Which logo de­sign do you ad­mire most and why?

Computer Arts - - Contents -

“One re­cent logo de­sign I re­ally ad­mire is the new Mozilla brand­ing done by brand agency John­son Banks. Not only does it have a real smile-in-the-mind idea within the mark (the ‘ill’ of Mozilla is made out of URL char­ac­ters), it was also cre­ated in a re­ally forward-think­ing way, ask­ing the gen­eral pub­lic for in­put. The idea it­self puts Mozilla at the heart of the in­ter­net, and is sim­ple enough that it con­veys their in­ter­net ethos of be­ing open and free for ev­ery­one; while the type­style is rem­i­nis­cent of cod­ing. Us­ing the gen­eral pub­lic as a sound­ing board through­out the de­sign process also ties into Mozilla’s values of trans­parency and par­tic­i­pa­tion that lets peo­ple all over the world have the cre­ativ­ity and free­dom to pub­lish opin­ions and ideas, and to col­lab­o­rate with­out the re­stric­tions of lo­ca­tion. It feels well-rounded in both de­sign and process, and true to the brand.” “The logo I ad­mire the most is a com­bi­na­tion of the orig­i­nal 1973 band logo for Led Zep­pelin and the Led Zep­pelin IV em­blem with the four oc­cult sym­bols, from the band’s name­less fourth al­bum. The let­ter­work, word­mark and the sys­tem of four sym­bols are iconic: one sym­bol for each mem­ber of the band steeped in their own per­sonal mythol­ogy. Both the band’s word­mark, as well as the Led Zep­pelin IV logo, have a sim­ple black and white colour scheme that has stood the test of time. Maybe the sym­bols you see and love in your for­ma­tive years stay with you in a way no other marks do, but I scrolled and doo­dled this logo on count­less note­books in school, proud to wear the mark on merch while shar­ing the se­cret of the sym­bols with oth­ers. One in­stantly feels cool sur­rounded by these iconic marks, and no other logo does that.” “For me it has to be the ‘I (heart) NY’ logo by Mil­ton Glaser, which shows that the emoji phe­nom­e­non is not a new con­cept, and has a great story be­hind it. In 1976, the Amer­i­can graphic de­signer orig­i­nally de­signed a dif­fer­ent ver­sion of this logo. And just as the de­signs were be­ing printed, he hailed a cab to go home. And then he no­ticed some­thing: lit­tle graf­fiti love hearts ev­ery­where. The graf­fiti in New York never said the ac­tual word ‘love’. There was only ever a love heart and a cou­ple of ini­tials ei­ther side. And then it dawned on him: the essence of New York was short­en­ing all words into sym­bols. The kids in New York didn’t have any time for words. He drew ‘I (heart) NY’ on the back of an en­ve­lope, which is now on dis­play in the MoMA, New York. And he raced back to the print­ers, stopped the press and changed it to the de­sign we all know and love to­day. It’s time­less.”

MIMI VAN HELFTEREN De­signer, Co­ley Porter Bell www.co­ley­porter­bell.com

ASH­LEY MIL­LI­GAN Art di­rec­tor, FINE www.weare­fine.com

Art di­rec­tor, OLIVER www.oliver.agency JADE TROTT

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