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MASTERS OF DESIGN
LOGOS & IDENTITY

Massachusetts 01915-6101 Telephone : (978) 282-9590 Fax: (978) 283-2742 www. and no responsibility is accepted by producer. a member of Quayside Publishing Group 100 Cummings Center Suite 406-L Beverly. publisher. All images in this book have been reproduced with the knowledge and prior consent of the artists concerned. NC1002 . Masters of design: logos and identity: learn from twenty designers who have changed the logo landscape / Sean Adams. We apologize for any inaccuracies that may have occurred and will resolve inaccurate or missing information in a subsequent reprinting of the book. p. 2.© 2008 by Rockport Publishers. or printer for any infringement of copyright or otherwise. Title. Inc. Logos (Symbols)--Design.L63A322008 74l. Every effort has been made to ensure that credits accurately comply with information supplied. Includes bibliographical references. Industrial design coordination. Sean . I. All rights reserved . ISBN 1-59253-441-4 l.rockpub. cm .6--dc22 2008000583 ISBN-13: 978-1-59253-441-8 ISBN-lO: 1-59253-441-4 10 9 8 7 6 5 4 3 2 1 Design: AdamsMorioka Printed in China .com Library of Congress Cataloging-in-Publication Data Adams. arising from the contents of this publication. No part of this book may be reproduced in any form without written permission of the copyright owners. First published in the United States of America by Rockport Publishers.

~ m r- -< s: l> en en r- en-c l> 0 ::t :I: c: en m m . en 0 '" en 0 ::u -I .A COLLECTIVE OF THE WORLD'S MOST INSPIRING LOGO DESIGNERS SEAN ADAMS MASTERS OF DESIGN LOGOS & IDENTITY '"m .. ." ::u < c: '" '" n ......

Los Angeles. New York. U. Illinois. Illinois. Alexander Isley Inc. U.S.CONTENTS 6 Introduction 60 Ph. Beverly Hills. New York. Chicago.A. Washington. U. Moria Design. Chase Design Group.. Ontario.A. Bart Crosby 122 Modern Dog. San Francisco.S. Felix Beltran & Asociados. New York.S. U.A. New York. Javier Mariscal 106 Pentagram.A. U. Number S".A. Michael Hodgson 8 Nomenclature 70 Mucca Design.A. California. San Francisco. U. U. Michael Johnson 56 Crosby Associates.S. Steven Liska 24 Sterling Brands. New York. New York. Mexico City.S. California. New U. Toronto.. California.S. Connecticut. Kit Hinrichs 44 Chase Design Group. Seattle. Margo Chase 110 JohnsonBanks.. Matteo Bologna 10 Gottschalk + Ash International.A . U. Concrete Design Communications... Pentagram..A. Inc. Robynne Raye and Michael Strassburger Crosby Associates.. Chicago. N"" "'-Vnr" U.S. • •• C&G Partners.A. California. Liska + Associates.S. Doyle Partners.A. U. Redding. Debbie Millman 94 AdamsMorioka.n'tAAn_ New York. Inc. U. California.S. Canada Modern Dog. U.S. New York. Pentagram. AdamsMorioka.S.D. U. . Mucca Design. Santa Monica. Felix Beltran 20 Alexander Isley Inc. Mexico Willoughby Design Group.S. Kansas City. New York.A.S. Alexander Isley 90 Liska + Associates.A. Fritz Gottschalk 80 Felix Beltran & Asociados.A.S. U. Sterling Brands. Ph.S.A. Sean Adams 32 Estudio Mariscal.A.D.

124
134
140
150
154
164
168
178

C&G Partners, Steff Geissbuhler
Frost Design, Vince Frost
Imadesign Corp., Erken Kagarov
Doyle Partners, Stephen Doyle
Moria Design, Jennifer Marla
Pentagram, Paula Scher and Michael Bierut
Apeloig Design, Philippe Apeloig
Number Seventeen, Emily Oberman and Bonnie Siegler

180
192
202
206
218
230
232
233

Willoughby Design Group, Ann Willoughby
Zeta Lab, Lucio LuZo Lazzara
StudioDavidHiliman, David Hillman
Concrete Design Communications, Diti Katona
Logo Gallery
Directory of Contributors
Bibliography
About the Author

JohnsonBanks, London, U.K.
StudioDavidHillman, London, U.K.

Apeloig Design, Paris, France

Gottschalk + Ash Intemational, ZOrich, Switzerland


Frost Design, Surry .... _,,"' .•.. South Wales, Australia

Imadesign Corp., Moscow, Russia

ZetaLab, Milan, Italy
Estudio Mariscal, Bar'cej!i?na Catalonia, Spain

INTRODUCTION

A "master," in the context of design, is a person whose
work serves as a model or idea to the profession. If we refi ne
this idea in the making of logos, we look at individuals who
have contributed to the form, concept, and standards of
excellence in identity design. Many masters have enhanced
the practice of logo design or identity systems. Among
this varied group of designers and design firms, Paul Rand,
Saul Bass, Chermayeff and Geismar, William Golden,
Massimo Vignelli, and Pentagram have contributed to design
and society with the creation of some of the world's most
recognizable logos. Over the past two decades, a new group
of designers has infl uenced the profession with a broad
focus across many media.

6

..

MASTERS OF DESIGN

*

Logos & Identity

The impulse to identify with symbols or letters has been a common thread for more than 5,000 years.
The earliest marks determined ownership of an Egyptian brick. The Industrial Revolution saw an explosion
of logos as mass-produced products flooded the marketplace. Today, the logo is in the middle of another major
transition. The static logos and rigid visual systems no longer function in a multiplatform environment. This,
coupled with the audience's enormous amount of daily visual input, has created a need for logos to evolve.
The masters of logo design today address this issue in many ways. While they share common values of clear
communication and excellence in craft, the approach to issues of multiplatform thinking are widely varied.

The client's needs and communication are the foundation for any identity system. Once determined, the logo
may be applied to anything from a stationery system to a mobile phone screen. It may need to move, have
accompanying audio cues, or change proportion . Solving these issues requires not only the ability to make
a clear and memorable logo, but to also think four-dimensionally. Space and time are now criteria that are
considered. The visual system is flexible and able to evolve. A flat , one-color logo, and visual system of
a blue bar and one typeface may be inviting. This system, however, will fail in today's complex environment.

A common theme appeared when compiling the work of the twenty masters in this book. The logos shared
a sense of effortlessness, and lightness. There were no overworked marks; no marks sinking under the weight
of their own importance. Most great works of art and design appear to be the only logical choice, simple to
create. When looking at a Picasso in a museum, many viewers think, "I could have done that." But, of course,
they didn 't. The sense of ease and playfulness is one of the reasons for its success. Another theme was the
clear concept of the designer and the public good. All of the designers expressed their desire to make the world
a better place, to solve a client's problem and help the larger culture. The optimism inherent in these ideas
is a defining aspect of these masters.

At the end of the day, it is our job as designers to help someone. We make a logo that will help a product or
service succeed, or we design a visual system that will create inspiration. The logo is the distillation of the
client's most basic communication, "This is who I am." The visual system answers the question, "This is what
I believe." The combination of the two, as offered in this book, by twenty seven of the world's masters of design,
creates a message that is exciting, clear, and potent.

Introduct ion

*

7

NOMENCLATURE

A logo is not a brand, unless it's on a cow.

The verbiage used in the creation of logos is a modem Tower of Babel. Terms such as
identity, symbol, matic, word matic, and identity system have different meanings, depending

on whom you talk to. Here are the terms as defined and referred to in this book.

=-------::::::DI

What Does a Logo Do?
A logo can answer these questions:
Ownership

Who owns this?
~;;;;;;;;;;"==C> Origin
==C::.

Where was it made?
Identity
Who made it?

It can:
L..--..I====D' Differentiate from competition
===D Create a focus internally
1IO=======::::::;;;;ClI Provide clear identification
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!~D Enable the audience to form a personal relationship
,----". --1!!!!!!!OI Create merchandising opportunities
i==~ Create credibility
----.- Bring order to chaos
_ _ =",===C;:I Communicate the message

---

8

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MAS TE RS OF DE SIG N

*

Logos & Identity

identity Signature: A distinctive mark. or idea. or combination of visual forms. or idea. object. Monogram: Identity: Brand: A design of one or more letters. (typeface. A word mark uses the company name The symbol is the iconic portion of a logo. environment has made recognition of symbols Apple's apple. service. card. if not handled skillfully.Oxygen Logo: Word mark: Symbol: A distinctive symbol representing a company. messages. or idea. Using the entire name spelled Trademark: out sidesteps the problem of recognition. object. used to identify a company. person. the Cingular man. However. person . imagery). publication. legibility issues. ownership or origin of goods. and the Time Warner Cable Mark: The advantage of word marks is that the eye /ear. difficult. visual system The identity is not a brand." However. person. it may be difficult to recognize. for example. Generic initials the audience can do this. Most monogram logos depend on large-scale audience contact and repeated viewing for recognition. such as the Chase Manhattan Bank symbol . person. products. A name or symbol used to show that a The benefit of using a symbol alone follows the idea that "a picture is worth a thousand product is made by a particular company The disadvantage of word marks is that words. tone form a unique and cohesive message a company. a word mark alone from the word mark and the mark does not may be generic and lack mnemonic value. with proprietary typography and letterforms . the Nike swoosh. At times the symbol may exist without A recognizable symbol used to indicate enormous amount of logos in the current the word mark. The brand is initials of a name . colors. A graphics standards manual may call for the "signature" to be applied to all brochures . and the CBS eye. if the symbol is separated and legally registered. This is simply a synonym for "logo. usually the The combination of the logo. The designer forms treated in clever ways may look better on the foundation of the message with the logo towels or glasses than on a corporate business and identity system. Nomenclature * 9 . and editorial the perception formed by the audience about publication. monograms are A designer cannot " make" a brand. This perception for a company." The monogram solves mnemonic and program. visuals. and actions. or idea. Only often masquerading as logos. object. have equity. Initials woven together have very little meaning. is the culmination of logo.

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• ~ o --- --=--=---::::.... and bold use of scale and space define the visual language of the Department of Architecture at ETH ZOrich on the opposite poster and for the series of banners on this page. ------ :~ " ~ . simple typography.=.. Gottschalk + Ash '* 13 ..~-- t. -~.­ I THIS SPREAD The strong monochromatic palette. The proprietary aspect of the identity is reinforced with consistent usage of a simple system. • -- ..

ascribed to its revolutionary thinking." says Gottschalk. but the naming and Gottschalk + Ash's long success can be main timeless . such until it is. cation issues. and also of two components: a strategic imperative to and the means of communication change. There terform. and too ephem- Gottschalk believes that emotions are a strong more confusion. and an internal and executive designers. Michael Kahn and and an approach that ensures a name that communication program. and often appeal. "Harmonious. This research explores the target audience's of Gottschalk's process. Gottschalk + Ash Gottschalk's identity work incorporates not Longevity has created logos and identity systems that re- just well crafted form. and a transition strategy While a logo that uses the most current and the safe waters of rational and measurable that helps a brand. the logo is often the first element monic value and visual impact. and the success or eventually erode all equity in a logo. "Effective names wear and tear. from a repeat is at the heart of the success of h is work. to its commitment to craft. The designer has left and the logo usage. One department adopts with the emotive qualities of transformation. and shape is refined repeatedly an adherence to the principles of modernism. This timeless quality is a result visual expression. and a successful "Too flashy. let- create clear and powerful communications and the name becomes even more critical. Strategic communication transformation.\ I / T) • Lea rning Center CD For more than forty years. Every curve. combined not unusual in an identity process. Gottschalk to lose cohesion. Fritz Gottschalk. or colors that represent criteria and has entered a place where every and in-line with the corporate vision. response is a minefield. The challenge was or product and differentiate it in a crowded to create a global brand and launch it in 117 Process marketplace . Gottschalk message. A new name was The team at Gottschalk + Ash. "Keep it simple. adds the layer of feelings. The final name and Michel Schmid begin every identity project resonates in many languages on a global scale. and able to withstand his primary philosophy on logos. A merger or acquisition creates even "Too flashy. new brand management tools. As companies expand work together to create a logo that has mne- motivations and perceptions. As technology advances. where logic and rational thinking another adds a secondary name in a random drive all decisions. a flat and unremarkable logo." His process to develop a countries simultaneously. or mobile phone a cognitive element. it will quickly become tied to the era inexplicably. this would be heresy. The logo is not the only element the piece that makes the difference between that can become. "Keep current exciting typeface. Brand architecture is an integral ingredient of a perfect circle to harmonious letterforms. The logo responds plainly. Gottschalk that fail. too fashionable. containing specifically. simplicity. partners." His approach also addresses and memorable logo. circles." a current attitude or style. While this is and evolve. When asked about as an on-air cable guide. concise. sentiments on long-lived and timeless logos. and Sascha Loetscher. This echoes some of Gottschalk's failure of a logo. while create equity and power. 14 * MASTERS OF DESIGN ~:~ Logos & Identity . in his words. formal components of a word. proprietary name encompasses the communi- created as well as full brand implementation. are instances where a logo will not work. The component of emotional addresses both the visual structure internally. But this emotional connection is of its creation." help to express the essence of a company for Ciba embodies this. in Gottschalk's terms. but changes the color. This. color. may have initial person will respond differently. butterfly symbol communicate the power of with brand research. The forms used. Gottschalk states." are attributes that are common to logos driver in decision making. Seemingly innocuous changes eral. In some design the primary logo. But typeface.

ouis a u t em v el eum iri u re dolor in hendrerit in vulputate velit esse molestie co nsequat .s21. Be concise 3. 28 80802 Munich 89 3800 19538 89 3800 18625 Musterfirma Herrn Dr. sed diam nonummy nibh e uismod tincid unt ut laoree t dolo r e magna al iquam erat volut pat . vel i l Ium dolore eu feu giat n ulla fac i l i sis at vero e ros et ac cumsan et i us t o odio dignissim qui blandit praesent luptatum zzril de l enit augue duis dolore te feugai t nulla faci l isi. Contain a cognitive element The Sponsors' Voice 4. sed diam nonu mmy nibh euis mod tincidunt ut laoreet dolore magna aliquam e rat volutpat . Mit freundli c he n Grlissen Dr. M. Peter Mustermann Cor porate Communicat i ons Musterstrass e 1 12 80802 MUnchen www . Ut isi enim ad minim veniam . quis nostrud exerci tat io n ullamcorper suscipit lobor tis nisl ut aliqu ip ex ea commodo conseq uat . Lorem ipsum dolor sit amet . quis nos trud exercitation ullamcor per suscipit l obort i s nisI ut a l iquip ex ea commod o con s e q uat . consectetuer adipiscing elit .Top Five Logo Design Rules Logos must: 1. Be harmonious 2. Mustermann . Ut isi enim a d mi nim veniam . Withstand wear and tear 5.co m SPONSORING MUNCHNER PHIL HARMONIKER Erh6hung von Bffektivitat und Effizienz im Sponsoring Lorem ipsum dolor sit arnet . Be timeless Communic a tion Koeniginstr. consectetuer adipis c ing elit.

•__•...•. The icon can also be used as an abstract graph ic of multi-colored dots such as these banners.. automobi les.••.... . "" '11 . • •• •••••••• •• . Ciba ~ ~'.. and pollination.. ...$ ###BOT_TEXT###quot; :-" Ciba 16 * MASTERS OF DESIGN * Logos & Identity . '..• =_.. Th e identity uses the recognizab le symbol of a butterfl y which symbolizes transformation. .. • .t' I' ....... •~.. •• • • .. . ~x •• • • • Ciba • • . ..•.••.'f 1'1/" r' ".•• ••••••• THIS PAGE Ciba is a globa l leader dedicated to producing high-value effects for its customers' products .' ~" :. and home and personal care products . bu il dings. • r( (/'It pi Ciba .. and stren gth to plastics....~ ~ ".• •• ••• • •• •.• -. . paper..• •...=-~ . Th ese add pe rforman ce.... ::~ Ciba .• ••• •••• . •.. "I .::. ....... protection.. • ...""" -..• ..••." .•..=:. .••. beauty.. ~... color. .

'"Q) Gottschalk + Ash '* 17 . The choice of a word mark rather than an icon is based on the client's business . a new German publisher. weissbooks.c '" .w" after "weissbooks" hints at the contempora ry nature of the company.w li ves in the world of the printed wo rd.w ~• '" '" Andreas Hofele Abweg Eine Erzahlung A one color word mark is the logo for weissbooks. Jacqueline Moser Lose Tage Roman ~ o o .'"Q) _'~~-----J E. o o . The addition of " .w.c THIS PAGE i ela etty )utla Winkelmann Jamal Tu chick Die ZwilJinge oder Vom er uch G i t und eld zu kG en . As pub li shers. but precise qual ity.Cioran Aufzeichnungen aus Talamanca .weissbooks.M. The letlerforms retain a f riendly.'"Q) Marl ne tr ruwitz Der Abend nach dem Begrabni d r b t n Fr un di n. founded in the time of the internet.

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and it should not be violated and instead should sell. my favorite applications are the ones we've never done before." Gottschalk + Ash '* 19 . by lack of Gottschalk discovered that there were so control. Gottschalk + creative partners are involved."Have lunch with management. inform. but it is useless without compli- message." -Fritz Gottschalk." is his advice. corrupted. "Once the identity system is designed and approved." Gottschalk says . Gottschalk + Ash International OPPOSITE AND RIGHT The identity system for an event celebrating 100 years of international ice hockey focuses on the joy and enthusiasm of playing the game. "Good communication has of the logo is one component. As Gottschalk + Ash The strength and stability of Gottschalk's enters its fourth decade . Typically upper communications program. Gottschalk Ash unified and gave new depth and resonance creates a manual for usage . organization is perceived by all of its audiences " The most challenging aspect of any logo depends greatly on the effectiveness of the project is the involvement of management. Gottschalk + Ash worked with Labatt ance. "Besides a manual. How an philosophy on logos and visual systems. management is populated by business. when other protect the Labatt trademark. Understanding the value Gottschalk states. to the fragmented identity. "Anything to do with uncharted waters. However. visual translation of the anticipated goals. and lose their equity. The to excellence. the visual components of an identity system. The varied A manual can provide the rules and guidelines applications became the vehicles for the brand for usage. and unified This is easier said than done. "Feathers" in Olympic colors are the key visual elements." says Gottschalk. His work has created many of the guiding principles of logo design. They repositioned the company as a global competitor. individuals. motivate. It translates visual emotion into images be used consistently is essential to Gottschalk's and creates lasting impressions. This is exemplified by the system and applica- The individual components can easily be tions for Labatt Breweries of Canada." Have lunch with them." apart as one of the world's best logo designers. Gottschalk has no logos would indicate a preference for repeat appearance of decreasing his commitment and expected applications of the logo. He summarizes his advice truth is one of the attri butes that sets him and driving conviction: "Never be satisfied. the responsibility of implemen- many variations of the Labatt brand identity tation of an identity system will be given in use that legally it would be difficult to to Gottschalk + Ash. brand structure. Often. key messages. endorsement by to develop an online tool to guide internal staff top management-someone who maintains to more clearly understand the company's continuity-is important. not creative. Believing that the power to involve . Initially. partner.

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t J The identity is designed to reinforce and leverage this equity to create a unified brand icon. This allows the product to be instantly recognizable and proprietary. . This also simplified the graphic architecture of multiple products.BELOW The brand-visual equity research for Tropi ca na showed that the "straw in orange" was the key element in the orange juice category's sea of ubiquitous visual cues. . 10 UR RA 24 * MASTERS OF DESIGN * Logos & Identity R l P R I I \ IvI Al I M \ IT.

If proven. "There isn't a 'mass market' to target a product or a company anymore. Debbie Millman.STERLING BRANDS Sterling Brands. Sterling Brands partner Debbie Millman would not agree with a grand unification theory. there is no one demographic picture of the planet. U. the idea of a grand unification theory is a type of field theory that allows all of the fundamental forces between elementary particles to be written in terms of a single field. U.A . this theory would create a simple and elegant solution that provides one answer. New York.S. New York.S.A. Sterl ing Brands * 25 . New York. New York ." she says. • In physics.

and ease of use.The evolution of a singular audience to one The understanding of the audience's driving based on variation is at the center of Millman 's forces has contributed to Millman 's formal concepts on logo design. or politics. then consumers won 't are they asking for really? " she asks. has an impact on the audience's of modern logo design . Th e overl ap of th e stra w in th e last a of th e word ma rk highlights the importa nce of t he "st raw in orange" in all com municatio ns. maintains the impact of creativity. Simplicity is achieved by ma kin g th e "straw in orange" th e hero of the package . or illiterate she explains. and digital home voice services . Finally. and when Nike cofounder Phil Knight saw it. by a young art student. and strategists ." Millman 's logos are clear and single-minded. Commerce gives 26 . " she says . " Words suffer from mis- marketers. after millions * MASTERS OF DESIGN * Logos & Ident ity BI2 I audience's imagination . Now. " undermines the job we do as consultants . and perception . provides the tools needed to solicit the Recognition an understanding of the marketplace. The identi ty system leverages contemporary iconic letterfo rms to appea l to t he broad audi ence of Cablevision's digita l services. but related.what better. designers .. Nevertheless. which was a popular competitor at the time . Th e logo and identity system foc us on th e co mmunication of core attri butes: speed. similar to the Adidas logo. " I have come to thinking. impact Millman expands on the value of consistent of messages. she marketing with the Nike swoosh as an example. he didn 't like it. 100% I'UR. E B6 VITAM I " ABOVE OPPOS ITE ABOVE Th e Trop ica na identit y system is built on a locku p of all eleme nts. . Paul Rand . many logos have four distinct. A series of identities designed for Cablevision's Opti mum branded se rvices: digital cable TV. Her solution is to redefine the audience. "Symbols tell a better story and believe that the term 'designing logos' ultimately solicit an audience's projective imagination. The Starbucks commerce. with social networks.U ICE Wl11l it. These disciplines logo is a good example . But what an engaging identity. behavioral psychology. Related Disciplines " telegraphic " when discussing the look Millman's identities holistically balance of a logo. swoosh was designed twenty years ago. The Nike even see it. " We " I can't tell you how many clients have asked include creativity because if we don 't create Sterling to design the next swoosh. He wanted the logo to incorporate more action in it. whether it is an obsession of consistent marketing and good product. She charged $60 . she explain s. and creativity. She uses the term . Cultural Starbucks logo to communicate the value anthropology. but a good logo can make a good they are thinking. tec hnology.E ORANGE . multidimensional expression. in twenty-four hours . broadba nd Inte rn et." interpretation and a literal. but they are better at conveying creation of logos and identity. Psychology of the audience. or the cult This alludes to one of the ma xims of father of celebrity. Millman uses the are then expressed visually. a specific message. disciplines: become iconic despite a complicated and /or cultural anthropology. and why they are thinking product spectacular. that interpretation of the world and its place a good logo can never make a bad product in it.

The guide is designed to reflect the attitude of the brand.w Optimum -_ -- . Sterling Brands '* 27 ..... and includes a CD of elements.. RIGHT The style gu ide for Cablevision's Optimum branded services functions as a clear set of parameters and instructions for the usage of the multiple identities created.Optimum online Optimum voice In riJel.

belief that the discipline of designing logos a telegraphic expression of the company 's understandable system. and there are incredible solutions that to be Newport cigarette's logo upside down.colors. approac hab le. and ultimately be a a sense of organization and structure. " and as possible to your audience . tolerated. As Millman states." and clear. with a dose of charm. it is the marketing and the be redefined ? Millman uses the responses ensure that everyone involved understands positioning of the brand with the logo that to determine the identity's telegraphic the reason for change.logo. as well as be a symbolic link between aspect of an identity project. typography. "You must be imagery.seamlessly together. passionately. the the same focused theme. It is the relentless persistence and constant audience includes internal and external or the product. and as uniquely to keep clarity at the center of every touch the way we think and act. Millman 's work links all three. the swoosh to determine this: What is the dynamic The Launch is the world's most popular logo. personality." system. Millman maintains A visual system . This this affects the way we perceive the brand. of advertising dollars behind it. This hard-line on maintenance is and the brand is affected. She conveys the organization." and cultural values . on a plain white piece of paper. Her beacon for the viewer in any environment. She strives of anyone of our sensory perceptions impacts " Talk directly. and one clear. Maintaining consistency is the most difficult than any other creative medium. help characterize say " Oh I I didn 't realize that. "The logo must be not one voice. she says. and fri endly." she says. Th e ma rk t ypographicall y il lustrates th e " uplifting your sp irits" positi oning whil e mai ntai ning an evol uti onary look. How far is too far? What are the constructs existed for a moment before being abandoned. form of the logo's applications. shareholders." conversation about successful logos follo ws Millman 's ultimate goal for an identity is to reflect the overall culture of the brand. you 're doomed. system . its success . and stakeholders. Logos in your target consumer and the company. 28 * MASTERS OF DESIGN * Logos & Ident ity . Her logos create Millman then discusses the idea of not extreme. Millman 's approach creates these perceptions communicated through various Her work creates identity solutions that are items with a strong emphasis on the final media and applications. rule to understand the need for change. people change ." she says. vision. or the company. She uses identity two rules for success. Th e upd ated logo ta kes cues from t he strong existin g equ ity of previous ve rsions. or the company. and cultural values." The strength assessment of the logo's relevance to the key constituents. the mechanics of the gives it its power of recognition . Essentially identity should fit the client's vision and you want to give no one the opportunity to Millman's personal manner is straightforward business strategies. A great strategy in isolation is easy. " The will try to ignore or circumvent. and expression of the positioning. "The extension intrinsically tied to a clear marketing strategy. " and identity has more impact on our culture positioning. and product. This contrasts with her last look great. " If there is value and success for products due to her single-minded clarity. A great vision in isolation is easy. Meeting Millman asks the client pointed questions the extraordinary and daunting challenge . Visual anomalies in the system are not that when perceptions change.TH IS SPREAD Th e Klee nex ide nt ity redesign works consiste nt ly on all prod uct s on a global scale. but is more co ntemporary.is a vital component of every identity to evoke a unique combination of sensory courageous and have a strategic focus . point the identity has with the public. It is not necessarily having a type of mark that are on the brand and how can the vision The internal launch within an organization will that is critical. " But guess what? It happens or revolutionary change? What is visionary? unused . She concludes." isolation. and the plan for the details that others ultimately. and strategy. of Millman's work lies in the understanding constituency that is an ingredient for success. one message. Millman for changing the logo? What is evolutionary There are great logos sitting in a flat file explains. personality.

Sterl ing Brands * 29 .

1I1{ . " " L SEASONINGS 20 TEA BAGS NIT wr 1.0 OZ (42g) 30 * MASTERS OF DESIGN * Logos & Ident ity .Gi" \ .5.

THIS SPREAD The key challenge for Ce lestia l Seasonings led to the creation of a new identity system that creates a brand block at shelf. Overly "trendy" logos 5. Partner. A logo that's the front face for an organ ization that is badly marketed 2 . but sti ll reminiscent of the previous Ce lestial Seasonings word mark. Logos that need an explanation 4. and enhances the typography and product li ne architecture. "Talk directly. Sterling Brands Top Seven Rules for Logo Failure 1. It now creates a holding device that is proprietary. and as uniquely as possible to your audience. passionately. Logos that require complicated production techniques 6 ." -Debbie Millman. Global logos that do not consider global interpretations 3. without taking away the persona lity so intimately associated with the nostalg brand. Th e logo is modern. Logos that require in · depth training in which to educate users 7. Logos with multiple taglines or messages that are not always in sync Sterling Brands '* 31 .

32 * MASTERS OF DESIGN * Logos & Ident ity .

innocent. and irreverent. Spain Estudio Mariscat. 33 . The work is often contradictory. and provocative at the same time. and bags. His firm. Applications Include posters. He maintains a commitment to innovation and taking risks with logos and identity systems. Catalonia. Javier Mariscal's appr of view of creating im comes es. spontaneous. Mariscal expresses himself through a personal language that is complex in its intention and simple in its declaration. ~~:~!::~ldentitYfOr the brand Camper for Kids. works in a broad range of media from print to interiors to support the messages of the identities they create.ESTUDIO MARISCAL Javier Mariscal. Estudio Mariscal. Barcelona. packaging. Estudio Mariscal . f un. creates a brand image that positions the product as playful.

however.. but he will do what he does. "Logos are like people. not in the least bit sweet. The worst part of logos is that they can be very strange guys. Others you don't even want to see. and red. "rascals. Whether it's the Catholic cross or the cruz 34 * MASTERS OF DESIGN * Logos & Identity THIS SPREAD The logo for the Camper brand is applied to multiple pieces and uses animation as the primary focus. " . Well-Tailored Logos When discussing his philosophy about logos.. The graphics use the language of ideograms. the advertising and the interior design of the camper shops in Japan. strange. are the star of the graphics. are up to no good. who have their own world. Mariscal has a clear preference for symbols as a successful form rather than word marks. To create the brand image. Mariscal jokes. Camper for Hands is aimed at the Japanese market. His process starts with the intent to solve the client's problem and CAMPER ~N-<l& C~tvlfQP. who have fun. NEXT SPREAD The identity system includes irreverent bears that are. which may seem WALt\~DoNTCRY CAMPER ~ to be a light touch in a serious corporate setting. give them an identity that will fit." This humor and touch of wit pervades much of Mariscal's logo work." Mariscal has a strong visual style that he incorporates into the form of the logos. like "a tailored suit. Some you like and become friends with. and you can't tell if things are going well or going badly. A common question among designers is "How did they let you do that?" In the instance of Mariscal's logos. white. according to Mariscal. surprising. close to the fantasy world of children. is the experience that makes Mariscal's identities fresh. The color range of the identity system consists of the three primitive colors of the brand: black. The strong color palette and limited typography also create a strong and cohesive identity system. This presence of delight. He uses the cross as the most potent example.. and memorable. The design is applied to the packaging. the collage technique is applied to the illustrations.Within the work Mariscal produces is an inherent sense of delight.. create work that will succeed. They always have the same look. This understanding of his own vision and ability to impart that vision to the client produces a wide range of logos." . Typically. he is clear at the onset that he will solve the problem. his clients come to him because they believe that style will work well with their businesses. in his words.

Estud io Mariscal '* 35 .

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VUITTOH ACT 11 . Spain. it is always the primary communication.. A series of posters use the hand-drawn logo for America's Cup with silhouetted images. exterior image. The clear and simple color choices maintain the presence of the visuals in a cluttered environment. 1 38 * MASTERS OF DESIGN * Logos & Ide nt ity VALENCIA L. logo and posters use a free -form artistic treatment. for the typography as well as for the composition of the images and shapes.. utilize all elements of the identity system. These are accompanied with the identity system's bold co lor palette to communicate strength.- -. . Environmental graphics for the regattas in Valencia. The logo is never treated as a signature in a corner. merchandising elements. and for the organization itself. and Trapani .. the applications. Malmo-Shake. To transmit the characteristics of America's Cup. as well as applications for advertising.=- THIS SPREAD The identity for America's Cup is applied to corporate applications.-. power.. an avant-garde event.OU'. and energy.

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from a handmade craft and a works. including Olympics is another instance that the flame issue sometimes leads to unclear answers. "New technology exists. plan for any application.Top Five Logo Design Rules 1. Even though is more restrictive on the computer. Always create a book of normal applications. 4." he He suggests." His approach lends to Response to the computer and its affect voice. the asterisk they are intended to represent. versions of a logo. a financial institution the characteristics of the product or service is much simpler. new technology. from black and white by Saul Bass in 1969 each exemplify the grace "Technology has changed our lives. our daily to color. the ABC logo designed by Paul Rand in ever-shifting aspect of the profession follows in all applications. He acknowledges logo designed for Madrid's bid for the 2012 and should be successful. examining the that everything is an influence. our way of working. he also believes can't turn your back on it. and clarity in this approach. Whether this change in tools has affected symbol has displaced the word mark. set in very transmit a series of messages about the profession. The recognizing that certain logos may be beautiful his work is unclear. everything often used to create the logos and systems. and you different sizes. Mariscal Nike went through periods where it despised Mariscal doesn't blame form as a common discusses the issue from the next generation. has become the memorable element. it is a mystery why they don't work. so that your work won't go to the sh its or to hell. and in multiple configurations. versions that serve distinct rather than complex logos. Technology the ability to maintain a clear and consistent In certain instances this resulted in some of In the past decade." Before logos are a tool kit with many pieces. This demands many 1962. otherwise you wi ll regret it for the rest of your life. it was a complicated process. logos were one or two color. In order to get there. "At times. Now it logo for Bancaja. perhaps not gamada is irrelevant. "Logos should be communicative. and specifically logos. Choose your client wisely. While Mariscal's logos have a sense of animation and fluidity. This modularity allows the representing. multiple technologies communication across many applications. The final issue "Before the advent of the computer in design An example of Mariscal's own work is the with failed logos is the inability to express work. Designers candidness. Since its launch. and the Bell Company's logo designed his usual pragmatic. logos to maintain a proprietary and consistent should be allowed. "When working 40 * MASTERS OF DESIGN * Logos & Identity . they succeed in For much of the twentieth century. the activity." His a logo should fundamentally be expressive. the computer is the tool most applications. describe the issue as a change. yet optimistic philosophy. more fluid way of thinking to a process that references the Nike swoosh. a manual. or the person it is hand. this functions." he says. agrees with the direction of creating simple explains." says Mariscal. is almost of certain applications with his typical entirely divided by generations. Listen attentive ly to your c lient. history's most beautiful and successful marks. the swoosh. If you don't like the client or don't think the job is ethical. He maintains a strong The CBS eye design by William Golden in the audience. Although Mariscal habits. Do something that the client will li ke but that you like. flat forms. 2. leave them. Mariscal's attitude toward this resolve to design logos that will be coherent 1951. reason for a logo's failure. faster. and media have changed the ways we talk with This is not accidental. Mariscal talks about the challenges identity systems that function as well in one on design. and on many diverse product. the digital revolution changed the design are taken apart." based in Spain . Today. has affected the final logo work. "All of the applications are who worked in a predigital period often important to me. They He states. Mariscal's work was done by different environments. In the modern corporate world. the primary symbol color as multiple colors. and more efficient. our tools. 3. they continuously saw its value. because in this case you wi ll not be able to give them an identity that works. recombined. "Make chromatic variations. too. 5. Of course. simple. Nevertheless. Mariscal the final application. This type of system communicates so directly that any variation provides the client with choices based on for the best.

refers to co nstructivist and art deco letterforms. Zoo de Barcelona Barcelona Zoo's logo uses amorphous shapes to suggest a paw print. ~. BenicASsim Estud io Mariscal '* 41 . and a face. the wh ite crescents. and c ircle are the elements t hat provide t he Ben icassim logo wit h a cohesive quality. Socialdemokraterna Swedish Socialist Party The Swed ish Soc ialist Party required a word mark and icon tha t reinforce t he ideas of the handmade. curves of t he letterfo rms. anima l shapes. Benicassim Echoed shapes.L L E c . Marmo Bar The logo for the Marc Newson des igned bar coordinates wi t h the fo rms and design of the bar's environmen t. Spain.p Shizuoka Convention & Arts Center Granship Shizuoka Convention & Arts Cente r's logo ignored th e expected approach of cold and du ll forms to create a sense of excitement. and bu il t. A F E FROM TOP Metropol Le Cafe The logo for Metropol Cafe in Gran Hote l Domine Bilbao.

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a symbol in the banking world that represents transparent communication... financial institutions rely on a conservative color approach. . Estudio Mariscal '* 43 ..a..* Bancaja ~?B caja habitat fondos • • • VIOJes THIS SPREAD Typically. Cataleg de Regals 2006 VALID fIllS Ii JI II ~ 1120D7 SOVICIO Of ATEllCIOtI A1 CUEIITE punts . The Bancaja symbol is derived from an asterisk.. fl... " .. symbol. and colors position the bank with an attitude of modernity. I ........ and trust.... * habitat It "til'" '1" A•••'"'.... The logo. . Queremos prestarle la mejor atenci6n Abre tu vida a un nuevo entorno ......... while red is sometimes not chosen for its association of being "in the red. _.. The symbol also refers to the meeting of two people with common interests.." The identity system for Bancaja relies on a vibrant multi hued palette to reinforce the ideas of the main components of communication: closeness to the client.... . Navy blue is a favorite. SERVICIO OE ATENCION Al ClIENTE Bancaja* fI' •• _I fI_....."..

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46 * MASTERS OF DESIGN * Logos & Ident ity .

and learn . or reason) . " Chase explains . "Every detail of a project is crucial. Once the logo is designed and a system is approved . "We love a great concept. strategic business plans. "To translate the precise curve of a letterform to the a marketing brief into a great creative solution ." she says. to the logo. however. Chase's first step in the meticulous attention to a range of applications. "People are certain that they make These production limitations involve a lack decisions based on what they think (the right of understanding of specific mediums. and licensed product development. Chase believes that the emotional The competitive landscape informs her connection is lost when a logo is not designed solutions." brand. These can fail standing how similar business challenges have to resonate and be ignored. identity process is not to begin sketching. The extreme attention to detail and to life in the world and watching it get results. "Very simply. " We find additional insight by under- with the audience in mind. Chase attacks the applications Many of Chase's logos have an aesthetic and with the same level of detail that is applied formal tone that implies careful consideration . texture of the paper that a logo is printed we need a clear understanding of our client on. cally concerned with the client's needs and fear. The creation of a logo is part of a process decisions based on what they feel (the real that includes brand strategy. and logo applied with strategic direction. rath er than stri ctl y logical ." visual forms in her logo design . and they can cause failure core of Chase's trust in the power of emotional in an identity system . Every identity While emotional connection plays a primary system is designed to evoke the desired role in the design process . "We immerse ourselves in market Logos that are derivative and lack originality research." Chase explains. but for the most part they make poor execution that leads to poor reproduction.y THI S SPREAD The logo. packa gi ng. excitement." she says. listen . Chase Design Group '* 47 ." This leads to the identification ment. retail environments . and the business challenge at hand . by Chase. and a remarkable and clear we love even more is bringing that concept vision . strategy. aspirati ons of the core audien ce. and support material s for Chin ese Laundry spea k directly to the emotional. and often fail to create a strong identity for a trending data to provide a strong foundation. that the responses that don 't keep production limitations in mind of the audience are complex. she says. of an emotional target that will be central advertising. These results are a combination of are secondary to the considerations of a the research . logos connection . from but to research . packaging design . identity develop- reason). is distilled clearly fail when they reproduce badly. In addition to been addressed in other industries. Th e use of evocati ve illustrati ons and a strong co lor palette create a co nsistentl y se nsual prese ntati on fo r a brand th at de livers a produ ct th at is stylish and sexy. What high level of skill. and so on . Chase is pragmati- response in the viewer: trust. the messaging and communicative issues of poor logo design. specifically the business challenges that need to be addressed. pragmatic concerns are How individuals respond to the world is the a priority for Chase. to the logo's communication. This belief.

often educated abroad. 48 * MASTERS OF DESIGN * Logos & Ident ity ." th e des ire fo r al l that is unseen. The brand is targeted toward the younger woman.• TH IS SPREAD Lingerie Perdu is a retai l environment in Saudi Arab ia . The logo turns to the Arabic tradition of erotic poetry. Th e human fo rm is not allowed to be used in the brand materials or store environment. Th ese reference the concept of the "hidden. Hand lettered phrases are built as pa rt of the identit y system.

and materials used are distressed and layered communicating a sense of age and depth." These elements are then modified and given an extra layer of style and luxury. The red and gold elements of the logo.NEXT SPREAD LIN13ERIE u The identity for Pearl Dragon restaurant use the preconceived symbols and colors we associate with "Chinese restaurant. Chase Design Group '* 49 .

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based business. ope n sexuality. and co lors work to co mmun icate an exotic. maintaining a proprietary positi on in the market. remains a challenge." she says. The use of trad iti onal India n pattern s. "Understanding enough about the production The straightforward and pragmatic attitude process. started by imitating the things they love. The logo and identity system can be both the website. In the mid st of thi s ri ch syste m. we'd thought of it. it might however. For a product. unique work that makes the rest of us wish THI S SPREAD Kama Sutra is a di verse line of erotic products. budget limitations." Chase says. art . is usually the easiest part. materials." The establishment of guidelines for the logo usage is typically handled with a manual. who are 52 * MASTERS OF OESIGN * Logos & Ident ity . the logo remain s a clear constant. color. the retail environment. This language of strategy and Overseas production can lead to strange business concerns would lead a reader to miscommunications and bad implementation believe that Chase's logos are conservative of the final design. in-house and out. Packaging. as well as strong typography and image but great designers find a way to develop design. Critical Components of an Identity System In addition to the logo . She insists that these components vary according to the type go beyond print and packaging to interactive creative partners should be given clear of business. The creative partners. and energet ic fee ling. "There are lots of great logos out there. but " Good packaging requires an understanding there is always room for something innovative of the customer. formats used in digital applications for guidelines and enough latitude to be creative. and beautiful . "The logo creative and successful. We often have to hand and " safe" forms . Her logos are designed to to be consistent.Since founding Chase Design Group in 1986. can be very time-consuming. is misleading. Its mission is to produ ce prod ucts that promote hea lthy. and typography wo rk together to re inforce thi s phil osop hy. The reality is that Chase's the design over to in-house production personal vision and singular sense of direction departments so communicating intent and produce forms unlike any other designer. that is incorporated in Chase's philosophy and client expectations up front is crucial. For a Web. For a retailer. art. it might be the package or the advertising. packaging to be her favorite application. responsible for implementing the logo must Chase has been a pioneer in new media understand how important it is for branding and technologies. The logo. pattern s." Chase says. Training is also an essential part of Chase's process to make a brand successful. the most important component is broadcast and on the Web. establishing clear guidelines is critical and These logos are surprising and unexpected . three-dimensional design ." Chase enjoys Chase confirms her adherence to creative these challenges and continues to consider solutions outside the typical way of thinking. the critical be signage. " Everyone gets materials design.

Chase Design Group '* 53 .

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Californ ia. 111 has been co-opted. Ph . the term "personality" peppers the conversation. and its definition has been broadened to apply to anything from Coca-Cola to a description of an individual's quirks: "Betty's brand is her pink nail polish. Personality can be used in psychological terms to describe individual differences. Santa Monica. She wears it every day. OPPOSITE Typically. and co lor palette. an identity system consists of one logo.PH. D principal Michael Hodgson. U. USA • Over the past ten years. The color palette reflects the attitude of these countries. imagery. branding has become a meaningless term. and the logos use this palette in a free-form way.D Michael Hodgson." When discussing branding with Ph. Santa Monica. California. or it can be used to construct a coherent and complete picture of a person.D * 61 .D. Ph.S.A. Ciudad Restaurant has four logos. typeface. Th is choice reflects the multicu ltural menu taken from Latin countries around the world.

and The Searchers." Hodgson explains. and white. almost everything is designed. value based on their continued usage for bypasses this approach. t he 164 page coffee table book celebrates hi s ca ree r. Transferring this concept to an applying the logo to each item of stationery in organization or product is a logical step for the same way. omnipresent term in the verbiage of a world- therefore. Hodgson's logos are failure of a logo. "Logos fail because mindless simple and direct. where there and often only happens after the symbol has is. This provides the identities with a more coherent and approachable voice. No manuals that don 't allow for flexibility. often based on for flexible and layered visual systems. How the West Was Won. "A symbol takes longer to establish. the word mark . the Apple of a company 's personality. While each designer can cite his allows for no derivation. The form refl ects Ford's straightforwa rd and masc ulin e approach. His logos also have a nod to always results in a much stronger personality. Hodgson says. " In a world where decades." Press relied on their fleet of trucks and delivery 62 * MASTERS OF DESIGN * Logos & Ident ity Th e poster uses the bo ld color pa lette: red. is at the core of the success or class identity designer. coherent and complete picture of a product. rather than " Obviously a word mark is great because it the term branding." of the general public's everyday lexicon. " His logo and system for Foundation consistent. this would dictate symbol or Nike swoosh have strong proprietary elaborate formal solutions. dare I say it. "Our systems are usually fle xible. but allow the designer redirects the priority. and typogra phy that echoes the forms of t he logo. " Hodgson explains." says solutions use a rigid unchanging system that Hodgson. The idea of personality applies to a person 's he maintains. John Ford di rected some of t he most myt hic and memorab le fi lms of t he 20th century inclu di ng Stagecoach. favorite application depend on remain similar in tone. the idea of simplicity is an through applications .THE SILENT YEARS . Hodgson. which has become part immediately tells you the name of the company. without being slavishly the client. He follows this attention to taking it to the point where you immediately the construction of a complete message in know who or what it is ." humor and wit. The directness of Hodgson 's approach applies to symbols and words . The entirety of that personality is communicated Once again . The imagery is a criti ca l component of t he comm un icat ion. they all are grounded " I prefer to think of the work that we do as with a straightforward treatment of the name ." he says. too much design . Each system is built or her favorite application to design . " We stay away from simply behavior. even if you're reading the design of each logo. Given the complexity a foreign language . TH IS SPREAD The integration of a philosophy that presupposes an overdesigned environment drives Flexibility Hodgson to create logos that maintain clarity Hodgson 's idea of personality constructs a and a Shaker-like plainness. the last spent some time being seen together with thing left is personality. blac k. This raises challenges for us but Hodgson." For example. CDs. to create a varied range of materials that and for me . creating visual personalities. The system's flexibility. . Ford at Fox. Th e logo is app lied to a va ri ety of applications suc h as t he book. " The most important . however. but they are the foundation applications are produced . While some of his Visual Personality logos use a symbol. and t he id entity system is bui lt to inco rporate t his. Hodgson to support the logo. " But a symbol can transcend that. and posters.

Ph.D '* 63 .

I look -- at flowers and go to the movies.." he says.. The logo focuses on the varied individuals at the cafe.. Bergamot Cafe is in Bergamot Station. I don't look at I design annuals..--. 13. The Santa Monica Museum of Art.BELOW The identity system. includes the standard stationery items. As the name of Paul Smith 's book suggests. the range of applications that Hodgson addresses has extended beyond stationery and vehicles. which established a strong identity for them.. and architecture. BEAGAMOl CAFE The simple yet playful attitude of Hodgson's Two Heated Patios logos would point to a specific and limited User Friendly Ample Parking or ac IF" palette of inspiration. No. as opposed to the food or environment. "I designed Appetite BERGAMOT CAFE for Destruction. but specific applications. and one of the band members loved it and had it tattooed on his arm. "For inspiration.--. architecture and design firms.-.. and an overall tonality. The system includes.. and geometric word mark. such as T-shirts. . color. Rather than citing the Shakers or Mies van der Rohe solely. not only logo. "We used a cross design on it. _ _ 1 __- -_ _- ---_. vehicles as primary communicators." he explains. the first Guns N' Roses album.._------------. Innovative Menu look at books on art. aE~GAMOT CAFE • he discusses a wide range of inspirational sources... is the foundation for a visual system. you can find inspiration anywhere.-." His system for David Fincher's company.D maintains control of the identity system and its use. and typography. This is possible as Ph.. In one instance. "I go to museums. Southern California's largest art gallery complex and cultural center.." Hodgson says. It's located on eight acres in the heart of Santa Monica featuring co ntemporary art galleries." 64 * MASTERS OF DESIGN * Logos & Identity .----~- designed the room numbers and the numbers _____ _ Daily Specials for the parking lot. and a frame shop. but he also -. with an illustrative icon . "These were most successful (and therefore most critical) applications and have become their most effective form of advertising.

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Border Grill is an upscale,
modern Mexican restaurant
with a vibrant setting.
Chefs Mary Sue Milliken and
Susan Feniger present bold
foods and flavors, making
Border Grill the new standard
for gourmet Mexican fare
in Los Angeles. The original
identity was designed by
noted designer, Mike Fink.
All illustrations and hand
lettering are by Huntley/ Muir.
Hodgson updated and
clarified the original identity
and reverted back to its
origina l black and white
color scheme. The system
relies on the handmade
in almost every instance,
from the word mark to the
illustrations. This communi cates a sense of spontaneity
and excitement. It also
represents the casual , but
sophisticated atmosphere.

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. "The logo acquires making sure that the same designer is its meaning from the other elements and not always monitoring the project. world-class designer when asked whether " The Coca-Cola logo is one of the examples a logo should be complex or minimal. Butterfi eld Market is recognized fo r supe rior quality. a logo has no meaning. -- 1'80 • • PAZ (!J t ) (2 I ) 503. Mucca Design '* 73 . possible when a client is remarkably focused the swoosh is the mnemonic property. This means this metaphor to describe the alternative: nothing by itself. But he quickly necessary." This solution is memorable to Bologna . while mai ntai ning a strong and proprieta ry prese nce. and by consequence. each application of t he logo is uni que. but when placed within the "If they were being serviced by different context of the company 's philosophy. "After designing logos for mark was a terrible script that haunted poor more than twenty years. or if the initial creator of the logo logos have equity and an ingrained philosophy is the designer controlling all aspects of the of values . These values have been married system . A maste r brand cre ates a clear visual statement . designers." to fifteen years. In this case. we never follo w this rule . The ove rall tone of the vis uals. Both visually. Th e comm onality is created with eleme nts suc h as co lor. But everybody remembers it . enormous equity. " The Apple mark it is finished . The uni que color pal ette and flex ible t ypography provide ease of recognition." Bologna wryly states that Mucca Typo is a division of Mucca Design . TOP RIGHT The id entity system fo r Balth azar Restaurant ." and communications. and allows the brand to expa nd into oth er businesses and regions. when placed in the context of other messages "I am able to maintain consistency by that it adopts meaning. provi de th e greatest amo unt of eq uity. products. This of how good quality in typography is not is Bologna's answer as well. It is only M ucca Design for all of its design services." he explains. The level " to design a logo for a company that will be of obsessive precision necessary to design successful .9717 503. + 214 SOUTH DE Inherently. and typography. "Recently. designers who had to redesign it every ten But." Bologna explains. and it s multip le businesses demo nst ra tes the strength of a holi stic app roac h. it acquires value and TOP LEFT Fun ct io ning like a wa lkin g bi ll board. the best way to design a successful logo is dedicated to the creation of fonts. logo. Rather th an relying on a simple and fl at ico n used re peatedly. he says." Bologna says. the simpler the better. In this instance. the word mark for Nike is not variations of the logotype . however. we designed a system for so we can consider it successful as a logo . even after vice versa .EX NYC-." identity work.9121 + N~ r(lU)tU:tot OP POS ITE An upper east side lu xury food market si nce 19 15. your logo a typeface migrates to Bologna 's logo and will be considered as such . " The original word contradicts himself. The choice between symbols and word marks is deflected by Bologna with " Simple" is the standard answer for a a discussion about the Coca-Cola letterforms . He uses is just the drawing of an apple . this would be a recipe for disaster. + : 1"A L. Country only retains to both the Coca-Cola word mark and the N ike swoosh by consistent control of the logo and context. unfortunately. t he shoppi ng bag fo r Butterfi eld Ma rket inco rporates picto ri al elements and pattern s." a restaurant (Country) with more than thirty Alternatively.

logo can never save a bad product. The applications are the vehicles for the success. The Bologna's logos vary from simple one-color logo operates as an identifier and as a prop solutions." versions include logos that look rubber- Bologna continues. exciting flavors. and clear typographic language communicates the company's commitment to quality. This statement is a summation different variations to convey the sense that of the common problem of misrepresentation. These from companies that lie to their customers. The addition of a sense of reassurance adds to the success of Bologna's logos. and ease of use. This solution is often used on logos designed The logo is a promise. the customer will feel betrayed. 74 * MASTERS OF DESIGN * Logos & Identity ABOVE OPPOSITE Country is a Manhattan restaurant that serves contemporary and sophisticated dishes fe aturing locally grown organic ingredients. The identity for Gracious Gourmet takes its cue from the product. Ignore all of the above and try to have fun. The viewer tones for printers or for the web. using gradients in a logo/mark are passe in The power of these logos is derived from a period when you can design on continuous their narrative connection. . of flexibility that is more connected to Misrepresentation Direct communication is not an issue for industrial revolution technologies than digital Bologna. such as the Adobe Design a restaurant. but for your client. 2. such as the Rizzoli R. The interior design of the restaurant is a mix of eclectic details and midcentury modern. "U nfortunately this stamped. unexpected colors. This conveys the warm and playful tone of the restaurant's character." he explains. it has evolved over time. are more interested in producing an overall and the logo will lose all credibility. "Some of the old the customer's knowledge and recognition. If the design you're doing is not portfolio worthy. The logo has slightly he says. 3. failed identities come also respond to the medium used. to complex for the theatrical experience of dining in multilayered logos. the logo can never succeed." impression of history. Don't design for your portfolio. than communicating a hard-core set of corporate values. connects the visual forms and applications Bologna's identity systems have a quality to his or her own internal stories. rules of using no more than two colors or not linking them to a specific time or place. The logo. and a fresh approach to cooking. present on ly two or three of them. glazes. "Identities that fail are the ones reproduction. are designed to give the are too many people who make decisions. The logos for restaurants. 5. don't show it to the client. If the Bologna uses historical idioms to client misrepresents a company's product communicate a company's character. 4 . a monogram of a C. If that promise is for restaurants and hospitality clients who not kept. gestalt. The mix of classic images. is a set of randomly mixed letterforms in multiple hues. Remember that the logo /mark will be reproduced very small. or atmosphere. reproduced with old lithographic becomes the designer's problem . The designer's role is to focus and visually impart Thematic Variations the values and messages of a client. The line of gourmet chutneys. or where there particularly Pastis.Five Logo Design Rules 1. where the owner is an idiot. Classical botanical prints are combined with a rich color palette and modern sans serif typeface for the Gracious Gourmet. or values." A good techniques. The historical forms rely on Achievement Awards logo. The multiple versions "Most of the time. Design ten logos. or hand-made applications. and never show the ones that you don't like (or else one of them are likely to be picked). and spreads utilizes a strong visual brand that communicates the company's commitment to high quality ingredients.

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. 00 11.. ..... •... . but the attitude communicates a casual lightness contributing to the entire brand experience and concept.. and unevenly spaced letters.00 •.. ..-_ .... Schiller's wine bottles plainly display the quality. 00 11. the logo is based on authentic details of the neighborhood. -. 00 - - . ... A custom typeface simulates handwriting with oddly sized..-_ .. 00 0.RIGHT In order to create a unified design theme for Schiller's Liquor Bar on Manhattan's lower east side... This element does not use the logo...r ... . .. The letterforms were created by a specialized calligrapher. - • ___ - BOTTOM Simplifying the wine buying experience.

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FELIX BELTRAN & ASOCIADOS • Felix Beltran. Cuba. Beltran's logo work is no less powerful. Ideas such as "work hard. Hidalgo. Mexico City. a company that manufactures modular panels for office spaces. Mexico Felix Beltran & Asociados. Felix Beltran & Asociadas * 81 . Mexico Felix Beltran was born in Havana. becoming a Mexican citizen. functional. work hard" pepper Beltran's discussions on logos and identity. OPPOSITE The logo for Estamex. Hidalgo. This varied life has led to the design of some of the world's most exuberant and powerful posters. and later moved to Mexico. Used as a repeat pattern. reinforces the product. and again. designed for the Communist Party of Cuba. trained as a designer in the United States and France. and energizes. the logo maintains integrity. represents Beltran's minimal and c lear voice. but it has a remarkable clarity and rigor. Mexico City.

Felix Beltran & Asociados Minimalism is specific and proprietary. On the the computer is a tool that facilitates broad contrary. incorporated. escalates this rule. work. The stre ngth of thi s so lution is the clarit y of th e soluti on. . Coupled with the rigorous minimal ism. and work. This leads to a vision that "These are converted into letters and then creates memorable and sharply defined into a symbol. Beltran 's logos simple. " For identity system. the lack of surplus. triangles. For example. " Beltran there. Beltran." approach to color in logo design follows While the final logos may seem effortless and similar reductive thinking. No extraneous deta il is added. A common theme in Beltran's logos is "Every element should be derived from the use of an initial letter converted into the project 's content and needs. " For me . The back of the stationery uses th is logo in a repeat pattern . " -Felix Beltran. v v to evoke the front distillation of form was required to create a universal language that the masses Tools could understand . and Pl aka gouache paint. " Simple logos are easier to perceive than ruling pens. He designed his first universally take the exacting approach logo with the letter of reducing the subject to its necessary of the building and its balconies . the tone are as refined as the positive forms. founder. At the beginning of Beltran 's career." Beltran says. relying on detail and refinement are the ingredients to the strength and association of one strong their success. Th e bac ksi de of th e letterh ead fo r Hill Print ing incorporates a pattern based on the logo. " Beltran says. The logo. The shapes refer to the letter H and printing processes. He has complex logos . His logos philosophy creates powerful and memorable support ideas first introduced by Russian symbols that once recognized . The negative shapes of the logos color association. The color and Tadao Ando have a commonality of is given more prominence with the lack of reductive forms in their work. become Constructivists who proclaimed that closely tied to the client. using color in Architects Lui s Barragan. Beltran uses a complex col or palette fo r the accompanying the same minimal approa ch to logos. Forms may is neither yellow or orange."Work.create s the power of a logo . " Hi s logos a geometric symbol. simple with something missing. No superfluous forms are is comprised of sounds.what is not experimentation and exploration. this however." His explains. the same manner as Tiffany blue. where nothing is out of its role . The ochre tone appear to be easily drawn with the circle tool 82 * MASTERS OF OESIGN * Logos & Identity OPPOS ITE NEXT SPREAO The stationery system fo r t he Estamex ide ntity rema in s true to the origina l intent. the primary tools were T squa res." Beltran states. and the placement rema ins consiste nt on eac h piece of the system. But he adds used evolving technology not to change his to thi s common theme that "we may equate vision. all design should be fun ctional . Almost all designers who that a word or symbol seen and heard at the excel in the field of identity agree on the same time has stronger memory associations. John Pawson. the t ypography is consistent with one size and weight. "A name elements. Angles are used for the Grapus-Oisefio Grafico logo carefully considered and echoed. " This was not possible previously. but to allow for more options. a simple group of four sq uares represents thi s idea in the sim plest and most elega nt of fo rms. the amount of rigorous attention to typically are monochromatic. Hospitalaria Coyoac<in is a hospital wi t h fo ur branches. need for simplicity in logo design. me." This correlates with the theory communications. The logo is the pri ma ry foc us with no distracti ons.

Estamex Rosario 245 Col Valle Dorado Tlanepantla Edo de Mexico 03300 53789583 53789776 Estamex Rosario 245 Col Valle Dorado Tlanepantla Edo de Mexico 03300 53789583 53789776 Alberto Zuniga Director Estamex Rosario 245 Col Valle Dorado Tlanepantla Edo de Mexico 03300 53789583 53789776 Felix Beltran & Asociadas * 83 .

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Univers. This "Everything should be functional" is lack of additional elements places all emphasis Beltran 's mantra. " The present time encourages rushing . The extremely simple forms are more difficult 86 * MASTERS OF DESIGN ~:~ Logos & Ident ity . Beltran is the work . and dinnerware. objectives. th e business card fo r Hill Printing redu ces the ele ments of the system to th ei r most basic form s: one t ypeface an d th e H sha pe logo. approach . and the color palette is often one tone of gray. or the business card that has too a reductive approach that enhances the logo . Beltran ." Beltran's continuous refinement The typeface chosen on many systems is and attention to detail solve these problems ." he says. and weight of the type is consistent. enhancing its prominence . Beltran's approach demands a commitment " I have found that the identity manual is often and understanding of these objectives. and this affects and success of identity manuals. This exacting systems give less creative license to the end attention to detail gives the logos a level user. " These should be appreciated in all media . and work." are not clear. following many of the same and give the logo a strong position to create minimalist ideas as Beltran's work. While maintaining cess of Beltran's logos relies on the ability integrity of a logo is difficult with one end user." Beltran says." he says are the most difficult. "This creates "When the needs and objectives of a project incoherence in the logo's applications. The size equity and value . this appreciation across various media. work. and alters its location to become the monogram of t he init ial . The suc- to the confused results. such as Beltran addresses new technologies with vehicles. But functional is not enough. to penetrate the content. the envelope where the space is insufficient The accompanying visual systems follow for stamps. the logo and applications The addition of multiple users of a logo adds can never be clear either." The first casualty in this fast-paced less optimistic . and t he sha pe of the S. much text. " Beltran advises . not instrumental.Hill Villahermosa 186 Col Portales Mexico DF 03300 56889488 Jose Aguilera Director T HI S SP READ NEXT SPREAD Foll ow ing Beltran's minim al aesth etic. in Adobe Illustrator. Th is is a co mbinat ion of a monogram and ico n. straightforward approach of the logo design . and the inflexible visual and complex in creation. a ci rcle. a minimal answer that relates to his visual however." Beltran says . but they are handmade to mishandle. G. Th e Steelmex logo is a reinterpretati on of the client's prod uct . prefers the primary applications. Th e logo for Grap us. which was designed by Adrian These are often the most visible applications Frutiger in 1956. His experience with standards race is the clarity of the client's objectives . "The logo and its applications "I enjoy the most basic. to rigor is the quality that moves the identities Beltran combats this loss of equity with the past successful and into remarkable. " Frequently we look for results While some designers promote the importance that are both fast and easy. a des ign offi ce takes one of design's most ele mental fo rms. on the logo. such as the stationery The austerity of Beltran's logos facilitate where the mark can use up too much space. This maintains integrity of the logo. uniforms . manuals is that they are often not used. of clarity and grace that would be easily mishandled without Beltran 's touch. Many designers cite their favorite logo applications as the most unique . and the easy transmission of files and art creates functional requirements . His adherence a multitude of possible logo use violations. meta l pa nel systems for offi ces an d industry." he says . "Work.

Felix Be ltran & Asoc iadas '* 87 .

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Sean Adams Beverly Hills. INC. light. AdamsMorioka.A. the overall theme of our logo work reflects the attitude of our location in Southern California. humorous identities since 1994.S. and at times. S. Comparisons aside. as in the horseshoe U. and fil m. and I have been called the new Ray and Charles Eames. Noreen Morioka. energy. The glow represen t s the sun.ADAMSMORIOKA . U. the new Donny and Marie. and the Paris Hiltons of Design. California . While the logo and identity systems created are appropriate and unique to each client. My partner. * 95 . clear. Inc. Inc" Beverly Hi lls. • AdamsMorioka. U. The cust om letterforms are modern. OPPOSITE A simple word mark and "glow" are the basic elements of the Sunda nce Insti tute ide nt ity.A . but refer to Sundance 's weste rn heritage. we lead a team working in multiple media creating vibrant. Cal ifo rni a.

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A strong proponent for simplicity. most of the logos we've designed. I use simple in -house news letter when I was fifteen. tion to the local plumber. but the final result is often defined logos also typically ask a question. for longevity. rather than constraining the process.j'II W M G MANABEMEtfT W M G IUKrnNG W M G INVESTMENTS «. and places four languages of the Pacific Rim at the same for multiple millennia. The visual elements are often bright and trends. Complex logos have never 98 * MASTERS OF DESIGN * Logos & Identity As a fast growing and expanding compa ny. like because a logo will always be seen in the a person's name. Unfortunately. and focus on communication. and in a Web environment. of the most important roles of the logo is to identify the client. This was before Saul Bass . . United States' largest interior design centers. which would viewer. This makes the Within the color and playful attitude. so I assume Sau l copied me. rather than to describe It's easy to forget that we rarely. Simple and direct forms best achieve the logo on typical applications such as this. This makes symbols time. world 's best logo designers. but is almost never used.. Our was a program designer in San Francisco and told rules. Pi i W « . The identity ways to achieve mnemonic value. I strive a business card and stationery system. Ii-I. one letterforms and name even more critical . people. for example. the icon is designed to animate and use a wide spectrum of colors. poses the question to the a masthead for their newsletter. I hand drew a terrible apple made up of a series of horizonta l The First Time a simple question. transcending current styles or sign age. When presenting to the client. one of the western logo for AT&T. For example. "Why does it read 'oh!?'" While it is My First Logo My first logo was designed for App le computers' be photocopied and stapled together. We are bombarded accidental step into a solution that inspired by images continuously. the idea of a Since then. This was our first in the Greek classical age. but I know who world. The final product was a logo system extremely effective tools. Human beings have been making symbols The client asked for a mark that could have to represent things. life that functioned like a weaving or textile made today is drastically more complex than life of the multiple languages.. see a logo in a void. in the marketplace for a symbol alone to do THIS SPREAD its job. or what you like to eat. There are simply too many symbols reflect this ethic. corporate symbol has been universally or the systems that are built around the logos. its business or product. The stationery system is printed on both sides.W MG W M G MARKITlNG • iii . The logo is scaled to occupy the entire backside of the letterhead.lli M G cONTftfT p . This can be misleading our work. or television screen to show the logo in context. if ever. Because colorful. The identity system also allows for brand extensions and new divisions. and communicates WMG's commitment to many forms of entertainment and sports. Word marks make the communication Complex Thinking clearer and stronger. adopted. The logo is meant to identify. I H1 " Fi.flO ji . As the primary home for the logo is on air. Wasserman Media Group's identity is designed to represent the activity and energy of the company. one of the One of our first identity projects was for the viewer and create a more memorable response. ideas.. The Oxygen me some friends of his at a new company needed by the system's ability to evolve and change. ) ! " . From every corpora- creativity. I . A one-color version of the logo exists. designed a similar Pacific Design Center. logo. it is enough to engage the rules. My father solutions follow a clear set of processes and forms and clear colors to reach this goal. P. This reinforces the power and mnemonic value of the icon. and the shape and color are two of the most important communication is clear and direct. It doesn't tell me what you context of other messages in the physical do. the attitude is playful.! )." ')I! . I use you are. Yet logos are often a wirehaired fox terrier drinking coffee while presented to the client on letter-sized boards sitting on a teacup will never be found within on white backgrounds..

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and then start visual studies. and criteria. A system client. Fast-moving media such as broadcast element. The logo never is "slapped" onto a corner. before any visual studies begin. The article was "How to Pick of the identity system. shapes. more important than any other: and online will begin to alter the system personal creativity. but the final Do you have a good mix of men and women. and Bergdorf Goodman. patterns. of advice by broadcast pioneer Fred Seibert. the same photographer you've done your best. steps against a bookcase holding the book as the should be taken to maintain the consistency primary prop. Saks Fifth Avenue. we designed a word mark thinks he or she is an expert. '* 103 . Build the criteria and thinking with the client This is where the science of systems applies. The other elements of the identity system. accompanying word mark worked well it can kill it. black and white or color. candid or posed. Oxygen is a cable network that initially focused its programming toward a primarily female audience. I was given a piece AdamsMorioka. who is photographed? to enhance sales of the book. Some projects require Young designers beginning to work in the that we release the system to an in-house field of identity should stop and ask questions. you simply need to let thinking involved in the making of an identity your children leave home and find their own system are critical. Explorations for the logo included a simple ring shape that was set aside due to its lack of proprietary value. All of the logic. or the architecture. print materials. Controlling the logo and usage is challenging. The content of the image choices can be politically touchy. product found its way into unexpected racial divisions. we manage the launch and initial use of an identity system. Everyone can take a photograph. How can you do more with less? My philosophy for this hand off is pragmatic. If someone hates a chair in an image." An exclamation mark was added to convey the network's energetic approach. "If it's right on television for fifteen minutes. the bright red cover questions that must be weighed very heavily. simple. almost immediately. Whenever possible Up Men in a Bookstore. and co lor combi ne to create a packaging line that remains direct without resorting to showy techniques. simple. but given life with a variety of audio cues ranging from surprise to amorous. and Web applications use the logo as the center of a response. so everyone For example. Nail down A well-designed system will inspire creativity the attributes that the logo should address and allow for flexibility while maintaining and make sure you have consensus with the a strong proprietary perception. This exploration led to the sound of an "0. The identity is a simple word mark with a classic and modern attitude. ico ns. For example. made too rigidly can lead to fast rebellion follow the three rules: simple." for all or a group of photographers. age divisions? These are places. On screen graphics. and by the designers who take over the program. Building Sex. wide shots or macro. department and other creative partners. and "Sex" word mark was used in a photo shoot for Cosmopolitan magazine. And finally. The cover and style. and systemic In some instances. A scant- Launch ily clad model is shown leaning suggestively In addition to a standards manual. Also .Oxygen very clear selecting the image attributes: style. Inc. But there is that one way. is a high -e nd product selling at stores such as Barneys New York. Philip B." OPPOSITE TOP A visual audit of packaging in the hair care industry showed that less expensive products had more flamboyant packaging. It's also difficult for Aaron Betsky's book on gender and to get beyond the content of an image.

Each finish is given its own information page. . The humorous and sat iri cal copy is also a critical component of the Via identity system..•- ~~ --.. twentyeight tones.. seven finishes.- • -• • • •.... _ ..... ... . _ ... inc lu ding a squirrel and talking horse to explain the se lection... is: Via Smooth _--' Dude.. The visual system also includes a set of mascots. where's any pa.--. coIots. and I need 10 know what paper is right lot my ptOj~t...THIS PAGE Via is a large line of paper products from Mohawk Fine Paper.-- .. rather than hierarchical. The vastness of the line.t's Via? Dude.. They range in character to help with identification and clarity between finishes.. ()( w~1 "'ppened 10 Ihe paper I'm used to ()(denng? 104 * MASTERS OF OESIGN ~:~ Logos & Identity .. required a set of logos to identify each finish. wha. Natural SOC Its qualities. ..•.....For_ My proje~t -.. The relationship of the finishes to Via is expressed as a hub and spoke diagram on the website.... _at .per? I need to know about Via finishes..

such as the stationery." I" W I U\.. add ing persona lity and suggest ing movement even in the simp lest applications. for example. EDBoNE FILMS ReDBoNE FILMS REOBO NE FILMS REOBoNE FILMS .THIS PAGE ~ EDBoNe FILMS Ne FILMS Red Bone Films' four identity vers ions are used interchangeably in the system. The Red Bone dog "jumps" from one side of the business card to the other.0<. The symbol of the dog interacts with the type as though it is alive.p REDBONE F I LMS .

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110 * MASTERS OF DESIGN * Logos & Ident ity .

London. including Europe's highest and fastest roller coaster. OPPOSITE Seven million people enjoy Pleasure Beach. The identity reflects Pleasure Beach's history but updates the forms for a younger attitude. The park has a dozen roller coasters. but the logos never fall into the banal or predictable. cofounder of JohnsonBanks. The other side of the coin is to use one unique style on all projects.JOHNSONBANKS Michael Johnson. JohnsonBanks creates logos that are uniquely appropriate for the client. Michael Johnson. and ice shows. an amusement park which has over 130 attractions. United Kingdom Some designers belie e at the of the designer should be in isible and no style should be imposed on a client. and cabaret. circus. JOhnSOnBanks" 111 . designs logos and identity systems for clients that merge both philosophies.

112 * MASTERS OF DESIGN * Logos & Ident ity .

should stand the test of time. The logo is given the latitude to exist in a variety of colors. The same solution and reasoning project will come along." Johnson says. fantastically easy to use and apply. because we While a symbol is used successfully to help exist in a specific time and place. "Every time I think word that needs no extra identity baggage that I've fixed my view about how an identity other than small typographic twists. imagery. varied technologies and media he just as quickly says. Typi cal ly. Trying to narrow Johnson's philosophy into one simple approach is impossible. Johnson doesn't deny the ease of static A nondescript word mark might be lost in logos. The simple The symbol (about love and art) helped to application of a lens flare applied on the top differentiate the client in a crowded United of an image serves as a nontraditional logo. Johnson adheres to this when determining the choice of a symbol or word mark. The success Boring Words of this identity is based on its craft and Influential designer Bob Gill once said.Johnson's logos are unexpected. yet they're draws power from its name. and I'll realize that are applied to the company More Th>n. This Time and Place is a key ingredient in his ability to create Designers commonly attempt to do work an identity that is unique and appropriate. The logo for anything in my power to avoid this. identity for BFI is an example. Unfortunately. but it THIS SPREAD Pleasure Beac h's identity system has the ability to use very expressive typography. a word mark prove challenging. "Some might say I still is just as readily adopted in other situations. doesn't always work out that way. but the choice of applications and the provocative placement of the exclamation mark logo." provide another layer of meaning and message to this seemingly obvious logo." he says. not only the printed materials and signage. This guideline increases the designer's ability to create unique and exciting applications. updated activities and attractions. this can communicate an oblique idea. "The opposite also choices have led Johnson to rethink the applies. everyone who visits has an opinion (usually 'I loved it")." to do the heavy Iifti ng. naively cling to the idea that a good identity The logo for Shelter. having no fixed modus operandi is what The context of the logo and its applications makes life so much more interesting. Johnson's willingness to allow the words "Boring words need interesting graphics. vector logos are a competitive landscape. but I know deep down for years in identities that can change and that sometimes a symbol can be fantastically adapt to their surroundings." He uses a symbol in situations where "I'm thoroughly bored of the 'logo that goes the name or messages of an organization in the corner' syndrome and I will do almost don't communicate clearly." Johnson should look. "Shelter is a great also entirely appropriate. feel. or communicate. My default setting is probably drawn idea of static logos. The identity is based on an exclamation mark. a new explains." The the Art Fund is an example of this solution. "I've been fascinated toward word marks. "Obviously one color. Thrill seeking and the unexpected inform. But Increasingly. so it shouldn't JohnsonBanks ~ 113 . useful. that is timeless . This response is paired with forms that reca ll Pleasure Beach 's 100 year history. a homeless charity. and rich color to convey the fresh. Kingdom art funding and art charity market.

you are welcome.THIS SPREAD Addressing the issues of homelessness and unacceptable housing conditions. * Logos & Identity ." with the Shelter logo communicates exactly that. 114 * MASTERS OF OESIGN Most of the world knows what a welcome mat looks like. It's meaning is clear. it approaches the challenge head-on and without apology. The logo and identity system have the same approach as the organization. Switching the word. Shelter is an organization that helps more than 170.000 people a year fight for their rights and find and keep a home. "welcome.

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There is no room for misinterpretation.TH IS SPREAD "People just seemed to think I was nuts when I argued for logos that cou Id change years ago. such as posters and advertising combine the ident ity system with the objects it represents: painting." The National Art Collections Fund had been the well kept secret of art funding in the United Kingdom for some time. all owing fo r multiple uses and va ri ation . . galleries to keep works of art in the United Kingdom and on public display. The logo communicates the idea of "loving" art pla inly. and app lied art objects. sculpture. With 80. The icon is mutable.K. JohnsonBanks I 116 * MASTERS OF DESIGN * Logos & Identity ~.000 members it provides an essentia l fund for U. -Michael Johnson. Printed matter. cofounder.

" consultants ...." Johnson says. is how to maintain consistency and thinking about how an idea will work in a clear message in a constantly changing a moving or animated form. -._.." The stellar reputation of of now and less classic. and that was quite The advent of motion graphics and the a salutary experience.. rigid . Johnson has also found get the identities they deserve.-. Failure occurs when a client demands "I think the prevalence of three-dimensional mediocrity... . This. standard bag of tricks..... Web has meant Johnson is constantly then. There are a faster turnover is good for business and some people that simply don't want to -_ . Johnson 's philosophy is direct. " he says..... JohnsonBanks attracts blue-chip clients " But I still hold on to the idea that a good with vision . " Johnson says. the work with Johnson hire him for his thinking. -~ implies that identity design can be more be interesting.L .- •.. • decades... " Luckily... ... The clients that The willingness to allow for change ... identities that are one rings us up to tweak .. logos now will look very early twenty-first " I guess you could argue that organizations century.-- ...." he says ........ ". . ~ ... They are conceived as behaving issue of the individual. as opposed "It's probably no coincidence that dull.. " The trick is JohnsonBanks * 117 ." The question posed. Johnson 's solution addresses the animated..." Johnson says overly static and rigid strike me as inappropri- " No one sits in our studio and says ate in the multimedia environment we now 'Can you just repeat what you did for them live in ... and sometimes it does. " Obviously dull...... an identity with a kind of digital date. a faster turnover for logos now..... can be a positive." His approach to sidestep dated logos includes Johnson 's ability to design a logo to meet avoiding any digital effects that will stamp multiple challenges results in success ." themselves . to longer-lived identities of the past... "' . Before we became logo designers... . -~--... . and with a variety of creative not designed in a static form and then partners... ... and formulaic organizations prefer he claims..... rather than adding more rules to a rigid system.......Art Funders this way be too trendy or time-locked in its art to make people want to get involved in direction style ." Johnson says. " I love the a project.. .. no system.. " The schemes that for us?' They might admire the thinking are overly policed by in-house logo-cops that got us to a solution .. we had to earn our spurs applying other Moving Ideas people's schemes.. The logos are environment.. "As I've hinted . but they never are such a drag to work on for other design want the same solution. rigid .. unexpected." he says... not just grin and bear it to pay idea that some of my work might last for the mortgage.. . Johnson's logos never repeat logo could last for ages... and they don't rely on a . . -. and the accidental is inherent and they understand that the visual form in Johnson's approach to an overall identity is a product of this thinking.. formulaic identities. ~..

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I sat in a cinema watching some Hollywood blockbuster (I think it was The Matrix).The Strangest Place My Logo Appeared Many. and I designed a logo for one of Australia's biggest insurance companies. . many years ago I worked in Sydney. there it was. I was young. I nearly fell out of my seat because there was myo id. Twenty years later. and I forgot about it. The company had painted its logo on top of their building. and as Sydney had then become the city of choice to film blockbusters. Australia. it wasn't that great (actua ll y it was pretty awful). MM I. forgotten logo. and at the movie's finale that invo lved some very fancy special effects and a fal lin g helicopter.

He finds way of working." Johnson irrelevant." to use a few simple elements. and what seems natural to us." Johnson typically turned into a positive outcome with always desired . He uses review meetings as a collaborative In other words. and I've usually designed them no time in art school thinking about identity." sacrosanct. " He also maintains a common a client mentions 'posters. The designers regularly thinking. actually." Because most logos and identity systems the solution to be an inspirational identity are eventually handed over to other creative system and staying involved with every project As the design profession evolves. " Some of our cultural changeable identity schemes were just in our heads. the BFI logo began to be more difficult than any other. convergent with new technologies. very few students seem to be a unique kit of parts to maintain a cohesive message. Johnson designs the standards explains. "We're still learning how to get what's Johnson's attitude.in motion from the onset of creative he doesn 't find any specific applications hasn't. But they spend practically and consistent set of criteria to create and immediately. be inspirational. Color is a prevalent component by the end of the meeting. and whether to amend the as an animation and was then repurposed challenge becomes the maintenance after guides. For example. " If we can find his favorite logo application ." he says. " That's meant we've had up to a year that can adapt to their surroundings and a bunch of restrictions. and after its release. Johnson 's approach is to do finds less interest in logo and identity design advertising agencies. Johnson partners. or posters for film festivals. but the designer inside describes me as a huge mistake. identity design isn't going think tank to determine what is working away. " One of our most consistent The strategy of implementation is important interested in logos. but he takes a more liberal app- constant is the organizations' need to identify is a critical phase in Johnson's work . practicing them . in England at least. Johnson creates this. Johnson typically says . But for Johnson. 'ownable' approach to Johnson . Johnson describes the shift in a logo is released.' my ears perk up personal projects. out any problems. A negative is irrefutable reasons for flexibility that we've the clients' day-to-day suppliers. in-house departments. " This strikes approaches is unique. or the money. in a way that can can't afford to do the manual early. and to decide what areas need more thinking. among students . of this lack of experience requires on-the-job "Sometimes color is paramount." designing them . " I'm a poster crammed with ambient advertising. choosing a specific color to stand transition." The result of all Johnson-designed identity systems. If our experience is anything to go by." Johnson Now. "The challenging part now with metal walls. always will be." Johnson Rules and Regulations training at JohnsonBanks. "The one element that remains The identity system's use on applications manual. or a typeface. currently." he explains. "When online clips." he says." The alternative is sometimes to tryout the scheme and iron appear less monolithic than before. we'll draw or modify man. and not feel like says. everyone's interested in schemes be followed. out is important. themselves in unique and interesting ways. " Before. Others believe they are now "Brochures or websites all change. down on paper or on a PDF. flexible. says. and what it's getting more and more important. is that virtually all of our systems are sooner magnet up all the work in progress and "Changing technology has supplied the or later handed over to in-house teams or collaborate with the clients." 120 * MASTERS OF DESIGN * Logos & Identity ." Johnson says. The JohnsonBanks office is built as a logo. While roach than previous. immutable processes. or viral a reason. "If a client inhabits a very color-coded The systems manual is a document in teaches young designers the process of logo sector. the improvement. Their portfolios are to typography. select imagery. and they limited to television broadcast companies. clients often are short of money. Some designers treat them as making and identity from the ground up. "To be honest. even if it is only a few hours a month. It's quite an interesting this is what leads to stale solutions. what has worked.

There are four versions of the logo. . There are no other confusing elements of communications added. Waterloo I MAX. The identity provides visual glue holding the many activities in one place. The tone of all communications is minimal. but misunderstood organization. The logo is based on the cinematic icon of a lens flare. 121 . A poster for a series of films with Marlon Brando exemplifies the changeable lens flare logo and typographic system. JohnsonBanks . but are oriented in different directions to provide ease of use to the designer of any application. The Institute's activities include publishing. The Brando poster has two primary messages: Brando and BFI. They all share the same lens flare and letterforms.TH IS SPREAD The British Film Institute is a well-known. the London Film Festival. and a myriad of other activities.

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A.C&G PARTNERS Steff Gelssbuhler. but not as a logo. This approach has led to the creation of some of the world's most recognizable experiences. New York. Their identity work is based on principles of clarity.S. Ke elmeta athan Alger.S..G ParIne. New Yorl(. after working together for decades at Chermayeff & Geismar. OPPOSITE The peacock was used b¥ NBC In the earty days of color televiSion as a symbol of the transition from black and white to color prosrammlne. and Emanuela rigerio founded C&G Partners in 2005. New York U. U.lenl 12$ . and other Imagery. the peacock was used as a pivotal Icon for this large media network. e. simplicity. After numerous unsu&eeSSfu1 attempts with logos USIng the company's initials.=~========= Steff Geissbuhler. C&G Partl. an abstraeted N. and universality. New York.A.

to the sharp edges of the N and the meeting point of the feathers.THIS PAGE The peacock logo is an evolution from a detailed illustration to a simple. The letlerforms echo the shapes of the icon. from the curve of the C and the edge of a peacock feather. bold symbo l where the colors represent both NBC's divisions and the spectrum used in te levision. 126 * MASTERS OF DESIGN * Logos & Identity .

used by itself.THIS PAGE NBC recognizes that each comm unication contributes to the overall impression of the company. "A mark. facilities and equipment. the danger with basic definitions. His pragmatic approach is as direct as the which is meant to express a notion-in this focused logos he produces. We refer Geissbuhler designs a logo to be a visual to this as a word mark. needs Working with large-scale corporate frequent exposure before it is associated clients demands a high degree of clarity. "Very few symbols or marks skill create this illusion . etc. A mark on the other expression. maybe even a coin. When the identity system includes effortless. Geissbuhler begins Even in this global communication ." he explains. on signs. "A symbol ization . The NBC peacock a reduction of a complex message into a single is a good example. he adds. marketing brochures. some segments of the audience call a logo or trademark. Often. a forest. stationery." The Nomenclature is often the first stumbling NBC peacock is an example. like a bird. security. incl uding advertising. These marks are deceivingly a symbol. organ- nomenclature further. are identifiable and recognizable by themselves without a name or word accompanying them. In the instance of a name being a common one. Geissbuhler's There is no uniform answer to the word mark philosophy follows the theme that a logo versus symbol approach in Geissbuhler's can never make a client's service or product work. while the client screen. C&G's experience and exceptional or master-brand. one that will solve every problem they have. the symbol appearing to be the only logical option for is used to link all aspects to a parent company each client. for example. hand is an abstraction. client's business or qualities. we establish exists that without the name NBC attached a nomenclature for what we generally now to the symbol. The identities clearly exemplify the concept of a logo serving as a foundation for the The on-air animation of the logo begins with a variation of the ubiquitous color bars of television. C&G Partners '* 127 . they quickly evolve into the recognizable peacock form. combining the medium of television to the NBC brand. as in Barneys New York. They share a commonality of a variety of sub-brands or divisions. spells out the name and communicates the performance. Geissbuhler's big picture thinking is apparent in the instances where he has to create visual system. the designer given widespread and ongoing exposure on the speaks in one language. absorbing no translation is necessary. Clients can think case enclosure. and communicate the brand. and in advertising. "The word may read television. a word mark will not suffice. like the Chase logo." he says. logo is actually the Greek term for word. or product to identify. The new identity is integrated across all platforms. or shorthand for a company. and on-air animations. represent." Nomenclature he cautions. business forms. The logo is the sun. "A visual identity is like a sponge. The word mark what we associate with a company's quality. and most direct way of identifying an entity." of a logo as a magic bullet. speaks in another. It is the creation of a personality. "First. but not NBC. and history. represents a recognizable thing. in print. He believes a word mark is the simplest better than they were in the first place. immediately with what it represents." Delineating the device. This symbol is block a designer can face.

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Today that same logo stands for absolute corporate corruption." C&G Partners * 129 ." he continues. press kits. or company it represented Geissbuhler's identity systems would never have failed . rare books. already understand." Geissbuhler explains. to make adjustments later. " I often use the example of succeed without clear guidelines that explain Enron ." he jokes. color. Rather than celebrate the past. it fail s. and a line of branded merchandise." Geissbuhler's position " I do believe that the most challenging on logos that fail relates to the idea that a aspect to creating an identity system is good logo can never make a bad product good. product. low and high resolution." logo itself. the door open for evolution. To celebrate the library's lOOth birthday. Ri chard yet wide. and with something only relative to something you each color being distinct from the other. "Paul Rand . and imagery make a system that Returning to the core message. on which one takes the lead and becomes Simple logos are still the most memorable the most important element next to the and ico nic.TH I S SPREAD @ The New York Public Library is a cultural attraction and a center for scholarship. and digita l fi les. manuscripts. braille. music. suggests posters. spin Multiple elements such as typography. different media. Other identities have failed because the service." he explains. signage. However. only the very basic age. palette that works in any Saul Wurman has said. "You understand combination and each media . Building Blocks where graphics can move and morph. The logos forms. If a color scheme or coding is part of the system. including stationery. in black and white understanding of the need for simplicity or in a single co lor. derived by treating each letter in the word " library" differently. Geissbuhler accompanies the logo. Typically. a specia l visua l brand was des igned to hel p launch an ambitious capital campaign. "It all comes down to what is challenging of these components depends appropriate to the project and makes sense. with today's technology in terms of reproduction techniques. the final graphic solution conveys the diversi t y of the institution's collections and holdings. posters. something we can relate to. and blend. banne rs. designed a beautiful logo for the Enron standards are established in the beginning Corporation. The identit y system is applied to a vast amount of collatera l. invitations. one of usage to other creative partners involved the great graphic designers of the modern with a client. " The most states. in form. "You should be able to embroider in design. to establish firm enough rules to guarantee The success or failure of a logo is inexorably consistency and at the same time to leave linked to the product or service it represents. rather than having more flexible than more complex solutions. Geissbuhler considers all of these an ear in restrained and uncomplicated applications and options in mind when initially form has proven to last longer and prove designing the identity. Geissbuhler's logo for Time Warner pixilated and be able to function in any other is a strong argument for this simplic ity environment. all variations are examined. The combination of an eye and it. Being Simple One of the traits common to designers Every identity Geissbuhler designs now needs who excel at logo and identity work is an to work on the Internet. If an identity doesn't make a co nnection with he finds the challenge to create a distinct.

the essence of communication. Warner was primarily concerned with entertainment. ~- 212-674-9100 .. the mark has now become the symbol for TimeWarner Cable.THIS SPREAD When Time Inc. The new logo is a pictograph combination of an eye and ear. receiving and sending .. the new company lacked a trademark . reading and hearing. E OF NEWYORKC -. Originally associated with the corporate parent. and Warner Communications announced a merger. Their common denominator needed to be much broader: looking and listening. • T I M E A TI EWAR E CAB I. Time with journalism. one of the most profitable divisions of the compa ny.

RIGHT The logo. . is given power and variety with extreme scale changes and a commitment to high printing standards. giving the logo the ability to maintain and strengthen proprietary value with a consistent and specific color of blue. a one co lor icon. This is critical.

Guide effective implementation and evolution. sketch ing. later on. or service. interview ing the top people as many templates." marquee or posters. "For a theater it might be the swastika. The typ ography stacks in such a way that the first three letters of the word Theatre are set apart to allow for the double reading of The before the full name of the company. I enjoy the animation of the logo." This list repeats Geissbuhler's commitment to communication. 4. to evolve before firm rules are established. This is most maintains.~TURE eb~ANY and are distributed in digital form. typography. Present the proposed design with examples applications. all day long?" Ask these questions: What makes sense-changing 1. covering While Geissbuhler's identities are designed size restrictions. And Geissbuhler's Don't only depict the organizat ion as it is today. Remember what happened of the mark in use. 132 * MASTERS OF DESIGN ~:~ Logos & Identity . there is an obvious sense of joy don't always solve problems. 5. put extensive graphic guide lines on a company's website. Quite often it's the identity system to be tested and able painted by volunteers from memory on a wall. Rather than relying on elaborate printed guidelines and manuals . the relationships between to function in multiple applications. pretty strange and entertaining interpretations and futu re needs. Define a conceptual approach to begin the name or abbreviating the name' Is a symbol elements and standards six months and a year after implementation. trying and logic.000 year-old symbol of the he says. Create a series of design possibilities. more elaborate guidelines with samples of of that logo. Who wants to have their identities design development." mind the 3. day-to -day basis. These applications should be the most relevant ones for that specific entity: airline and an airplane. "It absorbs the quality and apparent in the resolution of the logo's performance associated with its business. The success of a logo. A vibrant palette is added to the identity system. or a piece of wood.THIS PAGE The Signature Theatre Company name is reversed out of a cloud of signatures that extends along the edges so as to reveal the names of several recognizable playwrights. For an art museum it out. food boxes." he recalls. or application that different locations need to have access to the will be the predominant carrier of its message . He describes which applications product. Advice for Identity Designers The logos and identity systems designed by or mark more appropriate? Or is the name by itse lf more powerfu l and unique? C&G Partners are among the world's most While the process and reasoning behind successful identities. produce a master disc containing only the most basic rules and specifications. and exploring." Geissbuhler inherent in Geissbuhler's work. Evaluate the problem in the context of current Both the basic standards and. THE~. It really depends on what is the most visible and important application. Each identity has a specific message that In cases whe re a large number of people in is the priority. prototypes. whi le avoiding cliches and trendy expressions.Iij. provide the greatest pleasure . the peop le who embody applications as possible before publishing applied to boats. Include members of their anticipated audience. art and specifications. might be the publication system. pet peeves? "I personally find doormats and Another practice that has led to the success elevator carpets a particularly strange place of Geissbuhler's identities is the advice for a logo. water the company. or actual a few years back and have since seen it in the organ ization. while weeding out the merely fashionable. Listen objectively to the client's description of the problem . cloth. and color. the media. and maintains the highest degree of craft "Just keep in mind that a trademark or logo Otherwise known as thinking. This allows pumps. "For a television to Paul Rand's beautiful Enron logo? Never Show a logo in a wide variety of app li cations network. there are the identity's various elements. given to clients that they revisit the identity trampled and stepped on. and contexts. each identity project is carefully constructed however. We all know how that turned out. secondary unexpected instances that provide surprise. but how it wants to be perceived in the future. I've seen some 2. and tents. who'l l deal with the identity on a the graphic standards guidelines. 6. latrines. lawyer and stationery. is directly connected to the product. TV station and on-screen appl ication. C&G also creates "We designed the identity for Mercy Corps Do intensive research. bricks. 3. applications are often published on a website. further highlighting the remarkable efforts of an essential cultural venue whose sustained artistic excellence has generated a deeply loyal following among New York's highly literate cultural audiences.

typographic standards. colors. The identity system includes the logo. speCifically a crane. The choice to portray the brand as approachable with the open and Simple logo. The logo is a Simplified Icon of a bird. C&G Partners • 133 . The logo is applied as the primary Image for the Crane Business Paper promotion. and pure colors IS made to address a Wider audience. The tone of the materials is professional yet approachable. and production techniques.THIS PAGE Crane Paper is one of the United States' best known brand for high quality papers. The promotions Include a vanety of techniques such as embOSSing and debossing to articulate the papers' quality.

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" If this statement portrays Kagarov's process as fanciful or ungrounded. Imadesign Corp. OPPOSITE The Idea' festival. * 141 . approaches the design of logos and identities as if he were creating another reality. rules. in Moscow. "I design this world's own language. Moscow. Moscow. and culture. hard work is a necessity for making this world real. . The poster for the jubilee 10th festival introduces the logo in the midst of powerful and vibrant imagery. is the national advertising festiva l in Russia. Erken Kagarov. Russia Imadesign Corp. "The creation of visual style is like creating a virtual. imaginary world." he says. Kagarov insists that while this new reality requires a strong vision. founder of Imadesign Corp. Russia • Erken Kagarov. which is held in Novosibirsk.IMADESIGN CORP. nothing could be less true.

.. "For example . of the project.. "Generally the whole world is changing.-_ _ . and it creates a style for all and polychromatic.... --." This provides a to logo design over the past decade. and that has influence on both the logo and its implementation. " Kagarov says. each group.. and adapting the visual forms of a logo have been tools Kagarov has used to create some of Russia's best identities." "Consistency of language and visuals in a film is the same as consistency in a logo Digital media has changed Kagarov 's approach and identity system.. 142 * MASTERS OF DESIGN ~:~ Logos & Ident ity .- ------ -. but for Kagarov. Hal." He uses the correspond to the client. r::----. is needed.... important to remember the audience needs "form follows function..n This hard work includes determining the Modernist Theory inhabitants of this world-who are the internal Kagarov has no preset determination of and external audiences? Who is the decision a specific style for his logo design. Simple forms the exact image ._ .. Understanding the changing needs of culture and society. . "In our was on the rug in front of the bui lding entrance. maker? Who are the stakeholders? Once these field.-. questions are answered .. we need to maintain in an instance where only a simple reading ItlAeR! the interest of our audience .. or the distinct world. " then I find appropriate to the content. the task becomes that's why form should always be subordinated -Erken Kagarov. -------_. Doing something simple and Following the concept of designing a language unpredictable is not easy. " Logos that fail are to be given a logo that "appears to have an not designed to communicate.. for a new reality. finding the best way to communicate with to the communication goals. " Unsuccessful logos do not appearing in different ways. or product. a logo may be evolution and variety in usage of the logo. This is about the characters and the plot of the story we are telling... " Once I have made these "Every logo must be designed into a form determinations..." he says. "People are changing.. we are working to solve problems. complex and interesting with great flexibility.. He continued interest in the logo and its now believes a logo can be not only complex applications.. . Imadesign Corp .- ..\ItlOHaflbHbliii cpeCTItlSaflb peKflaMbl "Just like cinema." Kagarov explains. fo under. interesting history..- -= a . The logo's usage and are designed with style that ignores the needs applications should develop over time." of logos in the world... Kagarov believes it is Kagarov is citing a primary modernist concept. that typically are best... everyone wiped their feet on the logo. incorporating the shifts of audience usage and perception." analogy of a plot to describe the need for he explains.:~~ 0.." In basic terms... but also changeable the elements in the service of the message.... -:. and dynamic. _ _ . this is sometimes The Strangest Place My Logo Appeared Th e strangest app lication of one of my logos ® challenging." he says. company.. c.. " he says.. but due to the amount can specifically express the idea of my client.

and the need to go deeper into ones head to find ideas . use traditional typography from the identity system's elements. Imadesign Corp. is painted to give the sense of spontaneity and energy. The simplified forms retain their message and create a strong solution. ~ rL Applications use traditional Russian motifs and focus on the primary image. The star. Bright and multicolored. Functional applications such as the website.~ ~ HOBOClII6l11 p 18-20 MaR VIAe 10 Ha14 Hall bH bl ~ cpecn'B llb p KJ1aMbl www d THIS SPREAD For advertising messages calligraphy was used to give special expression. the logo creates a fresh and dynamic image of the Idea Festival. '* 143 . which is the main element of the logo. A one color version of the image functions as a logo on merchandise. This expresses the process of creativity. a combination of a nested doll and light bulb.

TH IS SPREAD aTnaCJlKJI(C "I enjoy doi ng what I haven't done before. The vegetables are associated with growth. The symbol represents a combination of two Russian cap ital letters f rom the name and is reminiscent of the light rays of a kitchen lamp . 144 * MASTERS OF OESIGN * Logos & Identity Atlu s Lu x Kitchen Furniture Stores is a leade r in the market of Russian kitchen furniture manufacturers. in creasing recognition in tandem with the logo. Photographs of vegetables are se lected to correspond to the identity systems' colors. The word mark is built with the Univers typeface which has a highly refined fami ly of different weights. cooking. Imadesign Corp. founder. and the kitchen They are successful brand identifiers. A style guide maintains cons istency with the logo and its applicat ions." -Erken Kagarov. .

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'* 147 .THIS SPREAD The store design for Positronika uses the primary identity colors. This reinforces the digital and technical focus of the brand. It is a string of interlocking lines that has a festival nature. bright. and black to identify zones. simplicity of choice. reflecting the simply and "friendly" tone of the logo. The interiors use identity elements and maintain the theme of openness and friendliness. identity elements. Reflecting the wide range of goods. and pleasure of purchasing. which reflects the store's technical orientation. Supplementary colors are used for identification of sales area zones to simplify navigation. The systems manual is a guide to the logo usage. white. Each product group uses a unique color and pictogram. and color code requirements. The symbol is related to the structure of the atom. and multicolored. It is presented ina simple and clean fashion. light green. n03UTpOHUI<a Imadesign Corp. the symbol is dynamic.

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-I\ q =-- ------- -- _.:. '.-e - =.:. The logo and identity elements are associated with vodka of Russian origin and create a strong and vivid image. RBT provides a fu ll range of services to business with trip planning and management of corporate travel expenses. and organization of conferences.". ' . .51817 '1iJ8SS Travel OPPOSITE THIS PAGE Medved Vodka is a " lux" class vodka brand for the Republic of Kazakhstan market. '* 149 . One year after being introduced Medved Vodka became the leading vodka brand in the Republic of Kazakhstan.. visa management. The iconic bottle shape underlines product purity and transparency. 83::: • -Ii .-- . The logo's dotted line represents RBT's three main services: reservations of air tickets and hotels.:. --- Imadesign Corp. - _.- .

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U. California.MORLA DESIGN Jennifer Moria. contains relevant case studies and interviews. this philosophy was in contradiction to all accepted identity rule. this attitude began to change. and a system of Helvetica and navy blue only. OPPOSITE Recognizing the need to strengthen their appeal to the design professional. identity system design.A . and highlights products and company benefits. California. U. A system in 1960 might be as simple as a black-and-white logo. San Francisco. With the introduction of additional media and greater technological choices. When Moria Design was founded in 1984. Logos and identity systems were historically rigid and unchangeable. Moria Design. including this sixteen page semi-annual magaz ine. The applications. Moria Design * 155 . DWR Profile addresses topical design and architecture issues and showcase mid-century classic and contemporary furniture and products.S." Jennifer Moria applies this thinking to her logos and specifically. San Francisco. ----I A Chinese proverb says "the reed that does not bend will break.S.

but a visual systems. As nondesign of the digital era. and tone. signage. anything a logo on a carpet and have the audience walk to be flexible. navy blue. "The applications for each logo The seemingly simple determination of a Moria's expertise in logo and identity design. her attitude "A symbol often can be scaled down to toward the visual system looks in the opposite Moria's identity system for Wells Fargo Bank a quarter inch. without falling into with the same passion she has for color and thoughtful way to promote the message the predictable and dull. the character of the company or brand. Once again . It should succeed of corporate and consumer applications." she visual systems that support the logo." as the critical messaging. the concept that in one color or full color." Each have limitations . "The burden of creating Increasingly diverse technologies have should be flexible and adapt to a variety of a successful corporate or brand identity expanded the opportunity for communication. all of language. symbol or word mark is as carefully considered even creating the building barricade graphics. While other language and visual system that supports designers may design a logo and then create Symbols the logo. and make sound. and private banking materials. Moria's response was to embrace and surprises. create equity for the brand and the logo. Moria creates accompanying all over it?" she asks. bank in the West. succeed in both print and Web environments . and law were encouraged it must be able to evolve. as the logo itself." This serves as a pivotal Moria's logos. supported by consistent. a rigid and didactic approach . ATM cards. making it very appropriate direction from the immutable systems of the reached every consumer touch point for Wells for digital and online applications. multicolored. communicate the integrity of a logo. They do this and vitality in the logos. wi th co lor usage. providing explains." The willingness to allow this of carpeting. branch signage. " Both symbols Fluid Systems she says. "It should reflect their DNA . I try to create a visual vocabulary should not fallon the logo itself. wayfinding and identify the company or brand. The Wells Fargo Bank materials She describes the need for fluid systems elements are then applied in a unique and remain fresh and creative. spun. colors. Echoing Moria's philosophy that rejects that allow for a new expression of the identity. business. again as the sole design element on a plethora manufacturing. and it should be able applications must maintain the same level of each individual in society was creative has to move and animate in a way that reveals care . applications. now are broad: animation . such as medicine . Many of her logos are allowed photographic or illustrative styles that example of Moria 's ability to maintain the to be one color. but in Moria anticipates the broad range of applica- that is adaptable in a variety of media. 156 * MASTERS OF DESIGN * Logos & Ident ity ." she explains. finance . Moria check designs. These the system. She designed and oversaw downside to a symbol is that it has to be Helvetica . Moria uses the example expanded. "A good logo should reveal goes response. "I think rigid confines of the brand. and enhance the logo. proprietary mass marketing for the public to recognize with the multi platform needs today. and a twenty-four-pica production on all credit cards. but it a strong foundation . a system of Fargo Bank. complement each other." she explains . "Is it really appropriate to slap a company's message. Her visual systems encompass which created a unified system for " the oldest The concept of fluidity is infused into all of a vocabulary of fonts. two color. but to allow the identity radical flexibility is not a freeform. The understanding versions for different media.LEFT Th e DWR Profil e logo ac kn owledges the Design Within Reac h identit y and its midcentury and contemporary products. object is one of the qualifying elements of explorations. Moria integrates Moria's design process is rooted in an of inherent limitations of the logo as a singular the need for multiple versions into the earliest analytical and methodical philosophy. brochure systems. patterns." she says. packaging. while allowing fle xibility in animated." the successful implementation of a design tions as a logo is being conceived." creates not a visual system. The to explore creative thinking. and rule at the edge of every page will not function ATM signage. The 1950s and '60s. "For a logo to well-conceived logo was applied over and over professions. It ext ends th e vi sual language t o create a one-color logo t hat foll ows basi c tenets of moderni sm. The need for flexibility was also demanded were more appropriate prior to the advent Moria cites numerous instances where a by a rise in the " creative" class. large scale. morphed . "All of these have unique confines and word marks can be equally successful.

O~ I 30 loll . typography./' THIS PAGE Infuselle is an upscale product line from Shaklee. and the shapes of the bottles: rectangles and circles. The bottle caps are color coded with specific anodized metal tones to identify skin type categories. shapes. a mail order beauty and health care company. and materials. inf useLLe RY D RATl N G TONER TO NlFIA HYD llATA u se l l IL FJlEE WE B I in fuseLle I F1. The Infuselie identity system includes color. The logo's forms are repeated in the design of the packaging.

represent the many types of personalities and individual and style options of the product. The concept of the consumer as creator of their jeans is enhanced by the word mark and imagery. The black-and white photographs.THIS SPREAD The logo and identity system for Levi's Original Spin refle ct the nature of the product. 158 * MASTERS OF DESIGN * Logos & Identity . a key component of the system. custom designed jeans.

Levi's· .

' -... The script word mark is derived from forms originally drawn in the 19th century. . during the California Gold Rush.. From its founding in 1852.. 160 * MASTERS OF DESIGN * Logos & Identity .. u' . and the ethos of the American West inform the design of \OU .. The imagery and color palette of the system further reinforce the bank's philosophy and heritage ... This history. \ • . It reflects the company's values and history.THIS PAGE the Wells Fargo identity and collateral materials. Wells Fargo earned a reputation of trust by dealing rapidly and responsibly with people's money and goods.

Mau knew it when he put hundreds of big. it will look good again in twenty. Design that moves others comes from Design is influenced by and influences issues that move you . service. 24. 15. or really colorful. Collaboration is good. the brash with the sublime. allowing the time to experiment. by with the refined. with your name proudly credited in four-point type. Dichotomy works . the Gap knows it when they fill their wi ndows with hundreds of kids' sneakers . the rough 9. our responsibility to be knowledgeable about what we are asked to communicate. and by taking risks. Find your own voi ce by experimenting. Often. We are the creators of artifacts. synthesize. Passion enables us to remain true to our communication . reflects the spirit of an era and becomes a classic because of its timeless appeal. It can be a information we are exposed to on a daily basis.Moria Design isms 1. 7. Designing takes time. Extremes work: really large. synthesize. contemporary society. are two different things. Question the need for any piece of print 16. 12. ideate. Accidents often produce the best solutions. Design does not live in an aesthetic vacuum. and create . It is always tells you the solution . company. This is the most elementary creative vision . humbling thought. Design can be seductive propaganda. Asking questions generates more ideas . Respect the power of printing. you can recognize the difference between an Great design is. Design has a rather symbiotic relationship corporate speak we 've read a million times before. and 22. as the space occupied . 11. Analyze . And if you listen smartly. "Seriously funny" works . Multiplicity works . analyze. but don't compromise . 23. communicator of dissent. Ideas come faster the older you get. quite simply. Mori a Design * 161 . 18. Make your 13. and maybe if you're extremely lucky And accidents are a hands-on experience. It's a 19. 3. the client nearly 4 . it can market ideology. may last decades. What looks great today may look silly in fifteen 14. 8. 10. Every decisions edu cated decisions. innovation that accident and your original intent. or really small. grainy pictures back to back for Rem Koolhaas. and institution has a story to tell. visualize. design vehicles . 20. The space in between is as important School allows you the stru ctured time to research. Bruce 21. We are 2. A good designer is a great listener. or really simple. Only and talented. and style is somewhat precarious. Explore the narrative and banish the banal 5. That message. Design is not solely a marketing device all influenced by the bombardment of visual that supports consumerism . strategize. A good designer is a great storyteller. years . the communication can be executed in a much more meaningful way that goes beyond traditional 17. or really dense. Try ju xtaposing opposites: the historical with the vernacular. 6. or really thick . Sol LeWitt knew it when he lined up 100 white boxes on a floor. that image. A piece of paper doesn't necessarily go away. with style. way of protecting the environment. This is why being in school is a lu xury. Design must surprise and inform . But understand that influence and plagiarism It can affect change . No design is completely original. This is what being a designer is all about.

EXECUTIVE CHEr MGM GRAND HOTE L 3799 LAS VEGAS BLVD .COM ~G~ GRAND HOTEL 3799 LAS VEGAS BLVD . NV 89109 702891 .7711 WWW.77 11 WWW . SOUTH LAS VlGAS . SOUTH LAS VEGAS NV 89109 702891 .(O M . MGMG R AND .SEA BLUE SEA BLUE MGM GRAN D HOTEL 3799 L AS VEGAS BLVD SOUTH LAS VEGAS NV 89109 SEA BLUE J A Y WETZEL .MGMGRAND.

60· LETTERING MHI A GROUP MGM RESTAURANT BARRICADE ELEVATION 00 luu..-. And this animation of type and imagery had to be communicated by producing frame by-frame storyboards to engineers... My First Logo My first job after receiving my design degree was as a designer for PBS in San Francisco..-------. The color palette follows the same logic.H.. . SEA BLUE SEA BLUE . This was back in the seventies. That included app lications to all traditional print: press kit covers. each captured as still video frames... Moria uses the most recognizable and memorable part of the experience.-- -----_ _. _---- -"........ who would.. fingers crossed.7m) sardine tank. A signature visual element in the restaurant is a 120-foot (3... Nevada..IU Moria Design '* 163 ... posters. . SEA BLUE -----~- PANTONE 632 VINYL DIE CUT WHITE LEIIHING OH VINH DJ[ CUI lOP Of flS" LETlEUNG PHOIOHA'''' fAN TONE 317 (OR ClOH ~A TC~) hlN ' OPT [ON 2 fl...THIS SPREAD Sea Blue is a fish restaurant at the MGM Grand in Las Vegas..-~.. when television and film were the only mediums that required animation .. But the true excitement was animating the logo for the show's opening sequence . . I" . OPTION 1 .... .--_ . . HOR"oNrHlV PoU r OHE 325 A"V 632 V'NH OJ< CUT APPRO~[ MATE HHE. The logo and identity system "ride the horse the direction it's going. stationery.. and lets that form the foundation of the identity.. the sardine tank. and advertising.- ~ -..-------.-...H T I L lS P~NTONE 632 PAN TO NE 325 PANTONE 311 PHOTOG".- . I had to create logos for each program produced..--.. Creating the animation of type was all done by hand cutting individual letters of photo-type and photo stat artwork. do the design justice ." The system does not layer a new visual element onto the restaurant....... and based on a variety of blue tones..

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1971). and it's true for the The AlGA website. For a design program to work. Who is your cosmetic. a professional graphic sees it the complete nature of your company's 8. "Good design is good business. Common sense works well. Don't try to make a logo 7. its organizational attractive is better than cheap and ugly. But sooner or later. It's actually course of a busy day. Care about it. that will explain at a glance to everyone who 9.aiga.org. Logos and colors can be considered with saying. Consider doing a is better than one that attempts to contain little bit less and a little bit better. structure. Your brand a few dozen customers? Too often. AlGA is the largest history.5. You will not This is true for products. when it works for people who haven't been it needs to be seen as important to important Westinghouse. and hardheaded business people He also pointed out that a good design can audience? The whole wide world? Or just sometimes avoid focusing on them. Be a good company. Do good work. to Steve Jobs America's all-time greatest logo designer. Quality counts. IBM President all the answers. Know your audience. Never forget that at the end Watson at IBM in the sixties. Thomas Watson Jr. Pentagram * 167 . its business plan." 6. This is a good thing. is credited it can be. www. ABC Television. has advice succeed . of the day. the late Paul Rand. arcane results. Leave it open. created logos for IBM. the design that you do only works at Apple today. and UPS. professional organization for graphic designers. A logo that tools you use to communicate. It's up to you to see to it that your design is an internal exercise with predictably to a highly-placed advocate. Get good advice. logo design-driven companiesgot that way thanks is a promise. about how to find and work with them. But most help a bad product fail faster. and its product lines. from Thomas products and services deliver on that promise. a good logo. everything used to communicate as good as (1952. His last logo was for a company you may to encounter your message briefly in the have heard of called Enron. raises a question and is open to interpretation Everyone's got a budget. and who are just going people. Well-made and designer is needed for help. Make 10. in all the meetings. Don't be embarrassed.

168 MASTERS OF DESIGN * Logos & Ident ity .

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chi THEATRE -telet ~6r ~ MUSICAL DE PARIS JCT -o ' 170 MASTERS OF DESIGN * Logos & Ident ity .

"Designing any logo, whether a symbol or a word mark,
has to do with the awareness of written language
as visual communication. You have to be direct,
more and more clearly. You must never be traditionalalways avant-garde!"
-Philippe Apeloig, founder, Apeloig Design

It is never ordinary, but it will soon become

spectacular effects if it is to appear as

familiar. And it is the foundation to a system

remarkable as a purely symbolic mark,"

that supports multiple applications. "The

he says. "The strong use of typography

structural frame of every identity system

is critical. It must result in a dynamic

must be invisible," Apeloig says.

composition, regardless of the typeface
or the style of type that is used."

Overuse and Abuse
A logo should create an immediate dialogue

Apeloig uses simplicity and reductive

between the designer, the company, and

aesthetics in much of his work. His logo

consumers. For Apeloig, at times, a symbol

designs are no different. He believes a logo

reveals a meaning better than a word

does not seek to command the viewer's

or a series of words. It could be used as

attention, just to hold it. While the logo's

a pictogram or an ideogram, similar to

use and its combinations can be complex,

hieroglyphics. "The essence of a symbol

diverse, and rich, a successful logo is like the

is the form, the shape, the proportions,

foundation of a building. "The more stable

the abstract idea," Apeloig says. "Of course,

this foundation is, the higher you can go,"

some symbols have been used so much that

Apeloig says. Logos that fail are unmemorable

they become boring or lacking in novelty.

or too difficult to understand. These can

We think that we know them already. Only

be badly drawn, too complex, or have clumsy

if the style or the graphic aspect is innovative

proportions creating a situation that will

can it become a new visual identity." This

not allow for innovation. The logo is failed

is the crucial question for every designer:

before it is launched.

THIS SPREAD

The Chatelet system
included a strict color
palette with a mixture
of alarming, eye catching
colors and complementary
calming earth tones.
Printed collateral, such
as this brochure, used
limited resources without
sacrificing the distinct
look for the theater.
An unexpected execution
for the seasons brochure
added to the unique
and proprietary qualities
of the identity system.

How do I make something appear fresh
or have a new layer of meaning when it has

The Space/Time Continuum

been used so many times? Apeloig compares

New technologies and media have not

the challenge with the difficult exercise of

changed Apeloig's design of identities.

designing a chair. A chair is a simple piece

"I look for an inexhaustibility of the modern

of furniture. How can a designer make

language of design and feel comfortable in

it appear new, with a unique form?

its alliance with the classical rules of formal
language," he says. "I try to create links

The same challenge exists for word marks.

with the modernist past without ignoring

While letters are already symbols that

the fact that technology has dramatically

anyone who knows how to read can decode,

changed our vision for design and the way

Apeloig believes that the design must be

we communicate." Amidst the proliferation

deliberate and innovative to make a word mark

of media, Apeloig enjoys the new artistic

extraordinary. "A successful word mark must

process and infinite possibilities in the

be overdramatic, intricate, or have

creation of animation. He uses this as

Apeloig Design

*

171

My First Logo
I designed my first logo when I was an intern at

Later on, in 1986, I designed a logo for a dance

Total Design in Amsterdam. That was in 1983,

and music festiva l ca lled Festival d'ete . Once aga in

and I was twenty years old . It was the first t ime

I used the accent on the letter E as a repetitive

that I was exposed to modern typography and that

element to emphasize the idea of movement and

I adopted abstract art. I designed my first logo

a dot. I found a link between typography, geometric

for my parents' business. It was an association of

proportions , and performing art. For that reason,

the letters A (for Atelier), and

E(for Electronique) .

I consider the logo to have been successful. I had

I started to find a rhythm of shapes by using the

many occas ions to apply the logo in a variety of ways:

accent as a repetit ion of the horizontal line of the A.

from a monumental scale on signage to a small size

I added a grid made of lines and smal l dots to

on tickets. It was a surp rising logo that generated

evoke the electronic circuit. It was like a geometric

a new dynamic for the festiva l.

exercise in literature.

a medium to find a new space for
experimentation, using art and aesthetic
motion in sensory psychology. This medium
has transformed many of Apeloig's identity
systems into kinetic works based on the
concepts of space, motion, color, and light.

The critical component of an Apeloig
visual system is the capacity for the logo
to mutate and evolve over time without
losing its clarity. A logo cannot escape its
functionality as a necessary design element.
It needs to ignore trends and explore
the infinite combinations of its possible
evolutions, while maintaining its identity
over time. One of the solutions to aid in
this ability is a complete and consistent
design system. "Every visual element must
connect, whether that means repeating
the same identical element or creating
patterns, symbols, or systems that
work well together," Apeloig explains.
" The logo must be the key to the entire
system, summing up everything you
mean to say about the company at once."
Regardless of the element or application,
all of Apeloig 's pieces work together
to maintain a cohesive message.

172

MASTERS OF DESIGN

*

Logos & Ident ity

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THIS PAGE
A quarterly magazine
dedicated to fine arts
of Pays de la Loire area,
the 303 magazine identity
is based on the sum of
the area's departmental
codes. This is shown
conceptually by simply
modifying the '0' as
parts coming together.

With the identity occupying a limited amount of
vertical space, the cover
designs of the magazines
are able to have unique
design from issue to issue.

The creation of a consistent and united
message is one of Apeloig's most difficult
but exciting challenges. With a good logo,
it is easy to be inspired with new ideas
for applications and uses. This can be fun
and interesting, but in the end, the message
may not be connecting and the viewer may
not feel the full impact of the visual system.
"With a great logo, the system should come
together almost naturally," Apeloig says.
"The original idea is so good that the rest
of the system feeds into it naturally."

Maintenance
Apeloig's standards manuals are distilled
to the minimum guidelines necessary
to ensure that the identity system will never
be mishandled. In the act of working with
the logo, the end user must not be drawn

F

J

into a complex and heavy system. If the logo
is stable and clear, it is easier for the end
user to maintain the consistency of the
identity system. However, a visual identity
carries a fragile dimension that needs to be
checked and supervised regularly. Apeloig
advises each client to have an art director
pay attention and protect the integrity
of the visual identity while seeing that it
is not frozen and static, but lively and fresh.

174

MASTERS OF DESIGN

*

Logos & Identity

.

alse d'acllon artlsllque 1bls avenue de Villars 75007 Paris T +33 (0)1 40037472 F +33 (0)1 53698393 Jf.chougnet@vlliette com 176 MASTERS OF OESIGN .ois Chougnel Commlssalre general Annee du BresiL en France AFAA Association fran.Jean-Fran.:.:~ Logos & Identity .

The backside of printed collateral is printed with the simple three color version of the identity. 3. It must be a point of departure for fut ure combinat ions and brand extension. 5. or on a listing of sponsors. a crucia l eco nomic force. but also of the huge mass of consumers. who comes to a designer to solve its visua l communication problem . Advice for Identity Designers l. Be flexible. alongside a signature. 4. A logo is a sign of strength . Ach ieve a logo t hat is easy to use. A logo is a label of tru st. A logo must be fl exible fo r its future uses.THIS SPREAD Inspired by Brazilian visual and aural characteristics. not too st rict . not too dry. Most of the times a logo fi rst appea rs are in a small fo rmat: on business cards. a logo must be easy to iden t if y. Apeloig Design * 177 . the identity and system for Annee du Bresil en France is able to show the Brazilian festival by rhythmic letterforms and bold national colors. In that context. to recognize . Fi nd a good concept to engage the tru st not on ly of the client. Typography is calm in contrast to the li vely identity. Create a memorab le mark. The logo is recognizable when broken into parts. especial ly on a small scale. Simp lify to reac h the poin t where the logo expresses the esse ntia l wit hout riski ng a poor design. and energetic as a whole. A logo must be a time less design. It must be a robust const ruction. 2.

HOUSIN WORK .

NATIONAL SEPTEMBER 11 MEMORIAL &2 MUSEUM HOMEMADE AT THE WORLD TRADE CENTER BABY® SATU R DAYN I G HTLIVE .

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Kansas City.WILLOUGHBY Ann Willoughby. and elegant. founder of the Willoughby Design Group. Kansas City. Missouri. appears simple. and find pleasure in the crafting of a beautiful logo. DESIGN GROUP Willoughby Design Group. Willoughby Design Group * 181 . While some designers may focus on the form alone. U. it becomes clear that they are the cornerstones of a much larger structure. Missouri. the new Wonder Bread design bu ilds a clean distinct presentation of the identity that is again playfully app lied to all sides of t he packaging. USA • At first glance.A. OPPOSITE Without ruining the playful original design. an identity designed by Ann Willoughby. Upon closer inspection.S. The well-crafted logo is only one component of a larger branded experience. well crafted. however. Willoughby Design Group sees the bigger picture.

and wit. The Bigger Picture to Willoughby. for Willoughby. the many examples. "A brand lives in the hearts and minds of the forms is. The elegance says ." Willoughby says. symbols and color provide If logos amplify and clarify brands through a stronger connection to cognitive processes distinctive combinations of words. "Well-crafted pictorial symbols images. Fortunately this under the weight of its own importance . and convenience are some of realtor when she was fifteen years old. degree of levity and to never let a logo sink meaningful experiences . products. quality that is evidenced in all of the work As these encounters become more targeted ." Willoughby of our visually cluttered world. means opportunity for designers who can design experiences that delight and engage. the end result is emotional. personal . than words. customization . With out overpowering the package design. done by Willoughby Design Group. elegance. the identity and system inco rporate borrowe d Asian influences and co nte mporized art wi th a Far East natural color palette. or a of simplicity. " team can shape the experience of a brand and its content. through their experiences Beautifully crafted elements provide the and encounters with brands in daily life. a start-up. Signature one of the most internationally respected "Our approach to identity helps people fall in Color system design and branding firms . While this process may Brand architecture From that noble beginning. a point of entry. and if the enterprise is a distinctive point of view and create a brand successful over time . The simplicity well-established business-brand is about of the work exemplifies the idea that a logo reputation. products . companies are the concept of wit is added to maintain a learning how to create more authentic.Willoughby 's first logo was used on a sustainability. sounds. th e id enti t y mai nta ins a memora ble system in the store and when taken home. " For Sale" sign for a local independent information ." she says. she has built sound clinical. According The retai l space also has a tea market t hat se lls loose teas and signatured brand ed produ ct s. of real people. the brand (reputation) strategy that resonates clearly in the context becomes a more valuable asset. perspective that for any organization - Willoughby 's identity work is a combination whether it's a nonprofit. Willoughby believes must contain distinctive pictorial elements that a designer and a collaborative brand that aid memory. The Willoughby love with the brand through a kaleidoscope of Design Group's attitude toward identity well-designed experiences. Rath er than di re ctl y copyin g Asian art ifact s. are generally more memorable than abstract service. meaning. packaging." of symbols or icons over words . 182 MASTERS OF DESIGN But there is still a debate on the value * Logos & Ident ity . and interactive. As evidenced in Willoughby's experience since 1978. "A logo and identity help and visual identity program should express build brand equity. And finally. colors. word marks response is designable. accountability. "If used. and websites then the entire symbols. Critical Components of an Identity System Brand identity standards Typography system Icons and symbo ls and brand is founded on Willoughby 's Sound and motion T HI S PAGE A bold new Asian inspired boutique that sell s brand ed goods and designer collecti ons required a loo k as bo ld and memo ra ble to compete in the retail wo rld. current trends indicate that people want more from brands. and services.

cn sausabC.> oJ: ingredients that~ : '.. I deslgn by Willoughby Design Croup and Hammerpress THIS PAGE The identity concept was taking the owner's two loves.s tbat top ~'our pizza y We han<i grate our ch ses 'ne 3 rye ou on 1.Sl G1RA.. tOl'Dato. l'lushroo~.'~. Sl MAWGIA.. art ichoi. Sl PIAOEt SPIN. serv our g ests at ho~c. EAT.' l'Dorse.t ~ the s .:o·u ' d.' the quaUt. e oven to roast ¢ve~. Neapolitan Pizza and bicycling. excitement and fun. Wn the Beopolitan spirit.' onion. c and cven c::o tons 1r. ~on appetitol neapolitan pizza Fountains Shopping Cent r I 6541 W. tUl'i. From the website to the dining room wall graphics. and mixing them together as the basis for the logo and fi Iter to what visuals would theme the open designed restaurant. 119th Street I Overland Park KS 66209 I 913-4S1-SPIN for Carryout 2006 Spin Concepts. ga~ l ic clove. cb1c i. ENJOY! Umore Napoletano. Inc. Willoughby Design Group '* 183 . c us our sto ..:.e~' breast. the system layered one color images to give a unique feel of motion. eet and savor:.

with a hometown feel.. MAllE LA1E \ lERI D n m THIS SPREAD The Mary Carol logo has a "history" as opposed to a clinical approach.1 f\. The packaging for Mary Carol promote the brand's message that is warm and nurturing. . while maintaining a professional attitude.

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" We enjoy the identity are framed . - -.. She ri· dan's pac kaging takes th e library of grap hi c el ements and ap plies them with messages. the logo and mascot..... Although the logo and the brand experience . are inspired by the founder's values . . Willoughby a shift from mostly print-based work to more has also seen a down side.. . t. The graphi c system clearly li st s brand attribute s. . providing logica l re aso ns for the visu al solutions.. "You just never know where your designs might take you ." Willoughby often not listed in an identity brief.._ -. now approaches identity work as experience "We have all seen millions of dollars spent design rather than traditional print graphic on a beautiful logo and identity for a company design.." meaning and deliver its desired emotional triggers.. Cross-Platform Thinking Vision Since forming Willoughby Design Group But with the proliferation of new media as well almost thirty years ago .. Once the parameters of for an identity project. _ _--_ . and flexible. The grap hi c elements of the system are re peated on th e menu board s.-_.. . __I - - ." Willoughby says. To this end .. products and packaging. The broad color palette all ows for va riation and maintain s a co nsistent and co hesive message. 186 MASTERS OF OESIGN * Logos & Identity . Willoughby's in marks that are strong. l>lwtt.. '. vision. TH IS SPREAD The Sheridan's logo is used li bera lly and ex uberantl y. _ . . and it has a timeless quality to identify all the places the logo might exist. Willoughby's says. tend to result signage. . the logo and identity specialists. Her process always starts with an Willoughby Design Group's work clearly audit that unearths the character of the demonstrates a high caliber of expertise company and its business and then moves across all media. - .... simple. ... space dividers. . wall paper. and when the right idea emerges.. however.... she lights up. Her work has design often becomes the misunderstood evolved to reflect the approach that logos stepchild of marketing and branding experts need to engage across multiple media.. Willoughby maintains that the forms always and entrepreneurial passion to build need to arise out of brand strategy and something of lasting value. and delightful forms..:. regardless of the final application. • . These " aha" moments.... essential to form-making process plans for animation successful brands.. _ . Willoughby trusts retail environments where there is opportunity the design process to reveal the most beautiful to make a statement with the environment. logos have also been applied to unexpected places. collaborative team of multimedia design In a perfect world. Logos and identity screen-centric applications. (OUITNIY'S DIU -' WDIKS - . and 3· 0 sc ulptures. But when including the nuances of the specific media Willoughby discusses her favorite applications and its audience..-_. "Trust and authenticity. -. Media issues aside . . She without the benefit of the design process.. are qualities that often and includes working with an expanded have little to do with how much a logo costs .'0 - chilla (ptill~ ~ ft~h I .. such as a T-shirt promoting an eating contest in Las Vegas.1. . merchandising." she says..._. t_ _ _ _ _ _ _ _ _ _ . and she has even let the change where there is a total disconnect between in media inform her design process . Willoughby has seen as the growth of branding experts .. That's a long way from corporate letterhead and high-end packaging.

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. but still remain branded in advertising."nVOl. printed collateral and packaging. . the jewelry and timepieces were able to stand out.. THIS SPREAD A landmark Kansas City luxury jewelry store known for perfection in every detail. " T REA 5 U RED 5 INC E 1 9 lO s . With the identity as a solid and simple voice. 188 MASTERS OF DESIGN * Logos & Ide nt ity . the identity was an extension of the sophisticated shopping experience they offered to each customer.

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.. Business forms were printed on unrefined paper and labels for the address were hand placed on the letterhead to lend to the human experience.. Printed collateral. texture of a rubber ball..• THIS SPREAD Identities are not required to have the same expected elements. continued the identity system's tone and material.. including special edition books. the identity relies on like memories and human responses such as the feel of paper..... . •• •• • ••• •• .. or personal characteristics. The Rules of the Red Rubber Ball book was the clients' signature story that "answered" the image choices of the other collateral...... For Katalyst.. ... Willoughby Design Group '* 191 ..

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Mil an. and applications with multiple types of new media. Mi lan. Italy Zetalab founder Lucio LuZo Lazzara is a global leader in the integration of logos.ZETALAB Lucio LuZo Lazzara. and in the personalization of brands." OPPOSITE Design Pubb lico identity is as multifaceted as the many programs it sponsors. Based on drawing templates. Italy Zetalab. The media are tending to integrate more and more with each other. each event was given a signature icon as an extension of the main identity. and merge into a single instrument. identity systems. Using the example of Steven Spielberg's Minority Report. he describes the contemporary environment: "I see new potential in entertainment. ZetaLab * 193 . information design.

"This can be achieved in different maxim. be minimal. "Sometimes we have even with the belief that the application of recommended to our clients that they not the logo. and messaging is still a problem-solving activity. view of the designer. "in a pan-medium. of the company." Lazzara's logos are designed Lazzara admits. Marks as guerilla marketing and viral campaigns." in an extremely complex and uncontrollable 194 MASTERS OF DESIGN * Logos & Identity estern\ . from simple to complex. ways. It wasn't necessary. or it can form and style. have a visual identity. "An identity can be narrative." claims Lazzara. It is the element that creates a unified message the signature of a wider system. a visual across these multiple mediums. an example like a tollbooth FastPass. The logo is is the beginning of a communication." Lazzara maintains that the core of logo design communication. language. His logos are varied in memorable. The solution solution begins with Zetalab identifying and is dictated by the message and the final understanding the real need of the client." he says. but when that is not the answer." and the medium it uses are as important as the form of the logo itself. a product. "I believe that form follows function.DESIGN THIS PAGE The identity for Design Pubbli co is black and white allowing the applications to utilize a vibrant color palette. "Failed identities reflect only the point of from an animation to a stencil on the street. or they will not work. it can create a mood. increasingly varied with the use of traditional media and nontraditional methods such Message. it can be simply visually at all. medium. Lazzara's words. message. Red represents the Designers' House venue and green is used for the Pubblico site. the context of its environment. "On the other and are unable to animate or evolve in multiple hand. work together to solve the problem and Identify and Define communicate the message in any medium The message vehicles used are becoming or setting. as services will start to be and limited. The visual exploration includes a strong examination of the logo design in multiple settings. He also which brings about the disappearance of the cites examples of failed logos that are too tight manual interface. These are logos that are too static automated. The logo become more challenging. advertising. This system of different elements The system consists of a stencil typeface and specific colors for the types of events or venues." The process to reach this from symbols to word marks. Following the need for a varied use with new functions and new requirements. Medium. or he modifies the "Form follows function" an event. the logo must clearly and platform usage. Following Lazzara's philosophy of multiple For Lazzara. The logo "The future of the logo experience is." he says." Lazzara explains . directly identify a company. and the 'form' issue by itself is not an issue it can be symbolic. and basic communication. As our society consumes messages in In the face of these forward-thinking concepts. on one and identity system must reflect the culture hand. entirely new media will be necessary media. Similar in concept to Marshall This need often involves a logo and identity McLuhan's phrase "the medium is the system.

color and image style. artists. designers. Here. Zeta Lab '* 195 . The My Detour identity served as the focal point of the project and spread into a campaign in a range of mediums. illustrators and writers to fill their Moleskine notebooks with personal comments and ideas about the city they live in.THIS PAGE Moleskine asked celebrated architects. a promotional poster and detail above show the identity system including typeface usage.

The system included broadcast setting. Grap hi c elements.communication environment. He understands that someone else will these elements create a singular message . ." he says. video. patterns . I also look or an in-house department. It may function on a fax color. but it also form . but it will fail in a different applications. inclu di ng wind ow displays. and his core philosophy : "Don 't think about a single logo . Lazzara insists Holistic Values that logos that try to " tell everything" or The elements that are the backbone solve a client's every communication problem of Lazzara 's identity system include a color will not succeed. image and illustration usage . a relevant or custom designed typeface . Lazzara tries at the rhythm created by voids and fills . Exhi bit s and poster signing events make it possible fo r th e public to interact with the note books. materials. the and consistent. unchanging. Each logo and The logo for the cultural association Esterni identity system is designed to be flexible in Milan represents the meeting. but become banal and predictable incorporated multiple identifying marks on merchandise. and logo. and back- control of Zetalab for as long as possible. typeface. and Esterni 's environment. A flexible system of solution to maintain a clear message. identifying marks was created to maintain A singular. "To create logo's release to outside creative partners. Working with the logo. In a multi platform social interaction. Pain and stress are typically part of a and less traditional components. and interactive bloggi ng space. a flexible and usable system. di d not need heavy se ll copy. the piazza . to keep the identity system under the textures . Combin ing t he artwo rk from th e notebooks wit h the strong identity system makes th e collateral not iceab le and understood. and surprising applications in all media. grounds. Lazzara summarizes its success. eventually handle the logo. inflexible identity consistent formal elements on many may work in print." 196 MASTERS OF DESIGN * Logos & Ident ity ABOVE OPPOS ITE A signage system for Detour's different venue s is based on the elements of the identity system. Lazzara's elastic and fluid to create a constantly refreshed and vibrant approach to logos produces successful attitude. Think about a system . The identity is al so used on a spec ial project websi te. palette. this is the only possible fundamental values.

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Illustrations and photos usage Zeta Lab '* 199 .THIS SPREAD Identity graphic elements. These choices enable the graphics to avoid any reproduction issues including low-end newsprint printing. limited colors and boxed typography are the key characteristics for the Milano Film Festival system. The Critical Components of a Visual System Logo Color pa lette Typeface pa lette Texture palette Pattern pa lette Material pa lette Background pa lette The graphic elements work as eye-catching. and can be sca led down to smaller sizes and with no problems of losing recogn izable qualities. large-sized graphics.

THIS SPREAD The 10 go. Illustrations. L C. color palette and t ypographic stYle' create un't ' multiple ' I Y with applications.J -- 200 MASTERS OF DESIGN * Logos & Identity . strong .y graphics change each ea~ butthe id ' Y rem ' entity alns consistent. th e system . The ' consistent from identit y y IS onl ear to year with y the simple ch of ange numbers in the upper right circle B dOing so .

founder."An identity ca n be narrative. it can be simply visually memorable." -Lucio LuZo Lazzara. it can be symbolic. or it can be minimal. it can create a mood. Zetalab Zeta Lab '* 201 .

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206 MASTERS OF DESIGN * Logos & Ident ity .

Concrete Design Communications partner Diti Katona has created a body of work that is connected with a philosophy that makes more with less. 207 . Ca ada Logo design requires a focused visicm1that uses large amounts 0 complex information and funnels that into a clear message." she explains.CONCRETE DESIGN Diti Katona. Ontario. She designs a logo and identity project by distilling the message into a simple visual. Toronto. the Masterfile identity is recogn izable. OPPOSITE Even cropped and as a background. we think that successful logos should express as much as possible with the greatest economy of form. . Canada COMMUNICATIONS Concrete Design Communications. Together with the photography it represents. both gain recognition and value. Concrete Design Communicatio ns . Ontario. Toronto. "Generally.

the quality of each piece is depe nd ent on th e designer. Often. has been neglected. the most solution. d ist ill. it needed to be direct and modify the forms successfully to reach and easily understandable. uses the example of a project that involved collaboration with an advertising agency. message and express it clearly. what makes them come alive." Katona of every Concrete solution. She adamantly rejects can be much more expressive. Concrete Design Communications THI S SPREAD At first.. The aesthetics and form are to Katona was that most of the hard work critical . no different than any other designer in that The concept had used very predictable respect. "Logos often have very simple simply making a logo minimal. " In recent years. distill. at least not explicitly." Signs and Symbols The logo must have a clear message. 208 MASTERS OF DESIGN * Logos & Ident ity "When design ing a logo. is instantly more so much emphasis in design has been placed recognizable than the word apple. politics. but this For Katona. However. "Designers required a distinctive way of articulating have a tendency to try to make the logo say the concept ." very young. and audience into a seemingly obvious is the way they are crafted . d ist iII. Its predictability the desired business goals. and distill. The crafting of too much . Therefo re . This logo succeeded in a single graphic form . the artisanship. the wrong symbol. The symbol due to poor execution. "While this may not have been set that aside. them work. of an apple. in the end due to Katona's unique vision and A successful logo needs to choose a singular insistence on perfection of form. They need to because due to Katona's skill at slowly condensing of the issues we've discussed. understand the larger issues. "I still on 'concept. for instance . It is successful ideas behind them. well before they were able to read. The implication given successful. a specific shape or color. and Katona is the reality was that very little had been done. but at a closer glan ce you realize that the letlerforms are a un ique typeface. But what makes a client's message. th e id entity for Masterfil e looks as if it's just a standa rd typeface. and aspirations that used similar themes. Th e identity system and exec ution of th e promotional coll ateral are more free and open . symbols can often have more cannot happen without well-designed visual power than a name because they use visual forms. brilliantly executed. d ist iII . to symbolism. Katona believes that most logos fail imagery rather than the alphabet. but they are secondary to the final had been done and the only part remaining business goals." Katona says. Understanding the client's culture successful logos are the ones that have a very and the audience's culture is at the core simple idea. ' that often the articulation of remember the time when my children were the logo. It is easy to fall in love with was to make the logo look pretty. "You cannot commu- a unique graphic form would distinguish this nicate a company 's product/service offering. business goals. . intended audience. Form and Function The agency had developed the concept (the The goal of every logo and identity system heavy lifting so to speak). A picture the devaluation of skill. however." -Diti Katona. but they needed is to create an outcome that makes a business help to give form to it. She has the ability. (S This approach is made successful not by she explains. particular logo from the thousands of others vision. partner." Katona says .

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210 MASTERS OF DESIGN * Logos & Ident ity .

logos were designed for the lowest often forgotten . she has been exploring look in multiple hands. logos Once the identity leaves Katona's hands. Concrete Design Comm unications . reproduction influenced this. the Pizza Nova identity is constructed with a primary word mark and a decorative scri pt listing all the menu items in t he restaurant. identities that are more complex and more reliant on color. Katona 's logos tell stories. but meant the dreaded fax. The shift in technologies. ." so many variables that very specific guidelines are critical for a consistent look. black and white applications. This was partly due to Katona's bias standards for a color palette and typography for simple and direct ways of communicating. For her. The result has been logos with more dimensionality and more reliance on color Katona's philosophy on complexity and to tell t he story. designed by Concrete were fairly simple in the unexpected will happen. " Not the other doesn 't mean you should have one. provide the prevailing mantra. or ignored . From packaging. Technological advances in Formally. However. along with other typography is much more challenging. a logo influences in mind . Cava visually identifies itself with interpretations of 1930s dining graphics that are flat. Her strong form . "Not very long The color conveys an idea. "This. but made contemporary by di mensional perspectives. THIS PAG E & NEXT SPR EA D An established Italian rest aurant since 1963. "Just because you can the communications criteria should dictate have a three-dimensional . from a print- The simplicity of the golden arches was all based solution to a multiplatform solution that was needed to commun icate to them . At a larger scale size. processes. t he script becomes a secon dary graphic. website graphics. will help the identity maintain a consistent In recent years.Elements of a Standards Manual Even if I have a good relationsh ip and strong advocate wi th a client . including it 'work in black and white' is no longer hierarchy." she clarifies. and case. these should never to communicate effectively." has affected Katona's approach to logo Katona recalls. colors are relatively easy to specify. design. For her. 211 . Th e manual includes th ese elements: Logo use Black and wh ite examp les Color examp les Scale in stru ctions Pri ma ry color pa lette Second ary co lor pal ette Prim ary typeface Second ary typeface Image use Print examp les such as stat io nery Envi ronm ental examples such as signage Merchandise examples Vehicle appl ications recognizing t hat McDonalds was a brand. "Type treatments." she jokes. while ago." Katona says. In the past. what form the logo should take." pervasiveness of color reproduction. spinning logo. relative sizes. we tr y and create one t hat leaves some creativity to th e final designer. while keeping these simplicity is pragmatic." OPPO SITE Pull ing from opposite sides like its rusti c modern ized European influenced food . way around. But with the "Specifying font families isn't sufficient. having she explains. the Pizza Nova identity is exciting and ta sty at a variety of sizes. Katona always common denominator of reproduction addresses the typographic system . Typ ica lly. The context and dictate the design . And. wrapping paper. of course. we still create a standards manual to help eve ryone use the logo properly. Katona believes strongly should ultimately be whatever it needs to be that while important.

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Concrete Design Communications '* 213 .

Somewhat neutral .. umbra OH C H A I R DC orww •• llbruollt 214 MASTERS OF DESIGN * Logos & Ide nt ity It.. the identity is able to present the products without being overpowering. " . . contemporary designed products for the home. ASHID . the identity reflects the design approach with simple and elegant shapes.1999 COLLECTION L!I umbra DRAPERY L!I umbra THIS PAGE Umbra is an international leader in casual.NrO . •.

The consistent use of a logo and identity system. and handle all of their communications." she advises. but is vital to portraying a strong image to the outside world . Katona." she says. the success of any system depends THIS PAGE Most creative work starts with a designer's first sketches." Katona says. "It's a great feeling to pass a logo you designed somewhere on the road. In terms of logo and identity. strategic goals. nevertheless. Concrete Design Communications '* 215 . This Kielhauer identity celebrates the first sketch and relationship to the end final design. "I love designing for vehicles. Several variations of the logo exist to work with different applications and varying sizes. creative partners often resist rules and have a natural impulse to be "creative" with the brand. "It helps if you can keep working with the client. But it is vital that they understand that this impulse does not benefit the organization . This person needs to be fairly Corpom~e Idenu'ty LAuner. this is expressed with her choice of a favorite application to design . When it comes to graphic communication ." She adds that the strangest place a Concrete designed logo has appeared was on a homeless person.KEILHAUER Police Work The elements of an identity designed by Katona are explained and described in a standards manual." she says. 200<\ senior with the authority to enforce the standards. and business issues partnered with Concrete's thinking and visual skill create proprietary and successful brands. "Company logos printed on T-shirts invariably end up in the hands of a very unintended audience ." This advice is not given to create restrictions on other users. "Failing that. "A consistent identity system may become boring to those who work with it every day. has a passion and humor that inform all of her work. on having a person within the organization champion the cause of adherence to identity guidelines.

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l BlueBott 6 .. -----:~~ PAGES 20 . .1 m 5 Aca'CUL UN' 7 8 10 11 STERLING BRANDS PAGES 24 ... Socialdemokraterna Gottschalk + Ash International 1 2 3 4 5 218 MAST ERS OF DE SIGN * Logos & 17 16 15 Departement Architektur ProLitteris Implenia. Ice Hockey Palace S21 IIH F 100 Identity Alexander Isley Inc ." ' ...19 1 ..41 12 13 14 ..IILL 9 ESTUD I O MARISCAL PAG ES 32 .-. 4 3 e ALEXANDER ISLEY I NC." •• 1. *~ =*~ ~ ". .' Ciba "'..GOTTSCHALK + ASH > INTERNATIONAL PAG ES 10 .UNi C'NTIA 'Oft fOOl> & .:~:~k "~- weissbooks.31 G.23 I I I I I I I I I _S 2 1 Equity Toys iTO..-:: 2 .w ..-. 6 7 8 9 Equity Toys BlueBolt Networks Stone Barns Center for Food and Agricu lture Mesa Gril l Sterling Brands 10 Tropicana 11 Optimum 12 Kleenex 13 Ce lestial Seasonings 18 Estudio Mariscal 14 Metropol Ie Cafe 15 Zoo de Barcelona 16 Swedish Socia list Part y 17 Marmo Bar 18 Granship .."".

* Bancaja CAMPER s:oll fondos Benictlssim 19 Ajuntament de Gava t< i I> S' 20 21 22 24 25 28 29 CHASE DES I GN GROUP PAGES 44 . E . ) 19 Benicassim 20 Bancaja 21 Camper for Kids 22 Ajuntament de Gava 23 32nd America's Cup 39 Chase Design Group 24 Chinese Laundry 25 Kamasutra 26 Pe rdu 27 Hou rglass 28 Kemper Snowboards 29 Nymph 30 Pearl Dragon 31 Little Buddha 32 Mara is 40 Crosby Associates 33 AlGA Chicago 34 Captive Resources 35 Cole Taylor Bank 36 Eimer Stahl 37 Searle 38 Chicago GSB 39 Sachnoff & Weaver 40 Tr. 37 38 Estudio Mariscal (cont.. ..~ Eime 35 36 Sachnoff&Weaver ."DM~ :san. .55 ------~» 23 L'W""'. .'" perdu ~Jy! MEITI . Logo Ga llery '* 219 . _ _ 0 26 27 CROSBY ASSOC I ATES PEARL DRAGON PAG ES 56 .CES 33 ___ _ 34 SE4RLE CoI. .59 - 30 31 32 0 CAPTIVl! RESOUR. . ..

79 22 21 Crosby Associates (cont. .JENNER&BLOCK 5 Lutheran General HealthSystem 6 7 8 10 11 12 caJTecafe HealthSystem ".69 ANGELI '" ::.NUVEEN wild kingdom 2 1 3 • '+..) 220 FORD AI FOX e c he o n [NOM A O ) 20 15 Ph...D 9 Centegra 10 11 12 13 Health System Caffe Cafe AlGA Arvin Badger 14 15 16 17 18 19 20 21 22 Ange li (symbol) Ange li (word mark) Bergamot Cafe Border Grill Eche lon Ford at Fox No.~ ' .. 13 Nomad Ciudad .~ A 9 .? \bilJ PH .#' 14 13 BERGAMOT CAFE i/J~~dfg 16 COLOR FORMATION 17 18 CiUDAD 1 Mutual of Omaha's Wild Kingdom 2 Nuveen 3 Next Level 4 Lutheran General Hea lth System 5 Edward Jones 6 Jenner & Block 7 D'G'T'L 8 Chicago Partners MASTERS OF DESIGN ~~ Logos & Ident ity 19 MUCCA DESIGN PAG ES 7 0 .. D C3 PAG ES 60 . Centegra 4 CHICAGOPARTNERS ...

I.93 34 VISIONS 35 36 . Expand 0Beyond" 37 Is AlAI 1\. 27 FELIX BELTRAN & ASOC I ADOS PAGES 80 - .-... •• •• CH1CAGO LISKA + ASSOCIATES PAGES 90 . /~_ .- 24 25 26 28 29 30 31 32 33 ..4 ~.'»=0....105 st. i 40 )! --------:~ modem doghotal 41 42 Mucca Design 23 Bal t hazar Bake ry 24 Butte rfield 25 Country 26 Presidio Soc ial Club 27 Schiller's Li quor Bar 28 The Gracious Gourmet 29 Sant Ambroeus 30 Mao 43 Felix Beltran & Asociados 31 Estamex 32 Grapus 33 Hi ll Print ing 34 Hospitalaria 35 Steelmex Liska + Associates 36 10 Chicago Visions 37 BNSF Railway 38 Expand Beyond 39 Goodman Theatre 40 Northwestern Nasa l + Sinus 41 SAA 42 Stay. PAGES 94 .~ ~ ~- J'l"f"::"' ."1 ~ NORTHWESTERN NASAL+SINVS 38 39 ADAMSMOR I OKA.. INC. 43 Tim Bieber Logo Ga llery '* 221 .-..the~raclous ourmet ~_~_'/"" .\ AJ'''''' ".23 .

CO Architects Health Magazine Jar 8 Red Bone Films 9 REDCAT 10 Studio 411 22 23 Pentagram SF 11 Sundance Institute 12 Wild Brain 13 Wasserman Media Group 14 @Issue 15 Beach Blanket Babylon 16 California Academy 17 18 19 20 21 22 23 222 M ASTERS OF DE S IGN ~~ Logos & Ident ity of Sc iences Columbus Des ign Within Reach Fuego Gymboree IDSA 2007 Independent Means Lucky Fish .oh!" Oxygen • via 2 1 PHILIPB. Theater 9 12 11 • W MG i_ "i. • 'hi"'''' 10 PENTAGRAM SF Ii'''' :> PAGES 106 . 1 Disney Club House 2 Oh! Oxygen 3 Via 4 5 6 7 Philip B. Inc .109 @lSSUe: 13 @ 14 15 18 19 DESIGN WITH I N REA C H CALIFORNIA ACADEMY OF SCIENCES 16 17 ~" ~t"Luckyflsh GY BOREE 21 20 AdamsMorioka. 4 3 Health COARCHITECTS Magazine 5 REOBoNE FILMS 8 7 6 StUdio lllll W SUNDANCE INSTITUTE W! LDBRAIN® Royand Edna Disney iCalArt.

.~" e'f/ - 1""'1""'1 Shelter ~~. .' .Norton" from symantec NAPPrSTY l.".f m uza k 24 26 27 29 30 31 o -P PIPERLIME 28 Safeeo 25 ucRIVE"FisloE '" 32 34 33 35 JOHNSON BANKS PAGES 110 .~.) 24 Magnes Museum 25 Muzak 26 Napa St yle 27 Norton 28 Picture Licensing 29 Piperlime 30 Pot lach 31 Red Herring 32 Safeco 33 San Francisco Botanical Garden Society 45 34 San Francisco Zoo 35 University of Ca liforn ia Riverside 36 The Walt Disney Fami ly Museum 37365 46 JohnsonBanks 38 Think London 39 The Art Fund 40 Shelter 41 Basis 42 Pleasure Beach 43 Dimensions 44 Living Paintings 45 Mecklenburgh Opera 46 Global Warming Logo Ga llery * 22 3 .121 37 36 -=== r- ~b f<<S ~ ~~.' 38 39 = tlft~lS 40 c= =:II "" 41 ~ 42 mecklenburgh Dim~nsions be 43 16 Living inting iil 44 Pentagram SF (cont.

1 2 YELLoCOM 4 3 MODERN DOG PAGES 122.) 1 Middlesex Probation 2 Cabe 3 UK Japan 4 UK Presidency 01 the EU 5 Yell. l1li green world now 8 9 10 11 12 13 14 15 17 18 C&G PARTNERS PAGES 124 .123 THEATRE 5 7 6 1:1..com 6 Brit ish Film Institute 224 MASTERS OF DESIGN * Logos & Ident ity PAG ES 134 .139 21 Modern Dog 7 ACT Theatre 8 Ass Kisser 9 Brown Paper Tickets 10 Greenwood Park 11 Green World Now 12 Juju 13 K2 Snowboards 14 Lotto 15 Malo Soap 16 Olive C&G Partners 17 Crane 18 Time Warner 19 Signature Theatre Company 20 New York Public Library 21 NBC .133 CIANE 16 . 19 FROST DES I GN NBC 20 JohnsonBanks (cont.

not 5 "I"" II~ 1110 34 MANTA LAURENCE KING PUBLISHING LTD 38 " " IMADES IGN CORP.DSS UDFiHS ~~ I MAGE I' \~III~~\I SOURCE 30 (. 40 The London Design Festival 2003 41 Manta 42 Swiss Re Centre fo r Global Dialogue Imadesign Corp. 43 Atlus Lux 44 EIS Logo Ga llery "* 225 .149 A 41 aTnaCl1lOKC CCB 42 44 43 Frost Design 2254 23 ADG 24 Australian Design Award 25 Channel V 26 Chris Boot 27 Coast Restaurant 28 Franco & Co 29 Freestyle 30 Glass Works 31 Image Source 32 Internationa l Fashion Group 33 Sydney Dance Company 34 Sydney Opera House 35 Trio 36 Tyro 37 Creative Magazine 38 Khai Liew 39 Laurence King Publishing Ltd.54 22 23 24 25 28 29 31 32 33 35 36 37 "0 a c:J FlftleD &CD 27 26 GL. Swiss Re Centre for Global Dialogue 40 39 PAGES 140 .

\~ Capital CEHE}I{" IVIEiJiN n03UTpoHUI<a 13 .hony Integration Entrepreneurship Essentials 5 CreativeAction 6 7 8 11 12 ~~'& ~J1 C-.153 Russian Busi ness Trave l 19 18 17 Spy 20 21 Imadesign Corp.Russia Expo 2010 Idea Stroynadzor EE Medved CTI Modula Creative Action 10 Marjani Foundation 226 MASTERS OF DESIGN ~~ Logos & Ident ity 23 22 11 12 13 14 15 16 17 Iskona Vita land Stone Bridge Capital Cehex Meijin Pozitronika Russian Business Travel Doyle Partners 18 Barnes & Noble 19 Cook & Fox 20 Loews Hotels 21 Martha Stewart 22 PAX 23 SPY . Marjani Foundation 9 StoneBridge • 10 \.3Kcn02010 1 2 EEIV 4 3 C TJi c enter of Telep..0 ·8 . 15 14 BOOKSELLERS PAGES 150 . (conI.1'-.) 1 2 3 4 5 6 7 8 9 e.o~vs 16 BARNES&NOBLE DOYLE PARTNERS .

) 24 The World Financial Center 25 Tishman Speyer 26 Top of the Rock 27 USGBC Th Met J z71 39 42 37 36 35 Moria Design 28 DMJM 29 Infuselle 30 We lls Fargo Bank 31 Sea Blue 32 DWR Profi le 33 Levi's Origina l Spin Pentagram NY 34 Saks Fifth Avenue 35 Highl ine 36 Da llas Symphony Orchestra 37 Bard School 38 Madison Squa re Park 39 Curious Pictures 40 Jazz at Lincoln Center 41 The Metropoli tan Opera 42 Criterion 43 Tiffany & Co.>lctures • 38 • I pohtan Opera 40 41 44 45 citr TIFFANY & Co.163 26 28 "01 -PROFILE SEA BLUE 31 PENTAGRAM NY PAGES 164 . 43 Doyle Partners (conI. 44 Citi 45 POV Logo Ga llery '* 227 .167 32 33 c~ 34 • • curlous.• TISHMAN SPEYER 24 25 27 29 30 • MORlA DES IGN I H+N PAGES 154 .

APELOIG DESIGN 3n ::> PAG ES 168 . t<WCRL.O'" 9 WILLOUGHBY DES IGN GcR-.ITI Number Seventeen 6 Air Amer ica Radio 7 Homemade Baby 8 Saturday Night Live 9 Orbitz 10 Trio 11 National September 11 Memorial & Museum 12 Housing Works Willoughby Design Group 13 Apres Peau (symbol) 14 15 16 17 18 19 20 Apres Peau (word mark) Feng Tivol Sheridan's O'Brien Pharmacy MAX Mary Carol 21 Spin! .. 15 19 Apeloig Design 1 Octobre 2 Musee Judaisme 3 303 4 Bresil 5 Ch<ltelet MASTERS OF OESIGN * Logos & Ident ity 16 17 20 21 t carol &..IVE 7 8 NAnONAl SEPTEMBER II MEMORIAL 1\ MUSEUM .--O .--U ..191 UK' 11 . I.179 PAR I S 4 6 5 SATUR OAYN I G HTL.. .IIIAI 18 :> 12 mary 228 10 '''.--P_ _ _~ - PAGES 180 .177 U 3 1 chi -te let IHI\I~ 3 2 THE.lTRE NUMBER SEVENTEEN MUSIClll OE ') PAGES 178 .. aPReS peau 14 13 fen .

: ' " PAGES 202-205 . CONCRETE DES I GN COMMUN ICAT ION :" TheGuardian PAGES 206 .) 22 Lee Dungarees 23 Wonder Bread 24 Einstein Bagels 25 The Katalyst Consultancy ZetaLab 25 Milano Film Festival 26 Design Pubblico 27 My Detou r StudioDavidHiliman 28 Bu ilding 290bongo 30 Phaidon 31 The Guard ian 32 Editorial Inte lligence 33 Modernism Exhibition Concrete Design Communications 34 Cava 35 Keilhauer 36 Masterfile 37 Pizza Nova 38 SGU IG 39 Umbra Logo Ga llery '* 229 . katalyst OONSOLTANCY 23 22 25 24 ZETALAB Detour PAGES 192.201 25 26 27 28 29 30 STUDIO DAV I D H I LLMAN-'---_ _ _.Tn.217 32 31 33 ~ KEIUlAUER 34 35 38 39 36 37 @ SGUIG Willoughby Design Group (cont.:.

9692 www. 212 . North Kensington .966 .S.A.com www. 2019 Riverside Dr.com www.com Felix Beltran Stephen Doyle David Hillman Felix Beltran & Asociados Doyle Partners Studio David Hillman Ltd Apartado Postal-M 10733 1123 Broadway.896.A. Switzerland 323 .2 .(0)20. level 1 387 Tehama Street New York . CT 06896 U. NY 10010 124-128 Barlby Road Mexico U.4460 310.cgpartnersllc.2900 41 44 382 1850 www.pentagram .463 .A.gplusa.muccadesign .A . New South Wales 2010 San Francisco CA 94103 U. CA 90039 Redding. U.au www.com info@alexanderisley.frostdesign .com Matteo Bologna Steff Geissbuhler Michael Hodgson Mucca Design Corp.S.com Michael Bierut Vince Frost Kit Hinrichs Pentagram Design Frost Design Pentagram 204 Fifth Avenue 15 Foster Street.com United Kingdom 44.9821 212 .doylepartners.965.com www.com www.8960.9280. NY 10012 New York. suite 600 203 North Wabash Avenue . U.com. 212 .8787 London WlO 6BL www. CA 90211 Chicago.544 .A.studiodavidhillman .S.S.D 568 Broadway. Pall Mall Deposit Mexico City 06000 DF New York .S.A.S.alexanderisley.683 .crosbyassociates .4233 415.S. IL 60601 8032 ZOrich U.com 230 MASTERS OF DES I GN * Logos & Ident ity .0900 www.com Margo Chase Alexander Isley Margo Chase Design Alexander Isley Inc.A .0499 www.adamsmorioka. NY 10010 Surry Hills.1055 203 . NY 10003-3034 Santa Monica. Postfach 1711 Beverly Hills. suite 200 Bocklinstrasse 26.346 .chasedesigngroup. 212.A.S.7000 61. 9 Brookside Place Los Angeles .532.pentagram. suite 504 116 East 16 Street 1524A Cloverfield Boulevard New York.S.com www. C&G Partners Ph.829.A. Australia U.5990 312.1717 www. CA 90404 U.668 .phdla .DIRECTORY OF CONTRIBUTORS Sean Adams Bart Crosby Fritz Gottschalk AdamsMorioka Crosby Associates Gottschalk + Ash International 8484 Wilshire Boulevard.com www. U. 6th floor Unit 100. 323.S. U.A.

7667 www. U.A.concrete .6548 www.com www. London SW4 9RW 08019 Barcelona New York. WA 98103 U.com Diti Katona Jennifer Moria Concrete Design Communication Moria Design Inc 2 Silver Avenue 1008A Pennsylvania Avenue Toronto. MO 64111 +7. 515 North State Street.495.992 212 . Modern Dog Design Co.9395 www.zetalab.S.morladesign .com Erken Kagarov Debbie Millman Ann Willoughby Imadesign Sterling Brands Willoughby Design Group Russia Empire State Building.933. Ontario M6R 3A2 San Francisco.com www.liska.02 . 416.533 .Michael Johnson Javier Mariscal Paula Scher Johnson Banks Design Estudio Mariscal Pentagram Design Crescent Lane Pellaires 30-38 204 Fifth Avenue Clapham.johnsonbanks. Room 650 20124 Milano New York.pentagram .A.com www. NY 10013 Italy U.329.number17. U.940 212 . IL 60610-4322 Seattle .imadesign.co.036 . 312.020.S.543 .S.A.ca www.uk www.56l.9960 415.A .5693 U. 17th Floor 602 Westport Road +7.S.com www.A.com Steve Liska Robynne Raye & Michael Stassburger Liska + Associates Inc.S.644.7000 www.4600 816.moderndog. www.4400 206. 44.7587.729.ru 212 .A.775.willoughbydesign .29. NY 10118 Kansas City. 23rd Floor 7903 Greenwood Avenue North Chicago.sterlingbrands .4189 www.S.com Lucio LuZo Lazzara Emily Oberman & Bonnie Siegler Zetalab Number Seventeen via Tadino 29 /a 285 West Broadway.mariscal.789. NY 10010 United Kingdom Spain U.534. CA 94107 Canada U.495 .A .S.6400 34 .683 .4810 New York . 39.com Directory of Contributors * 231 .966.

Dorisman Chermayeff. Doyald. TM: Trademarks Designed Pentagram. New York: Design Press. London: Phaidon Press. Wiley. Noreen Morioka. 1953. 1993. New York: Van Nostrand Steff Geissbuhler. Rosen. New York: Wiley. Type and Image: The Designers. . New York: Doubleday. Charles and Ray Eames: A Complete Guide to Creating. 1999. Tom Geismar. and Michael Bierut. Friedman. 1995. 2000. Alina. 2003. Steven. New York: Abrams. Hastings House. Perverse Optimist. Pat. Designers of the Twentieth Century. Halberstam. New York: by Chermayeff & Geismar. Designing. LogoLounge: Meggs. 1992. New York: and His Design Problems. and Maintaining Strong Brands. 1994. Peter. MA: Rockport Publishers. The Graphic Artist Tibor Kalman. and Heller. Building. Chicago: Paul Theobald. Designing Brand Identity: Kirkham. A Primer in Design and Communication. The Encyclopaedia of Type Faces. Donis A. Ivan. Sean. and Cathy Fishel. 1999. Ivan. A Primer of Visual Literacy. of Fun. Gloucester. Dondis. Editors. New York: Publishers. 1961. J. Edward. Eames. Gardner. Geissbuhler. London: Blandford Press. The Corporate Search for Chermayeff. 2. & CBS. Graphic Design in America: A Visual Language History.000 Intemationalldentities by Leading 232 Wiley. Egbert. New York: Princeton Architectural Press. 1995. Letters on America. and Jaspert. and Nancy Dunnan. 2002. F. Problem Solved: The Amy Vanderbilt Complete Book of Cambridge. David. Logotypes & Letterforms: Handlettered Logotypes and Typographic Considerations. 2003. Editor. New York: American Showcase. Wheeler. 1989. MA: Rockport Language of Graphic Design. Bill. Etiquette. Eames Design: The Work of the Office Gloucester. Visual Identity.BIBLIOGRAPHY Adams. A History of Graphic Design (Third Edition). Pentagram Book Five. and Marion Muller. 1952. Princeton Architectural Press. 1987. Philip B. 1998. New York: Meggs. Mildred. Tuckerman. Press. Fella. 2000. 1989. The Fifties. Dick. Trademark Design. 1970. 2004. New York: Graphis Press. Monacelli Press. New York: Moss. and Ray Terry Stone. Turner Berry. of Charles and Ray Eames. Ben. Nancy. Marie Y. 1998. MA: MIT Press. MOiler-Brockmann. MASTERS OF DESIGN * Logos & Identity Young. 2001. ® Hello Everything!: 25 Years Ballantine Books. MA: MIT Press. New York: Jacobson. New York: Princeton Architectural Press. Paul Rand. London: Phaidon Neuhart. Pincus. Editor. 1973. Logo Design Workbook. Tom Geismar. New York: Hess. and Steff Abrams. New York: Abrams. Michael. Johnson. Cambridge. 2003. Marilyn Neuhart. and A. W. Reinhold. Hall. Philip B. Johnson. W. John.

Related Interests

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• 60 * MASTERS OF DESIGN * Logos & Ident ity .

Californ ia. 111 has been co-opted. Ph . the term "personality" peppers the conversation. and its definition has been broadened to apply to anything from Coca-Cola to a description of an individual's quirks: "Betty's brand is her pink nail polish. Personality can be used in psychological terms to describe individual differences. Santa Monica. She wears it every day. OPPOSITE Typically. and co lor palette. an identity system consists of one logo.PH. D principal Michael Hodgson. U. USA • Over the past ten years. The color palette reflects the attitude of these countries. imagery. branding has become a meaningless term. and the logos use this palette in a free-form way.D Michael Hodgson." When discussing branding with Ph. Santa Monica. California. or it can be used to construct a coherent and complete picture of a person.D * 61 .D. Ph.S.A. Ciudad Restaurant has four logos. typeface. Th is choice reflects the multicu ltural menu taken from Latin countries around the world.

and The Searchers." Hodgson explains. and white. almost everything is designed. value based on their continued usage for bypasses this approach. t he 164 page coffee table book celebrates hi s ca ree r. Transferring this concept to an applying the logo to each item of stationery in organization or product is a logical step for the same way. omnipresent term in the verbiage of a world- therefore. Hodgson's logos are failure of a logo. "Logos fail because mindless simple and direct. where there and often only happens after the symbol has is. This provides the identities with a more coherent and approachable voice. No manuals that don 't allow for flexibility. often based on for flexible and layered visual systems. How the West Was Won. "A symbol takes longer to establish. the word mark . the Apple of a company 's personality. While each designer can cite his allows for no derivation. The form refl ects Ford's straightforwa rd and masc ulin e approach. His logos also have a nod to always results in a much stronger personality. Hodgson says. " In a world where decades." Press relied on their fleet of trucks and delivery 62 * MASTERS OF DESIGN * Logos & Ident ity Th e poster uses the bo ld color pa lette: red. is at the core of the success or class identity designer. coherent and complete picture of a product. rather than " Obviously a word mark is great because it the term branding." of the general public's everyday lexicon. " His logo and system for Foundation consistent. this would dictate symbol or Nike swoosh have strong proprietary elaborate formal solutions. dare I say it. "Our systems are usually fle xible. but allow the designer redirects the priority. and typogra phy that echoes the forms of t he logo. " Hodgson explains." says solutions use a rigid unchanging system that Hodgson. The idea of personality applies to a person 's he maintains. John Ford di rected some of t he most myt hic and memorab le fi lms of t he 20th century inclu di ng Stagecoach. favorite application depend on remain similar in tone. the idea of simplicity is an through applications .THE SILENT YEARS . Hodgson. which has become part immediately tells you the name of the company. without being slavishly the client. He follows this attention to taking it to the point where you immediately the construction of a complete message in know who or what it is ." humor and wit. The directness of Hodgson 's approach applies to symbols and words . The entirety of that personality is communicated Once again . The imagery is a criti ca l component of t he comm un icat ion. they all are grounded " I prefer to think of the work that we do as with a straightforward treatment of the name ." he says. too much design . Each system is built or her favorite application to design . " We stay away from simply behavior. even if you're reading the design of each logo. Given the complexity a foreign language . TH IS SPREAD The integration of a philosophy that presupposes an overdesigned environment drives Flexibility Hodgson to create logos that maintain clarity Hodgson 's idea of personality constructs a and a Shaker-like plainness. the last spent some time being seen together with thing left is personality. blac k. This raises challenges for us but Hodgson." For example. CDs. to create a varied range of materials that and for me . creating visual personalities. The system's flexibility. . Ford at Fox. Th e logo is app lied to a va ri ety of applications suc h as t he book. " The most important . however. but they are the foundation applications are produced . While some of his Visual Personality logos use a symbol. and t he id entity system is bui lt to inco rporate t his. Hodgson to support the logo. " But a symbol can transcend that. and posters.

Ph.D '* 63 .

I look -- at flowers and go to the movies.." he says.. The logo focuses on the varied individuals at the cafe.. Bergamot Cafe is in Bergamot Station. I don't look at I design annuals..--. 13. The Santa Monica Museum of Art.BELOW The identity system. includes the standard stationery items. As the name of Paul Smith 's book suggests. the range of applications that Hodgson addresses has extended beyond stationery and vehicles. which established a strong identity for them.. and architecture. BEAGAMOl CAFE The simple yet playful attitude of Hodgson's Two Heated Patios logos would point to a specific and limited User Friendly Ample Parking or ac IF" palette of inspiration. No. as opposed to the food or environment. "I designed Appetite BERGAMOT CAFE for Destruction. but specific applications. and one of the band members loved it and had it tattooed on his arm. "For inspiration.--. architecture and design firms.-.. and an overall tonality. The system includes.. and geometric word mark. such as T-shirts. . color. Rather than citing the Shakers or Mies van der Rohe solely. not only logo. "We used a cross design on it. _ _ 1 __- -_ _- ---_. vehicles as primary communicators." he explains. the first Guns N' Roses album.._------------. Innovative Menu look at books on art. aE~GAMOT CAFE • he discusses a wide range of inspirational sources... is the foundation for a visual system. you can find inspiration anywhere.-." His system for David Fincher's company.D maintains control of the identity system and its use. and typography. This is possible as Ph.. In one instance. "I go to museums. Southern California's largest art gallery complex and cultural center.." Hodgson says. It's located on eight acres in the heart of Santa Monica featuring co ntemporary art galleries." 64 * MASTERS OF DESIGN * Logos & Identity .----~- designed the room numbers and the numbers _____ _ Daily Specials for the parking lot. and a frame shop. but he also -. with an illustrative icon . "These were most successful (and therefore most critical) applications and have become their most effective form of advertising.

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THIS SPREAD

Border Grill is an upscale,
modern Mexican restaurant
with a vibrant setting.
Chefs Mary Sue Milliken and
Susan Feniger present bold
foods and flavors, making
Border Grill the new standard
for gourmet Mexican fare
in Los Angeles. The original
identity was designed by
noted designer, Mike Fink.
All illustrations and hand
lettering are by Huntley/ Muir.
Hodgson updated and
clarified the original identity
and reverted back to its
origina l black and white
color scheme. The system
relies on the handmade
in almost every instance,
from the word mark to the
illustrations. This communi cates a sense of spontaneity
and excitement. It also
represents the casual , but
sophisticated atmosphere.

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ABOVE
The equity of the logo
for the hotel, No.13, is
built from the recognition
of the mark in variable
environments. The actual
numeral may change,
but each application

reinforces the identity wi t h
cons istent shapes, elements,
materi als, and colors. The
pu rely typographic solution
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. "The logo acquires making sure that the same designer is its meaning from the other elements and not always monitoring the project. world-class designer when asked whether " The Coca-Cola logo is one of the examples a logo should be complex or minimal. Butterfi eld Market is recognized fo r supe rior quality. a logo has no meaning. -- 1'80 • • PAZ (!J t ) (2 I ) 503. Mucca Design '* 73 . possible when a client is remarkably focused the swoosh is the mnemonic property. This means this metaphor to describe the alternative: nothing by itself. But he quickly necessary." This solution is memorable to Bologna . while mai ntai ning a strong and proprieta ry prese nce. and by consequence. each application of t he logo is uni que. but when placed within the "If they were being serviced by different context of the company 's philosophy. "After designing logos for mark was a terrible script that haunted poor more than twenty years. or if the initial creator of the logo logos have equity and an ingrained philosophy is the designer controlling all aspects of the of values . These values have been married system . A maste r brand cre ates a clear visual statement . designers." to fifteen years. In this case. we never follo w this rule . The ove rall tone of the vis uals. Both visually. Th e comm onality is created with eleme nts suc h as co lor. But everybody remembers it . enormous equity. " The Apple mark it is finished . The uni que color pal ette and flex ible t ypography provide ease of recognition." Bologna wryly states that Mucca Typo is a division of Mucca Design . TOP RIGHT The id entity system fo r Balth azar Restaurant ." and communications. and allows the brand to expa nd into oth er businesses and regions. when placed in the context of other messages "I am able to maintain consistency by that it adopts meaning. provi de th e greatest amo unt of eq uity. products. This of how good quality in typography is not is Bologna's answer as well. It is only M ucca Design for all of its design services." he explains. The level " to design a logo for a company that will be of obsessive precision necessary to design successful .9717 503. + 214 SOUTH DE Inherently. and typography. "Recently. designers who had to redesign it every ten But." Bologna explains. and it s multip le businesses demo nst ra tes the strength of a holi stic app roac h. it acquires value and TOP LEFT Fun ct io ning like a wa lkin g bi ll board. the best way to design a successful logo is dedicated to the creation of fonts. logo. Rather th an relying on a simple and fl at ico n used re peatedly. he says." Bologna says. the simpler the better. In this instance. the word mark for Nike is not variations of the logotype . however. we designed a system for so we can consider it successful as a logo . even after vice versa .EX NYC-." identity work.9121 + N~ r(lU)tU:tot OP POS ITE An upper east side lu xury food market si nce 19 15. your logo a typeface migrates to Bologna 's logo and will be considered as such . " The original word contradicts himself. The choice between symbols and word marks is deflected by Bologna with " Simple" is the standard answer for a a discussion about the Coca-Cola letterforms . He uses is just the drawing of an apple . this would be a recipe for disaster. + : 1"A L. Country only retains to both the Coca-Cola word mark and the N ike swoosh by consistent control of the logo and context. unfortunately. t he shoppi ng bag fo r Butterfi eld Ma rket inco rporates picto ri al elements and pattern s." a restaurant (Country) with more than thirty Alternatively.

logo can never save a bad product. The applications are the vehicles for the success. The Bologna's logos vary from simple one-color logo operates as an identifier and as a prop solutions." versions include logos that look rubber- Bologna continues. exciting flavors. and clear typographic language communicates the company's commitment to quality. This statement is a summation different variations to convey the sense that of the common problem of misrepresentation. These from companies that lie to their customers. The addition of a sense of reassurance adds to the success of Bologna's logos. and ease of use. This solution is often used on logos designed The logo is a promise. the customer will feel betrayed. 74 * MASTERS OF DESIGN * Logos & Identity ABOVE OPPOSITE Country is a Manhattan restaurant that serves contemporary and sophisticated dishes fe aturing locally grown organic ingredients. The identity for Gracious Gourmet takes its cue from the product. Ignore all of the above and try to have fun. The viewer tones for printers or for the web. using gradients in a logo/mark are passe in The power of these logos is derived from a period when you can design on continuous their narrative connection. . of flexibility that is more connected to Misrepresentation Direct communication is not an issue for industrial revolution technologies than digital Bologna. such as the Adobe Design a restaurant. but for your client. 2. such as the Rizzoli R. The interior design of the restaurant is a mix of eclectic details and midcentury modern. "U nfortunately this stamped. unexpected colors. This conveys the warm and playful tone of the restaurant's character." he explains. it has evolved over time. are more interested in producing an overall and the logo will lose all credibility. "Some of the old the customer's knowledge and recognition. If the design you're doing is not portfolio worthy. The logo has slightly he says. 3. failed identities come also respond to the medium used. to complex for the theatrical experience of dining in multilayered logos. the logo can never succeed." impression of history. Don't design for your portfolio. than communicating a hard-core set of corporate values. connects the visual forms and applications Bologna's identity systems have a quality to his or her own internal stories. rules of using no more than two colors or not linking them to a specific time or place. The logo. and a fresh approach to cooking. present on ly two or three of them. glazes. "Identities that fail are the ones reproduction. are designed to give the are too many people who make decisions. The logos for restaurants. 5. don't show it to the client. If the Bologna uses historical idioms to client misrepresents a company's product communicate a company's character. 4 . a monogram of a C. If that promise is for restaurants and hospitality clients who not kept. gestalt. The mix of classic images. is a set of randomly mixed letterforms in multiple hues. Remember that the logo /mark will be reproduced very small. or atmosphere. reproduced with old lithographic becomes the designer's problem . The designer's role is to focus and visually impart Thematic Variations the values and messages of a client. The line of gourmet chutneys. or where there particularly Pastis.Five Logo Design Rules 1. where the owner is an idiot. Classical botanical prints are combined with a rich color palette and modern sans serif typeface for the Gracious Gourmet. or values." A good techniques. The historical forms rely on Achievement Awards logo. The multiple versions "Most of the time. Design ten logos. or hand-made applications. and never show the ones that you don't like (or else one of them are likely to be picked). and spreads utilizes a strong visual brand that communicates the company's commitment to high quality ingredients.

350.350.com .35012'4 ncy .O. the g racIous g ourmet OZ (3ISg) Nancy Wekselbaum P. CT 06752 T 860. CT 06752 T 860 350 '213 F 860. the g rac Ious g ourmet .'2'3 F 860. Bridgewater. OUrrnet fig almond spread N IWl fI ~ancy Wekselbaum :>0. Box 2'8.'2'4 nancyw@ egra lou5g0 rm t . Box 218.· thee ~raCIOUS . Bridgewater.

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. 00 11.. ..... •... . but the attitude communicates a casual lightness contributing to the entire brand experience and concept.. and unevenly spaced letters.00 •.. ..-_ .... Schiller's wine bottles plainly display the quality. 00 11. the logo is based on authentic details of the neighborhood. -. 00 - - . ... A custom typeface simulates handwriting with oddly sized..-_ .. 00 0.RIGHT In order to create a unified design theme for Schiller's Liquor Bar on Manhattan's lower east side... This element does not use the logo...r ... . .. The letterforms were created by a specialized calligrapher. - • ___ - BOTTOM Simplifying the wine buying experience.

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FELIX BELTRAN & ASOCIADOS • Felix Beltran. Cuba. Beltran's logo work is no less powerful. Ideas such as "work hard. Hidalgo. Mexico City. a company that manufactures modular panels for office spaces. Mexico Felix Beltran & Asociados. Felix Beltran & Asociadas * 81 . Mexico Felix Beltran was born in Havana. becoming a Mexican citizen. functional. work hard" pepper Beltran's discussions on logos and identity. OPPOSITE The logo for Estamex. Hidalgo. This varied life has led to the design of some of the world's most exuberant and powerful posters. and later moved to Mexico. Used as a repeat pattern. reinforces the product. and again. designed for the Communist Party of Cuba. trained as a designer in the United States and France. and energizes. the logo maintains integrity. represents Beltran's minimal and c lear voice. but it has a remarkable clarity and rigor. Mexico City.

Felix Beltran & Asociados Minimalism is specific and proprietary. On the the computer is a tool that facilitates broad contrary. incorporated. escalates this rule. work. The stre ngth of thi s so lution is the clarit y of th e soluti on. . Coupled with the rigorous minimal ism. and work. This leads to a vision that "These are converted into letters and then creates memorable and sharply defined into a symbol. Beltran 's logos simple. " For identity system. the lack of surplus. triangles. For example. " Beltran there. Beltran." approach to color in logo design follows While the final logos may seem effortless and similar reductive thinking. No extraneous deta il is added. A common theme in Beltran's logos is "Every element should be derived from the use of an initial letter converted into the project 's content and needs. " For me . The back of the stationery uses th is logo in a repeat pattern . " -Felix Beltran. v v to evoke the front distillation of form was required to create a universal language that the masses Tools could understand . and Pl aka gouache paint. " Simple logos are easier to perceive than ruling pens. He designed his first universally take the exacting approach logo with the letter of reducing the subject to its necessary of the building and its balconies . the tone are as refined as the positive forms. founder. At the beginning of Beltran 's career." Beltran says. relying on detail and refinement are the ingredients to the strength and association of one strong their success. Th e bac ksi de of th e letterh ead fo r Hill Print ing incorporates a pattern based on the logo. " Beltran says. The logo. The shapes refer to the letter H and printing processes. He has complex logos . His logos philosophy creates powerful and memorable support ideas first introduced by Russian symbols that once recognized . The negative shapes of the logos color association. The color and Tadao Ando have a commonality of is given more prominence with the lack of reductive forms in their work. become Constructivists who proclaimed that closely tied to the client. using color in Architects Lui s Barragan. Beltran uses a complex col or palette fo r the accompanying the same minimal approa ch to logos. Forms may is neither yellow or orange."Work.create s the power of a logo . " Hi s logos a geometric symbol. simple with something missing. No superfluous forms are is comprised of sounds.what is not experimentation and exploration. this however." His explains. the same manner as Tiffany blue. where nothing is out of its role . The ochre tone appear to be easily drawn with the circle tool 82 * MASTERS OF OESIGN * Logos & Identity OPPOS ITE NEXT SPREAO The stationery system fo r t he Estamex ide ntity rema in s true to the origina l intent. the primary tools were T squa res." Beltran states. and the placement rema ins consiste nt on eac h piece of the system. But he adds used evolving technology not to change his to thi s common theme that "we may equate vision. all design should be fun ctional . Almost all designers who that a word or symbol seen and heard at the excel in the field of identity agree on the same time has stronger memory associations. John Pawson. the t ypography is consistent with one size and weight. "A name elements. Angles are used for the Grapus-Oisefio Grafico logo carefully considered and echoed. " This was not possible previously. but to allow for more options. a simple group of four sq uares represents thi s idea in the sim plest and most elega nt of fo rms. the amount of rigorous attention to typically are monochromatic. Hospitalaria Coyoac<in is a hospital wi t h fo ur branches. need for simplicity in logo design. me." This correlates with the theory communications. The logo is the pri ma ry foc us with no distracti ons.

Estamex Rosario 245 Col Valle Dorado Tlanepantla Edo de Mexico 03300 53789583 53789776 Estamex Rosario 245 Col Valle Dorado Tlanepantla Edo de Mexico 03300 53789583 53789776 Alberto Zuniga Director Estamex Rosario 245 Col Valle Dorado Tlanepantla Edo de Mexico 03300 53789583 53789776 Felix Beltran & Asociadas * 83 .

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Univers. This "Everything should be functional" is lack of additional elements places all emphasis Beltran 's mantra. " The present time encourages rushing . The extremely simple forms are more difficult 86 * MASTERS OF DESIGN ~:~ Logos & Ident ity . Beltran is the work . and dinnerware. objectives. th e business card fo r Hill Printing redu ces the ele ments of the system to th ei r most basic form s: one t ypeface an d th e H sha pe logo. approach . and the color palette is often one tone of gray. or the business card that has too a reductive approach that enhances the logo . Beltran ." Beltran's continuous refinement The typeface chosen on many systems is and attention to detail solve these problems ." he says. and weight of the type is consistent. enhancing its prominence . Beltran's approach demands a commitment " I have found that the identity manual is often and understanding of these objectives. and this affects and success of identity manuals. This exacting systems give less creative license to the end attention to detail gives the logos a level user. " These should be appreciated in all media . and work." are not clear. following many of the same and give the logo a strong position to create minimalist ideas as Beltran's work. While maintaining cess of Beltran's logos relies on the ability integrity of a logo is difficult with one end user." Beltran says." he says are the most difficult. "This creates "When the needs and objectives of a project incoherence in the logo's applications. The size equity and value . this appreciation across various media. work. and alters its location to become the monogram of t he init ial . The suc- to the confused results. such as Beltran addresses new technologies with vehicles. But functional is not enough. to penetrate the content. the envelope where the space is insufficient The accompanying visual systems follow for stamps. the logo and applications The addition of multiple users of a logo adds can never be clear either." The first casualty in this fast-paced less optimistic . and t he sha pe of the S. much text. " Beltran advises . not instrumental.Hill Villahermosa 186 Col Portales Mexico DF 03300 56889488 Jose Aguilera Director T HI S SP READ NEXT SPREAD Foll ow ing Beltran's minim al aesth etic. in Adobe Illustrator. Th is is a co mbinat ion of a monogram and ico n. straightforward approach of the logo design . and the inflexible visual and complex in creation. a ci rcle. a minimal answer that relates to his visual however." Beltran says . but they are handmade to mishandle. G. Th e Steelmex logo is a reinterpretati on of the client's prod uct . prefers the primary applications. Th e logo for Grap us. which was designed by Adrian These are often the most visible applications Frutiger in 1956. His experience with standards race is the clarity of the client's objectives . "The logo and its applications "I enjoy the most basic. to rigor is the quality that moves the identities Beltran combats this loss of equity with the past successful and into remarkable. " Frequently we look for results While some designers promote the importance that are both fast and easy. a des ign offi ce takes one of design's most ele mental fo rms. on the logo. such as the stationery The austerity of Beltran's logos facilitate where the mark can use up too much space. This maintains integrity of the logo. uniforms . manuals is that they are often not used. of clarity and grace that would be easily mishandled without Beltran 's touch. Many designers cite their favorite logo applications as the most unique . and the easy transmission of files and art creates functional requirements . His adherence a multitude of possible logo use violations. meta l pa nel systems for offi ces an d industry." he says . "Work.

Felix Be ltran & Asoc iadas '* 87 .

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Sean Adams Beverly Hills. INC. light. AdamsMorioka.A. the overall theme of our logo work reflects the attitude of our location in Southern California. humorous identities since 1994.S. and at times. S. Comparisons aside. as in the horseshoe U. and fil m. and I have been called the new Ray and Charles Eames. Noreen Morioka. energy. The glow represen t s the sun.ADAMSMORIOKA . U. the new Donny and Marie. and the Paris Hiltons of Design. California . While the logo and identity systems created are appropriate and unique to each client. My partner. * 95 . clear. Inc. Inc" Beverly Hi lls. • AdamsMorioka. U. The cust om letterforms are modern. OPPOSITE A simple word mark and "glow" are the basic elements of the Sunda nce Insti tute ide nt ity.A . but refer to Sundance 's weste rn heritage. we lead a team working in multiple media creating vibrant. Cal ifo rni a.

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A strong proponent for simplicity. most of the logos we've designed. I use simple in -house news letter when I was fifteen. tion to the local plumber. but the final result is often defined logos also typically ask a question. for longevity. rather than constraining the process.j'II W M G MANABEMEtfT W M G IUKrnNG W M G INVESTMENTS «. and places four languages of the Pacific Rim at the same for multiple millennia. The visual elements are often bright and trends. Complex logos have never 98 * MASTERS OF DESIGN * Logos & Identity As a fast growing and expanding compa ny. like because a logo will always be seen in the a person's name. Unfortunately. and focus on communication. and in a Web environment. of the most important roles of the logo is to identify the client. This was before Saul Bass . . United States' largest interior design centers. which would viewer. This makes the Within the color and playful attitude. so I assume Sau l copied me. rather than to describe It's easy to forget that we rarely. Simple and direct forms best achieve the logo on typical applications such as this. This makes symbols time. world 's best logo designers. but is almost never used.. Our was a program designer in San Francisco and told rules. Pi i W « . The identity ways to achieve mnemonic value. I strive a business card and stationery system. Ii-I. one letterforms and name even more critical . people. for example. the icon is designed to animate and use a wide spectrum of colors. poses the question to the a masthead for their newsletter. I hand drew a terrible apple made up of a series of horizonta l The First Time a simple question. transcending current styles or sign age. When presenting to the client. one of the western logo for AT&T. For example. "Why does it read 'oh!?'" While it is My First Logo My first logo was designed for App le computers' be photocopied and stapled together. We are bombarded accidental step into a solution that inspired by images continuously. the idea of a Since then. This was our first in the Greek classical age. but I know who world. The final product was a logo system extremely effective tools. Human beings have been making symbols The client asked for a mark that could have to represent things. life that functioned like a weaving or textile made today is drastically more complex than life of the multiple languages.. see a logo in a void. in the marketplace for a symbol alone to do THIS SPREAD its job. or what you like to eat. There are simply too many symbols reflect this ethic. corporate symbol has been universally or the systems that are built around the logos. its business or product. The stationery system is printed on both sides.W MG W M G MARKITlNG • iii . The logo is scaled to occupy the entire backside of the letterhead.lli M G cONTftfT p . This can be misleading our work. or television screen to show the logo in context. if ever. Because colorful. The identity system also allows for brand extensions and new divisions. and communicates WMG's commitment to many forms of entertainment and sports. Word marks make the communication Complex Thinking clearer and stronger. adopted. The logo is meant to identify. I H1 " Fi.flO ji . As the primary home for the logo is on air. Wasserman Media Group's identity is designed to represent the activity and energy of the company. one of the One of our first identity projects was for the viewer and create a more memorable response. ideas.. The Oxygen me some friends of his at a new company needed by the system's ability to evolve and change. ) ! " . From every corpora- creativity. I . A one-color version of the logo exists. designed a similar Pacific Design Center. logo. it is enough to engage the rules. My father solutions follow a clear set of processes and forms and clear colors to reach this goal. P. This reinforces the power and mnemonic value of the icon. and the shape and color are two of the most important communication is clear and direct. It doesn't tell me what you context of other messages in the physical do. the attitude is playful.! )." ')I! . I use you are. Yet logos are often a wirehaired fox terrier drinking coffee while presented to the client on letter-sized boards sitting on a teacup will never be found within on white backgrounds..

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and then start visual studies. and criteria. A system client. Fast-moving media such as broadcast element. The logo never is "slapped" onto a corner. before any visual studies begin. The article was "How to Pick of the identity system. shapes. more important than any other: and online will begin to alter the system personal creativity. but the final Do you have a good mix of men and women. and Bergdorf Goodman. patterns. of advice by broadcast pioneer Fred Seibert. the same photographer you've done your best. steps against a bookcase holding the book as the should be taken to maintain the consistency primary prop. Saks Fifth Avenue. we designed a word mark thinks he or she is an expert. '* 103 . Build the criteria and thinking with the client This is where the science of systems applies. The other elements of the identity system. accompanying word mark worked well it can kill it. black and white or color. candid or posed. Oxygen is a cable network that initially focused its programming toward a primarily female audience. I was given a piece AdamsMorioka. who is photographed? to enhance sales of the book. Some projects require Young designers beginning to work in the that we release the system to an in-house field of identity should stop and ask questions. you simply need to let thinking involved in the making of an identity your children leave home and find their own system are critical. Explorations for the logo included a simple ring shape that was set aside due to its lack of proprietary value. All of the logic. or the architecture. print materials. Controlling the logo and usage is challenging. The content of the image choices can be politically touchy. product found its way into unexpected racial divisions. we manage the launch and initial use of an identity system. Everyone can take a photograph. How can you do more with less? My philosophy for this hand off is pragmatic. If someone hates a chair in an image." An exclamation mark was added to convey the network's energetic approach. "If it's right on television for fifteen minutes. the bright red cover questions that must be weighed very heavily. simple. almost immediately. Whenever possible Up Men in a Bookstore. and co lor combi ne to create a packaging line that remains direct without resorting to showy techniques. simple. but given life with a variety of audio cues ranging from surprise to amorous. and Web applications use the logo as the center of a response. so everyone For example. Nail down A well-designed system will inspire creativity the attributes that the logo should address and allow for flexibility while maintaining and make sure you have consensus with the a strong proprietary perception. This exploration led to the sound of an "0. The identity is a simple word mark with a classic and modern attitude. ico ns. For example. made too rigidly can lead to fast rebellion follow the three rules: simple." for all or a group of photographers. age divisions? These are places. On screen graphics. and by the designers who take over the program. Building Sex. wide shots or macro. department and other creative partners. and "Sex" word mark was used in a photo shoot for Cosmopolitan magazine. And finally. The cover and style. and systemic In some instances. A scant- Launch ily clad model is shown leaning suggestively In addition to a standards manual. Also .Oxygen very clear selecting the image attributes: style. Inc. But there is that one way. is a high -e nd product selling at stores such as Barneys New York. Philip B." OPPOSITE TOP A visual audit of packaging in the hair care industry showed that less expensive products had more flamboyant packaging. It's also difficult for Aaron Betsky's book on gender and to get beyond the content of an image.

Each finish is given its own information page. . The humorous and sat iri cal copy is also a critical component of the Via identity system..•- ~~ --.. twentyeight tones.. seven finishes.- • -• • • •.... _ ..... ... . _ ... inc lu ding a squirrel and talking horse to explain the se lection... is: Via Smooth _--' Dude.. The visual system also includes a set of mascots. where's any pa.--. coIots. and I need 10 know what paper is right lot my ptOj~t...THIS PAGE Via is a large line of paper products from Mohawk Fine Paper.-- .. rather than hierarchical. The vastness of the line.t's Via? Dude.. They range in character to help with identification and clarity between finishes.. ()( w~1 "'ppened 10 Ihe paper I'm used to ()(denng? 104 * MASTERS OF OESIGN ~:~ Logos & Identity .. required a set of logos to identify each finish. wha. Natural SOC Its qualities. ..•.....For_ My proje~t -.. The relationship of the finishes to Via is expressed as a hub and spoke diagram on the website.... _at .per? I need to know about Via finishes..

such as the stationery." I" W I U\.. add ing persona lity and suggest ing movement even in the simp lest applications. for example. EDBoNE FILMS ReDBoNE FILMS REOBO NE FILMS REOBoNE FILMS .THIS PAGE ~ EDBoNe FILMS Ne FILMS Red Bone Films' four identity vers ions are used interchangeably in the system. The Red Bone dog "jumps" from one side of the business card to the other.0<. The symbol of the dog interacts with the type as though it is alive.p REDBONE F I LMS .

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110 * MASTERS OF DESIGN * Logos & Ident ity .

London. including Europe's highest and fastest roller coaster. OPPOSITE Seven million people enjoy Pleasure Beach. The identity reflects Pleasure Beach's history but updates the forms for a younger attitude. The park has a dozen roller coasters. but the logos never fall into the banal or predictable. cofounder of JohnsonBanks. The other side of the coin is to use one unique style on all projects.JOHNSONBANKS Michael Johnson. JohnsonBanks creates logos that are uniquely appropriate for the client. Michael Johnson. and ice shows. an amusement park which has over 130 attractions. United Kingdom Some designers belie e at the of the designer should be in isible and no style should be imposed on a client. and cabaret. circus. JOhnSOnBanks" 111 . designs logos and identity systems for clients that merge both philosophies.

112 * MASTERS OF DESIGN * Logos & Ident ity .

should stand the test of time. The logo is given the latitude to exist in a variety of colors. The same solution and reasoning project will come along." Johnson says. fantastically easy to use and apply. because we While a symbol is used successfully to help exist in a specific time and place. "Every time I think word that needs no extra identity baggage that I've fixed my view about how an identity other than small typographic twists. imagery. varied technologies and media he just as quickly says. Typi cal ly. Trying to narrow Johnson's philosophy into one simple approach is impossible. Johnson doesn't deny the ease of static A nondescript word mark might be lost in logos. The simple The symbol (about love and art) helped to application of a lens flare applied on the top differentiate the client in a crowded United of an image serves as a nontraditional logo. Johnson adheres to this when determining the choice of a symbol or word mark. The success Boring Words of this identity is based on its craft and Influential designer Bob Gill once said.Johnson's logos are unexpected. yet they're draws power from its name. and I'll realize that are applied to the company More Th>n. This Time and Place is a key ingredient in his ability to create Designers commonly attempt to do work an identity that is unique and appropriate. The logo for anything in my power to avoid this. identity for BFI is an example. Unfortunately. but it THIS SPREAD Pleasure Beac h's identity system has the ability to use very expressive typography. a word mark prove challenging. "Some might say I still is just as readily adopted in other situations. doesn't always work out that way. but the choice of applications and the provocative placement of the exclamation mark logo." provide another layer of meaning and message to this seemingly obvious logo." he says. not only the printed materials and signage. This guideline increases the designer's ability to create unique and exciting applications. updated activities and attractions. this can communicate an oblique idea. "The opposite also choices have led Johnson to rethink the applies. everyone who visits has an opinion (usually 'I loved it")." to do the heavy Iifti ng. naively cling to the idea that a good identity The logo for Shelter. having no fixed modus operandi is what The context of the logo and its applications makes life so much more interesting. Johnson's willingness to allow the words "Boring words need interesting graphics. vector logos are a competitive landscape. but I know deep down for years in identities that can change and that sometimes a symbol can be fantastically adapt to their surroundings." He uses a symbol in situations where "I'm thoroughly bored of the 'logo that goes the name or messages of an organization in the corner' syndrome and I will do almost don't communicate clearly." Johnson should look. "Shelter is a great also entirely appropriate. feel. or communicate. My default setting is probably drawn idea of static logos. The identity is based on an exclamation mark. a new explains." The the Art Fund is an example of this solution. "I've been fascinated toward word marks. "Obviously one color. Thrill seeking and the unexpected inform. But Increasingly. so it shouldn't JohnsonBanks ~ 113 . useful. that is timeless . This response is paired with forms that reca ll Pleasure Beach 's 100 year history. a homeless charity. and rich color to convey the fresh. Kingdom art funding and art charity market.

you are welcome.THIS SPREAD Addressing the issues of homelessness and unacceptable housing conditions. * Logos & Identity ." with the Shelter logo communicates exactly that. 114 * MASTERS OF OESIGN Most of the world knows what a welcome mat looks like. It's meaning is clear. it approaches the challenge head-on and without apology. The logo and identity system have the same approach as the organization. Switching the word. Shelter is an organization that helps more than 170.000 people a year fight for their rights and find and keep a home. "welcome.

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There is no room for misinterpretation.TH IS SPREAD "People just seemed to think I was nuts when I argued for logos that cou Id change years ago. such as posters and advertising combine the ident ity system with the objects it represents: painting." The National Art Collections Fund had been the well kept secret of art funding in the United Kingdom for some time. all owing fo r multiple uses and va ri ation . . galleries to keep works of art in the United Kingdom and on public display. The logo communicates the idea of "loving" art pla inly. and app lied art objects. sculpture. With 80. The icon is mutable.K. JohnsonBanks I 116 * MASTERS OF DESIGN * Logos & Identity ~.000 members it provides an essentia l fund for U. -Michael Johnson. Printed matter. cofounder.

" consultants ...." Johnson says. is how to maintain consistency and thinking about how an idea will work in a clear message in a constantly changing a moving or animated form. -._.." The stellar reputation of of now and less classic. and that was quite The advent of motion graphics and the a salutary experience.. rigid . Johnson has also found get the identities they deserve.-. Failure occurs when a client demands "I think the prevalence of three-dimensional mediocrity... . This. standard bag of tricks..... Web has meant Johnson is constantly then. There are a faster turnover is good for business and some people that simply don't want to -_ . Johnson 's philosophy is direct. " he says..... JohnsonBanks attracts blue-chip clients " But I still hold on to the idea that a good with vision . " Johnson says. the work with Johnson hire him for his thinking. -~ implies that identity design can be more be interesting.L .- •.. • decades... " Luckily... ... The clients that The willingness to allow for change ... identities that are one rings us up to tweak .. logos now will look very early twenty-first " I guess you could argue that organizations century.-- ...." he says ........ ". . ~ ... They are conceived as behaving issue of the individual. as opposed "It's probably no coincidence that dull.. " The trick is JohnsonBanks * 117 ." The question posed. Johnson 's solution addresses the animated..." Johnson says overly static and rigid strike me as inappropri- " No one sits in our studio and says ate in the multimedia environment we now 'Can you just repeat what you did for them live in ... and sometimes it does. " Obviously dull...... an identity with a kind of digital date. a faster turnover for logos now..... can be a positive." His approach to sidestep dated logos includes Johnson 's ability to design a logo to meet avoiding any digital effects that will stamp multiple challenges results in success ." themselves . to longer-lived identities of the past... "' . Before we became logo designers... . -~--... . and with a variety of creative not designed in a static form and then partners... ... and formulaic organizations prefer he claims..... rather than adding more rules to a rigid system.......Art Funders this way be too trendy or time-locked in its art to make people want to get involved in direction style ." Johnson says. " I love the a project.. .. no system.. " The schemes that for us?' They might admire the thinking are overly policed by in-house logo-cops that got us to a solution .. we had to earn our spurs applying other Moving Ideas people's schemes.. The logos are environment.. "As I've hinted . but they never are such a drag to work on for other design want the same solution. rigid .. unexpected." he says... not just grin and bear it to pay idea that some of my work might last for the mortgage.. . Johnson's logos never repeat logo could last for ages... and they don't rely on a . . -. and the accidental is inherent and they understand that the visual form in Johnson's approach to an overall identity is a product of this thinking.. formulaic identities. ~..

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I sat in a cinema watching some Hollywood blockbuster (I think it was The Matrix).The Strangest Place My Logo Appeared Many. and I designed a logo for one of Australia's biggest insurance companies. . many years ago I worked in Sydney. there it was. I was young. I nearly fell out of my seat because there was myo id. Twenty years later. and I forgot about it. The company had painted its logo on top of their building. and as Sydney had then become the city of choice to film blockbusters. Australia. it wasn't that great (actua ll y it was pretty awful). MM I. forgotten logo. and at the movie's finale that invo lved some very fancy special effects and a fal lin g helicopter.

He finds way of working." Johnson irrelevant." to use a few simple elements. and what seems natural to us." Johnson typically turned into a positive outcome with always desired . He uses review meetings as a collaborative In other words. and I've usually designed them no time in art school thinking about identity." sacrosanct. " He also maintains a common a client mentions 'posters. The designers regularly thinking. actually." Because most logos and identity systems the solution to be an inspirational identity are eventually handed over to other creative system and staying involved with every project As the design profession evolves. " Some of our cultural changeable identity schemes were just in our heads. the BFI logo began to be more difficult than any other. convergent with new technologies. very few students seem to be a unique kit of parts to maintain a cohesive message. Johnson designs the standards explains. "We're still learning how to get what's Johnson's attitude.in motion from the onset of creative he doesn 't find any specific applications hasn't. But they spend practically and consistent set of criteria to create and immediately. be inspirational. Color is a prevalent component by the end of the meeting. and whether to amend the as an animation and was then repurposed challenge becomes the maintenance after guides. For example. " If we can find his favorite logo application ." he says. " That's meant we've had up to a year that can adapt to their surroundings and a bunch of restrictions. and after its release. Johnson 's approach is to do finds less interest in logo and identity design advertising agencies. Johnson partners. or posters for film festivals. but the designer inside describes me as a huge mistake. identity design isn't going think tank to determine what is working away. " One of our most consistent The strategy of implementation is important interested in logos. but he takes a more liberal app- constant is the organizations' need to identify is a critical phase in Johnson's work . practicing them . in England at least. Johnson creates this. Johnson typically says . But for Johnson. 'ownable' approach to Johnson . Johnson describes the shift in a logo is released.' my ears perk up personal projects. out any problems. A negative is irrefutable reasons for flexibility that we've the clients' day-to-day suppliers. in-house departments. " This strikes approaches is unique. or the money. in a way that can can't afford to do the manual early. and to decide what areas need more thinking. among students . of this lack of experience requires on-the-job "Sometimes color is paramount." designing them . " I'm a poster crammed with ambient advertising. choosing a specific color to stand transition." The result of all Johnson-designed identity systems. If our experience is anything to go by." Johnson Now. "The challenging part now with metal walls. always will be." Johnson Rules and Regulations training at JohnsonBanks. "The one element that remains The identity system's use on applications manual. or a typeface. currently." he explains. "When online clips." he says." The alternative is sometimes to tryout the scheme and iron appear less monolithic than before. we'll draw or modify man. and not feel like says. everyone's interested in schemes be followed. out is important. themselves in unique and interesting ways. " Before. Others believe they are now "Brochures or websites all change. down on paper or on a PDF. flexible. says. and what it's getting more and more important. is that virtually all of our systems are sooner magnet up all the work in progress and "Changing technology has supplied the or later handed over to in-house teams or collaborate with the clients." 120 * MASTERS OF DESIGN * Logos & Identity ." Johnson says. The JohnsonBanks office is built as a logo. While roach than previous. immutable processes. or viral a reason. "If a client inhabits a very color-coded The systems manual is a document in teaches young designers the process of logo sector. the improvement. Their portfolios are to typography. select imagery. and they limited to television broadcast companies. clients often are short of money. Some designers treat them as making and identity from the ground up. "To be honest. even if it is only a few hours a month. It's quite an interesting this is what leads to stale solutions. what has worked.

There are four versions of the logo. . There are no other confusing elements of communications added. Waterloo I MAX. The identity provides visual glue holding the many activities in one place. The tone of all communications is minimal. but misunderstood organization. The logo is based on the cinematic icon of a lens flare. 121 . A poster for a series of films with Marlon Brando exemplifies the changeable lens flare logo and typographic system. JohnsonBanks . but are oriented in different directions to provide ease of use to the designer of any application. The Institute's activities include publishing. The Brando poster has two primary messages: Brando and BFI. They all share the same lens flare and letterforms.TH IS SPREAD The British Film Institute is a well-known. the London Film Festival. and a myriad of other activities.

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A.C&G PARTNERS Steff Gelssbuhler. but not as a logo. This approach has led to the creation of some of the world's most recognizable experiences. New York. Their identity work is based on principles of clarity.S. Ke elmeta athan Alger.S..G ParIne. New Yorl(. after working together for decades at Chermayeff & Geismar. OPPOSITE The peacock was used b¥ NBC In the earty days of color televiSion as a symbol of the transition from black and white to color prosrammlne. and Emanuela rigerio founded C&G Partners in 2005. New York U. U.lenl 12$ . and other Imagery. the peacock was used as a pivotal Icon for this large media network. e. simplicity. After numerous unsu&eeSSfu1 attempts with logos USIng the company's initials.=~========= Steff Geissbuhler. C&G Partl. an abstraeted N. and universality. New York.A.

to the sharp edges of the N and the meeting point of the feathers.THIS PAGE The peacock logo is an evolution from a detailed illustration to a simple. The letlerforms echo the shapes of the icon. from the curve of the C and the edge of a peacock feather. bold symbo l where the colors represent both NBC's divisions and the spectrum used in te levision. 126 * MASTERS OF DESIGN * Logos & Identity .

used by itself.THIS PAGE NBC recognizes that each comm unication contributes to the overall impression of the company. "A mark. facilities and equipment. the danger with basic definitions. His pragmatic approach is as direct as the which is meant to express a notion-in this focused logos he produces. We refer Geissbuhler designs a logo to be a visual to this as a word mark. needs Working with large-scale corporate frequent exposure before it is associated clients demands a high degree of clarity. "Very few symbols or marks skill create this illusion . etc. A mark on the other expression. maybe even a coin. When the identity system includes effortless. Geissbuhler begins Even in this global communication ." he explains. on signs. "A symbol ization . The NBC peacock a reduction of a complex message into a single is a good example. he adds. marketing brochures. some segments of the audience call a logo or trademark. Often. a forest. stationery." The Nomenclature is often the first stumbling NBC peacock is an example. like a bird. security. incl uding advertising. These marks are deceivingly a symbol. organ- nomenclature further. are identifiable and recognizable by themselves without a name or word accompanying them. In the instance of a name being a common one. Geissbuhler's There is no uniform answer to the word mark philosophy follows the theme that a logo versus symbol approach in Geissbuhler's can never make a client's service or product work. while the client screen. C&G's experience and exceptional or master-brand. one that will solve every problem they have. the symbol appearing to be the only logical option for is used to link all aspects to a parent company each client. for example. hand is an abstraction. client's business or qualities. we establish exists that without the name NBC attached a nomenclature for what we generally now to the symbol. The identities clearly exemplify the concept of a logo serving as a foundation for the The on-air animation of the logo begins with a variation of the ubiquitous color bars of television. C&G Partners '* 127 . they quickly evolve into the recognizable peacock form. combining the medium of television to the NBC brand. as in Barneys New York. They share a commonality of a variety of sub-brands or divisions. spells out the name and communicates the performance. Geissbuhler's big picture thinking is apparent in the instances where he has to create visual system. the designer given widespread and ongoing exposure on the speaks in one language. absorbing no translation is necessary. Clients can think case enclosure. and communicate the brand. and in advertising. "The word may read television. a word mark will not suffice. like the Chase logo." he says. logo is actually the Greek term for word. or product to identify. The new identity is integrated across all platforms. or shorthand for a company. and on-air animations. represent." Nomenclature he cautions. business forms. The logo is the sun. "A visual identity is like a sponge. The word mark what we associate with a company's quality. and most direct way of identifying an entity." of a logo as a magic bullet. speaks in another. It is the creation of a personality. "First. but not NBC. and history. represents a recognizable thing. in print. He believes a word mark is the simplest better than they were in the first place. immediately with what it represents." Delineating the device. This symbol is block a designer can face.

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Today that same logo stands for absolute corporate corruption." C&G Partners * 129 ." he continues. press kits. or company it represented Geissbuhler's identity systems would never have failed . rare books. already understand." Geissbuhler explains. to make adjustments later. " I often use the example of succeed without clear guidelines that explain Enron ." he jokes. color. Rather than celebrate the past. it fail s. and a line of branded merchandise." Geissbuhler's position " I do believe that the most challenging on logos that fail relates to the idea that a aspect to creating an identity system is good logo can never make a bad product good. product. low and high resolution." logo itself. the door open for evolution. To celebrate the library's lOOth birthday. Ri chard yet wide. and with something only relative to something you each color being distinct from the other. "Paul Rand . and imagery make a system that Returning to the core message. on which one takes the lead and becomes Simple logos are still the most memorable the most important element next to the and ico nic.TH I S SPREAD @ The New York Public Library is a cultural attraction and a center for scholarship. and digita l fi les. manuscripts. braille. music. suggests posters. spin Multiple elements such as typography. different media. Other identities have failed because the service." he explains. signage. However. only the very basic age. palette that works in any Saul Wurman has said. "You understand combination and each media . Building Blocks where graphics can move and morph. The logos forms. If a color scheme or coding is part of the system. including stationery. in black and white understanding of the need for simplicity or in a single co lor. derived by treating each letter in the word " library" differently. Geissbuhler accompanies the logo. Typically. a specia l visua l brand was des igned to hel p launch an ambitious capital campaign. "It all comes down to what is challenging of these components depends appropriate to the project and makes sense. with today's technology in terms of reproduction techniques. the final graphic solution conveys the diversi t y of the institution's collections and holdings. posters. something we can relate to. and blend. banne rs. designed a beautiful logo for the Enron standards are established in the beginning Corporation. The identit y system is applied to a vast amount of collatera l. invitations. one of usage to other creative partners involved the great graphic designers of the modern with a client. " The most states. in form. "You should be able to embroider in design. to establish firm enough rules to guarantee The success or failure of a logo is inexorably consistency and at the same time to leave linked to the product or service it represents. rather than having more flexible than more complex solutions. Geissbuhler considers all of these an ear in restrained and uncomplicated applications and options in mind when initially form has proven to last longer and prove designing the identity. Geissbuhler's logo for Time Warner pixilated and be able to function in any other is a strong argument for this simplic ity environment. all variations are examined. The combination of an eye and it. Being Simple One of the traits common to designers Every identity Geissbuhler designs now needs who excel at logo and identity work is an to work on the Internet. If an identity doesn't make a co nnection with he finds the challenge to create a distinct.

the essence of communication. Warner was primarily concerned with entertainment. ~- 212-674-9100 .. the mark has now become the symbol for TimeWarner Cable.THIS SPREAD When Time Inc. The new logo is a pictograph combination of an eye and ear. receiving and sending .. the new company lacked a trademark . reading and hearing. E OF NEWYORKC -. Originally associated with the corporate parent. and Warner Communications announced a merger. Their common denominator needed to be much broader: looking and listening. • T I M E A TI EWAR E CAB I. Time with journalism. one of the most profitable divisions of the compa ny.

RIGHT The logo. . is given power and variety with extreme scale changes and a commitment to high printing standards. giving the logo the ability to maintain and strengthen proprietary value with a consistent and specific color of blue. a one co lor icon. This is critical.

Guide effective implementation and evolution. sketch ing. later on. or service. interview ing the top people as many templates." marquee or posters. "For a theater it might be the swastika. The typ ography stacks in such a way that the first three letters of the word Theatre are set apart to allow for the double reading of The before the full name of the company. I enjoy the animation of the logo." This list repeats Geissbuhler's commitment to communication. 4. to evolve before firm rules are established. This is most maintains.~TURE eb~ANY and are distributed in digital form. typography. Present the proposed design with examples applications. all day long?" Ask these questions: What makes sense-changing 1. covering While Geissbuhler's identities are designed size restrictions. And Geissbuhler's Don't only depict the organizat ion as it is today. Remember what happened of the mark in use. 132 * MASTERS OF DESIGN ~:~ Logos & Identity . there is an obvious sense of joy don't always solve problems. 5. put extensive graphic guide lines on a company's website. Quite often it's the identity system to be tested and able painted by volunteers from memory on a wall. Rather than relying on elaborate printed guidelines and manuals . the relationships between to function in multiple applications. pretty strange and entertaining interpretations and futu re needs. Define a conceptual approach to begin the name or abbreviating the name' Is a symbol elements and standards six months and a year after implementation. trying and logic.000 year-old symbol of the he says. Create a series of design possibilities. more elaborate guidelines with samples of of that logo. Who wants to have their identities design development." mind the 3. day-to -day basis. These applications should be the most relevant ones for that specific entity: airline and an airplane. "It absorbs the quality and apparent in the resolution of the logo's performance associated with its business. The success of a logo. A vibrant palette is added to the identity system. or a piece of wood.THIS PAGE The Signature Theatre Company name is reversed out of a cloud of signatures that extends along the edges so as to reveal the names of several recognizable playwrights. For an art museum it out. food boxes." he recalls. or application that different locations need to have access to the will be the predominant carrier of its message . He describes which applications product. Advice for Identity Designers The logos and identity systems designed by or mark more appropriate? Or is the name by itse lf more powerfu l and unique? C&G Partners are among the world's most While the process and reasoning behind successful identities. produce a master disc containing only the most basic rules and specifications. and exploring." Geissbuhler inherent in Geissbuhler's work. Evaluate the problem in the context of current Both the basic standards and. THE~. It really depends on what is the most visible and important application. Each identity has a specific message that In cases whe re a large number of people in is the priority. prototypes. whi le avoiding cliches and trendy expressions.Iij. provide the greatest pleasure . the peop le who embody applications as possible before publishing applied to boats. Include members of their anticipated audience. art and specifications. might be the publication system. pet peeves? "I personally find doormats and Another practice that has led to the success elevator carpets a particularly strange place of Geissbuhler's identities is the advice for a logo. water the company. or actual a few years back and have since seen it in the organ ization. while weeding out the merely fashionable. Listen objectively to the client's description of the problem . cloth. and color. the media. and maintains the highest degree of craft "Just keep in mind that a trademark or logo Otherwise known as thinking. This allows pumps. "For a television to Paul Rand's beautiful Enron logo? Never Show a logo in a wide variety of app li cations network. there are the identity's various elements. given to clients that they revisit the identity trampled and stepped on. and contexts. each identity project is carefully constructed however. We all know how that turned out. secondary unexpected instances that provide surprise. but how it wants to be perceived in the future. I've seen some 2. and tents. who'l l deal with the identity on a the graphic standards guidelines. 6. latrines. lawyer and stationery. is directly connected to the product. TV station and on-screen appl ication. C&G also creates "We designed the identity for Mercy Corps Do intensive research. bricks. 3. applications are often published on a website. further highlighting the remarkable efforts of an essential cultural venue whose sustained artistic excellence has generated a deeply loyal following among New York's highly literate cultural audiences.

typographic standards. colors. The identity system includes the logo. speCifically a crane. The choice to portray the brand as approachable with the open and Simple logo. The logo is a Simplified Icon of a bird. C&G Partners • 133 . The logo is applied as the primary Image for the Crane Business Paper promotion. and pure colors IS made to address a Wider audience. The tone of the materials is professional yet approachable. and production techniques.THIS PAGE Crane Paper is one of the United States' best known brand for high quality papers. The promotions Include a vanety of techniques such as embOSSing and debossing to articulate the papers' quality.

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" If this statement portrays Kagarov's process as fanciful or ungrounded. Imadesign Corp. OPPOSITE The Idea' festival. * 141 . approaches the design of logos and identities as if he were creating another reality. rules. in Moscow. "I design this world's own language. Moscow. Moscow. and culture. hard work is a necessity for making this world real. . The poster for the jubilee 10th festival introduces the logo in the midst of powerful and vibrant imagery. is the national advertising festiva l in Russia. Erken Kagarov. Russia Imadesign Corp. "The creation of visual style is like creating a virtual. imaginary world." he says. Kagarov insists that while this new reality requires a strong vision. founder of Imadesign Corp. Russia • Erken Kagarov. which is held in Novosibirsk.IMADESIGN CORP. nothing could be less true.

.. "For example . of the project.. "Generally the whole world is changing.-_ _ . and it creates a style for all and polychromatic.... --." This provides a to logo design over the past decade. and that has influence on both the logo and its implementation. " Kagarov says. each group.. and adapting the visual forms of a logo have been tools Kagarov has used to create some of Russia's best identities." "Consistency of language and visuals in a film is the same as consistency in a logo Digital media has changed Kagarov 's approach and identity system.. 142 * MASTERS OF DESIGN ~:~ Logos & Ident ity .- ------ -. but for Kagarov. Hal." He uses the correspond to the client. r::----. is needed.... important to remember the audience needs "form follows function..n This hard work includes determining the Modernist Theory inhabitants of this world-who are the internal Kagarov has no preset determination of and external audiences? Who is the decision a specific style for his logo design. Simple forms the exact image ._ .. Understanding the changing needs of culture and society. . "In our was on the rug in front of the bui lding entrance. maker? Who are the stakeholders? Once these field.-. questions are answered .. we need to maintain in an instance where only a simple reading ItlAeR! the interest of our audience .. or the distinct world. " then I find appropriate to the content. the task becomes that's why form should always be subordinated -Erken Kagarov. -------_. Doing something simple and Following the concept of designing a language unpredictable is not easy. " Logos that fail are to be given a logo that "appears to have an not designed to communicate.. for a new reality. finding the best way to communicate with to the communication goals. " Unsuccessful logos do not appearing in different ways. or product. a logo may be evolution and variety in usage of the logo. This is about the characters and the plot of the story we are telling... " Once I have made these "Every logo must be designed into a form determinations..." he says. "People are changing.. we are working to solve problems. complex and interesting with great flexibility.. He continued interest in the logo and its now believes a logo can be not only complex applications.. . Imadesign Corp .- ..\ItlOHaflbHbliii cpeCTItlSaflb peKflaMbl "Just like cinema." Kagarov explains. fo under. interesting history..- -= a . The logo's usage and are designed with style that ignores the needs applications should develop over time." of logos in the world... Kagarov believes it is Kagarov is citing a primary modernist concept. that typically are best... everyone wiped their feet on the logo. incorporating the shifts of audience usage and perception." analogy of a plot to describe the need for he explains.:~~ 0.." In basic terms... but also changeable the elements in the service of the message.... -:. and dynamic. _ _ . this is sometimes The Strangest Place My Logo Appeared Th e strangest app lication of one of my logos ® challenging." he says. company.. c.. " he says.. but due to the amount can specifically express the idea of my client.

and the need to go deeper into ones head to find ideas . use traditional typography from the identity system's elements. Imadesign Corp. is painted to give the sense of spontaneity and energy. The simplified forms retain their message and create a strong solution. ~ rL Applications use traditional Russian motifs and focus on the primary image. The star. Bright and multicolored. Functional applications such as the website.~ ~ HOBOClII6l11 p 18-20 MaR VIAe 10 Ha14 Hall bH bl ~ cpecn'B llb p KJ1aMbl www d THIS SPREAD For advertising messages calligraphy was used to give special expression. the logo creates a fresh and dynamic image of the Idea Festival. '* 143 . which is the main element of the logo. A one color version of the image functions as a logo on merchandise. This expresses the process of creativity. a combination of a nested doll and light bulb.

TH IS SPREAD aTnaCJlKJI(C "I enjoy doi ng what I haven't done before. The vegetables are associated with growth. The symbol represents a combination of two Russian cap ital letters f rom the name and is reminiscent of the light rays of a kitchen lamp . 144 * MASTERS OF OESIGN * Logos & Identity Atlu s Lu x Kitchen Furniture Stores is a leade r in the market of Russian kitchen furniture manufacturers. in creasing recognition in tandem with the logo. Photographs of vegetables are se lected to correspond to the identity systems' colors. The word mark is built with the Univers typeface which has a highly refined fami ly of different weights. cooking. Imadesign Corp. founder. and the kitchen They are successful brand identifiers. A style guide maintains cons istency with the logo and its applicat ions." -Erken Kagarov. .

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'* 147 .THIS SPREAD The store design for Positronika uses the primary identity colors. This reinforces the digital and technical focus of the brand. It is a string of interlocking lines that has a festival nature. bright. and black to identify zones. simplicity of choice. reflecting the simply and "friendly" tone of the logo. The interiors use identity elements and maintain the theme of openness and friendliness. identity elements. Reflecting the wide range of goods. and pleasure of purchasing. which reflects the store's technical orientation. Supplementary colors are used for identification of sales area zones to simplify navigation. The systems manual is a guide to the logo usage. white. Each product group uses a unique color and pictogram. and color code requirements. The symbol is related to the structure of the atom. and multicolored. It is presented ina simple and clean fashion. light green. n03UTpOHUI<a Imadesign Corp. the symbol is dynamic.

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-I\ q =-- ------- -- _.:. '.-e - =.:. The logo and identity elements are associated with vodka of Russian origin and create a strong and vivid image. RBT provides a fu ll range of services to business with trip planning and management of corporate travel expenses. and organization of conferences.". ' . .51817 '1iJ8SS Travel OPPOSITE THIS PAGE Medved Vodka is a " lux" class vodka brand for the Republic of Kazakhstan market. '* 149 . One year after being introduced Medved Vodka became the leading vodka brand in the Republic of Kazakhstan.. visa management. The iconic bottle shape underlines product purity and transparency. 83::: • -Ii .-- . The logo's dotted line represents RBT's three main services: reservations of air tickets and hotels.:. --- Imadesign Corp. - _.- .

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.BAR ES&NOBLE BOOKSELLERS .* * *w * * ~ LOEWS HOTELS ~ .

TISHMAN SPEYER .

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U. California.MORLA DESIGN Jennifer Moria. contains relevant case studies and interviews. this philosophy was in contradiction to all accepted identity rule. this attitude began to change. and a system of Helvetica and navy blue only. OPPOSITE Recognizing the need to strengthen their appeal to the design professional. identity system design.A . and highlights products and company benefits. California. U. A system in 1960 might be as simple as a black-and-white logo. San Francisco. With the introduction of additional media and greater technological choices. When Moria Design was founded in 1984. Logos and identity systems were historically rigid and unchangeable. Moria Design. including this sixteen page semi-annual magaz ine. The applications. Moria Design * 155 . DWR Profile addresses topical design and architecture issues and showcase mid-century classic and contemporary furniture and products.S." Jennifer Moria applies this thinking to her logos and specifically. San Francisco. ----I A Chinese proverb says "the reed that does not bend will break.S.

but a visual systems. As nondesign of the digital era. and tone. signage. anything a logo on a carpet and have the audience walk to be flexible. navy blue. "The applications for each logo The seemingly simple determination of a Moria's expertise in logo and identity design. her attitude "A symbol often can be scaled down to toward the visual system looks in the opposite Moria's identity system for Wells Fargo Bank a quarter inch. without falling into with the same passion she has for color and thoughtful way to promote the message the predictable and dull. the character of the company or brand. Once again . It should succeed of corporate and consumer applications." she visual systems that support the logo." as the critical messaging. the concept that in one color or full color." Each have limitations . "The burden of creating Increasingly diverse technologies have should be flexible and adapt to a variety of a successful corporate or brand identity expanded the opportunity for communication. all of language. symbol or word mark is as carefully considered even creating the building barricade graphics. While other language and visual system that supports designers may design a logo and then create Symbols the logo. and make sound. and private banking materials. Moria's response was to embrace and surprises. create equity for the brand and the logo. Moria creates accompanying all over it?" she asks. bank in the West. succeed in both print and Web environments . and law were encouraged it must be able to evolve. as the logo itself." This serves as a pivotal Moria's logos. supported by consistent. a rigid and didactic approach . ATM cards. making it very appropriate direction from the immutable systems of the reached every consumer touch point for Wells for digital and online applications. multicolored. communicate the integrity of a logo. They do this and vitality in the logos. wi th co lor usage. providing explains." The willingness to allow this of carpeting. branch signage. " Both symbols Fluid Systems she says. "It should reflect their DNA . I try to create a visual vocabulary should not fallon the logo itself. wayfinding and identify the company or brand. The Wells Fargo Bank materials She describes the need for fluid systems elements are then applied in a unique and remain fresh and creative. spun. colors. Echoing Moria's philosophy that rejects that allow for a new expression of the identity. business. again as the sole design element on a plethora manufacturing. and it should be able applications must maintain the same level of each individual in society was creative has to move and animate in a way that reveals care . applications. now are broad: animation . such as medicine . Many of her logos are allowed photographic or illustrative styles that example of Moria 's ability to maintain the to be one color. but in Moria anticipates the broad range of applica- that is adaptable in a variety of media. 156 * MASTERS OF DESIGN * Logos & Ident ity ." she explains. finance . Moria check designs. These the system. She designed and oversaw downside to a symbol is that it has to be Helvetica . Moria uses the example expanded. "A good logo should reveal goes response. "I think rigid confines of the brand. and enhance the logo. proprietary mass marketing for the public to recognize with the multi platform needs today. and a twenty-four-pica production on all credit cards. but it a strong foundation . a system of Fargo Bank. complement each other." she explains . "Is it really appropriate to slap a company's message. Her visual systems encompass which created a unified system for " the oldest The concept of fluidity is infused into all of a vocabulary of fonts. two color. but to allow the identity radical flexibility is not a freeform. The understanding versions for different media.LEFT Th e DWR Profil e logo ac kn owledges the Design Within Reac h identit y and its midcentury and contemporary products. object is one of the qualifying elements of explorations. Moria integrates Moria's design process is rooted in an of inherent limitations of the logo as a singular the need for multiple versions into the earliest analytical and methodical philosophy. brochure systems. patterns." she says. packaging. while allowing fle xibility in animated." the successful implementation of a design tions as a logo is being conceived." creates not a visual system. The to explore creative thinking. and rule at the edge of every page will not function ATM signage. The 1950s and '60s. "For a logo to well-conceived logo was applied over and over professions. It ext ends th e vi sual language t o create a one-color logo t hat foll ows basi c tenets of moderni sm. The need for flexibility was also demanded were more appropriate prior to the advent Moria cites numerous instances where a by a rise in the " creative" class. large scale. morphed . "All of these have unique confines and word marks can be equally successful.

O~ I 30 loll . typography./' THIS PAGE Infuselle is an upscale product line from Shaklee. and the shapes of the bottles: rectangles and circles. The bottle caps are color coded with specific anodized metal tones to identify skin type categories. shapes. a mail order beauty and health care company. and materials. inf useLLe RY D RATl N G TONER TO NlFIA HYD llATA u se l l IL FJlEE WE B I in fuseLle I F1. The Infuselie identity system includes color. The logo's forms are repeated in the design of the packaging.

represent the many types of personalities and individual and style options of the product. The concept of the consumer as creator of their jeans is enhanced by the word mark and imagery. The black-and white photographs.THIS SPREAD The logo and identity system for Levi's Original Spin refle ct the nature of the product. 158 * MASTERS OF DESIGN * Logos & Identity . a key component of the system. custom designed jeans.

Levi's· .

' -... The script word mark is derived from forms originally drawn in the 19th century. . during the California Gold Rush.. From its founding in 1852.. 160 * MASTERS OF DESIGN * Logos & Identity .. u' . and the ethos of the American West inform the design of \OU .. The imagery and color palette of the system further reinforce the bank's philosophy and heritage ... This history. \ • . It reflects the company's values and history.THIS PAGE the Wells Fargo identity and collateral materials. Wells Fargo earned a reputation of trust by dealing rapidly and responsibly with people's money and goods.

Mau knew it when he put hundreds of big. it will look good again in twenty. Design that moves others comes from Design is influenced by and influences issues that move you . service. 24. 15. or really colorful. Collaboration is good. the brash with the sublime. allowing the time to experiment. by with the refined. with your name proudly credited in four-point type. Dichotomy works . the Gap knows it when they fill their wi ndows with hundreds of kids' sneakers . the rough 9. our responsibility to be knowledgeable about what we are asked to communicate. and by taking risks. Find your own voi ce by experimenting. Often. We are the creators of artifacts. synthesize. Passion enables us to remain true to our communication . reflects the spirit of an era and becomes a classic because of its timeless appeal. It can be a information we are exposed to on a daily basis.Moria Design isms 1. 7. Designing takes time. Extremes work: really large. synthesize. contemporary society. are two different things. Question the need for any piece of print 16. 12. ideate. Accidents often produce the best solutions. Design does not live in an aesthetic vacuum. and create . It is always tells you the solution . company. This is the most elementary creative vision . humbling thought. Design can be seductive propaganda. Asking questions generates more ideas . Respect the power of printing. you can recognize the difference between an Great design is. Design has a rather symbiotic relationship corporate speak we 've read a million times before. and 22. as the space occupied . 11. Analyze . And if you listen smartly. "Seriously funny" works . Multiplicity works . analyze. but don't compromise . 23. communicator of dissent. Ideas come faster the older you get. quite simply. Mori a Design * 161 . 18. Make your 13. and maybe if you're extremely lucky And accidents are a hands-on experience. It's a 19. 3. the client nearly 4 . it can market ideology. may last decades. What looks great today may look silly in fifteen 14. 8. 10. Every decisions edu cated decisions. innovation that accident and your original intent. or really small. grainy pictures back to back for Rem Koolhaas. and institution has a story to tell. visualize. design vehicles . 20. The space in between is as important School allows you the stru ctured time to research. Bruce 21. We are 2. A good designer is a great listener. or really simple. Only and talented. and style is somewhat precarious. Explore the narrative and banish the banal 5. That message. Design is not solely a marketing device all influenced by the bombardment of visual that supports consumerism . strategize. A good designer is a great storyteller. years . the communication can be executed in a much more meaningful way that goes beyond traditional 17. or really dense. Try ju xtaposing opposites: the historical with the vernacular. 6. or really thick . Sol LeWitt knew it when he lined up 100 white boxes on a floor. that image. A piece of paper doesn't necessarily go away. with style. way of protecting the environment. This is why being in school is a lu xury. Design must surprise and inform . But understand that influence and plagiarism It can affect change . No design is completely original. This is what being a designer is all about.

EXECUTIVE CHEr MGM GRAND HOTE L 3799 LAS VEGAS BLVD .COM ~G~ GRAND HOTEL 3799 LAS VEGAS BLVD . NV 89109 702891 .7711 WWW.77 11 WWW . SOUTH LAS VlGAS . SOUTH LAS VEGAS NV 89109 702891 .(O M . MGMG R AND .SEA BLUE SEA BLUE MGM GRAN D HOTEL 3799 L AS VEGAS BLVD SOUTH LAS VEGAS NV 89109 SEA BLUE J A Y WETZEL .MGMGRAND.

60· LETTERING MHI A GROUP MGM RESTAURANT BARRICADE ELEVATION 00 luu..-. And this animation of type and imagery had to be communicated by producing frame by-frame storyboards to engineers... My First Logo My first job after receiving my design degree was as a designer for PBS in San Francisco..-------. The color palette follows the same logic.H.. . SEA BLUE SEA BLUE . This was back in the seventies. That included app lications to all traditional print: press kit covers. each captured as still video frames... Moria uses the most recognizable and memorable part of the experience.-- -----_ _. _---- -"........ who would.. fingers crossed.7m) sardine tank. A signature visual element in the restaurant is a 120-foot (3... Nevada..IU Moria Design '* 163 ... posters. . SEA BLUE -----~- PANTONE 632 VINYL DIE CUT WHITE LEIIHING OH VINH DJ[ CUI lOP Of flS" LETlEUNG PHOIOHA'''' fAN TONE 317 (OR ClOH ~A TC~) hlN ' OPT [ON 2 fl...THIS SPREAD Sea Blue is a fish restaurant at the MGM Grand in Las Vegas..-~.. when television and film were the only mediums that required animation .. But the true excitement was animating the logo for the show's opening sequence . . I" . OPTION 1 .... .--_ . . HOR"oNrHlV PoU r OHE 325 A"V 632 V'NH OJ< CUT APPRO~[ MATE HHE. The logo and identity system "ride the horse the direction it's going. stationery.. and lets that form the foundation of the identity.. the sardine tank. and advertising.- ~ -..-------.-...H T I L lS P~NTONE 632 PAN TO NE 325 PANTONE 311 PHOTOG".- . I had to create logos for each program produced..--.. Creating the animation of type was all done by hand cutting individual letters of photo-type and photo stat artwork. do the design justice ." The system does not layer a new visual element onto the restaurant....... and based on a variety of blue tones..

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1971). and it's true for the The AlGA website. For a design program to work. Who is your cosmetic. a professional graphic sees it the complete nature of your company's 8. "Good design is good business. Common sense works well. Don't try to make a logo 7. its organizational attractive is better than cheap and ugly. But sooner or later. It's actually course of a busy day. Care about it. that will explain at a glance to everyone who 9.aiga.org. Logos and colors can be considered with saying. Consider doing a is better than one that attempts to contain little bit less and a little bit better. structure. Your brand a few dozen customers? Too often. AlGA is the largest history.5. You will not This is true for products. when it works for people who haven't been it needs to be seen as important to important Westinghouse. and hardheaded business people He also pointed out that a good design can audience? The whole wide world? Or just sometimes avoid focusing on them. Be a good company. Do good work. to Steve Jobs America's all-time greatest logo designer. Quality counts. IBM President all the answers. Know your audience. Never forget that at the end Watson at IBM in the sixties. Thomas Watson Jr. Pentagram * 167 . its business plan." 6. This is a good thing. is credited it can be. www. ABC Television. has advice succeed . of the day. the late Paul Rand. arcane results. Leave it open. created logos for IBM. the design that you do only works at Apple today. and UPS. professional organization for graphic designers. A logo that tools you use to communicate. It's up to you to see to it that your design is an internal exercise with predictably to a highly-placed advocate. Get good advice. logo design-driven companiesgot that way thanks is a promise. about how to find and work with them. But most help a bad product fail faster. and its product lines. from Thomas products and services deliver on that promise. a good logo. everything used to communicate as good as (1952. His last logo was for a company you may to encounter your message briefly in the have heard of called Enron. raises a question and is open to interpretation Everyone's got a budget. and who are just going people. Well-made and designer is needed for help. Make 10. in all the meetings. Don't be embarrassed.

168 MASTERS OF DESIGN * Logos & Ident ity .

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chi THEATRE -telet ~6r ~ MUSICAL DE PARIS JCT -o ' 170 MASTERS OF DESIGN * Logos & Ident ity .

"Designing any logo, whether a symbol or a word mark,
has to do with the awareness of written language
as visual communication. You have to be direct,
more and more clearly. You must never be traditionalalways avant-garde!"
-Philippe Apeloig, founder, Apeloig Design

It is never ordinary, but it will soon become

spectacular effects if it is to appear as

familiar. And it is the foundation to a system

remarkable as a purely symbolic mark,"

that supports multiple applications. "The

he says. "The strong use of typography

structural frame of every identity system

is critical. It must result in a dynamic

must be invisible," Apeloig says.

composition, regardless of the typeface
or the style of type that is used."

Overuse and Abuse
A logo should create an immediate dialogue

Apeloig uses simplicity and reductive

between the designer, the company, and

aesthetics in much of his work. His logo

consumers. For Apeloig, at times, a symbol

designs are no different. He believes a logo

reveals a meaning better than a word

does not seek to command the viewer's

or a series of words. It could be used as

attention, just to hold it. While the logo's

a pictogram or an ideogram, similar to

use and its combinations can be complex,

hieroglyphics. "The essence of a symbol

diverse, and rich, a successful logo is like the

is the form, the shape, the proportions,

foundation of a building. "The more stable

the abstract idea," Apeloig says. "Of course,

this foundation is, the higher you can go,"

some symbols have been used so much that

Apeloig says. Logos that fail are unmemorable

they become boring or lacking in novelty.

or too difficult to understand. These can

We think that we know them already. Only

be badly drawn, too complex, or have clumsy

if the style or the graphic aspect is innovative

proportions creating a situation that will

can it become a new visual identity." This

not allow for innovation. The logo is failed

is the crucial question for every designer:

before it is launched.

THIS SPREAD

The Chatelet system
included a strict color
palette with a mixture
of alarming, eye catching
colors and complementary
calming earth tones.
Printed collateral, such
as this brochure, used
limited resources without
sacrificing the distinct
look for the theater.
An unexpected execution
for the seasons brochure
added to the unique
and proprietary qualities
of the identity system.

How do I make something appear fresh
or have a new layer of meaning when it has

The Space/Time Continuum

been used so many times? Apeloig compares

New technologies and media have not

the challenge with the difficult exercise of

changed Apeloig's design of identities.

designing a chair. A chair is a simple piece

"I look for an inexhaustibility of the modern

of furniture. How can a designer make

language of design and feel comfortable in

it appear new, with a unique form?

its alliance with the classical rules of formal
language," he says. "I try to create links

The same challenge exists for word marks.

with the modernist past without ignoring

While letters are already symbols that

the fact that technology has dramatically

anyone who knows how to read can decode,

changed our vision for design and the way

Apeloig believes that the design must be

we communicate." Amidst the proliferation

deliberate and innovative to make a word mark

of media, Apeloig enjoys the new artistic

extraordinary. "A successful word mark must

process and infinite possibilities in the

be overdramatic, intricate, or have

creation of animation. He uses this as

Apeloig Design

*

171

My First Logo
I designed my first logo when I was an intern at

Later on, in 1986, I designed a logo for a dance

Total Design in Amsterdam. That was in 1983,

and music festiva l ca lled Festival d'ete . Once aga in

and I was twenty years old . It was the first t ime

I used the accent on the letter E as a repetitive

that I was exposed to modern typography and that

element to emphasize the idea of movement and

I adopted abstract art. I designed my first logo

a dot. I found a link between typography, geometric

for my parents' business. It was an association of

proportions , and performing art. For that reason,

the letters A (for Atelier), and

E(for Electronique) .

I consider the logo to have been successful. I had

I started to find a rhythm of shapes by using the

many occas ions to apply the logo in a variety of ways:

accent as a repetit ion of the horizontal line of the A.

from a monumental scale on signage to a small size

I added a grid made of lines and smal l dots to

on tickets. It was a surp rising logo that generated

evoke the electronic circuit. It was like a geometric

a new dynamic for the festiva l.

exercise in literature.

a medium to find a new space for
experimentation, using art and aesthetic
motion in sensory psychology. This medium
has transformed many of Apeloig's identity
systems into kinetic works based on the
concepts of space, motion, color, and light.

The critical component of an Apeloig
visual system is the capacity for the logo
to mutate and evolve over time without
losing its clarity. A logo cannot escape its
functionality as a necessary design element.
It needs to ignore trends and explore
the infinite combinations of its possible
evolutions, while maintaining its identity
over time. One of the solutions to aid in
this ability is a complete and consistent
design system. "Every visual element must
connect, whether that means repeating
the same identical element or creating
patterns, symbols, or systems that
work well together," Apeloig explains.
" The logo must be the key to the entire
system, summing up everything you
mean to say about the company at once."
Regardless of the element or application,
all of Apeloig 's pieces work together
to maintain a cohesive message.

172

MASTERS OF DESIGN

*

Logos & Ident ity

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THIS PAGE
A quarterly magazine
dedicated to fine arts
of Pays de la Loire area,
the 303 magazine identity
is based on the sum of
the area's departmental
codes. This is shown
conceptually by simply
modifying the '0' as
parts coming together.

With the identity occupying a limited amount of
vertical space, the cover
designs of the magazines
are able to have unique
design from issue to issue.

The creation of a consistent and united
message is one of Apeloig's most difficult
but exciting challenges. With a good logo,
it is easy to be inspired with new ideas
for applications and uses. This can be fun
and interesting, but in the end, the message
may not be connecting and the viewer may
not feel the full impact of the visual system.
"With a great logo, the system should come
together almost naturally," Apeloig says.
"The original idea is so good that the rest
of the system feeds into it naturally."

Maintenance
Apeloig's standards manuals are distilled
to the minimum guidelines necessary
to ensure that the identity system will never
be mishandled. In the act of working with
the logo, the end user must not be drawn

F

J

into a complex and heavy system. If the logo
is stable and clear, it is easier for the end
user to maintain the consistency of the
identity system. However, a visual identity
carries a fragile dimension that needs to be
checked and supervised regularly. Apeloig
advises each client to have an art director
pay attention and protect the integrity
of the visual identity while seeing that it
is not frozen and static, but lively and fresh.

174

MASTERS OF DESIGN

*

Logos & Identity

.

alse d'acllon artlsllque 1bls avenue de Villars 75007 Paris T +33 (0)1 40037472 F +33 (0)1 53698393 Jf.chougnet@vlliette com 176 MASTERS OF OESIGN .ois Chougnel Commlssalre general Annee du BresiL en France AFAA Association fran.Jean-Fran.:.:~ Logos & Identity .

The backside of printed collateral is printed with the simple three color version of the identity. 3. It must be a point of departure for fut ure combinat ions and brand extension. 5. or on a listing of sponsors. a crucia l eco nomic force. but also of the huge mass of consumers. who comes to a designer to solve its visua l communication problem . Advice for Identity Designers l. Be flexible. alongside a signature. 4. A logo is a sign of strength . Ach ieve a logo t hat is easy to use. A logo is a label of tru st. A logo must be fl exible fo r its future uses.THIS SPREAD Inspired by Brazilian visual and aural characteristics. not too st rict . not too dry. Most of the times a logo fi rst appea rs are in a small fo rmat: on business cards. a logo must be easy to iden t if y. Apeloig Design * 177 . the identity and system for Annee du Bresil en France is able to show the Brazilian festival by rhythmic letterforms and bold national colors. In that context. to recognize . Fi nd a good concept to engage the tru st not on ly of the client. Typography is calm in contrast to the li vely identity. Create a memorab le mark. The logo is recognizable when broken into parts. especial ly on a small scale. Simp lify to reac h the poin t where the logo expresses the esse ntia l wit hout riski ng a poor design. and energetic as a whole. A logo must be a time less design. It must be a robust const ruction. 2.

HOUSIN WORK .

NATIONAL SEPTEMBER 11 MEMORIAL &2 MUSEUM HOMEMADE AT THE WORLD TRADE CENTER BABY® SATU R DAYN I G HTLIVE .

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Kansas City.WILLOUGHBY Ann Willoughby. and elegant. founder of the Willoughby Design Group. Kansas City. Missouri. appears simple. and find pleasure in the crafting of a beautiful logo. DESIGN GROUP Willoughby Design Group. Willoughby Design Group * 181 . While some designers may focus on the form alone. U. it becomes clear that they are the cornerstones of a much larger structure. Missouri. the new Wonder Bread design bu ilds a clean distinct presentation of the identity that is again playfully app lied to all sides of t he packaging. USA • At first glance.A. OPPOSITE Without ruining the playful original design. an identity designed by Ann Willoughby. Upon closer inspection.S. The well-crafted logo is only one component of a larger branded experience. well crafted. however. Willoughby Design Group sees the bigger picture.

and wit. The Bigger Picture to Willoughby. for Willoughby. the many examples. "A brand lives in the hearts and minds of the forms is. The elegance says ." Willoughby says. symbols and color provide If logos amplify and clarify brands through a stronger connection to cognitive processes distinctive combinations of words. "Well-crafted pictorial symbols images. Fortunately this under the weight of its own importance . and convenience are some of realtor when she was fifteen years old. degree of levity and to never let a logo sink meaningful experiences . products. quality that is evidenced in all of the work As these encounters become more targeted ." Willoughby of our visually cluttered world. means opportunity for designers who can design experiences that delight and engage. the end result is emotional. personal . than words. customization . With out overpowering the package design. done by Willoughby Design Group. elegance. the identity and system inco rporate borrowe d Asian influences and co nte mporized art wi th a Far East natural color palette. or a of simplicity. " team can shape the experience of a brand and its content. through their experiences Beautifully crafted elements provide the and encounters with brands in daily life. a start-up. Signature one of the most internationally respected "Our approach to identity helps people fall in Color system design and branding firms . While this process may Brand architecture From that noble beginning. a point of entry. and if the enterprise is a distinctive point of view and create a brand successful over time . The simplicity well-established business-brand is about of the work exemplifies the idea that a logo reputation. products . companies are the concept of wit is added to maintain a learning how to create more authentic.Willoughby 's first logo was used on a sustainability. sounds. th e id enti t y mai nta ins a memora ble system in the store and when taken home. " For Sale" sign for a local independent information ." she says. she has built sound clinical. According The retai l space also has a tea market t hat se lls loose teas and signatured brand ed produ ct s. of real people. the brand (reputation) strategy that resonates clearly in the context becomes a more valuable asset. perspective that for any organization - Willoughby 's identity work is a combination whether it's a nonprofit. Willoughby believes must contain distinctive pictorial elements that a designer and a collaborative brand that aid memory. The Willoughby love with the brand through a kaleidoscope of Design Group's attitude toward identity well-designed experiences. Rath er than di re ctl y copyin g Asian art ifact s. are generally more memorable than abstract service. meaning. packaging." of symbols or icons over words . 182 MASTERS OF DESIGN But there is still a debate on the value * Logos & Ident ity . and interactive. As evidenced in Willoughby's experience since 1978. "A logo and identity help and visual identity program should express build brand equity. And finally. colors. word marks response is designable. accountability. "If used. and websites then the entire symbols. Critical Components of an Identity System Brand identity standards Typography system Icons and symbo ls and brand is founded on Willoughby 's Sound and motion T HI S PAGE A bold new Asian inspired boutique that sell s brand ed goods and designer collecti ons required a loo k as bo ld and memo ra ble to compete in the retail wo rld. current trends indicate that people want more from brands. and services.

cn sausabC.> oJ: ingredients that~ : '.. I deslgn by Willoughby Design Croup and Hammerpress THIS PAGE The identity concept was taking the owner's two loves.s tbat top ~'our pizza y We han<i grate our ch ses 'ne 3 rye ou on 1.Sl G1RA.. tOl'Dato. l'lushroo~.'~. Sl MAWGIA.. art ichoi. Sl PIAOEt SPIN. serv our g ests at ho~c. EAT.' l'Dorse.t ~ the s .:o·u ' d.' the quaUt. e oven to roast ¢ve~. Neapolitan Pizza and bicycling. excitement and fun. Wn the Beopolitan spirit.' onion. c and cven c::o tons 1r. ~on appetitol neapolitan pizza Fountains Shopping Cent r I 6541 W. tUl'i. From the website to the dining room wall graphics. and mixing them together as the basis for the logo and fi Iter to what visuals would theme the open designed restaurant. 119th Street I Overland Park KS 66209 I 913-4S1-SPIN for Carryout 2006 Spin Concepts. ga~ l ic clove. cb1c i. ENJOY! Umore Napoletano. Inc. Willoughby Design Group '* 183 . c us our sto ..:.e~' breast. the system layered one color images to give a unique feel of motion. eet and savor:.

with a hometown feel.. MAllE LA1E \ lERI D n m THIS SPREAD The Mary Carol logo has a "history" as opposed to a clinical approach.1 f\. The packaging for Mary Carol promote the brand's message that is warm and nurturing. . while maintaining a professional attitude.

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" We enjoy the identity are framed . - -.. She ri· dan's pac kaging takes th e library of grap hi c el ements and ap plies them with messages. the logo and mascot..... Although the logo and the brand experience . are inspired by the founder's values . . Willoughby a shift from mostly print-based work to more has also seen a down side.. . t. The graphi c system clearly li st s brand attribute s. . providing logica l re aso ns for the visu al solutions.. "You just never know where your designs might take you ." Willoughby often not listed in an identity brief.._ -. now approaches identity work as experience "We have all seen millions of dollars spent design rather than traditional print graphic on a beautiful logo and identity for a company design.." meaning and deliver its desired emotional triggers.. Cross-Platform Thinking Vision Since forming Willoughby Design Group But with the proliferation of new media as well almost thirty years ago .. Once the parameters of for an identity project. _ _--_ . and flexible. The grap hi c elements of the system are re peated on th e menu board s.-_.. . __I - - ." Willoughby says. To this end .. products and packaging. The broad color palette all ows for va riation and maintain s a co nsistent and co hesive message. 186 MASTERS OF OESIGN * Logos & Identity . Willoughby's in marks that are strong. l>lwtt.. '. vision. TH IS SPREAD The Sheridan's logo is used li bera lly and ex uberantl y. _ . . and it has a timeless quality to identify all the places the logo might exist. Willoughby's says. tend to result signage. . the logo and identity specialists. Her process always starts with an Willoughby Design Group's work clearly audit that unearths the character of the demonstrates a high caliber of expertise company and its business and then moves across all media. - .... simple. ... space dividers. . wall paper. and when the right idea emerges.. however.... she lights up. Her work has design often becomes the misunderstood evolved to reflect the approach that logos stepchild of marketing and branding experts need to engage across multiple media.. Willoughby maintains that the forms always and entrepreneurial passion to build need to arise out of brand strategy and something of lasting value. and delightful forms..:. regardless of the final application. • . These " aha" moments.... essential to form-making process plans for animation successful brands.. _ . Willoughby trusts retail environments where there is opportunity the design process to reveal the most beautiful to make a statement with the environment. logos have also been applied to unexpected places. collaborative team of multimedia design In a perfect world. Logos and identity screen-centric applications. (OUITNIY'S DIU -' WDIKS - . and 3· 0 sc ulptures. But when including the nuances of the specific media Willoughby discusses her favorite applications and its audience..-_. "Trust and authenticity. -. Media issues aside . . She without the benefit of the design process.. are qualities that often and includes working with an expanded have little to do with how much a logo costs .'0 - chilla (ptill~ ~ ft~h I .. such as a T-shirt promoting an eating contest in Las Vegas.1. . merchandising." she says..._. t_ _ _ _ _ _ _ _ _ _ . and she has even let the change where there is a total disconnect between in media inform her design process . Willoughby has seen as the growth of branding experts .. That's a long way from corporate letterhead and high-end packaging.

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. but still remain branded in advertising."nVOl. printed collateral and packaging. . the jewelry and timepieces were able to stand out.. THIS SPREAD A landmark Kansas City luxury jewelry store known for perfection in every detail. " T REA 5 U RED 5 INC E 1 9 lO s . With the identity as a solid and simple voice. 188 MASTERS OF DESIGN * Logos & Ide nt ity . the identity was an extension of the sophisticated shopping experience they offered to each customer.

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....... . founder.lllly"\ cp •• t .........1141160l U''''' WI" ....... ". .... 0 1 -. • ..." -Ann Willoughby.I*" 01 •• k... _....AU .l... VI .I..~ A' "l1li ... "A bra nd lives in the hearts and minds of real people..\:k.". . through their experiences and encounters with brands in daily life..- ". Willoughby Design 190 MASTERS OF DESIGN * Logos & Ident ity ....- .....

.. Business forms were printed on unrefined paper and labels for the address were hand placed on the letterhead to lend to the human experience.. Printed collateral. texture of a rubber ball..• THIS SPREAD Identities are not required to have the same expected elements. continued the identity system's tone and material.. including special edition books. the identity relies on like memories and human responses such as the feel of paper..... . •• •• • ••• •• .. or personal characteristics. The Rules of the Red Rubber Ball book was the clients' signature story that "answered" the image choices of the other collateral...... For Katalyst.. ... Willoughby Design Group '* 191 ..

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Mil an. and applications with multiple types of new media. Mi lan. Italy Zetalab founder Lucio LuZo Lazzara is a global leader in the integration of logos.ZETALAB Lucio LuZo Lazzara. and in the personalization of brands." OPPOSITE Design Pubb lico identity is as multifaceted as the many programs it sponsors. Based on drawing templates. Italy Zetalab. The media are tending to integrate more and more with each other. each event was given a signature icon as an extension of the main identity. and merge into a single instrument. identity systems. Using the example of Steven Spielberg's Minority Report. he describes the contemporary environment: "I see new potential in entertainment. ZetaLab * 193 . information design.

"This can be achieved in different maxim. be minimal. "Sometimes we have even with the belief that the application of recommended to our clients that they not the logo. and messaging is still a problem-solving activity. view of the designer. "in a pan-medium. of the company." Lazzara's logos are designed Lazzara admits. Marks as guerilla marketing and viral campaigns." in an extremely complex and uncontrollable 194 MASTERS OF DESIGN * Logos & Identity estern\ . from simple to complex. ways. It wasn't necessary. or it can form and style. have a visual identity. "An identity can be narrative." claims Lazzara. It is the element that creates a unified message the signature of a wider system. a visual across these multiple mediums. an example like a tollbooth FastPass. The logo is is the beginning of a communication." Lazzara maintains that the core of logo design communication. language. His logos are varied in memorable. The solution solution begins with Zetalab identifying and is dictated by the message and the final understanding the real need of the client." he says. but when that is not the answer." and the medium it uses are as important as the form of the logo itself. a product. "I believe that form follows function.DESIGN THIS PAGE The identity for Design Pubbli co is black and white allowing the applications to utilize a vibrant color palette. "Failed identities reflect only the point of from an animation to a stencil on the street. or they will not work. it can create a mood. increasingly varied with the use of traditional media and nontraditional methods such Message. it can be simply visually at all. medium. Lazzara's words. message. Red represents the Designers' House venue and green is used for the Pubblico site. the context of its environment. "On the other and are unable to animate or evolve in multiple hand. work together to solve the problem and Identify and Define communicate the message in any medium The message vehicles used are becoming or setting. as services will start to be and limited. The visual exploration includes a strong examination of the logo design in multiple settings. He also which brings about the disappearance of the cites examples of failed logos that are too tight manual interface. These are logos that are too static automated. The logo become more challenging. advertising. This system of different elements The system consists of a stencil typeface and specific colors for the types of events or venues." The process to reach this from symbols to word marks. Following the need for a varied use with new functions and new requirements. Medium. or he modifies the "Form follows function" an event. the logo must clearly and platform usage. Following Lazzara's philosophy of multiple For Lazzara. The logo "The future of the logo experience is." he says." Lazzara explains . directly identify a company. and the 'form' issue by itself is not an issue it can be symbolic. and basic communication. As our society consumes messages in In the face of these forward-thinking concepts. on one and identity system must reflect the culture hand. entirely new media will be necessary media. Similar in concept to Marshall This need often involves a logo and identity McLuhan's phrase "the medium is the system.

color and image style. artists. designers. Here. Zeta Lab '* 195 . The My Detour identity served as the focal point of the project and spread into a campaign in a range of mediums. illustrators and writers to fill their Moleskine notebooks with personal comments and ideas about the city they live in.THIS PAGE Moleskine asked celebrated architects. a promotional poster and detail above show the identity system including typeface usage.

The system included broadcast setting. Grap hi c elements.communication environment. He understands that someone else will these elements create a singular message . ." he says. video. patterns . I also look or an in-house department. It may function on a fax color. but it also form . but it will fail in a different applications. inclu di ng wind ow displays. and his core philosophy : "Don 't think about a single logo . Lazzara insists Holistic Values that logos that try to " tell everything" or The elements that are the backbone solve a client's every communication problem of Lazzara 's identity system include a color will not succeed. image and illustration usage . a relevant or custom designed typeface . Lazzara tries at the rhythm created by voids and fills . Exhi bit s and poster signing events make it possible fo r th e public to interact with the note books. materials. the and consistent. unchanging. Each logo and The logo for the cultural association Esterni identity system is designed to be flexible in Milan represents the meeting. but become banal and predictable incorporated multiple identifying marks on merchandise. and logo. and back- control of Zetalab for as long as possible. typeface. and Esterni 's environment. A flexible system of solution to maintain a clear message. identifying marks was created to maintain A singular. "To create logo's release to outside creative partners. Working with the logo. In a multi platform social interaction. Pain and stress are typically part of a and less traditional components. and interactive bloggi ng space. a flexible and usable system. di d not need heavy se ll copy. the piazza . to keep the identity system under the textures . Combin ing t he artwo rk from th e notebooks wit h the strong identity system makes th e collateral not iceab le and understood. and surprising applications in all media. grounds. Lazzara summarizes its success. eventually handle the logo. inflexible identity consistent formal elements on many may work in print." 196 MASTERS OF DESIGN * Logos & Ident ity ABOVE OPPOS ITE A signage system for Detour's different venue s is based on the elements of the identity system. Lazzara's elastic and fluid to create a constantly refreshed and vibrant approach to logos produces successful attitude. Think about a system . The identity is al so used on a spec ial project websi te. palette. this is the only possible fundamental values.

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Illustrations and photos usage Zeta Lab '* 199 .THIS SPREAD Identity graphic elements. These choices enable the graphics to avoid any reproduction issues including low-end newsprint printing. limited colors and boxed typography are the key characteristics for the Milano Film Festival system. The Critical Components of a Visual System Logo Color pa lette Typeface pa lette Texture palette Pattern pa lette Material pa lette Background pa lette The graphic elements work as eye-catching. and can be sca led down to smaller sizes and with no problems of losing recogn izable qualities. large-sized graphics.

THIS SPREAD The 10 go. Illustrations. L C. color palette and t ypographic stYle' create un't ' multiple ' I Y with applications.J -- 200 MASTERS OF DESIGN * Logos & Identity . strong .y graphics change each ea~ butthe id ' Y rem ' entity alns consistent. th e system . The ' consistent from identit y y IS onl ear to year with y the simple ch of ange numbers in the upper right circle B dOing so .

founder."An identity ca n be narrative. it can be simply visually memorable." -Lucio LuZo Lazzara. it can be symbolic. or it can be minimal. it can create a mood. Zetalab Zeta Lab '* 201 .

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206 MASTERS OF DESIGN * Logos & Ident ity .

Concrete Design Communications partner Diti Katona has created a body of work that is connected with a philosophy that makes more with less. 207 . Ca ada Logo design requires a focused visicm1that uses large amounts 0 complex information and funnels that into a clear message." she explains.CONCRETE DESIGN Diti Katona. Ontario. She designs a logo and identity project by distilling the message into a simple visual. Toronto. the Masterfile identity is recogn izable. OPPOSITE Even cropped and as a background. we think that successful logos should express as much as possible with the greatest economy of form. . Canada COMMUNICATIONS Concrete Design Communications. Together with the photography it represents. both gain recognition and value. Concrete Design Communicatio ns . Ontario. Toronto. "Generally.

the quality of each piece is depe nd ent on th e designer. Often. has been neglected. the most solution. d ist ill. it needed to be direct and modify the forms successfully to reach and easily understandable. uses the example of a project that involved collaboration with an advertising agency. message and express it clearly. what makes them come alive." Katona of every Concrete solution. She adamantly rejects can be much more expressive. Concrete Design Communications THI S SPREAD At first.. The aesthetics and form are to Katona was that most of the hard work critical . no different than any other designer in that The concept had used very predictable respect. "Logos often have very simple simply making a logo minimal. " In recent years. distill. at least not explicitly." Signs and Symbols The logo must have a clear message. 208 MASTERS OF DESIGN * Logos & Ident ity "When design ing a logo. is instantly more so much emphasis in design has been placed recognizable than the word apple. politics. but this For Katona. However. "Designers required a distinctive way of articulating have a tendency to try to make the logo say the concept ." very young. and audience into a seemingly obvious is the way they are crafted . d ist iII. Its predictability the desired business goals. and distill. The crafting of too much . Therefo re . This logo succeeded in a single graphic form . the artisanship. the wrong symbol. The symbol due to poor execution. "While this may not have been set that aside. them work. of an apple. in the end due to Katona's unique vision and A successful logo needs to choose a singular insistence on perfection of form. They need to because due to Katona's skill at slowly condensing of the issues we've discussed. understand the larger issues. "I still on 'concept. for instance . It is successful ideas behind them. well before they were able to read. The implication given successful. a specific shape or color. and Katona is the reality was that very little had been done. but at a closer glan ce you realize that the letlerforms are a un ique typeface. But what makes a client's message. th e id entity for Masterfil e looks as if it's just a standa rd typeface. and aspirations that used similar themes. Th e identity system and exec ution of th e promotional coll ateral are more free and open . symbols can often have more cannot happen without well-designed visual power than a name because they use visual forms. brilliantly executed. d ist iII . to symbolism. Katona believes that most logos fail imagery rather than the alphabet. but they are secondary to the final had been done and the only part remaining business goals." Katona says. Understanding the client's culture successful logos are the ones that have a very and the audience's culture is at the core simple idea. ' that often the articulation of remember the time when my children were the logo. It is easy to fall in love with was to make the logo look pretty. "You cannot commu- a unique graphic form would distinguish this nicate a company 's product/service offering. business goals. . intended audience. Form and Function The agency had developed the concept (the The goal of every logo and identity system heavy lifting so to speak). A picture the devaluation of skill. however." -Diti Katona. but they needed is to create an outcome that makes a business help to give form to it. She has the ability. (S This approach is made successful not by she explains. particular logo from the thousands of others vision. partner." Katona says .

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210 MASTERS OF DESIGN * Logos & Ident ity .

logos were designed for the lowest often forgotten . she has been exploring look in multiple hands. logos Once the identity leaves Katona's hands. Concrete Design Comm unications . reproduction influenced this. the Pizza Nova identity is constructed with a primary word mark and a decorative scri pt listing all the menu items in t he restaurant. identities that are more complex and more reliant on color. Katona 's logos tell stories. but meant the dreaded fax. The shift in technologies. ." so many variables that very specific guidelines are critical for a consistent look. black and white applications. This was partly due to Katona's bias standards for a color palette and typography for simple and direct ways of communicating. For her. The result has been logos with more dimensionality and more reliance on color Katona's philosophy on complexity and to tell t he story. designed by Concrete were fairly simple in the unexpected will happen. " Not the other doesn 't mean you should have one. provide the prevailing mantra. or ignored . From packaging. Technological advances in Formally. However. along with other typography is much more challenging. a logo influences in mind . Cava visually identifies itself with interpretations of 1930s dining graphics that are flat. Her strong form . "Not very long The color conveys an idea. "This. but made contemporary by di mensional perspectives. THIS PAG E & NEXT SPR EA D An established Italian rest aurant since 1963. "Just because you can the communications criteria should dictate have a three-dimensional . from a print- The simplicity of the golden arches was all based solution to a multiplatform solution that was needed to commun icate to them . At a larger scale size. processes. t he script becomes a secon dary graphic. website graphics. will help the identity maintain a consistent In recent years.Elements of a Standards Manual Even if I have a good relationsh ip and strong advocate wi th a client . including it 'work in black and white' is no longer hierarchy." she clarifies. and case. these should never to communicate effectively." has affected Katona's approach to logo Katona recalls. colors are relatively easy to specify. design. For her. 211 . Th e manual includes th ese elements: Logo use Black and wh ite examp les Color examp les Scale in stru ctions Pri ma ry color pa lette Second ary co lor pal ette Prim ary typeface Second ary typeface Image use Print examp les such as stat io nery Envi ronm ental examples such as signage Merchandise examples Vehicle appl ications recognizing t hat McDonalds was a brand. "Type treatments." she jokes. while ago." Katona says. In the past. what form the logo should take." pervasiveness of color reproduction. spinning logo. relative sizes. we tr y and create one t hat leaves some creativity to th e final designer. while keeping these simplicity is pragmatic." OPPO SITE Pull ing from opposite sides like its rusti c modern ized European influenced food . way around. But with the "Specifying font families isn't sufficient. having she explains. the Pizza Nova identity is exciting and ta sty at a variety of sizes. Katona always common denominator of reproduction addresses the typographic system . Typ ica lly. The context and dictate the design . And. wrapping paper. of course. we still create a standards manual to help eve ryone use the logo properly. Katona believes strongly should ultimately be whatever it needs to be that while important.

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Concrete Design Communications '* 213 .

Somewhat neutral .. umbra OH C H A I R DC orww •• llbruollt 214 MASTERS OF DESIGN * Logos & Ide nt ity It.. the identity is able to present the products without being overpowering. " . . contemporary designed products for the home. ASHID . the identity reflects the design approach with simple and elegant shapes.1999 COLLECTION L!I umbra DRAPERY L!I umbra THIS PAGE Umbra is an international leader in casual.NrO . •.

The consistent use of a logo and identity system. and handle all of their communications." she advises. but is vital to portraying a strong image to the outside world . Katona." she says. the success of any system depends THIS PAGE Most creative work starts with a designer's first sketches." Katona says. "It's a great feeling to pass a logo you designed somewhere on the road. In terms of logo and identity. strategic goals. nevertheless. Concrete Design Communications '* 215 . This Kielhauer identity celebrates the first sketch and relationship to the end final design. "I love designing for vehicles. Several variations of the logo exist to work with different applications and varying sizes. creative partners often resist rules and have a natural impulse to be "creative" with the brand. "It helps if you can keep working with the client. But it is vital that they understand that this impulse does not benefit the organization . This person needs to be fairly Corpom~e Idenu'ty LAuner. this is expressed with her choice of a favorite application to design . When it comes to graphic communication ." She adds that the strangest place a Concrete designed logo has appeared was on a homeless person.KEILHAUER Police Work The elements of an identity designed by Katona are explained and described in a standards manual." she says. 200<\ senior with the authority to enforce the standards. and business issues partnered with Concrete's thinking and visual skill create proprietary and successful brands. "Company logos printed on T-shirts invariably end up in the hands of a very unintended audience ." This advice is not given to create restrictions on other users. "Failing that. "A consistent identity system may become boring to those who work with it every day. has a passion and humor that inform all of her work. on having a person within the organization champion the cause of adherence to identity guidelines.

~Si SGUIG Syncro o A AILABlE BY KEILHAUER Oatoqwsd by OOS Con (. .1 S9Uig. - SGUIG .1 U.~~ . Let me show VOU how..

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l BlueBott 6 .. -----:~~ PAGES 20 . .1 m 5 Aca'CUL UN' 7 8 10 11 STERLING BRANDS PAGES 24 ... Socialdemokraterna Gottschalk + Ash International 1 2 3 4 5 218 MAST ERS OF DE SIGN * Logos & 17 16 15 Departement Architektur ProLitteris Implenia. Ice Hockey Palace S21 IIH F 100 Identity Alexander Isley Inc ." ' ...19 1 ..41 12 13 14 ..IILL 9 ESTUD I O MARISCAL PAG ES 32 .-. 4 3 e ALEXANDER ISLEY I NC." •• 1. *~ =*~ ~ ". .' Ciba "'..GOTTSCHALK + ASH > INTERNATIONAL PAG ES 10 .UNi C'NTIA 'Oft fOOl> & .:~:~k "~- weissbooks.31 G.23 I I I I I I I I I _S 2 1 Equity Toys iTO..-:: 2 .w ..-. 6 7 8 9 Equity Toys BlueBolt Networks Stone Barns Center for Food and Agricu lture Mesa Gril l Sterling Brands 10 Tropicana 11 Optimum 12 Kleenex 13 Ce lestial Seasonings 18 Estudio Mariscal 14 Metropol Ie Cafe 15 Zoo de Barcelona 16 Swedish Socia list Part y 17 Marmo Bar 18 Granship .."".

* Bancaja CAMPER s:oll fondos Benictlssim 19 Ajuntament de Gava t< i I> S' 20 21 22 24 25 28 29 CHASE DES I GN GROUP PAGES 44 . E . ) 19 Benicassim 20 Bancaja 21 Camper for Kids 22 Ajuntament de Gava 23 32nd America's Cup 39 Chase Design Group 24 Chinese Laundry 25 Kamasutra 26 Pe rdu 27 Hou rglass 28 Kemper Snowboards 29 Nymph 30 Pearl Dragon 31 Little Buddha 32 Mara is 40 Crosby Associates 33 AlGA Chicago 34 Captive Resources 35 Cole Taylor Bank 36 Eimer Stahl 37 Searle 38 Chicago GSB 39 Sachnoff & Weaver 40 Tr. 37 38 Estudio Mariscal (cont.. ..~ Eime 35 36 Sachnoff&Weaver ."DM~ :san. .55 ------~» 23 L'W""'. .'" perdu ~Jy! MEITI . Logo Ga llery '* 219 . _ _ 0 26 27 CROSBY ASSOC I ATES PEARL DRAGON PAG ES 56 .CES 33 ___ _ 34 SE4RLE CoI. .59 - 30 31 32 0 CAPTIVl! RESOUR. . ..

79 22 21 Crosby Associates (cont. .JENNER&BLOCK 5 Lutheran General HealthSystem 6 7 8 10 11 12 caJTecafe HealthSystem ".69 ANGELI '" ::.NUVEEN wild kingdom 2 1 3 • '+..) 220 FORD AI FOX e c he o n [NOM A O ) 20 15 Ph...D 9 Centegra 10 11 12 13 Health System Caffe Cafe AlGA Arvin Badger 14 15 16 17 18 19 20 21 22 Ange li (symbol) Ange li (word mark) Bergamot Cafe Border Grill Eche lon Ford at Fox No.~ ' .. 13 Nomad Ciudad .~ A 9 .? \bilJ PH .#' 14 13 BERGAMOT CAFE i/J~~dfg 16 COLOR FORMATION 17 18 CiUDAD 1 Mutual of Omaha's Wild Kingdom 2 Nuveen 3 Next Level 4 Lutheran General Hea lth System 5 Edward Jones 6 Jenner & Block 7 D'G'T'L 8 Chicago Partners MASTERS OF DESIGN ~~ Logos & Ident ity 19 MUCCA DESIGN PAG ES 7 0 .. D C3 PAG ES 60 . Centegra 4 CHICAGOPARTNERS ...

I.93 34 VISIONS 35 36 . Expand 0Beyond" 37 Is AlAI 1\. 27 FELIX BELTRAN & ASOC I ADOS PAGES 80 - .-... •• •• CH1CAGO LISKA + ASSOCIATES PAGES 90 . /~_ .- 24 25 26 28 29 30 31 32 33 ..4 ~.'»=0....105 st. i 40 )! --------:~ modem doghotal 41 42 Mucca Design 23 Bal t hazar Bake ry 24 Butte rfield 25 Country 26 Presidio Soc ial Club 27 Schiller's Li quor Bar 28 The Gracious Gourmet 29 Sant Ambroeus 30 Mao 43 Felix Beltran & Asociados 31 Estamex 32 Grapus 33 Hi ll Print ing 34 Hospitalaria 35 Steelmex Liska + Associates 36 10 Chicago Visions 37 BNSF Railway 38 Expand Beyond 39 Goodman Theatre 40 Northwestern Nasa l + Sinus 41 SAA 42 Stay. PAGES 94 .~ ~ ~- J'l"f"::"' ."1 ~ NORTHWESTERN NASAL+SINVS 38 39 ADAMSMOR I OKA.. INC. 43 Tim Bieber Logo Ga llery '* 221 .-..the~raclous ourmet ~_~_'/"" .\ AJ'''''' ".23 .

CO Architects Health Magazine Jar 8 Red Bone Films 9 REDCAT 10 Studio 411 22 23 Pentagram SF 11 Sundance Institute 12 Wild Brain 13 Wasserman Media Group 14 @Issue 15 Beach Blanket Babylon 16 California Academy 17 18 19 20 21 22 23 222 M ASTERS OF DE S IGN ~~ Logos & Ident ity of Sc iences Columbus Des ign Within Reach Fuego Gymboree IDSA 2007 Independent Means Lucky Fish .oh!" Oxygen • via 2 1 PHILIPB. Theater 9 12 11 • W MG i_ "i. • 'hi"'''' 10 PENTAGRAM SF Ii'''' :> PAGES 106 . 1 Disney Club House 2 Oh! Oxygen 3 Via 4 5 6 7 Philip B. Inc .109 @lSSUe: 13 @ 14 15 18 19 DESIGN WITH I N REA C H CALIFORNIA ACADEMY OF SCIENCES 16 17 ~" ~t"Luckyflsh GY BOREE 21 20 AdamsMorioka. 4 3 Health COARCHITECTS Magazine 5 REOBoNE FILMS 8 7 6 StUdio lllll W SUNDANCE INSTITUTE W! LDBRAIN® Royand Edna Disney iCalArt.

.~" e'f/ - 1""'1""'1 Shelter ~~. .' .Norton" from symantec NAPPrSTY l.".f m uza k 24 26 27 29 30 31 o -P PIPERLIME 28 Safeeo 25 ucRIVE"FisloE '" 32 34 33 35 JOHNSON BANKS PAGES 110 .~.) 24 Magnes Museum 25 Muzak 26 Napa St yle 27 Norton 28 Picture Licensing 29 Piperlime 30 Pot lach 31 Red Herring 32 Safeco 33 San Francisco Botanical Garden Society 45 34 San Francisco Zoo 35 University of Ca liforn ia Riverside 36 The Walt Disney Fami ly Museum 37365 46 JohnsonBanks 38 Think London 39 The Art Fund 40 Shelter 41 Basis 42 Pleasure Beach 43 Dimensions 44 Living Paintings 45 Mecklenburgh Opera 46 Global Warming Logo Ga llery * 22 3 .121 37 36 -=== r- ~b f<<S ~ ~~.' 38 39 = tlft~lS 40 c= =:II "" 41 ~ 42 mecklenburgh Dim~nsions be 43 16 Living inting iil 44 Pentagram SF (cont.

1 2 YELLoCOM 4 3 MODERN DOG PAGES 122.) 1 Middlesex Probation 2 Cabe 3 UK Japan 4 UK Presidency 01 the EU 5 Yell. l1li green world now 8 9 10 11 12 13 14 15 17 18 C&G PARTNERS PAGES 124 .123 THEATRE 5 7 6 1:1..com 6 Brit ish Film Institute 224 MASTERS OF DESIGN * Logos & Ident ity PAG ES 134 .139 21 Modern Dog 7 ACT Theatre 8 Ass Kisser 9 Brown Paper Tickets 10 Greenwood Park 11 Green World Now 12 Juju 13 K2 Snowboards 14 Lotto 15 Malo Soap 16 Olive C&G Partners 17 Crane 18 Time Warner 19 Signature Theatre Company 20 New York Public Library 21 NBC .133 CIANE 16 . 19 FROST DES I GN NBC 20 JohnsonBanks (cont.

not 5 "I"" II~ 1110 34 MANTA LAURENCE KING PUBLISHING LTD 38 " " IMADES IGN CORP.DSS UDFiHS ~~ I MAGE I' \~III~~\I SOURCE 30 (. 40 The London Design Festival 2003 41 Manta 42 Swiss Re Centre fo r Global Dialogue Imadesign Corp. 43 Atlus Lux 44 EIS Logo Ga llery "* 225 .149 A 41 aTnaCl1lOKC CCB 42 44 43 Frost Design 2254 23 ADG 24 Australian Design Award 25 Channel V 26 Chris Boot 27 Coast Restaurant 28 Franco & Co 29 Freestyle 30 Glass Works 31 Image Source 32 Internationa l Fashion Group 33 Sydney Dance Company 34 Sydney Opera House 35 Trio 36 Tyro 37 Creative Magazine 38 Khai Liew 39 Laurence King Publishing Ltd.54 22 23 24 25 28 29 31 32 33 35 36 37 "0 a c:J FlftleD &CD 27 26 GL. Swiss Re Centre for Global Dialogue 40 39 PAGES 140 .

\~ Capital CEHE}I{" IVIEiJiN n03UTpoHUI<a 13 .hony Integration Entrepreneurship Essentials 5 CreativeAction 6 7 8 11 12 ~~'& ~J1 C-.153 Russian Busi ness Trave l 19 18 17 Spy 20 21 Imadesign Corp.Russia Expo 2010 Idea Stroynadzor EE Medved CTI Modula Creative Action 10 Marjani Foundation 226 MASTERS OF DESIGN ~~ Logos & Ident ity 23 22 11 12 13 14 15 16 17 Iskona Vita land Stone Bridge Capital Cehex Meijin Pozitronika Russian Business Travel Doyle Partners 18 Barnes & Noble 19 Cook & Fox 20 Loews Hotels 21 Martha Stewart 22 PAX 23 SPY . Marjani Foundation 9 StoneBridge • 10 \.3Kcn02010 1 2 EEIV 4 3 C TJi c enter of Telep..0 ·8 . 15 14 BOOKSELLERS PAGES 150 . (conI.1'-.) 1 2 3 4 5 6 7 8 9 e.o~vs 16 BARNES&NOBLE DOYLE PARTNERS .

) 24 The World Financial Center 25 Tishman Speyer 26 Top of the Rock 27 USGBC Th Met J z71 39 42 37 36 35 Moria Design 28 DMJM 29 Infuselle 30 We lls Fargo Bank 31 Sea Blue 32 DWR Profi le 33 Levi's Origina l Spin Pentagram NY 34 Saks Fifth Avenue 35 Highl ine 36 Da llas Symphony Orchestra 37 Bard School 38 Madison Squa re Park 39 Curious Pictures 40 Jazz at Lincoln Center 41 The Metropoli tan Opera 42 Criterion 43 Tiffany & Co.>lctures • 38 • I pohtan Opera 40 41 44 45 citr TIFFANY & Co.163 26 28 "01 -PROFILE SEA BLUE 31 PENTAGRAM NY PAGES 164 . 43 Doyle Partners (conI. 44 Citi 45 POV Logo Ga llery '* 227 .167 32 33 c~ 34 • • curlous.• TISHMAN SPEYER 24 25 27 29 30 • MORlA DES IGN I H+N PAGES 154 .

APELOIG DESIGN 3n ::> PAG ES 168 . t<WCRL.O'" 9 WILLOUGHBY DES IGN GcR-.ITI Number Seventeen 6 Air Amer ica Radio 7 Homemade Baby 8 Saturday Night Live 9 Orbitz 10 Trio 11 National September 11 Memorial & Museum 12 Housing Works Willoughby Design Group 13 Apres Peau (symbol) 14 15 16 17 18 19 20 Apres Peau (word mark) Feng Tivol Sheridan's O'Brien Pharmacy MAX Mary Carol 21 Spin! .. 15 19 Apeloig Design 1 Octobre 2 Musee Judaisme 3 303 4 Bresil 5 Ch<ltelet MASTERS OF OESIGN * Logos & Ident ity 16 17 20 21 t carol &..IVE 7 8 NAnONAl SEPTEMBER II MEMORIAL 1\ MUSEUM .--O .--U ..191 UK' 11 . I.179 PAR I S 4 6 5 SATUR OAYN I G HTL.. .IIIAI 18 :> 12 mary 228 10 '''.--P_ _ _~ - PAGES 180 .177 U 3 1 chi -te let IHI\I~ 3 2 THE.lTRE NUMBER SEVENTEEN MUSIClll OE ') PAGES 178 .. aPReS peau 14 13 fen .

: ' " PAGES 202-205 . CONCRETE DES I GN COMMUN ICAT ION :" TheGuardian PAGES 206 .) 22 Lee Dungarees 23 Wonder Bread 24 Einstein Bagels 25 The Katalyst Consultancy ZetaLab 25 Milano Film Festival 26 Design Pubblico 27 My Detou r StudioDavidHiliman 28 Bu ilding 290bongo 30 Phaidon 31 The Guard ian 32 Editorial Inte lligence 33 Modernism Exhibition Concrete Design Communications 34 Cava 35 Keilhauer 36 Masterfile 37 Pizza Nova 38 SGU IG 39 Umbra Logo Ga llery '* 229 . katalyst OONSOLTANCY 23 22 25 24 ZETALAB Detour PAGES 192.201 25 26 27 28 29 30 STUDIO DAV I D H I LLMAN-'---_ _ _.Tn.217 32 31 33 ~ KEIUlAUER 34 35 38 39 36 37 @ SGUIG Willoughby Design Group (cont.:.

9692 www. 212 . North Kensington .966 .S.A.com www. 2019 Riverside Dr.com www.com Felix Beltran Stephen Doyle David Hillman Felix Beltran & Asociados Doyle Partners Studio David Hillman Ltd Apartado Postal-M 10733 1123 Broadway.896.A. Switzerland 323 .2 .(0)20. level 1 387 Tehama Street New York . CT 06896 U. NY 10010 124-128 Barlby Road Mexico U.4460 310.cgpartnersllc.2900 41 44 382 1850 www.pentagram .463 .A.gplusa.muccadesign .A . New South Wales 2010 San Francisco CA 94103 U. CA 90039 Redding. U.au www.com info@alexanderisley.frostdesign .com Matteo Bologna Steff Geissbuhler Michael Hodgson Mucca Design Corp.S.com Michael Bierut Vince Frost Kit Hinrichs Pentagram Design Frost Design Pentagram 204 Fifth Avenue 15 Foster Street.com United Kingdom 44.9821 212 .doylepartners.965.com www.com www.8960.9280. NY 10012 New York. suite 600 203 North Wabash Avenue . U.com. 212 .8787 London WlO 6BL www. CA 90211 Chicago.544 .A.studiodavidhillman .S.S.D 568 Broadway. Pall Mall Deposit Mexico City 06000 DF New York .S.A.S.alexanderisley.683 .crosbyassociates .4233 415.S. IL 60601 8032 ZOrich U.com 230 MASTERS OF DES I GN * Logos & Ident ity .0900 www.com Margo Chase Alexander Isley Margo Chase Design Alexander Isley Inc.A .0499 www.adamsmorioka. NY 10010 Surry Hills.1055 203 . NY 10003-3034 Santa Monica. Postfach 1711 Beverly Hills. suite 200 Bocklinstrasse 26.346 .chasedesigngroup. 212.A.S.7000 61. 9 Brookside Place Los Angeles .532.pentagram. suite 504 116 East 16 Street 1524A Cloverfield Boulevard New York.S.com www. C&G Partners Ph.829.A. Australia U.5990 312.1717 www. CA 90404 U.668 .phdla .DIRECTORY OF CONTRIBUTORS Sean Adams Bart Crosby Fritz Gottschalk AdamsMorioka Crosby Associates Gottschalk + Ash International 8484 Wilshire Boulevard.com www. U. 6th floor Unit 100. 323.S. U.A.

7667 www. U.A.concrete .6548 www.com www. London SW4 9RW 08019 Barcelona New York. WA 98103 U.com Diti Katona Jennifer Moria Concrete Design Communication Moria Design Inc 2 Silver Avenue 1008A Pennsylvania Avenue Toronto. MO 64111 +7. 515 North State Street.495.992 212 . Modern Dog Design Co.9395 www.zetalab.S.morladesign .com Erken Kagarov Debbie Millman Ann Willoughby Imadesign Sterling Brands Willoughby Design Group Russia Empire State Building.933. Ontario M6R 3A2 San Francisco.com www.liska.02 . 416.533 .Michael Johnson Javier Mariscal Paula Scher Johnson Banks Design Estudio Mariscal Pentagram Design Crescent Lane Pellaires 30-38 204 Fifth Avenue Clapham.johnsonbanks. Room 650 20124 Milano New York.pentagram .A.com www. NY 10013 Italy U.329.number17. U.940 212 . IL 60610-4322 Seattle .imadesign.co.036 . 312.020.S.543 .S.A.ca www.uk www.56l.9960 415.A .5693 U. 17th Floor 602 Westport Road +7.S.com www.A.com Steve Liska Robynne Raye & Michael Stassburger Liska + Associates Inc.S.644.7000 www.4600 816.moderndog. www.4400 206. 44.7587.729.ru 212 .A.775.willoughbydesign .29. NY 10118 Kansas City. 23rd Floor 7903 Greenwood Avenue North Chicago.sterlingbrands .4189 www.S.com Lucio LuZo Lazzara Emily Oberman & Bonnie Siegler Zetalab Number Seventeen via Tadino 29 /a 285 West Broadway.mariscal.789. NY 10010 United Kingdom Spain U.534. CA 94107 Canada U.495 .A .S.6400 34 .683 .4810 New York . 39.com Directory of Contributors * 231 .966.

Dorisman Chermayeff. Doyald. TM: Trademarks Designed Pentagram. New York: Design Press. London: Phaidon Press. Wiley. Noreen Morioka. 1953. 1993. New York: Van Nostrand Steff Geissbuhler. Rosen. New York: Wiley. Type and Image: The Designers. . New York: Doubleday. Charles and Ray Eames: A Complete Guide to Creating. 1999. Tom Geismar. and Michael Bierut. Friedman. 1995. 2000. Alina. 2003. Steven. New York: Abrams. Hastings House. Perverse Optimist. Pat. Designers of the Twentieth Century. Halberstam. New York: by Chermayeff & Geismar. Designing. LogoLounge: Meggs. 1992. New York: and His Design Problems. and Maintaining Strong Brands. 1994. Peter. MA: Rockport Publishers. The Graphic Artist Tibor Kalman. and Heller. Building. Chicago: Paul Theobald. Designing Brand Identity: Kirkham. A Primer in Design and Communication. The Encyclopaedia of Type Faces. Donis A. Ivan. Sean. and Cathy Fishel. 1999. Ivan. A Primer of Visual Literacy. of Fun. Gloucester. Dondis. Editors. New York: Publishers. 1961. J. Edward. Eames. Gardner. Geissbuhler. London: Blandford Press. The Corporate Search for Chermayeff. 2. & CBS. Graphic Design in America: A Visual Language History.000 Intemationalldentities by Leading 232 Wiley. Egbert. New York: Princeton Architectural Press. 1995. Letters on America. and Jaspert. and Nancy Dunnan. 2002. F. Problem Solved: The Amy Vanderbilt Complete Book of Cambridge. David. Logotypes & Letterforms: Handlettered Logotypes and Typographic Considerations. 2003. Editor. New York: American Showcase. Wheeler. 1989. MA: Rockport Language of Graphic Design. Bill. Etiquette. Eames Design: The Work of the Office Gloucester. Visual Identity.BIBLIOGRAPHY Adams. A History of Graphic Design (Third Edition). Pentagram Book Five. and Marion Muller. 1952. Princeton Architectural Press. 1987. Philip B. 1998. New York: Meggs. Mildred. Tuckerman. Press. Fella. 2000. 1989. The Fifties. Dick. Trademark Design. 1970. 2004. New York: Graphis Press. Monacelli Press. New York: Moss. and Ray Terry Stone. Turner Berry. of Charles and Ray Eames. Ben. Nancy. Marie Y. 1998. MA: MIT Press. MOiler-Brockmann. MASTERS OF DESIGN * Logos & Identity Young. 2001. ® Hello Everything!: 25 Years Ballantine Books. MA: MIT Press. New York: Jacobson. New York: Princeton Architectural Press. Paul Rand. London: Phaidon Neuhart. Pincus. Editor. 1973. Logo Design Workbook. Tom Geismar. New York: Hess. and Steff Abrams. New York: Abrams. Michael. Johnson. Cambridge. 2003. Marilyn Neuhart. and A. W. Reinhold. Hall. Philip B. Johnson. W. John.

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