Staring at a blank piece of paper? Logo Design London has some suggestions about where to find inspiration for your next logo design.
You’ve just taken a new brief from a new client and now you’re sitting at your desk waiting for inspiration to strike. But do you really expect the perfect logo design to pop up, fully formed, in your mind? Believe me, it could be a long wait.
Instead, it’s up to you to seek out inspiration. If you let a wide variety of ideas collide inside your brain, gradually they should coalesce into the logo you’re looking for. The trick? Knowing where to look for inspiration in the first place.
Beyond the obvious
Cast your net far and wide. Don’t just look at the top 20 best logos ever, or you’ll end up with something derivative. Certainly, look at other people’s logo designs, but also look beyond that, at design in general and the wider world. Whenever you see something that stands out or appeals to you, for whatever reason, file that thought; let it inform your design process and contribute as your new logo starts to evolve.
Below are some suggestions of places where you might look for inspiration – but remember this can never be an exhaustive list because inspiration can come from anything, anywhere…
The popularity of the video games many multinational companies are persistently developing better and more adventurous online games in keeping with the demands of the people. The characters in these games are also erected by the creative geniuses i.e. the web designers.
A logo is the heart and soul of a business and without it, the brand’s identity will never be memorable. Just like a book, a good logo must tell a story and must stick in the viewer’s mind after the first second. There are many types of logos, such as wordmark, combination marks, iconic logos.
El briefing es la parte estratégica de la preparación de una acción publicitaria. Es la elección ordenada, estratégica y creativa de los datos que nos permitirán definir los objetivos publicitarios de forma correcta y medible. Es un documento escrito donde el departamento de marketing debe poner toda la información necesaria para dejar claras las diferencias comerciales y definir lo que se quiere conseguir con la publicidad. Lo crea la empresa cliente con su información del mercado y con las líneas básicas del plan de marketing de la marca que desea publicitar. Es un documento resumen, muy sintético, que facilita la labor de la agencia.
El documento contiene una presentación del entorno y la estrategia de venta del producto o servicio. Tiene que ver mucho con las estrategias de marketing que se van a usar, la imagen del producto y sobre todo las características del mismo. Debe existir una relación estrecha y de confianza entre la empresa y la agencia de publicidad. El uso del briefing es exclusivamente interno de la agencia, puesto que en él están plasmados datos confidenciales de sus clientes, los anunciantes.
El briefing no tiene un formato predefinido. Cada empresa tiene su propia forma de elaborarlo. Una agencia de publicidad o profesional de la comunicación comercial/institucional debe conocer como mínimo los datos reflejados en el siguiente índice:
Antecedentes históricos de la empresa anunciante, que paga por la realización de una campaña de publicidad. Este apartado debe proporcionar datos clave de la compañía, la categoría de producto o servicio, así como los principales competidores del mismo, incluyendo datos del canal de distribución, y aportar datos de imagen de marca, describiendo las principales ventajas (reales o emocionales) de la empresa, comparándolos con la competencia. Anécdotas, pensamientos o incluso pequeñas historias de empleados son de utilidad para la creación del eje de comunicación que debe seguir una campaña.
Documentación preexistente. Se trata de los documentos o publicidad anteriormente desarrollada por el anunciante. El ejecutivo de cuentas debe recabar información sobre cualquier soporte publicitario realizado previamente y enterarse de cuál fue su efecto sobre consumidores y anunciante.
Mercado total. Tamaño del mercado y la competencia directa e indirecta.
Logos are such a critical part of branding and design. You would assume that companies and brands do everything in their power to make sure their logos are perfect. And yet, we keep coming across logos that look like a sad joke.
It’s not a question of personal taste. Some logos should have never been approved as drafts, because they are not communicative; have no regard of basic aesthetics; look totally outdated or even ridiculous. In short, they’re giving the brand they represent a bad name – which is the exact opposite of what they should do.
The list of examples is endless but we picked some really horrid ones for you. Go over these logo fails and you’ll learn a lesson or two in how not to design.
2012 London Olympics: A stupefying amount of money was spent on designing the 2012 London Olympics logo, which turned to be as uniformly disappointing as was its opening ceremony.
T-Mobile: T-Mobile’s parent company, Deutsche Telekom, apparently think their logo is so spectacular that they decided to trademark its color. They claim to own this shade of Magenta (RAL 4010) and can sue for copyright infringement if used without permission. Wonder if they noticed that the London Olympics logo ripped off their favorite color.
Drake University: D+, huh? The best grade you can expect to achieve if you study anything at this college is F = Fail!
GAP: The GAP logo used to be a well-recognized iconic symbol of comfort and fashion. Now it’s been reduced to a poor generic sans-serif font and blue powerpoint generated gradient cube. Looks like it time-travelled to the era of bad.
It’s travelled with us across the decades, but suddenly the classic 1960s American Airlines logo is no more. Find out what’s replaced it!
American Airlines has released a dramatic redesign of its logo, which has gone largely unchanged since 1967.
It keeps the main elements of the classic logo (below), designed byVignelli Associates – the red, white and blue colouring, the eagle and the company name – but dramatically reinvents them. The colours are brighter and more modern, and there’s a pared down approach and horizontal flow to the design that seems appropriate for an airline, although the wings remind us more of those on a hang-glider than either an eagle or a passenger jet.
We count down the 20 brands that have made the most impact on the world, and speak to leading design and branding experts to find out why they work so well.
‘Iconic’ is a big statement – by definition, it must be rare for a brand to be elevated to that status. And if there’s one point on which all the global branding experts that have contributed to this list agree, it’s that it’s rarely about the logo alone.
“It’s churlish to focus on the logo,” confirms Ben Marshall, creative director at Landor Associates. “We respond to experiences, stories we can pass on, and frankly, some things that are simply unusual or inspired.”
Michael Johnson, principal and creative director of Johnson Banks, agrees that an iconic brand should deliver on multiple levels – the product or service itself, the environment it appears in, its tone of voice, and more. “Thinking about ‘branding’ from this cinematic perspective is relatively new,” he admits. “It’s pretty difficult to deliver successfully.”
In some cases, volume of exposure can force brands into public consciousness – though it’s debatable whether that makes them iconic. “By sheer force of ad-spend and/or ubiquity, many would nominate brands like Coca-Cola or Nike without thinking,” says Johnson.
Such scale of repetition is enormously expensive. “I can’t tell you how many times we’ve been asked to design a logo ‘as iconic as the Nike tick’,” smiles Paula Benson, partner at Form. “Our question: do you have the budget to repeat it boldly and consistently all over the world?”
With the above factors in mind, we asked these experts and others to select 20 brands that they feel have earned – or deserve to earn – that coveted iconic status. Here’s what they came up with…
“Iconic brands are universal in what they represent,” argues Andra Oprisan, strategist at Saffron Consultants. “Some of us have never interacted with the Red Cross, yet we perfectly know what it stands for and how it changes people’s lives across the world. We are able to recognise its logo anywhere.”
It would have been inconceivable not to include Cupertino’s finest on this list. “It’s a truly great brand because it’s become synonymous with innovation and outstanding design,” says Paula Benson, partner atForm. “Its brand values permeate through absolutely everything, from usability to design to language to packaging to retail stores.”
“Apple has large revenues but only a very small number of products,” Benson says. “The real hallmark is care.”
For Kieren Thorpe, creative director at BrandOpus Australia, beer brand Bass’ bold use of a very simple primary shape and colour has helped it towards iconic status. “It’s since been redesigned with a bigger icon and a smaller word mark, giving it a much clearer standout,” he believes.
“We recognise colour and shape before the written word,” explains Thorpe – and Bass goes for the jugular on both.
Founded in Japan as the ‘Unique Clothing Warehouse’, this basics-clothing line became Uniqlo, or yoo-nee-koo-roh in Japanese. “What sounds very Japanese actually derives from English,” explains Johnson Banks‘ Michael Johnson. “They’d already developed a world-class product and environment – the bilingual logo was the masterstroke that pushed them into being iconic.”
Logo Design Love’s David Airey believes an iconic brand offers the ‘go to’ product or service within its market. “If you want a quick sandwich made with care, you think of Subway,” he shrugs. “Some people might consider them great simply because of the product or service that backs up the brand: ultimately, that’s what it’s all about.”
06. Ralph Lauren
Although its logotype may be relatively uninspiring in and of itself, Ralph Lauren is unquestionably an iconic brand. “It has successfully connected the Ralph Lauren mythology with the American collective psyche and the American dream. Together, they form the brand,” suggests Geoff Phillips, design director at MetaDesign. “That goes much deeper than any logo itself could achieve.” Leer más “The 20 most iconic brands – and why they work | creativebloq.com”
“Newton… a mind forever voyaging through strange seas of thought…alone.”
It takes a special kind of creative alchemy to transmute image into icon and catalyze a cultural cult driven by a commanding brand identity. Logo Life: Life Histories of 100 Famous Logos (public library) from Dutch publisher BISand creative director Ron van der Vlugt offers exactly what it says on the tin, covering brands as diverse yet uniformly enduring as Apple, LEGO, adidas, Google, Xerox, and VISA. Each short chapter traces the visual evolution the respective brand logo, zooms in on noteworthy milestones in the company’s trajectory, and highlights first-hand accounts and curious anecdotes by the logo designers.
Van der Vlugt tells the story of one of today’s most ubiquitous and recognizable brand identities:
Apple’s first logo was complex picture, a tribute to Isaac Newton sitting under an apple tree, with a phrase from Wordsworth: ‘Newton… a mind forever voyaging through strange seas of thought…alone’, along with the name Apple Computer Co.
Hard to reproduce, it was soon replaced by Rob Janoff’s ‘Rainbow Apple’ logo, with the introduction of the Apple II in 1997. In a later interview, Janoff said that there was no real brief. Steve Jobs only told him not to make it ‘too cute’. Ironically, the logo was designed by hand, using pencils and strips of paper.
The colors represented the monitor’s ability to reproduce colors, a unique selling point at the time. Its bright colors were intended to be appealing to young people.
The bite was added so that people would still recognize it as an apple rather than a cherry. According to Janoff, it does not represent the computing term ‘byte’, nor is there any biblical reference. Also, the bite fit snugly around the first letter of the brand name in Motter Tektura, a typeface that was considered cutting-edge at the time.
In 1984, with the introduction of the Apple Macintosh, the less than mathematically precise curves of the original logo were refined. The brand name was dropped at that point, since the apple alone proved to be an iconic symbol for the company.
From 1998 on, with the roll-out of the colorful iMacs, the stylish monochromatic themes of the logo were used, which perfectly matched the innovative character of the products.
Alimentación, ocio y negocios, ALOYN, es un Grupo dirigido a Directivos y Propietarios de empresas, interesados en el mundo de la industria de alimentación y bebidas. Tanto por la parte de la industria productora como por la parte de la industria consumidora y/o distribuidora (Distribución Comercial, Horeca, Vending, Venta Directa, etc). También nos interesan las actividades ligadas al agroturismo y el enoturismo como magníficas actividades de promoción y difusión de la cultura gastronómica.