re K LOS LOGOS: COMPASS OFFERS A Dr “INITIVE OVERVIEV Jn a larger format than its gredecessor 25 Lagos series, tne book offers the eich ‘comprehensive docunientation to 4 coinpsteh MINIME O yeas. ATLANTIC HOUSE o wer SM/LES FOR M/LES -A kKDAI Results Growth Foundation Technology DAI DAI Grass Finance Eat Farming BIENNIAL OF THE AMERICAS BOW I PROPERTY we SIDEWALK 4 EXHIBITION CONNECTION (Of Roy Seith =. Gabe Ruane s<€ ie 9/1 MEMORIAL 0% Landoe AssoctatesLundgren+Lindqvist" sts xe oy ® TR TRRAMELAN "4 y & AJ ? oH 2 26ain wo 02 ehquestsonmack se 05 fact nasat . . = vs ws ae “ WISER DAI OCEAN DAWN ste 08 dosh Distter eeuMarxen/ Wein. 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OOGHDUYNE ‘HEIZUNG:SANITAR PinPoint Events 31YM SALUA WASABI S MILLER & GREEN “oti SERRANI MN BrightWide JENVIESNNTH ce mmo co Lndgrens Lindqvist 10 04 Of oree tH alg borje _fToe MILTON TAYLOR Jo B bioglow Harvest 08 asmalipercent 08 Moxie SoreArmando Ferrari & 06 Revivity Graphic Design (Beste ae 08 Coreto 34 MURNAU TRAVERSE OL Brand Naw History” © Mo traverse w 3 YZ FOREST THE THREE FOXES Cyaan ECTURA FOOTPRINT {We Tee Foxes.comt DESIGNABOT A oe CLUB DISCLOSURE oF ex 05 ‘Revsvify Graphite Design Stefan Ronan of wrk 08 Company Plaisir . du >a Vin) man + FURNID FILMCITYGLASGOW ee e.cpntres OF apts Ye , \\ ‘ANGI tare QB \ <> pennypuddle 0 Revsvsty Geaphte Dessan EGESKOV OL atypee se Seafoodsylt Jo ws Fat 02 S189 Sesign 03 Wotabor & Z aC Josephine ‘” Publishing SALINAS LASHERAS * of dostah dost 05 Fave oe By THEATRET BEISSER 06 Bleed OF MutsborGE a ELYSEE So PRESIEXCH PE Francji wars ca HE commons NZ S TRAD —ROONEY’S CUNST) “OUNCIL aI a NQRDEA revermusie NORDEA CIVIUKwe vy 4 DOUBLE: VISION MARTINI HOUSE MARE fees ome 2 ta an sant Sic ig Wash COFFEETIME © POWAHOUSE silkskin &Coffee 04 Peter Scheidt Group 05 Alessandce Mingione (5 Alphabet Acw Design 1 Fetds Seekvell (02 Revivity Graphic Bersan 7 8 = é A WritersRocket ef re LOVECLIP BABELFISH CAKE! OF Revsvity Geaphte Design 08 Rokae bring GELERT’ KAFFE" ea R S INNOVATIONS 3 Floess Yoorveld (0k Revivhsy Graphic Dessan (05 Roy Seith 10 Toke 11. Coley Porter Boll 12 Felts Lobetsur (8 Peaenae tne o7 hen 8 Prosect 1000 44 45O02 Plete/tent Sein Loreden tn Longton Puete/Test eh. a2 JOHN “ LANGDON Sgr inte ter econ. Hover tha is the iting fat that an aye appa also le nga susesll amram, Goth Black. itr my doh Wek ok oor ‘rout oa Westen render a falyhas marques that fered ‘Nenventne oman Very ders ‘reload ats Tat aeration af Fail a eit Sims the abigrm desert reson ‘Simrplte ators nanos nos : ul snid hase ypetoces ret ‘eon nudge thestato met ite Bmore pct eau ar gpa at So, what i he frat ing yeu do when Someone asks yout design agnor ran? archer! oppo o Tenors inorder eharge ham th mow ic hea ‘meaning anda hos perspctve, Your dacgnssuggst not it love of mere than 30 years you neu in lta of words Sona Sen th parte arsed fin lrg he nade sie, ikery? ‘hero aremany ae rst nde esing pares, 2d ceo the Yes ond ra Anblras tad ton ers ‘grocer librting isn sv neo |i ity Sth majer feature me the Angals and tom, ha sonfaymand ey ‘Bomons or The Ds Vine Code lope and chard Hess Wt \ordaned rom clog with «dessin allen, An Era nhatred Sut tay route sist no manidston Themed a al nse ogre ordsceintd an why neusethen nthe bees fobang anbrans poplar tenainginas may vorweas. 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AlbwercaseD makes vey icine P o a7 46Of Bestial Desiga® Stu 05 Rex re Shy CLUE Fesondaisenvou 08 A-Side Stu 2 Tn re =a NTA nalelts don gf Stefan Ronan + boar vO: mit Rife) Leyes Centre 51LA MAS BELLA we ANDA 1 Toben 02 tatne Nacvter 03 Typesoekeys Of Tobias Rattger 05 WA Studio 05 Pop Ovidiu Sebastian ° S . 07 eas-e-natiec 09 Transfer Studio 06 Hatloke 08 doegen Frost 521 Banos Boshuin 0 @ 3 02 Foltx Sockwett o @ © ESHOMavETas Twit Ingehnae 06 Chess Rabin 2 Andee Boat os uct 04 heen dances 05 The Pressure 05 Gonezsl Projects OF Fesenasninhivoui ANAN JAPANISCHE NUDELBAR eeKMS chan oe TEAM LAA LA‘ WARENDORF DOG EAR FILMS RKARAADAAL LifeSensor’ 58 59Weltholz Dgoine ths background, cold you pick few examples of KMS Togs hat Wook eso padi nd has stare yor aonts of ess 60 ‘With this Im in, cts=e O 3 she Grip: OF LET ERS 62 Itis one ofthe oldest tricks in the book: spell out your fname... with plenty of sila The fall-back option for traditional corporations, ns tutions and broadcasters faced with financial volatility and afckle futur, type logos suggest a certain slidi- ty, and doubles a visual hope and anchor inuncertain times. Through the ages and over the ups and downs ofthe economic eye they have permeated absolutely every realm of the visual world—and they allow ful blooded typographers to come into ther own, In type logos, simple monogram designs pave the way for more elaborate solutions. Sans-serif var ants emphasize solidly and forgo extravagance for pared-dovn beauty ad perfection, while their embe! lished cousin, seri typefaces, epitomize undorstatod lagance, yet also a sublle sense of fashion, With a strong nod to Vogue's iconic lago, for example, Acne Inaisteses® gave Bucharest lifestyle magazine Zvak this season's classy look. a ther designers try our optical Dene Industsies nerves with mare radical shapes and juxtapsitons. Testing the lim= @ Its of just how far thelr beloved let- Heydeys ters can be twisted and tweaked, they sculpt experimental logos o thal verge on the cryptic. Strictly company speaking, those visual identities are designs for designers, 30 we o ‘must interact with them further if Daniel Caclsten we want to decipher the message, Caapany'2®® logo for Live at your Local, for example, isa visual iden- tty for an entertainment guide cov- ‘ring London's Islington and Hack= ney neighborhoods. Building onthe notion of local community, the logo represents a series of interconnecting streets and of- fers planty of scope for interesting excursions. Nowhere are the limits to originality more apparent than in the realm of type-onlylagos. While every de- signer will invariably tll you they are aiming for some~ ‘thing unique, timeless, and lasting the latest slow of fashion fonts reveal just how trond-based this most basic and versatile of approaches has become. This is most apparent in fashion, magazine, and mu- sic design, Le. industries governed by trends them- selves. Here, what comes around, goes around: just like shoulder pads or bell bottoms ype design is very ‘much rooted in a certain stylistic movement, decade, ‘or genre and highlights the cyclical nature of type and fashion in our ives Take ArTaKs* logo for Iron Malden tribute band Up ‘The Irons: faithful yet updated, itis symptomatic of 2 ‘much broader flock of deslaners who ar reviving heavy metal fonts oF their minimalist cousins from the New Wave movement. Eday, angular, and masculine, thoy ‘exude power, a touch of aggression, and provide a visu antithesis tall those happy inoffensive bubble fonts, Oscar Properties 63Yet while there is invariably a dash of irany and post- madeen knevledge at playin apnrapsiation, this par- ticular rediscovery already foes a litle bit contrived, ‘The progression, pracession, and post-ironic resur- rection of terminally unhip heavy metal fonts, ip hop styles, and New Wave references, right up to the current batch of part-time caligraphers, mirrors the changing trends in body adornments and tattoos Whatever you wear on your skin oF (record) sleeve firmly anchors you ina decade or genre os [Naxtin tine on the fashion front are arta super-fragile, ultra-thin, spindly shapes that cut fo the quick and ey leave nothing but the bare bones of 28» Dseteseh the letter. Right now, plenty of skel- tal fonts are stretching thelr skinny lines aoross recond covers, eitri= als, and topical products. Stripped of all superfluous markers, razor- skinny {0 the point of typographic anoreia, they require super-sizing to work at all At first glance this might seem paradoxical~aftor all visual identities should be scalable ta work at any size—yet in thelr re- jection of established lago conven tions, they iterally force us to take 2 closer look, and invariably claim plenty of space on the page. More minimalist ilustration and marker 64 Tes than lettering, otto Oseteten’s® design fr Gaerte Desaga, for example, dispenses with any extraneous weight to transport an ethereal lightness, a slightly aloof out-of-this-world allusion that perfestly diss this ultra-thin trend, Thus limited in their application, slender typefaces ‘make ideal companions for editorial experiments, special editions, and intermittent identities. In these contexts, changing (typefaces is de rigueur and the cyclical nature of publications makes it easy enough to gowith the times. Tha sald, lasting brands would be i-advised to opt for this latest logo flirtation: nothing looks as dated as yesterday's trend. Jf (OL JAN EN RANDOALD Beha design ho Jano Rana he to Sloe the ramen fom arse tena combos and repettone. Tis concn fe sump nth Lge Aion tor tha Ronettes 5 rsze-based ev shonssing i foro iret artsic rdoers netoe terete the vr e e estal prearam ‘Jaren Randvalé ete 3 est erty iat lanIrnchor st vrs de ples igre oma anon woe ‘maton with each epaton. 1 lane guide trwoh 2 pater of {ewan exits ant performances ts ted ao can base each ap Seton (ches str wb) and rr hese asa rod ‘oars, in dacs nd meal 65Ledeesge LES SOVHOOTELIERS INDEPENDANTS eeLLVRES 66Graphic Design Festival Se Breda Erik Wahlstrém PA RA D ISO roceot DEI_CALZINI Stiere ater PORARY e >} oii Srruewi, DE . “UAL QUEESTE CY) NYO THEATERMAKERSHUIS Mitte Bitte! ; ME=RE Ae PRESS CODE BERG & BERG In aM, MLTAAREPUBLIK AXARA CLIENT //G2DSVB /Berlin lA N_E_W. i MpEq>y's — |dasrBoro. ——_—FABRIQUE Ng0o¥ | thelortice ——-URBAINE aziek 1CAN K3NC2RI 2 sen a Sven HUSAT SGM (Ot Exmanuel Rey JEHN BREWER TRIC heels) ARBEITUNDBILDUNG ThunSteffisburg 02 Lorenso Gesger lyuryalle. ° BROMPTON DESIGN GI DISTRICT ° 32 Teving & 63 71KAREN bh Y SIMONSEN (1 Scandinavian DesigoLab I Love Your Work YURPS ail COLLECTIF JEUNE TE CINENA IN EV THE BONSAI ‘TRE THO tele AL N ms Ny Owe Fe MIKKEL KESSLER THE VIKING WARRIOR ARHETEKTUURI ESTONIAN CENTRE OF ARCHITECTURE 02 Adelune Tima 03 caw 2 pumice llvse TOT ZOVER TERROIR Kollektiv tokio Smiley:Days AFFEKT evorsrexorners 0% eee Motes kino.dic WILLAU™ ee 08 e-Typer 74 LIBERTY DRUMS. ARCHITECTURE + PERFORMANCE traxcee ANDARCTICA meiji coup p ving 05 Landor TokyoLOOL schmidt/hammer/ EEscilarchitects/ 05 e-Typee 76 uN 0 tommy 8 6 Mask BUHLMANN eat Granp* Pg Rater oN Bese tse non | Mainland | 7GAVILLET & RUST Pages frac champagne- ardenne 78 SAKS DEFGHIJKLM N O09 P QR Ss T U vow xX Y Zz 0123456789 S$ & ! ? 79~ = b JAY-Z = \/ B THE BLUEPRINTS “3 80 3331 ARTS CYD 03 ast ot Wayans =LA CIE . DESORDRES ‘OPENCULTURE FROM : = oe tu sats 05 Gutldeune Peltenguin 05 Kokoro & Mos ‘torische — Kunsthal in Huizen Amersfoort | dE | 08 Koshoest sn"t veld MG=5RE MC—)RE MGDRE, MG=)RE (9 The Action Designer 10 Koshorst sn°t Wold aLPacts FUN <1 “pe 483 STi VAL MOOD DITION E 09Lenn FRT — RpT 1 HUNG SOLOANvole = NAMAN CWVELN, SUYRA CARS = AMIR Mit wy _ Z 2 its SoesionS 22 oe am ge a isl a 1 Grendpeapie8 yy ie OS % ease Wy & yea “a le i ae ee oF oe Me OND Pa Mey ¢c ‘ws Sh [Be DAVId SOLdsLT © OBKIFE MES COPS) FR GIRLY GIRLS ** BEN SHEBANG * VJ GAME MOTO **&h 7 : aw \D NATIVE Ane messe hotel : mo xpaor > \\K MARIAPINTO ug) ORHID' reer Sd® se1A STUOID 10 Hoohasbersgn 94 ideSlists ROCLOOO COLAGE % na o 951 vonsuden 4 ee 08 Mantfseste Future 05 Sawdust01 mote om HeneneyAiO 64 03 Compsry Manabe G 08 Indyvssuals OF dust Saste dnd Wave 08 Ohesstsan Cervantes * Loose *« L von Bargen von B1, | VA & & BM meset SIMTOOLS oe DB = 3} . , 8 Mi eur BWSTRP ‘ART & TECHNOLOGY a1 cane ’ ge. fy ' » SBR \ ee hye p ie exo) — Junge woes 106 107JUDISCHES historisches kinder caricatura JUDENGASS museum museum = museum FRANKFURT MAIN FRANKFURT MAIN frankfurt Jrankfurt Srankfurt 1 Suetsce john.lyall.architects. 0 Bebifest “teres KAMP OPER /orjreuie\KOLN OPER / Siicizcit 2070.2011\ KOLN MYLAS OPER / Dox OQuithote\ KOLN 02 forndutche oyster juNcKERS 108cAntong Anton Vesper nocd 05 Possteon EUROPA ALANTE s metnoos «© & Li oe d LONGMAN smile @EAGLE 18 Steuegle ine. APPARATI a NOBETIES fed besten = H E Tommila Architects xa S|U/RIRIE Y IHOEspacios | Knollbayer Mistress 0} UINMKTLO-USKEY Hil CL aon - bambi/bylaura 11 TooPodnts. Net . — Vj . “Ubi-mas. patanontagna, FancsBaker 05 Danotese Haneins 06 Studio Output eer Aptnet wolrtcup o7 ate @ rupeeKk = enorx ‘pidt9c1OsbiersnyOonT KLOCKAR yy cba en EliasGunnarStudio WE Cc AGE Ls ieee PAMELA BOTTNER = uo[[6ut]s glue eG Meo 114OF ean, Mi Gea fey, . FRANKAMUPIK fi Ylils | freak ; ROMs. . LWeREA . BUNSONS oem Ta eansssaaea @ AANAT SATAN NW TONZ116510 HIRE inea1 a1 QW eae NEY Ab gh morton a tr au fl o7 cuepePRISE ves Lou ss Maw & re Cx za i an? HN HS) ence mm =| HA » 2 SB.onusSCRIBBLE / comic / INK / SCRAWLS / 122 ° ILLUSTRATION / CHARACTERS / LITHOGRAPHIC / Anachronistic artistry, antagonistic ant-logos, cute Figaro, flklnen ins! Wihal deweings, ene le hhouettes, pencil exercises, and clean-cut cartoon ore ‘ations-the following logo examples are nothing I not character. a ‘Among this colorful collection of I THE SKULL OEZAIN.ustratedidenttes pretty much any style or means of expression rears a Its scribbled head. Some illustra fone Hass tors opt for tidy shapes—tke Asan 115= and his farm-derived lo- o 908 fr I's That Organic Place-to The Lovey serve as user-friendly previews {lvineniary/ Gf tho associated product alta ae ae ‘Others produce examples that seom mare ian or mascot than * actual logo: like a complementary SES sexuy player to bolster tho team, these KESThtn lek and sinky vectored Kent- tiosjus wnt tobe FiondsMhvou and lend thie parent brand an ap proachabl, professional face, With its straightforward. pre-school! appeal, Max Kisnon's™* logo for the fortieth anniversary of 2 Dutch cultural center in Indonesia combines al ofthe event's salient pointsa Dutch windmill, 2 tropical palm tree, a building, the number 40—under one invit- ing rool. There is no need to decipher a code: every thing is laid out inthe open Dashed off yet carefully considered, otherilustration- based logos thrive on instant cheek and spontanet fon crudely amateurish scrawle that tread the pre- carious line between naively fun and jarrngly terrible. Take the makeshift and subversive faux-naive sorawls by German artist Stefan Haex®, whose interpretation of @lacal bank mascot for T-shirt foundry The Lousy Livincompany copies a wellknown toon character bedly, but with unbridled panache. Suitzerland’s idiosyncratic Hustrators tend to go hema on the ink and willl scratches. They explore the darker side of logo design, using pen, pencil, or ball-point to sketch out iconic images unwiling to fit 2 given mould. Thin lines meet the thick slashes of lout and spilled ink, the noir of graphic novels, and the stuff of nightmares, A proponent of tis style, nna tase%**%, used strong slashes of lscious black to create a range of ‘coarse logos for Swiss publishing giant Ringie. And this is by no means an isolated case large corpora tions have came to love the appeal of rough strokes ‘and the “unfinished” look of stark ilustations. Crude, basi, and in your face, these logos say, “Look! We dare! We improvisel Were onthe level and not stuck In our ways!” By allowing, and even demanding, the artist's unmistakable signature style Instead of @ faithful Cl rendition, multinationals buy themselves Instant kudos and convey an image that is the ex- ‘act opposite of streamlined—and mainstream— corporate bohoroth, Incidentally, many of these “subversive” logo ius trations are far too complicated, fine-lined, color drenched, or convoluted to work as a true, or truly Iago. Yet as 2 gentle way of saying “enough ‘to established stylos and conventions, they accomplish exactly what they set out to do 123__stesmshis ata eiseoor AUNG one araFORUM vours tN 126Seas a SUPERSOUL RECORDINGS uke | & qr HAND RE Kawai | 4 128 129TERRIER 130 (5 Fane Hicknann 923 02 Lapin Studio cest Weg 07 Clave Gaaque tint 0 Mash 6 Sabina KerseSa, ‘h a ‘eS: 7 ‘a 8 RioCuzcozo08 -@ éhsv.2' Dats Tre eS eGEsU Mae Sietests Jacdbs & SAns Carrdts “i ‘s = REUSE. RECLAIM. REIMAGINE. GREEN SPARK EA HAUTENATURE oS otem # ££INDIE = WE ADDIS pee ‘ te man of ‘ ‘ 02 White design 01 seTtout-industedes™ 02 set tout-sndusteses™ ea. 2 oSa@,05/ = Riot ke SIG 142 {As part ofthe rekindlad interest in hand-crafted fonts, istrative letering—from stret art to high street—Is. enjoying along-overdue comeback. Featuring bona-fide signature styles, handwriting samples, and ostentatious visual microcosms, these logos add a very personal slantand plenty of charactor to free-form etering- and Instant street cnad ta advertising and editorials Up uni the wary twentieth century, however, illustrat fonts played quite a different role, Back in modioval times, assiduous monks working in serptoria around Europe might pour months afhunched-over dedication into a single introductory lator fr an elaborate, visual hint of things to come, At the same tine, the hand: painted, illustrative leterforms of early shop facades helped to attract customers uith a less-than-perfect knowledge ofthe alphabet ® Fast-forvard to the presont, and modern-day desion- ers might not slave avay over their designs for months ‘on end, but their sketched or drawn lagos are equally charged with symbolism and heartfelt enthusiaem Often alte rough around the edges, andl the better ‘and mare unique for It, their logos elevate amateur- ish touches to the rank of 2 deliberate, decsiva, and prominent device. Carefully placed whims and mis- takes broadcast the brand's appreciation for kinks and quirks, for that almportant human touch. This is no faceless corporation! In this spint, geeky street art, hand-drawn drop shadows. do-it-yourself fanzine styles, and insecure school-book scribbles recalling faded hearthrobs ‘and favorite bands abound. In thelr almost intimate Imperfection, these logos allow us to watch the flow ‘and fallow the llustratr's uncertainties and wiggles of the pen=Ike ara Datsico's™4?4! lag for Mazine, hich delights in going over the edges. a Abays distinct and immediately sv ‘expressive, ilystatve lelterforms ‘are equally good at conjuring up o cera-specticconnotations.25¥' = 2K psychedelic logo for Somas Una TTste Banda de Rack takes us o ‘back tthe late 60s and early 70s, Weather centzol/ to the great unwashed, peace and Silvia Cordece oye, harmony, and tho joy of rock- Veo ing out to your favorite band, [At the other end ofthe spectrum, logo designers are crafting incredibly intricate, letter-shaped ecosystems populated by myriads of tiny creatures, creepers, au- tomata, and machinations, executed with breathtaking ‘exactitude and miroring natural structures. By explor- Ing this colorful gray area between shape and signii- ‘cance, between flourish and information, they invast thelr objets and scenes with more obvious meaning and dissolve the boundaries between text and image. And finally, we arrive at the most “authentic” incar- nation of al: the signature logo or handwritten iden- tiy. Embellished with splodges and smears, siavis Consero_Vaga'<® calligraphic icon for the 2009 an- nual report of School's Out Washington states noth ing more-or less—than, “This is usl” Coming fll ‘rel, these signature styles and thelr implications of anding up for quality with our good name” are start. ing to creep back into business even in thelr (na mous 1980s guise as permanent neon signage and a lowing example tothe ouside world 143rege Yaw . THE mel Denk Ho Wnoe FAY FPRee-yorsesMech EN B68 (05 onsthan Colugs 0% suT030 7 Cateste PeeOL Heyday 05 Peter Gregson NO sain) whee MOM | co DAD GOV ANYONE CAN PLAY | 03 ChesgohyBeenetscke sO ca | (.= gees GUITAR. PESCH 5 vonLee Licgouell) oz oTHLaNe —elaslign— — Dicteg ae a o» ole 150 te 9 Shaker PoneaGo AREEDO UWRINR?A SOIL . arquitecture design02 Regina a of as. Bern ‘Sone. VILLA Titfue {IA AETER, NIA Cliver! Ypsilon —Pages TIE "s00, 150, 154-250, How wuld you desrie the prime abec- Using toma ‘ecto? gn dort hav ait antiga eure etnaity The Seroach your ogee? Aad It the about your slo? franbotor Tasers acasse! We wrk ith a tof ‘nd what would be te bigest no-no in but toe dvi? Agus go hs tobe In lok and te resale een ose or, So foealgn Cone Fetes ett sta tet dc what aha yes ‘a pacess a att 156‘Soversl of your logae seem to be int ‘rend by rat, Dos hs flat your un bchground? Or how ths pct. ISrlsvor pnt the al esos? ert fosrght inp want! 156 tke REGRETS = id Ps ‘urn myiasis a Ec ad 20 rk "reales that the ess at bet hen Inet css Rew ata ten > ‘at rw best During phe | ‘rth of oa dors he Knot Ney Gesan Aeler,Oan Funders Macon ad Wal Carpi: Mos em aa tt sktboard ort back ‘rod Now te nocd ha hy own fo exp postr esgn ie ret Meiners Be z= Bevo bated arte and msn? Bern mapane rad nd sea or ‘alvours Oral wate ply mth bathe Si delete op tw erry dein th {ona ely beter youge he best resis om apotraty Yor bons tap tt by jt tig te pm ye Besides street art, there are quite 2 few Felrenes terres and screen Printing ot ar aa estes. cin enh Ba ‘sya eat orintany best reals even doa tre Plage to hve te space od sap oe ‘gnrttan ne resin sh on ‘Sens ren What draws you to this particular style? How doe feature wa you are yng opvar? os hanénade jects plea Set aka pos of them her Fo ind nf srtimes ra homo Hove ho tine fat adr tact ow ‘hogs apa For rar, ye af part ay reso becuse same pecs Shh wer chipped nay, o moe he pa fade no tot the 2 ier ator Teapeared unreah Ta He can two scoder In wor, ty ta emulates age a: ean Ven wrk on od a tt vino pour ets fer jt tt the rent i Te Trg so te wn rg dom xpse the ele! ior Alera a the Sounds quite poste. 1 thor always a ‘arabe wah? ety at of urges hare ters The Serco br the lars beer Sets for aml, was a corso or revtesitt eo cash "pod os muchos tr L000 bes tie ba Ber Schnee, We ae sl wor Sern theta we Sctntin one came aren sucha ck sect dd open fee ety a ea When | mas (Slorthae oe ay ete is eon, Mer~ra. DRGAMT ‘eis thre anything you haves done hat souwou te to? | aid ost deo 2 stamp fr he ne fetal sanpaenp Working wih Michel (Gondry wa sob amazge eal bald Sat ts oat of odor i Rein Inthe thay ogo ap eve as wal "nw tot Sabtan nal Bp et be ‘oul wor on anon WOM corporate. nd (Se uote Fd lvetorate a busears ‘adore rapar Mas Del 187WE ARE ey (MACMILLAN. (ic CANCER SUPPORT PLABSYEE Wo van “ae OF Cheagohybeenetichs 5 eather Canteol Lake O7 fyesCovm 8 eave Le oe Pp ey NDEEXER PBKYO PiPre _ Pape Be ave © fe1 cha Vingoe Kar = OBESE Pes ativan. again Ding: WINE, GEER eoRy: musk OS AS ou cane a rar | (RE SEL i Lapa Hentif ae G9 163POLO TEAM 03 Wheeam Shavit Xana 164 165ag NNNNYO y Gere VAS Fi 21 1 Teeke Tou S = . © CETO — KINOKUNIYA/ tH1iBH=0 RLSESVIOEF AE 7 PIV AES FL REESE o7 comune| tL a i} | | T Ir Cow yy ae A K O 7 | 7 | | solo exhibition 2 SHKY Tre DAY 3 E Hl b JRRW LEG, ota Tne 04 see tne Onsav12 | AC ®@, Cah APHIC }| if Xl Kts Pal is. » Re E SIMPLE | DELIGHTS / BUILDING | BLOCKS / f” BACK TO SCHOOL /— PICK AND MIX/ CMYK / 170 We are hardired to lve and cherish childish features, to find them inviting, familiar, and worthy of protection. In our yearning for innocence and happiness, for the elusive happy-ever-ater, for no gray areas or hidden deceit in uncertain times, wo welcome playful and child lie images as a much-needed temporary respite In this spirit, the world is our playground and simple, ‘CMYK -infused logos witha touch of childish innocence ‘are starting to break aut ofthe design niche previously reserved for obvious Toys "R" Us clones and childcare applications. Stark, simple, and delightful, these visual identities are inspired by toddlers’ sense of wonder as they try towork out how the world fits together. Block by black, step by step this branch of loge design goes back to (pre-school and, at times, to a world before letters and reading. The results are easy to grasp and rly on basic shapes, trong colors, and bold combinations. a From cutesy and well-rounded Extraverage/ to angular anarchy, their image- Karoly, infused typefaces have no time for fanoy frills or gradients, but simply o depict what they advertise—tool, ee animals, toys, bulding blocks —jx- UetSchoowets) taposed with basic, friendly, and universal icons otherwiee found in teary learning books, With a gentle dose of Pippi Longstockings trademark cheek, these loos Inve to gn aver the line, break ith design rules, and reshape the world to their heart's delight. Deliberataly topsy-turyy and colorful letters clamber over each other, and the designers enthus/- ‘asm floods int th logos themselves. Some of there ule; ike Acne Jnsustries” © logo for Kokolo dip nto thefentboxand come up witha beautifully jumbledtype- Face “mess” while others, ike Karoly Kivelyfelvs"s®™ design forthe Hungarian National Galery, take inspi- ration froma set of rayons. With this simple sleight of hand, they conjure up 2 sense of friendly approachabily, of being open and ‘on the level. Tis style is well-suited to pop bands and festivals, but is also snapped up by universities and ‘museums eager to throw off stem or stuffy image. o Tako AeSchootvets’*tkeable foo: ‘eae Trdustetes a charming, approachable ball of Tines that mirrors our own creative o chaos. By encouraging such direct Sensthen Cslust associations the oreators of playful a logos suggest that there is no id= Tilt besten densubtoxtandine strings attached tutto ‘What you see Is what you get. Giving a brand a friendly face also helps to lower our defenses by appealing to aur Inner child Even a ser ‘ous message—or corporate whitewashing can sneak past our radar when it looks this cute UREA a74A! AW’? Aalto University Aalto University —_ Aalto University aa’lto = a“alto !a“al,,t?o u!nive untiv&e u;nlive& rsit?y rsit?y &rs-it?y, 12k < in ADD word Y¥4 nonway Ny 02 RED kA enters Visit London DA CE Federacién Espafiola de Dafio Cerebral Purple Label Blue Label©h.06 Presenat ekore 8 et KOKORO is’ 2, & Mol nan 8 Syrup Helo Koro 7 fet dns ts mde ee gett oe sop ft ‘So do you thnk there is something par- ‘ery Poni bout your oe? 176 New P Finnish aa Design x ———_ Finnish Design ruts. re xR Se 477Koro “ JIM*®JILLEWEN ig RTE look mum hands! (isan 8s Pru. > 02 Borst = Nonabtack (0 AutobahnBLIVDR MT MLM OffDISTORTION / GLITCH / ERASURE / SCRATCH / DADA/ JUXTAPOSE / REFUSAL/ 186 Life is the Smile with Decay ‘A logo that makes it harder to igure out what it's all about? I's nat as absurd as you might think. The follow Ing works challenge the basic nation ofa visual dent. Ranging from blatant denial and light-hearted visual pat-donns to subtle mental darts that require a closer lok and plenty of lateral thinking, these stubbornly a= caleltrant designs entice us withthe promise of revela- tion, with the satisfaction of “getting it" once we decrypt ‘the logo's meaning or social and aesthetic content Exploring a wide varity of mental mechanisms, visual ticks, and distortiv techniques, the resulting imagery takes us back down momory lan by forcing eur brains tore-examine accepted reality. After all we doit ac tually see what is all around us, but only our mind's translation oft right side up andi full color. similar trick eames into play when our ite gray cells flin the blanks between filmed frames or slurred sllables— wo see oF hear what i! actualy there, And when something in our sight diverges from the norm, from ‘ur expected framework of visual references it simul= taneously disturbs and delights us. Once we decode the hidden key it becomes truly satisfying. » Tinga deception Fant senate nl erst Satin tego dessins Stave vo te et & sry andy sth mich on be ae taken out, erased, chipped away, " farted skemie th, d © ug, aridsthaa birerin Bhi" hort neon? How much tr itratlon do we real reure x aa ‘to bridge the resulting associative Z ‘gap? typotherapysdesign ine, for a ‘example, ask us to fill in the blanks a of PMA Landscape Archers Sstery _safonry—and then sin tho “ievign ine alitlebit further: Inthe en itis up tous to plugin the sementic blanks and tako that all-important leap of intellectual faith for _amental exercise that invariably prompts us to engage a lite bit more with the logo in question. We cannot just sean, judge, and dismiss its we have to give it an ‘extra moment of our time and take 2 second look. 187While the technique itself has been around fr a while, th Iniast hatch of lagn designers aves to expand beyond its formal origins. Slash and shift, serrated edges, mixed-up fonts, wonky shading, fake 3D fuzz, negative space, and the removal of mare than strict. Iykasher. well who sald it has tobe easy? Inthe deliberate xtaposttion of styles and techniques not naturally destined to share the same page, these designers ramp up thir logos’ complexity levels—and associated visual complcations—to the point that they become unreadable. They often collage three or more ‘lashing codes and elements, from patterns and type {oillustrations and photography. In doing so they create ‘a welcome visual tension, a stylistic statement and call for attention, while a times bending the rules and dfini- tions of lga design to near breaking pont. Taken othe extreme, the resulting visual identities might dissolve Into utter ileglity. Carty agroos to take 2 hack seat Inthese logas—atter ali the thought that counts! 188 o% For @ touch of past-purk sprit mK some designers might even conjure up a voluntary-and virtal~aes- thetic censor. 20's ® logo for the You Ara Dead To Me's for axample, plays onthe notion of negation and creates something new byblacking ‘out text and leaving only the por- tinent paris of the letters visible, ‘Three strikes and you ae out! Inthis spirited obstinacy, the current crop ofcanstruc- tive naysayers is nat @ millon miles away from the grandfathers of doubt and rejection: the early twentieth century Dadalss. Ready to question absolutey every- thing, they found liberation in the complete rejection of established (aesthetic) rules and categorization In their delight for nonsense and all things countor- Intuit, they paved the way for contemporary cryptic loge designers Nevertheless, choosing sucha radical aproach inov- {ably whites down the range of potential apptcations. Halling mostly from thereaims of music, design and the ‘ars, these logos require clients who are wilng to skirt the cutting edge and to risk being chopped up and do- voured bythe challenge. Yet with a target audience wil ing (and wishing) to go that deotsive step further, they cen afford to embark on this precarious balarcng act and indulge ina spot offeariess experimentation. 01 Tose Mansa ul Ne a 2 Lote Sattler 03 Gunpo 05 Peter Suns 189a THORR.IORN ANDERSSON COCO Y \ LANUSCAPING 1 Markus Host ‘0 | ~ ‘ister ALECTIA ORMOND NAT BiLDER CONTEMPORARY [RGotaeo \RRALTAT SCHL ACHTEN EDIT DITIONS , 2 | CARIEC Hc PeVONVErNe BINCBYERILKUSTER LDL LL nige Sommerseminar 07 Catange 192 . |zum, IGA | — — r i iV man “ 1 Piesce Jeamaret, 2 teed | IN \Q wurera AMON ADVERTISING loon \DOL marco serarint kammer an ae IN ICO © ONSU ME (0/0SABOTAGE SABOTAGE SABOTAGE SARUM @irak BENZ! nine M 08 WaLt H. Moose VINIVIAL , trey MO'FO'710 TIN | EPS =NTS THINK JSPR WRN20 JARRE MOONBLINX WANG &) aozge CAT ERY AS KONZER MOONBLINX WEN Mele a a 0.300 ele BERLINER MOONBLINX (OL Fone Hickmann 923 (2 Biro Ink “SPECTIVE AK (CP FART 8 Feta Labels (Of Haus cPH VdpArchitecten af ster di ort 05 Buco Rang 06 boro uebele visuelle Konmuntkation 198 > et a > ee? ON Te > OWNS > GEKONNTEXT PRO UKT UND V SION 2 ninsgean HAM.LIT 03 nslehhot + atetter VREAU SX FAC PUBLIC RELATIONS VREAU SI FAC MARKETING ONLINE VREAU SK FAC MARKETING ONLINE VREAU SK FAC PUBLIC RELATIONS VREAU SK FAC NOVERTISING VREAU SAC FAC PARKETING (0 Proseet 1000 199traces traces traces ot ct & empraintes ampreint2s traces traces empreintes ot e empreintes empreintes traces traces ot et empreintes — empreintes traces traces trac... tracts ot a a a empreintes empreintes ..mpr...int..s -efnpréintés 1 stenter sqneion OONnO plania : plaids Re A>. (02 Ryan Crouchaan IS ETBISINEANIN 200 02 Gustave oe Lecerds LE LO! - GLIE@=P ONE TWO DELPHIC 07 Fstegesphtk 8 Non: Forast 201(03 THE SHULL OEZAIN ideensturm* LIESEXPANSIVE / EXTRA BOLD / FOLD/ TAPE / DRIPS AND DROPS / BUBBLE / HULA HOOPS / | TUBE / TOOTHPASTE / 204 Go with the flow! Firmly ated inthe here and now—and often bubbling ith plant of optimism big, bold, and beautiful logos wie for space and our attention. Laid-back, unself= conscious, and self-assured, these chunky fonts and woll-nourished signifiers stake ther visual claim on the page. While some ofthe following examplos might appear sharp and angular, most display generous bulk and wellrounded curves, often exaggerated by forced ‘overlays, wth letters slipping and siding all over each other in their scramble to be noticed. o Take Ales Tas luscious balloon caw bubbles: seemingly ready to burst, their blown-up, translucent ice e cream shades epitomize the candy Chess Henley connotations triggered by many bubble logos. Other designs, lke o Toke's®, design for ShopAround, rectuen.se/ are dripping to suggest freshness Ales Toss and creativity-ook, the paint hasrit even dred yt! Equally important and on display is @ sense of cont uly, Fasbioned from ane uninterrupted strand, tape, stroke ofthe pen, vapour tral, or trickle of cream, many logos retrace the passage of time in one confi- dnt, elegant stroke with more than a nod to La Linea. 2 20 JAHRE fa) HAMBURG )\Y F)IL7 OSAKA X BR Folded and pleated, their ribbon-besed cousins can reach origami-like quaiites. In the case of Peter Schmidt Group's design to celebrating 20 years of fomn-twinning between Hamburg and Oaks, this metaphor is especially apt the lago combines Ger- rman austerity and Japanese craft in one meticulously folded two-tone design. For an edgier iteration, look no further than the “no-go logo" fashioned from reshaped police tape or several references to DIY culture and jury-iaged imparts tion, held together by copious reels of cassette or Gaffer tape, o Last, but not least, these space dy hungry logos also enter the third dimension in the guise of freshly os squeezed paste, straight fom the Tee tube Tike Andy Mangold’ <®* Plush, Luscious and thick, thre is na get= % ting around thele sheer physicality Peter Sebasdt and solid presence. A visual state Sroip ment and then some, they shout here we are! With this intrinsic “altitude,” bubble, drip, tube, and ribbon fonts have become a staple choice for music, fashion, and online use, Well-suited for headers ond statements, they are often combined with generic typelaces—because these logos are the star af the show and claim the visual stage for themselves, 205ore igi: var con dames oa walfbee Rese wen galleens CONSULTANCY s ee moving Oey — @BE get— a dace aggerde forerenre «St. R62‘wane canoebrép 2once fe # hat! uh Alex Teechut =O? Dae Toeras02 Regine 03 Analog. Syst 4 EyerCevan === Sohn Bachan, 8 HaghaaDestgnA ovens i 3 & < misxatTe : |) siren FOV PROGR | 03 Foon Ce erebessse * Aptis, é Ribstuk, o¢ uct CGae Ss FF —==—, x Te seu oezA pmo a is EOE, _T == STVOCUUT MELTKLUB SOWIESO 030 FACHHOBe. 20. stat sttF ac ams (08 Autobahn 2 Andy Mongols 8K Men evel odat ain saoraeninare LEVEL CLUB™GC 226 LOGO-SETS / | REMIXES / WE: AR FAM ooge IL 09/ Ree COTVOF MELBOURNE CTVOF MELBOURNE CVF MELBOURNE CTV OFMELDQURNE CTV OF MELBOURNE mm. cr CCTV OF MELBOURNE CIV OF MELBOURNE CITVOF MELBOURNE —CITVOF MELBOURNE ITV OF MELBOURNE CCIVOF MELBOURNE —CTTVOF MELBOURNE CTV OF MELBOURNE CTY OF MELBOURNE CITY OF MELBOURNE ‘While some brands prefer to stok to ther tried and tested visual identity, others delight in controlled per ‘mutations Te following logo sets donot reflect funda ‘montal alterations for changing tastes and times, but Simply variations on a theme. Based on a single care visual of on pertinent logo elements, they always ref- terance the brand’s kay dent Horo a itl leway goes a ong way. In one school of thought, spin-off logos ofthe core ident hep to a: vertise seasonal changes, limited editions, and topi- cal eventstrom the obligatory snowflakes and Santa hats to cherry blassom festivals, charity appeals, and April Fool fun—or to diferentiate between subsid- lary companies and product fais to showcase the breadth and flexibility available under the main brand, To target different customer segments a clothing la- bel, for example, might jazz up its logo to appeal to 2 younger or sports-oriented crowd, while soothing ‘olor schemes coud indicate a maternity line without ‘changing the brand's overall identity. A different design approach treats logo sets as equal permutations of @ pre-defined standard. Running through the gamut of possible variations, they retain 2 distinctive shape, color scheme, pattern, or layout, while allowing al other elements in the mix to run wld In everyday use, these logo sets are not ruled by any obvious hierarchy or irm assignment of specific logos to certain applications. Often created by generative ‘means, by an element af chance, or by 2 ago genera- ton they explore the ide of serialization and diversity made visible, a Trusto the latter, thelogo sel designed Watt W. tooee forthe sath Bseonale dp Lyon, for ‘example, putsanX(theRoman numeral a 40) through its paces to highlight the Nast W. Hoore variety of styles and genres on show. Inasimilar vein, andor Associates’ ® x Identity system for the City of Mel Lowder, bourne explores variations on a bold Aatociates Ma create alogo sot as multifaceted 2272s the city itsel. tis a celebration of diversity and personal interpretation that is as future-proof as it That said, the key question remains as to which el- ‘ements must stay unchanged to retain or convey 2 brand's core identity. Afterall It Is precisely the wealth of variation that pinpoints a great logo's funda~ ‘mental visual qualities. A basic outing, distinct color scheme, a certain curve: the more iconic and familia, the more playlul, word, and abstract these logo exper- iments can aford tobe without sacrfcing the Paviov- lan response tothe parent brand, o To this end, many sets are based one ‘on reinterpreting the original logo's Creative Lab underlying letters. For one of the ‘most obvious and best known exam- os ples, look no further than eur most Natt W. Moose popular search engine. Broken down to its fundamental character Fstes—general proportions, colors, basic geometric shapes-the Google ge 0%.04% stil says ital Even a smattering of circles wil do as clever placehollers for one of the world’s. most recognizable logo ‘types. Translated to bubbles, 3D shapes, oF search pattem blobs, we can sill decipher the encoded brand because It has inflated our everyday lives. The characteristic color scheme and general outing are always instantly recognizable. 228 [At the same time, the recognition factor ofan iconic ‘ogo also betrays how we are shaped by our surround Ings, how easly we are swayed and prompted by our subconscious In Super Size Me, the documentary on the fastfood Industry, filmmaker Morgan Spurlock used a simple experiment to put our susceptibility for catchy hooks tothe test. In front ofthe White House and other major Pltical landmarks, he asked U:S. cktizens to reolte their country’s "Pledge of Allegiance,” which they all learned in schoo from an early age, and the MeDon- alds Big Mac theme. While no participant made it ll the way through the pledge, they all managed to rattle off the more complex burger jingle without aitch Branding that is clever, ieoic, and comprerensiv aural, visual, or otherwise—leaves its mark on our collective consciousness. Think German Telecom's distinct use of magenta across a wide range of mo- sla, sub-brands, and campaigns Love it or hate it the ‘mantal connection is hereto stay, aoross alllogo Sets ‘and variations. ot FROMKEETRA Tine and Place Moekshop ‘Thee tine an pace for evrything and ectrsOsen Oran enchoredbth inh creche es fr ee ‘Seo ayaa) hat ell tec fice compara tel, the lps ook Se rm 3 aul rary hae aod Sotalirand samen hand ar ter torments 229La surprise COU 28x KheTheaterBremen fetes z = ®D FEES FESS x 8 FSESES FRESES = = PM FP Pe 234 Ve NILPFERD IN RESIDENZ NILPFERD IN RESIDENZ mw NILPFERD IN RESIDENZ AlN NILPFERD IN RESIDENZ sutehhet ¢ atelier gat NILPFERD IN RESIDENZ ed NILPFERD IN RESIDENZ an NILPFERD IN RESIDENZ My ‘ NILPFERD IN RESIDENZ \/ NILPFERD IN RESIDENZ NILPFERD IN RESIDENZ > NILPFERD IN RESIDENZ 235G & a M0 Oeeye Ger (01 WOLFF ous apic ein picin bic {in picin pein pIGIN DIGIN DIC'N DICIn bien pic {f1 DIC aN DIG!N bic /in eciLeve ACH*EVE Ra ACH: EVE insp!Re GLORY SHOLE” Commercial Commercial POP Commercial“61 Vertwo llltupce ay Four GP THOUSAND ATHOUSAND ~1 THOUSAND 4 Jn, six SIX +r! rete” rer” tll | FIVE S ifisann “a THOUSAND un ee 2 rete ExstMoiig0a | ENstmB“ES 09 = HD —rete - ei EuSe BLES 0 Aree EnS[mguss of Ne 0 “mm é va fn =f elt slg Ki Ae z ErSemBLis 8, ene Mastehieme exci (03 Caley Por oF ast (2 Rasmus SratbTouchpoint. a OL Hacesnansteet woe % & REINS NOvETSING PUBLIC RELATIONS RKETING ONLINE Cri @-- rin 02 oten-1H 01 Advancedessan de do de e Se ass che do DIGNITY DIGNITY d@ do dw KihePss DAICHI wo MAMORU Kal DIGNITY DIGNITY 243NEO-GEO / ZEBRA / ZIG-ZAG / Dots / OP-ART / 244 | GRADIENT / INFORMATION GRAPHICS / PARALLEL LINES / PATTERNS / MANDALA / ‘The following examples draw on information graphics and “misuse” statistical or analytical tools to create 8 visual representation of a brand's or project's intr The resuiting designs invariably start from basic shapes or serils and then develop 2 lie of thar awn. Think processing, 3D modeling, solines, wireframes, but aso the simple joys of geometry, of harmonic nes and shapes, of symmetry and bulding blocks of sels mic waves and sound patterns, The results are logo templates that range from clear understatement to izzyingly complex multiverse models, The associated projects and clients often hall from the realms of design, architecture, and education because ‘generative lagas underscore the rigor as wel as the Creative ramifications, facets, and meanderings of these particular disciplines. While scientific principles or con= nection patterns, tamed and trans formed fr the occasion, reference 2 ‘an institute of learning or the net Tetsana Arocha work behind lt oer designs might a rmimie the visual-memory triggers mH of circuit-board layouts, pbxllated é retro computer games, reractive Enteavors kaleidoscopes, enlarged newsprint Productions dots, graphic design injokes like a color pickers, or=in tho case of sane 30° Jackson wireframe logo G.'ée Lacerés for K4—3D modeling software, Others go back to school with basic lessons in ge- ‘metry that showease colorful diversity, yet remain abstract enough to serve a a vessel for almost any variable content. More ambitious souls trade up to head-spiningly Intricate fractal surfaces that soem to break more than a few rules of visual perception Very much driven by concept and principle, these logos might actually let legibility or visual “deeryp- tion”—2 mustinlogo design 101~falby the wayside ‘great example of these dos and don'ts isthe current resurgence of monochrome patterns. Parallel lines in particular can be incredibly hard on the eyes. ‘substantial number of contemporary loge designers play with the notion of contrast and irritation with re peated monetony and slight variations, to force us to unravel the cade hidden in the litle disturbances, ed dies, and switis, Shapes might emerge from 2 clear- cut grid or from seemingly random chaos. Alterna- tively logos and lines may morph into a pattern unt the original brand disappears. As @ ruil, we become first-hand witnasses of beauifl chaos and symmetry— thisis artificial ration a its bes. ‘And while this particular strand of logo design is not exactly rocket science, a basic understanding ofthe Lnderying mathematical principles surely helps. Those with a few scripting skis, for example, can stage controlled generative experiments with a range of surprising outcomes, Based on specie rules or al= gorithms, these logos might retrace the path of ight dots, grow fantasy molecules out of bubbles, or ex- lore the winding ranificaions of natural gromth and decision trees ‘When this concept translates into real-time applica- tions, we are rewarded with (FJevalutionary logo ani- mations. Moving from single-frequency spectrum to full-blown cloud, onlab's°% identity for the online ‘music service SoundCloud encapsulates the plat- forn’s distribution of sound overtime and on the web ina succinct digital identity and a great visual meta pho fr information brought oie 245enae | | | I Tafa | ON CLAIREINC iif te uu fh THREE WN 1 . — ik zTWeDo o2 soe 02 Fons Hickson 123 1 Fontanz 06 Matt W, Mooce 05 Siggese Hatstesneson MUNICH * HEALTH ** v NA Diet 2 =** 06 NotaDeesen 7 Fleets Vooeveld (8 Designers United (2 Red Box Ine 03 The Lunacy of Protest 250 25101 Urbaneksworkshop & CROS 07 -¥3 Studios wiSF. 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Inthe cone lost repress ach of We started ot wh a sal tatroferenced tho atmsphary tal he glee the oe pant trod otf be or enger n Soe Atar otha Chat Chrge Cntr ce as tit bat CO, melons We itr rota tot tm aba nsceded eels mann: drat poole ba ret apt tf ho wer a ‘nuncaln, sabes, an ‘late. Wan Fat happens, jou knw at ou ave and rntarstigslion aly, ar there ay other logos ut here ‘hat you love sed are? ‘The A oop ts sro esse, [issoshnpla car ondpost ated erat design lag tort Cys! COP15 COPENHAGEN UNITED NATIONS CLIMATE CHANGE CONFERENCE 2009, 279fete) pile COPENHAGEN edi tv srs or tala teat tn the sone, te lg ands ato, Sigil calenae ap hance pas ab Pete an conus, nd caer on It rane the enforce’ pa ‘ernest fn trom hs moa coPl cop trating eld on ther COPENHAGEN COPENHAGEN : Ince the copra ety pctage also eid postage sano To crs the 280a e casa da musica y da misica @.. da musica eS .. da musica @... da musica oo da miasica [concerto <2 ba) 283cm10 te Segeiser ne Ca Wten Segussten Ine. /Caea Westen eo Oe a a = oOeisf NUEVO DISENO MEXICANO 1 Yansssosto Futur 02 Tose Mansa a luinilliayy % OL tan on Rendosta 02 Company %, € os VWF af 7) aw o ee . s M9" snus TOUCHSCREAM os flue oe tr sara eng eat (03 Hattononkey 290 201GG £8 + # 4 BON BON meaesise | Se Se Ss PROJECTS BON BON BON BON oi ak _— | “NON CONYALIO aR CONyALID. —CONyALID eae eee he ee ce oF bean-1H 08 Le cascare Anaege Se AM wep BK ro CRN cde Sein KE 01 Kokoro & Not 2 Kon 02 ssekyseaio L MUSICA IMPULSE CENTRE FOR MUSIC HINSEGIN DAGAR Trevcavie SAY PRIDE LETZTE SCHREI \ ees ne \ Bve > mtn ne 293- ve \~ HOU+PARTNERE ARKITEKTER A/S LIBERTINE SUPERSPORTa , aypiilitek I TECEEBA VONzIPren PobNs mi SKDZK PAR® ALASTERIAD AMA,Cc en 5 Silage aVS hai. age = R a KOOL >20) 301 202 5% 02 Fone Hicknann 23 aA LN ACHT FRANKFURT digital solutions : f ey: Ly viualsotering heh, JCfisteignt 04 Hansie van Halen 05 Falko Ohiner 300 os betaa he aay wy w why wwwy wy & RR ERA ERA SS R R RALR RR RAKR Se RX Z a 9S x, “RA RAR ROW Wain RARE RvB OF Autobahn (8 VF. tease Cotta HA vasto PRhVOR Th oe TANG(3 detn Beckers 23hn Beckers (05 ohn Beckers 4 “xe oun ah (7 Enmanuel BayCRESTS / CALLIGRAPHY / VICTORIAN / FLOURISHES / GOTHIC / RAMIFICATIONS / 306 2 Purists, ook away now. With plenty of superfluous style and flourish, omamental lags give tradition and craft ~aweloome typetacelit. Conveying a sense of lush ex- ‘ravagance, of weighty hautour of haute couture, they pay homage tothe finer things in life by infusing logos with ain of nostalgia and oe-fashioned eleganes, a Following the flow ofthe pen and Wea Shaxkat giving it freedom fo roam and em- bollsh, these unnecessary, yet a alightiul swicls refresh estab- He sue lished—and possibly staid~brand Dezann entities. Chia, cassie, and up-to- date, ornamental logos promise in- a stant rejuvenation witha retro twist, Jean dance and. range from straightforward beautification measures to deliber- ate games of information hide-and= seek among thei delicate whorls, lines, and fligrees. ‘These logos appear intrigued by calligraphy and gothic cuts, and chart the journey from medieval church pou to street culture, from abstract typographical riddles to elaborate, richly populated flourishes. o Like modem badges of honor, con: Like Winded temporary coats of arms herald 2 Stadio/Luce change in logo desion and a eau- tious return to traditional sls. A prime example is Luce Teneseu's™ 8 Highs and Lows, an elegant solu- we tove tion that firmly transports crested, estes ‘omamented symbolism to thepres- tent and bridges the gap to under round heraldic references prova- lentin graffi and hip-hop culture Other designers encourage thir letters to sprawl and spawn new life, conjuring up carefully pruned flora and fauna that seems ready to escape the restrictions of the alphabet. Inthistricky realm between hand-sketched indulgence and almost rigid, computer-genorated structures and cfshoots, the omamental balance is shifting slightly from borrowed ie-forms and forays into Wonderland towards formal typographical exercises and caligra- phy encoded with exralines and patterns. And n their nod to Far Eastern penmanship these visual identities also reflect the global nature of logo deslan. Natural- ly, omamental exercises are not confined to our own Roman alphabet, but lond thomselves equaly wel to Arabic, Hebrem, Thai, or Chinese to name just a few a 307Mex on al Madsen it isin Quy et, 02 Hype Type Stadt 03 Tathane Aeoche 04 Nash 6 THE SeULL BEZAIN OF Manas 308 309| all o7 naLtoester 10 oman Ried(Or roe paar} ey 08 Alton Goss ein Wen eB sie, aly Lis ee 312 31346lLhil oa Dubai Culture 5 as a astatilig ss Dubai Culture =~ aalLai sa Dubai Culture 1 Wiston Shavkat @ypall jSlyoll ae ‘Arabian Centres 2 = Cy ry aa =f) = [ALAADEYAT ARABIANS Emirates Reit 2 Wisrm Shskat 4 issn Shskat 05 ssa Shoat 314 Edmonton Azure — Mashal Al Abdool u & @ 05 Alen “Typa08" Favlovse OF Wissen Shovkat (08 Wsszam ShaskatHt, iy ge BS? The KOU 02 Like Minded Studie 03 Tatiane Aeache 04 Toko SARAHFIMM, Bas . 0k Tatiana Anoens (05 The KOU 05 X3 StudiosKE if sa tu iS Gane . . f\ (6 Wands Saoos 18 08 41 Karhipur Se I: = ‘o 05 Wah Sve 08 Ne Saree 319 Jals se.ee Se eete a glorio Gleed. rien ch it ghen whl SE 05 Facensygny ft ma Hale Mt) fais G i, gp i Be 3¢ oS . = op artam= BAUER . EEE KY Watem for mENosTALGIA / jo LETTERPRESS / 334 Favored by many bands, bars and breweries this sub- set of logo design adds a touch of folklore and naive exotica to overprintng, letterpress and silk-screen aesthetics, op-art pattems, wood cuts, and classic ty ography, Stirin a mid-twentieth century color palette and you get a contemporary take on modernism that Mets with youthul nostalgia, post-war optimism, and pioneering frontier aesthetics. a These relro references are cur- siesigns rant enjoying a strong resurgence thanks to 2 yearning for nostalgia a ‘and toa rose-tinted, romantic view Atphabet ‘of hand-crafted qualtyand the good fem Design old days. People lovea product wth 18 good story and expressive hes a tago-oven when itis based on a ikay Buston well-executed fake 04, 05 In these logos, aesthetics and tec ed Box Tne. nology go hand in hand. While the litedline-width or calor options of traditional printing techniques de ‘mand new approachestothe design, the cheeky pleasures of deliberate ristakes, of ‘smudges, splashes, and splurges, add a personal touch to the finished logo. Restricted to just one or twa colors, the process lislf comes to the fore. By embracing these print- related limitations, the resulting identties convey a ‘sense o straightforward candor hands-on involvement, ‘and down-to-earth integrity. This style is in high demand. Many musicians, music venues, bars, restaurants, and family-run distilleries yearn for this sense of authenticity and unfitered honesty.” They want something that Is unique and sineare-none of that newfangled digital stuf Proudly flaunting its inherent imperfections, its miss- ing ink and misalignments, this rough and ready let- terprass style is indelibly linked to earyfrotie fonts, vaudevile bonhomie, and spirited pioneers, to hand printed notices pinned to the wall fa saloon or sher- fs office, announcing town gatherings, community dances, or today’s specials Even designers who recreate this do-it-yourself 2es- thetic by cgital means often bow to the intrinsic limita- tions of letterpress and silkscreen printing, to color limitations, faults, and fuzzy edges where the paper | 335‘lovedust Tiksures Swperlow 336 doesrt quite catch the ink. With ‘thelr promise of faithful aoolica- tion and authentic, the result- ing logos eherish these imperfec- tions as specks of humanity in an altoo-perfect world an approach particularly suited to country ce freats, high-end restaurants, be- spoke beauty product, ond one-off promotions Such as kiphabet Aon Design's wine tasting events, On a similar note, the associated patina-tinged pastel shades, often combined with white typography, ‘add a sonse of lighiness and ap- proachabiliy to the brand. Pris tine, pure, and innocent, they hint atthe promise of a sheltered life, of a long-lost Americana as wholesome as apple pe. Infused with plenty of retro chic, these visuals say "we care” and Ike Redbox's 84 logo forthe Shortbread Bakery, a boutique food brand treading the thin line between high-end exclusivity and cozy fanilarty— ccanvey a sense of homemade goodness. WelLaware of these ingrained associations, some log designers have started to take a more subver sive look at this kitsch-infused essence cf 1950s suburban ther design for Adidas Original, Sout: Industeies#*® confront us with a cutesy innocence mare at home ina housenife-populated knitwear em- posi. With this deliberate exploration and exaggera- tion of gender clichés thay foreo us to take a ser look ‘at our own preconceptions and atthe branditsel ss aie iA: oO] cgr "atv" BOHEMIAN py ~~ Et = > wW 353 352GOoD Peet IRF AY 15 TILE HAND-CRAFTED / | Divs) TANGIBLE / 354 | INSTALLATION / MATERIALITY / MISMATCHED / Inanage where almost any information beitnewspaper articles, video clips, photographs, or music fles—is only ‘few ree clicks away, the unique immediacy of tangible objects of sensory experiences and intense performan- 25,18 enoying a resurgence of popularity Logo designers are also delighting In their newfound ‘reedom and are increasingly swapping pen or screen fora more hands-on design experience. In ther explo- ration of do-it-yourself culture, they toy with the rules ‘of scape and perception to translate symbols into tan- ‘ible space, and then back again toa logo-sized icon. a ‘So, what comes first: 2D model 06 sne ‘or 20 image? Inthe ease of logos and visual identities, the answer oe is a resounding “both!” While the ETA STUDIO —_ prety necklace that We love oules fe od for “Ladies & o Giris" lays out the existing signa- Kyte Bean ture look ina pattern of eal chains, Pandayoghurt °F picks a very dit ferent route by spinning a yarn for koitwear specialist Mayko. Start. ing from areal ball of woo! the de signer later re-abstracts the image Into. a more versatle and scalable ee ‘The majority of the following visual identites were created fora single event or purpose, fora festival, announcement, o limited edlion, for something as short-lived, yet as special and intense, as the process of creation tslt. As such, they biel liberate the logo from the page or screen and literally take it outside the box. on tex 02 Gtanns Roses Te? p= VALBADIA FES (03 Ghanns Roses 357Leoni mg lata OL Kyte Been 368 359Rainy (iia Ci a (3 Linnes dndeesson 360 JILEE enraly speaking, what she essences of areat eos? ‘ga eth nls and most manor ‘tea means carr ne Isha taney Smal nf tne leaner he guitar shred by some stooes Sees an TBM ole otonagen aa Foe ‘Wie nin, any words of des or ‘dang oo esoners? The bay 0 ak with the ght nts ‘to ar ana and opened. Ty toe iy sndretrd thom aed the pao ted fn dot hen eermunate eons Indonesian to ae te terol of esgng th om go ‘tomate overdo and 9 sl a al Indolent nstriam,MY om wre ‘tena deign nyo os Naray, we woud love w know a bt more abot your wor fort Now Mie um." How da hie commission ome sow Ney York veh Pages 73,230, 363-365 Belt the ania te Now Nuss 2 onto Now Yor, te magento ‘moames the oe. te Dros and atbeed» ros Could you take ue trough the erste process Irm he nl ea oe a impion choreseaphy and fe varloue ermal acon the oy? The Now Musaun's stking nam. tome ‘cain ty aponese st aches [SANAA Tiny opeteesveryerol tae ‘ating slo see recor ox {5 sched on po each ater ope by ‘te svt a eds he ete ‘mpc hl nig ote, ‘Mtr al, te eanoaln was arg te be ‘Sout cpr or no Bling, ad thes most thing aout rh ae ‘oul bm ie etsy wae cad 361Sows shld ath toucte rdmate ‘urn don ad sore mole The shape ‘aca ngs td 2 ean at cad Serle mene srs oped bel henge orp ‘rwandavath vot yore apr We asimproze nd mate igs orto ‘hong the fle of teal? Fr ths prajet we played wh heron For day ster tat sopra, poole Soir en ibe erp ‘our eam Gace design seems fa. low sma thr by eduing a eke loge ta Bost cope sd compare 362 ‘So abstracts th Googe ag tthe ea sara dos ne ok he a ono ao emote a eo ode A thes the Gogg spomerel ant recognize ‘nog ebrandaet he rand Now ws Nad “Sneing tn pope nes hay sek on rien ck reno ‘You som to ene taking Your wor out othe srect Wha ves yout these ‘oan Inorentone? Are they abays ermissbned and sented, the te New ecu campaign? Bo Projet paced mer hat 0000 ch iuboshaed eke on eb ectse arora pu ng ose tet thay oe tae Stat fet deer, rath, and Seana fd sine aed ry a Zonal ren Irvine ale 29 79 es“ Tey. conoen ‘Ae how do you get the bela right be- ‘wen commercial work aye ‘cis tere ary averiap or eterence? aly wrk nth. Personal pts ge ine theFeedon paste wt el ely oosnat abo, haem net seer ve ean expr hgs aso ace tndhov kn dna Ths trash pespecti, sit ar poste cheroy er si ovr my pleas Src, es commercial cna fir, ee art tity ard Ue co rtintytcolabrate non nceommn ‘xewthctersontow toma te bert oe tinass eda Agi hae Su 36303 Dennis Heesog =. oben Pow a. na ake yom 8 chetstion brstlap| PARS 02 Hatlesraphies INDEPENDENT FASHION SHOPPING EVENTS 1 esther Conteh 4 type Type Studs CIRCUS SL. Banceltons 8M, Klefiseh 05 Rad Oesign OF Typedockoys 366 on Faith (02 WH Goatik 03 Prosskttetangle Design Studto 367NA VALMANN . SNE TAN NA SVNAD DRESS IN DEXeer cee 372 Bet Onn Ste on ye en a Setup Brea aaa a ye Bran ss ates Brecher a ie Reng ne c Perea. n0se. 24208 asm rete St oy Sacra — arn cephletn — Sopoee Pe 28, 2520.90 hi ely yt tn —<--- Secs err Ban Squat Ippeston enna Se e202 8 a 86015, 208. 94 373destin ons Bimanal Lab oy Deg ay es Some” Boga, 374 remtanunennese rane Soenewnees ee ese E epson \gRAise ce See = aeee phos cmt se sig Risa stn ees Esl Somat rane none coc FE ln Sethe eats once nn. a oad pester” a et. sumone ‘semimemorey formeFrmat cena fxm ae OURPAeKoteroes ett ne soph SSoepecntestn =e ute Peron MG ne Sec H eee ie. 375Hara an Hala appr rot ert fi Se ea Hatake Rest Haus Mone Pet Heteomputr Su se Hen sate Gunctstas een 376 —— SE tees EME teagan unt Pesan 4 Held uation Hoctasbetn itn cams ugh vat, ona ne type pe Stat ion {sagan Dag on Noes nin Sot eves... 98 eng 8 Co gon samen Randel sn eae tes once cere see ate alec rn Fr nes Povesa sana 2er es Sl An War re ee a K K ee on ye — 377sees” Scene eo =e Uie'Beewe sr N Stegner owns oni. nets as non ——— = ST ae Lala Torab em LLdesign nny, a NR2184 Deere == = or Ser Frvvivkerad ae aeariseme _ a nein imine roan Bae so a Letra a Lewoneie Ea amt onto a Mepis Mah ao et sae ct Pen f= = eo Ser =... SEER nanan, — ee Poe Poot Poe 8,318 Fagen 42,742,120, 200,320, o — a. Seu el ane 200 setae os hove. a = = —_ a Lane ye =e Mee Den arate Meade semes min<<< 9 p= = “—e Pane r hse = = send ee oe) row . vn ae — en =r ac asia seo omer Lesiene poker Be Be. gate rove a See a a . neve = oe on Lene = Mat tere vse ecediaintis emus = eee ieee ee | sion. pyres nn seme enone BeBe gee wi 4 Land ndeat in oman ee, NDE Ove ener ether! Seemeeee tnt ony a reememes obra theetme cues Peas Seer ceca pone a reeeeeee even ad Sco Wedenewannee oe Ro hemes vs vance Medoasmunitnin = for Saed INA KILO-WHISKEY Seon tomas pepe Page 80,208 Pree 180 we Rr evenasie 20830 Me Mapa nes fete, ewoean. 0 cease 378 379P deat ci phospho usa entanedenn br 380 Sa Senge aera Frio Denn Sado Q G2 Deign ts = Roch Sica Deion —= ae = = Sendra Desi enon 73.108:0 29888 DIE SEINER sins Po srt Spee isn nee ‘Site rom ties BeAr gh Font eee te Senso ‘Stel Rema semester ne = ut Pesan Si Regt Speen =<“ [SUNDAY VISION so Seeateeesn oreo == vn Fert hese ch rena T Tecate rpc ‘ce re Peston Detar oy pessoa The Lavy Lv 381.ee = == 382 —_ angen thie dso ss u a Samana tte v stag et w ne Wan ny fears == Stats Zz Zeropue ay 383W INDEX8 peta ety tie 8 a Baa e ecEovcBacSwodeokec +B woites E 3 od oer 2 Eset i A q ‘# i He i f i iq if #8 ii 8 ge BTR ri fr f ze iF aft ic HI i 2 Bncdvcowed oucivete-Bancdectnctefonedone os | “i nip ua Cn Ct th tn ta ee 3871 u ' i iy Te i EE i i f g Bue Bae- Sonedue de i i j 388 eAthena ind dee) 389E é F 1 i HR a pea a 2 te 7 na em j i it Ferry Bs g Be Ba : ® ag : wlaesfacEsosNinc:S ancl astuskusba. 2 390 Dna nn one Cnt an me tee 391,a = aa 5 sea ett 8 Rta ine) eee 392 etre ne Cage Cnt en tt my ne 393i i it i Fe penton) 394 ope enn ne ny AC ae on Ct met ee) 305: § Some 4 sae a iene am md Be sas ba ae ize “Ee 184 am : eet ree oe 396 nso Fendt ot 397a Sec sarer ce a aay # 8 Sut x : ee HT Ht f yes = ar 5 wosEone:Beoftne tue :Euckao if ite rt | i Al EP # a 398 Cee Gane eek a ne ie 399400 we -He~fiere > Sxatimefies : 8 { I 24 pe =o =e a oe leet nnn te Ce i sMioal wales. Bus Bus8 Ete tt i tee at Be eae ie } € ® i 7 g asi i FE § SisZoeuncase 402 Baie ~

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