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How to Design Logos, Symbols & Icons: 24 Internationally Renowned Studios Reveal How They Develop Trademarks for Print and New Media [Hardcover]

Gregory Thomas
4.3 out of 5 stars  See all reviews (6 customer reviews)

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Book Description

Oct. 15 2000
Logos are everywhere. You can't walk down a supermarket aisle, open a magazine, drive down the highway or turn on tv without being pummeled with graphic IDs that shout, "Apple Computers!" or "Nike!" or "Purina!"

Now see where great logos, symbols and icons come from. If you want to understand what makes them "tick"--what makes them good--then look here. This is not your typical collection of neat-and-polished, finished designs. This book steps into the international studios of top designers as ideas happen--to show you what worked, what didn't, and why. You'll even get an up-close and personal look at the making of symbols and icons--two fast-growing, but rarely covered, fields of design.

Inside, case studies illustrate the evolution of logos, symbols and icons created for a variety of clients, from small, start-up businesses to large corporations. You'll get the whole creative story--from the initial client briefing ... through early roughs and intermediary sketches ... to the ultimate, finished design. Don't miss this rare, real-world look at how designers sum up a business or a product in a single, graphic signature.


Product Details


Product Description

From the Inside Flap

This book explores a broad range of design projects, strategies and creative processes. You'll see how marks were designed for banks and non-profit organizations, feature films and churches ... for mergers, globalizations and diversifications. For each project, you'll get the whole story of how the logo, symbol or icon evolved smoothly (or not so smoothly) from the original concept, including:

- where ideas came from, whether instant inspirations or 2am breakthroughs
- different directions that were considered
- how initial roughs were influenced and shaped by the principles of good design and the realities of the client
- how the final design was adapted to use in various formats, from brochures and business cards to trucks and street banners

Includes the design strategies of:
Agnew Moyer Smith for Pittsburgh Children's Museum
Archetype Studio for Eudora
Carbone Smolan Associates for Chicago Orchestra Hall
Carlos Segura for Gene5
Chermayeff & Geysmar for TimeWarner
Enterprise IG for Detroit Edison
frog for frog's new identity
IBM for e-commerce
Imaginary Forces for The Island of Dr. Moreau
Landor Associates for Banco Bradesco
Malcolm Grear Designers for The Presbyterian Church
Metadesign Berlin for Volkswagon
Netscape/ MetaDesign San Francisco for Netcenter
Pentagram New York for Fashion Center New York
Pentagram San Francisco for Sony Metreon
Petrula Vrontikis for Two Lane Media
Qwer for Expo2000Hannover
Raymond Pirouz for Raymond Pirouz Identity
Selbert Perkins Design for L.A. World Airports
Skolos Wedell for Supersonic
Stan Evenson Group for ERAS Center
The Leonhardt Group for Experience Music Project

About the Author

For over 18 years, Gregory Thomas has been the owner and principal of Gregory Thomas Associates, a Santa Monica-based design consultancy that specializes in corporate communications literature and direct response materials. The award-winning company produces a diverse range of strategic marketing support collateral for an international client list that includes CBS, IBM, Levi Strauss & Company, Yale University, the Australian Tourist Commission, and MCA/Universal Pictures. For the last two years, Thomas has also been the Chair of Graphic Design at Art Center College of Design in Pasadena, and for the past six years he has maintained the position of Instructor of Identity Systems there.

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Customer Reviews

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Most helpful customer reviews
3.0 out of 5 stars More Coffee Table Than Professional Book July 8 2002
By Allan
How To Design Logos (Forget about symbols and icons, there is maybe two or three pages on these aspects in the book.) is more for a general audience than the professional designer.
It has 24 studios working on projects from large to small. One thing I immediately noticed was the influence of the "net" design style of most of the projects. Having been published in late 2000, before the dot bomb era: this was where the bread and butter for these shops was developing. Alas, now they must go elsewhere and their designs after only a year or two seem dated.
I believe it is a good book for the non-professional. Each project has a small write up on how the design was done. These write up are no way an indepth study of the rendering of the logo. It does have great graphics and examples of the development of the logos.
For the coffee table or non-professional I gave it three stars, but if you are looking for professional advice I would give it two.
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5.0 out of 5 stars Excellent study of how logos are developed. Dec 27 2001
Buy this book! This is a terrific resource for any designer, art director or student wanting to learn more about how a logo or brand evolves from the drawing board to the billboard.
I'm making this required reading for my designers!
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5.0 out of 5 stars Response to the reader from Manhattan Beach, CA Feb. 2 2001
By A Customer
I have to say that I do and don't agree with the reader from Manhattan Beach, CA. I agree that reaching a target audience is very important in any identity system. This book, as stated, is designed not just for the art director or the designer, but for student, the entrepeneur, the marketing manager, the high level executive (i.e. CEO, CMO) Etc. According to the review, this book has achieved that goal with flying colors. I have to disagree with the rest of the review. This book's other goal was to enlighten the reader as to the process behind the final logo. To say that the range of logos in the book is average to excellent misses the whole point. It is not a ranking book like so many other logo books. Each logo was simply supposed to represent the very different processes and solutions possible. They were supposed to inspire the creative process and educate the reader (prospective client maybe) on what the process involves. If you follow the purpose of the book, they each stand on their own as excellent examples of creatively tackling the design process. In reading this book, the Philharmonic example was meant to show that although the computer is heavily used today, some ideas still rely on old solutions. In this case, there is no need to show other concepts. It would be hard to illustrate all the concepts and try to make the same point in four pages. Overall, this is a successful book on branding, identity and design.
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