r27’s posterous

When I think of brand identity designers there are a few names that immediately spring to mind. Names such as Paul Rand, Stefan Kanchev, Lance Wyman, Steff Geissbuhler, and Tom Geismar.

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.

To Tom, to Chermayeff & Geismar’s communications director Chris, and to you, thanks very much. Here’s the interview.

Read more at source: http://www.logodesignlove.com/tom-geismar-interview

If you look closely at some recent print ads from Audi you may discover a subtle typographic restyling. The automotive constructor stopped using the modified Univers Extended called Audi Sans intro duced 12 years ago by MetaDesign, and switched to AudiType. MetaDesign – which is respon sible for this facelift as well – commis sioned Paul van der Laan (Type Invaders) and Pieter van Rosmalen (Caketype) to design the new corporate face for Audi. Both Paul and Pieter studied type design at the KABK (Royal Academy of Arts) in The Hague, The Nether lands. - FontFeed

“I did the bloody thing in 1975 and I thought it would last a couple of months as a promotion and disappear.”
Milton Glaser

In this short video Milton Glaser answers the following questions: Are you ever annoyed by the prevalence of the “I Love New York” logo? Are you upset you don’t have the trademark to the image?

Letterpress printing from raised metal type was the primary means of mass communication for over 500 years. While no longer an economically significant segment of the printing market, letterpress continues to live on for specialized commercial applications and, perhaps more importantly, as the heart and soul of a wonderful avocational world known as the private press movement.

Caryn Gutterman designed this business card for photographer Scott Regan. We are suckers for letterpress printing the unique, custom and out of the ordinary. And these business cards are no ordinary cards. If Scott Regan hands you a business card, you will KNOW he’s handed you a business card. The thick stock is 60pt blotter stock. It is a little more textured on one side than the other. The texture of this stock is deep – reminds us of the finish on an egg carton, kind of raw and porous in appearance. It takes some work to print a solid letterpress, even more work on this stock. It’s not a fine surface like cotton sheets, but it’s soft and takes a nice impression which makes it attractive for letterpress. The paper just drinks up the ink and leaves paper fuzz everywhere – guess that’s why it’s a blotter stock. But the result is really beautiful. There is an uneven nature to the way the ink lays on the heavy formation of the paper. We printed the gray ink first, then the tightly registered yellow logo. The card was trimmed and painted in a PMS match yellow. We like the simple modern design combined with the raw material – people will hang onto this card for sure.

After writing last month’s post on the Swisscom rebrand film I stumbled across this page at Moving Brands’ site containing the images you see above. I have to say it cast the project in a whole new light for me. I still can’t say I’m a fan of the core logomark in all it’s gradient-ed glory — but on a large scale across various formats I think the branding system is very strong. I’m really enjoying how the logomark works in 1 color mode, looks sharp and far more focused. At any rate, I just thought these photos were great and really capture a nice aesthetic. And of course the hot air balloon seals the deal.

Business cards are one of the elements of corporate design that should be pushed beyond just graphics, and converge with several processes to become what they should be: a memorable, collectible and impressive piece to be carried away everywhere. The following are perfect examples, and have overcome the graphic-only component of the piece by using different materials and techniques. A recognizable pattern in all these designs is the use of die-cuts.