Winning Logo Design Strategies from 9 Industry Leaders

Andreas Karl

“First: Look through all 265,000 logos in the LogoLounge library and see what other graphic designers have done before. It keeps you from creating doubles, and from following an idea that already exists. Second: Look at the logos of companies like Nike, Apple, Mercedes Benz, CocaCola, and ask yourself ‘What makes these logos so good?’ And third: If your design colleagues all go right, then take the road to the left! Creating good logos has nothing to do with following trends or copying the styles and ideas of others.”

Aaron Draplin

“Zoom in, then zoom back out. Look for things meshing or problematic areas. … Just that quick. It’s a privilege to do this. One year before I got into this game, people were taking photos of logos with Photostat cameras and shit, waiting four days just to see how their logos looked. Just zoom out for a second on your screen! And then, adjust accordingly.”

Su Mathews Hale

“Do a lot of research to get grounded. It’s your job as a designer to understand the business. Keep your audience/customer top of mind. Sketch in black and white first; it’s easier to see if an idea is strong without added bells and whistles of color and gradients. Ask yourself ‘What’s the idea?’ Test the strength of the logo in the environment in which it will live—you will rarely see a logo on a white piece of paper without any other context.”

Felix Sockwell

“Start with pencil to paper, and don’t hop on the computer right away. Get the problem solved before you start executing it. Do more typographic research and use typefaces that are historically correct.”

Yo Santosa

“Don’t try to tell the entire brand story in a logo. The simpler the shape, the more memorable it becomes.”

Von Glitschka

“The common denominator in a great logo is a core concept—a great idea encapsulating distinct meaning in a fun and clever way that is executed with impeccable craftsmanship to bring it to life. Many have good ideas, but fell a bit short on the build end of the design equation. Then there are a lot of precisely crafted logos that are just shallow in meaning—they aren’t bad, they just lack soul. Idea plus craftsmanship—both are needed to be successful with brand-centric design, but doing so isn’t always easy.”

Alex Tass

“A successful logo may mean many things, but I would say to always try your best, try to be unique, try to be clever, try to reach that ‘wow’ effect.”

Emily Oberman

“Strive for clarity, simplicity and a little bit of wit.”

Chad Michael

“Don’t recreate anything you see others doing unless you are evolving it to make it your own. Be daring and take risks. Remember, great logos tell a story.”

Read the original article 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.

Save

A Duo of Glitschkas

Von Glitschka has been in the logo trenches for more than 20 years. His illustrative logo solutions are as varied as his clients—from local brewers, pubs, and mechanics to national artisanal brands, sports monikers, and software companies – and no doubt you’ve seen his work right here at LogoLounge over the years. We’re thrilled to have him as one of our esteemed judges for LogoLounge 10. In addition to designing logos, he also does lettering, patterns, characters, and icons, and he has authored and illustrated several how-to books on creating vector-based art.

Although he’s done quite well on his own all these years, he took on a partner of sorts last year when he hired his daughter, Savannah, as a full time designer and illustrator after she completed the two year design program at Chemeketa Community College. Here we talk to him about going from a solopreneur to working with his daughter.

Was it an easy transition?

While she was going through school, I’d hire her on a freelance basis to work with me on some projects, and it worked really well. She helped in the exploration on the Dungeons and Dragons brand mark I did, and she helped me create all the art for my Take and Make book.

Read the rest of the interview here.

Save