Table Of ContentG A L L E R Y • C A S E S T U D I E S • T I P S • T R I V I A • N E W S
Logopalooza and related art is TM/Copyright 2006 The Logo Factory.
The Logo Factory is a registered trademark.
Example logos featured in Logopalooza – Volume 3 – are the property
of the copyright and/or trademark respective holders. Examples of “in
progress” work product are copyright and/or trademark The Logo
Factory Inc.
All rights reserved. Unauthorized use and/or reproduction prohibited.
Logopalooza Volume Three copyright 2017 The Logo Factory Inc. All
rights reserved. For further information on The Logo Factory visit us on
the web at www.TheLogoFactory.com or contact by e-mail at
About Logopalooza
e first coined the name Logopalooza back in 2006 as a downloadable ebook to
showcase our work, a bit ahead of its time really - the only place you could find it was
on our website and bandwidth concerns being what they were, we had to be judicous
in how we made it available. Even then, the first volume of Logopalooza was
W downloaded a couple of hundred thousand times. It never became as regular as we
would have liked - we published another one in 2011 - but the name continued to
serve us well. It was the name of our blog. When we launched a few podcasts we called
them Logopalooza too. It was always a great name for anything that celebrates logos, branding and the design
of same. This notion was always a part in the design aspect of the branded projects.
We’ve been kicking around the idea of revisiting Logopalooza as a
digital magazine for years now, but as we were celebrating our 20th
anniversary, we started work in earnest. We redesigned the logo,
while keeping true to the carnival vibe of the original, our dancing
Logopalooza man still intact. We’ve
recently launched a website -
www.Logopalooza.com - but where that’s
going to go is anyone’s guess. This is very
much an experimental project, but now
we’ve many distribution channels open, we may make it into a regular thing. Time
will tell.
This volume is still a showcase of work by the gang at The Logo Factory, but we’ve
expanded the format somewhat, adding some some case studies, tips and a few
other bits and pieces. If this turns into a regular gig, we’re planning to open future
volumes to other designers so that they can showcase their work too. We’ll add some
news, some more in-depth technical and design articles and maybe the occasional
surprise. We’ll keep you posted.
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ReptoLand Pet Shop
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Trivia: So You Think You Know Logos?
The Nike Swoosh logo was created in 1971 by graphic design student Carolyn
Davidson, for $35.00, based on a billing rate of $2.00 per hour. Davidson did however,
get more of a payday from the athletic company in 1983 when Nike gave Davidson a
gold Swoosh gold ring and an envelope filled with an undisclosed amount of Nike
stock to express their gratitude.
The Rolling Stones lips logo has come to represent the legendary mouth of Mick
Jagger but designer John Pasche is on record that the original inspiration came from
an image of the Hindu goddess Kali. Pasche was paid £50 for his work at the time, but
received the generous supplement of an extra £200 a couple of
years later. The group themselves now own the
copyright, but in 2006, Pasche sold the original artwork for £400,000. People
often mistakenly attribute the design of the Rolling Stones logo to America
pop art legend Andy Warhol. While he didn’t design the logo, Warhol worked
with Jagger and The Stones on numerous projects including the cover art for
Sticky Fingers and Love You Live
The Volkswagen logo was the result of a 50 Marks office competition, won by
an engineer named Franz Reimspiess (the same man who perfected the
engine for the Beetle in the 1930’s).
The first Apple logo was designed in 1976 by Ronald Wayne and featured Sir
Isaac Newton sitting under a tree, an apple dangling precipitously above his
head.
According to the Yamaha description of their logo: “The
three tuning forks of the Yamaha logo mark represent the
cooperative relationship that links the three pillars of our
business — technology, production, and sales. They also evoke the robust vitality that has forged a reputation
for sound and music the world over, a territory indicated by the enclosing circle. The mark also symbolizes the
three essential musical elements: melody, harmony, and rhythm”.
For more logo news & trivia check out The Logo Factor design blog.
1.866.891.9704 www.TheLogoFactory.com
Tips: The most popular logo colors with Big Brands
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Wild Food Plants Numbskulls Sour Apple Candy
The Retirement Hour Reliable Air Conditioning
Bulldog Studios New Leaf Landscaping
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Case Study: Azure
Regardless of what some absolutists will say,
blends and gradients are perfectly legitimate as
long as they’re used judicially, not as a visual
crutch to substitute for something “missing.”
In this case, we needed to have a flame, it had to
be blue (the company name actually means blue
in Italian) so not much choice. For what it’s worth,
we did create some “flat design” versions anyway.
Alas, they didn’t have the same effect at all (truth to tell, logos with gradients have always required a flat version
anyway – for applications when blends are either not appropriate or technically unsound.)
A lot of designers freak over blends in logos,
claiming that they can’t be reproduced using
spot-color printing.
That simply isn’t true:
When it comes to utilizing gradients in logos, we
can dial it back when applying that logo to other
material.
Just because your lead logo is full of blended
goodness, that certainly doesn’t mean you have to
go to town on collateral material – business cards,
letterheads and the like – with wanton abandon.
Rather, using flat support graphics can set off a
logo with gradients quite nicely.
Case Study: Health Nut
Our studio is often brought in the very early stages of startups, to assist
with brand development – the ‘look and feel’ of the company’s corporate
image. Such was the case for a Vancouver based health food company who
were planning to market
heath bars and related
products under the name
Rawsome! It was under that
identity that our designers
started working up some
rough logo design
concepts:
Due to some trademark conflicts the company had to change their name in mid-stride and after a few weeks
came up with the provocative moniker ‘Eat Me Raw.’ Naturally, this name
required an entirely different approach to the logo, so we worked up some
concepts using edgier fonts and a rougher approach to the overall design. (left)
Somewhere during the conceptual stages, we developed a
graphic character
which would stay
with us through the
entirety of the project, and was eventually selected by the client as
part of the final logo. It was only after the packaging was designed,
did the client start to worry that the name was a little too
provocative. After talking to some of their vendors, they concluded
that the name – as humorous as it might be – was likely to narrow
the product line’s appeal and marketability. After a great deal of
hand-wringing and gnashing of teeth, a new name – Health Nut –
was proposed by our team. Luckily, the little graphic character we
had developed earlier, fit in perfectly with this new direction and
was, in fact, a appropriate depiction of a ‘Heath Nut.’ A little bit of font
jujitsu, and Health Nut had their new logo.
Badland Buggy Off-Road Vehicles Big Bark Custom Card Packs
Protair-X Technologies Inc.
3 1.866.891.9704 www.Logopalooza.com
