I can’t remember why I searched Twitter for ‘jkr’, but Jennie Spiller (a graphic designer at Turner Duckworth) appeared in the results. That, in turn, had me click on Jennie’s profile link pointing to The Disciples Of Design (TDOD), where I found this.

The TDOD post mentioned the 1962 experimental type booklet watching words move, by Ivan Chermayeff, Tom Geismar, and Robert Brownjohn. It was a new one for me (although probably not for you), so I Googled it, and found these spreads.

“First published in 1962, this work of experimental typography uses letters in a single typeface, Helvetica, to achieve surprising results — motion and narrative, emotion and humor.”

There are a few more images on Rebecca Woodcock’s blog.

Reminded me of this logo from my negative space collection.

Mouse, by johnson banks

But my point is…

Looks excellent, and goes to show, the definition of a word can be contained within the appearance of the word itself.

watching words move can be bought here:

on Amazon.com
on Amazon.co.uk

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Underplaying the heart symbol, in contrast to the Chinese cover. I’d be more than happy to send logo files if a publisher wanted.

Seems like the translation will be available at the end of August, and it’s already listed for sale on Amazon.co.jp.

Huge thanks to BNN (follow the publisher here on Twitter).

More translations.

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Perhaps I should’ve created a style guide.

More foreign cover samples.

Full list of available translations and purchase links.

—

Update:

Jin Yang kindly translated the text beneath the heart:

“Super Logo Design”
“International top layout designer’s rules to success”

—

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Forget the pyramids. Forget your other half.

Anderson Moreira on his honeymoon.

Massive appreciation.

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Not exactly a Wall of Fame. More a Wall of Massive Appreciation from me to you.

Row #1 (left to right)
Eric Zentner
Andrew Kelsall
Charles Riccardi
Andrew of Designable
#2
Paloma Simmering
David Macfarlane
Kris Askey
Maciej Wróblewski
#3
Mariusz Cieśla
Sam Halpin
Tin Duong
Emily Kane
#4
Curtis Mallett
Juan Magdaraog
Gustavo Falcon Mendoza
Rick Vanderleek
#5
Nirav Dave
Deirdre O’Lavery
Amanda Whiley
Deb Quintos Heyrana
#6
Ana
Lisa Mok
Zbyszek
Daniel O’Neill
#7
Sebastian Kostrubala
Jennifer Cuerlis
Sheana Firth
Damian
#8
Zhen X. Tan
Graham Murphy

Full-size photos in the Logo Design Love Facebook album.

Many thanks to the thousands of others out there who’ve picked-up my book.

Those who’ve yet to read are more than welcome to download a free chapter.

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Clever use of negative space.

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Page 12
The Royal Parks by Moon Brand
Designers: Richard Moon, Ceri Webber, Andy Locke
2006 1996

Page 27
Vision Capital by Moon Brand
Designer: Richard Moon Peter Dean
1990 2007

Sincere apologies to the Moon Brand team, and much appreciation to London-based Romanian designer Iancu Barbărasă for his detailed book review.

Page 36
English-based England-based designer Roy Smith was given the task of redesigning the logo.

Thanks very much to Chris Blizzard for catching that one.

If you’ve seen any others, please do let me know.

Logo Design Love: A Guide to Creating Iconic Brand Identities on Amazon.com.

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—

Then there are situations where the branding itself becomes toxic. As BP continued to fail in controlling its leak, a slick of parodies of the logo seeped into the collective consciousness. Elegant and green-leaning, the brand’s Helios symbol was intended in part to signify the company’s ambitions “beyond petroleum.”

No need to labour the irony. But some of the (much reproduced in the media) parodies strayed far from the topic and were reprinted with little context or explanation of their meaning. For example, the image above referenced a famous photograph of an execution during the Vietnam war. BP clearly don’t execute people. What had this to do with an oil spill? Nevertheless, this adaptation of BP’s logo showed up all over the press, with no editorial context added beyond “here is evidence of people’s anger towards BP.”

It’s going to be interesting to see if BP will attempt to rehabilitate its image via its current identity, or will instead be forced into an ignominious rebrand. Any brandmark is hostage to fortune and this fantastic identity became a powerful shorthand for failure and all manner of ills.

###

I’ve been guilty of jumping on bandwagons. Many of you will know that. But it’s not until you truly realise the work that’s involved in a brand identity campaign when you can see through the shallowness of certain press reports on redesigns/rebrands. Equally, as stated in the excerpt above, it’s almost as if context isn’t even necessary when there’s an apparent consensus against a particular thing. Rules go out the window. It’s easy that way.

I received a review copy of The Blue Lady book, released on 14th December 2010, and started thumbing through it earlier today. Each page offers a different feature, with titles such as “even no branding is branding,” “do we need celebrity designers,” “rise of the machines,” and “sex sells, but can it brand?” A decent read so far, asking good questions about relevant topics.

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Problem redefined:
Logo, when very large, as on the side of their delivery van, still seems very small.

Solution:
Regardless of how large the AGM, put it next to something which shows that it is small.

From Bob Gill’s great book Graphic Design as a Second Language.

Also by Bob Gill: Television Associates logo.

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David Macfarlane of Glasgow-based Macfarlane Creative (above, and here on Twitter). Love it, David.

Mariusz Cieśla, designer & UI developer (on Twitter).

Maciej Wróblewski — he’s read it twice you know.

UK-based Kris Askey.

Sam Halpin is another UK-based reader. Thanks, Sam.

Appropriately, Tin Duong lives in Loveland, Colorado. Tin’s on Twitter here.

Thanks very much, everyone. Brilliant.

Full-size photos in the Facebook album.

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