll, Inc. Beverly Hills. California, USA

Branded Studio, Inc. San Diego. California

The Cha'ile:n.9"

Sit\J8lad in Beverly HillS. the Forensics Inst.ltute conducts programs that help legal and political professionals hone their debating skills. To help launch lhe business. Brandad Siudiowas called in I Q develop 11 simple. sinple-ccforldentlty that could be cleanly laxed and printed on a conventional black-and-while printer, tn andnlon 10 working ""'ithin these technical limitations, the logo had to 'convey messages of respect and trust in an abstract concept.

The Process

Exploratory research uncovered the origin ollhe word forensics, Derwed from j,he latin word forum-a public gatflering place wl1ere the judicial process was debafsd-fofsnsics Is the fine an 01 debate and lormal arqurnentatlon, Will1 this information In mind, the 8randed Studio team focused on blending an Initialtsm 01 !I.e cornpany's name with Imagery taken from ancient Rome. the birthplace 01 forensics. Towering. condensed forms ot 111e I~tters FII are transtormedinto capped and ioppec columns, creating 8 stylized imsge of a forum, A solid toundanon 01 sans serif type supports thls intriguing Icon.

The Result

Instantly appealing 10 lawy,ers and prolession(;ris, Forensics Inslitllle's new logo has received great praise from both the client and lls customers,

Client:

Agency,

TO entice service ,"ndLiS1ty &tnplcyees to s~rive for

f1?i),'",etary incentives, M!Jrpily De-Sign c're~ ted tnif, high-imp!lct, inescap!l~ie brand ;Qr ArB/nark's race c.ar-ttie.iTi'9d iniNative.

An arrray of colla teral materials, inc,'uo'ing 6"Ven .a wris1 Nate-n. djspkw~ the It'€lrsfltlli1y of Af'":;J."nf,Jrk~· »ew Fcrmu,ra One-s:yle identily:

75

Business and Technology

The Aramark Corporation/FSS 500 Philadelphia, Pennsylvania, USA

Murphy Design Philadelphle, Pennsytvarua

The Challenge

The Aramark Corporation is a major player in lhs services industry, providing large lnsth utions with such diverse services as dining, catering, olrrce coffee, refreshments vending', comprehensive facilities management, childcare and education, uniforms, and satstv equipment The company has many big accountsgovernment, educational, correctional, sports, and entertainment facilities as well as SI ate parks, national parks, and tourist attractions,

To stimulate growth, the company launched an initiative called FSS 500. Planned around a Formula One racing theme, FSS 500 offered employees across the company an opportuni Iy 10 earn cash rewards lor bringing in new business or additional service business from an existing client.

The Process

Murphy Design researched the graphic themes found at racetracks: the checker" board flags, the bright contrastinq colors of the race cars. The client accepted the concept of a bold graphic portrays I of a race car and driver alter viewing it in the context of a proposed newsletter design.

The Result

The FSS 500 mark was branded on mouse pads and individually numbered pit passes as well as three issues of a specialty newsletter. In the end, Ararnark was the winner, Its growth initiative goal was not only met but exceeded. Murphy Design's solution was also s winner, ga.rnerlng a 2002 American Graphic Design Award and a 2003 American Corporate Idenlity Award.

76 LogoS: Making' a Sirong Mark

WINZOGROUP

Chant:

AgerlCY:

WINZOGROUP

"or Winz~, 8 merkmlng end S/Il'lI"l'}ic pooirlOlling COmpooy, ProjectS created 8 brilnd ttuu SP"8~$ ,'Qud era clee.r, as cuslOmerS I1ap" thelf own b~nds will vnoe:

WiIlZQ" Cilte.

~SJ E".,.,A·,"

l<d'V","", CA ~,,~,

- .. il~.sgs-'l'OO F,p:-4I~..AfdXJ Fh:r,'"'!.I·.!€1.h~rot'~c-or;j

WIIUD GI'DW? 's tcon mkas "" a sublIe dimens,onaIIty 'I/tOUgh tire W's shill ItO«> center, which adds aynamism to itS torrn.

A&O:UT WlI'IZO

WINZOGROUP

Win:1O Group

Mill Valley. California. USA

Project6 Design Berkeley, California

The Challenge

Laurn;hing new products Or repositioning existing brands takes more than deep pockets and a willingness 10 go out and "ell: it takes a dynamic blend of ex pertise and outside-the-box thinkJng 10 reach target audiences and gain market share. WinzQ Group is a marketing and strategic positioning company that conducts feasibility studies. analyzes markets, creates collateral material's, and develops new sales channals-all critical components to a successful rollout Sinea trend-spot: ing and professioriallsmare also a pari of the equal ion, the company needed a dynamic visual presence that spoke these messages loud and clear.

The Process

Commissioned to develop Winzo Group's brand idenllty, PrOject6 Design began its exploration with a study of icons that depicted growth, focus. sndtsrget. Furll1er research led 10 the conclusion thai a typoqraphic treatment was the only way 10 express a modern, powerful point of difference. t.etterspaced typography, uSing a contemporary sans sari! tYP9face, was shaped and balanoed by the use of a black and red palette I hat added 9 touch of sophist lcatlon to the overall look.

The Result

The Winlo Groop's slra,ght-to-the-point logo dicta led the websile's clean style and brighl, professional palette. TIle cllenl was Ihrilled wlth the solution.

CONTACT U£

01 rio webSJI9, \'IItlZ<J G'OtJP ron fr.riUGlS rts ayrt6'm"'c v!'s-ua,1 oreeecce. ~pei,JkiflQ messages of Irend-rlghllhinking fjt1d PfCJ~5S/0n8i1sm_

LaUl"lcblng Y0l;lf product (If service. is

th e 1'1"1 (1st crill ca r ir'IVest:m em you rcol'l"l,p;l 11)' ttlake.,

~ea(hln~ wr;e~ "",rk~1!5 etf<ldly:eIV· ~nd tl:UllplllQ udy 5~t~~ !'MrTU:rm~rn tlIk"'5 mor.e than a g~gll ,I~i'a_ SU"nlliSr~1 rgllcut:;i r:eQ.lJlr~ Cl!r~~ul .t~atejlrt . plll'nn In,"" !Ie d ''''tI!! it rn ~u rces lHl<l' fl ~ wl~ tS Ill< e'cQtio n,

Winze> Group I!i .. II" "Ilmblt~ he d mll:'Ire~o, nrm tl)a t ~p""t~ 1.Ir~s In :IIrlltl QCt. ,,,onth ItDd p".ltiooing. w~ prC>\lllfe ~ [lJU r~"~e cof servlees - from dev>ll!>!lln.ll ""w sale$ ChilM~tlIlJ"d iOuJipcrtlt'lll colt~tal matenal· Ii;" M11'I1ltflllj/~ ~~'ltl(lhln:llllJ1d .."aII'''J'' -.1111 d~.,'ll"~d I:!:I !neriln~ your- . m~ r,,~ ( 'hll re,

Ohapter Three: Health Care

Client:

Anodyne

Minnetonka, M,nnesala, USA

Agency:

Fra hk e .. F,io rell a Minneapalis, :lVlinnesola

Anodyne

The Chall",nge

A distributor or medical supplies fQr more than 20 years, Anodyna wanted IQ rerresh its ident Ity and visually posi t](".., itself in a new ~Ighl to its healthcaro a udience-as a trusted resource lor biomedical equipment such as cryotherapy and transcutaneous electrical nerve stimulatlon devices, The firm's visual idenlity had 10 be as slate of the art and current aSlhe PIOOuctS. ,t sells to Ihe medical community.

Aftdoyna'-& ,-alreslled IO'Qn:ily ack1resses irs SUH&-CJ/-U'lfJaf"r and currenr positioning as H tn.Jstfild rescwrce and leading supplier 0.' bomeoicaf eqlJlpm"" r-.!lll eq,Jily evill OYe/ ,21) """rs.

The Process

Tile Franke ... Fiorella design 19am conouctec a competlnvs audh to uncover the need [or a mark I hal conveyed reliability and confidence and commanded respect wllile appear,ng unique amid the sea I'll brochures and business cards that crowd most hospital managers' desks. The design exploration phase led to the development 01 a classic seril type treatment lhat incorporated a medical cross in the center ot ths leUer o. Green, olten used to signify health. became the predominant palette color for Ihe identity, As an added touch, a magnified shaoow af the logo is employed 10 convey dynamism and, action,

The Result

Anodyne's success and grOWlh In the medical community speaks to the work Franke ~ Fiorella did refreshing the brand,

A mW,!crt! croSS' 1l1lhot ",,,,. r~ /it mil il'lIl'f 0: .gi¥!n ct!fOrl'¥ilflfl,9, rmd ,Mgi'Iitj(td ..hadOwirIfJ 1;>1 ;1$ ·tr",,"<:<>m, ~,(I-A:n&l1Yne's M~· ~O(~'~'\

, flilY ooc~h.

78 Log DS: Maki~g a Strong Mark

BMi)~ce, strength, and szabilily ere 11m ecu€! me$,,;·.etge~ conveyed in FreeMo tior:

Fitness's cullillg- edge

Iden tily: messtJg6's lh-a t have sLiccessfully reson« ted with the USA Tennis High Performance Program Center ,;nd the Y,'v1CA,

who" nave designated the company en o/flc/al proV/(Ier

The resuk 01 an intensive name search Ihat took place after the tm.g6dy of 9/11, FreaMotion '$ id~ntily addresses the company's strength plus cardia nlness Iralning philosophy and

the stste-ot-tbe-ert natura of its equipment in its logo, color scheme, and supponIngimagerj(

-

Client:

FreeMotion Fitness

Colorado Springs. Colorado, USA

Agency:

Hornall Anderson DeSign Works, lnc. Seattle, Washington, USA

The Challenge

The fitness equipment industry has grown by leaps and bounds over tne past 30 years, encompassing the health club, physical therapy, spa, and a -home fitness consumer markets. The commercial clvlsion of ICON Health and Fitness. FreeMotion, is a leading provider of strength and carole fitness- equipment for this huge segment. The Hornell Anderson Design Works IHADWj team was faced wilh a particularly daunting challenge when FreeMotion lirst contacted them after lha tragedy 01 9/11. The fitness equipment manufacturer had been called Ground Zero, but altar the terrorist attacks on tile World Trade Cenler in New York City-a site that came to be called Ground Zero-the Colorado company determined it was prudent to change its name.

The Process

The HADW design team initiated the process by conducting an intensive name study. This effort included focus group research and position development to ensure Ihe new identity WOlIld reflect the company's state-of-the-art eqUipment and training phnosophy: 10 create cutting-edge equipment that helps people build core strength. balance, and stabilrty,

The Result

Since the launch ot Its new identily, FreeMotion has been designated the ofticlal training equipment of the USA Tennis High-Performance Program Center and the YMCA.

ODESTAUCT SYRINGE TECHNOLOGY

AIITODESTR UCT FO RIM MIINIZAT.IO N

79 Health Care

Clien1:

Kl Sy.ringe

East Sussex, UK

Agency:

Lewis Moberly London, UK

The Challenge

Medical supplies, and especially syringes, are difficult to brand with expressions of user friendliness and safety. It's also tough to stand out ln an exl remely crowded marketplace where every product launch makes the same promises. Created by Star Syringe Ltd, K1 is Sri au to-destruct syringe wi Ih an ingenious yet simple device that renders the syrirlge nonfunctional after one injection This point of difference is strong: ns construction makes it impossible to use the unit again, etlrnlnatinq the potential spread of disease. Lewis Moberly was charged with desigrling a brand. ldsn lily to stand out among numerous competitors, an identity that would underscore the core concept and highlight the product's additiQnal messages: that tha syringe can be used with confidence and is produced inexpensively enough 10 market in deveioping nations. where low-cost medical supplies are desperately needed. Consequently, the brand's logo had to be highly legible and able to read across numerous languages and literacy levels

A syringe shape formed withi'n «; 's iJlpeJ tr~tment yieids an Image SO disNncfive Il makes a strong impression even Wl7etl p,1med on the barrel of the smallsst unit.

The Process

T h B Lewi s Mob e rly des i gn team crest e d an ide rn ity I h 81 req U i fed no second ary

I messages or translation-a syringe Sh. ape Formed within the Iype treatment. The m ark is so dist i n ct ive it rna kes a stro ng i mpre ssion eve n wh e n Pit ntsd on the barrel of the smallest unit.

The Result

Besides clearly delivering the message, K1 and its visual ldenti Iy team have

Ireceived a greater reward-knowing they've had a positive impact on world

he all h _ Th e Chines e g eve rn men t esti rna tas 20, 000 lives have been s av e d by this low-cost rnedlcal device since it was introduced. Furthermore, Lewis Moberly received a Millerlnium Product Award and won the DBA Design Effectiveness .Judqes' Special Award for the solution.

K 1 's aynetn«: 10gQ serves as the basis for s trlfdng support Imagery used in its (XlI· '&tfJr~1 program, which won L~wis Moberly 8 MilleMium Product Award and a DBA Design Effectiveness Judge,' Special Award.

"h~le 1$ no ,n6AO tor tilloi!lr rI)-~uc.·09.t:kll'l" K1 ~rlngl3;!i1 look the aama 8;!1 standard onee. :tijl {Jnl:! ~o Q.5iiil, and mll:Jt al'i 1r'lj8~~lol'j I'Iit\Slboon g~f'!, II ~IJIQr'n~l!~I~V Q'o£!I~tr~ rj~eft.

Kl TECHNOLOGY- THE-NEXT GEN~ATiON OF SYRI~G~S

80

Logos: rvlakl ng a Strcnq Mark

medcohea.lth

live life well

Client:

Medeo Health

Franklin Lakes, New Jersey, USA

Agency:

Lippincott Mercer

Ne\N York, New York. USA

Medea Health's br;gnt id~n!ily spe~kI; of 'he cosaoenv'« IwmBnness, cars . .and promise of hearth, employing a grfJen and SlJnshim:t-Qr,mg~

pMe r 1'::7 and eccessitne tyoe treeunent.

The Challenge

Medco Health is the nation's leading pharmacy benefits manager, delivering 537 million prescriptions to more than 62 million people In 2002. That represents ,nearly one in four Americans. The company provides prescription services !or 190 Fortune 500 companies, 12 of the nation's 42 Blue Cross/Blue Shield plans, and several large managed care orgsni~ations, In addition. MEidco's Systemed 'LLC capitalizes on its extensive PBM (pharm8CY benatll management) capabili· ties to meet Ihe speclfic needs ot small- to mid-sized clients. Medco Health's educational proprarns and sophisticaled information 'systems link patients. pharmacists. and physicians, helping ensure the appropriate use of prescription drugs for each Individual based on individual health profile, best clinical practices, and benefit plan coverage. Lippincott Mercer was charged with developing a visual brand that portrayed Medco Health's abili ty to lielp control to 181 healthcare costs, improve quality of care, end provide member satisfaction,

The Process

Lippincotl Mercer and Medco Health embarked on a collaborative creative process, Together, client and agency developed a wide range of design solutions that included logotypes, wordmarks,. and symbols. Each potential concept was tested against positioninp and image attributes during intensive research, The final image combines symbols of health-sunshine and a sprouting leaf-with a pes itive 0 ra n ge and green pal e tte.

The Result

Lippincott Mercer's solution was widely embraced within the Medco Health orqanization. The design team worked closely with the client to develop identity standards to effectively and efficiently manage implementation 01 the new brand identity, which appears on stationery, collateral materials, and its website.

PRECISION LASER HAIR REMOVAL

A ooogende." specific (J~PlCliO!l of hair s tratu;ts QIIO a ne-utffi~ l)CJ:aU{l :'Il:rocl boIn ""'" and """",,"I to Nf!w 10 .. * GynecoloilY and Obsleirrcian Association 's ExfOI;CS laser haJt r~n'10 I/DI .sind spa ueatmen: setvlcas.

Using 811 allJ>Ellva mSil end wom.an 10 conyey tha pt'om· fsa 01 mode!-ql1&'fty bOOuty on COI/Sleral rna lerials, ads, and website pages, Exloiic<J m;Jinrainoo the loyalty ollIs IemaIe =001&' base whll9 allracling n&w maJe c/lf!fltrtjj,

61

Hearth care

Client:

New York G,ynecology and Qbsl,elrician Association (NYGOA) New York, New York, USA

Agency:

Outside the Box lnteractive LLC New York, New York

The Chattenge

New York Gynecology and Obslelrician Associalion (NYGOAi Is one of New York Ci Iy'S leading medical groups, To leverage consumer demand rcr safe, medically supervrsed cosmetlc beauty treatments. the organization decided to add laser hair removal-called epitalion-to its roster. The Outside the Box Interactive design team confronted a nurnner of challenges when commissioned 1'0 devel'Op an ldem ity tor the new service Usually associated wil h darrnatoloqlcal treatment. the 1161'1 service cion' I qulte lit NYGOA's recognized scope cr practice. The rnsdleal group's perceived exparnse and qualltv of service had to be conveved in the new brand. Finally, the Identily had to auract men as well as NYGOA's sstablisMd lemaleclientele.

The Process

The Out of the Box I nrerectlvs team researched, culled, and vetted over 50 potential names lor Ille new service. Through fOGUS gro~ps. studies, and narrowing lherr dsflned oDlectives. the team relined the search lO two distinct directions. One leveraged the procedure's guamnlsB 'Of safety through medical supervision, Tile other spoke to consumers' perceived association between lassr hair removal and spa treatrnen ts, using an attractive man and woman 10 convey the promise of model-quality beaurv

The Rasu!t

TI1El Out 01 Ihe Box lntaractlve team developed a complete communicalions program to launch the new NYGOA offering" Applications include a brochure, counter card" statement stuffer, rnlnlwebstts, and stationery system. II has been employed in cross promolions with health clubs, upscale hOlels. and spas. The idenilly program also Included a DVD presentation that was displayed on a monitor In the facilily's waiting room and mailed 10 a lisl of existing, clients and -to prospects harvested I rom purchased' mailing lists. A full·scale websile, launched tater in the program, features online scheduling; and a streaming version ol the DVD presentation.

Sleek. Gorgeous skin ... It's easy. Ir's Exfolica.

82

LOQos: Ivlaking a Strong Mark

Cllenl:

GlalloSmithKline

Research Triangle Park, Nonh Carolina, USA

Agency:

FutureBrand

New York, New York, USA

GlaxoSmithKline

The Challenge

When two pharmaceutical giants merged 10 become GlaxoSmithKline (GSK), Ille newly lorrned entity needed a new vision, a new brand, and a new corporate identily thai would appeal to both consumer and medical audiences without jeopardizing the success of existing product brands, The new company contracted FutureBrand to create an open and approachable identity that would maintain a balance between a strong corporate brand and the individual character of the company's divisions-one that would resonate with a diverse audience. GSK's new identity had to build awareness. strengthen consumer loyalty, inspire employees, arid lead orqanlzational c!lange-all in record lime,

GlaxoSmlthKiine 'e /lew fogo leV1:'f'.fJg85 thG' Soquity of two pnf:JrrnaCeulicaJ giEirlts wnlle es tabUslling 1:1 {lew brand in tfle eyss of consumers and medic,'!1i rmfef;s/Oru~/-s.

The Process

Ths FutureBrand team first identified changes in the pharmaceutical industry, .such as the growing importance of consumer marketing, the emergence of patients as consumers, and the proliferation of consumer information, The team worked with GSK to develop a posltionlng platform that embraced a stronq mission: "to improve the quality of human life by enabling people to do more, feel better. and live longer,"

GSK needed to appear to be more than a monolithic corporation, FutureBrand's design studies cen tarsd on the emotional aspects of wellness, The final image is an abstract silhouette of a human heart, The team executed the image in a warm, healthy orange palette that symbolizes vitality and hope.

The Result

To implement the new identity, Futurefsrand developed a proprietary online system that manages all of tM brand assets with one coordinated global tool. One of the greatest successes 01 [he program was helping merge the cultures 01 the two orqanlzatlons. The brand was used as a catalyst for the merger as wsll as a svrnbot of the combined ethos and mission of this new institution, Reactions from senior rnanaqsrnent included comments such as, "It's fantastic, This company looks and feels different," and "I feellike we've had this logo forever,"

An (lb$tmci .,~ho",,!I~ ~1 8 II"mM Mi!rr, "K~UIM In'n warml heaHhy ma.nge palette Ina I SymtJplizt>s vitality qO<j' hO[i!~, encorr1f"l$"~S- pn it>,c t,allsm of the compBny's nal)l\t, Used an broch ares, Oq-FWM pres~li.lDlion$, 8m;! ~\'en moose' pads, Ille ne01 imaJ1e ~Qt only teaQnmfld w~11 \vltfJ t~rg~! $Udiarr(!$. tun els~ helpmd m e~~ U,e cuitutes· o! I/!? !wI!) qrgani;zatlons,

83 Health Care

1]UONA VISTA

Cllent:

Oiva International/Buona Vista Spello, Italy

Agency:

Studio GT&P Foligno, Iialy

A pair Of g/ii.lss~.;:; rapif.ice-s rtle ,Iel tel" B in BLlons ViS te 's flame, which filetsJ,'y means "good 'ib/Ofl, !.I ThF} logo cLimes I'.r! ,'hree versicns:

a go,'d foil rendlt,'on rOf paCk.ilglng, a two·coiof" "i!tI.....;.ion for print w·crk: ..;inO

a one-collar lIerslon far sinp::Hng matEria.ls,

<J3UONA VISTA

The Challenge

The majority of world's products are eJeveloped to appeal to either male or female consumers. Once the gender market is determined, other marketing factors are incorporated into the equation, Packaging and message paints are directed to appeal to specific demographic and economic segments as well as sootusncai ion·level and age-related subgroups derived from focus group ses· sons, supply and demand studies, and trend analysis, Throuqh this intensive process, marketers develop a personalrty profile of the product's ideal customer. Men and women 01 all ages use lens clpaning papers to maintain sunglasses, prescription and over-the-counter eyewear, even camera equipment. The market Is saturated with products that target a general audience. To create a point of difference in this arena, Diva International sa! out to launch Buona Vis ls-Iens cleaning papers targeted to an upscale female audience,

<l]UONA VISTA

The Process

The Studio GT&P design team focused on portraying the product's intended use in the .den tity's typopraphio I real rnsnt. A pair 01 glasses replaces the letter B ln the company's name, which literally means "good vision." Applied in gold foil on packaging and on displays, the logo was also designed in a two-color version and a black version for use in other materials,

The Result

The Client was impressed with the result. Thus far, Studio GT&P's brand identity for the recently launched Buona Vista lens cleaning papers has been applied to packaging, displ~ys, and collateral materials.

n

innovation. vocsticn. and Cf)ffng firs thg POS{tN8 messages portrayeD' in ~hi$ io'en· IllY for Austraiia's iargest DrrJ'.'ideF ot fl__.lnerar/ serVices.

Care

Client:

Agency:

84 Lagos: Making a Strong Mark

SCIA

Sydney, Australia

Cato Purnell Partners Richmond, Australia

The Challenge

TI18 funeral business is changing as people's attitudes about death and dying evolve. There is more open dialog among businesses that service ths industry and consumers than ever batore. There is also more caring and compassion on both sides. In 2003, Australia's largest provider of lunerarv services. SCIA, restructured and rebranded itself to maintain its posttion as an industry leader, The name InvoCare was developed for SCI A to reflect its corporate positioning of innovation, vocation. and caring. True to the new name. InvoCare has been active in the communities il serves, working with charitable organizations such

as Save the Children, Grief Support, and Rotary.

The Process

The Cato Purnell design team was assigned the job or creating an irnaqe that would narrate InvQCare's rnessaqes in a positive way, Numerous sketches led to the development of an icon that represents the nurturing and all-encompassing approach the company takes in dealing with is clients and the community. A sense of commilment and dedication are conveyed through the brand's bold, classic, serif type treatmen1. These etements were combined with a serena, positive palette of warm gray and lavender that speaks 01 the company's innovative approach to an otherwise dark, somber subject.

Tha Result

Cato Purnell's new InvoCare identity reveals a new abstract form for tl1e concept 01 caring and comlorling, which has so often been associated with a hand or hands, Here, a broken clrcle envelopad by a complete circle gives new shape to a fundamental idea. The client qUickly approved the new mark and implemented it in its stationery program, collateral rnatsnars, and website.

B 5 I"ealth Care

Das medizinische Laser- und Kosmetikzentrum

The tKfli1d "o'e,nNty tor Pre-Beauty Beoul)' ano· C:J5rr:'13~IC Surgery takes a gerw~. sens,:tive appro{)c,'! :t) iJS sub/set, using a subdU&J COI'or 011el fe ana'

I9'11C iioruJ,' ,imagery to commUfil(;8le 1/109 beau~f". sellC0(1."'der:c6, arlo' peace 0 ( (mnd Uiat can oe BeNelleo'

Client:

Tile !I~m.le, sehiJ(I·ve IipprOBCh .10 PrqB;'''LJiy's loomi!).' i!! 1l}S'O (t'Ylpfernenteo' in {he clinic'S .. et;epl1pn ;tIretil. Ti)8 .spprooctJ ha~ !looil so 5llCCesst\lII~M a seGo,'=/d Q_{in,'c: it;.'b~ln:g

!" u.nched. alQng· Gefl1'lBIlY's !1GrttJam, coafit ..

Agency:

prohcal1~/

ProBeauty Beauty and Cosmetic Surgery Bremarhaven, Germany

Braue: Branding & Corporate Design Bremerhaven, Germany

The Challenge

As the Industrialized nations' population ages. the rnajority of senior consumers seek rnore and better ways to maintain their youth lui appearance and improve their looks. Medical science and beauty companies have teamed up wUl science and technology to develop ways whereby consumers can transtorrn sagging [awlines and angled noses. ProBeauty and Cosmetic Surgery offers these services willlin a carirlg and medically safe environment. Braue: Branding & Corporate Design was called In to develop" Visual identity that would convey that message while also communicating the t rust and confidence consumers demand.

The Process

Braue's design team thoroughly explored this subject by trend scouting. researching the cosmetic surgery industry. conducting extensive largel audience interviews. and reading special interest magazines. Willl data in hand. the tearn S9! its limits: Keep consumers from thinking about scalpels. tubes. and scars. They took a gentle, sensitive approach by employing a subdued color palette and emotional imagery to oomrnunicate Ihe beauty, self -conlidence, and peace of mind that can be achieved 1 hrough cosmetic surgery.

The Result

How do you make a client smile? Help boost their bottom line Since this logo was Implemented on ProBeauty's signage, stationery program, brochures. presentation folders. posters, website. and advertising campaign, tile clinic has experienced strong growlh culminating in the opening of a second clinic on Germany's northern coast.

To keso consumers from assocl'o!ing cosmeti::: surge(}l 1,'11:11 scalpels, t~Jbf)s, a.na scars, a buawfly .'S em,playea' as a reminder

0; ttle beau 1]1 ti7B [ em srges .;!.I$ 8 ree»: 0 t the orqarszs~ion 's serVices.

MISSION ONE MEDICAL CENTER

Ml..Jrohy Design s laS{-n~inLlte, one- COl'ar la'en tity tor a trade show dispioy proved to /;lil ,'he str8J'ghllorward sQl'ution Ara{tlark was seeking.

Agency;

Inte.nsive (are Unit:

Red ucing Barriers for (are Providers

• Dependable clinical equipment

• Rap·id bed turnaround to ease capacity constraints

• TImely transportation of patients and supplies

MISSION ONE MEDICAL CENTER

I(J,/Qrmm/O/lal; p.'ocaw;; ~rel)!lji1 fr;lr Ws Imde'¥'tTbw c("n~om;!;M",fhe d;J8ner:~ If)if:!lt)Yf) /.1r;& Dr one C;Glor: in a tjlr;m I,~"~am.

86 Logos: tvlak,ng a Strong Mark

Client:

The Aramark Corporation/Mission One Medical Center Philadslphia, Pennsylvania, USA

Murphy Design Philadelphia. Pennsylvania

The Challenge

A leader in insli I u I ional food service and racility management, I he Ararnark Corporation provides myriad services 1'0 businesses, government, educational, correctional, and heallh care lacilities as well as sports, entertainmen I, and convention centers, plus national parks and tourist attractions,

To increase its market share in the ever-growing health care arena, Aramark created s trace show displsy 18rgeted at the nation's hospital and healthcare lacilil iss. Mission One Medical Center is a virtual hospitsl I hat demonstrates the many ways Aramark can improve opersnons in a hospital setting, Murphy Design was called in at the last minute to create a one-color typopraphic logo for trus one-time event.

The Process

Considering the crunch deadline, the designer team chose a stmightforward solutlon that used M) as an icon, A letters paced serif type treatment provided I he mark with a reliable and respectable presence, Variations on this core cone,epl were ernatlec as PDF files to Ararnark's four-person review panel for final selection,

The Resuft

When the final design was approved, the Mission One Medical Center mark was applied to signage, presentation folders, and other support materials jusl in time for its one-time-only display, Though the duration ot this brand was 100 brief to measure its impact conventionally, the fact that the client quickly returned to Murphy wilhaddilional work sums up Ararnark's opinion of the logo,

esc

A strong visus} message at /oims in motion IS enhanced oy the referenC8 to the product's f1.8me---CSC-II-in tnlt(; idsnti1y for a natural cotlagen- replacement ixco.«: t that promotes join,' ileailh "nd imprD'les mobility

~

eSC-II

-

I I

Client:

Agency:

87 Healtlt Care

Wheatland NaturalslCSC II Shattuck, Oklahoma. USA

CFX Creative

Vancouver, British Columbia, Canada

The Challenge

Prevenlive health cars is a crucial message in the field of alternative remedies.

As a large portion of the consumer market is over age 40. natural remedy manufacturers have set their sights on slJpplying consumers with products Ihat can mitigale the effects of aging, from weakened memory 10 jomt pain, Whsailand Naturals, a pioneer in I his field, developed 8 collagen-replacement product called CSC-II (chicken sternum collagen type III thai promotes joint health and improves mobilitv CFX Crealive was asked to develop a brand IOf ths product that would possess a strong visual point 01 difference.

The Process

A competitive audit of store shelves led La tha conclusion that a bold iconic treatment coupled with clean, legible Iypography was the answer. Exploring rounded shapes and letterforms. the tsarn developed a shape that uniled 111B letters CC in the cent sr, creating an abstract S. The strong visual message of joints in matron Is enhanced by the reference to I he product's name: CSC,

The Result

At the lime of writing. it's still too early lO know what the effect will be, buL the client embraced tha logo and will be launching under the CSC-II mark distinctive identity in 200~, The brand will appear on 1i1e product's retail packaging. labsling. and sell sheets,

com eXl uah:Zed on thfJ prorjvet 's CDnt8Iifl~r, Ih~ lugo /s cornplemenled by , courteous sans serif wpe treElI men 1'.

Med

tv~ARKET

I

Client:

MedBiz l'II1arkei's lago fOCLlSeS Oil ,the Ir~feraCUD,t1 betvveer1 bU'Ier ana' se.f/er within a healt.h cere-oneoted

Agency:

real estate lTk"Jrkr::tp.'ace. By incofT);}rating s .t"JarCi-ooged business lorn and colors commonly found in h'jE;p/lals, the deslgtlf;f}r0' w'8re able (0 8ddr€JS$ bOtJl me.(/<ets.

Ttv~ new toqo 's color PiiJ,Ir;tie. as weil as tt7f3 o'e,'f;igner"s solid tjpograptiy sys!en?, 1:8 corninued {fvoug/lout ttAedBiz:s ~".!eb.slt€l.

Going. Going. GONE!

o.ut s ~SUI'I" Is ~ '1 ~"'4:'" r1'otth)d f~r u'llng ~~ur mad,(llbu$MU ... lt:I'I UJ' l .... d ~.'!'f'iL'rtlt c-C-'~~ y~ul

li,t'p'Do.Irbu$ ~U:l li"J~~ f;:.r.~ I ttl~ u i.t.'l'5" ptr mo~d-~

MARKET

u,,~ .... ~Ul MtJ,Cll e.uJII""UTod~~' ,Io.'JI,~.d LJ~ln9·

nut~ln9 holi'lu. d~c~.:or'i oliict. Dh.,fI"~C'v. m~dlc"_l bill ,,~,at~ Ct. chjr1;lPtH;'o~_ otfcc, hQ'~it4~ ruMlng ~~nu ..... d'1'l"tt,

Wal.tuml!l.ofJIe~I'L'litrk1rt,t:DfII

Our site crft! f: an nsecen 3 r-e "'<It! 10 ist y,~ 1,11 til!! !liltl'1 ~~t'i 01 me die sill usln !!ISS ret

sate eno:c \!iew 1I~,1In~:5: ro' one- rearmesre and m",dicalllllelne-$ge~ lhat are belJt!:,:l O'rref~d. r cr es iitte as $< 9.!:5 per mcnttr" 'YOlJ cart IIS!~'DUr b1Jslr1E-S$ iO mousanda er pateJ'lll~1 mee cal bus ness bU)'ersl

Don't ttaw. a tmsins$:i;. broker? Neer::l flRal1c.~g? om'! nii!lrl' ... e haule? lat li'fCUIJIZI'.II;srket lIi!!Imltu th~ $iil(iI

Ued8Izt.(~fk8~ nee Q'\'ecIIh1l1~')'E'ars ereee-eoee In all areaa orMal~l,e3fe bus'reeaes <1M oeeeeeoe 'Nf! ha'lE! a fu'l s!al'l' OfQfi:.tes~IOflals til MlllCils e¥~~' asp e cr of ~ E'lltn9lb~j'ri ng your I",ealthca rs bus IneS!l: Ilghl oc ... m 1Q the flnan:::ln:;l

SU·,dlb'fl:'tifl<j!~to) "lnll.s;loHlfic Inln~

en11!f listingJ)

Got Mare lnro NOW!

88 Logos: M~king a Slrong lVlark

MedBiz Market

Bator1 Rouge, Louisiana. USA

CFX Creative

Vancouver, British Columbia. Canada

The Challenge

Med Biz. Market has over 30 years a I experience in the heal lhcars industry, ranging (rom facility development to daily operations management. The company extended its scope to otfer prospective buyers and sellers an online resource lor n1e sale of medical offices, pharmacies, hospitals. medical supply houses, nursing homes, assisted living residences, and other l1ealth care facilities. It asslsts buyers in securing fmancing for purchases.

CFX Creative was given the task of developing a brand identity that would portray both the medical and busmess aspects of the company's of1erlng. Because he mark would predominantly be employed on the Web. il had to have a clean and easily recognizable presence.

The Process

Rather than spelling out a message of real estate. the CFX Creative design team directed its anentlon to the interaction bel ween buyer and seller within the marketplace. Pairs of gray and green arrows pointing in four directions graphically achieved the goal, Tile icon was combined with a solid. sans serif type treatment that gives equal weiglll to both the medical and business sides of the company's wordmark The color green is rradi lionally associated with the medical profession. making it 111e perfect palette to convey the identity to the target market.

The Result

Initially, the Identity was implemented on MedBiz Market's eponymously named website. accompanied by the aglirlA "Tha Marketplace lor Healthcare Buyers and Sellers." The client was so pleased with viewer response it plans to incorporate the mark into a lull corporate Identity package.

Cont/o'ence, uusu. t8,I;ab/l/t_v, era. above 81'l, feminimty are t.fie messf."lges cvnlleyeo' ,'11 D.'\:a Interru;ltiO,'18,I'S blue ana'

,., .... -- ..........

d(VA

di~1

Dlva:s f).i''O,G,~.IetfJry. lIne of 'b,aauty ~m;i h,,~hli, ~kj." , ~~GIi as liJJ~ box of :;indleuS'", mql<~1Jp r"rr'lV~( "no bleansiny' rQ~~tia$; has ~n ",agan!, distioc{iv@ ~ir Ihilt <!p6P<lJ~ 1J:i 1\::!"r!J~t mark~(

IVA

Client:

Diva International SrI Spello, Italy

Agency:

Studio GT&P Foligno, Italy

Offen'ng beauty and he.$lth care prod!J(;rs for an J.ip.<:OC81e femaJe eudtence; OlliS Interna.tional combln~!:; tne nJ...il77f.iIi tOJ • .i(;:n, W&ftr11hr soitreee, energy. no strengrn In its brand identfty

The Challenge

Health care products and services developed for use strictly by women has become a flourishing lndustrv From prescription and over-the-counter medications to natural and alternative remedies, the women's health industry demands a deslqn treatment that conveys messages of confidence, trust, reliability. and femininity, ali in one image.

Diva International creates lines of products that target this huge audience of women, StudiO GT&P was asked to create a vital yet feminine identity combining warmth, softness. energy, and strength in a single Image.

The Process

Studio GT&P's solution to the challenge of designillg packaging for Diva International's line of products focused on the use of the structurally perfect typeface Bodoni In (l rnodlfled torrn. A blue color palette enhances Ihe sense of rsliabilitv the image needed, A golden brush stroke reflects the human aspect of well-being and hsalthcare that is a signature of Diva lr ternationat's product line.

The Result

The brand was instantly accepted by its target audience, and the client loves it. It appears on all of their branded products and on siqnaqa, collateral materials, and the co m p any's sta t i onery p rog ram.

Presented in win Mandarin crerectet« and Roman ietters, Sen's name and irri%""e fuse two wllrxes I" send tile comP8ny's message of 'Iiving balance" to cDllsumers. Sen is ths Mandarin 'Nord fer "torest, " 8 uni'versal symbol 01 an idea! ecosvetem tha rs Gontiflual!y evolving _IIE;l.'t (,.;onst,s(lHy in ool'8.nce_

Client:

Agency:

90 Logo": M~k,ng a S lrang Mark

Sen London. UK

Wolff Olins London. UK

;The Challenge

'Hutchiscn Whampoa is one of the largest companies listed on the Hong, Kong 'stock exchange, with more than 150,000 staff in businesses spanning 41 countries. This massive conglomerate decided to bring good quality, reliable, and well- packaged traditional Chinese medicine products to the \"lest. For most Westerners, Chinese medicine is an unknown entity, Potential consumers are concerned about product content. Generally speaking, tnts target audience lacks understanding and is sometimes skeptical of the effectiveness of these ancient formulas. Wolff Olins was commissioned to create not only the brand but the business strategy for Hutchison Whampoa's latest enterprise.

The biggest task for the Wolff Olins creative team was to demystify perceptions of Chinese medicine and to create a brand that would attract customers to this ancient healing art and )1elp them feel corntortable with it. The new identily had to retain its Chinese heril'age and resonate with I'he Wes1. The name had 10 be meaningful in the Chinese language, but English-speaking consumers had to be able to pronounce it.

The Process

The Wolff Olins team began its investigations by discovering what products would be sold outside 01 China. n,e team visiled Ihe Iwo Chinese production tacrcnes and researched how Ihe products were marketed and used within China, The team also did extensive research into the alternative therapies industry and i Is larget audiences,

IChinese medicine seeks to achieve balance between the body and the natural world, These two elements provided the creative team with the brand's essence: "living' balance." This concept catapuh ed them toward tM Mendarin word lor "forest: which is sen. In both Eastern and Western cultures, Ihe lorsst reprssents an ideal ecosystem that is continually evolving yet constantly in balance, The Chinese character for the word sen is rnade up of three smaller "wood" characters arranged in a triangular formation, creating a beautiful and visually memorable identity,

The Result

IHutchiSOn Whampoa launched its Sen PrOdU. ct line in central London with Ihe opening of 1 he first Sen shop in December 2003. Since then, Sen concessions have been launcrled In British pharmacies such as Boots and Lloyds. While it's still in its early days. the Sen designs were recognized in 2003 by the London International Advertising and Design Awards and the prestigious Brltlsh Desiqn and Advertising Awards,

91 'Healtll Care

Thfi Chmese cnerecte: tor lhe wora sen is mao'e up o.f lhree smaller "wood" c/laracters arranged In a 1n'angLijar iOfTn.~1laflr creating a bOOu(,'tl.Jland visually memo'Bb,'e Identity in both rockaging and store ~''9nBge.

Th" .'(:liWM~:5 bright .oaJelle' co'nfihUes the tlJerne of .pO,f;irlVlJ ;meroo~ hSil!/tVihd qL!alil;f &verl on'it. west/1e, wh~H~~ppoJt~ i~~ ~uet hlje's !a'iJ~O,~ In' 9nalnj)M,:maCi"s(hro(}~hOlit' m~ , , I)rlft!'d Kin!'jdq(tl.

Chapter Four: Hotels and Restaurants

S"'MQN

I

S

ESPRESSO

To Sf'Dw th t Simon 0' Simon 's Esprssso CB re IS an ar::tua.l persrj!),

Daigle D"sigll used 8 S'II1- /Jorl(; male ngtlffi lor II,e IlnSimot"/.

The lago's ico/lIf; I SIi1nds Ql10ne O.n cups and 0 rtJ~r pnnled mal""ais and.

If I rape tltiQn, makes oS SlfOOg moot.

C A F E

Client:

Simon's Espresso Cafe Ses1tle, Wasllinglon, USA

Age cy:

Daigle Design

Balnbndge ISland, Washington

Tile Challenge

It takes more than a great iatte 10 attract the attennon 01 coffee C()(]5UmerS in Seattle. where cafes and coffee shops are as num rous as newsstands in New York, Simon's Espresso Cafe needed a visus! pomt of difference to make its way in this hiqhly-cornpetitiva marketplace. Daigle Design was called il110 create tila:t identity.

The Process

The designers wanted to establish recoqnluon of Simon as a person, so Ih6, Incorporated the ligure 01 a man Into the logo's typographic treatment. Numerous sketches and tents were reviewed to find 111e perfect downtownSeattle, metrcpojtan care feel. T~18 man-shaped I was enhanced by a provocative shadow. wl1ich was tneo at many angles before final selection was made. The I was later employed as a motif on takeout cups and other materials.

The Result

The logo, which is currently used in packaging, cups, sigl'lage, and collateral materials in the 11ighly compe i ive coffee arena In Seattle. received a 2003 national design award rrorn American Corporate ldentlty.

~ .. !fJ7)

· J1mIc

INTERNATIONAL

Client:

Young SD.rOI~'ling li€BVes.

an ~i(}q8n1 cursive torn. and sub tile [lO,IQ inrn speak of spring to Spdng Park

In f6'fna UQ'nal h'otB,'S!

As/.S(.' market.

Agency:

of;fJ;.I!I.rJ.tt()j<~~~~1 tlll:+~~'7-ko:!'1 n ... ·+~II.j,.'71i~.ft::'.l.1 :lUI..I&,II·.i!:."it'11I.-.l"il!.~IIJ~-

i1111i. ...... ~.,......Jo.o

93 Hotels and R8stauran Is

Spring Park Internationa'i Hotels Taipei, Taiwan

Graphicwise

Irvine, Calif{)m ia, USA

The Challenge

Based in Taiwan, Spring Park International Hotels' owner wanted ~ high·end

logo lor the exclusive chain of Fsr Eastern hotels. He also wanted Ihe word spring to be symbolized ln the iirllshBd visual identity, The biggest challenqe Graphicwise faced when il was commissioned to develop the logo was time: the client didn't contact the design team untit the hotels were 8 month from operunq,

The Process

Following the strict request 10 symbolize spring ill the design solution, ths Graphicwise team went through numerous intensive brainstorms, emerging with two potential syrnbols-a butterllv and young sprouling leaves. The latter was 'selected because it was more stronplv connected to the season's association with birth and growth. The cursive font added e touch of elegance that resonated well with the hotel chain's Asian locales and audience, The team also recommended parts of the leaf motif be stamped with 8 subtle shade of gold foil.

The Result

Graphlcwisa's final design was unveiled before the Taiwanese press whsn the hotels wsrs just about to open for business, The logo was applied to everything from Ihe stationery program, robes, towels, and bed covers to hotel signage, .wsbsite, print advertising. and billboards, It earned Graphicwise a 2002 American Design Awards gold award,

:Io:I!!~ ~58&-:z..l'n:loo~17

f',a., _...ea!:·~r.r~~-~l Em:::.tch~~I)'Ia;;:tm.tw Wo.IDSi&; ......... ~II:ho-oI.com,...

~t8i<II~~.l.Nt.:i 1i!:li!~"ItrrL;N~.'i;!lDiiITDw.1Jn 10iJ..110C

Scre,....,~d-bBck enlarge· merH-. of tile young I"" ves icon, soon h~re on business cards and JelloSrhead, reintorces the branding,

~'[j'fi'ln Chong cl!oalim~

Client:

Agency:

The L awis Moberiy design teall'l cremea this InfOrl"l1tJI scnp I Wpe /re~ 1m apt w/>ict, was IfIS()Ire(} by Ihe whimsical d'(Jw.rng sl.v1e round m m~n y 11~!ian villa9G cMes and P" risseries_

"awls MoMriy didn -j SlaP wllh the iogo: litey crealed B,O extensive series 0/ pl~y!lJ! graphic lI/uSll'fJtions used 10 fifXlend Il>e bliifJOlng on ,001',1· eo mar9nlJ.'S, packaging,

and sign~ge,

,Logos: Makl n9 u 81 rong Mark

PaninilGrand Hyatt Hotel Dubal Dubai, United Arab Emirates

'Leyils Mobe,rly leMon. UK

The Challenge

The Grand Hyatt Dubai Hotel is one 01 the Middle East's largest and most exclu r siva hotels, appealing to bOl11 business and leisure travelers, The establishrnent houses fiN rooms and suites as well as 15 restaurants and oars, each with a distinct personality,

n1e Grand HyaM's bakery cats and pallsserle, Panini, is designed in the style 01 a classlc Italian village care, Psnlni's identity had 10 communicate a sophisticated 'version of this persona as welt as advertise the venue's offerings: dellcate pastries. cakes. chocolates, gelati. <Ind giN packaging. To accomplish Ihis goat, the hotel hired Lewis Moberly, which had previously developed the brand lor another 011119 Grand HyaJ!'s venues, lndcctune (see page 98).

The Precess

The Lewis Moberly design team took its Inspiration from the whimsical drawing style found in many Italian village cafes and patisseries. The informal script type treatment and spontaneous graphic illustration are set on a botd red. The learn's solution plays on the lively. lun, relaxed. and social etements that can be found ,at these establishments. which serve as the lifeblood of small towns lhroughout Italy_

The .ResuU

Panini's lighthearted logo playfully decorates l11B cal~'s menus and signage as well as numerous takeout items. The cafe was an lrnrneolste success with hotel Visitors, who find the expressive branding an open invitation 10 take a pampering break. Lewis Moberly won accolades for its soluuon, including designations from Creatlvity 33 Annual and Mobius 2003,

Client:

Agency:

95 Ho I e Is and Reslau renl"

VINOPOLIS

CITY OF WINE

Wineworld pic London. UK

Lewis Moberly London, UK

The Challenge

Vlnopolis is vlshor attraction on a grand scale. A major new venture on I he banks of the River Thames. the venue prssen Is a rare opportunity to experience and learn about wine in depth, covering every conceivable aspect from grape to glass. The complex consists of 20 halls. Each hall hosts a particular region. presenting a visual Ieast that narrates the host's wine-related history, culture, and character, Audio commentary is provided by the world's leading wine experts. Grand Tasting Halls, a shop, a gallery, and a restaurant offering more wines by the glass than any other in Europe complete the experience.

ILewis Moberly was commissioned to create a brand that broke down the wine snobbery barriers, emotionally and visually captlvating audiences who want to learn more about wine anc wine sppreclatlon. The design solution also had to ,all ract irwestors needed to acquire the 1:18 million in funding ior completion.

The Process

,

Wine affects more than one sense, In tact. the true appreciation 01 wine involves

sight, smell, taste, and tOUCh. The Lewis Moberly creative team focused on these essentials of wine appreciation 10 create a compelling visual invitation to Ihls distinctive London destination. The design solution was an abstract view of 'the human senses paired with ths true wine experience, creating an inviting and Intriguing statement. Applying a Picasso-style motif to the overall treatment, the ,Identily resonates with both vetsran aficionados and novices who equate wlne with fine art.

The Result

Working closely wilh illlenor design house Jasper Jacobs Associates, Lewis Moberly employed the identity in collateral and promotlonal materials. signage.

! and shopping bags. The complete visual package not only attracts thousands of .visttors, It won the agency a number of awards, Including a Loewrie Gold Award, the D&AD Annual. and a Clio Bronze.

96 Logos: M,lking a SHeng MMk

LA GRANDE EPICERIE PARIS

The Lew,ls ,'v1obt.'rly team expe<imenle<1 extensNeJy L-vl'rh t'lford pamngs until they .'den~jll 0' this deceptl1l8,'Y simple sohJtior.', whiCh <educes fl Icmg IWIllB 10 « slrong logo1!1pe.

Client:

Le Bon March' Paris. France

Agency:

Lewis Moberly London. UK

LA GR4NDE EP!f~~

I I

The Challenge

La Grande Epicene de Paris, situated In Paris's stately La Bon Marcile department store. is the city's leading lood hall. A longstanding institution on the Rive Gauche. the store's tood department offers an International array of over 5,000 products, from hard-to-find Welsh mineral water and handmade Fren~h jams 10 plquarn Neopolilan tomato sauce and organic provincial sausages. Lewis Moberly was commissions to create a fresh. new identlly that targets new "Ioodles· and clearly demonstrates the contemporary and confident stanca of La Grande Epiceris de Paris. Tile Cll(lll",ngs was to convey a long name on a range of materials-tram entry signage to the top of a delicately Iced pastry.

:me City 0 f Ligh Is' leading tood hR11 Bnd a venemtite iflstHu(km on the Rive Q,ucna, La Gt8l1de Epic",le de Paris's Irn"ge evoked ils b,,!le epoque rO<Jls. IlUI said /;11/6 1100111 its rxmf&mporafY eoa Inf",· national array ot tocas.

The Process

The Lewis Moberly design team carefully scrutinized the food hall's name, observing the rslatlonshtp 011he words and thslr meaning within the store. on signags. packaging, end all other printed materials. Intensive expenman lation with fonts fed to a deceptively simple and modem typographic solullon. Further crafting with terns and layout led to the final design, in whiCh shared letterforms make the most of a long name and emphasize the food store's longstanding import nee to tife on the Rive Gauche.

Embla20ned on Ihe s torn/root. r!le optical i/fuStOrI

IS so .mOOlh inst « reods instantly ss me fuN!'l mfl, Th" fa'll choice empl>8sizes COIltemporat"f products

ana high .r;l.Jaiity.

97 Hotel. and Re$laurants

The Result

The logo and overall identity were implemented across tile entire retail environment from signage and uniforms to cake boxes and van liveries. The store's diverse range of customers immediately accepted the refreshed identity; now patrons, both YOLJng and old, proudly promenade through the Parisian streets with La Grande Epicerie de Paris shopping bags. The design has received numerous awards, including designations from British' Design and Art Direciion, Mobius Advertising Awards, and the Loerie Awards.

LA GRANDE EPICERI,E PARIS

Client:

Agency:

To ,ntroduce Dl/OOjlS r."r~-;f liter nnmes« rest (iI/ron tl LewIs M'ober,'y {]"S'W on Vllllnames{) ena Too' fn/h.'eIlCr>S as well <IS I~~ resl~uram 's ector sc-neme. The logo poltrays Ihrea pslts 01 poop:" e11[}lJgild In a ,><JOdkJ-PI1We 9l'me.

98

Indochina/a'rand Hyatt Hotel Cuba; Dubai, Uniled Arab Emirates

lewis Moberly London. UK

The Challenge

lndochina is s Vietnamese farnily-styte noodle restauran I. ens of 15 bars and eating establishments housed at the luxury hotel Grand Hyatt Dubai. Bringing the delicate flavors 01 V'!llnam 10 Dubai [or the first time. Indochine focuses on authsrn iclty ln lis decor and cuisine, The venue has all .airy, elegen(, yet contemporary interior taaturlnq light woods, beaten metal, and a Siriking cslligrapl1yadorned ceiling. Its chets were recruited Irom Vie!nam's linesl restaurants, The Vie!names~ waitstattls w~1I versed In the cuisine, able 10 explain Ihe lrnricate orchestral ion 01 ingredi~nts and preparation I echniques to diners, Tile Lewis Moberly desig~ team was contracted to create lndochine's ,denli1y, which had

[0 reflect Ihe depth and richness of Ihis soetneast Asian culture.

The Process

The LeWIS Mober[y learn presented several concepts 10 the client. !he most cl1arming of which that won Ihe day. After careful research into Vietnamese cullure as well as Southeast Asian symbols and motifs, Ihe team developed an identity thai employs a sophisticated color palelle and lextures Ihat pay homage to Thai wood engraVII'lgs. in contrast, Ihe identity's central image focuses on

t hres pairs 01 playful lndo-Chlnese characters playing a noodle-puzzle game.

The Res\J'!t

n18 logo's bold illustration s1y1e supports !eadability and definition both at a small size and when engraved or printed on wood veneers and silks as part of ths intarior desigrJ. Indochina's finished iden!ily and ambient restauranl interior lransporls tho diner inslan~y into 0 new world. From sTgnage and menus to cuisine and atmosphere, the entire brand identity communicates ths Vietnamese experience,

I'M P~nlJg.""fik leam .1J~nd p~11 Md (wer sd.r:r VB"'/:~n$. 6/. B-e,qa:raz'Za ~i lOgo ~'r'«11 fI' , -sal]}e ~,'l.istl !o M1~1~ offmCl stt~k~~, Tile aC!GQmp~r"jY,lrJg IGO,rr /9 (J'S6Id to ¢~ t~ 'pa~"ms ~ri PQck/Jg.iilg eoa

pnn~cf ma.t rsr. . ,

99

Client:

Agency:

H otels and Restaur ants

Bellatazza

Bend, Oregon, USA

Panagrafik Bend, Oregon

The Challenge

Many clients, whether large or small, don't havp. a specific vision in mrnd wilen they ask lor a logo design, so it's easy to direct them down 8 logical, tasteful path. Bellatazza was quite dilterent in this respect. The owners had a strong vision of what they wanted when they asked Paragrafik to create a brand Identity tor this Oregon ltalian coffee shop.

The Process

Perleci ion was the driving rorce in this project lrorn beginning to end All aspects 01 'I he identity's nand-lettered type treatmenl had 10 be perfect: the leUerlorms, the slant, the spacing. About 300 versions we18 executed with a high-quality sable watercolor brush and India ink.

The Result

I rnplernented on signage. packaqmq, promotional ,I ems. and advertising. Bellatazza's visual identity has pulled in a large market share of the local c"r~ business. The cate has enticed office and retail employees who work righ I next door 10 a Starbucks to walk a block up the strest ror tnelr daily caffeine fix.

Agency:

Open Iable

Tl.tmef Duckwc.;r~jl i.JSfJd an effective deYlce of color comrilS! 10 i!lustrille Opemable.com·s SflfY.Ce-finding an Bvallable tsbl.s lfi the c,rowd.

100

Logos: Making a Strong Mark

Client:

Opentable

San Francisco. Celifornia, USA

Turner Duckworth

San Francisco, California; and London, UK

The Challenge

A nationwide ontine restaurant-reservation network, Opantable.corn oflers restaurants the opporturuty to reach a broad audience of potential and repeat local and out-of-town patrons. The website stso gives viewers a chance 10 place and confirm advance reservations at more Ihan 1,400 popular and high-end restaurants and hotel chains around lhe clock wi hout makIng a phone call and without pe - mg a service charge, As an added mcantlvs member patrons can also earn rewards program points receernable for meals at particlpatlng restaurants, Turner Duckworth's blggesl challenge in designing this identity was 10 communicate with both the potential patrons and lhe participatlnq restaurants

The Process

The San Franc,sco design team worked closely with the client to create a concise creative onef and Ihen went 10 work developing a small number of sigl\Jlicantil' different deslqns, T~18 Turner Duckworth design process dictates that every work in progress is sent to tl1e 51 udlo's sister office in london, Them, tM project is critiqued, edited, and Improved before it Is presented [0 the Clienl. As a result. the selected logo-four disks symboli~ing dining plates with a clean typograph,c treetmeru=cnanqen very lillie after the initial presentation,

The Result

Turner Duckworth's logo i1lceived rave reviews from the cr.enl. In tact, one of the greatest compliments the studio received lor its efforl's was the referral 01 new clients by Openteble.com's CEO,

; 01 Hotels and Hestaurnnts

MitDEMUFER

Client:

Hotel am MedemUfer Otternuort, Germany

Agency'

Braue: BrandIng & Corporate Oesign Bremerhaven, Germsny

AS!

St

Braue's ciesecsnv styteo

The Challenge

suuateo on the North Sea, Lower Samny is a traditional German summer vacation destination, The Hotel am MedemUr"f In Oiterndorf is a smalll(Jx(Jry IWlel neslled in Ihe neer: 01 Ihe lown, on a canal, and nol roo IBr from Ihe region's spectacular coastline and beaches, Here, Braues designers faced a stralqnttorward challenge: to incorporate the archi lecture 01 1118 hotel's dislinclive tower into the logo and 10 reflect I he Mediterranean intlusnces in the hotel's design,

seeside resort ,logo dfi~ign hl~g/l/lgh ts tbe riote: 's di!;; t,nerive lower sna' retiects me Medrterrtmwn Inf/1.J6'nC€s

The Process

There's no substitute for experience. To design this identity, Braue's designers spent time at the hotel and in the town. Then Ihey scoured thras major German cities. conducting intensive en-she fessarch at other ho'l sls and resorts. The result 01 tl'lese efforts was a logo that lnslantaneousty gives the viewer a glimpse of whaL can be lound at not Just tile physical location but the surrounding destinations,

rha{)s the unlm.ate rssr at 11;I'usm:Jt,I'i/6' ,logo, the

tal'S tCw/r:;t iCCJn is embia"ted rig,0t (lex! to the

~'e.r "t r6j)fPSfJfi ts.

The Result

Visitors and guests truly begin to appreciate Holel am MerlemUler's logo when they see it next to the real tower it represents, This same illusl ralive rnaterials also serve as the basis for the hotel restaurant's Identity,

,"!if' IrJgq,'s W$ te[ilrie juxi'l" .,,;,~e~, nic~ly w,;h b<i<l~h Irp1!lJ~~ in m~ l1I;t~I''' 'bro.Gh~te~. jl al5CJ ~"ifi&

, ih~ i~ai ~I t~e pmps/ty a~tOf!lf/ /:lj'f ortr~ h:d'$r~:

: pt6~~ ;j4r;n tid m~~a{I~!'

The emf., 8we log<} coriveys ctJPpl..J~.:i""'Ia's rld't,'76$$ ~n~ "~SI.Ha in COl'"'' s:JlllfllN"'. and IeUellng stY"e. "flit; desJg/jar-s r'n{If)/pu1tHCW.BtI ewi~lmiJ iCllf to

M IheNw""",

1;"5 diJI",i6d loge '" swptis· "'Illy SIlting HI ,.,..!<III SIZeS. as on ths side 0,1 ~hiS con'oo ("_!JQ.

Ttie Ileyp's rOO fi1Jbof'l Q~tCk!I'Oil'''' 1101 onl~ b. ... l</S Ihe I<;y;n IIIfmfIfils IO!}<JI'M IJlII als 0 rl(.J,lps It .5 ttH 1d out Or I "'-;,,,«<1 """ter. HaoV. Ille >COnic couee cup "'Oti<:s

as a ~c"!eO")fi.l:J<Jcl< tor the ""lEi's menu.

102

Cllaru:

Caffe Bene OHermJorf. Germany

Agency'

Bram£!, Branding & Corporate Design Bren18rhaven. Germany

ihe Challenge

Long 0010' e S! a' bucks em e rg ed to res 11 ape I he I ace 0 I ~1e co ffe 8 blJ sines s. German vIllages. towns. and cities we,ll already lined with cousehcusas and cates. When Ihe owner of the Hotel am MedemUier decided 10 open Caff/;! 8srte il1sidp hls hotel. he ealled Braue design-wlliel, was only na: ural. as BraLJR Mel created [he ide'llily '0' Ihe hotel ilsell. But now the desiqn team had (0 create an LdentTty that would stand etone=aoove other coffeehouses-and Integrats Into the hotel's existing corporate deslqn archneciure.

The Process

There is no Sla, bucks In Otterndorf or Bmmerllaven--yet-bul the branc Is so

sl rongly idant illed wilh 1I1e currsm global wave of ccueenoueas that Braue deSign imrnediate1y iden li lied lt as one brand to study They turned up dozens of 01 hers I hrough in tensive research on the In ternei as well as In three major cines In Ge<many: their goal was a solution that did not shout "Starbucks clone."

The principle hal1ind tllei' design was to convey the richness and pleasure 01 a ceppucmo in Ihe cotor, saiurauon, and style ol ihe lellering. The designers based Ihe Iypographic design on an exist ing ronl, Ihen rnaniputarec It untn u Iii their viSKln for III" brand. Aller eighl or len nand-sketched roughs were Winnowed \0 thras or four strong ideas, the IInal concept and one alternate were line- tuned an(1 presented,

The Result

Opening In May 2003. Caffe Bene's non-Starbucks Image and prime horel localion has already artractad bOU1 hoiel guests and a loyal local audience. excsec- 1 ng the owner's expeclauo n s.

Luxury, Fashion, and Beauty

l3,-iglJ! Q.r'CJr'".Igo c(~[,ee: a no,Ll.ifW CDL1ntDrpoin1 to lne O,'uf1 lOgo on Ot><iWond"s leila'n9(ld ana COI,'aIw~1 nll.llP3rl<lis.

Client,

OneWortd Chattenge Seattle. Washi'19ton, USA

Design

Horriall Anderson Design Works, Inc. Seattle. Washington

The Challenge

Tl,e OneWorld Challenge represented the Sea It Ie Yacht Club in the 31s1 America's CCIP race III 2002. Bringing logether a remarkable learn QI designers, boa! builder" anc sailors 118i1111~ lrom seven natlons, tho OneWorld brand Ilacl one rn I ssion: 10 wrr) the wor I d'S 01 des I SPOrts trophy in t n e name 01 9 IQbal

ocear lie Ileal I h-a critical lssuo 01 marine stewardship that needed the media positioning amI inlluel1ce that lhi, prBsligious yacht race can afford. Hornaf Anderson Design Works (HADW) was commissioned 10 'Jlsually convey Ihe Importance 01 Ihis sailillg team's quest end commll men I.

The Process

Wi rh the core cornrnunlcenon 01 environmental awareness and responsi bility. Ihe HADW design learn sel out to visually convey leelings 01 earth. sea, and sky. They chose tltustratlons of easily recognilsd Icons, a bird, the honzcn, and a tish. The learn dsd nor nave 10 cornrnunicate any subrnessapes about the racing team's sponsors. which included ""Ieran America's Cup technology partners SAle and the Fard Motor Company, outfitter Polo Ralpll Lauren's RLX line, and fI number 01 teteccmmunlcancns investors. Tne I~Am'llteam snnpfv concentrated on issues grellter than wmning the world's most covered trophy.

The R .. sult

Versatility was U16 crowning glory 01 HADW's design solution. The brand idemitv was successfuuy applied 10 OneWorld's Shore base signsge, training boats USA 51 and USA 55, the main racing 11UII, support G{Slt, banners, shIns, hats. bellied watar packaging" stauonery program, brochures. conarsrar, and other promolionai rnatsnals. NOI M easy rask,

OneWorlc'S pelrog!y,~h/I> sohHI()11 Sl.a/'lds up 10 l/1e c:halJer.ge or bL'i'1g idenllR able Imm a grear disl~nce.

Client:

~ency:

n~e Ida.'~My for (he 3,1111 C~.amP'onsllip Senior GOII rOuman)eM preserve.s n Ie s{xmSOIlf19 COmpOflY:" brand l'megmYJ :Jlac,'fig the 3M malk Iront 13no' center US fJVIIJ9nce 111 If},'s iflVl18flOl'i for tne e« nt.

NeWS!9rfers (pIctured here,!, VII;bs.le, tJ;Hboatds. gail bah'S! tickets, and even branded merchandise sup paned the promotiona} affons lor tNs 3M·spon· smoolt"enl.

A aY"9mic circular IUuSIIa(.'on of a go,lter creates C1

:>1 (0119 painl Of diffpfflnc:e 'linen paired wirh the fami/I'ar 3)'11 brand in [his IrJerttity lor a majot PGA To:x,v Stop

10'

Logos; Ma ing a stronn t,A.'k

3M Company

M,rmeapolis, M,rmesola, USA

Franke + Fiorella Minneapolis, Minnesota

The Challenge

Vllhen Minneapolis-based 3M Company became [he litle sponsor of the 3M Championship Senior Golf Tournament, Ihe corporate giant knew a bland mark wllh strong consumer appeal would bolster sales 01 branded merchandise. Allhough the event was part 01 Ihe Senior PGA Tour, 3M needed 10 preserve its own integrit)'. The design solution could not be perceived as altering or enclosing the 3M logo. Thai was the challenge Franke ~ Fiorella faced when they wele commissioned to create this specially brand.

The Process

Cornpetltlve audits 01 other sponsored even I marks were performed and analyzed, [ollowed by intensive design exploration. The process led to the development and refinement of an Identity in which U18 familiar 3M brand is paired with a dynamic Circular iIILlstration of a goiter,

The Result

Held a1 lhe Tournament Playe,'s Club 01 1116 Twin Cilies golf course. deSigned

by Arnold Palmer and Tom Lehman, the 3M Championship Senior PGA Golf Toumarnem took place over six days in August 2003. To remind loyal PGA fans and 3M customers who carne to watch Wayne LeVI win a 51 .75 million purse with a birdie on tile 18th 1101e, the 3M Championship logo was implemented on everl,aling from newsletters, advernsinc, the offlclsl website, billboards, golr balls, tickets, customer invitations. and a wide range of branded souvenir merchandise.

de Zigne Institute.

A ,logo Ins/ rese/led ooth Ei>gIish. and .kJrxmesespookirlg '" ld!f!lJCes 'tms tne mando Ie Issued by rokyo's n,:p fashion emporium oe Zigne Instlrule (oZij. The design soJull'cn surrouno's the orand with an air of cot/""" 8:>d Inieiltgl1flCC thai spooks oJ/he stOle's art ga!'e')' ond philosophy w,I!,· out allenmlng consumers who Just wanlio &/10.0.

Agency:

105 luxury. Fashion. and aeaulY

OZI: de Zigna lnstltura Tokyo, Japan

Staple Design

Na '/ York. New York, USA; and Tokyo, Japan

The Challenge

Located In Tokyo's urahara district, de ligne Instilute (Dll) offers stylish lashlons targeled to Japan's lashlon-consclous youth market. Like many Japanese retail venues. the store also houses an art gallery that features modernist installations. DZl's owners called on Staple Design to create a logo that could be readily appreciated by both English- and non-Enqlish- speaking consumers.

The Process

Staple DeSign's team wanted to surround the brand with an air of culture and intelligence without alienating customers who just want to shop. They decided to approach the project by developing a typographic abstraction. Since the greater portlon of the targel audience does not speak English, the tetters themsetves wouldn't hold any particular signiiicance to t11(1 viewer, but if the lnltials WBre arranged as a typographic art form, they would attract 1118 rig 11 I audience. A raw black-end-white palette allows the play on Ihe letters D, Z, ano I to speak for itself.

The Result

Young Japanese consumers are extremely style conscious: In racr, brands ottsn serve as a badge of taste and distinction as much as the apparel and accesseries themselves do. The success of the design was qulcklv deterrmned by this audience, who loved sporting ths bold logo in the s reets when il was implemented on the store's shopping bags.

106 Logos: Ma~ing a Slror>g Mark

Crystal''r'r'are is an okt-tesrioaea and eL/el1 cliche eel rsgorY,1(1 fhe m,'fKtset of rtJeny cotlS'urners. StUiil,rt Crystal realized it suffereo' from visual age and a sragnated brano' Iden My, which waS refreshed 10 appeal to a yovng audience ~'1iITn a sl'e6:k Identity created by Lewis A1oberly,

Client:

Stu a rt C rysta I Stourbridge, UK

Agency:

Lewis Moberly London, UK

The Challenge

To most consumers, tile crystalware category is old-fashioned and evel1 cliche. 0119 ot tile top traditional brands. Stuart Crystal, realized it was sufferinq from visual age and stagr"lsted brand identity. Tile distinguished manufacturer of fine crystal asked the Lewis Moberlv creative team to formulate a modern. sophlstlcatad identity-a radical move in Ille industry that Includes Waterford. Wedgwood, and other brand names. The change was spurred by the need to move the company into territory with a new target audience. The Stuart brand needed not only to invite a younger target consumer audience but also appeal to the new brsed of British interior designers, whom the company hoped to attract.

The Process

Ttle Lewis Moberly design team developed several ideas geared to presenting crystal as a sleek, evocative form capable of attracting Its mtended new audlsnce of designers and consumers. Working through a variety of type treatments, the team oriented the fmal design so that it would not put off or distract potential product deslqners from creating original crystal designs,

107 LU"UfY, Fashion, and Beau ly

The Result

The refreshed Stuart Crystal logo helped bring a dying brand back to life, This modernized idenihy is now proudly displayed by retailers and has spawned its first designer range-Jasper Conran at Stuart Crystal, Lewis MOberly also crafted this line extension, whichhas become the UK's top-seiling crystal brand. Both the main Stuart Crystal identity and its ancillary have won numerous awards, Including the Design Week Corporate Identity Award and II British Design ant:! Art Direction Silver nomination

Ceotured on shopping bag" and poC/(Bging, Sluart CrystB/~ flew :dentity serves as .a banner tor an upscale, nJp youflg avdlfJnce of design~ ers 8no' consumers

SWart Crl'1ifal'~ first oles,gner Nne e~ten.sIOn;g, CrOOted by .)e.sPflr Colira(t, re~;vea a ~i'mJ!~~ sleeK Ideniil}' Tne' line i1as OOCOr1e! l/1e United Kingdom's tOIYse/,IIbtJ crystal brand,