Members of medical-site.info can view every logo submitted to past, present, or future books as well as receive unlimited uploads of their own logos for possible. LogoLounge Book 7. Authors: Bill Gardner & Anne Hellman; Published: July The seventh book in the LogoLounge series once again celebrates the best. medical-site.info is an invaluable resource for designers at all stages, across LogoLounge book series, or logos that have been added to member . Page 7.

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LogoLounge is the one of the most respected and best-selling logo design book series in the world and I'm happy to share that 12 logos Jacob Casss Logo Lounge Book 9 Selections Sunday, March 1, at pm ·. Thread: Collection Design Logo Books, with Logo Lounge PDF . reupload Logo Lounge 2,3,4,5,6 logo lounge 1 and 7 will upload soon. LogoLounge Idea Generators: Symbolism with Bill Gardner. 2 of Balls 7 of Human Touch. Medical, Clinical Perspective,. Corporate Concern. Love.

Thank you to Bill Gardner, his team and of course, the judges! This marks the 43rd logo published in their amazing book series. Did these projects all get implemented? Also, how is it I never hear about the call for selections? Nicely done Jacob! You are a legend and deserve to have your work featured in these books. Prescott, All of these were for real clients yet not all were used eg. There were a few before and afters and a few totally new companies. The call to selections is actually all the time. Eery logo you submit to LogoLounge is automatically considered for their books which are usually annually.

As the design progressed, the corporate logo, packaging, and brand identity. Whereas the previ- brand images morphed into vibrantly colored disc shapes twirling ous identity communicated the traditional atmospheric qualities around a center to symbolize a multiplicity of choices.

The word Tassimo now appears more contemporary, with The Turner Duckworth team, led by founding partner Bruce Duck- the distinctive a mirroring the teardrop and the lettering overall worth, researched the competition as well as the everyday lives sharing a rounded quality that ties in to the shape. For inspiration, the designers went to the source itself: Each package is highlighted with the color that rep- resents the drink brand it holds. Consumers across Belgium, and even the Netherlands, were very familiar with the story of Jan Primus, the thirteenth-century Duke of Brabant, as he was not only a powerful landowner but also an infamous lover of life.

However, his per- sonality was not represented by the standard typefaces and illustrations used in the old system. This entailed a great deal of research into the life and times of the legendary duke.

Before designing, we did some research on the era that he lived in—the clothing, the Brabant coat of arms, swords, and helmets.

Each element of the identity is equally strong, allowing it to be used separately throughout dif- ferent kinds of applications, from labels and bottle caps to signage, crates, and advertising communications. The logotype used on the label also had to be reworked.

The previous font was a heavy and robust slab serif. The main objective was, above all, to be as creative as possible with each item, and to make them more modern.

Design trials for the armored knight on horseback play with different helmets, shields, as well as the balance of positive and negative space. Instead of launching an ad campaign simultaneously with the new pack- aging, Primus has introduced it to the market in stages. Primus wanted to switch out the old materials in circulation—the bottles, glasses, crates, etc.

The Primus redesign won a Rebrand Award. The designers lightened the heavy slab serif of the previous logotype and gave the letter M an appealing break.

Applications of the renewed identity include glasses and label-shaped beer mats. The illustration of Duke Jan had to be powerful and dynamic, reflecting a hero personality with a lot of movement. The notion of user-designed logos is one sprouting up across the the word i. The conceptual identity, rather uploaded to its website. Therefore, the logo would always be than the hard-and-fast, black-and-white mark, makes perfect changing and reflecting the teamwork that happens between sense for a company like i.

But very quickly they understood the innovative aspect The Today team narrowed down the solutions to three possible of the design, and the ways in which it mirrored their core offering.

The logo would be Peels. The logo is simply the word i. With an iPad, customers can write their logo directly onto the screen. The i. The concept works especially well for individual designers, providing them with a handwritten logo to use on everything from products to business cards. The identity system has also extended to product packaging. Business cards for i.

As opposed to when it originally launched in with a single collection of colorful sweaters, Benetton now comprises a wide range of products and has accumulated multiple visual assets over the years. The basis for the identity redesign as a whole was a shift toward consis- tency. Pentagram partners Michael Bierut, in New York, and Daniel Weil, in London, worked with Francesca Sartorato and team at Benetton to develop a set of guidelines for graphics on products, in advertising, promotions, and on storefronts, as well as online.

Toscani chose Gill Sans for the typeface because of its sans serif authority and clarity. Over the years, however, as the company formed an array of product lines, Gill Sans had trouble speaking for all of them. Pentagram determined the Benetton Green palette.

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The realigned logo gives both garment labels and hangtags a matching vertical orientation. They explored a range of variations using straight and dotted lines, then com- bined multiple symbols together, playing with positive and negative spaces to create patterns for garments, hangtags, and accessories. Rather than design a new bunny image, the designers tags, and accessories.

And by recycling the insignia they upheld the new system of consistency: The Benetton Bunny was all Benetton.

The response from store owners has been positive. Pentagram employed the negative spaces of the punto maglia symbol to form the arms and legs of the Benetton Bunny graphic.

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Benetton Sans is intended to provide a more versatile, more neutral typeface, and one that could be proprietary to Benetton. All Benetton product lines are tied into a consistent visual identity created by Pentagram, from Benetton Bunny to Benet- ton Vintage.

Pentagram developed a series of logo variations based on the basic geometry of the new Benetton Sans typeface. With yellow-orange logotypes on top and bottom, a red July , a different kind of burger also came into being. Michael one in the middle, and two crisp-green lines dividing the words, Bierut and Joe Marianek of Pentagram, who worked with celeb- the logo burger came to life.

The whole word mark looks edible. Bierut masterminded a fun and easy- and colorful cooking-show personality. Bobby was very back to the overall identity. Design trials explored different concepts as well as color palettes. Just choose a color.

The restaurant interior, designed by Rockwell Group, carries the color scheme of the visual identity into all aspects of the decoration. So important is the icon that it takes just the right hand to create it.

In , Virgin Airlines commissioned Sydney-based brand and design consultancy Hulsbosch to spearhead a complete overhaul of the Virgin Blue brand, from positioning to naming to creating the visual identity. Virgin wanted Hulsbosch to take Virgin Blue upmarket and to remove its low-cost heritage from every aspect of its brand deliveries.

Renamed Virgin Australia to appeal to the corporate and leisure markets, the new airline needed a visual identity that communicated its shift in status. This is where brand illustrator Chris Mitchell stepped in.

The Virgin Australia brand icon has a upmarket and to remove its low-cost heritage classic look, while the crisp gray-on-white color scheme elevates the image to the realms of contemporary luxury. I believe negative space is just as important to craft as positive space.

The Flying Lady icon graces many Virgin travel brands around the world. Mitchell worked closely with the Hulsbosch creative team throughout the design process.

During the initial exploration stage, he presented them with sketches to help determine positive routes for further work. I also believe negative space is just Flying Lady, whose hat and skimpy beachwear had to be replaced to make as important to craft as positive space. There was also a danger in making the Flying Lady appear too characterful, which could restrict her appeal.

The ultimate solution has a classic look Hulsbosch asked Mitchell to work in one color from the very beginning to and crafted feel, while the crisp gray-on-white color scheme elevates the ensure simplicity and readability in all settings. This became critical in the image to the realms of contemporary luxury. Virgin Airlines and the Huls- design of the aircraft livery, which would virtually stand for the brand around bosch team were delighted with the design, and revealed it to the public in the world.

The Virgin Australia Flying Lady has been well process to get it as clean as possible. For me, using negative space as light is such a dynamic and creative ingredient in giving life and dimension to a design. I also believe negative space is just as important to craft as positive space. You are known for executing a high degree of craft in your work. Why do you feel craft is so important today?

Keeping craft skills alive is more vital today than it has ever been. With budgets reduced and timelines shortened, the cheaper alternative can Black and white thumbnail sketch With second tone.

Thumbnail sketch. Especially in the last ten years there has been a huge increase on the importance of ideas leading the way in design. This seems to be at a cost as the industry is losing craft skills, particularly in drawing ability, now not Old Design Early line sketch, character development.

Final Artwork often a requirement for designers. I appreciate a good idea; this is crucial and is the obvious starting point for an effective design. The next problem, though, is how should that idea be executed? Why is an investment in craft particularly important in branding? The previous design is in the lower left corner.

Work that has a degree of longevity such as brand identity is an area the head to be forward-looking, raising the chin to make it more where craft can excel if given the chance. What steps do you follow in order to avoid going in the wrong the obvious starting point for an effective direction? The next problem, though, is how should CM: To visually communicate the idea uniquely I like to keep the process loose and simple early on to focus minds.

The exploratory stage is most that idea be executed? Was there a moment in your career that steered you in the direc- tion of making well-crafted designs? When turning a great idea into an image, ultimately an icon, what CM: I was trained originally as a traditional illustrator, where learning dif- sources of inspiration do you refer to in order to start sketching? In those early CM: For designers, often ideas are triggered by other visual material. Today days every thing was hand drawn.

You could not avoid appreciating the there is a huge volume of material available online. Illustrators have histori- traditional skill base around you.

At the time, being a general illustrator, I cally contributed to the business of generating ideas. Their work has always worked on so many different types of creative jobs.

Cartoons, book covers, proved to be a rich source of inspiration. What it did teach me was how important it was to interpret a brief, I am especially excited by seeing historic work, whether in sculpture, spe- a skill that is crucial for developing major brand icons. While on occasion a good idea can come in a moment, craft is an ongoing process of learning. Mitchell presented sketch options exploring differ- ent elements of the dragon detail, shield design, and banner for Connor and his team to engage with and provide feedback.

To remove it could be likened to removing the lions from the England football emblem. It was important that all elements of the design work crest emblem for the Football Association of Wales, giving it a together in stylistic harmony so that the design could be seen forward-looking momentum.

The color palette—red, green, and white—also had to be maintained to keep the brand portfolio consistent. The London branding-design agency Bulletproof faced a chal- Although the new crest is a giant visual leap from the previous lenge: How could it provide a clear brand positioning and focus design, it retains the same elements of the old crest: However, this vigorate the Welsh passion for football?

At the same The new crest visually projects the brand message, by revitalizing time, more modern crests can appear bland, with little craft, the renewable features of the old emblem, modernizing it, and excitement, or visual dimension. The existing crest appeared tired turning it into something all can now be proud about.

The image needed Mitchell crafted two other identities within the FAW brand more than an update but modernization to bring the club and its umbrella, for the FAW Premier League and for the FAW Welsh fans together behind a powerful new brand vision.

Headed by critical that all three identity marks possess a visual consistency. The old crest appeared tired and lacked drama. The designer even gave its tail a dynamic twist.

Bulletproof commissioned Mitchell to develop two sup- porting identities to the FAW brand: The marks carry attributes of the main crest emblem so that all three work as a collection. The icon launched in September in time for the Wales vs. Montenegro Euro qualifying match. FAW produced prematch promotional assets, including posters, tickets, and programs, and in-stadium signage was supported by onscreen animations that used the core FAW crest.

The London team also happened to have an Italian cre- ative director, Gianni Tozzi, at the time. To begin the process of developing the logo, the team consulted technical drawings of the car as well as early press shots. The Alfa Romeo introduced the Mito in ; at the same time it introduced a completely new kind of car badge. The Brand Union Alfa Romeo was trying to tell too many main created a word mark that resists the usual language of automotive iconography.

By giving only part of the word Mito, the logo encour- stories at the beginning. They created mood boards to dramatize the three directions and ultimately chose the theme of myth mito as the route to pursue. These mood boards for inspiration only show the different concepts: Each direction informed a potential logo design.

A selection of seven logo designs was published on the Alfa Romeo website and put to a public vote. The Brand Union expanded upon the logotype to create a unique design language. The designers exploded the logo itself to make an abstract graphic pattern that could be carried into other touch points, such as point of sale and merchandising materials. A selec- The Brand Union expanded upon the logotype to create a unique design tion of seven was published on the Alfa Romeo website and put to a public language that could be carried into other touch points, such as point of vote.

The solution was based on a contemporary version of the idea of mythol- ogy. Romeo master brand. The entire identity system was inspired by the mark and then built to complement and reinforce the Alfa Romeo personality, Through many trials the team developed a typography for the logo inspired not dominate it.

The logo does not give the whole word Mito, but it encourages the audience to The logo launched along with the car at the Paris Motor Show in October complete it visually themselves. What is equally interesting is the way in , and the reaction was mostly positive. They are interlocked and logo is very different from traditional Alfa badges, being more contempo- interdependent in order to be fully read.

For instance, the i completes the rary, which was our intention. But even die-hard, traditional-script-loving letterform M, just as the t completes the o. The Mito at the British International Motor Show launch Making the car badge was much like breaking up type on the screen and then putting the pieces back together, leaving some out.

However, in , Mauzan was yet to be widely known as a pre- mium brand. The designer worked with The Brand Union team in Dubai to create a logo and visual identity that captured this essence and communicated it to the world.

For the logo itself, the designers worked through more than a dozen variations of a calligraphic representation of the word Mauzan in Arabic. A classic yet clean typeface was fashioned to represent both Arabic and English word marks and to balance them, one atop the other, beneath the icon.

The mark also appears in egy, Mauzan has begun to branch out, with stores in Abu Dhabi, Al pearlescent foil on applications such as shopping bags, packag- Ain, and Dubai. The logo is echoed in pearlescent foil on white packaging, evoking the shell of a pearl. A greater emphasis was placed on making it more small- business and consumer focused. This proved to be a sobering test of how similar the leading brands had become. Through market research, coupled with extensive interviews with business leaders, Lippincott discovered that there was little difference between Viking and its office-supply competitors.

On top of the problem of differentiation was the fact that local competitors were more customer-focused. Online competitors were also moving into the market.

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A new generation of future business leaders and university gradu- ates were going directly online for their products. The Viking catalog was noisy and cluttered, with products compet- ing against one another on every page.

The opportunity was to simplify through better design and to deliver an experience that was easier and more enjoyable; in short, like shopping should be. Early logo explorations sought out the right font.

The fourth direction was to bring the Viking customer to the center of the communication and Design trials took the Viking logo in different directions. Future applications may ask cus- tomers to contribute their own doodles for even further customization. Lippincott created a typeface especially for the Viking logo. The team knew it had to be a masthead and thus strong, standing out in front of various product images. The curve of the V and g give it a sense of motion without making it look like a delivery company.

Lippincott also wanted it to be friendly, and therefore made the k cute. Everything is round and geometric and depend- able, yet cuddly. This was achieved by bringing in lightness and humor. The designers spent countless hours kerning each letter to attain the right bal- ance in the word mark.

Mailed to thirty million customers in the United Kingdom and Ireland in May , followed by other key Euro- pean markets, the response has been enormously positive. The catalog will eventually have even more outreach from its online position, which in the next ten years will replace the print edition.

The packaging concept uses doodling to make boxes look more like presents. For the icon, Lippincott chose the elephant. Lippincott knew it wanted a mascot, and one that was easy-to-understand box. The typeface mirrors the strong, square- somewhat friendly, since other elements of the system are pur- like characters in the Chinese alphabet as well as the character of posefully technical and hard-edged.

The typeface was designed the elephant icon. The Lippincott team explored a number of design directions. One idea centered on animal analogies to make the brand language more friendly and easy to understand.

The previous Giti logo, which Lippincott transformed. Different aspects of the elephant express different characteristics. Above Right: A later trial had to be adjusted because the line of the ear formed the number 4, which is unlucky in Chinese culture. The elephant icon had to hold up visually on the tire wall.

Lippincott produced a stacked logo as well as a horizontal ver- The identity launched in early and appeared on tires by the sion that could curve around the tire wall, making the most out of middle of that year. Most tire brands have longer names, which a thank-you gift, and Coomber keeps it proudly in the studio. Our perception shapes the world around us, a fact that is especially meaningful for a global contact lens manufacturer such as CooperVision.

In fact, CooperVision had grown to be the third-largest contact lens manufacturer in the world—but no one saw the company that way. Two big shifts in the industry made the outdated perceptions even more worrisome: Chain stores and big-box retailers had emerged as key cus- tomers for lens manufacturers, and contact lens wearers themselves were increasingly involved in the selection of their lenses.

All of these potential customers needed to know what CooperVision had to offer. Whereas other manufacturers go to great metaphorical lengths to portray the pleasure of wearing their lenses, often implementing the look and feel of a silky splash of water to invoke the concept of moisture, the new CooperVision identity challenged this with a more down-to-earth guarantee: Vision is the offer- ing, not just more comfortable lenses.

It marries the splendor that one experiences through vision with the clarity, comfort, Design trials play with different watercolor applications to shape and revitalizing essence of water. The top row shows original trial forms and colors for the icon; their revisions are shown underneath. The process board displays color and imagery explorations for illustrations.

All of the color elements of the identity system play against a primary palette of white and gray. The impact of the logo rises far and above the time-old, two-dimensional, Accompanied by a crisp, light typeface Foundry Sterling , the logo design two-color mark.

It lives in a realm of high-tech computer art, such as blends technology with handcrafted artistry, which in a larger sense is the work posted by world-renowned artist David Hockney, who in precisely what contact lenses do. This was The digital imagery itself adds both a practical and a metaphorical layer.

Not only is this the wave of the future in will tell us whether this represents the beginning of a real trend. The illustrations carry the watercolor concept further, making art, and create an emotive connection and happiness when you see them. Business cards rotate through the spectrum.

The new CooperVision logo comes in a full spectrum of lush, vibrant colors. The client saw this as an opportunity to ties back to the symbol of the highlighter pen used throughout the identity system. The E in Equa is accented by a ties. Three-dimensional or ress and modernity. They explored hundreds of options and then animated would have been too much of a headache, and too managed the trademark process, URL screening, and linguistic expensive.

The brand strategy called for smaller retail spaces and more direct, branchless banking. The design team created looks for basic applications, from corporate stationery to debit cards. The graphic system poses the high- lighter colors of pink, blue, yellow, and green against black, a scheme that is simple yet eye-catching.

The park had been offering summer concerts on its grounds for more than one hundred years. It was quickly established that we were trying to target a demographic who were seeking a safe and comfortable environment to enjoy quality, live entertainment. It outlined a number of different directions, including aesthetic elements of a record to a full summer moon against a backdrop constellations in a night sky, nocturnal animal calling signs, and the shapes of star trails.

With the basic route determined, the designers played more thematically Of the directions, the image of the vinyl record stood out. The typeface is understated and so does not compete with the icon itself. Ultimately the font needed to create a solid foundation but really take on a supporting role. The circular forms bring a feeling of repetition that again links to the circular form of the logo shape, and a splash of color added to the inside of the letter O gives a small nod to the color of each record label.

For example, they might only focus on the silhouette of an animal against a bright-colored moon, but later they recognize that it also looks like a vinyl record. On another glance they might see star trails in the night sky, or even a different animal altogether. Over time, they discover more and more, and the reaction is always a positive one.

With the accumulation of slightly different album covers, the identity will gradually become quite eclectic, rather than static. Why does a logo have to be this one static mark that always appears in the same way, shape, and form?

Why does a logo always have to be this one static mark that appears in the same way, shape, and form? The present document can't read! Please download to view. Sep 8, This year there were 36, logos submitted for consideration for Logo Lounge Vol.

LogoLounge Book 7. July The seventh book in the LogoLounge series once again celebrates the best LogoLounge makes logo research simple by making it searchable. LogoLounge is the best logo design research tool, network, competition and news source. LogoLounge 7. Jan 5, - 2 min - Uploaded by Parka BlogsVisit http: This video is LogoLounge 7: The LogoLounge.

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