logo lounge master_library_volume_3

volume 3

:. Expanded Collections of .:

LogoLounge Identity Categories

FROM THE LOGOLOUNGE.COM INTERNATIONAL COLLECTION

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logolounge: MAS T E R Ii brary 3000 SHAPE & SYMBOL LOGOS

FROM LOGOLOUNGE.COM

catharine fishel and bill gardner

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Text 2011 by Bill Gardner

All rights reserved . No part of this book may be reproduced in any form without written

permission of the copyright owners. All images in this book have been reproduced with the

knowledge and prior consent of the artists concerned, and no responsibility is accepted by

producer, publisher, or printer for any infringement of copyright or otherwise, arising from the

contents of this publication. Every effort has been made to ensure that credits accurately

comply with information supplied. We apologize for any inaccuracies that may have occurred

and will resolve inaccurate or missing information in a subsequent reprinting of the book.

First published in the United States of America by

Rockport Publishers, a member of

Quayside Publishing Group

100 Cummings Center

Suite 406-L

Beverly, Massachusetts 01915-6101

Telephone: (978) 282-9590

Fax: (978) 283-2742

www.rockpub.com

Digital edition: 978-1-61060-238-9

Softcover edition: 978-1-59253-690-0

Library of Congress Control Number is available

ISBN-13: 978-1-59253-690-0

ISBN-10: 1-59253-690-5

10987654321

AT& T logos courtesy of AT&T International Property. Used with permission.

Design: Gardner Design

Layout & Production: tabula rasa graphic design

Production Coordinator: Jessica Hansen / Gardner Design

Cover Image: Gardner Design

Printed in China

, .......................................................................................................... ~ .................................. ............................................................... .

A decimal dedication with much to be

thankful for:

Millions of hits on LogoLounge.com annually;

One hundred thousand-plus logos uploaded

to the site;

Ten thousand-plus members of

LogoLounge.com;

One thousand-plus designers included

in this book;

One hundred-plus countries our members

call home;

Ten Gardner Design and LogoLounge.com

partners;

One daughter and one wife who make my life

a tru'e joy.

-Bill Gardner

To Denny, Alex, Andrew, Sam, and the fabulous

Venture Crew 318: You always make me smile.

To Bill and the whole LogoLounge team: You are

an inspiration.

-Catharine Fishel

LogoLounge.com is the world's largest database

of logo designs where, in real-time, members

can post their logo design work; study the work

of others; search a database of more than

109,000 logo designs by keyword, designer's

name, client, industry, and other attributes; learn

from articles and news written expressly for

and about logo designers; build lightboxes for

inspiration; and much more. Anyone visiting the

site has access to editorial materials, although

only members have access to search, upload,

and lightbox functions.

LogoLounge is also parent to two lines of

bestselling books about logo design, published

by Rockport Publishers:

The original LogoLounge series (1, 2, 3, 4, 5,

and 6; Book 7 is under development now)

The Master Library series, built from seven

volumes, each of which contains 3,000

topic-specific logos. The topics covered will

be Initials & Crests; Animals & Mythology;

Typography; People; Shapes & Symbols;

Nature & Food; and Arts & Culture.

For more details, please visit ,

www.LogoLounge.com .

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FROM THE LOGOLOUNGE.COM INTERNATIONAL COLLECTION

' ........................................................................................................................................................................................................................................ .

3000 SHAPE & SYMBOL LOGOS

: 6 In trod uction: B ILL GAR D N E R

12

18

24

Interview: Steff Geissbuhler

Interview: Jerry Kuyper

Interview: Hans Hulsbosch

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13

15

17

19

21

23

25

27

29

Sidebar: Andy Payne, bpost

Sidebar: Chris Rooney, WE

Sidebar: Roy Smith, Further

Sidebar: Ty Mattson, Mottsy

Sidebar: Cesar Hirata, Grupo Boticario

Sidebar: Gia Bokhua, ACT

Sidebar: Marco Escalante, lonos

Sidebar: Tim Driesen, Ageas

Sidebar: Bojan Stefanovic, Vibrant Drive

......................................................................................................................................................................................................................................... .

Expanded Collections of LogoLounge

Identity Categories

31

228

shapes symbols

Index 283 Directory of Contributors 288 : 296 About the Authors

il logoloungei MASTERlibrary

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MASTER LIBRARY SHAPES & SYMBOLS

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-

:. After thousands of years, the symbol first used to

represent ivy leaves not only changed from green to red,

but it slowly acquired a whole new meaning as our

modern-day heart.

3000 SHAPE & SYMBOL LOGOS

All logos rely on sYD1bology. And all logos have shape. So on the surface, this

book's title might seem a little indiscriminate or

perhaps just over-reaching.

But when you're dealing with a growing data-

base of hundreds of thousands of logos, as

LogoLounge.com does, some organizational

categories are necessary. We've selected the

names shapes and symbols to represent two

very specific categories, just as food, crests,

animals, sports, and others (we use twenty-one

file names in all) are used to help categorize

other logical groupings.

So what do the terms shapes and symbols

mean, in this context?

Shapes are generally logos that are more

concept-oriented. That doesn't mean that many

designs in the shape category don't rely on

their form/shape to convey a message. A circle

used in a logo may well represent a globe or

infinity or completeness or any number of

concepts. But the total meaning for some of

these logos is not reliant on the shape; instead,

it depends on many different elements in the

design to convey the full meaning.

Symbols are logos that are based on pictorial

representations of concept-a heart, a star, or

a cross, to name a very few. In large part, their

meaning is drawn from the specific base symbol.

Like any spoken language, the visual language

of symbology is always evolving, but until

recently, that evolution was usually quite slow.

As the pace and spread of media increases,

new potential symbols are being born every day.

Witness the hundreds of new icons born every

year, created especially for websites and PDA

screens. They receive wider exposure, so their

comprehension is quicker. If anyone gains

traction, it could well become a symbol-but only

over time.

The new wind power logo is a good example. It's

hard to know in ten years where or what it will

be. It was intended from the start to be iconic-

like the recycling symbol-unlike some arbitrary

.................................................................................................

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:. The new icon representing wind energy could become ubiquitous and a familiar element in logo design .. . or maybe not.

il logoloungei MA5TERlibrary -

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:. Top down: Swedish Council of America, Kansas Heart

Hospital , Spirit AeroSystems. Traditional symbols have

been worked into each of these logos in a way that

keeps the symbols in the background while bringing their

core meanings forward. (All designs by Gardner Design.)

shape, like the smiley face, that unexpectedly

gained traction. But despite this original intent,

the wind power symbol hasn't really worked its

way into the public consciousness yet. And if the

technology for gathering wind power changes

away from giant windmill-driven turbines, it could

become completely irrelevant.

If it does catch on, though, this logo or parts of it

could become flexible parts of the visual vocabu-

lary very quickly. The blades could take on

additional symbolism never originally intended for

association with this icon. They could represent

the concept of never-ending power or wind or

movement, or maybe they will be a symbol for a

person who is full of himself/full of hot air. Used

as part of a logo, the blades could represent any

number of products and services that have

nothing whatsoever to do with wind-powered

energy. The icon will have become a symbol.

The icon found on the "power" button on most

computers is another example. The unfinished

circle with the line sticking out of its top is certainly

iconic in computer-users' worlds. So it will be a

short leap for the icon to become a symbol that

means on or power in any parlance. (This is

despite the fact that it doesn't mean on at all. The

shape originated in the early 1970s as part of a

set of symbols used by electrical engineers: It

meant standby. The actual "on" symbol was a

complete circle, such as might be seen on a car's

air-conditioning panel. But I digress.)

With almost no alteration whatsoever, because

of a visual entendre, the "power-on" symbol is

presently being used as a symbol in the official

condom campaign in New York City. We are

seeing more and more power button-based

logos loaded onto LogoLounge as well. Its simple

design and very basic meaning have the kind

of adaptability that is a hallmark of an effective

symbol: It could host many ideas. The older a

- 3000 SHAPE & SYMBOL LOGOS

symbol becomes, the less literal it is, and the

greater its capacity to contain more diverse

symbolism.

Some symbology is very old, yet even these

samples continue to grow in meaning. The heart

is a familiar symbol to most, and its origin and

evolution demonstrate this growth very well. The

basic heart shape can be traced back to the third

millennium B.C. In art and carvings, the heart-

shaped ivy leaf was used to represent life and

living things. It may also have represented

tenacity and, by extension, long-lived devotion.

In the twelfth century C.E., when the tree of life

was depicted in art, often in religion documents,

its leaves were heart-shaped (today such shaped

leaves are called cordate, cor being Latin for

heart). In the fifteenth century C.E., the notion of

the red heart evolved. Because of blood, red was

considered a color for life, health, love, and good

luck, and soon red heart-shaped leaves were

seen, deftly twisting these two similar but distinct

strands of symbology together.

The notion of the red heart spread across Europe

and became widely adopted by the Catholic

Church to represent sacred and everlasting love.

That the red heart did not look like an actual

human heart was as unimportant then as it is now.

Love and caring comes from the heart, which-

emotionally-we feel is housed somewhere deep

within us, as the actual organ is. But intellectually,

that love and caring is represented by the image

of the shape of the upside-down red ivy leaf.

Many ancient symbols have similar histories.

They succeed over time because people have

:. Spirit AeroSystems uses an unconventional star

to indicate direction and lift toward the stars. (Identity

created by Gardner Design.)

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:. Top down: Atigeo, Silk, Wichita Riverfest. Shape

logos such as the top two rely more on concept than the

form/shape of the logo itself. The Riverfest logo, though,

uses symbolic flames in a much more literal manner.

(All designs by Gardner Design.)

the mental ability to interpret symbology. When

we create new symbols and shapes today, we

rely on the exact same ability.

Consider two logo projects from our office. The

design for the Swedish Council of America is

symbol-based (see page 8). The design for

Atigeo (left) is shape-based. Yet both succeed

because of the human intellect's ability to

translate stored knowledge into a new and

distinct experience.

The Swedish Council design is clearly based on

a star, and simply the use of that symbol lends

the logo an official or national feel. But adding

the variables of size, number, arrangement, and

color to the use of the symbol gives it greater

meaning.

The star is formed from negative space created

by the careful arrangement of three crowns,

which represent another familiar symbol from

Sweden's national crest that represent the days

when Sweden, Finland, and Norway were all

under one rule. The parallelograms at the bottom

complete the star, representing the ocean that

spans beneath the continents, as the crowns

also represent traveling to the new world. The

colors are pulled from the Swedish flag, but the

white star on the partially blue field also speaks

clearly of the USA.

The concepts of Swedish-ness and American-

ness are brought together in a new symbol, built

from other symbols. We are able to "read" and

understand the logo because of what we already

know about crowns and stars.

Atigeo's logo is clearly not a specific symbol; it

is instead a new shape. But it also depends on

symbology for the viewer to extract meaning.

Atigeo defines itself as a "compassionate

technology" company that helps its customers to

better understand the world through data and

- 3000 SHAPE & SYMBOL LOGOS

.......................................................................................................

:. Top down: Southern States Energy Board, Thermos

Nissan. A number of familiar symbols were combined

to create the Thermos Nissan Logo. The shape of a cylindrical Thermos lying on its side can be envisioned

in the negative area at the center. The red area above or

below this negative space indicates the possibility of the

contents being kept either hot or cold . In this example,

the concept is more important than the message sent

nby the exterior shape of the logo. (All designs by

Gardner Design.)

thereby be able to make better decisions about

the Earth. So we built into this design many

relevant messages. You might see a yin-yang,

or a globe in the process of forming, or light bursting forth from a center focus.

There is balance in the logo. Its colors speak of

the Earth and of nature. You might see arrows

pOinting toward a center goal, and the triangle at

the bottom of the design can represent the letter

A for Atigeo.

All of these interpretations are possible, and all

can represent the company well. As customers

come to know Atigeo, the logo begins to stand

for all of these attributes. Again, symbology helps

people to "read" and understand the company.

- Bill Gardner, LogoLounge founder

LOOKING FORWARD

Symbol and shape logos are categories of design

that are always evolving. A well-rooted under-

standing of their history and development enables

today's designer to not only use the tools more

confidently; but more creatively as well.

That's the whole reasoning behind the Master

Library series: to inform and inspire. Each book

shares the origin of techniques/ interviews with

leading logo designers,' and a massive, highly focused visual resource of 3, 000 topic-specific

logos. Everything was collected in one place in

order to feed your work, and ultimately improve

value to the client.

For more information on the seven-volume

Master Library series (future editions will include

Typography/ People/ Shapes & Symbols/ Nature

& Food,' and Arts & Culture-Animals & Mythology

and Initials & Crests are already available),

and other books by LogoLounge, please visit

www.LogoLounge.com.

il logoloungei MASTERlibrary ID

Steff Geissbuhler is well known as

an accomplished and award-winning designer

of integrated brand and corporate identity

programs. His work for a broad spectrum of international and national clients includes identity

systems for NBC, Merck, Time Warner Cable,

Telemundo, Voice of America, Toledo Museum of

Art, National Parks of New York Harbor, Crane &

Co., Calamos Investments, Conrad Hotels, and

Morgan Stanley Smith Barney. Prior to forming

C&G Partners, he was a partner at Chermayeff & Geismar Inc. for thirty years.

What makes a logo that uses a common

symbol or shape successful?

:. Some, like a star, a heart, a torch, or a bird,

conjure up an emotion or a universal under-

standing. In turn, they can symbolize many

different meanings. It is by repetition that we

come to understand these.

But the ones that are the most successful

combine two or more associations. If you look at

our Darien Library logo, you will recognize the

shape of a book with flipping pages. We made it

blue and green to show Darien is a very green

town and near the water. It looks lively and in

motion, like the very busy library it is. It is

transparent like the new building they're in.

There's even a 0 in it somewhere.

When the mark was presented, some even saw

the wing of a heron in it-a heron was the library's

previous logo. Sometimes the client sees more

in it than we do. I think that is a sign of success.

Is it necessary to be more illustrative today

with shapes or symbols?

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Winter 2009

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1, 2, 3: Darien Library logo

:. I am at heart an illustrator. I think that more

illustrative symbols have a tendency to be more

readily understood. The NBC peacock is a good

example. People associate the bird with color,

even more than they do with something like the

color wheel. It's more immediate.

It seems like logo design is becoming again

more illustrative. We may be running out of

geometric shapes, or maybe they are just

becoming meaningless because they have been

abused and there are so many similar-looking

logos. The other day I saw a hospital logo of two

squares intersecting : You have seen that a

million times and you still don't know what it

means, and it's so cold and remote.

Illustrative logos have more of a chance to be

understood. But it depends on how literal they

are. The simpler and iconic they are, the more

you can do with it.

Does the trend toward abstract names work

for or against using shape or symbol logos?

:. It 's difficult to visually translate an abstract

name. It's already a made-up word, then to

convey its meaning with a symbol , unless it's

based on a shape you already know, is very

difficult.

bpost

Andy Payne on bpost

As told by Andy Payne, Global Chief Creative Officer, Interbrand, New York City

"The previous bpost logo was

based on the horn that had historically been

used to announce the arrival of mail. We needed

to take this forward to represent a business

that had undergone significant reorganization.

This was particularly important as the postal

market in Belgium was about to become

deregulated, putting the business in competition

with European and global carriers. I

"In the redesign, we leveraged two key factors:

bpost knew Belgium better than anyone else, and

while global providers talked a lot about the logistic

side of the business, bpost would have more

focus on building relationships with customers.

"We modernized the postal horn mark to

preserve the visual equity and then brought it

to life through crops, patterning, animation, and

as a physical object. It can build a whole visual

world around itself, with the equity of the new symbol at the center."

Nonprofit Finance Fund

....................................................................................................

4: NBC Peacock logo, 5: Nonprofit Finance Fund logo, 6: Time Warner logo

When we designed the logo for the Nonprofit

Finance Fund, you have to ask yourself what

does this company do? The first part of the name

is non, which already sounds negative. Then the

contradiction between Nonprofit and Finance is

confusing. The company actually helps nonprofit

organizations by evaluating their costs and

income, holdings, assets, and depths and tries to

find solutions that let the nonprofit operate better

and fulfill its mission. First we came up with the

tagline Where money meets mission. The logo

connects the business and analytical side with

the emotional, aspirational, and mission side of

its service. Its left, gray side represents bar

charts and steps, while the right side is in the

form of a warm yellow flame, or a growing leaf.

Both sides, although abstracted, are familiar

forms with clear associations and meaning.

Together they are trying to explain what NFF is

all about.

Is there any danger in using very familiar

shapes? Can they become too tired?

:. You might think that there are shapes or

symbols that have become so integrated or

abused that they become untouchable and as soon

as you go there, you are stopping yourself. We just

had a situation on another project where a book

shape would have been a possible solution. We

initially stopped ourselves, since we just did the

Darien project, but eventually found a very different

way to use book shapes to communicate education

and learning.

I remember when I created the Time Warner eye and

ear logo, some people said we couldn't use an eye

for a media client-CBS has the eye. The designer

has to overcome these issues and find new ways of

using these common symbols in new and meaningful

ways when they are the most appropriate solution.

How do people come to understand an abstract

symbol or shape?

:. The abstract symbol was being used very early in

Europe. It has to do with heraldry and code of arms

with their visual language of graphic symbols, such

as circles, triangles, squares, crosses, and chevrons,

etc., which became the graphic language of king-

doms, knights, armies, and royal families. You didn't

have to show a realistic picture of a castle or crown, it

". i' ! " t .

just had to read as a mark on your shield and

banner identifying your army.

Think of the Swiss cross. It was taken from one

of the three original cantons, Schwyz, which had

a small white cross in a red shield. It became the

flag when Switzerland was founded, a white

cross on a red square. During the Geneva

Convention, established in Switzerland, it was

chosen as the symbol for the Red Cross simply

by reversing the Swiss flag , a red cross on a

white field, symbolizing the essence of health,

blood, and hygiene. These changes of meaning

are quite interesting to me.

The same thing happened in commerce. It used

to be that the shoemaker would show a shoe or

boot on the shingle of his business. But at some

pOint, the business changed and the shoemaker

started making handbags, scarves, clothes, and

maybe perfume, and the boot was misleading as

a symbol of the business. Old stock certificates

would show maidens, horns of plenty, factories,

and general imagery, which only described the

company in very general terms. Now you have to

be more explicit to differentiate your business

and create a unique "code of arms" again.

,

Chris Rooney onWE

As told by Chris Rooney of Chris Rooney Illustration/Design, Berkeley, Calif.

"The WE Move:an.ent is a public

awareness campaign devised by Ramsell, a

family of companies serving the underserved, to

encourage politicians, civic leaders, and ordinary

citizens to help coordinate community resources

across the nation onto one unified platform. The

name WE represents all Americans, from coast

to coast.

"The logo is a patchwork of red and blue speech

balloons that form the shape of the contiguous

United States. It symbolizes all these different

voices interacting for a singular cause.

"The design is quintessentially American,

nonpartisan, and it projects a distinctive, graphic

impression they could use in their nationwide

campaign. The colors are quite obvious to all

Americans-red, white, and blue working

together and blurring the notion of what are red or blue states."

Banks used to use keys in their logos to suggest

safety; that's when people only used banks to

store their money. But now banks are much

more abstract institutions, which leads to more

abstract symbolism. The Chase bank logo has

been around since 1960 and has survived

mergers, acquisitions, and name changes,

because it is so simple, memorable, and classic.

But as Richard Wurman said, "You can only

understand something based on what you

already understand." So new abstract symbols

have to become meaningful somehow. The

disease of the swoosh is a good example. It's

not a geometric form; it's certainly amorphous

and meant nothing at one time. Now that you

associate it with Nike's products and attitude it

has accrued meaning. People use the swoosh-

all too often-whenever they want to underline,

or jazz up, or show action within a logo and it

loses meaning again.

How do you explore new symbols or

shapes?

:. It starts in the old sketchbook. I write and

doodle to explore forms; it's like shaping clay,

really. You have to get your hands on it and see

what it wants to be. I believe it was Louis Kahn

who said, "I asked the brick what it wanted to be,

and it answered: an arch."

Then later, I go back through my doodles. I end

up pushing something a little further and try it on

the computer. Shapes evolve from an intellectual

idea to a visual translation. It's this back-and-forth

that leads me to a visual manifestation of an idea

and a final simple shape and form. However, it is

not easy and is frequently a struggle.

Sometimes, in spite of having a very clear

strategy deck and outline, I have purely visual

associations, another way to express the

company. It's just not possible for me to take

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1W@7U5'r1 MERCI{ .,

a recipe of all the attributes I'm supposed to

express and then bake the cake. It often seems

at the end to be a retrofit of the verbal to the

visual. Many of the attributes are often meaning-

less anyway: How do you show growth? Global?

Social responsibility? Leadership? Aspiration?

What are some of your favorite symbol or

shape logos?

:. The CBS eye is still one of the all-time greats.

It is a very simple form, and it has everything to

do with TV and vision. It's very compact and

complete.

I do like the original Chase logo because of its

simple message of safety, enclosure, and

security. What they are doing now with it, puffing

it up to make it friendlier, softer, and more

three-dimensional, is a bit obvious and strange.

I understand there is evolution of logos, but a

pillow has little to do with a bank.

The Mobil logo is so clean and clear and works

extremely well: The red 0 has everything to do

with wheels, cars, and mobility. It all comes

together and is expressed with minimal means.

It's the epitome of what I am striving for, that

little twist that makes a logo great.

Merck & Co .. Inc.

ACLS .......................................................................................................

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7: Merck logo, 8: American Council of Learned Societies

logo, 9: Multicanal cable logo, 10: Charles Square logo,

11: New York Health Hospital logo

Roy Smith on Further

As told by Roy Smith, Roy Smith Design, Norwich, England

"Further is fa.st becoD1ing one

of the UK's leading search and social media

marketing companies.

"The company identified search marketing as the

area where it is making the most difference for

its clients, so they wanted an identity mark that

would reflect the core values of 'going further'

and 'search.' I explored various extended

letterforms, but the final solution was achieved

by a device that appears to drive forward into the

future while at the same time reaching out in

every direction. It definitely moves. The icon also

resembles a subtle iris of the eye to evoke the

idea of 'search,' the main focus of the business.

The blues and greens add the dimension of

natural growth.

"Further is delighted with their eye-catching new

identity. I like that it works well out of reverse and

its retro feeL" :.

Jerry Kuyper has thirty years of experi-ence directing and designing brand identity

programs, His passion is bringing business and

brand strategy to life through creativity and

design. He established Jerry Kuyper Partners in

2004, Previously he held senior creative posi-

tions with leading identity consultants including

Lippincott, Siegel+Gale, frog design, Landor, and

Saul Bass, He has designed visual identities for

numerous companies and organizations includ-

ing Aqua America, AT& T, Cisco, Cushman & Wakefield, Invisalign, LodgeNet Interactive, and

Touchstone Films,

How do symbols work?

:. The term symbol has many definitions. Carl

Jung, Henry Dreyfuss, and Adrian Frutiger have

all written books with the word symbol in the title,

yet each has a different understanding of the

term, My observations apply to graphic symbols

as pictograms or visual identities.

Symbols transcend language. Recently I was in

Moscow where almost all signs are in Russian

with Cyrillic fonts. What a relief it was to see the

familiar restroom symbol of the standing male.

Symbols are efficient. Compare seeing one

pictogram with the word men written in four

languages. Then imagine not being able to read

any of those four languages. We live in a world

of horizontal type, from print to websites, so

another advantage of symbols is being able to

visually break through that horizontal pattern.

Symbols require some degree of learning and

involvement from the viewer to be understood.

The meaning of the power symbol on our

computers is not inherently clear and needed to

be learned.

Symbols may be representational or abstract or

any place along that spectrum. They provide a

more immediate and visceral reaction than

words. Imagine seeing just the words cross,

Nazi, and peace, and then seeing the well-

known symbols of a Christian cross, a swastika,

and a peace symbol.

............................................................. ............. ........................... .. . .. . ..... Symbols require some ; ~~@~ degree of learning and ; ~~~ involvement from the ~~~~ vie'W'er to be i~~I~ understood . ... i ~~~

. ..................................................................................................... .. . . . . .....

Symbols draw strength and clarity over time

and through exposure, and their meaning can

change over time. Recently a client of mine

suggested that a logo we designed did not have

the same iconic quality as the peace symbol. I

replied it was unrealistic to expect a newly

created logo to instantly be an icon.

We all have first reactions to seeing something

new. I remind clients to be aware of their first

reaction to a new design. Visual identity is a

long-term, strategic activity, and clients need to

be aware of their perceptions over a period of

time and not feel compelled to make an

LodgeNet.

........................................................................................

CARTUS ................................................................................................

I coolsculpting )

by ZELTIQ

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Frontier Renewal

.......................................................................................................

1: LodgeNet logo (information technology), 2: Cartus logo

(professional services provider), 3: Cool Sculpting logo

(fat reduction), 4: Frontier Renewal logo (developers)

Ty Mattson on Mottsy

As told by Ty Mattson, Mattson Creative, Irvine, Calif .

"Mottsy is a.n online printer.

Its name is a made-up word. I developed a

number of designs, all explorations illustrating

creativity. One aspect that was very important

to the brand was the concept of versatility. The

user can use Mottsy to create anything he or

she could think of.

"The idea of versatility led to the creation of a

character who could be dOing many different

things, which is where the octopus concept came

from. A lot of my other ideas had to do with

abstracted ink drops, referring to the printing

aspect. But I wanted the ink to feel more like a

burst of ideas and creativity than anything else.

"The quadrants are built from one shape that has

been repeated and rotated, which creates an

interesting balance of stability and the unex-

pected. It's that balance of continuity, an

exaggerated expression that makes it work." :.

5: Fusion logo (telecomunications company) , 6: Invisalign logo (invisible braces)

immediate decision. The initial perception often

changes within hours or days.

By the time clear associations are estab-

lished, do symbols or shapes start to

become somewhat cliched?

Twenty years after the AT&T globe was created, a trademark attorney at AT&T told me

they had tabulated that more than 24,000

companies in the U.S. have used a globe as a

symbol. Clearly, AT&T wasn't the first. I would

bet there aren 't many truly global companies

within the 24,000.

Saul Bass once said to me that something

becomes a cliche because it's understood and it

works. He didn't try to avoid cliches but worked

with these familiar associations and presented

them in a fresh manner. In fact, combining two

familiar components has been a very fertile

ground for me.

I also recall hearing Milton Glaser say in a

lecture that if he could present a design com-

posed of elements that had literally never been

seen before, the client would probably look at it

without any reaction, positive or negative. Think

of crop circles. When they were fi rst seen,

: ................................................................................................. : .............. . . Saul Bass once said to me that something becomes a cliche because it's understood an.d it ~orks . ...

people didn't know what to think. They didn't have

any clear association. With symbols or shapes, there

has to be some connection, some aspect that the

mind recognizes as familiar. The brain keeps on firing

until some association is made or it moves on to

more pressing matters.

You frequently work with clients in other

countries. What has been your experience in

working cross-culturally with symbols and

shapes?

:. In terms of knowledge gained and visual stimula-

tion, I have often said a day traveling abroad is worth

two days in your own country, and that certainly

applies to working with clients. I have been

extremely fortunate to work with a range of

clients based in Europe, Asia, South America,

and the Middle East.

Understanding and respecting other cultures is

crucial, not only regarding creative work but also

with personal interaction. Something as simple as

a "thumbs up" or "OK" hand gesture has very

different meanings in other parts of the world.

Before I visit another country, I always refer to the

book Kiss, Bow, or Shake Hands.

Clearly one needs to be aware of the local

culture and tradition. I also believe that design-

ers, utilizing an outside and objective

perspective, can have an advantage. One of the

greatest compliments I ever received was from a

IR2Dx

LIVING FAITH II

CH RI STIAN CH U RCH

.......................................................................................................

7: IR2Dx logo, 8: Living Faith Christian Church logo

grupo boticdrio

Cesar Hirata on Grupo Boticario

As told by Cesar Hirata, FutureBrand, Sao Paulo, Brazil

"0 Boticario is the largest cosmetic

franchise chain store in the world. It has more

than 2,700 stores in Brazil, with a presence in

fifteen other countries. To deal with the expan-

sion, 0 Boticario took a decisive step to increase

competitiveness.

"Our logo design for the client was inspired by

the golden ratio. It represents an ideal, harmoni-

ous composition, born of a spiral and on a

trajectory of continuous growth. The choice of

these proportions satisfies a fascination for

harmonious forms found in nature. The upper-

case G and lowercase b are integrated into the

design as well.

"Vibrant, transparent, Brazilian colors fill the

outlines with joy and warmth and proclaim a

solar beauty, while the overlapping of forms

indicates permanent movement, a companion of renewal and change .

zoom ASSOCIATES

9: Ohlin Associates logo (brand development company), 10: Zoom 360 logo (company product displays objects in 360 0 rotation online)

client in Saudi Arabia. They said our work

appeared to be familiar with their culture, but

they had never seen anything quite like it.

The meaning of a fundamental shape such as

a star is very different, depending on whether

it has five, six, or eight points. The symbol

we developed for this client incorporated an

eight-pointed star, which was far more

appropriate for them than six points would

have been.

The international perspective came into play with

the same client. We knew that green is per-

ceived very positively in Islamic countries and

the selected logo had initially been presented in

green and gold. Our client then asked to see the

logo in blue and silver. It turned out that several

of the executives had attended college in Texas

and were big fans of the Dallas Cowboys. We

changed the logo to blue and silver and, having

been culturally sensitive to both local and

international criteria, ended up with a very

appreciative client.

The challenge is often compounded when

working for global clients. Snoopy, for instance,

has positive associations in many parts of the

world, but a dog isn't as effective in representing

a company in some other cultures.

When you create a shape- or symbol-based

logo, what do you keep in mind?

One of my teachers at the Basel School of Design introduced me to a very fundamental set

of definitions. A dot is a point. A line is a point set

in motion. A shape is a line in motion. A volume

is a shape in motion.

When does a dot or line become a shape? When

you enlarge a dot, at some point it becomes a

circle, a shape. Four lines placed at right angles

visually describe the shape of a square.

Shape is one of the most important aspects of

visual identity. You recognize the canted oval of

Samsung before you can read the name. The

red cross of the Red Cross is seen long before

the name. The more distinct the shape, the more

recognizable it will be.

First and foremost, I am looking for meaningful

concepts that meet the strategic objectives we

have agreed upon.

". i' ! " t .

I draw a distinct difference for these approaches

to visual identity:

logotypes (such as FedEx, Mobil)

wordmarks with a symbol imbedded within the

name, (such as Dell)

symbol/logotype combinations (such as AT&T,

Cisco)

I always recommend to clients that all of these

options be open for exploration. The primary

challenge to designing logotypes or word marks

is to add significant visual interest without

hindering legibility. In my opinion, the nick in the

Microsoft logotype is very weak in providing a

meaningful visual identity.

Recently I have worked with a number of

health-care clients. There is a plethora of logos

using familiar depictions of health-care crosses

and people. Some of my clients want to avoid

these cliches while others feel they are appropri-

ate and should be explored. My responsibility is

to demonstrate the challenge of overuse as well

as bring forward a range of directions that are

distinctive and memorable.

Apple uses a very familiar symbol, the apple, for

its logo. The apple has associations with health,

temptation, and education. The specific shape

with the leaf and the missing bite makes it

unmistakably Apple.

In designing logos I look for distinctive shapes

and symbols. Even if I use a common base shape

such as a circle or square, I look to incorporate

distinctive shapes or symbols within them.

,

act research

Gia Bokhua on ACT

As told by Gia Bokhua of SIM, Tbilisi, Georgia

"ACT is a D1.arket research consult-

ing company in Tbilisi, Georgia. The managers

gave us two weeks to design. During the first ten

days I was in creative block. Then it clicked. It

took me twenty-five minutes to render the logo.

"In the design, letters represent the information

that research gathers. The sphere unites that

information. I chose Helvetica because it's most

universal. H also fits well with the Georgian type

that I used in the symbol. In the ACT wordmark,

I altered the t, too.

"I presented the logo to the Internet community

right away; everyone loved it. But the client said

it was too complex and decided to present it to a

focus group. Some said the logo was nothing

special; others even strongly disliked it. To make

long story short, after a few months of hard

thinking, the ACT management decided that this logo was exactly what they needed .

Hans Hulsbosch was born in the Netherlands and worked in Amsterdam before

moving to Sydney, Australia, in 1979, He was the

creative director of Clemenger BBDO until 1985

and opened his own company, Hulsbosch,

Communication by Design, in 1986, He has

created many of Australia s iconic brands, such as Qantas, Woolworths, Foxtel, MLC, and

Taronga Zoo, He is the only designer to receive

the Telstra Small Business Entrepreneur of the

Year Award. Recently, he received the Australian

Marketing Institute Award for marketing excel-

lence, and his company won the 2009110

AdNews Specialist Agency of the Year.

Why are shapes and symbols so powerful in

people's minds?

Shapes and symbols that speak to us help to articulate our values, because often they identify

the products and/or services we want to engage

with. Excellent symbols reflect what we see as

important in our lives. A successful symbol

triggers an emotional response by neatly

identifying the range of thought and sentiment it

has to convey.

Thus the most powerful symbol is a shape that

acts as an allusion, an indirect reference to a

personal experience. The power of symbols lies

in the apparent simplicity of the work. A symbol

only needs to hint at a specific event in our lives

and it does not take too much before we start to

associate the symbol with that event.

Can you give an example of how this works

in your design?

:. Elements of design that are important and

communicate significant messages are color,

line, and shape. We all associate colors with

human emotions; we even use color in our

language, for example we might say someone is

feeling blue or is red with anger.

Our association with shapes is so strong and yet

so subtle that it does not take a lot of imagination

to assign it a specific meaning. For example,

when we are confronted with rounded shapes we

tend to feel warm and fuzzy. Yet we react very

differently when we encounter angular and sharp

forms. Let me explain with an identity that I have

been very closely involved with: Woolworths.

..................................................................................................... .... ... . ..... .

Thus the most ~ ~~cl~ powerful symbol is : ~~~ a shape that acts as ~~,~ an allusion, an indirect ~[Jc;l~ reference to a ~l:)cl~OO personal ~ M6 experie:nce. ... ; ~~[;JceJ

: [J~(]Cf

My role was to articulate their vision. Not just

through a catchy logo or a different typeface, but

to develop a symbol that was indicative of the

values and beliefs of Woolworths. It had to be an

identity for the entire business that could be

implemented on signage, packaging, T-shirts,

posters, private label products, websites,

advertising campaigns, and everything else a

customer comes in contact with.

Once I collated all the information needed to

understand the critical DNA of the business, a

pattern started to emerge that I call "building

blocks." Next I needed to visualize these

essential building blocks. For instance, I knew

that the people who shop at Woolworths are

predominantly female. So I designed fluent, open

.......................................................................................................

woolworths the fresh food people

........................................................................

1: Woolworths grocery store logo

rounded shapes that were soft, welcoming, and

engaging, but not too much that it would alienate

male shoppers. I used a lot of green shades

because this color represents nature, life, hope,

growth, and freshness, which of course is crucial

for a supermarket. I made sure in the overall

design that all crucial components were in place.

Are people hardwired to like certain shapes

better than others?

:. Although meaning to shapes and symbols is

contextualized in a culture, there are also shapes

and symbols that are understood universally.

When developing a shape that is universally

understood, you cannot rely on a written word

but you have to develop a symbol that is instantly

recognizable and evokes a specific emotion.

IONOS

Marco Escalante on lonis

As told by Marco Escalante, Dialog NYC, New York City

"Zonos provides clhnate forecasts

for agriculture markets, delivering reports on

weather conditions for maturing crops and

harvests to farms, ranches, vineyards, or

orchards. The name is short for ionosphere,

which is the uppermost part of the atmosphere.

"We explored different weather elements, such

as clouds, rain, temperature, and wind, as well

as visual concepts associated with growing. The

logo that the client selected can be interpreted

as a group of plants moving as the wind blows,

as the wind itself, or even as a radar wave.

"The movement in the shape can be compared

to how the wind blows through the crops, as a

radiating pattern that relates to the client's

technology.

"The movement idea is very important to reflect

that the weather is always changing. The design

will be animated in the future." :.

Why some shapes or symbols trigger that

specific memory and others fail to register is a

bewildering question that has plagued mankind

ever since a certain snake offered someone an

apple. Although this particular piece of fruit

landed people in deep water a very long time

ago, the apple has since developed a symbol of

its own and has become a recognized image

associated with, to name a few: a well-known IT

manufacturer, a city that never sleeps, even one

of the most successful online shops in the world.

Somehow this symbol has managed to capture

the essence of what the companies suggested

above, however varied, are all about.

Specific devices such as color, line, and shape

will help us decode and make meaning. Even

when choosing something as simple and small

as a specific typeface, we can tell a whole story.

For example, the lines of the Helvetica g inspire

cleanliness, determination, and the future.

However, there is a certain coldness about it; it's

smart but there is little emotion. When you take

the serif g from Garamond, you'll see that it

evokes quite the opposite reaction: its rounded

shapes are more maternal, and it is warm,

inviting, and open. It reminds us of natural,

traditional, and days of our youth. So the shape

of a specific font is very important.

Is symbolism more or less important today?

:. Symbolism is more important today than ever

before, as the world is fast becoming one

economic, global entity. These days, with the

speed of new technology, we are constantly

bombarded with visual images, and only symbols

that are universally understood, with which we

can really connect, make it into our conscious-

ness. Anyone who claims otherwise is na"lve.

Designers are very privileged people as they

have the ability to articulate and communicate a

message in a nonverbal way. And with that I

mean that designers have managed to develop a

unique language altogether. This visual language

of signs and symbols is a very potent and more

universal language than any of the spoken

languages used. The signs and symbols they

design cut across culture, age, gender, politics,

and socio-economic divide.

For example, consider Apple, Nike, and Qantas.

Millions of people right across the world not only

understand these symbols but more important,

they understand what they stand for: Apple and

Nike for innovation and creativity, and Qantas for

Australia as a great destination.

................................................................................................. .. . .. .. . .. . This visual language of signs and symbols is a very potent and more universal language than any of the spoken. lan.gu.ages u.sed . ...

Good designers are experts in transforming an

individual who is basically satisfied with life into

someone who desires to become part of an

exclusive club. The sense of belonging is very

strong, especially for brands like Apple and Nike.

Their items are highly desirable irrespective of

class, culture, age, place, or income. All you

need to do is see the hype when a new model

phone or shoe is about to be launched on the

FreelV Australia

.......................................................................................................

Meals on Wheels

2: Qantas Airlines logo, 3: Free TV Australia logo,

4: Meals on Wheels Australia logo

agea~,

Tim Driesen on Ageas

As told by Tim Driesen, Famous, Brussels, Belgium

"Ageas, forD1.erly kno'W'n as

Fortis AG Insurance, is an international

insurance company that is ranked among the

top twenty insurance companies in Europe.

"The logo we created is open, round, and

symbolizes connection, emphasizing the

cooperation between cultures and business

partners. The brand needed to reflect the

corporate walues: responsiveness, intimacy,

community, as well as a business environment in

which human relationships are key.

"The logo is very different for the insurance

environment. We started out by experimenting

with layers of perfectly drawn circles, but the

result wasn't what we had in mind. So we just

scribbled some circles with a Wacom pen.

"We used DIN Bold for the word ageas: It's

serious and neutral. The e and a are connected,

as are Europe and Asia." :.

.................................................................................................................................................................................................... .

Good designers are experts in transforming an individual who is basically satisfied with life into someone who desires to become part of an exclusive club. The sense of belonging is very strong, especially :for bran.ds like Apple an.d Nike . ...

.............................................................................................................................................................................. ... ... ... ... . . .

market. You want to be seen with an iPhone in

your hand and the latest runners on your feet

because you want to be seen to belong to that

exclusive group of people who are very cool,

young, and "with it."

Many of the symbols used are now so well

known that the company name and taglines that

were associated with the logo, such as Nike's

"just do it" or Apple's "think different" have been

dropped; they just don't matter anymore. These

logos now have a much broader universal

appeal: The ability to read English is irrelevant

as the message is clearly communicated in any

language through the symbol alone.

What is your favorite symbol?

:. Pure Wool is a great symbol. When I first

became aware of it I realized how clever and

simple it is, and how it is instantly understood

as a ball of knitting wool the world over. The

intertwining lines are actually quite sophisticated

in their design, and yet they simply speak of

warmth, enveloping the body, and continuation.

The lines really force your eyes to go round and round

in circles until you arrive at the center of the symbol;

you are embraced but not locked in because the lines

are left open. This is precisely the way wool works.

Its fibers stretch and they are light, with air pockets

that trap the heat, so a woolen garment is warm, it

allows your body to breath, and it will never feel too

tight or too heavy. This symbol clearly communicates

all of that.

Is there a shape or symbol that is overused?

:. A shape or symbol needs to be used in a respon-

sible way in that it must demonstrate a promise that

can be delivered by the product or service. It only

appears overtired or overused if the symbol creates

an illusion the organization can't fulfill. Very soon the

symbol will be associated with negative experiences

and can even become a sign of ridicule. So it is up

to the designer and the company that a symbol or

identity is designed conscientiously and used in an

appropriate manner.

Perpetual

.~,-

~;;4.

.......................................................................................................

star mart

5: Perpetural Investments logo, 6: Australian Airlines

logo, 7: Star Mart store logo

Bojan Stefanovic on Vibrant Drive

As told by Bojan Stefanovic, Logoholik, Belgrade, Serbia

"Vibrant Drive is a European

interactive agency led by Dragan Simonovic, a

user-experience professional.

"The name Vibrant Drive came after long

brainstorming sessions. It needed to be memo-

rable with an available domain since its business

is Internet-based. Since all team members are

young people and full of life, that's where the

name came from. They also strive to improve

their skills and to use the latest technologies.

"Knowing the above information, my job was

fairly easy. I used a basic triangle to represent

dynamics, and I lined up copies so they formed

an abstract, dynamic letter D, as well as a

computer screen.

"The color palette was carefully chosen so it

portrays a vibrant message and also has enough

contrast so it works on both white and dark backgrounds."

shapes :.

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