12

lHi~storYI StJl'"ategy

16

W'n at Is a Logo 1,'

W'olldllTilaJrk Symbol [Monogram

21

1.. ,Am swe r who", wha t, wh y?

2, Ide nt~fy I don j t· expla ~n

3,. . ndertsan d [llmitiJJtion:s;

IS.. M,a ke mn em on ~c vaJilu e

6,. PO'SH!' a q uestion

7', [l112sfgn fur [orn,g)e.vity

.g i M a ke' th e [ago. th e fou nd ation of 8J sy sts m

'g. Des'jgn for a va.ri,etYI of rnsdla

ro, Be strc ng

r~p ogr,aphlYI C[plor

I m 9lgeJ]co'nogr ap hy Shape

Hi era r[:ht~J' and sea le Static vs, c.han,g,erablLe'

System [l Y n am i cs

ere atin g a kit ·of pa rts Var'i'oll]s, media

Li'ska + Asso.,c.ia't,es, ~Sre!elJJllra:" Ene:., Saglme~ste!rji' I-I C'. Mr., Ke e dlYI

Hotel]l

Srergu F'a i Inc. Move Our Mone~ Oil(:

79 [lmpll.,ementirng, LOg,(lS RoUolit

Anato. m!hl o'f a standard s ma II1I1.J al 'Var'~o us me ~[i a

.s:amataM·asolll

,Ad amJsMorr'irDrkB, In e .. . evis,·& va.n [Jre'UlrS;e!1iII1 .Ad a.lsM,o!ri,o,kall1 In c ..

M etrepc lltan M a rket

S en dan ce IFHnn Festival Ci'ty 'of .Ratte rdam Nicke 100 eon

Sta.yii·ng ]wnm l.vlle d:: ,Auditin g S ys.:t:e ms

Ada.ms Mou·i1o ka. Inc •. A teller Works

b lue r'~ver

Cah an & A.s:soc:iale s

C henna~ eff '& G ei s m ar Inc,

COli! crete D e~stg,.n Commun ication s I nc, (POI

Crosby As.socia 'It€ S. IJ o.ylle Partne rs Oynamo

Fe rrna t 10 esign Frar:l kft] rt BaUdnd jeh nso Iil 18 anks K:in etic Si nga pcne KINlEl[K.

KROG

Landor A,ssoc:iate s

tandor Assodate s I nternation al Limiite d tr s k~. ,+ Assod ales lin c.

Marll K IKommu nlkation sde'slgn Metih ~do'logile

Morla 0 esign

OgHv,yo' ,Math e. r" srand ]nter-gr.at'lolil ,Group Pe ntagrarn D e~sig,n

Pe ntagram 0 esig,n

fie ntagram [) eslgn lLtd., PhJ)

Po·rto-a-M artlnez de's ignStud io Rigsb ~ ID es.b~n

Stelnbran dii ng

Stilradar

Uirilt~tled

VS,A Partners

.J oh n Bene nbe rg

B·eve r[~ H iUs, London

~ ewcast be. Upon Tyne san Francmsco,

New York

Teronto

M ellb 0. urne Chica.,go Nlew York. DublIn Hamburg New Yor~ london

S in gap 0. re

W,ash ~n gto 11!1 10. C~ lj u b l]ana. Stove. rli a San Fra n c is. co Tokyo

Chicago

IESSE!11I

Seattle

Sa.n Fr~r!Jcisc:o Ne:W' York New' Yt~Fk

Sa." fra nelsce !Londo.n

Santa MmillCia Rna, de Ja.m!i ro Houston

IB ue nos; A mres. Stuttgart IKe~nt, En.gla nd Chltagol

'B elfas t,. M!a.ine

Des,igner Logo GaUerYl

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Lo go Ga.lle ry

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Ten years ago, AdamsMorioka was asked to produce a logo for at major Los Angeles institution. We began the project sketching on a pad and playing with type on the computer. The more time we spent designing logo options, however, the more questions we asked. If the client were to change his business in a ye'ar, wou ld the logo need to change? If the logo promised community Involvement, would the client deliver? Very quickly we began to understand that making a formally successful Logo was important" but making something that communicated as a base for all thle cllent's endeavors was critical,

1

A. fletlnnal h lster ~I of loges It!! sed '~n a prernotlon Ipo:st'lcard seri es fo r IFrede rate Il', a 1m Ull t iifa OE;!'til;! d (0 III mu nicatlon 5 to m pan y,. Ada m sMo rl nk a ~ Inc,

Logtllile'sign Wor kb;ook

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1.'996

A strong logo and subsequent visual system is one of a corporation's greatest assets. As the International corporate structure has expanded

in the past fifty years, so has the need for distinct corporate Identification. The world is now filled witlh every imaginable icon and monogram, as well as all forms of logos. Our task, as designers, is to take the commonplaceletterforrns, geometric shapes, and images and malke them distinctive and meaningful. This is a unique time, however, and we are now able to design in waqs unimaginable' in the past. The breadth of opportunity and the possilbilities for the designer's involvement in multiple media, combined with t h· e' I strate I g" '''1- e' . '5'" of 0:' uri c·· 'l"l- e'" nts busin es s .. · m' ak'e' . the log o rna: re th an a

_ ':_ .'. '_, '~_,.~ I './_. . •.. _ <_':__ ~'._ .,'~ ,,'_., I···. . ._ .•. ,.~ ,.'_. .'.' '.. .._ I' _, '

nice de' coratlon: t!1·t be' com" es' a' vital com' ponent ln a com" p any's' succes s

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Logo D€:~rgn WDrkbook 9

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Let UI < begin with rr otive. Mlanl's desire

to claim ownership 'is inhe re nit., 'Wh,e!t:h,e~r this is [a, result of pride, greed or hope

of lmrnortalitq ls personal, We mark our names on childhood drawings, We develop a signature unique to eachl of US!" to protect our ldentitg. 'W[el carve initials Into tree tr nks with a heart" hoping to, make a union permanent. Tlhe logo is a' extension of these acts, rt redefines these motives

- rom tne lndlvidual to the CiO Iective.

12

The 'M e a of usln g m a rks to

claim ow~ersh~'p ~'s not a modern i nve ntlon '" M Ie sopotam i a rll a nd

IEgy pti an b ri cks w'e' rt€! marked w'it h stamps indjcat~lng their ~'nt.ended co n stru ctio n s lte ~ Rom an b rl cks were stamped wiiith the mark of the manufacturer, place of origin, a:~d final desttnatton. The practice of UIS i ng mark 5, to idle nt:ify ob j ects eontl n u ed wiltllh ~IO useware s

de coratlve j'te m s ~ and we a pons, These marks wers typi,eaUy a, slngle straight llne of Letters or Letters; set on a clrcte or crescent, l n ti mil: - f gu ratfve leon s s ueh [as

a palm leaf or' wreath were lncorocrare •. ~'nto the sqrnbol, A,ceo mpa n'y i ng, S to ga ~,S we. re

ab SiC! nt, a It . 0 tl gh lte ms sta mlp ed with t h e ph rase FeUx Ram a

(H a pp y R(Hne) are ofte n seen ~ ,sJlmilar to cU:Ir,rrent slogans such as ~~T h e Su nsh i ns State .,n'

The P'OIP UI latlon of m ed i eval Eu ro pe was,. ItatgeLYlj i[l'irtera,te:; thus thre mark s,ervedi the p u rpo SI€ ofa sign a tlUI 1r'1e! • Illitera te

so c. i1eti es tiel n d toward S ecret p racnces and know[edige., 'lh'E! mled~:ev'aL stonemas on S " for exa mp le, d[~:ve [0 pe dI

a co m p tex set of ntu als u sing sp eci aUz .. ed s pe ech and be h a vlo r. Th ely recog rJ i ze d each other by standing with their feet

at rr'ilgh't ansles, by their greetings, and

by foHow i n g ce rtal n d'liie! S S cod es ~ Ttl e:iir des i re to m a i ntal n a secret sod et1Y led

to thelr sys: em of marks, Based on

tlh e c. ross ~i thes e:!! m arks 'w'e~ fie me re

IU ke s y . bots than ietta rs i

1+..1 .AlI'

I

Tin e lnve ntlon of th e p ri ntin g

iii r.t"!i e;',;:'i i!'"r\~ ate d t'l:.. ~ {'! raft ,. n~ itfhlo Ii"'!.'!!i;;;~,;:.'!, .... ·1r;:;·:,I'~., IIIII!;;;";. 0 . uU 'It II;;;

printer; Earl.'Y printed books werE considered lnferlor to writtenl manuscripts, however. and there was no desire to claim oWF]ersh~'p for t~e product. ,As the nelled and ap P reel a tlo n fo r p ri nte d boo ks gre w, IP rl nte rs began tom ark their work. In 14,8olJ Nicola ~enson an d Gkn:V'an n I da Co lo n ia i n Ve~ Iiil i ce 'i ~ tro d 1JI ced t~ e p robJty pa of th e orb and cross m ark, Th e s y m bo llc des lgn ~ ea rth plus. faith j be ca m e one of the' most typical, forms used in ear ty p rl nte rs marks 0,

In 1740~, the flrst factor y to pro d u ce Sev re s IP'O rCG tatn WaJ s fou nd ed 'i n VfI'nCISnnes. . France, Twent~ Ylea.rs later, a. decree was issued assuring t .9! King of France a mlonolludy on

p orce laln IP rod u ctlon, E'v'el,ry pie te of p orce tal n was ,[:arefMIIll'y m arked with the symbol ofthe factorg,

The succession of regimes caused the contlmmus redaslgnlng of the

m a rk, Th is par alle ls t!~ e re de S i,e,~

of co rpo rate marks with the

ap poi nt m e nt of a new ClEO..

The Industrial RI9votution 'imcre.ased the value of id e ntificati 0 n, an d

tr adem a rks we roe c rincat for vlsu al recognltion. After 195'0. the usage oft cademarks changed .radic.aUy~ M ulti n a·ti I) ",at corpo ration s with

a w'~de range of products began

to uti Uz,el the to go as a to 0 [ tOI maintain a. cohesive message,

B ro ad er u sage of tn e logo by a,

m 0. re dlive rse grou p of des i gne rs

AI AI 'ff-'. _., 0 aencles iii rll"ii'Li·I..Ii.o..:l1

ann aovernsmg a6..II~. 111;0'.;.11 J!"'I_ u·~_IUI..;;.'~

th e nee d lor 3. co mlp rehe nShJ9

vi S ual S Yls:te m to acco m:p,a ny the logo. T·· e ABC mark, was the fuundatinn lor the network's dear amid coijes;~ve ,advlert~'sing and communications .. The use of negative space and simpUcity,~ combined in a dr-eLla. provided a de ar all d co n S i stle nt rnes sage

to the au d:~e nee ~

2- ABC'

Pa.lll :RaJl1rd

ltLuJUph: mEld.ia. ~~ ~ud ie'nQ~ 'm~gQ rng

Th e nee ds we n ow face are 8 d i rect re suit of tWOI tho usan dI yle ars ofr'

ld e ntij:ty e ~'O lutlon m ] n the sam E!l 'W',a_IY t hat man age me nt and btu 5 i me ss

oracnces h- ave p.!h~'lnla;f)A! -t!;(1 has the, ~'. iaLI~ I~~.-:J {]J·-·IJU Iii. 0 b~'~lj ~ly IrYu,Jl., !Ib.,

role of the logo, W'e 111 ow p lace a

s trong e mp has i son teamwork an dl the ere atlve pro ce ss for eve ryon e i~.volved in a. project, The logo and S,U p po rtlve vlsu al sly stern m us t not on ly ta lk ito the exte rn al a ud i e!1mI ce, bu t mu st als 0 provI~d e fl. de aJ '1 nte nit 'to. 'the i mite rn a [ au dle nCE .. Th E! to go wfl bel handled and mishandled by in-house departm,ent5, outside

con S IJ ltants, ad ve rtlsln g agen C lie s ~I and web deslgners, A slmple mark for ldentlflcatlon ls not enough,

A clear message conveued to 121 w'ide and diverse audience over

an extended amount of tlrne ls param 0 unt, 0 wnellrshi p ls ne e d edt, nrOt 0 n lYI b ~ 'the ere atlve m aker and eli e nt[!! but by th e 8lLJ die n ce as 'w',e!U.

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~,

B!ia~d i!i!.tegr,afion IGrn(Ul.Ilp Ogflvy & Ma. her

ownership

identity

lo,go Oesign Workbook

olbji1ec,t '~d,e:Bl

co,mpanYI person

place timll!! culture

ce m ean U ~, III"'" ,I is!!

lnd ih/iid il all glroup c!ommun:ltly

differ,entiate from competition

f .. It

"1-' _ '.. ' "r .. - ,- ", ,', ',' I ,': .z; "- I ,', -:' - I, I

create a OCUIS mterna ,y

provide ,clear identification

enable the audience to form a personal relationship

create merchandising opportunities

bring, order to chaos

communicate the' message

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Lop,G D e.s(en WorklUlI(lk

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What Is a Logo?

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This seems .'ke an easy 9uestlon. A logo ls a mark om the bottom of the telewsron scree n, the top of a cereal. box, or the sl de of a letterhead. U nfertu nate llY, irs nat th at simple. Th e word lj,lGgotl has mu lti pie mean Ings, '1'1'1 d to make th e I ssu e rna re comp lex, different words are used to det:ujlbe this thing we caU a logo.

,

A reco gnb: a bls S,IY m bo t use d

to indicate ownership lor ori,g,illrn of' goo ds.

Trademark

A nama or- sgrnbol used to show that a prod uet is made by a parti C IJ La r com pan y and legallq registered,

sign ature

A dlstmcnve mark, or combination. of v j,s U a l to rrns, A, grap hlcs

stan d ard S rn a nu al may caU fo r tne "signature' robe applied . 0 all broc:hure:s". This; is simlply a synonym for logo,"

4

Hal'fords Li~.p a. Pierc,e

5 fwhlilm1jl[

Che!!rmary eff &, IG'E! ~sm ar

6

Tiime, W'a,rllil,elli' rClblLe Chenll1 a~eff & Geis mar

1-

Cilitas!(l!1 Mallharullllill Bank

Chll! nn iye.ff' S GeismalF

's'

W~S,ClOIi1rSi11rn1 EnE!rgil(,!s,

Sam,a:taMas1ollli

91

E!J,iJimIlS 'FtD-de n

Ph .. O!

'Wolrdmark

A, wordm,arlk USiES the (om pan y name w~th proprietarq Ietterforrns,

,Ad'ua ntages

Jhe prollferatlnn of Logos in

the wOlrhj has. made recagn i ti 0 n of sY'lmbo~$ 'lJlerry difficult. Using the: entire name sidesteps the

p robl.e m o.f re cogn ltion ~ Whl8 n asked ij"f the MiiobU logo belongs to M ob~ l, me st peo ple wo ulldl agree that it does. When asked who O:W'I1€ d th e Pe gasu s togo, man YI pie 0 pile 'WD M Ltd nam e otne r on comparll!~'es such as Chevron

o r Texaco, IMob i t, uses the Pe glas. us in add ltlen to the word mark,

ID1i:s,advaJ.I'lItage s

If not: handled sk.iUfuUy, a wordmark alone m,ay be generic an d tack mn e mo me vatu e ~

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Symlbo~,

The. ,sry m bo lis 'the. leonlc portl o n of a 10 go: Tlh B C has €!I Man hattan B an k sy rnh nl. the C'~ n gular m an I the Time Wa rns r Ca bte! e y el ea r~ At times the logornark ma.y exist

w'~th out the word mark, exa m p Ie s being the N~'ke swoosh, Appllie:Js, apple, and the CBS e~ y e.

Ad V,ilI11t,age.s

The be nefit of uti llz.i ng a S y. m bOIL alone foUow'S theid e a that:

"a pi'c.t~llr'e 'is. worth a thousand wo rd s," 1 h,e eye lie. ar :s,y m bo l is easier to read on an object such 3S, a com p u te r or hat tlh dl.n the name Time Wa. ner Cable,

Dlis8:dva'lltagli9 S,

If' the sy m bol ~ s s eparated fro m the wo rd mark. an OJ the. mark doe s IWBot have 19quiiitty it may be difficult to. recognize.

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Mtonogra"m

A d es,j gn of 0 ne lor more letts rs, uSUlaUy the i'n'iUats of a name, useto ld e rilti'fy at co mp 8] nly ~ p u blicati 0 ri . pie rson , I) bJe'ct, or ide a,

The mo nogram solve s m nernonic and [egi:biUty issues. F~ttmng Wi:sconsin Ene'f:grnes on a. onequarter page newspaper ad

is much harder than using thle WE monogram,

Dii s,adv,lnt,ag,es

M o nograms are often masnueradlng as logos, rG'ene-r'ic

i niiitj'a.ls tre ated 'lin cte:ve r WI,Y,S m al,Y too k. bette r 0 n towe ls Of glasse s tha n on a corp 0 ra te bu s:~n e5,S card, In'"tiiiats woven togeth,er have verYI little m ean i ng, M ost me nograma t~ c logos depe~d on large-scale

au d Ie n ce co ntact and re pe ate d v~ew i rng fur r,eco,g,l~ lti nn ..

1M

(lOCO O~

Iderrtitq

Th e com b~l~ atlon of the logo, visu all s y:s te m (ty peface, colors, lrn age ry)!, a,nd ad ito ri,aJ tone !w'D:~k to,g,e~th er

to fn rm a u nlq u e and co he s ive

m es s age fa r a com pan ~ il pe rson I' o b je ct, 0 ri idea,

:10

Rocooo iis ii s'oftwalre de'l!r(i! l'ol~ef slP,ed1al['izing b'ru blue-teeth len.allrnUng '~e,c!liUl.'O~gy,.

ACiCQr~li'ng '~Ui Da,mli~ijQl 'Cranl~e Yll ~, Dln~m~!, ,~j)We, ,!3ld'OIP~E d a '\i,ewy Uight f'rteml d~!j ap~nlac~1 m:OII'lI aldn te II r'ettaJI[ Iblrafl:d tl~an a te,c:I~ .. , nOilo;I1:~1 c)Ompan~I., Bas,icaU~h the maJ·~.'e:t W,Il!S fln odel!!lJ 'wiitlm \l!'l!!r!ll1 s:imUar I[o.c,ki'ng

tech nolo:~n~1 bra ndls~aldru~: w~: iil'iUd,e!F

f'-ow n~;w 0 rlal1mIi:~ar~Hio'~Si '~O' dh'.i.timillgui~sh thFll:mSie~,v@~" 'lhre:s!~ oompanwes alse

SEN~lme,~ 'to p:reselDilltt fhe linls!i!ll'NJes in a v,el'l~ s~jmilalr 'fa;slllliloli1~m,8Jscul~)f1lileit. ,um ped-u PlIl aWbd 3igel~es,s:hre with ~e,rb os,e ~IFa!ITtiJhlie!S

afl!l,d ti~~d vlnsuaru, :tihlelml€s.,

Brand

'The: idlent~ty 'is, nota brand, Ths b E"QJ nd ~s t~ e p erce ptlo n form ed

by the, au dlen ce 21 bo U1t a COiliTI pan Y i' PI~.rSO n, or ide a, This p'e res ption

is the C ~tmlwn arion of logo, visuals, ide ntity program, me ss ages,

p rod ucts ~ and acti 0 F1 S i, A d es i gne r

C an n ot ~ make" a, Ib rand ~ On l,ry t~ e aud i e nee ra 111 de t,h is", 1 he d ssl gns r '10 rm s the fo und ation of the' m,e ssage 'with the lngo a ~ d ld entitYI s ~'s'1te:m ~

'~~We i~ledided 00 d e~ig!li1l1 a Ibroln d tJla:t was f:ri,e~!dl[y, ':tl~iilt' made' pe,o~lle s:mllile, and !ciliujdijW~Yl~ tlha't p rese.ntll!:d a '\!I'elliY ~o'mlpmi~X offe,r' ina wa'y tlirna:~' 'waSfrlJ~~: S;C:iiiilrry" ovelli"ly CCllinlP ~r.M er ilJ\ltro'nh!::ill!llle"P~

:11.0

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__ nswer WilD" W a -I', W y ..

Bil!~fon~!' anythin:f:, beglns the most basle questions that:

mu st be as. Ike d an d ,llnlswe F.e d II re ~~Whol ls t:he ,cUe nt1'U'

i'''WtIO is the' a," dlle nee ?t,,. "'W'ha t ls nee de!d ?:~' A I.ogol sh 0 U Id

g- o·w illFg"anh::,aUy from the' a,sw€! s to, these 'Cllues lens,

Rathie r ~ han ilm pos i ng a,n iid e a onto 't' ,e .. 1"'0 b lem, the P U)lb Ies hio ulld d icta.t)i! 't:'h@ :S()ilutiIDln,~ Th iSI ls a, s;ta,te mls nt IfE! peated b YI E!'V1s!rly de's iign teac he!rl! U nfa rt:una te ly, ~t ls efte I'll i gno 1"18'd Of mlsu derstoed, It does not mea,n that: ~h.e whiims, of the client sibo ulLd be! o,bled Ilen'lt fot ow'!e d. It d'oe s n Olt r . ~ ean that tl!11e Id'e.s~,gn,e.lr~:sl vis I on shou ld be sub. Ji ma ted i It: do 0:9, m e,a n th at

as, 11 U c,hl i nfo,rmI3·tlloln as p Ill,SS iJ'ble' sh ou d be ,1 .. athe red jJ crite rla deV1E!lll.OiP ed t, an ~ erea jve work. jere,ate. d, through th e fi lte r

of the desii.lne!r~

Who is the c~~'elnt?1 In the slrnplest terms, this addresses the companlY(s va [UJ€JS'Ii attitudes, and g,oal~L Who hs, the ,audhaJ'nc,e? This. mar~ be

an swe re d de rno gra p h lea Jy=w'o rne Ilni elghtae In th ro LJI,gh 'th] rtly -fo U F, or psqchographlcallu=athtetic rnen who Love adventure .. ,AndJ.

m a riel spec iii ca Uy, w ho m akes th e fi nat d e cislo non th ls lo go'?' Is it

the marketing manager who hired the. designeirrl or-the CEO~ whom the destgner never met?' FlnaUYil what 'is needed? Is a, logo the, answer? Or']5 the problem larger-e-a badproduct, statt or message? W~U a good logo be! lost '~n a quagmlre of a creative department that is un d e rsta ffed 0 r po o r(IYI 1m an age d?

,An swe rl ng. these q M e stion s m,ay :5:0 l VB th e C lJI'[" re nt IP ro bile! m s ~ The wn: nth h~ thij's plan, howe'velr~, is that a. client's current business may be radlcallq

d ~ff€ re I1t from h ~ s flo n g-te r rn go a is i, 'What dlo es the cl i'E! nt WaJ nt to be '~i1

the 1111 ext lye a ~" 'five Yle aJ rs •. a nd te n y ears i Evre ry to mliP a ny w]lll eve lve an dl ,clha.nge . 'The ,Si:Z'9! of the company, ~p-rodluctl' and needs are in constant flux, Wh~l,e the cHant [maYI cUllr'n~ntlly ha.'\I"e' a small, regional cOlmp,any wi'th one product, the goal mi,gh,t be to' ,eventualLy expand! and produce a greater

d ~ve rs:~ty off go od S i, It is Ih u man n aturs to fo c us on ou r cu rre ~ t nle ed s; it

is the de signer's job to. presuppose future needs,

Go,ais and P1fO;l1ilise:s

It us lrn porti8Jnt to look at tm e!~ client's busl rile-55 a.nldl com !inunh:ation gro'als. ldelnr~l1Yfm g. the.

p romlss s thl8! client: makes to lts audile n ces s y u]'U1IIEJstZ:'Stl: wha t tlhl@' client. sum ds fo r be eaus .. e' it states what their audience 'is. assured that they can exp.e.ct,

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Briefing questi

1~ pia s iiti on i ng

C Dim P ared wiith ot!h,e r com p alll1l i e s, wha:t ls the client's current posltioning?

2~ Purpose

What ls the etlent's Ibusilne:s:s? What is the cttent's punp'Dse?

3-., M~'Ssion

lh! Y'o n d til e e con 0 ml:i cs

why is it 'worth doilng?' W'lhat ls the ell e n t 's m i ssl 00111 l'

4., Co,mposiiti:on

What is the ettent's current ~ nts rn all stru ct:u IN3?

ms

", '. 'II""

..

5 .. IC:U ltu re

'What are the it, (,i e iii t's d i st i n etl VIe.

s hare d be III a vlo rs th at be s t support the purpose a.nd mlsslon?

6 .. Pers onali t y

'Wlh,at i s the cUe nt's eho S B n sty le and m anne r?

'7., Client goals

'Wh,at are five key goa ls ove F the next yearlflv'E! ye8Jl"s?

8 .. Gli'lo'wth

'W[h,at are the greatest D,pl[pHJrtun'i1l:ies for the growth of the client Bind its image?

91~ Prom i ses

What promtses d,oes the eli e'tnlt 'm ake!?'

13. Desired perception

H ow' do estill e client want t:h e audlenee to view' the brand?

1.0" C'U rre nt aud i e nc e

Who ~'S th e c Li ent's c u rrent

a ·,·..RI'I 01111 .... ~') ".Ulh 0' lI;,ull-.!ll'Jl re 'Ii Uli:.[.tlil iii ,ulliJl ~~~ ~,!II,..I~,., W I. j! 'll¥111,~, -:I! 'W~II'[;;'1 "

wlhy'?

'1.4~ ComlP,etiition

How is, the' elie nt d j:ffe Fie lilt frorn its cnmpetltlen?

1'1., AUidienc'e goal

Doe s the cU e nt 'want alii oth e r t- ~Ie of aud .• ii,Oi'nc:e? What Is the

YIP " ,~~~ ,~- ~~ ~ ~~

desiired demographic?

15~ IResp o iii se

'Wih,at response doe's the ctient 'want tIl'M:!' ta rget a u die n ce to ta ke ~l'wa,y wiltlrl the m?

12,., Perceptlon

H lOW doe s the cUe nt's ta rget aud i snce C III r re nt:ly v'iie!w'

til e blrand1

16"., Obje~[tiv,e

'What ls the marketing obj'Bctilve?

II

AIRII.srs, MAN AIG IEIM 'EIN T IG R 0 U IP

'111('OIPP osite).

lh[e Oxy:g,e n CI~anlmIJe l's I~ogo do es nO'~' de'scnlb € @V'€U!I as~-ect of the ootm'pan'!Jj or :sIP,eci'f'y tete~'i~;i0Il1i as its, IpMima!'i~ tHO. d~c:t. Rather tlhan nWIMI$tf'a;~;ine: tllile, Iphysl',c~aJ~

ele m,e~;~, of' 'U;o~ygen;~j or iE!JcplaIDn'hliilg thlE!1 fI~tW(Uirl~'~s, 'd~,m,o!grr,lph:I£~ I"~ use s the: i'e.i1iIlC~r:OlDill "oh !ij '~O comm umilli,ca;~e the ,iil.ttitu,~le and sUlrp rise [Qf the P~OdU,ct" ,Ad:a.ms,M'Qlrioka~, Inc,

'We are id e ntlf ed ~ in go od co m ~,any,. wlth n a mle s Ulke jo ~ n~, M aria, o r Fran k, 'W!e prefe r to not to be caUed "th e gu ~I w he U ves (In 1M a ple Street [an dl 'wo rks tilt th e ph arm acy r 0 r j~tlh e we man who h as. a be e h~:ve h a i rs:ty Lie an d ru ns a tru c k i ~ g eo m p an'y .. j~ Th ls is 1.,on,g;-wi'[1 de d, co nfu s'~ nl.g~ and forgettah le i. ill n the, sam e wa .. ~; a logo s ~ 0 UI [d not liiite ra lLYI de sCf':~b€ the c [I e nt's bU5 in ess; C3J. logo ls an ~de'ntifier, Many clients would llke thelr logo 'to describe 'E'V'E'W'y aspect oftheir company" This is natural, theyj'~ proud of their achievement. It is pro b le m a tie, h DWe'IJ'e.rj, and m a,y te ad to a ~,e stral nil n g: ~ de ntitYI" The Logo ilis a s lgn post t'h at [d e~ntitie s th e corn pan y and rene cts lts attltu d E!!S a n d va lues i.

'13

l~e eu fW\enl Dole l[rogjO ~iosii~h)ws, .I]'O~If!l wl,th the ,a,bUlty t[(J ~,x:pam1,d hrta, ~~jl!wem" buslaasses. Land or and AS:5,Qcia:1!8S

14

Th~ ~alQ mr the :g)f,a,phi,c, des;'igllllli [c:om~\al~y

Pa:to Macedo dOles n~t iillustrate tlhe

'~O ol~;s off thie ,grapilmh:: ,SJesi;li:p industry",

It idelBtJu!WYies '~~,e cO'rni pan'~ a's fresh,

elear, and crel~~ibll,e 'w~"tth tts e Leg,3jrili~~j ne-nensense 31P!pIIl'-O:ICh,. Pa.'lO M,acedo

'12

l~e WOIO 'iMr A.rt1is;~s, Mai1'hilg,e lillH!!milrt G nJiUIP is a tu riIl1 b~j~n:g cube mlai~e: UI~I [of the ,c)om,a'nffies/' i'nm~mals=AIMG- ....t:h31t el<lPr'€l!S5e!:S ,ti~e ,erve!li'=ch[angilmllg nawl~'

,of the [e~i~e r~ai[~mne'ilt ilurodus~m'~ 'tlhe'!j sle'rve. ,Ad,a,lin~ M(~riokifiir Inc,

There are man y com pan'i[€) s who U se 'j llu stratton 5" bu tt :h a_'v'[e: be e ~I (ornii n ced b YI 'we ll-ms an ~ ~ g~. but u nd 9fl€! q ui'i P'P,e d d e!s,i gne rs th at th E!~S e are loges ,A Logo is a shortcut, a vlsuatta ngua~:'€ tha t ls '~IILJ itkl.y recognl zable and msmora bls. Ani tlus tr atl 0 n ls a d raw'~'~ g or ph otograp h that he lps 'to exp lai n text, Sru3,a.k~'n.g, wi'thl the most str;t;t'ightt1orward and dear voice is a[w,al~s more

s ucces sfu L th a 1m th s co rwo lu ted or ove rwro ugh t.

~I$;

s.tea;Ung, 'T~ffle ,is: a fonlMl s.e"h::e vilid[e1o, edlitinu oompa,n[iil slel'\'mn:~. the, :~d'!illertisi'ng and brosdcast i nd'us~!ril!E:s,., T1~le .jljlrullilillTIliilmlg man" ~ogcl r@IPIi~Slents a eleve r 'vi:s~al[ PUIfilI of' the C)Oml,a.rI~1 namiEl:"

Ccmcrete Corn menicatlons

tlnderstand llmltatlons

17'

Here ls the bad []Ie'w.s,:: A, logo is; not a rnaglc '[antlE!rn" It can't make a bad ~fod ~ ct S UCCE~S sfu ~ 0 r s,a'~lE~ OJ IP ~)orlly rna ~ aged co rpor atl 0 ~ '. Th ts is the' goo d ~ ews: lA, we U -de sign ed logo vii [l alwa,Yls ~ e lp a ,g,IQO d prod uct re.aUz€ its fu ll[ potentia t Srna IT de s ign, alo n g wii'th tin e p owe r 0" rs p €!:Uti 0 n, can m a kl9 an

e norm o us lm pact, Th 131 togo giV'9'S dire ctlo nand ,8. ttitud e : wh i le th e p rod uet lnforrn s the me a.n'il~ g,

~6; (olplPio~i'~e)i

'Jbe! stOIWY O'f'~j~Je 2;00'2 Sgjit ~R)e1 Ci:"~y Wi'nter IGame:s elm bl~eiml r@ pre~elfiillts '~h,e rou f' Cilium ponents O'f'rtlhle the:mle:: 1~1)! tbe gr'lpl.h~c ieb:11ifll;emill~S fea;~JIllIlr€!: the ooOOti~fI",ast:

Q'~ '~j~,e meu ntlffin Sm1!,OW ,Illmd the desert

su n elf Ut~IImI~S landscape; (;2) 'tthe s;y m bi!!1lll ms, :slUil\ge:e sti~e, lof tlmue 'ullflllhllil.lJle eu l'~u re 100f anciiiel~t m:~r:ks, thalt a rei WOiV1efml h~to OUf hem-i,tage", thus ,emph'l~i'z_mn:B: the: 'hms,tolfY Q'~ '~lIrnle ilUYlm p~c I.ame:s~ 'b.J diIJe e:linJb'~em ls alse it ,snc!IWflak€!:~, ,s'Ylmbolic; of the 'willntelll' gal1lllesi~ and (,.) tlime IbQ!ld~ Ibr:ight ~ 'vhrWd il/;oll,QWS fllllFthler' sugge:st the tfiDifl@ 111!!!$'serjc:e g'~ '~jllte ,gam,es'-=;ali c:,erne~brlf,a.ti~n. ,of IDly lin plc ~d!e!~ds and '~jltme €cmnii,@, pm'\es,eUiiir~' tn the ~pffirlt I[l!"f '~!~Ie >il:~ffiulbi!te~ l~,~dor Ass,ocia:l:ie:Si

-'ii:i'

::mQ

\,'a.ri:'orruns, peJople:s '~rOm Asiia,j, Eg;~,r~'~ the ,AmeMlca:5; and A,f'rIDci1 ~ia,\fle, used m ul~,tllPlll fiQrrm!s Df 't~e CfI'\QIS, ~rtI, lear~11 Ihffis,t,olry", 'if~lu! cress t!iJ~'ilcalLy :smgn~llfl,ed the COllrni~r,iS;~, of he:av\€:n and EH;IHr~h

ir()iJi' s,al(;e lind tilm!~" Wh,en. IChlri:stjian~t!~1 ,aJd oIP~e,d tl~e sy mbiQ~ ~in thle' fO'l!Jrth

Ice ntuI~y~, the mark, came to f1eplres@ nt Im,ifEimllrS rede:mJptilo~!~ I:nhelll'eliill~~!1

thiis ,sgm!aDlo~ Iltbas 110 :lillN!anbillg;, .bWlI~ when l[ombilmIJed 'wlitj~ '~~ e ideas i't Irel~n1I~u~:nts iit be~o,mles an extre!melllYi IPoiWe,rfu l rtnJes:s·~ge,.

:m,gi

,As, Am@ rh:a~!s ~arg@:st: gay amllll@~~lian ![)rg~n'i:za.tiiOm1~, 'Uu~ II U!iTrH3l1mIJ Riig:ht1 't~ml~ai~gn IPfiowi:d~t~ a rHilr~ioo,i!iIl~, '\I'o,:iiCe

IOrrg :g;IY' ,alllii!ld 'l,es,b~ian WSisues. ,n, incl'lease:s IPIiLdJIW!c ulfid'eurst~m1JJdhmg thif'CnJgh iinmnov,a,tive: ,ed:u(:a't~ia)liii and ClOmliin Urnilli'iCaitliio m stra.1Jegl"es,!, 'w~~f:1, a 'f~cus on e'~111UiliT!Jllii 'be [Oi,go, an equal s]gn~, has talk;,@w

IrJ~ the atlill'ibutes o,f MIRe: thro WIlgh witflle:s~,re~ad diisSle!miinado,n~

S~one Va mas hitll, IPalitliil,e rs

l.l

l[J'ntil[ the N azls iCot=opted th,e s;ymbo,l"

the swa~:tiika Wl~S y:se,d by 1~'~[!illly l(;lnml't~llie!s ,tl~lJi'io~\g'hout the p\aJs~: 3~,OiOca, !de'a.rs, ~o lIl',e~lre:se fit Uf~!f. !$ Um1li~ P OWJe~~ S~ _ edgth,.

ai1l~ glood hu;k., IIIi1I '1!9:2,'IJi~, ,Ad,o~f' ~H1~rtttlet ad,opted '~h,e s:wa.'stika, 'Mt" the N,Ill iim;iienma, amwd n~g .. 'The :!jwas:~i ka, a l~rl~rnir~i:Vle and shnple g,eIOflru~f~fi"iie 'fonln, l[iDlecam,e a s'~mbo'[ lof hate; anti'-Selllli"it]is,m, ~i:ol~ent:oel!! death, ,aJlli1!Jd 1m ulfde:r~

27

Tin e re is dl n e ~ o rmou s amou nt of' d ial[og, in de s ig;~' ,ed ucatl o n and d esignoriented critical, thinking about the ]nnel.!~,\fdwnC:E!' of pleasurable aesthetics, Ove r the past fifty y ears, th e i d~ a. of [og()S as vls uaUy s atls:fy'i ng fo rms has been minimlzed. White this ma~ pla,y into fashionable 'cyn'id'sm,. most. P'E!OP le wo u [d p refe r to be sed u elf! d by a, m ark than re p uLsie d b YI 0 ne. The

•

message must. be the most important part of the ~:dElnti'1tYI":s design, but

th e form m u Sit ~ W'El w the \deW"E'11r lnto lt. M'akJn,g: vi 5 u als aesthetl caUy

s ed uct~ve is aneth e r book; but I[ogos are 1m nst su cee ssfu [ w hen the y are s i m,plLe an d d YI n amic,

Unfortun]ate[y" 'there has never been a ,cI[ie~l~t who consideredl their C'Dltmp,amy slmole. Products, services, and comllPan~es dire i'nhlerenUYI com plex, M llJilLri pLIE~ pe rso III a,Uth~ 5 i ntsr del, natu ral eve luti 0 III c ~ ange S th 9' i nte rn a [ cu ltu re, a nd :$,0 diety at large is COin stantlq sh ift:'~n g, 'The logo. howeviSr, must remain a. clear expression oithel c~ierl1it .. 8eca,use

ttl e togo wi ll h e s's'e n ollll[y for a, m 0 rme nt the us e of form s th at are e a.s~ly' rs cogn iZaJ,bl[e is I'm po rta nt, Tlh e Logo wiU also be su b]e ere d 'to ab use,

e il:he r by p.ro,ij,u ction IP recess ss 0 r d es.igne r ,elria ailtiv i1ty" A, si m ple form w~U survive these vmolati'ons~ wh'i[e a more complex form m~ry not, [99'ing direct ls pow'le.rfu L Many [o,gos faJ [ from their ow r1 ,[I[eve rnes S

or ,ove rpl~od uctl 0 n '" Ilet: sorn etih i ng be w ~ at! wt is".

28

2ml'=21

'U;CaI!Jit!llre IB.n)lthielr'~i' ls a, m!odefO 'v,ajri'lM"~1 ShiDW that Illlre:se,nts a d~ffe~re nt sel[l!cti'OImI Off cl!own acts, mlus~ic~m; gues:ts ,. pO!@TS.; magida,mIls:i• a,neil ,fa selm!Jsiual, ,s,'trrnp'l:p~,r;,

'Jw'O d~ff~.re nt IWIO~ 'we re i~le"i~~lo;peijl

fOlr ec ll~teraW, mate ri:am (r~shi rts, i1J,am-mners, Ock;e:~s,!, n~!Ws,pa!P er ;a!d'sl' th;aJ~:

d i~1 n!!l)t lle~a.tu[~e ll~e 'p(M~t,er',s, Mur",c!t)ruo,("

i llustratlen, pono+ M artlnez d€!s,~gnStud ~o

23 '(,o,p,os,it,e)

The! pos,tel~ For i'Ca,barti ,B;mf~h.elf"l! prres,ernilits tlhe I~ogo as. the C!A:telrpoi'nt ,ot a nClh;y

ve rnacu Lalw pi~n ball m(u:.'hi'm~~~ ll~@ mne'JE!: re nt and e)(,ulb,em-,allll1llit aUJ]~)l!!!d~ 0'" the; mila Irk ms, eXilgg,er,8l,te;d by the; i llus~w,aJthlin and vi:blll'almu~:' c,ol~i@lr I~a,tetle~ ~orm+Marti[rH~2 '0 e sign:St~ldio

Ciir:co;m alID!!Ji'!lI), "is, ,iEIj ch'iWdln;m:~:s the,arbelf'

prn affi~lctiiOmill ptrre:s;etmlr~e!d ~,y t:~e, :Irrm aDS, lm'\othE!,rs;~! a d,!J(WIi1II ,guro UI!lI',. Dlle tID Its ~ow' p:rol~~:cUOIli1I blllltdg,if!t~ Ciir~(HililalrnllhJ, ~a.lled fOlr a. ,~ogo that: !Co'u~~1 el[alttUice its .I~:dih~l~ce wil~il11 'th'ema'ti:c: ,aJl!l'pl~wca,tions~ A pop ... o ut, bwiild-it&'~(illulr~;H\'~!lf i n\lii~~ati:o,lIiiJ; ticketjl and postem- :S~i~ 'was cf\e~at,ed that whEm ,~;ss,embled~ and dih;ipl[ay',ed ,sffide b~1 s,ide" wou~dl 'folrm it l'O:lIiIlg li 1liI1@ lriff ci reus 'wagon,s" P,o~to+IM,artiinez des.i'.gnStllll'O lio

,encountrer

re~sta u ra,n"t.

Whe'n we d econs trlU ct how me m CH'yl is mad e,~ w,e~ f~'~ d th e re a re fou r criti ca [ a.tl!ri b utes of the pro ce s s: (1) W,e' se e s hap €! a nd co lor; ,AU D ur vlsu al recognitlens are based on th~'s" Is ::N)imetni'ng, square and' red, or round and - e!U-~I--? F -(DIm th -.1 - :-'~ -y- we read letterforms ' to the way- w€dde~ti'fYI faces ..

y .0 W • r _, _ e wa, __ _ _ _ _ _ _ _ _ _ _ _ _ _ , _ _ _ _ _ ,~ _ _ _ _ _ _ _ _ _,

S hap e a nd co to,r form th e. basts of' th is s k.i [L 0 nee th e s hap e and ICG lor of

a form have been deterrnlned, we (2) po:sHio~1 it wi'thimll our understanding of hi stori c al co ntii:n u it y .. W,S! a:slk 0 u rse lve 5,! .t, D 0 es th ls look content p'oraW"y ~ Viiictot'i.a1l11 ~ 0 r Mad i eval r" '" Does th~s have re levance tOI me at this t ]im e? '"~

(3) Wie the n U SEl the lnform atlon we h a ve 'fro m le a. rile d re S PIO nses 1[0 form meaning ... Wei are ta,ugih't very stH~c'iflc ldeas: blue is masculine and pink ls feminine, a red Ught means "stop," ,8. green light m,ea;ITTIIS "go," (4)' MnE'nIUlnh: va [U €l! is U n ked ss a ml['e:s,s ly wmtlh e motlo 11,91 assocla t ]on. This is. t~ e '!~:wi ld card" It is pers 0 nal and dlffl cult to I~ red eterm ln e. If a gre€ WI car hit yo u

wh e n you we re a, ch i ld, you mla,y h ave a n a ve rslen to g re e n, If YIOU r rn oth e r w!e ars C han at No" 5" ~IOU m a,YI Ie e l warm (or nthe r m o re CO,m p U ca ta d emotions) wh,€n seeing the, Clha.rM~L logn, Bein:e aware of ,and uti[izmng

the se fou r attrl b IJ te s provide s th e tools to prod u ~)E min e mo nic vatu e.

24, Shape

1Iihe muzak. WOIO lIlDls,es, ,df'\clWIlla,r- shapes IfI'\efer'!! nICi'ng recerd albums and CDs" IE:ve,n the, ne:g;mr~ilve sh,a~,esl illilil$,iiJe the ~O'u[mut:e'r' of the let~elrroirms: are cl reu ~~Wi e;e~ (dog the Clofi.taninmng fiorm~ COillillsffist!!~ney O'f s hape Clolliiij~rrUm!utesi to the p!~w'!e~r (D!f thms I[,og,o,. p~ID"Il~agnun SIF

2~5; IC:Oh:Ur

'iffa~!d Ibl~,e ls '~lillil~U e andls used tOln:sh~t~n1tly l(jtlill ,a,'ilffiVelfl"~i'smn,I;, ;padcagmng" and ~lag_g;1l whmruEi thiis; :sha}de, lof lI!rJllu® ls not 1!l::!'J,p!~lrj~ght protecteijl" 'ttlhe a$\s~ci~ttijio:n with tj~e lilMgOI am~d I[l)r'and ij's e~'lt]ca~.,

'''it=. ~£I~

H ~:s,t,o rr:jic:a,n Cont'jin lUI .,t:y

the Log,o 'fo:r ~m:::~u nter R,es;taulf,(jlmut ;a;'lt; the LoS! ,AlI1lIl~e!les Enterna'Uonalli'r,!o:r~ ,i~Wm!!ld!e!5, to li9,tiolS ,wet-set IClDJ~.tInill~e;, 'rhe iillir~elrilQF 100f ti~e rastaurant ,(d!!!I!; ign,ed

!by W'aL~: mffis,n@.y :Mma,e;iiliii ee:ri'ng) and tlhiJe, gJli',aph:ics w'em'le d'~r~!Je,affi 'ff\om mrm's ln 'Ii:HiIJ1 olfl"fnrW~a",illI1 (:.IlgI6i)~ "h61.sl~ swen:~fieill's gmv,e ~iS wn.srnght :iflllli~Oi the a,tt~;'tu,de.'Qf tJ~e restau rant e)!!:~'e!li,iEm~e,

,Ada IiOslM!o,riokai Ine,

2"/, E.otionaIR~sonance

ibe 5,e;~: (]if lo.:g'Ol5, ifJle:si,ei~e~ 'fOiF M'uclliID IB,eneUl' !reUe:s Gin the' po[sitr~lliV'e assoclatlcns we b j3l,\fQI wi'th gamles Uke 'wms:~e'r ,[3 UiIld

th@~ MUmn Brad l'ey loy IClilmpa n~.,

C~rlos $'eglJf(JJ

2,8, (CIP~lo.~~~e)

la a,F'liIi'ed Re S plOln sa

,he Lo/g,o 1fo:rr Nlewtml learmIJi'ng, U S€i'S,

0U r kJUilio/W[e,affige Oi~ 'tthe 51'to'ry a~'ol~t Is sac N€wblm IS, 1~lh;(;ol'!leIJiY O'f ,g)ra~lit.!1 'wlli1ien '~lfie ap;p~,e: fe~~ on hi:sltaJe,aJd'" DO~II'E! Par:tn,e'U"s:

31

l

I

~If YOUI [laJUi~t reX1~~8Jin the 'jd!ea, in i(rJI,nle selnten ce over the! ~elreph,6DI,niet iift W1OIIl~t ~~k/' ,_ LOiU' la;rm2lilg;er

Whlen we iI€ce'ilv'!81 input from OUu' senses, the re ]5 a q]uest~onj ~~Wha.t ls

this taste ?:I~~ an d a riels pon se, "Thls is, ch~JCO late .:' Wi8, also d 0 t~ is whe3 n W'ie,

w,a tch teltI9'v.'is ion" USb: n to m uslc, or rs ad a, bonk. Tbl s is I~ art onFr cu r thl n k~ng, p roes ss. The, b oo ks and te levision pllio,grams 'we find the most u nsadsfy~ng ars otte n the most pred leta ble, If the vlewe r is give n tIU the facts the fie ]5 liItt'[,e re as on for him to process the i nformatlo n .. ,AI~'ti~ rna't\JvellYI~ if tin E! Iq ue stlon is presented ~ i3:1~ d tJ~ e vh~wet must IP rovlde an 8 ITIl 5we,r ln h ls l~ e!ad'J. he wi II be [0 reed to spend more time with the' m essage and 'ther@fb riel b ecorne more

i ntiiffi ate 'vi~th it Ths re is (JJ, fine. [i ~ e, lhowe:verj b~twle E!ln posi ng a q uestlon that i nvites a, res po ns 9: land as!ki~ng an u ~ sol vabl~,s' one, ,fA vlsu al solutio ~I t\h 8. t take s he urs to i~nte rprat, OIW' needs accom pan y'ling, text 'w'i U. I~ nt sucre ed, and wi H. soon be res igns d fro m 'U sage,

..

3:1

29 (CNllID'osilte)i

'Culri'o~5, :Pffictu res i's a p r!l'~~ctilolJil Icom(jJ\ilIDilIY f-olll' telllielVi:shltnJ p:rogw.,am:s aad ¢(HinlimlJelfC'ials", The uSia ,of wit 31rrud 1~llfiliil(B" ln the UIi'U!l(IIiU~I~teid 1~e!~tJelrfonm 1!I!I1!HIge sedU'CJe~s the v'itLlJ!we,r i'n'Vo ·tillme l[og.o~ iP'€llIIttlgrillfml NY

311,-:~2

ftJu,e RiepubUc: of Tie!'i!i, ~!i)glo lIlJIltiU:2:e:s a teapet mt:!Q1! b:ec3lW1lsie ift ls an e,asiily Irelii::o,gJ~Uizab~,e §Iym!boll" 'wlhilcl~1 ,ai:so a~mudles; te the' IlIIJy~tillcal~, powelli'" lof tihe:

Icoimp\8liA!:f"s varffious; blrews" Thel leon, used with '1~ld w,it'ho!ut ,iii Si'~e!lm grap'h~c'i ~s, based on ,Bl, 'ttJr,a,diiti',olal J.a!pame,s~ tea,pat N!~ca~~li1lg: a oerrtidn :se:t, of cerem~liIIial, a,nd culltUI[',(IIll as~s!lin~hlliEffiO'liiSi., The :ZeIA-lilk~ '!!111111,agj'ic teapQi~,!" ean take

a pelrSOlftll 'tOI pllliaJces re.al[ or wmalilliNU·Y,., Cl:e ment: Mo k

Mloto hi, ,a, C-O.As,ullting 'Iffi rm spe ciaUlin:~: ~in 't,echnol~og!d' d~ s~gn Sb',a.,t;egy" lbe QIU'Ii1,panJ~ d!idllviers iliIlig]h .. 'tech sotutlens

'~:!J C\ompl~)(: !pfl\~lbllem!S ln a; !:mI1,ali"~~, •

elm1ielrg)e~i~c lim aJ~wafelJi:~ whi~ch the [10 gal I'i~rlfle!~ts~ Ie III azas ~}e:sig)~

. .

Iii

E~.le ry he ur we a re barrage d w[:t~ an e ~.dl~e'5:s, arralY c,f' images. and lde as. .. Our v~isu:a.lllandscape is composed of billboards and si:gns., televlslon

com mercials, msgazl ne a,dv,ertise m eats, messages 0 n IP ackagl 11 g~, an d other forms ofvisual.lcommrun~ication", Almost !e!\H:rry ons of these messages is comb'~ned viith a logo,. but ma~y of these have litne ~:m:pact and are

Q uh: k [YI·mlwgotten .. Ttl 91 ldeas th at com ne rt are tih e ldeas that re senate

with IUS e'motio,nany~ Style an.d trends rna.y' be e~ntj'cjing but they r,are'lYI have lasti ng em oti on aJ reson a ~ ce. M a rks th at da te 'QIU'ickl,y res.ul[t fro m

a con ce ntration 0. n! "formal, tj. ra.tlh er th lin ~j conceptu a ['11 id eas .. The logo must be abls to conv€!y its. m es sage ave r a. Long pie rlod of ti me a nd it

must be able to ad apt 'to cu ltu ral changes, It might: be excit]ng, to. de s ilgn

a logo that is, [Influenced bYI tne t!ypefa,ce du jou~ but it wU:t quicklYI become elm ba rrassl ng and 'Wi! U need to be red es igne din I[a ten" ye,ars., M arks

die.sig,11l ed with a RH:U s [on cu rrent .sty lean dI tre nds are ofte n outd a ted

in a short am OiU nt of tim'e and S 0.0 n becom e "q lJairlrnt'l The re are \fIery

frew cUe nts who wQrulldl like 'tit) be pe If'ce~iv,eld as. e ith Sf outda ted 0 r qlu m iJnt

Logo [[).es,lgnJ Wmlkbook

:34

331

TifilJe JIO~~YIIQ,le~r or Jo.,u'tiel R,o'[rJge'. thlj9J flern'ic.e 'H8;1 off piir[atJe slh"ips f rst SleelB in '~mnle m]d -:a6 ees, 'was a ,sym~ Ol[ o-f dleath" I't C,O I "Imn ues to s,gmboUze IlJ)!i rates, andl thei"ii e~xpllowts'I.4[Olo !dleaJ's; la.lIEu)",.

34·

lihe! R+~ '~og.o, ~Sl IiIiI ade with lE!rK~"eme

s:i IiIil P Ilcity,. "hle 'Welghts, lof ·.e ~lerU,;,,!rmmms and cross are rrenm,ed" T1he l~eWa;~J~Dn$h.~p, lilf tihe outeri'" rmng: m

'the! ne.,p~]iljji'e spsee !is.lcoln:sl;d~r-e·d" The mlin~mal forms .3i1111ld skil Ue!d cF,arft pfrl(ndde~ the 'tool~s to ,give th~s 1[010 ,ai ~o.lIlIll UfiIB~., Ph~D

:3S

~!ntlgf"am mo,k '~J!ule ~~lM"~ for Martus

8[ I d 'f:lJi'lealel~1 a s~impll,e Il,ut :sty Ush br,3Jlld i IJilig de:v;" ee, i~m s[pi reid Il:y ·tIme hal~lmal"ks, ~sledl 11:1)1 'jcl'e~~.ifli·U am d Cl'utlheintlica.te "redotls metll[s,. PentagraJO UK

'36, I( 0 Pill osi.te)

'T~le A,Be ~GI,gIOIi d eve, ,o.l!Jle.d bg[ Pau' Ra:nd I' has bEHlHilIl in oomrittliinual use siinree 1.9[6!2; in,d has n,v1er' 1b1ee n mod ifted~ AAiIlli1,d

s,ii d that fru~~ d[es,igli1:ed it f:orr Idlllnab~~jjtyl" 'fu nrcti" on. l!Ilslefi~ll" ass, Il"igh~m ass, afl1Jd

b. eautl~~ faut. Ri8Jnd

..

,A,[BCDEFGHIIIK:LM ·,·,[[OP'Q,RSTUVW',X,VZ abc,~ efghi~ ',llmnlopqrs,tuvw,xy'z [2,3.56189[0

ABCDEf[GH-IKl - INOPQ.5 .VWXV,Z a bcdeflghi:i klm nOlpq·r'stuvw.x·yz '12,3,*,:5617'8910

37

r ]

tlke the' feu nd atlon of a bu lld i rug, tj~ e Logo is tlh e b a.s€! for all oth €'W' messages, W'hen the designer is in the pN)CeSS of des~'gn'i'~g a lo~o~,

lt w'~U be t~ IE! 0 n ty lte m 0 n h[s co mll~ uter sere en, Ofter~ ~ wh 8'1m pre sented to a ,elli ent, it wRl be tlh eon [y ite m D'wn th e IP a,g,'9 to Th is is a m i stake. 'he audle nee wi l [ n eve r Sf! e the Lo'g'o in a voi d" It 'w i ll alwaJ YIS be tn co ntex t, aeco m panls d b yl at her vi's uals and 'id eas ~ It :m a YI be s€! e n O!~ bu s'~ ness ca rds ~ 0 n van 5,! and on to p of bu lld lngs .. If the togo ls th e feu nd atlon, th €: 'V'i:SiU a l. S:'~ stern is ~ to keep the co ~ strueti 0 rID metaph 0 r alive ~ th €J! 'fram'~lng of the structure, ,A 'vis,ual slystiem ~·s deriv~d from 'th~ logo, It

d O€ S n at: C'OI~ y the mark's form, but com ptem e nits ~;t Th e \I'i s u aL s ~Iste m wiU 'I ml clu de g u ldell me S for usage of' c{ll[.o!rl, 'ty pograph YI" lm,alg'€!rIY ~ co py sty [e ~ a nd lp,fO diu ct usage", W'it:~ o ut these gu'~d e [~n €l's ~ ve r~ bad th lngs can hap pe n to tl~ e logo, Party h ats cou lei be p ut on it fo r C hristrnas cards; lts color cOlJlll~d be: ,c~anged 'to someth~ng, i'nal~'Pr01D'ri'a,t,el,! or it

m j,rg,h t be I~ S ed as s.~'gn,age o n 't~"H3: tab by ftoo r~ S te pped Ion d a i ly., The

gu ide Un es protect the :m ark and cta6fy the emvi ro nm e nt 'it: ~)CCU ple 5. Th i s, co ns e'~!IU e n Uy,,. protects the i nte griilty of its me s sage and the

co mifP a rn,y ilt repre ss nts,

:~;l'(O',p~:o~dte)

l~le co ~ow palette eo m p~@!m@lIiitJE!;d" b~llt d ilLi net relPllh~a!~:e'j' th e marlk'l

1f~le ~!JP-eface~ JEnfio D'iS!p'li!l~ des"iem~d

b!~1 MleraIilEIs:~gn" w,as eheseaas a IC~tllntelip!Jiint to 'tj~e IlNiick llr.. Il,etlJerf;orllDl s.; ,A 'u,eef;orm s liIallle li1blt,ary was, !~rea~ed 'fm' use as enc['osi,ng: oir' backgJil(u!lllnl~ sllimape!s w'ith t![lP ogrr,al"hy a,r' 'te~~e\rlis~on c:harac~elrs., fmU!Si@ w,efie dell b~nt'teILy di~ffI!rV!,nt frolml 'ttlil.e ~~~a,re:Gm'llefli"'~ mark,

,A, paJ~et.te of glra~ati!orrgls was crea!te,d

as ba(~lw,oIWlln d$ ·fOir '.e Wog,o" aU'o!wi'ng, 'dnie e nvwr'On m,eli~ 'to chan:!!1 wl:thmlBrt OlV!l!liJ1owern--'iriillg thJe Nb:!k: .f~ to,g)Q ..

Ti~E!' Niick jlUi" 'Iil'illlrk, dli(,tlbis the ,eru.e!m,elmut'Si of' the; ''lIis~lal[ s~ stem, IMai nt~iiniiWl\e; th~

o ri':ejilfU'aJl erlteria ,~Im!ld 'Il! es.~age ~i5: the! 'f~ir'e'm,OSil gOlaJ~1. :amn,d iUlilnde rs,tanding

'whQ' wiU I~e:swgn wl1:h 'ttJtttie '\f~s,ual, s;y~n! m i's pa:rann OUlill~ 'm i!u:hi,S(vi ng '~b!a.t l;oai., Adl~rm:s;Mori(l ka, U:nJC",

31

:38

Tl~e [Nick lr., !~ogo,"s IreILi!liluons;hili1J' to tlhe

'NJiS!!.IiaJi :sy:s'bem "is, erith::al., lIDrue ~,IO i:s a ,chan:ge1aJbI.e set 'of moons", iI':I_e ~e,t~erfJcnns a,nd 'CtltO!fS ,alre al',way, oOI~s"i:8i~ent., The ilicaregilUlefl"'iili sJhapE! ,oliiang,es on eaeh a:p~Ui:a'~~io;m" ,hi!!! ,a,ttitud~ Dr pililiYl a mill lev~~YI ls ~JUnt intol the L'og,o" and the visru!lla:t S!lstem iI!',eiinf;oflCe!5 the SEi ildle~s,., Adla~:5,Mlor~o ka, I:!lilc ..

IJimlti t the '19'5 os m est logos In eed ad to w,or~, te th n icaUy ln on l.y one ruled i Ulm!1 pr~inilt., IhE expansion of d'~g~taJ.l{, broadcasr, and rnt~lr,actiV',~ mE!d'~,a over the last fifty 'years has changed th'~s~ The' Logo should now' be leglble and clear on a one-color Ililews.pap,er ad, a, websi'te,~, three-dimensional slgnage, and on te levi:smo n., Me st c ii e nts wit[ ha \fB a. pre d~s P"OS ed ld e a ofthe lM)gO!'S usase, At 'th e ti me, of its 11m c:e[p,"ti 0 III the y may on ly: i nte nd to use tlh e m ark, :~n print,

G ~ve nth e con stant ev'o,[utic,n clf m ad ta an dl i nto rm a. t~ic n dellve ry s.y ste mS"1

[It w',olllJld be v« ry u nlq ue for 'the mark to exi st 0 nl[y i'n I) ne me dI'~ u m 01fj'€!11r" its Ufe s pan, 0 nee agal n:, lt is the, de s'ign e r's re s po nsi'bi [ity to p tan fa rr'

t-I""~ unol anned

Ili~ u_ 11'" Q.I!L _II;; ~

~,'9

ilil e ~OI,P d~~el~~fH~d f;Ol!i th,eJ Be,(;:kett

Oilml Filllim IFestiv,alll:(DlniCe ntrates O!1 $e !i1iIilrr~i:sUy:!, :e)~~ni~lIlJls:" ,aNl1Ild mmmrims,p,e,c.tion O'f Samlll~@~, IB'!2]ck@U'r 'tJhJe. Im,aml .. TMs op-ef,lI~nded apipmach ls iirnlo,t ,olllilily p!!Irsioillil131 iHliilld lIl'eSiO'I!Umt,~, bllW~: alse allews the! l'oeo! to I~!e mncljJlj~o-rateil1Jll SUtoessfurnJ[g !l,n a varlliety Qif a,p~!li(:a'~n:o[rrliS", each w:itj~ 1~li'Rerelflilit IIi'D eeJ~:S;~ DYlnifljm 0

'The c,o[~ iiIillU ffiUwcal,thllns p·:rO:Jjiii"3Im f;oll' the BeICk)erlt on Fi~~m 1~'es~mv,~I[ l~iEl:S a d[j§rti'n~~~YI IlfI"ish 'Imilg,e~ Im;II!E:'iii1Jg 'it W'Jorrthy elf' ,giDbaJ[ ,ptllb1lliicity ;im1l;d milli"keti~g to' i~ll1rtell!'n.aJtl~olnal, vl]sito.rr,s,. The to\gIQ is ilUUze,~ en apiP~ii s= iCa1~iions: as 'v,al~ie!d as, .I)'vm !j),~.;ckaBi[&1ili! :prromO'~Dio:~al bG:i< sets, ~~Ie welD,s~tE~j' ti!C~,1@!ut and p~!ii.'ttelli"s .• , ifh.e b]l.g~ s ueeeeds ihiil mla.'illi'llr~ah'iing: it idel!iU ''IIkdo,nru il'CII!'OSS· Ipla:tforms 'W~li Lie aUowil~g ,ea'clh iltem to !comlrn!!,ilil'iea,te a slpeltt:ijr~lh;:: Im,e:~H~age .. Thms icc!hie'~ii~e qtl ;l~'ii[l~ aemss the pro;gJl1',~lflm~S ls IPOlSsl brue~ be'Clu,sE!~ of the ,c!oI:1Sm!it~lfl'IDt: ~Is·e O'f '!t1~le L\)go" Oy nama

4-~ (op,pO!s'i1J~!)

IN~neteelffi!i d1lffre'rE!rit fil~m I~i:r@,c.torr's w:Btj~ ",ai'~ling '~,iie:wl1D o~n-ts, :IIFe r\!!pllreSlelflill~,ed on the posteili;. 'fhl~ cOlli1llnl~cti',olli1l of :~UJlrtlli',aUs Qif 1ttl~lese 1imm dli rseters '~II 'till e imla:g~,~ base,d ru.iJlgo ma.i'nJtai'n:s a Id.eIClrr amrud

di reet sp'iiliit., D YTllalliHl'

gIUJf'n~l~I~. '!I"!l~'''''-!Illilr, , I!h ''''''!If!! to IRioi ill tftiL ~

!~~p.q

B!IJ'D' ~

IUlt:. PR ES [NT'S IBIECKETl ON FI LJM

IRIISH' Fi LM CENT RE, DU eu N IFi]lI:R·U~!R,¥ :2:"",8, 20101

1lI!.IIi.-RtIIIi!IIII~~~rJt:!IIlMIIJll!illm,~iIo~~II'!I~ fiiilPiIi!i!~, ~,~~iII~!!'i"'iI_Ei-/- !lit' IINpI.Ii'J p!..IIiiIII iI:!U~""'_"'" 1I).MiI1-.....a ~ ....... Ij!O .. lln ..,.~lI:ifiiflUi!iliili:lli.ii

nT~ RI .. ~. ,,",~_,"=-o .,.,. ,,;. ~,' •• K.I'I;: IiiIII I ~-. ~ - lI!. ... n

1"'Desi'gn depends I ar,Klel,y on constraints,'

..... C,harl,e's, 'Ea.rm e s

The rEI is an ofi:e n-to l.d sto ry a bout: a w1e U ~ known d eslgne r throiwi ng do lea t h e r office c halr across the r'oom wh en ,8. C [i ~,~ t r~'le eta d h is die sign ~ B,e'i riI,g strn ng is; not abo ut th row[n.~, chairs ~ Tha t's a te rmp er tant rum,

S,e'img strong is understandog yo~]'r rule, the client's role, and m,aJnta'i~ing a c.[e a Ii Vi 5 ton,

il,' The bustnes srn an' W,ill-'L"l n-'ove-' -

-, 1'1._ ::' _I, ll~!' __ , __ L, .",,' __ ' ' , I'I:;I'~ r

resnect the professional who does 'nIIOIt' belleve ln what he does,"

-Pau L RaJI'll d

There is a fine Ulne between intransigence and ecnfldence, or betw'€~'en

u ~ certai nt~1 a nd co lla bo ration ~ 'The' de sign proce ss ls efta n s ubj ectlve, wl:th lngos an d i'dentit~ at th e core of a Sf! nse of 5 e [f., A c [i e nt's lOVE of red ~i for ex 3Jn p te j! m,alY be ij'n'e le vant to the s tra,tegy jl but reje ction of ttl at i de! a may be corn e a, dele p ly 'p'e rson a [ lss ue ~ On th e othe r hand, t~ e d eS.i'gne r mlay 'fa ll

i nl l.oi~J'e 'with the s ty le of a logo that is nat conce ptn C31U[y re levant. [[1]1 0 rd e r to reach a. so tutti 0 ~ thla t so hie s the, pro b le ms w~ith S ustain a bi l'Iity ~ ·the' f n at logo mu st add re ss the dle nt's go ats a nd me ssages, Si die St'9 p pln g th 9! e motion a l tan dllm i n!e s an d pe rs on al polltlcs ls one' of the m ost c:h alle n gi ng asp acts of 'the d s slign p roes SS'~ Wlh i te e ve r-~ sltu atlon ]5 d i'ff-e re nt, 'tJh e b est so hmon 18 to maintain a c le a r vi slon an d COin ne ction to the III ri m,arlY goal, Tin e des igne I; as a 111 ou ts ide co ns U ltant, wi U be a ble to $!E e th e Large r plh~t~l[r'E! w~tlh 0 u t be i ng dr~S'tr a ere d b y da y ... to ... daly operatln ns ~ Freq ue.ntl,IY rsm i nd i ng the, client of th e de sired outcome and ce ntral m ess age is critic at

11,1 Glod helps them that help themselves,"

-D,s nlcunii n flia iii kUn

~ . 1

-Ilr .~ l~

- . .

A,s, the de-silgn of a [o:g:o! lSI burdened 'wit~ emotlonal and politlcat issues, 'the, ,designe~ ma.y n~d himself mn the role 0" "the bad guy~jl to ethers

in the' com pan YI not i ~IVO lved in the d e sign ~ roes 5:S,~ Th i sis not at n e!ga,tiv1e ~ No em e llke s chan ge! and the d eslgne r is the ca,taly s t for c h ange ,. Ach i €'vi'n,g ~I bu y'-:~n j~ fro m the s e nth e r '10 lee s hi ~Im portent and can b 9! don 8! 'with updated ~'nfbfmad()n andl patient llstenlng '[0 internal issues" Mla,k~:n~,

P'S,Q ple 'fie e l goo d, how eve r~ ls ~ IJ~ th e de s ign e r's ]:0 b::' prod uci ng a. vi a ble

a nd le:n~ ctiv€ [o:g:o j:s, ..

. .,

r .,:-.

contact

estabttsh criteria

gather inf'oma'tlonl

confilrm contacts

present findi'nl,s./c:rite'riia

cellaboratlon

exploration I!...-------...~_~

refine

............... ---~

explore conceptual approaches

~~ further' refine visuals

fli! L'I

---------------. lin a -I z e

-------'

custom letterform

explore formal, ap p roaches

____ ----J 'Clla,riify

10 ,- I

extsting message

--------, s elect fl nal color palette

-----==~ cenflrm ,appm,ic,atioln

~~ investigate manufacturfng techniques

-----, de m 0' In s nra t'- e

," I " , _, ,c,'

i' nte ract i 0 b In w itlh other media

'"Inelr,ate ex,istilng eql1uity (If' needed)

l II! d-

._____~ app ,y pnmarq aru

secondarg typlefa,ces

,appily

color palette

---- dete rnlne materials and manufacturing

prod ctlon

syst"m

sepervlse

., iii

prmtmg,

manufacturing

--------. cnerdl nate wit h a I outside

consulta -'1;5

__ _. mto,dilfYI sgstem ,as needed for'

usa, b i (i!t:YI

co Iaboratton

~~ produce standards manual

--------. supervise lmplernentatlon of vtsuat sgstem

cnnrdlnate withl

__ ----- in-house depa time its

produce

d ig'ital, fi les

and speclflcattens

supervise

prlnting estlmates

•

supe r'vI se

Id1eliverly

Ty po,gra.ph y is p ictu res of w"Dlrd s, 'The tetterfo rms work together to !convey a message, In tne

S ame wa y that WiE! decipher' i mage ry.~ W'9 die cod e tYPo,g;rap1hYI" The attitude, h~s.tory., and culture of at co m p an yare co nlve Yle d wi'th the' lerttelrfo rms of the logo, Cho,o:sing the approplr'i.ate typisface fCH" a logo is H. complex task, the shape of the lettle rs if! co m bl na tlo n m ust be co ns i die red ~ as we lJ[ as tl~ e L,~~gihiIU[~1 and di stl net so U n d of 'th E!: word when spoken. Ce,rtain t1yp,efa1ces 'wiU I[e~d themselves to better Legib~:Uty w'ith UIIP'p[er and Lowe r ca.Sill: ~

OftE!n~, a t1yp[e s;tlJdYI is conducted to examine options. Once a ,g:e'lliIlu'al ty-ographilic directlon is; estabtlshed, a Lette,lr=styte wilj~ be created, There. are instances when an ie~dS1:ing font

w illU. 'w'ork. ade qua te tlY, but: propri etaty· a nd unique letterferrns previde greater value.

This is either a mod~ftc:ation of an sxlstlng tqpeface, or a com~t[etety original typeface" Wh![e most nongraphic desi~gne'rs win not:

rs cogn b::e the d~ne re nee betwe e rnl He[l[ve'ti c. a and a c usto Il11 fu nt, 'it is the u ni.q ue a ttlr.'f1bube s

of the cu stern fo n t tha t g~ve owne rs hilP' to - be client, A. word of W3.lFfill[ng" however; the further the [ettle rferm s d epart from th e~ 0 rigJiln a.l rscosn '1'''1' 'JI11f. 19 fnrms tbe more Jiilu'I("Il~ly t heu

w'lwVli5JII~ .LgUl_·,~ I U,U .~', _~ I .] _l. _IYII ~ ["'II: ~If\.: lil"::1

-- -'"Ill d' t WII~ .. a -e"

Typog,raphYI

- -

Centaur

,ABICDIEFGHI]KLMNOIPQR.,S,TUV"WXYZ ab c defg'hij'kl.mno'p!qrstu V'W'X'y':z

12345[67'8190

IBembo

.A,BC-EFGHIJKLMNO['P[Q.R,S·TUVWX·YZ

abcdefghijkhr t1.0P qrstuvwxyz

'. 2'3456'7'8910

1532 ~ Claude 6aramond iF Parrs,

(Jlmj Style

'GaJamond

AB::,C.··- ·.'D··,EF:...a[G·" . H-I]ll".("L.M· ... :· '. 0-·" p'" Q···:·:R' S·~.,T·· .IU' V"_" W\:,·X',:·y:·::·· z- .. :·'

.. _._' .... _. ' .. ," l~ . ,'.' .... : .. '.. .' _. ". _

. . . ,

abcdefghijklmnopqr smvwxyz

1234567890

1757 110 Jon n Bas'ke !lime • B I flffllingham

Baskenrille

.ABC' -,E I' GHIJKL·.-·::·:-IOIPQRSTUVW,X·Y,-:

abcdefghijklmnopqrsti , W~.~ .. z

I 2,34516'789 0

1.76B, • Giambattista Bodcni " IParma

Bodiolrni

A,'BC'DEFG·'HIJKL~· .NiOPQRSTU·VWXYZ ah cdefg'hi j kl mnop q 1'" ,S t Ul vwxy.Z

, 2-'· 3-;" .',~ 5-· 6-- - 7- 8::- 19··- .10'-1

__ ," I .,.,J 1:,.',.' 1,,1 "

,,1O.i'l5~ ., If1I n""', .. l .... u I' ,r-_ ICO i London .!LQ... I ri.. C..::;"" .::;.~ CJ .'. .....,1 N . • u

S~ab Serif

Clane ndon

A· B- .", C'" D' E' 'F- G"- H··IJK····L·· ''111. NO······ .'. -P Q> '. -R S' ""T""U' V' .' . W· . 'X' 'yo "'Z

__ ,_ ••..... ' .......• ".' I j ~l ',!-...:..' .•......... , I£Y;I. "> ,_1- - '.:,'- -"i.' . __ '._ ' j_ .-:,

ab1c·def'ghijlklDl.nOp,'q.rs!t,u V'wxyz 123,4·5·8'7,890

AB'CD'E. IGHIIIJIKLMIN,QIIPIQRS,TUV'W'.XV,ZI ab,c·d,.·fglhlii-k. 'mlnlop"q- s,'luv'w'xy,z 1.2.3,4.567'89'0'

19 Z9 • (:, H. G riffittJ ,~ lnnden

Poster Etodcmi

ABC·- IEFG·DI·J '. IMN'OP'QB.STUVWX.YZ ,a, ·,c_·_lef.ghi,jik· IDDOpq ':-stuv·w~x,:y.z '1,2.,3.45,187890

Digit~l.

,44, (o~lpos'it')',i)-,4,51

BIi,ass[er~e ,8 1./2 '~lllro.e ires'lauwa~t a~' 9 We!st .s1~1lm1 .s.tre[e~" refer eaees the la.rg,e 'ti1re!e-,[1mmeniiloWiila;a figure '~~:g"," w~liltj~1 is a falMOWiIS, IN<eiw YCiJif'lk [City ~ilndili1lank i nl 'fllil~Ullrt'

of thle blu"iLdiin,g. tile curves of the be[,j,lJ,lllWtlirfll!! Lly '~rawlB custam lettelfl"fo. rmSi lof the Bras;sEuu e oS 1/:2.1,ogo, ha'il,il\f!l b,een slm plifii1ed,j the s hapes o-f EHlilCh lller~:ft!~rrn. echoes '~jfi1le s.h,lp,es [of the' lollie rs, Ch e II'ma,'A,eff &' G e i1sm sr

46,

'Tbe AIii::tQ it,etls ,At Irnam;:@ ~5, ,an alm,al~lam of several arch;i'~e ctural pli'le~mces", TmRle 11r,ld e Glothrne l,ett,enOliriiD1lIS are Ide,arw, lC:jJnfil~lenit;1 an d mi~n irm,aI~i~st in '.Iemr rIi::[:'ie.a,tiloWiilI , Concrete

,41

GOlrlit du J Otll r ffis ill apanese cake ami bre,~d bake,r~ ,c,hail~~ 'The, ~etterfolil'iIl1 s are hial!lm d=drra,wn ;aJnd €o,m Riilu.n'ci.te :a n a:~nttl!!!IIdl~ of SpOI!m ~anleity [~I!m,d ,rno'Y~lillllm.e:ss , .. A rrthorll B e ~ ke

4B

G~IIHlJ a b,oard ,g)ime!, is a. lG:omb'illiillati,!I)fI1 of varl o~s., f~uimJs, based Ion the ·S.ta~1 s@ riff fnnt Ge.lom@trf'c 1,0)., T~e dirlilJgbats siimrwLate the iC~~:OIIili o,f'thiis ,~,am~! albio'ut cr ea'ti] ng: mschanlcal '~!!1illillvelmrtiom;;.,"! Tine sllnlift uf IL'e:t.te~(';s ·om '~lIrn,e lI!!i'i!lsldilli!lle. ror1ce:s tl~le 'ltliiew,er to. ,ulhe',il9I~u' mh'E! 'w'O('I®1 .. Tom .all'lld lohn, ~~ [)€5,ig)11 CQU8I,oorative'

5'1.

L~w'e.! [a:Illi1lld Partn errs r5, ene 0-' '~e wOWld"':$. k!·a,~li rig [ad~ertis~ing: ae.;enciies. lak,'inig ,G1dilil,aili1l~a,s)e! [of the! possmibUUi,es: ill!illh,errent in e,8Ich letterrform! a cus.t,om teu,erstiyte w,as delJe~op'ed with a s'q~laJlI'e as, the! pWi'irlJliuiIlliY gU'id B .. C~rter Wong lorn lln

.t'g

Based en the! classlcal 'fOrtI(: 7irmiin IDidot~ 'time In::: D1ildii

letterf:o rms used ,0 iii '~he II occoni blg,O ie,i<alu~,e;rate t"he telrm ~nal, of 'mh e. ~!~~' wltJD~:C,~ edliole~s, thE!~ dolt. OIn the, i~i .i'

i;urud e ream s a p.lIl',o.l~rt!eti1lljfY E'leffllumt., Pe:i1~iElJgra,m UK

~2

M _ J IGroll p the! IOfiiIU~m!l d' vi':s~Dln of MY" N,etw'orks· • ceanects thlr,ee ,online! bIWl1s,iness:Eui .. As op,osed 'tOI usi'ng '~lhe MIrv' ~ogQfIi hleawi ly I1I!Iloe! ifie~d verrs:ion S off

N ew:s il'iroth ~ C ,iii. d Vent! s wen:, used, wh:'le the th rei! d!!l~'s [of" the "l" re la:te 'to '~lh~e c(nWi posttjioln of tlllnie diwi:swo n, Ada mrs.Mo.:rl oka, Inc,

50

Tihe ID'es,igJIDi E:Kchangle pIi1omlote's, ton .. tu;t)ions in cultural i,d!!! ntitl!j and! dll!!siign ii~lnO'vation. If1,e mlaII1iU~ ls sim p~ifiiedl i ntiD an ~ooll!rui',c. I~iililg)~a:g)el w[~h rm ini'mallm,eans .. 1he! let~e[l!'~u,rms, alre base[el oJn lSi U Sans .. cencrers

41

49

49

{::o [0 r h; s U b]:e,ct~'ve" 1 here are e motto nal

corm ectin FlI~S, that are pe rson al to each colo U"

WIE! se e In rela t ilc nsh i p to logo d eslgn, color

ls 'I ~Ite,gr,a!~ to m nsm 0 ~I[C valu e. It ats 0 con ve y s t~ e to ne of a corn pan y .. , ,AI~tl!hou,g,h certal n co [0 rs ~ a,\n;~~ acce pted me dl.n:~ml gs i n We,ste~I~'~, Eu.~op ean cu ltu re j' there are m u ltlp le me an i ngs across oth er c.u ltu res ~ In the~ U nne dI Kil~ gdom, wh'it~

ls consid ere d p u re a nd I~,ositi\fe,., In eM lna, wh ita ls us,ed in mou rn ~ ngr. S Y mboHz~'ng h ea ve n, Red

ls con ne cted wi'th strs ngth and life, but ms tab 00 'I n fi nandal corn mu n ities s, ] n thes e i ns tan ce s. the iCO tor acts as a :S.i'gn'~fi e r of wd eas ~

The idea of ~owll1ing!" a color ls one of the

h ]gh est prij'(J rltles of a togo and su bse (]J III e nt i de nt~tly. Orange has been as socl a te d w~th NI](:ke [ode O'~ for almost two d ecade s,

PM S ,6 5!9~ a die e p dark b lue, 'is, us.ed O~, the

G ap ldentltg, din d 'w,as also t~le name of the i r fragran ce. Su bve rting stain dard deti ~,i'ti 0 IWS cain he ~~, to mlake a co ln r pro P rletaru, 'We l ls Fargo B,a,~ k's uss of' re dl was co ",s,! dere d hereti c.al[ b,y the fi n anclat com m uln ity:, but

h as ,g;~ve n We Us Fargo a clear ide ntity a: bove the mu ltltud ss of fi n a rfIIci a [ 'i n stltutions with

II-., LIII g ~ ,og: !flo!(\' U !..a!~ lu._ U'~!i

so

Co·-··lo······r'

. .. . ." .. .

H--uii!!il~

." ~lII.

The coi(ofr' ~ts,e l'f" 1i'8WtJg] n:g 'ft~im y,eUlow to blue te n~d

The tl!llU!l,r-;it~1 of a ICIQllor- frnm :er,a~1 to the! mlost iint'E,nse €otOIi' 'U)lJ[Ui!! 'Thie~ bwilglhtmess lof a I((dot flioml blalck 'tJOI 'wIIDlmtJe,

153

'Red! a ~iIId ,glfi",a!~ 'W,€! re se ,ectedl as '~~e eete rs fOIl!' areJtrnii~e{:tlJD.ll',ilm, ~ilght'·IilIB.; fix,tUlre malm!iufa,ctuJers. fj,otham .. Acco~d[jnl:

to de:si~g iiiI@lr CLiv,e Pierey ii' it w,as

,c1~Q(sen Ibe~aus@ these eelers ,a~e f~p!rettywit~y:soiftmespiec:'ial..,5" Ph .11)

57

Inmrifl1i1aJ~i on A~lvise ,llmIJd Gll.IIidlan(;e

N!etwo:rk" or AG" is an o'fgaJmlizaiJonji 1I!limla.t is c:omm'jUed to ,~el!p!iog PEU1'pt,e 'w~~!lIJ trai n~nBr; eareer f:olulWlseliing, and 11o~1 pl~acem@ nt wUh li,egionaID, offioes, ilt~irou8tlrOiwnt t~e Un it'ed Ki ngdlom" 'he thart.re usa col~iD.r 1~1iul~lkies, thls lOlgl1 bo~1W1 'vi!si'bl~! 'iJlllfrud Im!emo!r'ab le,

b [twa' rhlle r design Um'llte'al

54,

Whem the LOliO was red es,igllmlell"

e Lectfiio.li'llic.s. ~1tailfue,r GOlod GlmlllY.s as,ke~1 Pellrtag:ra,ml tOI !conti l i!Jie to use! their exhiis;tiing, c,o~ors olf re d and bla,lck ~t.f l!tolfalld'ing, co.rrtJ]lui~ti!ll;, Pentagnim SF

~,81

V,'o~ olv~d, .. Ka~al['ilaJCiij.aJ ljiu blma,na is '~ll!iIle tow.n':s walle r supp [y s;ewlee,., Blu e ls Inl lobvlou,s. eho Of! to r1!!plresel '[ wate'r;, 'hI. _ V'J for Vodlo,v<fd ,aJlmid thief 'wa,veJs !colmb'je to Cre\~lte 'U~e dly:namh::: sh.ape ,_ f~ ;l;/L.,"il!' lijna,iI"Io ifll:l;O~'G-

ill, " •• illUl ciI 1I.!!IiIo~'U,. r..n:",:

II:: IE;' ;;JIJiJ

Th@ eelo r p'alWene f:or the P'iIl!lilll- ElI.WlIilOljillean

grap,liIi;c I~lesliglfill oOlm' ere nee IGrafie EUlI'olpe ls II ot restricted to' ene cum III natlen, lhie eollors are iute ndiedllo! ,change t,l) fefm,e'c.t eaeh iC]~1YI chosen to ~IO'S!t the ,cQliiDfell"e~IC\e~ Ihrns, ~ogo, ils, fo:1" ~b e c:onfe.re nICe ~rn

IB,:I rr.cle!!l o:rrua .. , S,pai n ..

Uppa Pri eree

516

S;o'flli:C: Fruiil: ls a sounml dles,iB" 'C,Oml!NlIlIII'ruY"

'h@ bllQ 's colors ,tiili",e a IiIilrolfill ern iintelipll"letatlio,n Qif classle C!orp.orai~:e colers, Thle col[ors-==-red~ ~ilue and! a, tO~IC'h Off onmge~r\e:~telct thre: hmp natu re i)f ti~e di,enlt':S b usi ne 5S. Volker [)f] rre

5 .. 9

S're)e~ blUre grsly a,nrd Si~lJiI>5 serif

tYI,ogJi",aphIY ereate a :sQiUd mmn Im,aWist blg'D for I)o;lyg,oln .. ILippa, PiercE

[60

IHo lLand Fe:st:'iwal ls aJ~ annu.ii1ilm a'~,iilmrt:-' gard,e eu~tu:,a.l f:esiti~,llJt,I'n Ams.telJldam .. lh eJ HH'OlNU' is red and tbe '~~;PSTV L I;!!

iis bm1Jll!1@;, whiich resu lts in a ~!og,o that rese l1II'b[e:s tl~e :DrutcJil'Hag" ,A nth on Bee ke

gotham

55

Sorucfrurt

57

59

52

POLYGON

H

N V

5-1

, ,

6i

ID.~.vlelalplm!!ntJollI" 'is a [cmmp\11I!1 y th,lt tlll'CI,ilIlllIS s.o.rf~ware engi1rilleers and devetopers, Tlhe'illi" 1[0 g 0.. lis, bl~ack and (!jrrange to giV'[m!!a. twi:st to ·tjlite tradmdo nat corponlte coters, Ph.1l

6'3r

The lj]!fUmary b~lle ti '~iliille Vih.lo!.go refe. rsaces mu L'ti·pWe. mIU5~CII[ ~d[€a;s: the! bl~ll!!les.i' IJ~le $1W!Jedie Sh,oEH;" Brlue NOlte R~(on:lls, •. "Adams'Moli]ok£1, Inc.

62

Glre,e.n tYIPO:SJli"illphy w\~t~1ru red elreles above t1hJe I~,~ s,uggel~ a IJIi",Qw'iliill.g: plant fOIl!" Ge:o." J. Dall.-=Jg~owlelrs .aJII~d d iSIW:ilb'utors of !H~le[~S ,of ,Lants .. Chenm ayeff '& Ge.is·f1niJf'

64

"-The! IDffih:~i,aJW, 'liT I(;;ollo:, ls bllure[~, any bl[UE!., !Wb!Jf~ IO,eC8Jl!JSe

r'es@~allrch ha:s S,hOWliii11 OO~iitclu~i·vlel.y that bLue ls A,nillerirca"s; 'fav'Dr'ite! CiO 1,G.lr~ J 5.,a!~s. deSmlnlu m01hil mwe ~~n be tg.,

leh fill IEHe'~e n Il>e.n~

615

B~e was, Ie ~Io(se n flor Med~~aJbo,[jc, a c)Olli11panYI .~ . at

Illl",gvj~dresl hOlm]le E:ntertaiiilll ml!rtlrt: I' etwo:l"k~ng sy:stems." ~'Ol bl!!! alum u nlf!!Kp·ecte.ldl n.!lIltil!u;";e .. based tail-oIl' ill1$:~e,ald of a sllek high~t~'c'h em Ie!., To. m and ] ehn, A. ~,e:sig)11I collaboratlve

,tH3

D,Q'nE!s Obj'ik'ujem lucri' mean's Juday m Ilh!;S~;g~ fer

T':]!fnlo, rre i,j1lt., Tlilll!s ~,OI.1O ."las· cliiea'tedl'foif a :$iov-elillli,aJ conference on sustalneble drevel[OlliJlinell i ., w:i~h gre efil 5eb~tted because o'f i'1ts, eennactlen tu iiliaturE! ,an.d tlhie ,e!mr'iiilr,o IiIlme nt •. KO[,IJ'l:liapUink~

6'1

En,e'olS ls the las.lo~l]1i1 e ~uu!j,i'lce s;~a'~i;o 1m b,ran~1 of NhDlp1mm

on Cor,o:ra,ti[o.n!, 'Tl~e [raJilfIhll.ti[~g ,Sl~i rats of nf!~d and oirane.e C10~ilU\eWI ,eneli",gl, iinnov,aItjion~ ,ilnd ItU'ovilaie. vils,ual. i·mlp,ict,. tsndcr .~·ssoch1ted .. 1J1:lelin~tiorHd 'Lim'iite,dl

e'v·······:···e······ :"'1'0' ..... p".

. '! ' .. ": .' .,:. . .....

. . '. ..

. .. I. 'TU

IMusllc Firs, _'

II iI n ~'.,S . 'll~KuJe

Wl~ e n w\e~ fa lk a bo ut icon ograp h~ he re ~ 'we

ara d iscu ss~ng; its role 'i n the eonte xt of togo

d eve.Lop me nt, Ieo ns are t,oa,de d. The y ca n be

ve ry p owe rf~l[ ,9JI d C.OI~lVE!ily a large am ount of mnforlm atlon Q u i,ck,[y., The y ca ~I, co nve rs'e!~y!, be ob U Q ue an d neutral, ,al[l.c,w'j ng for a b road tan ge of mean i ng, Th e sw:yb~ of execution 'I mlp acts tlh e to ne a n d m san i ng, An mea mil created fnr 8. logo

d oss llil at nee d to be a, Ih ard-edge dj flat d raw:~m g of an abstract s haps, W hne~ dmlfe ct illu stta tmc n of the s ulb j 8'Ct matter is (3, mil sta ~,e ~ variou $;

rs p res e ~tarti,om al tech IiImq uS:S can be: ut:]'[i,ze ct

An (31PIP,le acts as both a s'y m bot of N'8:W '~i'o rk

a nd of €:d ucatl o ~ ~ Th is m,a'y se em like a, dleh e~

b ut c ll c h e 8 are, i nltrlilWi s:kaUy,~, V'IS:IFiy recogn i'zab le ~ 5 ueh s.y mllb 0 ls s hou ld n(}'[ be d lsre ga rde d

but, rath eti, P rese nted ina, fre s hi form ~ The

icon ograp hfy sin o Mllld e nga\g;iE' the vmew,er., See i ng rel((],gnb,a b~e' ~~gns: in a 'U n i'~IU e form is tID good w'ay to achlsve this goal,

,As so C'iEty and 'C'U ltaJJllwe ch a nge~, the me an'im g ,of i'mlagelliY a nd ~iC~lri1l~),gra ph!dl s h~fts .. , Au nt

J e m i1nl a. was. a. n areca ptable i mage ~in the jl,9:3'~')S~, but has s i nee b e~e n mod i'fiied to better re pre sent ami ,Afr~icarn-Am,eric.an woman as an indlvldual, not as a ste reotlY pe, F(,esp 0 ns i biUt:y ror understanding the mean~ing(s) olf an iiillil1aJ,g,e U'es with the d e:s,~:gne~r~,

SAl .!!iiIr

flllM+VIIDIIEID

a

68

Tilte WleliD,re:se rrtaJtion,a!~, 'le ch~li!~tI'e (Dig photO:eji"~I~lhl~ iis used fClr' 'itlbe, Atatlflilr~a FUm -+ VWdi!O! Plfl'iodu ctlen :~OIO., Tfra;e ex,e€uti',om ('1P'hratt~,eraphy]1 eVQll''!I'es; fnJiml '~~le siUb]ie~t ii!fN,il,Hew- fl[~mtrl~nd does ~Iot ,rell'y (jIll a p ~~etyl !walph It :soluti,oliiil" Ko.itI'ti,ap!unkt

6'9, '(o'p~ osite)

The $ta~i:,onel~Y fj[iQr 'Pau~ Vi'oWiiilb:erg, AlrchmttSicts, pL.a:ys

'with the C)O~:C8!pt ef Sp",i~e,. ibe; yeUow bl'Q(;I!c, creates a ~oiri:~(1lIn on, wh:ich thie! wOlrd iiIJa,rchiite'tt~f'" :staiifi,ds .. 'rhe vh!,wew 'C:~11il1 rrn'UJve! llh rough the '~Ylpe~ ilrll 'ittlllme sam e way

,~, "elll',sG,n can W,i~~: th rough ,I tiJ,uilild ilnille., LiIPPil pj',en::e !C!fi',ea:te,~1 a ty'po',g)ra,p!i1 le tanlaffi!5!c,aJi1P. e~ S,UU!fH3!d ii~1 ,cllas;:5~ci:smj @ SI~e.!Ci;aJ~ly w;iltl~1 '~le 1!ilIISH~ o,f'the iIf(D'nt

'Di,affioi!lt~ UpPeIJ P~'El wee

'7°

'Ti~@ Iph,otograp,h 0f surfboards fer Iquh~k:sn!Jer

Ed itih]n m5i ,a_rmll i'm)al~'.' It represents the tone ef '~frnle co,mlpillillY and serVies, as alum i'C)OA~ 'film" '~h,e l.i:fes:~ylle Qlficksiily.e~ - se r~e~~ p~ .,1)

'71

Tl~e l~rawiDllg ~f t1hle [~~i~d ,iUnd iis'telri:slk. I~Ommlll!!ln'i~ate

'~'Ie IliDlroceS'"5 O'f 'tj~li n~:hThg f:Olf 1th,e SpaMk bl:g,O!~ as

o:pp osed '~O a lFIel~!II'@ sentatlan O'f a '~h,o~ghti 1'1iI,e !alcth]ln ih3, ,cltDmlmlllWiliiIli(aled wi~ttl~ it ~lnillgJli',~mlmli'Ullltic

leon, IUS,. Ognvy 8' lM,atm er

''1'1.

!Iil"=Iii'Ii''"JIB alll'il'-'rt''3,~'n i'IiI'Ii,1EII1IlII iii' "l'n.,lllu,etlfl!Y t- eojn"'nt- ~aa nt'ii!" c~lEIoa m

~,hl~I""~ "'" Uli'~, ,~~I IIII1 ~lllfllO !.ill , _,"" __ i '_ !OI1JIIiii, 'IO-li!b""" ~ '""'!O;"'"

'~Ol wear a tori! of' hats irrru 'tilinlewr \ilIUWI(, m,ei~apllirug'.rh:aU,g slpe.aJkjim1lg~, a ~Iat, makes a s,e:a;~: i CJ('jfill for tha

'clQmpa n!YI.! Ph,.IO

7:31

'1f11i. . ~I.· .. ,#" -, bilk. "t If!!='t-· "" 'i, ,-, k-~l~lf\ Illl ble . d"#'

II ~IYI@ luO,gllD IUor III'"" ihiS ""'I Y 1:5 iI,:S j~!Ii, !!!I.,. lJ@lJiI, . O'~I

l'ette~f.owml:S' !illIJ~ld :aJn .~~Istrac:t '~bape'., Tllme sh'iiiII1~'e ,c~n'\l!\ey:s mn~~,ti~pl,e m!eaffiiding,s (elnergy ami ~illght)l.i It acquilr'e s IHilI~anwng;~ liIDolWel!l'e'r~ onl~iYl 'W[f~~1 its re'la.t'hl)!ns~liIP 'W Pabst C:i-t~~ s,a,ma,taM ason

141 (,oIPlnlsit-e)

B;'IO:OfflJ a Ii Ut(:~1 Illi!la;~,a:l]ijDleJ liI'emlie:s on a log,o, that iis; a :s~mp'le '~Y1P ograp'h~c f:Oill'mJ c-'Ombi'm~d wiith an iimag1e .. 'liI,e i'ma;8~~ ill!1IJ ,~Jhi:s ~jn:staJ",cle! takes 'Ume I~la,~e 'of aFQI ,itCon Ci)'iliIiWE!I(:'OOid 1:)0 titwe I[.oeo~ A nmo fI1 8,e,e ke

TALIEI Y'

ENIER'TtUiNMEN'11" ,GROUP

73

,At ,good togo wit:[ ]rDvo'[v9' a. shape that: ls

a pp repri a,lrJ9. a nd 11m e mlora.bl[e., .s hape i is at the co re of mime monic va.hu~ ~ A l:th 0 lil'gh n w()ul.d be ea:sy to :s,ay 'that a drcle '~:S. the most S UCCAe's sfu l. s hape for a. logo, it wo'u ld

be M ntrus. Th eY~e' a re Logos mads withl sq u a res ~i elllUp se S!' tria ngles, and oth e ~ u nlq u e s hap es tha t ara eq u.aUly su ccs ssfu L

It is als 0 wrong to th i nk tha t aU [ego s m ust be contaln ad w it:h in a sh ape ~ Th e eve raH fo rm of

a Logo should comprise a shape e. 'rh:~s '~s achieved by th e lette rform sand icon b e'~ n g co nstr a.i ne d within a shape, Al.ternat'iively~ the te tterforms

a nd 'ilea r11 can ere ate ani mlP UE! d s hap e,

L

[

~~~-.-.~~ .. -~-~.~~

oil 11" ~ !to' ..

_r-".1.

-~

-~

'.

~

~ ,

!

I

•

'lII .. IIO.rIIU II:.

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'lhe COlU!llnt~lr,S, lIll'f '~JIru@ ,u1111~' an d dUni ofthe

ID\$O lO,8:O e(;~IUl the' 'sl~lape:s i;Ilrf '~mn,e cu rViUm.1Ilear ,~;j:c; jli' '-h' ".. 't"- , I~ , - a. lthl th -L - - - , ~

,oj~ , ie mi!g.a, -IVe! s ~I~ape ~ WI _ ,Ul '~ If!! }owli1!!1!F

IPcdffic n OI~ ,t~u~ ~S~" are; as W'EiU ClOlllillsi~d,efed ;~!S, the pl~s;itive! shapes, Pei!'rta~raJm NY

"l'6

'be LAB, r3,~2;11Ilogo iis IPllimari~~1 a ~ec~ang,te., 'he bl~a,cj~etg arO'Uliilid 3,.,2; and '~h,e ~~l'iJ ilT,e~inf:or'c)~ ,tt~u, stm'lOllmlg lhodz;on taLity .. II(['~ ET II<

77"

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'ih~! :strolng, me,c~aniicil.l :s~lalpe" ,ill ch,itljwn UII!mk~ syrm,boU:ze S iGrllm:D!po Prrilim::i~ple, an naUaillill ~Ieavy ~ili1I dU5;~I"ie:s g~u p" IR& M ag

78

fhe! b~w'-'~i:e g;hl~le of '~he S.[almdanice ~ogol

1Ii,ef'E!'r:S; tOI fi~Jnm le '~:e,cl!ln ol~!I!l,giiE!'Sl, ,~jik'~ 'Vi:staiVi:smo'n aHl~ Ciinemas'cop1e!., Adlams.Mlorlcika" In c,

'I!)

tnl!od'ojl~ m,D,go ms, t(a1mFD osed of 'h:h~~f~h::;~ru,

lIi,eC'~ang,tllla.r 'f'Olrms 'w[f~1h :slmieht '!I,i!'arma:~i:,olIs., 'he! re petitilo~I'~lf the: re'{:t~~lgl'~3H$, pW'lli:d~ s ~lnrn1;)~ an~1 plowler;. Carlos Segu ra

810'

'The LI DeUa de l'Gol'IWcl lego featu res a seeptre ,clIn'ta,ineli1lll ina c'im"icillie!~ The sh,llpe also s,ugg,es:~:!ll, th,e cUlriled LilmE@:S o,f 1I!he.

'fe m'aJ~e furm, IR&N aIEl

Sll,

1iliie Itogo, fioill' rz£i Cf"eifi.tes ,fiW i mllplruhed Cllil'ch~" ~ad~ @Ilem~ nt-tlhlll I~yleg:j' h,~a)~~ and let~elrrOnnSF---echlo ~~e elrcle, Carllos S if! gura

arper

S2J ,84,

'TliTBe Erl(::bJISUfi~! i'~e.rrUtJ~ i',s diesiped 'tto com'llelbiliu~fl~ '~lliiiie 'ft.I!lJdd 'MriM:S of '~he

,'\ I I 't' • ~'io II .' , '.', +,.,. 11jh" .-: J ' '1(""" 'Ii; "I' '~ " 1111l.!! rll!llil u re I~I~. llie~ resen ~~ III @ a,pp, 1(3.1",1 iilltil5

'takel ,adlil'~IPItag,e of the ~trolng, Wiinie!;l,'t 5,hapifi o'f'thie! lOti,O! as a 'c~u nt1!f\po;lrnilitt: l\!1!i! '~'Ie 'ir~d;uc;f:s !liUll~U",~ar llnes. O!~ nama

mM$WiI1j' 1!u.~._JJ'~~j~~!\i~~~._!!I~_W~_~O!) T'I 3_JJ ~ ;l.j11j5. 5OX! :i!'; ~5.o].,1. m ~ 1[, J!~~EJt

IljteLCS !J.R I IJ!oIU I !:J!:' 'J'.',!;ITRl:ilm: FKtU5liJUII)IIiD ::;,~mtl ~wm ~'f LJIi!~~.1"1,oI."\.i!I

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DV'El~rmallD,p~in:g: shi~ies pliay ,iii ,romJi'nent role i~1 th"e lo',e~ develilill!p~d from' ,ESprifts

p u~Hca;~mo:rtti, iUfhe M:agtlzhii e}'~' eZllrtos s,e,gurill

M Ylt'h: IEve rycne! Ulke seve ryth]n g Ib i g:g,e 1':. T ~ is

m i ght be true a t at B nJrge r KJn,g, drive ... throu gh~ but ~'t 'is, ra reilly tru fa! in de's i,gJ~I,. A logo m Mist be

ab ls tOI exls t as a twen ty.,. fh~',€' root s i,gn on a building, but it must also function on a business ca rd. [ntr~:c.at€ ~ co ~np lex, an d l a'y e red fu rms

m i ght too k 'jin c red i b le 0 n the' com pute Ir S C ree 11

at 41C 0' pe rcent, b II] t wi U b eeo me ,8. j um b ledl me's s on a CO 1[:aJ be L () bvi 0 ~JS 1.Iy ~ S i miptl~ fo rrns red u (I~: be st. Co'nve rse l.y ~ badl C urve s or s Lop ply ke rn i ng are oln l.y (3lx.agge ra te don a, nfty~.f[)ot billboard i,

The ts S II] e of hie rareh y and me a,nmn g are lnterconnected, ]3 aln indleldual product more irn portent th an the IPr;~lJJe nt corn pan y? This depends on tWll questions, Hrst; wmU it be a d~va n tageo us for the cllent to be

ass Dei ated w~ith th e prod u ct? Se cond ~~ w~iU it

be d lsadvantage I) lJIS (' If the con ne ctlon with a, product w:~U posltlon the client inaIPr,prOlPfiat,el~y:~ the re I'S a much b~'gger p rob le m th at nee ds to

be ad d res se d th a ~I just the si ze of the togo,

8]5-86

'i!"J~IGm- :'IIi1I,h""" ''f''11 I 1i="1fIi1"".r"", 'I~'" .", IIf"O~"""'I--lm--' u -n~~~iii-'b"o\!i sed '''IiI'''*1f'i ,~,~! __ -It - - ~~I~ ~ ~!It ~fI!!.~ ~~ [~, ~ :.. ,II~~ _ _ _ _1~1~~!iIIl ·a~·c; - -Blli 1.;]1'

'O:~Pfi!lli:za;~I:,oillill '~~Iat 'p~es,elii1lr~s, ,ii, divl!rs@ lII'iillnlge Off'

PIfi'!i"IIli!lIIJljeimlli'Mli'"IIrIII(J' "1'1Ili1 mU'~~lro ,li:':llm" I d 9illi'illlF":iI!II ~1~:iIOq'r~'''1u re

_ u ""'~_I'~ u~11 IllIItIo ~I~ "r.;!I~ ""'I' III , iI' " ~n"",,l!r-, WI!!.~ _ ",I!I, 'I'

a!nd '~h,ea"telt., lh,e new togo needed to WfJl!'k ln eW1l/VinlnmifliemtaJ[ an d ~Ir\lint a:pp'lli(a'tthlos:., Tlhl!'i! blglO usage ran,gE!!s, mini scale fflom 1./4~~' i(O~i15 em) to '~,wJO~stoI!i'Y ~!uii~dlilmlg=si';ze d s:igmlage'.,

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'he ,dom:ur :swgnag,e Si!JSm.e!MI1 reflefts 'Un e IliU'!W Sy mlp~tiulln,YI Sp1ili,Ce I~oe[(f':s. ae.stlleth~s,., P~ntaJgf,alm N V

8,8, (next :sl~relaid)

lhle exterior Im,;Jfiiqlee vlsu aUy CO:lilIlill aets .!hllm,boIl1lIY SI1Hl ce to the ,Idj.aceillt ThaWlia 'Ihieat@11' bly] ex:tendiilll,g: :it:s fliear(;!h (I ut o'ver the corn er O'f 95th amI Drroaclw,a!11

hi New V,orrk C"~! ~ T1he lose Off 'dB e bUiilki ingfs, ,af,cil1~lfti:eiC,tlWJfiie ,and ~Jlilal,hijc:s, at th~is, scale cause a d~fi!!ct d~al,og b et,.ee mil 'th.lfJ] stre et and 'tililiiS, (:!JJll't,!LIlral, O@mlrter., Pe rrtagtam N'V

61,

The logo mus _ serve as a central' ool PIF\o,vidiJng, a. euheslve volce for a v.iide range

of applications. This does not necessltate that the logo be an intra n 5 i gent, i III muta ble 0 ble cr. 1w'9 nty y,e ars ago" the ld e a of de s ig,~ i n.g, a logo that could mutate wars heresy!'. As the ds!Uvery

S Ylstem s of i nfa rma tl on h a.ve 18 x p and e d into televisiol1 and new media 'though., the deslre

for togos 'tIO move, change or just platn "do sometblng" has. i~lcreased,. We now expect a. logo on the bottom right corner of the televisinn sere e n to anl mate ~ A ~I acto rnp a ~ y i ng aud i 0 cue 'is also ex pe ete d i, Whethe r i'~ was me a nt to move lor not 'is irrelevant; s;om'E!!Whe!f€ along the llne, scmeo ne w]U make i1t spl n.

Rath er th an a Ho w so me I) ne else to make deci:sJons about the Ic:nangea.blle qUiaUbes ortne logo, the designer should presuppose

th is see narto, P roy ld i ng guild e [i n'9'S to r m otlon, aud~'o" and print lis as l m portant as chao s ~ IiIlg color, Once again, however, the message is

a t th e he a lit of the' de elsie n-m a ki ng proc ess, It mmght be. posslble to have a logo twirl~ flash, and bubble to the tune of i~S~rrF'ey with the F'r]nge on Tiop;' but it ~s not wlse untess ~t is appropriate for the product, The action and

re aetto n of lhe logo slh 0 u [d re info rc€ t:h e OV'8!r'.aU crT te ri a an dl con ce pt,

Sta· ··t-·IJj,C-·· 'V·" S-~ IC····llh-·~···a- ae·· able

.. _ .. 1 _ .'. " ~. 'Ill . _ I [. 'I 0·.··· . 'W

8gaJg'!.

Cre',a.tiv.e ,dliire etall" Miich,lI.e·l.J,oiin.son says., "The gifls

at Kush-tii are ha.rd,-dr~in'ki ng~ tWierrty~'fliirst Cellilrli!l!l1l'iYi w~me.n~ We CaiU them '~adldlenes- olU'er ~Ie~e~ So we wanted to! find :soimeth~ing: ~tt.a1lt @xp!li,es<se(d \\dla'~: b ei'ng i!lKJ~5ihti' Hili! .. $om"~ed) m'll,nt te mo.d,enrw ·wome.n~ SCI 'it see'mled! ,t' lat the mo de'rml sorrted wa mlBl1JiI wou ld al:ways ,U II i mil b,3Jrs~ IIleve!r Wi[Jrrry ,al!iltQll!Iit ~Ier we" ght lOW w,al~s,tUm!'.f [lad wleU~ em,do-we'd !m,o!!f 'i@n~ 51", ,(!IJ!I1!ld E!njGy,e.d a lilllglrnlit

~ml with ,cJiocDla:te:, 1(;IIJc:und)elrS~j IlliIJd a ch~ck mO'vi'e~~' AU these hm ag.es 'form the' ba!fls; lOt' a s!~n~e.s erf' p~om![jtJ]onal. piiete:s iJllustlrating 'tl!lis klinetvt bl!l',~wdjrtlIS ceneept •.

loh nson Banks

912 (O'PI~CiS~i~li!)

LOl I den-based tiiiFim J,ohpS!ln ·Bs.nlles develloll1ed a bJit of vis,uat i:de.as 'for' 'dilloirr Idiient: 1K~15,hti~ an ,all

rem a.~e P R/'c0.mmll!l!l~ i~ati;o[js, 'Ctn:5.llliIll:~anlcJYI~ It s'eem,ed mOl l'iIm~tiin\g to jiu It Ifrmav\! 0 ne. llogoi.~ ,alid I. I' uch m.ore fi~n. to, bav,e S.:i:I!lL. Jh.'e ellent li kel~ 'tt~le wd,e.a,;., ,IDid i~t sulted th@~m 'WeLL •. Johnson [Banlks.

KUSHTI

K.USHTI

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Id e!l~l[iit:y de sign m u s t b ~ nu'jd ~ Wh e ~ th e logo ls co m plate ~ m a ~ y m 0 rei ale me nts ne ed to be ere a tie d to m a.ke! the [O,g:rO tru ~y u sab le 'i1 ~ a \(,arliety of' applications, An idlent'~tjy syst)em needs to be deslgned that will be dllynamic. enough to allow for the ever-changing needs. of the client. Therefore it is ess e uti aJ t. th at d es~gn ers ere ate logos with nexi bRit:y i n m'~ n d ~

CON,SIST NC'y' OF CONCEPT

It is important that the ~dlentIty sqstem functions as a cohesive gro p of' visual and verbal elerne Its that serve to ccntinuallu 'identilfy the cllent to its target audlencefs). Consistencg Is. central to effective branding, This does not preclude creativity. ,An ide .tilty sqstem will fail lf it ls predlcta [l'9 and lifeless, Powe 1-, claritq, land freshness must accornpanu conslstencg

ClARI:TV O.f IMESSAGE

The! role of the ii~ entit .. 1 sgstem Is to provide a, vlsible and obvious shorthand that supports the intended 'image ofthe client, To achieve this, IBve- y graphic element 'w~th~n the identitq sustern must: clearlq support the logo,

AIClC,OI. M[OD.AlIING TID 'THIE ellENT

W'hen the suste .. ~s develo ':I@ld" t.hle designer must understand who wll uSle ~t and how' the,IYl will U51e it, 'W'ith thls information, the designer will be able to create a sustern that ls graphicallq appropriate, land capable of both accommodating tl 'Ie requirements [and reflecting the lPe I sc na [Uty 'of the client. The designer must create a sqstern that can be customized witlh~n thie constraints of the client's needs,

FLEXIBILITV IFOIR U:SER,S,

'The ldentitq sqstem must. allow for an lndlvidual user's own modifications. A.s much as the! origlnal daslgner may not wish it" other creativas wlll uss the ldentitu sustern, Plan for enough variables In the SYS'1 [em to keep th e. lde nt'i'ty fresh.

Wh"B,t ls a kltof parts? Ouite slmplq, i't is all

the core aspects of a complete identitq design program. All these elements must be thought through alndl carefullu determined:

Log,'o & V'al~i:a tl ens

I! Whlat is the' .afilUl mark or s,i gnatu,re'? (e.g., i'con onlYI" iCDrr:11 + type')

.. Alli"e~ there variations? (~"g,.;. herizental, v@lrrtica~) !!' Wh at cha n ge s get [Ilml~de to va,ry s~ ZiE!!'

(e~gi'~ redrawn fur large scale !JIIsle)1

,~ Wh a t hap p,e ns t,o '~h e log,lo i n 'V3Jt~ous m ed i a 7,' (e. g., thk ke r Un e we ights ~o r TV ~sle)

'I H o~·u "::Ii r'·1!:!i b ra nd £I1'!<l' .'IE! l1"li I!'" 'II"'" n c Ill.. !"!II n d l,ad?

.. ' ¥If ,[31 ~ .' ,!l.'), 1II,!!O::: ..... 111., . u I;:J! IjjI ~ ~I 1,1:11, '.'';::; .' "

(e.g., a product lngo)

<Ii H ow do as tn e laglo wo,rk, 'Wit h nth e r re late d Log:os?' (e.g., trademark, icon)

COlOl1i Palettes

i What is tine p r m rna r Y 'COILIQ r '0 r color 1(;: (JIm bi nati om

tor tn e logo?:

I! A.~e there acce p1t,a b le alternatlva colo rs? • What do bo u tt: b lac k an d win itE' u5,a:ge?

.. Can th e Ilogo be 1i€!!lJ'l@ rsed? R,@v~ rse d out

of it co nta i n i n g s:n 3.P'f! OIll·[Y?

,~ W'h at are, th e e x act Pantone 1M a teh ~ f]jg S,y.ste m (PM S) n !J!llml!be,ws and C MY K ~ IRG B vallllJles?

'CQiIi1ltaiiin'IiI[l1g Sha pes

Is the logo d eslgned to be IC.'O ntai 111 IE! d wi~thhill a, pa rtl CIU lar sha,p,e'? ,A lwa~ls 1 to r 10 n tly in specif c c'li we u msta n ce s 7:'

li tf 1H) I wltJ'j,al:5 h a~pe~?'

III D,D B S t.h B shape ,eve r cha o,ga?

• Dlo es ~:h e shape ,C:'(Difil tal I'D an yt h i ng other tha n th e L.ago?

T!dI pog,r,a,p h YI S,e le ctl on

• WhaJt iils the' :IP r~m a;r'y t~llpeface?

I! Jt Ii'.-!il th .... ,r.... Ii:!'.t!i, ....... nd a -I I' t:,1i"i - 'iII',~ '}

. Hl~ 't;i _11!,'I;i 'I:;i .;I''I:;i''''I;;I'~!, _ r;, ,~l!oI!n'~iO!i"

~ I[)IOE!'S the client nesd a range' of 'we i gins,?;' ItaUc s '~O'O'?

I' W'ha t cihia n ge s; m'u~ed to b'e mad e to, th e 'try p e s;e'[,ect~io,ll1:S in ollide!r to ace 0 m m I} date (iUffe re n t m € d i a? 02.g.,; is th e pri m jfI,ry ty pe r,a-t@' a def'aw [~ 'fa nt fOIr we!lb IlJ:S'e Q1r d Of!!S m n 3 Il.t E!'iI"liI. 3 ti ~e In,e,ed

to be spec if! e d?)

Tagtlnes and: Mod i fy i ng C:Opl~

~ What is the! IPlll"imarrr~1 tag:lira~'?'

,i> ills there a seconea ry Of at te rn 3 tlve tagtl n e'? 'I' Wh at 'ty p e'fa,c:,e are th e se set in?'

.' W'h at is, t:h e stze' Irati 0' of log:o 't,Q t3,glrune?

.' An~ ~:h @ (",e amy ethe U' mod ifymng, coply 0 r 's,y m bets required?' (e.g., I~OPIYI[liigllnt slymhol)

~, A.r,e the re a n yl legal Li nes 0 r othe r '1l1II11a n d a to ry copry w'h i chi ,QlU st be in COIWPO:1l' ate:dl,'

m:mlagl~ r y .s,pE!!cl~fi ttl ti nns

If image's" ph otograp h 5,; .a n d I or ~ llu stratio n s are cOJn:S ld e rled to be part oif the Ide nt i1ty slystem, concept:

.. Ho'w' ara rh e'yl 'us'ed?

~ Whellil are t tN~! Y used?

~ ~I!l w'hat size ratio and proHimmtYI to the [,O:gOI!'

,~ Is there ani mage! m b r.a,ry? 'U,lh e re d D'S: 5, ~ 1: e l( ~st'?' IHow is it accessedr

,~ Wh a t i"~ ,B,d cnti,Q n at i maae S are Ire'Qjuh'ed i ill the' fu tu re?

S'O U nd S igna tUJlIie!'

Ifthe identity 'ItiR be used Jn broadcast or w,ab en vi re n m e I1ItS th e re wi U most Ii ke l!;!ll be a S;OI!J'Il1 d C'D) m no na nt to de vel[o,p,:

t! 1:5, t:h e re a mlillS ic al 0 r tonal sfJg!l1 atu n~ '0 r :stillllg:? (e. g .. j Mllllte{~s chi me 5)

i 'W ~U~ n and h OiW wii U S,OIU 51 d e lelmIlillE!'nts, be use d? !II 'W~iU th e re be m ws'h:'? If SIO" wh at k iim~:I'?

An hn a ti (blflil

A,gai n, if the I~de ntiiity wiiiU ap,p'E!,a r in l)itth e r me d i a be 5,i des pri nt, es p e cl aHy, It) roadcas t or we'b ,enviilFonMelliltsj it rnag need to ,be anlmarad:

.. I~,ow' wi U. the loge be h a \I'le 'w'h e 111 lilt i 5, ~ fill moti on?

IlHlow doe s ~it m DV'le1

~ How d o,e s ~:t: re,act wi'th oith e r 'v~:slliJ,a.l an,d aud i,o e le'mle~nts t'

~ When and how \ldU the' anima:~led ve'rsion of the l,O:g,D' be 'U:s'e d?

71

7f

color il'atette

71

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lOYI CFg2,4,6

lova C!FOla1i,z

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ABCDEFGHIJKLMNOPQRS~ abcfle'illijldlJRopq ·sfuVlUYz 223145&71890

ABCDE 'GHUKLMNOPQRSTUVWXYl abcdefghijlklmnopqrstuvwxyz

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Hote It 71'

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Llska -t, A.ss.o~iJate's, created an 'ident~'ty system for Hotel, 1]1, that is fresh, fun, S8J_l,JV!Y~ andlnvltlng, H,()tel71, ls a 4l50'.-room hnutique hntel in Chieago. The designers were! charged w'~tJ~ r,e~~nv,en~ing the wa~' trave le rs IP erce hl,e' the ~ ot,~~lt e.xIP,eir;~,e nee mAt '[h~, he a rilt of th E' assi g;nlm e nt was the creati 0 rill ofa bran d ~'m,a.ge th at 'wo ul[d a,PID €!aL to 1~'eoIP le lcoking 'to r more 'than a bla n d, p red i cab le l[(lid gi ng'

e x,~'e rle n ce ~ Th E' logo nee de d to lb e (3J.III'Mthi ng but D red ~ ctable as W'I~ ~L In add ~'ti 0 n, f~ e ~delln'[iiltYI need ed tOI woW'lk when applied to eve rYlth i ng from tlh e huts l's 'W'ebs'it:ie tlO gue Sf: room :~ml C€llI1thll9

:ite ms to marketla g m aterials 1[0 staff I~ n ite rms,

Yl ('!JP1PO(SW~;@~)

Tihe 'id em1ll~i~y' sg5,'tem deve~toipel~ by IUslka, t Ass,ofiia,t,es ,em1lph,asile:~ llH'o'~et j'l"S,

u nrn'\el!l,ea'~abl~e ,exlpe ri,em De and d!ln,imrnC a,tmo,s,h~lie" It slpeldlnes; a set ,of eh.~lIgill!1lig co~r;s !~md '~\n)e~fa.'~e 5" ;~~mO'Wmng: 'titile hotel[ SOme! fr1e)(:ibiUt,~ j;n t,etliil1l'S OF' '~he iima;e~ it chfJio:se:s to p-.re:se nt, The j'de!ntity alsJi) p;ro_j~,c:ts the 'id sa 'tfrn:ilI,t the hetel is 'weLc~mrune: r,athe r' ,than exclu:shlle~

tlska + A:ss,ocla.t,e's

The Hotel, 7:11[ogo consists of a solid square of color, inl ons cftwe[ve approved colcrs, viitjh the

I~ u me ral !~71:/' '~~ 10111 e of the '"",eI ve, app revs dl tYl,p,efaC'E'g ~ rev'le~rs ed out of :~t. Th e v.a rlou 5 com bhl atlon 5 of' ty pograph y and block colors can C-O'WHJe'y a 'w'i de ra n ge of' tone sand m essages=eo me ss ri 0 us ~ some m ors pla y'fu L Th is v,ar~e'iI!y of ch 0 i CE S aUows- aa y ere a tiIJVe use r wor'k i ng w'~th ths IIH otel ]'1 's)Y ste m the a.bU.ity to i milO l,e ms nit th e'~lr' ow n i nd iv ld ua [ e x pre ss io n, as w!e L[ as to mla,i ntaln co ns i ste nt bra I1d i'ng,.

9'41

,A s@tlfie!:5i O'f dlll',E!ct fflsi l p~:srtciiJl~ds we rE!

,clre:lhid to p.nl~h~le IHlo,t-eW, 71 with a way to commllJ~li(ate, ·im1i~D,rma'~~o:1iI 'g e~Jis:tiing cmd p~~-e ntial tr~ve l :e:uests~ Tillie 'po'~rt(;-afi~ ~'et hll!~n!!~ :inclu[ffie, four dii!ffe'l'tmt Ipo'stCaJlllIs',i' whi~111 the hetel 's ,S,lrn,@S d@,arEmle!nt can use :wr priill!Ui~i'ns, i n~oF,m,a,tion ;i~lollllt m~s ta,tJes,t ,one~s~ lh;lka 'iF ,A:ssoc~a tes

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AIBC:DIEIFGH I,J IK,LU HIO PQR::5TUIV'W:XY,Z abel ef'ghij klmnopq rstuvwxvz 01,2,,3,4561891

Segura, Inc. is an innovative design and advsrtlslng firm located In the ~ nited States whose prjndpal" Carlos Segura, also heads 1-:26 [[).i,gUal Type Fou~dry- and 5~I~lch CD's .. Segura, Inc, needed to convley thelr own u~i'Que brand of cr'eathJit~,. The designers created a lush 'ident~'ty sqstern, 'w'h]ch has, a he!€lvy emphasls on phctographlc-based imdJ,g,e patterns, These patterns ap ear on the backs of all corporate busi'ness materials required by the firm, wh'ile the logo itself ls treated as a small, subtls visual element.

r h e Se gu ra, In c ~ idE! ntiitlY sy sts m h as an u nu S IJ at, ecle ctic fe e U n,g, that captu res th e Ib rand i m age

- -

'the flrm wwshes to conveYI. There is. a visual reference to printers' "make-readq" test sheets that offset lithographers run through thelr press ttl set the machine and preeare for a. [print: job" 8e'ing your awn client is a hjluge~ challenge for rnanq designers, but Segura, Inc, was dearly able to successfullq rlse to 'the' occasion.

95

rile Se~llJIi",I!! Inc, 'Id @li"Iility s~ stem's klt of ~,ajrtts, il!nu::ludes

[01.8\0 t!IJpogra: hI! and 'v:i!SuaJR Ipatt,e ... ns, Segura~ Inc.

Ph etes, ' ~,P~!I' i lLus~li'a,tiBn~, ,ilJmd 'C!.'aILo r aU ,c~mbilfille t'll Cf1e'ate an e~Lega,nt :!nd e,cl['lcti,c series [of patterns i n tl~e ~d en'tity sy:stem~ lihe logo! itself pby,s a mo're secon dla.r1!l1 rlrol~~ as Cialmll be 5"oerrJ I'll the Se"e1Wifl',iiilj! :mm:,.ib.u:srnnes,s IPCI,pers shown o'Plp.!Ot$ir~·e. Seg,ur,a, .InC'.

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:Sagmle~s;'ter!'s, ,e~aL of :su.r~'r~ism~lg l~eop'lle into e,o:i\l$ici!l!u:Sii]leS;S, iis: ,atfrnliiflv,edi wi'th all ilml!~:f!ractiv'~ Cii!i'd tihlat :&1 ~ideS! '~CI r,ev~!al[ Il 'CJlmJP'illl'isc,n ~ll1lall!'~: clf :gDwe.rniRiUUI'~ ,slpeliimd ilurug., Ti~e card! iIWl'Us:~m',aJ,tE'S :stn:J~ 'tlinlj'ngs, as how Imiali1lY sehDo,b; ca,n be bOll!!l1ght four the plfice! ,of (lI!m~l; jiet,. S:a.gmHi~stef' 1['1«:.,

'91

"hi~ Move' ,I)Uf Mo,n@y ~dientlty sy:stem pii~.lie!d I~e,re cOlnt~mn:s a 'se:rmollis: mless ii!Jge withiin i~ts 'fruJln, Icolorful ,GJra1pllliics;., Tl~lhi

¢olntem~lo{r.aJry €xamlp,ie of ,p~lwe rf~ll ,girra"p~lilc, de.s,ieJi11 'C)Oliili~ey s tha !dih!lrtVt':s oplilillion that the! U;;S gove rnmleWtlft: i:s spi(m'filin:e; '~OO mudm mcm(!!!y on tts m~inUuy", ,ialRrud thalt tIU!iiSi@ 'flu n~15' sill ol!lWld" 'ill!ilJs,'tead~, bel IGjn'llllerrted '~Ol he alth and e,S1I!..1'c~doln poo,grams", lil11e r .. s;h:irt :Irap-~Ii(:$ silow 'valliiou;s w'elniions of 'tlfl e iWRUlllliUl!ltioln :e:r,ip1hwcs,., Sa;g)ITI elster Inc.

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,A bl~1 PO,hlt ,'en IJrnd lar,g:,(! i,nRilabrles, ,iue cleve r 'way:s~ dle~e l,(red

b!YI S,agm!E!!:iste r Inc,"~ O'f g,etthn~g thre M'ove Our MQ1ne'y m,eSSI.,ge il'CJOSS, '~Ol Arne rh::'all1ll c.!itiiz'em:5. Sagm'e'ister Inc,

Be~~ Cohen" of Ban & ,Jerry"s Ice Creamt heads a. [poUtic,at action glrOIUP ealll,ed

B usln es s ILe,ade!w'S. fa r Se nswb te Prlo riti es The! ,gJ'Oi~ p la L] WI e h ed • M ave 0 ulr Mlone~y " ..

as a. non profit 0 rga ~ lza tto n created '[0 ral se r ~ e co ~ S'C]OU sin ess of erd i n,arry

Am er':~ca n c ltlzen s ab out tih e W.ity the i r gcnJ'lE!r n ment allots h uge amou nts of its dlscrstlonaru budget. on milllitaJry spendlng. IDes,i'gner Stefan Sagmeister; 'who

met and bandied 'with Cohen ,at a conference, 'v'o[unte'ered to develop an ~dentity

:sy ste m th at: c le fa rly Utu stra te d the facts:, all d d lsdosed h ow the m on ely was

be i ng S~:H~ ~ t Sagme i ste r ,(If\E! ated ,3, p'~e ,ch a rt logo as we ll as a se rl es of :S,[lm ple rharts and graphs, all rdiesilgned to allow the vlewer b) grasp the message mstantlq ..

Sagmelster used the sgstem to des'ign unique and accessible ccmmonlcatton 'veh i c les fu r co mm u nmcati ng M 0'1 e [) ur M Q ne,y 's variou s rnes sages 'to its target audience, Nontlu'.aditirOlna.l~ slmpts, and] p~a,yful media 'W',8.S used to lmpart seIF;~ouS messages; [eml'ti'cultar prlntlng, a, [pe~, that pulled apart to ["'B've,a[ the A,mer~'c,arrn

flag, huge inflatable plastlc graphs!' a, traveling bus, and a mini-lapel. SagJlme"s, er's goal WBS to 'try several dlij"fferent tones to CO!liHJ'e,Y the same massage, whic:h

re SIIJ lte d ~'n a de Hb e ra te try kl netic i die ntit.y s y ste m i, M (JV'·e 0 u r lMon e'y has since

taken on broader ~'lm:e!lf~a,'[hl~al issues. 8J]d has morphed into a group' called

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Mr., I(,e~€dy~ a typ,e des;:iignef and CalArts graphle design fac,u[ty member d€nJ',e~lloped th~'s dynamic ~d e ntny s ys;te m fa r 0 ~: .. Located '~~ Los A nge le s~, 0 K is a, r€'ta,j l. s ~ cap s pe CM:lUZ~ n,g in rnod e ~nl furnishlnas. The store is knowln fur offier~'n,~, we[l=d€~sig:r1Ied" amid ~in some cases, rate", obj'e[ts

to [" hom e and pe rsona [ US e i, .I t's a re SOIU rce 'for tg:ood de's i,g,~I~ an d MI'~., KeH~d Y1 'w,as ch a U'9.n ged to

b e j ust as un i q u e and res 0 U1IIIiCef'M L w~''[h his de s ig,1rn ~

1 he '~d e mtity s yste m is a coUe ctlon of logos and text th a. tare de s i g,ne d 1(0 wo rk t'ogetl~ eras

~ nte rc h ange abte e [e me nts rath e r t~ an as fixed gra ph i e i mages". Ttl i 5 C"oUel etten of i'd los Y n cratic ch oces aU,oiws a va.ri'et'~ of 'i nte rp retatl [) n s of the (1 K. b ra,nd ~ wh lch :U'i€'S U tts ina, 'f1liJ(~d ld e nti ty.,

Th e letts rtorm s are i n n(rvat~'ve:, w'iltj~ a 'w'ide va ri e~ty of ld e.aS-C,F',aZYI a nd alb st ract, b to c k.YI a nd bold, deem and modern, Bursts and bars also work ~i~tlh the letterforms to create unlque and inte,~e'sti ng patte rns ~

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Ol~, ls a vartab le i'd-entity' s y stern wiilth a large r ange of ap prove d togo a nd t~'P ogr'3,p hilC e [,19 m ents, Ea,c h 0 iii e of th ass e l.e mie nts is de's i,gJ~le 01 'i n, a nd [S native to, Fe ntogra ph e r~ U sl~ g a tYIIP,og'~',ap h ~ de's i,g,f1 sctt1twa.re IP reg Itaim $,U ch as Fontograp her allows tth e logo to be!' a ty peface r athe r than a traditlo nal d igital f le {e~I~'s o r trrff f Lie ),. W:~tlh a loc ke d fon t, th e de s lgn erie U m i na te dI the m21 ad for

the dle nt to own h i,g,~ - e n d grap hi cs software to wi[j1rlk with the ide nt'i1ty ~ M r~ K'e,erd y als 0 c:i re urnvented the Macij:ntosh/P'C platform problems since the togo is at font that works, in alllJlY program, AU the

j de nt'iity e li€l me nts are eontal ne d withli n t~ e "font," Th ls allows tih e dlent 'Ito e as.i l.y IJiS e th e logo,

a,PP [y i ng it 'to a, varle ty of dis parate ap ~ lkatlon s,

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~ oss:ntlliUtl~e:s 'mlr co m bmm:I!~t'hl'n,. l't riight are v,alri"C)~IS, OK: sy mbl)~S,~, and o~!pl[Js;it,e, are' o~es, ,aJd'dlres,s gf,aJilDlh[~cs;. AU th,!!!s;! 'IjI,1altr'iioU:s e l,e:me nts ar'rl;!' ,de,swgnEl,d to 'fiI~: t~~€~ffiru@lr no maUe r wllrua't CJ!Dm[t.dmli~ffio:iiIJ ts :Sie[~Je:cted (j:u~t Uke, the letters ffin the ty pefiEfEi f,it 1Jogeth~!r~) [lh!IISi:,c'.aJ[~I~, M r:, .c'eeldg deli'1fe"ed a grapltmh::; [~an,I)~a\g)e:" net m 'ilraJdli:Uolal[ I~olo tm.a't 'tthe cLi'eli1l~ uses and Ei\il~I,~eg~ ml hi! a s!lmple e.:ii::amlpl[ie of' wh,~:t MIll"" IKe'ed y t~ijinlks l~fH:i~JYI be '~!~I@ ~~~UlIlrel ef lfD!rand~ine!O Mlr., K~edly

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N ow ttl at: th e Logo is crea te di a ~ ld e nt j'ty :s.y-s te m ~'s d es i gne d ~ a ~ d if! v'ery th i ng ls a pp rove d by the client, the' next step ts rollout, Rollout means actuallq puttillg the logo to use in real-world scenarios .. In order to prepare for these various applications of the togo, designers create ideililrtU::y standards manuals, Thls attows the origlnal designer to visualize all the inform.EltHt~n needed to ~i1lliT1p[em[e.nt the [ag,o suecessfullg .. It requires thinking trough e'verr-y possible use, of the logo, and provid~ng specific guid em ne s fa r th ose u S€ S.,

A comprehensive yl9t concise list of directions w'iiU, save tlme, forestall bad design, and result in an effecti\re mes sage , eve n whe n d esigne rs rmew' to. fh e bus i n i3'S s are add e d, To parap h r ase M i lto n !G [a se rp' design w'hiic:h as been .g,·iven rnlnlmal thought ~i~U have Ilttle value in the ~ong run .. S~lnc,e the word

d es i g;n me ans to form u late a. IP lan j' c rea ting a, roa,d m a Pi in the fo rm of til sta nd ards man ual ~ s a kl~ y

ste P' .~ IT'! t"[8 pro. ce s s of die slgn i ng alngo ~

Standards manuals or guldellnes allow idlentity sqsterns to bel managed properl.y-bec,aus9' they serve as the ulltimate resource for consistent application of the lo,g,o throughout all communicaton an d vi s ual m a te r~ a ts req u'~ U"I€ d b ~I th e c [i e nt, 1M a nu als fu nctl 0 n to e n s u. rl~: that t~ e stand ardis a n d i deas developed by the orlglnal designers are s.y:Stemat~caUy and eonslstentlg reproduced in the same manner iEvery time. It 'is v[taL that 'the log·a be used ptro,p,er[~y over its, lifetime, n:ot only for the first six months of rollout wlhe~ the original designer creates the flrst round of materials .. Dles'iigneJr.s whlo ta ke tlh e.5,9 Ie xtra ste ps a riel i nva lu able to the ir c Hen ts .. Thls 'irs on e of 'th e prnn OJ ry re (3;:5,0 ns that m.aj 0 r corporate dlents w·ork. repeatedlq 'with de.s'ign consultants 'who understand lmplementatlon and

the role of identity ,g,uijderLines., 'I nformed clients, for example, understand the confusion and

dlils 0 rgan i za t~ 0 n the ~ r bran d image wiU s,uffe r w ~ e n sorneth i ng as simp le as i n-co n slstent co 10 r ls use dI in th SI P ri n ti'n,g, of the i r bus' n e. ss card 5. .•

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Tlhe IDxye,e~ T@ l,e~hirnOln NetwoJrlk,"s, rOlm! lo!,g:o manual 'was dleg,ig[1l ed in '~he fcmm 100f two sll 1M UlolJJnmmJe:s-one Ico'v,~nifil ~ Iprrnnt com IiII1 uIMlii;cii.tlolns and 'Ihe ether IPrG'v.il~liinl, gu~d e~iim~isl fer breadeast o.w-alit' ilIDS aJge-'~lIlDlelfl"eby aUolwi'nl '~,W'O com p~etel~1 difflr'ent im~·hOU:5e"~m'eativle dlep1liftmJents to use thrE!! mlanll)!lla~., A.da.msMOlj(oka~ Inc.

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M'anUl,aJls must be en-elated to be useful to the 'widest. p,oss'~bh~ group of togo users, Often, in larger companles, there ls an ~:del~tity or Ibrandi'n,g, 0,)10 rdln atnr who ass u res co nt hl u ity a n d aceu rate use of tih e identity by 'foHow i n g th e grap h le sta f1I d a. rds m a.n ~ at. In- he u s€ d eslgn d epartme nts are ofte n 'the pr] rn a.ry USA~ rs of a g raphlc s tand ards man ua ~II b U1t not

aU cltents are large enough organlzatlons 'to have such ,gJOIUp;S". AU out." SOIU rc ed d eslgne rs w~U us e th E~ man U a l, Oth ell~' i n-n 0 ~ S'ElI de p a rtme nts and related consultants that nssd the manual '~I~c[udfa: advertlslng,

P u h He: If'le la tlo ns, rn a rketin g:" i nve.sto r relatlon S, me rc h andi s i ng~

lke n sing; I~ rlnte rs ~ p ackage man uractu re rs I' s'~gn ag,'e fa,b rica to rs,

v'e!h i c le and LJII~ lform S U PIP l.ly 'CG m panle S I' a md all Pili rchas i ng de p artm e ~ ts resp on s'j ble for a ~ y of th e above

G,etti,~g all creatlves an@1 related consultants to use, the standards manual wi U be of plr:Ii,m a ry ~ m ~)O rIa nee", A C EO ttl at t S Uip ports tin e new j,d e nt]t.'Y suste m is C rltlcal, ManlY m an uals be gi n w'it:h a CE.O terre [;. Th i s tette r startle s tlh e

s u p port of tm e CEO!I b rh~:fl~ 'E!!X plai ~ s tlh e nes dl 'flbf the ld e nt~'ty!; and d lrects th€ empllolyele's to support and C()trf18C,'ltly use the '~denUty,~ Ihms~ ln effect, makes bran d ste Wia rds of t ~ e e m ~ l.oy el€ s. If a d 91$ i_gne r has b e~ n ab le to lay th e gro un dwork for acce ptance, s uccs s s i s atta:~l~ able,

Graphic standards manuals can be slim and concise or multipaged behemoths, depending on the personalltu and needs of the cUent. Whether they are printed and bound pieces or whether they exist only on the client's intranet, identitq guidelines are the key to consistent

use of a logo,

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Birand Tim age Me ssage H~lW to Use 'his 'M,anua[

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(;mIn '~h,e (iJ)D1OI be sen,- anl.ted ~nto 3, w,ol1'dim'al1'k 31mid s'Y-, -Ilililibon

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Accelptablh~ llsaga 'Gr'i,d-s

C i Sa lected Id e F111tii'ty Aplp U,ca tlons IBug,:! n e s s C.a.rd:s Stafionery

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AJiCDI!f:IlDII.JK 1M Hill! ,!ClJHI'(;lII'1IinI\f.Iin'1:: !!!!:_M'I!!!!r;I!!~~""!IP"I!,FII--'''',"I!l''''

11 ;lIi:l".aiJ'mHI!l

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iliitil'iI!jfMJ,' J!~ff"m YI

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metropolitan market

11,0

Samat:a.Mason~~ a corporate 'ident~:ty and communications design consultancq based in Ch~:CaJ;g,iO~ ere ated th e identity [0 r M etrop I) [ita n M arket, Food M arkets N orthwest, I nc.s n ew retal [ store

~J!f3 nture ~ IM,e tro poiltan M a. rke t ls a colle ction of In e'~gh borh Dod grc ce ry sto res or'~g~'n a. U:y known as

1 ~ r~~titway., W hen the bu S]lrD ess mod etc hange d fro m a, d i sco IJl'lfrt prov ld e r to. a go u rm at de sti ~Ia,ti 0 n, sam ate M 9;:$,0 n 'w,as as ked to capture ,~J~ d IP ro}e ct th l8! 0 rgan izatl 0 n's ,g,Uiowi'n,g, and un i Q u e cb at racte r~ The euent needed an ~'denti'tYI that was a quick rea,dI wit~j fresh graphic appeal. a vlsual Uangua,[g,l!3: that wou ld s peak 'to the active, M rb a n, an d ups c a le C.IJ:$,to me r 'i 1m a dis ti nctve CO,~ te mp (I ra ~'~ fas h~on., It 'was mlm portant tha t: the' bran die d p erso nalit:y' said to iiits Iy 0 U n gl' aJ.dIV€ ntu r!€ -sh 0 ~p er c usto me r base ~ i~th ls ls Iy 0 tJl r p [ace ~t~

1.1:11..

1,0 ,8,= 1\'0! 9;

TI~e ~id;entity s,y:Stle~ml S1;:EUilid,B!If'd:s ror '~mille IH:o:mIil[1 Sboppi fill N,i!twOll1'k ms, de pi"cted hill a :s~inIIDe sh!3Ii!!:~ f'Orurna~~ Adam ~Moriioka. Inc"

"

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UO~'1111'1

~h~~~UiOIPo~[;it;ani Mariket ls ~ eh i1liil!~ ,of bi:gffiw"'!!;!in~, ulrb,il!HJi11 b(1i,uti~IU e gr~c~r:~ s:t;o:re:s 'Wllinlose h1:elmrtij:'~y re'fb;!¢~$ ,;l nam,e Ch'~lmilele and ,211, iIiiIlE!lW b~:siillill.e;ss mo iltel mill' the cllent, SllJm at::lMa:son

-........ .. __ III.gI;..--.KK:!!I~ "IIIIJI~ J! • __ !.:II

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Sarrn~;taM!aJs,ol~ u ndelli'soo0d the' 'i1ii11lpc,rt:oIfH:@: cf b'nrny,~~in f,Of the neiw identitY! pn]I,I;r,8m" l!hJel~1 helped to ensu r-e COIIillil pan y-'w~d~ ,aICCelgll~am:e and ,a~ipm-,oprtila;te 1~ls,~ge Oi~ UBle ~idl~ntity ~Iy d!¥elc,p~in:~: a ;~nl phi1c s,tandairds ~ao ual '~h'a.t eentalns !both a letteif from 'ilI~le C:E)O end[o~sffin,g! the p:ro;gW,gjlm ;~nd a 'sta!'tif!lme rrt lel(p'lai~n ilDlg the: ilm'porrtam;:~! [of eenslstsnt staadards. S'am,itaMas on

:1'12

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CORmI' ~ '~~ '~_1d11i~1ht !1Ii1kil's,IHIi!!')';Wt'I[:j'~' iort'P ~~

r~~li ~IE:iIi~ I}:I'Iri.. ~fiXtiI'!!',iXtlI'PIIlIlll! !d~ll~ iIll ~~ nl~~ !i!;lmqlialf1h1~I;IliJ,;!iEi'i-

'fbI:! 1hllii,='~ 1t;IttI11~ !:!!;!MIJ.i~ ~1:'j)I1!! _ 'IIi. Of!I~m~l!llQ'n GIll Iii ~~I1lQI'~la iQlT!mUI}f:,~IIDII!I; mlllei"Wj ... 1 ~~rrc(

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Nletroip~liita,n ," arkie~~s foumdeli"" C:Efl; and pires dent Ter y IHla.lvierscm':s un'iqluE: viisiicJ!n arl.,fjI (re~a.tivft1l1 mOiv'ed Samat.a Nas'on ,to 'its fresh, f:D(tlrsed:~ ,lAd perso I ajliill~rile; I bll",fl)md :solutiIOfill .. Tlheiirs w'as, an ,open and coUaboifl",a,tiw(!, 'ldeWiUl~ji~y develclp~jfN~ll1t IPrroCe.s.s!, S(lJm a:taM:a.~H)~

:Il'1§,

The M'etlll1DI,ol['itali'i1 M,~rrke.t V'iSU,I~, Imlranr~ sitr'aJte,11 is 1~lres.e:fite.d II II tJIIIB mrll!lil o.f a lQ2-pag,e b Clolk tiha.t i:s l[as!er Ipr;ifl'tel~ and! 'Sipi ral bou ndl;, Tltrue g',a! ,hie s,t;'llitd,a!lIr,ds: ,iFe also ,a~cli[ta~!le ~in :pdf f.orm 'fOlf' f'\!'vlle!w en screen lOll!' f:or laser prl ndl1tg. JOI

m a(n,ta]ml vie~we'f i'nt!i!ire~stl' '~tJI e man ual ls iinte"Sf.,efSe~d \I,iitihl p'hO'~D."gJa,pllliic l(hlllo't,miTIlE!! ~magle~ pages. dwsp~ay il~g ,aJ v;;l,th1!ltJ~1 of' f'fllliits anlfill welietalbt,e:s~ _,t: iis 'cnvideil i'nto eilrl!vellfflj Slecti:ill[iruS,:: 'Ijmr~r,odu,c,tion", Br,and IEltelmen~$, BI~s,iness; P'apers~, TIP:i~!g lelm pna~.e:s!~ E'x,ter'i er S[,gna.~~~ Interih:Jlr' Slig.m,ag,e, .. , Llbeh (be~ause th~is,

is. an e,x:~e nslve pJolram viit!hiin irbe~f" thls m aneal refers tI sers 'tOI ,~, S,elj]la1rate laJb.eII;sB'ollml.y IfIlall1ll!.!ia.l), Ci[llst,oH'ilef' IPrr,omotjro:~5.; , Advilrtis.i rig, anl~ ILIn'rfolrms

Sam ataJMa's;on

L.ogo D~siOf! W.orkJbo ok,

86

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E,i!'.'! nd :. ol o'r S fs'~(!:m~~ S,igJ~';'U:u I. A tlp!:iil: :1d~T1 s

JiJ .;tIIiJ'I'IQI Uj;Ii 5II,llruJllllj! irnI !r.,~-eti iii ft ~ Ihul!ll'Olllli ~,~rll"dfi .teko' ~I~l:bil ili ,~a' ,ltiI

.-I ~ !(~ ~~IttI~f:c~ II! 1111;II:5! J$~_I~1Dll(D

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~111

~Im ~1I:ru; 9.!dia3 11, bloolllolmlllKi ~

• 'I' n ~ IIIil4II ~ -=2 .. gl'lrG ~m.lrlJbii:, II &; p;mRHdtlI;II!J~ ':D II mill n '~~ IlIII:d ~

.-:f!}!."llLUIru wI1' Ih!! :,luNl1fl ~ ~i4l ' Ii;! tiIIl.~!_, oil 11 s!a~ Ii!J.~ . '! ttll fCill1 N·(("b'!If In·cd!Y ~'gmlliIli~,U 1I!t. ~fIlI

metropalltanm~ ke

nv:1mp::;&.lnn r

iii

II II

metroJ.)O!itafir r I I 11~t

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n,b

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1l!.6,

Tllhlll~ grap h~c 51;!n darels, rmUBlllU a~ wo.lrks, '~al Piflowi de! diire etlen I' e,~iid'lii1I,De .. and r awl,es that bes ,Iprojlee~' and mabiiirb.in tJhe i~d,e.ntJfil!i::a'th)1IliI plitfio.llim 'im a Id,El'ar amd frwolll1lldLy mla,miile~. :It ~5., loblv;imus fili,om the professtonallsm dli:sllJ!la,lled in the ,documimt that a stlliici: 'iramJuing pif(~\Ilra'm leJ!thsts :aJn.d tJha~, s,pe,cliifil:i: g.tlIlitilie (illiiiJes mu st be' U lIJ,h,eld f<or th'e ide n'tity p·:rog)I",illlilfi tD succe,ed., Sam ilna.Mason

:m17

Samlata,Mas'on r'e:Q[le~ts '~~ at IC1r,eattve ti SIE!:ts uf th!e m~!W' Mletro po.litall M,ark.e~t, Sy'stem ~arefulUlll s~ud~ and ,;3j,dheli to, this ,gu~deUne!s the'y 1~la,\!1!! e.stabUs.hed

fiolr the biii"andi., Thr!Dul,lii use of thms,ldo,c:umifll.nt tbey have been able '~O! leffecthlc'ly Icolm[m~,miicate tl,Le essence o:f tllweiirJr iid~enrU~y whi~e I;:lonv,eYliilDg ·~h,e p-erso,naU~y

of the 'cUeliiiitj COinse ~l!H!n~_1 biWl1Hdmn,g: Ihrand ch,ampl'ilDs, !O~I~: Qif the I,taf" users •.

A ~!IlBlli"and IQ~e rwilewJ~' Ipag)e pllPoviidlEHi ,8Imml at-a-;gffianc€! ",ii~w of aU eore iid ewnrUty elements, ihe entlre manual ls wlriHen in :Si'mlplie la,ngy,age tha;~: e'IJ]@!n !1o,ndeS[lmEe rs can lea'~;'"ly ,c:om[lbire hend, Sa,~ataM ason

I.I.I!I ...... I j :;'lJJIL

1.18=122.

The' M etrope litan MI,rlIF ket ~In -sto re vi s u al expe rle nee is co to rfu [ ,8. n d active, p rovid i i1g

l t Ii,. ,. ~ '" n -" T

aunos too mUCln1 'vts,ua.l sttmutanoa, ,0

co u nteract th e busy atm asp he re, Sam ata M a son

b d l~ II ., h ~

c iose a, muter 0 Jive cotor W'llt ,an accompansmg

neutral iii'"::!! lette an-A: fll,o;j!lo~I,a'li'iIo,';; i"~.o~,iI'II modern

I. ~!l4I'!I,. iI<!I, - ~!:;.iL[!!;; -, _,I~j<' IIJI, Ii..! I;;;j. ,~,II!I,,",,!iJ1 II..~'I,;~,~,!I~~ 1 ~IJI!I;;_ .!

fash i 0 n = d dye n graph ice te me nts that wou ld appeal to the you ~ g;!f: r lh igh~'€Hl durban C Ilj sto me rs,

• 1

..

'-I~iII _ ..... ~~ ....... ,.,. ~...i~~ ~ .JJJ;r • .....n.~.1 1.-- RIll

...... __ .. t~ ~ _. .. '&'1 M_.~" __..,; .... " ......

...... ~I' .... jIII •• ..:II8 ·_~M..rll;;lj

18

The new Met:r,oIPoUtan M'a.rlket logo (or ~idrcl,e,

IIiTI ~<') represe nts a sen SI€' of organ lze d a rtisansh i p that: ~;s meanlngful and rkh ~n texture, The strict

ifI"iI at .1-, £iI m atlc ":li ~ iI"'~ I' it-'. Ii,." - - fr th iI".il ~ - - L - - _;)I' ~ II"Ii 0: 0 Im~,1 ~:II;';"", "~~ ~ 'dl~r'L:~ons'!m~p 0: 1:1-- CilllFC 'tE, m ~u,i!:t:':

e l!€ m'€ nts m,a_IY ~ ot be alte red o r m ad ifh::d-'~t is a pre else an dl u nch am gi ng ratio," A, page s u ch

as '~'IB ra nd Mark. an dl S ignatu re D is[lla,y ill h e!~ps

M se rs LUIf1 de rsta nd t ~ e r€ La tto nsh i p betwee n th e '~d entity e le me nts, an d lllu strate s p rlerfe rred an 01

~ .

se co ne ary I!J s age option s,

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l .: - IiiiIwillD •

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~'T--16;Q; S'·:,I· p natu rs" m ~ In u ~ U oa iCI'iEll ex p~ '.:1i1 n mile tl'b.I'- ii':Jj

IJI~ " ~~ I .. !J.. ", _ .,.la I, .. CLt t¥ .. '~JIw;i, _I, -e- _1~!Uj,~~l!~ _II~~

ra t]o n a te b eh i nd t~ e stagln g an d visu al balano€l -of the ~de,~,ti'ty elements;" It show:s, th re e en nflgu ra t~ 0 ns, all of wlh i c h: a re slm p le, pre e ise, and ftexl ble e n 0 ugh to me er f]11[)S't

sp atlal ap D'U C3 t~ a ns ~ Offe rin g 0 ptlo ns 'to use rs

• n_" " d ""' ~ 'j!..' k

IS; a Ke Yi st ra te gy In. '9'S l,g,~ ~ ng, a. ~ogo t:~ ~ at WOf ',' S

in the real 'wo rld of co mm u n lcatlon i,

, .

"

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1!!I!I!I'~""JiF.~~J .... IIl'i"IIi .......

r.. ....._ rltf •• .-."1!!1111!11~ r ~ ... ~.,...:: ..... .-I"IIJII!IIr ~ I~~

L: --r~~~J!~~1i'~~:'lr:E:iIi£iI:iII'. 1...IiI!I=-~.a1'f-'::"

The M €tn)poUta n M arket graph i c stan dard s includes ~ "Brand -M- -~ 'C· L - - U - - ze" p~go

"!!Ir.;". ,Y, _ ;.;.!~ 'O!, - -a. - (lJ , .. an< ' oor "s.a.g - .,~ .'~'!

w hh::-h p rovldes a qu ~ c k '~erfeIli1l8 n ce to the

(3j,PP Fen/IE! d eolors, n ot en [y Ib Y Us ti'n.g, the

Panton Ell n urn be rs II b ut by sh ow]n g an exarnpls of w'h at th e Logo looks like ln e aeh co lo r ve rs ion ~

l'-h,o entlre "Brand c'L - fr I!' - - -ii;-"nn of this "_I;~ I~ _ are [J; _ 'ita tJ G€ m iB!:mr!LS . S E!~C!!.h:j I; I '10.1'- II h:";;

man u a [ co ntalns ve~1r Y d eta i led ~ nfo rmla.ti nn on:

S'tag[ln g lR.e'q u'i rsm e nts, S izing, ,Ac:c€ ptab le an d U naccs pt3Jb [,IS Usa,g:'e~ Varliati 0 nS!1 Pas ltlonl ng Mlethod 0 [o:g,IY ~ CoLo:r S yste ms, Signa tu re

A PIP Uc~ation s, iy pogr ap hy ~ [) es ig,n M otifs~ Photographic The mle s i' and H ri,d S Yls:te ffilS-

aJU ]n an e as ~ to use :~a,~ out. 'J hiiis tih 0 reu gh

Y et access i bte a pp ro ach vi'rtu a U y eti m~'n ate s coafusio [']1 0 wu ho'w to lUI seth €: Metro po lltan Mlar'ket ~d en titYI S y ste m ..

1 ,

AU 'directional signage I n Ute p~lrki FlQ lot win uti~ize the HelveUoa, Neue hlfnily. of '~YDe~facts,:

M A ~ M ME S,S,A G E Hehre,Uca Neue Oon,deIl\Sle(JIlLi9~Ur C~lP~ and Iij)werc~;se

HP~ :!H~'E;S Jj,i\lil ~AYOllii' App:ly the un'iyersa~ 'g~d and size aillype ap~.Mpftl:aJ~~ly, as 'IIhJs;tr;aJed 'b€l~~}'w~ ref~r to page 2.20 '~r ulrmivernal gli~ inllmm~ljon

Pref~rmd - 60 u ~ if' ~af11a nee lS: reQl!~red! sitz,e 'ap'Promiat~ly to meet i~mr: s~g~ ord~f~ances: 't :2 r-atk~ (d il~81ction or i;l1if;off!1at~o!lal)

A 'I1ES UillJ lexte~ior. ename,1 palint col'Or .ma!tm to Panlon~® ,~:25 Gray Vinylln rnatch Pantone® 425 G~ay; refer to pagel 5.'1" for speoificaUons

Whrte O1oiJl~il'lum~riaredJ: while vin~d: inl€m~~' illumrf1a~d: ~j)ol.y carbo~att:.\ Touled ,and num lUted lelters}

Pnderred~intemaUy iUUillinateD

Pmrnted a~ufJl:i nem I rou~ed' ali d r'llflSh 'fiUed p,Ie'j(j lel,t€!~'lng i, concrete 'rooUng; mounted

~ __ ~1

~OO~ISUN,D NCE FIL ~OO)(!)I~

SU'··'DANCE

FILM F'ESTIVA,L

F

STIVAL

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0~,

3 ~,15 6.,SI' 111) u. 1:2 13 14i@I.6 1.1' .l:B 191 :2,0, :H. :2:2 23 24, 2:S 26 :'11 '2il1: 29 310

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011 ~ 4

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E'TIm Gll~ ~~!il~ ~:I'I ~!TfJm~~ Ll!il!i l.al!;~ \l!l:ilIni ~~m;pIiI'lr

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:123"':124,

ihle: 'Suml]d,aJml,c)ei lFil~m 'Fe:stilJol rel~u:i[lreSl ,3. IraJUilJge of mla.'telli'iiill~Si to ~'e d,eveIIJfj~'ed hill a Ireli8IJt1]V'@I~Y1 short p@ rh:uJI'of ti[nmle~ AdamglMlollti~ka g'imlPmned the ide alitjit!~l stsnd ards '~O ereate two IPoster'S .. Thls Im,amn:~ai[Dl!Ied a. ICOlmJfflOl1'i

IWliIn d~ir'S;~a",flnng of the roUOlut lof the :5IUlllndan(:e Fiu[mn IF'e:stiiwaJl iide~r~i;UI i, ,A"o ams M orloka, Inc,

~:',otterd8m 2[001 Cultlur1el,e IHo,::~"f .1-,Sit,8,,: I

van Europa

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I

I

J _ _

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I F~.............:____"

R,lo't .erdam 1200.

Cu'ltJu r.el,e IH.'~Oid-$ta,d1 'CII!!iI~tm!llri;:d C:a pii~ail: of:

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'hie: i!~le!inj~iWl b!!J '~~re d es:igml team of Lind'l v,aJIiIl ID,eu:rsemi!1 ,iuJiljd Anm,illiilid IMev;isi f:Oll!' the m~ll'~jiieul~.tul~,ar IC~~~1 of :Ro.tt@lrdam 'was desi':~l~ed 'ttli 'c:onn~lct ,amIJd pnl1morte arts and cu~tuw,al[ i~n.5titu'!i'te!s, tro rres,ildlernillts amil 'Ii:siv~'Ors:., Mevi:s & van I:)~ Ul rsen

A, ,a,n]ety (llif eraphh::, e.l'eme,nts am! plli'eg,em1i~~lmll

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M!e vis & van D e u rse n, '~ij iCC lila DO ration w~th th e cu[tu ra'[ de partment of tin e C it:~ of Rott.€lwd a m, acce pte d the' r'~ allen gel of b ra n di rn g an 19 ntl re c'~t'y '" Th 91 goal was to prom ate the cu ltu ral aspects of' th e c'~tly an d e nih anee th e percepti 0 ~ of th e ci'~y:~.s attractlven ess ~ both to' cltl ze n 5 and v[ s ltors, Rotte rdarn ls co ns i de re dl '[0 be 0 n e of til 13! C ~U:uJ ral ca pitals o:f E.u.~op e a n d th e c'it.1~;'5 m,a.Y(Jlr sought to uti llze this associ a tion,

A t the he art of th E! de s lgn pro b le m was th e nss d to delve to P (IJ n idle nt'ity that wou ld co rmect all 'th e various c U1ttlJll~.all,ac.th/~th~!:s in Rotte rd am, I'he ld e I1rt~''ty lh a"a: to 'fUlfl ctlon as a logo s y stem ~ and it: n ee de d to be! flexlb [e e nough to a,llliow oth e r d 13!S i gnJe rs to u S'8' lt, Use rs n a,e d ed to rece ive clear g,~ ldell ne sin o rde r to be a ole to ~~ ptta1y ~~ WiI'th th e s y'ste'm"

M,e vi 5 Cr' van ~[) e u rs e n de sign ed t~ e logo sqste m kn DW ]11fl g th at it WI{)U ld be hand ad off to m an y otb er designers, SIC) a graphic standards manual W',9.S created, Mev'~s. '& van D'9'Urs,e!n worked w''it~, the ;[ogo s y ste m throu,g,h the ilm p.h~! mentation of 1thle station e ry and t ~ e fl rst s el~%e s of' peste rs, Su bse Q u e nUy,~

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numerous other designers bee-arne involved with 'the prolect, Mevi's Or van Deurs,e!n were aware that

th is d'~s sem i na ti em wou ld nee ur, a n d craa te d a. M'S e~t fri e W1.d ly ~ ~ darn ag'eJ proof" slyst,e:m ~ A ta rg,l€ ran ge of's IJiCC'e'$ sfu l. p lie ces WIE! re create di:, but lee rtai n ite ms W'e11i!9 de sign ad '~!Irn a man ner Mlevls & van 1[1 e~lu rs e ml d isli ke d "A, t a certain p o~nt th (] ugh th e o ri,g,'i n al de's lgn e r m us t gJve u p co ntrot of the 'CI~'I€ atlon ~ A l th 0 M,gh It mla,~ be d[rfflcullt~ it: ms~ne.~:~tab ['E!~ ,All [If WI~ ich -re'inmrc,e s the ns Sid fur' good a graphics. standards manual,

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The ·Clti o!f Ro,tte,rdam ~dlentity sYlst,em ~s, tlJr.p~ed at a vast illlJdience~, malde up of a di'y,erie [PO pl!l!Illati!o I I lh/lin g ~n ,all larg,e., mlu1iticJI!!Ill'ltilf'a( city,. ~Diespijt@i 'Eh is; Mlewrns. 1& 'vaml De.lw.r.se·n chose to ti,SE! ·~h.e 'vi:suallaJ!lIjguiliig,e '~bat is '~lii'adidolliUiaLly fl'iire¢~e,d to a CJIJJIllbJlraUy ,a.w,iiJfr\e audllen.,ce ..

Al~lIIlolWgh Mevms, ,u"v,aim De"UlI',se!ln had lfiel.ev·liiiJiU expelri·,e.n.ce 'wifllh ICl!lllll.-J!l!lIfr"iIl m~l t~emleid as swgnmients (tilley' had Ililo;lE! w,olrrk for theater, art" dsslgn, illi1,d a.,cllllite(;~JlLIlre IDrlan'ila.ti~n:sl" 'they did !i110t harve mll!!lch e~~ej'iE.m(e with (:o!mp~e!)i; i:!de.ntitie.s 'Until t e Cirty Illf RI[Jttefidaml plr'O,~e'tt., The (h~s:iglelii's e:xceeded !xpe'cta,tion's

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111m] ore,aJitJiln:!l; an i~deilil'~lty ~y.stem 'for the Idtyl~, RO'U.'E!rdalm'~,s, lirl!l!!ll'itt!l!J!lral di~lIi,ectlJlrli Belrrt V,11IiiI1 M,egle~lellJ1ll~ ehese '~D' imilitt€!:g]ra,te ti~e ihj'ea that R'ott,e~dam ls a,c:tu,l~ty Icomp oSle.dl !of mamllY !c~ties,; a, thei(J.lry Ibase d Din i'talo !C~~\!hl~rS beok, in'~,~sible' ef{ie'S'" Fiobw~ine: '~~Ii'~s ffidr@!a" the del~tigners use d elther dots tH' slq!!l!!lan~:s 'tOI

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(~n,SiII] e:ral~~o IlS .I~c!li.alli.el!lll 1"'[llllle (:0,1)01ll' Ipa e. e .. II:!! eca!~s~ mos 0 e . OlD

,iIP'pllliicati'ofi s W1~IW!lld :be Iprimllmltel~ ln fou r-eeler ~'rj)Cless CIM'~'~, the! ,!ile,siigners: ~rnmo:se' :m ag,e Ata and cyan as .themail~ool~Oli.:Siiln.Me.viis & van ID,eu rs;eRfbI's, OIjl,illbuiIl; g re,e. mill 'C:,il~1 be~ plrolb!lsliIliHi,tic 1111 a fiol~rr-ooj[JQIil' pfr.u~ess;;: ,fJ£GO rd'illi'11gly tlhe,y trm~d to ,i,vQi!~ usi~n,g mt mn the ,s'y]5,tem,., lWiO ~ey !c;omlPo111U'i'-lilm ln tiilae, llogo; :sy stem welra grilld:s anc:ill 't!~e t;!!J~'ogllap!h!j ~H~~IEN~tion:" Ber~liuJI~ ,A.lkzid,emll Gro~e S[k~l C'hO!H!Jn f;olll' its dar~f~U ,~Inld \i't!!rsatill'it:~ .. 'the! ideliiVdil,~1 ,SI~s'~e!11JII de:smgn@d ~Iy Me,v':is ,s,. !Wan D!eur.sen w'Oriks, to f'e~lr'e,sent the! ,i;l(:t!~all! as W\eU as tlhE' iiisp~ratliillnal;J mma;g)e!~ of' the City iof lR!Otte[\~anill.,

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'When all the grap h lie €:ILe!11fn e 1m ts are co mb i ne d, as see n ln th E!I sa nrp le,$ of the statl 0 ~ e ry

and bu s'~ n ess card s the ICJtYI of RQtt~ rdam Logo systeml comes togetheras a Uve[y and conts m p o'li,a1If1Y j;/~SU aJ sohrtl 0 n, rich w~:th Ita y e rs of' meaning, The citiY;s '~dent~ty systeml is a tool box, The grap h~c tools provid e dl were fal rly fixed, but th e creative use rs of ttl e~ 5 ~'st,e::1iTI

cou ld man i pu La te tin e m to create a va,ri,e~ty

of for m s. W'it:h thms flex i biUtlY; th e de's i:g,nl,e rs crea te d a, no ntr ad ltlon al man lJI,aL th at cle a r[y cio:nve'y e d the vms u al co nee pts of th ~ ide nit~t.y'

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a co m ple te, y1et flexl bile!" 'Id e ~lt~lY s ys.'te m, put ~t all ina, we ll-co neelve d" w,eU ~ p ITi9 ssnted gra.phl~:cs standards manual, t:~e c:Uent: (a.nd/rJII othe r eire atlve use rs) CaJ iii stilU de've [0 p lte rns th at wo ~J[d ne've r Ib e ap proved b'YI the origln a [ d es i gne rs, M'alk€! th e 'Wll rk as "foolpro of" as possible, but understand that creative p'8oplle rn a YI fe e [ co m pe lled to. su bve rtr t:~ e s ys:te min

o rde r to a sse rt th elr c rea thJ'itYI,. Re me m be r th e adviiice of' de's i,g ne r Tl bor Kahn a n:: jf. Ru les are! good ~ B reak the m ,:'" A Uow fo r ch a ~ ge, EXIP ect it.

IN leke to den n I a c h~ildiFe.n 's e nte rtai nm e mit co. m pany OWI!rn ed by Vlaro m r. h ad be e n gnJw~'1[1 g 0 rga nlca Uy over fifteen Yle·a,rs to become a mUllt~faceted global brand, In the pr'OCEt$S~ however:. it had become di'sjo~nted ,alndl wa.s los~ng some of tts cohesion, The onligina1t logo dels.i.gnred by l:ollm ICof,ey-, ns'edied an ullpdate and expanslon .. Ada.ms,Mori'ol{aJ was, brought in aJ,S, identilt1Y consultants ~~iith. a goal of bringi'ng togethe r Nlilcketod son 's b rand exts n siile ns as we ll as til n ifry i n.g, the com pan y I·S me ssages ,aln dI 'vislILI al '~"Dca.br~ la rry across all m ed i a, OV',@ If all, the b ra nd ~ E!19..d ed tOI be rn 0 rei access i ble all nd tess ob Ii Q t] e to Nk:kelod'E!on'''s external, as weU as lnterna .' audience,

A.dJamsMorioka designed a simple ijde~nti'tYI toolkit basec on the original logo, The ldentltq s,ystem was. Intended to refocus IlNic:k.~'s internal c~'leati'V'le departments 0'" the! cure I~fo.mi:se~s and messages of the brand, and encourage cremt'~v.e tlhin'~'i~lg and exe.,[l~tio~~

Adams Morjioka. designed the Nlicke'~odeo~ VisluaL SYls·tem Basks as an e.xplanaUon of the. ne'w' visual system .. Tine ·thirtYI-,e'i;ght page book. ~s a 10'~ x let (2S em x 2S ern) spiral bound booklet 'w'ith SEV8F'al[ short sheets and a gatefold, ]t contains a CD w'it~, digital files for the sYJstem~ The: manual reflects the ld e ntl ty and me ssage, ls ll ve ~y and nOln'tra.di ti 0 nal, a mid tocu se son pes itive i ~,S p~ra n 0 111.. A list of' the.

ere atlve sou r'ce s th a. t m a,ly 'j nfo rm so. me 'Of the s y:s te m'''.s, ide as ls p:u-ovi de d ~ n th e man u a t. Th is encourages the INh:kelode.on creative services department to. took at mew sources, from Pa.u~ R,a.nd arnd Alvlllln Lust~'g to ,Alndy Wa.rholl and .AI[exande~r Calder" Rather than using these sources as forms, tOI s~aJJ'~'s.hl.y ICO-P'y! tlhey p!FoV'ide ]'Ulsiglnt lnto basic ideas of modernlsrn, The manuat is brlght, fun, concise. and ,elias YI to foUo,w~

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Ca.l[Alrts. is a mlullf,disci'pmnary college. encompassing fine art"

grap hi c de s i gil,. plhotc,giwaph:y,1 'fi 1m an d vi d eo l' the a te f; m lUIS lc, a n d dance, Fou~ded by W,att DisneYI hl191'1~ the school [Quickty formed ,a. repetatkm as an epicenter of the avant-garde. The orrigilllatl.l.ogo~ h OWElve r" had bee n con slde e d too stifli n g, a Ii d not re p re SrE! nta this [of the school's atdtude[~ lack~ng a, (tear ~dI[ent~ty~ the CalArts

[co mllnl U n it1Yl- -oots ntial stu dents, facu lty J and do n D rs -WalS be i n g lost, To ge t t:h e 'S ch 00 ~ b ack 0 n trrack it 'was d ec ld e d 11th at a logo an d Vi·s,IMI,a.L sly ste rn that i nrc lud €[d] th e m u,ttld j mens lo n al a ttitudes of t:h e school's diver!:N:! populatlen and that also spoke ,confide!ntLy to potential donors was, needed,

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Des ign e rs: J e n nifer Ho pk~ ... s, V.olke r- DOrre

The design process, 'whic-h included approvals. from the heads of

e ale h sc h IJ oil (m u sic, art, etc) jl W,dJ.S ,C.O m IP ~e x, 0 vie r 'frh e co u rse of sbt: mlQ nth s a!li1Ild IInI u m e ro u s me eti n gs, a . irm crlts r'~ a. was. e V€! ntu a tly developed" ,An internal sense of ownership was critical. The final mark, in twn-dlmenslonal form, C,ClIl be utllized in a conservative fu n d era i sing, co nte xt::' alte rn a tive ~y j th e th re e ... di~ men slo 11 al mark an d m UI ~ t ifa ceteo co [0 r p alette can be use d (1 n com m u n lcatl oln s to other audiences, such as potennal and current students, Thel form of the mark. ls purposefullg neutral, ,aJUowi'ng: the surrounding context to supplq meaning. The decision to s~mpLify 'thel ame Cat:liforn~i,a Institute cfthfie Arts to [Ca'[Arts armd add the school

n ames was made to facl Uta te d eve topme nt and! e'n 1"01" Lm e n t.

The ICilllem:bJIi" of' E\lllmts IlI1lews.l[ette'f'

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