What are your thoughts on this logo?
What are your thoughts on this logo?
Rebranding exercises and logo redesigns are conducted all the time, however when the big brands are involved there’s always a mob of eager critics waiting to unleash their thoughts. Even the best rebrands take some flack, but the more unfortunate examples really take a beating! Here’s a roundup of 5 recent rebrands that caused the most upset.
Although not a rebrand entirely, the nature of the logo does follow on from previous Olympics and continues the history of Olympic logos. The London 2012 organisation themselves say; “Our emblem is simple, distinct, bold and buzzing with energy. It’s form is inclusive yet consistent and has incredible flexibility to encourage access and participation. It can communicate with anyone from commercial organisations to kids playing sport.”
Do the decent thing and give us a logo we can be proud of and not this national embarrassment. [source]
OMG! The ‘London 2012′ logo makes me want to pluck out my eyes. And it’s going to be everywhere I work. I may die. Or kill. Or both. [source]
This looks terrible, looks like a kid’s competition entry to me. [source]
This logo is f***ing s***. Feel free to quote me. It doesn’t look like 2012 (which is apparently what it’s based on) and it doesn’t look professional: It does, however, look like a f***ing disaster area, so it probably suits the Olympics rather well. [source]
When I first saw that logo, I had to quickly check the date – thought it might be April 1st. [source]
In 2008 Pepsi Co revealed their $1.2Billion branding exercise that is set to change the appearance of the Pepsi logo and packaging in aim to reconnect with consumers. The new logo uses a series of white stripes, known as smiles, which vary in width between Pepsi, Diet Pepsi and Pepsi Max.
Is this a joke? The series of smiles/grins/laughs kind of reminds me of the icons Burger King uses for the varying levels of caffeine in their coffee (turbo, regular, decaf); which are an eye getting progressively less alert. Not sure how well the smiles will translate to consumers. The provided logo, though it may be preliminary, didn’t look like a grin to me, perhaps a grimace. Guess we’ll have to wait and see. [source]
What a waste of money and effort. You got to be a lot more creative if you are to compete with Coca Cola. Look at Red Bull for example. It’s proof it can be done. [source]
I really, really dislike the variation on the ball. Why they did that makes no sense to me. [source]
I’m not a fan. I think it’s awfully dormant and average. I personally feel that the logo doesn’t have a nostalgic quality at all. I think it’s painfully boring. [source]
I don’t like the redesign. Pepsi is one of the worlds most recognized brands, and this iteration appears like a redesign done by a student in a community college and posted it on DeviantArt. [source]
Rebranding is usually undertaken to freshen up an image or push it into the future, Capital One on the other hand, decided to head back in time ten years and add a swoosh to their logo.
I just wish I could hear the reasoning behind that swoosh. When I see a gratuitous swoosh in a logo like this I try to imagine the conversation that lead up to it being thrown in the design. Do people think they symbolize something specific? Forward thinking? Is a swoosh supposed to evoke some emotion? In the case of a credit card company my deepest creative imagination can’t even conjure up what may have been logical to the decision maker here. [source]
It looks like a boomerang. Why on earth in the current market would any credit card company want a boomerang in their logo? [source]
It’s not like the swoosh, as inadvisable as the addition is, was even crafted into the new design. Nope, just dumped behind the original font. With a gradient thrown in for good measure. And what’s that? A bevel too? Worst makeover of 2008. [source]
That ‘thing’ is such a waste. It wasn’t needed, and brings nothing to the table. [source]
The Discovery Channel’s Animal Planet was due a revamp, this fresh logo aims to drive out the raw, visceral emotion in the animal kingdom. Unfortunately it led to bring out confusion and bewilderment from the public.
This is really quite bad. At first glance I said “what?” and upon further inspection the stretched and skewed type made me cringe. [source]
Dreadful. There’s NO life in this logo whatsoever, as evident by the keeled over M. I’m assuming they tried to play with the relationship between the 2 words (quite literally, Animals “taking over” the planet), but it fails. [source]
The signature seems conceptually sound. Wild unorganized, chiseled, sharp, and unpredictable. Kinda like what would happen if you put ten monkeys in your apartment and then left for the day. Formally it leaves a lot to be desired. [source]
Oh my God! Where is the reflection towards animals or wildlife. Just green text. Horrible. The old one was old, but this is ridiculous. [source]
When I first saw it my immediate thoughts were: 1.) Where’s the animal? 2.) Where’s the planet? Really a sad solution to their identity re-design project. [source]
Wacom are commonly known for their graphics tablet products. Back in late 2007 they revealed their redesigned logo and brand, designed by Wolff Olins, who had previously been featured as the agency behind the the London 2012 logo.
Ironic that a logo for a product that can help produce works of art (with technical flair) is so poorly executed. [source]
I hate to trash yet another corp logo, but are any of these companies following their own creative briefs anymore? Was this designed in Powerpoint by the sales department screaming, “it must be web 2.0-ee”? [source]
In my opinion it’s outdated, a mess and doesn’t project anything specific. Awful colors. Whoever accepted that logo, made a big mistake. [source]
My guess is Wolff Olin’s outsourced the job to a “$99 A-logo-Inc” and cashed in big time. It’s darn scary to see this kind low quality work coming from big shops. Who do we have to look up to? [source]
What are your opinons on these 5 logo designs?
Inside this interview I came across a point that I instantly related with and that was to show your clients only your best logo design concept(s)…
Quote from Luke Pensive:
I avoid showing off numbers of concepts at once as the client is paying me as a designer to see what’s the best for his business/product identity. My task is to deliver a quality, recognizable and unique logo that conveys the message, not to confuse the client and say “hey, here are your 10 concepts, now pick one” – imagine if you came to a (not computer) hardware shop and said you need a nail and shopkeeper told you “here we have 100 different nail types, choose the one you like and get back to me”. Trust me, even if you picked 10 types, you’d come home with the ones you don’t need.
The point? Only show your best logo design concept(s). You may also find interest in the article how to get your clients to say yes to your designs. Also, have you ever thought about putting your logo on various promotional items?
How many concepts do you usually present to your clients?
Last week I got my first dot grid book (& my first moleskine) and I loved it so much I thought I would share this great resource with you.
This dot grid book is great for sketching and finalising logo designs but I think pictures describe it better than words so here are a few pictures of what your missing out on…
Perfect for typography and logo design, the lightness of the grid allows clear scanning.
Spread view of the dot book.
The dot grid book in use, not sure why they put the orange border there.
Lines don’t interfere with your work.
The lightness of the grid allows clear scanning.
Double perforations for easy removal.
Double sprial binding.
The dot grid.
The cover detail.
The outside Suede-Touch cover with packaging.
Do you own a dot grid or moleskine book? What are your opinions?
Wolda is the high-profile graphic design award scheme that rewards the best logos and trademarks designed throughout the world. The winners are selected by an international three-tier jury consisting of 10 top design professionals, 10 marketing managers from major international clients and finally 10 members of the public (provided respectively by the worldwide organizations Icograda, Aquent and Consumers International).
Below are my top 17 favourite picks from the past 3 years of Wolda & Eulda (what Wolda used to be called).
To see all winning & shortlisted entries please find the links below.
Logo name: Snowflake
Logo award: Best of Luxembourg, 2008
Designer(s): Vidale-Gloesener (team)
Description: Luxair launched a winter campaign to promote the airline’s new winter destinations as well as their internal Christmas communication. The key element of this campaign was a logo which was used across all kind of material during the winter period. A very simple logo – a snowflake made out of planes – was created and used on the cover of the timetable, the internal and external Christmas cards, the invite and poster for their internal Christmas market, the headrest inside their planes, etc.
Logo name: Turkey and the European Union Relationships
Logo award: Best Of Turkey, 2007
Designer(s): Rauf Kosemen
Client: European Union Relationships Publications
Logo name: TWINS
Agency: The Action Designer
Designer(s): The Action Designer
Client: Twins Communications
Description: Logo made for a bold creative team consisting of two people. Two people being brothers …and fortunately born on the same day. TWINS was a suitable name for the two. To reflect the essence of the duo, a bold typeface was created to reflect the boldness of their approaches. The number 2 was integrated to show the creativeness of their ideas.
Logo name: Dictionary of Australian Artists online Logo
Designer(s): Paul Garbett, Danielle de Andrade
Client: Dictionary of Australian Artists online
Description: This identity was created for the Dictionary of Australian Artists Online (DAAO). The DAAO is an online search and research tool containing biographies from Australian artists throughout history. The logo is comprised of 26 coloured ‘pixels’ which represent the 26 letters of the alphabet and symbolise the dictionary. The pixels are dynamic, and can be rearranged to create new objects and symbols.
Logo name: Consumer Society and Citizen Networks
Logo award: Best of Europe 2007
Agency: Jovan Rocanov (Serbia) for Kaffeine Communications (Kiev, Ukraine)
Designer(s): Jovan Rocanov, Anna Timkov
Client: Consumer Society and Citizen Networks
Logo name: BREAK cafe
Logo award: Best of Serbia, 2008
Client: Break Cafè, Niš (Serbia)
Description: Logo for a café situated in a shopping mall, frequented by people who wish to take a coffee break while shopping.
Logo name: Usa Rice Federation
Logo award: Best Of Germany, 2006
Designer(s): Olav JÃ¼nke
Client: USA Rice Federation Inc.
Year of release: 2000
Logo name: Restaurant Mathias Dahlgren
Agency: Dolhem Design
Designer(s): Jan Vana, Designer. Christophe Dolhem, Creative Director.
Client: Mathias Dahlgren Grand Hôtel Stockholm
Description: Sweden’s most famous chef Mathias Dahlgren opened his own restaurant in collaboration with Grand Hôtel Stockholm. Dolhem Design created a logotype and graphic identity to go with the restaurant’s contemporary Swedish cooking.
Logo name: Souperie
Designer(s): Hannes Unt
Description: A variety of wok dishes, a fusion of soups and oriental specialties in a versatile variety of intermixing possibilities. These are the delicacies you can expect at Souperie – a gourmet soup and wok take-away. Our work result is a logomark with circles in various sizes and attractive colours, symbolizing the multifaceted possibilities clients have when combining a meal. With an objective to avoid an image of cheap fast food chains, the typeface was chosen to be minimalist and elegant, matching the overall upscale look.
Logo name: OK
Logo award: Best Of Russia, 2006
Agency: Mccann Erickson Russia
Designer(s): Oleg Pudov
Client: Fund of Social Communications
Year of release: 2004
Logo name: Eight
Logo award: Best of Portugal, 2007
Agency: Shift Design
Designer(s): Shift Design
Client: Eight Business Lounge Bar
Logo name: Pogodjena patka (Shot Duck)
Logo award: Best of Serbia and Montenegro, 2006
Agency: Zoran Borenovic
Designer(s): Zoran Borenovic
Client: Restoran Pogodjena patka (Shot Duck, restaurant)
Year of release: 2005
Logo name: Hou+Partnere Arkitekter A/S
Logo award: Best of Denmark, 2007
Agency: Super Duper Graphics
Designer(s): Søren Severin
Client: Hou+Partnere Arkitekter A/S
Logo name: Just Creative Design
Logo awards: Best of Oceania, Best of Australia
Agency: Just Creative Design
Designer(s): Jacob Cass (Hey, I can like my own can’t I?) You can check out pictures of my awards here.
Description: Logo for a Freelancing Graphic Design business and graphic design / creativity based blog. The initials J, C, D were incorporated into the outline of a pencil in a creative and simple manner to reflect the name of the business.
Logo name: LIB
Designer(s): Miren Sánchez, Miguel Zorraquino
Client: LIB Librería Internacional Bilbao
Description: LIB – Librería Internacional Bilbao – is a bookshop that offers customers literary works in the original language in which they were written. It has a wide selection of both classical and contemporary works in different languages: English, French, Portuguese, German, Basque, Chinese, Arabic, Russian, etc. The final result is a simple, fresh, effective and evocative image.
Logo name: Nouveau Theatre de Montreuil
Designer(s): Delphine Cordier and Aurélie Gasche
Client: Nouveau Theatre de Montreuil
Description: This logo was created in November 2007 for the City of Montreuil’s new theatre “le Nouveau Theatre de Montreuil” (France). The design of the logo has been inspired by the Institution’s new building. Lines coming from different directions meet and inter-twine to finally draw the outline of the building and thereby create its volume. It is the meeting point of exterior and interior. While the lines capture the theatre, they also burst out of its confines. It represents the artistic dynamic of this place of creation and the international aspect of the Theatre’s activities.
Logo name: 38 South
Agency: Mark Gowing Design
Designer(s): Mark Gowing
Client: 38 SOUTH
Description: 38 South is a music management company located in Melbourne, Australia. Melbourne is located at 38 degrees south. The company mostly deals with the logistics of managing nightclub DJs who work primarily with vinyl records. Hence the trademark was designed to reference not only the traditional black record discs but also the circular degrees symbol. 38 South does business with nightclubs, booking agents and the music industry, so an element of cool was required in the overall feel of the trademark.
Wolda is now accepting entries for the 2009 Annual. More info here.
When studying colour theory we are given an understanding of the colour wheel and the harmonious relationships that can be forged between these brothers of reflecting light… It is here that we are given a cheat sheet on how to use colour effectively to communicate the right message.
Below we use this knowledge to go behind the scenes of colour theory in logo design while looking at various case studies of logo designs that use these principles. Enjoy.
This wheel, that shows the relationships of colours, is a handy little tool to understand. Without going into any great detail of how the colours of the wheel are established (which is pretty interesting to know), we’ll just tip or toes into the water.
The panels that have an outline above, with their linking lines, show the relationships colours have. For example, complementary colours are the colours directly opposite each other. In our illustration above (the first wheel highlights the relationship), red and green are directly opposite, so they’re complementary. Just as the blue on the left and the yellow on the right are complementary, the orange and light blue, and so on.
These aren’t the be-all and end-all of colour combinations obviously, but they’re good places to start when choosing what colours you might want to use for a project. As you’ll see in the following examples, sometimes you might use three out of four tetrad colours, or go for an analogous harmony but stretch it out one more and skip one.
The wheel is our simple guide into the world of colours – something to use when you find yourself in a place of bother, or something you may choose to ignore. With that in mind, sometimes one may decide to ignore the wheel, but work with colour meanings and psychology instead. It should be noted that it isn’t exactly a science. Ask a hundred people what red means and you’ll likely get dozens upon dozens of different answers – none wrong. But again, it’s a great starting point and gives you insight into how your audience may instinctively perceive something you’ve put together.
Colour can make or break a design so it is vital that you know what colours mean and what they can communicate. Below are some ‘meanings’ of colour. [Source]
This is a great place to start. This is as straight as it can be – direct complementary colours, no ifs, no buts. Yellow is directly opposite blue, so there isn’t a lot to talk about in this regard really, other than the yellow is a little orange, but let’s not too picky. Let’s have a look at the meaning of the colours.
Blue is a colour often associated with trust, loyalty, royalty, friendliness, wisdom and peace. It can also be associated with the less noble feelings such as depression, but given the context, not an association easily made—especially with our optimistic, wealthy and joyful yellow sitting calmly on the shoulder of the logo.
Remember, colours have a multitude of different meanings for different people – it’s all about context and the brand as a whole.
Wisdom, wealth and trust — what more could one ask for from a company at whom we throw wads of cash?
When it comes to tetrads, things can get a little dicey. Giving four colours equal footing is risky business, so it’s often better to have dominant colours and weaker colours – the Samarra’s logo is a good example of such a situation.
Our two dominant colours dance together as a perfect complementary pair, with the two others giving them a little support as minor players.
This isn’t exactly a perfect tetrad – our two minors are complementary to one another, but not perfect partners for the two majors in regard to a tetrad. They’re close, but off by one panel. The lighter orange is closer to red on our colour wheel and the blue is closer to green. In fact, the major colours are a little off as well, but being tints, we’ll give them a little room to move to help explain the harmony. It is a great example of taking colour theory as a base on which to work from but not necessarily to hold as gospel.
How could I possibly write on colours in branding without making mention of one of the most effective uses of colour in history? No one short of the Nazis, terrifyingly enough, has managed to use a combination of colours in such a recognizable and powerful way.
When I was younger I saw a documentary in which the McDonalds logo was discussed. I particularly remember a man making mention of the feeling that the red and yellow evokes – hunger. At the time, this idea fascinated me for at least a moment as I remember wondering how that could even be. Being a child, I probably put it down to magic or elves or.. something. It’s fun being a kid. Flash forward however many years and we have Wikipedia, with, under it’s entry for colour psychology; “Studies show that red can have a physical effect, increasing the rate of respiration and raising blood pressure; red also is said to make people hungry.” So maybe not elves after all.
Red can understandably cause a feeling of hunger—it’s the colour of the flesh, blood and health – maybe it isn’t only a modern day thing, maybe it’s an evolutionary association we have? Red also cues thoughts of speed, which is what fast food chains pride themselves on.
Then there’s the yellow. Again, Wikipedia informs us that yellow is the colour of joy and happiness, sociability and friendship. With their focus on children on the playground and friends grabbing a quick bite whenever out, yellow seems like an obvious choice. If you can associate your business with being part of any outing routine, you’re doing something right.
Ironically, while this combination has undoubtedly influenced many, many fast food chains, it’s also the colours of danger, death and panic – although some do think of these when eying the golden arches. There is an example further down of how pre-existing connections can be ignored, with the FedEx logo.
Or, you know, it’s just ketchup and mustard.
This is a fantastic combination of colours – they scream Australia. Sunburnt deserts, beautiful beaches, nature and sun – it doesn’t get much more Australian than that. Symbolism: check.
Light colours that overlay and dance with one another in the shape of one of our treasures. If you’ll notice, the red of the head and feet of Skippy contrast well with the light blue that dresses the name. If the colours were in reverse order within the illustration, this one might have come off as tacky – looking as if the intent were to have the colours graduate between the illustration and the text. Not a great look in my opinion – might even have looked like a printing error. The contrast shows a deliberate thought of how the illustration and the text would interact with one another visually.
As for harmony? Simple – it’s a perfect tetrad.
From red to green, from flame to flora. And an interesting use of complementarily harmonious colours.
Red and green are perfect complementary colours, with all those between in our logo hitting almost all other colours (in a 12 panel colours wheel) between them. A lovely use of riding the spiral of colours in an effort to evoke passion (the red), growth (the graduation of size and change in colours being in step) while representing nature (the leaf) and gentleness – not often the feeling one gets from a technology company.
It’s often good to go against the grain, as I found with the next logo.
Orange and purple are analogous at best – you know, if you skip a couple of steps and make your purple closer to blue than red. But colour harmony isn’t the reason these players has been brought to the grounds today. No, it’s because of the power they have together through the strength of the branding used by this shipping giant.
Colour harmony theory might not work in favor of this combination, and nor does colour psychology to any great extent, no matter how many drops I try to squeeze from various sources around the web.
The colours just work. Neither is weaker than the other, neither one quite what you’d expect from a shipping company. The branding is the opposite of what companies following McDonalds did – it doesn’t go with the expected. It isn’t the standard blue and red of mail delivery.
Choosing the opposite of the norm, going against the standard or expected, helps set a strong contrast between you and them. It helps you stand out. While everyone else might be blue, you’re purple, them red, you orange. Not a great departure from the norm really, but one strong enough to make a difference.
Another almost perfect example of colour harmony. Sports Link uses a split complementary.
The symbolism of the colours works well for the client too. The blue symbolises tranquility, trust, coolness, wisdom and mobility. The green; life, nature, spring, youth, good luck and vigor. The red is associated with passion, energy and strength. I don’t want to say perfect, but for a sporting company—well, you’ll excuse me for thinking it might just be.
The colours are light without being too vibrant and shocking, helping ground the company as a serious business. This combination of colours is one you could probably easily find on anything that is aimed at children, from movie posters to toy packaging. But the subdued, almost subtle colours, gives this logo some feet on the ground.
It all just fits, doesn’t it?
Clearly, the rules that colour harmony lays before us aren’t laws. At best, the are merely guides, to be followed if one chooses, but also ignored or used as nothing more than a starting point. The same can be said of the meanings behind colours. Different cultures see the symbolism of different colours through different eyes. Different, different, different. But this isn’t a bad thing by any means.
Red and blue were traditional colours for mailing, then FedEx came along. McDonalds set a standard in using red and yellow for the fast food industry. This is where the beautiful spark of creative thinking starts to ignite. Nothing is set in stone. It use to be that light blue was the colour of girls, and pink the colour of boys. Things change.
The designer is in a position of power because of this. If something is considered and understood, then a monumental shift can occur in the result. Just because every other business in your client’s area uses green, it doesn’t mean you need to develop a logo of green. Discover why they use it, their reasoning for it, and see if you can give the same effect with red, or blue or orange.
In closing, it might be best to say that if there were a strong platform on which the mantra ‘to break the rules, you must know them’ can sit upon, then surely it is the platform of colour.
Technology affects logo design in different ways, one of which is the applications of the mark. Just a short while ago this would mean that designers were responsible for designing a mark that would reproduce well when faxed, while this is still true it has become less of a necessity. One of the new applications that logo designers are faced with that is arguably even more difficult is creating a mark that can scale down to the 16×16 pixel dimensions of a website’s favicon.
There are a number of options that a designer can take when applying a logo design to a favicon. Below are three ways to convert your logo design to a favicon successfully.
If the original logo is simple enough this is a great option. It is very likely that the original mark is too complex to accurately render at such a low resolution. It is also recommended that the vector mark be adjusted to better fit the low resolution of the icon, for more information see the article Icon Design Explained by icon design expert Jon Hicks.
Often times when the mark is too complex to use in its entirety, a small yet distinguishable portion of it may be used instead. Doing so creates a visual reference to the mark and identity without having to attempt and fit complex detail into such a small area.
It is also entirely possible that the favicon can be treated as an entirely new design problem. In this scenario it is common to see the overall identity of the company / service / product applied to the favicon in an entirely new way.
Below you will find some examples of the options mentioned above.
Hick’s Design – http://www.hicksdesign.co.uk/
37signals – http://www.37signals.com/
FANCAST – http://www.fancast.com/
Coudal Partners – http://www.coudal.com/
Ars Technica – http://www.arstechnica.com/
Twitter – http://www.twitter.com/
Nintendo – http://www.nintendo.com/
GOOD Magazine – http://www.good.is/
Makefive – http://makefive.com/
Facebook – http://www.facebook.com/
Flickr – http://www.flickr.com/
XBOX – http://www.xbox.com/
Have you forgotten about your favicon?
With all this talk about the doom & gloom of the recession I thought this would be a great post to share… what logo designs could look like after the recession.
Lindon Leader is probably not as well known as the other so called “superstar” designers such as Milton Glaser or Paul Rand but Lindon deserves just as much credit in my opinion.
Lindon from Landor Associates and LeaderCreative is the man behind the FedEx logo, the logo that has won over 40 awards, worldwide. Rolling Stone Magazine has also ranked it as one of the 8 best logos of the past thirty-five years, along side Apple, Coca-Cola, Nike, IBM, Starbucks, McDonald’s and Playboy which I would say is something to be very proud of.
Just in case you aren’t already aware, the genius behind the FedEx logo is found between the letters E and X. Hint: Look for an arrow.
Although Leader is most known for his work behind the FedEx logo he has also worked for many other huge names including Disney, Motorola, WorldCup USA, Ryder Trucks, Salt Lake 2002 Olympic Winter Games, Hawaiian Airlines and many more. You can see some more of his logo designs below.
When researching for this article, I came across a great interview with Leader about his design process for the FedEx logo. I was most intrigued with his replies to these two questions:
Did you have to manipulate the font in anyway to create a perfect arrow?
Yes, indeed. I was studying Univers 67 (Bold Condensed) and Futura Bold, both wonderful faces. But each had its potential limitations downstream in application to thousands of FedEx media, from waybills and embroidered courier caps to FedEx.com and massive signage for aircraft, buildings and vehicles. Moreover, neither was particularly suited to forcing an arrow into its assigned parking place without torturing the beautifully crafted letterforms of the respective faces. To avoid getting too technical here, suffice it to say I took the best characteristics of both and combined them into unique and proprietary letterforms that included both ligatures (connected letters) and a higher “x-height,” or increased size of the lower-case letters relative to the capital letters. I worked these features around until the arrow seemed quite natural in shape and location.
And I guess a lot of designers could relate to his Leader’s reply here…
Are you like a rock star in the world of logo design now?
Well, we Fortune 1000 identity guys and gals are behind the scenes most of the time. We do get our individual recognition from design competitions, but generally speaking, the design public only hears of the branding firm that created the design; in this case, Landor Associates. And the public at large doesn’t know who designs something or even cares to know. So, these days you won’t find me ducking crowds screaming for my autograph. No.
Lindon Leader is a graduate of Stanford University and Art Center College of Design and his work has appeared in numerous publications and is included in the permanent collections of the Smithsonian Institution. He continues to lecture nationally on corporate identity and brand management topics.
Lindon Leader brings over twenty years of experience in corporate communications to the inter-mountain west. Lindon began his career at Bass/Yager Associates, Los Angeles and served as Design Coordinator for the Los Angeles Olympic Organizing Committee. At Landor Associates (San Francisco), Lindon was responsible for broad ranging branding programs that included, among others, CIGNA, Dun & Bradstreet, Technicolor, Federal Express, Ryder Systems, DoubleTree Hotels, the Salt Lake 2002 Olympic Winter Games and Brazil’s Banco Bradesco S.A., the largest private bank in Latin America.
As Landor’s Director of Integrated Branding, Lindon was largely responsible for broadening Landor’s capabilities to include innovative change management expertise. From 1999 to 2001, Lindon was Executive Creative Director at Addison (San Francisco) where he led corporate identity assignments for Hawaiian Airlines, Intelsat and Progress Energy.
Need logo design inspiration? Below we feature 10 of the best logo design galleries for all of your inspirational needs.
Logo Lounge is the largest and my favourite logo design inspiration gallery… however, it is a paid service. It is $99 a year but it is totally worth it. As a member you can submit your designs to be included in their logo design books and browse all other submitted designs. The search function is by far their strongest point. My highest recommendation.
LogoPond is really a community of logo designers… It is a place to share, discuss, get feedback and inspiration for your logo design. Users can select the “View All” gallery to view all the logos submitted to the site.
Logo Of The Day features a new logo design every day for your inspiration. Users can also suggest a logo to be awarded the Logo Of The Day award. Submissions are judged and are only included if approved by Jacob Cass (myself) & Jeff Fisher. You can also rate logos on a scale of one to five.
Stationery Style is a place that features all types of stationery + logo designs. Make sure you make use of the ‘Filter Results’ function hidden away at the top of the page… Click options. This place features logo designs in context so it a great place for inspiration.
Logo Gala was started in January and it differs from most other galleries by design and the fact that you can choose logo designs based on colour. They also have a featured logo section with mini interviews and also a blog.
Logo Moose is another logo design gallery that gets nearly every day and features only high quality logo designs. It also has a good tagging system in place.
Fave Up’s site is a bit drag at the moment but the good news is that it is undergoing a redesign and it should be up soon with many new improvements. The site features mostly user submitted designs, however I find that many of the logos are already on Logo Pond. You can also rate the designs.
Logo From Dreams has been around for a while which means there are a lot of logo designs there for inspiration. They feature a new logo design every day handpicked by the sites owner, Sinisa. They also feature a logo of the month and year.
This sit is a bit different in terms of functionality as it is mainly driven by search and key words but it is still very worthy.
Logo Faves is just another Logo Design Gallery, nothing special in my opinion as a lot of the logos here are already featured on Logo Pond and the other galleries out there but there are a few gems in there and it is still a worthy site.
Logo Sauce is place where users can showcase their logos however I have to say that the quality here is not as good as the sites suggested above – a lot of it is rubbish left over from design contests. On the upside there is a large range of logos to browse through… though sorting the good from the bad is the hard part.
Even more logo design inspiration galleries:
Have I missed one? Let us know in the comments. What are your favourite galleries?