What was your role, and where did you work?

One of the well-known logo design companies hired me as a search engine optimization manager, and I filled the role for several years before choosing to start my own business. When I was hired we were already ranking very well for hundreds of design-related terms, but were struggling to keep up with the fierce search competition for key phrases like “logo design.”

I worked in the company’s main office with a team of six search managers. There was quite a number of employees that worked in the building with us, including logo designers, sales reps, and a few web designers/programmers. For privacy reasons I cannot give an exact location.

What tasks were the search team responsible for?

The team carried out several key activities to help achieve and maintain a #1 search engine ranking for the term “logo design.” These activities involved creating keyword-rich pages, submitting the website to directories, and contacting bloggers and design websites for link exchanges (we would link to them from one of our lesser-known blogs or smaller one-off websites and they would link back to our main website with keyword-rich anchor text). We knew we were giving them a link that was of less value than what they were giving us.

As well as the salaries of the search marketing team, the company would spend an absurd amount of money each month on links from high-profiled websites.

A lot of the search staff clearly had no idea how to optimize a website for the best search results, but because the company was investing so much in search campaigns we were ranking within the top two positions for hundreds of high-volume keywords.

For every dollar invested in a search campaign we would regularly get ten times that amount back.

Can independent designers out-rank such companies?

Competing for quality keywords would be difficult to do today, but it’s definitely not impossible. After leaving the logo design company I’ve worked with several freelance designers. We’ve found a lot of ways to outrank the big spenders.

The main SEO mistake made by big companies is they ignore the power of great content. Instead they focus on paid campaigns and “grey hat” practices. A small design blog with a remarkably helpful design article (one that is optimized not just for search engines, but real human beings) can very easily outrank most design companies.

Did these grey hat SEO practices ever result in problems with search engines?

The practices were grey hat simply because a lot of them had never been tried before. We worked closely with companies like SEOmoz to ensure we were pushing boundaries as opposed to pushing buttons. Occasionally, however, we’d see some backlash from Google as a result of something we did (embedding actual links in image formats, for example), but we never faced a penalty.

Subscribing to the SEOmoz pro tools helped me several times, although you can find free alternatives elsewhere.

What SEO tips can you offer independent graphic designers?

If you want to win the “logo design” search game against the larger companies, my advice is three-fold:

1. Focus on building quality content for your website
2. Network by helping other designers
3. Hang in there

View the original post: The folly of logo design SEO.

Grey hat image credit

Published on Logo Design Love

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From a recent interview with Pentagram partner Michael Bierut.

“The truth about logos is that they are not that hard to do. If you ask people in the US what logos they like and recognise, they’ll name Target or Nike. Target for example, is just a dot with a circle around it, that’s all it is, so if you want a logo like Target, you don’t need to hire a designer, you barely need to know how to operate a computer program, the logo may as well be anything. God knows we do a lot of them here, but I think the best work in the area comes down to what most designers would agree on: the obvious thing, it’s not the actual logo but how it is used.”

[...]

“There is this peculiar obsession with kerning on Brand New. I’ve realised that it’s because that’s what a lot of the people who comment on the site do during their work day: kern type. They don’t spend a lot of time presenting challenging identities to tough, cynical boards of directors at major corporations. A lot of them would never have done that, but they’ve adjusted the space between letters and it’s something they can react to with absolute authority. It’s fun, it’s anyone’s game, and everyone can have an opinion on a logo. I try to take it all with a grain of salt; I’ve never taken them seriously. I think that you could design a terrible logo for a good company with great people and they could build it into a great program. Alternatively you could design what seems to be a brilliant logo for people who are not smart or energetic or are incapable of associating with anything positive and it would become a terrible logo.”

Read the full interview on Facing Sideways.

Michael Bierut was involved in these previously featured Pentagram projects:

• Library Initiative
• Urban Green
• Bobby’s Burger Palace
• The Oak Bar

Published on Logo Design Love

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In 1986, Steve Jobs recruited renowned graphic designer Paul Rand to create a brand identity costing $100,000. Rand created a 100-page brochure detailing the brand, including the precise angle used for the logo (28°) and a new company name, NeXT.

Heller, Steven; Helfand, Jessica; Lois, George (2000). Paul Rand. Phaidon Press. p256. NeXT on Wikipedia.

Image courtesy of Paul-Rand.com

Steve Jobs on working with Rand:

“I asked him if he would come up with a few options, and he said, ‘No, I will solve your problem for you and you will pay me. You don’t have to use the solution. If you want options go talk to other people.’”

Classic Paul Rand.

More Paul Rand blog posts on Logo Design Love:

• All about Paul Rand
• An interview with Paul Rand
• Paul Rand chatting with design students
• “Don’t try to be original. Just try to be good.”

Published on Logo Design Love

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In this post, Blair Thomson of Devon-based agency biz-R takes time-out to interview Belgian-born “Lord of the Logos,” Christophe Szpajdel (pronounced “shpydel”). There’s also a chance for you to win a signed copy of Szpajdel’s book.

The style of design featured is part of a small niche, and different to the normal posts here on Logo Design Love. But it’s also very recognisable within its field, and the same rules of branding apply — simply at the other extreme (like the music it represents). Szpajdel’s illustration skills are also adaptable to more mainstream graphics work and could cross over into many other areas of design.

At what age did you first become interested in logos?

My interest in logos came at the age of seven when I saw the Kiss logo. That was back in 1977, and is what sparked my creativity for logo making.

I also particularly liked the logos of Black Sabbath and Led Zeppelin. It was at the age of 17, however, when I really became fascinated by designs such as those for Venom, Kreator, King Diamond, and Possessed.

Were you interested in drawing and this developed into logos, or did you always like branding?

I’ve always found something fascinating about logos, especially the Art Nouveau and Art Deco logos from the beginning of last century. These were the most amazing gems. Have you seen such beautiful brand logos like Tropon for example? I think Art Nouveau and nature were always to be associated as one, and the first thing I started to draw were plants and animals. Art Nouveau is itself the cult of nature.

Do you admire logo and identity design from outside of the metal world that you have become infamous?

Some product brand logos can be cool, like Relentless, for example. Even today this logo still fascinates me. I’m also very keen on some of the variations of the Animal, Billabong, and Warlord clothing logos.

I actually create quite a bunch of non-metal logos like the CRAS logo, a Tulsa based society that projects old forgotten gem movies from the 20′s to the 40′s. I designed several personal brand logos for people such as Dawn Hemsley, Deborah Dean, Pamela Smith, Vicky Sanchez, Maxine Ridd, and Paula Whitfield, and also illustrated for Paula Whitfield’s book The Repertoire of Delusions.

So yes, I explored identity design outside the metal world and it worked even better because non-metal clients were unfamiliar to the existence of this world. At some point, since creating my account on Facebook, I realized there was a completely new public gaining interest in world yet unknown to them — the world of logos.

How do most of your clients find you?

They mostly find me by word of mouth, but there was a massive increase of interest since i joined Facebook, and since I was interviewed in such magazines as VICE, Metal Hammer, Metal Maniacs, and Terrorizer. That made my name reach even more secluded circles of interests that I would never have thought of before. The Internet had a massive impact.

What is your favourite self-created logo?

It’s hard to pick just one favorite, so I’ll mention a couple of favorites from each style. Emperor and Abigail Williams among the classics, Morgawr and Anamorph among the Art Nouveau ones, Deborah Dean and Disciples Of The Watch for the Art Deco feel, Wolves In The Throne Room and Chasma for the Deressiv’Moderne current, The Obliterate Plague for its simplicity and efficiency, Samantha Byrne for the enigmatic pose with came as a doppelganger of the Glorior Belli logo created by Valnoir Artfield de Lautrec.

What logo do you wish you had created?

I wish i could have created the logo of Dragged Into Sunlight, since this is my absolute to favorite band and my absolute favorite logo, but I designed a logo for his other project, Ninkharsag, which is in my book. Other logos I wish I had created are Demoncy (USBM heroes), Sarcofago, Mutilator Immolith, Venom, Shores Of Melancholy, Burning Of Sodom. I never had the chance to get hold of any of these bands that inspired my creativity with their amazing music.

Your work is extremely detailed. How long would a typical design take?

It takes a minimum of two weeks and can last up to six weeks or more. It depends if it’s a complicated logo, and if the client requires lots of changes, as was the case with Seize The Soul, Namter, Animus Mortis, The Wounded Kings — all very fussy clients. I would actually rate them as “Clients From Hell” because they truly are! I am also a very meticulous person, paying attention to every detail.

I understand that you recently created a logo for Really Interesting Group (aka RIG), who designer and blogger Ben Terrett operates. How did this compare to working with musicians?

Image credit: Noisy Decent Graphics

Actually, that was something very simple, i never thought it would be for a group. I first thought it was for a band called RIG and thought oil rig. I asked Ben Terrett for as much detail as possible and he was fairly laconic in what he wanted. I digged a bit more and found out he loves AC/DC as lettering, so i created a very simple logo. After that, I got a lot of interest, and this is how i met you, Blair, and even more interesting is that you just live next door to me! How cool is that?

Working with musicians generally takes me longer and requires me to come up with more changes during the run of the work. I often have to give further cracks on logos, and as I’m telling you all this, I’m working on a fourth logo for “client from hell,” The Wounded Kings.

What inspires you?

Mostly and primarily, I am inspired by nature, but over the last decade, I opened my interest to art, especially Art Nouveau for its flowing motives, and Art Deco/Modernism for its geometry. Anger is something that helps me in coming up with a great logo for an aggressive metal band.

The tranquility of shorelines gave me inspiration to create some flowing logos that needed a more relaxed state of mind.

Tell us about the book — how did that come about?

Gestalten have produced some beautiful books on logo design. In march last year, after the interview I gave to VICE (yes, they have been taking the mick out of me, but great, they turned me into a weirdo) and the feature in the Compendium “Logos from Hell” by Mark Riddick, I got approached by Hendrik Hellige whom I met in Berlin by the end of May. Then in June, the big boss of Gestalten, Julian Sorge, concluded the contract and in September I supplied all my logos.

In October I created the logo for the cover, and finally, at the end of January the book was released. I didn’t interfere at any time with the process of assembling the book, as I gave Gestalten my full trust. They did a wonderful job juxtaposing the photos I took in different parts of the world (mostly Whiskey Town Lake in Northern California, Mount Hood in Oregon, Dartmoor, and the Southwest Coast Path in Devon).

The result is amazing and I am more than delighted with the work of Gestalten. Finally I can regard this book as my child. It really is a part of me.

Do you have any advice for budding logo designers — metal or otherwise?

It is better to specialize yourself in something you really feel for. Try to find as many inspirational surroundings as possible to unleash your creativity. That is something that also applies to artists who want to reach the general public as well the metal public.

Win a signed copy of Szpajdel’s book Lord of the Logos

From the Gestalten website:

“This book is a collection of work by Christophe Szpajdel, an artist whose fans in the underground black metal community worship him as the Lord of the Logos. It includes hundreds of powerful logos, each of which captures the force of this musical genre anew. Through his surprising use of aesthetic influences such as art deco and nature, Szpajdel has brought a new dynamic into the gothic visuality of heavy metal. This publication, which is done in the style of a black prayerbook, shows not only how he has succeeded in leaving his own visual mark on this music, but how he has also expanded the canon of forms it uses.”

Release: January 2010
Price: € 35,00 / $ 55,00 / £ 32,50
Format: 21 × 26 cm
Features: 272 pages, full color, softcover, gold embossing
ISBN: 978-3-89955-282-9

To enter the draw, leave a comment naming someone you want to see interviewed on Logo Design Love. One commenter will be chosen randomly on Friday 26th February, notified by email, and posted here.

——

Update: Friday 26th February
The randomly drawn winner is Alicia Viera. Congratulations! You’ve been sent an email with details on how to collect.

——

Thanks very much to Blair Thomson for conducting the interview, and to Christophe Szpajdel for taking part.

Published on Logo Design Love

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Having created iconic logos for Mobil Oil, New York University, Chase Bank, National Geographic, and many more, Tom Geismar is one of the most highly-acclaimed designers in the profession. He graciously agreed to answer your questions here on Logo Design Love.

Tom Geismar

Q. Has your approach to design changed over the years, and if so, how, and why?

A. I know it’s something of a cliché to say this, but we really do view graphic design, and especially logo design, as a problem solving process, a process not dissimilar to that used in other related disciplines such as architecture and engineering. The initial task is to understand and define what the issues are, and what the goals should be. With that background in mind, we strive to come up with the best possible design “solution” to the problem, using imagination and artistic invention to create something memorable and meaningful. In that sense, our approach has not changed at all. The way we went about designing logos for Armani Exchange and the Library of Congress in 2008 is essentially the same as the way we went about designing logos for Chase and Mobil in the 1960’s.

Q. Do you think design has been overcomplicated with marketing analysis? Do we think “too much”? Have we essentially lost sight of simplicity?

A. The issue isn’t whether “we think too much”, it’s whether we accept marketing analysis as the last word, or simply as one piece of the larger puzzle, and recognize that it only reflects what has been, not what could be. From a logo design viewpoint, an entity with a clear definition of its goals and aspirations makes the job a lot easier.

Q. How large a role does sketching on paper play in your design process?

A. For me, sketching on paper still plays a key role in my design, mainly because I find at the beginning of the design phase it is a much faster way to try out ideas, and variations on ideas. Sketching also allows me to indicate certain forms, especially curves, that I find difficult and cumbersome with the computer. And sketching allows me to suggest an idea or concept, while drawing with the computer leads very quickly to a sharply defined object. Of course, once an idea is more fully developed, the computer is a great way to study variations in color, form, etc.

National Geographic logo, 2002

Q. When creating a logo, what influences your decision to use a wordmark vs letterform vs emblem vs pictorial vs abstract symbol?

A. The decision on how to approach a logo design is very much determined by how we define the issues involved, including the name, the type of organization, how the name will be used, etc. For example, if you have a client with a short, distinctive name, perhaps a wordmark would be the best approach. In 2005 we took this approach with Hearst Corporation, which had a number of operating divisions that all used the Hearst name followed by a descriptive word, such as Hearst Magazines. So we developed a distinctive bold wordmark for Hearst, and a contrasting type style for the generic descriptors that followed.

Hearst Corporation logo, 2005

Q. Can you share some advice or great stories on selling ideas to clients?

A. Logos are funny things. At first they are just designs on paper. Eventually they come to embody all the qualities of the organization they represent, and most people cannot separate the “design” from their full range of opinions about the organization. The hard task the designer faces is trying to help the client see how the logo might eventually be perceived, how it will work for them, not just whether they “like it”. We learned this lesson early on when we first presented the Chase symbol to the chief executives of the bank. The man who was then Chairman said he would go along the decision of the others, but personally he hated it and did not want to see it on his letterhead his business card, or anywhere in his office. Six months later we ran into him at the bank. He was wearing a pin with the symbol in his lapel, and a tie-tack with the symbol holding a tie that was itself a pattern of the symbol. To him, the mark was no longer just an abstract design, it had become the representation of his organization.

Chase Bank logo, 1961

Q. You have completed work for Mobil and PBS, two companies on opposite sides of the political spectrum. Is it a designer’s responsibility to consider the companies for which he works and their effect on society? How do you reconcile working with a company that you disagree with philosophically or ethically?

A. You have to work for people whom you respect. Over the years we have refused to work on various projects because we would feel uncomfortable doing so. But the issue is a complex one. For example, on the surface, perhaps Mobil and PBS might seem to be on opposite sides of the political spectrum, but during the many years we worked for Mobil (before the takeover by EXXON), it was the most progressive of the major oil companies, explicitly stating their positions, championing good design, doing impressive public-interest advertising and being, in fact, one of the major benefactors of PBS, along with numerous cultural and art institutions. In short, we respected Mobil and its people, even if we didn’t always agree with their positions.

Mobil Oil Corporation logo, 1964

PBS (Public Broadcasting Service) logo, 1984

Q. Do you work for non-profit as well as profit-making organizations, and, if so, how do they differ?

A. Yes, in fact many of our recent clients are non-profit or governmental organizations. It’s easy to agree with their positions, but working with them is not very different from working with a profit-making organization.

Univision logo, 1989

Q. Have you designed a particular logo that didn’t make the final cut or that you thought was stronger than what the client ultimately chose?

A. This has happened to us on various occasions. We do our best to convince our clients to go with the mark we feel is the strongest, but for a variety of reasons that’s not always how the project ends up. On the other hand, while we study a great many alternatives, we try never to present to our clients any designs that we cannot stand behind.

National Aquarium in Baltimore logo, 1980

New York University logo, 1965

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

A. I feel fortunate to have spent my entire working life as a graphic designer, and being part of a small organization where I could interact with talented partners. As an independent designer, whether on your own or part of a firm, one is exposed to many different people involved in a wide range of activities. If curious, you can learn a great deal. Today the field is much broader than it was when we started, and it’s more competitive. Yet the opportunities are great for someone who is curious about the world, interested in defining and solving problems, and passionate about design.

The partners of Chermayeff & Geismar, New York—from left to right: Ivan Chermayeff, Tom Geismar, and Sagi Haviv

Visit the Chermayeff & Geismar website for an iconic design portfolio.

To Tom, to Chermayeff & Geismar‘s communications director Chris, and to you, thanks very much. You posed many more excellent questions, but alas, Tom’s a busy man, and we could only have so much of his time. Apologies if your question wasn’t answered.

Published on Logo Design Love

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Obama’s healthcare logo making news for no apparent reason (via @chadengle).

RT @pentagramdesign New Work: Chicken Now: new identity for fast food restaurant.

“Own Energy” identity design (by @martin_boath).

[video] Google Chrome logo recreated with LEGO (via @downwithdesign).

Do you know your brand alphabet?

The revised Pepsi vs Coca-Cola identity timeline.

Interview with Rob Janoff, designer of the Apple logo (via @ucllc).

E. Tautz identity (by @movingbrands).

300+ Google logos (via @DesignerDepot).

A little off-topic, but I’ve stopped using tr.im as my URL shortener of choice, preferring bit.ly. The former was (is?) having some site overload issues, rendering every tr.im link unusable (or very slow to load). Both services offer statistics, but after a week of using bit.ly, I think I prefer theirs.

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Paul Rand interview: part one

Paul Rand interview: part two

Paul Rand interview: part three

The interviewer is graphic designer Miggs Burroughs, and it’s great to see that almost 20 years later he still sports the same hairstyle.

For more info on the late, world-renowned graphic designer, here’s a blog post from the Logo Design Love archives: All about Paul Rand.

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Pentagram partner Kit Hinrichs talks about his experiences in a recent interview for the One Club.

Chronicle photo by Eric Luse

“People often assume the brand is the logo or symbol—and there’s no doubt that if that’s done well, it can give you a flavor for who the company is, whether they’re contemporary or traditional, and so forth. But I really see the brand as more than that logo or mark—it’s the totality of the way in which the company talks to its public.”

For the unaware, Kit helped design logos such as Luckyfish, CultureBus and California Academy of Sciences.

About companies looking for digital design as opposed to print:

“Obviously a change has taken place and is continuing to take place. Now, as we get involved with brands for companies, we’re showing them how it works in print and digitally—and really, in all media, not even just limited to print or the web. Is the idea something you can make 3-dimensional, can you animate it?”

More Kit Hinrichs

• Kit Hinrichs, on the Pentagram website
• Pentagram’s Kit Hinrichs talks about good design, on CreativePro.com (from 2004)
• Photo slideshow, on SF Gate

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• Project Projects

At the end of 2006, Mode, a motion design studio in Chicago, approached Sol Sender, a graphic designer, to create a logo for Barack Obama’s presidential campaign. The resulting “O” became one of the most recognizable political logos in recent history. Steven Heller spoke with Mr. Sender just after the election to discuss the evolution of his logo.

Steven Heller: How many iterations did you go through before deciding on this “O”? Was it your first idea?

Sol Sender: We actually presented seven or eight options in the first round, and the one that was ultimately chosen was among these. In terms of our internal process, though, I believe the logo — as we now know it — came out of a second round of design explorations. At any rate, it happened quite quickly, all things considered. The entire undertaking took less than two weeks.

Read the full interview here in the New York Times.

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“Simplicity is not the goal. It is the by-product of a good idea and modest expectations.”
PAUL RAND

Even after his death in 1996, Paul Rand remains one of the most famous graphic designers in the world.

He was born Peretz Rosenbaum, on August 15th, 1914, and is reknowned for his corporate logo designs.

Rand was educated at the Pratt Institute (1929–1932), and the Art Students League (1933–1934). He was one of the originators of the Swiss Style of graphic design. From 1956 to 1969, and beginning again in 1974, Rand taught design at Yale University in New Haven, Connecticut. Rand was inducted into the New York Art Directors Club Hall of Fame in 1972. He designed many posters and corporate identities, including the logos for IBM, UPS and ABC. Rand died of cancer on November 26th, 1996, and is buried in Beth El Cemetery In Norwalk, CT.

Paul Rand logo designs

ABC
Designed 1962

“Should a logo be self-explanatory? It is only by association with a product, a service, a business, or a corporation that a logo takes on any real meaning. It derives its meaning and usefulness from the quality of that which it symbolizes. If a company is second rate, the logo will eventually be perceived as second rate. It is foolhardy to believe that a logo will do its job immediately, before an audience has been properly conditioned.”

IBM
Designed 1962

“A logo does not sell (directly), it identifies.”

UPS
Designed 1961

“I do not use humour consciously, I just go that way naturally. A well known example is my identity for United Parcels Service: to take an escutcheon – a medieval symbol which inevitably seems pompous today – and then stick a package on top of it, that is funny.”

Speak Up published a story back in 2005 about what is possibly Paul Rand’s final logo design. Nice article.

Paul Rand videos

The following links take you to external websites where you can watch short video clips (via YouTube) about Paul Rand. The interviews are particularly interesting, and certainly worth a look.

• Steve Jobs interview about working with Paul Rand (1993)
• Steven Heller interviews Paul Rand (1994)
• Paul Rand Tribute Film (2007)

More info about Paul Rand

Thank you to those people who have compiled the features and discussion below. I enjoyed learning more about the great designer that is Paul Rand.

The Paul Rand website

Michael Bierut talking about Paul Rand’s Enron logo

Paul Rand: Thoughts and despair on logo design

Typographica discussion about the UPS logo redesign

FormFiftyFive discussion about Paul Rand’s Ford logo design

Discussion about the redesign of Paul Rand’s EF logo

Flickr pool of Paul Rand’s work

Paul Rand on Wikipedia

Rand on modernism

“I haven’t changed my mind about modernism from the first day I ever did it…. It means integrity; it means honesty; it means the absence of sentimentality and the absence of nostalgia; it means simplicity; it means clarity. That’s what modernism means to me…”

Coming soon

This is the first in a series of resources on design icons, and coming up I’ll provide info on more of the world’s most famous logo designers.

Published on Logo Design Love

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