Table Of ContentDesign: Logo
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An exploration of
marvelous marks,
insightful essays and
revealing reviews
Paul Howalt
Von Glitschka
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Contents 6
I n t r o d u c tI o n
98
Logo Gallery 8 Logo Gallery
106
A Closer Look essay: desiGner BLind sPots
16 - Bill Gardner
Chris Parks
108
Logo Gallery 18 Logo Gallery
A Closer Look
A Closer Look
116
26 JosePh BLaLoCk desiGn
Fernandez studio
118
Logo Gallery 28 Logo Gallery
A Closer Look
A Closer Look
126
36 ruLe29
the Greteman GrouP
128
Logo Gallery 38 Logo Gallery
A Closer Look
A Closer Look
136
46 LeiGhton huBBeLL
tim Frame desiGn
138
Logo Gallery 48 Logo Gallery
56 A Closer Look
essay: meaninG
146
- Alina Wheeler Luke Bott
148
Logo Gallery 58 Logo Gallery
A Closer Look essay: 25 years oF LoGo desiGn,
156
66 distiLLed
hatCh
- Sherwin Schwartzrock
68
Logo Gallery
158
Logo Gallery
A Closer Look
76 A Closer Look
Jeremy sLaGLe GraPhiC desiGn
166
mint
78
Logo Gallery
168
Logo Gallery
A Closer Look
86 A Closer Look
Joe BosaCk GraPhiC desiGn
176
randy heiL
88
Logo Gallery
178
Logo Gallery
A Closer Look
96
Jon FLaminG desiGn
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5
6
I n t r o d u c tI o n
98
Logo Gallery 8 Logo Gallery A Closer Look
186
deviCe
106
A Closer Look essay: desiGner BLind sPots
16 - Bill Gardner Logo Gallery 188
Chris Parks
108
Logo Gallery 18 Logo Gallery A Closer Look
196
FeLix soCkweLL
A Closer Look
A Closer Look
116 198
26 JosePh BLaLoCk desiGn Logo Gallery
Fernandez studio
118 206
Logo Gallery 28 Logo Gallery essay: desiGn For a nonProFit
- Justin Ahrens
A Closer Look
A Closer Look
126 208
36 ruLe29 Logo Gallery
the Greteman GrouP
128
Logo Gallery 38 Logo Gallery A Closer Look
216
thinkinG CaP desiGn Co.
A Closer Look
A Closer Look
136 218
46 LeiGhton huBBeLL Logo Gallery
tim Frame desiGn
138
Logo Gallery 48 Logo Gallery A Closer Look
226
GyuLa németh
56 A Closer Look
essay: meaninG
146 228
- Alina Wheeler Luke Bott Logo Gallery
148
Logo Gallery 58 Logo Gallery A Closer Look
236
mattson Creative
A Closer Look essay: 25 years oF LoGo desiGn,
156 238
66 distiLLed Logo Gallery
hatCh
- Sherwin Schwartzrock
68 A Closer Look
Logo Gallery
158 246
Logo Gallery orChestra
A Closer Look
76 A Closer Look Logo Gallery 248
Jeremy sLaGLe GraPhiC desiGn
166
mint
256
Logo Gallery 78 essay: styLe is suBstanCe
168
Logo Gallery - Tracy Sabin
A Closer Look
86 A Closer Look Logo Gallery 258
Joe BosaCk GraPhiC desiGn
176
randy heiL
88
Logo Gallery
178
Logo Gallery
A Closer Look 268
Index
96
Jon FLaminG desiGn
272
About the Authors
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Introduction
We can all respect the heritage of the ubiquitous logos of
corporate giants such as Samsung, McDonald’s, Walmart, Face-
book, IBM, and Sony; but as designers, we realize that so many
of these marks for large entities show obvious signs of being
pushed, pulled, strangled, and beaten into creative submission
and sterility. No matter how much the initial brief may tout the
brand as being personable and able to provide an emotional
connection to a community, the logo ends up reflecting none
of the human qualities it brags about. The resulting logo ends up
being merely an expensive, impotent placeholder—unoffensive
yet uninspiring. This book is not about any of these.
On the other hand, there are logos that grab us by the eyeballs,
hug our souls, endear our senses, and don’t let go. If you’re
one who has chosen graphic design and branding for a living,
we doubt that you’ve been inspired to do so by the creative
battles that produced marks for any of the corporations named
above. I’d venture a guess that most of us were motivated by
logos that displayed distinctively clever visual concepts, told a
story, or were rendered with industry-defining style. I’m talking
about logos such as the old Milwaukee Brewers “ball and glove”
monogram from the ‘70s, the Armor All Viking brand character,
the Baskin Robbins “31 flavors” mark, the Android OS logo, the
Twitter bird and the Atlanta Falcons “F” symbol. We all recognize
these logos as being brilliant, conceptual, and bold. We marvel
at these marks, smile, and can’t look away. We embrace them
with open arms. We run to become members of their brand
tribes. They are, in a word, irresistible.
Competitive brands are finding the need to court their cus-
tomer and communicate their message quicker and more
thoroughly. That’s a tricky tightrope to walk. Every detail and
attribute of a logo needs to be carefully scrutinized before
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7 7
We can all respect the heritage of the ubiquitous logos of incorporating into the final mark. A logo is no longer a simple
corporate giants such as Samsung, McDonald’s, Walmart, Face- guarantee of quality and consistency. These days an organiza-
book, IBM, and Sony; but as designers, we realize that so many tion’s logo needs to promise a specific emotional experience as
of these marks for large entities show obvious signs of being well as a connection to a particular community. Logos must be
pushed, pulled, strangled, and beaten into creative submission much more than they have been in the past, especially when
and sterility. No matter how much the initial brief may tout the removed from the context of their supporting visual language.
brand as being personable and able to provide an emotional Winning loyalty is secondary; getting them to fall in love is
connection to a community, the logo ends up reflecting none primary.
of the human qualities it brags about. The resulting logo ends up
being merely an expensive, impotent placeholder—unoffensive There will always be a polarized school of thought when it
yet uninspiring. This book is not about any of these. comes to discussing the correct approach to logo design and
development. In the end, we know that a successful logo design
On the other hand, there are logos that grab us by the eyeballs, is not about what pleases the client—its about a mark that
hug our souls, endear our senses, and don’t let go. If you’re works. It’s about solving a visual problem. Actually, it’s about
one who has chosen graphic design and branding for a living, solving a bunch of problems.
we doubt that you’ve been inspired to do so by the creative
battles that produced marks for any of the corporations named • Does the logo resonate in the souls of your target audience?
above. I’d venture a guess that most of us were motivated by • Is it memorably simple, but not boring?
logos that displayed distinctively clever visual concepts, told a • Is the style appropriate within its industry?
story, or were rendered with industry-defining style. I’m talking • Is it more timeless than trendy?
about logos such as the old Milwaukee Brewers “ball and glove” • Can you tell a story about it?
monogram from the ‘70s, the Armor All Viking brand character, • Is it visually clever or conceptual in some way?
the Baskin Robbins “31 flavors” mark, the Android OS logo, the • Can it (or a version of it) be reproduced easily across all media?
Twitter bird and the Atlanta Falcons “F” symbol. We all recognize • Do you want to lick it?
these logos as being brilliant, conceptual, and bold. We marvel
at these marks, smile, and can’t look away. We embrace them I think we are starting to witness more designers stepping
with open arms. We run to become members of their brand up their games with logo solutions that trade in geometric,
tribes. They are, in a word, irresistible. corporatized abstraction for custom-tailored creations. Let’s
celebrate what they do, figure out how they do it, and be in-
Competitive brands are finding the need to court their cus- spired to create more ourselves.
tomer and communicate their message quicker and more
thoroughly. That’s a tricky tightrope to walk. Every detail and — Paul Howalt and Von Glitschka
attribute of a logo needs to be carefully scrutinized before
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Logo Gallery
1 2 8
4 9
3 5 11
6 7 12
1: COMPANY: Art Chantry Design / CLIENT: Dave Crider, Estrus Records / DESIGNER: Art Chantry 8: COMPANY: REACTOR design Studio / CLIENT: Ado Blow Dry Lounge / DESIGNERS: Julie Sebby, Chase Wilson / ART DIRECTOR: Clifton Alexander
2: COMPANY: Chris Trivizas / CLIENT: Christos & Tassos Manesis / DESIGNER: Chris Trivizas / ART DIRECTOR: Chris Trivizas 9: COMPANY: Schwartzrock Graphic Arts / CLIENT: Winsted Arts Council / DESIGNER: Sherwin Schwartzrock
3: COMPANY: Fernandez Studio / CLIENT: Lost Cowboys / DESIGNER: Carlos Fernandez / ART DIRECTOR: Anita Cleland, Wes Spiker 10: COMPANY: Device / CLIENT: Macmillan Publishing / DESIGNER: Rian Hughes / ART DIRECTOR: Rachel Vale
4: COMPANY: Fernandez Studio / DESIGNER: Carlos Fernandez / ART DIRECTORS: Rich Goidel, Alan Deeter 11: COMPANY: Fernandez Studio / CLIENT: Lincoln Park Zoo / DESIGNER: Carlos Fernandez / ART DIRECTOR: Peggy Martin
5: COMPANY: Melodic Firtue / CLIENT: Byre / DESIGNER: Aaron Tanner / ART DIRECTOR: Aaron Tanner 12: COMPANY: Schwartzrock Graphic Arts / CLIENT: Freshwater Church / DESIGNER: Sherwin Schwartzrock
6: COMPANY: Pollard Design / DESIGNER: Jeff Pollard 13: COMPANY: Glischka Studios / CLIENT: Brandimage / DESIGNER: Von Glitschka / ART DIRECTOR: Tamara Kramer
7: COMPANY: REACTOR design Studio / CLIENT: Julie Wei, MD / DESIGNERS: Julie Sebby, Chase Wilson / ART DIRECTOR: Clifton Alexander
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Former logo I designed in 2000.
Life Church Logo Redesign 9
Page #
I wanted to retain as much of the original logo as possible but also provide a new look that represented growth, maturity and hopefully atypical
for a church logo. There was criteria I set for myself to ensure this. The fluidity of the type was essential; I chose a calligraphic approach for it
to appear traditional and serious but loosened it up for more flow and freedom.
Existing Freeway Sign New Freeway Sign (with optional message/event board)
I wanted to move away from a predictable religious element and explored a branch/leaf/flame combo but felt it was forced and needed
simplifying. To me the flame alone had a quicker reference to the client and their identity. I’d say ‘passionate people’ could best describe
them. But I didn’t feel it was as fire, uncontrolled and reckless. But more as a controlled flame with intent and purpose.
Initially I had the word Church detached but discovered with slight modifications I could blend it with Life - which just furthers the custom
appeal as a logotype. I feel that because Life has so much flare to it, I needed a complimentary standard typeface that was sans-serif and could
work for other brand peripherals as well.
The color choice seemed obvious with Black and Red, but it’s a very demanding color scheme and I was cautious to suggest it. But one thing I
know of Don and Ann Finley is that they are brave and not afraid to take risks. This project had very quick resolve. Literally one revision and
Existing Building Sign New Building Sign
on to final. It’s a designer’s dream to have full creative freedom so I embr8a ced it completely and designed it in such a way it would be a church
I’d personally attend. I did and would again.
Apparel Graphic
Rough Sketch First Draft Final Design
9 10
Former logo I designed in 2000.
Button / Decal
Life Church Logo Redesign
I wanted to retain as much of the original logo as possible but also provide a new look that represented growth, maturity and hopefully atypical
for a church logo. There was criteria I set for myself to ensure this. The fluidity of the type was essential; I chose a calligraphic approach for it
11 to appear traditional and serious but loosened it up for more flow and freedom.
Existing Freeway Sign New Freeway Sign (with optional message/event board)
I wanted to move away from a predictable religious element and explored a branch/leaf/flame combo but felt it was forced and needed
simplifying. To me the flame alone had a quicker reference to the client and their identity. I’d say ‘passionate people’ could best describe
them. But I didn’t feel it was as fire, uncontrolled and reckless. But more as a controlled flame with intent and purpose.
Initially I had the word Church detached but discovered with slight modifications I could blend it with Life - which just furthers the custom
appeal as a logotype. I feel that because Life has so much flare to it, I needed a complimentary standard typeface that was sans-serif and could
work for other brand peripherals as well.
The color choice seemed obvious with Black and Red, but it’s a very demanding color scheme and I was cautious to suggest it. But one thing I
konno two foinf aDl.o Int’ as nad d Aesning nFeirn’lse dyr iesa tmha tto t hheayv ea rfeu lbl rcarveea taivned fnroete daformai ds oto I teamkeb rraisckesd. iTt hciosm pprolejeteclty h aandd v deerysi gqnueicdk i tr einso sluvceh. Lai tweraayl liyt wonoeu lrde vbies iao nc haunrdc h Existing Building Sign New Building Sign
I’d personally attend. I did and would again.
Apparel Graphic
Rough Sketch First Draft Final Design
12 13 Button / Decal
1: COMPANY: Art Chantry Design / CLIENT: Dave Crider, Estrus Records / DESIGNER: Art Chantry 8: COMPANY: REACTOR design Studio / CLIENT: Ado Blow Dry Lounge / DESIGNERS: Julie Sebby, Chase Wilson / ART DIRECTOR: Clifton Alexander
2: COMPANY: Chris Trivizas / CLIENT: Christos & Tassos Manesis / DESIGNER: Chris Trivizas / ART DIRECTOR: Chris Trivizas 9: COMPANY: Schwartzrock Graphic Arts / CLIENT: Winsted Arts Council / DESIGNER: Sherwin Schwartzrock
3: COMPANY: Fernandez Studio / CLIENT: Lost Cowboys / DESIGNER: Carlos Fernandez / ART DIRECTOR: Anita Cleland, Wes Spiker 10: COMPANY: Device / CLIENT: Macmillan Publishing / DESIGNER: Rian Hughes / ART DIRECTOR: Rachel Vale
4: COMPANY: Fernandez Studio / DESIGNER: Carlos Fernandez / ART DIRECTORS: Rich Goidel, Alan Deeter 11: COMPANY: Fernandez Studio / CLIENT: Lincoln Park Zoo / DESIGNER: Carlos Fernandez / ART DIRECTOR: Peggy Martin
5: COMPANY: Melodic Firtue / CLIENT: Byre / DESIGNER: Aaron Tanner / ART DIRECTOR: Aaron Tanner 12: COMPANY: Schwartzrock Graphic Arts / CLIENT: Freshwater Church / DESIGNER: Sherwin Schwartzrock
6: COMPANY: Pollard Design / DESIGNER: Jeff Pollard 13: COMPANY: Glischka Studios / CLIENT: Brandimage / DESIGNER: Von Glitschka / ART DIRECTOR: Tamara Kramer
7: COMPANY: REACTOR design Studio / CLIENT: Julie Wei, MD / DESIGNERS: Julie Sebby, Chase Wilson / ART DIRECTOR: Clifton Alexander
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Logo Gallery
14 15 22
16 17 24
18 19 26
20 21 28
14: COMPANY: Gardner Design / CLIENT: Danse Arte / DESIGNER: Brian Miller / ART DIRECTOR: Brian Miller 22: COMPANY: Brandcentral / CLIENT: ACM SIGGRAPH / DESIGNER: Gerard Whelan / ART DIRECTOR: Gerard Whelan
15: COMPANY: REACTOR design Studio / CLIENT: REACTOR design studio / DESIGNER: Chase Wilson / ART DIRECTOR: Clifton Alexander 23: COMPANY: Schwartzrock Graphic Arts / CLIENT: Kevin Walz / DESIGNER: Sherwin Schwartzrock
16: COMPANY: Dotzero Design / CLIENT: Lucia / DESIGNERS: Jon Wippich, Karen Wippich / ART DIRECTORS: Jon Wippich, Karen Wippich 24: COMPANY: Schwartzrock Graphic Arts / CLIENT: Kingstone Media / DESIGNER: Sherwin Schwartzrock
17: COMPANY: Melodic Firtue / CLIENT: Open Shut / DESIGNER: Aaron Tanner / ART DIRECTOR: Aaron Tanner 25: COMPANY: Sevenfiles / CLIENT: Ribeiro e Dias / DESIGNER: Carlos Ribeiro / ART DIRECTOR: Carlos Ribeiro
18: COMPANY: Dotzero Design / CLIENT: Live Wire Radio / DESIGNERS: Jon Wippich, Karen Wippich / ART DIRECTORS: Jon Wippich, Karen Wippich 26: COMPANY: Schwartzrock Graphic Arts / CLIENT: Target / DESIGNER: Sherwin Schwartzrock
19: COMPANY: Melodic Firtue / CLIENT: Burnt Prairie Print Shop / DESIGNER: Aaron Tanner / ART DIRECTOR: Aaron Tanner 27: COMPANY: Gardner Design / CLIENT: The Church of the Latter Day Saints / DESIGNER: Bill Gardner / ART DIRECTOR: Bill Gardner
20: COMPANY: Design Center, Inc. / CLIENT: DSI / DESIGNER: Sherwin Schwartzrock / ART DIRECTOR: John Reger 28: COMPANY: Schwartzrock Graphic Arts / CLIENT: Target / DESIGNER: Sherwin Schwartzrock
21: COMPANY: Duct Tape & Glitter / CLIENT: Abby’s Gift / DESIGNER: Luke Bott 29: COMPANY: Jon Flaming Design / CLIENT: Jon Flaming / DESIGNER: Jon Flaming / ART DIRECTOR: Jon Flaming
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