Which logo design do you admire most and why?
“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