Logo lounge 4: 2,000 international identities by leading designers 1592534007, 9781592535804, 1592535801, 9781592534005

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volume 4

2,000 International Identities by Leading Designers

catharine fishel

bill gardner

logolounge 4 2,000 International Identities by Leading Designers

catharine fishel and bill gardner

© 2008 by Bill Gardner Paperback edition published 2010 All rights reserved. No part of this book may be reproduced in any form without written permission of the copyright owner. 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.

First published in the United States of America by Rockport Publishers, a member of Quayside Publishing Group 100 Cummings Center, Suite 406-L Beverly, MA 01915-6101 Telephone: (978) 282-9590 Fax: (978) 283-2742 www.rockpub.com

Library of Congress Cataloging-in-Publication Data Fishel, Catharine M. Logo lounge IV : 2,000 international identities by leading designers / Catharine Fishel and Bill Gardner. p. cm. Includes index. ISBN 1-59253-400-7 1. Logos (Symbols)--Catalogs. 2. Corporate image--Catalogs. 3. Designers-Directories. I. Gardner, Bill. II. Title. III. Title: Logo lounge 4. IV. Title: LogoLounge IV. NC1002.L63F57 2008 741.6--dc22 2007037787 CIP

ISBN-13: 978-1-59253-580-4 ISBN-10: 1-59253-580-1

10 9 8 7 6 5 4 3 2 1

Design: Gardner Design Layout & Production: Megan Cooney Production Coordinator: Heather Carrier/Gardner Design Cover Image: Gardner Design

Printed in China

Dedicated to the thousands of LogoLounge members that understand that “the whole is greater than the sum of its parts.” Thank you for your amazing contributions and your vision. To my brilliant LogoLounge partners, Cathy, Troy, Brian, and Gail, and my Gardner Design team of Susan, Luke, Ty, Jami, and Heather. To my two loves, Andrea and Molly: Thanks for sharing me with others. –Bill Gardner

For Alex, Andrew and Sam: You inspire me to do better. –Catharine Fishel

contents

Introduction 6 Jurors 8

Portraits

Collections

Pentagram 14

Initials 70

Office 20

Typography 83

Sebastiany Branding 26

Enclosures 90

Siegel+Gale 32

Display Type 94

Paprika 38

Calligraphy 98

Jager Di Paola Kemp Design 44

Crests 101

Shift Design 50

Sports 104

Hesse Design 56

Heads 107

Interbrand 62

People 114 Mythology 127

Sketches Frost Design 82 Gardner Design 89 Unreal Design 100 OVO 106 Brandoctor 113 Tompert Design 126 Karl Design 131 Hybrid Design 138 Hugonaut 145 Iconologic 153

Birds 132 Fish/Bugs/Reptiles 135 Animals 139 Nature 146 Shapes 154 Symbols 161 Arts 166 Miscellaneous 169 Food 171 Structures 175 Transportation 179

/DEPARTMENT 165 Euro RSCS 174

Index 182 Directory 186 About the Authors 192

introduction

In school lectures, there was always a teacher that admonished the

Members of LogoLounge.com can see all of this work—in fact, you

students to move down into the front rows of the class. I used to be

may view every logo submitted to past, present, or future books by

convinced this attempt to fill in those seats was a vain ploy to make

joining LogoLounge.com. Additionally, members receive unlimited

the presentation appear well-attended. It’s only after making the shift

uploads of their own logos for possible inclusion in future books. As

to the front that you understand falling asleep is no longer an option,

of this writing, LogoLounge.com has a database of nearly 70,000

and that your attention level and interest start to pique.

logos, contributed by members from over 100 countries around the world. Each of these logos is searchable by keyword, industry,

These are the students who made better grades and ultimately

designer, date, client, and style.

rose to the top of their professions. As I meet the members of LogoLounge.com and speak to the readers of the LogoLounge series

Although the ability to laser through such a huge pool of exceptional

of books, I realize I’ve met these folks before, down in the front row.

design to find relevant research is unprecedented, you can also take

These contributors and individuals are as passionate and inquisitive

a leisurely, random stroll at your own pace. The 2,000 logos in this

as ever, and as long as they are curious, they are still enrolled.

book can also be accessed through the book’s companion website, www.logolounge.com/book4.

For a designer, having a grip on the visual landscape of our profession is what allows us to remain relevant to our clients. By picking up and

Possibly the best way to stay relevant is to enjoy the identity design

reading this book, you have already demonstrated the difference

processes shared in this book, shown by some of the world’s most

between you and the less curious. Those who have lost or never had

talented design experts. Dozens of in-depth stories behind the birth

the thirst to stay aware of trends are doomed to forever design from

of some of the most influential identity projects of our time are dis-

the back row.

cussed in full. Travel through the backstory and the boardroom, as designers weave through challenging obstacles to create visual

The 2,000 highly organized logos in this book were selected from more than 28,000 submissions made since the last selection process for LogoLounge 3. This is a monumental collection, and it attests to

identities for the likes of AT&T, Zune, Saks Fifth Avenue, and alternate identity studies for the FIFA World Cup, Target’s Independent Studies, and Target’s Halloween promotions brand to name a few.

both the quality of the final content and to the stamina of the panel of eight amazingly talented judges who were faced with the daunting

All of this inspiration in one book, shared by some of the most talent-

task of selecting only the very best.

ed and influential designers of our era. Move your chair up to the front row and pick up a well-earned degree in international identity studies.

—Bill Gardner

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jurors Christopher Campbell Interbrand, San Francisco, CA Threesome logo, by Ziga Aljaz “I chose this logo for its simplicity and wit. It has a great personality, communicates with ease, and is beautifully executed. Well done.” As executive creative director of Interbrand, Christopher Campbell is in charge of leading creative resources in New York. He is responsible for developing creative solutions for clients such as Microsoft, McDonald’s, Xerox, eBay, and Victoria’s Secret. He also plays a key role in the firm’s overall strategic planning and development. Campbell’s expertise includes the development of strategic branding solutions, including corporate identity, annual reports, corporate literature, marketing communications, and advertising. With more than twenty years of design experience, he has created award-winning work recognized by organizations including the New York Art Directors Club, the Advertising and Design Club of Canada, The American Institute of Graphic Arts, Communication Arts, and The Black Book AR100 Awards Show.

Haley Johnson Haley Johnson Design Company, Minneapolis, MN The Firm Mark logo, by IMAGEHAUS “I chose this logo for its ability to communicate instantly. It makes me want to jump up from this seated position I am in right now and run around the block with a smile on my face. It is provocative yet timeless in its execution while being highly appropriate for the business it is promoting.” Haley Johnson is senior designer and president of Haley Johnson Design Company. Her firm was established in 1992. She has a solid reputation for consistently producing effective and award-winning design. Her work has appeared in both national and international design publications since 1986. Johnson’s designs have been accepted into the permanent collections of the Smithsonian, Cooper-Hewitt and Für Kunst und Gewerbe Museums.

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His work is part of the permanent design collection of the Smithsonian Institution’s National Museum of Design in New York. Campbell is an honors graduate of the communication and design program at the Ontario College of Art and Design, Toronto.

Haley Johnson Design Company’s primary focus includes brand, packaging, and product development. She has worked with a variety of clients including Blue Q, Target Stores, Turner Classic Movies, Chronicle Books, and Peace Coffee.

Janet A. Martin Communication Arts Inc., Boulder, CO Autism logo, by Dino Design “I was particularly struck by this logotype—perhaps because I have a friend whose son is autistic. I really liked the idea of using a classic, beautiful typeface like Caslon that is highly legible, and then deconstructing it with a few deft deletions. The missing strokes create an impression of strength and potential, but with gaps. It is a word that is there, but not there. I think it is a perfect metaphor to represent this condition which affects communication skills and cognitive functions in increasing numbers of children. Early indicators of autism are difficulties in verbal communications, social interactions, and impaired language development: This logotype captures all of this with a simplicity that is powerful.”

Jason Schulte Office, San Francisco, CA Wurstburg logo, by KW43 BRANDDESIGN “I was drawn to this logo because of its bold simplicity. It has personality. And most importantly, it tells a story. It’s not easy to make a destination out of a sausage. But you can picture the restaurant, the food, and what the waitstaff might be wearing. I want to hang out at Wurstburg. That’s a lot to accomplish in one mark.”

Janet Martin is president of Communication Arts Inc., the design firm founded by Henry Beer and Richard Foy in 1973. After receiving a B.A. in art history, magna cum laude, from Colorado College, she attended graduate school at The University of Colorado, and later earned her Masters of Business Administration from the University of Denver. Martin served as chair of the Boulder Chamber of Commerce Board in 2003 and is past president of the Association of Professional Design Firms. She also serves on the Design Futures Council, Board of Advisors. In 2001, the Design Futures Council named her a Senior Fellow of that organization. She was inducted into the Boulder County Business Hall of Fame in 2005. Martin was presented with the 1999 Fellow Award by the Society for Environmental Graphic Design. She currently serves on the board of the Colorado Ski Museum and the President’s Advisory Council for Colorado College.

Originally from Green Mountain, Iowa, Jason Schulte founded Office in 2003. Office works on all aspects of brand development, including identity, packaging, advertising, retail environments and collateral for clients such as Coca-Cola, Target, Adidas Golf, Apple, Oakley, and Levi Strauss & Co. Office has earned an international reputation, having been recognized in numerous design publications and competitions, including AIGA, Art Directors Club, Communication Arts, How, Graphis, The One Show, Print, Type Directors Club, and Tokyo Type Directors Club. In 2007, the studio’s work was part of an exhibition at Ginza Graphic Gallery in Tokyo. Prior to forming Office, Schulte worked as an art director at Goodby, Silverstein & Partners advertising agency, and before that, he was design director at TBWA/Chiat/Day’s San Francisco office. He started his career in Minneapolis at the influential Charles S. Anderson Design Company. In 2000, Print named Schulte one of the country’s top 20 visual artists under age 30.

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Jeff Knowles Research Studios, London, England Canada Place logo, by Identica Branding and Design “An aesthetically pleasing logo that captures the architecture of the building. The clever use of the reflection communicates the location of the building. Incorporating the maple leaf leaves a subtle hint of the country where it is based. Simple typography is employed to avoid over-complicating the design. The use of multiple colors illustrates the multifunctionality of the facility. The logo can easily be extended to develop a graphic system, it can be enlarged and cropped to create interesting illustrations, and the colors can be used to create a color coding system. All in all, it is a logo that addresses all communication needs.” Jeff Knowles was born in Rugby, Warwickshire, and moved to North Wales when he was ten years old. He graduated with a B.A. (Honors) in graphic design from The University of Salford. From there he joined Neville

Brody at Research Studios in late 1998. Knowles has worked on various Research Studios projects including The Insider, Salomon Snowblades/Surf, Marcomedia, Amdocs, Made in Clerkenwell, and the ICA, to name a few. Knowles also has a keen interest in photography and has taken photographs for Segment Systems, The Royal Court Theatre, and Somerset House. He also has a photography collection with fStop Images.

Jerry Kuyper Jerry Kuyper Partners, Westport, CT Second Harvest Heartland logo, by Yamamoto Moss Mackenzie “The Second Harvest Heartland logo is my choice for several reasons. By visually interpreting the name and tagline, this logo clearly communicates the mission of this organization, which is to provide hunger relief. I was drawn to this logo because it is timeless, visually efficient, and emotionally engaging. The grain and fork combine to create a plate. They also suggest movement, inherent in the logistics of collecting and distributing food. This movement adds an uplifting and optimistic feel to the design.” Jerry Kuyper has more than twenty-five years of experience directing corporate and brand identity programs. His passion is bringing business and brand strategy to life through creativity and design. Prior to establishing Jerry Kuyper Partners in 2004, he was a senior partner at Lippincott Mercer. During his eight years with the firm he was responsible for directing the creative development of visual identities, brand architectures, signature systems, design systems, information design, identity standards, launch materials, and training sessions. 10

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Previously he held senior creative positions with leading design and identity consultants including Siegel+Gale, frogdesign, Landor, Saul Bass, and Richard Wurman. His clients have included AT&T, Banco Santander, BD, ChevronTexaco, Cunard, Disney, DuPont, ExxonMobil, Fuji Bank, General Electric, Hawaiian Airlines, Humana, JohnsonDiversey, Medco, MetLife, Neuberger Berman, 1996 Olympic Games in Atlanta, Rizzoli, Stanford University, Televisa, Telmex, WGBH Boston, and the World Wildlife Fund. He has presented to numerous universities and conferences including the AIGA National Conference, Design Management Institute, The Conference Board, and Walker Art Center. He has been invited by iDesign Romania and Bucharest Business Week to address their conference on Brand Strategy and Design in September 2007.

Louis Lygo Wolff Olins, London, England Psychic Aries logo, by CONCEPTiCONS “What I love about this design is that it’s effortless and fashions its own milieu, which for me is the most important thing a logo should convey. This logo has power, mystical beauty, and communicates essence. You are caught in its vortex, and it stares you straight in the eye. It captures my attention. It’s nature’s eye, the moon reflected in the sacred well. It’s the white goddesses traversing the heavens.” Louis Lygo works and resides in London. He is employed at Wolff Olins brand consultancy and is responsible for bringing life to key brands. Recent work has included the branding of the nation of Liechtenstein and work for the telecoms Telenor and its youth brand Djuice. Lygo’s influences are too plentiful to mention but are mainly stimulated through long chats with friends and walking through the streets of his treasured capital.

Gaby de Abreu Switch Group, Johannesburg, South Africa The Bouffants logo, by Black Barn Brand Design “In an age where logos are starting to take themselves seriously, the Bouffant makes a comeback and breaks the mould. The ‘50s-styled face reveals more than meets the eye to expose a quirky music-related identity that brings a smile to your face.” Gaby de Abreu is group creative director and cofounder of the Switch Group, a top South African branding and design consultancy established in 1999. His passion is corporate identity building and package design. He has been at the forefront of projects for the Coca-Cola Company, Brandhouse, and the Richemont Group (luxury branding company). His love of sport inspired the brand identity program he recently designed for the 2010 FIFA World Cup. De Abreu has won numerous national and international awards for his work. He often speaks at design conferences and seminars, and is on the executive committee of the South African Graphic Design Council, of which he has been a member for the past ten years.

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portraits

Design Firm

Pentagram, Berlin

Client

Sardinia

Project

Country Identity

“They wanted to communicate better about what they are and do. It was important to address tourism and industry, not just look like the place was all fun and sun,” Oehler recalls. “They are their own region, very proud, like their own little continent, not just part of another country. They really feel proud about being separate from the rest of the world.”

Playful and warm, yet grown-up and confident: That’s how Justus Oehler, art director of Pentagram’s Berlin office, describes the new identity his office developed for Sardinia. (“Sardegna” is the original Italian version of the island’s name.) Sardinia is an Italian island of about 9,300 square miles, seated comfortably in the middle of the Mediterranean Sea between Italy, Spain, Tunisia, and Corsica. It is an autonomous region, independent of the mainland, with its own government and a rich cultural history. And despite its small geographic size, it contains eight distinct provinces, each with its own subcultures, weather conditions, languages, agricultures, music, dress, and attractions. In addition to sunny beaches, unique archeological attractions (including more than 1,500 caves), and historical tourism, Sardinia—or Sardegna, to use the Italian name—has plenty of industry. It is an ancient place, with Phoenician, Punic, and Roman roots: Traces of human inhabitation have been found there that date back to 250,000 B.C. Despite the fact that its exposed location made it prey to Arabic and Barbaric plunderers in years gone by, today its government is working hard to attract foreign investors.

To help figure out this unique identity, the Pentagram designers began by studying what other Mediterranean countries in the region were doing to express their identities. Most had logos that included images of the sun, water, and/or palm trees—exactly the kind of single track that the new president did not want to express. Oehler visited Sardinia to learn more about the island and its specific needs. He immediately noted not just a lack of a unifying identity, but the existence of dozens of unrelated identities. Each government building, museum, and just about any governmentally sponsored entity had its own styles of graphics. “We visited several archeological sites, of which there are some significant ones in Sardinia, to better understand the signage, booklets, brochures, and so on that had been put out. There and at every museum in the country, all of which were sponsored by the government, all of the graphics were different. The identities were all over the place and certainly did not look as if the government was paying for them: They looked like private establishments,” Oehler recalls. “When you drive to such a site and see a sign that refers to the excavations, then get a ticket to go in, then read the signs that

But until recently, it was a land largely without a marketable identity that was known to the outside world, aside from its national flag: a red cross separating a white field into four rectangles, each populated with the profile of the same headband-wearing man. Of course, this was only its political identity, certainly not appropriate for marketing purposes. When Renato Storu was elected the new president of Sardinia in 2004, he knew his island would need such an identity to help outside businesses and tourists understand the diversity of the region. In 2006, he contacted Justus Oehler of Pentagram’s Berlin office, with whom he had worked with in the private sector, to accomplish this task. 14

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Sardinia is an ancient island, loaded with culture. It also has all the alluring features of other Mediterranean destinations: sun, water, and natural beauty. These very early but rejected ideas, all based on archeological finds, reflect these factors.

(Above) Also based on an archeological find—a sun stamp found on a piece of ancient pottery—this design was one of two concepts seriously considered by the client. It was a beautiful, emotional mark, but the designers felt that it might not be different enough: Many other Mediterranean locales used the sun as

(Above) Another concept was inspired by the very detail-orient-

part of their logos.

ed and colorful traditional crafts that Sardinians created. Even their traditional clothing was full of vibrant hues pieced together

explain it and take a brochure home with you, all of these should have the same identity. In that way, it looks as if the local government is looking after its heritage properly and is proud of it.”

in intricate patterns.

As the design team gathered its thoughts, two separate directions took shape. The first was based on a stamp found on a piece of ancient pottery. The stamp, in the shape of a sun, was a beautiful, emotional mark that spoke of the deep history of the place. Beneath the mark, the designers suggested placing the word Sardegna. “That is the original Italian version of the name. I pointed out to the client that it is a unique name, one that they can take pride in. Actually, when you have a name that is unique, why invent a mark to go with it? But we can make the name more emotionally connected to the viewer by changing the way it looks,” says Oehler, hinting at his team’s second direction.

(Above) This trial was inspired by the Sardinians’ vibrant and colorful traditional crafts and clothing. Set in Eurostile Bold Extended, each letter is set in a mix of vivid and muted colors.

“It was important to address tourism and industry, not just look like the place was all fun and sun.”

The other strong visual direction for the new identity came from the many and varied uses of patchwork in the region. “Everything here is full of color and very detail oriented. When there are special occasions, people put their colorful traditional clothes on, which they spend a lot of time on getting just right and on teaching the craft to their kids,” Oehler notes. This gave the designers the idea of just using the name Sardegna as the complete identity/logo/wordmark and to run each letter in a rich, traditional color. The result was interesting, but perhaps not emblematic enough of the region.

(Above) The second concept was selected for further development. Here, Sardegna is set in Futura in a patchwork of four colors: red and green for Italy, and blue and yellow for the sea and sun. All of the colors were inspired by local embroidery. 15

As they were continuing to consider how to get more of the area’s colors and detail into the identity, the client himself suggested looking at patchwork for inspiration. Combining the rich colors more elaborately inside of the typeface they had chosen, Eurostile—an emotional but technical font— the design was the perfect mix of industry and culture. Eurostile Bold is a beautifully designed font, created by the Italian designer Aldo Novarese in 1962. They simply had to straighten the vertical strokes of the “N” to better balance them with the other letters.

“Why not be a bit arrogant? When it comes to identity, if you are too nice, you will play an inferior role in the world.”

Getting just the right colors in just the right places with the right amount of balance took plenty of experimentation. Oehler explains that there are only four colors in the mix, each with specific meaning and purpose. “The darker colors—blue and green—are more grown up, while the lighter colors—red and yellow—are happier and noisier,” he says. More space was given to quieter colors than to the louder ones. “We have the green and the red, which are the colors of Italy, in every letter. Blue and yellow, which are the colors of the sea and the sun, alternate. I did not want these two colors to touch much, because they are such strong complements. I worked on my laptop for a long time to perfect the mix.” His goal, he adds, was to make every letter look different, but in a naïve way, as if the combination process was effortless. The result is a wordmark that reads well, looks solid and substantial as a unit, and that is certainly memorable: It has a timeless nature, as if it may have been created many years ago or just recently. But this is clearly not some artifact: It is a mark with plenty of life and promise. Oehler still had one more thing he wanted to suggest to his client. Because Sardinia was so proud of being on its own and of succeeding as it has, he thought the island should come right out and proclaim it. “We kept referring to it as ‘the little continent.’ So I suggested, almost as a joke, that we add the tagline, ‘Almost A Continent.’ It’s very cheeky. But in our conversations, I learned that they really do have everything they need right there. Why not be a bit arrogant? When it comes to identity, if you are too nice, you will play an inferior role in the world. If there is more to you than just a nice place to have a holiday, you should say so and then maybe also attract business,” he says.

(Above and Left) Although the identity had not been fully rolled out at the time of this writing, some of the island’s communications and marketing are beginning to pick up the new guidelines.

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The client liked the idea, and the tagline was added. As funds become available, the new identity will be played out in merchandising, signage, brochures, tourist guides, posters, museums, and more across the island. Oehler says he is very happy with the finished design as well as with the process they went through to achieve it. He had once worked with a large city on an identity, but it never came to fruition because there were far too many people involved in discussions, which stretched out over three years and amounted in nothing. “Working with one person with a very clear vision was crucial to the success of this design. Now, they have something that is not overdone, not over-friendly, not the same as everyone else around,” Oehler says. “To have a mark that is friendly without being stupid is a real achievement, I think. The president was able to look around and see what everyone else was doing and then do something different. He didn’t worry that if they did not have a sun, people would think it wasn’t sunny here.” It is a symbol, he says, that does suggest playfulness and warmth, but it is also grown-up and confident. It expresses Sardinia’s history and geography, but modernity and openness as well.

These mock-ups show how the new identity could be combined with black-and-white photography of Sardinian scenery or used alone to establish a consistent look amongst all aspects of the island’s communications.

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Saks Fifth Avenue Identity Design Pentagram, New York

The revamped Saks Fifth Avenue identity had legs even before it

The individual tiles frame and spotlight lovely segments of typog-

was launched in early 2007. Michael Bierut of Pentagram gauged

raphy. Enlarged, each has incredible energy and drama and could

correctly that even the idea of toying with the original, iconic mark

easily work as a logo on its own. There is grace and strength in

would gain press: In everything from the fashion press and design

Finocchiaro’s work that speaks well of Saks’ heritage and con-

publications to general circulation newspapers, articles popped

tinuing promise to customers.

up announcing the upcoming change. Some writers sounded worried, some excited. Tradition was about to be messed with.

“The advantage of the program, whether the individual tiles or the rearranged conglomerate are used, is that it creates recognizable

The resulting identity—or identities, as the finished scheme can

consistency without sameness” says Bierut. There are more than

be played out in more variations than there are electrons in the

40 different packages in the program, from jewelry boxes to four

known universe—was a pleasant surprise for everyone. It built on

sizes of shopping bags.

Saks’ well-loved script identity in a way no one expected. “Our hope is that they will all become associated in the minds A gray-on-gray sans serif identity that had been in use since the

of shoppers with the style and élan of Saks Fifth Avenue,”

mid-1990s had not done much for the brand. Additionally, loyal

Bierut says.

customers still clung to the Spencerian script logo that preceded it. Bierut felt strongly that this logo, created by Tom Carnese in 1973, lay at the heart of his solution. But simply reviving the old logo wouldn’t do it. Brand equity is one thing, but moving forward was quite another, more desirable direction. Bierut’s team gathered plenty of visual inspiration: What would communicate the elements of constant change and innovation while still speaking in Saks’ voice of quality? They were drawn to the boldness of artists like Franz Kline and Barnett Newman, whose work was loaded with dramatic scale and energy. The solution began with a cursive logo, redrawn by Joe Finocchiaro, placed in a black square. The square was subdivided into a grid of 64 smaller squares which can be shuffled and rotated to form an almost infinite number of variations—nearly 100 googols (that’s a 1 with 100 zeros after it).

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Design Firm

Office

Client

Target

Project

Halloween campaign

Jason Schulte, principal and creative director of San Francisco–based design firm Office, tried to explain to his wife why he insisted on riding Disneyland’s “It’s a Small World” attraction five times in one day. “Each time you visit, you see something new,” he said. That’s part of what inspired Schulte and his design team in creating a recent Halloween campaign for Target. “We wanted to create a destination that both kids and adults would find interesting,” says Schulte. “We wanted to build an environment that would give Target guests a sense of discovery.” The objective was to help make Target a destination—a one-stop shop— for Halloween purchases. Target wanted consumers to think of candy, costumes, and decorations earlier in the season and promote the holiday as a fun celebration for the family. Primarily, the customer was a busy mom with kids in tow. Schulte and his team began the project by creating a theme and identity, which they called “Prepare to Scare.” Office, who has created other seasonal campaigns for Target, knew what the identity design should do.

(Above) “Prepare to Scare” was a seasonal identity created by Office of San Francisco. Branding a holiday in a new and special way that would entice customers into the Halloween mood presented particular challenges for the design team.

(Above and Right) Transforming a single area of a very large department store, lighted with the prerequisite fluorescent tubes and surrounded by soap, soft drinks, and socks, was an interesting dilemma. The solution was to hang plenty of graphical elements from the ceiling and from the aisle end caps, in effect, creating a special “room” inside the store environment.

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“Unlike a company or product logo that builds equity over time and needs to be classic enough to work for ten or more years, a seasonal campaign can be more of-the-moment.”

“Like all logos, it needed to be unique, memorable, and reflect the essence of the brand,” Schulte says. “But an identity for a seasonal campaign, like Halloween, is different in that it has a short-term use. Unlike a company or product logo that builds equity over time and needs to be classic enough to work for ten or more years, a seasonal campaign can be more of-themoment. You don’t have to worry about it aging well, which gives you a little more freedom in the design.” The biggest challenge of the project, Schulte says, was developing the overall story they wanted to tell. “We wanted to make it easy for moms to find what they needed in plenty of time before the holiday, and that we also wanted to make it a fun, engaging experience for her kids,” Schulte explains. The in-store campaign had to make it easy for people to shop; create a big visual impact when you walk through the doors; and be easy for store associates across the country to execute consistently. The story Office created was a “haunted forest” where a group of “Scaracters” lived and came out just once a year before Halloween to help Target guests get ready for the holiday.

(Above) Office principal Jason Schulte and his design team had a lot of fun coming up with the Scaracters, as the collection of oddball characters were called. These sketches show how some of the little demons developed.

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Schulte said that they had lots of fun in the studio just coming up with the Scaracters’ names and stories. There was Count Down, a vampire and leader of the Scaracters, who counts down the days to Halloween; Wholio, an owl who lives in a tree, suffers from insomnia and plays the oboe; and Clawdette, a black cat on her fourth life, who was an expert knitter and enjoyed daily manicures.

Initially, Schulte hand-sketched the Scaracters, then finished them on the computer in Macromedia Freehand. They are big-eyed, flatly rendered characters, each with visual cues that touch on physical characteristics of truly scary characters—Count Down, for instance, has an exaggerated widow’s peak usually seen on a stereotypical vampire, but his short stature and childlike face makes him kid-friendly.

Examples of other unique characters included:

“I tried to keep some of the imperfections of the drawings,” says Schulte. “I think any time you can see an artist’s hand in a design, you connect with it; it doesn’t feel like cold, mass-produced merchandise.”

• Scary Mary, a champion broom-racing witch who collects pointy hats and listens to hip-hop • Jack, a boy jack-o’-lantern from Dublin who has twenty-five siblings and likes pie • Scary Harry, a werewolf with sharp fangs who likes full moons but is afraid of clowns • Ace, the nearsighted bat who naps upside down and enjoys parasailing • Boomer, a ghost who haunts houses by constantly yelling “boo,” and dislikes static cling • Scarigold, an unusual seven-petaled, two-leaved flower with a taste for green thumbs.

Huge 3-D Scaracters were hung from the store ceiling, as well as implemented on packaging, online ads and the advertising circular. They were also incorporated into products—from paper goods, to party decorations, to collectible ceramic figurines. One of the most surprising places they appeared was on trick-or-treat doorbells that were placed at the end of candy aisles, at a kid-reachable height. When pressed, the doorbells played the voices of different Scaracters. Scary Harry might say (in a voice that sounded like a mix between Cookie Monster and Animal from The Muppet Show), “You scary without costume!” or “Gummi worms go in mouth not nose!” “The doorbells were a way to re-create the thrill of the trick-or-treat experience and interact with kids,” says Schulte. “And for us, it was a fun way to bring the Scaracters to life. Casting a werewolf isn’t something we get to do every day.”

The complete line of Scaracters. In addition to giving them personality through his drawings, Schulte also developed character

Some of the Scaracters were turned into 3-D elements that

traits and little quirks that made them come to life even more.

could be used to decorate tables and shelves.

The designers found clever ways to extend the brand message, such as this signage system that helps the consumer find just These sub-logos use knock-knock joke-like puns that kids and moms could appreciate. 22

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the right size bag of candy.

Other elements, such as trees and flowers, were developed to help leaf out the landscape for the Scaracters’ in-store territory. The doorbell idea was not within the original project scope or budget, but it is an example of playing the campaign idea out as fully and broadly as possible for the client. Office suggested many such ideas for the client— repackaging everyday goods as Halloween gear, such as toilet paper as “mummy tape” or brooms as “witches’ rides”—and not all were implemented. But Schulte believes that this kind of fluid process offers the best sort of partnership for clients. “The great thing about collaborating with Target is that when they feel passionate about a new idea, they’ll figure out a way to get it done.” Schulte witnessed the success of the campaign when traveling through Omaha, Neb. He stopped into a local Target to check out the in-store implementation and customers’ reactions. “There was a little boy, about six- or seven-years-old, with his grandma in the candy aisles. He was fascinated by the trick-or-treat doorbell, pushing it and giggling. When I walked by again ten minutes later, he was still there. I actually heard him say, ‘Grandma, should we get some candy before it runs out?’ That pretty much summed up our creative brief,” Schulte says. In an environment of fluorescent lighting where you buy your laundry detergent, it can be difficult to create a whole new world with its own identity. “You have to work a little harder to create a space that tells a story and takes you somewhere special, like you feel when you’re on the ‘It’s a Small World’ boat,” Schulte explains.

The branding was also continued into other areas, such as bags, plates, and more. Office designers made many other brand extension suggestions as well, such as the end cap doorbell featured at the front of this article. Other ideas, such as repackaging white sheets as ghost costuming, were appreciated but not ultimately used.

“This campaign worked because the Scaracters created an emotional connection with consumers, and I believe that translates to sales,” says Schulte. “Putting Scary Mary on paper plates took what might otherwise be a generic item, and created a story around it. People wanted to take some of the ‘haunted forest’ experience home with them.”

In an environment of fluorescent lighting where you buy your laundry detergent, it can be difficult to create a whole new world with its own identity.

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Target Identity Design Office, San Francisco

There’s nothing like moving into your very first place. While gener-

To achieve this, the mark was often applied to what looks like

ic dorm rooms and tiny, white-walled apartments are often less

1970s rec-room wood paneling. “The wood gives it some warmth

than inspiring, young adults often find unique ways to personal-

and depth,” says Schulte, “and it also provides a neutral back-

ize their new spaces.

drop to work across the various color palettes and feels of the different product lines.”

This idea of individual expression was at the core of the campaign that San Francisco-based design firm Office developed for Target

To continue the theme of individual expression, Office suggested

Stores’ back-to-college shopping campaign.

that Target develop limited-edition products, designed by artists Deanne Cheuk and Evan Hecox.

“For a college student, it’s not just about buying the things you need; it’s about making your space say something about who you

Office facilitated Target’s relationship with the artists, whose work

are,” explains Jason Schulte, principal and creative director

appeared on a range of products, from clocks and shower cur-

of Office.

tains to lamps and wall canvases.

With this in mind, Office came up with the theme “Independent

“The artists infused distinct personalities into the products,” says

Studies,” and created an identity, packaging, and product ideas

Schulte. “This gave students another opportunity to assert their

for the campaign.

taste and individuality.”

In developing the identity, the designers borrowed visual cues from the collegiate world. “Coats of arms have a traditional association with universities,” says Schulte. “The symbolism has to do with being part of the same clan or group, which is a big part of the college experience. But we wanted to inject the idea of individual expression into this, and interpret the crest in a new way.” The result was an asymmetrical crestlike design that looks as though it was cut from paper, and hand-drawn lettering that’s offbalance. “It looks like something a student might scribble in the margins of his notebook,” says Schulte. Target had developed three different product lines with three distinct design inspirations. One had a more organic, feminine feel; another had a monochromatic street-art theme; and the third was influenced by Technicolor video game graphics. A challenge in developing the identity and packaging was creating a system that worked across all three directions, while still maintaining a strong, cohesive merchandising presence.

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Design Firm

Sebastiany Branding

Client

Fertibom

Project

Biomax Identity

There are few people anywhere on earth who would argue against the expanded use of biofuels. Repurposing waste and cooking oil, extracting oil from plants, even rendering oils from the waste parts of animals raised for food just makes sense. They are renewable resources, and their use doesn’t harm the environment like petroleum-based products do. Even so, biofuels are still relatively new and a bit discomforting to consumers: Convincing them to put this unfamiliar fluid in their usually expensive vehicles can be a tough sell. But for companies like Fertibom, a Brazilian fertilizer company that has branched into producing the Biomax biodiesel, it’s crucial to begin convincing customers quickly: In addition to trucks and buses, more and more diesel-powered SUVs are now on Brazilian roads. In addition, the Brazilian government has mandated that by 2008 all diesel fuels contain at least 2 to 5 percent bio-products. The potential for growth is enormous for the company who moves quickest and wisely.

Principal Guilherme Sebastiany already knew what made Biomax different. To make biodiesel fuel, any glycerin must be removed from the vegetable oil or animal fat used as the raw material. Biomax uses a specialized process, called T-Max, that is a unique Fertibom technology. “All other biodiesel producers use methanol to help separate glycerin from the oil so that it can be used for diesel. Methanol is not a renewable resource. The T-Max technology uses ethanol, which is a renewable resource, so Biomax is a 100-percent ecological product,” Sebastiany explains.

“Before we draw any line or pick any color, we develop the positioning so that we understand what the brand is supposed to express.”

Brazil is a major producer of ethanol, a familiar biofuel: Sugarcane is the country’s source. Combined with the United States, whose source is corn, the two countries actually produce 75 percent of the world’s ethanol. Fifty percent of newer smaller cars on Brazilian roads can already use the flex technology that allows them to run with both gas and ethanol, so its use is not unheard of. Biomax is not the only biodiesel in Brazil: Of course, it has competitors who are just as anxious to capture the market. The company asked Sebastiany Branding of São Paulo to make its product stand out.

The new Biomax biodiesel logo and graphics, created by Sebastiany Branding of São Paolo, Brazil, are very different from what other biodiesel and especially traditional diesel manufacturers use to represent themselves. Fresh and organic, its colors speak clearly of the environmentally clean processes used to produce the fuel.

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He and his designers began by conducting a great deal of research about the product itself, its “personality,” and the way it is produced. They also examined the trademarks of competing bio-diesel and traditional diesel producers. “Before we draw any line or pick any color, we develop the positioning so that we understand what the brand is supposed to express. To do this, we like to have the client constantly near us so, in this case, we understand how the fuel is made and how they feel about the brand. For them, it is like a newborn baby, and that’s how we treat it,” says Sebastiany. When their research was concluded, the designers began to define the “DNA” of Biomax. This core concept of the brand needed to be applied not only in the logo, but also in all future communications and publicity the company would undertake. “With the DNA known, we started to define our visual strategy, describing every little aspect of the way the logo should look—which colors were appropriate and which were not, if the trademark would be a symbol or not, what contrast and weight the letters should have, and so on,” explains Camila Vieira, a designer on the Sebastiany team responsible for creating the wordmark. “The visual strategy is presented and approved by the client

before the team starts the first sketches. So when the designers start work, they concentrate on delivering the message of the brand and on refining every small detail of the design itself,” she adds. Now the team could begin the project in earnest by creating a name for the new product. They found it curious that all competing diesel products used the word diesel in their names since the only experience customers had with diesel so far was with vehicles that spewed smelly black smoke. “The image of diesel was not very good,” Sebastiany says. “We decided to stress the word bio instead of diesel, so we could link the product more strongly to what is really important about the brand.” The max part of the name had several sources. In addition to the fact that the word translates intact into many languages, it also implied that the fuel didn’t compromise the power of an engine. Biomax suggested that the user would get the maximum energy direct from nature. By this time, Sebastiany had decided that instead of a conventional wordmark or logo, the new brand would be more identifiable, especially on the large objects the company had to put its stamp on—tanker trucks, fuel tanks, gas pumps, and so on—if he created a flexible art element that could be played out in different ways.

While the initial idea for fluid waves came quickly to the design team, refining them so that they played out correctly, creating a seamless repeat on cylindrical objects such as fuel tanks, required plenty of experimentation.

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“This brand needed to be simple but strong. We designed simple waves that could represent the movement of oil inside of your car or inside of a tanker. Or it could be the movement of energy. It’s liquid and organic,” Sebastiany explains. Through a combination of lines and shading, he and his team worked to capture the main characteristic of the product transformation during manufacturing: the removal of glycerol with ethanol. One stream flows through another. “There is continual transformation in the waves. If we extended the pattern, you would see that the waves repeat,” he adds. This last factor was especially important for the tanks and other cylindrical objects the waves would cover: They actually connect on the far side of the object and start the repeat again. Color was crucial to the successful motion of the waves. The team knew that the new identity would involve green, but selecting just the right shades took some exploration. “The personality of the product is fresh and new and light, so we selected as the main color a medium light green with lots of yellow in it. The secondary color is even more green, which reinforces the lighter color,” the designer says. The third and fourth colors selected are a straight yellow and an even darker green. In combination, each of the four colors causes its neighbors to stand out. There was also a sense of patriotism in the mix of colors, as they pick up the green and yellow of the Brazilian flag.

(Above) For the Biomax color palette, the designers went for fresh and light. The main color in the new identity is a medium light green that casts to the yellow side. The second color, even more green, brings out the yellow in the first. The third and fourth colors are a straight yellow and an even darker green. These colors stand out in a world of traditional petroleum-based fuel manufacturers, which usually use red, blue, and black in their identities.

“We try also to avoid any color associated with fossil fuel companies, mostly red, blue, and black. The two exceptions were British Petroleum, now BP, and Petrobras, a Brazilian government-owned company,” Sebastiany explains.

(Right) To create marks that are truly proprietary, Sebastiany Branding creates one-ofa-kind typography. This largely sans serif design communicates strength without being aggressive. Note the repeated section of the x, which was added to visually communi-

(Above) Just slight shifts in the green and yellow scheme make

cate that biodiesel is a

a big difference in the impact of the new identity, as these

recycled product.

trials show. The company wanted to demonstrate strength, but not aggression.

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The wordmark part of the design was the more understated part of the identity. Sebastiany and Vieira created the typeface, borrowing attributes from existing faces. The letters are largely serifless: “We wanted to use contrast and variation in the letterforms to express strength—strength but not aggression. On the B, the i, the m and the x, there is the additional element, the small serif, that indicates movement and energy. The expression of velocity was not the goal: Agility and movement was. To improve the exclusivity of the logo, as we usually do in most projects, Camila created original lettering.” The repeat of a portion of the “x” shape served another purpose: to underline the fact that this is a renewable fuel. When the name and wave art are used together, the wordmark is always positioned where the movement in the waves changes, where the lines come together and start their upward movement. Graphically, it captures the process that is the main characteristic of the product: The substitution of ethanol for glycerol. The finished design is very flexible. Even if the wordmark portion of the design is not visible, the brand is still readily identifiable by the wave and color elements. The wordmark or waves may be used alone.

There must be strategy before the expression, and the expression must take away any misunderstanding.

Sebastiany says that this project was very educational. “The creativity and designing of the brand are not my favorite parts of the projects. It’s the strategy part that pleases me the most. The solution is a translation of the strategy,” he says, adding that the client’s reaction—very favorable for this project—is also a great reward. “How the client feels about the solution is very pleasurable. They have to become both emotionally and strategically involved with the solution. We may have a lot of ideas in the moment we meet with a client for the first time, and if we rendered those ideas, they might be approved, get published, and look very nice. But they hardly answer what the project needs.” A designer’s creativity, he says, is not only what the client needs. There must be strategy before the expression, and the expression must take away any misunderstanding.

These trials show how the wave graphics work as isolated or global graphics. The undulating wave mimics the motion of fuel inside of the tank, yet it still works as a ready identifier when used alone.

Other applications: The Biomax graphics also work flat or applied to a cylindrical surface—important for a product that is often stored or transported in tanks. The wave element was designed to meet seamlessly on the opposite side of any cylindrical object and repeat seamlessly.

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Vitale Identity Design Sebastiany Branding, São Paulo, Brazil

It may seem curious that some of the same partners of the liquid

The designers began developing a logo that portrayed coffee

fertilizer company who launched the Biomax brand featured in

growing from the ground. They adopted a visual cue that Brazil-

the main feature also own the Vitale coffee brand. But the com-

ians would tie to richness: By using a strong stroke and curving

pany’s vision is consistent in both brands: to be as environmen-

forms, they mimicked the electric art nouveau ironwork that

tally gentle as possible. Vitale—Italian for “vitality”—is an organic

would have appeared on buildings and farms owned by late nine-

coffee brand, grown with pesticide-free methods. It also uses only

teenth- and early twentieth-century coffee farmers, at that time

Arabica beans, which are more prone to pests but which have the

considered to be the elite of society.

highest antioxidant and lowest caffeine levels, and which are “There is a strong geometry that repeats in the v, a, and e, ”

therefore healthier for the consumer.

Sebastiany notes. The typography was inspired by the curves and “Even the growing of the beans is healthier,” explains Guilherme

swirls of the symbol. “We did not want to use capital letters or

Sebastiany,

São

anything that might imply that the brand is too expensive. This is

Paulo–based firm who created the identity and logo for Vitale.

a friendly, soft brand, not harsh in the way some status brands

“Some beans mature earlier and some mature later. The grower

are. This gives an elite look, but it is also natural.”

principal

for

Sebastiany

Branding,

a

may have green beans on the tree and old mature beans on the ground. These are usually mixed together at harvest. Green-fruit coffee has attributes that are not good for the health. Vitale uses only new mature beans that are still on the branch.”

Sebastiany notes that he was a bit concerned that consumers might misunderstand the new logo and think it looked childish. But the audience to which the identity was directed understood it perfectly: The subtle mix of references to Brazilian history, mod-

But the client did not want to just appeal to the consumer who

ern style, and symbolism communicated coffee quality on

traditionally shops only for organic products for reasons of health:

many levels.

It also wanted Vitale to appeal to consumers who would like a premier product. The coffee needed to be positioned as a gourmet product with organic qualities. Its ideal customer would be a mature consumer who has definite opinions about and can afford the finer things in life. The Sebastiany team began by studying the iconography of other coffees being sold in Brazil. During this research, an unusual image in the book Aroma of Coffee (from Luís Norberto Pascoal) stand out. Cup and bean shapes were common in all brands and books they researched, but there were no references to the way coffee is grown. The coffee bean itself emerges out of the plant’s flower: Using the concept of growing suggested “new,” “natural,” and “fresh,” and seemed perfect for a new brand that wanted to stress the organic.

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Design Firm

Siegel+Gale

Client

Agility

Project

Identity Design

As a heavy-hitter in logistics, Agility competes against such industry leaders as FedEx and DHL, but its name is not as well known among consumers who have, say, a birthday gift to ship across the country. That’s because Agility, a new company that is the result of a merger among four different companies (PWC Logistics, GeoLogistics, TransOceanic, and Trans-Link) is much more likely to be moving more substantial shipments— anything from missiles to stadium floors—for clients in the defense, governmental, and private corporate fields. These are clients who have very specialized, very demanding shipping needs. The newly formed company came to Siegel+Gale in early 2007, looking for a rallying call in the shape of an identity that all employees in the new organization could stand behind. “Identities should never be driven solely by external response or need,” says Sven Seger, worldwide executive creative director for Siegel+Gale. “Like this one, they should be driven by an internal need. They wanted to gather the troops beneath a unified banner, but they needed a new lens through which to examine their opportunities.”

“To counter the defined meaning of the word

agility, we had to somehow link the ideas contained in the word to the ideals of the company.”

Agility’s point of differentiation was its ability to custom-craft solutions for its customers. Other logistics companies offer their preformatted shipping alternatives to customers and ask them to pick a templated option. Agility, however, seeks personalized solutions that perfectly match customers’ specific needs. Whether the customer needs to ship a prototype jet engine or a fleet of tanks, Agility strives to find the best means of delivery. “That was one of the first things we considered: how to visualize the concept of personalized service as set against a worldwide stage. It’s a global company, but with a very decentralized business infrastructure which works out of local offices,” recalls Seger. “Their CEO told us to really push the boundaries—go for the revolutionary.”

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The speed and fluidity of a dragon, a creature found in the lore of cultures around the world, was an unexpected but surprisingly appropriate new symbol to represent Agility, a new company formed by the merger of four logistics and shipping companies. The new logo was designed by Siegel+Gale.

Working in close partnership with internal strategists and client partners, the design team sought to explore and capture the natural but intricate relationship of Agility’s brand promise, “Your Logistics Partner,” and tie it to its corporate personality and those ideas inherent to the word “agility.” On working with the company name, Marcus Bartlett, the design director, explains, “The word agility already had a defined meaning, so it was not proprietary for the company. This was a challenge because normally we would just visualize the word. To counter the defined meaning of the word agility, we had to somehow link the ideas contained in the word to the ideals of the company. Then, we needed to establish a synergetic relationship between the word and the symbol, stimulating each to dimensionalize or strengthen the other.” Their ideas would need to balance graphic content with graphic style. To bring the client along a journey of brand expression, several directions were considered, ranging from the more obvious designs around teamwork, leadership, and personalization, to the more sophisticated and abstract ideas of immediacy, multi-dimensionality, universal language, and local dialect. Some of these directions were somewhat expected for the category, and Seger recalls that it was a bit scary to unveil these ideas to the client, for fear they might pick one. But the CEO quickly confirmed that those solutions commonly associated with the industry would not suffice to capture the spirit of Agility.

In addition to carefully studying exactly how the dragon was construed in different cultures, Siegel+Gale designers considered how the shape of their dragon would affect how it was perceived. The center design has a slightly thicker belly than the design at left, giving it more symmetry and a cleaner sense of fluidity and speed.

Here, the dragon’s eye has been reshaped slightly. The entire creature was placed at a slightly higher angle, enhancing its positive, energetic nature. Note how this slight readjustment removes what might be perceived as aggression in the version at the far left. 33

To bring the client along a journey of brand expression, several directions were considered, ranging from the more obvious designs around teamwork, leadership, and personalization, to the more sophisticated and abstract ideas of immediacy, multi-dimensionality, universal language, and local dialect.

It was after the initial phase of research and design development that Seger and his team clarified an idea that would serve as an identity for the new company to represent its relentless pursuit of individual, logistic solutions. They found a metaphor that captured not only the company’s brand promise, but its personality and business infrastructure as well.

and speed, fluidity and substance, character and style. Just getting the animal’s eye correct took many trials: It needed to appear serious but not vicious, determined but not angry. Achieving the overall delicate balance of personality for the dragon was the result of closely considering every element of its design, from line quality to tilt and even the dragon’s perceived weight. Color was also very sensitive. The final colors were chosen

“What’s interesting about a dragon is that even though it isn’t a real creature, it has been a part of every culture throughout the world. It is both global and local. As an idea, it’s global in that everyone understands it, but it’s also local because it means something different to each of these cultures. Throughout time, every civilization has had some kind of relationship to the idea of a dragon, and in so doing, has appropriated it and represented it differently.” Bartlett notes, “We sought to combine the stature and strength of a dragon from the West, with the speed and fluidity of the serpentine dragon from the East. The style of the dragon—its serpentine appearance—would suggest the name of the company, while the notion of the Western dragon would serve to express the company’s qualities of strength, scale, and determination.” The dragon was an unusual choice, Seger admits. But his company believes that a good logo should have content as well as expression. Abstract logos that are created as vessels to contain all aspects of a particular company have no meaning at all, no personality. “You have to choose to highlight a certain aspect of the client,” Seger says. “A dragon is fast, it is strong, and it is agile. So this became a valid statement for Agility. It presents a lofty ideal to live up to.” “Presenting the dragon was a long shot,” Seger recalls. He estimates his team probably drew more than 100 dragons, trying to balance strength

(Above and Below) As part of the new brand identity, photo imagery can appear half- or full-page in size. A color gradient, which contains any type (printed in Stone Informal and/or Stone Serif), runs on top of the image. Italics are used often to convey a sense of forward movement. There is plenty of white space, and the logo is placed prominently in the bottom left- or top righthand corner of print or web designs.

The new identity applied to stationery and collateral. 34

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based on their relationship to the Eastern serpentine dragon, as well as their potential for giving the logo visual impact when placed on major brand touchpoints, such as truck containers. “There’s nothing quite like seeing that dragon come to life on such a massive scale as the side of a trailer,” remarks Seger after seeing early truck prototypes. The logo’s typeface also received a thorough review, with every line and angle examined to determine the most effective relationship to the dragon. “We needed to define a proprietary typeface that captured the essential character of the company and the symbol. It had to feel strong and fluid at the same time. But it couldn’t compete with the graphic significance of the symbol.” In the end, to the design team’s pleasure, the dragon was selected as the client’s new logo. For Agility, it was the perfect combination of revolutionary design within their market, corporate personality, cultural significance, and brand promise articulation. Throughout the world, slowly but surely, the dragon is being released. Agility is rolling out its new identity with building signage, corporate stationery and collateral, and vehicle livery systems. It is a powerful symbol, and on the road, it’s hard to miss a fourteen-foot-long dragon. The global and the internal reception of the new identity has been very positive, Seger reports. Internally, the reaction has been one of excitement. “This logo signaled a real tangible change in the company,” says Seger. “It’s a true symbol of what they will deliver. It’s a big promise, and their customers will expect that level of stature in their services, moving forward.”

(Above) The new logo, especially the dragon element, carries plenty of dramatic impact at large scale.

On the company’s website, the generous use of white space is continued. Again, imagery can be half- or full-page, with the gradient/type container used on top. 35

SunTrust Identity Design Siegel+Gale, New York

The identity project Siegel+Gale completed for SunTrust is a les-

west—and it suggested the benefit of working with the bank. The

son in persistence. The company represents the seventh largest

Siegel+Gale team also knew that the bank was known for its cus-

banking operation in the United States, and it was its extensive

tomer-focused philosophy.

network of 2,500-plus retail outlets that made the prospect of an identity redesign so potentially costly. Those numbers represented literally thousands of revamped signs alone, not to mention all of the printed collateral and other materials that would have to be redone.

“We looked at lots of different sun imagery, but the sunburst was something we gravitated to quickly,” Belk explains. The image suggested warmth and energy, and the designers positioned it in the design so it felt very down-to-earth. An all-blue or blue-andwhite design might have been a more expected set of color choic-

“When we first undertook this project and met with SunTrust’s

es for the client category, but Belk wanted the image to be much

chief marketing officer Craig Kelly, the CEO had told Kelly that if

warmer and more human. The choice of the yellow to red grada-

he came in asking for a new logo, his job is done,” says

tion provided this needed touch.

Siegel+Gale’s co-president and chief creative officer Howard Belk. “But in the end, though, they decided that the old logo was not working.”

This design was the only one the design team presented to their client, and it was approved. In fact, everything proceeded swimmingly until the backlit signs went into production. The signs

The original logo was like many others created in the 1990s: The

needed to read well in daylight as well as when they were back-

company’s name was simply repeated three times vertically. This

lit. But while the colors might be perfect in daylight, backlighting

formed a square conglomeration that filled the bank’s already

would throw them off. The logo’s implementation on backlit ATMs

existing square signs, but it really wasn’t a very dynamic presen-

presented similar challenges.

tation. Early meetings revealed that the square signs would yet have to stay: Replacing all of them would cost more than $90 million, an amount the CEO nixed immediately. A much lower cost solution would have to be found. The name SunTrust was a strong, emblematic one. It referenced the region where most of the banks were located—the South-

36

In the end, costs for the program were reduced to $20 million, still a substantial sum, but in the client’s eyes, well worth the investment.

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Design Firm

Paprika

Client

Suite 88

Project

Identity Design

Suite 88 is an exclusive chocolate shop in Montreal. It offers edgy and unexpected products, such as green tea chocolate, paprika-flavored chocolate, and even chocolates flavored with flower salts. It’s a boutique that sells individual chocolates as well as desserts, hot chocolate, and coffees. Customers may order and eat in the store, as well as get take-away for home or gifts.

The Paprika team’s goals included: • a logo and name that was easy to recognize, identify, and remember • a logo that looked chic and prestigious, while being easy to apply to different applications

The company’s owner asked Paprika, a Montreal-based design firm, to create an extensive branding program, including a logo, for the new store.

• a logo that was easily adaptable from chocolate box to shopping bag

There were other boutiques in Montreal that also sold fine chocolates, but their aesthetic was very different. They played off the notion of traditional, homemade products. This client wanted a more modern, clean, and elegant look that reflected its unique products and flavors.

• a logo that was chic and trendy.

“The client wanted this new brand to be different than other chocolate shops. This was to be a more expensive, more exclusive brand. We wanted the logo and the whole packaging and identity program to reflect an image of classicism and quality,” explains Louis Gagnon, Paprika creative director.

The project began with name explorations. The actual address of the store was considered early in the project: Suite 3957 on the city’s well known St-Denis Street. But the design team didn’t feel that “Suite 3957” was memorable enough. “Graphically, it didn’t seem like an interesting series of numbers. We decided to change the numbers for something more interesting, with bigger impact,” Gagnon explains.

Suite 88 is a boutique chocolatier in Montreal whose products are elegant and unusual. Buyers might enjoy a spicy chocolate drink on one visit, then order chocolate candies flavored with flower salts the next. The shop needed a highly unique identity, which was provided by Paprika, also of Montreal.

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This design was developed when the name of the company was still being figured out. Based on the address of the shop, this idea uses simple type to create a balanced wordmark that almost operates as a logo.

They made several propositions that fit well with suite—Suite 8, Suite 38, and Suite 88. In French, the way 8 is pronounced makes it rhyme with suite. The client decided to go with 88—quatre-vingt-huit.

had a clear objective. From the start, the idea was to create a whole image that is flexible, so we can change the packaging and adapt it to different seasons and different holidays.”

While the name development process was under way, so was the logo design. In addition to its rhyming possibilities, the number “8” also offered intriguing graphics possibilities. The team, from the start, decided to present the logo possibilities in application, mocked up on the storefront and on packaging or bags. In this way, they could be certain that the different images they were creating would be strong and efficient enough to perform as they wished.

Their plan was to use different colors of silk papers inside of the boxes and different colors of ribbons to seal the packages to adapt to different occasions or trends. So the neutral color palette could adapt quickly and easily, but still stay true to the brand.

Many of the shop’s chocolates are round in shape, so a simple circle soon emerged as a symbol with plenty of potential. Also, a similar color palette emerged among all of the design trials, a neutral palette based on the colors of chocolate.

One trial used the number 38 and a single filled circle. The circle or dot masks the numeral 8, which creates a mirror effect with the numeral 3. “We liked this unbalanced type of symmetry. If this concept had been chosen, we would have tried to do something interesting with the dot. Maybe it would have been die cut to show some silk paper underneath, or maybe it could have been printed with another printing process,” Gagnon says.

“We used dark brown and off-white to recall the colors of dark chocolate and white chocolate,” explains Gagnon. “But beyond that reference, we

The name still not nailed down, the designers created a mirrorlike effect in this trial. The dot, representing the candy itself, turns the

8 into a flipped 3.

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Another exploration incorporated four open circles. It used a richer, more simplified palette of dark brown and off-white. It created—by inversion and contrast—the number 88. This design gains greater complexity when the circles are run in different colors. The circles are the same size, but the colors indicate that one is upside down. This design was presented with two alternate type treatments, in sans serifed type and in serifed type.

Yet another direction used two simple circles, one large and one small. The designers liked this concept’s impact and simplicity. The negative effect of the 8 is particularly clear and powerful. Because it was so simple, this idea offered plenty of options for type treatments and design applications.

Run in just one color, such as black and white, this experiment is completely balanced. But when a second color is introduced, it indicates that one of the 8s is upside down.

The simplicity of this design creates plenty of opportunities for play within the identity system, as the shopping bags here indicate. Again, the dots can represent the candies or the numeral 8.

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“We wanted the logo and the whole packaging and identity program to reflect an image of classicism and quality.”

The design that was ultimately chosen offers the best features of many of the other trials. It has symmetry, but interest. It works well in one color or in various colors. The dots can represent the candy or the name of the company.

The final design mixed a quartet of large and small circles. The four dots, says Gagnon, represent four small pieces of chocolate. They also form the number 88. “More precisely, they are the inside of the 88, like the negative of the number. One 8 is positioned normally, while the second one is upside down. It balances the logo,” the creative director says. The font for this design is Interstate, which was originally developed for highway signage. The designers liked its contemporary vibe, as well as the fact that it is sophisticated in a retro way. It is a little different than most sans serif faces, Gagnon says, and is easy to read, elegant, and has plenty of character. What the Paprika and the client especially liked about this solution was that the dots were so simple, they could be used to “brand” just about anything—plates, packaging, even the candies themselves. The designers were especially pleased that the client has continued to develop imaginative ways to use the new logo.

“Since a lot of the chocolate pieces they sell are round, they started to place them in the same way that the logo is positioned. It decorates the plates while expanding their brand. Also, some candies are decorated with four dots of frosting or chocolate, so the product itself has the logo on it,” says Gagnon. Since the store’s opening, the reaction of the public and business community has been immediate and positive. It has had plenty of coverage on television and in magazines in Canada, and has won a number of national and international awards for its logo and identity design. It has also won an award from the city of Montreal for the overall design of its boutique. Gagnon says that the design has a unique appeal, one that is very different in this product category. “The way the products are presented in the displays,” he says, “it almost looks like a jewelry store.”

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Société Canadienne de Courtage Identity Design Paprika, Montreal, Canada

Most real estate agents or companies advertise their services

The lines present the idea of precision. Something so angular

quite simply, just using a name. But the Société Canadienne de

would seem fragile if it was not so precise, the creative director

Courtage wanted something a bit different, a bit more unique. The

points out. “Not only can it be seen as an incomplete house

organization, which brought together the efforts of many inde-

frame, but it also can be seen as an opened house frame, giving

pendent agents, asked Paprika to create such an identity.

the idea of sharing, or letting someone enter your house and help you,” he adds.

The client wanted to illustrate the importance of using a real estate agent for the purchase of a house. The Paprika team did

The logo certainly differentiates the organization from its compe-

explore several avenues, including some all-type solutions, which

tition. It is almost more like a signature than a logo: It speaks

would have been more expected for the market.

clearly, all by itself. The colors the designers selected for the mark are brownish-red, to represent bricks, and a green, which repre-

But eventually they developed a logo that was very angular and modern. It represented an uncompleted house frame. “It was an interesting way to represent what is underneath the whole process of buying a house,” explains creative director Louis Gagnon. “The agent is a big help in this important step. We can say that the agent is the one who helps to complete the process, and without his help, the process is not as solid, just like the house needs a complete framing. We liked the idea of using very fine lines to represent the frame.”

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sents the land on which the house is built. The stationery also uses two colors of paper—a white and an ivory—which lends interest to the system and adds more color to the identity. The client was very pleased with the design, Gagnon says, as it is distinct and unusual. But when printed on stationery and in other applications, it is still clean and sober, suggesting the group’s trustworthy nature.

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Design Firm

Jager Di Paola Kemp Design (JDK)

Client

Zune

Project

Identity Design

For a designer, what’s more difficult: A. Creating a new brand identity that competes head-to-head with an existing and dominating brand, or B. Shaping a new consumer lifestyle that runs against the current, overwhelming, avalanching consumer preference? It’s likely that the designers at Jager Di Paola Kemp Design (JDK) would pick the latter. They were presented with both problems in early 2006 when they created the identity for Zune, Microsoft’s alternative to the iPod. Plenty of iPod competitors were already on the market, but Zune’s technology stressed media-sharing. The Zune philosophy was built on an old and familiar model, that of friends and family gathering around a radio, turntable or TV to enjoy audio, pictures, video, and any other media they might enjoy together. But it was a concept that needed to be redefined for a more mobile population and, for the younger members of the consumer pool, re-explained: Enjoying media as a communal event was not much a part of their life experience.

Zune wanted to take consumers in the opposite direction [of the iPod].

“The prevailing design aesthetic in the consumer electronics space is to make things beautiful and austere,” says Molly McGlynn, senior account manager for JDK Design’s New York City office. The firm also has offices in Burlington, Vt., and Portland, Ore. “The category for MP3 players was already dominated by the iPod, but our client believes there is a great opportunity to bring something new to the experience. Microsoft wanted to approach it from a human angle driven by product design created by Microsoft’s internal team,” she says. Unlike the Zune, the iPod is designed to look and remain looking polished and pristine: Witness the many products available that are meant to protect its appearance. Its silhouette-style advertising has the same nature— hyper-stylized, detached, and possibly a bit cold.

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Zune wanted to take consumers in the opposite direction. The Microsoft design team designed the device to feel “softer” and the materials from which it is made are meant to feel warmer in the hand, and the scratches and other marrings suffered in everyday use should be of no consequence at all to the user. The double-shot surface allowed the team to use a much more sophisticated and interesting palette than other consumer electronics products on the market. Microsoft also wanted to enable new scenarios to share and discover music. Zune wireless technology allows the user to share tracks with fellow Zune owners. Once the music is “beamed,” they can listen to a new song in its entirety three times over three days, and then the software prompts the user to make a decision about it. Once a piece of music has been purchased, its owner can beam to another Zune user, and the threetimes-in-three-days process starts again.

Buick, creative director and CEO of JDK Michael Jager, and senior designers Peter Sunna and Jeremy Sadler began visual explorations using the stunt names. (JDK was also working with Microsoft and the naming firm Lexicon simultaneously to nail down the product’s actual name.) One factor they considered was the actual appearance of the device, which resembles the iPod form but includes a larger screen and wheel: They are connected in somewhat of a teardrop effect. Color was another early focus. “You are inundated with whites and silvers and plastics when you enter a place like Circuit City. We wanted to get away from that. We liked the idea of copper or brown, like the old wallet. It grows to fit your contours over time. That is actually what the entire brand grew out of,” Buick explains. Microsoft worked with JDK and Julienne Christensen of the San Francisco firm Surface Work on color development. Brown also was a clear winner because it uniquely and boldly challenged the ubiquity of pinks, blues, and greens that have become associated with consumer electronics. The design team launched into a major exploration of identity directions. By May 15, 2006—the same date the Zune name was chosen—they had created nearly 50 different logos, most with several iterations.

Even the Zune website was planned to be different. Where the Apple website is all about sales, Zune’s would include a dynamic and comprehensive marketplace but also include a strong community focus and editorial focus. Articles on bands, upcoming shows, art exhibits, and general inspiration would welcome users into a social event. One of Microsoft’s critical strengths and points of differentiation is the software that allows sharing. It would be JDK’s job to translate that benefit into a visual identity. In January 2006, the team began its work on the Zune project.

Having the name Zune to work with was an enormous boon to the team. It sounded fun and active, a bit science-y, and it rhymed with “tune.” It also does not sound male or female, which was crucial to the product’s success. The letter Z held a lot of potential as a graphical device, and it was certainly unique as a monogram in the consumer world. The product logo and packaging had to be ready for the 2006 holiday season, so the designers’ timeline was compressed yet again. McGlynn says, to maintain energy levels and keep thinking fresh as JDK worked almost around the clock on the account, new designers were periodically brought on board from in-house.

A

B

C

“Microsoft realized it could enter the category with a new approach. It was doing a lot of design work and consumer testing at the time, and no names were final,” says Malcolm Buick, design director at JDK in New York, who worked on the project. Argo and Riff were the working names for the product at that time. How does a designer create a logo, packaging, and all related messaging without a product name? Buick says it is not a simple matter, and it can be disheartening. “We had to do something as the product was going into manufacture. Ideally, the name would be embedded in the product. But internally, Microsoft needed a rallying cry. So we came up with four different positioning stories and described them through visuals and words,” Buick adds. Two of these proved most popular through testing of 15- to 28-year-olds in Arizona, Chicago, and Los Angeles. One story was called Honky Tonk, which was all about the current do-ityourself culture in which people assemble parts and pieces on their own to attain fashion. The other was named Super Conductor. It was cleaner, more technical, but still less austere than the iPod. With these directions,

A

Prior to the development of the Zune name, JDK designers

used Argo and Riff as the working title in their design work. This design trial felt solid and not too precious, and they liked the teardrop icon at the O’s center. It mimicked the shape formed by the device’s scroll wheel and screen. B

Malcolm Buick, design director at JDK in New York, says this

approach didn’t live long. It felt too retro, too Bauhaus, and too of the moment. C

This design had elements of connectivity and of the teardrop,

and it also did not feel male or female. But Buick says it was a bit too soft and organic to represent technology.

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E

D

D

F

Solid and contained, this design would have been easy to move

H

No one in the technical world owned a serifed logo, so the JDK

G

design team felt it was an approach worthy of exploration.

around. It would also be well protected when the mark had to be run with other logos. E

G

This design had a more playful approach. Buick felt that it had a

H

play clay–like nature.

The forward-motion aspect of this design made it feel like it was

going places. F

Geometry informed this design. It also contains a stylus-like

element that refers to the device itself. J

I

I

K

It was at this point in the five-month design process that two sig-

nificant things happened: The Zune name was finalized, and JDK had to re-bid for the assignment, along with a number of other

L

M

K

Again, Zorro had left his mark, Buick says.

L

A constellation element that shows parts coming together and

energy flowing from point to point was a popular approach.

design offices. The team was awarded the business again, but

The constellation held promise, but it was perhaps too chaotic

now it had to start almost from square one. In this design, the

M

fluid connection element is again evident.

and would be a very difficult graphical element to use alone.

J

Here, an uppercase Z added more power to the name, but it

also had a “Zorro” aspect that was distracting.

O

N

NOP

These designs corralled the chaotic constellation. Combined

P

Q

Q

The chaos element was further organized into a weave design.

with lettering that had the same x-height throughout, these explo-

But the designers felt that the design was too stiff, too much like

rations felt more solid and trustworthy.

fabric, and not technical enough. R

S

The “hum” design was born out of the notion of humming along

with a song. It also communicated broadcasting as well as an energetic buzz. S

THE “Z” concept was explored for its potential as

a versatile symbol.

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R

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“We just had to think even harder about the finished product, about where we wanted to go,” she says. Having a final name with which to work was, of course, a huge boon. A number of directions were developed. “The first was informed by the device itself,” says Buick. This approach had emerged in the Argo/Riff explorations. “It actually uses the shape formed by the scroll wheel and screen as an icon. We liked this because it shows the interconnectivity between people.” The second approach also had to do with connectivity, but it had more to do with energy or information shooting from one source to the next. Sometimes the designers used a random, bouncing ball effect; for other experiments, they developed a more regulated weave pattern. Colors also reflected this comfort zone. The designers looked at old woods, slate and amber stone, and they saw a richness that they liked very much. It was an approach that was utterly different from anything plastic or manufactured. “For inspiration, we looked into all sorts of areas, even marks from past centuries, like you would see on etchings on silver spoons or on the bottom of ceramics. This helped build the feeling around Zune being—ironically—an old, worn, and familiar thing,” says Buick. Yet another idea, which emerged as the eventual winner, was a folded paper effect that proved to be very flexible. It could be made opaque and therefore architectural and solid, or it could be transparent and highly dimensional. The design also worked as a wireframe. In any form, the shape of the Z was reinforced—although the viewer, upon longer reflection on the logo, could see any number of things inside of it: energy emerging from a center source, a front-facing Z, a rear-facing Z, or simply an abstract shape that inspires the imagination in unforeseen ways.

The letter Z held a lot of potential as a graphical device, and it was certainly unique as a monogram in the consumer world.

“We called this logo a constellation in geometric form—a gem. It showed connection and geometry, but with the addition of a gradient shift in color from magenta to amber, it has warmth,” explains McGlynn. The logo and identity were completed in May 2006, which provided the client with the lead time it needed to prep the product for that year’s holiday gift-giving season. The effort was an enormous one for JDK, but satisfying too. “This project definitely challenged our thought processes. Basically, we were working backward, creating a look, feel, and voice before the logo,” points out McGlynn. “But there is an inherent mindshift in the entire idea of the Zune, and Microsoft as the challenger. This provided both a sense of freedom and focus.” Buick compares the experience to being a racer in a grand prix. They were working alongside many other suppliers and designers—the internal Microsoft industrial-design team, environmental designers, ad agencies, and many more. “We were all jockeying for position and trying to get one thing into the lead,” he says. “What made it all the more challenging is that we all have iPods and are immersed in that culture. We had to learn to separate from that and re-learn the more social aspects of music,” said Buick.

(Above Left) The folded paper concept emerged as the eventual

(Above RIght) The final design lost its sharp edges and is more

winner. At its most basic, it could be shown to fold or be in

liquid, almost as if something fluid is traveling from one point to

motion. Of course, the shape of the Z was well enforced.

another. The wireframe shape is also a design that protects itself

(Above Center) Made transparent, the folded shape becomes abstract and colorful, even in black and white. Made solid, the

well: Once out of the designers’ hands, it must stay in this form in order to work, so later creative sorts can’t mess with it.

design becomes architectural and solid.

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URGE Identity Design JDK Design, New York

The brief that came to JDK Design for URGE, MTV’s online music

mouth). The creature spoke of an irresistible attraction that

service, was very exact: In a new logo, convey the client’s hefty

emerged from the subconscious. It also had the potential of serv-

experience with music as well as convey the idea of a techno-

ing as a mascot for the brand.

logical facilitator. The goal of the new service was to appeal to a wide range of music fans, from hip-hop to country, as well as a wide age range.

Another idea that the designers explored was the notion that an urge or want was always “on.” “We wanted to get at something that tapped into the meaning of urge to the subconscious, to pri-

JDK struggled with the name at first: The word “urge” could eas-

mal energy and instant gratification,” explains Covell.

ily have an awkward feeling of trying a bit too hard—meaning certain death once released to MTV’s culturally savvy target audience.

A button certainly delivered instant gratification, and this was the direction that the design team ultimately followed. But an actual push-button was a bit too prosaic, so the idea was

“We had to be careful with it: It’s a word that could become

abstracted. The final solution is a combination button and dial.

tired if overused,” explained David Covell, associate creative

The color grad at the center of the letter G communicates ener-

director at JDK, New York. “We needed to pare it back to its bare

gy while indicating that it might be a push-button. Tilting the G,

essence, avoiding the over-excitement of a name that already

however, gave the impression of a dial, turned all the way up to

says ‘excitement.’”

maximum volume.

Instead, the JDK team worked to capture the energy that the word

The dial or button communicated music and technology to all

urge conveys. Some sketches did that by appearing overactive:

ages of music fans, not just one specific music genre. It was also

The wordmark was made to look as if it was vibrating or radiat-

a graphic that could be easily animated, if necessary. The type-

ing energy. Tightly placed lines in some designs created the opti-

face used in the final mark—a modified Avant Garde—also spoke

cal illusion of vibration, at the same time suggesting flow

of technology.

of information. Perhaps the most unusual creative decision that Covell’s team Other “lined” designs (see trial at upper right) used thicker con-

made was using the G and not the U in the name as the kingpin

duits, stressing the stream of music and information that the

for the design.

client would offer. Again, the parallel lines create a visual buzz. “Usually, you use the first letter as the logo. But the sound of the Some of these sketches communicated a more liquid flow: Let-

G in the word is strongest. Still, you wouldn’t want to make peo-

terforms undulated one into the next. Another direction involved

ple think the name starts with a G. We made it less of a G by tilt-

lightning-like strikes that delivered energy and information.

ing it,” the designer explains. Even better, because the letters that surround it are so static, the tilt makes the G feel as if it might

One of Covell’s favorite ideas included an anglerfish, a fish that appears to be attracted to a lure that emerges from its own head (the projection is actually meant to attract prey to its toothy

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be moving.

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Design Firm

Shift Design

Client

Selenis

Project

Identity Design for PET

Manufacturer Selenis wanted a new identity for the same reasons many companies desire one: It was acquiring and subsuming other companies; implementing new technologies; and increasing production. In fact, by 2005, the company had become the largest manufacturer of polyethylene terephthalate (PET) in Europe. But in Portugal, where it is headquartered, as well as in other countries, it was almost completely unknown as a corporation. But the company had another pertinent reason for a new identity as well: Its product is largely invisible in everyday life. Not only is PET usually clear or nearly clear when used in packaging—that is, visually minimal—but it is so ubiquitous as to be psychologically invisible as well. For instance, PET is also used in the manufacture of Polartec cloth and clothing—but most people wouldn’t be aware of that.

Polyethylene terephthalate [PET] is largely invisible in everyday life.

Selenis knew that this was likely to be the continuing fate of its product, but it did want to let the public and manufacturers who purchase PET know about the unique aspects of its products, and about one aspect in particular: recyclability. When consumers saw the new Selenis logo, whatever it would turn out to be, the company organizers wanted them to think “PET.” “PET is the kind of material we use on a daily basis, so we don’t even notice it. It is nature friendly, so many products are made of PET, like water bottles, detergent containers, and even cold-weather clothing,” explains Graça Hipólito, partner for Shift Design in Portugal and Madrid, the design office tapped by the client to create a new logo and identity. Although most people do understand that PET is recyclable, they are not aware of the secondary level of the material’s eco-friendliness, as Hipólito notes: So much PET has been recycled over time that the majority of what the general public regards as “plastic” products is now actually made from recycled PET. So use of PET and recycled PET reduces the use of petroleum to produce new plastics over time. It was this eco-friendly nature that Selenis wanted to emphasize. It wouldn’t be too much of a stretch because the company’s name is actually a thing of nature: Selenis is also the name of a multicolored butterfly found around the world.

Selenis hopes that its new logo, created by Shift Design, will become the new mark for PET products. In addition, it has already become a beautiful identifier for the company’s various operations: energy, fiber or fabric, services, nature, and environment.

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(Above) Selenis’ old logo also included a butterfly, but the design was rather unremarkable, especially because it was meant to represent the largest manufacturer of PET in Europe.

Selenis’ original logo showed an outline of a butterfly overcast on a drab globe. It did not, however, put forth the light, pure nature of the product or the values of the company: capable, ethical, and responsible, offering security and respect. “The old logo didn’t reflect the values and the ambitions of the company,” says Hipólito. “There was a lack of personality, it looked fragile and distant.” The name, she adds, had the advantages of being easy to recognize, dynamic, and distinct. The butterfly symbol was ideal for the new identity: It was a creature of nature, beautiful, diverse in shape and color, and because it is found all around the world, it fits comfortably and naturally into communities everywhere, just as Selenis did as a corporate citizen of the world. The rebranding would include a new wordmark and a new logo. Since the Shift Design team knew that the butterfly shape would be kept, they began their explorations there. After experimenting with various shapes and body positions for the butterfly, all on screen, the designers developed a very minimal creature whose body suggests vitality and forward movement. Its transparent wings feel light and pure. The colors that the designers selected for the overall company logo, as well as for the logo for the PET and Wear categories, are vibrant and friendly: orange, yellow, and brown. The combination is enhanced on some designs through rich transparency on the butterfly’s wings. The butterfly logo that represents the company’s environmental efforts is a creature with green transparent wings. It too has depth as well as lightness. The butterfly can also be used in black and white or in one-color applications. The latter is particularly important because when the logo is stamped into packaging, such as a water bottle or detergent container, it has no color: It is simply embossed or debossed onto the surface of the product. So the design had to be simple and clear enough to survive without its interior detail or color.

(Right) The company’s new stationery system uses the new logo in a bold manner. It shows off the transparency of the design— representing the transparency in the company’s product and processes—as well as its pure colors.

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The wordmark that accompanies the logo has two parts: the name Selenis and The Pet Mark. For the company name, the designers were fortunate because the word Selenis is rather symmetrical. The S at the start and end of the name were enlarged and dropped below the baseline to almost bracket the secondary line. The two e’s and the l and i also balance out as pairs. Only the n does not have a mate. The result is an extremely balanced, very solid wordmark. The logo and wordmark can be used together, as is, and they are often used in combination with a circle, which further balances the design. The butterfly is shown breaking through the circle, as if it was coming in for a landing. The circle container is as important, especially when the design is stamped into PET containers. The transparent butterfly design, in effect, established a flexible brand architecture that could easily evolve with the company as it continues to grow. Color is key to the new system. Because a butterfly is a living creature, it makes sense for it to be animated on websites and other applications.

(Above) The design also works well in a transparent black-and-white mode as well as in one color. The success of the onecolor application is especially important when the butterfly symbol is stamped into PET packaging, where it essentially is run in no color at all.

(Right and Opposite) Despite its complexity, the logo’s design works well on black, various colors, and even on complex backgrounds. Having both a transparent and flat version increases its versatility in any application.

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Increasingly, when consumers see the Selenis mark, they think “PET,” much in the same way that the Woolmark logo represents the wool industry, or how a highly simplified, black-and-white panda logo not only represents the World Wildlife Federation but, by extension, efforts to help animals around the world. Hipólito believes the finished design is an ideal match for the company’s present and future. “The brand represents exactly the name and the concept of the company. It is an updated logo with modern graphics and very friendly. Its dynamics reflect the company philosophy, and the warm colors are related with the company’s proximity to people. We really believe that this brand is the reflection of the company, its mission, vision, and values,” she says.

The colors that the designers selected for the overall company logo, as well as for the logo for the PET and Wear categories, are vibrant and friendly: orange, yellow, and brown. The combination is enhanced on some designs through rich transparency on the butterfly’s wings.

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Charme Identity Design Shift Design, Portugal and Madrid

In Portugal, the weather is usually beautiful. So most homes there

“We took a nonsophisticated product and gave it a glamorous

are not built with central heating systems. When the occasional

look,” explains Graça Hipólito, a partner with Shift Design. “The

cold winter day does arrive, citizens use gas-powered heaters to

strategy was a successful one, because consumers started look-

warm individual rooms.

ing at it as a fine way of heating houses.”

Until the winter of 2006, these large black devices were consid-

The approach was so innovative that the devices were even pre-

ered necessary eyesores or were not regarded at all—certainly

sented at a trends show in Portugal, called Casa Ideal (Ideal

not part of attractive home décor.

Home), where interior designers show their work and consumers can see the latest styles in home furnishings. The designers also

BP asked Shift Design, also of Portugal, to consider these unsightly heaters. Could they do something different with them? Why not transform these unsightly heaters into something more attractive, something whose performance and appearance could

suggested that the graphics be used on other items, to continue the innovative BP branding message. They created a small campaign that also showed the imagery on clothing and other items. These items have not yet been produced by BP.

be appreciated? The client only produced 600 of the heaters in 2006 as a trial run, Shift Design’s concept for the project, called Charme, was quite simple: Apply a branded graphic on the heater itself. The Charme program that the Shift Design team built was based on fashion graphics from the fall of 2006. Despite its complexity of pattern and sometimes of shading, it uses only one

but Shift hopes that the program will be carried forward into future cold seasons. Hipólito says that this project is a wonderful example of how graphic design can be used in a simple way to make life better for people.

color. Filled with leaves and floral outlines, the design camou-

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flages a cold, largely unfriendly product and turns it into some-

“The idea is good because in the public’s eyes, it was something

thing softer and more in keeping with its function—to make

they didn’t even dream could happen, but it is still something that

people more comfortable.

can be trusted technically,” she says.

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Design Firm

Hesse Design

Client

Fédération Internationale de Football Association (FIFA)

Project

Identity Design for FIFA 2006 World Cup Soccer

As much as designers and clients try to turn design into some kind of quantifiable science with predictable results, using piles of research and years of experience to draw conclusions, there’s no denying that emotions serve as judge and jury when the results are released for public viewing. That visceral response is even more heightened when a design is supposed to represent something as emotional as World Cup Soccer. Consider the curious incident of the logo for the FIFA 2006 World Cup Soccer contests in Germany—or should we say, logos. The story began when FIFA commissioned a Bavarian agency to create the logo and identity for the World Cup. Like the graphics created for the Olympics or other prestigious sports events that move from venue to venue from year to year, these assignments are truly special and are usually highly sought after among design firms. Landing such an assignment and completing it successfully can cement a firm’s reputation as a real contender.

When a less than adequate logo was created by another firm for The logo that was eventually released was met with not just an enthusiastic response, but with abject horror.

the 2006 FIFA World Cup in Germany, Hesse Design responded forcefully with an alternate and vastly more exciting design for the soccer organization to consider. Ten other German firms also took up the challenge: To see the complete body of work, see www.11designer.de.

For such a high-profile, high-energy event as the World Championships, there was plenty of material with which to work. First, there was the sport itself to consider. Eleven players—agile, amazingly athletic, and often quick-tempered—display amazing teamwork and endless energy. Their loyal fans respond in kind: Even if you are not a fan, it’s difficult not to get caught up in the near-hysteria that whip tens of thousands of normal citizens—watching a soccer game in person or on television—into a state where jumping up and down and hanging on or hugging complete strangers is expected behavior. Soccer is dramatic, unpredictable, and often overwhelming. So it’s little surprise that the logo that was eventually released for the 2006 contests, a trio of smiley faces grouped over a soccer ball, was met with not just an unenthusiastic response, but with abject horror. It just did not contain the love and energy of the game. The design community as well as fans reacted immediately, in Germany and around the soccer world. “The logo was declared as ‘infantile’ by the magazine Spiegel. Brazil’s largest newspaper, O Globo, called the logo ‘ectasy pills,’” reports 56

logolounge 4

Christine Hesse, principal of Hesse Design. Design firms, including hers, also responded quickly: Her partner Klaus Hesse and Fons Hickmann of Fons Hickmann m23 had an idea: Gather eleven designers or firms to create a new logo—actually, to create eleven new logos. The firms would take up the challenge together, but, in effect, would be competing against each other. The curious arrangement was also like a sporting event of its own. The collective effort, they knew, would draw plenty of attention from the public and press. And who knew? Perhaps they could convince FIFA to place the 2006 event under a more appropriate logo. But is the design process really democratic? Christine Hesse believes it is. “A world championship is for everybody. A world championship is more than a sporting event. It is a huge and emotional world festival. America will dance with the ball, Africa will enchant the spectators, Asia will fight as a tiger, and Europe, the home of football, will fill everyone with enthusiasm. The world championships deserves something better than this,” she says.

The energy and thrilling excitement of World Cup–level soccer is evident in Hesse’s designs. Each was created by “melting” the basic shape of a player into bursts and blobs.

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Klaus Hesse and Fons Hickmann challenged the eleven firms and individuals to create a new logo that pushed the concept of the championships and of soccer much further. When the work was complete, the two designers would organize all of the efforts and put the results in front of the press and, finally, the public. Hesse Design was one of the eleven firms. The design team’s idea emerged almost immediately: Combine the suggestion of the different players’ bodies in motion with explosive bursts and splatters that spoke of power and joy. Energy explodes from the design, speaking loudly of what soccer is all about. “All of the characters or players have mainly been done in Photoshop, but we did not use any special filters. We achieved the effect by a combination of standard tools. Basically, we melted ‘raw’ versions of the various figures with samples of blobs and explosions. Then they were placed in Streamline to turn them into vector graphics,” Christine Hesse explains.

Hesse Design’s identity actually contains eleven logos—one for each player on the team. Here, they are played out to represent various teams and venues inside of the World Cup event. The figures themselves also represent a number of prominent players on various teams.

The design team selected the colors of black, red, and green—the German national colors—but skewed them to the brighter side to heighten the energy of the tones. They selected the typeface DIN, mainly due to its rectilinearity and what Hesse calls “strictness.” “It is a successful contrast to the emotional logo and moreover, it is a perfect fit for Germany,” she says.

“Zack, Bang, Bumm!” is a phonetic description of what happens when a player hits the ball and makes a goal.

Once each of the eleven design firms had completed their work, the new logos were presented at a special event at a large lecture hall of the University of Art in Berlin. Not only designers, but students, athletes, other types of artists, and even regular citizens came to see what else might be possible. The response was incredible, reports Hesse, and the popular press picked up the story and ran with it: Articles ran in newspapers and magazines inside and outside of Germany. The larger public also had a keen interest in the new logos. Süeddeutsche Zeitung, one of Germany’s largest newspapers with 1.1 million readers and significant readership abroad, published all eleven new designs and surveyed their readers for their opinions about them. In addition, the more general interest Bunte magazine did the same, and people from around the world posted their comments on a website created specifically to display the new work and receive comments, www.11designer.de.

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(Above) Cropping in on the imagery actually increases the art’s power even more. It also multiplies the number of exciting images in the system that can be used on clothing, flags, and more. (Right and Below) With so many images from which to choose, Hesse’s system is endlessly versatile, as these designs show. The art can be cropped in on or used in full, and the extreme energy of the art is simply enhanced in different ways.

Although none of the logos were ultimately considered for substitution by FIFA, and the 2006 championships did run with the smiley logo, Hesse was encouraged by the response of the design community as well as that of the public. “This raised the question of good and appropriate design in the eyes of the public,” she says. “It has been a good feeling to try to change things as a group of like-minded people. Who knows: Maybe the eleven designers will fight together for another important matter.” (Note: To view all of the alternate designs created for the 2006 championships, go to www.11designer.de.)

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German School Award Identity Design Hesse Design, Düsseldorf, Germany

“We remembered the film ‘The Flying

In 2006, the Robert Bosch Foundation (a German philanthropic organization)

Classroom,’ written by Erich Kästner,”

and the Heidehof Foundation (which

Hesse says. In the movie, Kästner com-

supports the education and support of

municates timeless values such as

handicapped people) launched the Ger-

friendship, courage, family, and nonvio-

man School Award, a very special

lence, but in a nonpreachy way. The

recognition meant to single out individ-

designers wanted to communicate the

ual public and private schools in

values behind the award in the same way.

Germany for outstanding educational

“We thought that the ‘flying school chair’

efforts. Five winning schools, judged on

would be the best reduction of the low-

academic achievement, diversity, quality

est common denominator.”

of instruction, responsibility, school culture, and school as a learning institution, are awarded large cash prizes: The main award winner is honored with 50,000 euros and the four runnersup each receive awards of 10,000 euros. Each also receives a unique trophy, adorned with a logo developed by Hesse Design.

The Hesse team also suggested the tagline “Giving Education Wings.” Combining wings with the shape of a chair that is so instantly recognizable to generations of schoolchildren produces a whimsical mark that is also somehow refined enough to be a mark of honor. The “toes” of the chair are shown just

Hesse Design, of Düsseldorf, Germany, had developed the

leaving the ground, suggesting the uplifting effect a quality edu-

relaunch of the corporate design of the Robert Bosch Founda-

cation has on children.

tion, and by following its success, it was invited to develop a unique design for the new German School Award. The client did not come to the design firm with any specific requests, other than it support the inspirational and educational nature of the award.

Horst Köhler, president of the Federal Republic of Germany, presided over the awards on ZDF-Television, and the design team got to see their logo joyously and gratefully accepted by four German schools. Hesse reports that, like in most countries, there is tremendous interest in education, and this award has

“We were looking for a logo that combined ‘inspiration’ and

been no exception.

‘school,’” explains Christine Hesse, principal of Hesse Design. The design team explored visuals that showed chalk-drawn hands pointed outward; a type-based mark that looked as if it was in flight; and a ruler that symbolizes the leveling board. But none of the ideas seemed as strong as one that was sparked by the memory of a movie.

“The importance of the German School Award is shown by the fact that people of top political rank are there to present it. The press reported copiously on the award, and there were many giveaways, such as caps, that carried the German School Award,” she says. These premiums have become very popular and have been distributed quickly.

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Design Firm

Interbrand

Client

AT&T

Project

Identity redesign

Designers are all about change and innovation, but there is just about nothing that makes them crazier than someone toying with what has long been perceived as an icon. And few redesigns have generated as much reaction as Interbrand’s remake of Saul Bass’s iconic AT&T logo. But perhaps time has had the last word: The logo has survived and in fact thrived in the business world, representing the company well as it continues to grow and innovate. The story of the revamp is an intriguing tale of how quickly design must move today as compared to in the past. In 1885, the American Telephone & Telegraph Company was established as a subsidiary of American Bell (as in Alexander Graham Bell) Telephone Company and was the first group to offer long-distance phone service. In 1889, the first logo with a bell in it was adopted by AT&T: It was created by the company’s general superintendent, and that familiar Bell shape became the logo and name container for many subsidiaries of the company over many decades. In fact, it wasn’t until 1964—and some substantial amount of governmental decrees that forced AT&T to reorganize—that the logo was translated into a much more modern version by Saul Bass. That simple bell within the circle design, drawn with solid, thick lines, survived until 1983 when Bass created the distinctive AT&T globe shape.

“We immediately knew that anything we did to the AT&T logo would be extremely unpopular in the design community.”

It is at this point where the story of the company’s newest logo begins. In 2005, SBC Communications and AT&T merged, combining capabilities and emerging as a powerful new force in the digital era of communications, entertainment, and business. Interbrand was aware early on that changes were afoot. “We were thinking about where the logo would go even before the sale was made,” notes Craig Stout, creative director for Interbrand in New York City. “SBC had acquired AT&T, so there would be some major rebranding issues to handle. Which way would they go? Would they subsume the AT&T name, or would they go the other way? Whatever they chose, we knew that the new identity would need to signal a significant change in the marketplace.”

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When SBC merged with AT&T to form the largest telecommunications company in the United States, critical branding decisions needed to be made. Interbrand created a new brand strategy by evolving Saul Bass’ original AT&T logo.

The changes turned out to be even more significant than perhaps expected. The AT&T name emerged as the victor, but the name had some amount of baggage. “Ma Bell” did not have the friendliest reputation, and it was seen by some as old technology: After all, this was a company that was founded more than 100 years ago. So the new logo would need to look modern and friendly, substantial yet approachable. It would need to appeal to residential and business customers, as well as be flexible enough to change and adapt as the company emerges into even newer and, as of now, unanticipated technologies as time unfolds. Critically, the old AT&T had been roundly criticized for exiting the residential market, and so to simply rebrand SBC’s significant 13-state residential business with “the old AT&T” would have been a mistake. “We immediately knew that anything we did to the AT&T logo would be extremely unpopular in the design community,” Stout says. The Interbrand team looked at ways of maintaining the Bass icon but still signaling that AT&T was evolving by changing the other elements of the identity system. “The team felt that it would be too difficult to signal a change to consumers without changing the logo itself.” The Interbrand design team, drawing upon design teams from their London, Toronto, San Francisco, and Cincinnati offices, began their studies by applying a 3D effect to Saul Bass’s globe design. This immediately created a significant change in the design: It now popped off the page in a way that the old design could not.

Blue remained the primary AT&T color, but dimension and transparency was added to the globe to signal that the brand was more approachable and personable. The 3D quality of the logo also helps the logo pop off of any surface to which it is applied.

The AT&T logo works well whether it is shown in its entirety or in part. In fact, playing out partial views of the logo increases its sense of being a dimensional object, something you could actually hold in your hands.

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“The old design was perfect for a national monopoly. We conducted research that indicated that AT&T previously appeared to the public as a huge and monolithic company, something that was difficult to do business with,” Stout says. The 3D shape would immediately signify a change to those audiences. With the new shape in hand, the designers began experimenting with the contents of the globe. A range of new identities was presented to the client. One exploration reflected the fact that AT&T was moving toward being a large entertainment provider, with dish-based networks and other such technologies. These studies were much more media-based, with bright colors played against darker tones. It had the vibrancy that MTV and other music and entertainment channels were already using. This was obviously a very progressive and daring direction for the company, but interesting, says Stout.

(Above and Right) The logo’s striping can be repurposed as subtle design and organizational elements. The striping effect is so recognizable that it can be run in various colors, and the connection to the brand is still very clear.

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This elevation and installation show how the logo was applied to a building in Cleveland, Ohio.

Another direction was much more minimal. The striping on the globe was stripped away. “Then the design became more of an abstract blue sphere. It felt very electric,” notes Stout. The transparency began to become more apparent and we felt this was a useful metaphor for what the business was trying to become – more straightforward for its customers.” Taking the AT&T brand back into the residential market, the new identity needed to be more friendly and approachable, which was achieved through the openness and transparency of the globe. Yet another direction just used the wordmark, AT&T. It was presented in a glow, as if it were radiating new energy. Stout says that it was meant to represent the euphoria people get with the benefit from new technology. “Moving toward a simpler, more modern wordmark could have enabled the company to have more flexibility and signal a greater change to the marketplace, with possibly a more youthful feel,” Stout says. The most extreme explorations threw out the globe and in fact anything that was familiar about the old AT&T identity. But ultimately, Interbrand decided that getting rid of the globe was truly a missed opportunity. It would be wiser for them to make one big step forward with the design rather than six steps in a totally new direction. So they returned to the globe shape, this time adding the element of transparency to create the sense of friendliness and clarity. Now the familiar arcs on the globe can be seen circling around the shape on the front and the back. The design team was already imagining how the arcs could be played out in graphical elements in a wide range of designs: advertising, communications, marketing, packaging, product designs, and more. Stout explains: “The globe and the arcs are embodied everywhere now. They are always being viewed from different points of view. You can come up close to the arcs and see just those, or you can pan out and see the mark in an environment. The artwork has to continue going forward. This design is for a living, breathing corporation, and our work has to be able to adjust for that over time.”

A change of perspective is one of the most significant changes in the new design. The previous design was viewed dead-on. The new design is reveals more of its top, exposing a horizon line that is always just about to be crossed and explored. In addition, there is more white in the new design, and the blue was brightened significantly. “SBC was a blue brand, and AT&T was 100 years of blue. But a new blue was necessary,” Stout says. “The AT&T blue was just cyan, but we selected 2925, which is a more complex blue that can be tinted properly. It is a bit lighter, another signal of change. This blue is currently being used with a whole palette of very vibrant accent colors.” The typeface designed to accompany the globe mark was based on the face Avenir. The original face was a bit too light, so it was beefed up significantly. The newly created face also created a successful alignment with the Cingular brand typography attributes, another brand that was just taken into the AT&T brands. The secondary face, the one used for additional text messages past the company name, is AT&T Clearview. It is actually a signage font with a huge x-height and an even bigger family. The designers did have to modify it a bit so that it functions more like an editorial face and less like a signage font. Stout feels that the mark will have longevity and could evolve and change with the company. “The brand has moved from being a classic corporate identity to one that has to exist and function as a retail, technology, and entertainment organization. The world in which it is living will have to change a lot more before further changes are necessary. Elements like type and color can change, but it seems the mark will stay. They are currently launching the iPhone now, and soon there will be so many other fantastic new products. The brand will become more and more like a media company,” he explains.

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MAGHOUND Identity Design Interbrand, San Francisco

A division of Time Inc. came up with a revolutionary idea; an

“We wanted to show them a visual spectrum of possibilities,

online magazine management service that offers a package of

from concrete to more abstract. The name suggests a dog, but

magazines for a pre-set monthly charge. For a modest amount

there are many ways it could be represented,” said Munger.

billed to a credit card, a subscriber can pick three different magazines. The magazines continue until the member cancels the service—or, if any of the magazines loses its appeal to the reader, he can easily substitute another magazine. Additional magazines can be added to the total for about $1 more per month. No more filling out subscription cards. No more annual subscriptions that run out unexpectedly. No more putting up with magazines that turn out to be less than expected. It’s easy to see how such a service could be a magazine reader’s best friend. That was one of the thoughts Interbrand designers had when they began work with Time to name and brand the new service. Because the then-unnamed service seemed simply functional, the client initially wanted a functional name. But Kurt Munger, creative director of Interbrand’s San Francisco office, and his team felt that the service was affable and certainly helpful enough to be a lifestyle brand. “The service is aimed at people who ride the train with their magazines, go to the beach with their magazines, and in effect, take a magazine with them wherever they go, just like they would with their Starbucks coffee and iPod,” Munger said. “We thought it would be great if people, in addition to subscribing to the service, would want to wear a T-shirt or pick up a bottle of water with this brand’s name on it.” The Interbrand verbal identity team came up with hundreds of names, and after narrowing them down by checking the legal availability of the names and URLs, presented to their client the name “MAGHOUND.” Like the moniker “clothes horse,” it suggested the notion of someone who really loved his or her magazines. The name held resonance with the client and customers. This gave the designers the go-ahead to begin work on MAGHOUND’s visual presence.

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The first approach was very concrete: a golden retriever made into a circular icon. “This one was very L.L. Bean, very J. Crew— almost like a stamp,” the creative director explained. “This was perhaps the more familiar and friendly solution.” The second entry on the spectrum—and the design that the client ultimately selected—used an illustrated dog whose length could stretch and shorten as needed, symbolizing the flexibility of the service. The third exploration was more like a monogram in which the letter “M’ contained the face of the dog in its negative space. The fourth and final design was the most abstract. It simply used colorful circular tags to represent the magazine reader, the people who are the actual “MAGHOUNDS.” The illustrated dog that the client selected, created by English artist Steve Small, was named “Stretch” by the verbal identity team. His shape was especially suitable because it was possible to use his body to contain the service’s name. He presents a fresh, fun image, in neutral colors that work well with just about any magazine cover with which he might appear. “I like the way he moves around on the web site, from the top to the bottom, sometimes cropped,” said Munger. “This is a very unique look among the competitors’ identities, which are pretty functional. The identity almost feels like a magazine masthead itself.” At this writing, MAGHOUND currently has a prototype site running (www.maghound.com), while the team at Time Inc. develops the back-end operations of the fully functioning site (launch due in 2008).

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collections and sketches

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D Reactivity Studio C Anderson Camp Grounds 1D D Jeff Kern Design C Another Darn Handyman 2A D Design Army C Al Tucker 2B D Artinium Design, Inc. C Self Promotional 2C D Marlin C Advanced Industries 2D D ArtGraphics.ru C Avanco D STUBBORN SIDEBURN C Magnet Eyes 3B D David Quintero Design, Inc. C Angelique Interiors 3C D Open C aMedia, New York NY 3D D Sauvage Design C Actual Software 4A D Fauxkoi Design Co. C anodyne bev co. 4B D switchfoot creative C Artsons Wire 4C D Yoshi Tajima 4D D Cain Design Group C Aspen Hochalter photography 5A D Doink, Inc. C Ali & Andy Crane 5B D Dino Design C Arcadia Farms 5C D Grão Design C artti 5D D 7th Street Design C Auto Parts Avenue 1C

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D Lucero Design C Project 240 Apparel 1B D Demographic Inc. C Blood Brothers 1C D 3 Advertising LLC C Brycon Construction 1D D dale harris C dale harris 2A D Tandemodus, LLC C Branches 2B D A3 Design C Bagby Lighting 2C D Strange Ideas C Best Brand 2D D Tank Design C Billetten AS 3A D I-MANIFEST C Burton 3B D SoupGraphix Inc. C Burton Snowboards 3C D Smosarski Design C Bowel Cancer UK 3D D Felixsockwell.com C herman miller 4A D Webster Design Associates Inc. C Barnhart Press 4B D MGPdesign C Chatr, Co. 4C D angryporcupine*design C Cloud City Creative 4D D Deere Design Group C Crusader Yacht Sales 5A D rylander design C Cleantech LLC 5B D Clore Concepts C Clore Concepts 5C D Scott Carroll Illustration C Chuck’s Fish 5D D UlrichPinciotti Design Group C Toledo Botanical Garden 1A

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D Ziga Aljaz C music group C4 1B D united* C Bar Carrera NY 1C D Fauxkoi Design Co. C sooVac 1D D jKaczmarek C AIGA, Design Camp 2A D Karl Design Vienna C Dortmunder Brauerei (Delikatessen) 2B D Felixsockwell.com C digicel 2C D Biamerikan Inc. C The Sofa Source 2D D Mirko Ilic Corp C Dr. Zoran Djindjic Fund 3A D RDY C DM photo studio 3B D Rood Graphics C All About Kids America 3C D Brainding 3D D Cavalry Brand Development C D. Petty Marketing 4A D LSD C estampa 1942 4B D CONCEPTO WORLDWIDE C ENTER 4C D Daniel Sim Design 4D D Enigma Design Graphics C Engineering Solutions 5A D Tactix Creative C Elephant Pharmacy 5B D Pure Brand Communications C Escalante 5C D Studio International C Eurosong 5D D Reactivity Studio C Ecology Center—Coastal Division 1A

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D Karl Design Vienna C Preussen Elektra (Saatchi) 1B D Straka C ePrinto 1C D Itu Chaudhuri Design C East West Botanicals 1D D Crave, Inc C Finetune Golf 2A D Fossil C Fossil 2B D Organic Grid C Freedom Film Festival 2C D United States of the Art C tonquelle 2D D The Martin Group C The Chapel 3A D Kevin Creative C Pixellogo Custom 3B D H2 Design of Texas C unused 3C D A3 Design C Griffith Choppers, Inc. 3D D face C BBPA 4A D A3 Design C goody paint 4B D northfound C Gaudette International 4C D MSI C The Home Depot 4D D Jerron Ames C Arteis D Nick Hard Design C GI 5B D Grey Matter Group C Woodhaven Reformed Church 5C D Mindgruve C Panish & Hoey 5D D On Target Advertising C SBE/Hyde

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D Sanders Design 1B D Joseph Blalock C Heaton Erecting 1C D Copilot Creative C Horizon Energy 1D D Kevin France Design, Inc. C Harbinson & Associates, Architects 2A D Oxide Design Co. C Herc Publishing 2B D Brook Group, LTD C Hands On Productions 2C D WestmorelandFlint C Hogan Remodeling, Inc. 2D D Printt Diseñadores, s.c. C Hotel Westin Ixtapa 3A D Shawn Hazen Graphic Design C Self 3B D Communication Arts C Cortex Companies 3C D Howling Good Designs C Koulian Design 3D D Hula+Hula C Hula+Hula 4A D Copilot Creative C HPE: Heating & Plumbing Engineers, Inc. 4B D Graphic C Hardmetal Underground 4C D R&R Partners C Wingfield Nevada Group 4D D Miriello Grafico, Inc. C Iapyx Medical 5A D Niedermeier Design C Intava 5B D Niedermeier Design C IQ Beats 5C D JASON GRUBE DESIGN C Jason Grube 5D D Crave, Inc C IQ Beverage Group 1A

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D dale harris C kaobi 1B D Valmont Comunicación C Konnekt 1C D KROG, d.o.o. C Biro za komunalo, Ljubljana 1D D Thinking Caps C Kendle Architects 2A D Great Scott Design C Koops Woodworks, LLC 2B D Graphic C Kendall Investigations 2C D morrow mckenzie design C Ken Ackerman 2D D ContrerasDesign C Kari Mcintosh Design 3A D Lukatarina C Katarina Mrvar 3B D Karl Design Vienna C Karl Design Vienna 3C D Strategy Studio C Lawless Packaging 3D D Karl Design Vienna C Korbstadt Lichtenfels 4A D Diagram C Lukas Bank 4B D The Mixx C Liberty Harbor 4C D Rick Johnson & Co. (RJC) C Matteucci Construction 4D D 3 Advertising LLC C Measure Twice D Parallèle gestion de marques C Montel 5B D Rome & Gold Creative C Massive Radio 5C D TNOP & bePOSI+IVE C Lauren Marks Interior 5D D Laura Manthey Design C Monks Project Solutions 1A

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D Studio Simon C Billings Mustangs 1B D Ketch 22 Creative C Merrill Pharmacy 1C D Tactix Creative C DJ Eddie Amador 1D D Gardner Design C Marlen 2A D Range C Dennis Murphy 2B D UlrichPinciotti Design Group C Toledo Botanincal Garden 2C D traci jones design C Active Mary 2D D Karl Design Vienna C Montscher Spedition 3A D Steven O’Connor C Khana Shiro 3B D Gridwerk C Modern Graphics 3C D Straka C ProsiebenSta.1 Media AG 3D D Mirko Ilic Corp C Muzej Istorije Jugoslavije D Invisible Associates C Matt McGee 4B D Intersection Creative C Master Your Message/Kathy Kerchner 4C D On Target Advertising C Maureen O’grady 4D D Niedermeier Design C Mike Wright 5A D Kurt for Hire C Metamob 5B D JG Creative C Boise Art Museum 5C D Archrival C Nomad Lounge 5D D Rocket Science C Siemens 1A

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D 28 LIMITED BRAND C Mark Mende 1B D Design Factory C National Gallery of Ireland 1C D Resin Design C Nanosafe Australia 1D D Mary Hutchison Design LLC C O’Asian Bistro, Inc. 2A D JAX Design C OpenGate 2B D thurner + partner gmbh C Pallado 2C D robert meyers design C Pittsburg St. Patrick’s Day 2D D Blacktop Creative C Gear For Sports D Reactivity Studio C Prairie Egg Distributors 3B D Jason Kirshenblatt C Phoenix Realty 3C D Gardner Design C ParkStone 3D D Richards Brock Miller Mitchell & Associates C The Peninsula Resort and Club 4A D Kurt for Hire C Engagelogic 4B D Kurt for Hire C Engagelogic 4C D Kurt for Hire C Engagelogic 4D D Deep Design C Plemmons Associates 5A D Whaley Design, Ltd C Printing Arts, Inc. 5B D dale harris C sasi marketing / pitson accounting 5C D Sakkal Design C Qusay Investments 5D D Strategy Studio C Quarropas, Inc. 1A

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D Tactix Creative C Better ATM 1B D AMEN Gestaltung C QF HOTEL GmbH & Co. KG 1C D Fangman Design C Restoration Cleaners 1D D BRANDSTORM CREATIVE GROUP C Brandstorm CG 2A D S Design, Inc. C Mason Consulting Co. LLC 2B D Gardner Design C Dandurand Drugs 2C D Hula+Hula C Cartoon Network Latinamerica 2D D Chris Herron Design C Spherics Inc. 3A D 3 Advertising LLC C Shelton Jewelers 3B D www.bartodell.com C senterbrandsª 3C D Reactivity Studio C Scott Birds 3D D Karl Design Vienna C Signal / Unilever Deutschland 4A D Gardner Design C OpSpring 4B D Cisneros Design C Santa Fe Ski Team 4C D Koch Creative Group C Koch Business Solutions 4D D Karl Design Vienna C City of Sapporo (Competition) 5A D dale harris C swixt 5B D Jon Kay Design C eSports Calendar 5C D wray ward laseter C Springs Industries 5D D Antfarm Design C National Heritage Board Singapore

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D Taproot Creative C Tallahassee Titans 1B D Faith C Lush Magazine 1C D Park Avenue Design C Thaler Electric 1D D R&R Partners C Wingfield Nevada Group 2A D Trapdoor Studio C Trapdoor Studio 2B D One Minute Hero C Taskoprojekt company 2C D Second Shift Design C To a T Creative 2D D eggnerd C Trippe Dentistry 3A D Grey Matter Group C Parkland Properties 3B D Prejean Creative C UOS 3C D Phinney/Bischoff Design House C Tooling 2000 3D D TOMPERTDESIGN C VeraLight D Burns Marketing Communications C Vivit 4B D Bluespace Creative, Inc. C Vital Signs Unlimited, Inc. 4C D Integrated Media, Inc. C Fifth Enterprises 4D D Murillo Design, Inc. C Vertical Racing Technologies 5A D DTM_INC C Visual Touch 5B D innfusion studios C AVE 5C D 13THFLOOR C Hot Wheels 5D D joe miller’s company C Works/San José 1A

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D Gardner Design C Willow Creek Designs 1B D Mig Reyes C White Picket 1C D Tactix Creative 1D D Foundry C West Furniture 2A D Copilot Creative C Wealth Wonks 2B D Karl Design Vienna C Wiedemann Fitness Würzburg 2C D ZupiDesign C Wertheim Imóveis 2D D Fauxkoi Design Co. C Fauxkoi Design 3A D Tomko Design C Word Lab 3B D Dotzero Design C WalkerMay Landscape Architects 3C D Gibson C Professor Robert Winston 3D D Studio Synthesis C X-Factor D Sebastiany Branding & Design C XVII Encontro Nacional de Arquitetura (design contest) 4B D Sauvage Design C York Street Recording Studios 4C D Jerron Ames C Arteis 4D D Studio International C Zagreb Railway 5A D joe miller’s company C ZeroOne Systems 5B D Marlin C First Family Church 5C D Emu Design Studio C Two Birds Press 5D D AtomicaStudio C 2 excite 1A

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D Identica Branding and Design 1B D pearpod C Plus 3 1C D 28 LIMITED BRAND C Schreiter 1D D Harwood Kirsten Leigh McCoy C 3Line 2A D CAPSULE C 3Wire 2B D Matchstic C Sound Events 2C D tarsha hall design C T 2D D Mola C EDP 3A D Baach Brand Design 3B D volatile 3C D Incubo :: visual branding studio :: C TV Azteca 3D D Stand Advertising C TenEleven D Banowetz + Company, Inc. C Dallas Market Center 4B D Karl Design Vienna C Kurier Wien (competition) 4C D harlan creative C 451° 4D D Gary Sample Design C Xcelerator Graphix 5A D String C Tigar 5B D Disturbanity Graphic Treatment C Eclipse streetwear 5C D Tactix Creative C twelve4one.com 5D D Banowetz + Company, Inc. C Prescott Realty Group 1A

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Sydney Opera House Identity Design Frost Design, Sydney, Australia

The Sydney Opera

order for internation-

House is a victim

al

of its own success

understand what the

as an architectural

logo represents. The

wonder. So iconic is

designers studied the

audiences

to

its presence, especially in Sydney, that much of the general pub-

original competition drawings by Jorn Utzon and many other

lic never goes inside: They take photos of the building, but never

archival pieces in order to tap into the original source of inspira-

venture through the doors for events. Or, it’s seen as a place only

tion for the architecture. In some solutions, the sails were embed-

for special occasions or for people knowledgeable in the high arts.

ded in the typography; in other trials, the perspective from which the sails were observed was changed.

Management at the Opera House asked Frost Design to create a new identity for the venue, one that captured the energy and

As they worked with the client, though, the Frost designers con-

excitement of what went on inside now that the outside is so well

tinued to circle back to the Utzon drawings.

known. In effect, the new identity needed to be a sort of invitation. It was a tricky equation to settle, as any new identity had to be cohesive yet adaptable to any type of performance. It also had

“There was something very pure in going with Utzon’s actual solution for how to build the Opera House. Until he had this ‘eureka’ moment, they had the idea for the architecture, but couldn’t

to be strong, yet not detract from productions or products.

determine how to build it,” says Burgess of the architect’s very Another difficulty, reports Catriona Burgess, general manager of

simple, four-piece drawing. The designers and client ultimately

Frost Design, was the general perception that there was no one

decided that this was indeed the best symbolic representation.

actually acting as host for the House. Many of the companies performing there had a much stronger presence than the site itself. The Opera House wanted to engage with its audiences more effectively and bring on commercial revenue streams

In the final solution, the typography is also cranked way up. The words Sydney Opera House increase in size and step up like a rising crescendo. The ascending type is also evocative of the steps that lead up to the building. The type and the symbol are

more strongly.

used at large scale, projecting a strong personality no matter The original logo for the Opera House was a black box that

what the application. Strong, vibrant colors, inspired by colors

contained the shapes of the “sails” of the architecture

Utzon himself had used in the interiors, also inspired

and very small type. At small scale, the type was

the identity. In effect, the words and logo “perform”

almost unreadable, and because it could only be

each time they are used. The brand essence is all

used in black and white, it felt too formal and not

about “live performance every day.”

energetic enough. “It is often tempting to throw things out and reinvent Frost undertook many explorations, but all involved

them,” says Burgess. But in this case, she adds, the

the sails, which management felt was necessary in

first idea was still the best one.

original logo

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D United States of the Art C United States of the Art 1D D Ion Design Inc. C Shift Consulting 2A D Dino Design C Southwest Autism Research 2B D Marlin C Oxidize Candle Co. 2C D LSD C yoblog (in spanish “yo” means “me”) 2D D The Action Designer 3A D Mayer Creative C six eighty martini bar 3B D Ben Reece C The Stolen Music Project 3C D Karl Design Vienna C Karl Design Vienna 3D D Big Three C Big Three Classic 4A D eggnerd C Thanks 4B D Fitting Group C Fitting Group 4C D Robin Linsey C Tomato Tragedy 4D D Copia Creative, Inc. C Styletex D Vestigio C Truffa 5B D Cato Purnell Partners C Viiew 5C D Sebastiany Branding & Design C Vittas 5D D El Paso, Galeria de Comunicacion C El Paso, Galería de Comunicación 1C

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D BMR Design+Advertising C EDASC 1B D Christian Rothenhagen C deerBLN 1C D Enterprise IG C Frank 1D D Born to Design C Fishhook for Crossings Community Church 2A D clicketyclick C Asquith London 2B D Research Studios C Alexander McQueen 2C D Bad Assembly 2D D DTM_INC C Singles 3A D Steven O’Connor C Sticky Industries 3B D Jeffhalmos C SeeSaw 3C D UpShift Creative Group C UpShift Creative Group 3D D FutureBrand BC&H C C&A 4A D Cocoon C Olin 4B D Kym Abrams Design C Susan Lloyd 4C D yarimizoshintaro C Slash 4D D Identica Branding and Design C WPO 5A D sparc, inc. C YogaLaurie 5B D CAPSULE C gear6 5C D Tomko Design C SIX 5D D Fauxkoi Design Co. C Pocket Hercules

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D Parallèle gestion de marques C Émergence entrepreneur 1B D Mattson Creative C Replenish 1C D On Design, Inc. C Silk Restaurant 1D D face C Edge Hill University 2A D Jawa and Midwich C Bus Magazine 2B D Essex Two C Positive Parenting DuPage 2C D Segura Inc. 2D D Steve’s Portfolio C Point B 3A D demasijones C Bloom Products 3B D Itu Chaudhuri Design C Merino India 3C D MSI C The Home Depot 3D D Phinney/Bischoff Design House C Bloga 4A D Sandstrom Design C McMillan Dental 4B D Brainding 4C D Yellow Pencil Brand Sharpening C Wordworks Corporate Ltd 4D D www.admarc.com C Custom Stitch D Fulcrum Design Corps, LLC C Ardor 5B D Rose/Glenn Group C Consensus Consulting 5C D Ginter & Miletina C designaudience.de 5D D Karl Design Vienna C Debitel AG (FCB Frankfurt) 1A

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D Calder Bateman C Piggyback Marketing 1B D Karl Design Vienna C Our history 1C D reaves design C Gear 1D D Extraverage Productions C Personal 2A D Organic Grid C Organic Grid 2B D Kevin Louis Design C Century Group 2C D Axiom Design Partners C TRG Properties 2D D Giotto C Podium 3A D Felixsockwell.com C Newsweek Votes 3B D Brainding C Zen Marketing 3C D BBDO NY C Pepsi South America 3D D joe miller’s company C Works/San José D fallindesign studio C Woodgood 4B D josh higgins design C Apostrophe Films 4C D KITAª | Visual Playground C goo germany 4D D Studio International C Croatian Ministry of Culture 5A D josh higgins design C parcel coffee & tea 5B D Tactix Creative C BZB.com 5C D 28 LIMITED BRAND C David 5D D Born to Design C Fishhook for Kingsway Christian Church 1A

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D Banowetz + Company, Inc. C Dallas Market Center 1B D reaves design C DDB EOTO 1C D CONCEPTO WORLDWIDE C Three O Five 1D D Cuie Creative C Chris Meintjies 2A D Kinesis, Inc. C Fabric of Vision 2B D Andrew Salituri Design C (for sale) 2C D substance151 C eco-coach 2D D Studio International C Vartilen 3A D Swash C Bukovina 3B D Tank Design C Insomnia Festival 3C D grow C Ramada Plaza Doha 3D D Sputnik Design Partners Inc. C Sputnik Design Partners Inc. 4A D Niedermeier Design C Onrax 4B D Andrew Salituri Design C The Infinite Good 4C D Judson Design C Aveon 4D D HMK Archive C Valley International Airport 5A D Chris Yin Design C Trigo 5B D Oxide Design Co. C Heme Management 5C D MFDI C Embryo Media 5D D KITAª | Visual Playground C KITAª

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D Jill Bell Brandlettering C BLT 1B D switchfoot creative C Kiyon 1C D Team Manila Graphic Design Studio C Neu Manila 1D D Shift design C BP PORTUGAL 2A D Hula+Hula C Cartoon Network Latinamerica 2B D orangetango inc. C orangetango 2C D Judson Design C Austin Java 2D D Giorgio Davanzo Design C Facelli Winery 3A D Mattson Creative C Fioli 3B D BBMG C Voxstox 3C D Cavalry Brand Development C Open Hospitality Partners 3D D pHd3 C next D Sommese Design C Sommese Design 4B D Fuelhaus Brand Strategy + Design C Wildwood Casino 4C D NP Graphic Design C Nikita Prokhorov 4D D Kommunikat C Muzeum Sztuki Nowoczesnej 5A D TOKY Branding+Design C Observable Books 5B D Hornall Anderson C Corridor 15 5C D Office C PICA 5D D Mindspike Design C Boom Coffee 1A

Belabumbum Identity Design Gardner Design, Wichita, Kansas

Belabumbum, “beautiful bottom” in

did use the image of the rear end—

Portuguese, is a thriving lingerie

it worked nicely because the belly

and

company

issue would not have to be shown

whose products are beautiful and

at all—but ultimately, they decided

full of personality—although its

that this was an approach that had

original logo was not. In fact, the

been done by many others already.

maternity

wear

company owners discovered that Other studies introduced the ideas

their thong-covered behind of a

of

mark wasn’t even being displayed in shops who otherwise loved their

ous garments; and of the female

whom are celebrities), the company,

One of the main problems with the old mark is that customers don’t generally associate thong-wearing with being pregnant. The art for the logo was also too complex for labels and embroidery, and it didn’t reduce well at all: The lettering that made up the thong melted into a black, uneven mass, especially unfortunate since Belabumbum is known for the pretty lace. Even with all of its shortfalls, some aspects of the old logo were to be kept, in order to preserve brand equity. The designers at Gardner Design (Wichita, Kan.), the firm that was selected for this redesign project, weren’t so sure that the shape of a woman’s behind was one of those items to keep. And working in the shape of a pregnant belly didn’t work all that well either. “The problem is, whenever we designed something that had two rear-end cheeks in it, pretty soon you weren’t sure if you were looking at a behind or breasts. With lingerie, it immediately raises the question of which end you are looking at,” explains principal Bill Gardner. “When you start studying what has been done for other maternity wear lines, you start running into lots of pictures of big bellies. We thought we could take both ideas further.” Art directors Luke Bott and Brian Miller created a number of different trials, each of which explored different directions. Some

meditation

elegantly looped thread and vari-

growing list of customers (some of

that matched its direction for the future.

and

metry; of fine fabrics by showing

elegantly sexy products. With its

whose products are produced in Brazil, needed a new identity

calmness

through the use of leaves and sym-

figure, this time, shown from the front. The direction that proved most promising did use the female form, but as a shape that subtly morphed into other symbols as well. “We looked at experiments that used flowers—as in a woman in bloom—to indicate pregnancy and beauty,” says Gardner. Bott’s final solution has this shape at its center. First, the viewer sees lace-trimmed panties and a pair of demurely crossed legs. Next, the flower shape reveals itself, and finally, after more study, a heart appears. A decorative cartouche plays up the client’s reputation for fine lace as well as the general prettiness and refinement of the product. “That’s where the shape of the crest came from,” Bott explains. The client actually liked the shape so much that Gardner Design decided to also use it for the clothing tag shape as well. When the logo is fully played out, it is accompanied by the name of the company, set with a familiar shape. “Belabumbum is a bouncy kind of word, and we decided to mimic that shape of the rear end in the type.” Selecting just the right color was critical. Miller selected a neutral, brown-edged pink for its ability to blend well with almost any garment color, but also for its sophisticated, feminine feel. “We had to think about where the logo would go in the future. A less saturated color will give the identity more longevity,” 89

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D Juuce Interactive C H20 Aggregation Services 1D D Judson Design C Broadway 5050 Diner 2A D Fresh Oil C AKA Logo Concept 2B D noe design C www.nowenjoy.com 2C D Aron Creative C Dogtag Media 2D D Chris Herron Design C Writers Circle 3A D Essex Two C Return On Inspiration 3B D Launchpad Creative C Digital Ensemble 3C D ComGroup C Tennis Channel 3D D Judson Design C Uncle Billy’s Brew and Que D OmniStudio Inc C The Franklin Partnership 4B D unfolded C swiss theater association 4C D Bukka Design C Neven Vision 4D D Salty Design Foundry C Marmalade Fresh Clothing 5A D Verge180 C Order Execution Services 5B D Lippincott C Maroc Connect 5C D Open C Houghton Mifflin, Boston MA 5D D Hula+Hula C Reactor 105.7 FM / IMER 1C

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D Richards & Swensen C Hilton Hotel 1B D Knupp & Watson C Rape Crisis Center of Dane County 1C D DTM_INC C frogbite 1D D Johnston Duffy C Johnston Duffy D Insight Design C Clotia Wood and Metal 2B D Yee C Yee 2C D Karl Design Vienna C HKDI / Hongkong Design Institute Competition 2D D Blacktop Creative C Kansas City Steak Co. 3A D Design Factory C RIAI 3B D Louise Fili C The Pink Door 3C D unfolded C Bruno Antognini 3D D LSD C jose antonio couse 4A D twentystar C Lijit 4B D dale harris C your octopus ate my mixtape 4C D Little Jacket C Make A Ripple 4D D BlausenLisi, LP C Neu Medical 5A D Indicia Design Inc C La Bella Vita 5B D Clare K. Barnes C vetrazzo 5C D Element C Jeni’s Splendid Ice Creams 5D D Studio International C HNS 1A

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D Brainding C iblogit! 1B D Ryan Ford Design C Self 1C D Shapiro Design Associates Inc. C Korey Kay & Partners 1D D Little Jacket C Carol & John’s Comic Book Shop 2A D Fifth Letter C NiftyNotes 2B D Rotor Design C Staub 2C D Banowetz + Company, Inc. C Hamilton Properties 2D D Kurt for Hire C Angry Waiter 4am 3A D Tactix Creative C US Postal Service 3B D united* C nyc skate parks 3C D TNOP & bePOSI+IVE C TNOP & bePOS|+|VE 3D D Cognition Design C Exile Presbyterian Church D Fossil C Fossil 4B D Banowetz + Company, Inc. C Prescott Realty Group 4C D Fifth Letter C NiftyNotes 4D D Zed+Zed+Eye Creative Communications C Heather Bielen Interior Design 5A D Form C Dazed & Confused / Topshop 5B D Mattson Creative 5C D Alphabet Arm Design C Alphabet Arm 5D D Hula+Hula C Hula+Hula 1A

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D Newbomb Design C Packy Malley Productions 1B D R&R Partners C Motor City Casino 1C D Sellout C mittwochs at monza 1D D Gardner Design C Wichita Riverfest Critters Band 2A D Bean Graphics C St. Paul UMC Youth Group 2B D FiveStone C Chick 2C D Logoidentity.com C Indigo Restaurant 2D D M3 Advertising Design C www.rocknrollwine.com 3A D pearpod C team razoo 3B D Team Manila Graphic Design Studio C Manilla Party 3C D AKOFA Creative C Self Promotional 3D D wray ward laseter C Arts & Science Council 4A D Extraverage Productions C Personal 4B D Launchpad Creative C The Royal Family 4C D I-Manifest C Potion 4D D Extraverage Productions C Mayo Chix D Grão Design C Doces 5B D Penhouse Design C offally county development board 5C D Banowetz + Company, Inc. C Standard Meat Company, Inc. 5D D Offbeat Design C Bald Freak Music 1A

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D Tactix Creative C Fuel 1D D Karl Design Vienna C City of Frankfurt 2A D Studio Oscar C Levi Strauss 2B D demasijones C Fuel Interactive 2C D Tilt Design Studio C Tilt Design Studio, Hamburg, Germany 2D D RAZAUNO C Nohemi Dicuru 3A D volatile C pod 3B D Shapiro Design Associates Inc. C Home Box Office, Inc. 3C D Ink Graphix C Club Bling 3D D DTM_INC C HeadRush Entertainment 4A D volatile C antidote 4B D Freelance Design C Jones Knowles Ritchie 4C D volatile 4D D I-Manifest C More Trees 5A D A3 Design C urban architectural group 5B D Banowetz + Company, Inc. C Dallas Market Center 5C D Kurt for Hire C Glowlab 5D D Woo Agentur C Comic Book 1C

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D tub C Lava Lounge 1B D Karl Design Vienna C Hippie 1C D Studio Oscar C Levi Strauss 1D D Jawa and Midwich C Uncommunicative C The River Church 2B D STUBBORN SIDEBURN C Hipposchemes 2C D Alphabet Arm Design C Benchmark Merchandising / Brad Peterson 2D D Woo Agentur C Luger/Music Booking Agency 3A D Canefantasma Studio C Canefantasma Studio 3B D Kurt for Hire C Glowlab 3C D Form C Laurel Records 3D D Intercity C London Weekend Television 4A D Canefantasma Studio C Visionaria 4B D Backyard 10 C sweet harmony 4C D tenn_do_ten C chico 4D D RAZAUNO C fashiongraphic 5A D Point Blank Collective C Pulse 5B D Rule29 C Push International 5C D PMKFA C LA VIDA LOCASH REC 5D D Eric Baker Design Assoc. Inc C Hells Kitchen Flea Mkt 1A

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D 13THFLOOR C Hot Wheels 1B D 13THFLOOR C Mattel. Inc 1C D 13THFLOOR C Hot Wheels 1D D Kevin Creative C Family/personal 2A D Stiles Design C Shazam 2B D stressdesign C Avoca Spring Water 2C D switchfoot creative C Orijin 2D D gtc media C Anthem 3A D Real PRO C Cornedo 3B D Gerard Huerta Design C Arista 3C D Raffaele Primitivo C Hydra 3D D NeoDG C FOX Italy D Microbot C Microbot Shell 2.0 4B D Ink Graphix C JUJU Records 4C D Microbot C LadyTom 4D D The Envision Group C Aztec Communications 5A D United States of the Art C superReal 5B D Via Grafik C Zorn Records 5C D the atmosfear C YWS Architects 5D D Addis Creson C Turn 1A

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D Delikatessen C HTS 1D D Karl Design Vienna C Waldviertler Blütenhonig 2A D BrandAid C Vivat Company 2B D Mad Dog Graphx C Simplify 2C D Jill Bell Brandlettering C Blue Note Records 2D D Killustration, Ink. C Hope Tree D Karl Design Vienna C Artina Tiernahrung 3B D 1 Design Source C Wegner/Anderson LLC 3C D Jon Burke Design C Red Devils Hockey Team 3D D Rotor Design C Uptown Swallows Softball 4A D Struck C Sweet Candy 4B D United States of the Art C Regimes end 4C D ashi & officeGREMINGER C alta rezia 4D D Shoofly C Red Letter Event Planning 5A D Judson Design C Zack Fuentes 5B D morrow mckenzie design C OluKai 5C D Disturbanity Graphic Treatment C Eclipse streetwear 5D D Faith C Bacardi 1C

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D Glitschka Studios C Tactix Creative 1B D Prejean Creative C Belle Tresse 1C D Glitschka Studios C Jim Henson / Disney 1D D Studio Oscar C Levi Strauss 2A D Canefantasma Studio C Visionaria 2B D Sanders Design C Alan Parsons 2C D JINIZM C Vessel Ideation 2D D 3rd Edge Communications C Pipeline D Blackout Creations C Paper Dolls 3B D Thinking Caps C The Howard Hughes Corporation 3C D Sebastiany Branding & Design C Aldo Segnini 3D D Off C Fish and Company LLP 4A D S Design, Inc. C Looper Brand 4B D Sebastiany Branding & Design C Ondina 4C D Brainding C Entracte 4D D Banowetz + Company, Inc. C Four Seasons Hotel 5A D Sakkal Design C Personal 5B D GSCS C Her Highnes Sheikha Maryam 5C D Faith C Revolve Clothing Co. 5D D GSCS C Madinat Jumeirah 1A

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HP Sauce Identity Design Unreal Design, London, United Kingdom

HP Sauce has long been the official

could not mimic and thereby profit by

sauce of Great Britain, at least in the

visually playing off of the brand’s equity.

hearts of its citizens. In fact, the sauce

They considered nearly 30 very British

has been produced for more than 100

images: For each, the nearly clichéd con-

years. A highly traditional and common

cepts were twisted so that they would

product, HP had been losing market

produce the smile that would involve the

share for many years to competitors,

consumer with this product specifically.

especially store brands (which clearly

Britannia was shown holding giant cut-

imitated

lery; British postage was adorned with

HP’s

very

conservative

label design).

“HP” rather than a value; a coat of arms was graced with a geyser of sauce.

HP, which stands for “Houses of Parliament,” was so engrained in the British culture that it had become

Everything was meant to refer directly to living in Great Britain.

somewhat invisible, simply fading into the wallpaper.

“They would remind people that HP is the sauce to buy, but in a humorous way,” Lewis says.

“The client wanted to promote their product as the real and true British brown sauce,” explains Tim Lewis, managing director of

The final solution is about as British and product-specific as it

Unreal Design, London. “People took the product for granted. If

could be: the Union Jack made out of the product itself.

you ask someone for brown sauce, they’re likely to give you HP brown sauce. But the brand recognition was still not good. HP hired an ad agency to pull together a campaign, who in turn asked us to take a look at an icon that would help sell the sauce as ‘The Official Sauce of Great Britain’ and accompany the press and TV ad campaign for this very British sauce,” Lewis says. The original logo was simply the letters “HP,” reversed out of a dark blue. The rest of the product label was grounded in patriotic colors of light blue and red: A line drawing of the Houses of Parliament also graced the label. All in all, it was a rather drab presentation. The Unreal designers were asked to preserve the color scheme and originate a more modern twist on HP. Something iconic that was highly personal to the product, something that competitors

100

“It really is sauce squirted out on a piece of paper,” the director laughs. “We had to do a lot of retouching to get it spot on—it was tricky. But what we ended up with is very specific to the product, and it’s more than just a 2-D logo: It comes out at you. Really, it’s so simple and relevant.” The logo design definitely commands a second look. The “media” is clearly sauce. The negative space it creates produces a secondary image, and the overall starburst effect is yet a third. “It’s clever, and it makes me smile,” Lewis says. Consumers and HP are smiling too: Product recognition has increased 23 percent since the ad campaign and logo have been launched.

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D Gardner Design C Polished 1B D Johnston Duffy C Market Blooms 1C D Jared Milam Design C Kilkenny’s Irish Pub 1D D Dotzero Design C City of Portland 2A D Tactix Creative C Elephant Pharmacy 2B D Niedermeier Design C Red Rocket 2C D Jeff Kern Design C Royale Builders 2D D Timber Design Company C IUPUI 3A D Karl Design Vienna C Palaestra / A. Oet 3B D Tactix Creative C Jim Eno / Sally Crewe 3C D Tactix Creative C Jim Eno / Sally Crewe 3D D Timber Design Company C Service Warehouse Corporation 4A D Hubbell Design Works C Bimbo Bakeries 4B D Popgun C Joe Manzare 4C D Banowetz + Company, Inc. C Moo Cheeses, L.P. 4D D seesponge C Mick’s Custom Bars and Barstools 5A D Black Crow Studio C Curtis Park Neighborhood Association 5B D Judson Design C Continental Airlines 5C D Judson Design C Continental Airlines 5D D The Pink Pear Design Company C Rummage 1A

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D reaves design C DDB 1B D Fixation Marketing C Greater Washington Sports Authority 1C D Identica Branding and Design C ITA, Industry Training Authority 1D D FLATFORM C Liza Kindred 2A D LogoDesignGuru.com C Icarus to the Sun 2B D Matchstic C Hawk Bros. Coffee 2C D Fossil C Fossil 2D D Praxis Studios C Margaux’s Restaurant 3A D Jon Kay Design C Starmen.Net 3B D design june C intramuros magazine 3C D Extraverage Productions C Personal 3D D Sayles Graphic Design, Inc. C MaDIKwe 4A D Timber Design Company C Drew Endicott 4B D Decoylab C 18th Street Fashion Show 4C D Fifth Letter C Melissa Reaves 4D D Hornall Anderson C Cold Standard 5A D Judson Design C Uncle Billy’s Brew and Que 5B D Braue: Strategic Brand Design C H. 5C D Decoylab C MK12 5D D Church Art Works C Camp Tadmor

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D Jamie Berger C Jonathan Daniel Photography 1D D Richards Brock Miller Mitchell & Associates C Little League Baseball D Studio Simon C Minor League Baseball 2B D Studio Simon C Minor League Baseball 2C D Oomingmak Design Company C Donruss Trading Card Company 2D D Studio Simon C Corpus Christi Hooks 3A D Glitschka Studios C Upper Deck Company 3B D Prazna Creative C Fullerton Flyers Booster Club 3C D Studio Simon C Burlington Bees 3D D Studio Simon C Golden Baseball League 4A D Karl Design Vienna C Audi Tennis Cup 4B D rajasandhu.com C Ulitimate Tennis 4C D Dogstar C The Players’Academy 4D D Double Brand C Hotel Sypniewo 5A D Ink Graphix C 08 Basket Sthlm 5B D Jamie Berger C Jonathan Daniel Photography 5C D Felixsockwell.com C nytimes 5D D 343 Creative C New York Knicks 1C

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Sticks, Stone & Dirt Identity Design OVO, Phoenix, Arizona

Sometimes a business name is so emblematic that

tool—began to emerge. “It’s a tactile element, like

a designer simply has to go with the flow. And when

sticks, stone, and dirt. We wanted to punctuate

the business owner is also a very dynamic person-

these, somehow,” says Durant.

ality, the designer really has no choice at all. The final design took its inspiration not only from Such was the case with Sticks, Stones & Dirt, a land

these items but also from the palo verde plant and

development company that offers exclusive custom

its leaves, a decidedly Southwestern reference, but

properties in the desert foothills of Arizona.

used here in a very subtle way. The colors they selected, green and desert brown, also spoke of the

“Our client is really a unique individual, a robust person with an irreverent sense of humor. He is the personality of the company. We tried to take cues from

area’s geography. Neenah Paper’s Eames-series paper played an important role in the identity as well: Its colors feel earthy and the paper tactile.

him, because there is so much competition in this marketplace among land developers,” says Kyle

Using thick, rounded lines played off of the nature

Hildebrant, partner with Ryan Durant of OVO Creative Group, the

of the area’s most common architecture, adobe, or mission-style

design firm that created the distinctive logo for the new compa-

buildings. The downward-pointing shovel indicates action, while

ny. Most development companies in their area take cues for their

the fan of leaves or branches at its top suggests healthy growth

logos and names from an individual’s surname or they have some

and even sunrise and new beginnings.

geographical root, such as being named after a nearby mountain or other landmark.

A happy accident occurred when the team discovered the logo worked both right side up

Another common trait for the area is to lean on

and upside down. Inverted, the leaves

Southwestern visual cues, such as Native

become roots, and the shovel becomes a new

American symbols or colors. The OVO team

sort of plant. The interplay creates a fun dia-

wanted to avoid this approach altogether.

logue with the viewer.

With such a distinctive name, the designers

The logo, the designers say, moved forward

knew that the logo would have to carry plenty

the notion of land development in a dramatic

of weight in terms of intrigue and/or surprise,

way. It synthesizes the nouns in the business’

not simply regurgitate the name and geogra-

name into a single distinct element that begs

phy. They had to be cautious, however, to not

further exploration.

let the design become too humorous or flip: The logo needed to quickly help build credibility for its client’s moderately high-end service.

“We’ve worked with this client for eight years on other projects, so we feel we know what he likes and doesn’t like. In this case, he loved the mark, he got the concept, and there

The designers began by exploring wordmarks, but the further they got into their trials, the symbol of a shovel—as an active

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were no revisions,” recalls Durant.

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D R&R Partners C Zach Brockhouse 1D D United States of the Art C Carsten Raffel 2A D Glitschka Studios C NFL License 2B D BRAND C ONeill Wetsuits 2C D Glitschka Studios C The Loud Room Podcast 2D D The Robin Shepherd Group C Urban Art Warfare 3A D EHA C Foto kompagniet 3B D interrabang design studio C Wicked Cow Entertainment 3C D Gyula Németh C The Hitchcock Experience 3D D Church Logo Gallery C Church Logo Gallery 4A D Glitschka Studios C Upper Deck Company 4B D Glitschka Studios C NFL License 4C D Glitschka Studios C Dork Apparel 4D D Baach Brand Design C Amp Fiddler 5A D Christian Rothenhagen C www.lewsadercollective.com 5B D Glitschka Studios C NFL License 5C D DesignLingo C Kupenda Auset Poet & Writer 5D D Regina C Republic of Regina 1C

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D Oxide Design Co. C Herc Publishing 1B D Felixsockwell.com C ty warner hotels 1C D Gardner Design C Neurology Consultants of Kansas 1D D Miriello Grafico, Inc. C Iapyx Medical 2A D Richards & Swensen C Redman Moving and Storage 2B D Karl Design Vienna C Flint Group USA (Q GmbH) 2C D Lunar Cow C PFFL 2D D United States of the Art C Carlo Krüger 3A D Brady Design Ltd C The Ron & Fez Show 3B D Fuelhaus Brand Strategy + Design C Santa Fe Eyes 3C D Kinesis, Inc. C Smart’s Publishing Group 3D D eggnerd C eggnerd D Glitschka Studios C Rap Musician (Ghosted Me) 4B D Glitschka Studios C California Edison 4C D Knupp & Watson C Goodwill Industries of South Central Wisconsin 4D D MSI C Ready to Learn Partnership 5A D piedra papel y tijera, Inc. C Punto T, Inc. 5B D Shawn Huff C Austin Boyd Huff 5C D bob neace graphic design, inc C Kansas Food Bank 5D D TNOP & bePOSI+IVE C Reggae Smile 1A

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D MiresBall C Taylor Guitars 1B D Karl Design Vienna C Joy & Toy 1C D Mirko Ilic Corp C Paradoxy Products 1D D Pikant marketing C Kremenko 2A D Campbell Fisher Design C Maricopa Partnership for Arts & Culture 2B D rajasandhu.com C Jayne Hancock Group 2C D Bürocratik C QuickBuy 2D D LCD Incorporated C Memogo 3A D DZIWANI MONTEIRO, EI C Ologa Telecomunicacoes 3B D Fusion Advertising C alan hodges 3C D Dotzero Design C Dotzero 3D D Weylon Smith C Fellowship Bible Church 4A D Strange Ideas C Pari 4B D United States of the Art 4C D Glitschka Studios C White Rhino Productions 4D D Felixsockwell.com C iowa 5A D Felixsockwell.com C fastcompany.com 5B D Insight Design C Newer Technology 5C D Duffy & Partners C Pangea 5D D Felixsockwell.com C asset mgmt 1A

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D Bystrom Design C Techware 1B D POLLARDdesign C POLLARDdesign 1C D Rick Carlson Design & Illustration C AnswerStream 1D D Kendall Creative Shop, Inc. C Leather Apron 2A D Unit C Next Aid 2B D Redbeard Communications Inc. C Damm Cold Ice 2C D One Minute Hero C Internet Film Festival 2D D Via Grafik C mp7 club 3A D Soffer Adkins Advertising C Midtown Miami 3B D Houston & C Wolters Kluwer Health 3C D Kommunikat C creative community 3D D Karl Design Vienna C R. Schuch, Austria 4A D Gyula Németh C Personal Politics 4B D Gyula Németh C Personal Politics 4C D Gyula Németh C Personal Politics 4D D Gyula Németh C Personal Politics D Hula+Hula C Cartoon Network Latinamerica 5B D STUBBORN SIDEBURN C DJ Tanaka 5C D STUBBORN SIDEBURN C pricky 5D D STUBBORN SIDEBURN C STUBBORN SIDEBURN

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D MSI C Kohl’s 1B D Prances Torres C Little Lollypop 1C D Go Welsh! C Music for Everyone 1D D Shawn Hazen Graphic Design C Web 2A D BBDO NY C Sick Girl 2B D Banowetz + Company, Inc. C East Dallas Developmental Center 2C D Anoroc C Seedlings 2D D reaves design C reaves design 3A D Kjetil Vatne C Soria Moria 3B D Hyperakt C Downtime 3C D Sabin Design C Tot Pots 3D D ADC Creative Group C Corporación Dinant 4A D PETTUS CREATIVE C Jackson Paul Pettus 4B D Church Art Works C interlinc 4C D Gyula Németh C Nogapaz Azucar 4D D Tactix Creative C Firedog 5A D Escobas C Tiypo Magazine 5B D Launchpad Creative C Dolly Levi’s 5C D Gary Sample Design C Dearfoams 5D D Black Barn Brand Design C The Bouffants 1A

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D Jeff Kern Design C Lighthouse Childrens Shelter 1B D Dotzero Design C Dotzero 1C D transittus C New York Society for Ethical Culture 1D D Disturbanity Graphic Treatment C Self promotional 2A D KITAª | Visual Playground C KITAª 2B D Device C Maxim 2C D Le_Palmier Design C die poolfamilie 2D D Team Manila Graphic Design Studio C Edge of Light Photography 3A D Bite! C wheres me culture 3B D Jelena Drobac C Jelena Drobac Ideashop 3C D Tetro Design Incorporated C The Jon & Jeret Company 3D D 3 Advertising LLC C Light Switch Studio 4A D Straka C ProsiebenSta.1 Media AG 4B D Giotto C Arts Americas 4C D Design by Sam C DC 480 4D D Allen Creative C Burning Vision 5A D Ziga Aljaz C ekologika 5B D darjanpanic.com C Darjan Panic 5C D MSI C The Carter Center 5D D Valmont Comunicación C Francesc Marty

Gajba Identity Design Brandoctor, Zagreb, Croatia

“‘Gajba’ literally means ‘a crate of beer,’” explains Brandoctor art director Igor Manasteriotti. “In Croatian slang, the word also means ‘the crib,’ as in an apartment or a place to hang out.” The name as well as the type and personality of the business introduced plenty of possibility. Explorations that included representations of beer, bubbles, drinking glasses, and people were all tried, but one concept jumped out almost immediately. The rectangular form of the crate was the same shape as a building. By adding a door, a couple of windows, and a few silhouettes of people, the crate was transformed into a visually interesting, almost Escher-like illustration: an actual crate that is simultaneously populated by bottles and people. Through the top of the crate—or is it the roof?—beer bottles are visible. Through the window—or handle—bar patrons can be seen. Illustrator Davor Rukovaniskii executed the art using a linecut style of art. Manasteriotti felt this was an appropriate style: “We didn’t want the logo to look too modern or minimalistic, since the Gajba is a bar in the center of Zagreb, Croatia, mostly frequent-

interior of the bar isn’t designed that way,” he says. “This portrays

ed by actors and other theater enthusiasts, as well as design stu-

the bar as a fun, friendly, relaxing place.”

dents and professors from a nearby university. It has a rather downtown European atmosphere: Plenty of dark beer and end-

Playful typography, called Thunderbird, was used above the door

less conversations are enjoyed there.

to produce a saloonlike look. Sans serif typography under that is a link with the former name of the cult bar that Gajba replaced.

The bar owner had worked for a posh hotel chain in Dubrovnik. When he moved to Zagreb, he wanted to open a place with much more warmth and friendliness. He approached Brandoctor, a specialized branding agency and sister company of Bruketa&Zinic, a Zagreb-based design firm, to establish that visual identity for his new establishment.

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D Karl Design Vienna C All living creatures 1D D Glitschka Studios C Microsoft 2A D Dogstar C McKee Bakery 2B D ICOM C Gersant 2C D Storm Design Inc. C MetTech 2D D Zambezy Creative Agency C Detel provisions 3A D Kevin Creative C Suburbia Advertising 3B D J.Williams Design C Sparky 3C D LeBoYe C Samuel Securitas Indonesia 3D D Range C MEG (Marketing Executives Group) 4A D Tactix Creative C Brock Asset Management 4B D Range C Farstar Marketing 4C D Tip Top Creative C Tom Douglas Restaurants 4D D Felixsockwell.com C fortune magazine 5A D Nissen Design C Bettie Rocket Records 5B D Double Brand C Foudation 5C D Carol Gravelle Graphic Design C Restorative Exercise 5D D Insight Design C Flint Hills College 1C

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D Graham & Wayman C Togo’s Sandwiches 1B D Stevaker Design C It’s Going Going Gone 1C D Dogstar C Big Indian Carp 1D D Dogstar C Brasfield and Gorrie D Bryan Cooper Design C Boy Scouts 2B D Little Jacket C Make A Ripple 2C D Barnstorm Creative Group Inc C Heavy Fab 2D D Glitschka Studios C Upper Deck Company 3A D Doppio Design C OPTUS Telecom 3B D switchfoot creative C Eureka 3C D Felixsockwell.com C no one man 3D D Qualitá Design C Alubauen Windows 4A D mad studios C babyfirst 4B D S4LE.com C ninjastars.ca 4C D United States of the Art C Spreadshirt 4D D United States of the Art C usota Shirts 5A D Romulo Moya / Trama C FG Psychologist 5B D Norwegian Ink C Speedy Gonzalez 5C D Knupp & Watson C Cambridge Vets 5D D meltgraphica C grandcafe 1A

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D LeBoYe C LeBoYe 1B D Creative Beard C Culture Pop Clothing 1C D Lizette Gecel C The Sorrell Company 1D D BlueSpark Studios C Ad*itive for Reebok 2A D Paul Ducco C Wingman Clothing Co. 2B D Salty Design Foundry C Rain Shadow Mortgage 2C D Integer Group C Integer 2D D Substrate C Henke D Lift Off Strategy & Creative C Hired Hands 3B D LeBoYe C Lyman 3C D Foundry C Compton Strategies 3D D Elevation Creative Studios C Elevation Creative Studios 4A D APSITS C Space Music 4B D Reactivity Studio C International Skate Park 4C D Strange Ideas C Elevation 4D D FUEL Creative Group C Short Stuff Printing 5A D APSITS C Latvian National Forests 5B D reaves design C OPRF 5C D Dogstar C Sidewalk Film Festival 5D D Cass Design Co. C McNeilly Center for Children 1A

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D re:form llc. C Spinning Plates 1B D Zed+Zed+Eye Creative Communications C Livecane Productions 1C D Keziah C Decathlon 1D D Keziah C Keziah 2A D Dogstar C Target 2B D El Paso, Galeria de Comunicacion C Buchmann Editions 2C D RD Design C Bonne Bonne Fantasy Housecleaning 2D D Combustion C Elvis Presley Enterprises 3A D Toledo Area Metroparks C Metroparks of the Toledo Area 3B D Diagram C Kulczyk Holding 3C D rehab communication graphics C SDM Marketing 3D D APSITS C ST 4A D El Paso, Galeria de Comunicacion C io community 4B D Launchpad Creative C Alternative Missions 4C D design june C harrap’s 4D D Polemic Design C Six Degrees Dance Company D Born to Design C Fishhook for Trader’s Point Christian Church 5B D Whet Design, Inc C Metropolitan Opera 5C D Sloat Design Group, Inc. C Wardrobe for Opportunity 5D D Red Design C Mercury 1A

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D Delikatessen C REWE AUSTRIA 1B D Monster Design Company C Garden Fresh 1C D Rotor Design C Cooks of Crocus Hill 1D D ADC Creative Group C Milanos 2A D Catch Design Studio C PMJ corporation 2B D Kari Piippo Oy C Et 2C D Murillo Design, Inc. C Atlas Culinary Adventures 2D D Insight Design C Riffles Coffee Compay D TOKY Branding+Design C Butler’s Pantry 3B D Webster Design Associates Inc. C Butler 3C D Storm Design Inc. C Senkowski Photography 3D D Storm Design Inc. C Mark Dumadge illustration 4A D Felixsockwell.com C fastcompany.com 4B D Felixsockwell.com C runners world 4C D Insight Design C New Energy Chiropractic 4D D Felixsockwell.com C herman miller 5A D Giotto C YogaStudio 5B D Storm Design Inc. C My Harmony Life 5C D Sebastiany Branding & Design C Santo Corpo 5D D Spitfiregirl Design C Octavia Morgan 1A

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D Tom Law Design C Zen Solutions, Inc. 1B D Union Design & Photo C Driving Guru 1C D lunabrand design group C Got It Covered 1D D Gardner Design C Belabumbum 2A D J.Williams Design C Gerber 2B D Strange Ideas C Pari 2C D J.Williams Design C Gerber 2D D Switch Branding & Design C Hannover Fair 2000 3A D Dogstar C Red Mountain Theatre 3B D Ewert Design C New Community Vision 3C D Fixation Marketing C DYNAXYS 3D D AtomicaStudio C Chanent 4A D Lumino C Urbano 4B D Office For Design C New Life Pharmaceuticals 4C D Lisa Starace C SANDAG 4D D elf design C Push 5 5A D Carol King Design C ChildSpace 5B D Adstract Art C Ringwood Church of Christ 5C D Kari Piippo Oy C Ballet Mikkeli 5D D Addison Whitney C Genzyme

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D LSD C un mundo feliz / a happy world production 1B D El Paso, Galeria de Comunicacion C 100% creativity 1C D transittus C National Abandoned Infant Program 1D D Second Shift Design C Julianna Smoak Voiceovers 2A D GetElevatedDesign.com C Elevated Design 2B D More Branding+Communication C More Branding 2C D Pierpoint Design + Branding C Expedition Church 2D D Crave, Inc C Coppercom 3A D Upside Design Co. C Theatre Seven 3B D Gateway Communications C Northwest Family Services 3C D yarimizoshintaro C icon lounge 3D D Fulcrum Design Corps, LLC C Fulcrum Design Corps, LLC 4A D Felixsockwell.com C sdn21 4B D Felixsockwell.com C sdn21 4C D seesponge C DaimlerChrysler 4D D TraffikGroup C Truestar Health 5A D Duffy & Partners C Susan G Komen for the Cure 5B D DesignLingo C CG 5C D Creative Zumo C Dr. Barry Schwartz 5D D Mattson Creative

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D Hershey/Cause C Glendale Community Foundation 1B D Palko C Children’s Memorial Hospital 1C D Univisual C Fandis 1D D Kevin France Design, Inc. C Market Authority 2A D Freelancer 2B D Karl Design Vienna C Dortmunder Brauerei (Delikatessen) 2C D KROG, d.o.o. C Government Media Office 2D D jeda creative C On the Move Staffing 3A D Details Communications C Forest Hills Baptist Church 3B D MSI C The Carter Center 3C D Gridwerk C Keystone Biologicals 3D D New Medio C Addison Group 4A D Second Shift Design C Georgia Baptist Convention 4B D Studio GT&P C 4C D BrandExtract C Faithgroups.com 4D D Marc Posch Design, Inc C Justin Rudd/CAT 5A D Bystrom Design C MedPlans Partners 5B D MSI C The Carter Center 5C D 28 LIMITED BRAND C WFC 5D D Karl Design Vienna C Karl Design Vienna

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D Pear Tree Design C The Deep End 1B D Cognition Design C The Shouting Sprout 1C D Pennebaker C Natural Rhythms 1D D Murillo Design, Inc. C KGB Texas 2A D Rivera Design Group Ltd C Vancouver Olympic Organizing Committee 2B D Gustavo Machado Studio C Miami International University of Art & Design MFA Program 2C D Gillen’s Army C Nathan Hanlon 2D D Double Brand C Poza Showroom 3A D br:Verse C Advertising Icon Museum 3B D ARTini BAR C Hansel & Pretzel (proposed) 3C D Rome & Gold Creative C Rapid Response Crisis Care 3D D Tank Design C OK Frisør 4A D Carrihan Creative Group C Your Home Theater 4B D Strange Ideas C Personal 4C D Lindedesign C Personal 4D D Graphica C Greensboro Children’s Museum 5A D San Markos C mmart 5B D reaves design C reaves design 5C D reaves design C reaves design 5D D Ziga Aljaz C portal for games 1A

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D Karl Design Vienna C Constanze Mendl Ernaehrungsberatung 1B D FireGirl C Teatro Helena Sá e Costa 1C D swink C Eschelon Telecom 1D D MSI C The Carter Center 2A D Gardner Design C Polished 2B D Felixsockwell.com C coca cola 2C D Jerry Kuyper Partners C Conductor 2D D Glitschka Studios C White Rhino Productions 3A D Red Design C dcarbon8 3B D FutureBrand C Sensis 3C D Joseph Blalock C Stand Up and Rock 3D D 13THFLOOR C Hot Wheels 4A D Thrive Mediarts C San Diego Junior Theatre 4B D Elephant In The Room C Rightclick 4C D Glitschka Studios C Zehnder Communications 4D D Ink Graphix C Natural Talent 5A D Diagram C Universiade Poznan 2007 5B D Calagraphic Design C Calagraphic Design 5C D Extra Point Creative C Kyler Wilson 5D D Alphabet Arm Design C Dan Millen 1A

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D motterdesign C Tailor 1B D Espial C Jozi Hand Crafts 1C D Patlejch C Comdes 1D D R&R Partners C Woolaston Estates Winery 2A D Ginter & Miletina C Artemisia 2B D Gardner Design C 2C D Tetro Design Incorporated C Sundragon Studios 2D D Gyula Németh C Amnesty International 3A D Impressions Design and Print Ltd C Creative Minds Store Ltd 3B D Gibson C Physio on the River 3C D Whaley Design, Ltd C Printing Arts 3D D R&R Partners C Stop 7 Workshop 4A D brossman design C Institute for Suburban Living 4B D NP Graphic Design C Connecticut Guitar Society 4C D Diagram C Human Rights Watch 4D D Jelena Drobac C Dadov 5A D HMK Archive C H. Michael Karshis 5B D Niedermeier Design C Sara’s Massage 5C D reaves design C Clearbrook 5D D MSI C The Home Depot 1A

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D Caillet C LA Net / USC 1B D CAPSULE C Handi Medical Supply 1C D Kitsh C Second Chance 1D D Allen Creative C World Bridge Ministries 2A D Steve’s Portfolio C SK Designworks 2B D unfolded C trustmojo 2C D switchfoot creative C Eureka 2D D Parallèle gestion de marques C Clinique d’ophtalmologie de la Cité 3A D MSI C The Carter Center 3B D Giotto C City goverment 3C D Daniel Sim Design 3D D Tim Frame Design C ESC D Crave, Inc C South Florida Water Management 4B D MSI C The Carter Center 4C D Electric Easel Designs, Inc. C My Kids Camp, LLC 4D D Publidesign C Banco Santander / Santiago of Chile 5A D Matchstic C On the Streets 5B D Spitfiregirl Design C Dr. Clue 5C D Banowetz + Company, Inc. C NorthPark Center 5D D The Woodbine Agency C Lamp 1A

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meli Meli Identity Design Tompert Design, Palo Alto, California

Designer Claudia Tompert credits a favorite client with possess-

Clothing from meli Meli is “dress-up inspired,” says Tompert. It

ing a particularly valuable wisdom. “She is a fashion designer and

also has a sense of vintage, clear European flair, and a real atten-

also a graphic designer, but she had the vision to have someone

tion to detail. Her solution would have to convey all of these

else handle the identity for her clothing company. It’s hard to let

aspects through just four letters—m, e, l, i.

go when you start out, especially when you have the graphic design skills. But she had the big picture for her company and focused on her clothes instead,” says the principal of Tompert Design (Palo Alto, Calif.).

The final design accomplished all of that. It is based on a modified script font, called Mrs. Blackfort, that Tompert said already had the right amount of swing. She enhanced that spirit by giving more body to some forms and aligning the flow in other spots.

Her client began her business with a small collection of children’s clothing in 2005. Since then, she has created six collections that include more than sixty different pieces each. Her company—meli Meli, which is Greek for “honey honey”—now has goods carried in more than 100 children’s boutiques. It had clearly outgrown the wordmark the company founder had designed at the very start. This original mark included an image of a bee and flowers—a nod to the honey reference—and childlike type. The design did not make the new company stand out: In fact, it looked like many other children’s clothing labels. In addition, because the meli Meli

She added the real energy of the mark, though, through other details. First, she added brackets and a burst. “Without these, the design was just too plain for children’s clothing. These provide a kind of childlike flair, and they indicate the detail of the clothing,” Tompert explains. “The brackets also hold everything together. We didn’t need a big container shape.” Perhaps the most unique aspect of her design is the use of a little “m” and a big “M,” not in the order most readers would expect to see them.

logo often had to be reproduced on cloth tags in embroidery, a notoriously low-res medium, the old mark was just too compli-

“Wearing meli Meli clothing is like dressing like mom. This put the

cated to “print” clearly.

little girl first in the fashion equation, and the design almost looks like daughter and mother holding hands. We tried other configu-

Because of the limits on reproduction and also because the new

rations, but this looked most balanced.”

identity should not compete with the design of the clothing, Tompert knew that any new design needed to be simple. It also would

Colors had to be chosen very carefully, as the color of the cloth-

have to be broad and adaptable enough to be successfully

ing that the logo would adorn would always be changing. For the

applied to new collections each season.

base colors, Tompert selected a red-brown for the word and a peachy tone for the accents. The colors read well and, used

“Once we had all of the clothes on the table, it became very clear

together, are attractive yet neutral.

that we should go for a wordmark,” Tompert says. “But that meant we would have to convey the feeling of the clothes in just a

The new logo had a great response when it was released in 2006.

few letters.”

Tompert says it is has a childlike sense, but elegance as well. The type sculpts the expression, while the accents add detail and sophistication.

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D 13THFLOOR C Hot Wheels 1D D Strange Ideas C Hate 2A D Felixsockwell.com C ad age 2B D Sheehan Design C Boy Scouts Troop 355 2C D Blackout Creations C InkPoison Clothing 2D D Natoli Design Group C Hard Volume LLC 3A D LSD C un mundo feliz / a happy world production 3B D Baach Brand Design C Voodoo 3C D United States of the Art C superReal 3D D Raffaele Primitivo C Personal 4A D Device C Death Ray 4B D 13THFLOOR C Hot Wheels 4C D Glitschka Studios C Glitschka Studios 4D D Tactix Creative C Lucky 57 Customs 5A D POLLARDdesign C Valley Ice Arena 5B D Storm Design Inc. C Factory 69 5C D wray ward laseter C minsoo pak 5D D VIVA Creative Group C Demonic Cycles 1C

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D Storm Design Inc. C Factory 69 1B D United States of the Art C superReal 1C D Brainding C Deviltube 1D D wray ward laseter C patrick mclean 2A D FUEL Creative Group C Hell Bent Sales 2B D Octavo Design Pty Ltd C Gluttony Restaurant Bar 2C D Device 2D D BBDO NY C Breaking Records D Strange Ideas C Angel Flights 3B D Selikoff+Co C Landor / International Rescue Committee 3C D DesignWorks Group C Patterson Dealerships 3D D Tank Design C Filmfalken 4A D dale harris C blank expression 4B D Reactivity Studio C Office Angels 4C D greteman group 4D D Jason Kirshenblatt 5A D Marlin C Sweet Street Desserts 5B D FIRON C Digital Angel 5C D Chris Yin Design C Princess Angelina 5D D O.D.A. C Rubicor 1A

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D Glitschka Studios C Florida Art Director 1B D Lindedesign C Book 1C D 360ideas C Pingbat 1D D Cavalry Brand Development C Meisel 2A D Kahn Design C Envoy Systems 2B D Image Now 2C D Rotor Design C Seamonkeys Softball 2D D Egg Design Group C Gage Roads Brewing 3A D The Robin Shepherd Group C FLUID Surfboards 3B D Elephant In The Room C Fleet Feet 3C D Louise Fili C The Mermaid Inn 3D D Gardner Design C Amerimerc 4A D Karl Design Vienna C Spitzner Arzneimittel (FCB Frankfurt) D Karl Design Vienna C Spitzner Arzneimittel 4C D Raffaele Primitivo C immacolata 5 4D D Karl Design Vienna C Karl Design Vienna 5A D Impressions Design and Print Ltd C Griff-Inn Leisure Group Ltd 5B D Fresh Oil C Mainland 5C D Sara Delaney Graphic Design C Boston Latin Academy, Class of 1986 5D D Phinney/Bischoff Design House C Fifth Avenue Theatre 1A

4B

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D Glitschka Studios C Fire Squad 1B D Glitschka Studios C Upper Deck Company 1C D FireGirl C FireGirl 1D D Angelini Design C Scatolificio Alca 2A D Tim Frame Design C Ironhead Athletic 2B D Lunar Cow C PFFL 2C D Raffaele Primitivo C Wise Design 2D D Evenson Design Group C Vistamar School 3A D Rickabaugh Graphics C Clorox, Inc. 3B D Prazna Creative C Sentinels Baseball 3C D Gyula Németh C Personal 3D D Raffaele Primitivo C hydra 4A D Astro C Watch Dog Inc. 4B D Gary Sample Design C on line contest to design logo 4C D Twenty Twelve C Hubert H White 4D D Storm Design Inc. C busy busy baby D DZIWANI MONTEIRO, EI C Associacao Arte pela paz 5B D Bystrom Design C Bicycle Sport Shop 5C D Strategic America C Incentive Trip 5D D Trapdoor Studio C Waveyard 1A

Bikey Identity Design Karl Design, Vienna, Austria

While Andreas Karl was working for

the middle and a vertical beam

Knut Hartmann Design in Frankfurt,

below. Just three static elements

Germany, he was handed a unique

without any emotion,” Karl says.

logo design project. The design firm had a new client called Verkehrsverbund Rhein-Ruhr. The VRR is the biggest transportation union, providing train, bus, and subway transportation to the Rhein-Ruhr area (named for the Rhein and Ruhr rivers in the middle of Germany). The VRR wanted to start a brandnew rent-a-bike system in the region where customers could A) rent a bike to drive around the area, or B) park their own bikes in a lockable “bike garage” in the front of a train station before boarding a train, thereby protecting it from theft and the weather. There were no competing systems, and the client had not suggested a name at the start of the project: Everything was brand new. Customers would include anyone who liked to or had to ride a bike, so the age range was wide. As he began his design, Karl knew he wanted the logo to speak of bikes and the nature of this mode of transportation outright: An abstract symbol would not be direct enough. “So what form or symbol has the greatest portion of a bike in it? The wheels? The chain? The gears? The frame? I started to draw a front view of a bike with handlebar, front light and wheel, but the result was boring to look at: A horizontal beam on top, a circle in

Frustrated, Karl says he left for lunch at that point. When he returned, a “eureka” moment occurred: He deleted the front wheel and the light, gave the handlebars an upward curve, and added a seat. “The handlebar looked like a smiling mouth, and the seat like a nose. The only thing I had to do was add two eyes. I was looking into a smiling face,” the designer says. Five minutes later, he reports, the second miracle happened: The name for the new system popped into his head—Bikey, like the word smiley. The logo now appears on the boxes where bikes can be rented or deposited: red for rental bikes and blue for stored bikes. The bright colors and smiling logo are a bright spot, the designer says, in a region that has much coal mining and hence, much graying coal dust. “People who live here are working very hard for their living. Many of the old mines had to close due to cheaper coal imported from Russia and even China, so many people have lost their jobs,” says Karl, who now runs his own office, Karl Design in Vienna. “Some customers say that the smiling faces of Bikey are good for the morale of the Ruhrgebiet.”

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D B.L.A. Design Company C SC Opera, unused 1D D Substrate C KralNet 2A D Glitschka Studios C Upper Deck Company 2B D Delikatessen C RADEBERGER GRUPPE 2C D Glitschka Studios C Turkel 2D D Karl Design Vienna C Dortmunder Brauerei (Delikatessen) 3A D Tom Law Design C JEDD Fund Mgt. 3B D Karl Design Vienna C form Magazin / Deutscher Bundestag 3C D Itu Chaudhuri Design C Prerna centre of Learning 3D D Strata Media C Sage 4A D Mojo Solo C Falcon Labs 4B D Richard Underberg C Royal Air Force 4C D Roskelly Inc. C Adams Caps 4D D Karl Design Vienna C Fanatic Windsurfing 5A D Karl Design Vienna C Solutions Hamburg 5B D Parallèle gestion de marques C Cardinal Equipment 5C D Bureau Blank C Kristin Barret Brown 5D D Karl Design Vienna C Specht Rechtsanwälte 1C

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C = Client

D Friends University C Ark Church 1B D Mattson Creative C Hebraie Christian Global Community 1C D Design Nut C Family Ties Project 1D D Draplin Design Co. C Draplin Design Co. D Draplin Design Co. C Joe Tomlnson / Re:volve Apparel Project 2B D o2 ideas C EBSCO Industries 2C D Prejean Creative C Trinity Medical Center / Godwin Group 2D D eggnerd C Greenhill Academy 3A D Murillo Design, Inc. C Murillo Design 3B D Strange Ideas C Nebraska Hospice 3C D Norwegian Ink C Duen radio 3D D Murillo Design, Inc. C Calarus Group 4A D Cocoon C Hair Do Zoo 4B D Fresh Oil C Clock 4C D Storm Design Inc. C Songbird 4D D Fiton C N/A 5A D Strange Ideas C Tippery 5B D interbrand C Symbiq 5C D Tactix Creative 5D D Trapdoor Studio C Mary Maxine 1A

2A

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D Kari Piippo Oy C Kenkävero 1B D Pikant marketing C Chef Association 1C D Karl Design Vienna C Deutz 1D D Gardner Design C Stanley Martin 2A D Launch Design C Cocky Collins 2B D Joseph Blalock C Farm Fresh 2C D Juicebox Designs C Urban Hen 2D D Newbomb Design C On the Rise D bob neace graphic design, inc C Heaven Sent 3B D Sibley Peteet C El Pato Mexican Restaurants 3C D Studio Synthesis C Self Promotion 3D D Carrihan Creative Group C Arcane & Co. 4A D Axiom Design Group C Wild Goose Yoga Studio 4B D Ginter & Miletina C Walkabout 4C D Invisible Associates C Penguin Creative 4D D www.iseedots.com C Brinkley Design 5A D Selikoff+Co C Landor / Fort James 5B D br:Verse C Camp Portfolio 5C D www.iseedots.com C Covey Run 5D D Entermotion Design Studio C Sunflower Travel 1A

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Fish/Bugs/Reptiles

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C = Client

D Device C Spirit 1D D Synergy Graphix C Piranha Extreme Sports 2A D rajasandhu.com C Fire Fish Software 2B D Strange Ideas 2C D Reactivity Studio C Seaside Satellite 2D D Paragon Marketing Communications C Spaloon 3A D Judson Design C Zack Fuentes 3B D Subplot Design Inc. C Vancouver Aquarium 3C D Designland C sea kayak australia 3D D Draplin Design Co. C Dave England D Gary Sample Design C friend 4B D Ryan Ford Design C Collaborative Conservation Network 4C D STUBBORN SIDEBURN C jungle city 4D D Itu Chaudhuri Design C De Gustibus Hotels 5A D Kari Piippo Oy C Kuopion seurakunta 5B D Synergy Graphix C Whale Communications 5C D Duffy & Partners C Kerzner 5D D Jeffhalmos C Great White Productions 1C

4A

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D Judson Design C Cushman Wakefield 1B D Miriello Grafico, Inc. C PICSA Development 1C D Gardner Design C The Center 1D D OnionSkin C Gideon Cardozo Communications 2A D The Robin Shepherd Group C FLUID Surfboards 2B D Glitschka Studios C Deep Six Components 2C D Seamer Design C Hoddles Creek Estate 2D D Glitschka Studios C OrneryFrog.com 3A D Prejean Creative C Backroads & Bayous 3B D Prejean Creative C Lafayette Utilities System 3C D Inverse Paradox, LLC C Soma 3D D Glitschka Studios C Tactix Creative 4A D The Joe Bosack Graphic Design Co. C NFL 4B D Essex Two C Aerial Capital Management 4C D Kaleidoscope C Turtle Wax 4D D Cocoon C Gator Designs 5A D McConnell Creative C Serpent Lacrosse 5B D Gyula Németh C North Pest Vipers Football Club 5C D Jeff Fisher LogoMotives C Chameleon 5D D Colorblind Chameleon C Self Promotion 1A

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D

1

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C = Client

D Rusty George Creative C Illuminis 1B D Axiom Design Group C Chrysalis 1C D Soffer Adkins Advertising C PGA Commons 1D D Gardner Design C Lavish 2A D J.Williams Design C Gerber 2B D Strange Ideas C Botania 2C D Shift design C Selenis 2D D Liquidgraphic Design Inc. C Isabel Traverso D Absolu communication marketing C Greenbee 3B D Sebastiany Branding & Design C Informatec 3C D Hubbell Design Works C Nectar Industrial 3D D Storm Design Inc. C busy busy baby 4A D Studio Simon C Ripken Baseball 4B D Glitschka Studios C Templin Brink Design 4C D Graham & Wayman C Flypaper 4D D Tamara Kitchen C Grasshopper Marketing/L2C 5A D Axiom Design Group C I/O 5B D Tactix Creative C MacWorld Magazine 5C D El Paso, Galeria de Comunicacion C Torch Spain 5D D Zwoelf Sonnen C CHITIN 1A

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Sony PlayStation Identity Redesign Hybrid Design, San Francisco, California

PlayStation’s flagship store in San Francisco

them in a circle, rotating each repeat 15

is a modernistic, entirely glass canvas, so to

degrees, until he formed the complete

speak, just begging for art. Wrapping the win-

shape. Each snowflake represents a differ-

dows for promotions or holiday gives the

ent game.

store an entirely new look that attracts and re-attracts the attention of customers.

“I had to pick abstract images to make them read from a distance. If there was a tank or

In late 2005, PlayStation asked Hybrid Design

gun, that shape may be too concrete. But a

of San Francisco, to create iconic, logo-like

human shape can be more abstract: Those

graphics for the winter holiday season, but to

worked well,” the designer explains.

keep them nondenominational, non-eventspecific, and generic in color. Snowflakes

The finished designs have tremendous graphic appeal from a distance, but exam-

were the solution.

ined more closely, they begin “You can’t refer to any holiday,

to release more and more

and there were issues with col-

information.

ors as well: Red and green are “If you know the games, there is

Christmas, and that’s a Christian

that moment of discovery when

holiday. We can’t use their sig-

you figure out something that

nature colors, red and black,

maybe someone else has not.

because that leans toward

That’s what makes them fun,”

Kwanza. And, of course, we

he adds.

have to stay away from competitor’s

colors,”

explains

Hybrid principal Brian Flynn. Snowflakes were fine as a generic holiday symbol, but they weren’t personal to PlayStation at all: They could just as easily be used on a restaurant or clothing store or elementary school. Flynn had an idea for the 2006 holiday campaign that would take the everyday snowflake and make it very relevant to his client. He took small graphics and images from various PlayStation-platform-only games and formed them into snowflakes or wreaths. Using Illustrator, he isolated various visuals and began laying

138

The

new

snowflakes

were

played out in blue, white, and silver Mylar wallpaper that was applied to the flagship store’s windows. The store managers as well as Sony were very pleased with the installment. As customers approached the building, they were treated to a visual puzzle that always yielded reward as well as brand reinforcement. “Holiday graphics don’t have to be serious, and they don’t have to be cute,” Flynn says. “These graphics are very specific to PlayStation. You could not put these in anyone else’s store and have it make sense.”

A

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Animals

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C = Client

D Draplin Design Co. C Wurstminster Dog Show 1D D Modern Dog Design Co. C Modern Dog Design Co. D Loop Design C The Doghouse Hotdog Shack 2B D Vasco Morelli Design C La Honda Winery/Schneider 2C D Dogstar C Animal Shelters 2D D Squires & Company C Austin Dog Walker 3A D Unit C DogBlue 3B D Crain Associates C Black Dog 3C D Sibley Peteet C Dana Ranslem 3D D Bluegill Creative C Sun Dog D Sniff Design Studio C Blah Blah Woof Woof 4B D Bryan Cooper Design C Wiener Works 4C D STUBBORN SIDEBURN C Doggy Dog Society 4D D Sniff Design Studio C The Mutz Nutz 5A D The Robin Shepherd Group C Merial (proposed) 5B D danny woodard C Walton Kennel 5C D Dogstar C Animal Shelters 5D D Dustin Commer C Emily Weiss 1C

2A

4A

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D Sabingrafik, Inc. C Project Nate 1B D Extra Point Creative C Kyler Wilson 1C D Trapdoor Studio C IRobot 1D D Tactix Creative C Circuit City D Sound Mind Media C Dog Door Studios 2B D Liska + Associates Communication Design C Stay 2C D Bryan Cooper Design C Paws and Claws 2D D STUBBORN SIDEBURN C Magnet Eyes 3A D Via Grafik C bstrkt industries 3B D Gridwerk C GATOGORDO 3C D Diagram C Publicat 3D D Extra Point Creative C unused 4A D United States of the Art C Abby Meyer 4B D Form C Virgin Records 4C D Fauxkoi Design Co. C CatLick Records 4D D Glitschka Studios C Big Bocca Animation 5A D Glitschka Studios C Judah Creative 5B D richard zeid design C Regit, Inc. 5C D MSI C Golfsmith 5D D Niedermeier Design C Bremerton High School 1A

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C = Client

D Lunar Cow C PFFL 1B D Tactix Creative C Higley School District 1C D Fernandez Design C Lincoln Park Zoo 1D D Jobi C Sam and Shahir Ahmed 2A D MSI C Golfsmith 2B D Rickabaugh Graphics C Univ. of West Georgia 2C D Karl Design Vienna C Flying Foxes 2D D OnionSkin C Fox Builders D DesignWorks Group C Greyfox 3B D ashi & officeGREMINGER C stirato 3C D BarkinSpider Studio C Fox River Area Advertising Federation 3D D Lam Design Group C Lam Design Group 4A D jKaczmarek C HBO, Sopranos Fashion 4B D reaves design C reaves design 4C D CONCEPTiCONS C Cate Allen 4D D www.iseedots.com C On Time Construction 5A D Via Grafik C Red Moose clothing 5B D Howling Good Designs C Eventpower 5C D Zwoelf Sonnen C student work 5D D Sabingrafik, Inc. C Galena Ridge 1A

3A

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D Communication Arts C Kobel & Company 1B D Hubbell Design Works C Kootenai 1C D Calagraphic Design C Calagraphic Design 1D D IMAGEHAUS C The Firm D Design Hovie Studios, Inc. C Zebra Hill Marketing 2B D Studio Simon C Billings Mustangs 2C D Chris Herron Design C Eclipse Thermal Solutions 2D D John Thompson Design C Cavallino Airlines 3A D LeBoYe C Indo Cargo 3B D Spork Design, Inc. C Flying Horse Productions 3C D Valmont Comunicación C Cavall Blau 3D D FUSZION Collaborative C Montgomery County Public Schools 4A D A3 Design C mattamy homes 4B D MSI C Products Direct 4C D decadora C Texas Department Of Agriculture 4D D lunabrand design group C Toro Couture LLC 5A D Brainding C Harry’s Strip Club 5B D DTM_INC C Del Toro 5C D The Eppstein Group C frogbite 5D D Banowetz + Company, Inc. C Standard Meat Company, Inc. 1A

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C = Client

D Doink, Inc. C Burger King Corporation 1B D Essex Two C Camp Buffalo Cottages 1C D Hove Design Works C RedBear 1D D Sabingrafik, Inc. C Treasure State Bank 2A D Draplin Design Co. C Mob Distribution Scandinavia 2B D Launchpad Creative C The Mohawk 2C D Karl Design Vienna C Solutions Hamburg 2D D Formikula C T-Online 3A D Adams & Knight Advertising & Public Relations C Art Farm 3B D sparc, inc. C Northwestern Memorial Hospital 3C D o2 ideas C Jim ’N Nick’s 3D D Union Design & Photo C Deacon’s 4A D Karl Design Vienna C Karl Design Vienna 4B D Cavalry Brand Development C Luke’s Locker 4C D Karl Design Vienna C Hasler AG 4D D United States of the Art C Carsten Raffel 5A D Tilt Design Studio C Tilt Design Studio, Hamburg, Germany 5B D Prazna Creative C Ravage Hockey 5C D Cavalry Brand Development C Luke’s Locker 5D D Extra Point Creative C unused 1A

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D Miriello Grafico, Inc. C Disney 1B D DUSTIN PARKER ARTS C The Dark Scientists 1C D reaves design C Will Eikleberry Guitars 1D D Storm Design Inc. C busy busy baby 2A D BBDO NY C G4 2B D Raffaele Primitivo C Hydra 2C D Entermotion Design Studio C The Pink Monkey 2D D Glitschka Studios C Upper Deck Company 3A D Zwoelf Sonnen C Art of People 3B D One Minute Hero C environmental organization 3C D Mayer Creative C Tanzania 3D D EHA C Rhinosaurus 4A D dale harris C dale harris 4B D Glitschka Studios C White Rhino Productions 4C D Knupp & Watson C Steve Brown Apartments 4D D Antfarm Design C Warner Music Singapore D Studio Simon C New Hampshire Primaries 5B D The Branding Box C La Hacienda Montessori 5C D Savage Studios C Savage 5D D Rick Johnson & Co. (RJC) C New Mexico Museum of Natural History 1A

Smock Identity Design Hugonaut, Dublin, Ireland

Smock is a very small, very exclusive

explored another idea that used an

women’s clothing boutique located near

organic, vintage-looking shape which

Dublin’s Smock Alley. It sells designer

could be layered to create various pat-

fashions from Europe and Australia, most-

terns. But the bird gives personality to the

ly with a textural or vintage style, to

identity that patterning can’t.”

women who are usually aged between 25 The designer selected a typeface called

and 55.

Affair for the wordmark. After setting the Coincidentally and appropriately, “smock-

type, Nichols altered the “k,” adding the

ing” is a traditional method of sewing

swash on top, in addition to a now nee-

used to gather cloth and builds fullness

dle-and-thread-bearing bird.

and special interest in clothing. It’s the “I like the fluidity of the mark. The face

kind of textural detail in which the shop

has a ribbony, threadlike feel. The colors

specializes.

were also selected from the mood “The owners, Karen and Sue, come home

board,” she adds “The cobalt blue has an

from the shows and put together albums

exclusive, regal feel while the black gives

of the latest fashions. Then they call their

the identity strength.”

customers and invite them to look at what will be coming in for the next season,” explains Louise Nichols, Hugonaut designer who created the shop’s new identity. “It helps to create a very personalized shopping experience.”

Since its new identity was developed, the store owners have gone on to redecorate in kind. They have installed a custom made wooden counter, new mannequins, and wallpaper with a vintage sensibility. The feeling in the store is now very decorative, full of

The six-year-old shop did have an identity already, but it felt very

detail and attention.

contemporary. It did not reflect the vintage feel that its owners wanted to project.

Nichols created collateral that matched this feel too. The shop’s new bags are very detailed: a black uncoated stock on the out-

To help herself and the client to envision what the new identity

side with the identity in a pearl foil, a fine blue pinstripe on the

could be like, Nichols pulled together a large mood board con-

inside and black ribbon handles. The bags are tied shut with a

taining images of clothing, textures, vintage fabrics, and objects

blue ribbon. The clothes are wrapped in a cream pin-striped tis-

that reflected the personality of the store. She was attracted to

sue that is sealed with a branded sticker.

the illustrations of birds on many of the fabrics. Their femininity seemed a good match for the store.

“It’s a real treat to open the packages,” the designer says. “Everything has been created to make the customers feel very special.”

Nichols created what looks like a hummingbird. “I like the fact that its wings have a layered or pleated look,” she says. “I

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D TOMPERTDESIGN C OsteoCorp 1D D SPATCHURST C NSW Department of Housing 2A D Karl Design Vienna C Landesgartenschau Wuerzburg 2B D design grace C Bag The Habit 2C D The Mixx C Metrostop 2D D The Logo Factory Inc. C Green Energy Consultants 3A D Dogstar C Birmingham Greenways 3B D MSI C Dalen 3C D Doppio Design C Department of the Environment and Conservation 3D D Shawn Huff C Self Promotion 4A D GCG C City of North Richland Hills 4B D Richards Brock Miller Mitchell & Associates C Red Leaf Bottling Company 4C D Parallèle gestion de marques C Maplemark 4D D MMG Worldwide C Mystic Country D Sussner Design Company C Target Commercial Interiors 5B D Hahmo C Emil Aaltonen Memorial Fund 5C D Karl Design Vienna C dm Drogeriemaerkte (KHD) 5D D Glitschka Studios C Scherer Bros Lumber Company 1C

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D = Design Firm

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D MSI C The Home Depot 1B D dale harris C sasi marketing / eden 1C D Brainding C Formula CDB 1D D Selikoff+Co C Landor 2A D Brand Engine C Frontier Natural Foods 2B D Taylor Design C Marble Hill Chocolatier 2C D Intrinsic Design C Epoch 2D D Walsh Associates C Joi Aesthetics 3A D LogoDesignGuru.com C Cactus & Ivy 3B D Archrival C Group 1869 3C D switchfoot creative C Infinite Aloe 3D D Dotzero Design C WalkerMay Landscape Architects 4A D Mattson Creative C Forestgate 4B D Steve’s Portfolio C JEG Design 4C D Kiku Obata & Company C Pedcor 4D D Root Idea C Root Idea 5A D Sibley Peteet C Temple 5B D DONATELLI+ASSOCIATES C Hoyt Arboretum 5C D Graham & Wayman C Comfortable Sleep 5D D Design Nut C The Nature Conservancy 1A

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D = Design Firm

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D UlrichPinciotti Design Group C Resources for Healthy Living 1B D Cabbage Design Company C Boon 1C D Identica Branding and Design C corporation of the district of Maple Ridge 1D D Gabriel Kalach • V I S U A L communication C BeColorful 2A D GrafiQa Creative Services C Otsego County Arts Festival 2B D Communication Arts C Merrill Companies LLC 2C D Karl Design Vienna C HKDI / Hongkong Design Institute Competition 2D D Karl Design Vienna C Mag. Baurek OHG Wien 3A D S4LE.com C Lily Ultimate 3B D Grão Design C artti 3C D Insight Design C Sun Garden Classics 3D D Sibley Peteet Design – Dallas C Haagar Clothing Company 4A D Funk/Levis & Associates, Inc. C Sustainable Business Initiative Task Forcee 4B D Sandstrom Design C Bossa Nova Beverage Group 4C D Morgan/Mohon C Judith & Jean Pape Foundation 4D D Walsh Associates C Linnaeus Learning Gardens D FORGE Worldwide C LABBB Collaborative Programs 5B D Sebastiany Branding & Design C Vitale Café 5C D Strategy Studio C Annette Cosmetics 5D D 3 Advertising LLC C Premium Properties 1A

A

B

C

D

1

2

3

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D = Design Firm

C = Client

D Shelter Studios C Teaism 1B D Shelter Studios C Urban Yoga 1C D Courtney & Company C IMC Group 1D D Ulyanov Denis C linkeeper 2A D Diagram C Estrada Poznanska 2B D IMAGEHAUS C Open Garden 2C D Alphabet Arm Design C Tennessee Hollow 2D D visualchemist C visualchemist 3A D Communication Arts C Joseph Freed & Associates 3B D The Action Designer C Rett & Slett 3C D Diagram C Gruszecki 3D D Inertia Graphics C Inertia Graphics 4A D This Gunn for Hire C Thank You Plants 4B D UlrichPinciotti Design Group C Toledo Botanical Garden 4C D Printt Diseñadores, s.c. C Grupo Loma 4D D Cato Partners NZ Ltd C NZBus D Funk/Levis & Associates, Inc. C Seventh Mountain Resort 5B D Gardner Design C Sparkys Garage 5C D Birchtree Creative Services C Acorn Creative 5D D wray ward laseter C Springs Industries 1A

5A

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D Gardner Design C Willow Creek Designs 1B D Dogstar C Cactus Jerky 1C D LogoDesignGuru.com C Arizona Collectors Association 1D D Timber Design Company C Timber Design Co. 2A D Walsh Associates C Philbrook Museum of Art 2B D Knupp & Watson C Clean Air Works 2C D Mindgruve C Lasting Impression 2D D Dotzero Design C PDG 3A D DTM_INC C Big Tree 3B D Indigo Creative C Olive Tree Imports 3C D R&R Partners C Woolaston Estates Winery 3D D KITAª | Visual Playground C stofanel italia 4A D Sloat Design Group, Inc. C Epic Aromas 4B D Dotzero Design C Trullenque Plantations & Gardens 4C D Dotzero Design C Tree Leaf Music 4D D R&R Partners C unused 5A D Gardner Design C Willow Creek Designs 5B D jKaczmarek C Morningside Community 5C D Diagram C Bank BPH 5D D EHA C Bygteq

A

B

C

D

1

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D = Design Firm

C = Client

D GCG C City of North Richland Hills 1B D Hiebing C Fiskars 1C D San Markos C treecolor studio 1D D Identica Branding and Design C corporation of the district of Maple Ridge 2A D Tactix Creative C Rancho Valley 2B D Tactix Creative C Whispering Palms 2C D Kiku Obata & Company C Stoltz 2D D Phanco Design Studio C Kirk DeVerteuil 3A D ThinkDesign Group C Birch Clothing 3B D Hubbell Design Works C NestLife 3C D Bluespace Creative, Inc. C Boulders Conference Center 3D D Evenson Design Group C Family Camp 4A D demasijones C Bethany Wines 4B D Evenson Design Group C Luna Coffee & Tea Co. 4C D dale harris C sasi marketing / loddon shire 4D D Manifest Communications C Pine River Institute 5A D Sebastiany Branding & Design C Fertibom 5B D More Branding+Communication C INCOG 5C D Mindgruve C Lasting Impression 5D D LeBoYe C Assaland 1A

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D Brandinglife C Blue Ocean 1B D Najlon C town RIJEKA 1C D Courtney & Company C The Ritz 1D D lunabrand design group C Ferguson Enterprises D Glitschka Studios C White Rhino Productions 2B D Murillo Design, Inc. C Community Health Products 2C D Harkey Design C Digital Dervish 2D D Karl Design Vienna C Euroschnee GmbH 3A D Judson Design C Claire Judson 3B D imedia communications C Moisson Clair de Lune 3C D designlab,inc C Neatman Lawn Service 3D D danny woodard C Primerica 4A D Rusty George Creative C Metropolitan Development Group 4B D Carrihan Creative Group C Four Suns Bakery 4C D www.admarc.com C SinoSolar 4D D Mattson Creative C 5A D Zwoelf Sonnen C Solymas 5B D Glitschka Studios C White Rhino Productions 5C D Felixsockwell.com C cF&P Snapple 5D D Tunglid Advertising Agency ehf. C Samvin Travel 1A

Downtown Doral Identity Design Iconologic, Atlanta, Georgia

“We said the entire time we were working through ideas that what we create should look good and appropriate on sewer covers,” adds creative director Matt Rollins. So instead of designs that used palm fronds as tropiIt isn’t often that a designer’s goal for a new logo is to make sure it looks good on a manhole cover. But that’s what the Iconologic (Atlanta) design team wanted when it created a new logo—actually, an “anti-logo”—for a new building project. Downtown Doral is a mile-square building development within Doral, a small city adjacent to Miami, Fla. The new development is literally being built from the ground up. At this writing, it is a business park with twenty office buildings, almost all of which will be razed to make room for a new town center complete

cal enticers, they used them in the same way a crest might use an olive laurel: Incorporating green elements was crucial to the design, as the developers were stressing plenty of green space in their designs. In other experiments, the designers incorporated an egret, a bird common to the area. Because anyone visiting the area would see the birds standing serenely, up to their knees in the water, the creatures might come to be seen as mascots for the new development. Other designs used concentric circles to symbolize a city centered on a vibrant downtown. In all of their trials, the designers had to avoid leaning on any one historical or architectural style, as all of the new buildings would have their own style.

with paseo, city hall, library, school, park, condos, and office and

“Many developments here have a very trendy look that’s tied to

retail spaces.

their architecture. They’re promoting the latest hot apartment or

Doral is a city with no notable historical underpinnings: In fact, it is named for its founders, Doris and Al Kaskel. Its lush location, surrounded by palm trees and ocean, held promise as ingredients

condo tower, and are usually ultra-refined or ultra-minimal or very expressive. We did not want this edginess. This place is meant to be a real home,” Rollins explains.

for a new identity and logo for the project, but prototypical Florid-

The design that was ultimately chosen incorporated many of the

ian scenery would not provide enough differentiation and dis-

elements they had studied—fronds in a winglike span, greens and

tinction to catch the attention of new residents and investors.

blues to represent the geography, and a pair of concentric Ds.

What the project needed was authenticity—not as an artificial

The new system is very easily separated into parts: For instance,

environment like a gated community or resort, but as a real home-

the Ds can be used alone as a very large or small graphic, as a

town where a family or business would like to put down roots.

readable element or as abstract art. They can also be used as the

“We began our design work by studying what other cities do for

centerpiece for the palm wings.

their logos,” explains Elise Thomason, Iconologic’s designer for

The design also includes the words Downtown Doral set in a com-

the project. “Most don’t have a logo, in the conventional sense.

panion face for Baskerville called John Sans. It has a warmer,

They usually have a seal that is more municipal in appearance.

more European feel than Helvetica. It’s familiar, yet commercial

We needed to ‘undesign’ a logo, to go against our natural inklings

and informational, Thomason says, which fits their civic theme.

as designers to create a highly tweaked logo, like we would for a hotel. That’s what led us to the quieter, more civic appearance of

“The design is place appropriate. It speaks of the heart of the

all of the trials. We wanted to ground the design in civic life.”

city,” she adds. 153

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D Watts Design C Blackwood Studios 1B D Carrihan Creative Group C STIR 1C D RDY C rad fabrik 1D D Diagram C Pulsar 2A D Freelancer C Bangles 2B D Orcada Media Group, Inc. C Threads 2C D maoStudios C genuinsanity 2D D GrafikOnline C GUBA, USA 3A D X3 Studios C Helios 3B D KITAª | Visual Playground C explocentre paris 3C D Anoroc C Coats + Bennett 3D D Gardner Design C Medistem 4A D Enterprise IG C Invista 4B D Diagram C Parkridge Real Estate 4C D Glitschka Studios C Templin Brink Design 4D D Lippincott C IBM and Freescale D Miriello Grafico, Inc. C Qualcomm 5B D Angelini Design C Peugeot International 5C D Double Brand C Long term car rent 5D D Mary Hutchison Design LLC C Large Left Brain LLC 1A

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D jKaczmarek C Heineken, Vinyl Sessions 1B D More Branding+Communication C INCOG 1C D Creative Beard C redhotchilipeppers.com 1D D Draplin Design Co. C Snowboard Magazine 2A D Crave, Inc C Vuru 2B D Mattson Creative C 888 San Mateo 2C D G2 C lennar 2D D KITAª | Visual Playground C KITAª 3A D Creative Beard C redhotchilipeppers.com 3B D Selikoff+Co C Pomology 3C D Identica Branding and Design C Shikatani Lacroix/CBS 3D D Communication Arts C Cortex Companies D Octavo Design Pty Ltd C IT People, Recruitment 4B D Carol Gravelle Graphic Design C Trinity Therapeutics, Inc. 4C D Chris Yin Design C Wimax Forum 4D D Sputnik Design Partners Inc C Yorkville Fitness 5A D Octavo Design Pty Ltd C C31 5B D LWD Graphics C MPDQX records 5C D Adrenaline Design C self 5D D Offbeat Design C iArchitect 1A

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D Glitschka Studios C Microsoft 1B D Grapefruit C BrandCamp 1C D Gardner Design C Catalyst 1D D Mattson Creative C Digital Chalk 2A D dialog C PentaSensorial 2B D KITAª | Visual Playground C kinotex sensor gmbh 2C D Research Studios C Macromedia 2D D Gardner Design C Carta Energy 3A D Gardner Design C Carta Energy Capital 3B D Pappas Group C Nimaya 3C D traci jones design C Blue Sky Market 3D D Gardner Design C Martens Appraisal D Paragon Marketing Communications C Boubyan Bank 4B D Gardner Design C OpSpring 4C D Identica Branding and Design C Canada Place Corporation 4D D Gardner Design C Martens Appraisal 5A D Gardner Design C OpSpring 5B D Jeff Kern Design C Hope Educational Foundation 5C D Gardner Design C MVP Architects 5D D rajasandhu.com C Alatau City of Khazakstan 1A

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D Intrinsic Design C Mobillar 1B D Gardner Design C Carta Energy Capital 1C D ArtGraphics.ru C Instalsite 1D D KITAª | Visual Playground C designforum b 2A D Communication Arts C Cortex Companies 2B D Studio International C Mediterranean Games 2C D Strategy Studio C USA Track & Field 2D D SooHoo Designers C Concord 3A D Bluespace Creative, Inc. C Nishna Valley Bioenergy, LLC 3B D Research Studios C Hankook 3C D BrandExtract C Hughes Watters Askanase 3D D Copilot Creative C National Board of Surgical Technology and Surgical 4A D Research Studios C Macromedia 4B D Oxide Design Co. C Heme Management 4C D Kurt for Hire C Elizabeth Cruz 4D D Biamerikan Inc. C Sunset Steel 5A D ReDesign C 4A architects 5B D Paul Ducco C Linked Solutions 5C D stressdesign C HDL Property Development 5D D switchfoot creative C Artsons Wire 1A

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D Richards Brock Miller Mitchell & Associates C Baylor Tom Landry Fitness Canter, The L Spa 1B D Red Design C Trap 1C D LCD Incorporated C Panasonic Europe 1D D Sebastiany Branding & Design C Marcelo Suzuki 2A D Octavo Design Pty Ltd C 25Seven 2B D POLLARDdesign C POLLARDdesign 2C D Mig Reyes C Isaac Meritt Singer 2D D Octavo Design Pty Ltd C Tomas+Tomas, Paint Finishes 3A D Zed+Zed+Eye Creative Communications C Hilliard’s Electric 3B D demasijones C Rapid Wall Building Technologies D Steiner&Co. C The Hongkong and Shanghai Banking Corporation 3D D KROG, d.o.o. C Abama, Ljubljana 4A D Jeff Kern Design C MGA 4B D Strange Ideas C Nebraska State Chambers 4C D Brainding C Mixplay 4D D Archrival C Kopsa Otte5A D Abiah C The Flagg Group 5B D Mad Dog Graphx C Alaska State Chamber of Commerce 5C D TOKY Branding+Design C Appistry 5D D Gabi Toth C Halo Consulting 1A

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D Effusion Creative Solutions 1D D Glitschka Studios C ScottHull.com 2A D Gardner Design C Belabumbum 2B D Emmi Salonen C EMMI 2C D Sandstrom Design C Mars D M3 Advertising Design C AIGA Las Vegas 3A D Studio Minuta 8 C Katrina And Beyond 3B D Paragon Marketing Communications C Kuwait Heart Center 3C D Click Marketing Solutions C Katrina Urban Poet 3D D Shapiro Design Associates Inc. C Institute for Mental Health Initiatives 4A D United States of the Art C United States of the Art 4B D Soffer Adkins Advertising C Spa 11 4C D BrandExtract C Institute for Advanced Cardiovascular Care 4D D Chris Herron Design C Donna Katherine Dick Memorial Golf Tournament 5A D Weber Design Inc. C not used 5B D eggnerd C Pamela Egner, DDS 5C D Unit C Artists for Peace 5D D Communication Arts C Telluride Foundation 1C

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D Ziga Aljaz C Swing bar 1B D Calagraphic Design C The Hurricane Poster Project 1C D Christian Rothenhagen C deerBLN 1D D FiveStone C Model Home Project 2A D br:Verse C WaterReuse 2B D Johnston Duffy C T bar 2C D Entermotion Design Studio C Engine Maxx 2D D Fiton C EGO gas stations 3A D Richard Underberg C Royal Air Force 3B D Miriello Grafico, Inc. C TaylorMade Golf 3C D Keziah C Keziah 3D D innfusion studios C INNFUSION, INC 4A D Primal Media C Primal Media 4B D Copilot Creative C Firecutter 4C D Octavo Design Pty Ltd C Verve, Restaurant Bar 4D D rainy day designs C Smoke Modern Barbeque 5A D Jerron Ames C Arteis 5B D Sussner Design Company C Reflections 5C D R&R Partners C Vegas Rock Dog 5D D LSD C un mundo feliz / a happy world production 1A

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D Steve’s Portfolio C www.thehurricaneposterproject.com 1B D Tactical Magic C Guardian Angel Pet Rescue 1C D Union Design & Photo C Southwest Medical Reimubursement 1D D Daniel Sim Design C Medtech Solutions 2A D Mississippi State University C Design Aid Center 2B D o2 ideas C Alabama Quality Assurance Foundation 2C D TMCA, Inc. C Midlands Legal Nurse Research 2D D Church Logo Gallery C ForGodsSake.net 3A D Rocket Science C Ethicon Endo 3B D Richards & Swensen C Terra Travel 3C D Bystrom Design C Consider It Sold 3D D Ryan Cooper Design C Thomas Cottle 4A D FutureBrand BC&H C Cultura Inglesa 4B D Miriello Grafico, Inc. C Iapyx Medical 4C D Astuteo C fairtradeculture.com 4D D Sussner Design Company C Success Group 5A D QUANGO C General Transportation 5B D Gardner Design C Liberty Capital 5C D Bystrom Design C Touchstone Energy Cooperatives 5D D Sibley Peteet C Temple 1A

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D Chris Yin Design C Olympic 2008 1B D Cavalry Brand Development C Junior Players 1C D CONCEPTO WORLDWIDE C TEXAS FILM FESTIVAL 1D D rajasandhu.com C Imagine That! 2A D Designland C illusions 2B D Design Hovie Studios, Inc. C City of Seattle 2C D Gideon C Caribbean Hotel Association 2D D MSI C Ready to Learn Partnership 3A D Felixsockwell.com C nytimes 3B D Tandemodus, LLC C Pearson Scott Foresman 3C D Cacao Design C Eulda Books 3D D San Markos C Domksaizki 4A D Miriello Grafico, Inc. C Disney 4B D R&R Partners C Clark County School District 4C D Shawn Huff C Dana Huff 4D D Graphic C First Baptist Concord 5A D Rome & Gold Creative C Shepherd School 5B D MSI C Ready to Learn Partnership 5C D Karl Design Vienna C Karl Design Vienna 5D D Karl Design Vienna C Europe for Peace

HEAD Identity Redesign /DEPARTMENT, Zurich, Switzerland

While it might be interesting to learn that Alpinists

The designers wanted to portray the company as an

mount skins with a fine fur coating onto the bases of

ultra-progressive sports brand. For Brunschwiler and

their skis when ascending slopes, basing the design

Eisenhut, HEAD was much too stiff, too technology

of a contemporary company’s logo on that fact might

and product driven. They wanted HEAD to be an

not be entirely workable. This is where athletic equip-

emotional brand with a more vivid and emotional

ment designer and manufacturer HEAD found itself

feel—and ultimately with an identity that looked

in 2004.

toward the future of the company.

“The mark wasn’t just antiquated, it was just wrong.

The agency explored, among many other ideas,

It was too heavy, like a logo from some sort of Aus-

incorporating the ski tip device as the letter A or into

trian Oktoberfest,” says Ollie Brunschwiler, partner

the name HEAD. More than 1,000 sketches were pro-

with Johannes Eisenhut for the Swiss design firm

duced over several months, but the designers circled

/DEPARTMENT. The original logo showed a ski tip

back to a design that was based on the shape of the

with a hole in it, drilled to allow the user to tie

original logo. It was, however, very different in mood

on skins.

and motion. A dynamic arc houses a dot that can be construed as the original hole in the old logo, an indi-

The original logo was created in 1950, when HEAD was one of the most innovative ski producers in the

vidual in motion on a steep slope, or the head of a racquet hitting a ball.

world. Former aeronautical engineer Howard Head and founding father of the HEAD ski company is credited with the

“This was the shape that was already known,” explains Brun-

invention of laminated skis and later—as the company diversified

schwiler. “There was clearly heritage in it. It’s like the Nike

into tennis and other racquet sports—the aluminum frame rac-

swoosh: It would simply be a mistake to rework that.”

quet. In 1970, at age 60, Head sold his company to AMF. In 1988, HEAD opened a new plant in Austria to consolidate racquet and ski manufacturing. Enthusiastic ski racer and current chairman Johan Eliasch took over the company in the mid 1990s.

Today the new HEAD corporate identity is successfully implemented across all divisions—ski, racquet sports, snowboards, and licenses. In addition to the progressive redesign of the original logo, /DEPARTMENT introduced the bold hue orange as

In 2001, HEAD wanted to meld in a newly purchased snowboard

HEAD’s new corporate color. HEAD orange is incorporated

company into the HEAD brand family. That’s when the sports

throughout the design, but perhaps most innovatively in a very

company first contacted Brunschwiler and Eisenhut—both for-

specific photography concept with which the company advertis-

mer snowboard professionals.

es its products and brand. Photos of high-profile athletes are highlighted with tinges of orange. /DEPARTMENT also created a

The successful launch of the HEAD snowboard division leapfrogged the Zurich-based design firm to a new peak: In 2004,

modular, clean-cut design framework and a custom-made HEAD font for the brand.

/DEPARTMENT won the pitch for HEAD’s new corporate design. “HEAD is a company that is traded on the stock market. And if “We don’t see corporate identity as a separate discipline. Along with classic advertising and communications in general, we see it as one. For us, corporate identity is the root of a tree, the blossom is communication and in the end, the fruits are the products. That’s why we asked HEAD to start from scratch—to consider

you want shareholders to invest, they have to feel the dynamic of the company. This is not some insurance company. The new brand is progressive and young. It has to be credible with snowboarders and free-skiers. There is a new feeling, a new attitude in the company now: It is motivation,” the creative director says.

changing everything,” Brunschwiler explains. 165

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D SAT ONE C Personal 1D D Curtis Sharp Design C Terri Hanson Photography D Howerton+White C christopher clark photography 2B D JASON GRUBE DESIGN C Swanstrom Photography 2C D David Clark Design C Ralph Cole Photography 2D D Brainding C Home Pie Studio 3A D Brand Content C Nantucket Film Festival 3B D Headwerk C Farfalla Films 3C D Fifth Letter C Shawn Lynch 3D D Rule29 C Furnace Films 4A D RIGGS C Scarf and Screen Columbia 4B D NonlinearNYC.com C Aumuller Levinson Casting 4C D Shelter Studios C Picture Factory, llc 4D D Storm Design Inc. C StorMusic 5A D Creative Beard C Stellfire Entertainment 5B D Glitschka Studios C California Edison 5C D jKaczmarek C Amazon 5D D Inertia Graphics C Inertia Graphics 1C

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D Alphabet Arm Design C Kay Hanley, Michelle Lewis 1B D Steven O’Connor C DJ Moonbaby 1C D HMK Archive C Totally Bitchin’ Recording 1D D PMKFA C YES KING 2A D Gabi Toth C SoftNews NET 2B D Savage Studios C Gianpula Entertainment 2C D Le_Palmier Design C SONY BMG Music Entertainment Inc. 2D D nazy alvarez C Radio 93.1 Miami 3A D Formikula C Titus Vollmer 3B D Formikula C Titus Vollmer 3C D Go Welsh! C Music for Everyone 3D D Karl Design Vienna C Villa Musica (Kienow & Partner) 4A D chemi montes design C AU department of performing arts 4B D Dogstar C DogStar 4C D Hubbell Design Works C Big Brass 4D D Trapdoor Studio C Dallas Pops Symphony 5A D Graphic C City of Maryville 5B D Sayles Graphic Design, Inc. C People’s 5C D Airtype Studio C Rock & Roll Hotel, DC 5D D Deuce Creative C Divisi Strings 1A

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D Studio grafickih ideja C Naklada MD 1B D Extraverage Productions C Personal 1C D Disturbanity Graphic Treatment C Self promotional 1D D Judson Design C Rockport Art Festival 2A D Shelley Design+Marketing C AARP/NRTA 2B D Tactix Creative C www.twelve4one.com 2C D Carol Gravelle Graphic Design C American Academy of Motion Picture Arts & Sciences 2D D Sebastiany Branding & Design C writers from Rio 3A D Mattson Creative C Digital Chalk 3B D asmallpercent C Creative Arts Ministry 3C D Communication Arts C Rocky Mountain Collage of Art & Design 3D D Draplin Design Co. C Draplin Design Co. 4A D Hornall Anderson C Entrepreneurs and Innovators for the Environment 4B D Analog Format C threeonesix pr 4C D Strange Ideas C International Quilt Study Center 4D D fallindesign studio C Fashion House Elena Tsvetkova 5A D Fresh Oil C Table 28 5B D www.iseedots.com C Anything Amish 5C D Jon Burke Design C Feed Nova Scotia 5D D Cacao Design C Micromega 1A

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D Felixsockwell.com C premiere 1D D Stiles Design C 665 Almost Evil 2A D Cabbage Design Company C Connal Hughes 2B D BBK Studio C Creative Byline 2C D Think Cap Design C Cranz Greenwood 2D D Draplin Design Co. C Draplin Design Co. 3A D Tactix Creative C trafficschool.com 3B D Gridwerk C Sally Katz 3C D eklektos C Arising Group 3D D Tactix Creative C Jim Eno / Sally Crewe D Felixsockwell.com C NJ Monthly 4B D TOKY Branding+Design C Thinking Cap 4C D Conover C Shake That Brain! 4D D Richards Brock Miller Mitchell & Associates C Gold Capital Management 5A D Mindspike Design C Your Fallen Majesty 5B D El Creative C Premier Futbol Club 5C D Strange Ideas C Lincoln Marathon 5D D Joseph Blalock C Madhatter Services 1C

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D Chris Herron Design C Weeplay 1B D Murillo Design, Inc. C Design & Thread 1C D Gardner Design C Belabumbum 1D D Extraverage Productions C Intel 2A D Tactix Creative C MacWorld Magazine 2B D Wm. LaVigne Design, Inc. C Target Corporation 2C D Gardner Design C Dandurand Drugs 2D D Marlin C Bath Lab 3A D o2 ideas C Luckdog Day Care 3B D Norwegian Ink C Nordisk film 3C D Sabin Design C Kent Burnett DDS 3D D wray ward laseter C self D Cato Purnell Partners C Malcolm Sargent Cancer Fund 4B D Swanson Russell Associates C Project EverGreen 4C D HMK Archive C TG&O 4D D Dotzero Design C Dotzero 5A D DONATELLI+ASSOCIATES C Reign 5B D Archrival C Jim Esch for Congress 5C D Prejean Creative C Simon & Schuster 5D D Design Army C Signature Theatre 1A

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D BlaseDesign C Truckee Book & Bean 1D D Touch Branding C Cafe Bohemia 2A D Felixsockwell.com C dunkin’ pitch 2B D Go Welsh! C Gold Cafe 2C D Tandem Design Agency C Good Harbor Coffee & Tea 2D D Tetro Design Incorporated C Human Bean 3A D Dotzero Design C Marco Polo Coffee 3B D Tandem Design Agency C Grand Traverse Pie Company 3C D Strange Ideas C Good Cup 3D D Mez Design C Chris Keiser 4A D Spork Design, Inc. C Liquid 4B D MGPdesign C WineCHATr.com 4C D Printt Diseñadores, s.c. C MP Restaurantes 4D D Judson Design C Johnny Carrabba 5A D Angelini Design C Baglioni Hotels 5B D rajasandhu.com C Bistro 1689 5C D Círculodiseño, SC C coca cola mexico 5D D Matchstic C Bottlecap Programming 1C

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D KW43 BRANDDESIGN C 1B D UpShift Creative Group C ProntoZa Pizza 1C D Karl Design Vienna C Bagel Star 1D D Sebastiany Branding & Design C Villa Grano 2A D sparc, inc. C Herman Miller 2B D Graphica C Kernel Kustard 2C D Strange Ideas C Chow Drop 2D D Tactix Creative C Elephant Pharmacy 3A D Noble and Associates C Mommies & Muffins Breakfast Club 3B D Entermotion Design Studio C Marshmallow Kisses 3C D Artnak C Egg 3D D KZ creative C Bobov Lotto D Shawn Hazen Graphic Design C The Laurel Soup Wagon 4B D Yamamoto Moss Mackenzie C Second Harvest Heartland 4C D Shelter Studios C Starland Cafe 4D D Evok Advertising C Greens & Grille 5A D substance151 C Lee’s Ice Cream 5B D CAPSULE C Snap Pea 5C D Into the Pan C Dinenr at Six Personal Chef Service 5D D Gardner Design C Anjou Bakery 1A

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Humane Society Identity Design Euro RSCS, Chicago, Illinois

When most people hear the words

To avoid the “spokes-animal” quandary,

Humane Society, they think of that place

Janas’ team experimented with all type

where you go to adopt a puppy. But the

designs, but these did not have the

Humane Society of the United States is a

warmth of a design that would contain

different entity entirely (although the

actual

representations

of

animals.

organization may help local facilities in

Because they could not use just one crea-

various ways). HSUS is a nationwide ani-

ture, they began to consider a mosaic of

mal advocacy and welfare organization

different animals. This was a popular

that works to enforce animal welfare leg-

idea, but again the question was raised:

islation. And it wasn’t suffering an identi-

Which ones?

ty crisis simply in concept: It had a logo “We originally wanted to have animals

that looked positively grim, simply two

from the sea, air, and land. We knew that

lines of heavy, all caps type.

would represent everyone,” Janas says. The Chicago office of Euro RSCG was

But the final decision of exactly which

asked to help create a new identity for the

creatures was ultimately made by the

organization, which works to stop every-

client: Three dogs represent pets, pit bull

thing from horse and seal slaughter, facto-

fighting, and greyhound racing. Two cats

ry farming, animal fighting, puppy mills, and hunting, to factory

represent pets and wildlife/exotic pets. The monkey can repre-

farming, animal testing, pet abandonment, the keeping of exotic

sent animal testing or circus animals.

pets, and mistreatment of wild animals. Once the final choices were made, the list was given to illustraOne of the dilemmas the Euro RSCG team faced was that every

tor Michael Schwab, who created an amazing balance between

targeted organization housed beneath the HSUS umbrella—such

positive and negative space in the shape of the United States. No

as Pets for Life, for instance—had developed its own logo and

matter what size the logo is used, the shape of the United States

identity, none of which related to each other or the parent organ-

easily emerges. The individual animal shapes remain clear

ization. So there was no public recognition that all of these worth-

and simple.

while groups were working together. “It’s interesting because the country is not broken into the indi“Some people were helping farm animals, some worked with

vidual states that you normally see,” the creative director says.

horses, some with seals, some with dogs. Every group had its

“We also aren’t showing beaten or abused animals. The HSUS is

own look, so it was hard to understand how they were related,”

working toward an ideal—living in a humane society—and this

explains Paul Janas, group creative director for the advertising

logo presents a much more uplifting image. The animals in the

agency. He and his designers felt that the new logo should have

logo are actually living inside of the ideal.”

an animal in it, but which one? “The group works with all animals—there was no one quintessential animal that could represent the group. If you think about the World Wildlife Federation logo, it had a ‘spokes-animal,’ the panda. That animal really represented its efforts at the time. But we couldn’t do that. If we just used a dog or cat, for instance, we are only representing pets.”

174

The type design for the logo reinforces the ideal as well. Broken into two lines, “The Humane Society” is presented almost as a description of the second line, “of the United States.”

A

B

C

D

Structures

1

2

3

4

5

D = Design Firm

C = Client

D Sloat Design Group, Inc. C Zenture Pacific 1D D Gardner Design C Liberty Capital 2A D Jobi C Home & Beyond LLC 2B D Shawn Huff C WCBS, New York 2C D Adams Outdoor Advertising C Charlotte Home Search 2D D Gibson C Neo 3A D Ahl Design C CHR Home Buyer Services 3B D Gridwerk C First Choice Health 3C D Gardner Design C Liberty Capital 3D D Richards & Swensen C Garbett Construction 4A D Piccirilli Group, Inc. C Housefix 4B D Earnhart+Friends C DTD,INC 4C D Pump Graphic C Casa Divani 4D D Fernandez Design C Briar Chapel 5A D Charles Henry Graphic Arts C Property Salvage 5B D Kinesis, Inc. C Ali Lively Homes 5C D Eric Baker Design Assoc. Inc C FotoMat 5D D McGarrah/Jessee C HomeAway 1C

175

A

B

C

D

1

2

3

4

5

D = Design Firm

176

C = Client

D Karl Design Vienna C Darkhouse USA 1B D Brainding C Home Equity 1C D Hubbell Design Works C Metabo Up 1D D Juuce Interactive C Tim Shor Agents 2A D Delikatessen C RADEBERGER GRUPPE 2B D wray ward laseter C urban design partners 2C D Blik C Windmill Farms 2D D Mattson Creative C Valencia Terrace 3A D Entermotion Design Studio C Insite Real Estate Group 3B D GSCS C EMAAR 3C D Sauvage Design C Auckland Observatory 3D D Karl Design Vienna C FCB / Schüco International KG 4A D Black Graphics C Edinburgh Castle Pub 4B D Printt Diseñadores, s.c. C Hotel Marquis Los Cabos 4C D R&R Partners C Excalibur Hotel Casino 4D D R&R Partners C Excalibur Hotel Casino 5A D Parallèle gestion de marques C Québec City Congress Center 5B D Storm Design Inc. C Storm Design Inc 5C D Stiles Design C Dr Pepper Museum 5D D Gramma C Academie Hoboken 1A

A

B

C

D

1

2

3

4

5

D = Design Firm

C = Client

D Sabingrafik, Inc. C La Jolla Commons 1B D Hinge C Internet2 1C D Shawn Huff C Self Promotion 1D D Joseph Blalock C Bacara Resort and Spa 2A D Gardner Design C ParkStone 2B D Brook Group, LTD C Nine Stories High 2C D Steven O’Connor C Self 2D D Kristian Andersen + Associates C Urban Shutters 3A D Mattson Creative C Vintage 3B D A3 Design C queen city capitol 3C D Sibley Peteet Design – Dallas C JacksonCooksey 3D D Mattson Creative 4A D Strange Ideas C Omaha Sports Symposium 4B D Miles Design C The Lee Group 4C D Freelance Design C Curtis Architects 4D D gnome C Fania D design:tn C Skyline Escrow 5B D The Mixx C Shares Of New York 5C D FUSZION Collaborative C U.S. Conference of Mayors 5D D Pear Tree Design C Robert DiNapoli 1A

5A

177

A

B

C

D

1

2

3

4

5

D = Design Firm

3A

178

C = Client

D DONATELLI+ASSOCIATES C Arin’s House 1B D Tactix Creative C Allied Group Realty 1C D Banowetz + Company, Inc. C Dallas Market Center 1D D Brainding C Loft 2A D Rocket Science C Igloo Products Corp. 2B D Koch Creative Group C KII 2C D Details Communications C Mountain Park Church 2D D Tamara Kitchen C Brown Bag Marketing D Richards Brock Miller Mitchell & Associates C The Bridge Breast Network 3B D Brand Engine C Sugar Bowl Bakery 3C D Brainding C Bay Area Radio Museum 3D D Jerry Kuyper Partners C Cisco Systems 4A D Headwerk C APS – Arizona Public Service 4B D Red Design C Rise Robots Rise 4C D Sabingrafik, Inc. C Windmill 4D D Stiles Design C Petromarc 5A D Univisual C Sts Elettronica 5B D Design Factory C Poolbeg 5C D Jerron Ames C Arteis 5D D Glitschka Studios C Proctor & Gamble 1A

A

B

C

D

1

Transportation

2

3

4

5

D = Design Firm

C = Client

D Trapdoor Studio C Launch Corp. 1D D Device C Liberty Rocket 2A D Fuelhaus Brand Strategy + Design C Rocket Fitness 2B D Retro DC C Retro DC 2C D Launchpad Creative C Dusters & Sprayers Inc. 2D D Rocket Science C Huffy Bicycles 3A D Yamamoto Moss Mackenzie C Atinera 3B D Gardner Design C Spirit Aerosystems 3C D Howerton+White C Exacta Aerospace 3D D Gardner Design C Cessna Service Centers 4A D Karl Design Vienna C Condor Cargo 4B D pearpod C 6 Corners of The Globe 4C D Christian Rothenhagen C deerBLN 4D D Karl Design Vienna C Karl Design Vienna 5A D josh higgins design C whistle Stop Bar 5B D Strange Ideas C Bootlegger 5C D Home Grown Logos C Home Grown Logos 5D D VIVAMEDIA, Inc. C Adstuck, Inc. 1C

179

A

B

C

D

1

2

3

4

5

D = Design Firm

180

C = Client

D Prejean Creative C Coastal Transportation Services 1B D Bryan Cooper Design C Cherry Street Farmers Market 1C D Kurt for Hire C Back 40 Films 1D D Judson Design C Chicks from the Sticks 2A D Bridges Design Group C Austin Traveler Magazine 2B D Sayles Graphic Design, Inc. C Accellerated Bail Bonds 2C D Gillen’s Army C Mean T 2D D Tactix Creative C firedog 3A D HMK Archive C KSYM 90.1 San Antonio 3B D Launchpad Creative C Showroom Shine 3C D RIGGS C Indie Grits 3D D Tom Law Design C Autumn Tone Records 4A D Evenson Design Group C Honda Motors 4B D Tim Frame Design C Art Directors Association of Iowa 4C D Studio Cue C Herzog 4D D Studio Cue C Oregon Automobile Dealers Association 5A D eklektos C Red Barn Bikes 5B D Fangman Design C Spin City Cycling 5C D sparc, inc. C Motorola 5D D Karl Design Vienna C Verkehrsverbund Rhein Ruhr (KHD)

1A

A

B

C

D

1

2

3

4

5

D = Design Firm

C = Client

D Mattson Creative C Fioli 1B D Octavo Design Pty Ltd C Italscooter 1C D Effective Design Studio C Sorrento Hotel 1D D APSITS C Latvian Culture Ministry D Stevaker Design C Hill City United Scooter Club 2B D 13THFLOOR C Hot Wheels 2C D Sayles Graphic Design, Inc. C Bonneville 2D D Extraverage Productions C RideHouse, Austria 3A D Pumpkinfish C Stern Language 3B D The Logo Factory Inc. C Euro Yacht 3C D LogoDesignGuru.com C Driven to Win 3D D Cass Design Co. C Tugboat Productions 4A D Shawn Huff C WCBS, New York 4B D ginger griffin marketing and design C Aquesta Bank 4C D Vitrorobertson C Yamaha Watercraft 4D D United States of the Art C CK 5A D KW43 BRANDDESIGN C argonauten 5B D Hubbell Design Works C Kootenai 5C D Turnstyle C Boat House Row 5D D Dotzero Design C Marco Polo Coffee 1A

2A

181

index Log onto www.logolounge.com/book4 for free electronic access to a database of the logos in this book. Search for logos by keywords, client or design firm name, client industry, or type of mark, and get designer credits and contact information along with the logos. For access to nearly 70,000 logos using the same search function, purchase a membership to www.logolounge.com. The collection is always growing: In fact, your membership also allows you to upload an unlimited number of your own logos to be considered by our judges for inclusion in the next LogoLounge book.

1 Design Source 98-3B

Backyard 10 95-4B, 96-2A

13THFLOOR 79-5C, 97-1A, 97-1B, 97-1C, 105-1D, 123-3D, 127-1C, 127-4B, 181-2B

Bad Assembly 84-2C

28 LIMITED BRAND 77-1A, 81-1C, 86-5C, 121-5C

Copilot Creative 74-1C, 74-4A, 80-2A, 159-3D, 163-4B

B rocratik 109-2C

Courtney & Company 149-1C, 152-1C

Bystrom Design 110-1A, 121-5A, 130-5B, 164-3C, 164-5C

Crain Associates 139-3B Crave, Inc 73-1D, 74-5D, 120-2D, 125-4A, 157-2A

3 Advertising LLC 71-1C, 75-4D, 78-3A, 101-4A, 112-3D, 148-5D

BarkinSpider Studio 141-3C

Cabbage Design Company 148-1B, 170-2A

Barnstorm Creative Group Inc 115-2C

Cacao Design 165-3C, 168-5D

Creative Beard 116-1B, 157-1C, 157-3A, 166-5A

343 Creative 104-5D

BBDO NY 86-3C, 111-2A, 128-2D, 144-2A

Caillet 125-1A

Creative Zumo 120-5C

360ideas 129-1C

Cain Design Group 70-4D

Cuie Creative 87-1D

38one 155-5A

BBK Studio 170-2B

Curtis Sharp Design 166-1D

3rd Edge Communications 99-2D

BBMG 88-3B

Calagraphic Design 123-5B, 142-1C, 163-1B

7th Street Design 70-5D

Bean Graphics 93-2A

Calder Bateman 86-1A

dale harris 71-1D, 75-1A, 77-5B, 78-5A, 91-4B, 128-4A, 144-4A, 147-1B, 151-4C

A3 Design 71-2B, 73-3C, 73-4A, 94-5A, 142-4A, 177-3B

Ben Reece 83-3B

Campbell Fisher Design 105-3A, 109-2A

Daniel Sim Design 72-4C, 125-3C, 164-1D

Abiah 160-5A

Big Three 83-3D Birchtree Creative Services 149-5C

Canefantasma Studio 95-3A, 95-4A, 99-2A

danny woodard 139-5B, 152-3D

Absolu communication marketing 137-3A

Dashwood Design Ltd 154-4A

Adams & Knight Advertising & Public Relations 143-3A

CAPSULE 81-2A, 84-5B, 125-1B, 174-5B

Black Barn Brand Design 111-5D Black Crow Studio 102-5A

Carol Gravelle Graphic Design 114-5C, 157-4B, 168-2C

David Quintero Design, Inc. 70-3B

Black Graphics 176-4A

Carol King Design 119-5A

Blackout Creations 99-3A, 127-2C

Carrihan Creative Group 122-4A, 134-3D, 152-4B, 156-1B

Adams Outdoor Advertising 175-2C ADC Creative Group 111-3D, 118-1D Addis Creson 97-5D Addison Whitney 119-5D Adrenaline Design 157-5C Adstract Art 119-5B Ahl Design 175-3A Airtype Studio 167-5C AKOFA Creative 93-3C Allen Creative 112-4D, 125-1D

Biamerikan Inc. 72-2C, 159-4D

Bite! 112-3A

Blacktop Creative 77-2D, 91-2D, 101-3B

darjanpanic.com 112-5B David Clark Design 166-2C decadora 142-4C Decoylab 103-4B, 103-5C Deep Design 77-4D

Cass Design Co. 116-5D, 181-3D

Deere Design Group 71-4D

BlaseDesign 172-1C

Catch Design Studio 118-2A

BlausenLisi, LP 91-4D

Cato Partners NZ Ltd 149-4D

Delikatessen 98-1C, 118-1A, 132-2B, 173-1B, 176-2A

Blik 176-2C

Cato Purnell Partners 83-5B, 171-4A

Bliss Lane Studios 173-3C

Cavalry Brand Development 72-3D, 88-3C, 129-1D, 143-4B, 143-5C, 165-1B

Bluegill Creative 139-3D

demasijones 85-3A, 94-2B, 151-4A, 154-3B, 160-3B Demographic Inc. 71-1B Design Army 70-2A, 171-5D

Bluespace Creative, Inc. 79-4B, 101-4B, 151-3C, 159-3A

Charles Henry Graphic Arts 175-5A

BlueSpark Studios 116-1D BMR Design+Advertising 84-1A

Chris Herron Design 78-2D, 90-2D, 142-2C, 162-4D, 171-1A

Andrew Salituri Design 87-2B, 87-4B

bob neace graphic design, inc 108-5C, 134-3A

Chris Yin Design 87-5A, 128-5C, 157-4C, 165-1A, 173-1D

Design Hovie Studios, Inc. 142-2A, 165-2B

Angelini Design 130-1D, 156-5B, 172-5A

Born to Design 84-1D, 86-5D, 117-5A

Christian Rothenhagen 84-1B, 107-5A, 163-1C, 179-4C

design june 103-3B, 117-4C

br:Verse 122-3A, 134-5B, 163-2A Brady Design Ltd 96-4C, 108-3A

Church Art Works 103-5D, 111-4B

design:tn 177-5A

Brainding 72-3C, 85-4B, 86-3B, 92-1A, 99-4C, 128-1C, 142-5A, 147-1C, 160-4C, 166-2D, 176-1B, 178-1D, 178-3C

Church Logo Gallery 107-3D, 164-2D

designlab,inc 152-3C

cincodemayo 173-4D

Designland 96-4D, 135-3C, 165-2A

C rculodise o, SC 155-2A, 172-5C

DesignLingo 107-5C, 120-5B

Cisneros Design 78-4B

DesignWorks Group 128-3C, 141-3A

Clare K. Barnes 91-5B Click Marketing Solutions 162-3C

Details Communications 121-3A, 178-2C

clicketyclick 84-2A

Deuce Creative 167-5D

Clore Concepts 71-5B

Device 112-2B, 127-4A, 128-2C, 135-1C, 179-1D

Alphabet Arm Design 92-5C, 95-2C, 123-5D, 149-2C, 167-1A AMEN Gestaltung 78-1B Analog Format 168-4B

angryporcupine*design 71-4C Anoroc 111-2C, 154-5A, 156-3C Antfarm Design 78-5D, 144-4D APSITS 116-4A, 116-5A, 117-3D, 181-1D

182

Banowetz + Company, Inc. 81-4A, 81-5D, 87-1A, 92-2C, 92-4B, 93-5C, 94-5B, 99-4D, 101-3C, 102-4C, 111-2B, 125-5C, 142-5D, 178-1C

Burns Marketing Communications 79-4A

chemi montes design 167-4A

Design by Sam 112-4C Design Factory 77-1B, 91-3A, 178-5B design grace 146-2B

Design Nut 133-1C, 147-5D

Archrival 76-5C, 147-3B, 160-4D, 171-5B, 173-2A

BRAND 107-2B

Aron Creative 90-2C

Brand Engine 147-2A, 178-3B

ArtGraphics.ru 70-2D, 159-1C

BrandAid 98-2A

ARTini BAR 122-3B

Brandcentral 154-5D

Artinium Design, Inc. 70-2b

BrandExtract 121-4C, 159-3C, 162-4C

Artnak 174-3C

Brandinglife 152-1A

ashi & officeGREMINGER 98-4C, 141-3B

Colle + McVoy 101-1D

BRANDSTORM CREATIVE GROUP 78-1D

Diagram 75-4A, 105-4B, 117-3B, 123-5A, 124-4C, 140-3C, 149-2A, 149-3C, 150-5C, 156-1D, 156-4B

Colorblind Chameleon 136-5D

dialog 158-2A

asmallpercent 168-3B

Combustion 117-2D

Dino Design 70-5B, 83-2A

Astro 130-4A

Braue: Strategic Brand Design 101-5C, 103-5B

ComGroup 90-3C

Astuteo 164-4C

Bridges Design Group 180-2A

Disturbanity Graphic Treatment 81-5B, 98-5C, 112-1D, 168-1C

AtomicaStudio 80-5D, 119-3D

Brook Group, LTD 74-2B, 177-2B

Axiom Design Group 134-4A, 137-1B, 137-5A

brossman design 124-4A

Brand Content 166-3A

Axiom Design Partners 86-2C, 155-2D

Bryan Cooper Design 115-2A, 139-4B, 140-2C, 180-1B

B.L.A. Design Company 132-1C

Bukka Design 90-4C

Baach Brand Design 81-3A, 107-4D, 127-3B

Bureau Blank 132-5C

Cocoon 84-4A, 133-4A, 136-4D Cognition Design 92-3D, 122-1B

Communication Arts 74-3B, 142-1A, 148-2B, 149-3A, 157-3D, 159-2A, 162-5D, 168-3C, 173-1C CONCEPTiCONS 141-4C CONCEPTO WORLDWIDE 72-4B, 87-1C, 96-3D, 165-1C

Dogstar 104-4C, 114-2A, 115-1C, 115-1D, 116-5C, 117-2A, 119-3A, 139-2C, 139-5C, 146-3A, 150-1B, 167-4B Doink, Inc. 70-5A, 143-1A

ContrerasDesign 75-2D

DONATELLI+ASSOCIATES 147-5B, 171-5A, 178-1A

Copia Creative, Inc. 83-4D

Doppio Design 115-3A, 146-3C

Conover 170-4C

Fiton 133-4D, 154-4B, 163-2D

GrafiQa Creative Services 148-2A

Integer Group 116-2C

Fitting Group 83-4B

Graham & Wayman 115-1A, 137-4C, 147-5C

Integrated Media, Inc. 79-4C

Fixation Marketing 103-1B, 119-3C, 155-5B

Gramma 176-5D

Intercity 95-3D

Grão Design 70-5C, 93-5A, 148-3B

interrabang design studio 107-3B

FLATFORM 103-1D

Grapefruit 158-1B

Intersection Creative 76-4B

FORGE Worldwide 148-5A

Graphic 74-4B, 75-2B, 165-4D, 167-5A

Into the Pan 174-5C

Form 92-5A, 95-3C, 140-4B

Graphica 122-4D, 174-2B

Intrinsic Design 147-2C, 159-1A

DTM_INC 79-5A, 84-2D, 91-1C, 94-3D, 142-5B, 150-3A

Formikula 143-2D, 167-3A, 167-3B

Great Scott Design 75-2A

Inverse Paradox, LLC 137-3C

Fossil 73-2A, 92-4A, 103-2C

greteman group 128-4C

Duffy & Partners 109-5C, 120-5A, 135-5C

Invisible Associates 76-4A, 134-4C

Foundry 80-1D, 116-3C

Grey Matter Group 73-5B, 79-3A

Ion Design Inc. 83-1D, 101-3A

Freelance Design 94-4B, 177-4C

Gridwerk 76-3B, 121-3C, 140-3B, 170-3B, 175-3B

Itu Chaudhuri Design 73-1C, 85-3B, 132-3C, 135-4D

Fresh Oil 90-2A, 96-3C, 129-5B, 133-4B, 168-5A

grow 87-3C GSCS 99-5B, 99-5D, 176-3B

J.Williams Design 114-3B, 119-2A, 119-2C, 137-2A

Friends University 133-1A

gtc media 97-2D

Jamie Berger 104-1C, 104-5B

FUEL Creative Group 116-4D, 128-2A

Gustavo Machado Studio 122-2B

Jared Milam Design 102-1C

Fuelhaus Brand Strategy + Design 88-4B, 108-3B, 179-2A

Gyula N meth 107-3C, 110-4A, 110-4B, 110-4C, 110-4D, 111-4C, 124-2D, 130-3C, 136-5B

JASON GRUBE DESIGN 74-5C, 166-2B

Dotzero Design 80-3B, 102-1D, 109-3C, 112-1B, 147-3D, 150-2D, 150-4B, 150-4C, 171-4D, 172-3A, 181-5D Double Brand 104-4D, 114-5B, 122-2D, 156-5C Draplin Design Co. 133-1D, 133-2A, 135-3D, 139-1C, 143-2A, 155-4D, 157-1D, 168-3D, 170-2D, 173-4A

Dustin Commer 139-5D DUSTIN PARKER ARTS 144-1B DZIWANI MONTEIRO, EI 109-3A, 130-5A Earnhart+Friends 175-4B Effective Design Studio 181-1C Effusion Creative Solutions 162-1C Egg Design Group 129-2D eggnerd 79-2D, 83-4A, 108-3D, 133-2D, 162-5B

FiveStone 93-2B, 163-1D

Freelancer 121-2A, 156-2A

Fulcrum Design Corps, LLC 85-5A, 120-3D

interbrand 133-5B

Jason Kirshenblatt 77-3B, 128-4D

H2 Design of Texas 73-3B

Jawa and Midwich 85-2A, 95-1D

Hahmo 146-5B

EHA 107-3A, 144-3D, 150-5D

Funk/Levis & Associates, Inc. 148-4A, 149-5A

JAX Design 77-2A

Hammerpress 101-5D

eklektos 170-3C, 180-5A

Fusion Advertising 105-1A, 109-3B

jeda creative 121-2D

hanna & associates 105-1B

El Creative 170-5B

FUSZION Collaborative 142-3D, 177-5C

Jeff Fisher LogoMotives 136-5C

Harkey Design 152-2C harlan creative 81-4C

Jeff Kern Design 70-1D, 102-2C, 112-1A, 155-4C, 158-5B, 160-4A

Harwood Kirsten Leigh McCoy 81-1D

Jeffhalmos 84-3B, 135-5D

Headwerk 166-3B, 178-4A

Jelena Drobac 112-3B, 124-4D

Hecht Design 173-5D

Jerron Ames 73-4D, 80-4C, 163-5A, 178-5C

El Paso, Galeria de Comunicacion 83-5D, 117-2B, 117-4A, 120-1B, 137-5C, 155-3C Electric Easel Designs, Inc. 125-4C Element 91-5C

FutureBrand 123-3B FutureBrand BC&H 84-3D, 155-5D, 164-4A G2 157-2C

Elephant In The Room 123-4B, 129-3B

Gabi Toth 160-5D, 167-2A

Elevation Creative Studios 116-3D

Gabriel Kalach ¥ V I S U A L communication 96-2D, 148-1D

elf design 119-4D Emmi Salonen 162-2B Emu Design Studio 80-5C, 173-4C Enigma Design Graphics 72-4D Entermotion Design Studio 101-5A, 134-5D, 144-2C, 155-1C, 163-2C, 174-3B, 176-3A Enterprise IG 84-1C, 156-4A Eric Baker Design Assoc. Inc 95-5D, 175-5C Escobas 111-5A Espial 124-1B Essex Two 85-2B, 90-3A, 136-4B, 143-1B Evenson Design Group 130-2D, 151-3D, 151-4B, 180-4A Evok Advertising 174-4D Ewert Design 119-3B

Gardner Design 76-1D, 77-3C, 78-2B, 78-4A, 80-1A, 93-1D, 96-4A, 102-1A, 108-1C, 119-1D, 123-2A, 124-2B, 129-3D, 134-1D, 136-1C, 137-1D, 149-5B, 150-1A, 150-5A, 154-3A, 154-4D, 155-1B, 155-2C, 156-3D, 158-1C, 158-2D, 158-3A, 158-3D, 158-4B, 158-4D, 158-5A, 158-5C, 159-1B, 162-2A, 164-5B, 171-1C, 171-2C, 173-3B, 173-3D, 174-5D, 175-1D, 175-3C, 177-2A, 179-3B, 179-3D Gary Sample Design 81-4D, 111-5C, 130-4B, 135-4A, 173-2D Gateway Communications 120-3B

Hershey/Cause 121-1A Hiebing 151-1B High Fiber Design 105-4D Hinge 177-1B HMK Archive 87-4D, 124-5A, 167-1C, 171-4C, 180-3A Home Grown Logos 179-5C Hornall Anderson 88-5B, 103-4D, 168-4A Houston & 110-3B Hove Design Works 143-1C Howerton+White 166-2A, 179-3C Howling Good Designs 74-3C, 141-5B Hubbell Design Works 102-4A, 137-3C, 142-1B, 151-3B, 167-4C, 176-1C, 181-5B

Fifth Letter 92-2A, 92-4C, 103-4C, 166-3C

Joe Scerri Design 96-1B John Thompson Design 142-2D Johnston Duffy 91-1D, 102-1B, 163-2B Jon Burke Design 98-3C, 168-5C Jon Kay Design 78-5B, 103-3A

I 71-3A, 93-4C, 94-4D, 96-1A, 96-1C

josh higgins design 86-4B, 86-5A, 179-5A

ginger griffin marketing and design 181-4B

Fernandez Design 141-1C, 175-4D

joe miller s company 79-5D, 80-5A, 86-3D, 154-2C

Hyperakt 111-3B

Extraverage Productions 86-1D, 93-4A, 93-4D, 103-3C, 168-1B, 171-1D, 181-2D

Felixsockwell.com 71-3D, 72-2B, 86-3A, 104-5C, 108-1B, 109-4D, 109-5A, 109-5D, 114-4D, 115-3C, 118-4A, 118-4B, 118-4D, 120-4A, 120-4B, 123-2B, 127-2A, 152-5C, 165-3A, 170-1C, 170-4A, 172-2A

Jobi 141-1D, 175-2A

GetElevatedDesign.com 120-2A

Identica Branding and Design 81-1A, 84-4D, 103-1C, 148-1C, 151-1D, 157-3C, 158-4C

Fauxkoi Design Co. 70-4A, 72-1C, 80-2D, 84-5D, 140-4C

jKaczmarek 72-1D, 141-4A, 150-5B, 157-1A, 166-5C

Gerard Huerta Design 97-3B

ICOM 114-2B

Fangman Design 78-1C, 180-5B

JINIZM 99-2C

Joseph Blalock 74-1B, 123-3C, 134-2B, 170-5D, 177-1D

Gideon 165-2C

fallindesign studio 86-4A, 168-4D

Jill Bell Brandlettering 88-1A, 98-2C

GCG 146-4A, 151-1A

Gibson 80-3C, 124-3B, 175-2D

Faith 79-1B, 98-5D, 99-5C

JG Creative 76-5B

Hula+Hula 74-3D, 78-2C, 88-2A, 90-5D, 92-5D, 110-5A

Extra Point Creative 123-5C, 140-1B, 140-3D, 143-5D

face 73-3D, 85-1D

Jerry Kuyper Partners 123-2C, 154-2D, 178-3D

Gillen s Army 122-2C, 180-2C

Idle Hands Design 101-2B

Ginter & Miletina 85-5C, 124-2A, 134-4B

Image Now 129-2B

Giorgio Davanzo Design 88-2D

I-MANIFEST 71-3A, 93-4C, 94-4D, 96-1A, 96-1C

Giotto 86-2D, 112-4B, 118-5A, 125-3B Glitschka Studios 99-1A, 99-1C, 104-3A, 107-2A, 107-2C, 107-4A, 107-4B, 107-4C, 107-5B, 108-4A, 108-4B, 109-4C, 114-1D, 115-2D, 123-2D, 123-4C, 127-4C, 129-1A, 130-1A, 130-1B, 132-2A, 132-2C, 136-2B, 136-2D, 136-3D, 137-4B, 140-4D, 140-5A, 144-2D, 144-4B, 146-5D, 152-2A, 152-5B, 155-2B, 156-4C, 158-1A, 162-1D, 166-5B, 178-5D gnome 177-4D

FireGirl 123-1B, 130-1C

Go Welsh! 111-1C, 167-3C, 172-2B

FIRON 128-5B

GrafikOnline 156-2D

IMAGEHAUS 142-1D, 149-2B

imedia communications 152-3B Impressions Design and Print Ltd 124-3A, 129-5A Incubo :: visual branding studio :: 81-3C Indicia Design Inc 91-5A Indigo Creative 150-3B Inertia Graphics 149-3D, 166-5D Ink Graphix 94-3C, 97-4B, 104-5A, 123-4D innfusion studios 79-5B, 163-3D Insight Design 91-2A, 109-5B, 114-5D, 118-2D, 118-4C, 148-3C

Judson Design 87-4C, 88-2C, 90-1D, 90-3D, 96-5A, 98-5A, 101-2D, 102-5B, 102-5C, 103-5A, 135-3A, 136-1A, 152-3A, 168-1D, 172-4D, 180-1D Juicebox Designs 134-2C Juuce Interactive 90-1C, 176-1D Kahn Design 129-2A Kaleidoscope 136-4C Kari Piippo Oy 118-2B, 119-5C, 134-1A, 135-5A Karl Design Vienna 72-2A, 73-1A, 75-3B, 75-3D, 76-2D, 78-3D, 78-4D, 80-2B, 81-4B, 83-3C, 85-5D, 86-1B, 91-2C, 94-1D, 95-1B, 96-2B, 98-1D, 98-3A, 102-3A, 104-4A, 105-4A, 105-4C, 108-2B, 109-1B, 110-3D, 114-1C, 121-2B, 121-5D, 123-1A, 129-4A, 129-4B, 129-4D, 132-2D, 132-3B, 132-4D, 132-5A, 132-5D, 134-1C, 141-2C, 143-2C, 143-4A, 143-4C, 146-2A, 146-5C, 148-2C, 148-2D, 152-2D, 165-5C, 165-5D, 167-3D, 173-1A, 174-1C, 176-1A, 176-3D, 179-4A, 179-4D, 180-5D 183

Kendall Creative Shop, Inc. 110-1D Ketch 22 Creative 76-1B Kevin Creative 73-3A, 97-1D, 114-3A Kevin France Design, Inc. 74-1D, 121-1D Kevin Louis Design 86-2B

Off 99-3D Offbeat Design 93-5D, 157-5D

Raffaele Primitivo 97-3C, 127-3D, 129-4C, 130-2C, 130-3D, 145-2B

Mary Hutchison Design LLC 77-1D, 156-5D

Office 88-5C

rainy day designs 163-4D

Matchstic 81-2B, 103-2B, 125-5A, 172-5D

Office For Design 119-4B OmniStudio Inc 90-4A

rajasandhu.com 104-4B, 109-2B, 135-2A, 158-5D, 165-1D, 172-5B

Killustration, Ink. 98-2D

Mattson Creative 85-1B, 88-3A, 92-5B, 120-5D, 133-1B, 147-4A, 152-4D, 154-5B, 155-3D, 157-2B, 158-1D, 168-3A, 176-2D, 177-3A, 177-3D, 181-1A

Kinesis, Inc. 87-2A, 108-3C, 175-5B KITA» | Visual Playground 86-4C, 87-5D, 112-2A, 150-3D, 156-3B, 1572D, 158-2B, 159-1D

Keziah 117-1C, 117-1D, 163-3C Kiku Obata & Company 147-4C, 151-2C

Kitsh 125-1C, 155-5C Kjetil Vatne 111-3A Knupp & Watson 91-1B, 108-4C, 115-5C, 144-4C, 150-2B Koch Creative Group 78-4C, 178-2B Kommunikat 88-4D, 110-3C Kristian Andersen + Associates 155-4B, 177-2D

On Design, Inc. 85-1C On Target Advertising 73-5D, 76-4C One Minute Hero 79-2B, 110-2C, 144-3B

Range 76-2A, 114-3D, 114-4B RAZAUNO 94-2D, 95-4D, 173-2B RD Design 117-2C RDY 72-3A, 156-1C

OnionSkin 136-1D, 141-2D

re:form llc. 117-1A

Mayer Creative 83-3A, 144-3C

Oomingmak Design Company 104-2C

McConnell Creative 136-5A

Open 70-3C, 90-5C

Reactivity Studio 70-1C, 72-5D, 77-3A, 78-3C, 116-4B, 128-4B, 135-2C

McGarrah/Jessee 101-1C, 175-5D

orangetango inc. 88-2B

meltgraphica 115-5D

Orbit Media Studios 155-3A

Mez Design 172-3D

Orcada Media Group, Inc. 156-2B

Real PRO 97-3A reaves design 86-1C, 87-1B, 96-5C, 96-5D, 103-1A, 111-2D, 116-5B, 1225B, 122-5C, 124-5C, 141-4B, 144-1C

MFDI 87-5C

Organic Grid 73-2B, 86-2A

MGPdesign 71-4B, 172-4B Microbot 97-4A, 97-4C

Oxide Design Co. 74-2A, 87-5B, 108-1A, 159-4B

Mig Reyes 80-1B, 160-2C

Palko 121-1B

Redbeard Communications Inc. 110-2B

Miles Design 177-4B

Pappas Group 158-3B

ReDesign 159-5A

Mindgruve 73-5C, 150-2C, 151-5C

Paragon Marketing Communications 135-2D, 154-3D, 155-1A, 158-4A, 162-3B

Regina 107-5D

Parall le gestion de marques 75-5A, 85-1A, 125-2D, 132-5B, 146-4C, 176-5A

Research Studios 84-2B, 158-2C, 159-3B, 159-4A

Red Design 117-5D, 123-3A, 160-1B, 178-4B

KROG, d.o.o. 75-1C, 121-2C, 154-5C, 160-3D

Mindspike Design 88-5D, 170-5A

Kurt for Hire 76-5A, 77-4A, 77-4B, 77-4C, 92-2D, 94-5C, 95-3B, 159-4C, 180-1C

Miriello Grafico, Inc. 74-4D, 108-1D, 136-1B, 144-1A, 156-5A, 163-3B, 164-4B, 165-4A

Park Avenue Design 79-1C

Resin Design 77-1C, 154-3C

KW43 BRANDDESIGN 174-1A, 181-5A

Mirko Ilic Corp 72-2D, 76-3D, 109-1C

Patlejch 124-1C, 154-2B

Retro DC 179-2B

Kym Abrams Design 84-4B

Mississippi State University 164-2A

Paul Booth Designs 154-1D

Richard Underberg 132-4B, 163-3A

KZ creative 174-3D

MMG Worldwide 146-4D

Paul Ducco 116-2A, 159-5B

richard zeid design 140-5B

Lam Design Group 141-3D

Modern Dog Design Co. 139-1D

Pear Tree Design 122-1A, 177-5D

Launch Design 134-2A

Mojo Solo 132-4A

pearpod 81-1B, 93-3A, 96-3A, 179-4B

Richards & Swensen 91-1A, 108-2A, 164-3B, 175-3D

Launchpad Creative 90-3B, 93-4B, 111-5B, 117-4B, 143-2B, 179-2C, 180-3B

Mola 81-2D

Penhouse Design 93-5B

Molly McCoy 173-5C

Pennebaker 122-1C

Monster Design Company 118-1B

PETTUS CREATIVE 111-4A

More Branding+Communication 120-2B, 151-5B, 157-1B

Phanco Design Studio 151-2D

Morgan/Mohon 148-4C

Phinney/Bischoff Design House 79-3C, 85-3D, 129-5D

Laura Manthey Design 75-5D LCD Incorporated 96-1D, 109-2D, 160-1C Le_Palmier Design 112-2C, 167-2C LeBoYe 114-3C, 116-1A, 116-3B, 142-3A, 151-5D Lift Off Strategy & Creative 116-3A Lindedesign 122-4C, 129-1B Lippincott 90-5B, 156-4D Liquidgraphic Design Inc. 137-2D Lisa Starace 119-4C Liska + Associates Communication Design 140-2B Little Jacket 91-4C, 92-1D, 115-2B Lizette Gecel 116-1C LogoDesignGuru.com 103-2A, 105-3C, 147-3A, 150-1C, 181-3C Logoidentity.com 93-2C Loop Design 139-2A Louise Fili 91-3B, 101-4C, 129-3C LSD 72-4A, 83-2C, 91-3D, 120-1A, 127-3A, 163-5D Lucero Design 71-1A Lukatarina 75-3A Lumino 119-4A lunabrand design group 119-1C, 142-4D, 152-1D

MiresBall 109-1A

morrow mckenzie design 75-2C, 98-5B

Richards Brock Miller Mitchell & Associates 77-3D, 104-1D, 146-4B, 160-1A, 170-4D, 178-3A Rick Carlson Design & Illustration 110-1C Rick Johnson & Co. (RJC) 75-4C, 144-5D Rickabaugh Graphics 105-5B, 130-3A, 141-2B

motterdesign 124-1A

piedra papel y tijera, Inc. 108-5A

RIGGS 166-4A, 180-3C

MSI 73-4C, 85-3C, 105-3B, 105-3D, 108-4D, 111-1A, 112-5C, 121-3B, 121-5B, 123-1D, 124-5D, 125-3A, 125-4B, 140-5C, 141-2A, 142-4B, 146-3B, 147-1A, 165-2D, 165-5B

Pierpoint Design + Branding 120-2C

Rivera Design Group Ltd 122-2A

Murillo Design, Inc. 79-4D, 118-2C, 122-1D, 133-3A, 133-3D, 152-2B, 171-1B

Pikant marketing 109-1D, 134-1B

robert meyers design 77-2C

PMKFA 95-5C, 167-1D

Robin Linsey 83-4C

Point Blank Collective 95-5A, 96-4B Polemic Design 117-4D, 154-1C

Rocket Science 76-5D, 164-3A, 178-2A, 179-2D

POLLARDdesign 110-1B, 127-5A, 160-2B

Rome & Gold Creative 75-5B, 122-3C, 165-5A

n/a 166-5C

Pomegranate Studio, Inc. 101-4D

Romulo Moya / Trama 115-5A

Najlon 152-1B

Popgun 102-4B

Rood Graphics 72-3B

Natoli Design Group 127-2D

Prances Torres 111-1B

Root Idea 147-4D

nazy alvarez 167-2D

Praxis Studios 103-2D

Rose/Glenn Group 85-5B

NeoDG 97-3D

Prazna Creative 104-3B, 105-2A, 105-5C, 130-3B, 143-5B

Roskelly Inc. 132-4C

New Medio 121-3D Newbomb Design 93-1A, 134-2D Nick Hard Design 73-5A Niedermeier Design 74-5A, 74-5B, 76-4D, 87-4A, 102-2B, 124-5B, 140-5D Nissen Design 114-5A Noble and Associates 174-3A noe design 90-2B, 96-5B NonlinearNYC.com 166-4B

LWD Graphics 157-5B

northfound 73-4B

M3 Advertising Design 93-2D, 162-2D

Norwegian Ink 115-5B, 133-3C, 171-3B

Mad Dog Graphx 98-2B, 160-5B

NP Graphic Design 88-4C, 124-4B

mad studios 115-4A

O.D.A. 128-5D

Manifest Communications 151-4D

o2 ideas 95-2A, 133-2B, 143-3C, 164-2B, 171-3A

Marc Posch Design, Inc 121-4D

pHd3 88-3D

rehab¤ communication graphics 117-3C

Piccirilli Group, Inc. 175-4A

Lunar Cow 108-2C, 130-2B, 141-1A

maoStudios 156-2C

184

Marlin 70-2C, 80-5B, 83-2B, 128-5A, 171-2D

Octavo Design Pty Ltd 128-2B, 157-4A, 157-5A, 160-2A, 160-2D, 163-4C, 181-1B

Prejean Creative 79-3B, 99-1B, 133-2C, 136-3A, 136-3B, 171-5C, 180-1A Primal Media 163-4A Printt Dise adores, s.c. 74-2D, 149-4C, 172-4C, 176-4B Publidesign 125-4D Pump Graphic 175-4C Pumpkinfish 181-3A Pure Brand Communications 72-5B Qualit Design 101-3D, 115-3D QUANGO 164-5A R&R Partners 74-4C, 79-1D, 93-1B, 107-1C, 124-1D, 124-3D, 150-3C, 150-4D, 163-5C, 165-4B, 176-4C, 176-4D

Rotor Design 92-2B, 98-3D, 118-1C, 129-2C Rule29 95-5B, 166-3D Rusty George Creative 137-1A, 152-4A Ryan Cooper Design 164-3D Ryan Ford Design 92-1B, 135-4B rylander design 71-5A S Design, Inc. 78-2A, 99-4A S4LE.com 115-4B, 148-3A Sabin Design 111-3C, 171-3C Sabingrafik, Inc. 101-2C, 140-1A, 141-5D, 143-1D, 177-1A, 178-4C Sakkal Design 77-5C, 99-5A, 155-1D Saltree Pty Ltd 173-3A Salty Design Foundry 90-4D, 116-2B San Markos 122-5A, 151-1C, 165-3D, 173-5B

Sanders Design 74-1A, 99-2B

Straka 73-1B, 76-3C, 112-4A

Sandstrom Design 85-4A, 148-4B, 162-2C

Sauvage Design 70-3D, 80-4B, 176-3C

Strange Ideas 71-2C, 105-2C, 109-4A, 116-4C, 119-2B, 122-4B, 127-1D, 128-3A, 133-3B, 133-5A, 135-2B, 137-2B, 154-2A, 154-4C, 160-4B, 168-4C, 170-5C, 172-3C, 174-2C, 177-4A, 179-5B

Savage Studios 144-5C, 167-2B

Strata Media 132-3D

Sayles Graphic Design, Inc. 103-3D, 167-5B, 180-2B, 181-2C

Strategic America 130-5C

Sara Delaney Graphic Design 129-5C SAT ONE 166-1C

The Pink Pear Design Company 102-5D

Watts Design 156-1A

The Robin Shepherd Group 107-2D, 129-3A, 136-2A, 139-5A

Webster Design Associates Inc. 71-4A, 118-3B

The Woodbine Agency 125-5D

WestmorelandFlint 74-2C

Think Cap Design 170-2C

Weylon Smith 109-3D

ThinkDesign Group 151-3A

Whaley Design, Ltd 77-5A, 124-3C

Thinking Caps 75-1D, 99-3B

Whet Design, Inc 117-5B

This Gunn for Hire 149-4A

Wm. LaVigne Design, Inc. 171-2B

Thrive Mediarts 123-4A

Woo Agentur 94-5D, 95-2D wray ward laseter 78-5C, 93-3D, 105-1C, 105-5D, 127-5C, 128-1D, 149-5D, 171-3D, 176-2B

Scott Carroll Illustration 71-5C

Strategy Studio 75-3C, 77-5D, 148-5C, 159-2C

Seamer Design 136-2C

stressdesign 97-2B, 159-5C

thurner + partner gmbh 77-2B

Sebastiany Branding & Design 80-4A, 83-5C, 96-2C, 99-3C, 99-4B, 118-5C, 137-3B, 148-5B, 151-5A, 155-3B, 160-1D, 168-2D, 174-1D

String 81-5A

Tilt Design Studio 94-2C, 143-5A

Struck 98-4A

Tim Frame Design 125-3D, 130-2A, 180-4B

Second Shift Design 79-2C, 120-1D, 121-4A seesponge 102-4D, 120-4C Segura Inc. 85-2C Selikoff+Co 128-3B, 134-5A, 147-1D, 157-3B Sellout 93-1C Shapiro Design Associates Inc. 92-1C, 94-3B, 162-3D Shawn Hazen Graphic Design 74-3A, 111-1D, 174-4A Shawn Huff 108-5B, 146-3D, 165-4C, 175-2B, 177-1C, 181-4A

Weber Design Inc. 162-5A

www.admarc.com 85-4D, 152-4C

STUBBORN SIDEBURN 70-3A, 95-2B, 110-5B, 110-5C, 110-5D, 135-4C, 139-4C, 140-2D

Timber Design Company 102-2D, 102-3D, 103-4A, 150-1D

Studio Cue 180-4C, 180-4D

Tip Top Creative 114-4C

www.iseedots.com 134-4D, 134-5C, 141-4D, 168-5B

Studio grafickih ideja 168-1A

TMCA, Inc. 164-2C

X3 Studios 156-3A

Studio GT&P 121-4B

TNOP & bePOSI+IVE 75-5C, 92-3C, 108-5D

Yamamoto Moss Mackenzie 174-4B, 179-3A

TOKY Branding+Design 88-5A, 101-5B, 118-3A, 160-5C, 170-4B

yarimizoshintaro 84-4C, 120-3C

Toledo Area Metroparks 117-3A

Yellow Pencil Brand Sharpening 85-4C

Tom Law Design 119-1A, 132-3A, 180-3D

Yoshi Tajima 70-4C

Studio International 72-5C, 80-4D, 86-4D, 87-2D, 91-5D, 159-2B Studio Minuta 8 162-3A Studio Oscar 94-2A, 95-1C, 99-1D Studio Simon 76-1A, 104-2A, 104-2B, 104-2D, 104-3C, 104-3D, 137-4A, 142-2B, 144-5A

Tomko Design 80-3A, 84-5C

www.bartodell.com 78-3B

Yee 91-2B

Zambezy Creative Agency 114-2D Zed+Zed+Eye Creative Communications 92-4D, 117-1B, 160-3A

Studio Synthesis 80-3D, 134-3C

TOMPERTDESIGN 79-3D, 146-1C

Sheehan Design 127-2B

Subplot Design Inc. 135-3B

Touch Branding 172-1D

Shelley Design+Marketing 168-2A

substance151 87-2C, 174-5A

traci jones design 76-2C, 158-3C

Shelter Studios 149-1A, 149-1B, 166-4C, 174-4C

Substrate 116-2D, 132-1D

TraffikGroup 120-4D

Ziga Aljaz 72-1A, 112-5A, 122-5D, 163-1A

transittus 112-1C, 120-1C

ZupiDesign 80-2C

Shift design 88-1D, 137-2C

Sussner Design Company 146-5A, 163-5B, 164-4D

Shoofly 98-4D

Swanson Russell Associates 171-4B

Zwoelf Sonnen 137-5D, 141-5C, 144-3A, 152-5A

Sibley Peteet 134-3B, 139-3C, 147-5A, 164-5D

Swash 87-3A

Trapdoor Studio 79-2A, 130-5D, 133-5D, 140-1C, 167-4D, 173-4B, 179-1C

Sibley Peteet Design — Dallas 148-3D, 177-3C

Switch Branding & Design 119-2D

Signal Design 173-5A

swink 123-1C switchfoot creative 70-4B, 88-1B, 97-2C, 115-3B, 125-2C, 147-3C, 159-5D

Sloat Design Group, Inc. 117-5C, 150-4A, 175-1C

Synergy Graphix 135-1D, 135-5B

Smosarski Design 71-3C

SooHoo Designers 159-2D

Tactix Creative 72-5A, 76-1C, 78-1A, 80-1C, 81-5C, 86-5B, 92-3A, 94-1C, 102-2A, 102-3B, 102-3C, 111-4D, 114-4A, 127-4D, 133-5C, 137-5B, 140-1D, 141-1B, 151-2A, 151-2B, 168-2B, 170-3A, 170-3D, 171-2A, 174-2D, 178-1B, 180-2D

Sound Mind Media 140-2A

Tamara Kitchen 137-4D, 178-2D

SoupGraphix Inc. 71-3B

Tandem Design Agency 172-2C, 172-3B

Sniff Design Studio 139-4A, 139-4D Soffer Adkins Advertising 110-3A, 137-1C, 162-4B Sommese Design 88-4A

sparc, inc. 84-5A, 143-3B, 174-2A, 180-5C SPATCHURST 146-1D

Tactical Magic 164-1B

Tandemodus, LLC 71-2A, 165-3B

tub 95-1A Tunglid Advertising Agency ehf. 152-5D Turnstyle 181-5C Twenty Twelve 130-4C twentystar 91-4A UlrichPinciotti Design Group 71-5D, 76-2B, 148-1A, 149-4B Ulyanov Denis 149-1D unfolded 90-4B, 91-3C, 125-2B Union Design & Photo 119-1B, 143-3D, 164-1C Unit 110-2A, 139-3A, 162-5C United States of the Art 73-2C, 83-1C, 97-5A, 98-4B, 107-1D, 108-2D, 109-4B, 115-4C, 115-4D, 127-3C, 128-1B, 140-4A, 143-4D, 162-4A, 181-4D

Tank Design 71-2D, 87-3B, 122-3D, 128-3D

united* 72-1B, 92-3B

Spork Design, Inc. 142-3B, 172-4A, 173-2C

Taproot Creative 79-1A

Unlimited System of Uncle 96-3B

tarsha hall design 81-2C

Sputnik Design Partners Inc 87-3D, 157-4D

UpShift Creative Group 84-3C, 174-1B

Taylor Design 147-2B

Upside Design Co. 120-3A

Squires & Company 139-2D

Team Manila Graphic Design Studio 88-1C, 93-3B, 112-2D

Stand Advertising 81-3D

Valmont Comunicaci n 75-1B, 112-5D, 142-3C

tenn_do_ten 95-4C

Steiner&Co. 160-3C

Vasco Morelli Design 139-2B

Stephen Averitt 101-2A

Tetro Design Incorporated 112-3C, 124-2C, 172-2D

Verge180 90-5A

Stevaker Design 115-1B, 181-2A

The Action Designer 83-2D, 149-3B

Steven O Connor 76-3A, 84-3A, 167-1B, 177-2C

the atmosfear 97-5C

Via Grafik 97-5B, 110-2D, 140-3A, 141-5A

The Branding Box 144-5B

Steve s Portfolio 85-2D, 125-2A, 147-4B, 164-1A

visualchemist 149-2D

The Envision Group 97-4D

Vitrorobertson 181-4C

The Eppstein Group 142-5C

VIVA Creative Group 127-5D

The Joe Bosack Graphic Design Co. 105-2B, 105-2D, 105-5A, 136-4A

VIVAMEDIA, Inc. 179-5D

Spitfiregirl Design 118-5D, 125-5B

Stiles Design 97-2A, 170-1D, 176-5C, 178-4D Storm Design Inc. 114-2C, 118-3C, 118-3D, 118-5B, 127-5B, 128-1A, 130-4D, 133-4C, 137-3D, 144-1D, 166-4D, 176-5B

The Logo Factory Inc. 146-2D, 181-3B The Martin Group 73-2D The Mixx 75-4B, 146-2C, 177-5B

Univisual 121-1C, 178-5A

Vestigio 83-5A

volatile 81-3B, 94-3A, 94-4A, 94-4C, 155-4A Walsh Associates 147-2D, 148-4D, 150-2A 185

directory 1 Design Source USA 920-743-5754 www.1designsource.com 13THFLOOR USA 949.429.3055 www.13thfloordesign.com 28 LIMITED BRAND Germany +49234-91 60 95-1 www.twenty-eight.de 3 Advertising LLC USA 505-293-2333 www.whois3.com 343 Creative USA 212-213-2294 www.343creative.com 360ideas USA 316-269-6920 www.360ideas.com 38one USA 608-446-4032 www.38one.com 3rd Edge Communications USA 201-395-9960 www.3rdEdge.com 7th Street Design USA 626-202-4528 www.7thstreetdesign.com A3 Design USA 704-568-5351 www.athreedesign.com Abiah USA 609-653-2233 www.abiah.com Absolu communication marketing CANADA 819 752-8888 www.absolu.ca Adams & Knight Advertising & Public Relations USA 860-676-2300 www.adamsknight.com Adams Outdoor Advertising USA 757-461-1355 ADC Creative Group USA 214-526-1420 www.adc-inc.com Addis Creson USA 510-704-7500 www.addiscreson.com Addison Whitney USA 704-347-5700 www.addisonwhitney.com Adrenaline Design USA 978-525-2840 www.adrnaline-design.com Adstract Art Australia 61 3 9429 7406 www.adstract.com.au Ahl Design USA 518-727-4513 Airtype Studio USA 336-793-4437 www.airtypestudio.com AKOFA Creative USA 404-915-8127 www.akofa.com Allen Creative USA 770-972-8862 www.allencreative.com Alphabet Arm Design USA 617-451-9990 www.alphabetarm.com

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AMEN Gestaltung Germany 0049 89 20206500 www.soseies.com Analog Format USA 316-708-4672 the.analogformat.com Andrew Salituri Design www.andrewsalituri.com Angelini Design +39 06 46206421 www.angelinidesign.com angryporcupine*design USA 435-655-0645 www.angryporcupine.com Anoroc USA 919-821-1191 www.anorocagency.com Antfarm Design Singapore +65 64833 695 www.antfarmdesign.com.sg APSITS Latvia 371 29457571 www.apsits.com Archrival USA 402-435-2525 www.archrival.com Aron Creative USA 770-714-6420 www.aroncreative.com ArtGraphics.ru Russia +7 (495) 761-62-72 www.artgraphics.ru ARTini BAR USA 949-874-5393 www.ARTiniBAR.com Artinium Design, Inc. USA 401-729-1997 www.artinium.com Artnak Slovenia +386 31 846 288 www.artnak.net ashi & officeGREMINGER Switzerland +41 (0)76 425 01 31 www.ashi.ch asmallpercent USA 978-867-4284 www.asmallpercent.com Astro USA 216-215-4646 www.Astro-Studio.com Astuteo USA 608-628-3095 www.astuteo.com AtomicaStudio romania +40 742 147 660 www.atomicastudio.com Axiom Design Group USA 713-523-5711 www.axiomdg.com Axiom Design Partners Australia 618 9381 6270 www.axiomdp.com.au B.L.A. Design Company USA 803-518-4130 Baach Brand Design Germany 49 40 414313414 www.logo.design.info Backyard 10 Germany 49.89.158900.69 www.backyard10.com

Bad Assembly USA 831-247-4886 www.badassembly.com Banowetz + Company, Inc. USA 214-823-7300 www.banowetz.com BarkinSpider Studio USA 920-321-0349 www.BarkinSpider.com Barnstorm Creative Group Inc Canada 604-681-3377 www.Barnstormcreative.com BBDO NY USA 212-459-5675 BBK Studio USA 616-459-4444 www.bbkstudio.com BBMG USA 212-473-4902 www.bbmg.com Bean Graphics USA 317-882-7222 www.pulsecreativepartners.com Ben Reece 07843 274159 www.benreece.com Biamerikan Inc. USA 213-270-4786 www.biamerikan.com Big Three USA 646-263-3704 www.bigthree.net Birchtree Creative Services USA 603-279-7197 www.birchtreecreative.com Bite! Ireland +353 21 4275988 www.bitedesign.com Black Barn Brand Design USA 803-791-7766 Black Crow Studio USA 916-202-3607 www.blackcrowstudio.com Black Graphics USA 415-565-7345 www.blackgraphics.com Blackout Creations USA 727-823-6202 www.blackout-creations.com Blacktop Creative USA 816-221-1585 www.blacktopcreative.com BlaseDesign USA 530-330-4817 www.blasedesign.com BlausenLisi, LP USA 203-259-4554 www.blausenlisi.com Blik USA 619-234-4434 www.tylerblik.com Bliss Lane Studios USA 912-655-6744 www.blisslane.com Bluegill Creative USA 865-544-5321 www.BluegillCreative.com Bluespace Creative, Inc. USA 712-263-2211 www.bluespacecreative.com

BlueSpark Studios USA 310-394-9080 www.bluesparkstudios.com BMR Design+Advertising USA 360-336-0152 www.bmrdesign.com bob neace graphic design, inc USA 316-264-4952 Born to Design USA 317-838-9404 www.born-to-design.com br:Verse USA 816-960-5256 www.bernstein-rein.com Brady Design Ltd USA 614-299-6661 www.bradydesignltd.com Brainding Argentina 5411 4776 3684 www.brainding.com.ar BRAND USA 949-677-7324 www.nicelogo.com/brand-x Brand Content USA 603-557-0191 Brand Engine USA 415-339-4220 www.brandengine.com BrandAid Ukraine +38 044 2535671 www.brandaid.com.ua Brandcentral Lebanon 009611204613 www.brandcentral.cc BrandExtract USA 713-942-7959 www.brandextract.com Brandinglife USA 917-816-5830 www.brandinglife.com BRANDSTORM CREATIVE GROUP USA 305-960-2038 www.brandstormcreative.com Braue: Strategic Brand Design Germany +49.471.983820 www.braue.info Bridges Design Group USA 512-557-2966 www.bridgesdesigngroup.com Brook Group, LTD USA 410-465-7805 www.brookgroup.com/branding brossman design USA 215-429-1021 www.brossman.com Bryan Cooper Design United States 918-605-1084 www.cooperillustration.com Bukka Design USA 818-571-3968 www.bukkadesign.com Bureau Blank USA 646-485-7286 www.bureaublank.com Burns Marketing Communications USA 970-223-4060 www.burnsmarketing.com B rocratik Portugal +351 239403030 www.burocratik.com

Bystrom Design USA 512-762-2705 www.bystromdesign.com Cabbage Design Company USA 415-285-0154 www.cabbagedesignco.com Cacao Design Italy +39 02 89422896 www.cacaodesign.it Caillet USA 310-836-1413 www.Caillet-Bois.com Cain Design Group USA 980-253-3336 Calagraphic Design USA 215-782-1361 www.ronaldjcala2.com Calder Bateman Canada 780-426-3610 www.calderbateman.com Campbell Fisher Design USA 602-955-2707 www.thinkcfd.com Canefantasma Studio Italy +39 333 41 39 509 www.canefantasma.com CAPSULE USA 612-341-4525 www.capsule.us Carol Gravelle Graphic Design USA 805-383-2773 www.carolgravelledesign.com Carol King Design USA 646-337-7062 www.carolkingdesign.com Carrihan Creative Group USA 214-658-1588 www.carrihan.com Cass Design Co. USA 615-646-8517 www.cassdesignco.com Catch Design Studio USA 206-322-4323 www.catchstudio.com Cato Partners NZ Ltd New Zealand +64 (4) 4995549 www.catopartners.co.nz Cato Purnell Partners Australia 61 (3) 9419 5566 www.catopartners.com Cavalry Brand Development USA 214-760-7300 www.cavalrybd.com Charles Henry Graphic Arts USA 432-934-5274 www.chgarts.com chemi montes design USA 703-864-8767 www.chemimontesdesign.com Chris Herron Design USA 773-278-8070 www.chrisherrondesign.com Chris Yin Design China 28071910 Christian Rothenhagen Germany +49 30-281 88 35 www.christianrothenhagen.com Church Art Works USA 503-370-9377 www.churchartworks.com

Church Logo Gallery USA 760-231-9368 www.churchlogogallery.com cincodemayo Mexico +52(81) 8342 5242 www.cincodemayo.com.mx C rculodise o, SC Mexico (5255) 56168781 www.circulodiseno.com.mx Cisneros Design USA 505-471-6699 www.cisnerosdesign.com Clare K. Barnes USA 415-552-9300 www.finedesign.com Click Marketing Solutions USA 480-968-3354 www.click-marketing.net clicketyclick United Kingdom +44(0) 7703 310189 www.clicketyclick.biz Clore Concepts USA 417-881-1722 www.cloreconcepts.com Cocoon Canada 204-885-7742 www.cocoonbranding.com Cognition Design USA 704-841-0871 www.cognitiondesign.com Colle + McVoy USA 612-305-6000 www.collemcvoy.com Colorblind Chameleon USA 612-703-3957 www.colorblindchameleon.com Combustion USA 901-544-9500 www.thesparkmachine.com ComGroup USA 678-686-7926 www.mragroup.com Communication Arts USA 303-447-8202 www.commartsdesign.com CONCEPTiCONS USA 818-269-2725 www.concepticons.net CONCEPTO WORLDWIDE DOMINICAN REPUBLIC 809-965-6592 Conover USA 619-238-1999 www.studioconover.com ContrerasDesign USA 415-824-5538 www.contrerasdesign.com Copia Creative, Inc. USA (310) 826-7422 www.copiacreative.com Copilot Creative USA 719-633-5000 www.copilotcreative.com Courtney & Company USA 212-594-1748 www.courtneyco.com Crain Associates USA 805-277-5197 www.crainassociates.com Crave, Inc USA 561-417-0780 www.cravebrands.com Creative Beard USA 949-413-3774 www.creativebeard.com Creative Zumo USA 504-304-9887 www.creativezumo.com

Cuie Creative South Africa +27 82 291 0689 www.cuiecreative.com Curtis Sharp Design USA 206-366-7975 www.curtissharpdesign.com dale harris Australia 0411-899-840 www.daleharris.com Daniel Sim Design Australia +61 403 300 152 www.danielsim.com danny woodard USA 770-274-9616 darjanpanic.com Slovenia +38640270502 www.darjanpanic.com Dashwood Design Ltd New Zealand 0064 9 6320550 www.dashwooddesign.co.nz David Clark Design USA 918-295-0044 www.davidclarkdesign.com David Quintero Design, Inc. USA 415-928-4244 www.davidquintero.com decadora USA 909-772-5410 www.decadora.com Decoylab USA 816-686-2573 www.decoylab.com Deep Design USA 404-266-7500 www.deepdesign.com Deere Design Group USA 410-507-9430 www.deeredesigngroup.com Delikatessen Germany +49-(0)40-350806-0 www.delikatessen-hamburg.com demasijones Australia +618 8212 9065 www.demasijones.com Demographic Inc. USA 773-301-2816 www.demographicinc.com Design Army USA 202-797-1018 www.designarmy.com Design by Sam USA 480-577-0418 www.samanthahernandez.com Design Factory Ireland +353 1 809 0010 www.designfactory.ie design grace USA 201-484-0026 www.designgrace.com Design Hovie Studios, Inc. USA 206-783-8600 www.hovie.com design june France (33) 0 953 83 9601 www.designjune.com Design Nut USA 301-942-2360 www.DesignNut.com design:tn USA 408-666-0536 www.designtn.com designlab,inc USA 314-962-7702 www.designlabinc.com Designland Australia +61 3 9415 6222 www.designland.com.au

DesignLingo USA 949-306-5473 www.designlingo.com DesignWorks Group USA 940-696-1229 www.designworksgroup.com Details Communications USA 1-800-231-3857 www.detailscom.com Deuce Creative USA 713-863-8633 www.deucecreative.com Device UK 347 535 0626 U.S. www.devicefonts.co.uk Diagram Poland 48616648081 www.diagram.pl dialog USA 201-432-2765 Dino Design USA 602-952-0665 www.dinodesign-o.com Disturbanity Graphic Treatment Germany +49 30 40 048 762 www.disturbanity.com Dogstar USA 205-591-2275 www.dogstardesign.com Doink, Inc. USA 305-529-0121 www.doinkdesign.com DONATELLI+ASSOCIATES USA 503-318-7748 www.donatelliassociates.com Doppio Design Australia 612 9212 0405 www.doppiodesign.com Dotzero Design USA 503-892-9262 www.dotzerodesign.com Double Brand Poland +48 61 6625400 www.doublebrand.pl Draplin Design Co. USA 503-282-3727 www.draplin.com DTM_INC Netherlands 075 635 52 46 Duffy & Partners USA 612.548.2333 www.duffy.com Dustin Commer USA 316-841-3969 www.dustincommer.com DUSTIN PARKER ARTS USA 316-993-1397 www.dustinparkerarts.com DZIWANI MONTEIRO, EI Mozambique +258 82 8887480 www.maisvezes.com Earnhart+Friends USA 270-842-8020 www.earnhartandfriends.com Effective Design Studio USA 206-328-8989 www.effectivedesign.com Effusion Creative Solutions USA 480-227-8951 www.effusiondesign.com Egg Design Group Australia +61 08 9389 9300 www.eggdesign.com.au eggnerd USA 817-368-8933 www.eggnerd.com

EHA Denmark 45 40955180 www.eha.dk eklektos USA 203-755-8484 www.eklektos.com El Creative USA 214-742-0700 www.elcreative.com El Paso, Galeria de Comunicacion Spain +34 91 594 22 48 www.elpasocomunicacion.com Electric Easel Designs, Inc. USA 815-444-9700 www.electriceasel.com Element USA 614-447-0906 www.elementville.com Elephant In The Room USA 336-471-5855 www.elephantintheroom.com Elevation Creative Studios USA 859-255-1200 www.elevationcreative.com elf design USA 650-358-9973 www.elf-design.com Emmi Salonen United Kingdom +44 795 200 1311 www.emmi.co.uk Emu Design Studio USA 630-587-4033 www.emudesign.com Enigma Design Graphics USA 602-993-7985 Entermotion Design Studio USA 316-264-2277 www.entermotion.com Enterprise IG USA 212-755-4200 www.enterpriseig.us.com Eric Baker Design Assoc. Inc USA 212 598 9111 www.ericbakerdesign.com Escobas Mexico D. F. +5255-56555423 www.escobas.com.mx Espial South Africa +27 (0)11 447 6500 www.espial.co.za Essex Two USA 773-489-1400 www.sx2.com Evenson Design Group USA 310 204 1995 www.evensondesign.com Evok Advertising USA 407-302-4417 www.evokad.com Ewert Design USA 503-692-5513 www.ewertdesign.com Extra Point Creative USA 407-312-2427 www.extrapointcreative.com Extraverage Productions Hungary 0036302802833 www.extraverage.net face United Kingdom +44 1423 561780 www.face-group.co.uk Faith Canada 905-891-7410 www.faith.ca fallindesign studio Russia +7 911 2321228 www.faldin.ru

Fangman Design USA 512-326-3676 www.fangmandesign.com Fauxkoi Design Co. USA 612-251-4277 www.fauxkoi.com Felixsockwell.com USA 917-657-8880 www.felixsockwell.com Fernandez Design USA 512-619-4020 www.fernandezdesign.com/ Fifth Letter USA 336-723-5655 www.fifth-letter.com FireGirl Portugal 003.51914013504 www.firegirl.co.pt FIRON Russia +7 (495) 798 6990 www.firon.com Fiton Iceland +354 5953600 www.fiton.is Fitting Group USA 412-434-6934 www.fittingroup.com FiveStone USA 678-730-0686 www.FiveStone.com Fixation Marketing USA 240-207-2009 www.fixation.com FLATFORM USA 515-451-5192 www.flatform.net FORGE Worldwide USA 781-788-9000 www.forgeworldwide.com Form United Kingdom 020 7014 1430 www.form.uk.com Formikula Germany 0049 / 89 / 130 178 14 www.formikula.com Fossil USA 214-478-5220 www.fossil.com Foundry USA 317-632-4911 www.foundryadco.com Freelance Design United Kingdom +44 (0) 7971 874823 www.petergibbons.net Freelancer USA 619-297-7697 Fresh Oil USA 401-709-4656 www.freshoil.com Friends University USA 316-295-5913 www.friends.edu FUEL Creative Group USA 916-669-1591 www.createwithfuel.com Fuelhaus Brand Strategy + Design USA 619-574-1342 www.fuelhaus.com Fulcrum Design Corps, LLC USA 614-262-6257 www.fulcrumdc.com Funk/Levis & Associates, Inc. USA 541-485-1932 www.funklevis.com Fusion Advertising USA 214-946-7404 www.fusionista.com

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FUSZION Collaborative USA 703-548-8080 www.fuszion.com FutureBrand Australia +61 3 9604 2777 www.futurebrand.com FutureBrand BC&H Brazil 55 11 3821 1166 www.futurebrand.com G2 USA 212-616-9000 www.g2.com Gabi Toth Romania +40 722 533 715 www.toth.ro Gabriel Kalach • V I S U A L communication USA Email:[email protected] Gardner Design USA 316-691-8808 www.gardnerdesign.com Gar y Sample Design USA 513-271-7785 Gateway Communications USA 503-257-0100 www.gatewayci.com GCG USA 817-332-4600 www.gcgadvertising.com Gerard Huerta Design USA 203-256-1625 www.gerardhuerta.com GetElevatedDesign.com USA 269-598-7999 www.design.erikhartley.com Gibson United Kingdom +44 020 8948 9656 www.thisisgibson.com Gideon USA 561-237-6137 www.gideoncardozo.com Gillen’s Army USA 214-257-0233 www.gillensarmy.com ginger griffi fin n marketing and design USA 704-896-2479 www.wehaveideas.com Ginter & Miletina Germany +49 611-7243803 www.ginter-miletina.de Giorgio Davanzo Design USA 206-328-5031 www.davanzodesign.com Giotto Ecuador 593 2 2461074 www.giottoid.com Glitschka Studios USA 971-223-6143 www.glitschka.com gnome USA 765-532-3746 www.2gnomes.com Go Welsh! USA 717-898-9000 www.gowelsh.com Grafi fik kOnline Serbia +381 63 81 00 682 www.grafik.co.yu Grafi fiQ Qa Creative Ser vices USA 607-433-8837 www.grafiqa.com Graham & Wayman USA 212-690-2411 www.grahamandwayman.com Gramma Belgium +32 3 230 42 70 www.gramma.be

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Grão Design Brazil 55. 21. 8756 9002 www.graodesign.com Grapefruit Romania +40 (232) 2330666 www.grapefruit.ro Graphic USA 865-983-0363 www.graphic-fx.com Graphica USA 336-230-0575 www.graphicaonline.com Great Scott Design USA 423-477-5733 www.greatscottdesign.com greteman group USA 316-263-1004 www.gretemangroup.com Grey Matter Group USA 616-458-8750 www.greymattergroup.com Gridwerk USA 215-872-6266 www.gridwerk.net grow Qatar 00974 444 6222 www.growqatar.com GSCS United Arab Emirates 009.7150 7829 509 www.greggsedgwick.com gtc media USA 305-591-7600 www.gtcmedia.com Gustavo Machado Studio Canada 416-828-4937 www.gustavo-machado.com Gyula Németh Hungary 36 20 429 219 www.seadevilworks.blogspot.com H2 Design of Texas USA 512-775-7350 www.h2dot.com Hahmo Finland +358 9 6818 210 www.hahmo.fi Hammerpress USA 816-421-1929 www.hammerpress.net hanna & associates USA 208-667-2428 Harkey Design USA 404-609-9090 www.harkeydesign.com harlan creative USA 714-469-0795 www.harlancreative.com Harwood Kirsten Leigh McCoy South Africa +27 11 461 6600 www.hklm.co.za Headwerk USA 602-952-2530 www.headwerk.com Hecht Design USA 781-643-1988 www.hechtdesign.com Hershey/Cause USA 310-656-1001 www.hersheycause.com Hiebing USA 608-256-6357 www.hiebing.com High Fiber Design Switzerland +41 079 603 0310 www.highfiberdesign.com Hinge USA 703-391-8870 www.pivotalbrands.com

HMK Archive USA 210-320-9289 hmktest.blogspot.com Home Grown Logos USA 707-338-1271 www.homegrownlogos.com Hornall Anderson USA 206-826-2329 www.hadw.com Houston & USA 404-843-1990 www.houstonand.com Hove Design Works USA 651-231-1991 www.hovedesignworks.com Howerton+White USA 316-262-6644 www.howertonwhite.com Howling Good Designs USA 631-427-4769 www.howlinggooddesigns.com Hubbell Design Works USA 714-227-3457 www.hubbelldesignworks.com Hula+Hula Mexico 56 84 73 62 www.hulahula.com.mx Hyperakt USA 718-855-4250 www.hyperakt.com I-MANIFEST USA 720-352-6429 www.i-manifeststudio.com ICOM Russia +7 (909) 635 93 25 www.promo.style-icom.ru Identica Branding and Design Canada 604-647-6223 www.identica.com Idle Hands Design USA 917-690-2383 www.idlehandsnyc.com Image Now Ireland 00353 1 4113310 www.imagenow.ie IMAGEHAUS USA 612-377-8700 www.imagehaus.net imedia communications Canada 450-375-5374 www.i-media.ca Impressions Design and Print Ltd UK +44 (0)1270 767661 www.impressionsdesignandprint.co.uk Incubo :: visual branding studio :: Mexico +81:83429661 www.incubo.com.mx Indicia Design Inc USA 816-471-6200 www.indiciadesign.com Indigo Creative USA 805-569-1017 www.indigocreativestudio.com Inertia Graphics USA 301-714-2282 www.inertia-graphics.com Ink Graphix Sweden 0046(0)31248008 www.inkgraphix.com innfusion studios USA 310.801.4301 www.innfusionstudios.com Insight Design USA 316 262 0085 www.insightdesign.com

Integer Group USA 515-247-2734 www.integermidwest.com Integrated Media, Inc. USA 317-216-5566 www.integratedmediadesign.com interbrand USA 415-593-2200 www.interbrand.com Intercity United Kingdom 07702 344146 www.intercitydesign.com interrabang design studio USA 917 690 0169 www.interrabang.com Intersection Creative USA 602-622-8757 www.intersectioncreative.com Into the Pan USA 651-353-0284 www.intothepan.com Intrinsic Design USA 770-410-1626 www.intrinsic-design.biz Inverse Paradox, LLC USA 215-284-3624 www.inverseparadox.net Invisible Associates USA 615-504-2454 www.invisibleassociats.com Ion Design Inc. Canada 604 682 6787 X15 www.iondesign.ca Itu Chaudhuri Design India +91 11 2953 3239 www.icdindia.com J.Williams Design USA 616-949-5924 www.jwilliamsdesign.com Jamie Berger USA 708-447-6359 Jared Milam Design USA 503-724-2935 www.jaredmilamdesign.com JASON GRUBE DESIGN USA 253-302-5853 www.jasongrubedesign.com Jason Kirshenblatt USA 212 327 0777 Jawa and Midwich United Kingdom +44 (0)7782388687 www.jawa-midwich.com JAX Design USA 925-831-3855 www.jaxdesign.com jeda creative USA 817-439-5922 www.jedacreative.com Jeff Fisher LogoMotives USA 503-283-8673 www.jfisherlogomotives.com Jeff Kern Design USA 417-890-8199 www.jeffkerndesign.com Jeffhalmos Canada 416-850-9616 www.jeffhalmos.com Jelena Drobac Serbia +381 11 3096972 www.d-ideashop.com Jerron Ames USA 801-770-2904 Jerr y Kuyper Partners USA 203-722-8176 www.jerrykuyper.com

JG Creative USA 208-440-2301 Jill Bell Brandlettering USA 913-649-4505 www.jillbell.com JINIZM USA 415-401-5964 www.jinizm.com jKaczmarek USA 917-657-6925 www.jkaczmarek.com Jobi United Arab Emirates +9.7150 494 3676 joe miller’s company USA 408-988-2924 www.joemillersco.com Joe Scerri Design Switzerland www.joescerridesign.com John Thompson Design USA 650-224-2934 www.buckaroodesign.com Johnston Duffy USA 215-389-2888 www.johnstonduffy.com Jon Burke Design Canada 902-463-2396 www.jonburke.ca Jon Kay Design USA 352-870-8438 www.jonkaydesign.com Joseph Blalock USA 404-964-2592 www.josephblalock.com josh higgins design USA 619-379-2090 www.joshhiggins.com Judson Design USA 713-520-1096 www.judsondesign.com Juicebox Designs USA 615-297-1682 www.juiceboxdesigns.com Juuce Interactive Australia +61 2 9476 0027 www.juuce.com Kahn Design USA 760-944-5574 www.kahn-design.com Kaleidoscope USA 773-722-9300 www.thinkkaleidoscope.com Kari Piippo Oy Finland +358 15 162 187 www.piippo.com/kari Karl Design Vienna Austria 0043-1-208 66 53 Kendall Creative Shop, Inc. USA 214-827-6680 www.kendallcreative.com Ketch 22 Creative USA 917-450-9314 www.ketch22.com Kevin Creative Canada 250-478-9666 www.kevincreative.com Kevin France Design, Inc. USA 336-765-6213 Kevin Louis Design Canada 604-876-8599 www.kevinlouisdesign.com Keziah France 33 (0) 6 70 00 70 71 www.keziah.fr Kiku Obata & Company USA 314-361-3110 www.kikuobata.com

Killustration, Ink. USA 914-522-4822 www.killustrationink.com/ Kinesis, Inc. USA 503-922-2289 www.kinesisinc.com KITA» | Visual Playground Germany +49 0 30 54 71 46 90 www.kita-berlin.com Kitsh Israel 972-54-5885500 www.kitsh.com Kjetil Vatne Norway +47 975 02 599 www.kvad.com Knupp & Watson USA 608-232-2300 www.knupp-watson.com Koch Creative Group USA 316-828-2208 www.kochcreativegroup.com Kommunikat Poland +48 602 820 318 www.kommunikat.pl Kristian Andersen + Associates USA 317-713-7500 www.kristianandersen.com KROG, d.o.o. Slovenia +386 41 780 880 www.krog.si Kurt for Hire USA 917.771.4142 www.kurtforhire.com KW43 BRANDDESIGN GERMANY + 49 211 557783-0 WWW.KW43.DE Kym Abrams Design USA 312-654-1005 www.kad.com KZ creative USA 718-853-0222 www.kzcreative.com Lam Design Group USA 703-625-7319 Launch Design USA 630-710-0620 www.launchdesign.net Launchpad Creative USA 405-514-5158 www.launchpad321.com Laura Manthey Design USA 303-861-4440 www.lauramantheydesign.com LCD Incorporated United Kingdom +44 (0)118 9839750 www.ukmn.com Le_Palmier Design Germany +49 (0) 30 44 31 78-76 www.lepalmier.de LeBoYe Indonesia 62 21 7199676 www.leboyedesign.com Lift Off Strategy & Creative USA 941-753-4044 www.liftoffsc.com Lindedesign Germany +49 (0)511 - 3482214 www.lindedesign.de Lippincott USA 212-521-0006 www.lippincott.com Liquidgraphic Design Inc. USA 941-923-6211 www.liquidgraphic.com Lisa Starace USA 619-699-7321 www.sandag.com

Liska + Associates Communication Design USA 312-644-4400 www.liska.com Little Jacket USA 720-227-0519 www.little-jacket.com Lizette Gecel USA 804-359-1711 LogoDesignGuru.com USA 877-525-5646 www.logodesignguru.com Logoidentity.com USA 908-665-6878 www.logoidentity.com Loop Design USA 718-797-2465 www.loopdesigngroup.com Louise Fili USA 212-989-9153 www.louisefili.com LSD Spain 0034 915 943 813 www.lsdspace.com Lucero Design USA 505-459-8112 Lukatarina Slovenia 00 386 1 544 34 95 www.lukatarina.net Lumino Australia +617 3251 2600 www.lumino.com.au lunabrand design group USA 480-429-3774 www.lunabrands.com Lunar Cow USA 330-253-9000 www.lunarcow.com LWD Graphics United Arab Emirates +971 4 3697800 www.lwdesigngroup.com M3 Advertising Design USA 702-460-1904 www.m3ad.com/new Mad Dog Graphx USA 907-276-5062 www.thedogpack.com mad studios China 852-9414-3291 www.mad-studios.com Manifest Communications Canada 416-593-7017 www.manifestcom.com maoStudios USA 206-331-3859 www.maostudios.com Marc Posch Design, Inc USA 213-341-1642 www.marcposchdesign.com Marlin USA 417-885-4530 www.marlinco.com Mary Hutchison Design LLC USA 206-407-3460 www.maryhutchisondesign.com Matchstic USA 404-446-1517 www.matchstic.com Mattson Creative USA 949-651-8740 www.mattsoncreative.com Mayer Creative USA 214-924-9037 McConnell Creative USA 248-420-9148 www.mcconnellcreative.com

McGarrah/Jessee USA 512-255-2000 www.mc-j.com meltgraphica Japan 090-8209-5066 www.meltgraphica.com Mez Design USA 415-331-4523 www.mez.design.com MFDI USA 570-372-4623 MGPdesign USA 425-241-2456 www.mgpdesign.com Microbot Switzerland 0041797236942 www.microbot.ch Mig Reyes USA 630-802-2153 www.migreyes.com Miles Design USA 317-915-8693 www.milesdesign.com Mindgruve USA 619-757-1325 www.mindgruve.com Mindspike Design USA 414-765-2344 www.mindspikedesign.com MiresBall USA 619-234-6631 www.miresball.com Miriello Grafico, Inc. USA 619-234-1124 www.miriellografico.com Mirko Ilic Corp USA 212-481-9737 www.mirkoilic.com Mississippi State University USA 662-325-1515 www.dac.msstate.edu MMG Worldwide USA 816-300-5132 www.mmgworldwide.com Modern Dog Design Co. USA 206 789 7667 www.moderndog.com Mojo Solo USA 651-789-6656 www.mojosolo.com Mola Portugal +351 214 14 95 64 www.mola.ativism.pt Molly McCoy USA 510-547-8908 www.mollymccoy.com Monster Design Company USA 707-208-5481 www.monsterdesignco.com More Branding+Communication USA 918-519-1605 www.morebranding.com Morgan/Mohon USA 830-990-2888 www.morganmohon.com morrow mckenzie design USA 503-222 -0331 www.morrowmckenzie.com motterdesign Austria 0043-5572-394707-11 www.motter.at MSI USA 312-946-6146 www.msinet.com Murillo Design, Inc. USA 210-215-8789 www.murillodesign.com

jKaczmarek Canada 6041234537 Najlon Croatia +385 98 231 462 www.najlon.hr Natoli Design Group USA 410-529-8896 www.natolidesign.com nazy alvarez USA 310-270-7576 www.nazyalvarez.com NeoDG Argentina 005411 49548102 www.neodg.com.ar New Medio USA 918-592-0884 www.newmedio.com Newbomb Design USA 216-431-1730 www.newbomb.com Nick Hard Design United Kingdom 44 (0)7980 601046 www.nickhard.co.uk Niedermeier Design USA 206-351-3927 www.kngraphicdesign.com Nissen Design USA 503-363-5639 Noble and Associates USA 417-875-5000 noe design USA 515-597-4286 www.noedesign.com NonlinearNYC.com USA 718-885-2929 www.nonlinearnyc.com northfound USA 215-232-6420 www.northfound.com Norwegian Ink Norway +4797072655 www.norwegianink.com NP Graphic Design USA 860-214-8863 www.npgraphicdesign.com O.D.A. USA 415-882-7700 www.odasf.com o2 ideas USA 205-949-9494 www.o2ideas.com Octavo Design Pty Ltd Australia +61 3 9686 4703 www.octavodesign.com.au Off USA 617-821-5158 offleashstudios.com Offbeat Design USA 734-214-1996 www.offbeatdesign.com Office USA 503-282-7200 www.officepdx.com Office For Design South Africa +27 (0) 11 482 2047 www.officefordesign.co.za OmniStudio Inc USA 202-464-3050 www.omnistudio.com On Design, Inc. USA 212-229-9377 www.ond.com On Target Advertising USA 323-668-2743 www.ontargetad.com

One Minute Hero Poland +48 506 75 8581 www.oneminutehero.com OnionSkin Romania +40 723 652 336 www.onionskin.ro Oomingmak Design Company USA 817-983-0142 Open USA 212-645-5633 www.notclosed.com orangetango inc. Canada 514.281.6601 www.orangetango.com Orbit Media Studios USA 773-348-4581 www.orbitmedia.com Orcada Media Group, Inc. USA 703-971-8761 www.orcada.com Organic Grid USA 215-840-0626 www.organicgrid.com Oxide Design Co. USA 402-344-0168 www.oxidedesign.com Palko USA 312-498-7461 Pappas Group USA 703-349-7221 www.pappasgroup.com Paragon Marketing Communications Kuwait +965 5716063 8 www.paragonmc.com Parall le gestion de marques Canada 418-682-1436 www.parallele.ca Park Avenue Design USA 732-363-7297 www.parkavegraphics.com Patlejch Czech Republic (+381) 602 140 477 www.patlejch.com Paul Booth Designs USA 214-552-0684 Paul Ducco Australia +61 439 988 973 www.solid-creative.com Pear Tree Design USA 415-505-5508 www.triciahamon.com pearpod USA 949-361-8900 www.pearpod.com Penhouse Design Ireland +353 57 862 5522 www.penhouse.ie Pennebaker USA 713-963-8607 www.pennebaker.com PETTUS CREATIVE USA 860-778-5112 Phanco Design Studio USA 559-299-7526 www.phancodesign.com pHd3 New Zealand 64 9 418 2315 www.pHd3.co.nz Phinney/Bischoff Design House USA 206-322-3484 www.pbdh.com Piccirilli Group, Inc. USA 410-879-6780 www.picgroup.com

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piedra papel y tijera, Inc. USA 787-605-8075 www.pipati.com Pierpoint Design + Branding USA 509-466-1565 www.pierpointwebsite.com Pikant marketing Croatia +385 49 222 127 www.pikant.hr PMKFA Japan 0081 (0)80 3958 9599 www.pmkfa.com Point Blank Collective United Kingdom 0044 (0) 845 241 8506 www.pointblankcollective.co.uk Polemic Design USA 201-978-5677 www.polemicdesign.com POLLARDdesign USA 503 246 7251 www.POLLARDdesign.com Pomegranate Studio, Inc. USA 850 671-4995 www.pstudio.info Popgun USA 415-503-0108 www.popgun.com Prances Torres USA 323-273-1715 Praxis Studios USA 919-518-0670 www.praxisstudios.com Prazna Creative USA 801-310-4143 www.prazna.net Prejean Creative USA 337-593-9051 www.prejeancreative.com Primal Media USA 603-436-1072 www.primalmedia.com Printt Dise adores, s.c. Mexico 52 55 5520 6001 www.printt.com.mx Publidesign Chile 56-2-2640126 www.publidesign.cl Pump Graphic USA 858-829-5250 www.pumpgraphic.com Pumpkinfish USA 954-563-5690 www.pumpkinfish.net Pure Brand Communications USA 303-625-1070 www.pure-brand.com Qualit Design Brazil +55 41 30221702 www.qualitadesign.com.br QUANGO USA 503-968-0825 www.quangoinc.com R&R Partners USA 702-318-4360 www.rrpartners.com Raffaele Primitivo Italy www.primitivodesign.com rainy day designs USA 970-963-9748 www.rainydaydesigns.org rajasandhu.com Canada 647-501-7252 www.rajasandhu.com Range USA 214-744-0555 www.rangeus.com

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RAZAUNO USA 646-272-8776 www.razauno.com RD Design USA 845-756-3014 www.rddesign.us RDY Macedonia ++389 71 211 830 re:form llc. USA 203-354-2029 www.reformgd.com Reactivity Studio USA 512-351-3560 www.reactivitystudio.com Real PRO Russia +7 3843 74 43 01 www.realpro.ru reaves design USA 773-552-2040 www.wbreaves.com Red Design United Kingdom 44 1273 704614 www.red-design.co.uk Redbeard Communications Inc. USA 831-634-4633 www.redbeard.com ReDesign Czech Republic 4202727354 www.redesign.cz Regina Japan www.republicofregina.com rehab¤ communication graphics USA 206-794-4209 www.rehabgraphics.com Research Studios United Kingdom +44 (0) 20 7704 2445 www.researchstudios.com Resin Design Australia +61 408 538 416 www.resindesign.com.au Retro DC USA 517-342-1010 www.retrodc.com Richard Underberg USA 347-546-2044 www.RichardUnderberg.com richard zeid design USA 847-864-0208 www.rzdesign.com Richards & Swensen USA 801-532-4097 www.richswen.com Richards Brock Miller Mitchell & Associates USA 214-987-6500 www.rbmm.com Rick Carlson Design & Illustration USA 919-604-1912 www.rcarlsondesign.com Rick Johnson & Co. (RJC) USA 505-266-1100 www.rjc.com Rickabaugh Graphics USA 614 337 2229 www.rickabaughgraphics.com RIGGS USA 803-799-5972 www.riggspeak.com Rivera Design Group Ltd Canada 604-687-4420 www.riveradesign.com robert meyers design USA 412-288-9933 www.robertmeyersdesign.com Robin Linsey USA 858-945-2326

Rocket Science USA 513-398-1700 www.rocketsciencedesign.net Rome & Gold Creative USA 505-897-0870 www.rgcreative.com Romulo Moya / Trama Ecuador 593 2 2269459 www.trama.ec Rood Graphics USA 401-847-0101 www.roodgraphics.com Root Idea Hong Kong +852 29730056 www.rootidea.com Rose/Glenn Group USA 775-827-7311 www.ideasthatmeanbusiness.com Roskelly Inc. USA 401-683-5091 www.Roskelly.com Rotor Design USA 763-706-3906 www.rotordesign.net Rule29 USA 630-262-1009 www.rule29.com Rusty George Creative USA 253-284-2140 www.rustygeorge.com Ryan Cooper Design USA 303-917-9911 www.visualchili.com Ryan Ford Design USA 562-896-7832 www.liquisoft.com rylander design USA 415-389-1998 www.rylanderdesign.com S Design, Inc. USA 405-608-0556 www.sdesigninc.com S4LE.com Canada 905-467-7139 www.S4LE.com Sabin Design USA 541-915-0776 www.sabindesign.com Sabingrafik, Inc. USA 760-431-0439 tracy.sabin.com Sakkal Design USA 425-483-8830 www.sakkal.com Saltree Pty Ltd Australia 61 3 9306 2954 www.saltreecreative.com Salty Design Foundry USA 208-664-6815 www.saltydf.com San Markos Poland +48 22 321 51 00 www.sanmarkos.pl Sanders Design New Zealand 09 358 0526 www.sandersdesign.co.nz Sandstrom Design USA 503-248-9466 www.sandstromdesign.com Sara Delaney Graphic Design USA 617-523-5144 www.delaneygroup.com SAT ONE Germany www.satone.de Sauvage Design New Zealand +64 9 630 6280 www.sauvage.co.nz

Savage Studios Malta 0035699452279 www.andreaselvaggi.com Sayles Graphic Design, Inc. USA 515-279-2922 www.saylesdesign.com Scott Carroll Illustration USA 504-523-5178 www.scillustration.com Seamer Design Australia +61 394157727 www.seamerdesign.com Sebastiany Branding & Design Brazil 55 11 3842-3937 www.sebastiany.com.br Second Shift Design USA 404-704-2445 www.secondshiftdesign.com seesponge USA 586-255-6514 www.seesponge.com Segura Inc. USA 773-862-5667 www.segura-inc.com Selikoff+Co USA 201-874-9223 www.selikoffco.com Sellout Germany 49 160 903 63175 www.sellout-industries.org Shapiro Design Associates Inc. USA 914-693-7799 www.visualanguage.net Shawn Hazen Graphic Design USA 773-545-3853 www.shawnhazen.com Shawn Huff USA 850-968-5736 www.shawnhuff.info Sheehan Design USA 619-328-6990 www.sheehandesign.com Shelley Design+Marketing USA 410-523-2796 www.shelleyllc.com Shelter Studios USA 301-942-9492 www.shelterstudios.com Shift design Portugal 003 51214135760 www.shiftdesign.pt Shoofly USA 541-482-6675 www.shooflydesigns.com Sibley Peteet USA 512-473-2333 www.spdaustin.com Sibley Peteet Design — Dallas USA 214-969-1050 www.spddallas.com Signal Design Canada 416-457-6859 www.signaldesignworks.com Sloat Design Group, Inc. USA 415-248-0061 www.sloatdesign.com Smosarski Design UK + 44 (0) 020 7240 2777 www.smosarski.com Sniff Design Studio USA 925-947-4979 www.sniffdesign.com Soffer Adkins Advertising USA 954-524-1600 www.sofferadkins.com

Sommese Design USA 814-880-8143 www.sommesedesign.com SooHoo Designers USA 310-381-0170 www.soohoodesign.com Sound Mind Media USA 828-279-4166 www.soundmindmedia.net SoupGraphix Inc. USA 619-749-7687 www.soupgraphix.com sparc, inc. USA 847-784-3100 sparcinc.com SPATCHURST Australia +61 02 9212 1644 www.spatchurst.com.au Spitfiregirl Design USA 415-643-3969 www.spitfiregirldesign.com Spork Design, Inc. USA 614-228-0900 www.sporkdesign.com Sputnik Design Partners Inc Canada 416-537-1637 www.sputnikart.com Squires & Company USA 214-939-9194 www.squirescompany.com Stand Advertising USA 716-210-1065 www.standadvertising.com Steiner&Co. Hong Kong 852-2548-5548 www.steiner.hk Stephen Averitt USA 702-478-4000 www.skglasvegas.com Stevaker Design USA 423-316-7750 www.stevaker.com Steven O Connor USA 323-779-5600 Steve s Portfolio USA 215-840-0880 www.stevesportfolio.net Stiles Design USA 512-633-9247 www.brettstilesdesign.com Storm Design Inc. Canada 403-239-9480 www.stormdesigninc.com Straka Germany 0049 1791268229 www.straka-design.net Strange Ideas USA 402-475-2300 www.baileylauerman.com Strata Media USA 714-771-0667 www.straramedia.com Strategic America USA 515-453-2080 www.strategicamerica.com Strategy Studio USA 212-966-7800 www.strategy-studio.com stressdesign USA 315-422-3231 www.stressdesign.com String Serbia +381 10 322 370 www.string.co.yu Struck USA 801-531-0122 www.struckcreative.com

STUBBORN SIDEBURN USA 206-388-5052 www.stubbornsideburn.com Studio Cue USA 503-646-6131 www.studiocue.com Studio grafickih ideja Croatia 385 1 3878 050 www.sgi.hr Studio GT&P Italy +39 0742 320372 www.tobanelli.it Studio International Croatia +385 1 3740 404 www.studio-internaional.com Studio Minuta 8 Poland +48 504 763 136 www.minuta8.com Studio Oscar United Kingdom +44 (0) 20 7837 7171 www.studiooscar.com Studio Simon USA 502-479-8447 www.studiosimon.net Studio Synthesis USA 312-350-0011 www.studiosynthesis.us Subplot Design Inc. Canada 604-685-2990 www.subplot.com substance151 USA 410-732-8379 www.substance151.com Substrate Poland www.substrate.pl Sussner Design Company USA 612-339-2886 Swanson Russell Associates USA 402-437-6400 www.swansonrussell.com Swash USA 206-696-0685 www.juliejcook.com swink USA 651-983-7929 www.thinkswink.com Switch Branding & Design South Africa 0027 11 706 9370 www.switchdesign.com switchfoot creative USA 760-720-4255 www.switchfootcreative.com Synergy Graphix USA 646-442-1001 www.synergygraphix.com Tactical Magic USA 901-722-3001 www.tacticalmagic.com Tactix Creative USA 480-835-0003 www.TactixCreative.com Tamara Kitchen USA 770-479-2218 www.kitchco.com Tandem Design Agency USA 231-946-4804 www.tandemthinking.com Tandemodus, LLC USA 312-545-9210 www.tandemodus.com Tank Design Norway +47 776 99026 www.tank.no Taproot Creative USA 850-309-1900 www.taprootcreative.com

tarsha hall design USA 206-437-7327 www.thalldesign.com Taylor Design USA 203-969-7200 www.taylordesign.com Team Manila Graphic Design Studio Philippines www.team.manila.com tenn_do_ten Japan +81-03-3796-6545 www.tententen.net Tetro Design Incorporated Canada 204-942-0707 www.tetrodesign.com The Action Designer Norway +47 470 26 4 01 www.actiondesigner.com the atmosfear USA 702-804-4117 www.theatmosfear.com The Branding Box USA 804-355-4645 www.orangetypo.com The Envision Group USA 303-843-9777 www.envision-grp.com The Eppstein Group USA 817-737-3656 www.eppsteingroup.com The Joe Bosack Graphic Design Co. USA 215-766-1461 www.joebosack.com The Logo Factory Inc. Canada 905-564-6747 www.thelogofactory.com The Martin Group USA 716-853-2757 www.martingroupmarketing.com The Mixx USA 212-695-6663 www.themixxnyc.com The Pink Pear Design Company USA 816-519-7327 www.pinkpear.com The Robin Shepherd Group USA 904-359-0981 www.trsg.net The Woodbine Agency USA 336-724-0450 www.woodbine.com Think Cap Design USA 713 854 8873 ThinkDesign Group USA 612-338-3226 www.thinkdg.com Thinking Caps USA 602-495-1260 www.thinkingcaps.net This Gunn for Hire USA 619-606-3353 Thrive Mediarts USA 619-813-9423 www.thr5.com thurner + partner gmbh Austria 0043 6413 7447 www.thurner-partner.com Tilt Design Studio Germany 4.9406 8986898 0 www.tiltdesignstudio.com Tim Frame Design USA 614-598-0113 www.timframe.com Timber Design Company USA 317-213-8509 www.timberdesignco.com

Tip Top Creative USA 206-448-3400 www.tiptopcreative.com TMCA, Inc. USA 803-256-3010 www.tmcadesign.com TNOP & bePOSI+IVE USA 312-320-0350 www.tnop.com TOKY Branding+Design USA 314-534-2000 www.toky.com Toledo Area Metroparks USA 419-407-9735 www.metroparkstoledo.com Tom Law Design USA (404) 545-0660 www.tomlawdesign.com Tomko Design USA 602-412-4002 wwww.tomkodesign.com TOMPERTDESIGN USA 650-323-0365 www.tompertdesign.com Touch Branding Czech Republic +420 603 490 106 www.touchbranding.com traci jones design USA 303-652-6230 www.tracijonesdesign.com TraffikGroup Canada 416-889-0215 www.relevanze.com transittus USA 646-708-3674 www.transittus.com Trapdoor Studio USA 602-330-2021 www.trapdoorstudio.com tub USA 804-306-5630 Tunglid Advertising Agency ehf. Iceland +354 533 2323 www.tungl.is Turnstyle USA 206-297-7350 www.turnstylestudio.com Twenty Twelve USA 310.694-4168 www.twentytwelve.la twentystar USA 303-455-7144 www.twentystar.com UlrichPinciotti Design Group USA 419-255-4515 www.updesigngroup.com Ulyanov Denis Russia +7 903 659 5304 www.caspa.ru unfolded Switzerland +41.44.450.25.82 www.unfolded.ch Union Design & Photo USA 352-472-4847 www.uniondesignphoto.com Unit USA 312-388-8864 www.unit-y.com United States of the Art Germany 49 /0(0)40 / 38 69 96 34 www.unitedstatesoftheart.com united* USA 212-643-9584 www.uniteddsn.com Univisual Italy +39 02 6684268 www.univisual.it

Unlimited System of Uncle Japan www.homepage.mac.com/omochigraphics/ UpShift Creative Group USA 312-750-6800 www.upshiftcreative.com Upside Design Co. USA 773-454-6278 www.upsidedesignco.com Valmont Comunicaci n España +34 93 458 75 22 www.valmontcomunicacion.com Vasco Morelli Design USA 650-759-4617 www.vascomorelli.com Verge180 USA 609-924-3838 www.verge180.com Vestigio Portugal +351 22 9542461 www.vestigo.com Via Grafik Germany 0049 (0) 611 1746960 www.vgrfk.com visualchemist USA 562-233-2066 www.visualchemist.com Vitrorobertson USA 619-234-0408 www.vitrorobertson.com VIVA Creative Group USA 915-543-9445 www.vivacreativegroup.com VIVAMEDIA, Inc. USA 515-225-2466 www.virtualviva.com volatile United Kingdom +4 47977 6691230 www.volatile-graphics.co.uk Walsh Associates USA 918-743-9600 www.walshassoc.com Watts Design Australia 613 9696 4116 www.wattsdesign.com.au Weber Design Inc. USA 262-677-2897 www.susieweber.com Webster Design Associates Inc. USA 402 551-0503 www.websterdesign.com WestmorelandFlint USA 218-727-1552 www.westmorelandflint.com Weylon Smith USA 615-306-1485 Whaley Design, Ltd USA 651-645-3463 www.whaleydesign.com Whet Design, Inc USA 212-513-0711 www.whetdesign.com Wm. LaVigne Design, Inc. USA 612-788-1811 www.lavignedesign.com Woo Agentur Sweden 46 8 4111763 www.woo.se wray ward laseter USA 704-332-9071 www.wwlcreative.com www.admarc.com USA 888-823-6272 www.admarc.com www.bartodell.com USA 806-392-6446 www.senterbrands.com

www.iseedots.com USA 619-793-5166 www.iseedots.com X3 Studios Romania 0040356441616 www.x3studios.com Yamamoto Moss Mackenzie USA 612-375-0180 www.ymm.com yarimizoshintaro Japan +81 090-6115-3333 www.yarimizo.com Yee USA 310-397-8128 www.ypcdesign.com Yellow Pencil Brand Sharpening New Zealand +64 3 3650080 www.yellowpencil.co.nz Yoshi Tajima Japan +81 3-3405 7044 www.radiographics.jp Zambezy Creative Agency Russia 7 (812) 334 1169 www.zambezy.ru Zed+Zed+Eye Creative Communications USA 352-694-1933 www.zedzedeye.com Ziga Aljaz +386 40519322 www.aljaz.org ZupiDesign Brazil +55 11 5084 9040 www.zupidesign.com Zwoelf Sonnen Germany www.zwoelfsonnen.de

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about the authors Bill Gardner is president of Gardner Design in Wichita, Kansas, and has produced work for Cessna, Spirit AeroSystems, Learjet, Nissan, Thermos, Pepsi, Pizza Hut, Cargill Corporation, Kroger, Hallmark, and the 2004 Athens Olympics. His work has been featured in Communication Arts, Print, Graphis, New York Art Directors, the Museum of Modern Art, and many other national and international design exhibitions. He is the founder of LogoLounge.com and the author of LogoLounge 1, 2, 3, and the annual “LogoLounge: Logo Trend Reports.”

Catharine Fishel specializes in working with and writing about graphic designers and related industries. Her writing has appeared in many leading publications, including PRINT, Communication Arts, Graphis, ID, and many others. She is editor of the web site LogoLounge.com, contributing editor to PRINT, and is the author of many books about design, including Paper Graphics, Minimal Graphics, Redesigning Identity, The Perfect Package, LogoLounge 1, 2, 3, 401 Design Meditations, Designing for Children, Inside the Business of Graphic Design and How to Grow as a Graphic Designer.

Logos define, distinguish, and disseminate a company’s core message. It is no wonder that creating a successful mark takes a well-conceived strategy and a skilled hand.

As challenging as designing dynamic and communicative marks is, this book, the fourth in the series, once again celebrates the brilliant work top designers around the world have created for clients both large and small. This diverse collection offers a wealth of inspiration and insights for graphic designers and their clients. Created by Bill Gardner, president of leading design firm Gardner Design, the LogoLounge website (www.logolounge.com) showcases the work of the world’s top designers as well as up-and-coming new talent. The book presents the site’s best designs of the past year as judged by an elite group of name-brand designers. The first portion of the book profiles ten top designers and spotlights their biggest, newest campaigns. A handful of their smaller projects are also featured in this section along with unused proposed logos that have never before been seen. The second half of the book contains almost 2,000 logos organized by visual categories. LogoLounge 4 features the work of superstar artists and firms such as Interbrand, Pentagram, Office, and Siegel+Gale. With 2,000 logos from every corner of the earth, this visually compelling volume is the go-to resource for inspiration from the best in the field.

The much-anticipated follow-up to LogoLounge 3, a Rockport Publishers bestseller Features 2,000 logos and provides fresh inspiration to anyone looking to craft an identity Includes a valuable cross-referencing feature with the LogoLounge website

UPC

$50.00 US £32.50 UK $58.95 CAN

www.rockpub.com

EAN

ISBN-13: 978-1-59253-400-5 ISBN-10: 1-59253-400-7

Graphic Design