The Simple Truth About Logo Design February 9th, 2011

How is it that simple icons like a swoosh or an apple have become such powerful brand images? Obviously, Nike and Apple did not become multi-billion dollar brands overnight; they had to work to build their images. I have no doubt that Apple would not be as successful as they are today had they stuck with their original logo design from 1976. The dramatic pencil-sketch did not fit the clean, innovative brand it was to represent. The point here is not how hilarious the old logo may or may not be, but rather how simplicity and focus are at the foundation of virtually every successful logo.
comparison of Apple logo designs
Simplicity in logo design is absolutely essential to a strong and lasting image. Unfortunately, many designers these days are pumping out radical new logo designs sporting gradients, drop shadows, textures and overly complicated designs in an effort to stand out (note all Olympic logos as of late). It is true that originality is harder and harder to achieve in a world with millions of competing designers and logos, yet the designs that achieve simplicity in new and interesting ways are destined to be the iconic images of tomorrow.

Lets look at the ways in which a simple design can benefit a client:

Versatility

In the 21st century, a logo is bound to exist across a variety of media; on a business card, on a website, in a magazine, maybe even the newspaper. This means your logo will appear in a multitude of sizes in both color and black and white. It is a good idea to complete a logo design in black and white before color is introduced in order to make sure the logo does not rely on color or effect in order to be successful. At Metropolis, we also test the logo at various sizes for legibility. It may look great on screen, but nothing more than a smudge when reduced small on a business card.

Recognition

It is much easier to recall simple imagery, so why would you want to complicate the face of your company? Picture the McDonald’s logo. I bet you can see the curves and the bright shade of yellow exactly as they exist in real life. Now picture the logo design for the American media giant MGM… Having trouble? I bet you have seen it hundreds of times, it might be at the beginning of your favorite movie, but its complicated imagery and details make it nearly impossible to conjure up from memory.

Message

Ideally, a logo would say something about what a company stands for, or what they do, in a simple, smart way. A good logo helps describe the company with color, typography or elegant iconography. Even if your brand is all about energy or movement or complexity, a clean and simple mark can still be successful. Many companies, like Facebook, Crate & Barrel and Barney’s, use nothing but type in their marks, yet each seems to describe their respective companies differently. The Facebook type is more digital, or technical, the Crate & Barrel more conservative, and the Barney’s more classical and sophisticated. More often than not, an attempt to explain a brand through the logo ends up complicating the design and confusing the viewer.
comparison of facebook crate and barrel barneys new york logo designs
Most people are uncertain as to what makes a logo successful. A designer’s job is to not only create something with visual appeal, but to help the client understand why the design was created the way it was and how it will benefit the company. Designing a logo is the ultimate exercise in problem solving. There are infinite answers, but the one that works best will make noise without having to yell.

Co-branding December 14th, 2010

What is the importance of co-branding and how should it be used? Watch this brief video to learn a few quick tips from Metropolis.

Of Mice and Supermen – New York Comicon October 12th, 2010

Pigfish at the New York Comic ConThere’s nothing like a convention center full of creative people to get your creative juices flowing. This year’s sold out New York Comicon filled almost the entire Javits Convention Center. I couldn’t believe the number of booths, people, and costumes that were there. One of my favorite booth designs was Pigfish. They made their own resin-cast pigfishes for sale as well. (These were the highest quality pigfishes I’ve ever seen.) It was brightly colored, well lit, and had multiple layers of comics, models, and signage.

Its not just about comic books anymore

Avatar Girls at the New York Comic ConThe wide variety of genres seen at the show included steampunk, anime, horror, goth, superheroes, fantasy, film/TV celebrities, video games, toys, clothing, technology and software companies, comic artists, and writers. Intel had a huge presence there. And I couldn’t even make it to one corner of the hall where people packed in tightly for celebrity sightings and autographs.

Muscle Guy at the New York Comic ConThe costumes were amazing. I had no idea who half the people were dressed up as. A recurring thought that went through my mind was — “Wow, that took guts to wear that.” Some of my favorites were a giant Sasquatch, a Swamp Thing (or Moldy Chewbacca — not really sure.) Pikachu, Ghostbusters, every superhero you can imagine, and the usual cast of Star Wars characters. Most of the costumes were spectacular. And just as fun are the “Fat Supermans” as Steve from The Outer Limits puts it. There was a big area where people played Dungeons and Dragons games (people still play it!) I had to snap this pic of this guy in a ridiculous muscle outfit rolling dice. Fear him.

Ren and Stimpy at the New York Comic ConI mainly come to the con to meet the artists. I have sketchbooks where I collect original sketches from them. Some are very well known, and others are just starting out. I’m always looking for new and creative styles. One guy folded his comics up into origami. Another had foil-wrapped them like baseball cards, which folded out into a mini poster comic. One of the show highlights for me was meeting Bob Camp, the co-creator of Ren and Stimpy. I was also excited to get a sketch from Ramona Fradon, an 83 year-old artist who started out drawing for DC Comics in the early days of Superman and Aquaman.

Mermaid Sketch at the New York Comic ConGus Fink at the New York Comic Con

In this visual overload, it was interesting to see how each person marketed themselves. Most people were friendly. Many artists tried to explain their new comic book, “So like, there’s these vampires in a post-apocolyptic world, but they’re actually robots…” One guy had a comic book all about African kings and legends, dressed in traditional costumes. Not all of the stories or artwork is particularly good, but I really admire their drive to set up a table and promote their passion. Another guy had copies of his comic open to a page and would thrust it on you as you walked past. “Hey — here’s a one-page story in my book — you’ll either love it or you’ll hate it.” I didn’t love it, but I liked his salesmanship.

One of our clients was at the show promoting their new film “Silver Circle“. When I started working with them a few months ago, they weren’t sure what to make of comic book shows — so I gave them an idea. I suggested that they ask people to scream into a microphone for a chance to have their voice in the movie. Not only is it a fun way to engage people at the show, but everyone who heard the screaming just had to make their way over to the booth to check it out. Check out their video from the Granite State Comicon this summer:They also captured an email address from everyone who screamed. It was such a success, that after about 300 screams on Saturday, they were “encouraged” to take a sanity break by their booth neighbors.

If you ever get a chance to go to one of the bigger comic book conventions like this one, I highly recommend it. Bring a camera and plenty of money — there’s lots of strange and cool stuff to pick up. For a laugh, check out the 2000+ photos on the NYCC Facebook page.

Learning to Skate January 18th, 2010

Boston graphic design and ice skatingI’ve skated all my life, but have never been particularly good or comfortable with it. This year, rather than freezing on the sidelines while watching my daughter’s lesson, I decided to get on the ice too.

I’m actually in a different group from her — I’m learning hockey skating. In just ten weeks, I’m amazed at how I’ve progressed. I’m doing crossovers to the right and left, forwards and backwards. I can stop on a dime from my right or left side (well, a very large dime) and reverse direction quickly. And its a lot of fun.

So I wondered, why is it that after just ten 25-minute lessons, I was able to progress so quickly, when I haven’t really improved over the years? The answer is in the quality and style of the instruction. The instructor never asked what we were comfortable doing, she just told us what to do next. “Skate in a circle. Now reverse direction. Now do it backwards…” We didn’t need to do it well, we just needed to do it. With a little confidence and some faith that it would all work out, I did everything she asked. And after a while, it became more comfortable.

Then I made a connection to how I art-direct my designers. (You knew this would get back to graphic design, right? This is a blog about design.) I hire young, smart, and eager designers. I look for raw talent and energy, and then I dump my requests on them. It shouldn’t matter if the designer is unfamiliar with the client, type of project, software environment, or other technology required to complete the project. It’s all about first determining the best solution, and then figuring out how to get there.

And in my experience, we always get there. As long as the team has the confidence to learn a new program, design a web site for a new industry, or snowplow to a stop while skating backwards — there’s nothing that can stop us.

PS – if anyone wants to meet me at the Daly Rink some morning, let’s do it.

You Must Obey Shepard Fairey March 17th, 2009

I haven’t been this inspired since visiting the museums of Paris last summer. Come to think of it, I might not have actually been back to a museum since last summer, but that’s beside the point.

Shepard Fairey was not the reason I went to the ICA this weekend. I went because my good friend Mark, who is a crazy artist like myself, was in town and he hadn’t seen the new ICA in Boston yet. I actually wasn’t looking forward to a bunch of red and blue portraits, and I had already grown tired of the imitators.

From the moment we entered the gallery, I was blown away by the pure craftsmanship of his work. His crisp authoritative style and satirical content made me want to laugh in awe. On closer examination, his work is beautifully balanced, and intricately detailed.

What made me even prouder, was that this was graphic design, in an art gallery. Sure, his work is full of political and social statements, but he communicates them beautifully. There’s not a lot of room for interpretation, his message is clear. As a good design should be.

If you have a chance to make it to the Shepard Fairey’s show at the ICA in Boston, I fully encourage you to do so. It’s an experience you won’t regret. What are your thoughts on Shepard Fairey and/or his work?