1 - Designing Logos

DesigningLogosAndBuildingBrands1.Logos&VisualIdentityThewordlogoisshortforlogotype:Agraphicrepresentationofabrand.So,essentially,alogoisapicturethatrepresentsthecollectionofexperiencesthatformsaperceptioninthemindofthosewhoencounteranorganization.Allillustrativelogosarepictures,buttheycoverquitearangeofmeaning.Someliterallyillustrateaproductorservice.Otherssymbolicallyrepresentanideaormetaphormorelooselyrelatedtoanorganization’smission.Athirdgroupsuggestsmeaningorcapturesaspiritratherthanillustratingsomethingspecific.Imagery1.IllustrativeLogos1.artwagenhopperhewittMarcusHewitt2.MayflowerTransitLippincottRodneyAbbot,BogdanGeana,MichaelD’Esopo,SashaStack’sSmokehouseTOKYBranding+DesignEricThoelke,DanKlevorn’llneedtoensurethatamarkwillworkinseveraldifferentcolors.Andbecausecolorsareofteninfluencedbytrends,whatfeelscontemporarytodaymaylookdatedtomorrow.Thatsaid,acolortreatmentcanmakeorbreakagraphicidentity.Colorchoicesthataretoodated,illegible,unsophisticated,etc.,candragdownthemostwonderfullydrawnmark.Alogoisasymbol.Makingalogointoapieceofsculpturerisksconfusingitsreadabilityasasymbol.Graphicidentitiestypicallytaketwo-dimensionalform,butmanyidentityprogramsbegtheopportunityformarkstoliveinthreedimensions.Whentheydo,interestingquestionsandrisksemerge.Dimension3.3-DLogosSpectatorGroupStudioInternationalBorisLjubicic,IgorLjubicic:Whyistheweightofthisletterdifferentthanthatone?Whyisthisshapedifferentthanalltherest?Andwhatdoesthisallmean?Isitajoke?Doesitsuggestsomedeepermeaning?Contrastisapowerfultoolindesigningwell-composed,meaningfulgraphicidentities.Contrast4.ContrastinComposition1.UNRESERVEDTheOGroupJasonB.Cohen,J.KennethRothermich://://(EDG)EvensonDesignGroupStanEvenson,MarkSojka,DallasDuncan,TimMoraitis://(orreinterpreters)ofculturalsymbolsthroughgraphicidentities.Symbollanguagesfromtheworldsoftechnology,law,gaming,sports,orelsewheremightlayermeaningontoabrandbywayofagraphicidentitythatbuildsuponasymbolfromoneofthesesubcultures.Symbols6.CulturalSymbols1.MediterraneanGamesSTUDIOINTERNATIONALBorisLjubicicÓ!EinarGylfason,TraustiTraustason’sclearandstraight-forward,typemaybebest.Formostorganizations,wordmarksormonogramsdon’tasktheviewertointerpretmuch.Inaworldthat’srapidlyfillingupwithsymbols(Don'tbelieveit?Checkoutyourcomputerdesktop),awordmarkcanlookveryclean,professional,andclassic.Typography7.MonogramsandWordMarks1.NobiliPasticceriaCacaoDesignMauroPastore,MasaMagnoni,AlessandroFloridia,LauraMangano://pentagram.com/3.GeorgeatASDAChecklandKindleysides’sidentityisthegoalbutchangingthenameisnotanoption.Writing8.NamesandTaglines1.GoodnightExterminatorsIdea21TomBerno,JeffDavis://wolffolins.com/3.Relax-a-daisicalImagehausJayMiller://organicgrid.com/StructureIt’sthefoundationforbeingmemorable.Memorablemarksoftenplaygameswithsymmetryorpattern,eitherit’sallaboutcirclesorit’sallaboutsquares;it’sallaboutwhat’shappeningonthetop,oronthebottom.Onceadesignerestablishesabase,everymoveawayfromthatbasecallsattentiontoitself.Order10.LogoStructure1.StrategicHotelssamatamasonGinaLarsen,GregSamata2.M