[...] doubt, one of the most highly-acclaimed designers in the profession. He graciously agreed to answer your questions here on Logo Design [...]

My question to Mr. Geismar would be to ask him if he had any stories regarding any perticular logo or identity direction that didn’t make the final cut or that he thought was stronger/more appropriate and prehaps elaborate on that.

and/or

Considering the nature of political cartoons and their use of corporate logos as satire or commentary, does he have any funny or favorite examples or instances using or making reference to any of the logos from Chermayeff & Geismar?

Really looking forward to this interview, some great questions so far and any of the above work for me.

Thank again,

HMK

I can’t believe the Chase logo was designed in 1961! Amazing.

Congratulations on the opportunity to present a reader generated interview to Mr. Geismar.

I have one question…

“After a lifetime of working in the field, would you choose to be a designer in the present landscape of communication design?”

Thank you for the opportunity.

At first I wanted to compare your work to Mouton Rothschild 1982 that scores 100 with Robert Parker but then I realized that you have started your work way before the wine was bottled so I guess I should be using a 1961 Latour as a compliment…

My question is related to “Print Production” and the boundary limitation it imposes on the work of the “Graphic Design Community”.

Coming from the print production side I find out that some of my customers are frustrated by the work they receive for print stating that they need to correct various elements of the jobs and that some of the colors are just not going to come out the way the designer envisioned.

The most common argument coming out from the Design School professors is that we should not limit the designer by the scope of current print production technology and that they should push for new boundaries hoping that the technology will catch up…

In some cases the job becomes too expensive to correct or to match up and leaving the print buyer, the designer and the printer all but frustrated!

I’d love to hear your thoughts and observation.

Thanks and good luck, Itzhak Pearl.

How do you decide whether or not to use:
wordmark vs letterform vs emblem vs pictorial vs abstract

And not to lead the question, but … do you go with (more-or-less) what the client’s industry tends to lean toward?

I’m also curious to know what Tom thought of Saul Bass personally & professionally?

Good luck!