Logo Design

San Jacinto College selects Jill B Gilbert’s design for Quality Enhancement Plan

On April 20, San Jacinto College Vice-Chancellor Laurel Williamson, QEP Director Ann Pearson, and the QEP Committee announced that it selected Jill B Gilbert’s design to represent the program for the next five years (see the announcement here). The college’s Quality Enhancement Plan (QEP), Thinking and Beyond, promotes student success through critical thinking.

The winning design for San Jacinto College’s Quality Enhancement Program

Gilbert’s design addresses the “right brain” creative and “left brain” logical aspects of critical thinking, as well as the San Jacinto Monument, topped by a star, and a USB connector to symbolize how students are always plugged in—the connection between critical thinking and technology.

Viewed another way, the symbol depicts a launched rocket, shooting for the stars, with puffs of exhaust parting as the rocket travels upward. This is an homage to Houston, aka the Space City; Jill’s Dad, a rocket scientist, and her little brother who followed in his Dad’s footsteps.

Posted by Jill B Gilbert in Art, Branding, Design, Education, Graphics, Logo Design, Marketing

Last week, one of my French friends sent me a link to a PowerPoint presentation on the hidden meaning behind several corporate logos. I knew about the hidden arrow in the FedEx logo; the smiley face and lowercase letter “g” in the Goodwill logo; the smile and arrow from A to Z in the Amazon logo; and the hidden number 31 in the Baskin-Robbins logo. I know enough French to translate the captions on the slides.

Toyota Brand Mark

Today, I came across an English version in a blog post by Onextrapixel. It is a pleasant and quick read. The biggest surprise is the meaning of Toyota’s oval icon—it combines strokes for each of the English letters in the company name!

Tour de France brand mark shows a bicycle rider and the sun

Another favorite is Le Tour de France brand. The letter “R” depicts a bicycle rider and the letter “O” and the yellow circle represent two bicycle wheels and the sun; the ride takes place only during daylight hours.

Both of these brands have stood the test of time—they are crisp and memorable. Their hidden meanings make them more interesting.

Posted by Jill B Gilbert in Branding, Corporate Identity, Design, Illustration, Logo Design

Branding lessons well worth learning

A Fast Company Design article relates how Steve Jobs worked with legendary designer Paul Rand to develop a logo for NeXT Computer.

NeXT logo (Source: Wikimedia Commons)

Whether you have millions of dollars or a more modest marketing budget, the takeaways ring true.

  • A logo must be distinctive, memorable, and clear.
  • A logo derives meaning from the quality of the thing (product or service) it represents; brands, by themselves, don’t make companies successful.
  • The designer’s role is to solve a problem, not to suggest options.
  • Logomarks—symbols like the Nike swoosh—could cost $100 million, plus could take years to become well-known.
  • Once a brand is designed, you must communicate standards and guidelines for its usage throughout your company.
Posted by Jill B Gilbert in Branding, Corporate Identity, Design, Logo Design, Marketing, Standards

The stories behind Paul Rand’s logo designs

The Envato blog had an interesting post about the stories behind Paul Rand’s logo designs.

Born in Brooklyn in 1914, Paul Rand is responsible for some of the most iconic brand identities, including IBM, ABC, Westinghouse, UPS and Next Computer. Though he studied art at Pratt Institute, he claimed that he was self-taught. He was inspired by European commercial arts journals and European modern artists and started his career creating magazine spreads. Soon he created magazine covers, notably for Esquire. At 27, he headed an ad agency, incorporating art into what, in the past, was mostly copy.

By the 1950s Rand moved on to logo work. And the rest is history, as they say.

Paul Rand’s IBM Logo Design (Credit: Wikimedia Commons)

Good design is good business”  —Thomas Watson Jr., IBM

You can see some of the famous work here.

Posted by Jill B Gilbert in Branding, Corporate Identity, Design, Logo Design

Develop style guides for your design projects

Whether you are developing a 50-page Website, a small mobile phone app, or an annual report for a corporate client, you should get in the habit of developing a style guide.

Branding and style guides are important for projects large and small. They help to provide consistent messages about an organization and provide a degree of professionalism. Creative Bloq has a good post on this topic, with examples of thirteen style guides for famous organizations.

Client project style guide

The client’s goal was to refresh their brand and their Web site to draw more customers to their wellness practice and retail establishment. I prepared a simple style guide, using Adobe Illustrator. The Style Guide displays the brand, color chips for main and accent colors, typography and usage examples:

Style Guide | Nature’s Garden

Here is how the styles look when applied to a “mobile first” Website design. Note how the colors and the leaf motif are repeated throughout the page. The design works well on a smartphone, on a tablet or on a large HD screen.

Mobile View | Nature’s Garden
Responsive Home Page on Retina Display

University style guide

On a whim, I researched my alma mater’s color and brand guidelines. The Miami University is a nationally recognized Public Ivy, and its brand is particularly important. The brand must convey the Public Ivy experience.

The University uses different reds for print, Web and merchandise use. Several formal and informal logos are available for these uses. The use of certain “vintage” logos requires special permission.

The branding guidelines include logos, colors, typography and graphic elements. They encompass Web, print publications, social media, photos, use in athletic programs and more.

How people – alumni, students, future students, faculty and staff, fans, donors, and the public at large – feel about Miami University directly relates to the University’s success. In a sense, the brand speaks on the University’s behalf without saying a word. It represents who we are and what we stand for. It is the visual representation of our reputation.

Miami University Brand Guidelines

Here is the “M” spirit mark often used on sportswear and signs.

The Miami University Spirit Mark

Posted by Jill B Gilbert in Best Practices, Branding, Color, Corporate Identity, Graphics, Guidelines, Logo Design, Marketing, Standards, Typography, Web Design

Will bespoke typefaces replace Helvetica?

Bespoke typefaces are on the rise

Definition of Bespoke

More and more big companies commission their own typefaces, rather than relying upon the thousands of fonts readily available for marketing their goods and services.

Recent, notable bespoke typefaces

2018

This month, The Coca-Cola Company (TCCC) introduced its bespoke Unity font.  Depending on who you ask, some designers love it, and others hate it. Coca-Cola has used a script logotype for decades, and a while back introduced a serif font with the word, “Coke.” Unity is a departure; it is a sans-serif typeface family with several weights.

Coca-Cola’s Unity Typeface

2017

In 2017, IBM rolled out its bespoke typeface families, named Plex, and YouTube introduced YouTube Sans.

IBM Plex Typeface Family
YouTube Sans Typeface Family

2016

In 2016, Apple introduced San Francisco typefaces at its Worldwide Developer Conference. These fonts were inspired by Helvetica, and were developed for ease of reading on small screens like the Apple Watch and iPhone, as well as on iPads and Mac computers. The same year, CNN introduced CNN Sans—also modeled on Helvetica.

Apple’s San Francisco Typeface Family
CNN Sans Typeface Family

2015

In 2015, Google rebranded its famous “G” using a proprietary font called Product Sans. Product Sans closely resembles the Futura typeface. Google rolled out Roboto In 2013 for the Android OS. Also in 2013, Mozilla rolled out typefaces for its Firefox OS, called Fira Sans and Fira Mono.

Google Logo, 2015
Roboto Typeface
Mozilla’s Fira Sans Typeface Family

Why use a bespoke typeface?

It’s all about branding. We are bombarded by thousands of advertisements each day on smartphones, tablets and computers. We see an ad for a fraction of a second before engaging with the brand or discarding the ad. According to Envato, having a recognizable logo is not enough. Companies must stand out from the competition using logos, colors, copy and typography. This is where custom typefaces come in.

Branding requires notable logos, colors, copy and typography. “Bespoke fonts offer brands more control over their identity, and in some cases can even save them money in the long run.”

–Envato

Will bespoke typefaces put an end to Helvetica?

Helvetica (Neue Haas Grotesk) was developed in 1957 by Swiss typographer Max Miedinger and became the de facto standard of international typeface design in the mid-20th Century. It remains popular today—Helvetica Neue is the default Mac font—because it is both readable and legible at many different sizes and weights.

Helvetica is not going away anytime soon. It is still the favorite of many designers because of its versatility and simplicity. Just make room for the new, bespoke typefaces to coexist with Helvetica.

Posted by Jill B Gilbert in Branding, Color, Corporate Identity, Design, Graphics, Logo Design, Marketing, Standards, Typography