Logo Creed - The Mystery, Magic, and Method Behind Designing Great Logos (Bill Gardner & Catharine Fishel, 2013)

The logo for the 2012 Olympic Games was widely
disparaged by the design and general communities
when it was released in 2007. But by the time the
actual event occurred, it had gained wide acceptance
as the design matured and developed.

C H A P T E R 19 Implementation 201

CHAPTER How to PreDIct

20 the future

It’s not as difficult as you avoiD the latest cRaze
might think.
How can we look at an ad, or a video game, or some pack-
This chapTEr’s TiTlE makes a pretty bold aging, or a car from five years ago, and know almost immedi-
ately that it is not new? When all these things were designed
promise. However, you can predict the future, and the equa- they were the top of fashion. No more.
tion for doing so is simple:
The general public has very sensitive antennae when it
Do your due diligence in research and design as comes to detecting what is up to date. It might be the style in
outlined previously in this book. which something was photographed, or the way someone is
Learn to recognize and avoid fads. dressed, or even a single color, but you just know.
Learn to spot trajectories in logo design.
If you do all of these things, you will be able to predict the Because we work in a visual trade, designers are even more
future of your logo designs—that they will have a long and attuned to such fashions. I could place a number of logos in
healthy life—and you will develop an increasingly accurate front of an experienced designer, and not only could she tell
sense of where the entire field of logo design is headed. me within five years when each was created, she could also
accurately tell me which would be the likeliest candidate for a
202 redesign next and why.

But back to the original question: How do we have that sixth
sense? I used this analogy earlier in the book, but it is just as
true here. The brand identity for any organization is like the
foundation of a building. The house that is built on it is like the

marketing for that organization. If something comes along Logo created for 1984 Los Angeles summer Olympics by Robert Miles Runyan.
and sweeps the building away, the foundation is still there. A
new structure can be built on top of it. watch the cRowD, Don’t Be it

That’s the difference between what we do and what adver- If suddenly everyone else is doing it, maybe you need to
tising and marketing people do. Identity designers create avoid it. It’s that simple.
the solid foundation. It should not be trendy and it should
be there for the long run. Advertising and marketing, on the The 1984 Olympics used Robert Miles Runyan’s Stars in
other hand, are temporary and what they create does not last Motion—a logo, that had stripes running through it. Soon, so
(nor is it supposed to): If marketing campaigns were designed did the Bass and Yager AT&T logo. Not long after, so did the
to last a lifetime, there would be no work for these agencies. logos of many organizations.

So how do you create a foundation that enjoys the greater Trends are in motion all the time, and it’s very important to
possible life span? be conscious of, but also ahead of, them. As soon as you
can spot the trend, you can be sure that very shortly it will
take cues fRom classic DesiGns be a look that the public will tire of. Ask yourself: Is this an
approach that people already know the punchline for? If this
Closely study identities that have held up over time, being trend is appealing to people now, where will it go next? How
mindful that often, even those have been updated slightly can you take it to the next step?
over the years. Think of Apple’s logo and the various surface
treatments it has enjoyed: The apple shape has proved to be Keep in mind that everything is part of a trend at one time
a sturdy foundation for whatever marketing is applied to it. or another. Not every trend is bad, but you are responsible
for gauging the potential lifespan when you see it. Adding
What traits do these designs have that make them enduring? onto or expanding forward from a trend allows you to use
Is it their shape, typefaces, colors, or degree of complexity? the equity of a trend the public is coming to know, but to set
yourself ahead of or apart from it for the long term.

t y p e / / / In addition to specific art content, type is another
design element that quickly dates itself. If you want your de-
sign to remain current longer, don’t use a novelty font that
contemporary magazine designers are using now or a face
that is popular because of current events or some other time-
related reason. Leave that type for the marketing people.

C H A P T E R 20 How to predict the future 203

We can very easily look at these designs and know they are from the 1960s People have intuitive skills that enable them to look at a palette developed
and 1970s, just by looking at their type. years ago and identify decades by their colors.

Look to classic faces. They have already proved to have A general guideline: A single color used in an identity has a
amazing staying power. With that being said, there are pe- greater chance of longevity than a pair or trio of colors. When
riods in design where faces such as Helvetica, for instance, you start to combine colors, those combinations become a
get completely overused. It’s hard to find a more classic face design element that can quickly become dated, so use com-
than Trajan, and it has gotten a bad reputation in recent years binations with caution.
for being the go-to font for movie and election posters. But
overall, classic faces endure. plottinG DesiGn
tRajectoRies
p a t t e R n / / / Pattern has a notoriously short shelf life. The pat-
terns and textures you are seeing in fashion right now prob- Clients will often ask, “How do I know this logo won’t be
ably won’t even be here next year. To imagine the future, look dated in ten years?” We have to be able to answer this ques-
to the past. What has proved classic for the long term? tion with authority. In addition to the cautions listed earlier, if
you can learn to predict where identity design is going next,
c o l o R / / / When colors get adopted by folks who are creat- you will be able to tell your client with confidence that their
ing contract design or car design, you can be sure that you design has staying power.
will be seeing these colors—a lot—for the next ten to fifteen
years. You’ll see them used in office buildings, schools, and Here’s how: Imagine you are shown a map with a single
other places where it is prohibitively expensive to redesign pinpoint identifying the current location of an individual on a
frequently. These are colors that people will eventually be sick journey. You have no other information, but you are asked to
to death of: Just think of mauve and teal from the 1980s. guess where the person will be the same time the following
day. You would be clueless. Since you have no idea how fast
Eras of time are often identified with color. At the start of the this person is traveling, where he or she is headed, or what
twenty-first century, transparent colors and metallics were his or her objective is, any assumption is without value.
used a lot. After the 9/11 terrorist attacks, Americans were
shocked into more desaturated colors; more recently, people Now assume you are told where this person was the same
have seemed to tire of melancholy, and brighter colors are time the previous day, or better yet, for the past two days.
making a comeback.

204

Tracking trend progressions from year to year allows a designer to identify a trajectory and speculate on new design directions.

Suddenly, the mystery of this traveler becomes clearer as you the Altria logo nearly a decade before, but the significance
can see his or her direction and speed or, as trajectory is here is that this theme didn’t develop critical mass until 2010
defined, “the line of progression.” to be identified as a trend.

You need to be able to spot the line of progression for your By the 2011 Trends report, we were noting a preponder-
work and that of others. Each year, LogoLounge.com (which ance of designs following the previous rules, but design-
I founded in 2001) publishes a trends report that does just ers were using triangles as their building blocks, much like
that. Buckminster Fuller’s geodesic domes, and so Buckys were
born. For this year’s trend, called Tessellation, it was noted
We look at previous trends we have identified and track their that the fascination of assembling an identity from a series
evolution. An example: In the 2009, LogoLounge Trends re- of pieces continues. (See the chart above.) Diversity is in
port, we first started to identify what we called Mosaic logos, play now, as all the pieces are no longer the same geometric
a significant set of marks that started dividing a shape and shape.
applying diverse colors to each section. Colors butted one
another without separation, which flew in the face of tradi- You can use the same techniques (or the LogoLounge re-
tional design rules. In 2010, this cluster was evolving, and we ports) to study the logo work that is specific to your industry,
called the new group Pixel since the dividing shapes favored clients, and geographic area.
perfected squares. This look had been used by Landor for

C H A P T E R 20 How to predict the future 205

epilogue

logos arE all abouT sToriEs. I will

end this book with a story about my very first exposure to
identity design.

My grandfather’s name was LeRoy Ellsworth Gardner, but we
all called him Roy. He was born in the heat of the Oklahoma
land rush, when tens of thousands of hopeful settlers lined
up on April 22, 1889, and at noon, with the blessing of the
government, struck out in hopes of claiming unoccupied
public land as their own. He was born prematurely on the trip
when his parents’ wagon tipped over, laid in an oatmeal box
cradle, yet survived.

In fact, he thrived. Roy’s father got him hooked up with
Kansas and Oklahoma oil and cattle as a young man, and
the family brand became the Diamond Bar. But Roy didn’t
make his money in either oil or cattle. Instead, he became
involved in home design and construction, and it was here
that his true creative talents shone.

My grandfather at the family cabin in Green Mountain Falls, Colorado

206

This 1949 Willys Overland was emblazoned by a sign painter with the By 1955 Gardner Homes was applying a Diamond Bar plaque to every house
Diamond Bar brand and the words, trade mark underneath. they built. Though it didn’t have the soul of the handcrafted solutions my
grandfather would apply to homes, it was a time saver for the post war
In the 1940s and 1950s, a Gardner home was a design of construction boom.
real quality. Roy made sure people could recognize his work
by building the Diamond Bar design into every home he built. Then it was my turn to get to know the brand. As a kid,
Sometimes it would be in the wood trim on a front door, or I remember sitting in my dad’s office with my box of
repeated to form a trellis, or built into the fascia. Sometimes Prismacolors, drawing and redrawing the mark, changing
it was obvious, and other times it was hidden, but his literal angles and altering the shapes and proportions. I suppose it
brand was always there. was my way of getting to know my family’s brand, its story,
and what it represented.
When my dad, who had a different kind of artistic flair, took
over the business, he had cast-steel diamond bar plaques Without knowing it, Roy was a master storyteller: He both
made. These would be screwed into the wall near the front literally and figuratively built a brand experience that can still
door or in some other visible place. The mark was still one tell his story to us, even many years after his death.
of pride to the homeowner and builder, but it had become
much more corporate. You are a designer, yes, but first and foremost, you are a
storyteller. I hope this book helps you to see yourself more
clearly in that light—as a sharer of truth, of dreams, and of
memories.

Roy screwed the steel Diamond Bar plaques to the sides of his cars. This
colorful 1958 Cadillac was just one of many cars over the years to take a hit
in the name of fleet graphics.

207

contributors

01d Cato Purnell Partners eight a.m. brand design (Shanghai) Co., Ltd instudio
www.01d.ru www.catopartners.com www.8-a-m.com www.instudio.lt
Page 147, 149 Page 57, 138 Page142 Page 134
3 Advertising LLC Chase Design Group El Paso, Galeria de Comunicacion Iskender Asanaliev
www.whois3.com www.margochase.com www.elpasocomunicacion.com www.behance.net/iskender
Page 51 Page 163 Page 141 Page 133
36 Creative Chermayeff & Geismar & Haviv Elixir Design J. Sayles Design Co.
www.36creative.com www.cgstudionyc.com Page 135 www.saylesdesign.com
Page 132 Page 153 Face Page 164
Adrenaline Design Chris Rooney Illustration/Design www.designbyface.com Jase Neapolitan Design
www.adrenaline-design.com www.looneyrooney.com Page 129 Page 151
Page 138 Page 54, 60 Felix Sockwell Jay Vignon
Akapustin cogu design www.felixsockwell.com Page 159
www.i-veles.com Page 131 Page 129, 143, 163 Jerry Kuyper Partners
Page 130 Craig Frazier Fernandez Design www.jerrykuyper.com
Alexander Isley Inc. Page 160 www.fernandezstudio.com Page 185
www.alexanderisley.com Creative NRG Page 156 Jobi
Page 59 www.creative-nrg.com FutureBrand www.josephbihag.com
Alin Golfitescu Page 132 Page 60, 134, 142 Page 131
Page 133 cresk design Gardner Design Jon Flaming Design
Almosh82 www.cresk.nl www.gardnerdesign.com www.jonflaming.com
www.almosh82.com Page 59 Page 52, 55, 57, 60, 130, 136, 139, 140, Page 136, 147
Page 130, 144 Cronan Group 142, 146, 149, 155, 153, 157, 160, 163, Joseph Blalock
APSITS www.cronan.com 167, 169, 172, 176 www.josephblalock.com
www.apsits.com Page 147 Gee + Chung Design Page 55
Page 141 Dee Duncan www.geechungdesign.com Juan Carlos Pagan
Asgard www.deeduncan.com Page 150 Page 59
www.asgard-design.com Page 143, 149 Gibson Judson Design
Page 131 Delikatessen www.thisisgibson.com www.judsondesign.com
Beveridge Seay, Inc. www.delikatessen-hamburg.com Page 134 Page 150
www.bevseay.com Page 60 Glitschka Studios julian peck
Page 140 Dell Global Creative www.vonglitschka.com Page 133, 137
Big Communications Page 59 Page 131, 150 Kalach Design Visual Communication
www.bigcom.com Denis Aristov Green Ink Studio www.behance.net/gabrielkalach
Page 141 denisaristov.com www.greeninkstudio.com Page 145
Bigoodis Page 145 Page 135 Karl Design Vienna
www.ivanbobrov.com designproject Hand Dizajn Studio www.karl-design-logos.com
Page 149 www.designprojectweb.com www.hand.hr Page 55, 143, 151, 162
Bitencourt Page 133 Page 145 Ken Shafer Design
www.brenobitencourt.com Deutsch Design Works Hayes+Company www.kenshaferdesign.com
Page 145 www.ddw.com www.hayesandcompany.com Page 160
born Page 135 Page 139 Kendall Ross
Page 146 Device Hazen Creative, Inc. www.kendallross.com
Bozell www.devicefonts.co.uk www.hazencreative.com Page 130
www.bozell.com Page 128, 131, 147 Page 61 Keo Pierron
Page 135 Disney Higher Page 59
Brandia Page 60 Page 139 KFDunn
www.brandia.net Dotzero Design Hulsbosch Page 130
Page 140 www.dotzero.com www.hulsbosch.com.au Kommunikat
Brandient Page 136 Page 52, 55, 146, 157, 162 www.kommunikat.pl
www.brandient.com Double O Design Iconologic Page 128
Page 148 www.doubleodesign.com www.iconologic.com Kongshavn Design
Brand Singer/Jerrry Kuyper Partners Page 60 Page 133 www.kongshavndesign.no
Page 55 Dragulescu Studio IDEGRAFO Page 131
Burocratik—Design www.dragulescu.com www.wiron.ro Kraftwerk Design Inc.
www.burocratik.com Page 132 Page 138 www.kraftwerkdesign.com
Page 142 Dragon Rouge China Ltd Ikola designs Page 144
Carbone Smolan Agency Page 55 Page 139 Kuznetsov Evgeniy KUZNETS
Page 58 Duffy & Partners Imaginary Forces www.kuznets.net
Carolyn Davidson www.duffy.com Page 61 Page 132, 134
Page 56 Page 61, 134, 163

208

KW43 BRANDDESIGN One Man’s Studio Schindler Parent Traction
WWW.KW43.DE www.onemansstudio.com www.schindlerparent.de www.teamtraction.com
Page 129 Page 137 Page 58 Page 141
Landor Oscar Morris Schwartzrock Graphic Arts Turner Duckworth
Page 53, 54, 59 Page 51 www.Schwartzrock.com Page 56, 148
LeBoYe Paper Doll Studio Page 53, 129, 147 Underwear
www.leboyedesign.com Page 143 Seamer Design Page 58
Page 142 Paul Black Design www.seamerdesign.com United by Design
Lippincott www.paulblackdesign.com Page 143 www.ubdstudio.co.uk
www.lippincott.com Page 137, 151 Sebastiany Branding & Design Page 127
Page 16, 53, 54, 58, 151 Paul Howalt Page 52 Vanja Blajic
Liquid Agency www.TactixCreative.com see+co www.vectorybelle.com
www.liquidagency.com Page 162 Page 136 Page 128
Page 132 Pearpod Sequence Visua
Logo Design Works Page 144 Page 61 www.visua.com.au
www.logodesignworks.com Pentagram Siegel + Gale Page 148
Page 144 www.pentagram.com Page 57 Vladimir Isaev
Logoworks by HP Page 58 Siren Design vladimirisaev.com
www.logoworks.com Peter Vasvari Page 149 Page 149
Page 127 petervasvari.com Sound Mind Creative Volatile graphics
Loyal Kaspar Page 54 www.soundmindcreative.com www.fire.uk.com
Page 58 Porkka & Kuutsa Oy Page 151 Page 140
M3 Advertising Design www.porkka-kuutsa.fi Stanovov Walsh Branding
www.m3ad.com Page 56, 134 www.stanovov.ru www.walshbranding.com
Page 130 POLLARDdesign Page 141 Page 137
Mattson Creative www.POLLARDdesign.com Stilistica Studio Webcore Design
www.mattsoncreative.com Page 52 Page 138 www.webcoredesign.co.uk
Page 131 Predrag Stakic Strange Ideas Page 142
MetaDesign Page 55 www.baileylauerman.com Wink
Page 53 Pure Identity Design Page 133, 140 Page 160
Michael Deal www.pureidentitydesign.com Strategy Studio Wolff Olins
Page 59 Page 59 strategy-studio.com Page 56, 127, 155
Michael Freimuth Creative PUSH Branding and Design Page 150 wray ward
www.michaelfreimuth.com www.pushbranding.com Sudduth Design Co. wrayward.com
Page 138 Page 150 Page 53 Page 135
Mikey Burton R&R Partners Studio GT&P X3 Studios
Page 160 Page 51, 129 www.tobanelli.com www.wearex3.com
Miles Newlyn reaves design Page 150 Page 144
Page 155 www.wbreaves.com Sunday Lounge Y&R Dubai
MINE Page 59 Page 146 Page 51
www.minesf.com redeemstrategic supersoon form+function Yaroslav Zheleznyakov
Page 55, 60, 147 www.redeemstrategic.com www.supersoon.net/ www.y-design.ru
Mitre Agency Page 143 Page 56 Page 60
www.mitreagency.com Richards Brock Miller Mitchell Switchfoot Creative Yataro Iwasaki
Page 135 & Associates www.switchfootcreative.com Page 57
Modern Dog Design Co. www.rbmm.com Page 140 Yury Akulin
Page 143 Page 136 Tactix Creative Page 148
Momentum Worldwide Rikky Moller Design www.TactixCreative.com
www.momentumww.com Page 141 Page 163
Page 148 Riza Cankaya TBWA\Chiat\Day
Moving Brands Page 151 Page 52
Page 57 Roy Smith Design The Action Designer
MSDS www.roysmithdesign.com www.actiondesigner.com
www.ms-ds.com Page 148 Page 59
Page 138 Rudy Hurtado Global Branding The Brand Union
Murillo Design, Inc. www.rudyhurtado.com Page 59
www.murillodesign.com Page 136 The Garage
Page 139 Ryan Russell Design Page 156
Newhouse Design Page 54 Today
Page 144 Sabingrafik, Inc. www.brandingtoday.be
Nikita Lebedev www.tracysabin.com Page 155
Page 127 Page 58, 163, 165 TOKY Branding+Design
Notamedia Sagmeister & Walsh www.toky.com
Page 128 www.sagmeisterwalsh.com Page 141, 146
Odney Page 61 Tomasz Politanski Design
Page 52 Sakideamsheni www.politanskidesign.com
ODC Page 127 Page 59
Page 137 SALT Branding
Page 60, 145

209

about the author

Bill Gardner’s commitment to the creation of effective, influential logo design and brand development has a long and acclaimed
history. Principal of Gardner Design in Wichita, Kansas, he is sought after by such clients as Cessna, Bombardier/Learjet, Kroger,
Cargill, Pepsi, Pizza Hut, SeaWorld, Thermos, Spirit AeroSystems, and Hallmark.

He is also widely recognized as an author, teacher, design forecaster, and lecturer. He is founder of LogoLounge.com, the
world’s largest, searchable, real-time compendium of identity design, as well as coauthor of the best-selling Rockport Publishers
LogoLounge book series. His intense awareness of the field has allowed him to develop techniques that forecast and anticipate
shifts in design aesthetics, which led to the creation of his highly anticipated annual LogoLounge Logo Trends Report.

photographer credits

© 1exposure / Alamy, 173 Jean Robert-Houdin (1805–71) Explaining a Mechanical Toy (engraving) (b/w photo),
The Baba Yaga, 1942 (pen & ink on paper), Nowak-Njechornski, Mercin Forest, Eugene Hippolyte (b.1808) / Private Collection / The Bridgeman Art Library, 7
(Martin Nowak-Neumann or Neumann-Nechern) (1900–90) / The Bridgeman
Art Library, 38 (left) © Imago/zumapress.com, 44
BAVARIA/Getty Images, 20 (bottom, left)
© David Becker/zumapress.com, 198, left iStockphoto.com, 18; 42 (left)
Alison JB Bents/Getty Images, 17
© James Boardman / Alamy, 158 (bottom, right) Kalium/agefotostock.com, 175 (left)
© Jerome Brunet/zumapress.com, 198 (right)
© Matthew Chattle / Alamy, 201 (top) The Knights Surrendering to Hank Morgan, illustration for ‘A Connecticut Yankee
© Daily Mail/Rex / Alamy, 201 (bottom) in King Arthur’s Court’, by Mark Twain (1835–1910), published 1988 (engraving),
Danita Delimont/Getty Images, 13 (top, left) Belomlinsky, Mikhail (Contemporary Artist) / Private Collection / The Bridgeman Art
© Victor de Schwanberg / Alamy, 19 Library, 13 (bottom, right)
© Allen Eyestone/zumapress.com, 199 (bottom)
© Malcolm Fairman / Alamy, 48 (bottom) © Larry C. Lawson/zumapress.com, 43 (right)
Justin Geoffrey/Getty Images, 191
Braden Gunem / Almay, 180 (left) LFI/zumapress.com, 48, (top, right)

Monceau, Flickr/Getty Images, 14 (top, left)

© Jeff Morgan 11 / Alamy, 179 (bottom, left)

© Pedro Salaverría/agefotostock.com, 32 (middle, right)

© Shugo Takemi/zumapress.com, 200 (bottom, right)

© Stan Tess / Alamy, 32 (top, right)

Arman Zhenikeyev, Kazakhstan/Getty Images, 12 (bottom, left)

210

index

A Béhar, Yves, 58 Cato Purnell Partners, 57, 138
abstract designs, 56–57, 63 Bekman, Jen, 160 CBS, 159
ACT, 127 Belabumbum, 42 Central and Southwest, 147
adjacent fields, 35 Bell Telephone, 16 Chanel, 48
Action Designer, The, 59 Berkeley Estates, 149 Chase Design Group, 163
Adrenaline Design, 138 Best Buy, 175 Chermayeff & Geismar & Haviv, 53
affordability, 40, 41, 43 Beveridge Seay, Inc., 140 Chevrolet, 37
Agilis, 148 Beverly Hills Hotel, 58 Chico’s Chicken, 136
aids, 143 Big Communications, 141 China, 39
Airey, David, 90–95, 119, 159 Bigoodis, 149 Chipotle, 61
AJ Mobilita’ Srl, 150 Birmingham Museum of Art, 135 Chris Rooney Illustration/Design, 54, 60
akapustin, 130 Blackwood Management Group, 53 Christian fish symbol, 9
Akulin, Yury, 148 Blajic, Vanja, 128 Chrysler, 16
Alexander Isley Inc., 59 Blalock, Joseph, 55 Church of Latter Day Saints, 167
Alfa Romeo, 59, 75–81 Blgodis, 149 City of Elkhorn, 59
Allied Crane company, 42 Bluebird Books, 96–101 Cigna, 55
Almosh82, 130, 144 Blue Crab Lounge, 164, 165 Citibank, 72
alphabets, 13 bluegreen, 130 City Administration Kursk, 138
Al Tamasuk, 134 BlueHat Media, 69 City Identity, 151
altered type designs, 59 Blue Rhino Studio, 136 CityRail, 138
amalgams, 127 Blur MediaWorks, 150 client interviews, 22–23, 23–26, 28
American Diabetes Association, 60 Books for Life, 157 ClierView, 57
America’s Natural Gas Alliance, 133 born, 146 Coca-Cola, 32
A&M Upholstery, 69 Bowie, David, 159 Coffee Central islands, 194
Anjou Bakery, 187 Bozell, 135 cogu design, 131
Apple, 163, 198, 203 brand ambassadors, 198 collateral audits, 41–43
apps, 37, 40, 43 Brandia, 140 College Hill, 146, 163
APSITS, 141 Brandient, 148 Collins Bus, 45
ARES (Advanced Retail E-commerce BrandSinger/Jerry Kuyper Partners, 55 color, 32, 37, 173–177, 192, 204
brand stewards, 194 Columbia Pictures, 163
System), 125 Brand Union, The, 59 combination mark designs, 61
Aristov, Denis, 145 Breast Cancer Association, 143 competition research, 30, 31
Armani Exchange, 53 Brew Nerds Coffee, 135 Complete Landscaping Systems, 52
arturo’s, 129 briefs, 27 concentric designs, 128
Asanaliev, Iskender, 133 British Steel, 159 continuous line designs, 72, 129
Asgard, 131 Brody, Neville, 164 Cooper Vision, 57, 59
associative designs, 54–55, 63 Browndeer Press, 165 Corus, 159
Astute Graphics, 105 BT, 56 Cose Preziose, 141
Atlas Strategies, 140 budget, 40, 41, 43 Coutinho, Yvonne, 131
AT&T, 47–48, 203 Budweiser, 135 Cradle Robbers, 150
Australian Film Institute, 142 Burocratik—Design, 142 Creative Mind, 128
Australian Paper, 148 Burton, Mikey, 160 Creative NRG, 132
Avis, 58 Busch Entertainment, 129 cresk design, 59
Avorio Media, 139 crests, 13, 48, 53, 61, 63
C Cˇrnomerec Centar, 145
B Caltex Australia, 55 Cronan Group, 147
B (telecommunications company), 21 Cankaya, Riza, 151 Cros, 144
Baba Yaga folktale, 38 Carbone Smolan Agency, 58 C2 Medical Spa, 142
Bass, Saul, 16, 30, 47 Career Artist Management, 131 culverins, 13
Bass Yager, 47, 179, 203 Carmita Products, 127 Curious, 59
Bayer, Herbert, 17 Castlewood Reserve, 40 customer queries, 28–29
BCS, 57

211

Cycladic culture, 19 Ferguson Phillips Homeware, 169 Great Northern Pasta Co., 53
Fernandez Design, 156 Green Ink Studio, 135
D Feru, 90–95 Green, Melanie, 96
Daimler, 58 figurative designs, 54–55, 63 Grissom, Paul, 139
d’Annunzio, Gabriele, 78 Finnish Floorball Association, 134 group brainstorming, 123
Davidson, Carolyn, 56 Finocchiaro, Joe, 47, 185 group-sourced logos, 19
Deal, Michael, 59 Firebrand, 148
dee duncan, 143 5R Construction, 52 H
Deerta Gardner Design, 149 fleet vehicles, 43, 45 Hand Dizjan Studio, 56,145
definitions, 62, 63 Focus Lense Optik, 133 handmade designs, 56, 135
Delikatessen, 60 fold designs, 132 Hand Pick, 144
Dell, 59 folktales, 38 haptic technology, 193
Design Center, Inc., 129 Foodmobile, 127 Harcourt & Co., 163, 165
designproject, 133 forced random connections, 124–125 Hayes+Company, 139
Deutsch Design Works, 135 Fortuna, 148 Hazen Creative, Inc., 61
Deutsche Bank, 159 Forum Digital Graphic Forum, 142 Heinl, Mat, 113, 117
Device, 128, 131, 147 Four Points Sheraton hotels, 193 heraldry, 13, 48, 53, 61, 63
Dewy and the Big Dogs, 160 Frazier, Craig, 160 Hewlett-Packard, 53
Diamond Bar, 206, 207 Freehand MX, 99 Hidden Salon, 51
Diesel, 141 From the Fields’, 135 hieroglyphs, 12
differentiation, 20 Fuller, Buckminster, 205 Higher, 139
Disney, 60 Futbol California, 133 High Touch Technologies, 176
Dotzero Design, 136 FutureBrand, 60, 142 Hot Shot photo gallery, 160
Double O Design, 60 Howalt, Paul, 86–89, 120, 159–160,
Dragon Rouge China Limited, 55 G
Dragulescu Studio, 132 Gap, 200 161, 162
dramatically altered designs, 60 Garage, The, 156 Hulsbosch, 52, 55, 146, 157, 162
dry brush designs, 130 Gardner, Bill, 118–119 Hustler Lawn Equipment, 41
Dubai International, 57 Gardner Design, 52, 55, 57, 60, 96–101, Hutchinson Hospital, 142
Dub Rogers Photography, 150
Duffy & Partners, 61, 134, 163 130, 136, 139, 140, 142, 146, 149, I
Duncan, Dee, 143, 149 155, 157, 160, 163, 167, 169, 172, IBM, 179
176, 187 IC Corporation, 134
E Gardner Homes, 206–207 Iconologic, 133
Earthmedia, 127 Gardner, LeRoy Ellsworth, 206–207 IDEGRAFO, 138
eBay, 58, 124 Gatorade, 52 Ikola designs, 139
Edison, Thomas, 152 Gee + Chung Design, 150 Imaginary Forces, 61
EDP, 61 Geismar, Tom, 49 Inarea/Massimo Ferrero, 143
eight a.m. brand design (shanghai) Gentleman, David, 159 incubation, 68, 152–153
geographic trends, 37 Indufor Oy, 56
Co., Ltd, 142 ghost designs, 133 ING Bank, 60
Elixir Design, 135 Gibbons, Dave, 113 initial designs, 51–53, 63
El Paso, Galeria de Communicacion, 141 Gibson, 134 inkd, 59
EmberHope, 136, 172 Girl Scouts, 47 inspiration, 69–71
encrusted designs, 131 Give-A-Buck app, 37, 40 Institute of Scientific Animal Commun-
Envision Wichita, 73 glassine designs, 134
EPIC, 61 Glitschka Studios, 102–106, 131, 150 ication, 55
equity, 46–48 Glitschka, Von, 102–106, 121, 164 instudio, 134
Ertan, 151 Goetz, Ruediger, 129 Interbrand, 47
EuroDisney, 37 gogol.tv, 128 international considerations, 37–39,
European Football Championship, 44 Golden, William, 159
Europharm, 148 Golfitescu, Alin, 133 175
Expeditiously Delicious, 137 Goodall, Jasper, 47 Internet, 69, 124
Google, 62 investor queries, 30
F Google Image, 87 Isaev, Vladimir, 149
Face, 129 Graphic Impressions, 149
Facebook, 37 Graphic Language of Neville Brody, J
favicons, 62 The (Neville Brody), 164 Jack in the Box, 61
FedEx, 174 graphic standards manuals, 194–195 Jase Neapolitan Design, 151
Jobi, 131
Jobs, Steve, 198

212

Joe Muggs Coffee, 141 “logo” word origin, 57 Motion Books, 113
John Deere, 32 Logoworks by HP, 127 motion designs, 45, 138, 150
Johnson & Johnson’s, 158 “Lot 44,” 163 Motto Agency, 150
Jon Flaming Design, 136, 147 Louis Vuitton, 48 Moving Brands, 57, 113–117, 166
Joseph Blalock Design Office, 55 Loyal Kaspar, 58 MSDS, 138
J. Sayles Design Co., 164 Lusomundo, 140 M3 Advertising Design, 130
Judson Design, 150 Lustig, Alvin, 17 Murillo Design, Inc., 139
JumpStartle, 70 mythology, 75, 125
M
K Madefire, 113–117 N
Kalach Design Visual Communication, Margulies, Walter P., 16 National Geographic Kids, 60
145 Marin Public Schools, 160 Navistar International, 134
Kansas Health Ethics, 153 Martens Appraisal, 140 Neighborhood Early Childhood
Kansas Heart Hospital, 71 Mary Kay Cosmetics, 137
Karl, Andreas, 162 Matador, 59 Center, The, 136
Karl Design Vienna, 55, 143, 151, 162 MathEngine, 147 Nevada Cancer Institute, 132
Kellogg’s, 39, 50 Mattera, 141 Newhouse, 144
Kendall Ross, 130 Mattson Creative, 131 Newlyn, Miles, 21, 74–81, 120,
Ketch, 167, 197 Mayflower Company, 54
KFDunn, 130 McCluggage, Van Sickle, and Perry 155, 158
Khalid Bin Haider Group, 51 Nextel, 59
Kids Argentina, 60 Architecture, 139 Nike, 43, 52, 56
KITT, 130 McCoy Realty, 172 Northrock, 153
Kiyon, 140 Measure Twice Construction, 51 Notamedia, 128
Kommunikat, 128 Megafab, 39, 72 Numonyx, 132
Kongshavn Design, 131 Meredith Corporation, 151 Nuvolari, Tazio, 78
Kraftwerk Design Inc., 144 Mesa Grill, 59
Kroger, 191, 192–195 Mesopotamia, 13 O
Kuyper, Jerry, 185 MetaDesign, 53 Objex, Inc., 136
KUZNETS, 132, 134 mezzotint designs, 136 obsolescence, 48–49
Kuznetsov Evgeniy, 132, 134 MGM, 132, 158 Oceania, 140
KW43 BRANDDESIGN, 129 Miami Marlins baseball team, 199 ODC, 137
Kwik Shops, 29 Michael Friemuth Creative, 138 Odney, 52
Microsoft Network, 177 Olympic Games, 201, 203
L Miller, Brian, 96–101, 120–121, “On Trademarks” (Herbert Bayer), 17
Labyrinth Hosting, 140 161–162 OpenHouse.com, 137
Landor, 16, 53, 59 Milliken, 60 optical illusion designs, 139
Landor, Walter, 16 mind maps, 119 orb designs, 140
Lanham Trademark Act (1946), 15 MINE, 55, 60, 147 Oregon Ducks, 43
leading indicator trends, 37 Ministry of Commerce of Perm orientation, 76–77, 79
Lebedev, Nikita, 127 Original Champions of Design, The, 47
LeBoYe, 142 Region, 145 Osaka Sushi, 130
letterform designs, 50–53, 63 Minolta, 179 Oubaai, 137
Lexical Freenet, 124 Mirage, 132
Lineage, 185 Mitch Sport, 134 P
Lineage Logistics, 188–189 Mitre Agency, 135 Pagan, Juan Carlos, 59
Lippincott, J. Gordon, 16 Mitsubishi, 57 Paper Doll Studio, 143
Lippincott & Margulies, 16, 53, 54, Mobilink Pakistan, 133 Party Safe, 160
Modern Design + Build, 139 Paul Black Design, 137, 151
58, 151 Modern Dog Design Co., 143 Peachpit Press, 55
Liquid Agency, 132, 145 Momentum Worldwide, 148 Pearpod, 144
Lirquen, 52 monograms, 13–14, 48, 50–53, 63 Peck, Julian, 133, 137
Loaf ‘n Jugs, 29 monoline designs, 137 Pentagram, 58
Loewy, Raymond, 16, 17 Morgan Stanley, 58 Pepsi, 28
Logo Design Works, 144 Moro Restaurant, 130 perception, 71–72
Logodiver, 148 Morris, Oscar, 51 Permaguard, 86–89
Logo for Human Rights, 55 Morton Salt, 14, 15 Permanent Record, 144
LogoLounge.com, 70–71, 87, 205 mosaic designs, 205 Peru, 60
logotype designs, 58 Moscow Business School, 147 Phoenicians, 12, 13
Motek, 143 photographic designs, 141

INDEX 213

Physio on the River, 134 Sagmeister & Walsh, 61 Stewart, Cam, 86
pictograms, 12–13 Sakideamsheni, 127 Stilistica Studio, 138
pictorial designs, 54–55 SALT Branding, 60, 145 St. Julian’s Rowing Club, 54
Pierron, Keo, 59 San Francisco Design Week, 145 St. Martin’s Press, 131
Pinterest, 59 Sayle, John, 165 Strange Ideas, 133
Piranha, 39 SCEC, 52 Strategy Studio, 150
pixel designs, 142, 205 Scheyer/SF, 60 Students for Humanity, 151
Pizza Hut, 180 Schindler Parent, 58 Studio GT&P, 150
Plastic Surgery Center, 157 Schultz, Howard, 198 Sudduth Design Co., 53
Platanina, 128 Schwartzrock Graphic Arts, 53, 129, 147 Sunday Lounge, 146
POLLARDdesign, 52 Schwartzrock, Sherwin, 82–85, 121, 163 supersoon form+function, 56
Polly Ellerman, 151 Science Channel, 61 Swedish Council of America, 130
Ponzu Sushi House, 59 Scooling, 59 Swisscom, 57
Porkka & Kuutsa Oy, 56, 134 scribble designs, 144 Switchfoot Creative, 140
Power, 143 Seamer Design, 143
Precept Brands, 130 Sebastiany Branding & Design, 52 T
Priors, 131 see+co, 136 Tactix Creative Inc., 86, 163
Proctor & Gamble, 14, 58 Sequence, 61 Tactix Creative Workbook, 86, 87
Promotion, 60 selective focus designs, 145 Tall Grass Beef, 67
PT. Lithinai Hudriai, 143 series designs, 146 Target, 178
public polling, 29–30 Seven Designers Look at Trademark Target Bookmarked, 160
Pulitzer Foundation for the Arts, Tassimo, 56, 148
Design (Paul Theobald and TBWA\Chiat\Day, 52
The, 141 Company), 17 Team Mad Dog, 160
Pure Identity Design, 59 shadow designs, 147 Team Razoo, 144
PUSH Branding and Design, 150 Shadow Farm, 133 Telecom Trade Company, 149
Shafer, Ken, 160 Telegentis, 155
Q Sharp, Liam, 113 Terravant Wine Company, 144
Quik Stops, 29 Shell, 16 Tessellation, 205
QXSolutions, 149 Sheraton hotels, 193 3 Advertising LLC, 51
Siegel+Gale, 57 36 Creative, 132
R signature styles, 72–73 3-D Motion, 150
Radio Shack, 204 Silver Squid, 142 3.2.1 firm, 82–85
Ramsell, 54 Sima Financial Group, 156 Thymes, 163
Rand, Paul, 16, 17, 179 Singapore Airlines, 193 Tiffany’s, 32
RayV, 138 Siren Design, 149 Tiger Films, 131
Razorfish, 149 skischule mittberg, 156 T-Mobile, 173
reaves design, 59 Slovo, 132 Today, 155
Rebecca, 43 Snooty Peacock, 54 TOKY Branding+Design, 141, 146
redeemstrategic, 143 Socius One Consulting, 133 Tomasz Politanski Design, 59
Red Lion Christian Academy, 102–106 Sockwell, Felix, 72, 107–112, 121, 129, Tom Thumb, 29
Red Ribbon, 132 143, 158, 163 Tone Animation, LLC, 138
reference materials, 30 SodaStream, 58 Traction, 141
Reno Technology, 123 Soleon Logo, 162 trademarks, 12, 13, 14, 15, 17, 31
ribbon designs, 143 solo brainstorming, 124 transparent designs, 148
Richards Brock Miller Mitchell & Sound Mind Creative, 151 Travel Channel, 58
Spaces, 146 Travelocity, 37
Associates, 136 Spellman Child Development Center, 135 Traveo, 129
Rikky Moller Design, 141 sports, 43, 44, 199, 201, 203 trends, 36–39, 71, 202–205
Rivercane Village, 151 Sprachschule Wien, 55 Trends reports, 205
Rollover, 138 SR Hughes, 137 triangle designs, 149
Roy Smith Design, 148 Stakic, Predrag, 55 Tropicana, 28
R&R Partners, 51, 129 Stanford University, 147 Tukola, 32
Rudy Hurtado Global Branding, 136 Stankowski, Anton, 159 Tumelo Group, 141
Runyan, Robert Miles, 203 Stanovov, 141 Turkey Hill, 29
Ryan Russell Design, 54 Starbucks, 31, 198, 199 Turner Duckworth, 56, 148
Star Mart, 55 Twyst, 59
S Stars in Motion, 203 typography, 38, 51, 58, 59, 71, 72, 191
Sabingrafik, Inc., 58, 163, 165 Stefan Floridian Waters, 193
Sabin, Tracy, 165

214

U X
UMW, 53 X3 Studios, 144
Underwear, 58
Underwood Deviled Ham, 14, 15 Y
Unilever, 127, 155 Yahoo, 32
United by Design, 127 Yataro Iwasaki, 57
UPS, 134 Y&R Dubai, 51

V Z
Vasvari, Peter, 54 Zaika Indian Restaurant, 131
VectorScribe Studio plug-in, 105 Zakirov, Ferutdin, 90
Verio, 147 ZERO1, 145
vibrating designs, 150 01d, 147, 149
Vigon, Jay, 159 Zheleznyakov, Yaroslav, 60
Virgin Australia Logo, 162 Z Travel Board, 132
Visua, 148
ViziWorx Enhanced Television, 172
volatile graphics, 140
Volkswagen, 53

W
Walden, Eugene, 113
Walmart, 180
Walsh Branding, 137
Weathervane Farm, 146
Webber, Ryan, 136
Webcore Design, 142
Webdrop Logo, 162
websites

David Airey, 90
Felix Sockwell, 107, 121
Gardner Design, 96
Lexical Freenet, 124
Lineage Logistics, 188
LogoLounge.com, 205
Madefire, 113
Miles Newlyn, 74
Tactix Creative Inc., 86
Von Glitschka, 102
WeightWatchers, 58
Westinghouse, 16
Wichita Parks Department, 55, 155
Wichita State University, 181
Wickerwork, 151
Wiese Creative, 147
Wiese, Jonathan, 82
Wingfield Group, 51
Wink, 160
Wolff Olins, 56, 74, 127, 155
Wolstenholme, Ben, 113
Wook, 146
Woolworths, 146, 157
wordmark designs, 58, 63
World Wildlife Fund, 54
woven designs, 151
wray ward, 135
Wynn’s, 204

INDEX 215

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