Logo Design Love | Jabadabaduu

Pymlico

To, 17.05.2012 - 14:50

In what looks like a nod to Eatock’s alternative 2012 logo, artist and designer Roy McCarthy created this free-to-use branding for unofficial 2012 sponsors.

“I think there’s room for everyone to benefit from, and show support for, the games without having to stump up a load of sponsorship. Normally in a situation like this I would have a bit of a moan in the paper’s comments section, but this time I’m seeing it as a chance to do something creative instead.”

I’m all for less moaning, more doing.

Read and see more on Roy’s Pymlico page. Via davidthedesigner.
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Takes the biscuit

Ti, 15.05.2012 - 15:58

Via @asburyandasbury.

More on London 2012:
London 2012 logo threatens Iran
2012 Olympic non-events
Royal Mail 2012 stamps

Behind the innocent logo

Ma, 14.05.2012 - 11:29

Launched twelve years ago, innocent sells more than two million pure fruit smoothies each week in 11,000 UK outlets.

Here’s the story behind the “face with the halo” logo quoted from a comment thread on the Fast Tractor innocent blog.

The story goes like this — the name ‘innocent’ came from us (actually via Rich (founder) going through the thesauruses in Huddersfield town library). We had a fair few dodgy names before settling on innocent.

The logo was designed by Gravy at Deepend. Gravy doodled on a piece of paper in front of us in response to our brief ‘we just need a face with a halo above it’, and we looked at his first sketches and said ‘that’s it’.

We agreed that Deepend would provide us the first 18 months of design services in return for them getting 2% equity, but Deepend went bust so the equity reverted back to us.

Story from the keyboard of Dan Germain, head of creative at innocent.
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Elephant Combs

Ke, 09.05.2012 - 19:48

The Elephant Combs logo caught my eye over on Creative Review’s roundup of the 2012 One Show Awards.

Designed by TBWA/India for MKV Household Products, it also made the graphic design longlist at D&AD.

It’s so fitting I can’t help but think it was designed before the product existed.

That’s a compliment.
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Trying to remember logos (by my 5-year-old)

Ti, 08.05.2012 - 11:46

Contributed by Cincinnati-based Adam Ladd.

innocent logo, designed in 1999 by Deepend

After Faith’s “impressions” on logos, it was fun to see her retention of some she is not familiar with (embedded below).

You can catch Adam on Twitter here.
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Indifferent

Ma, 07.05.2012 - 13:48

A project by Tommaso Guerra, described in his words.

We live in an infinite constellation of different products; infinite variations, infinite differences, infinite options.

But what’s the real value of the difference in a globalised world economy?

Multinational companies hide exploitation, politics of territory, and people, behind the objective of optimisation of resources, covering up everything with a skilled show of recognisable and distinguishing brand personality.

We know them, we recognise them, we chose them consciously and with an exact reason why.

I wonder if it could be just an illusion.

Six transparent tables impress, with laser on plexi, six logos; companies, arch enemies in their business, mix themselves in production politics, becoming one only brand that is recognizable like the two original ones.

Free from their seeming appearance of uniqueness, companies are reduced to showing their naked reality: I invite you to look at the form and ask yourself if the difference among producers is real, considering the daily absence of social responsibility.

—

Indifferenti, by Tommaso Guerra.

Similar: Brandversations, combined logos, logo mashups.
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Stedelijk Museum

Ti, 01.05.2012 - 19:30

A new logo for Amsterdam’s Stedelijk Museum.

The Stedelijk is a museum for classic modern art, contemporary art and design. It is housed on Museum Square next to the Van Gogh Museum and close to both the Rijksmuseum and the Concertgebouw. The original municipal museum was founded in 1874, but developed into the present museum after a 1909 decision of the city to collect contemporary art and accept donations of work made by artists of international acclaim, Georges Braque and Wassily Kandinsky being among the first to enter the museum from outside the Netherlands.

Above info excerpted from Wikipedia.

Designed by Linda Van Deursen of Mevis & Van Deursen.

Here’s a short video talking (in Dutch) about the new logo.

At the moment the museum is closed for the final phase of construction and completion of the building renovation and expansion project. It’s due to reopen on 23rd September 2012.

Photo via Wikipedia

Via @AisleOne.

—

Update: 03 May 2012
More photos of the building on the architect’s website: Bentham Crouwel.
(Thanks, Richard.)

Update: 10 May 2012
Michael Evamy, author of Logo, wrote a piece for Creative Review about the new identity and its background.

—
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Logo Go/No Go

Ma, 30.04.2012 - 14:28

Logo Go/No Go features the overlooked craft of comic book logo and cover design.

“More often than not, when comics folk talk about ‘cover design’ they focus on the art, whilst design and graphics are often overlooked or taken for granted.

“Comics are an incredibly creative and versatile medium, yet the majority of books out there treat logos and branding as either an afterthought or play to the tried/tired tropes of the particular genres and medium, without looking outward and innovating. Luckily, there are a lot of talented creators out there that do value good design and create some great work. So this blog is a celebration of the good, and will point fingers at the bad — explaining why its not cool to use drop shadows on your text.”

The project is by Tom Muller, an Eisner-nominated designer who has designed logos and publications for DC Comics, Marvel Comics, Image Comics, IDW Publishing, Ashley Wood, ThreeA Toys, Kent Williams, Mark Millar, and Mam Tor Publishing.

Visit Logo Go/No Go.

—

Related, from the archives: DC Comics.
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The illusion of choice

To, 26.04.2012 - 11:33

I caught this image over on Reddit, showing in “logo terms” how many of those small brands we know and love are owned by a select few corporate giants.

Click the image for a full size version.

We still have choices, but our money tends to go to the same few places.

It reminded me of this video of the late George Carlin (contains profanity).

If you know who created the image please do let me know.
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Swisscom sketches

Ma, 23.04.2012 - 13:40

There’s something about logo sketches I find much more interesting than the polished, digitised outcome. These are from Moving Brands‘ 2008 project for Swisscom.

Here’s the accompanying promotional video. The design’s still fresh, and although my editing skills aren’t anywhere near as good, the video’s a bit jumpy for my taste.

“Sharing a Coke”

To, 19.04.2012 - 14:39

That was the three-word brief for Jonathan Mak’s recent design.

Ogilvy & Mather China tracked Jonathan down, a then-19 year old graphic design student at Hong Kong Polytechnic University, to ask about working on a project for one of its clients.

“I enjoy making visual puns. I don’t want to say it’s my style, but I do enjoy combining elements together to create a joke almost. It captures people’s attention. These kinds of images are quite appropriate to advertising. It takes a second to get, and then there’s an ‘aha’ moment.”
— JONATHAN MAK

Quoted from Creativity Online.

The poster design has been appearing in Shanghai.

Photo credit: Ogilvy China

Most of you will have already seen Jonathan’s adaption of the Apple logo — his tribute to the late Steve Jobs. It’s what prompted Ogilvy to get in touch with him.

A little more “Sharing a Coke” info on Co.Create, via @saffronbc.

Jonathan Mak’s Cargo portfolio, and Tumblr blog.
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One World Trade Center

To, 19.04.2012 - 11:44

The new logo for One World Trade Center, by London-based Wordsearch.

“According to Wordsearch director William Murray, the consultancy pitched to developers Cushman & Wakefield in December 2009 with a film and strategic presentation, before further pitches to The Durst Organization and The Port Authority.”

Quoted from Design Week.

Under construction, photo courtesy of Huffington Post

Construction inside the 91st floor

“The logo uses a customized version of Hoefler & Frere-Jones’s Gotham font. The logo’s “ONE,” when used on postcards and stationery, will be set in Pantone 301 flat blue, which the marketers are calling ‘One World Trade Center Blue.’”

Quoted from Capital New York.

I can only guess at the size of the committee involved for such a landmark building, and the struggles it might’ve taken to reach consensus on anything. I get the feeling this wasn’t Wordsearch’s preferred direction.

More info on the $3.1 billion construction project here.

On a slight tangent, one of the most poignant logos I’ve seen is based on the events of that day in 2001, the 9/11 Memorial logo by Landor New York, where as well as the 11 symbolising the Twin Towers, it also acts as a “pause,” because that’s what we should do. Pause, remember, reflect, learn.
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The story behind the English National Opera logo

Ti, 17.04.2012 - 12:20

The following tale about how the English National Opera logo came to be is excerpted from Graphic Journey, Mike Dempsey’s blog on graphics and living.

—

Our work for London Chamber Orchestra (LCO) had caught the attention of English National Opera. I went to see them knowing that they had already seen five other consultancies. I got on so well with ENO’s director of corporate affairs, Keith Cooper, that he sellected us to create their new identity before I’d left the meeting. For me, this was to become another of those projects of a lifetime.

The story of the creation of the logo is worth a few lines. I used to live in Islington and travelled to work on the 38 bus. This is well before mobile phones. So it was a great place to think. And over the ensuing years I would clock up a lot of thinking on that bus. So there I was trundling down the Kingsland Road thinking about the essence of English National Opera. I started scribbling singers, arms out stretched, opened mouthed. I looked down at my drawing, zeroed in on the face and had one of those rare ‘eureka’ moments. The face turned into an E and an N for the eyes and a large O for the mouth. Later that day in the studio it became this…

That’s how things happen sometimes, quickly and effortlessly. And the art of looking beyond what is before you is crucial to capture the unexpected. I presented the above sole option to the client. I was so sure it was right, and it was. We went on to overhaul everything. For many years working for ENO was a real joy and I gained, and still have, a soft spot for opera…

—

Read more about this stage in Mike Dempsey’s career on Graphic Journey.
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Zebra-inspired

To, 12.04.2012 - 21:47

I rarely double-post between blogs, but I know many of you don’t keep tabs on Identity Designed, and this Zebra-inspired mark is worth another share.

The pattern adaptation is well done given that it’s not a simple repetition, and I’m glad to see the ‘ears’ (from the second image) were left off the final iteration. It’s less literal, sure, but more lasting and professional.

Designed by London-based Glazer for Sankara Nairobi.

View the collateral and rationale over on Identity Designed.
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The old dove/hand logo combination

Pe, 06.04.2012 - 16:52

There are few logo ideas that are as widespread as the dove/hand combination.

Sketches by Sunny Zheng.

Image via QBN.

Designed by Timur Yevtuhov.

Designed by Daniel Evans.

For Hospice of the Valley. Via Bill Heyman.

Designed by Austin & Company.

Designed by Jesse Bennett-Chamberlain.

Designed by Robin Kosnas.

Designed by ZeeBrands.

Designed by Pentagram for The Waterways Trust (more likely a duck).

Designed by Green Ink Studio for Randall Museum.

Designed by Tom Balchin for Housing Justice.

Designed by Predrag Stakić.

It’s a popular statue/monument, too.

Above images via Peace Monuments.

Photo by Andra Folks.

No doubt there are hundreds, maybe thousands more.

I’m not saying it’s a bad idea, but rather when the idea comes, you’ll need to be extra careful the design isn’t exactly the same as someone else’s.
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Crowdsourcing Haiti

Ti, 03.04.2012 - 18:05

From March 10th to 31st this year the Ministry of Tourism of Haiti ran an open call for people all over the world to submit logos and slogans.

Current Haiti tourism logo

The winners will receive round trip plane tickets to Haiti, 3 nights and 4 days and a meeting with Stephanie Villedrouin, Haiti’s Minister of Tourism.

Haiti flag

“Now it is time for you to vote and help us decide which logo and which slogan will reflect the best the new image we are looking for Haiti!”

The top-rated submissions at time of publishing

View all 191 logos.

Quite a difference in submissions between this approach and one where the entries are solicited from consultancies and designers — although the brief was certainly brief: “Imagine, create, compose, and draw the Haiti of your dreams!”

Remember when Zambia tried the same thing?

Via Xavier Delatour.
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Crowdsourcing Liechtenstein

Ti, 03.04.2012 - 16:24

A competition was launched in January where the entrants were briefed to create a logo using the Liechtenstein national colours of blue, red and gold, and to reflect values such as self-determination, independence and security.

Liechtenstein flag, via wallpapersnova.com

The winning design (below) was created by UK-based designer and citizen of Liechtenstein Marc Weymann.

“According to the Liechtenstein government, Weymann’s identity was chosen from the shortlist of five following a nationwide poll open to all citizens of Liechtenstein aged 14 years or over — around 30,000 people.”
— DESIGN WEEK

The five shortlisted logos

Weymann’s logo picked up 6072 votes from across Liechtenstein to win the competition ahead of consultancies and designers in Spain, Germany and Switzerland.

The new identity will be used from May 1st 2012 and replaces the 2004 identity created by Wolff Olins.

Story and info via Design Week. Also reported by Wolff Olins.

—

Related: Crowdsourcing Haiti
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14 Years 41 Logos

To, 29.03.2012 - 23:01

This nice little book landed on my doorstep today.

“Although Mash Creative has only been a studio since 2009, I have actually worked as a graphic designer for more than 14 years. This book showcases 41 of my favourite logos I have designed during that time. All logos have been shown in their most basic state — black and white.”
— MARK BLOOM, CREATIVE DIRECTOR, MASH CREATIVE

Client: CeeGee Clothing. Industry: Fashion.

Client: Farrow. Industry: User Experience & Visual Design.

Client: Sophie Wright. Industry: Professional Chef.

Client: ‘O’. Industry: New Media Consultancy.

The book’s available for purchase from the Design Museum Shop, Artwords, Magma Books, Analogue Books, and Mark’s own online shop.

—

I’ve previously featured Mash Creative on Identity Designed:

Mash Creative calendar 2011
Royal Mail concept
S/O/T/O
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Brand New Awards 2011 winners

Ke, 28.03.2012 - 13:21

The winners of the second Brand New Awards by UnderConsideration have been announced. The criteria included that work must have been implemented or approved for implementation during 2011. Here’s a snippet.

Best of show (1 of 2)

Saint Bartholomew’s Church, by OCD | The Original Champions of Design

Best of show (2 of 2)

New Theatre, by Interbrand Sydney

Logo and identity animations
Best of category

Current TV, by Wolff Olins

Basic identity applications
Best of category

IS Creative Studio, by IS Creative Studio

Comprehensive identity programs
Best of category

Advanced Ice Cream Technologies, by Landor Associates

View the full list of winners on the Brand New Awards website.

From the archives: Brand New Awards 2010 winners.

—

Update: 29 March 2012
More info about the judging and the winners today on Brand New.

—
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Touch my logo

To, 22.03.2012 - 14:42

Ollo is currently being soft-launched as a new telecoms brand providing high-speed internet access to emerging markets.

“The logo is the first to exploit the new multi-touch hardware of smart phones and tablets. Custom software allows for interactive manipulation of the logo to become a creative tool in building the visual language. Playing with the interactive logo allows the designer to create an infinite number of brand-orientated digital assets that can be integrated into the brand.”

Quoted from the Bibliothèque website.

More images, info, and interaction on Bibliothèque.

Via visuelle.co.uk.
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