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Introduction
We can all respect the heritage of the ubiquitous logos of
corporate giants such as Samsung, McDonald’s, Walmart, Face-
book, IBM, and Sony; but as designers, we realize that so many
of these marks for large entities show obvious signs of being
pushed, pulled, strangled, and beaten into creative submission
and sterility. No matter how much the initial brief may tout the
brand as being personable and able to provide an emotional
connection to a community, the logo ends up reecting none
of the human qualities it brags about. The resulting logo ends up
being merely an expensive, impotent placeholder—unoensive
yet uninspiring. This book is not about any of these.
On the other hand, there are logos that grab us by the eyeballs,
hug our souls, endear our senses, and don’t let go. If you’re
one who has chosen graphic design and branding for a living,
we doubt that you’ve been inspired to do so by the creative
battles that produced marks for any of the corporations named
above. I’d venture a guess that most of us were motivated by
logos that displayed distinctively clever visual concepts, told a
story, or were rendered with industry-dening style. I’m talking
about logos such as the old Milwaukee Brewers “ball and glove”
monogram from the ‘70s, the Armor All Viking brand character,
the Baskin Robbins “31 avors” mark, the Android OS logo, the
Twitter bird and the Atlanta Falcons F” symbol. We all recognize
these logos as being brilliant, conceptual, and bold. We marvel
at these marks, smile, and can’t look away.We e
with open arms. We run to become members of their brand
tribes. They are, in a word,
Competitive brands are nding the need to court their cus-
tomer and communicate their message quicker and more
thoroughly. That’s a tricky tightrope to walk. Every detail and
attribute of a logo needs to be carefully scrutinized before
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