Logo Design Love

Takes the biscuit

David Airey — Tue, 15 May 2012 12:58:24 +0000

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

Behind the innocent logo

David Airey — Mon, 14 May 2012 08:29:09 +0000

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.

Elephant Combs

David Airey — Wed, 09 May 2012 16:48:21 +0000

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

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

That’s a compliment.

Trying to remember logos (by my 5-year-old)

David Airey — Tue, 08 May 2012 08:46:10 +0000

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.

Indifferent

David Airey — Mon, 07 May 2012 10:48:38 +0000

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.

Stedelijk Museum

David Airey — Tue, 01 May 2012 16:30:56 +0000

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.

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

David Airey — Mon, 30 Apr 2012 11:28:34 +0000

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.

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Related, from the archives: DC Comics.

The illusion of choice

David Airey — Thu, 26 Apr 2012 08:33:45 +0000

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.

Swisscom sketches

David Airey — Mon, 23 Apr 2012 10:40:00 +0000

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”

David Airey — Thu, 19 Apr 2012 11:39:49 +0000

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.

Logo Design Love

Takes the biscuit

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Behind the innocent logo

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Elephant Combs

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Trying to remember logos (by my 5-year-old)

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Indifferent

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Stedelijk Museum

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Logo Go/No Go

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The illusion of choice

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Swisscom sketches

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“Sharing a Coke”

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