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There's a post about my position as Literacy Evangelist for the Cybils up on the Cybils blog today. I must admit that I do MUCH less work for the Cybils than the category organizers do. But I am always prepared to jump up and down and spread the word about the wonderfulness that is the Children's and Young Adult Bloggers' Literary Awards.
Also on the Cybils blog this week, in addition to profiles of the other organizers (this year's blog editor Ms. Yingling is posting those two per day), a timeless black and white version of our logo (created by the talented Sarah Stevenson). This was created in response to a request for a version without a year displayed, so that people wouldn't have to update their blogs so frequently. If you are a fan of the Cybils, feel free to display this (and perhaps link to the Cybils blog), to show your support. Updated Cafe Press Cybils bling will be coming soon.
I really love Jeremy Pruitt’s (aka Thinkmule) contribution to the AIGA Bordo Bello event. The skateboard art show, which runs now through July 3 features a gaggle of hot design talent and celebrates the Colorado lifestyle. Jeremy’s deck features seventeen custom logos, each loosely paying homage to a different aspect of Colorado’s rich and vibrant history. To see all the boards, visit the Bordo Bello website.
Also, be sure to check out Jeremy’s portfolio. Recently updated, the site hosts a curated collection of personal illustration and lettering work.
Two Times Elliot is a London-based studio, whose focus centers around print, identity and web. Their style is a mix of typographic elements, clean lines and bold color palettes, bringing each design to life with its own personality. I’m also impressed by their ability to incorporate mixed media into their work without disrupting the flow of the design.
Nick Brue is a graphic designer out of Minneapolis. In addition to his impressive work for Cue, an established branding firm in Minnesota, he has produced several intriguing designs on his own time. This includes his own wedding save-the-dates and invitations, and multiple identity projects. Though his designs are to the point, he does a great job of utilizing interesting color and texture to keep it fresh.
Even though I still had to go to their (not updated since 2008) website to figure exactly what the Juice Agency does, I liked this clever promo that uses playful iterations of their (I’m guessing new) logo.
Hello? Will you help me reach my target of “near infinity” logos? Will you help me populate image searches with these, my perfect language? It is starting to seem as though I may never realize this dream alone.
If you can use illustrator, and have 15 minutes to pump out a variation (examples) , I will send you a postcard in thanks. Then I will post your variation with credit.
E-mail hello AT rayfenwick.ca if interested. I will send you a template file with “instructions”.
Off Book is a web-original series from PBS Arts that explores cutting edge arts and the artists that make it. In the latest episode they explore the world of logos that surround us with design luminaries such as Stephen Heller, Kelli Anderson, Gerard Huerta and Sagi Haviv. See the full episode here.
Dennis Salvatier has a philosophy about graphic design. Great and effective design is the product of creativity, knowledge and information. He's been putting that philosophy into practice for 13 years, working with clients such as Lakeshore Learning Materials, Century 21, and Pacific Sunwear.
Salvatier Studios specializes in designing unforgettable and effective brand identities for small and mid-sized businesses. A powerful and memorable brand identity is essential for every company, and Dennis believes that branding services should be reasonably priced to fit the budget of each individual client - no matter their size.
Dennis states, "Branding doesn’t need to cost a million dollars, it just has to look like it did."
I’ve been playing a closed beta of the game for the past few weeks, and I’m complete addict. Its the perfect mix of Scrabble, Boggle, and Risk with short, but challenging turns that require some crafty strategy and a healthy vocabulary.
Brad Surcey is the designer director of Zeus Jones in Minneapolis. His projects include packaging and identity pieces, all possessing an air of elegant simplicity and functionality. His attention to detail is what takes his designs to the next level.
Will Miller is the creative director and lead designer of Firebelly design studio in Chicago, IL. Miller takes creativity to another level, and doesn’t rule out any possibilities when it comes to his design process. Taking no shortcuts, his passion is evident in his work.
It’s great when you find that one designer that can wear various design hats. Such is the case with Philadelphia’s Mikey Burton. Looking through his portfolio, I’m impressed with the amount, style and conceptual range of his work. The edgy boldness of the letterpress prints is a nice balance to some of the quieter, more restrained logos.
I love that kind of can-do, all encompassing approach to design. Mikey does it well, and it would appear he’s having a blast doing it!
I’ve been working on this site for a little while now and decided it was time for a new logo. All I’ve really had until now is the Potato-Boy header with the How to Draw Stuff type. Although I kind of like that little guy he’s hardly a logo.
The other day as I was jotting down some reminder notes an idea popped into my head. Luckily I was sitting at my computer so I decided to work it up in Adobe Illustrator while everything was still fresh in my mind.
I took a few snap shots as I went to show you how I typically work through the development stage and added my some of my thoughts to the captions. Unfortunately a few of the shots are a little on the small side so the notes below don’t read as well as they could, but I think you’ll get the idea as you go through them… I’ll try to fix those later. Note to self- zoom in, enlarge art, and leave a little white space before taking snapshots.
I’m pretty happy with the look of this one so far but I’ll probably revisit it at a later date and make a few tweaks. Sometimes the ideas go quick (like this one) other times I need to let them rattle around inside my head a little bit before they come out. I’d think I’ll add something a little more cartoon-ish to that space above the type on the right so it looks more like it belongs to the Bob Ostrom Studio family, but that’ll have to wait until I’m finished with my next set of deadlines.
Robert Sessler was born in the Swiss city of Bern in 1914. Robert first began experimenting with design during his late 20s at the Zurich School of Arts where he was trained under the Bauhaus instructor, Johannes Itten. In 1942 he left school to open his own studio and become a member of the Swiss Werkbund. He maintained his studio until 1953 when he was offered a position as the head of the graphic design department at the Saarbrucken School of Art in Germany. He continued to teach at Saarbrucken and later at the University of Saarland until his retirement in 1979.
Brochure for Cobalt / Sl-System 1961 - Designed by Robert Sessler
Some of you might remember when World of Logotypes made the rounds on the design blog circuit last year. If you missed out, Amy over at the excellent Aqua-Velvet blog has highlighted a few of her favorite logos from the book. View Part 1, Part 2, Part 3.
For my first post here at Grain Edit I’m going to share with you one of my favorite design books from my bookshelf: American Trademark Designs. Published in 1976 by Dover Books; Written and compiled by Barbara Baer Capitman. This book is chock full of 732 delicious black, bold, and inky vintage logos. My favorite aspect of this book is that it showcases extremely recognizable logos that have been stamped into the back of our eyelids (IBM, Mr. Peanut, Pepsi-Cola, Playboy) right alongside rarely seen identities created by tiny firms for tiny companies. Some marks are also showcased next to their former, replaced versions, displaying the brand’s evolution.
I’ve scanned some of my favorite graphics to share with you. A portion of this book is also available for view in Google Books, but it’s much more interesting on paper.
(Sunset Villas, luxury condominiums, a development of the International Group. Design by Robert Myitray of Michael Sehack Advertising)
(Irwin Memorial Blood Bank. Designed in 1970 by Walter Landor Associates.)
(Rohm and Haas, chemicals. Original wavy line and monogram used from 1917 to 1965)
(Vita Food Products, Brown & Williamson Company. Designed in 1969 by Gould & Associates.)
(Matlaws Food Products. Designed in 1971 by Gregory Fossella Associates.)
(Channels 8 & 9, closed-circuit television in Miami. Designed in 1963 by The Brothers Bogusky.)
Since graduating from the University of California, Davis in 1990, Steven Noble has mastered a wide range of detail and style within the scratchboard medium and has become internationally recognized for his work from clients as far away as Japan and Europe.
Over the years, Steven has become equally adept in the woodcut, pen and ink, traditional engraving and steel engraving styles, as well as a variety of stylized scratchboard techniques. His highly disciplined and complex line work is based on over 15 years of experience. To create the intricate details of his work, Steven carves very fine line strokes into pre-inked clay boards using X-Acto precision knives. He applies his labor intensive technique to a variety of medium, from bold woodcuts to very fine traditional 19 century steel engravings.
Here’s a special treat for Valentine’s Day. The BBC has just released a 30-minute radio documentary entitled I Heart Milton Glaser. The program includes audio snippets of Glaser as well as his contemporaries as they discuss the history and impact of the now iconic I ♥ NY design.
1976. Ink and tape on paper envelope, 2 7/8 x 3 5/8″ (7.3 x 9.2 cm). The Museum of Modern Art, New York.
Image, branding, and logos are obsessions of our age. Iconic images dominate the media. In his new book, Christ to Coke, art historian Professor Martin Kemp examines eleven mega-famous examples of icons, including the American flag, the image of Christ's face, the double helix of DNA, and the heart.
Tony Dispigna may be a very influential craftsman to today’s “throwback” design connoisseurs without many realizing. In 1969, shortly after graduating from Pratt, Tony joined forces at the legendary Lubalin Smith & Carnase. He has worked to produce notable classic typefaces like Lubalin Graph and Serif Gothic. Tony is currently a professor at Pratt and the New York Institute of Technology, and has also taught at SVA. Although much of Tony’s work is based on type, he also has a really good sense for creating wonderful logos, as you will see below.
Many thanks to GE regular Jeremy Pettis, who provided these scans on his flickr of a great article he found.