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“Logos are dead.”

tombstone “Logos are dead.”

Image from Flickr

Simon Manchipp, one of three creative directors and partners at London-based studio SomeOne, said on Twitter yesterday:

“Logos are dead. Yet we have been featured in the new book Logo Design Love as an example of how to do Logos.

“They are a hangover from old-school thinking about branding. There is no desire by the public for a new logo. They are simply an old-fashioned approach to differentiating products or services.”

Upon questioning, Manchipp explicitly meant, “…that symbols invented to accompany brand names are a waste of time, money and effort.”

I asked David Law, Manchipp’s partner at SomeOne (and the man who kindly submitted SomeOne’s designs for inclusion in my book), what he thought of his colleague’s statement:

“It’s something we have been debating internally for quite a while.

“When you look at brands like O2, its success lies in the richness and depth of its brand world (bubbles, blue grad etc.). This forms a flexible branded platform that is instantly recognisable — you could remove the logo and still know the brand. The logo in itself is not the ‘hero’.

“In the past, brands like IBM and FedEx traded on the logo as the ‘hero’. We see it even today.

“So while we all acknowledge that the logo is not about to disappear — and that it is still an important part of any brand toolkit — there is a case for applying more emphasis on brand worlds.

“The ‘favicon’ or ‘twibbon’ is now the equivalent of the ‘black and white fax’ that we all learnt (years ago) was the minimum requirement for a logo to be recognisable as. These are much smaller applications than we have ever had to deal with, and ones where traditional logos are struggling.

“Brands now ‘move’ as standard — being ‘Apple‘ implies all sorts of physics that lend attributes to the brand and do not rely on the logo to do everything.

“Lastly, the amount of platforms, media, applications (and now ‘experiences’) that need to be branded has multiplied significantly with technology. People simply get bored quicker and brand worlds allow the conversation to ‘flow’.

“Yes, the logo is the ultimate ‘rechargeable battery’ of the brand and is the final distillation of all the brand’s attributes BUT what we are debating (and we haven’t reached any conclusion) is that if the brand world is powerful enough, could the ‘logo’ simply be the company name designed in a simple, ownable way? Possibly, dare I say it, with no symbol to sit alongside it?”

Symbol or no symbol is a valid question, and one I talk about in my book:

“Sometimes your client just needs a professional logotype to identity its business. Use of a symbol can be an unnecessary addition.

“This is something you want to determine at the outset of the project. Ask your client if she has a preference one way or another. If the company is entertaining ideas about future expansion into other markets, it might be better to opt for a distinctive logotype, because an identifying mark or symbol might prove restrictive.”

Quoted from chapter 11 of Logo Design Love.

So while Manchipp’s initial “Logos are dead” quote might be over the top, it does raise an interesting debate.

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The kiddie designers of 99designs

99designs kiddie designers

Many of you will know my stance against spec work, but it’s safe to say my opinion of the practice has fallen to an all-time low.

Backing up for just a moment, here’s the sales pitch on 99designs, one of the main spec work websites:

“We connect 56,816 passionate designers from around the globe with small businesses who need design projects completed. And, we do it in a timely fashion without the usual risk or cost associated with professional design.”

Disregarding the fallacy of the numbers game — recently examined here by Steve Douglas — let’s focus on how such companies minimise client cost.

If you consider “working on spec” a form of free work (i.e., the designer carries out a request in the mere hope of getting paid, with no guarantees), and if you consider that people under the age of 18 are covered by child labour laws, then by that definition, 99designs is keeping costs down through the use of unpaid child designers.

Member profiles show designers as young as 11 years old.

These screenshots are from 99designs (click for full size).

99designs child labor

99designs child labor

99designs child labor

99designs child labor

99designs child labor

That’s how little spec work websites actually value design. They pitch the work of 11 year olds as a viable alternative to hiring professionals. Appallingly, the owners make this statement on their “About Us” page:

“It’s definitely a cliché but there’s no other way to describe it—99designs was started by designers for designers.”

It’s billed as “The leading marketplace for logo designs.” I don’t know what your definition of a leading business is, but I’d hazard a guess it doesn’t include said leader collecting its share of payment up-front, then having children provide the service, with each kid merely hoping to get paid.

It’s beyond me how these companies call themselves designers.

More info elsewhere:
Children designers on design contest & crowdsourcing sites?

Update: 28 January 2010
If you’re one of the budding designers featured above, I think it’s fantastic that you’re interested in the design profession. If you have any questions, or think I can help in any way, feel free to get in touch. I’ll do all I can.

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The Identity Recession

The Identity Recession

The following is excerpted with permission from Tony Spaeth’s Winter 2010 article in The Conference Board Review.

The identity recession: Why are companies so cautious about rebranding themselves?

A downturn can represent an opportune time to rebrand. In a time of turmoil, companies find themselves rethinking their customer base, their lines of business, their very identity. Some retreat to focus on their core competencies; others look to expand by snapping up troubled competitors.

You’d think more would publicize their shifts with new logos and identities, particularly when newspapers and TV stations are practically giving away ad pages and commercial slots. And indeed, some companies did launch rebrandings in 2009. Several are worth studying for their strategic interest, excellent execution, and perhaps for their courage.

[...]

To quote Hayes Roth, chief marketing officer for Landor Associates: “In a downturn, there is no better way to increase share than to invest in marketing while others are retrenching, just like there’s no better time to buy a house when others are selling. There’s just one catch to the theory: You have to have the cash on hand. And in 2009, the bottom fell out of the capital market, so understandably, clients are cautious about spending money. This has impacted rebranding initiatives, and corporate advertising and PR as well.”

[...]

…good design—systemwide—is just like good accounting: It both reflects and demonstrates the presence of effective management. And a rebranding can be anything but cosmetic: Well planned and timed, it can be the single most powerful agent of change at a leader’s command. And certainly, it can also be the most cost-effective—in the larger scheme of things, we’re talking peanuts. (The base price of implementing a non-retail institutional rebranding can be little more than the cost of a signature change.)

[...]

Prospects for rapid recovery from the identity recession look very good indeed.

Read the full article on tcbreview.com: The Identity Recession.

Tony Spaeth is a corporate identity consultant based in Rye, N.Y. Additional views and reflections can be seen on his website Identity Works.

Via @BlairThomson.

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Mediabistro Logo Awards

Mediabistro Logo Awards

The first annual Mediabistro Logo Awards “celebrates and promotes the best in logo design.”

  • Winners will be promoted to millions around the world through several websites
  • Winners will be announced at a swanky party in New York City
  • An impressive jury includes famous names, ground-breaking newcomers, and mid-level creatives who know all the factors that make and break great design
  • Open to graphic designers, studios, agencies, clients, and students

Judges include Armin Vit, Rob Janoff, Calvin Lee, and more.

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Vintage logos

Here’s a wonderful Flickr set of vintage logos.

vintage logos

vintage logos

vintage logos

vintage logos

vintage logos

vintage logos

vintage logos

Too good not to share. View the full set on Flickr.

Via @BlairThomson.

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Urban Green brand identity design

Urban Green logo

Fairly new from Pentagram is this identity for Urban Green.

Urban Green logo

Urban Green logo

Urban Green logo

“The graphic identity evokes the density of urban life and the city blocks of Midtown Manhattan.”

Project Team: Michael Bierut, partner-in-charge and art director; Jennifer Kinon, designer.

I enjoy viewing the work of designers at the top of their game.

More images and info on the Pentagram blog.

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The Benchmarks Awards

The Benchmarks Awards are designed to set a standard in the recognition of excellence in brand communications.

Benchmarks Awards

All Benchmarks entrants are asked to demonstrate how their branding programmes or campaigns work across a variety of different communication platforms. While a single example of brilliance cannot win a Benchmark, a strong strategic concept, which can be shown to work effectively in a variety of areas, will be a lively contender within its category.

The 2009 Awards brought some interesting results, not least this category winner by The Partners.

Eagle Clean logo design

Eagle Clean is a small London cleaning company which needed an identity that would engage prospective clients such as offices, restaurants, bars and clubs in a particularly uninspiring sector.

Eagle Clean stationery design

Eagle Clean signage design

The Partners used Eagle Clean’s rubber gloves to develop a playful graphic device on signage and uniforms. The logo comes to life online as the gloves clean the screen, making it spotless to the viewer.

Eagle Clean website design

View the Eagle Clean website.

View more Benchmarks Awards winners.

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