Archive for design

Logo Lessons from a Lippincott Partner

Su Mathews Hale is senior partner at Lippincott’s San Francisco office, where she heads up branding initiatives for clients such as Hyatt, Walmart, eBay, and Shutterstock. Prior to joining Lippincott more than 10 years ago, she was an associate partner at Pentagram in New York. Hale is currently president of the National AIGA.

We’re so pleased to have her on our panel of judges for this year’s LogoLounge competition. Here, she gives us some advice on creating effective and endearing identity programs.

When working on a large branding project, is the logo always the first thing to consider?

The logo is one of the considerations, but rarely the first. The most important thing to consider is the business strategy and to ensure that the creative vision aligns with where the company is headed. Things designers need to ask themselves, is what does the brand stand for? What’s happening in the company (growth, new products, broader customer base) that the design needs to accommodate for? Most successful companies get to a point where they need a visual facelift to stay modern and relevant, but even in those cases the logo redesign is second to the strategy of the company and changing needs of the customer.

Read the rest of the interview here.

 

LogoLounge’s Superstar Panel of Judges Announced

It’s on! The competition for LogoLounge 10 is heating up and the judging panel is hotter than ever. The breadth of the work done by this group of international judges encompasses the largest swath of name brand identities under one roof … err … website, including Facebook, Apple, WalMart, eBay, The Today Show, Patagonia, Nike, Mac Cosmetics, Gevalia, and Verizon, just to name a few.

Normally eight judges comprise the panel, but this year LogoLounge founder Bill Gardner upped the ante to ten, because he’s expecting more entries than ever before. “Some folks don’t realize that this competition is probably the single largest and most competitive with 25,000-30,000 entries historically,” he notes. “We decided it would give each entry more scrutiny if we expanded the panel, and with this the tenth anniversary, pushing the panel to ten was a natural.”

The judges this year include:

“We’ve always been fortunate to have strong judges, often with name brand value, to guide us to the very best of our submissions. This year, we’re introducing a digital version of the book that will have dramatically broader distribution, so we went back to a few of our past jurors,” Gardner says. “These are designer favorites the industry loves, and we also reached out to a new generation of superstars with amazing talents.” The make-up of the panel is a good blend of designers and illustrators with broad skill sets like typography and letterforms, symbols and marks, conceptual to illustrative, and boutique to international. This diversity ensures a compelling selection of designs.

Several of the judges have been featured in past LogoLounge books. Gardner has noted that Felix Sockwell, was subscriber No. 1 to LogoLounge.com, and also served as one of the first judges. Von Glitschka has also judged before, and his work has been featured in nearly every LogoLounge book as well. “It was ten years ago that another designer picked up a LogoLounge account and submitted about 50 amazingly crafted marks. Seems like the judges loved him too, and picked close to half of his work for the book,” Gardner recalls. That person was Aaron Draplin, and he has been a LogoLounge supporter ever since. Gardner adds, “He is one of the most genuine individuals I’ve ever met, and deserving of every success he’s earned.”

It’s no accident that the best logos in the world end up in the book because the people selecting them know what comprises a great logo design and how it will resonate with its intended audience. No one walks into a LogoLounge book just because they submitted. It’s a healthy competition where only the strong survive.

As an added bonus this year, LogoLounge is teaming up with HOW, which will feature a sampling of the top-rated selections in its Summer issue. “We’re excited to share the best logo entries with the HOW audience, and discuss the merits of why these logos work so well,” Gardner says.

Art Chantry: Design’s Anti-Hero Receives AIGA’s Highest Honor

As a guy who rose to popularity for his crude album cover designs for bands like Nirvana, Soundgarden, The Sonics, and Mudhoney nearly three decades ago, Art Chantry is still trying to figure out the design world. In fact, he’s adverse to most design these days and resists technology as much possible. The man prefers to work with his hands, manipulating materials, images, and type in a way that the computer just can’t do, in his opinion.

Chantry is an outspoken critic of modern design and designers, but despite that, he’s being honored as a 2017 AIGA Medalist. The irony hasn’t been lost on him. It just goes to show that good work is good work, and you can be welcomed into the club even if you’re an outsider with a bad attitude. Even he couldn’t believe it when he received the call from AIGA.

Here he talks about what’s wrong with design today, his hoarding habits, and why he’s such a pain in the ass.

Do you like design today?

That’s a loaded question. I do like SOME design done today. But, frankly, I look at old design, not new design. Old design, pre-computer design—when the IDEA was the coin of the realm. I look at contemporary design annuals and see this incredibly high level of mediocrity. Page after page of beautifully rendered (crisp and clean) design that all looks the same. About every 10 to 20 pages one piece will pop out like a huge sore thumb. At first you can’t figure out why. Then you realize it’s because it actually has an idea being presented. Most graphic design today is not really design. It’s decoration. Graphic decoration. It just has to look nice, or pretty, or cool. It has to fit in to a very high standard of production values that only computers can give you.

Any design work that doesn’t look exactly like your ‘comp’ is pounded down like a nail that sticks up. Ideas are erased so fast in an environment like that. These are all things that I try to avoid in my work. Strangely, ideas are all I have to offer any more. Computers don’t have “idea” buttons (yet).

Read the rest of the interview here.

 

Yo Santosa: Putting her Branding Experience to Work in Her Entrepreneurial Endeavors

You know how when you see something new and say, “Gee, I had that same idea. I could have done that.” But you didn’t? Most of us say that, but we never act on it. Meet Yo Santosa. When she puts her mind to doing something or filling a niche that hasn’t been filled, she goes for it.

Santosa, who has called Los Angeles home for 13 years, was born in Indonesia and raised in Singapore, before emigrating to the U.S. at age 17. She graduated from Art Center College of Design, just four years later. In 2006, she opened her branding agency Ferroconcrete, where she helped her first client, Pinkberry, grow from one store to a global brand with more than 200 stores worldwide.

She’s taken that branding expertise and created her own start-ups in vastly different categories. In 2013, she launched Commodity, a fragrance company with a mission to make fragrance personal (it has been featured in GQ, Fast Co., Esquire and W Magazine), and in September 2014, she founded and published the first issue of LA Downtowner, a cultural publication for Los Angelinos looking for fun, food, and fashion.

Here Santosa talks about her entrepreneurial drive and the realities of wearing so many hats at once.

What is the meaning behind the name of your agency? 

Ferroconcrete is another term for reinforced concrete, which enabled the building of bridges and multiple-story buildings. It’s a metaphor for building brands into skyscrapers. But that’s the long answer. The short one; simply, I love concrete. Read the rest of the interview here.

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Scott Dadich: The Making of the Netflix Series, “Abstract”

If you haven’t yet watched “Abstract: The Art of Design,” which features eight extraordinary designers, practicing different disciplines, then set aside a day for an inspiring binge-watching experience. The making of the series is as complex and beautiful as the people portrayed. Executive producer Scott Dadich discusses the two-year journey to make the series, and reveals some of his favorite moments in the process.
While working on the series, Dadich was still deeply entrenched as the Editor and Creative Director of Wired magazine, which boomed under his leadership. He tripled the publication’s reach on social media and increased traffic to the website by 50 percent. Wired also earned ten Webby Awards, more than 50 Society of Publication Designers medals, a James Beard Foundation Award, and four National Magazine Awards for design. He recently left the magazine after more than a decade, to start Godfrey Dadich Partners with Patrick Godfrey.
Here, the bearded and bespectacled 40 year old talks candidly about the process of creating Abstract—from conception to delivery—and the delicate balance of filming people in their environment without disrupting the creative process. Read the interview here.

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On the Road with Aaron Draplin

Aaron Draplin needs no fancy introduction in this part of the logo hemisphere. He has rocked the design world in the last year, surprising even skeptics, with his bestselling book Pretty Much Everything, which details his work and reveals much about himself–the man behind the big beard.

As a judge for this year’s LogoLounge competition, we wanted to catch up with him and get the highs and lows of his whirlwind book tour last fall, in which he visited 24 cities in seven weeks. And he’s going to do it all over this spring.

Give me a little background on this whirlwind tour … was it all for the book?

For the book…and for SURVIVAL. Well, mainly the book. Do graphic designers go on book tours? They do now. I wanted to take the whole story of the book to the people. I mean, why not? The book wasn’t supposed to happen in the first place, so why not tack on a 34-show, 7-week tour to the whole mess? And we did it, and, pulled it off with flying colors. All in an orange van. So proud of the whole thing.

When did you find time to actually work?

I didn’t have a lot of projects going on the tour. That freed up my nights. But when things popped up, I’d just work late in the hotel room. Or get up early and do a morning shift before we got rolling. Wherever you can find the time, you know? Might be at lunch, with my laptop open in some restaurant, suckin’ off their Wi-Fi to send a file.

Read the rest of the interview here.

 

John Fluevog: Designing Unique Soles for More than Four Decades

John Fluevog has been crafting high quality, funky shoes for more than 46 years, yet he’s not a household name like Jimmy Choo, Jessica Simpson, or Steve Madden. Mainly because his shoes are not sold in department stores, and the designs are bizarrely unconventional. Let’s just say, when you wear a pair of Fluevogs, expect to get noticed. People either love them or they don’t know what to think of them, which is precisely what Mr. Fluevog has intended.

He’s kind of like the Tim Burton of the shoe design world. Like Burton’s films, Fluevog’s designs are colorful, over the top, and decidedly offbeat. He’ll never fit in, but that’s perfectly fine with him. It’s all part of his brand strategy. Fluevog has been creating “unique soles for unique souls” since 1970. The shoes aren’t just showstoppers though, they’re designed to last many, many years, constructed with high quality, eco-friendly materials. He lives his motto, “good soles leave small prints,” by specifying vegetable tanned leathers and water-based glues.

Fluevog’s mission is to bring his customers along for the fun and quirky ride. The Fluevog community, called “Flummunity,” encourages customers to submit shoe designs and create ads that reflect their own sentiments about the brand. There’s even a “Fluemarket” for buying and selling used Fluevogs. This brand strategy of involving his customers has paid off handsomely, as “Fluevogers” are repeat customers and tend to evangelize the brand mission. Every point of contact with the brand has been carefully curated from the online shopping experience, to the delivery of your product in a beautiful blue box, containing a custom shoe horn, Fluevog stickers, and sometimes a personal note from the person who shipped the shoes.

Here we talk to Fluevog about his brand’s unusual heritage, his inspirations, and staying ahead of design trends.

Did you have any training as a shoe designer?

I have been self-taught. I did not even take art in high school. In fact, I’m not sure I ever graduated from high school. I have never taken a shoe making course nor an art or design course, and have never done any post-secondary training. Art was not encouraged in my family. Music yes, art no. Read the interview here.

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Matteo Bologna: Pushing the Limits of Typography

As a young, horny man living in his mother’s house in Milan, Italy, Matteo Bologna taught himself how to design type while on the phone with an annoying girlfriend. While she talked and complained and cried for hours on end, he toyed with the seductive curves and shapes of letterforms on his computer, and eventually broke up with the girl. He found typography to be much sexier. Besides, her pasta would never be as good as his mama’s.

Young Matteo’s love of typography only intensified when he started receiving The Type Director’s Club (TCD) annuals filled with designs by Louise Fili, Paula Scher, Seymour Chwast, and Charles S. Anderson. He copied and cajoled their work, and knew the only chance he had to really break into design was to move to New York City, which he did in 1994. Shortly thereafter, he formed Mucca and he landed a big break, designing the brand for a new French brasserie, Balthazar, which quickly became famous for its delectable breads, pastries, and pommes frites. The design community also took notice of Matteo for his exquisite handling of the restaurant’s identity. The rest, as they say, is history.

Here we talk to Matteo about the power of type in design and the ways in which he pushes it. Read the interview here.

Jennifer Sterling Finally Gets the Last Word

Having lived and worked on both coasts, Jennifer Sterling knows a thing or two about cultural and political discourse in design. Her illustrative typographic renderings have produced praise and ignited loathsome critiques from her peers.

She experienced a profound backlash in the early 2000s for her design of the now infamous 2001 AIGA 365 Annual. No designer has ever taken such a public beating for their work as she did. And she never responded. Until now.

That catalog sent designers into a tizzy. Today, I doubt anyone would raise a brow. Sterling did what she did best: She created typographic and textural images to create meaningful discourse and showcase the work as it was meant to be seen. But, perhaps she was ahead of her time. People didn’t get it and the reaction was visceral and harsh. Today that book would be a precious keepsake, and anyone featured within would be honored.

It seemed as if Sterling—then in San Francisco—dropped out of the design world, only to re-emerge five years ago in New York. That’s not quite the case. She has continually worked, but she intentionally kept a low profile. She was never looking for the spotlight, but it found her in the ugliest of ways. Despite that, her love for design never wavered and she continued to work with clients like Adobe, Aveda, Gilbert Paper, Hillary Clinton, and more. Her work has been included in the permanent collections of The San Francisco Museum of Modern Art, The Library of Congress, Bibliotheque Nationale de France, Museum Fur Kunst Und Gewerbe, Hamburg, and the Cooper-Hewitt National Design Museum.

Here, we talk to her about her passion for design and typography, and we let her have the final word on that book she designed more than 15 years ago. Read the interview here.

Marc English is Always Going Off the Beaten Path

Whether he’s teaching, designing, or hitting the road on his motorcycle, Marc English never takes the prescribed route. No, he likes to distance himself from the tried and true, sticking to his gut instincts and following his muse.

English has become widely known in design circles as an eccentric with an appetite for adventure. He’s crisscrossed the U.S. on his Triumph Bonneville, meeting new people, sketching, speaking, and always searching for the best piece of pie. Here he talks about his journeys, people he’s met, things he’s seen, and his role in design.

What exactly are you up to these days?

For the last couple of years, I’ve been beating this expression into the ground, when folks ask what I’m up to: “As little as possible, and I don’t even start that till noon.” The truth is, I’m doing what I’ve been doing for the last thirty years: living life as best I can, with design and education paying the rent. Just more than a year ago, I was speaking at a conference in Palm Springs, and the name of my talk was “The Career I Never Wanted,” as I have never wanted to work for myself. Always wanted to work for someone older, smarter, more talented, that would take me under their wing. Life doesn’t always work the way you’d like, so I’ve had to suffer the consequences of my choices.

At the Boston HOW Conference of 1994, the late Gordon McKenzie, then creative director at Hallmark, spoke movingly about life in design, acknowledging the safest one can be is in an underground bunker with no windows or doors. I liken that to any number of dead-end design gigs — I’ll let the reader fill in the blanks as they see fit. On the other hand, Gordon said the most free one can be is in free-fall from an airplane without a parachute. I’d say that to a degree, I’ve been in the latter category, and after having my own gig for 23+ years, am lucky enough to have not yet hit ground. Before I hit, I’d like to find an equilibrium and halfway point between the two. Read the rest of the interview here.

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