Friday 30 April 2010

Symbols and Its Impact in Logo Design

One of the most dynamic tools graphic designers use to create great logos is
the symbol.. When designing a company logo one of the main things is to
define the identity, i.e. to represent clearly who the company is and how it
would like to be perceived. A masterfully executed logo materializes the
identity for the user and all those who interact with the logo. Now, as
designers, we have to recognize and respect what gives logos this power to
define-our goal being to create high quality and effective logos for our
clients.

A symbol, for us in the design world, is usually a combination of graphic
elements that represent something to us-in other words, a picture that tells
a story. Kenneth Burke <http://en.wikipedia.org/wiki/Kenneth_Burke> , the
twentieth century theorist and critic, described humans as ³symbol-using,
symbol making, and symbol misusing animal² Our interest as designers should
lie in how to use symbols correctly, and to avoid at all costs any
misrepresentation!

The last thing, we want to do is use a symbol incorrectly and as a result
make a client look bad. (The axe is a symbol that comes to mind in this
unfortunate scenario.)

Impact of Symbols within Logos
In a world where people and companies are more readily recognized for what
they represent than for who they are, symbols have become more and more
important, and the use of them increasingly complex.

Some might argue that a logo is in fact a symbol, but it is not that simple.
A logo becomes the symbol for the company¹s identity, and at the same time,
uses pre-existing symbols to do its job.

If done right, symbols can be used to exploit the most unconscious-level of
human desire, thus when incorporated into the logo design, symbols
gracefully create associations between a company and that which the company
would like to represent.
How Symbols influence Branding
Branding is important for current social life, for business, for collective
identities and for the modern day human experience. It allows people to
identify, organize, classify, embody and make sense of the world.

From a psychoanalytical perspective, creating brands is linked to
understanding how humans communicate and express feelings through symbols.
It can be thought of as manipulation, but really, it is a matter of
understanding the very basics of human communication and how our minds work
to create within us a sense of satisfaction.

Brands must be competitive. The symbols being used to represent the brand
must be strong. The associations people make via the symbols is crucial in
how they eventually classify their brands and thus, chose to interact or not
interact with the brands out there.
Tips on Using Symbols in Logos and Brands
1. Storytelling
Remember, not all symbols are created equal-choose symbols that tell a
story. Do your research and make sure the symbols incorporated in your logo
are not just pretty faces, but convey clear and concise representations.
2. International perspectives:
Examine symbols from multiple perspectives-that of the clients, that of
their target audience, and even beyond their normal social and cultural
contexts. What a symbol represents in one culture may not be what it
represents in another. This is crucial for companies who seek to create
international identities and brands.
3. Conflicts of interest:
Again, do your research. Do not use multiple symbols in one logo or brand
that might possibly represent conflicting ideas. It is ok to combine forces,
but be careful to not overload on symbols, or couple symbols that cause
friction. You want the logo to express a unified message.
4. Clarify the Communication
Each logo should communicate something. That something is left up to the
client to determine and the designer to execute. Symbols are powerful
communication devices when used wisely. One smart symbolic element in a logo
design can express everything, but the designer needs to be careful to
express one thing well, not many ideas poorly.

As with any device, there are limits to what these graphical tools can do,
therefore, keep it concise. The client may resist being overly specific in
their message, but as the designer it is your job to stress the need for
symbolic impact.
5. Symbols that Interact:
Everything that visually represents the company comes to define it. This is
the general idea behind the brand and its logo. The hope is that people
understand who the company is and want to incorporate the brand into their
lives. The designer must be conscience that symbols do not exist on their
own, since conception they have been in a constant state of interaction.
Therefore, symbols have friends and they have enemies. The designer must
learn to recognize how this will affect the overall impact of the brand and
logo.
Excellent use of Symbols in Logo
Here we showcase some samples of companies out there that make excellent use
of symbols in their logo.

E T.V. ­ Exclamation Point: exciting, stand-out, important.

Batman ­ the Bat: Mysterious, nightlife, darkness, sensory.

Nike ­ the swoosh: movement, approval, speed, accurateness.

Playboy ­ the bunny rabbit: playful, innocent, cute + bowtie: formal,
gentlemanly, classic.

Target ­ the Bull¹s-eye: Right on the Mark, Precise, Winner.

Girl Scouts ­ the Clover: good fortune, youth, holy trinity. The three
female profiles: womanhood, holy trinity, equality.

McDonald¹s ­ Golden Arches: passage way, welcoming, good fortune.

Windows ­ Window: openness, connectivity, transparency + Flag: victory,
loyalty, beacon.

Apollo ­ Four Wheels: transportation, unity, dependability.

Finlandia Vodka Launches a Charity Water Bottle

In honor of the 40th anniversaries of both Earth Day and Finlandia Vodka,
Finlandia is releasing limited edition charity water bottles featuring
designs by Klaus Haapaniemi, a world-renowned Finnish graphic artist dubbed
as one of the most important rising stars in illustration and design. Each design represents one of Finlandia Vodka’s core elements: the Midnight Sun, untouched nature, six-row barley and pure glacial spring water. These one-liter SIGG® water bottles will sell for $28 U.S. and Finlandia will divide all profits among four global environmental projects selected to promote sustainability beyond the brand’s distillation footprint. This cause-marketing program is an early step in a new, concerted effort to explore sustainability and the brand’s harmony with nature. From left to right: “The Very Tired Rooster” representing the Midnight Sun, which shines for 73 days straight in the north of Finland; Untouched Nature represented by a Norse mythological character, “Ratatosk”, the red squirrel; Six-row barley featuring “The Cranes” walking in the barley field; Representing Pure Glacial Spring Water, “Thiaridae” freshwater snail.

Thursday 29 April 2010

Mothercare All We Know

John Rushworth and Daniel Weil have designed the branding and packaging for All We Know, a new range of baby toiletries for Mothercare. The creation of a coherent and focused sub-brand enables Mothercare to draw on its reputation as a trusted brand whilst adding new elements that help to differentiate these products from the competition. The All We Know range contains natural extracts, is suitable from birth and has been tested by a panel of midwives.

The sub-brand is built around the name All We Know and is supported through the label copy, which gives clear information to the customer in a knowledgeable and calm tone of voice. All We Know label designs include the Mothercare symbol and name as the primary brand identifiers.

The range packaging has been specifically designed with a number of outstanding features. The bottle is very distinctive, as it represents part of the ‘m’ in the Mothercare symbol. The curved face fits in the hand, the flat end allows it to rest horizontally, practical for use in the bath, and the bottle is designed to be opened with one hand. When almost empty it can be turned on its head in order to get out the last drops. From the perspective of the retailer the bottle stacks easily and stands out on in-store shelf displays.

Mia Liu

Pantone Calendar

Stokke and Austad have imagined this very graphic calendar as a ³post-it²
system with 365 magnetic plates placed with 4 shades of color to represent
each season.

Graphic Design Through the Decades Series: The ¹50s

The 1950s donned a cloak of perkiness – smoking didn’t kill, Cuba was a vacation destination and women were pleased as punch to do housework in pearls and heels. The advertising of that decade, as seen on the popular TV drama “Mad Men,” featured splashes of color to convey satisfaction and wealth. But to paraphrase the old Camel cigarette ads, we’ve come a long way, baby. Today, tobacco products legally must carry warning labels, Americans must climb obstacles to travel to Cuba and women are as much of the workforce as men.

That doesn’t mean, however, that the advertising of the ’50s is not to be taken seriously. After all, that was the era when graphic design superstars Paul Rand, Saul Bass, Max Bill and Milton Glaser came into their own by starting agencies and unveiling iconic logos. Designers today can make note of the soft tones in people’s faces, the watercolor-like feel of the painting and even the use of sans serif fonts. When I look at advertisements of the ’50s, I get a sense that the people are happy whether they’ve bought a new television set or are simply going about a household chore. And that’s an attitude that designers today often still want to convey.

Old Spice Fresh collection

New work from Landor for Old Spice:

"Procter & Gamble’s Old Spice brand was plagued by negative consumer perceptions that all the scents smelled the same, old and musky.  Working as a part of a cross-functional project team, Landor Associates Cincinnati was able to deliver packaging that clearly communicated a range of unique fresh fragrance experiences from Old Spice."

Poster

Photography by Garmonique

Mahou Negra

Enric Aguilera Asociados has recently redesigned the packaging for Mahou Negra, a premium black beer.