There has to be a reason for it. It should be something that someone is drawn to.

A successful logo can almost saying nothing.

We think of a logo as something that can hold everything. It's informed and reinforced by the

things that we see everyday and it's important to acknowledge that

entire invisible vocabulary.

Logos go back to

deep antiquity. It was a single image of

something that was used

as an expression of the individual. And they represented a thought, an idea, or even

a product perhaps.

Aristocracy, for example, would have shields and those are basically complex logos

and not everybody was literate so pictorial means were ways of getting around

that illiteracy.

In ancient Rome you'll find mosaics and those mosaics are pictures of tradesmen.

So you'd see an elephant which would mean somebody has been to Africa

or you'd see dolphins which means somebody's probably dealing in fish.

So all of these things indicated who

the merchant was

and i think that's the beginning of the logo.

Logos increased exponentially as commerce increased, industry increased, as

technology increased and there was more and more competition. Logos have gone

from being very Victorian looking to very modern looking,

meaning they're more economical.

So logo designers have to have a sense of what the company wants its

personality to be. And then it manufactures this mask and the logo is essentially a

mask. It's an identifier but it's also something that stands in for who you

are.

A great logo is memorable, it's appropriate to the brand, and it's

simple so it can work everywhere and look the same

in every situation.

So the first thing is simplicity and

in today's media realities it means

if it could be as tiny as sixteen by sixteen pixels to work as a save icon and

for big signs and the sides of buildings, that's tremendous.

The second thing is that it would be appropriate, in character, in the feeling.

If you look at the Smithsonian sun and you say is that appropriate for an

institution that has all these different galleries and museums?

And then you start thinking okay does it look too corporate? No it doesn't. Does it look too

commercial? No it doesn't. That is kind of what

we ask ourselves when we look at a mark and say is this right first for them?

And then the last thing, it should be memorable.

And often it's something awkward, often something that throws off a balance. And a

good example is Mobil. It was done by Tom Geisman, my partner. He designed these

letters that are based on geometry and

the simple change of the O to red made it just burn into your mind.

When a design fulfills these parameters with time it will build equity and

will build recognition and we're looking for something that will look fresh for a long time.

Logo design is not like math. One plus one equals two but

new plus square.. you don't know what it's going to equal until you get in there and

start doing it.

I like to have one idea that I really believe in and the client really believes in and

I like to iterate the hell out of it.

For example in the Off Book Project we probably ended up making forty

different versions of the logo before we ended up with the final set. Starting out

I took all these little pieces of paper and I printed the words Off Book on it

and I just folded it into different shapes. It was interesting because you have this very

ordered system of type that's always in a grid. But then where you had the bend in the paper

it was this interesting little interruption.

And so I brought these printouts into my scanner and started emulating that little

interruption and sort of move it or wiggle it. And so the resulting image would have these

different lines and distortions in it. And once I had all these varieties of shapes we were able to

look at them and assess them and try to figure out which one seemed the most

interesting and pleasing. And then the process from there was just a process of choosing colors,

choosing different transparency levels and relationships between the different

elements and it was just a matter of refining it. And so this seemed like a perfect opportunity

to reference this larger metaphor that Off Book is creating about non-traditional and fringe culture and art.

The victory of getting the idea and then the victory of having something physical that represents

the idea, those are two very good moments.

Logo design should be timeless.

The classic thing is Coca-Cola. We know that script and that script really came

out of the 1890s but it's such a part of our culture that it probably will

always will be contemporary.

Back in 1975 I took Gutenberg bible lettering and made it

look like a car mark, put a bevel on it, and it looked very sinister with an album

I had done for Blue Oyster Cult. So when I was asked to do the ACDC logo, one of the

versions I came up with was based on that Blue Oyster Cult lettering and it

kind of became the cliche for the heavy metal thing.

When I use the word cliche I'm really thinking of it more in terms of

appropriateness. It could be just the obvious that is just the right thing.

There's nothing wrong with that. Now it just is part of our culture.

If a logo has been working and is recognizable and the company has spent millions of

dollars to promote it, there's probably very little reason to redesign that logo.

It is a fashion business. There are styles that change and typography that

changes and images that change but what you want is you want your audience to see

this and it will remind you of that entity.

That's when a logo works. That's when it becomes timeless.

We need the logo so that people will be

cued into who we are and what we do. The world has evolved, the technology has

evolved but in fact our approach has been constant. It should be simple, it

should be well drawn and should be interesting. A logo can't express everything

but it should definitely express the thing that's the most important,

the thing that needs to be expressed.