Their shapes, colors, behaviors, and history provide a wealth of inspiration for logo designers. Every culture has its own fables and fascinating visual stories that help designers convey challenging concepts. The LogoLounge Master Library series will form the deepest, densest, most highly focused collection of logos organized by category ever.
A collection of 2, logos by top designers from around the world. Profiles selected designers and highlights successful new designs. Describes the creative process behind some logos by reviewing early designs and their evolution. Turn to exactly what you need, time after time—a must-have resource for any serious logo designer! When LogoLounge debuted in hardcover, it was the first in a series celebrating the work of top logo designers on the innovative Logo Lounge website. LogoLounge offers a wealth of inspiration and insights for graphic designers and their clients.
From the work of superstar artists and firms such as Michael Vanderbyl and Sibley Peteet Design -- including both new campaigns and new projects -- to nearly 2, additional logos from various sources, this visually compelling volume will become the go-to resource for inspiration from the best in the field. Listen up, designers, and wipe those grins off your faces! Members enjoy a wide range of benefits, including unlimited uploads that become entries for consideration in the LogoLounge book series.
Join our community and make your mark on logo history. For more information, visit logolounge. Aug 14, 64bdbb59a4 54 LogoLounge 9.
This book written by Bill Gardner and published by Simon and Schuster which was released on 30 November with total pages In addition, top-tier logo designers share their insights on the values, traditions, and future of designing with typography.
The Master Library series is organized with the busy, motivated designer in mind. Turn to exactly what you need, time after time—a must-have resource for any serious logo designer! Profiles selected designers and highlights successful new designs. Describes the creative process behind some logos by reviewing early designs and their evolution. Organized thematically with the broader focus of Shapes and Symbols, the collection features logos that cover all categories of logo design, including typographic, illustrative, pattern-driven, and photographic.
A searchable database of more than 36, logos by keyword is available by subscription on the popular website, www. If you don't have a subscription but would still like to see the best logos on the site created by top designers who often maintain low profiles, then the new paperback edition of LogoLounge 2 is for you.
Recent noteworthy projects that are claiming the public spotlight are profiled in this book. It covers identities created for various industries such as airlines, networks, dot-coms, banks, and fashion, as well as lesser-known boutique projects in which the designer's name is larger than the client's.
A handful of their smaller projects are also featured, including some that have never before been seen. The second half of the book contains almost 2, logos organized by logo design typography, people, mythology, nature, sports, etc. It was quickly established that we were trying to target a demographic who were seeking a safe and comfortable environment to enjoy quality, live entertainment.
It outlined a number of different directions, including aesthetic elements of a record to a full summer moon against a backdrop constellations in a night sky, nocturnal animal calling signs, and the shapes of star trails. With the basic route determined, the designers played more thematically Of the directions, the image of the vinyl record stood out.
The typeface is understated and so does not compete with the icon itself. Ultimately the font needed to create a solid foundation but really take on a supporting role. The circular forms bring a feeling of repetition that again links to the circular form of the logo shape, and a splash of color added to the inside of the letter O gives a small nod to the color of each record label. For example, they might only focus on the silhouette of an animal against a bright-colored moon, but later they recognize that it also looks like a vinyl record.
On another glance they might see star trails in the night sky, or even a different animal altogether. Over time, they discover more and more, and the reaction is always a positive one.
With the accumulation of slightly different album covers, the identity will gradually become quite eclectic, rather than static. Why does a logo have to be this one static mark that always appears in the same way, shape, and form? Why does a logo always have to be this one static mark that appears in the same way, shape, and form? The circular forms came together and intersected, much like sound waves visualized. The new identity now graces tralia. With plans to expand into larger, state-of-the-art facilities a full range of applications, from corporate stationery to exterior as well as online with a new website, the organization required an signage to video communications.
Agency stepped in to revitalize the brand. But after some initial exploration, it decided to completely overhaul the brand and its positioning. The Brand Agency worked closely with the leadership team at the Centre to strike the right balance both visually and emotionally.
Appearing first at a company-wide launch, the identity centered on a redesigned logo: a blue handwritten mark that broke free from its predecessor of forty years, the stark black-and-white M that stood for quality in textile manufacturing. But retaining When it came to getting the message out, however, Milliken needed help. A remarkably tight-knit company, employees Salley envisioned this as a greater evolution from the inside out: The new were nervous about changing outside perceptions at the risk of giving the identity would be the result of a total restructuring toward innovation within wrong impression.
SALT Branding stepped in to strategize the best way the company itself. Roger Milliken, whose father handed him the reins in , declared ture on documents and suddenly realized what it could achieve as a logo. When other They culled countless examples of handwritten thank-you notes Milliken textile companies were sending their factories overseas in the s, Mil- wrote to employees and picked one from the s.
Roger Mil- have one of these notes to share. The key to quality, then, was innovation. Unlike many CEOs who act as a face to But over time, the black-and-white mark became synonymous with qual- a business but have little substantive stake, Milliken ran the company. His employees held him in the superiority of the end product rather than the process that got it there. This brochure highlights this with fresh visuals evoking a sense of discovery as well as the new logo, which conveys creativity, softness, and play.
Business cards communicate the essence of the visual iden- tity. The SALT team experi- mented with many iterations to hit upon just the right mix of the real sig- thing they do, they are literally putting Roger nature and an overall feeling of creativity, softness, and play. And because it would have global usage, the M had to be The shift from quality to innovation will take time. The team decided the scheme had Wisely, they want to proceed cautiously with this new guarantee.
In one way, the solution returns to the basics; in another, it is truly groundbreaking. Now it is the theme of the Milliken brand identity. We wanted to inject more of this into the logo and identity.
An early one streamed the fog through the letters, obscuring them in different places. For example, the F is almost completely lost at different points. The typeface is wide and cushiony to allow room for shifting colors, from purple to teal to gray to blue, and to give the effect of light shining through fog. The San Francisco Design Week, organized by the movement. The year after, it could be solid, and so on. What we explore how design of all disciplines affects the Bay Area. Chin believed the logo should capture the essence of the city beyond its obvious tourist attractions.
And what makes San Francisco unique more than its ever-moving, shape-shifting fog? The designer also created two-dimensional versions that convey the sense of the letters appearing and disappearing with a simple black-and-white line. Bus shelter posters as well as Design Week brochures play off the color scheme.
The designer wanted to create a base for a dynamic identity that can evolve from year to year. SALT did make a 2-D version to be used in print and on collateral such as t-shirts. The San Francisco Design Week website incorporates movement to give the fog qualities that only a digital environment can create. C Adaptor 3D D petervasvari.
C redGizmo Interactive 4B D ilogo. The university needed a new visual iden- director Laura Stein. And focusing on student work felt like the right way to do it. Guideline: Be fearless and future-facing. Wines of Argentina, FutureBrand The bold color scheme of magenta, explored myriad directions for this black, and white was a direct result preeminent wine promoter.
Passion, of a positioning based on personal- diversity, heritage, vastness, old but ity. As was the use of two opposite- at the same time new, authenticity, personality fonts in the logo mark: exotic, nature, and the Argentine Baskerville, a serif font created in the value of sharing were all considered.
However, after entiation, irreverence, and freshness, and connects us to the world seven years it was time to express the sophistication and complex of wine through the intensity, warmth, and passion it denotes. FutureBrand continues to work with development process beginning to end. It also allowed the team to break some unwritten rules in the cat- egory.
The black, white, and magenta color structure such as technology, land quality, production volume, and scheme combines sophistication with a certain irreverence for the diversity of their markets. C Mattel, Inc. Carver 2D D Face. C Visual Criminals Ltd. The juxtaposition of an upright script and a chunky Deco font created a good balance.
Because her client had a limited budget, she presented only one direction, which was the clear winner among three options she designed at her studio. Fili showed them a number of color schemes and let them choose the pink-and-orange combination, which was the most relevant in terms of gelato hues.
Since then, their creations have been heralded as some of the best gelato in the city, which, given the number of gelato shops these days, says a great deal. The job was perfect for Louise Fili, who specializes in identity and packaging design for food purveyors. Line in New York.
C Great Northern Pasta Co. The logo would have to be fresh and vibrancy of the mark. Founded by three seasoned advertising executives, The Pool provides a cross- discipline approach to strategic business development, offering services in brand vision and strategy, product development, cul- tural and market research, public relations, and capital raising.
The leadership team tion and pools of water in his initial sketches. The initial scope of application was modest, including a suite of stationery items, a pocket folder, email signature, and website. Acknowledging that the logo was not for a large corporation, the designers realized that they could take some liberties in the development and give it a certain playfulness. The two distinct blues, dark above light, imply the water line, creating the illusion that the bottom half of the name has been submerged under water.
The curious, clever, and fun nature venture in Wichita. Through- Miller sketched up a number of different out Brazil, open-grill restaurants, or chur- monkey images. He wanted to show him in rascaria, serve meat cut from long skewers motion, with an active tail, and realized that in the style of the chapada gauchos.
By cutting pieces of ornamen- the spit to get the monkey climbing and Fugate handed them the reins to mas- tation and giving them a degenerated look, then stepping along it, and added a fork termind and execute fresh visuals for the designer Brian Miller found he could collage to represent its curiosity and intention to space: from the logo, signage, and interior and implement them throughout the identity.
Still puzzled with the method? Sign up with Facebook Sign up with Twitter. I don't have a Facebook or a Twitter account. Research and publish the best content. Try Business. Join Free. Your email address will not be published. Home the book pdf download pdf book and pdf. Again lazy yes out to buy a book or lazy.
Calm yes friends, your laziness will be lost. Because this book is easy to get.
0コメント