JACK GERNSHEIMER THE PROCESS OF CREATING DESIGNING LOGOS SYMBOLS THAT ENDURE © 2008 Jack Gernsheimer All rights reserved Copyright under Berne Copyright Convention, Universal Copyright Convention, and Pan-American Copyright Convention No part of this book may be reproduced, stored in a retrieval system, or transmitted in any form, or by any means, electronic, mechanical, photocopying, recording, or otherwise, without prior permission of the publisher 12 11 10 09 08 5 4 3 2 1 Published by Allworth Press An imprint of Allworth Communications, Inc 10 East 23rd Street, New York, NY 10010 Cover design by Chris Werner and Jeff Gernsheimer Interior design by www.partnersdesign.net Page composition and typography by Sharp Des!gns, Inc., Lansing, MI Cover photo by Chris Werner ISBN-13: 978-1-58115-649-2 eBook ISBN-13: 978-1-58115-751-2 ISBN-10: 1-58115-649-9 LIBRARY OF CONGRESS CATALOGING-IN-PUBLICATION DATA Gernsheimer, Jack Designing logos: the process of creating symbols that endure / Jack Gernsheimer p cm Includes bibliographical references and index ISBN-13: 978-1-58115-649-2 (alk paper) ISBN-10: 1-58115-649-9 (alk paper) Logos (Symbols)—Design Industrial design coordination I Title NC1002.L63G47 2008 658.8’27—dc22 2008016921 Printed in TK CONTENTS Preface Acknowledgments Introduction SECTION 1 LOGOS THROUGH THE AGES HISTORICAL PERSPECTIVE Early Signs of Identification Imagery Early Letter Forms The Emerging Logo Heraldry Identifies Combatants Hallmarks and Other Stamps The Modern Era International Impact Tools of the Trade Early Modern Logos Graphite and Ink on Paper Markers, Paint, and Colored Pencils Presstype, Color Transfers, and Photostats Meet Your New Best Friend Common Misconceptions Seamless Integration Beware the Seductive Monitor LOGOS IN THE LARGER CONTEXT What Makes a Logo Good? Ten Characteristics of a Logo that Endures Secondary Characteristics of a Good Logo Studying the Classics The Cornerstone of the Brand BEGINNING THE PROCESS Interviewing the Client The More Information, The Better Estimating the Project Cost Experience Does Matter Seek Inspiration (Cautiously) PUTTING “PEN TO PAPER” Beginning the Design Process Look Before You Leap Keep the Outer Shape in Mind Begin in Black and White Exploring Color Treatments Sometimes It’s Easy, Other Times It’s Not Let the Process Take You Establish Multiple Conceptual Levels ALTERNATIVES TO THE SYMBOL Explore Customization of Logotype Creating Custom Characters and Words Refreshing Old Logos Period- and Genre-Specific Logos PRESENTATION PREPARATION “Bobby! Bobby! Bobby!” Edit and Select Alternatives Try Several, Present Few Actively Involving the Client in the Process Refine and Simplify Meeting Face-to-Face The Order in Which to Present Alternatives Presenting Designs in Their Best Light Do Preliminary Lockups THE FIRST CLIENT PRESENTATION Prepare Clients for What Lies Ahead Caution: Beware of Preconceptions Describe the Qualities of a Good Logo Read Your Audience Build Suspense View the Alternatives What about Combinations? Discuss Objectives for the Second Presentation SUBSEQUENT PRESENTATIONS Initiate Second-Round Refinements Step Back Every Now and Then Incorporate New Objectives Refining the Logotype Explore Lockups Establishing the Font Palette Building the Color Palette The Second Presentation Make a Big Thing of It AFTER THE FINAL SELECTION Seek Clearance of the Mark Prepare “Final Art” Convert from CMYK to RGB to Pantone Prepare Files in Various Formats The Branding Campaign Starts with the Business Card Design Envelope Alternatives Design Letterhead Alternatives Design Ads Design Environmental Graphics Design Web, TV, and Interactive Graphics 10 THE STANDARDS MANUAL Preserving Your Investment Logo Construction and Areas of Isolation Logo/Logotype Relationships and Color Issues Retain the Font and Color Police Something the Client Can Hold Onto Keep It Fluid In Conclusion SECTION 2 CLASSIC LOGOS SECTION 3 EVOLVING DESIGNS INDEX PREFACE Since I began designing logos in the mid-1960s, there have been many times when I’ve wished for a concise reference for the designing, caring, and feeding of logos Logo designers, whether aspiring or active, need an information source to go to for facts relating to logos and the logo design process This is not a book about branding; there is more than an adequate supply of those This is not a book of rules and regulations on the development of full-blown corporate identity campaigns, although many aspects of corporate identity design are discussed This is not a book featuring a gallery of this year’s award-winning logos What this book should be, I decided, is a sourcebook of information that deals specifically with the design and implementation of the logo: A place you can go to convince a reluctant client that what you are presenting is valid and carefully thought out and developed A tool to help assuage the concerns of the decision maker and to help him get his associates and fellow workers to not only accept the new mark, but enthusiastically embrace it A source of information that will assist the designer not only in developing the mark itself, but in presenting enticingly, and even defending, the logos being presented While there are varying interpretations and uses of these words, within this book, I use the word “logo” to describe a symbol, mark, or icon I use the term “logotype” to refer to a word or words that accompany or replace the logo as an identifier When my twin brother Jeff and I left the advertising and design world in New York City in 1968 and ultimately settled on a farm in rural Pennsylvania in 1971, very few people besides those in the field of communications knew what the word “logo” meant In 1974, my three-year-old daughter Jessica was a clear exception to the rule Jeff and I had been working extensively on a promotional campaign for a group of newly constructed apartment buildings After many alternatives were considered, we named the complex “Twelve Trees,” after a suggestion offered by a friend who was familiar with an Asian proverb of the same name The logo, if you will, was actually a photo of three tree lines with a large orange circle behind them As I was taking a sunset drive, I heard a small voice from the backseat excitedly say “Daddy, look, your logo!” Over the course of my studies and practice in graphic design, a period I refer to as “lucy ollo to lorem ipsum,”* not only has most everyone come to know what a logo is, but about twenty-eight million of them consider themselves logo designers Any PlayStation jockey worth his salt has designed a logo for this band or that school project *In the late sixties and early seventies, press type was used extensively on comprehensive sketches, or “slick comps,” as they were called Blocks of gibberish, usually starting out “lucy ollo,” were commonly used to represent “greeked” type Years later, greeked copy is digitally available in preset text starting with the words, and referred to as, “lorem ipsum.” ACKNOWLEDGMENTS Where better to start than to thank the two people most instrumental in my ability to write this book—my father, Solly Gernsheimer, and my mother, Hilde Gernsheimer Whether or not they agreed with every educational and career choice, they always respected my judgment and assisted me in the pursuit of my aspirations Through school to the School of Art at Syracuse University, to J Walter Thompson in New York, and ultimately to Partners Design, the support given by my parents never wavered I thank Dr M Peter Piening, my professor at Syracuse and my mentor at J Walter Thompson, for giving me the courage to aim high and for helping me appreciate the elegant simplicity of most classic logos On that note, I thank Paul Rand, Herb Lubalin, Tom Geismar, and the masters of logo design mentioned in the pages of this book, for blazing the trail and establishing lofty standards to aspire to meet These designers understood the ultimate benefit of continual refinement to the essential core, so that the final mark not only communicated but also illuminated the message Thanks to the many fine associates and interns who worked side by side with me at Partners Design: Jason Wister, Justin Wister, Joanne Shipley, Sean Costik, Teresa Van Wagner, and Jason Dietrick, to name a few The exchange of influence was mutually beneficial, and together we made each other better designers A special thanks to Chris Werner for continually pushing the envelope, and for designing the beautiful cover of this book Thanks to Lindsay Krapf, Brianna Kelly, and the other interns who assisted me in this project Thanks also to Nicole Potter, Kate Ellison, Bob Porter, and Tad Crawford of Allworth Press for their support, encouragement, and assistance A big “takk” to Bruno Oldani, Rainer Jucker, Harald Gulli, and Heinz Finger, my fine and brilliant friends who made my 1978 experience in Norway a rich one, both artistically and personally Thanks to the business associates, friends, and family who lent many a hand along the way Thanks to Dick Whitson, an inspirational designer I had the pleasure of working with at Armstrong for many years, and to others, including Reed Dixon, Alan Weinberg, Peter Horvath, Barbara Morrow, Rob Fitzpatrick, Bill Fitzpatrick, Steve Wilton, Lauretta Dives, Amy White Berger, Sharon Gernsheimer, Peter Marshall, Andy Lackow, Jessica Battaglia, Albert Boscov, Chip Kidd, Jamie Greth, Bill White, Susan Homan, Jane Palmer, Bill Kreitler, Rudy Mosteller, Sandy Solmon, Donald Blyler, Ray Deimler, John Hummer, and Steve Cicero, to name but a few A very special thanks to my wonderful wife, Nancy Wolff, whose artistic eye, exquisite taste, and loving heart combine to make me both a better designer and a better person Last, but not least, my most heartfelt thanks to my loyal partner, identical twin, and best friend, Jeff Gernsheimer Over the years I’ve watched him transform from a wildly enthusiastic student of design into a design director of the highest order Jeff understands the words of his mentor, Earl Houser, who made him aware that successful design must do more than look good; it must work hard to communicate its message Every piece of work credited to me in this book bears Jeff’s influence, and without his outstanding knowledge of the art and profession of graphic design, my work would be greatly diminished Enjoy INTRODUCTION Everywhere you look today, you’re bombarded with logos Logos on the Web, logos on cars and trucks, logos on TV, logos in newspaper and magazine ads, logos on billboards, logos on shoes and clothing, and on and on Logos are nothing new In fact, logos have probably been around since humans first needed a way of distinguishing one person’s belongings from another’s What is new is the degree of proliferation of logos in every facet of our society And they’re not going away As you might expect, with all the logos out there, it’s becoming more and more difficult to design one that stands out from the rest and promises to endure over the years How do you go about creating logos that work on all levels, when it seems like it’s all been done? How do you design logos that will still look good in twenty-five years? Good news: It’s very challenging, but it’s not impossible The first section of this book discusses the myriad aspects of logos From their historical development and their place in society, we move into a very detailed discussion of the logo design process Section 2 is a timeline of classical logos, dating from the eighteen hundreds to the present Here we take the opportunity to review these marks in an effort to determine why they have endured—in some cases, for over a century Finally, the last section gives us an insight into the design process of many successful logos We’ll observe the evolution of these marks from the initial idea to the final version We’ll take the opportunity to dissect not only the mark chosen, but other designs that are not selected but worthy of consideration Designing Logos: The Process of Creating Symbols That Endure looks at the process of logo design and the criteria used to determine whether or not a logo stands a good chance of being here down the road Whether you’re an educator, a student of design, a CEO recognizing the need for a corporate identity change, or just a fan of strong design, this book will help you make a more well-informed decision about the quality of logos “If, in the business of communications, image is king, the essence of this image, the logo, is a jewel in its crown.” PAUL RAND CASE STUDY 11 YEAR 2006 THE IMAGE WORKS The Image Works and Stockphotos.com logos and logotypes were designed by Jack Gernsheimer in 2006 A primary objective of the identity revamp was to create a look that visually tied together the two divisions of this editorial photo archive Starting with Helvetica Bold Condensed characters, most letters were customized to interact pleasingly with their neighbors and friends The combination of capped and lowercase letters, while not unique, was used to eliminate ascenders and descenders In doing so, the space between words, known as leading, could be tightened This created a stack of words cohesively knit together The Bauhaus-like m and w added distinctiveness and interacted well with one another The stacks were justified by manipulating the size, shape, and spacing of the individual letters, as well as the sizing of the accompanying stamp The key word was emphasized by reducing the grayscale value of the secondary words In the case of the Image Works, the verbal double entendre adds a playful touch, as does the interchanging of caps and lowercase characters The Image Works Stamp Version The stamp element, consisting of a stylized T, I, and W, has a pleasingly symmetrical appearance which is made more organic and interesting by virtue of its distressed, stamplike texture The mark has a smiling nature, adding friendliness to a logo that represents a highly skilled, helpful, and pleasant group of photo archivists The line weight of the stamp is designed to work well with that of the letters Amusingly, more than one party offered to “clean up” the broken logo before it went to print, making a strong case for providing a standards sheet—also referred to as a style sheet—to vendors and suppliers During the developmental process, cocking the stamp was considered, but ultimately rejected, as a way of reinforcing the stamplike broken image quality The Image Works Overlap Version This design exploration began with the overlapping of the letters T, I, and W Initially, it looked hard to read, but when the letters became less opaque, a humanlike body could be detected Reducing the dot of the lowercase i gave the body a head Taking the color out of the figure helped define it and made it more easily visible One version had the figure holding a camera, but that added more detail and less clarity, so an earlier iteration became the presented version Retaining the steps allowed for backtracking when the exploration had gone too far The Image Works Books Version This design alternative is based on the fact that Image Works deals primarily with editorial rather than commercial image usage The fanning pages appear and suggest that this is a magazine or book The configuration of the elements creates a stylized letter W for “Works.” This mark has a sense of balance, dimension, and visual appeal, but it’s conceptually vague and doesn’t relate directly enough to the client Had it been designed for a publication about Volkswagens, it would have been great CASE STUDY 12 YEAR 2007 THE MAIN COURSE Designed in 2007 by Jack Gernsheimer, this Main Course logo alternative, although not the one finally chosen, intrigued the client greatly and spawned extensive exploration Each of the three initials became an integral part of the illustration, as did the negative space The letter T tops the image as a chef’s hat Moving down the figure, the letter M becomes the upper body of the chef, creating negative space that represents the head down to the open collar of the white jacket The letter C evolved from a platter with a lid, or nondescript shape, to the clear though subtle representation of a fish being presented to the viewer The repetitive use of small circles to suggest the chef’s eye, the jacket’s buttons, and the fish’s eye adds continuity as well as a stylistic element that helps define the objects The segmented background adds color and personality to the symbol, as does the face divided by color and value The Main Course Chosen Version In the end, when the final logo was selected, it was decided that while the chef mark was clever and appealing, it would have been more appropriate for a catering service or a restaurant specializing in seafood rather than a meal-preparation facility The selected mark designed by Chris Werner in 2007 utilizes objects that provide scale to one another The spoon handle in particular suggests that this is a mixing bowl, thus implying that the portion within the bowl is large The handle of the lid also adds scale to the objects The line beneath the rim of the bowl reflects that of the base of the lid sitting atop a serving platter There is a sense of sequence at play as well, with the preparation phase seen above and the presentation phase seen below The directness, simplicity, and period neutrality of this symbol ensure that the logo will be appropriate and will clearly communicate for decades INDEX A ABC, 42, 43, 108 ads, 87 AIGA, 42, 134 Alcoa, 109 All Star Distributing, 142–147 Allianz, 103 Altana, 42, 129 alternatives editing, 65–66 envelope, 86 letterhead, 87 presentation of, 67–68 refining, 67 selecting, 65–66 simplifying, 67 trying out, 66 viewing, 73 Amberlith, 14 Apple Computer, 121 The Art Archive (TAA), 188–195 ASPP, 46, 148–151 attractiveness, 26 audience, 72 B Banana Republic, 67 Bass, Saul, 121 Bass Ale, 42, 100 Bauhaus, 9, 43, 108 Bayer, Herbert, 43, 108 BC Prison, 119 Beall, Lester, 106 Bechtolsheim, Andy, 124 Behr, Alan, 52, 86 Bendix Corporation, 113 Berks County Community Foundation, 92, 152–157 Berks Packing Company, 54–55, 56 Berks Women in Crisis, 48, 49 Bernhard, Lucian, 9 Betty Crocker, 67 Beyer, Herbert, 9 Bierut, Michael, 47 black and white, 43–44, 97 blends, 46 Blue Marsh Canteen, 56, 57 BMW, 102 BodyFit, 158–163 Boehringer Ingelheim, 103 Boise Cascade, 112 Boscov’s, 37, 38, 39, 58 brand, 6, 28 branding, 85–86 Braught, Mark, 132 Bringham, Sherry, 56 Buhrmann, 119 Burtin, Will, 9 business cards, 85–86 nature of company and, 85–86 paper for, 85 C Canadian National Railway, 105 Canal Street, 60 Carpenter Technology, 34, 78, 80, 92, 164–171 cave paintings, 5 CBS, 67, 104 CCES, 48, 49 Centre d’Esthetique Industrielle, 112 ceramics, 6 C H Briggs Hardware, 88 Charles Paul Jewelry, 44 Chase Bank, 42, 105 Chermayeff and Geismar, 26, 111, 125, 129, 130, 138 See also Geismar, Tom Chevy, 20, 67 Chicago Pharmaceutical, 49, 113 Chinese, 5–6 Christianity, 7 Chrysler, 42, 67, 109 Cingular, 26 Citi, 47, 135 Citigate Demuth, 129 clients, 93 appealing to, 35 cues from, 35 information from, 33 interviews with, 31–33 involving, 66–67 overwhelming, 35 preparing, 71 quotes for, 36 CMYK, 46, 47, 81, 84, 92, 97 CNN, 123 Coca-Cola, 26, 81 cohesiveness, 21–22 color palette broadening, 46 for varied uses, 46–47 building, 80–81 color transfers, 13 color treatments, 44–45, 46 colored pencils, 12–13 combinations, 73–74 computers, 16 conceptual, 20 Constructivism, 9, 158 Costik, Sean, 146 Creative Circus, 132 Crosby, Bart, 134 Cubic Metre, 114 cues, 35 custom characters, 53 custom words, 53 D Daimler, Gottlieb, 101 Danne and Blackburn, 119 D & D Technologies, 95 de Bijenkorf, 42 De Stijl, 9 Delta Faucets, 135 design process beginning, 41–42 black & white, 43–44 color treatments, 44–45 difficulties in, 47 stepping back in, 48 DesignWorks, 52, 53 De Staats Mijnen, 115 Deutsche Bank, 118 DG Design, 119 Didot, 125 distance, 79–80 distinctiveness, 19–20 Dow Chemical, 42, 101 DSM, 42 DuPont, 42 Dutch EU Presidency, 138 Dutch Gold Honey, 172–177 E Eames, Charles, 9, 104 Eastwood Spices, 115 Egyptians, 5–6 El Al, 110 Eleven Danes, 130 Emissionzentrale Schweizer Lokalbanken, 105 enduring, 27 Engen and Harlem, 128 Entech Engineering, 42, 137 envelopes, 86–87 environmental graphics, 87–88 EPS, 84–85 Ervin, Don, 110 experience, 37 Experimeds, 135 F face-to-face meetings, 67 FedEx, 132 Fila, 115 file formats, 84–85 final art, 84 Fleming, Allan, 105 fluidity, 93 folders, 93 fonts, 92–93 initial selections, 51 palettes, 80 selecting, 78 test, 52–53 Ford, 42 form, 87 four-color exploration, 45 function, 87 furniture makers, 7 Fust, Johann, 7 FutureBrand, 136 G Gap, 67, 126 GE, 42, 101 Geissbuhler, Steff, 126, 130 Geismar, Tom, 26, 105, 111, 113, 125 Gemeente Breda, 131 genre-specificity, 61 GeriMed, 14 Gernsheimer, Jack, 10, 14, 38, 42, 45, 46, 49, 57, 60, 62, 86, 96, 115, 118, 119, 122, 124, 127, 137, 158, 164, 178, 188, 200 Gerstner, Karl, 122 GIF, 84 Girl Scouts, 121 GlaxoSmithKline, 127, 136 Golden, William, 112 gradients, 46 Graham, John, 126 graphite, 12 Grossman, Anspach, 123 Grossman, Gene, 127 Gulmann, Steffen, 130 H Hahn Fire Apparatus, 122 hallmarks, 7 Hanrahan, Dan, 117 Harrison, George, 47 Hartmann, Hans, 117 Heckler, Terry, 128 Heller, Steven, 9 Helvetica, 200 Henrion, F H K., 107 heraldry, 6–7 Historical Landscapes, 127 holistic approach, 68–69 Holocaust Library, 63 H&R Block, 42, 136 Hyperlink, 107, 133 hypothetical, 68 I IBM, 67, 116, 117 identification imagery, 5 Image Works, 96, 200–205 imagery, 38 information, 33 firsthand, 33–35 ink on paper, 12 inspiration, 37–39 integration, 16 interactive graphics, 88 International Paper, 42, 106 interviews, 31–33 InXight, 133 isolation, 91–92 ITC Century, 80 J Jack L Larsen, 107 Janoff, Rob, 121 JCC, 62 Johnson, M B., 101 Johnston, Edward, 102 JPEG, 84–85, 85 Juett, Dennis, 117 K Kantscheff, Stephan, 112 Klint, Kaare, 7 KLM, 107 The Kobal Collection (TKC), 188–195 Koch, Claus, 103 Koninklijke Hoogovens, 109 Kugel, Candy, 127 L Landor and Associates, 129, 132 Langdon, John, 53 Leader, Lindon, 132 legibility, 26 Lennon, John, 47 Lentz, 178–183 letter forms, 5–6, 51–52 letterheads, 87 letters, 53 Levi’s, 42, 133 Libertel, 133 Linneballe, Johan Adam, 130 Lippincott & Margulies, 109, 113 Lithographix, 117 liths, 14 lockups, 79–80, 92 logos characteristics of, 19–27 classics, 27–28 early modern, 12 history of, 5–6 logotypes and, 89 misconceptions about, 13 qualities of, 71–72 refreshing old, 56 secondary qualities of, 27 logotype, 51–53, 78 logos and, 92 London Underground, 102 LOVE image, 46 Lubalin, Herb, 123 Ludlow, Chris, 107 M Main Course, 206–209 markers, 12–13 marks, 43 clearance of, 83 Massey, John, 49, 113 Matter, Herbert, 9, 104 McCartney, Paul, 47 memorability, 26–27 Mercedes-Benz, 42, 101 Merck, 129 Mesopotamia, 5 Met Life, 110 MetaDesign, 103, 133 Micro Center, 26 Minale Tattersfield & Partners, 114 Mitsubishi, 111 Mobil, 111 Monguzzi, Bruno, 125 monitors, 16 monograms, 6 Müller-Brockmann, Josef, 117 Musée d’Orsay, 125 N National Bank of Boyertown, 42 National Food Products, 131 National Geographic, 42, 138 National Penn Bank, 42, 118 NASA, 119 naysayers, 73 NBC, 67, 126, 127 Nedlloyd, 121 negative space, 42–43 Neversink Beer, 60 New Holland, 123 New Jersey Transit, 114 New Man, 52, 53 new objectives, 78 Nextel, 26 Nickelodeon, 127 Nike, 27 Nizzoli, Marcello, 116 Norske Skog, 128 Northwest Airlines, 43, 129 Noyes, Eliot, 9, 104 O objectives, 74 Oldani, Bruno, 128 Olivetti, 116 Ore-Ida, 27 originality, 83 outer shapes, 42 P PACA, 22, 24, 46, 79, 184–187 paint, 12–13 Paleolithic, 5 Pantone, 46, 84, 136 Pantone 032 red, 80 paper, for business cards, 85 PBS, 125 PDF, 85 Pentagram, 47, 135 period-specificity, 61 Petersen, Gunnar Billmann, 7 Pfaltzgraff, 124 Pfizer, 127 photostats, 13 The Picture Desk (TPD) 188–195 Pillsbury, 67 Pintori, Giovanni, 116 Pittsburgh Reduction Company, 109 Plumbing Works, 196–199 Popp, Franz Josef, 102 positive shapes, 42–43 Pratt & Whitney, 120 preconceptions, 71 preliminary lockups, 69 presstype, 13 printers, 7 project costs, 35–37 Q Quebec Hydro Electric, 106 quotes, 36 R Rand, Paul, 9, 42, 43, 81, 108, 117, 134 Rasmussen, Rud, 7 Reading Pretzel Machinery, 57 refining, 67 Reform Congregation Oheb Sholom, 62 refreshing, 56 Regis McKenna Advertising, 121 Reimspeiss, Franz, 103 relevance, 20–21 RGB, 46, 47, 81, 92, 97 Romans, 6 Rubylith, 14 S Saks, Arnold, 107, 109 Samsung, 131 Saturn, 125 Sawmill, Roger, 132 Schäfer, Ole, 103 Schawinsky, Xanti, 116 Scher, Paula, 47, 135 Schoeffer, Peter, 7 Schrofer, Jurriaan, 109 Schulpig, Karl, 103 Scott paper, 10 Scott, Peter, 107 Sears, 37 Seatrain Lines, 113 second presentations, 74 initiating, 77 new objectives in, 78 stepping back in, 77–78 Seraglio, Francesco, 111 shapes, 42–43 Showcase Station, 61, 144 Siegel+Gale, 120, 137 simplifying, 67 Sinai Academy, 62 size, 79–80 Sobus, Gosia, 134 Sonofon, 130 sophistication, 20 space, 42–43 Spalinger, Peter, 117 Stankowski, Anton, 118 Star of David, 62, 63 Starbucks, 128 Starr, Ringo, 47 Steinway & Sons, 48, 100 Stockphotos.com, 200–205 Studio Dumbar, 138 Studio Groen, 121 suicide presentations, 66 Sun Microsystems, 42, 124 suspense, 72–73 Swiss Air, 42, 122 Swiss Federal Railways, 117 Symantec, 137 symbols, 53 T TAA See The Art Archive Target, 28, 116 Taylor Security & Lock, 52 Technicolor Digital Cinema, 137 Texaco, 123 Thoughts on Design (Rand), 9 3M, 120 TIFF, 84, 85 Time Warner Cable, 130 Times (font), 80 tools, 12 Treumann, Otto, 110 TrueBrand, 129 Turin Kala Oy, 108 TV graphics, 88 U United Technologies, 120 U.S Patent and Trademark Office, 83 U.S Postal Service, 42, 86 V Valkus, Gagnon, 106 Valkus, James, 105 van den Busken, Pieter, 119 VBAT, 133 Veer, 134 versatility, 21, 43 Vienna Secession, 9 Volkswagen, 103 W Walbaum, 125 Ward, James S., 107 Web graphics, 88 Web sites, 44–45 Weidemann, Kurt, 101 Weihs, Kurt, 104 Weller, Don, 117 Werner, Chris, 135, 142, 208 Westinghouse, 9, 42, 104 Widmer, Jean, 125 Wiener Werkstätte, 9 Woolmark, 42, 111 words, 51–52 custom, 53 World Wildlife Fund, 107 WiTF, 25, 45, 46, 47 Wyss, Marcel, 105 X Xerox, 67 Z Zetterborg, Bror, 108 Zintzmeyer & Lux, 102 How to Think Like a Graphic Designer by Debbie Millman (6 ì 9, 256 pages, paperback, $24.95) The Elements of Graphic Design: Space, Unity, Page Architecture, and Type by Alex W White ( ì 9ẳ, 160 pages, 350 b&w illustrations, paperback, $24.95) Thinking in Type: The Practical Philosophy of Typography by Alex W White (6 ì 9, 224 pages, paperback, $24.95) The Graphic Designers Guide to Better Business Writing by Barbara Janoff and Ruth Cash-Smith (6 ì 9, 256 pages, paperback, $19.95) The Graphic Design Business Book by Tad Crawford (6 ì 9, 256 pages, paperback, $24.95) The Graphic Designers Guide to Pricing, Estimating, and Budgeting, Revised Edition by Theo Stephan Williams (6ắ ì , 208 pages, paperback, $19.95) How to Grow as a Graphic Designer by Catharine Fishel (6 ì 9, 256 pages, paperback, $19.95) AIGA Professional Practices in Graphic Design, Second Edition Edited by Tad Crawford (6 ì 9, 320 pages, paperback, $29.95) Design Management: Using Design to Build Brand Value and Corporate Innovation by Brigitte Borja de Mozota (6 ì 9, 256 pages, paperback, $24.95) Business and Legal Forms for Graphic Designers, Third Edition by Tad Crawford and Eva Doman Bruck (8ẵ ì 11, 208 pages, paperback, includes CD-ROM, $35.00) Creating the Perfect Design Brief: How to Manage Design for Strategic Advantage by Peter L Philips (6 ì 9, 224 pages, paperback, $19.95) Advertising Design and Typography by Alex W White (8ắ ì 11ẳ, 224 pages, 1500 color illustrations, hardcover, $50.00) The Graphic Designers Guide to Clients: How to Make Clients Happy and Do Great Work by Ellen Shapiro (6 ì 9, 256 pages, paperback, $19.95) To request a free catalog or order books by credit card, call 1-800-491-2808 To see our complete catalog on the World Wide Web, visit us at www.allworth.com ... opportunity to dissect not only the mark chosen, but other designs that are not selected but worthy of consideration Designing Logos: The Process of Creating Symbols That Endure looks at the process of logo design and the criteria used to determine whether or not a logo stands a good chance of being here down the road... ISBN-10: 1-58115-649-9 LIBRARY OF CONGRESS CATALOGING-IN-PUBLICATION DATA Gernsheimer, Jack Designing logos: the process of creating symbols that endure / Jack Gernsheimer p cm Includes bibliographical references and index.. .JACK GERNSHEIMER THE PROCESS OF CREATING DESIGNING LOGOS SYMBOLS THAT ENDURE © 2008 Jack Gernsheimer All rights reserved Copyright under Berne Copyright Convention, Universal Copyright Convention, and Pan-American Copyright Convention