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

Published on Logo Design Love

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Seawater Greenhouse is a company dealing in sustainable irrigation systems.

“The Seawater Greenhouse provides a low-cost solution by enabling year-round crop production in some of the world’s hottest and driest regions. It does this using seawater and sunlight. The technology imitates natural processes, helping to restore the environment while significantly reducing the operating costs of greenhouse horticulture.”

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Update:
Designed back in 2003 (thanks John)

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Catch Dowling Duncan on Twitter.

Related: 10 lovely monograms

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“Unilever, the Anglo Dutch company with a portfolio of well known brands within nutrition, hygiene, and personal care. They appointed Wolff Olins to help create a new brand for the company, clearly expressing it’s vitality mission.

“The logo consists of twenty six icons intricately woven together to form a U, replacing the old logo that had been used since 1970. Working with creative director Lee Coomber, we used a fluid creative process whereby we thought about how and what Unilever does, whilst drawing icons and the U simultaneously.”
— MILES NEWLYN

From Miles Newlyn‘s website.

Unilever icons explained

Above images from Unilever

Above image from Unilever’s flower advert

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“In designing the identity we wanted to find a logo that was both aspirational and true to the heart of the country; the use of a percolating image encapsulates the energy and optimism that draws people to the United States.”
— WALLY KRANTZ, THE BRAND UNION

JWT will launch an ad campaign in March 2012.

Images and commentary on Creative Review and Brand New.

Armin summed it with, “the whole aggregation/sum-of-its-parts concept is always a Board of Directors-pleasing pitch.”

Press release on Marketwire.

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“Matías Nadal’s initials in stencil, MN, form a music keyboard, his main tool for expression when composing music. Five logos together form the whole keyboard and can be used to further develop the graphic system.

“The result is a conceptually strong icon that is powerful and intrasferable (it represents the client’s initials). It’s made to last in time, trend-free and neutral enough to represent a wide variety of musical styles.

“The monochrome solution is given by the black and white keyboard, therefore, keeping the production budget to the minimum without looking poor.”

I’m fairly sure this idea won a D&AD award, but at the time of writing, something funky’s happening with the D&AD website (maybe just me).

View more from Rocío Martinavarro. You can follow Rocío on Twitter, too.

Via Stylo Design.

Other monograms in the LDL archives:
Goodby, Silverstein & Partners
University of Sussex
10 lovely monograms

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“Some of the best logos are obvious, that’s what makes them resilient.”
— MICHAEL BIERUT

Red Cross, designed by Henri Dunant, 1863

Penguin, designed by Jan Tschichold, 1949

Blue Circle, designed by F H K Henrion, 1970

Puma

Shell, designed by Raymond Loewy, 1971

Apple, designed by Rob Janoff, 1977 (updated 1999)

Bell System, designed by Saul Bass, 1969

Greyhound, designed by Raymond Loewy, mid-1950s, (updated 2010 by Ajana Green of BSSP)

Chevron, designed by Lippincott Mercer, 1969 (updated 2005)

Sometimes, the design is in the name, and there’s nothing wrong with that.

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There’s a lot of gold in them there fields. At least there was in the fields of Broighter, Limavady. In 1896 a local ploughman, Thomas Nicholl unearthed Ireland’s most important archaeological find “The Broighter Hoard.” It’s now on the same land that golden rapeseed oil is harvested, cold-pressed and bottled by the Kane family. We created a strong elegant brand to position the oil as a premium local product. The symbol is our interpretation of the golden torque, one of the most impressive pieces in the hoard.

—

Quoted from the HBD website.

I love how the negative space in the stylised torque also gives the impression of oil flowing from the bottle.

View more work in the Hamill Boskett Dempsey portfolio.

You can follow HBD on Twitter, too.

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In 1986, Steve Jobs hired Paul Rand to design a logo for his NeXT educational computer company. Like Antonio, I don’t love the design, but we can learn a lot from the way in which Rand presented his idea to Jobs.

“The only thing Rand knew was that the mysterious NeXT computer was a black cube. With this scant yet meaningful intelligence, Rand developed a unique proposal book for the mark that walked the reader — Mr Jobs — through the step-by-step conceptual process to the final, logical outcome.”

Quoting Steven Heller who shared scans from Rand’s NeXT logo book.

More scans here on imprint, and you can see higher quality photos of the NeXT book by scrolling to the “presentation” section on this page of paul-rand.com.

Steve Jobs was interviewed about working with Paul Rand, and said:

“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.’”

Here are a few Paul Rand YouTube videos elsewhere on Logo Design Love:

Paul Rand interview
A conversation with Paul Rand
Don’t try to be original. Just try to be good.

Hat-tip @BlairThomson.

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In 2004, the University of Sussex brand identity (a DBA Design Effectiveness Awards winner) was implemented by London-based Blast.

It’s a great example of how identity design can become part of our language, with the university’s monogram “us” being integrated into promotional phrases.

explore us
count on us
about us
know us

Good design thinking.

Exeter-based studio Believe in produced a similar result for Amanda Marsden’s salon and spa, using the “am” monogram to form statements such as, “am beautiful,” “am natural,” “am relaxed.”

10 points for a similar example.

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Brief:
To design the corporate identity for an organ donation initiative. Since it was our only tool of communication, the design had to instantly convey the message of organ donation. Whatever we designed had to strike an emotional chord and subtly prompt people to open up to the idea.

Creative execution:
When you pledge an organ, you gift someone a new life. We simply brought this insight to life through our design.

Straight from the school of Bob Gill.

Just try not to think of Storage Deluxe.

Seen on Ads of the World. By Dubai-based ad agency DDB. Via Brand New.

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