Bill Gardner: Sounds good. The true excellence of the book, however, is that it exposes the methods and practices of a variety of superb identity designers. So, you've got to... don't just draw a picture, don't just vastly look at this project but really consume the project, know everything you can about that particular industry or client so that you're creating something that is going to represent them again for generations to come. And at that point, we try and evaluate why each of these trends has happened. So I went to a different school, ultimately found my wife there, found out they didn't have much of a design program. They're dealing with motion and moving things from place to place.

Because Gardner is more than just a logo designer and author, he's a curator, archivist, critic and analyst in one. It's like it's one of those principles that originated in the 50s, in the 60s that we should start to question as a community. Logos have a genetic map, amassed through a mind-boggling array of different factors - from a brand's heritage to the current political climate, through to nationality, history and even the sound of the brand's name. In fact, a company that manufactures tires, what they're doing is they are dealing with the business of getting people from point A to point B. "Imagine for just a minute the British Telecom logo," says Gardner. Bill Gardner: They use a product called colorforms. But it was what was driving them towards why they didn't want to use the eye.

There's a lot more complex stuff that you could do now that you couldn't do then. He had a brand for, he and his father's ranch which was called The Diamond Bar. And I literally, I take a break from my family, I literally go through every single one of the logos that has been submitted. It's not the logo designs themselves that he finds so fascinating, but the way they work and what it is they say and do. That's when a logo works.". But does Gardner believe such an eagerness to rebrand is sustainable in the current climate? Not only do we look at the logos on LogoLounge, but we also look at logos from just general design from around the world, more significant new corporate identity packages. This shopping feature will continue to load items when the Enter key is pressed. Bill breaks all that down.

The story in question is more than just anecdotal, it's a metaphor for Gardner's expert appreciation of logo design and branding, and goes something like this... "When I was a college student in the early 80s I called up the great Saul Bass one day and asked if I could pay him a visit," he continues. Years ago, we were approached by a company that provided job opportunities to people that had visual impairments. ", Gardner goes on to explain this theory in more unvarnished terms.

If I'm going to be focused on design I need to put away something that I love and pursue an avenue that really can build a living for me. Logo Creed puts designers directly in touch with strong mentors who speak candidly about the processes that lead to successful designs. One, you track it back to when I really got into it as far as the actual practice of design. But I guess the point that I'm trying to express here is I don't want people to get so hung up on that, because-. I mean going into that. They just found other ways of demonstrating it as opposed to looking to use tools that used to be used to demonstrate vector art.
This is basic as it gets. When you're approached, the value that you bring to this is that you have this level of experience where you understand the way that the public responds to iconography and to symbology and what you can get away with and what you can't, and we're stewards of their brand when we do that. Bill Gardner: One of the biggest traps that young identity designers will get caught up with is this concept of being literal in what you're trying to communicate for a company, for an entity, for an organisation.

You start to take a look at what a company is doing, you could also say, gee, Michelin comes out and says, "What we're doing is we're providing that degree of comfort and safety for your family as opposed to we're making tires.". So does this hint at the nature of the perfect logo - one that can exist and speak for a brand independently of any other context, yet at the same time be pliable enough to adopt important trends as and when they appear?
And it's not uncommon for by the time you've gone through this, and sometimes it will take the better part of a week, to have upwards of maybe 100 or better clusters. To get the free app, enter your mobile phone number. And you go, "Oh, okay, well, this one also has that kind of little nuance and this one and this." Really tiny sizes that had to work on the back of a truck, that had to work in a newspaper magazine and so on. Bravo! Bill Gardner—the ebullient creator of LogoLounge—has made a career out of helping designers find inspiration and share their ideas with both clients and fellow creatives. But I think many did the same thing with logo, they're going very simple. Simplicity is king once again.

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