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The Evolution of Modern Logos
The Evolution of Modern Logos
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The Evolution of Modern Logos ---
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Researching the history of a number of modern logos, including those for Apple, Shell, and Google, I have gained a new perspective on just why and how so many symbols have evolved to become what they are today. From the earliest version of the McDonald’s logo, released to the public in 1940, to the first of the Microsoft Word brand logos dating from 1983, the outdated versions of these symbols were once significantly different than those that are recognized now. Consisting mainly of textual elements, these early logos lacked the color that’s often associated with the signage and other branding platforms that currently exist. From failing to attract members of their target audiences to proving cluttered and unrecognizable, the first logos needed to undergo several revisions and considerations over time to become the identifying company characters we know them as today.
As a graphic designer, I am aware of the importance that elements like shape, color, and typography play in all works of design. Examining McDonald’s’ first mark, it was obvious that the completely black, mainly textual, and overall adult-like, cold logo didn’t feature any of these characteristics. Using no apparent shape, only black color, and relying simply upon a serious, unfriendly typeface, it was immediately clear to me that this early logo failed to serve its intended purpose. Even though it might have appealed to an limited number of adult diners, the boundless energy and upbeat activity of excited, youthful visitors that today delight at the sight of McDonald’s stores wasn’t contained anywhere in the brandmark. Incorporating the design element of shape into its 1948 update, along with a rounded, more enthusiastic typeface, the next version of the symbol was clearly much better suited for an audience made-up more inclusively of children. Despite the more obvious intention of this form, it wasn’t until 1961 that the three qualities of color, shape, and type, were used together in the McDonald’s logo in order to appeal to a wholistic clientele.
Although not intended for a following of children, the first Microsoft Word logo also didn’t feature any of the three, previously mentioned, important qualities of design. Like the initial McDonald’s symbol, the Word logo representation was written using only black, uninviting type and had no clear element of shape in its layout. As a whole, it was noticeably boring and completely unlike the recognizable logo that is advertised by the company today. While the newest variation of the Word brand letterform relies on a bright, blue color with which to creatively entice users, the earliest symbol was totally unsuccessful in emphasizing the unlimited possibilities of creativity that are associated with the brand now. In a similar fashion to the McDonald’s logo, the Microsoft Word symbol failed to meet its desired audience and didn’t fully embrace a compelling creative look until its 1991 revision.
Reflecting on the multiple changes made to logos, like those for McDonald’s and Microsoft Word, I can now better appreciate the thought behind and revisions taken to produce each variation. While every version of a logo may look different than its counterparts, having investigated some of the most iconic of today’s brandmarks has shown me that each step in the creative process is crucial. Even though a logo might require several transformations in order to best impact viewers and make an impression in the minds of all who see it, every one of these alterations allows for it to “grow” and develop as it becomes more appropriate for its intended purpose. Again, reflecting on the multiple changes made to logos has enabled me to truly understand the significant amount of thought and careful consideration added to the creative process behind each of them. Without having studied the many symbols that surround us in society today, I definitely wouldn’t be able to have developed so much as a professional graphic designer.
External Links:
https://webflow.com/blog/famous-logos
https://www.smashingmagazine.com/2010/07/the-evolution-of-the-logo/
https://www.designhill.com/infographics/history-evolution-of-logos/
https://www.creativebloq.com/features/the-history-of-logos
https://www.crowdspring.com/blog/mcdonalds-logo/
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The Life and Legacy of Saul Bass
The Life and Legacy of Saul Bass
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The Life and Legacy of Saul Bass ---
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When looking back upon the life of influential graphic designer Saul Bass, his outstanding impact on major companies, memorable movies, and numerous other creative professionals is instantly evident. Although he passed away almost three decades ago, in 1996, Bass’ use of bright colors and reliance upon black, chalky imagery distinguishes his work from that of other designers even today. Classic film posters, including those for Vertigo and West Side Story, are only two examples of Bass’ creations that remain as cultural icons which sustain the legacy that he crafted in producing every one of his projects. Although the images contained within his designs differ greatly from one another, the human silhouette in the center of the Anatomy of a Murder layout and the telephone that hangs down from the top of the poster for The Human Factor are powerful enough on their own to solidify Bass’ long-established legacy.
Before reflecting on the many designs that were made by Saul Bass, the history of imaginative works and the result that some of the most significant creations have had on society must be examined and considered. The website Vistaprint, for instance, details the general past of logo design with its article entitled “The History of Logos”, and shows that these symbols have existed for a much longer amount of time than most people would probably ever imagine. The site informs readers that “between 70,000 BC and 7000 BC, primitive peoples from all over the world laid the foundations of the graphic arts by painting animals in caves”. Even though cave paintings are no longer a method of communication, and are nowhere near as advanced or as complicated as the icons produced by Bass, this statement provides evidence to suggest the importance of logos in human history and, in doing so, gives credit to modern designers like Saul Bass who continue to sustain their development.
Along with Vistaprint, however, sites like Logoexperts dive deep into the impact that logos have always had in human history. Despite the fact that the article “10 Famous Logo Designers and their Work – Most Iconic Works in the History of Logo Design” credits several designers, like Paul Rand and Milton Glaser, as having come up with some of the most famous and widely-appreciated logos in the recent past of humankind, it also recognizes the idea that Saul Bass’ work cannot go without being acknowledged. The site claims that “His designs continue to inspire and influence designers around the world”, informing all who read the article that the various logos and other works of design that exist today could not have been created without the influence of Saul Bass. After both reading about Bass’ important contributions to the modern graphic design field of study, including the posters for movies like Vertigo and West Side Story, and reflecting on the impacts that his creations have made since being produced, it has become clear to me that designers today can all learn from studying these works. Although he’s no longer with us, Saul Bass’ legacy and contributions to the culture of today are definitely powerful enough to outlast his life.
External Links:
· https://www.famousgraphicdesigners.org/saul-bass
· https://99designs.com/blog/famous-design/saul-bass-graphic-designer-of-a-century/
· https://www.sessions.edu/notes-on-design/graphic-giants-saul-bass/
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An Introduction to Print Design
An Introduction to Print Design
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An Introduction to Print Design ---
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Although internet – based design may sometimes seem to be the only type of design that exists now because of its prominence in today’s world, print design has actually been around for a much longer amount of time than its counterpart. Today, print can be seen in modern society in various forms, including “packaging, signage, books, tickets…”, and a variety of other “…everyday items”, according to the site blog.123rf.com. Although it’s currently debated whether or not print design can actually be traced back to ancient societies, evidence in places like the Chauvet Cave in southern France suggests that people as early as 30,000 B.C. used drawings to represent daily occurrences and events in their lives. The importance of this design method didn’t stop there, though. Print continued to play an important part in the lives of people in places like ancient Mesopotamia and Babylon, where designs had economic and religious uses. Even elements of modern typography like drop caps, margins, leading, and grids can be seen in manuscripts from Medieval Europe.
Following the landmark debut of the printing press, countless unique typefaces were created and applied to different sources of print design. Some of these typefaces, like Roman style, which first gained attention in the 15th and 16th centuries, and the Modern serifs Didot and Bodoni, which were created in France and Italy, remain popular even today. In the mid-to-late 19th century, designers and architects took inspiration from artistic sources and applied the newest typefaces to design.
Further advances in print design took place during the 1920s and 30s, when Bauhaus elements like minimalism, geometric typefaces, and simple color palettes were common in European cultures. Another important shift in print design occurred in the 1950s, when commercial print design went through its primary phase. In this period, brands in America used color printing and photography to attract consumers.
Print design is still an important part of the world today, and can be seen on books, magazines, traditional advertisements, physical pieces of mail, and sources of branding like business cards. It is present in society along with the types of digital design that emerged in the mid 1980s in cohesion with the arrival of computers. Opportunities for print designers have even increased with the growth in computer technology and programs like Photoshop and InDesign. While print design was before limited to a strict group of people, computer programs have widened the number of individuals capable of producing printed matter. Computer design has become the new norm for design creation, replacing the customary process of design creation via the use of a drafting table or drawing board.
While websites like 123rf.com highlight the rising importance of digital and web – based design methods today, it’s undeniable that print design remains a crucial part of our world. As stated earlier, it’s used for targeting consumers in advertising, entertaining viewers and readers in magazines, and spreading awareness about events and products. The website printmag.com goes into depth about countless recognizable movie posters that were produced in the last century in the article “The daily Heller: A Poster Museum where Movies Began in New Jersey”. Even though the examples shown on the page aren’t new designs, each one is important today in that it’s still identifiable, showcases the work of professional designers like Saul Bass, and provides a reminder of modern day movie theater posters and similar advertisements. Print design is still an important part of today’s culture due in part to software like the Adobe Suite, which makes the production of this type of design easier than ever before.
I have always been personally interested in print design, and it has had a positive impact on the way I view the world for as long as I can remember. At the movie theater when I was younger, I always loved looking at the printed posters and 3D promotional displays that advertised new and upcoming movies. The bright colors, intricate typefaces, and exciting characters stood out to me in the way that they were presented, and the ads made me want to create my own posters and displays. As a child, I spent time drawing graphic layouts and designing my own versions of ads and posters for my favorite characters, products, and events like baseball games and concerts. Studying graphic design now, I find it just as intriguing how designers from differing decades have been able to create intriguing posters, advertisements, and materials that draw – in viewers and gain the attention of all who see them. Since print design has existed in some form or another since the beginning of humanity, it’s inspiring to be able to look back at the way that people from different cultures and different time periods have all taken part in design.
From my earliest drawings to my studies today, life has taught me that I can make an impact with print design! I have been given the opportunity to make people notice what I present, and can help to call attention to organizations that have meaning for me like Make-A-Wish and The Education Project. Without having the ability to make posters and ads the way I have in the past, I wouldn’t be able to show my support for those going through struggles like I have. One of the reasons why design in general means so much to me is because of the idea that it gives me the ability to share my voice without being heard. I can cheer on health victims and recognize fighters by continuing the long tradition and deep history of one of the most important forms of design, print.
Resources
https://theinspirationgrid.com/category/print/?p=1&q=
https://www.underconsideration.com/artofthemenu/archives/vivo_kitchen.php
https://www.blog.123rf.com/a-brief-history-of-print-design
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Designing for Heroes
Designing for Heroes
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Designing for Heroes ---
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Founded in 1980, the Make-A-Wish Foundation is a non-profit organization that fulfills the “wishes” of children with critical illnesses. Although I’ve produced many designs to date, including logos, personas, and flyers, I am overcome with pride when looking upon the “Heroes” poster that I created for the charity. Surviving several critical illnesses myself, and having been granted a wish from the foundation, I have a deep understanding of what the organization is and how its volunteers help children in need. The charitable Make-A-Wish Foundation honors the young, everyday fighters that stand up to health battles of all kinds.
Having been a “Wish Kid”, personal experience has taught me that the exposure garnered from promotional materials raises awareness for Make-A-Wish. My current role as a graphic designer has given me the opportunity to help show my support and create publicity, thereby giving back to the heroic organization and its fight for sick and suffering children. Moreover, crafting the “Heroes” poster for Make-A-Wish has allowed me to prove my allegiance with the current wish warriors, providing them with the recognition and support they deserve.
In making the “Heroes” poster, I was faced with a number of design choices and ideas. Among the variations drafted was a version with stars, akin to the foundation’s logo, that appeared to be falling from the top of the poster. My concept was the children were being showered with wishes, (a notion I liked that I would later use in a different design) but it was not powerful enough for my vision. Another showed a sword and shield in the center and advertised the bravery of all “Wish Kids”. This imagery was much more powerful, but I felt it was too intense for the age group. Although these conveyed the overall message of strength and courage I was looking for, they still didn’t quite fit the childish theme I had imagined. Knowing the fight these “wish kids” have to face, I decided on a superhero theme, which I thought was an appropriate genre for the subject and charity.
I next had to decide how to showcase the multitude of kids, all representing different backgrounds and ages, who are impacted and given wishes. An early attempt was made up of stick figures which I used because of their generic “every person” look, but it was too simplistic and I was not satisfied. Next, I tried a traditional “happy face” image, but it still did not represent the diversity in children that I’d been in search of. I finally created several faceless characters to accomplish the feel I had envisioned, each one a different height and color shade, symbolizing people of varying nationalities.
In addition to the decision I made on how to display kids from all different cultures, I knew the poster’s color palette was critical. The final version’s muted background with contrasting bright and colorful children has its own meaning. The cheerful-looking foreground stands out from the washed-out background, suggesting that the children now stand apart from the difficult journeys they were once forced to fight through.
Finally, the poster needed a powerful tagline to complete its messaging. I worked through several ideas and iterations on the theme, including:
“Everyone is a Hero”
“There is a Hero in Each of Us”
“Wishes for Heroes”
“The Make-A-Wish Superheroes”
While all seemed fitting, I still wanted something more focused on the children. I finally came upon “Heroes Come in All Shapes and Sizes”, which captured the essence of the image.
The typeface was the last design component I considered. Since my design is a superhero theme, this was an easy choice for me. The comic-like typeface “Bangers” seemed all too appropriate in this instance.
Although many variants were considered, the final design has the impact I had envisioned from the start. I wanted to stress the idea that, regardless of cultural differences, critical illness is unfortunately a universal possibility. In addition to the concept that “no fighter stands alone”, I also wanted to give the impression that the children aided by the Make-A-Wish Foundation have the strength to overcome the conflicts they are faced with and become superheroes to both themselves and others.
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The Challenges of a Challenge Coin
The Challenges of a Challenge Coin
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The Challenges of a Challenge Coin ---
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One of my recent creations was a request I received from a team at Dell Technologies. The team leader asked me to create the design for a challenge coin that he distributes to his team yearly. Although I had created many different types of designs before, I would find that this particular request came with its own unique set of challenges.
For those of you not aware of what a challenge coin is, they’ve been an American military tradition for over a century and are meant to instill pride, reward hard work, and build team spirit. They are metal, can be molded in almost any shape, and vary in size between 1 to 3 inches. As part of this project brief, I was given several guidelines to follow and limitations to abide by. Moreover, the importance of the coin to unite individuals through the use of the word “team” was stressed to me. Through this word, the thought was that everyone shares a common goal and contributes to the objective of the group. Additional requirements included the use of the Dell Technologies logo, the team logo, and the inclusion of the following text:
2024
Best Team in the Galaxy
Trust
Respect
Pride
East Engineering
To start the project design, I researched various other challenge coins that the Dell team provided me as reference. Even though a different theme has been used each year, I noticed the reliance on the iconic “Dell blue” shade on all past coins. With this starting point, I chose to design the coin with several colors that were used in the past, such as grey, teal, and others from the official Dell palette. After applying the chosen colors, however, I saw they were not an appropriate fit for the outer space theme I had already decided upon. For this reason, I decided to instead use colors like pure black and bright white to represent the night sky. Although I did not want to rely on previously used colors, the “Dell blue” shade of the type helped tie the project back to the company while complimenting the black and white in other areas.
The challenge of color was only the first to be faced in the project, as I realized my next critical decision was that of shape. Recalling the fact that the coin needed to be patch-shaped, I researched some of the most frequently seen uniforms of firefighters, police, and military officers. While there were many interesting shapes to consider, I decided on a “tombstone” shaped patch, to meet the design requirement while also allowing for an adequately-sized work area. After trying out multiple shapes, it became apparent that those with angles, while visually interesting, made placing the many required components impossible.
Beyond the first two factors, I now had to select an appropriate typeface. I searched for a type that would not only complement the Dell logo and suit the chosen space theme, but also be powerful enough to convey the desired message of a strong team. I sought out a typeface that would suggest the values with class and style while ensuring not to overwhelm the design with large letterforms or overbearing shapes. For the motivational motto, “Best Team in the Galaxy”, and the group ideals of “trust”, “respect”, and “pride”, I selected Avenir as the perfect fit. This typeface gracefully reminds viewers of the team’s values and pairs well with the Dell logo. I knew the “East Engineering” typeface needed to be strong and confident while also fitting the theme. After establishing these criteria, I chose Saira Stencil One Regular which matched my design concept.
With color, shape, and type decided upon, I faced the difficulty of fitting and placing the elements on the roughly 2” x 2” face of the coin. While I was told that the image might be scaled in order to enlarge it for promotional materials, I also knew that the design must be clear and readable when shrunk down. After studying my revisions for some time, I determined that all of the company’s details should be grouped together on one side to provide a glimpse into what the team itself represents. The space – themed elements, which are all present on the coin’s opposite side, remind viewers that the team is much more than simply a United States – based group. Instead, it is a gathering of workers that stands apart from any other in the galaxy. As a designer, it was my responsibility to suggest this vision with the use of only the small number of graphics I was given to work with.
I spent significant time resizing images, adjusting and reshaping text, and adding and removing content. While there were several revisions, I am happy to say, the coin was approved without any major modifications. The final design and layout is shown below:
Reflecting on the final design and thinking about the choices that were made, I am very satisfied with the end result. This challenge coin is unlike any other project that I have completed to date. The number of required elements, the restrictions on colors, and the confines of working in a very small space were all design considerations that needed to be thought through. Knowing this coin will be carried by team members around the globe and represent much more than the metal it is made of is a unique and fantastic feeling for this designer.
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The Stages of the Design Cycle
The Stages of the Design Cycle
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The Stages of the Design Cycle ---
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Even though the world of today is bursting at the seams with different kinds of design, it seems like people unfamiliar with the field remain generally unaware as to the – often complicated – process that goes into creating an effective product. I’m willing to admit that I could be wrong, but based on personal experience, we designers know that there’s a lot more involved behind pleasing a client than meets the eye.
Have I asked myself, from time-to-time, if all of the effort and energy put into the process is really worth the result? Sure! Is it obvious that most people don’t understand the complexities of design nearly as much as I’d like them to? Absolutely! Only after working with the companies and organizations that I have, has it become obvious that it’s not the attention given to the designs produced that matters. Instead, what counts is the impact and the huge effect that my creations have on audiences of all kinds.
To all the designers that haven’t yet been exposed to the harsh words or brutal feedback of clients, I’m here to provide you with a wise warning. You will, at one time or another, be forced to work with those that don’t look into the effort you’ve taken to help them. Regardless of your labors, they will act as if designing is simple and easy. In working through my design process with a client, I often subtly explain the various “stages” of the process. Below is the best version of that “client education” that I’ve come up with.
Stage 1 – Design Brief 2 - 4 Hours
Here, it’s the responsibility of the designer to connect with their client and recognize the desired audience of the creation. The latter has to describe the product they envision, and needs to detail the specific qualities of the design they hope to receive. In this early stage, the designer must quickly go through an education of their own in order to fully understand the client’s wants and wishes, while also gaining an understanding of the company’s history or any other important details.
Stage 2 – Design Proposal 2 - 3 Hours
The second phase in the process of design creation again encompasses the agreement between client and creative. Even though it might not be the most straightforward process, the cost, project deadlines, and terms need to be settled. Before finalizing the agreement, the designer must consider the overall complexities of the project at hand to provide themselves with a realistic work estimate. Only with this pre-work completed, can they present their assessment to the client. Additionally, there may be negotiations that go into this stage.
Stage 3 – Initial Presentation 8 - 10 Hours
With stages 1 and 2 completed, the designer must brainstorm design ideas to produce the first versions of the product. To arrive at an initial draft, the designer must research, sketch ideas, translate the sketches into a presentable digital format, and make multiple revisions before completion. Starting from scratch to concept makes this step one of the longest in the process.
Stage 4 – Additional Research 2 - 3 Hours
In this stage, the additional research the designer undertakes allows them to ensure they completely understand the client’s target market. With an initial design completed, the designer must be sure they have the correct perspective, and that they can align to the group’s design vision. This will also allow them to
Stage 5 – Final Edits 4 - 5 Hours
Having completed step 4, the designer is now able to alter their creation based on the feedback their client has given them. This stage, which is one that is relatively straightforward, comes to a close when final research is conducted and concluding design changes are made.
Stage 6 – Final Approval 6 - 8 Hours
After working through multiple designs myself, I can confidently share my opinion on this stage as being the most rewarding of all. Although there will definitely be additional design adjustments, being able to share the final design with the client is gratifying. It is at this stage that final approval is given and the project comes to a close.
As is clear from the outline above, there is a great deal that goes into design creation from inception to completion. When faced with a new project and new client, I often take the time to explain these general stages to them as we work through the process as a team. I have found this makes for a positive work engagement, and I hope you can find some useful tactics here as well.