o oun

2,000 International Identities by Leading Designers

catharine fishel bill gardner

 2,000 International Identities by Leading Designers

ID
m " ::a
<
."'
....
c:
ID
0
-<
.... n
I:
- ~
'"'"

n
"'-C
:z:
:z:
....
c:
m
.
"'
0
::a
.... . -t

Bill Gard ner and Cathy Fishel

2003, 2011 by Bill Gardner

First paperback edition printed in 2004.

All rights reserved. No part of this book may be reproduced in any form
without written permission of the copyright owners. All images in this book
have been reproduced with the knowledge and prior consent of the artists
concerned and no responsibility is accepted by producer, publisher, or
printer for any infringement of copyright or otherwise, arising from the con-
tents of this publication. Every effort has been made to ensure that cred-
its accurately comply with information supplied.

First published in the United States of America by

Rockport Publishers, Inc., a member of

Quayside Publishing Group
100 Cummings Center
Suite 406-L
Beverly, MA 01915

Telephone: (978) 282-9590

Fax: (978) 283-2742
www.rockpub.com
Digital edition: 978-1-61060-175-7
Softcover edition: 978-1-59253-087-8

Library of Congress Cataloglng-In-Publlcatlon data available

ISBN-13: 978-1-59253-087-8
ISBN-10: 1-59253-087-7

10987654321

DC Comic images DC Comics. All rights reserved.

Design: Gardner Design

Layout & Producton: tabula rasa graphic design
Cover Image: Gardner Design
Project Manager/Copy Editor: Nancy Elgin
Proofreader: Stacey Follin

Printed in China
contents
Introduction 6

Jurors 8

Portraits Collections
Chase Design Group 14 Initials 70

Simon & Goetz Design 20 Typography 85

Landor Associates 26 Enclosures 90

Cronan Group 32 Display Type 95

Cato Purnell Partners 38 Calligraphy 98

Chermayeff & Geismar, Inc. 44 Crests 103

Minale Tattersfield & Partners 50 Sports 105

Sandstrom Design 56 Heads 109

Parham Santana 62 People 116

Mythology 129

Birds 134
Collections and Sketches
Fish, Bugs, Reptiles 138
Gardner Design 84
Animals 142
Braue; Branding and Corporate Design 94
Nature 149
Felixsockwell.com 102
Shapes 156
Jay Vigon Design 108
Symbols 162
Jon Flaming Design 115
Arts 167
Kiku Obata & Company 128
Miscellaneous 170
The Sterling Group 133
Food 172
MetaDesign 141
Structures 175
Mires 148
Transportation 179
Watts Design 155

Sabingrafik 166
Index 182
Grapefruit Design 174
Directory 186

About the Authors 190

introduction

Jurors
Sean Adams In 1993, Sean Adams and Noreen Morioka founded
AdamsMorioka, Inc., Los Angeles, CA AdamsMorioka with the idea of applying clarity, purity,
and resonance to content, form, and business. The duo
Mexican Doorbell logo, by Art Chantry
has been named to the ID40 list, I.D. Magazine's annual
"How can you resist a logo with a dead dog? I loved
list of the forty most influential international designers.
this because it was unexpected, smart, and perfectly
Both have lectured around the world, been nominated
executed. The hand-drawn quality gave it a vitality
for the National Design Award, and are Fellows of the
and immediacy that a hard-line, smooth mark would
International Design Competition at Aspen. They also
have missed. "
frequently serve as jurors for leading competitions.

Noreen Morioka Adams is past president of the Los Angeles chapter of

AdamsMorioka, Los Angeles the American Institute of Graphic Arts (AlGA-LA) and
has served on AlGA's National Board. He teaches
Dracula logo, by Chase Design Group
design theory and typography at the California Institute
"I'm always a sucker for logos that evoke an emotional
of the Arts.
response in a concise and poignant way. I tend to like
the humorous more than the serious, but this logo is Morioka is the current president of AlGA-LA.
one that provokes an immediate response and narra-
tive. I wish that more entertainment work could be as
wonderfully refined and memorable. "

Mary Lewis She speaks to groups around the world and has par-
Lewis Moberly, London, England ticipated in such prestigious gatherings as Leaders in
Design, a series of creative workshops initiated by
National Association for Child Development and Edu-
Prime Minister Tony Blair. Lewis also coauthored the
cation logo, by Pat Taylor Inc.
book Understanding Brands.
"I chose the symbol for the association because it said
a great deal in a very edited way. Two heads linked by
an arm, or two eyes and a smile, is an intriguing image
that creates a powerful, emotive communication."

Mary Lewis, creative director of Lewis Moberly, has

won numerous design awards, including the indus-
try's highly prestigious British Design and Art Direc-
tion Award for Outstanding Design and the Design
Business Association International Design Effective-
ness Awards Grand Prix . She has chaired the BBC
Graphic Design Awards, is a past president of British
Design and Art Direction, and is a member of the
Royal Mail Stamps Advisory Committee. In 2001,
Lewis received the British Design and Art Direction
President's Award for Outstanding Achievement.
Rex Peteet
Sibley Peteet Design, Dallas, TX
Elisabeth Andersen logo, by Jon Flaming Design
''The mark has an unstudied spontaneity about it. It is
very gestural, so it doesn't stand still-ideal for
women's fashion. I am uncertain of the inspiration, but
it reminds me of the famous photograph of Marilyn
Monroe standing on the subway grate, dress billowing.
All of the information you need is there with a few very
ingenious shapes. The attitude and arms are implied
with negative space and body gesture. So, with no
unnecessary elements, the designer captures the free-
spirited loveliness and elegance of this woman and
leaves just enough to the viewer's own imagination."
After studying design at the University of North Texas,
Rex Peteet worked with several prestigious firms,
including The Richards Group and Pirtle Design .
Twenty years ago, he and partner Don Sibley founded
their own company, Sibley/Peteet Design, in Dallas. In
1994, Peteet founded the firm's second office in Austin,
where he now lives and works.
He has won numerous regional and national design
awards, and his work is frequently published in inter-
national design periodicals and annuals; it is also rep-
resented in the permanent collection of the Library of
Congress. Peteet serves on the advisory boards of
AlGA-Austin and the Creative Circus Design School in
Atlanta. He also judges, lectures, and teaches semi-
nars for universities and design organizations across
the country.
Woody Pirtle
New York, NY
TiVo logo, by the Cronan Group
"I love the honesty and approachability of the TiVo
logo. In an arena of planets, globes, rings, shooting
stars, swooshes, and every other cosmic gewgaw
being used to identify some gadget or service in our
new digital world, TiVo is a breath of fresh air."
After running his own successful design practice in
Dallas for ten years, Woody Pirtle joined Pentagram in
New York in 1988. He is well known for his economi-
cal logotypes and witty posters, and his identity and
publication design work perennially put him at the top
of lists of awards and most-wanted speakers. His work
is exhibited worldwide and is in the permanent collec-
tions of many museums, including the Museum of
Modern Art, the Cooper-Hewitt Museum, and the
Zurich Poster Museum.
Marcel Robbers build and strengthen their brands. Robbers's work in
Braue; Branding and Corporate Design, logos and corporate identity has been published in
Bremerhaven, Germany many graphic design magazines and books in Ger-
many and abroad , and he has received numerous
New England Patriots logo, by Evenson Design Group
awards. In his spare time, Robbers is the renowned
"Simplicity, use of color, strength, a clear message,
singer for his heavy metal band, 2nd Heat.
dynamism, and longevity are the key elements of the
logo in my point of view. The simplicity in the different
elements works together perfectly with the colors, and
thus creates the logo's overall bold appearance. It has
the strength and ability to convey a clear message even
when the text isn't added. "

Marcel Robbers is art director of Braue, a company

specializing in branding and corporate design that was
founded by his boyhood friend, Kai Braue. His unique
solutions have helped his many international clients

Felix Sockwell
Felixsockwell.com, New York, NY
National Museum of Australia logo, by SPATCHURST
"It's great to be smart, to nail a logo into its name or
function. But over the years, I've learned it's better to
be brave-to craft something from the heart. God
walked into the room when this one was handed out.
It could be for anything, but somehow only feels right
in Australia. "

Felix Sockwell is a Texas native. He cut his teeth

designing logos for friends after work. Barbecue
sauces, restaurants, bars, five hair salons-everyone
lined up for his famous free logos. It got so bad, he
says, that coworkers nicknamed him "FREElix" and
threw change into his office. Eventually, however, at Ogilvy & Mather. He left the agency after creating
awards and attention arrived, and he moved from a number of large identity programs and became an
Dallas to San Francisco and then to New York, where illustrator in the summer of 1999. Since then, he has
he founded what is now the Brand Integration Group built a strong reputation in the field of identity design.

Ann Willoughby
Willoughby Design Group, Kansas City, MO
Richmond Raceway logo, by Gardner Design
"I always appreciate simple solutions that work on many
levels. The racetrack and the double Rs make for a play-
ful visual palindrome. Great color, too."
Peter Watts
Watts Design, Melbourne, Australia
Frenchbread Productions logo, by Dotzero Design
"Simplicity, nice colors, and a campaignable idea all
combine for a memorable and emotive logo. "
Graphic design has been a lifelong passion for Peter
Watts, founder of Watts Design. He has embraced an
extensive range of design disciplines, including pack-
aging, annual reports, corporate communication,
environmental design, and corporate identity. His
strong commitment to quality and innovation consis-
tently puts his communication solutions at the fore-
front of trends, where they win awards and publication
in annuals around the world.
Ann Willoughby is the founding partner and creative
director of Willoughby Design, formed in 1978. Will-
oughby provides strategic oversight for Fortune 500
companies as well as brand start-ups. She and her
seventeen associates specialize in retail brand identity
and brand communications, and Willoughby also fre-
quently lectures to design, education, and business
groups. She has served on the advisory board of the
Kansas City AlGA and is currently on the steering com-
mittee of the national AlGA Brand Design group. Teach-
ing is one of her passions, and she works with students
and children whenever possible. She and her firm have
won a number of industry awards and had their work
published in many leading design publications.
 D~~~~ Ftrm J Chose Design Group

J Madonna lTI1ID<?NNA
I DrOWNED WORLD TOUR
DROWNED W.RhD
tO U.R .2991

In the regular dog-eat-dog corporate world, an identity is crafted

so that it is evergreen. It should last for the lifetime of the com-
pany, with only minor tweaking required now and then to update
it. But in the entertainment world, although identity is just as
important, it is an ephemeral thing, so it has to make a significant
impact because it's there only for the briefest moment. Chase
Design Group's 2001 assignment to create the identity and col-
lateral materials for Madonna's Drowned World Tour was a case
in point, and it presented significant additional challenges as well.

"A tour is a product, like Disneyland or any other experience,"

says principal Margo Chase. "You are branding an experience.
The brand has to have all of the same things any logo must have
to work on TV, in newspapers, on T-shirts. It's not very different
from a corporate logo when you get into applications. But enter-
tainment clients want something trendy, not permanent."

"They look at our portfolio and see

Madonna and think we don"t know
how to do corporate. That is an
issue for us.""

Chase has worked with Madonna and her management com-

pany before on major projects such as the artist's Like a Prayer
album and Girlie Show tour. But this project proved to be a par-
The finished tour poster with the new logo in place.
ticular challenge: The logo had to be completed in two weeks and
had to include cultural references to everything from the Wild West
to Eastern religion.

"The show was kind of an Asian-Cuban-Latino-disco-cowgirl

thing. From a design standpoint, we were all wondering how we
could get all of this to go together," the designer recalls.

Round one of the logo design was a whirlwind. Chase was leav-
ing for a week 's vacation in Paris when she got the original call.
She wanted to turn it down, but eventually she agreed to take
 Promotional T-shirts use the
logo in different ways.

The final tour book and an

example of type that the
Chase Design Group created
for song titles.

In the entertainment world, identity is important, but it is a more ephemeral thing.

It1s there for only the briefest moment.
 :T O UR : 2 0 0 1 :
These logos were part of
what the Chase Design Group nJladorurua 2001
droULJ ru ed ULJorLd t o u r
proposed to Madonna and
:ORDwneO : WDRLO:
her managers in the first
round of logo development.
The designers had been given
a "global techno" direction,

(ftrr~~
as well as sketches of the
proposed stage design and
-fV1FlO rnruruA-
O A OUU n.J EO UUOA U::>
Madonna's song list for the 'YOUR 2001
tour. Here, they explored DrowrvED WOrlD
types with Asian and Middle- 't:our 2001
Eastern influences as well
as techno styles.

C)'Ilfd.\;rlhfU cTJA~t;S~~A
drowned world f'R 9 'W..,Ef' Wd'~t.f' 'fooU~
tr'l{lr ?flfll 2001

her computer with her. For a solid day, she sat in her Parisian hotel room of the M in Madonna emerged the Tree of Life, another powerful symbol
and generated page after page of logos. connoting the three levels of the cosmos-the Underworld, the Earth ,
and the Heavens. Crosses, orbs, and fountains also found their way into
Chase said her trials were based on the "global techno" direction provided
the second set of trials.
by Madonna's staff, the artist's very diverse song list, and sketches from the
set designer that were more like science fiction than anything else. Chase continued to push the global-techno angle through the line styles
and letterforms she created, but in the end, a historically inspired, Gothic
Although her work was well received, Chase discovered upon returning to
design was selected. This disappointed the designer for two reasons: First,
her Los Angeles studio that the concept for the tour had been redirected:
she felt that other designs she had presented were more appropriate for the
It would explore the Kabbalah as a life influence instead. Madonna is an
tour, and second, she works hard to avoid being known as "that Gothic
avid student of the ancient Judaic philosophical system.
designer," and many of the rejected logos were more of a stylistic stretch
With research, Chase was able to reference many Kabbalistic symbols in for her.
the second round of designs, including the Ten Sfirot, a diagram of circles
In addition to the rushed schedules and temporal nature of entertainment
representing the ten realms of the upper worlds that are reached through
identities, Chase notes that this type of work presents other challenges.
prayer, spiritual transformation, and meditation.
"It's not difficult for [my studio] to switch tracks from entertainment to
The title of the tour, Drowned World, is another reference to the Kabbalah.
corporate work, but it is difficult to explain that to other clients. They look
It says that the harder you struggle for material things, the faster you will sink,
at our portfolio and see Madonna and think we don 't know how to do
as opposed to reaching the higher realms by being spiritual and relaxed.
corporate. That is an issue for us," Chase says. "Sometimes we leave
"Madonna is a Kabbalah scholar, but I am a scholar of iconography. I our entertainment work out of the portfolio when we are presenting to
knew right away what she wanted, how to show the religion's meaning corporate clients."
through symbolism," says Chase. In the final designs, for instance, out
 After the first round of logos
was presented, the Chase
designers were asked to
redirect the concept to the

I:lFTClWnEI:l WClFTL..I:l
TClUFT cCiCII
mADONrvA
-
Kabbalah, which Madonna
has studied. The diagram of
DrowruED worLD circles behind many of these
"tour' 2001 logos represents the ten
realms known as the Ten
Sfirot-the Upper Worlds
that can be reached through
prayer, spiritual transforma-
tion, and meditation. The
icons are based on the Tree
of Life, another powerful

mAD~rvrvA
Kabbalistic symbol.

"tou~
-
DroWNED worLD
2001
nnaci8rurua
droLnJrued LnJorLd
The two logos below were
selected to go to color, and
tour 2001 after the color round, the one
on the right was selected.
"I was disappointed because
I preferred the other one,"
Margo Chase says. "I think
that it was more interesting
and it was certainly more of
a stretch for me stylistically."

MADcDNNA nnaOGn.JrlJa
DROWNED WORLD oRouuru e o UUOR LD 'TOUR 2 001

TOUR 2001

--

drumned
murId tuur DROUlN D ill<?RLD
2001
..
PEA~L D~AGON
 P
E
A
~
L...
... . ..... . . . . . ~ . . . . . . . . . . . . . . . . ." .. . . . ...... t ,.I ~
P
D E
A
~ R " " . . . ~ It

A L..
....... .....
G
o o
Q _. -
...... t ....... . ... .

N R _.. ~ ...........,
G ............ -~""" .
o
N

--
 ~ ~
D~~~~ Ftrm Simon & Goetz Design
J

Cll~1iIf j Rotwild
Projtct I Corporate Identity ~CJ.a."""'" .a.LLJ

What's missing from many corporate identity projects , says

Rudiger Goetz, principal with Matthias Simon of Simon & Goetz
(Frankfurt, Germany), is the truest benefit to the client's brand-
that is, business success. Many designs produced today are
visually exciting and some even win industry awards, he acknowl-
edges, but what is the actual worth of those designs? Do they
really help the client for whom they were designed?

Simon & Goetz's identity design for Rotwild , a brand new com-
pany making ultra-premium mountain bikes is a good example of
how an effective brand image is created from the ground up, and
how that identity is crucial for corporate efficiency.

Rotwild" s founders chose to

pursue a "preference strategy"
versus a ""mass strategy."

Normally, Simon & Goetz works with relatively large corporations,

but the Rotwild project was different. Three engineering students,
almost done with their university studies, saw that there was room
in the mountain bike market for a new niche: a high-cost, high-
tech bike with the cachet of German engineering. They turned to
the design firm for help. Simon & Goetz jumped at the opportuni-
ty to create everything for the fledgling company, from Rotwild's
name and logo to its bike and accessory designs.

"We put a strong focus on the actual product design-its graphic

language or style," explains Goetz. His firm was an ideal choice Rotwild has a strong, mascu-
for a start-up client with little budget for market research : Simon line, aggressive brand identity,
& Goetz already had experience in branding for the bicycle mar-
which was created by Simon
ket from having worked with a much larger client. Much of the
& Goetz Design of Frankfurt,
design firm's work was based on previous studies, in addition to
information the new client had gathered and a detailed national
Germany, to appeal to the
and international competitor comparison study. person who wants much more
tl"'an just a biking experience.
"They could see the hype in the mountain bike market that was
mainly coming from the U.S., where the sport was rooted, " adds
Goetz. "Bikes became a fashion statement and very contemporary.
 "We put a strong focus on the actual product design-its graphic language or style."

Aluminum silver, red, and

black have become the
Rotwild brand's signature
colors. In fact, the color
scheme and its consistent

.._-_-
-.DTW&&...D

-"--- -








--











-
use over the years have
become synonymous with

- -- - - -- - - - - - - -- -

what the company prefers to
._....
1 _... _...-

._-



call a "cycling experience,"



--- - - - - - - - - - - - - - not a mere bike ride. These
-- - - -- - - ---- ._-- - - -

pages from the company's
catalog illustrate what the
brand is all about: Both the
identity and the bikes have
an almost military look.
"Technology is a strong discriminating factor with German engineering. This brand had to be attractive, outstanding in its physical
shape, unique in its features, and memorable," says Rudiger Goetz. "With a high price, it had to have a high appearance."
But the market had too many competitors at the low end , and [these entre-
preneurs] knew they couldn 't compete in a mass market where low price is
always the main factor. At the same time, the few really premium brands
available at the time were American."
Their success would come from stressing the technological superiority of
the then-unnamed Rotwild brand . "Technology is a strong discriminating
factor with German engineering, considering our cars, machinery, and so
on. This new German brand also had to
be attractive, outstanding in its physical
shape, unique in its features , and mem-
orable. With a high price, it had to have a
"Bikes became a fashion statement
high appearance, " he says. Rotwild 's
founders chose to pursue a "preference
and uery contemporary,"
strategy" versus a "mass strategy" in
their branding .
The first thing Simon & Goetz did was to create a brand model and describe
it in the same way a person might be. "It is simple and helps the agency and
the client see the brand . A fully integrated brand [can only] happen if all of
the individuals involved have a similar level of understanding and valua-
tion for the brand ," Goetz says .
For the new bike company, the designers devised this simple, descriptive
sentence for the brand 's personality: "[The company] offers the most com-
petitive technology in mountain biking by German engineering." They also
developed a set of three core values: German technology and engineer-
ing , competition competence, and masculinity.
The statement and value together create a certain image and, ideally,
a positive prejudice about this personality. This prejudice must be
successful because it is the basis for every potential social and emotional
contact the brand will make. In the end , the brand image of Rotwild was
boiled down to "the most technical mountain bike" or "the only German
hard-core mountain bike."
Now the firm could work on the brand's name. Each of the three concepts
that were considered was presented to the client with a corresponding
visual concept. The first was based on the entrepreneurs' original idea of
selling kits with which buyers could build
their own bikes. Playing off the English
word kits brought to mind the German
kitz, which means "small deer," and the
speed and habitat of a deer seemed
appropriate for a fast mountain bike. But
the name lacked masculinity-99 percent
of Rotwild buyers are highly educated
males between the ages of 30 and 45 years-and strength .
"It was a good first step for our exploration, but it was not a preferred direc-
tion. In addition, the inventors gave up the kit idea early on," Goetz recalls.
The second viable concept was related to mountain biking the north wall
of the Swiss mountain called Eiger. Although it isn't the highest peak in the
Bernese Alps, the mountain is famous for being an exceptionally difficult
and dangerous climb. To the designers, then , using the word nordwand as
a concept representing extreme challenge and pairing it with the Capricorn
goat symbol felt appropriate.
But then a third concept, actually a hybrid of its predecessors, emerged ,
says Goetz. "Rotwild is the name of a common type of deer [in Germany] ,
and as a German , when I hear this name, I visualize a very conservative
 Rotwild's Web site also relies
on red, black, and silver.
Action is key to the brand: The
person shopping on this site
is definitely a thrill seeker, so
the experience here must also
be intense.

o e t cl'lpe: RDP Bike Co llectio n 8

Enghsn Close
2 0 D2 MOlfilalQ Sikes ..

RAHMEN I FRAMESET

AIZJl4 .5~ ,. Ah.mu(bum 7020 T6

hanomaoe by ADP E GINEERI G

2factt KorliflZJCfung/ Doubie bu1h...od tubeS
Coni>lOVOtl o.sc &OCJ<olS
GroneI S... XS I SI MI LI XL
GOWI<I1I1Wetghl I 600g
RITCHEY Integrated PRO PLUS ZOIO 5
BIKERSAVE Insurance
Untorlackdel<or/ CIe", coated decals

Goome ~ -'!'T'nll<>

ROCK SHOX DUKE SL SOmm E.. Il/le< /Use

RITCHEY Integraled PRO PLUS Zero StacI<
XC "IMRATHON
XC
Lenker/ Bar RITCHEY PRO Handlebar 5)" TOUR
Votbau l Stem RITCHEY PRO 51 m 6'"80/1001120
S311ctsilitzo i SealpOSt RITCHEY PRO Post 212
Sanet/ Saddle FlZJ K ISE E

AnltMtbJOtwe tr.lt'I SHIMANO XT compl 9o$peed

(:",,010,1'1 n',...44T .......
and old-fashioned hunting scene. It's very German. It's short and remark-
able." Goetz notes that the name also implies speed and wildness, as well
as aggressiveness, even to the customer who doesn't speak German.
The name also is highly memorable because it applies an old-fashioned
sensibility to a contemporary, technology-heavy brand. "The strange
combination of conservatism and an ultramodern appearance also give
the brand acceptance in a very hip and young market segment
without relying on formal trend-oriented elements like color or graphics,"
the designer adds.
Simon & Goetz also took the stance that the product was a "German
cycling device." That unemotionally split the brand away from being a mere
bicycle: Instead, it's a total technology experience having a much higher
perceived value than a "bike" does. This enabled Rotwild to become
the antithesis of the traditional mountain-biker lifestyle, where colors
and trends are the main discriminating factors that pit brands against
each other.
The next step was to develop a logo. The designers wanted the new iden-
tity to behave in a way that no brand in the market had previously. The new
line would bring "mobility to nature," explains Goetz, with the benefit of
high-tech German engineering. So any visual symbol would have to
embody the nature of the sport, a deer, and a sense of technology.
Simon & Goetz's designers developed a very masculine, hard-edged image
of a deer. The logo looks modern, but it also hints-with stylized antlers
and body shape- of classic German hunting scenes. The head of the deer
is used alone in some applications in a manner similar to the way a trophy
head is exhibited on the wall of an old hunting lodge.
"There was nothing like it on the market," recalls Goetz. "This was an
old-fashioned name with a very technical brand experience."
The typography the designers developed matches the brand's values: For
text other than the word mark, they selected Trade Gothic, which Goetz
describes as "an American version of Futura. It served the need of good
readability on the product and for copy," he notes.
Irs a total technology experience having a much higher perceived value than a
bike" does.
It also contrasts well with the hand-drawn logotype, which was con-
structed from extended letterforms that illustrate the speed aspect of the
brand. In addition, its crispness communicates the product's high value
and plays with the ambiguous idea of military technology in its high-tech,
stenciled style.
The design of the bike itself followed suit. The bike had to look technical,
competitive, and masculine. "It needed to look very hard and aggressive,
almost weaponlike," the designer says. The product's design is ruled by
a simple brand characteristic: the use of unique, constant, and noticeable
materials and color. "We developed a graphic style that is almost remi-
niscent of the graphical surface of sophisticated military and defense
technology," Goetz adds. "Or imagine the elements you see on the wing
of an airplane."
Since its first line of bikes was released six years ago, Rotwild has only
used polished aluminum and red, gray, and white application colors. To
differentiate between various price points, applications, and technologies,
the color code is varied slightly. This creates very high brand recognition-
a simple approach but one that no other brand was employing at the time.
It was very important that the design language was first developed with
the focus on the actual bike design and its graphics, says Goetz. In the
second step, the brand identity is applied to media like print or the Web.
Establishing a visual bond between the product and all media vehicles con-
tinues to be the design team's goal.
"This is definitely a well-known and respected bike in the German market.
Only two thousand bikes are sold each year, given its price, but it was cho-
sen by a leading biking magazine as the most desirable mountain bike on
the market," Goetz says. "The client also continues to win awards for
design, typography, and product design, but their success as a business
is the most important thing."
 D~~~~ Ftrm J Landor Rssociates

Cll~1iIf J British Midland

I Corporate Identity

Blindfold a hapless airline passenger and seat him inside almost

any aircraft or in any airline lounge, and it's likely he will not be
able to identify the brand environment in which he is ensconced.
Most airlines, points out Peter Knapp, executive creative director
at Landor Associates, offer their customers a bland, undifferen-
tiated experience. They all want to play it safe and are always
looking sideways at each other, not wanting to step too far out
of line.

Landor Associates' work for bmi

cuts through and commands
attention. It stands out without
being violent.

So when British Midland came to Landor in need of brand revi-

talization, Knapp saw an opportunity for the airline to break (Top) The new bmi identity is a
away from the pack and emerge as a stylish, relevant, and smart mix of traditional British
unique frontrunner. elements like the Union Jack
British Midland had grown from a small domestic airline into a cor- and modern touches like
poration beginning to offer trans-Atlantic flights. But even though the fresh color scheme and
the airline was flying all over Europe and to North America, con- welcoming typography.
sumers still viewed it as a domestic, or at best regional , carrier.

British Midland did have a lot going for it, however: an excellent (Middle) By far the largest
reputation for being a friendly, welcoming airline-unlike the "stern canvases for exhibiting the
headmistress" attitude many other outfits had -and for offering a new identity are the bmi air-
more relaxed, elegant, service-based flying experience. The com- craft. Here, the soft, languid
(Bottom) The elegant sailing
pany wanted to expand its business and become a world player,
curve is the only decoration curve the deSigners call the
but it was crucial to retain the softer, friendly aspect of its per-
this luggage tag needs. The sailing curve is applied to the
sonality that had made it known and loved in the U.K. and Europe.
quiet graphics embody bmi's entire craft, even in combina-
"[British Midland] is known for doing things well. What it offers is tion with the Union Jack on
message that theirs is the more
more like sailing and less like being in a powerboat," Knapp says.
pleasurable way to travel. the plane's tail.
 Speed, with charm and style" become on essential port of the brand driver.

The color blue was also strongly identifiable with the brand, so the com-
pany wanted to keep that as well, though the designers were able to spruce
it up into a brighter, fresher shade of blue.

Both Knapp and Simon Gregory, marketing director of British Midland,

felt that the company shouldn't "throw the baby out with the bathwater."
1--'1
_ _ 1i.e;
_ i_ r-,;::"c.:
_ _ ' =':
... ~=
The brand had plenty of positive aspects that could serve the company
well in the future, but a few things were holding back British Midland.

The company's name was one of the first things to be scrutinized . British
Midland wanted its new identity to refer to the airline's distinguished
history and speak to the future , too. The name they chose, bmi british
midland, in lowercase letters, does both by retaining the former name but
placing it in a secondary position, after bmi, which signals the advent
of something new. Placing secondary emphasis on british midland also
loosened the geographic tether on the carrier, which had begun serving
international routes.

"British was fine, but the Midland part sounded distinctly regional," points
out Gregory. The decision to go to an acronym was made quickly.

Next, the company's graphics were addressed. Landor conducted exten-

sive research not only on customers ' opinions of specific airlines and
In the airport terminal and on the runway, bmi's identity system
flying in general, but also on the lifestyles of bmi customers: which cars
cuts through the visual clutter with a simple, friendly style.
they drive, which hotels they prefer, which restaurants they frequent, which
television shows they enjoy. As they interviewed people, researchers were
looking for quality cues. What did they like best and why?

"We found that, increasingly, people appreciate style and design in their
lives, and that there is a much greater appreciation of things like modern
restaurants and international cuisine. The customer's lifestyle outside of
the airport was increasingly motivated by design," says Knapp.

In airline parlance, style would have to be balanced with comfort, how-

ever. The airline's customers did not want an exaggerated experience,
says Gregory.

"Flying had turned into such a feeling-less service, just functional and com-
pletely unemotional. It was surprising how resigned customers were to not
enjoying airline travel. They had just given up," he says. "We had to be very
concerned with that issue as people took longer flights and spent more
time with bmi. Style and comfort had to be put back, but not so much so
that it was over-the-top."

"Speed, with charm and style" became an essential part of the brand driv-
er. Customers already knew that bmi offers plenty of flight options at com-
petitive prices. What the graphics needed to communicate were the
company's softer values.
Photographs of British landmarks and cultural institutions are
For print and display graphics, Landor and bmi chose to celebrate unpre-
tentious but well-known aspects of life in the U.K. Photos were shot prominent in the bmi identity.
not only in London, but also in Wales, in Scotland, and on the south and
The company wanted to expand its business and become a world player, but it
was crucial to retain the softer, friendly aspect of its personality.

The design of the business-class section's interior and the staff uniforms also display elements of the rebranded identity.
east coasts of England. Images of the Mini car, a team of footballers hav-
ing fun, greyhounds racing, and penguins in a zoo were used in combina-
tion with shots of classical architecture and gardens. The strongly British,
modern photos actually stand in for the
word British when the acronym bmi is
used alone. The soft, languid soiling curve
The familiar Union Jack was also brought
in to identify the airline as a British com-
signifies leisure time well spent.
pany by imprinting it on each plane's tail.
Instead of being blatantly patriotic and
reproducing the flag in its true red, white, and blue colors, the designers
decided to run it in a softer version of bmi's corporate blue. In the identity,
red represents "speed" in the brand driver and is reserved for functional
objects, like the planes' wings and fuselages.
"[The flag in soft blue is] almost like a watermark, like you would see on a
piece of fine writing paper or on a piece of money. It implies quality very
subtly," Knapp points out.
The third major graphic component of the new identity is what the creative
team calls the sailing curve. This soft, languid curve of blue signifies leisure
time well spent, and is the graphical opposite of rushing about.
"[The shape stands for] not being hassled, which so many people associ-
ate with the airline experience," Knapp explains. "The sailing curve is an
expression of grace and dignity."
-
_
...,.. .... ....
Since its rollout in 2001, the British public has welcomed the new identity,
with 60 to 70 percent of the population making the switch to identifying
the company as bmi. The company's staff has also embraced the new
identity. And bmi's reputation for provid-
ing a pleasurable flying experience has
been reinforced in the process.
Other figures that point toward success:
the percentage shifts in brand associa-
tion by the company's target audience
pre- and post-rebranding. The number
of passengers who see bmi as premier division airline is up 73 percent,
while scores for exceptional service and looking after passengers
well-areas that the airline already scored well in-are up 33 and 64
percent, respectively.
Whether it's seen on an airplane on the runway or on a sign in the terminal,
Landor Associates' work for bmi cuts through and commands attention. It
stands out without being violent. In short, it communicates understated
British elegance.
Gregory says he believes his company's customers are finding that airline
travel can be enjoyable. "We call it 'civilized aviation,'" he says, "which we
define as minimizing the hassle, maximizing the pleasure."
 Otflgn Ann ' cronan Group

I TiUo
Projtct Corporate Identity and Naming
I

About two-thirds of the Cronan Group's business is naming

assignments. And most of the time, the clients already know
what they want, says principal Michael Patrick Cronan.

"Almost every time, the clients provide the answers. They just
don't know that they know them," he explains.

When the developers of TiVo came to the Cronan Group with a

revolutionary product in need of a like-minded name-the moni-
ker Teleworld was being used as a placeholder company name-
they knew they had something very different. The question was,
how could they let consumers know that, although TiVo is a tele-
vision-related product, this digital technology is as unlike regular
TV as radio is unlike the Internet?

Cronan says the impact of the main

character wont be watered down
by adding other little characters.

Teleworld-now TiVo-aliows users to program their televisions

so they can view what they want when they want to, without hav-
This impish character has become the personification of
ing to bother with videotapes. Instead, a large hard disk records
the TiVo brand: He wears his mantle with style. This version,
and plays back the programs you like.
created by the CronanGroup, was later further modified by
"But the real essence is not the hardware, it's the software," says Pittard Sullivan.
Cronan. "It can go out and find out what you as a viewer like. For
example, one of my kids was having a tough time with French
Revolutionary history at school. My wife Karin [Hibma] went
through TiVo to find shows about it and had him watch two shows
per night until he had a better understanding of the subject."

Mike Ramsay, CEO of TiVo, brought Cronan in early and set the
bar high, says Cronan. "I had worked with Mike on other large
projects," the designer says. "He has a way of tossing a big
challenge to you in a low-key way. When they gave me the
corporate presentation, and my jaw was hanging open with the


But from the first letterform studies emerged this

version, in which the designers discovered a face.
The TiVo character underwent a long period of
exploration in the studios of the Cronan Group. This
squib is what principal Michael Patrick Cronan calls
a "preliminary and very lame letterform study."

"An attempt to give the letterforms more mass

takes it in the wrong direction," says Cronan.
Here the face became more refined, and actually is
very similar to the one in the final design.

At this point, Cronan says, the team really got "Here," jokes Cronan, "TiVo goes undercover
off track. as a tech nerd."

Finally, the design got back on track. The
name was united with a strong, recog-
nizable shape, but the designers felt that
it was still too complex.
The idea was not so much revolutionary
as evolutionary.
potential of the technology, Mike grinned and asked if I was up for
'helping them out a bit.'"
The idea was not so much revolutionary as evolutionary, Cronan adds.
"When I realized that this technology would change the behavior of fami-
lies, I was able to get the essence of the idea."
This breakthrough allowed Cronan and his staff to boldly move forward
with the naming process. Usually, they generate eight to fifteen hundred
names, then narrow that list down to about a hundred, and present those
to the client. The final one hundred names circled around concepts like
"capturing what you want, when you want it," "the way television was
meant to be," and "TV your way."
The name TiVo came about when Cronan started thinking about the band
Devo and how its music was a de-evolution of pop culture. TiVo sounds the
same, of course, but the letters i and 0 also signify input and output, which
neatly describe what users do: they input their wishes and output the
results. And using the letters T and V clue consumers in about TiVo's func-
tion.
"TiVo was probably the eighth or ninth name we presented to them," says
Cronan. "People in the meetings liked it, but it really wasn't a contender."
He adds, however, that most clients don't recognize the right name when
it's first proposed . Sometimes, patience is necessary.
Eventually, TiVo emerged on top. Now, Cronan started working on the
product's mark. Cronan knows that people remember colors and shapes,
so he began by considering which shapes would be the most discernible
by consumers. What could be better, he reasoned, than the shape of a TV
with a rabbit-ear antenna? Even children too young to be familiar with
such low-tech devices intuitively understand the shape.
"I had been thinking about an image I'd seen of a Christian fish symbol
that had been subverted by the placement of Darwinist feet below it. I
thought, 'Let's put some legs on it-it goes out and finds things for you.'
It actually is television with legs," he says.
Cronan created what he calls a very "simple and boneheaded" sketch, but
knew that wasn't quite what he wanted. That's when he began talking with
This squib is the first official profile of the TiVo character, which later was redrawn by design firm Pittard Sullivan.

Almost every time, the clients provide the answers. They just dont know that
they know them.

the design firm Pittard Sullivan about the nature of the character.
"[The animated character] they came up with really freaked me out at
first," Cronan recalls. His static character, which had had its toes stiffly
pointed to the right and its antennae sticking straight up, had become
much more friendly by pointing his toes and antennae outward in a jaun-
tier demeanor.
That redesigned character is like a friendly imp or spirit. Cronan says it
reminds him of a happy genie in a bottle.
"Typically, technical [product] people want their identity to look slick. But
the largest population of people using TiVo consists of young people and
families, so the idiom of the cartoon character indicates that he is friendly
and not complicated," the designer says. On screen, the TiVo character
moves all the time, tipping his head, moving his feet, and smiling all the
while, as though he is patiently waiting for the user to make a choice.
Cronan predicts that the character will continue to evolve. He antici-
pates that, like Mickey Mouse, the TiVo character's basic shape will be
identifiable in all of the permutations it's likely to go through in the future.
Cronan says the impact of the main character won't be watered down
by adding other little characters.
One important lesson Cronan says he learned from the TiVo project was
that a particular sort of client/designer relationship is more effective for
his team. The meetings with the TiVo developers, he says, were always
fun and jovial, and as any designer knows, those gatherings can be frus-
trating and tense. "Our relationships with other clients have been affect-
ed," Cronan says. "Before we really get to work, we want to get the client
smiling and laughing."
Credits
KINTAN/\
A 1'\

".

~
-.
........... --
I" :'

~ KINII\NA
 Otflgn Ann ' cato Purnell Partners

Cltnt I Channel 7
Projtct Corporate Identity Redesign
I

Television was introduced to Australia in 1956, just in time to

cover the Melbourne Olympics. There were three channels at the
time: 2, 7, and 9. After years of competition and many identity
changes, Channel 9 emerged as the ratings winner just prior to
the Sydney-hosted Olympic Games in 2000, and runner-up
Channel 7 de-cided it was time for an identity makeover for the
Games and the new millennium.

The station called in Cato Purnell Partners for help. When the
design firm began working with the client, Channel 7 was using
a red numeral 7 with a circle around it as the main element in its
identity. Trouble was, this was an unremarkable mark that was
identical to ones being used in the U.K. and the U.S.

And I did look ot every type

book on the plonet, looking for
the best-looking 7.

A secondary element in the identity was a color bar of five colors,

originally added to the identity to signify the advent of color TV.
That was an outdated symbol, though, because all television
stations broadcast in color today.

Nevertheless, the client wanted the bar in the design . "When I

was introduced to the project, the job seemed very straightfor-
ward to them," recalls principal Ken Cato. "They said, 'Put [the
number and the bar] together, and what are you going to do with Australia's Channel 7 is widely recognized across the country by
the 7?' And I did look at every type book on the planet, looking this very simple, yet dimensional shape.
for the best-looking 7."

About a week before the presentation, Cato still hadn't found a

numeral seven that really stood out. Then he had a eureka
moment.

"I have a habit of making scribbles on pieces of paper-I tore a

strip of paper into the basic proportion of the color bar and told
someone, 'It needs to be as simple as this.' Then I folded the strip
When television was introduced to Australia in 1956, there were In 1956, a more modern, distinctive mark was developed.
only three channels. Channel 7, the Australian Television Net-
work, was one of them, and this was its logo at the time.

The folded-ribbonlike 7 centered in the circle was also used in Then, in 1966, this strangely distorted logo was introduced.
other iterations in the 1950s. Unfortunately, it was very similar to a mark being used in the
U.S., and the network wanted their mark to be unique.
This bold 7 in negative is from 1975.
That moment was satisfying, Cato
says, but he knew that it was the
start of the solution, not the end.
at a forty-five-degree angle, and that was it," Cato says.
That moment was satisfying, Cato says, but he knew that it was the start
of the solution, not the end . The next step was to develop a language that
would support and surround the new trademark.
"Trademarks need a broader visual language today, something that makes
one so recognizable that even when the trademark is not there, everyone
will recognize [what] the company is," Cato says.
In the case of Channel 7, the broader visual language related to the sta-
tion's early claim of being the first in Australia to broadcast in color. Cato
ex- tended the use of color far beyond the original identity's ribbon . In one
instance, as the movie Top Gun aired, five small airplanes, each one a
color in the identity's color bar, appeared in the upper corner of the screen.
Five flowers with those colors appeared in a gardening show. With iden-
This is yet another variation on the logo from the mid-1970s.
tity markers like these, it is clear to viewers which station they are watch-
ing even when the newly designed icon doesn't appear.
"What supports a trademark is so important," Cato says. "A trademark
does shorten the time to recognition, but most of us still don't have time
to get to the next page of a Web site or go to the bottom of a brochure.
Unless you are right there when the logo is shown, you miss it. "
Another problem with logos today, Cato contends, is that competitors in
a market sector look so similar to one another. A good example, he says,
are athletic shoe and apparel companies: As soon as one brand does
something, the others follow. Cato recalls seeing what he believed to be a
Nike commercial on TV, but when the spot concluded, it was actually an
ad for Adidas.
"It got me wondering where it all is going. The space we are occupying is
so crowded. Unless you are communicating all of the time, then you are
probably not being recognized," he says. "We have to find better ways to
fill the time frames we are allowed to work with these days. This doesn't
mean that the trademark is obsolete; it just limits its usefulness. "
Channel 7's new identity continues to be played out in new and different
ways. For instance, the Christmas card the broadcaster sent to its col-
leagues in 2001 pictured "seven swans a-swimming," each one of a dif-
ferent color. Recipients did not need to see the logo to know whom the
card was from. According to research, viewers find this kind of play and
This logo, from 1989, was designed so it could be animated to move on TV (left) or work in a stationary format (right).

experimentation with color warm and friendly. And perhaps that has
something to do with the fact that, at this writing, the station is in the top
slot for ratings, for the first time in its history.
Cato insists that the experimentation with and study of Channel 7's logo
must continue.
"In a meeting with the client recently, I asked everyone there, 'Where is
Channel 7 on your remote control at home? ' Some said at the 5 button,
others said 3. It made them all rather uncomfortable. Then I asked, 'So
how relevant is the brand of 7?' When you had an analog TV dial with
numbers on it, it was easy to find the 7 brand. Today, on a digital system,
Channel 7 might really be 55 on the dial. That shows that we have to build
in the ability for a trademark to change over time. There need to be such
things as brothers and sisters and even distant cousins to the current
logos as the business continues to change."
In the future, Cato believes, it will be more and more difficult to establish
a solid trademark. Huge amounts of money will be needed to penetrate
the consumer psyche. The logos that do succeed will be highly valuable.

"We have to find better ways to fill the time frames we are allowed to work
with these days. This doesn"t mean that the trademark is obsolete; it just limits
its usefulness.""
 ~~~ Rrm J Chermayeff & Geismar, Inc.

Cll~1iIf
J Toledo Museum of Art
Projtct I Identity Redesign

A public art museum can easily lapse into ordinariness. Many

cities have them, and of course, they all contain works of art. Few
of these buildings have enough of an identity that a museum
patron led blindfolded into the galleries would be able to identify
the museum once the blindfold was removed.

To thrive, art museums must be able to host major shows and

secure loans of specific works. Facilities without a strong identity
might seem to lack credibility, and could find it harder to attract the
more prominent works that bring in the crowds.

Facilities without a strong identity

might seem to lack credibility.

These were the challenges facing the Toledo Museum of Art in

Toledo, Ohio, which invited Chermayeff & Geismar, a New York
City design firm, to remake its image. "There had to be something
we could do to make people understand that this museum was in
Toledo, not in Birmingham or some other place," explains Steff
Geissbuhler, designer, partner, and principal at the firm . "The place
needed a specific character that could be played out through all
of the facility's signage, advertising, stationery, everywhere."

The designers began by studying the museum's name. They

knew early in the process that they did not want to use the
acronym that the client was using at that time, TMA. It wasn't
memorable and had never become part of the patrons' vocabu-
lary, so the decision was made to return to using the full name,
the Toledo Museum of Art.

Next, Geissbuhler studied the city of Toledo and its art museum.
What made them special and distinct? From long experience in
creating identities for public and private facilities, the designers
at Chermayeff & Geismar already knew that they had to speak not
The Toledo Museum of Art's logo frame is meant to be a symbol:
just to the people of Toledo, but also to patrons from around the
Even though the museum's name appears on it, the logo's
world who would likely know little about the city. It was crucial,
creators at Chermayeff & Geismar would rather the frame be
then, to encapsulate the defining characteristics of Toledo in the
museum's identity. recognized as a shape that represents the museum. The teal
color was borrowed from the museum's oxidized copper roof.

Steff Geissbuhler and his design team like to show clients the
logos and identities they create in context. This selection of
application comps shows some of the ways the new logo could
be used.
Another important consideration during
the design process was that they did
not want to create an identity that
dated itself or confined itself to a
certain art movement.
After extensive research , Geissbuhler discovered that if people know
anything about the city, it's that Toledo is a center for glass production.
In fact, the museum has a huge glass collection, and local glassmaker
Libbey Glass is one of its main backers. An all -glass building to house
the museum 's glass collection is planned for a site across the street from
the main building .
"So thinking of glass and its see-through nature was very much a part of
our thinking while we created this identity," Geissbuhler says.
Another important consideration during the design process was that they
did not want to create an identity that dated itself or confined itself to a cer-
tain art movement. The museum has a very good, though small , collection ,
Geissbuhler says, but the new identity was not meant to describe or define
it. Any graphics he created, then, had to focus on the museum's sense of
place and avoid any historical context.
The concept of using a frame to symbolize the museum emerged from all
of these considerations. A frame can be seen through, like glass, and
often holds glass as well as an image inside it. For a museum at which a
specific art form is so prominent, the symbolism seemed appropriate to
the designers. And just as frames display items of monetary worth and
cultural value, so, too, do museums.
"We liked that the frame could be more than some simple symbol or
graphic, and we felt that people would easily learn that the frame stands
for the museum in any application ," Geissbuhler recalls. "The frame is
really the essence of the museum. It is a symbol for framing pictures, and
it is also a way of showing transparency. Whether you are seeing through
its opening, or seeing something framed by the box, you are looking into
the identity and interacting with it. "
The frame element also offered a practical advantage : It could easily
accommodate the museum 's rather lengthy name.
"This was a way to keep the name from being too cumbersome or wordy
by incorporating it in a symbol that would be recognizable without ever
reading the name," the designer explains.
These are some of the products that have
incorporated the logo in their packaging
since the new identity was launched in 2000.
The name was placed on the frame so that it is read in the clockwise direc-
tion. It also was made to bleed to the inside edge of the frame, uniting the
words with the image inside the frame. It's crucial, Geissbuhler says, to
always keep in mind potential applications for a logo while it is being
designed so it will work in multiple presentation formats. In fact, rather than
just presenting an isolated logo to a client, the Chermayeff & Geismar
designers always show it in the environments in which it will be used.

"You have to show them the potential of the piece," says Geissbuhler, "how
it can evolve into something else, like signage, or a banner, or an ad."

In application, the frame element is very versatile. It can be used as a sim-

ple box with an opaque center, or its center can be made transparent to let
color or art show through from behind . The item framed can be a collec-
tion of samples of art from different shows or collections, or a highlight of
a detail from a larger image. It's also used to frame the names of other
museum entities and to display special logos, such as the one designed for
the museum's one-hundredth anniversary.

As a purely graphic form, the frame has a strong impact. Whether it is

emblazoned on a sign mounted on a steel blade or crafted as a diminu-
tive, silver lapel pin, its solid edge and blocky lettering pull the viewer's
eyes toward its center.

Geissbuhler says that although the frame element would work as a sym-
bol for any art museum , he feels that it is especially fitting for the Toledo art
museum, with its many educational exhibits and connection to glass. The
frame, and the museum, invites people to come in and learn.

"There are schoolchildren all over there," Geissbuhler says. "Kids can try
on Egyptian clothes and write hieroglyphics. There's a ceramics building
where you can throw a pot and a place where you can blow glass. A theater
is part of the museum campus, as is an art school. Students and artists
are everywhere. "That's what's unique about this place. What we created
for the museum has legs- it should be able to evolve and be pushed."

--
- - - _M
-
.- - - -

Credits
Oesign: Steff Geissbuhler, principal
 American Cinema Editors
Identity Design
Chermayeff & Geismar, Inc., New York, NY
"A logo," says Steff Geissbuhler, designer, partner, and principal at
Chermayeff & Geismar, "is really only the cornerstone of a visual
identity program. It is the visual language which evolves from and
with it that makes the name and identity memorable."
This was the premise that Geissbuhler presented to his pro bono
client, the American Cinema Editors, prior to creating its new
identity. The logo solution the design and brand strategy firm
eventually presented to the ACE was just a start, but it certainly
got that group set in the right direction with the proper tools for
the trail.
As he developed concepts for the client, Geissbuhler focused
on the essence of film editing in the larger sense of the term-
making choices, putting pieces together, adding and deleting,
making a whole out of many fragments. At the same time, the
designer wanted it to be clear that ACE's members are film
editors, not literary or some other sort of editors.
Geissbuhler recommended two different solutions. The first was
a three-piece logo created by German designer and intern
Christian Butte. The playful collage of letters as images on
pieces of film was to the designer a direct way of visualizing the
editing process in an abbreviated and abstract way. The
acronym is literally pieced together to form a whole.
The second solution, the one that was ultimately chosen, takes
full advantage of the shape of the capital letter E-the most
important letter in the acronym, according to the designer-which
has what look like sprocket holes on its right side, in the spaces
between the horizontal lines. Geissbuhler then added sprocket
holes along the left side of the logo to simulate a strip of film.
Inside the mark's frame, the acronym ACE is cut approximately
in half at the top and bottom, depicting only one full frame with
48
the acronym at the center. This implies multiple frames and rolling
credits. The logo has the advantage of being able to bleed off of
edges. It can also repeat as many times as desired, which gives
the illusion of motion, and therefore motion pictures, in a very sim-
ple and abstract way.
When Chermayeff & Geismar designers present identity work to
clients, they first apply it to a range of comp designs to give the
client a context in which to see the work. For the ACE, the logo
was printed on letterhead, envelopes, business cards, member-
ship cards, promotional apparel, and posters.
"The applications demonstrate that this logo can be used with or
without the full name, based on context and audience," says
Geissbuhler. The designers are also exploring the possibilities of
extending the visual language of the identity: Adding a few prefix
letters to the logo creates strong words such as place, face,
embrace, and lace. This pulls the identity out into even more
iterations for application to posters, postcards, mailers, T-shirts,
and more.
The client chose the rolling-credit logo because it clearly depicts
film rather than still photography. It suggests motion and the
splicing and cutting of the editing process. It also relates to ACE's
slogan, "Visible Art, Invisible Artist," by depicting the one place-
the rolling credits-where film editors often get their only thanks.
Geissbuhler says that the logo, which was implemented at the
start of 2002, is a good solution because it is simple. "It is mem-
orable, appropriate, very workable, single-color economical,
clear, and timeless. ACE is such a strong and meaningful acronym
that it deserves a strong visual representation, " he explains.
 ~~~ Rrm J Minale Tattersfield & Partners

J Express Dairies
I Corporate Identity
express

U.K.-based Northern Foods PLC originally had four divisions:

Dairy, Convenience, Meat, and Grocery. In the Dairy division were
the six dairy-related companies in its holdings: One sold milk
products to supermarkets; one handled delivery and distribution;
one sold milk at small outlets; another sold dairy products exclu-
sively in Ireland; and yet another sold milk by-products such as
curds and whey to food manufacturers. The sixth company,
Express Dairies, offered doorstep delivery of dairy products
throughout the U.K.

"This coming-aliue look of the

brand is synonymous with the
companys future aspirations." (Top) Express Dairies' new
identity not only brought the

But in 1998, when Northern Foods PLC demerged the Dairy divi-
sion into a separate PLC-the largest demerger the food indus-
~~~ - -
,,,~:,~,,,, :... 1 .....
"., c( ,.l:lIl1.1.
company into the twenty-first
century, it will also allow the
company to expand its serv-
try had seen to date-the newly independent group was faced ice offerings to customers. In
with an identity quandary. Each dairy-related company had had an the future, Express plans to
excellent reputation under Northern's umbrella and wanted to pre- deliver not only dairy products
serve it. But the group as a whole needed a new identity under to the home doorstep, but
which to gather, an even stronger brand that unified all six pieces.
also packages.
The international design strategy group Minale Tattersfield &
Partners was called in to help, first to formulate a brand identity (Middle and Bottom) The
strategy for the launch of the new company, and two years later, new logo has a double life:
to modernize the brand for the future.
It works as a strong identifier
The first step was to create a unified brand that built on the for dairy-product packaging,
strengths historically connected with the Northern brand. For this, and has also come to repre-
of course, a new name was needed. sent the package-delivery
express
Express Dairies was established in 1864, so it had plenty of his- Fresh component of Express's
tory. Its daily deliveries, whether done by train or other vehicles, WHOLE MILK business. The milk "floats,"
. ID
had been a common sight in the U.K. for over a hundred years. or delivery trucks, have been
After much consumer and marketing research, Minale Tattersfield repurposed to deliver both
recommended that Express Dairies be retained as the umbrella
milk and packages.
name for the group.
Express Dairies has been delivering quality products to its
customers for over a hundred years, as this photo from 1882
attests. The company has long held a meaningful position in
consumers' minds.

oi

This 1950s-era delivery van and bottle of cream reveal the company's first use of the brush-
stroke E that formed the centerpiece of the new brand graphics.

"In the end, we changed the shape and the space and pace of the identity and just
called it Express."
 -?>~RN ,.. ~
~ 0
o 0
Z \II

These diagrams show how

Northern Foods was struc-
GROCERY MEAT PRODUCTS CONVENIENCE FOODS
tured before its Dairy division
wasdeme~ed"op).andhow
D:tlry O..,.~tton~
the Express Dairies brand was
structured afterward (bottom).

If.
HoaTHUliI
DAIRII!: S

Whole.salt: tnil~
=I
Mil~
-----
c.w..,,..,,,

ul:.ll1bulion
;::" .Q.
Mil~ lor
+. " ...
Door:.1~p delivery Dairy prouuCls Raw ingredi~nls lor
10 supermar~e l s small retailers In Ireland large manufacturers
(I e Cadburys)

express

express express express

'=xpress Dames Milk Express Dairies DlSlnbullon
Food Serv.ce

TRIM!lJ<

Exprcoo DolrfC<l ONn Brand

Express Dairies
Endorsed

Partnership

This is not the place for humor. Milk needs to offer total assurance."

In this 1964 product shot (above), the E is taken one step further
in the design: It is isolated as a circled element and given more
prominent positioning. Today, as seen in the current products
(right), the design has remained with only a slight alteration to
the font below the circle.
"You don't want to throw the baby out with the bathwater," explains Alex
Maranzano, a partner at the design firm. "In the end, we changed the shape
and the space and pace of the identity and just called it Express."
The biggest danger when creating a new brand for an existing company,
Maranzano adds, is creating something so new that consumers don't rec-
ognize it and lose confidence in it. So the challenge is not only to build mar-
ket share, but also to retain the advantage the client's history has already
given it. Even a momentary dip in consumer confidence can mean signif-
icant losses for a company.
The new identity needed to appeal to a dual audience: markets, which buy
enormous quantities of product, and consumers, who purchase Express
products one container at a time.
"They needed to feel that this was a serious entity, not something that just
arrived," notes Maranzano, who adds that when it comes to food prod-
ucts, consumers need to have plenty of continuity and therefore reassur-
ance that what they are putting into their bodies is safe. "This is not the
place for humor. Milk needs to offer total assurance."
Express's main competition comes from Dairy Crest. Both companies are
very similar: Each is large, can supply markets and consumers with the
products they want to buy, and emphasizes the freshness of their prod-
ucts, which are turned around from farm to store shelf in twenty-four hours.
With such similar offerings, the new identity and packaging would have to
work hard to differentiate Express's offerings. But just looking different
I
w Viprns
- ~ltP'f! S .: expres.s
r, M r,
I r ~
SEMI-
WHO E SKIMMED
SKIMM
MILK
MILK MILK
...
, ._._----
98% far free
--
fot free
would not be enough . For instance, another competitor was using a com-
pilation of black-and-white photos of people for its milk carton packaging
design, presumably to depict a lifestyle.
"I find this packaging very confusing," says Maranzano. The products
no longer looked like food products, they looked like software packaging
or something purchased from a clothing shop.With food products, it is
important not to stray too far from consumer expectations, Maranzano
notes. "Color is also a very important part. Blue belongs to Express. When
people see a milk jug with a blue-and-white stripe on it, they know it is from
Express. It also implies coolness and freshness." Competitors Dairy Crest
and Unigate use a green-and-yellow and a red scheme, respectively.
The centerpiece of the new Express identity was also pulled from familiar
traditions. Since the 1950s, the public had seen the name Express Dairies
in brushstroke letters on milk delivery vans. Then, in the 1960s, the word-
mark was updated and the E in Express was placed inside of a circle.
"The 1960s update of the brushstroke version is very Swiss Graphic in
style," says Maranzano, of its clean, mechanical nature. "We have taken the
two-dimensional E inside of a flat blue circle and created a modern 3-D
version, implying a more universal, far-reaching company working day
and night. This coming-alive look of the brand is synonymous with the
company's future aspirations."
Minale Tattersfield's designers believed that the identity should be evolu-
tionary and not revolutionary. Having established the name's continuity,
The logo as it appears today
in a number of uses. It has a
express
3-D quality that its predeces-
sors did not have.

express

expren
0
expren
()
express
()
express
EXPRESS PENSION SCHEM E CJ(pRESS EXPnESS HCALTHCARE PLAN
INTRODUCTORY LEAFLET PENSION SCHEME PENSION SCHEME

Sl~ out from lh9 Crowd A.d<fi~t VoIVl'lt{1ry

CotItribfltion.~

the group proceeded to create a series of designs with varying degrees of Maranzano says that it simply made sense to repurpose the vehicles
differentiation from the existing symbol. At the same time, market research because they were already making door-to-door deliveries. The name
was conducted to discover just what consumer awareness of the Express Express and the logo 's progressive-looking, forward-leaning E work
Dairies brand was. equally well in identifying this new line of business.

That the brand scored very high with consumers made what to do clear to
the designers: With hundreds of E symbols out in the marketplace already,
Express's unique letter shape had to stay true to its origins to retain its high
recognition factor.
Express Dairies' owners wanted to allow for future development of the
brand , so the identity could not be specific to just milk or dairy products.
One plan that has since been implemented included using milk floats
(delivery trucks) to deliver diverse products- usually purchased over the
Internet-to homes.
"Originally, 50 percent of the milk in the UK was delivered to people's
homes," he says. "Now just 20 percent is, so the floats can be used to
deliver other products."
That the new identity has been well received despite the recent outbreaks
of SSE and foot-and-mouth disease is in itself a huge victory, says Maran-
zano . With the industry as a whole suffering because of these terrible
events, he adds, the solidarity and freshness of the identity reassure the
consumer that Express continues to evolve and improve.
ROYAL ARMOURIES MUSEUM
 ~~~ Rrm J Sandstrom Design

Cll~1iIf J Kombucha Wonder Drink

Projtct I Product Identity

What's the best way to inform consumers about a new beverage

variety they've never heard of or tasted? Should you build an iden-
tity that describes in detail in its name and packaging the product's
taste and benefits? Or is it better to only allude to these qualities
through type and design, then offer no additional clues at all?

In the case of Kombucha Wonder Drink, the latter approach held

sway. Sandstrom Design, working with the creator of the bever-
age, an experienced tea purveyor and bottler in Portland, Oregon,
chose to leave a new drink product almost entirely unexplained in
its identity and marketing. Then, they reasoned, curious con-
sumers would be forced to figure out Kombucha for themselves,
thereby becoming much more involved with the brand. It would
become the choice for people who were really "in the know."

The goal throughout this process

was to make the design a bit hard
to place.

(Top) Kombucha is the drink from nowhere and everywhere. It has

Traditional Kombucha (pronounced Kume-BA-cha) is a naturally
an ancient history, and it's the very latest thing, all at the same
fermented black-tea drink popular in Asia and parts of Europe
for its reputed health benefits. "Kombucha: A culture brewed time. Sandstrom Design packaged its client's green- or black-
in Asia for 5,000 years. Villagers don't have health clubs. They tea-based beverage in a way that makes the consumer seek it
have this," reads one block of sales copy. The new product was out, as opposed to the product trying to attract the consumer.
designed to appeal to health-food fans, baby boomers inter-
ested in their health, and people who aren't averse to new ideas (Bottom) These table tents give off many design cues: Minaret
and products.
rooftops and mosaic tiling suggest the Middle East, while the
"We designed it to not look like anything else available- not a tea, typefaces seem both European and Asian at the same time.
not an energy drink, not a soft drink, not an alcoholic drink. It's
supposed to be very mysterious, so the buyer can't even imagine
where it comes from," explains Rick Braithwaite, president of
Sandstrom Design, Portland.

Prior to concocting Kombucha Wonder Drink, the drink's cre-

ator, tea enthusiast Stephen Lee, had years of experience in the
beverage market. He had watched another bottled Kombucha
These early trials reveal just how many personalities the product tried on for size during the design process. Some were too con-
temporary, and some told too much about the product.

We didnt wont it to compete with bottled woter or teo or beer or ony other
product. We needed to keep it 0 little mysterious ond unknown.

product be introduced and then fail, but he felt that , with just the right With the name agreed upon , design of the product packaging began .
identity, he could make the product a success. Braithwaite says the goal throughout this process was to make the design
a bit hard to place. A number of designs were comped up. Because Sand-
Sandstrom Design began by naming the new drink. Braithwaite recalls that
strom presents all of its logo designs to clients in context, in this case, they
they considered a number of campy names such as Bucha, Vicha, Conti-
prepared mocked-up bottles. A logo that's designed for a bottle is out of
nental Kombucha, and Hans and Young Li's Fabulous Kombucha Drink,
context when it's plopped on a piece of paper, they believe.
but in the end , they concluded that the name Kombucha was important
and should be given primary emphasis. A number of comps were presented: One version had contemporary design
cues and looked a bit like a bottled-water product. "You would know what
"For those who are already familiar with Kombucha, why hide what it is? "
that one would taste like before you even tried it," says Braithwaite. Another
he asks. "For those who don't know what it is, it sounds foreign, but who
design was more apothecary-like, as if it came from an old drugstore. It was
knows where it's from . Plus it's just a fun name to say."
deemed "too Midwestern," expected, and geographically specific.
Wonder Drink had its own appeal. "It's a wonderful understatement, but in
There are no cues in the design they ultimately selected that point the
a clunky way. It had an intentional lack of sophistication that made it seem
mind toward a specific country or culture. Nor are there nods toward other
all the more believable, " Braithwaite adds.
beverage products on the market.
 There is a significant risk in doing what we did: People may not understand
the product.

The Kombucha Wonder Drink company's stationery carries on the brand's mysterious identity, combining clean and contemporary
styling with a hint of age.
This brochure is a consumer flyer used at the retail level. The
diecut piece is a shelf talker, also used at retail. Rumor has
it, says Rick Braithwaite, that the talker is being stolen by
teenaged girls and used as a bracelet.
"We didn't want it to compete with bottled water or tea or beer or any other
product. We needed to keep it a little mysterious and unknown, from no
specific place or time. Make the people have to discover it, " Braithwaite
says. "We like the idea of discoverability of a brand. It involves the con-
sumer more in the process. If they don 't figure it out completely, at least
they will try to make it their own . It's not like Coca-Cola or some other com-
moditized soft drink where the product is only made interesting through
millions of dollars of advertising and promotion ."
The logo, which has a shape that's somewhat Arabic, contains the prod-
uct's name. The engraved personality of the all-capital-Ietters Rosewood
font makes the brand feel as though it might be old, but the shape of the
stock bottle suggests that it is more contemporary. A secondary typeface
on the bottle, Art Gothic, has a distinctly Asian flair. The bottle's silver cap
These mailers were sent to distributors, major retail chains, and
other potential channel partners to show the product and pro-
vide background information on it. The punch-out bottle image
can be hung from the ceiling, mimicking in real space the float-
ing bottle on the Kombucha Web site.
carries a secondary identifier-KWD-that has become useful as a mark
on other Kombucha-related marketing materials.
"There is a significant risk in doing what we did: People may not understand
the product," Braithwaite says. "We can't spend millions on advertising, so
the product has to grow through word of mouth and pleasant experience [to
develop a reputation as] an exclusive product. Once people find it, they
know it and tell their friends about it. And it has turned out to very giftable
[in a three-bottle gift pack], which is really high praise for a product. "
So far, Kombucha Wonder Drink has been a huge success. Introduced to
the market only in late 2001 and initially intended for a West Coast launch,
it has attracted distributors throughout the U.S. and several foreign coun-
tries. Many stores are finding it difficult to keep an adequate inventory,
Stephen Lee says happily.
 D~~~~ Ftrm J Parham Santana

J Learning Curve

I Corporate Identity Redesign

Learning Curve, the parent company behind many educational

toy lines, is an expert in offering products that it calls "playtime-
enrichment toys." Focus-group studies agreed, as did the spe-
cialty stores that carry the company's products.

In fact, just about everyone agreed that if there was a manufac-

turer that was altruistic and trustworthy enough to be recognized
as a leader in developmental toys, it was Learning Curve.

Parham Santana was brought in by Learning Curve's manage-

ment to create a more muscular brand for the company. The
design firm felt that its client deserved the cachet of being the
expert in their field, and the firm set out to proclaim it graphically.

"We felt the most efficient and

effective way to express this was
a seal of approval that celebrates
the child's achievements."

"We were very impressed with the care and professionalism that The new Learning Curve identity mark is housed in what looks
they put into the development of their products," explains John like a quality seal. The new identity has a celebratory feel, laud-
Parham , principal of the brand strategy and design firm. "We felt ing the brand as well as the achievements of the children who
the most efficient and effective way to express this was a seal of play with the company's toys.
approval that celebrates the child's achievements and stands out
so moms can track the products on the shelf and go on to new
products as the child grows."

Learning Curve CEO John Lee had brought an entire range of

developmental toy brands , including Thomas and Friends ,
Lamaze, Felt Kids, Madeline, and Eden, under the umbrella of his
company to cover the 0- to 12-year-old market. But making retail-
ers and consumers aware of Learning Curve while maintaining
LearningCurve-
the sub-brand integrity of its products was a challenge. Before
Parham Santana began work on the project, Learning Curve Inter-
national realized that it owned significant shelf presence, though Learning Curve's original logo felt cold and seemed more appro-
its name remained relatively unknown to consumers. priate for a bank or mutual fund. However, Parham Santana's
designers felt it was important to keep some aspect of the old
mark's ascending curve in the new mark.
 ~
Leal g
. . - - .. - Cl e. .

The new mark was designed-in both color and shape-so it
could be applied to the packaging of any of Learning Curve's
sub-brands.
The design team felt that the new logo should maintain the curved motif, but they
took it in a more emotional and aspirational direction.
Another challenge was a market crowded with educational toys of
many brands, all making varying claims and all of varying quality. How
could Learning Curve be made to stand out as the premier and most
trusted company?
To distinguish Learning Curve, Parham Santana studied the competition
so they could define their client's MVP, or "most valuable positioning." The
design firm concluded that Learning Curve was not necessarily in the toy
business, but rather in the business of "playtime enrichment." So the client
and designers worked together to establish an identity that was much more
emotional and in touch with the aspirations mothers have for their children.
The company's original mark was a small, curved, ascending graphic
meant to visually describe the good-for-you learning toys they manufacture
along the learning curve for infants and children up to age twelve. While
accurate, the mark did not communicate the fun and emotional appeal of
the brand's offerings.
"It looked institutional, like a bank logo or a mutual fund mark," says
Parham. "It told one story, that of a learning curve serviced by toy brands,
but the larger story was more intriguing: Learning Curve is actually a group
of do-good professionals who develop and test toys so that they are the
best they can be. They produce some very fun and creative products."
L
eu
In some corporate applications, the mark is used alone, without
the seal or the ribbon.
The design team felt that the new logo should maintain the curved motif,
but they took it in a more emotional and aspirational direction: The curve is
now the tail of a shooting star, which playfully dots the i in Learning. For the
type, the designers replaced the cold sans serif of the original design with
a warmer, more human serif face. The serif typeface is also evocative of
education, as most children's books and school materials use a serif type.
"The new mark is more celebratory," says principal Maruchi Santana,
"because when you have a child growing through developmental
toys, you are celebrating every achievement. The stars give that feeling
of celebration."
While the shooting-star mark is used together with the company name on
stationery and select corporate materials, the designers took the graphic
one step further for use on packaging, promotional materials, signage, and
other consumer communications. The firm placed the identity inside a yel-
low seal, essentially a seal of approval. The yellow is sunny and happy, and
Learning Curve's logo is in red, the most recognizable color on store
shelves. Together, the colors feel warm and rich. The color combination
also coordinates well with the many designs and colors of the packaging
to which the seal is applied. It also provides a shape and background that
can be combined with the identity of any of the company's sub-brands.

end,
In these trade communication slicks, the Learning Curve seal
is used without the ribbon. In the example at the top, the seal
shape is used as a burst to call out a new feature instead of
advertising Learning Curve's name.
en s.
"We did meet with some resistance on the seal internally," says Parham of
the client's reaction to the design. "Some people felt [it would look] like
[they] were awarding [themselves] this honor. But we told them, 'If you don't
do it, who will?' And in addition, it won't be long until someone else will
make the claim," says Parham. "Learning Curve saw the credibility this
could gain for the company immediately, and focus testing bore this out."
The consumers in those focus groups immediately appreciated the mean-
ing of the seal and loved the aspirational implication of the stars. To them,
the seal meant "approval" or "officially good," without making any overt
claims. Placed on the front of packages, the seal identifies the main brand ,
Learning Curve, but cordially allows the sub-brand to introduce itself to the
shopper. A consumer can find the sub-brand of toy they're used to search-
ing for, but can still feel secure that when the seal is visible, they are shop-
ping along the learning curve.
The new identity seems to be working on all fronts. The client is pleased:
Polly Macisaac, vice president of marketing for Learning Curve Interna-
tional, feels that her company now has a smart and proprietary position-
ing, as well as a clear, clean branding architecture. Investors and the trade
community are embracing the idea that the company is selling more than
just toys. And kids, of course, are continuing to have fun and develop with
Learning Curve products.
 is relatively stable. With a StatCard,
your cards can increase in value
[from one hour to the next]," he says.
IORD'ERI ~ PLRq'Em ~ TRIlIE'em
"You can display that value online or
put it in your reader. StatCard takes the
play pattern of trading cards and takes it to the next leveL"
Because this was a new product-and a new technology with a
new play pattern-the designers had to be certain that the iden-
tity communicates as quickly as possible what the product is and
does. Their client didn't have endless marketing dollars or years
to explain an abstract mark like the Nike swoosh, for example.
The identity had to instantly communicate that this is new, this is
a trading card, and this is a card that you plug into something."
The Parham Santana designers first experimented with designs
that centered around the embedded chip, but then decided that
that wasn't really what was unique about the cards since many
phone cards, credit cards, and debit cards carry smart chips, too.
So they circled back to the product tag line the firm had created:
"Load 'em . Play 'em . Trade 'em ." Then their experiments became
66 .
"A product this versatile has to be
shown to work with many different
brands," she adds.
The product line was launched at the
Toys "R" Us flagship store in New York's Times Square and was
an immediate hit with consumers. Based on its success there, it
is now being rolled out to Toys "R" Us stores nationwide.
The client is pleased with the identity, especially given the com -
plexity of launching not only a new brand, but a new product,
technology, and play pattern as well. "We had to make the
retailer feel comfortable with our ability to communicate this
concept to consumers. We had to make the consumer feel like
this was a product they understood and wanted to buy,"
explains Maggie Trujillo , chief operating officer of StatCard. "In
addition to these short-term goals, we need the marketplace
to be familiar with StatCard as a brand in order to pave the way
for the future, when many more products will be using smart
card technology for entertainment purposes. Parham Santana's
work has been critical to our success to date."
 G> = Design Firm
<3 = Client
LOGO SEARCH
G
Initials

AVHIUl
,
aeR e an lOll &' l i nell

T he G r o u p . l td

ANACOMp
aLTO

ALLI ANCE
DAT A SYSTEMS

1C Planet Propaganda C3 Adams Outdoor Advertising 10 Planet Propaganda Adams Outdoor Advertising 2A Wages Design Atlanta Flames Hockey 28 Balance e Atlas Oil
2C 4]) Hama ll Anderson Alki Bakery 20 4]) Rickabaugh Graphics Atlas Color Imag ing 3A Sandstrom Design Active Arts 38 Mitre Design e Safe Passage 3C 4]) Prejean LoBue Aegean Tours LLP
3D CREB Communications, Inc. <3 Children's Broadcasting Corp. 4A 0 Pagan e Alto Furniture 46 Graves Fowler Associates C3 The Aegis Group 4C Planet Propaganda e Angelic Brew ing Company
40 Mires C3 Anacomp SA e Richards Brock Miller Mitchell & Associates e Alliance Data Systems 56 e James Lienhart Design e Acme Wiley, Inc. 5C e Gardner Design e Andrew Paint
E!I 50 G) Sackett Design e Azzolino Chiropractic Neurology Group


@ amcningmail.com o

Ac
THEATRE
av

R n H
8 lJ BEnEDICTinE
m . . ., '" 13

1S T I N T RANE T BANK BRO W N SHO E

NO.," .M.al(A

1A G> After Hours Creative C3 AmazingMail .com 18 G> Jon Flam ing Design STriple A Barricade 1C G> Richards Brock M iller Mitchell & Associates African-American Museum
10 mJames Lienhart Design C3 Allan Cox & Associates 2A Blue Beetle Design e ACI 2B G) Modern Dog Communications Act Theatre 2C Fe lixsockwell.com (!) AD
2D James Lienhart Design e Active Health, Inc. 3A Planet Propaganda e The Alternative Pick 3B G> Planet Propaganda e The Alternative Pick 3C Chermayeff & Geismar, Inc. e Banco de Italia, Buenos Aires
30 Buz Design Group (3 Suz Design Group 4A Randy Mosher Design e Three Floyds, LLC 48 Howalt Design Studio, Inc. e Benedictine High School 4C 0 Pat Taylor Inc. C3 Berstrom Museum
40 Chase Design Group <3 Bradley Group 5A Pagan <3 Bastion Shipping 56 Prejean LoBue C3 Corporate Concepts - PBS 5C Eisenberg and Associates <3 Bella Corium 50 Kiku Obata & Company <3 Brown Shoe
G
BL.ACKSTONE BLACKSTONE
BLUE tJ E
.lIllftl NO ~ v.r.~ INr

blue nile
BRIOSO-------..
~~-~.~
BRAZIL
an amencan churr.IJC<Jna

c N E T

rlllli-H I ( U M M l I N l f A 'ION \

CLC ASSOCIATES

1A Howalt Design Studio, Inc. Blackstone 1 B 0 Howalt Design Studio, Inc. Blackstone 1C Planet Propaganda e Sherpa 10 mDesign and Image Bluel ine 2A Stone & Ward Marketplace Grill
2B Chermayeff & Geismar, Inc. e Beaunit 2C Hornal! Anderson Blue Nile 20 Hutchinson Associates, Inc. SAX 3A Trickett & Webb European Science Foundation
38 0 Richards Brock Miller Mitchell & Associates e Circuits 3C 0 Jon Flaming Design (3 Creative Print ing 3D CRE8 Communications, Inc. e The Certus Group 4A Sayles Graphic Design, Inc. C3 Christopher's Restaurant
46 e Pat Taylor Inc. e Commons Corporate Center 4C e Gardner Design <3 Christy Peters 4D 0 Prejean LoBue <3 Cnet Telecommunications SA 0 Sabingrafik, Inc. <3 Current Communications
56 Chermayeff & Geismar, Inc. <3 Centro de Convenciones de Cartagena SC Braue; Branding & Corporate Design <3 Sony - Columbia Records 50 Design and Image <3 CLC Associates


[I o

II

e
eLustro
Agendas ESTES
elll lUUJiJnc . \1

eResources

1A 4]) Webster Design Associates Inc. e Carlson West Povondra Architects 18 G> SPATCHURST Digital Art Directory 1C 4]) Richards Brock Miller Mitchell & Associates e Da llas Symphony Orchestra
1 D 4]) Chermayeff & Geismar, Inc. e Dem ir Oakum 2A mChermayeff & Geismar, Inc. 0 Day National Museum 28 James Lienhart Design e Dunbar Builders 2C Design Machine Design Machine
20 0 Beth Singer Designe Democratic National Committee 3A G> Dotzero Design e Digita l Planet 38 Planet Propaganda e EuroArte 3C Rickabaugh Graphics <3 Beckett Paper
3D Chermayeff & Geismar, Inc. e Engraved Stat ionery Manufacturers Association 4A Harnal! Anderson e Eiseware Corporation 4B e Pat Taylor Inc. (3 Frank Evans Art Supplies 4C Grapefruit Desig n C3 Media Engine
40 Sumba Desig n C3 Estes Music Management and Entertainment SA Miriello Grafico, Inc. C3 Encorrot Sportswear 56 Sanna Design Group , Inc. C3 Orange E - Graphic SC e Pat Taylor Inc. C3 Everly Elevator Service
50 e Grapefruit Design C3 eResources, Inc.
G
Hatchery

f5llJl

GCG FINANCIAL

General
grow Cinema

g:f (tOR . I JC H KIRCYI .

gr 0 I r assocI t 5

1A mChermayeff & Geismar, Inc. Embassy Communications 18 Prejean LoBue EFCO Corporation 1C Wages Design eHatchery 10 GTA - Gregory Thomas Associates e Condo Exchange
2A Hornall Anderson Microsoft Corporation 2B Cata Purnel l Partners C3 Eden Quarter 2C John Evans Design e Squ ires and Co . 20 4]) Sandstrom Design FSU 3A Simon & Goetz Oesign C3 Fx Chmidt Spiele
36 0 Gardner Design e Lazy G Ranch 3C Kontrapunkt C3 The Geological Survey of Denmark and Greenland 3D Liska + Associates Communication Design e Geldermann 4A e Simon & Goetz Design e Grow
46 e e
Grapefruit Design Boston Media Corporation 4C e e
Liska + Associates Communication Design C3 GCG Financial 40 :> BrandEquity General Cinema Corporation
5A G) Chermayeff & Geismar, Inc. e GF Business Equipment 5B G) Graves Fowler Associates e Graves Fow ler Associates 5C G) Design and Image e Gorsuch Kirgis 50 G) Sibley Peteet Des ign e GSD&M


...
T "'m
~

::
-

n
w

HARDIN

HOI 1-1. RI-II WI-I HI-I{

III

POPL 1 KNOW FORTRF~ 1M

1A Chermayeff & Geismar, Inc. e Halaby Internationa l 1B 0 Chermayeff & Geismar, Inc. Heritage Trails 1C Kellum McC lain Inc. e Hybrid Record ings 10 4]) Richards Brock Mil ler M itchell & Associates e Hope Cottage
2A 4]) John Silver Hairbrain Fi lms 2B Jon Flaming Design (!) Hannah Flam ing 2C mSibley Peteet Design (!) Hyde Park Gym 20 0 Hornal! Anderson Harris Group 3A 4]) Liska + Associates Communication Design (!) Heltzer, Inc.
3B Hornall Anderson C3 Hardware.com 3C 0 Wages Design e Hardin Construction 3D e Balance e Humaneered 4A Planet Propaganda C3 The Hiebing Group 48 MB Design e Hotel Be llwether
4C Gardner Design e Hite fanning Honeyman 40 e Design Machine e Hi beam SA e BBK Stud io e Herman Miller 58 e Design and Image e People I Know 5C e Aoman Design e Fortress Technologies, Inc.
50 James Lienhart Design <3 International Typetronics







G

J


SAL. 0 III

HiEITlPEA

Snowboards

LUUOLItMA lISA ERSHIG TERI ORS

Lor T S

1A G> Design Machine C3 L2 18 G> MB Design C3 James Alan Salon 1C Chermayeff & Geismar, Inc. Krystal 10 4]) Gardner Design e Kimball Insurance
2A Chase Design Group Kemper Snowboards
28 4]) Saturn Flyer KRYPTOSIMA 2C mJames Lienhart Design e Kellogg School of Bus iness 20 4]) Chermayeff & Geismar, Inc. Knapp Shoes 3A Chermayeff & Geismar, Inc. e Katonah Museum of Art
38 0 Prejean LoBue e Kirk Worden Photography 3C Gardner Design e Integrated Interiors 3D Angryporcupine e K&M Productions 4A 0 Modern Dog Communications <3 K2 Snow boards
46 e Modern Dog Communications e K2 Snowboards 4C e Modern Dog Communications e K2 Snowboards 40 e Modern Dog Communications e K2 Snowboards
SA Liska + Associates Communication Design e Loret Carbone 56 Kiku Obata & Company e LoftWorks, LLC. 5C 0 MB Design elisa Ershig Interiors 50 0 Pat Taylor Inc. e Magna-Check Corporation


o
McCORO PRINTING

~ m
~ .~. &a rriI bergsma
MARSON lll C l l 0~
C ON
M&A COLLECTIONS

mojounlimited

maak l

---
f\."J
NORTHWESTERN NASA L + SINUS

e Market Skateboards 18 Prejean LoBue e Linda & Manuel Herrera 1C 4]) Eisenberg and Associates e McCord Printing 10 Dennis Purcell Design e Manitou, Inc.
1A G> Howatt Design Studio, Inc.
e Marson Constructions 28 Chase Design Group e Design Group 2C Blue Beetle Design e M&A Collections 20 MB Design e Mark Bergsma 3A 4]) James Lienhart Design Mutua! Employment , Inc.
2A Visible Ink Design
38 BSK Studio e VMF Capital 3C Mojo Unl imited , LLC e Mojo Unlimited, LLC 3D Planet Propaganda e Misty River Woodworks 4A Spot Color Inc. C3 Maak1 48 Sandstrom Design e NW Natural
4C Prejean LoBue e Corporate Concepts Paradigm Business Solutions 4D 0 Chermayeff & Geismar, Inc. C3 Nissay 5A 0 Howalt Design Studio, Inc. C3 Net Trekker
58 Liska + Associates Communication Design <3 Northwestern Nasal + Sinus 5C Chermayeff & Geismar, Inc. <3 National Public Radio 50 e Henderson Tyner Art Co. <3 Nupro
G o Dec K

ON LY
... ... D

on OCEAN ~ PACIFIC

PERSPECTA

Revell

1A Pagan Only 1B Rickabaugh Graphics e The Ohio State University 1C Hornall Anderson e Space Needle 10 Chermayeff & Geismar, Inc. e Owens- Illinois 2A Chermayeff & Geismar, Inc. e Georgia O'Keeffe Museum
2B 0 Tim Frame Brainstorm Design 2C Howalt Design Studio, Inc. OP 20 Elix ir Design e Perspecta, Inc. 3A 0 Planet Propaganda e Planet Propaganda 38 Gardner Design PrintMaster Printing
3C Planet Propaganda e Planet Des ign Company 3D Wages Design e Pfrimmer 4A Sibley Peteet Design C3 Paramount Theater 46 Hawalt Design Studio, Inc. e Palm pda 4C Simon & Goetz Design e Sachs
40 Art Chantry e Quester 5A e Ba lance e Quotes & Notes 56 e Webster Design Associates Inc. e Quality Refrigeration 5C e Wages Design e Fleming H Reve ll Pub lishing
50 G) Eisenberg and Associates e Reid Park Zoo , Tucson


RAM

SPORT SH<lfIC flTMOS

~ SA FEe O '
SUddenae, moves

1A Evenson Design Group e Reading Entertainment 18 G> Dotzero Design e Rich Henderson 1C Pat Taylor Inc. e Bill Rolle & Associates 10 Harna ll Anderson e Pacific Raceways
2A Liska + Associates Communication Design Racine Art Museum (RAM) 28 Chermayeff & Geismar, Inc. Robert F. Kennedy Foundation 2C Gardner Design C3 Richmond Raceway
20 Braue; Branding & Corporate Design C3 Rillke & Sandelmann Fotografen 3A 0 Treehouse Design e Sport Specific Fitness by Christopher Drozd 38 John Evans Design e Jeff Stephens 3C Tim Frame e Sater, Inc.
3D e Portal 7 Designe Splash Imaging , LLC 4Ae e
Howalt Design Studio, Inc. Sally Crewe 46 0 Chermayetf & Geismar, Inc.e Seatrain Lines 4C Phinney/ Bischoff Design Housee Safeco
40 Dotzero Design <3 Standard Printing 5A e Des ign and Image <3 Strategies for Business 56 e Dotzero Design e Standard Printing 5C Chermayeff & Geismar, Inc. <3 SFX Entertainment 50 e Tim Frame <3 Sealy, Inc.
 e




G ,
S STE l:.i:!
,

SRB

Tlmberhne
I HDUI T . ' IS

TrOHanl
DESIGN

The National Network

Universal Health Ne twork V 1ST A

1A mPagan Idea Plus DDB 18 mBlue Beetle Design STE 1C mCata Purnell Partners (!;lTotalizer Agency Board 10 4]) Harnall Anderson C3 Raleigh Cyc le Company of America 2A G> Des ign and Image C3Timberline Industries
28 Tharp Did It Temple 2C mSandstrom Design C3 Thurber Works 20 SPATC HURST C3 Tomago Aluminium 3A Chermayeff & Geismar, Inc. e Telemundo 38 Sandstrom Design C3 Tazo Tea
3C G> Grapefruit Design e Troxtel Design 3D Chase Design Group e Virgin Records 4A G> AdamsMorioka, Inc. e The Nationa l Network 48 G> Dotzero Design e Thinkstream 4C Dotzero Design e Underground Storage
40 John Silver (3 Peter Geiss 5A e GTA - Gregory Thomas Associates e Universal Health Network 56 0 Richards Brock Miller Mitchell & Associates e USA Film Festival 5C 0 Design One e Vista Systems
50 Gato Purnell Partners <3 Australian Symphony Orchestra


o
VIZWORX
\ 1~ Il I\ J. SULU T IUNS

verde fi yle

. WINTERTHUR

I~WORK
Q
0<1-
WF

I..~
s:avuxarua
~ EWAT~A
TRANSI'ER
.. " 11 "
... r" .

1A 0 Braue; Branding & Corporate Design Braue 18 Gardner Design VizWorx 1C Richards Brock Miller Mitchell & Associates e Hillwood 10 Simon & Goetz Des ign C3 ZOF 2A Angryporcupine e QV Design
28 mMires e Verde Communications 2C John Silver e Vaughn Williams 20 Catc Purnell Partners e Bank West 3A Harnall Anderson C3 Watson Furniture Company 38 Howatt Design Studio, Inc. C3 Winternet
3C MonigJe Associates Inc . 9 W interthur Museum, Garden, and Library 3D Harnall Anderson (3W idmer Brothers Brewery 4A Blue Beetle Design e Woodsmith 48 Howalt Design Studio, Inc. e Work, Inc.
4C Evenson Design Group C3 Wa ldorf Crawford 40 0 CRE8 Communications, Inc. e e
Western Recreational Vehicles, Inc. 5A Henderson Tyner Art Co. Winston~Salem Symphony
56 e Design and Image e Wewatta Transfer 5C e Chase Design Group e Tony Williams 50 e Chermayeff & Geismar, Inc. e Waterside

!!!. exenet
N

G

c y A R E L L

zi pcar I

med JJ[JJJ~[J
Music First'"

......]


V01ce



TWO STREET

6iXTH
STREET
WA Tc nrnOH T
rao,.,." " ,

1A OK Design (!) Six Flags Magic Mountain 1 B Sterling Group e Exenet 1C After Hours Creative (!) ENX 10 4]) Simon & Goetz Design (!) Yarell GMBH 2A 0 Sibley Peteet Design e Yancy's Bar
28 Hecht Design (!) Zipcar 2C Bright Strategic Design NetZero, Inc. 20 @Miriello Grafieo, Inc. e Hot Z Golf 3A Hecht Design e Zmed 38 Liska + Associates Commun ication Design Elizabeth Zeschin Photography
3C AdamsMorioka , Inc. C3 VH1 3D After Hours Creative e Just 1 4A Hornall Anderson e Cellular One 46 0 AdamsMorioka, Inc. e AlGA 4C Chermayeff & Ge ismar, Inc. e WGBH Educational Foundation
40 e e
Hawalt Design Studio, Inc. Radio in the Nude 5A Howalt Design Studio, Inc. e East3 56 Gato Purnell Partners e AGldeas 5C Simon & Goetz Design eSachs 50 e MB Design e Haskell Corporation


1 LOGE 23

44

~ 00

1A IDChermayeff & Geismar, Inc. WNEVTelevision 18 Cata Purnell Partners Seven Network Australia 1C Cata Purnell Partners C7 Network 10 mSandstrom Design e Sokol Blosser Winery
2A Chase Design Group eVirgin Interactive 28 Howalt Design Studio, Inc. e 12XU 2C Kellum McC lain Inc. e Eye to Eye Creative Solutions 20 4]) Howalt Design Studio, Inc. e Radio in the Nude
3A Howalt Design Studio, Inc. e Lot 44 38 Howalt Design Studio, Inc. C3 Lot 44 3C Sayles Graphic Design, Inc. e 45th Annual Western Regional Greek Conference 3D Chermayeff & Geismar, Inc. e The Museum of Modern Art
4A e Simon & Goetz Design e Roche Germany 48 Hess Design Works e e
Society of Illustrators 4C 0 Sibley Peteet Design McGarrah Jessee 40 e Chase Design Group (3 Hard Rock Hotel
5A e Felixsockwel Lcom <3 850 58 e Lieber Cooper Associates e J.W. Marriott - Washington D.C. 5C e Design and Image e Race Street Partners 50 e Gardner Design e Grider & Company CPA


G> = Design Firm

<3 = Client
LOGO$EARCH
.
~I!JWOl'dI$ I Typogrophy Filmco[ oppo 1llllty o

slyl wm

S rylc .cotll
hi.
TUESDAYS
bal tyl . . co m

work~lace~ Ie mn-'lCt ~n up
PaineWebber anoDal ~ mphony sha\

,
rn oelo f GILDA I dr 1 I scrtbe . scentsatlons
~~

CIVITAS C~O'VN EO
'antage

1C Sandstrom Design e FilmCore 10 mKellum McClain Inc. e Greco Ethridge, Inc. 2A Chase Design Group e estyle.com 28 Proart Graphics/Gabriel Kalach e Joy Night Club 2C Sandstrom Design (!) Bike Lift
20 Pat Taylor Inc. (!) Typographers International Association 3A Sackett Design e Workplace Answers 38 Chermayeff & Geismar, Inc. e PaineWebber 3C Chermayeff & Geismar, Inc. National Symphony Orchestra
30 Wages Design e Shaw Industries 4A G Art imana e Moncloa 4B Chase Design Group e Gilda Marx 4C Addis Iscribe 40 G> MB Design e Scen tsat ions SA Essex Two Inc. e CIVITAS
e e e
56 Chase Design Group The WB 5C 0 Monigle Associates Inc. Crown Vantage 50 0 Chase Design Group Matteo
 BARN YS
G
NEW YORK )
~ --------------

PLAZA FRONTENAC ~ 1~ ID.ECH.E.E .. MORGAN STANLEY RENE LEZARD

FOSTf:R HART COLUMBIAWiNER.Y M& WILKOW

LAWYERS

{(~;)
OR ENT E X PRE ) LYO N TEX B .R I G HT ON
GEMOPTICS I' (.\ I T Jo.

~ MONSANTO ~. w e RLD P OL I CY
CHAMPS I "",I I/ed/th . Ilo!", -

e Sub Pop 1B Chermayeff & Geismar, Inc. 8arneys New York 1C 4]) Chase Design Group e MSN 10 Design One Co lton Groome & Company
1A Art Chantry
2A Kiku Obata & Company e Dav is Street Land Company 28 Plumbline Studios e Six Degrees 2C Chermayeff & Geismar, Inc. e Morgan Stan ley 20 4]) Simon & Goetz Design e Rene Lezard
3A 0 Hoyne Design e Foster Hart Lawyers 38 Phinney/ Bischoff Design House <3 Columb ia Winery - Corus Brands 3C Liska + Associates Communication Design e M&J Wilkow
3D e Eisenberg and Associates e Aquaved ic 4A Triple 888 Studios e Sheldon and Hammond 46 Zenarts Design Studio e GemOptics, LLC 4C Chase Design Group e Lyontex 40 Stone & Ward e Brighton Pointe
5A G) Logoboom <3 Radar Investments 56 e Blue Beetle Design <3 Champs 5C G) Enterprise IG <3 Monsanto Company 50 G) Chermayeff & Geismar, Inc. <3 World Policy Journal


a LaSLY,iCk. 8 garageband,com Childrens PI l SI lOUIS

Thon o

Littan Mobil : Hansol FEYaD

IlssurantCroup TLpe(Dn~@QJ@
"ron aftermedia

Chemistry
< ca llisma :J c p Place gOTHmann
l1J hodoo

ibid. Bravo BUIU

1A 0 Orange 32 Tastylick Studios 18 4]) Plumbline Studios GarageBand.com 1C 0 Rodgers Townsend e Children's Hospita l 10 M ires S Think Outside 2A IDGl A - Gregory Thomas Associates C3 Litton Industries
28 Chermayeff & Geismar, Inc. Mobi l Corporation 2C Chermayeff & Geismar, Inc. e Hansol Paper 20 0 Chermayeff & Geismar, Inc. e Feed Magazine 3A Wages Design e Assurant Group
38 0 Brian Soay & Co. e Society of Typographic Aficionados 3C 0 Monigle Associates Inc. C3 Itron 3D Plumbline Studios e AfterMed ia 4A e Angryporcupine e Callisma 48 Plumbline Studios e Addison Wesley Longman
4C Braue: Brand ing & Corporate Design e Gothmann Optik 40 Chase Design Group e Whodoo 5A e Chermayeff & Geismar, Inc. e Ibid Stock Photo 5B e Laura Manthey Design e Blur Convergent Marketing
5C e Kellum McClain Inc. e Bravo Network 5D e Artimana e UOC

G
obj ripe K2rP12!

Dawson The Museum of Modern Art flYing_c_

---.._fvt> o.tII til
virgin
atlantic

CI n U~BAN A[;ENTS DOVEBID
BIIC;IOP "Allrl,on<; Worlrfw,rfp

DI E. SE 5 CffiFF
B

,
V I: R I PICNIQUE

1A 0 Liska + Associates Communication Design e Colin Ross Design 18 @BSK Studio Ripe 1C G) Design and Image e Quris 10 Luee Beaulieu Good Life Crew/Club Living 2A MB Design e Dawson Construct ion
28 Chermayeff & Geismar, Inc. (3 The Museum of Modern Art 2C 4]) Start Design Ltd. Virgin Atlantic Airways Ltd. 20 Start Design Ltd . C3Virgin Atlantic Airways Ltd. 3A Addis Helion
38 Chermayeff & Ge ismar, Inc. e Precision, Inc. 3C G 2b1a e Urban Agents 3D Addis C3 Dovebid 4A Chermayeff & Geismar, Inc. e Dime Sav ing Bank of New York 48 Pagan C3 Mapa, Montenegro
4C 0Chermayeff & Geismar, Inc. (3 Best Products 40 Hoyne Design e e
Cuff SA Chermayeff & Geismar, Inc. e
Infineer 56 Cronan Group e
Picnique 5C e
Hornall Anderson Space Needle
50 e Chermayeff & Geismar, Inc. e Picnique Frozen Yogurt


o
AURA CACIA

~BLACK
HI.\WORTH BELLOHOWELL
J E
, fi mlJ]J:I BROOK5"""
,rJ"

. . .
CmPlACE J')))) W . . lltH IOlUrtON. ACTIVE\VOICE

...

magicTalk

!C5 ,-----
...
Bra i nSha re 2000 l' 'Ill Blbel' @
~('( III conversa f'Oncc

1A Willoughby Design Group Robyn Nichols 1 B Addis Aura Cacia 1C Kiku Obata & Company 8 The Pageant 10 Beth Singer Design e Hillel: The Foundation for Jewish Campus Life
2A 8mndEqu ity e Haworth 28 4]) Essex Two Inc. e 8eJl+Howell 2C Lexicon Graphix, Inc. Jet Black 20 Trickett & Webb Reuter Brooks Couriers 3A Richards Brock Miller Mitchell & Associates Cityplace
3B 0 Hutchinson Associates, Inc. e Ranger Wireless Solutions 3C Harnall Anderson e Active Voice 3D G> Proart Graphics/Gabriel Kalach e G2 Team Sales 4A Harnall Anderson e Imind Corporation
4B Hornall Anderson e General Magic 4C e Hornall Anderson e Print Northwest 40 0 Trickett & Webb e RIBA 5A 0 Horna ll Anderson e Novell, Inc. 58 0 Wages Design e Aememberit.com
5C Hornall Anderson C3 Conversa 50 e Hecht Design e Conect
 G> = Design Firm
= Client
LOGO SEARCH
G
Enclosures

.6--1I--~>:-..

.~
TOBINSTUDIOS
~'
.... ".
'~~",-=--, .:;.'"

. com

the expert experience

(lush.Lea...

Egocentrum 10 Sterling Group e Burger King 2A Orange 32 (3 Tobin, Inc. 28 Art Chantry (3 Estrus Records 2C AdamsMorioka, Inc. e Frank O. Gehry 20 MetaDesign (3 Pop.com
1C C!)Art imana
3A Addis (3 Exp.com 38 4]) Trickett & Webb C3 Computer Cab PLC 3C Sayles Graphic Design, Inc. C3 Jordan Motors 3D Bright Strategic Design C3 Nutro Products
4A Lieber Cooper Associates e Ferrari Ristorante, Chicago, Ill inois 46 0 Ken Shafer Design e Sierra On-Line 4C Brian Soay & Co. e Hypertech Body Build ing Gear 40 G> Sackett Design C3 Pacific Foundry
SA e
Chase Design Group e Kemper Snowboards 56 Willoughby Design Group (3 Willoughby Des ign Group 5C Portal 7 Des ign e Placebo 50 e Art Chantrye Danger Gens


PlA~1 I
\UTILITY] ARia o
one~lxl l

VECTA

fEATROI
-----------------------

STAPLES

Honbonnir,.,

MDCC'il-
.... OTUK

e Mattei 18 Art Chantry e Place One Sixteen 1C Modern Dog Communications e Target Stores 10 Liska + Associates Communication Des ign e Aria 2A Hecht Design MIT
1A Howalt Design Studio, Inc.
Liska + Associates Communication Design e Grainger 2C mRichards Brock M iller Mitchell & Associates e Vecta 20 Sandstrom Des ign l aze Tea 3A Prejean LoBue Ristorante Teatro
28
38 Willoughby Design Group e Lee Jeans 3C Cata Purnell Partners e Raffles Hotel 3D 0 Chermayeff & Geismar, Inc.(3 Eli's Manhattan 4A Howalt Design Studio, Inc. <3 Mach 10
48 BrandEquity C3 Staples Communications 4C Chermayeft & Geismar, Inc. (3 Giticorp 40 Gardner Design e Chips Computer Centers 5A 0 Design One e e
Drexel Heritage 58 0 Jeff Fisher LogoMot ives Slick
5C G) Pogon C3 Mocca Chocolate Bar 50 G) Liska + Associates Communication Design C3 Mr Big Film
 P I L
G 080
LUS

liz&co.

Ct:NTRAL
DESIGN

PRODUCERS D I STRICT
I "'TlEIII~AflO"AL fiLM "J;:$Tl V,,\

1A Lieber Cooper Associates C3 KIVA Chicago, Illinois 1B Chermayeff & Geismar, Inc.
+ e Pilobolus Dance Company 1C Hornall Anderson e Onkyo Corporation 10 Richards Brock Miller Mitchel l & Associates e Know AIDS
2A mRichards Brock Miller Mitchell & Associates e Lomas 2B 4]) Art Chantry C3 Impala Square Jungle 2C Chermayeff & Geismar, Inc. C3 Liz Claiborne 20 Liska + Associates Communication Design First Aid
3A Art Chantry C3 Free South Africa 36 CRE8 Communications, Inc. e Tom Kelby Copywriter 3C Sayles Graphic Design, Inc. e Timbuktuu 3D Cata Purnell Partners e Raffles Hotel 4A G> Device e Club Spirit
46 Howalt Design Studio, Inc. e Sears 4C e Dotzero Design e Wichita Blues Society 40 0 Dotzero Design e Louisiana Pacific 5A 0 CRE8 Communications, Inc. e The Sign Producers
58 G) BrandEquity e Levi Strauss & Co. , Inc. 5C e Balance Central e Design District, Austin SOe AdamsMorioka, Inc. e Siamdance Film Festival


~ urbanStyle.net RELC3-PRO

- aoooooooo
000000

L A s

BE AB
1A Art Chantry The Reunion Series 18 mArt Chantry C3The Cowslingers 1C Braue; Branding & Corporate Design C3 Hans Fiedler Soehne Gmb H 1 D Sandstrom Design Radioland
2A Mojo Unlimited, LLC urbanStyle.net 28 Willoughby Design Group C3 G. Diebolts 2C 0 Chase Design Group Rela Pro, Inc. 20 Bird Design Sin Demand 3A IDJon Flaming Design Ne iman Marcus
38 0 Orange 32 (3 DJ Skribb le 3C AdamsMorioka, Inc. C3 Catharine Fishel 3D G Mires (3 Las Vegas Chamber of Commerce 4A Dennis Purcell Design e Sony Entertainment 48 Tim Frame e California Design
4C 0 Chase Design Group e Kama Sutra 40 0 Willoughby Design Group C3 Hallmark Flowers SA 0 Sandstrom DesignC3 Levi Strauss & Co., Inc. 58 e Jon Flaming Design e Ken Knight
5C G) Tim Frame <3 Tim Frame Design 50 G) AdamsMorioka, Inc. <3 Nickelodeon


G> = Design Firm

<3 = Client
LOGO$EARCH

~I!JWOl'dI$ I Display Type

o

IIIUS

1C Chase Design Group (!) Showtime Networks 10 Hawalt Design Studio , Inc. (!) Work, Inc. 2A Device Heart Throbs D.C . Comics . All Rights Reserved .
2B Sabingrafik, Inc. e Psytrons 2C Art Chantry e Del the Lagunas Time Tunnel 20 Braue; Branding & Corporate Design e Stylus Production 3A Modern Dog Communications e Modern Dog
38 Chase Design Group e Submerge 3C 0 Rickabaugh Graphics e Hasbro Toys 30 Modern Dog Communications e Modern Dog 4A Art Chantry e Estrus Records 4B Art Chantry e The Cybermen
4C Art Chantry e Satan's Pilgrims 40 0 Device SThe Horror Special 5A :> Device e Picture Pocket 58 0 Device e Power Girl D.C. Comics. All Rights Reserved.
5C Chase Design Group e Crave Interact ive 50 Angryporcupine e Canned Food All iance
G SPINNE R
.com

artvibce

tl
-Go
-
, 1\ ... (;,1 r -
Tnll R.!

1A Chermayeff & Geismar, Inc. Pino Ice Cream and Pastry Shops 1 B 0 Howalt Design Studio, Inc. Spinner.com 1C Chase Design Group e First Light 10 Planet Propaganda Punch 2A Hoyne Design e Zukini
29 Willoughby Design Group Lee Jeans 2C 0 Chermayeff & Geismar, Inc. eTupperware 20 Design Machine (3 Time Labs 3A 4]) Art Chantry (3 Blaster 38 Device Scene of the Crime D.C. Com ics. All Rights Reserved.
3C Richard Leland C3 ArtVibe.com 3D G> Balance e Central Homegoods 4A Chase Design Group C3 Warner Bros. Records 48 Wages Design e Cox Cab le 4C Wages Design e Cox Communications
40 Chermayeff & Geismar, Inc. e Adage SA Visible Ink Design e
Lawson Vass 56 Planet Propaganda e Miller Brewing 5C Planet Propaganda e
Miller Brewing 50 Planet Propaganda e
Miller Brewing


TtfE . -

JERKS

*croWn
royals

Th+.

e Hyatt Hotels International 1B Harna ll Anderson e GGLD 1C Sumba Design e Browntown Entertainment /Gyrl A & B Music Group 10 Bel Bare e LWM
1A Catc Purnell Partners
e Flash D.C. Comics . All Rights Reserved. 2B 0 Device (!) The Joker's Wild! D.C. Comics. All Rights Reserved . 2C 4]) Willoughby Design Group e Willoughby Design Group
2A Device
20 CRE8 Communications, Inc. e Grace Church 3A Art Chantry <3 Crown Royals 38 Art Chantry e 5th Avenue Musical Th eatre Company 3C Device e D.C. Comics D.C. Comics . All Rights Reserved .
3D Art Chantry C3 The Wasters 4A Chermayeff & Ge ismar, Inc. e New York Public Library 48 e Sayles Graphic Design, Inc. e National Travelers Life 4C e Sandstrom Design e Port land Schools Foundation
40 e Trickett & Webb e Trickett & Webb 5A e Hornall Anderson e Space Needle 56 e Hornall Anderson e Say ItJ 5C e Hornall Anderson e XOWJ 50 e James Lienhart Design e Yak Centra l
 G> = Des ign Firm
<3 = Client
LOGO SEARCH
G
K.~01'dlJ Calligraphy
lVp" 0 $yrnb-~ 0 Tp9JU~1 0 t~ @ AUI

C)tlANA
FARM

tattuu eardrup

1C Ken Shafer Design One Reel 10 Ken Shafer Design e Seattle Repertory Theatre 2A Chase Design Group e Fax 28 4]) Chase Design Group The Alternative Pick 2C Chase Design Group e The WB
20 Chase Design Group Semiotext Architecture 3A Be Design e Karma Creations 38 4]) Be Design Ohana Farm 3C 0 Chase Des ign Group e MeA Records 3D Chase Design Group e Ken Ballard
4A Ken Shafer Design e One Reel 48 Chase Design Group e Un iversal Pictures 4C Chase Design Group e MAD Pictures 40 Chase Design Group e Universal Pictures
SA Chase Desig n Group e Chase Design Group 5B Chase Design Group e e
Colossal Pictures 5C Chase Design Group e
Atlantic Records 5D Chase Design Group e Warner Bros. Records


$~ f
air e srae r
I~' ~
o

(inidP utJ

-6-~
S6a11@~-'
y_Sf.:

.-.: S ... .. 0: V' '"

It, I 11#-. ,.,.,

1A G) Chase Design Group SThe WB 1B G> Chase Design Group Apollo Interactive 1C @Chase Design Group eVirgin Records 10 Chase Design Group Columbia Pictures
2A mChase Design Group C3 Chase Design Group 28 Chase Design Group Maverick Records 2C 0 Chase Design Group e Playboy 20 Cincodemayo e Voglia Restaurant 3A Art Chantry e Madame
3B Planet Propaganda C3 EuroArte Art Chantry e The Bobs 3D Howalt Design Studio, Inc. e Jordan Howalt 4A Ken Shafer Design e Nordstrom 48 Randy Mosher Design C3 MOl, LLC
3C
4C e James Lienhart Design C3 Beatrice 40 Ken Shafer Design C3 The Richards Group SA e Chase Design Group e Sony Music 58 :> Chase Design Group e Grammercy Pictures
5C Chase Design Group <3 Warner Bros. Records 50 S Des ign, Inc. <3 Johnnies Catering
G

,,--< v l ~~
~ &;'\ , ) 1 L Jr. 1 &

S PA Q BA R

1A 0 Simon & Goetz Design (!;l Gmund Buettenpapieriabrik 18 Art Chantry C3 Estrus Records 1C Device (3 Troubled Souls 10 Richards Brock Miller Mitchell & Associates Muse Air
2A Mitre Design Duhart Creek Winery 28 Minale Tattersfield and Partners Ltd. e The Refinery 2C 4]) Braue; Branding & Corporate Design DuPuis 20 0 Kontrapunkt Royal Danish Ministry of Foreign Affairs
3A G) Be Design e Hewlett-Packard 38 t.b.g. Design C3 Morris & Raper Realtors 3C 0 GTA - Gregory Thomas Associates e Portfolio 3D t.b.g. design e Atlanta Financial Center
4A e Eisenberg and Associates e Voltaire Restaurant and Bar 4B e Gincodemayo e e
M. Alanis [studio] 4C CRE8 Communications, Inc. e New Bait 40 Hornall Anderson e
Alta Beverage Company
SA e Sibley Peteet Design <3 Gambrinus/Shiner Brewery 56 e Design and Image C3 Genki 5C Pat Taylor Inc. C3 Documentary Film Logotype 50 Sayles Graphic Design, Inc. <3 Sun Microsystems


so~ ~no PfP'T

o

,AHO . ...

\)\GlSlAND
-t(!.- HVD~ON CLU~

A ns't ... " MfNIO

1A Chase Design Group C3 Sony Music 18 Chase Design Group 1C Braue; Branding & Corporate Design Golln ik Schmiedekunst 10 Chase Design Group Landor & Associates
C3 Virgin Records
2A Ken Shafer Design Her Interactive 2B mChase Design Group Triune Corp_
Chase Design Group The WB 20 mChase Design Group e Word Records 3A 4]) Hornall Anderson Big Island Candies
2C
38 Randy Mosher Design e The Hudson Club Restaurant 3C Randy Mosher Design e Spare Time, Inc. 3D Randy Mosher Design e Spare Time, Inc. 4A Harna ll Anderson e Ruby
4B Chase Design Group (3 Chronicle Books 4C e
angryporcupine (3 Sharron Kraus 40 e
Wages Design e
Kinnett Dairies 5A e
John Silver e e
Eccleston Square 5B Hornal! Anderson Vinifera
5C G) Artimana e Pina 50 G) Ken Shafer Design e One Reel


G> = Design Firm

<3 = Client
LOGO$EARCH

Crests
o

MADONNA

1C Kiku Obata & Company University City & City of St . Louis 10 0 Chase Design GroupC3 Werndorf Associates 2A Sayles Graph ic Design , Inc. Gianna Rose 28 Chase Des ign Group Sega
Mires Southern Comfort 20 Chase Design Group C3 Buffy Vampire Slayer 3A Gardner Design e Wichita Prom ise 38 Sayles Graphic Design, Inc. Iowa State Fair
2C
3C Sayles Graphic Design, Inc. C3 Hotel Fort Des Moines 30 Gardner Design e Excel Corporation 4A e Tim Frame e Pressure Connections 48 Planet Propaganda e Eldorado Grill
4C Sayles Graphic Design, Inc. e Gianna Rose 40 Chase Design Group e Warner Bros. Records SA Chase Design Group e The Alternative Pick 58 e Sayles Graphic Design , Inc. e Des Moines Plumbing
5C e Chase Design Group <3 Cap itol Records 50 e Art Chantry <3 King of Hawaii
G

" I~ fO 1ft

MAl *N ST.
BEER CO .

C3 Barrick Roofing 1B Chase Design Group Geffen Records 1C Gardner Design <3 Cattleman's Reserve 10 Howalt Desig n Studio , Inc. C3 Work, Inc.
1A 4]) Sayles Graphic Des ign, Inc.
2A Sayles Graphic Design, Inc. C3 Artcraft Printing 2B 4]) Ti m Frame (3 Clutch Graphic 2C Sabingrafik, Inc. M. G. Swing Company 20 4]) Chase Design Group Crave Enterta inment
3A Gardner Design (3 Excel Corporation 38 Sayles Graphic Design , Inc. e Basil Prosperi 3C 0 Willoughby Design Group C3 Willoughby Design Group 3D 0 Howalt Design Studio, Inc. e Work, Inc.
4A e Hornatl Anderson eU.S. Cigar 48 eGardner Design e
Jay Bailey 4C e Willoughby Design Group e
O'Brien Pharmacy 40 Jeff Fisher LogoMotives e
w.e. Winks Hardware 5A Sabingrafik, Inc. e Turner Entertainment
56 e Howalt Design Studio, Inc. e Work, Inc. 5C e Howalt Design Studio, Inc. e Main St. Beer Co. 50 e Gardner Design e Loft 150


G> = Design Firm

<3 = Client
LOGO$EARCH

Sports
o
CHANNEL

CHANNEL

1C 4]) Evenson Design GroupC3 New England Patriots 10 Hawalt Design Stud io, Inc. e NF L 2A mHawalt Design Studio, Inc. e NFL 28 mKen Shafer Design NFL 2C CRE8 Commun ications, Inc. e NFL Alumn i
20 Sandstrom Design C3 ESPN 3A 0 Sandstrom Design C3 Nike 38 Hawalt Design Studio , Inc. e NFL 3C 4]) Rickabaugh Graphics The Ohio State Univers ity 3D Hawalt Design Studio, Inc. e NFL
4A Tim Frame e FRC H 48 Rickabaugh Graphics e Ohio State University 4C Rickabaugh Graphics C3 Xavier University 40 e Rickabaugh Graphics e Drexel Un iversity
SA e Rickabaugh Graphics e e
Vanderbilt Univers ity 58 Rickabaugh Graphics e
Seton Hall University 5C e
Rickabaugh Graphics e
Hampton University 5D Rickabaugh Graphics eldaho State University
G

SWINGLAB

ClEO
CUP

CLUB CORP "

= =7" ZONE
'I'CA.I O ILLII.I.

1A Addis e Swing lab18 G>e RES Communications, Inc. e NFL Alumni 1C 0 Sibley Peteet Design e Mother Hen Software 10 Sabingrafik, Inc. e g.ball .com 2A Cata Purnell Partners e Golf Resorts International
28 Sabingrafik, Inc. (!) g.ball.com 2C 0 Gardner Design C3 City of Derby 20 Richards Brock Miller Mitchell & Associates ClubCorp 3A G) Richards Brock Miller Mitchell & Associates ClubCorp
38 Hawalt Design Studio, Inc. C3 Peak Experiences 3C 0 Howalt Design Studio, Inc. e Peak Experiences 3D G> Hawa lt Design Studio, Inc. e Peak Experiences 4A 0 Sabingrafik. Inc. C3 Shimano Resort
48 0 Kiku Obata & Company e e
Denver Major League Baseball Stadium District 4C Kiku Obata & Company C3 City of Louisville, Kentucky 40 e
Felixsockwe ll.com e
FakeTV Guide 5A e
Sandstrom Design ESPN
58 G) Mires C3 La Gear 5C G) Rickabaugh Graphics C3 Showtime Networks 50 G) Mires C3 Nike, Inc.


ATl-I LETA

1A Rickabaugh Graphics C3 Big East Conference 18 Rickabaugh Graphics e NBA Properties 1C Chase Design Group
e NBA 10 Rickabaugh Graphics Big East Conference 2A 4]) Ken Shafer Design eWNBA
28 Ken Shafer Design (!) NBA Rickabaugh Graphics Atlas Co lor Imaging 20 Rickabaugh Graphics e NBA Properties 3A Sibley Peteet Des ign (!) Joefan.net 38 @MireseNike, Inc. 3C Mires (!) Nike, Inc.
2C
3D Vanderbyl Design e The Court 4A Rodgers Townsend e Rodgers Townsend 48 Rodgers Townsend e Rodgers Townsend 4C Dennis Purcell Design e Fox Racing 40 Rodgers Townsend (3 East 3
5A Ke n Shafer Design e
The Richards Group 58 Plumbline Studios eCallan Fitness 5C Sayles Graphic Design, Inc. eTarget 50 Elixir Design e
Athleta


G> = Design Firm

<3 = Client
LOGO$EARCH -.

Heads
o

PBS

SparUm Development Group

neo r n Q r ~ A AT' n

MATlRNAl &.
l; ~
z-
o ...o
;:::
%

.. .... .
S
~
ERe v
...;
PIOGRAM S .

........
1C Sabingrafik, Inc. e KidsArts San Diego 10 Visible Ink Design e Visible Ink Design 2A Chermayeff & Geismar, Inc. e Public Broadcasting Service 28 Sackett Design Bift Henderson
2C James Lienhart Design e The Museum of Science and Industry 20 Richards Brock Miller Mitchell & Associates e Dallas Independent School District 3A Simon & Goetz Design e Brandcommunication-one
38 G Miaso Design <3 Spartan Deve lopment Group, Inc. 3C G> Prejean LoBue e Centurion Technologies 30 Richards Brock Miller Mitchell & Associates e The MS Foundation 4A Chase Design Group e Toth Advertising
48 e Chermayeff & Geismar, Inc. (3 Ind ian Head 4C e Dotzero Design e Merc Delivery 4D e Beth Singer Design (3 Association of Maternal & Child Health Programs SA e Planet Propaganda (3 LaMop
58 e Grapefruit Design C3 Forev iew LLC 5C e Felixsockwell.com C3 Skin Cueticals 50 e Dogstar C3 Cigar Aficionado
 /

th ink'

~~
..J
C
C-

-:"'\~
Tll< Ditka .
L Ol'pomtlO11

PEP BOYS

Just Kids

1A @Design and Image Think 1 B Bird Design Digital Savant e Work, Inc. 10 Jon Flaming Design Clampitt Paper Company 2A Felixsockwell.com Seekers
1C Howalt Design Studio, Inc.
28 mLiska + Associates Communication Design (3 The Ditka Corporation Felixsockwel l. com (!) Hidden 20 Felixsockwell.com Cree 3A Brian Sooy & Co . (!)Wigs for Kids
2C
38 Sayles Graphic Design, Inc. (3 American Heart Association 3C 0 BrandEquity C3The Pep Boys 3D M iaso Design C3Just Kids Hair Salon 4A G> Simon & Goetz Design e die econauten
46 e Howalt Design Studio, Inc. e Net Trekker 4C 0 Art Chantry e The Great Went 40 e Simon & Goetz Design eZDF SA e
Dotzero Design e e
Fetish Kings 56 Made on Earth Made on Earth
5C G) Gardner Design e Print King 50 G) Howalt Design Studio, Inc. e Calvary Church


~. .-
11111

:\.: @ 0
A
CUT
AHEAC
M SWAP M

-I
, ,

'In C( It ll STIl II

~(~<f~l .
f~' - - - 11
r- J16
...~ -... I
... ',~ri . ,., .
..... I . :.. ' .
I

1A @DotzeroDesignC3Frenchbread Productions 18 0 Sayles Graph ic Design , Inc. A Cut Ahead Hair Sa lon 1C Be Design C3 MrSwap .com 10 4]) Sayles Graph ic Design, Inc. Sayles Graphic Design, Inc.
2A Sayles Graphic Design, Inc. Phil Goode 28 Braue; Branding & Corporate Design Candy Station 2C Howa lt Design Studio, Inc. Work, Inc. 20 mAngryporcupine Trevor Davies
3A Howalt Design Studio, Inc. e Work, Inc. - Design 3B CRE8 Communications, Inc. (3 Children's Broadcasting Corp. 3C Sayles Graphic Design, Inc. e Annie Meacham
3D 0 Chase Design Group e Chase Design Group 4A e Mires e Cranford Street 46 e Art Chantry e Scary Stories 4C e Planet Propaganda e Fringe Hair Studio 40 e James Lienhart Design e Continental Bank Money Card
5A e Art Chantry e Michael Stein 58 G) Mires e Industry Pictures 5C e Lieber Cooper Associates e Nebraska Smokehouse Company, Lincoln, Nebraska 50 e Sabingrafik , Inc. e Nike, Inc.
G REVERSION

ElMAN MARelJ .
/ H;

THI RonlZE

3mil@/inder.com

. 'JUlllUII Ultt rTU, ""'"

WF R TFI Fr.O!l

1A 4]) Gardner Design C3 Reversion Cosmetics1 B Liska + Associates Communication Design Ohio Made Films 1C Mitre Des ign e Sam Froelich 10 0 Howalt Design Studio, Inc. e Splendid Seed
2A 4]) Made on Earth Made on Earth Made on Earth Made on Earth 2C Made on Earth Made on Earth 20 0 Jon Flaming Design e Neiman Marcus 3A mMade On Earth e Organical Mechanical
28
38 Sabingrafik, Inc. e Sabingrafik, Inc. 3C Howalt Design Studio, Inc. e Thinkronize 3D Made on Earth e Made on Earth 4A mCata Purnell Partners e Melbourne Festival
46 e Essex Two Inc. e e
Indiana Convention and Tourism Bureau 4C 0 Pat Taylor Inc. e
National Association for Child Development & Education 40 e
Evenson Design Group Izyx
5A G) Modern Dog Communications <3 WebTelecom 56 G) Modern Dog Communications e Nordstrom 5C G) Kellum McClain Inc. e Topix 50 G) Kel lum McClain Inc. <3 Cablevision


"
<:)
o

If
, ; iL
... ,..ike plaZago
... ,
up orlHlIUfliCallOIlS

VEI.OCITY

~:
.. ... .. .r.. . ~
. 2" . . . . . . .
Re levan t K~ . wledge

a C>C>
LBJFKKK 00 @f1
HAtYlSIOR

<G:@L iTes

1A Design Machine e Yokohama Character Museum 1B Willoughby Design Group e Lee Jeans 1C Catc Purnell Partners Me 10 4]) Design and Image e Glo
2A Cronan Group (!) TiVo 28 4]) SPATCHURST (!) Up Communications 2C 4]) Jon Flaming Design e Blockbuster Video 20 Gardner Design e PlazaGo
3A BrandEquity C3 Goodwill Industries, Inc. 38 Chase Design Group e Velocity Films 3C mMiriello GraficQ, Inc. e Newport Coast Oral Facial Institute 3D Wages Design e Relevant Knowledge Research
4A e Mires eCopeland Re is 48 eArt Chantry e LBJfKKK 4C Pat Taylor Inc. e Ohio Optical 40 Howalt Design Studio, Inc. eX- Ray Vision.net
SA G) Hornall Anderson e Seattle Convention & Visitors Bureau 56 G) Wages Design e iTest Assessments 5C G) Dotzero Design e Kalberer 50 Gardner Design e Virtual Focus
 ~

G
KR-DL

TrendWatch

TECHhOlOGY

Har&Pasta

1A Pat Taylor Inc. e Quash Optical 18 Sandstrom Design Morrow Snowboards 1C Howalt Design Studio, Inc. e Hawalt Design Stud io, Inc. 10 Blue Beetle Design e KRDL
2A Hornall Anderson e Bruce Clark Productions 28 4]) Design and Image C3 TrendWatch 2C James Lienhart Design Chicago Publ ic Television 20 Cata Purnell Partners e Museums w ith Vision
3A Cato Purnell Partners e Museums with Vision 38 Catc Purnell Partners e Museums with Vision 3C Catc Purnell Partners e Museums with Vision 3D Cata Purnell Partners C3 Museums with Vision
4A Chase Design Group e Sidney Cooper 46 Simon & Goetz Design e Geneva Technology 4C Associated Advert ising Agency, Inc.eScreamingly Different Productions 40 eChermayeff & Geismar, Inc. (3 Conversation Trust
SA Chermayeff & Geismar, Inc. e Ti me Warner 56 Ken Shafer Design e Fox River Paper 5C Mitre Design/Henderson Tyner Art Co. e Digital ESP 50 Artimana e Switch
 G> = Design Firm
<3 = Client
LOGO SEARCH
~~
G
People
.5. . :". c
._0(:'
"'h'''.~(

sclenceworks
1lI1l. ~um

., r

.~, & ,~.

light GEAR

RAPIO ~ VISIOH

1C Made on Earth e Ellen Knable 10 Sibley Peteet Design e Charles James 2A Webster Design Associates Inc. C3 Die Works 2B 0 Webster Design Associates Inc. (3 Gateway
2C Jon Flaming Design C3 Neiman Marcus 20 4]) Marcus Lee Oesign (3 Scienceworks Museum 3A 4]) Mires LA Gear 38 Gardner Design Moto Sugai aC 4]) Gardner Design (3 Game Master
3D Tim Frame C3 A to Z technologies 4A Gardner Design e Nat ional Cooperative Education Program 46 Mires e Cal ifornia Center for The Arts, Escondido 4C Marcus Lee Design e Michael Bone Photography
e
4D 0 Hawalt Des ign Studio, Inc. Wellsteads SA :> Gardner Designe e
Kansas State Un ivers ity 58 0 Made on Earth Sideways,Com 5C 0 Chase Design Group e e
Radio Vision 5D 0 Jon Flaming Design Rand McNal ly


o
I '" I L IV\ ti

_PAciFic
~o
MARi E
NOA' O".!

v~(
T II R S
SELECT \ . /
IIt t/ lr h Product<

. . . 1.1~ .;. . 4 . ... .

1

w rId lse PROP. GANDA

.
~. . L
~ ... '

1
1A C]) Chase Design Group e Dave Thomas 18 0 Jon Flaming Design (3 Objex, Inc. 1C Howalt Design Studio, Inc. (3 Work, Inc. 10 G> Chase Design Group Ca lypso Films 2A Jon Flam ing Design
Skateboarder
28 MB Des ign e Pacific Marine Foundation Mirella Films 20 mJon Flaming Design e Le Gourmand 3A Jon Flaming Design e Bowling Team 38 Bright Strategic Design Shipper.com
2C 4]) Jon Flaming Design
3C Design and Image <3 The Color People 3D Trip le 888 Studios <3 Select Health 4A G> Be Design <3 Worldwise, Inc. 48 Jon Flam ing Design <3 Shooting Star Ranch 4C Artomat Design C3 Propaganda
40 0 Harnall Anderson C3 Care Future 5A Gardner Design C3 Screen for Success 58 e
Woodhead International C3 Community Fund 5C Henderson Tyner Art Co . C3 Little Theater
50 Chermayeff & Geismar, Inc. e Active Ageing Association
G

........
WOKSTOP Kdmdl Jomt Rppwpmrot Imtltutr

..'"..
.~

1WrUbliCHealth
' c..l.I t lc ."C ~ In g Count y
Ii
HEALTHY !'Eoru. HEALTHV CO M MUHITIIS .
DIGITALCROWD
IWln

f , GUTHRIE
o
Move *
OurHome,.

1A 4]) Mitre Design SAshe County 18 G) Bright Strategic Design WokStop 1C mChermayeff & Geismar, Inc. SAlvin Ailey Dance 10 G>Gardner Design e KJRI 2A G> Gardner Design (3 Topman
28 mPhinney/Bisc hoff Design House e Public Health of King County 2C Indicia Design, Inc. Digital Crowd, Inc. 20 Bird Design e iwin .com 3A G) Gardner Design Bredar Waggoner Architecture
36 Hawalt Design Studio, Inc. e Yodlee .com 3C Evenson Design Group <3 eMaiMai.com 3D McMillian Design e Langton Cherubino 4A Felixsockwell .com e None 48 281a e Bundesverband der Unfal lversicherer
4C e Gardner Design e Digital Brand Communications 40 e Mitre Design e Habitat for Hu manity 5A e Monigle Assoc iates Inc. e Guthrie Health 5B e Felixsockwell .com e Pact
5C Dogstar C3 Watch-Me-Grow Learning Center 50 Evenson Design Group C3 MoveLine


~~
-~
'\ o
CIBOLA HaSTIDes
FII..T~RS

BARMON

(/;~
~ Spectria deepftJl~
BA CE
aqualung

Monadnock~ VECTIS
Group
i ~
FR m llY IU 8 l K
i

1A 0 Gardner DesignC3 Cibola Restaurant 18 G> Henderson Tyner Art Co. Wake Forest Un iversity School of Business 1C @Gardner DesignHastings Filters 10 4]) M ires Neill Archer Roan
2A 4]) Gardner Design 2B Hawalt Design Stud io, Inc. Work, Inc. 2C Sibley Peteet Design Sicola Martin/Handtech.com 20 Sibley Pateet Design Romano's Macaroni Grill
C3 The Art isTree
3A @Design and Image <3 Barman 38 Felixsockwell .com <3 Baylor 3C Gardner Design e Bravadas Wig Design 3D Jon Flaming Design C3 Elisabeth Andersen 4A G> Monigle Associates Inc. e Spectria
e
4B Sabingrafik, Inc. Aqua lung 4C Orange 32 eOeepfunk Records 40 Braue; Branding & Corporate Design e Balance-Training SA 0 Enterprise IGeMonadnock Paper Mills 58 0 Addis e Vectis
5C Prejean LoBue e Lutheran Charity 5k 50 Vanderbyl Design <3 Digital Engraving
 ALLOCCA
G FAR DELLA
& RANNA
"

t~i: THl

~fiJJlfl1NV
GOURMET
AIM

1A Vanderbyl Design Bedford Propert ies 1 B Vanderbyl Design e Rob Murray 1C Vanderby l Design e Bedford Propert ies 10 Sanna Design Group, Inc. e Allocca , Fardella & Sanna
2A mMade on Earth e Made on Earth 28 4]) Mitre Design Hutchison Allgood Printing 2C 0 Simon & Goetz Design C3 5at1 20 Evenson Design Group Brooks and Howard 3A 2b1 a Coffein Delivery
36 e Simon & Goetz Design e Tony Kappezs 3C Spot Color Inc. e South Riding Proprietary 3D Rickabaugh Graph ics e Deliverymen 4A Jon Flaming Design C3 Speedy Gourmet 48 Dogstar e Javelin
4C e Sayles Graphic Design, Inc. e Iowa Chapter of the American Institute of Marketing 4D e Howalt Design Studio, Inc. e Sparks. com SA 0 Braue; Branding & Corporate Design e Portofino Ristorante
56 e Braue; Branding & Corporate Design e Druckerei Werner GmbH 5C Jon Flaming Design e Sony 50 Rickabaugh Graphics e Royal Graphics


~virgin o
PLANIGENT

AUSTIN ~ SKIERS

HIGH SCHDU

PLED[jERLLErilRnrE .nET

1A @Grapefruit Design C3 Planigent LLC 18 0 Howalt Design Studio, Inc. Virgin Records 1C Howalt Des ign Studio, Inc . e Hawalt Des ign 10 Howa lt Design Studio , Inc. (!) Fairfax Co ., VA
2A 0 Howalt Design Studio, Inc. e Benedictine H.S. 28 Dogstar e Roaring Tiger Films 2C 4]) Hawa lt Design Studio, Inc. e Austin Skiers 20 Hawalt Design Studio , Inc. C3 Work, Inc.
3A e M irie llo GraficQ , Inc.S San Diego Crew Classic 38 Hoyne Design e TheLounge.com.au 3C Prejean LoBue e Old EI Paso 3D Howalt Design Studio, Inc. C3 Washington Elementary School
4A 0 Hawalt Design Studio, Inc. C3 PfedgeAllegiance.net 4B Hawalt Design Studio, Inc. C3Scout 4C Sayles Graphic Design, Inc. (3 USA Network 40 e Howalt Design Studio, Inc. C3 Levi Strauss & Co., Inc.
5A e Sab ingrafik, Inc. <3 Sch iedermayer and Associates 58 0 Mitre Design/Henderson Tyner Art Co. <3 Hanes Printables 5C 0 Jeff Fisher LogoMotives <3 DataDork.com 50 0 Willoughby Desig n Group <3 Bagel & Bagel
G

H ATACAMA
"

......
..... . ... .. .
"4
...

......
.,

-X
WILD OATS
PRO DUCTI O NS

1A Sabingrafik, Inc. e Seedworker 1B Simon & Goetz Des ign e Sachs 1C Harnall Anderson e Yves Veggie Cuisine 1D Liska + Associates Communication Design e Optimist ic Camera Company
2A Dogstar (3 Art isan Fi lms 28 Howalt Design Studio, Inc. (!) Levi Strauss & Co ., Inc. 2C Cata Purnell Partners Grand Hyatt Jakarta 20 4]) Be Design C3 Cost Plus World Market
3A G Say les Graphic Design, Inc. C3 Iowa Metal Fabricat ion 38 Sabingrafik, Inc. e San Diego Munic ipal Water District 3C Jon Flaming Design e Liv ing Earth Technology
3D 0 Sabingrafik, Inc. e Almond Board of California 4A James Lienhart Design C3 Dana 46 e e
Mires Park Blvd. Artworks 4C Dan Stiles Design (3 KALX radio 40 e Sabingrafik, Inc. C3 Ear To Ear
5A e Sabingrafik, Inc. <3 Sabingrafik, Inc. 58 G) Webster Design Associates Inc. <3 Nebraska Harvest Beef 5C e Mires <3 Green Field Paper Company 50 e J ames Lienhart Design <3 W ild Oats Productions


iarlJORG
SZ:lDZL o
GITAI'II'II~T I slNaER
HI6HANOORY
PROOUCTION S

..

-l\
> Kola
F1-/8-11;
''(t.D'RRD'D7S'

1A SArt Chantry The Mono Men 18 4]) Cincodemayo e Cincodemayo Design Studio 1C Braue; Branding & Corporate Design Jorg Seidel 10 mRenegade Design e High and Dry Productions
2A Prejean LoBue (!) Ray Hosse - Team Big Head Mountain Bike Group 28 mDevice C3 Automat ic 2C Visible Ink Design e Cas ino Promotions 20 Chase Design Group e Hard Rock Hotel and Casino
3A G) James Lienhart Design C3 The Art Factory 38 Sabingrafik, Inc . e Houghton- Mifflin 3C Chase Design Group e Cognito Films 3D Chase Design Group e Tommy Stoilkovich
4A 0 Cata Purnell Partners C3 Grand Hyatt Johor Bahru 48 e Device e Freak Boarders 4C Henderson Tyner Art Co.a Winston-Salem Foundation 40 MetaDesign (3 Kids Online America
5A 0 Felixsockwell.com e O&M 56 0 Hoyne Design e World Vis ion Forty Hour Fam ine 5C 0 Device e 100 Bullets D.C. Comics. All Rights Reserved. 50 0 Device e Resurrection Man D.C. Com ics. All Rights Reserved.
G

seattle

1A Jon Flaming Design (!) Arizona Jeans 1B Jon Flaming Design (!) Cattle Baron's Ball 1C 0 Jon Flaming Design e Camp Mak~A-Dream 10 Sandstrom Design (!) Artsy Fartsy Productions
2A 0 Made On Earth e Four Hundred Drawing 28 Made On Earth (!) Four Hundred Drawing 2C Made On Earth Four Hundred Drawing 20 Made On Earth Four Hundred Drawing
3A e Four Hundred Drawing 38 Made On Earth e Four Hundred Drawing
Made On Earth 3C Fel ixsoc kwell.com C3 Starwood 3 3D Fetixsockwel l.com e Bob 4A Howalt Design Studio, Inc. <3 Richmond
Ballet
46 Felixsockwell.Gom e TV Guide 4C e Howalt Design Studio, Inc. C3 Wetlsteads 40 e Stud io Rayolux e DrunkinSeattle.Gom 5A Felixsockwel l.com e Felix Sockwell 56 Henderson Tyner Art Co. e Hanes
5C Wages Design e SurflT.com 50 G) Wages Design e Prevail


e--fJJ. o
2<t

trend

(' L o y
(f

~
g
00
00

G
fUSION OPTIMA VIZI o x

1A Jon Flaming Design e Elizabeth.Tailor 18 Brian Sooy & Co . Cleveland Clinic 1C Felixsockwell .com C3 Pop Sci 1 D Felixsockwell.com C3 None 2A Felixsockwell.com Fake Pearl Head
28 SPATCHURST C3 National Museum of Australia 2C Wages Design C3 American Craft Council's Craft Fair Atlanta 20 Pagan C3 Trend Sport System 3A Cate Purne ll Partners e Syney Breast Cancer Institute
38 Gardner Design C3 Glory 3C G> Felixsockwell.com C3 None 3D Felixsockwell.com C3 None 4A 0 Felixsockwell.com e None 4B 0 Felixsockwell.com e No ne 4C Felixsockwelt .com e None
40 eFelixsockwe ll.comeNone SA Mires e Agassi Enterprises 5B Sraue: Branding & Corporate Designe Optima Wirtschaftsfoerderungskuratorium 5C James Lienhart Designe Governors Comm ission
50 e Gardner Design C3 ViziWorx Enhanced Television
 0\ \ C E
~ "0
c..
~
lU
" ~
0
G
~~
0
.1... ........
c~
.p
l>- 0
cY ~

'"
G=~
LeC'aTe
sets

PAL

Bigstep~
.:Ii
JABRA

1A @GTA - Gregory Thomas Associates e Pasadena Police Foundation 1B Richards Brock Mil ler Mitchell & Associates e Victim 's Outreach 1C Jon Flaming Design Thomas Handy
1D @ Henderson Tyner Art Co. Wake Forest University School of Business 2A Feli xsockwell.com e Hand Eye 28 Evenson Design Group e Heart of Los Angeles Youth
2C Grapefruit Design e Le Care Gift Baskets 2D Pat Taylor Inc. e Beckie Berez 3A Howalt Design Studio, Inc. e Urban Outfitters 36 Gardner Design e Envis ion (services for the blind)
3C Felixsockwell.com e NCAYV, USA 3D e Gardner Design e The Independent Schoo l 4A e Hornall Anderson e Downtown Seattle Associat ion 48 e Howalt Design Studio, Inc. <3 Palm (pilot) pda
4C Prejean LoBue e Motorola 40 e Prejean LoBue <3 Motorola SA Dotzero Design <3 Star Advisors 56 Sabingrafik, Inc. <3 Voit Sports 5C Plumbline Studios e Bigstep 50 Mires e Jabra Corporation


o
tl.e~ l' l\t"' l) ~f
';,,.- I)~

UHO A M I:R ICA

\I 'I F I l \ A T IO \AI
rpnfPr fnr ET HI C \

1A Dotzero Design Do It For Peace 1 B Dotzero Design Do It For Peace 1C Dan Stiles Design 8 Adventure Music 10 Design One 8 Handmade in America 2A Chase Design Group (3 Warner Bros. Records
28 Chermayeff & Geismar, Inc. e United States Department of Interior 2C Brian Sooy & Co. (3 Amber Soay, LMT 20 Gardner Design (3 Wichita Promise 3A Kellum McClain Inc. VH1 38 Art Chantry e None
3C Felixsockwel l. com e Fake Spot 3D Pat Taylor Inc. e Hand Rea l Estate 4A Felixsockwell.com C3 advertising age 48 Dogstar e International Center for Ethics 4C e Sabingrafik, Inc. <3 AIRS
40 0 Sabingrafik, Inc. e Found Stuff Paperworks 5A e Gardner Design e Powerhouse 58 e Associated Advertising Agency, Inc. (3 Wichita Anesthesiology Chartered 5C e Sandstrom Design (3 Clean Water Oregon
50 Felixsockwell.com C3 JWT, Johnson & Johnson


G> = Design Firm

<3 = Client
LOGO$EARCH

Mythology
o

UlRBLO fNGINffRiNG

1C G> Sandstrom Design FilmCore e Hot Rod Hel l 2A Gardner Design e The Little Red Devils 28 0 Rodgers Townsend e Bob Reuter 2C 4]) Made on Earth e Necessary Evil 20 Sandstrom Design FilmCore
10 Mires
3A 0 Mires e Hell Racer 38 0 e Necessary Evil 3C Chase Design Group e Yonex 3D Howalt Design Stud io, Inc. (!) Diablo Engineering 4A Gardner Design Shift Photography
Made on Earth
4B 0 Mires <3 Hell Racer 4C Gardner Design e Roosevelt Halloween Compact 40 Jon Flaming Design <3 Party Pirates SA Tim Frame e Retra Outfitters 58 0 Sabingrafik, Inc. e Chingones
SC Chase Design Group e Nike, Inc. 5D e Art Chantry e The Makers
G ~
LINE RED C 4\> ' A' I \l~ ' .,
.,
. ., ... I

~
~~~~ ~W~
~ aEE""
v

~NG~L C1TY ( OIH,

F TNESS

1A mHawalt Design Studio, Inc. e Line Red Productions 1B G> Made on Earth Made on Earth 1C Rickabaugh Graphics e Players Theatre 10 Mires e Fu ll Bore 2A mGardner Design C3 Go Away Garage
28 mChase Design Group e Virgin Records 2C Howalt Desig n Studio, Inc. e Splendid Seed 20 Chase Desig n Group e Rod Bone 3A Simon & Goetz Desig n e Reemtsma 38 Made on Earth (!) Made on Earth
3C eArt Chantry e Estrus Records 3D 0 Chase Design Group (3 Atlantic Records 4A SPATCHURST C3 City Recital Hall , Angel Place 48 Made on Earth e 400 Drawings 4C Tim Frame C3 GSW
40 Treehouse Design C3 Ascension Entertainment SA :> Evenson Design Group e Angel City Fitness 56 0 Bumba Design e Angel Shack Coffee House 5C 0 Brian Sooy & Co. e The Angel Network
50 G) Essex Two Inc. e Indiana Convention and Tourism Bureau


GRETZILY ---
.~ . ~
--
--
o
~

I
I

REnD
. T,CHNOLOGV .

f)
UI K ING ESK I BS
MU SE ET

1A 0 Chase Design Group Gretsky Wings 1B Gardner Design Button Heaven 1C Hornall Anderson Truck Bay 10 Richards Brock M il ler Mitchell & Associates Love Field Pil ot's Association
2A Balance Express It 28 mChase Design Group C3 Capitol Records 2C 4]) Treehouse Desig n C3 Ascension Entertainm ent 20 4]) Wages Design C3 Athlete's Foot 3A mGTA - Gregory Thomas Associates e LA Ath letic Club
38 Device e D.C . Comics D.C. Comics. All Rights Reserved. 3C Device e D.C. Comics D.C. Comics . AU Rights Reserved. 30 Howalt Design Studio, Inc. e Warner Bros . (proposed)
4A Device e D.C. Comics D.C. Comics. All Rights Reserved . 48 Chase Design Group e The WB 4C e e
Prejean LoBue e
Hyatt International - Grand Hyatt Bangkok 40 :> Gardner Design Reno Technology
5A G) Kontrapunkt e Danish Viking Ship Museum 58 G) Richards Brock Miller Mitchell & Associates <3 Amerifest 5C e Gardner Design <3 Lily Langtry Coach Company 50 e Chermayeff & Geismar, Inc. <3 Griphon
G
GI!BRtiDER SCHAFFRATH

-
APTIMUS MOONSTRUCK

ODYSSEY

M"Slc C"rpet
lI()n,,~

@~@
~~. ~
~~- @ ~t~
@) ~ ~

1A mSimon & Goetz Design C3 GebrUder Schaffrath 18 Sabingrafik, Inc. Turner Entertainment 1C 0 Monigle Associates Inc. Atlas Air, Inc. 10 mVisible Ink Design Arts Finance
2A mHornall Anderson Apt imus Corporation 28 Sandstrom Design Moonstruck Chocolatier 2C 4]) Blue Beet le Design CHG 20 Gardner Design Ares 3A Ken Shafer Design Fox River Paper
38 G Sab ingrafik. Inc. C3 University of California San Diego 3C Prejean LoBue e Disneyland Paris - Disney 3D G> Sabingrafik, Inc. <3 Harcourt & Co. 4A Richards Brock Miller Mitchel l & Associates C3 WebGenie
46 e Sabingrafik, Inc. e Harcourt Brace & Co. 4C e Sabingrafik, Inc. e Harcourt Brace & Co. 40 0 Sabingrafik, Inc. C3 Harcourt Brace & Co. SA 0 Felixsockwell.com e Oprah 56 0 Felixsockwell.com e Oprah
5C e Fe lixsockwell.com <3 Oprah 50 e Howalt Design Studio, Inc. <3 People Magazine
 Old identity

EL
EN

the words together felt much more integrated and compact. The
latter is especially helpful when the name must be combined with
that of one of the many business units EI Paso operates.

Southern
"Some unit names were short, some were long," says Hewitt.
"With the old identity, the unit name got most of the attention;
now EI Paso gets more emphasis. This readdresses the problem
e p .n Natural Gas
EI "f,t) OQmPJnV
of the hierarchy of the single brand."

To design the actual logo, Sterling designers focused on the

The lesson Hewitt took away from the project was that even a very
notion of pathways. Every trial they did contained some sort of
large corporation can take giant steps, given the proper guidance.
path, either depicted through negative spaces in the letterforms
or shown in an actual graphical representation. In the version that
"They changed the identity from a" uppercase to a" lowercase
was eventually selected, an upwardly pointing arrow leading off
letters, from red to blue, and even changed their name. That's
the letter I introduces the concept of a path.
because their management has a very flat organization, and
they went with their gut," he says. "Usua"y, large corporations
Blue was selected as the new corporate color for its more con-
constantly adjust in sma" ways. But if we can make our advice
temporary look than the red and black the company had used,
simple, big changes are possible."
and for its subtle suggestion of the clean flame of natural gas.
The custom sans serif face chosen for the design is also clean
and approachable.

',133 '
 G> = Des ign Firm
<3 = Client
LOGO SEARCH
G
Birds

SecuraSpeed

~
4 " . ~
Ir> r-
II~ II
lG'HI- RARDELXi ;
- CHOCOL ... Tl ....
NISSAN

Eagle Ready Mix

" e

R E D HAWK RID Mou TAl PARK

~I , /\ C I AL INnll~TRIF~

1C Cata Purnell Partners Aerol ineas Argentinas 10 Fel ixsockwell .com Peace 2A 0 Marcus Lee Design e Secura Speed 28 mRickabaugh Graphics e The Columbus Quest
2C Sayles Graphic Design , Inc. e American Cancer Society 20 0 Braue; Branding & Corporate Oesign(3 Bundesamt fUr DesignunterdrUckung 3A Device D.C. Comics D.C. Comics . All Rights Reserved .
38 e Hornall Anderson (3 Ghirardelh Chocolate Company 3C 0 Chase Design Group e Kemper Snowboards 3D Howalt Design Studio, Inc. e Nissan 4A Gardner Design C3 Business Bane of America
46 Chermayeff & Geismar, Inc. C3 American Republic Insurance Company 4C e Pat Taylor Inc. C3 American Press Agency 40 e Hutchinson Associates, Inc. C3 Eagle Ready Mix 5A e BrandEquity C3Allmerica Financial
58 e Pat Taylor Inc. e u.s. International Trade Commission 5C e Design and Image e Red Hawk Industries 50 e Dogstar e Red Mountain Park


o
b I'dfe1:i1

'JI
Amble sIde
Telekom erne Gore

..

.a"NCISC"N ~YI LL"

JOHN~ ( m'l)

ISAUORIES I

STJOE
TalkOn
TERt!lKEET

~
AI Rescue A 0 U
RES 0 U R C E
L 1

C E N 1 E R

1A Bird Design C3 Bird Design 18 Gardner Design e Neufeldt's 1C 4]) Dogstar (3 Gregory Freeze 10 Mitre Design/Henderson Tyner Art Co. Habitat For Humanity 2A Balance C3AmbJeside School
28 Sibley Peteet Design e Tequila Mockingbird 2C Felixsockwell .com The Old Crow 20 Pagan C3 Idea Plus DDB 3A Gardner Design Fat Chance Bird Food 38 Prejean LoBue e The Kitchen, Inc.
3e Artomat Design e Seattle Symphony 30 Gardner Design e John Crowe Photography 4A e Chermayeff & Geismar, Inc. e Savories 48 Chermayeff & Ge ismar, Inc. e S1. Joe Real Estate
4C e Klauddesigne e
Microsoft 40 Lexicon Graphix, Inc. e
Te rakeet 5A 0 GTA - Gregory Thomas Associates e
Air Rescue 58 0 CRE8 Communications, Inc . Abused Adult Resource Center
5C Assoc iated Advert ising Agency, Inc. e Malisa's Hope 50 Dotzero Design e Do It For Peace
G
CANYON
QUAIL HILL
HILLS

CAMDEN-I( direct

NBC

rrrl~~
In
TH unDERBI RD
t;.dL

le pouletgrille
chicken gril l

1A mSabingrafik, Inc. (3 Canyon Hills e Canyon Hills 1C Sab ingrafik, Inc. C3 Pardee Homes 10 Mirieflo GraficQ, Inc. (3 The Irvine Company
18 4]) Sabingrafik, Inc.
Chase Design Group Hum 2C 0 Monigle Associates Inc. Camden Properties 20 Cincodemayo e Direct Link
2A Associated Advertising Agency, Inc. (3 Occidental Management 28
3A G> SPATCHURST e Capitol Theatre 38 Chermayeff & Geismar, Inc. e Nationa l Broadcasting Company 3C Chase Design Group e Hard Rock Hotel and Casino 3D G> Dogstar <3 Peacock Music Studio
4A 0 Dotzero Design e Wichita Blues Society 46 e
Modern Dog Communications e
One Reel 4C Webster Design Associates Inc. e
Thunderbird Grill 40 0 Gardner Design e Corrington High School
5A e Prejean LoBue e Red Hot Pepper Sauce 56 Sandstrom Des ign e Chickenvi lle 5C e Luce Beaulieu e restaurant Le Poulet Grille 50 Jon Flaming Design e Early Bird Records


.-~ .

00
,.,

leI'

SLAVE

Hobsons Bay
CITY cnUNCIL

1A cincodemayo Cerro Brujo 18 Howalt Design Studio , Inc. Hanschellinn is 1C mSandstrom Design e Burgerville
10 0 Hornall Anderson Capons Rot isserie Chicken
2A Gardner Desig n Wichita Farm and Art Market 28 mPat Taylor Inc. e Night Owl Security Vanderbyl Design e Bedford Properties 3A Tharp Did It e 8ayshore Press
2C t. b.g . Des ign The Owl and the Pussycat 20
38 e Gardner Design C3 Kansas Health Foundation 3C Sabingrafik, Inc. C3 Brightwater 30 Chermayeff & Geismar, Inc. C3 Desert Ranch 4A Be Design C3 Slave 48 Jeff Fisher LogoMotives 9 Jeff Fisher LogoMotives
4C e Chermayeff & Geismar, Inc. C3 Crane and Company 40 Sandstrom Design e
Blue Heron Ale SA 0 Chermayeff & Geismar, Inc. e
Key Sabinal 58 Marcus Lee Design e Hobsons Bay City Council
5C Evenson Design Group C3 Discovery Island 50 Sabingrafik, Inc. C3 San Diego Zoo
 G> = Design Firm
<3 = Client
LO 0 SEARCH 1

G
Fish/Bugs/Reptiles ARCH I PFI/\(;O

G
TRITON

SH ~ RK
J E R K Y tv1~KO
SOfTWAlff

~~
SUP ARINE

Turtle Creek Chora le 10 mAddis e Archipelago 2A mChermayeff & Geismar, Inc. e Tennessee Aquarium 28 0 Sabingrafik, Inc. The Masters Group
1C Felixsockwel l. com
2C Richards Brock Miller Mitchell & Associates Triton 20 Sib ley Peteet Design (!) Center For Marine Conservation 3A Marcus Lee Oesign e Frankston City Council
38 Eisenberg and Associates <3 University of Arizona 3C Made on Earth e Fat Fish Films 3D Prejean LoBue e Atlantis Paradise Island 4A Triple 888 Stud ios e Sundance Seafoods
46 Artimana (3 Make Software 4C Pagan e Konoba Pantagana 40 Sabingrafik, Inc. e e
Tamarindo Pacifico SA Sabingrafik, Inc. Chaos Lures 56 e Jeff Fisher LogoMotivese Triangle Productions!
5C e Simon & Goetz Design <3 Supmarine 50 e Prejean LoBue <3 Hyatt Internationa l - Grand Hyatt Bali


,.lIt., l1,t.,
....... U tl PI"1 n u n. UUII

.~ ~' I'.
~r "/1 \ '

BLUE F I SH
ST.I![iit

1A Dogstar C3 Catharine Fishel 1B Dogstar (!) Black Warrior Cahaba Rivers Land Trust 1C M itre Design e Pam Fish , production/design 10 Chermayeff & Geismar, Inc. National Aquarium Baltimore
2A mTharp Did It e Steamer's Grillhouse 28 Chermayeff & Geismar, Inc. e New England Aquarium 2C John Evans Design (!) Salt Grass Steakhouse 20 Gardner Design e Piranha Manufacturing
3A Bel Bare e Kailis Bros 3B 0 Gardner Design e Kana Coast 3C Say les Graphic Design, Inc. e Aventis 3D Gardner Design e Great Lodge 4A CRE8 Communications, Inc . e Green River Stone Company
48 Chase Design Group e Heal the Bay 4C e Gardner Design e Big Fish Bar 40 e Gardner Design C3 Go Away Garage 5A e Made on Earth C3 Made on Earth 58 e Gardner Design C3 Buzz Cut Lawn Care
5C Gardner Design <3 KTBN Kansas Technology Bus iness Network 50 Simon & Goetz Des ign <3 Red Ant
G
MAKE AWISH
bettyblue

~
.....-- - co

,

lake p
GoodLown U"'C4"E

R@CORDS

* OO"'T TREAD 0" ME *

WEBDROP

.. -.. ..
::
.~
~."
"'I.~1'~
~ ~

'''".; 0-
modo ~~rf~ arquitectura
ATLANTA
MEDICAL

RRKU=
L ...

1A 0 Klauddesign Make a Wish 18 G> GTA ~ Gregory Thomas Associates Monarch Films 1C Sayles Graphic Design, Inc. McArthur Company 10 Woodhead International e Betty Blue
2A Mitre Design C3 Good Lawn 28 Simon & Goetz Design C3 Lakepaper 2C Art Chantry e Estrus Records 20 0 Sabingrafik, Inc. C3 Sabingrafik, Inc. 3A mHowa lt Design Studio, Inc. e Webdrop
38 Chase Design Group e Virgin Records 3C Made on Earth <3 Ariat 3D 0 Gardner Design e Go Away Garage 4A Chermayeff & Geismar, Inc. e Clay Adams 4B Wages Design e Atlanta Medical Group
4C Artimana eModo Arquitectura 40 0 James Lienhart Design <3 Chameleon Color Crafts 5A 0 Be Design <3 Cost Plus World Market 56 0 Liska + Associates Communication Design <3 Reptile Artists Agent
5C Chase Design Group <3 Ammirati Puris Lintas 50 OK Design <3 Six Flags Over Texas
The Ocean
Conservancy
 G> = Des ign Firm
<3 = Client
LOGO SEARCH
G
Animals

C y B l E R . ... S

BIKE:I"RO rEe flO N

l AND

PAID IN I'ULL
PAST DUll

PAST DUE

e Roya l Guide Dogs Association 10 Dogstar e SpotlightSo lutions 2A Eisenberg and Associates Moon Doggie Hold ing Co. 28 4]) Bird Design e Scram
1C G> Cata Purne ll Partners
2C Sayles Graphic Design, Inc. Chicago Dog and Deli 20 Simon & Goetz Design C3 Springtime 3A 0 Prejean LoBue C3 PugPower, Inc. 38 Gardner Design C3 Land of Oz Kennels
3C Jon Flam ing Design C3 Internet Service Providor 3D Howalt Design Studio, Inc. e Target Stores 4A Dogstar e Dogstar 48 Evenson Design Group e Cubbys Coffee House 4C 0 Dogstar <3 Dogstar
40 e Sandstrom Design e e
Pavlov Productions 5A 0 Made on Earth e
Made on Earth 56 Dogstar e
Dogstar 5C Howalt Design Studio, Inc. e
Levi Strauss & Co., Inc. 5D e
Dogstar Dogstar


KILLI'EE r ~ pr e$e n tllt; &I e

(,-~

cn:~
petswelcome.com

."
.'

'::~~ , ., ~
:u I

prairie dog
SUNDDEII

1A Art Chantrye Mex ican Doorbell 1B Gardner Design e Sheldon Coleman 1C Dogstar e Dogstar 10 Pat Taylor Inc. e Dirty Paws 2A Dogstar e Dogstar 28 4]) Chase Design Group e Madeleine Clark
2C e Scotland Yards Fabric 20 Jon Flaming Design C3 Racehound 3A 0 Zen arts Design Studio Petswelcome.com 38 Rickabaugh Graphics e Northern Illinois University
Sibley Pateet Design
3C 0 Prejean LoBue eCabelia 3D Made on Earth <3 Made on Earth 4A G>Chase Design Group e Robert Yang 48 Planet Propaganda e Sundog 4C Richards Brock Miller M itchell & Associates <3 Lewisville Humane Soc iety
40 e Jon Flaming Design e Petigree 5A e Sanna Design Group, Inc. e Animal Krackers Grooming, Inc. 58 0 Evenson Design Group (3 Pet Netl 5C 0 Vanderbyl Design (3 Heinz 50 0 Wages Design (3 DeKalb Humane Society
G

roAOX

BROWN DEER
PRESS

........... \ Ll \ LOO

1A Art Chantry Chuckie-Boy Records 1B Made on Earth Made on Earth 1C 0 Howalt Design Studio, Inc. e Roseville Cougars 10 4]) After Hours Creative Max and Lucy 2A Made on Earth Made on Earth
28 Phinney/Bischoff Design House Torrefazione Italia 2C Chase Design Group e Leaping Manx 20 4]) Dogstar e The Cat 3A Gardner Des ign C3 The Independent School 38 Sabingrafik, Inc . C3 San Diego Zoo
3C Gardner Design C3 PrairieFes1 3D Ken Shafer Design C3 The Richards Group, Team Mad Dog 4A Sabingrafik, Inc. e San Diego Gas & Electric 48 Vanderbyl Des ign e Coyote Books
4C Simon & Goetz Design e ADP Engineering GMBH/Rotwild 40 Sabingrafik, Inc. e Harcourt & Co. 5A e Sabingrafik, Inc. e San Diego Zoo 56 e Richards Brock Miller M itchell & Associates e Oryx
5C e Richards Brock M iller Mitchell & Associates <3 The Dallas Zoo 50 e Homall Anderson <3 Gang of Seven


\ I .~~---.
~
--..........-~ o

I
,. '.,. .;
,

"

.,
TWELVE HORSES
.,

LONE STAR PARK

at Grand Prairie
Bluewater

., \. \. '",

~ ~.;.~~
~ 'PQ"E:ST OF

'!I .
CINCcn DE!"
THE: MOON

1A Chermayeff & Geismar, Inc. e Ibex Wear 18 Essex Two Inc. Arlington International 1C Rickabaugh Graphics e PAVE Advertising 10 mSimon & Goetz Design e Winning Wheels
2A 0 Sabingrafik, Inc. Freelance Product ions 28 Sabingrafik , Inc. e McMillin Communities 2C Jeff Fisher LogoMotives e Sisters Rodeo Association 20 0 Hornall Anderson C3 Twelve Horses
3A Richards Brock Miller Mitchell & Associates e Lone Star Park 38 Bright Strategic Design e YouSet Racing Network 3C Randy Mosher Design e MOl, LLC 3D Minale Tattersfie ld and Partners Ltd . e Le ndlease Ltd .
4A e Randy Mosher Design C3 Frostop, Inc. 48 Chase Design Group e Toth Advertising 4C e Jon Flaming Design e Lux Ranch 40 e Howalt Design Stud io, Inc. e West of the Moon
5A G) Gardner Design e Tallg rass Beef 58 G) Gardner Design e Carlos O'Kelly's 5C e Gardner Design e Heartland Arts Series 50 e Vanderbyl Design e Bedford Properties
G

KOALA

BEARSOULS
IMPLf!M~NTS FOR DI8C':OvRY
PERUVIAN CONNECTION
Hungry Minds'"

HIDING
... P L A C E

1A Gardner Design e Doskocil Meats 18 Jeff Fisher LogoMotives e Crossings at The Riverhouse 1C 4]) Gardner Design e Hoch Haus Cabin 10 Howalt Design Studio, Inc. e Burly Bear Television
2A Prejean LoBue C3 Southwest Missouri State University 28 Howalt Design Studio, Inc. (!) Burly Bear Television 2C Balance C3 Koala 20 Sabingrafik, Inc. e Big Behr Design Co .
3A Vanderbyl Design e California Conservat ion Corp. 38 e Richards Brock Miller Mitchell & Associates e 8earsouls 3C mWilloughby Design Group e Peruvian Connection 3D Addis e lOG Books
4A 0 James Lienhart Design e Black Sheep Club 46 Sibley Peteet Design e Quiet Time 4C 0 Balance e Hiding Place 40 Sayles Graphic Design, Inc. C3 Beaverdale Neighborhood Association
5A G) Sayles Graphic Design, Inc. C3 Raccoon River Brewing Company 5B G) Made on Earth e Made on Earth 5C G) Prejean LoBue e Disney Cruise Line - Disney
50 G) Richards Brock M iller Mitchell & Associates e Young President's Organization


~ .(r
MONK~Y STUDIOS o
blue .t

, I

To r" nd Di o

zs ATHERTON
ANIMAL CENTER

MA,.,..FO S

WILOLIr I IAItTH
ORr.TV r.om

Blue Hat Media 1B 4]) Be Design e digiScents 1C 4]) Sabingrafik, Inc. e Monkey Studios 10 Sabingrafik, Inc. e San Diego Zoo 2A Device Blag!
1A Gardner Design
28 e Tamarindo Diria 2C 4]) Prejean LoBue e Chris Gray 20 Chase Design Group e Save the Rainforest 3A 0 Sabingrafik, Inc. e The Davis Fam ily 38 Sabingrafik , Inc. C3 San Diego Zoo
Sabingrafik, Inc.
3C G Sandstrom Design e NissanfTBWA Ch iat Day 3D John Evans Design C3 Purple Giraffe T-Shirt Co. 4A 0 Eisenberg and Associates C3 Tucson Zoological Society 48 Chase Design e Group Atherton
4C 0 Kiku Obata & Company e 31. Louis Zoo 40 Sabingrafik, Inc. e Helen Woodward Animal Center 5A 0 Spiral Design Studio <3 Maplnfo Corporation 56 e Gardner Des ign <3 Kansas Humane Society
5C G) After Hours Creative e OBCTV 50 G) Sabingrafik, Inc. e Lincoln Park Zoo


G> = Design Firm

<3 = Client
LOGO$EARCH

Nature o
An:u anti IIuIHel>, Inl:.

consensus 11 l A l T 11

gr~Clltrcc
I' i (" Cur c ,

Prime
terra

simply
Grganlc,.

DO UBL ~GR I:. I:. NEW LEAF

PAPER
se'madi

Arcosanti Homes, Inc. 10 M iriello Grafieo , Inc. e Twin Oaks 2A Dotzero Design e Bonneville Environmental Foundation 28 GTA - Gregory Thomas Associates Greentree Pictures
1C C]) Webster Design Associates Inc.
Sayles Graphic Design, Inc. C3 Cohabaco Cigar Co. 20 Addis Consensus Health 3A 0 Jon Flaming Design e Neiman Marcus 38 Felixsockwell.com Kae ls 3C Pagan C3 Srebrn Tus Belgrade
2C
3D SCata Purnell Partners e Primelife 4A Sab ingrafik, Inc. e Canyon Hills 48 @JamesLienhart Design e California Valley Bank 4C G) Miriello GrafieQ, Inc. C3 Rancho Bernardo Inn
40 Be Design e
Frontier Natural Products 5A 0 Bright Strategic Designe Tree People 58 Evenson Design Group e DoubleGreen Landscapes 5C 0 Elix ir Designe New Leaf Paper 5D 0 Marcus Lee Design e
Se 'madi
G rn100r
Park

~
KGRO
INQCHI

, ",
TfRRfl GARDEN
+
;J

rANSI T IO ~ House
NVfl
NURSERIES. INC.

D

~
RISIS

'_A N A S T A S I I'n H,;n<:iU':O~' PHILLI ps
" " "

1A IDWilioughby Design Group Hallmark 18 4]) Howalt Design Studio, Inc. e Sears 1C Wages Design Rivermoore Park 10 G) Treehouse Design e Treehouse Desig n 2A Sibley Peteet Design Ed Windler
28 Orange 32 e Guidance Whofistic Health 2C mBrandEquity e KMart Corporation 20 Liska + Associates Communication Design e Inochi 3A Hecht Design e Transition House
38 Jeff Fisher LogoMotives e Terra Nova Nurseries, Inc. 3C 0 Prejean LoBue e Hyatt International - Grand Hyatt Bangkok 3D John Evans Design (3 Big Green Plants. com 4A e Design and Image e Grassroots Market
46 0 Plumbli ne Studios C3 Provencia 4C 0 John Silver C3 Christian Life School 4D Blue Beetle Design e
Risis 5A Jon Flaming Designe e
Living Earth Technology 58 0 Chermayeff & Geismar, Inc. Tu lip Films
5C Bird Design C3 Anastasia 50 Gardner Design <3 Ferguson Ph illips Homeware


FESTI\ .\L

o
LANDSCAPES MAR KAY
o T.\

(I
EXEC TI flo\\ e rpower GRANDIFLORUM
.... , , ' UM L~

UNIVERSITY!
EXPO~IIION

PARK

PODRUM PALIC
SOM-RS-T GARDEN
(
FESTIVAL

'~\ij/'

xyzest

1A G> Chermayeff & Geismar, Inc. (3 Festival of India 18 G> Jon Flaming Design (3 Neiman Marcus 1C G> Balancee Native Landscapes 10 0 Sibley Peteet Design e Mary Kay Cosmetics 2A Mires C3Caboodles
28 0 Willoughby Design Group Stuart Hall Proart Graphics/Gabriel Kalach (3 Flower Power 20 4]) Elixir Design e Grandiflorum Petiumes 3A Pat Taylor Inc. e International Peace Garden Foundation
2C
38 Chermayeff & Geismar, Inc. e White House Conference on Children 3C Sayles Graphic Design, Inc. e Pattee Enterprises 3D GTA Gregory Thomas Associates <3 USC
4

4A e Henderson Tyner Art Co. (3 Somerset Homes 4B e e

Miriello Grafico, Inc. C3 D'Olivo 4C e
S Design , Inc. C3 Oklahoma Garden Festival Foundation 40 Pogon C3 Pod rum Palic
5A Hornal! Anderson <3 Best Cellars 56 Prejean LoBue <3 The King Ranch Vineyard Partnership 5C Sibley Peteet Des ign <3 D's Campus Cafe 50 Marcus Lee Design C3 Xyzest
G

Ch erryPr iul

TH Iii
CJ
COTTON C 5 NT li R Greenwood Park

,", I N T E RIOR
GARDENS

l~
~(.
t
L O" Y J f rrTT
1".,.\)IITla :.

TreesAmerica BA~LPY
0
T
C T

Best Cellars 1C Sackett Design Nightshade Restaurant 10 4]) Marcus Lee Design Cherry Print 2A Sayles Graphic Design, Inc. e Bel ls Apple Orchard
1A Sibley Peteet Design S Ti m McC lure 18 Harnall Anderson
26 0 Balance (3 Heartsmart 2C Sayles Graphic Design, Inc. (3 Be lls Apple Orchard 20 4]) Sabingrafik, Inc. e Found Stuff Paperworks 3A After Hours Creative (3 The Cotton Center
38 Prejean LoBue e Assemblies of God Church 3C Gardner Design <3 Midwest Ag. Board of Trade 3D Modern Dog Communications e Greenwood Parks Dept. 4A Sabingrafik, Inc. e Rancho Bernardo Inn
46 0 Sibley Peteet Design C3 Bodhi Yoga 4C Oogstar eBirmingham Ecoplex 4D e
CREB Communications, Inc. <3 Interior Gardens SA e e
Pat Taylor Inc. <3 Trees America 56 MB Design Barkley Corporation
5C G) Miriello Grafico, Inc. e Lone Cypress Importers 50 G) Prejean LoBue e The Callaway Bank


c n t r

L AND F<;IGN

It A L Y S TON G

WaterDesk com

1A 0 Buz Design Group C3 University of Southern California 18 mMires e Shea Homes 1C Dogstar e Woodland Village Retirement Commun ity 10 Treehouse Des ign C3 The Cypress Center
2A Harna ll Anderson Eagle Lake on Orcas Island 2B Evenson Design Group Eras Center 2C Mires Adventure 16 20 Sayles Graphic Design, Inc. Alpine Shop 3A Simon & Goetz Design ZDF
3B 4]) Chermayeff & Geismar, Inc. e United States Department of Interior 3C Design and Image e Land Design 30 BrandEquity e Earth Shoe 4A Chermayeff & Geismar, Inc. e Turning Stone Casino
48 Hornall Andersone e
Heaven ly Stone 4C Sabingrafik, Inc . e
Canyon Hills 40 Mires e
Nextec 5A SCato Purnell Partners e
Docklands School of Design 5B 0 Mires The Church of Today
5C Sibley Peteet Design e Bares Capital Management 50 Richards Brock Miller Mitchell & Associates e WaterDesk.com
 F
~ ~
0'-0 z--
G . .--.J Great Lakes
. Technology Park RIvERSIDE ~ Anchor
SC HWAB F U/;o Jnr CHARITA BL E GIVI NG
Hpnl,hCn"p

HEALTH &. HEALING

A L J) 1-. ,\1 i\
... ... . . . . . , .1." DucWcsl

13 J0 DI l

SO L A R I A N.

1A Brian Sooy & Co .e Great Lakes Technology Park 1B 0 Sackett Des ign e Charles Schwab 1C Monigle Associates Inc. e Riverside HealthCare 10 Graves Fowler Associates e Anchor Mental Health
2A Cata Purnell Partners e Melbourne Sports and Aquatic Centre 2B Device e The Source 2C Evenson Design Group e St . Vincent Medical Center 20 4]) Cata Purnell Partners C3 Hamburg Airport
3A 0 Be Design <3 Carriga 3B 0 James Lienhart Design e Spectrum 3C e Design and Image e AI Demna 3D Design and Image e Due West 4A Kellum McClain Inc. e The Actors Ensemble
46 e Chermayeff & Geismar, Inc. e Artear Television Network 4C Chermayeff & Geismar, Inc. C3 Ring of Fire Aquarium, Osaka, Japan 40 Dotzero Design C3 Jodie Day SA Be Design C3 Armstrong
58 e Sandstrom Design <3 Sokol Blosser Winery 5C e Graves Fowler Associates <3 Robert Wood Johnson 50 e Cato Purnell Partners <3 Snow Hydro Electricity
swinburne
'""f!IINi"l1" h capi La I
 G> = Design Firm
<3 = Client
LOGO SEARCH
G
Shapes - * G II. lID IIIIfD II. *
PRIEIFIERIEINICIE

~
EdGafecom e freight'"

Pan Am

1C Monigle Associates Inc. e Software Spectrum, Inc. 10 Howalt Design Studio, Inc. Sheraton Hotels 2A 4]) Ken Shafer Des ign e Port of Seattle 28 4]) Webster Design Associates Inc. e ACNielsen
2C mArt Chantry Earth Police 20 Pat Taylor Inc. Esrig Globa l Gifts 3A Gardner Des ign e Virtual Focus
Sabingrafik, Inc. e Taylor Guitars 3C Planet Propaganda Brave World Productions
38
30 Tim Frame C3 Universal Studios 4A e Modern Dog Communications e American Design & Manufacturing 46 Roman Design e EdGate.com, Inc. 4C e Jon Flaming Design e Global Partners
40 e Cronan Group e eWorldFreight SA e Chermayeff & Geismar, Inc. e
Pan American Airways 56 e
Gardner Design C3 La Chance International Brokerage 5C e
Sab ingrafik, Inc. C3 Brightwater
50 G) Sabingrafik , Inc. e Found Stuff Paperworks


YUMB'II::
o
" ~M. OCEAN PLACE interexpo

" ........... .. ,

cosmo
BY FIRaT C L ASS 8AOOAOI

prosolis
THF \ftiIlTlftH HnU(r
FIRsrWORLD
COMMUN I CA TI ONS
openband ASIACONVERGE

7TJt:lch ICI
MEDIA

e National Credit Bank of Russia 18 Gardner Design TumbleDrum 1C Sabingrafik, Inc. e Oliver McMillin 10 Cincodemayo (!) Interexpo 2A mBe Design Be Design
1A 0 Chermayeff & Geismar, Inc.
28 Eisenberg and Associates e Blockbuster Productions 2C Cincodemayo (!) Bar Celona 20 Dotzero e Design Planet Salon 3A Cincodemayo (!) Frisa 38 Design and Image (!) Brad Adams Walker
3C James Lienhart Design e MLR Design 3D Design and Image e Cosmo Traveler 4A G> Simon & Goetz Design e Prosol is 48 G) Mires e First World Communications 4C Spot Color Inc. e McDean
40 e Blue Beet le Design e Asia Converge 5A e MB Des ign e Adventure Program 5B e Howalt Design Stud io, Inc. e Mach 10 5C e Design and Image e Doom
50 e Chermayeff & Geismar, Inc. e Pan American World Congress of Architects
G CURRnTS
KIN T I\NA

If
AERZONE. SafeS.de

eSlC
Tea Leaf ~
TECHNOLOGY
I nfa b

-D
Invitrogen" SAL~RK
TriActive life technologies International Sites

1A Cata Purnell Partners SThe Federal Group 1B Cronan Group Kintana 1C Lieber Cooper Associates e Swissotel - Chicago, Illinois 10 John Silver(3John Silver
2A Mires e Powertrax 28 Cata Purnell Partners Neil Henson Fash ion 8ytes 2C Hornall Anderson e Aerzone Corporation 20 Wages Des ign e The Weather Channel
3A G> Cronan Group e Tea Leaf Technology 38 Hornal l Anderson e Teledesic 3C 0 Wages e Design Infab 3D Proart Graphics/Gabriel Kalach e Digital Road 4A Cata Purnell Partners e Sydney Super Dome
46 0 Device e Powertrax 4C 0 liska + Associates Communication Design e The Interexchange Group 40 0 Planet Propaganda e Stir 5A e Indicia Des ign, Inc. e TriActive, Inc.
56 e Mires e Invitrogen Life Technologies SC e Plumbline Studios e International Sites 50 e Corporate Image Consultants, Inc. e Sales Mark, Inc.


. t'lme@
spring ORACLE~ o
MOBILE cobaltcard
PARK
AVEN U E
,IDUS,.III DISlGl

~~ D ~
'......
, --

biforce C H R T E
Com plet't Con tract PQ("mi\jlll\ Stilurfon"
BOS T ON MEDIA

.....
I ...
. .

SCKK
) at ens Center for

~
- . . .....
....-.........
....- .
.-...........~
-
-.. -..
.
. ~ :-.~
-

I

. Kompetcnc(.'- og
Kva hrersudVlkhng
INSIGHT
ASSESSMENT
~
.... .. - -
-- . - .....
--'--= '!" . : ..

-i!iOpUX CUHHf T Ims

s I 0

\
o

1A Design and Image C3 Lofts on Park Avenue 1B 0 Simon & Goetz Design C3 Springtime 1C Howalt Design Studio, Inc. C3 Oracle 10 Howalt Design Studio, Inc. e Cobalt Card
2A 0 Richard Leland C3 Biforce, Inc. 2B Monigle Associates Inc. Total System Services 2C Design and Image Chemrite 20 4]) Grapefruit Design e Boston Media Corporation
3A Kontrapunkt <3 Danish Nationa l Center for the Development of Competence and Quality 38 Plumbline Studios <3 Insight Assessment 3C G Sanna Design Group, Inc. <3 Com net Te lecom Supply
3D e Cato Purnell Partners e Schein Sayer 4A Plumbline Studios e Opux 4B e Lieber Cooper Associates e Swiss6tel Chicago , Illinois 4C Planet Propaganda e Interact ive Media Solutions
40 G Prejean LoBue e Healthcare Solutions, Inc. 5A G Vanderbyl Design e Yachtsmans Exchange 58 G Cato Purnell Partners e Primrose 5C G Mires e Fusion Med ia 50 Chermayeff & Geismar, Inc. e Merck
G

Bankof America~
NET (
techpartnership

N S TEe
l'f)11fuJf(f l~tl(ltl. T'-oloflC1 Diamond Shamrock

e:
.::1 d
I

a 1 UmIn a
I

1A Chermayeff & Geismar, Inc. e The Chase Manhattan Bank 1B mMitre Design e Nano-Tex, Inc. 1C 0 James Lienhart Design e Professional Photographers of America 10 0 Cata Purnell Partners e Commonwealth Bank
2A Blue Beetle Design e Com Edge 28 Enterprise IG Bank of America 2C Campania de Turism NET 20
Grapefru it Design e NSTB 3A Hornall Anderson (!) Development Services of America
Blue Beetle Design
38 0 Roman Design e Insurance Informat ion Techno logies 3C Gardner Design C3 Data Edge 3D 0 Monigle Associates Inc. e Diamond Shamrock Corporation 4A e Chase Des ign Group e Genex Interactive
48 :> Design Machine e Art Directors Club, New York 4C e Gato Purnell Partners e National Australia Bank 40 e Proart Graphics/Gabriel Kalach e DOL 5A e Be Design e Be Design
58 Mitre Design e Studio Place Photography 5C Gardner Design C3 Thermos Nissan 50 Chase Design Group e Robert Yang


Won.LoSonc:; Veloc i Gen I nc . o

2DD;::l
CLII=I=SICE
F"NTF~T"'INMF"NT

glide
(, ~tradelets.com
TalkOn TECH
"CHI~V~M~NI
OLOGY

A~AIIO 2000

~ LUXEON
&P
MultiSpeak pandesic_

CATe AS
billerbeck
EMBARCADERO
DUXFORD COMMON
M .rot

1" -
(~ )
,iW
sunesis
;;

-
LOYANG POINT okamoto energex

1A Sackett Design e Cliffside Entertainment 1 B 4]) SPATCHURST e Australian Water and Coastal Studies 1C Chase Design Group Santa Fe Creatives 10 Miriello Grafieo, Inc. e VelociGen Inc.
2A Brian Sooy & Co. C3 Great Lakes Incubator for Developing Enterprises 2B Klauddesign C3 Microsoft 2C Blue Beetle Design NSTB 20 4]) Grapefruit Design e Netprise, Inc . 3A Design and Image e Multi Speak
3B Enterprise IG e Delta 3C Addis e Pandesic 30 Cato Purnell Partners C3 Sydney Airport 4A Trickett & Webb e Imperial War Museum 4B G> Addis e Catenas 4C G> Klauddesign e Embarcadero Common
40 Simon & Goetz Design e Billerbeck Betten 5A Chase Design Group e Sunesis 58 Blue Beetle Design e HDB 5C Hornall Anderson e Okamoto Corporation 50 Cato Purnell Partners e Energex Australia
 G> = Design Firm
<3 = Client
LO 0 SEARCH 1

G
Symbols
WICHITFI
IllIl l l II'

P 1-; . T A ( - A S A S -- "'

l.1
IR I'
Ml FI
"

1C 0 Gardner Design Wichita Festivals, Inc. 10 Webster Design Associates Inc. First National Brokerage 2A Pat Taylor Inc.C3 Ameribus Tours
28 Chermayeff & Geismar, Inc. American Revolution Bicentennial Commission 2C Pat Taylor Inc. e Wisconsin Star Publishers 20 See lts/Stratford Assoc iates e U.S. Senior Olympics
3A Braue; Brand ing & Corporate Design C3 Pentacasas Ferienhaeuser GmbH 38 Sibley Peteet Design e University of Texas 3C Vanderbyl Design e City of Richmond 3D Hornal! Anderson e Food Services of America
4A e Webster Design Associates Inc. e Strategic Air & Space Museum 46 e Dotzero Design e Star Advisors 4C 0 Gardner Design e Wich ita River Festival 40 0 Wages Design e Chick-fil-A University
SA e Gardner Design C3 Prec ision Datacom 56 Chermayeff & Geismar, Inc. C3 Mu lticana l 5C Vanderbyl Design C3 U.S. Air Force e Beth Singer Design C3 The American Israel Pub lic Affairs Committee
50


-11 13 EFITI\MERlCA
RANCH PARTY o

Stepping Stone Foundation

'" I- .. " " W .. ,'

L INKS FOR LI FF.

A.' I-RAl'CI CO 1-00D Ih . K

F .".z t ".(""~ , .. , ,.,~, " , ,

1A Chermayeff & Geismar, Inc. C3 The American Film Institute 1B Monigle Associates Inc. (!) EmployeeLife 1C Device C3 Plan B 10 mHawalt Design Studio, Inc. Phillip-Morris 2A 0John Silver e Durban Cigars
28 4]) Felixsockwell.com C3 Target 2C C3 Mandalay Bay Resort & Casino 20 mKellum McClain Inc. The Actors Fund 3A 0 Prejean LoBue Hagale Industries 38 John Evans Design Tejas Grill
Prejean LoBue
3C Sib ley Peteet Design C3 Lone Star Donuts, Saunders/Lubinski&White 3D Liska + Associates Communication Design e Stepping Stone Foundation 4A James Lienhart Design e Congregational Church of Glen Ellen
4B e Device C3 Kill Your Boyfriend D .C. Comics . All Rights Reserved . 4C e
James Lienhart Design e
James Lienhart Design 40 McMillian Design e
Golf Digest Magazine SA Addis e e
San Francisco Food Bank
58 G) Prejean LoBue e HCA Medical Center of Plano 5C G) James Lienhart Design e Chicago 27 Designers 50 e Cato Purnell Partners e Deep Fire Productions
G
~SJ
GeotgJaState
UriIvcrslty

D A-FARB ER
c. " E R I:-< ST I T l' T[

SAFE ~ DRUC-FRIiIi SCHOOL

1A Wages Design e Atlanta Gas Light e Melbourne Olympics Committee 1C Cata Purnell Partners e Westar Energy 10 Wages Design C3 Georgia State University
1 B Cata Purnell Partners
2A Cata Purnell Partners e Metasource Howalt Design Studio, Inc. e Phillip-Morris 2C mChase Design Group C3 Crave Entertainment 20 mMires e Garys Rod and Custom
2B
3A BrandEquity C3 Dana-Farber Cancer Institute 38 Design and Image e Sage 3C G Gardner Design e Catholic Stewardship Foundation 3D Beth Singer Design C3 U.S. Department of Education
4A eSayles Graphic Design, Inc. <3 HBD Films 46 e
Chase Design Groupe e
Hot Mustard Records 4C e
Sabingrafik, Inc. Tamasari Beverage 40 Art Chantry C3 Hell's Elevator Prod.
SA e Chase Design Group C3 Hard Rock Cafe 56 e Modern Dog Communications C3 Experience Music Project 5C e Sabingrafik, Inc. C3 Hot Country Radio 50 e Planet Propaganda C3 Purgatone Records


~I:j Ib~ _ ' th o

TRU1S
D

~ National
Children's
FEAA Literacy
FACUllATEA DE ECO OMIE
Project IHE BLACK BOOK
~I ADMINISTRARCA ArAcrRILOR

, - .111\\ -
--
::;
\\111
--
.::::.

o
-- ~

1A Gardner Design e Laura Almquist-Parks e HarperColl ins 1C Gardner Design SA Little Biz 10 Be Design e Hothouse 2A Simon & Goetz Design e Stefan Tappert
18 0 Chermayeff & Geismar, Inc.
28 BBK Studio Central Michigan Paper 2C Cronan Group <3Truis 20 Tim Frame e Host Marriott 3A G) Grapefruit Design (!) Universitatea AI . I. Cuza, lasi, Romania 38 Dotzero Design e Learning .com
3C Hess Design Works C3 Lisa Palmer 3D Liska + Associates Communication Design <3 The Black Book 4A 0 Evenson Design Group e California Literacy 48 Dotzero Des ign e Literacy Volunteers
4C e Flynn Design e First Presbyterian Church 40 0 Modern Dog Communications e www.1000journa ls.com 5A 0 Enterprise IG e Aurora Foods 58 e Sabingrafik, Inc. e Seaport Vil lage
5C e Corporate Image Consultants, Inc. <3 Manna Ministries 50 Mires <3 The Ye llow Pages


G> = Design Firm

<3 = Client
LOGO$EARCH

Arts o
PHOTOCItAPH-'

~~ W ... F 0 T 0 IA COR B s

/ / /) (/ / . /) (/ / /) (/ / /) (/././) (/ / /) (/ . / /

. / / /) (/ / /) (/ / /) (/ / /) (/ // ) (/ / /) (/ / /

~O

ourspecialvideo sn ElM L M

1C mJon Flam ing Design (3 Linda Lux Photography 10 Gardner Design C3 Chauncey Photography 2A Jon Flaming Design e Party Pix 28 Proart Graph ics/Gabriel Kalach (3 Fotopianet
2C Harna ll Anderson e PhotoWorks 20 4]) Sayles Graphic Design, Inc. e Big Daddy Photography 3A Made on Earth (3 Iwerks 38 Proart Graphics/Gabrie l Kalach (3 Fotopia
3C Harnall Anderson e Carbis Corporation 3D Hoyne Design e Cinimagic 4A 0 Chase Design Group e Turner Pictures 4B e Sibley Peteet Design e King Photography
4C 0 Sibley Peteet Design e Austin Film Festival 40 e
James Lienhart Design (3 Peter Sagara Photography SA Sandstrom Design (3 Will Vinton Studios
58 G) Proart Graphics/Gabriel Kalach e Our Special Video 5C e McMillian Design e Ken Coit 5D e Sabingrafik, Inc. e Oliver McMil lin
G
ourspecialvideo.com

,1/

Expand E.J Beyond'

Award s p"lJone
l mOODr

o
telenet ultlmate1V

J\wf(~
e
~;c
+e tival p A R K L 0 f 1
t , ..... t_ oli.., CAu.. \
Triple J SYMPHONY

w a rd m a nst e ps

1A Proart Graphics/Gabriel Kalach e Our Special Video

1 B mBraue; Branding & Corporate Design e Starke Veranstaltungen 1C Gardner Des ign e AlGA Wichita 10 Evenson Design Group e Radio Gabby
2A Chase Design Group e The WB Cincodemayo (!) TMD Services 2C Li ska + Associates Communicat ion Desig n e Expand Beyond 20 Richards Brock Miller Mitchell & Associates 1-800-AUTHORS
28
3A G> Howalt Des ign Stud io, Inc. e Ogilvy & Mather 38 Gincodemayo e Telenet 3C Be Design e Microsoft 3D 2b1 a e Coffein Music 4A G> Evenson Design Group e Rubin Postaer
46 0 Sabingrafik, Inc. e
Douglas Wilson Companies 4C Hoyne Design e e
Triple J 40 e
Design and Image Co lorado Symphony 5Ae e
Felixsockwell.com EW 56e Design and Imagee Cowtown Catering
5C Visible Ink Design e Snake Music 50 Prejean LoBue e Drew Morrison


'NV'S i
..~-."'
'BL'
i
".
young@art

. . . .. .

SOLUTIONS

1A Howalt Design Studio , Inc. Hard Drive 18 Felixsockwell .com e EW 1C Art Chantry Stereolab 10 Felixsockwe ll.com e Creo 2A Fel ixsockwell .com e Creo
2B Chermayeff & Geismar, Inc. (!) Graphic Arts USA 2C Howalt Design Studio, Inc. (!) Howalt Design Studio, Inc. 20 Prejean LoBue <3 Prejean LoBue 3A @Rickabaugh Graphics Invisible Ink
38 Trickett & Webb e London Institute 3C 0 Sabingrafik, Inc. <3 Design Safari 3D 0 Tharp Did It e The Design Conference that Just Happens to Be in Park City 4A Felixsockwell.com e Cree
4B Gardner Design (3 Amber Lear 4C e e
Jeff fisher LogoMotives Jeff Maul 40 Felixsockwell.com (3 Creo 5Ae e
Howalt Design Studio, Inc. (3 Herman Miller 58 e
After Hours Creative The Chair Academy
5C G) Design One C3 Drexel Heritage 50 G) Sayles Graphic Design, Inc. C3 Christine's 20th Century Design
 G> = Design Firm
<3 = Client
LOGO SEARCH
G
Miscellaneous
N E X T
ME 0 I A

,.
6

person f Y

1C G> Made on Earth e Next Media 10 Howalt Design Stud io, Inc. e AT&T 2A Saturn Flyer e KRYPTOSIMA 28 Art Chantry C3 The 38 2C 4]) Prejean LoBue e Motorola 20 Prejean LoBue e A Helping Hand
3A Modern Dog Communications (!) Jackson Remodeling 38 Art Chantry e Black Dog Forge 3C Felixsockwell .com Blackfoot Indian Construction 3D Gardner Design (!) Brain Cramps
4A Art Chantry e The Makers 48 Hornall Anderson e Personify 4C 0 Pure Imaginat ion Studios <3 Pure Imag ination Studios 40 HornaU Anderson e CW Gourmet/Mondeo SA Made on Earth e Made on Earth
56 Modern Dog Communications C3 All The Rave, Inc. 5C e Kontrapunkt eDanish Medicines Agency 50 e Kontrapunkte The Danish State Information Service & Royal Danish Ministry of Foreign Affairs


o
BIG BOW L
SCRIP MASTER .4N AS I AN C A FE

rART rR, I (ARI (,

SSI'C Children ' Cen te r

RETROLINER
I) l) ( A 1 l

,

-
t< P LOTRA
=
",
- .- ..... , FRAMESTARS
TJu ,W
,
1'10 ,A_." [,,,.. III

~ +
He althL ink FADICJ\

1A Howalt Design Studio , Inc. Howalt Design Studio, Inc . 18 Sib ley Peteat Design C3 Rx.com 1C 4]) Gardner Design Scrip master 10 Essex Two Inc . e Lettuce Enterta inment
2A Howalt Design Studio, Inc. Retroliner.com 28 4]) Design One Doncaster 2C Graves Fowler Associates Silver Spring Children's Center 20 Art Chantry Legs Against Arms 3A Art Chantry e KPLOTRA
38 Design Machine e 555 Gallery 3C John Silver e FrameStars 3D Cata Purne ll Partners e Grand Hyatt Jakarta 4A Liska + Associates Communication Design <3 Hea lthLink
48 Wages Design e Quantum 4C e Gardner Design e Intracare 40 Graves Fowler Associates e Foundations and Donors Interested in Catholic Activities, Inc. SA James Lienhart Design e Junior Womens Association
58 Richards Brock Miller Mitchell & Associates C3 Firehouse Ministries 5C Boelts/Stratford Associates C3 Colorado Dance Fest ival 50 Jeff Fisher LogoMotives C3 Triangle Productions!
 G> = Design Firm
<3 = Client
LOGO SEARCH
G
Food

,,
say:

1C 4]) Kiku Obata & Company (!) Barnes & Noble 10 4]) Sayles Graphic Design, Inc. e Java Joes
2A G) Lieber Cooper Associates (!) Swissotel - Chicago, Illinois 28 G> Sabingrafik, Inc. e Boyds Coffee
2C mSabingrafik, Inc. IVAG Corporation 20 4]) MB Design Walton Eisenberg and Associates (!) Silver Spur Ranch 38 4]) Prejean LoBue e Regional AIDS Interfaith Network
Beverage 3A
3C G) Howalt Design Studio, Inc. e Robert Mandavi 30 Hornall Anderson e Grape Finds 4A Dotzero Design e Bridgetown Printing 48 Trickett & Webb <3 Rennies 4C Art Chantry <3 The Nomads
40 e Dan Stiles Designe Arjuna Veervagu (OJ Juice) 5A Sibley Peteet Design e
D's Catering 56 Sibley Peteet Design e Chili's 5C Simon & Goetz Design e Sylvia Gellman
50 Willoughby Design Group e Einstein Bros. Bagels


11 o
I "

.otttUI() "til
C, ttfLlt

I
etlier

WINDOWSILL
.---- --.

The Stoop 10 Dogstar e Jimmie Hale Mission 2A Felixsockwell.com e la Bicyclette

1A G> Howalt Design Studio, Inc. C3 Wellsteads 1 B G> Dogstar C3 Typhoon Restaurant 1C @ Lexicon Graphix , Inc.
2B Catc Purnell Partners National Museum of Australia 2C mMitre Design (!) Opie's Southbound Grille 20 4]) Gardner Design Fide l Bistro 3A Chase Design Group Tommy Stailkovich
38 Gardner Design e Excel Corporation 3C Rickabaug h Graphics e Kernel Encore 3D Randy Mosher Design e Brewsters Coffee 4A Fetixsockwell.com e Sure Fire 48 G) Modern Dog Communications e Tidemark
4C Hornall Anderson eItalia Restaurant & Wine Bar 40 Gardner Design e e
Windowsill Foods SA 0 Tim Frame e
Charley's Steakery 58 e
Tim Frame Bob Evan's Farms, Inc.
5C Wi lloughby Design Group <3 Nood les & Company 50 Design and Image C3 Diane's


G> = Design Firm

<3 = Client
LOGO$EARCH

Structures
o

M~RIJ)IA H()M~ ourtJouse.net

T r ANS I T I ON Rouse

~~ Porch Light

SClenda~
Building Sciences

PEOPLE MOVERS

1C AdamsMorioka, Inc. Disney Club House 10 Gardner Design Hearth and Home 2A Design and Image e Meridian Homes 28 Prejean LoBue e Hearthscape Partners LLC
2C Hecht Design (!) Transition House 20 Felixsockwell.com Ourhouse.net 3A Richards Brock Miller Mitchell & Associates (!) The Family Place 38 Gardner Design e Comfort Care Homes
3C Phinney/Bischoff Design House e Seatt le Housing Authority 30 James Lienhart Design e City House 4A Enterprise IG e Scienda 48 e Braue; Branding & Corporate Design C3 Druckhaus Wust
4C Gardner Design e e
Prairie State Bank 40 e
Chermayeff & Geismar, Inc. e
Preservation League of New York State 5A e
Pat Taylor Inc. Type House (hot metal days)
56 Associated Advertising Agency, Inc. C3 Energy Home Systems 5C Jon Fl aming Design <3 Lennox 50 Sabingrafik, Inc. <3 People Movers
G

KulshanCIT
",.rm.""," I nd 1m

- ,

888
a88
B 8

Portcu II is LAFAYETTE
~ A ACE M N T SQUARE
MALL

VIL.LAG

THe
.- A J K (.,w ,: 0 .'
NV.A
.
1A Sayles Graphic Design, Inc. Homeworks 18 MB Design e Kulshan Community Land Trust 1C 0 Howalt Design Studio, Inc. C3Janene Brown 10 Sabingrafik, Inc. e Sea Country Homes
2A Sabingrafik, Inc. e McMill in Homes 28 Essex Two Inc. e Burack & Company 2C mMitre Design C3 Winston~Salem Downtown Arts District 20 Balance C3lnn at the Market
3A Mires e Portcullis Management 38 Roman Des ign e Fortress Techno logies, Inc. 3C 0 M itre Design e St. Paul's Episcopa l Church 3D Kiku Oba1a & Company e Simon Property Group
4A 0 Tim Frame e Axis Group 46 Art Chantry (3 Pitch & Groove 4C e Jon Flaming Design (3 Max Barney 40 e Jon Flaming Design e Central & Southwest 5A Chase Design Group e The Paltrow Group
58 Hornall Anderson e Space Needle 5C e Howalt Design Studio, Inc. e Work , Inc. 50 e Dotzero Design e Advertising Federation of Wichita


o
KREATlVWERKS
IlMUllltllllillll l CI
The Wexan Group, Ltd.

~l1177
HANOVER ERLICH MtTROPOllS
SHIninG CITY
REt 0 R 0 8

Urban Market
n _ v Fin P M F ~ T
I
U fB

ROCKEFEllER
WESCO
CFNTER

-
HI
INSIGNIA
M C D S o

1A McM illian Design e Kreativwerks 18 Gardner DesignSeRe Construction 1C Liska + Associates Communication Design The Wexan Group, Ltd. 1 D Sabingrafik, Inc. e Chief Executive Magazine
2A Design and Image C3 Hanover Erlich 28 Jon Flaming Design e Dallas Tourism 2C mPure Imagination Studios C3 Shining City Records 20 Hoyne Design C3 Metropolis Book Store
3A 0 Sabingrafik, Inc.
<3 Uptown Car Wash 38 Design and Image C3 Urban Market Development 3C G) AdamsMorioka, Inc. e Urban goods 3D G> Chermayeff & Geismar, Inc. e Downtown Alliance
4A Chermayetf & Geismar, Inc. C3 Rockefeller Center, New York 48 e GTA - Gregory Thomas Associates C3 Wesco 4C e Tim Frame C3 CityWide Deve lopment 40 e DK Design C3 Six Flags Mag ic Mountain
5A e Design and Image C3 MCDS 56 e Design and Image C3 Trujillo 5C e Design One C3 Drexel Heritage 50 e Hornall Anderson C3 CW Gourmet/Mondeo
 ~
.........

G '1 IS . . VA" 0 H
ru
1
wFr~~htLloyd
lIn
OglethorpePower

conco
H. BEALE
C O M PA. Y
------ OONSTRUO T I ON

flIIIQ)
Aftercare

" "

1A 0 Wages Design Oglethorpe Power 1 B Liska + Assoc iates Communication Design e Frank Lloyd Wright Preservation Trust 1C Essex Two Inc. e Horwitz-Matthews
10 Hornall Anderson e RAFN Construction 2A Pat Tay lor Inc . (!) Hastings Development Corp . 2B mJon Flaming Design <3Jim Flaming 2C Bird Design H. Beale Company
20 Gardner Design e Conco Construction 3A Simon & Goetz Design <3 Helkon Media 38 G) Zenarts Design Studio <3 Prison Fellowship Ministries 3C Hornall Anderson e BurgerviHe
3D Sayles Graphic Design , Inc . e American Institute of Architects 4A e Visible Ink Design e W iseacres 46 e Sabingrafik, Inc. e Golden Eagle 4C e Corporate Image Consultants, Inc. e Walt Disney
40 e Sabingrafik , Inc . <3 Seaport Village SA e Sabingrafik , Inc. e Seaus, The Restaurant 58 e Dogstar <3 Fog C ity Press 5C e Graves Fowler Associates <3 Fannie Mae 50 e Sabingrafik, Inc . <3lvac Medical Systems


G> = Design Firm

<3 = Client
LOGO$EARCH

Transportation FORBICCEN
o
PLANET

.~.
ExcelAire 77tI! Sly Is ilion

... ...- .
.'
" ,

---
A R R I S
5
1C o AdamsMorioka, Inc. Nickelodeon 10 Device Forbidden Planet 2A Modern Dog Communications K2 Snowboards 28 Kiku Obata & Company Planet Comics
2C CREB Communications, Inc. CRE8 Commun ications, Inc. 20 Hornall Anderson e Recharge 3A Monigle Associates Inc. e Cessna Aircraft Company 38 mHowalt Design Studio, Inc. e Work, Inc.
3C 0 Cincodemayo e Kamikaze Restaurant 30 Klauddesign e SFO 4A Orange 32 e Dillon Creative 48 Gardner Des ign e Home Oil Company 4C 0Jon Flaming Design <30bjex
40 e Hornall Anderson e Travel Services of America SA Klauddesign e e e
Sf 0 58 Buz Design Group Nissan Motor Company 5C Wages Design Arris 50 e Dotzero Designe Mostella Records
G

WORK INC 00 o

RAllY

1A G> Made on Earth Made on Earth 1B Sabingrafik, Inc. Cub Scout Troop 260 1C Howalt Design Studio, Inc. e 12XU Records 10 Art Chantry e Estrus Records
2A Sabingrafik, Inc. e California Beach Co . 28 Howalt Oesign Studio, Inc. (!) CSA Archive 2C 4]) Howalt Design Studio, Inc. Prestone 20 Sabingrafik, Inc. Shimano Resort
3A G>Art Chantry e Moe Wrecking Crew 36 Art Chantry e Moe Putting 3C Sayles Graphic Design, Inc. e Beckley Imports 3D Jon Flaming Design e Greyhound
4A Howalt Des ign Studio, Inc.e Work, Inc. 46 Prejean LoBue e Did EI Paso 4C e e
Howalt Design Stud io, Inc. Work, Inc. 40 Cata Purnell Partners (3 Progressive Enterprieses
SA Cata Purnell Partners <3 Progress ive Enterprises 56 Tharp Did It e Dashboard 5C G) Felixsockwell.com <3 Mikes Bikes 50 G) Howalt Design Studio, Inc. <3 Ca lvary Church


o
talen t

SA I LS ALOFT

I t ... . \ Gunn ISLanD HOteL

-- . --
- - --

STREAm

GRFI PH lCS

1A Gardner Design C3 Aliens Excavating 1 B Dogstar Heavy Talent 1C Tim Frame Anchor Manufacturing 10 Chermayeff & Geismar, Inc. Anchor Engraving 2A Wages Design (!) Yacht Haven
28 Mitre Design e Snug Harbor Specialties 2C Sabingrafik, Inc. e Deleo Clay Ti le Company 20 MB Des ign e Sa ils Aloft 3A Sabingrafik, Inc. C3 Continental I - Trimaran Cruises 38 Hoyne Design e Fosters Group
3C Kellum McClain Inc. e Crossroads Communications 30 Sabingrafik, Inc. e South Shore 4A G) Bright Strategic Design e Holland America 48 Sabingrafik, Inc. e Harcourt Brace & Co.
4C 0 Sabingrafik, Inc. C3 McMillin Homes 40 Wages Design e Lake Lan ier Islands 5A Evenson Design Group e
Streamline Graphics 5B e e
Sabingrafik, Inc. Alliance Federal Credit Union
5C G) Lex icon Graphix, Inc. C3lronwood Technolog ies 50 e Design and Image C3 Union Station Paver Program
LogoLounge is too big for just one book, so we made it a Web site, too. Log onto www.logolounge.com/book1 for electronic access to the
logos in this book. Search for logos by keywords, client or design firm name, client industry, or type of mark, and get designer credits and
contact information along with the logos.
And while you're at the site, take a few minutes to catch up on identity-industry news and trends, check out our monthly picks of great logos,
and look inside the studio of our featured designer. With all that inspiration, you're sure to come up with great logo designs of your own.
2b1 a 88-3c, 118-4b, 120-3a, 168-3d
AdamsMorioka, Inc. 80-4a, 82-3c,
82-4b, 90-2c, 92-5d, 93-3c, 93-5d,
175-1 c, 177 -3c, 179-1 c
Addis 85-4c, 88-3a, 88-3d, 89-1 b, 90-
3a, 106-1a, 119-5b, 138-1d, 146-3d,
149-2d, 161-3c, 161-4b, 163-5a
After Hours Creative 71-1 a, 82-1 c,
82-3d , 144-1d, 147-5c, 152-3a, 169-5b
Angryporcupine 76-3d, 81-2a, 87-4a,
95-5d , 101-4c, 111-2d
Art Chantry 78-4d, 86-1 a, 90-2b, 90-
5d,91-1b,92-2b,92-3a, 93-1a, 93-1b,
95-2c, 95-4a, 95-4b, 95-4c, 96-3a, 97-
3a, 97-3b,97-3d, 99-3a, 99-3c, 100-
1b, 103-5d, 11 0-4c, 111-4b, 111-5a,
113-4b, 123-1a, 127-3b, 129-5d, 130-
3c, 140-2c, 143-1a, 144-1a, 156-2c,
164-4d, 169-1c, 170-2b, 170-3b, 170-
4a, 171-2d, 171-3a, 172-4c, 176-4b,
180-1d, 180-3a, 180-3b
Artimana 85-4a, 87-5d, 90-1c, 101-
5c, 114-5d, 138-4b, 140-4c
Artomat Design 117 -4c, 135-3c
Associated Advertising Agency, Inc.
114-4c, 127 -5b, 135-5c, 136-2a,
175-5b
Balance 70-2b, 75-3d, 78-5a, 92-5c,
96-3d, 131-2a, 135-2a, 146-2c, 146-
4c, 151-1c, 152-2b, 176-2d
BBK Studio 75-5a, 77 -3b, 88-1 b,
165-2b
Be Design 98-3a, 98-3b, 100-3a,
111-1c, 117-4a, 122-2d, 137-4a, 140-
5a, 147-1 b, 149-4d, 154-3a, 154-5a,
157-2a, 160-5a, 165-1d, 168-3c
Bel Bare 97-1 d, 139-3a
Beth Singer Design 73-2d,89-1d,
109-4d, 162-5d, 164-3d
Bird Design 93-2d, 110-1 b, 118-2d,
135-1a, 142-2b, 150-5c, 178-2c
Blue Beetle Design 71-2a, 77 -2c, 80-
1b, 81-4a, 86-5b, 114-1 d, 132-2c,
150-4d, 157-4d, 160-2a, 160-2d, 161-
2c, 161-5b
Boelts/Stratford Associates 162-2d,
171-5c
BrandEquity 74-4d, 89-2a, 91-4b,
92-5b, 110-3c, 113-3a, 134-5a, 150-
2c, 153-3d, 164-3a
Braue; Branding and Corporate
Design 72-5c, 79-2d, 81-1a, 87-4c,
93-1 c, 95-2d, 100-2c, 101-1 c, 111-2b,
119-4d, 120-5a, 120-5b, 123-1 c, 125-
5b, 134-2d, 162-3a, 168-1b, 175-4b
Brian Sooy & Co. 87 -3b, 90-4c, 110-
3a, 125-1b, 127-2c, 130-5c, 154-1a,
161-2a
Bright Strategic Design 82-2c, 90-
3d, 117 -3b, 118-1 b, 145-3b, 149-5a,
181-4a
Bumba Design 73-4d , 97-1c, 130-5b
Buz Design Group 71-3d, 153-1 a,
179-5b
Cato Purnell Partners 74-2b, 80-1 c,
80-5d,81-2d,82-5b,83-1b, 83-1c,91-
3c, 92-3d,97-1a, 106-2a, 112-4a, 113-
1c, 114-2d, 114-3a, 114-3b, 114-3c,
114-3d, 122-2c, 123-4a, 125-3a, 134-
1c, 142-1c, 149-3d, 153-5a, 154-2a,
154-2d, 154-5d, 158-1 a, 158-2b, 158-
4a, 159-3d, 159-5b, 160-1 d, 160-4c,
161-3d, 161-5d, 163-5d, 164-1 b, 164-
1c, 164-2a, 171-3d, 173-2b, 180-4d,
180-5a
Chase Design Group 71-4d,76-2a,
77-2b,80-3d, 81-5c, 83-2a, 83-4d,85-
2a, 85-4b, 85-5b, 85-5d, 86-1 c, 86-4c,
87-4d, 90-5a, 93-2c, 93-4c, 95-1c, 95-
3b, 95-5c, 96-1 c, 96-4a, 98-2a, 98-2b,
98-2c, 98-2d, 98-3c, 98-3d, 98-4b, 98-
4c, 98-4d, 98-5a, 98-5b, 98-5c, 98-5d,
99-1a, 99-1b,99-1c, 99-1d,99-2a, 99-
2b,99-2c, 99-5a, 99-5b,99-5c, 101-
1a, 101-1b, 10Hd, 101-2b, 101-2c,
101-2d, 101-4b, 103-1 d, 103-2b, 103-
2d, 103-4d, 103-5a, 103-5c, 104-1 b,
104-2d, 107-1 c, 109-4a, 111-3d, 113-
3b, 114-4a, 116-5c, 117-1a, 117-1d,
123-2d, 123-3c, 123-3d, 127 -2a, 129-
3c, 129-5c, 130-2b, 130-2d, 130-3d,
131-1a, 131-2b, 131-4b, 134-3c, 136-
2b, 136-3c, 139-4b, 140-3b, 140-5c,
143-2b, 143-4a, 144-2c, 145-4b, 147-
2d, 147-4b, 160-4a, 160-5d, 161-1c,
161-5a, 164-2c, 164-4b, 164-5a, 167-
4a, 168-2a, 173-3a, 176-5a
Chermayeff & Geismar, Inc. 71-3c,
72-2b, 72-5b, 73-1d, 73-2a, 73-3d, 74-
1a, 74-5a, 75-1a, 75-1b, 76-1c, 76-2d,
76-3a, 77-4d, 77-5c, 78-1d, 78-2a, 79-
2b, 79-4b, 79-5c, 80-3a, 81-5d, 82-4c,
83-1a, 83-3d,85-3b, 85-3c, 86-1b, 86-
2c, 86-5d, 87 -2b, 87 -2c, 87 -2d, 87 -5a,
88-2b, 88-3b, 88-4a, 88-4c, 88-5a, 88-
5d, 91-3d, 91-4c, 92-1 b, 92-2c, 96-1 a,
96-2c, 96-4d, 97-4a, 109-2a, 109-4b,
114-4d, 114-5a, 117-5d, 118-1c, 127-
2b, 131-5d, 134-4b, 135-4a, 135-4b,
136-3b, 137-3d, 137-4c, 137-5a, 138-
2a, 139-1d, 139-2b, 140-4a, 145-1a,
150-5b, 151-1a, 151-3b, 153-3b, 153-
4a, 154-4b, 154-4c, 156-5a, 157-1 a,
157-5d, 159-5d, 160-1a, 162-2b, 162-
5b, 163-1a, 165-1b, 169-2b, 175-4d,
177-3d, 177-4a, 181-1d
Cincodemayo 99-2d, 100-4b, 123-
1b, 136-2d, 137-1a, 157-1d, 157-2c,
157-3a, 168-2b, 168-3b, 179-3c
Corporate Image Consultants, Inc.
158-5d, 165-5c, 178-4c
CRE8 Communications, Inc. 70-3d,
72-3d, 81-4d,92-3b,92-5a, 97-2d,
100-4c, 105-2c, 106-1 b, 111-3b, 135-
5b, 139-4a, 152-4d, 179-2c
Cronan Group 88-5b, 113-2a, 156-
4d, 158-1b, 158-3a, 165-2c
Dan Stiles Design 122-4c, 127-1 c,
172-4d
Dennis Purcell Design 77-1d, 93-4a,
107-4c
Design and Image 72-1d, 72-5d, 74-
5c, 75-5b, 79-5a, 80-2a, 81-5b, 83-5c,
88-1c, 100-5b, 110-1a, 113-1d, 114-
2b, 117-3c, 119-3a, 134-5c, 150-4a,
153-3c, 154-3c, 154-3d, 157-3b, 157-
3d , 157-5c, 159-1a, 159-2c, 161-3a,
164-3b, 168-4d, 168-5b, 173-5d, 175-
2a, 177-2a, 177-3b, 177-5a, 177-5b,
181-5d
Design Machine 73-2c, 75-4d, 76-
1a, 96-2d, 113-1 a, 160-4b, 171-3b
Design One 80-5c, 86-1 d, 91-5a,
127-1d, 169-5c, 171-2b, 177-5c
Device 92-4a, 95-2a, 95-4d, 95-5a,
95-5b, 96-3b, 97 -2a, 97 -2b, 97 -3c,
100-1c, 123-2b, 123-4b, 123-5c, 123-
5d, 131-3b, 131-3c, 131-4a, 134-3a,
147-2a, 154-2b, 158-4b, 163-1c, 163-
4b,179-1d
OK Design 82-1 a, 140-5d, 177 -4d
Dogstar 109-5d, 118-5c, 120-4b,
121-2b, 122-2a, 127-4b, 134-5d, 135-
1c, 136-3d, 139-1a, 139-1b, 142-1d,
142-4a, 142-4c, 142-5b, 142-5d, 143-
1c, 143-2a, 144-2d, 152-4c, 153-1c,
173-1b, 173-1d, 178-5b, 181-1b
Dotzero Design 73-3a, 79-1 b, 79-4d ,
79-5b,80-4b, 80-4c, 92-4c, 92-4d,
109-4c, 11 0-5a, 111-1 a, 113-5c, 126-
5a, 127-1a, 127-1b, 135-5d, 136-4a,
149-2a, 154-4d, 157-2d, 162-4b, 165-
3b, 165-4b, 172-4a, 176-5d, 179-5d
Eisenberg and Associates 71-5c,
77 -1 c, 78-5d, 86-3d, 100-4a, 138-3b,
142-2a, 147-4a, 157-2b, 172-3a
Elixir Design 78-2d, 107-5d, 149-5c,
151-2d
Enterprise IG 86-5c, 119-5a, 160-2b,
161-3b, 165-5a, 175-4a
Essex Two Inc. 85-5a, 89-2b, 112-
4b, 130-5d, 145-1 b, 17H d, 176-2b,
178-1 c
Evenson Design Group 79-1a, 81-
4c, 105-1c, 112-4d, 118-3c, 118-5d,
120-2d, 126-2b, 130-5a, 137-5c, 142-
4b, 143-5b, 149-5b, 153-2b, 154-2c,
165-4a, 168-1d, 168-4a, 181-5a
Felixsockwell.com 71-2c, 83-5a,
106-4d, 109-5c, 11 0-2a, 11 0-2c, 110-
2d, 118-4a, 118-5b, 119-3b, 123-5a,
124-3c, 124-3d, 124-4b, 124-5a, 125-
1c, 125-1 d, 125-2a, 125-3c, 125-3d,
125-4a, 125-4b, 125-4c, 125-4d, 126-
2a, 126-3c, 127-3c, 127-4a, 127-5d,
132-5a, 132-5b, 132-5c, 134-1d, 135-
2c, 138-1 c, 149-3b, 163-2b, 168-5a,
169-1b, 169-1d, 169-2a, 169-4a, 169-
4d, 170-3c, 173-2a, 173-4a, 175-2d,
180-5c
Flynn Design 16S-4c
Gardner Design 70-Sc, 72-4c, 74-3b,
7S-4c, 76-1d , 76-3c, 78-3b, 79-2c, 81-
1b, 83-Sd, 91-4d, 103-3a, 103-3d,
104-1c, 104-3a, 104-4b, 104-Sd, 106-
2c, 11 O-Sc, 112-1 a, 113-2d, 113-Sd,
116-3b, 116-3c, 116-4a, 116-Sa, 117-
Sa, 118-1 d, 118-2a, 118-3a, 118-4c,
119-1 a, 119-1 c, 119-2a, 119-3c, 12S-
3b, 12S-Sd, 126-3b, 126-3d, 127 -2d,
127 -Sa, 129-2a, 129-4a, 129-4c, 130-
2a, 131-1b, 131-4d, 131-Sc, 132-2d,
134-4a, 13S-1 b, 13S-3a, 13S-3d, 136-
4d, 137-2a, 137-3b, 139-2d, 139-3b,
139-3d, 139-4c, 139-4d, 139-Sb, 139-
Sc, 140-3d, 142-3b, 143-1b, 144-3a,
144-3c, 14S-Sa, 14S-Sb, 14S-Sc, 146-
1a, 146-1c, 147-1a, 147-Sb, 1S0-Sd,
1S2-3c, 1S6-3a, 1S6-Sb, 1S7-1b, 160-
3c, 160-Sc, 162-1c, 162-4c, 162-Sa,
164-3c, 16S-1a, 16S-1c, 167-1d, 168-
1c, 169-4b, 170-3d, 171-1 c, 171-4c,
173-2d, 173-3b, 173-4d, 17S-1d, 17S-
3b, 17S-4c, 177-1 b, 178-2d, 179-4b,
181-1 a
Grapefruit Design 73-4c, 73-Sd, 74-
4b, 80-3c, 109-Sb, 121-1 a, 126-2c,
1S9-2d, 160-2c, 161-2d, 16S-3a
Graves Fowler Associates 70-4b,
74-Sb, 1S4-1 d, 1S4-Sc, 171-2c, 171-
4d, 178-Sc
GTA - Gregory Thomas Associates
74-1 d, 80-Sa, 87 -2a, 100-3c, 126-1 a,
131-3a, 13S-Sa, 140-1b, 149-2b, 1S1-
3d, 177-4b
Hecht Design 82-2b, 82-3a, 89-Sd,
91-2a, 1S0-3a, 17S-2c
Henderson Tyner Art Company
77-Sd, 81-Sa, 114-Sc, 117-Sc, 119-1b,
121-Sb, 123-4c, 124-Sb, 126-1 d, 13S-
1d, 1S1-4a
Hess Design Works 83-4b, 16S-3c
Hornall Anderson 70-2c, 72-2c, 73-
4a, 74-2a, 7S-2d, 7S-3b, 78-1c, 79-1d,
80-1d, 81-3a, 81-3d,82-4a,88-Sc, 89-
3c, 89-4a, 89-4b,89-4c, 89-Sa, 89-Sc,
92-1c, 97-1b,97-Sa, 97-Sb, 97-Sc,
100-4d, 101-3a, 101-4a, 101-Sb, 104-
4a, 113-Sa, 114-2a, 117 -4d , 122-1 c,
126-4a, 131-1c, 132-2a, 134-3b, 137-
1d, 144-Sd, 14S-2d, 1S1-Sa, 1S2-1b,
1S3-2a, 1S3-4b, 1S8-2c, 1S8-3b, 160-
3a, 161-Sc, 162-3d, 167-2c, 167-3c,
170-4b, 170-4d, 172-3d, 173-4c, 176-
Sb, 177-Sd, 178-1d, 178-3c, 179-2d,
179-4d
Howalt Design Studio, Inc. 71-4b,
72-1a, 72-1b, 77-1a, 77-Sa, 78-2c, 78-
4b, 79-4a, 81-3b, 81-4b, 82-4d , 82-Sa,
83-2b,83-2d, 83-3a, 83-3b, 91-1a, 91-
4a,92-4b,9S-1d,96-1b, 99-3d,104-
1d, 104-3d, 104-Sb, 104-Sc, 1OS-1 d,
10S-2a, 10S-3b, 10S-3d, 106-3b, 106-
3c, 106-3d , 110-1 c, 11 0-4b, 11 O-Sd,
111-2c, 111-3a, 112-1 d, 112-3c, 113-
4d, 114-1c, 116-4d, 117-1c, 118-3b,
119-2b, 120-4d, 121-1b, 121-1c, 121-
1d, 121-2a, 121-2c, 121-2d, 121-3d,
121-4a, 121-4b, 121-4d, 122-2b, 124-
4a, 124-4c, 126-3a, 126-4b, 129-3d,
130-1 a, 130-2c, 131-3d, 132-Sd, 134-
3d, 137-1b, 140-3a, 142-3d, 142-Sc,
144-1c, 14S-4d, 146-1d, 146-2b, 1S0-
1b, 1S6-1d, 1S7-Sb, 1S9-1c, 1S9-1d,
163-1 d, 164-2b, 168-3a, 169-1 a, 169-
2c, 169-Sa, 170-1 d, 171-1 a, 171-2a,
172-3c, 173-1 a, 176-1 c, 176-Sc, 179-
3b, 180-1 c, 180-2b, 180-2c, 180-4a,
180-4c, 180-Sd
Hoyne Design 86-3a, 88-4d, 96-2a,
121-3b, 123-Sb, 167-3d, 168-4c, 177-
2d, 181-3b
Hutchinson Associates, Inc. 72-2d,
89-3b, 134-4d
Indicia Design, Inc. 118-2c, 1S8-Sa
James Lienhart Design 70-Sb, 71-
1d, 71-2d, 73-2b, 7S-Sd, 76-2c, 77-3a,
97-Sd, 99-4c, 109-2c, 111-4d, 114-2c,
122-4a, 122-Sd, 123-3a, 12S-Sc, 140-
4d, 146-4a, 149-4b, 1S4-3b, 1S7-3c,
160-1c, 163-4a, 163-4c, 163-Sc, 167-
4d, 171-Sa, 17S-3d
Jeff Fisher LogoMotives 91-Sb, 104-
4d, 121-Sc, 137-4b, 138-Sb, 14S-2c,
146-1b, 1S0-3b, 169-4c, 171-Sd
John Evans Design 74-2c, 79-3b,
139-2c, 147-3d, 1S0-3d, 163-3b
John Silver 7S-2a, 80-4d, 81-2c, 101-
Sa, 1S0-4c, 1S8-1d, 163-2a, 171-3c
Jon Flaming Design 71-1 b, 72-3c,
7S-2b,93-3a, 93-Sb, 110-1d, 112-2d,
113-2c, 116-2c, 116-Sd, 117-1 b, 117-
2a, 117-2c, 117-2d, 117-3a, 117-4b,
119-3d, 120-4a, 120-Sc, 122-3c, 124-
1a, 124-1 b, 124-1 c, 12S-1 a, 126-1 c,
129-4d, 136-Sd, 142-3c, 143-2d, 143-
4d, 14S-4c, 149-3a, 1SO-Sa, 1S1-1b,
1S6-4c, 167-1c, 167-2a, 17S-Sc, 176-
4c, 176-4d, 177-2b, 178-2b, 179-4c,
180-3d
Kellum McClain Inc. 7S-1 c, 83-2c,
8S-1d, 87-Sc, 112-Sc, 112-Sd, 127-3a,
1S4-4a, 163-2d, 181-3c
Ken Shafer Design 90-4b, 98-1 c, 98-
1d,98-4a,99-4a, 99-4d, 101-2a, 101-
Sd, 10S-2b, 107 -2a, 107 -2b , 107 -Sa,
114-Sb, 132-3a, 144-3d, 1S6-2a
Kiku Obata & Company 71-Sd,
76-Sb, 86-2a, 89-1c, 103-1c, 106-4b,
106-4c, 147-4c, 172-1c, 176-3d,
179-2b
Klauddesign 13S-4c, 140-1 a, 161-2b,
161-4c, 179-3d, 179-Sa
Kontrapunkt 74-3c, 100-2d, 131-Sa,
1S9-3a, 170-Sc, 170-Sd
Laura Manthey Design 87-Sb
Lexicon Graphix, Inc. 89-2c, 13S-4d,
173-1 c, 181-Sc
Lieber Cooper Associates 83-Sb,
90-4a, 92-1 a, 111-Sc, 1S8-1 c, 1S9-4b,
172-2a
Liska + Associates Communication
Design 74-3d , 74-4c, 7S-3a, 76-Sa,
77-Sb, 79-2a, 82-3b,86-3c, 88-1a, 91-
1d,91-2b, 91-Sd, 92-2d, 110-2b, 112-
1b, 122-1 d, 140-Sb, 1S0-2d, 1S8-4c,
163-3d, 16S-3d, 168-2c, 171-4a, 177-
1c, 178-1 b
Logoboom 86-Sa
Luce Beaulieu 88-1 d , 136-Sc
Made on Earth 110-Sb, 112-2a, 112-
2b, 112-2c, 112-3a, 112-3d, 116-1c,
116-Sb, 120-2a, 124-2a, 124-2b, 124-
2c, 124-2d, 124-3a, 124-3b, 129-2c,
129-3b, 130-1 b, 130-3b, 130-4b, 138-
3c, 139-Sa, 140-3c, 142-Sa, 143-3d,
144-1b, 144-2a, 146-Sb, 167-3a, 170-
1c, 170-Sa, 180-1a
Marcus Lee Design 116-2d, 116-4c,
134-2a, 137-Sb, 138-3a, 149-Sd, 1S1-
Sd,1S2-1d
MB Design 7S-4b, 76-1 b, 76-Sc, 77-
2d, 82-Sd, 8S-4d,88-2a, 117-2b, 1S2-
Sb, 1S7-Sa, 172-2d, 176-1b, 181-2d
McMillian Design 118-3d, 163-4d,
167-Sc, 177-1 a
MetaDesign 90-2d, 123-4d
Miaso Design 109-3b, 11 0-3d
Minale Tattersfield & Partners Ltd.
100-2b, 14S-3d
Mires 70-4d, 81-2b, 87-1d, 93-3d,
103-2c, 106-Sb, 106-Sd, 107-3b, 107-
3c, 111-4a, 111-Sb, 113-4a, 116-3a,
116-4b, 119-1 d, 122-4b, 122-Sc, 12S-
Sa, 126-Sd, 129-1d, 129-3a, 129-4b,
130-1d, 1S1-2a, 1S3-1b, 1S3-2c, 1S3-
4d, 1S3-Sb, 1S7 -4b, 1S8-2a, 1S8-Sb,
1S9-Sc, 164-2d, 16S-Sd, 176-3a
Miriello Grafico, Inc. 73-Sa, 82-2d,
113-3c, 121-3a, 136-1d, 149-1d, 149-
4c, 1S1-4b, 1S2-Sc, 161-1d
Mitre Design 70-3b, 100-2a, 112-1 c,
118-1 a, 118-4d, 120-2b, 139-1 c, 140-
2a, 160-1b, 160-Sb, 173-2c, 176-2c,
176-3c, 181-2b
Modern Dog Communications 71-
2b, 76-4a, 76-4b, 76-4c, 76-4d, 91-1 c,
9S-3a, 9S-3d, 112-Sa, 112-Sb, 136-4b,
1S2-3d, 1S6-4a, 164-Sb, 16S-4d, 170-
3a, 170-Sb, 173-4b, 179-2a
Mojo Unlimited, LLC 77-3c, 93-2a
Monigle Associates Inc. 81-3c,8S-
Sc, 87-3c, 118-Sa, 119-4a, 132-1c,
136-2c, 1S4-1c,1S6-1c, 1S9-2b, 160-
3d, 163-1b, 179-3a
Orange 32 87-1 a, 90-2a, 93-3b, 119-
4c, 1S0-2b, 179-4a
Pat Taylor Inc. 71-4c, 72-4b, 73-4b,
73-Sc, 76-Sd, 79-1 c, 8S-2d , 100-Sc,
112-4c, 113-4c, 114-1a, 126-2d, 127-
3d, 134-4c, 134-Sb, 137-2b, 143-1d,
1S1-3a, 1S2-Sa, 1S6-2d, 162-2a, 162-
2c, 17S-Sa, 178-2a
Phinney/Bischoff Design House
79-4c, 86-3b, 118-2b, 144-2b, 17S-3c
Planet Propaganda 70-1c, 70-1d,
70-4c, 71-3a, 71-3b, 72-1c, 73-3b, 7S-
4a, 77-3d, 78-3a, 78-3c, 96-1d, 96-Sb,
96-Sc, 96-Sd, 99-3b, 103-4b, 109-Sa,
111-4c, 143-4b, 1S6-3c, 1S8-4d, 1S9-
4c, 164-Sd
Plumbline Studios 86-2b, 87-1 b, 87-
3d, 87 -4b, 107 -Sb, 126-Sc, 1S0-4b,
1S8-Sc, 1S9-3b, 1S9-4a
Pogon 70-4a, 71-Sa, 78-1 a, 80-1 a,
88-4b, 91-Sc, 12S-2d, 13S-2d, 138-4c,
149-3c, 1S1-4d
Portal 7 Design 79-3d, 90-Sc
Prejean LoBue 70-3c, 71-5b, 72-4d ,
74-1 b, 76-3b, 77-1 b, 77 -4c, 91-3a,
109-3c, 119-5c, 121-3c, 123-2a, 126-
4c, 126-4d, 131-4c, 132-3c, 135-3b,
136-5a, 138-3d, 138-5d, 142-3a, 143-
3c, 146-2a, 146-5c, 147-2c, 150-3c,
151-5b, 152-3b, 152-5d, 159-4d, 163-
2c, 163-3a, 163-5b, 168-5d, 169-2d,
170-2c, 170-2d, 172-3b, 175-2b,
180-4b
Proart Graphics/Gabriel Kalach
85-2b, 89-3d , 151-2c, 158-3d, 160-4d,
167-2b, 167-3b, 167-5b, 168-1a
Pure Imagination Studios 170-4c,
177-2c
Randy Mosher Design 71-4a, 99-4b,
101-3b, 101-3c, 101-3d, 145-3c, 145-
4a,173-3d
Renegade Design 123-1 d
Richard Leland 96-3c, 159-2a
Richards Brock Miller Mitchell &
Associates 70-5a, 71-1 c, 72-3b, 73-
1c, 75-1 d, 80-5b, 81-1 c, 89-3a, 91-2c,
92-1d, 92-2a, 100-1d, 106-2d, 106-3a,
109-2d, 109-3d, 126-1b, 131-1d, 131-
5b, 132-4a, 138-2c, 143-4c, 144-5b,
144-5c, 145-3a, 146-3b, 146-5d, 153-
5d, 168-2d, 171-5b, 175-3a
Rickabaugh Graphics 70-2d, 73-3c,
78-1b, 95-3c, 105-3c, 105-4b, 105-4c,
105-4d, 105-5a, 105-5b, 105-5c, 105-
5d, 106-5c, 107-1a, 107-1b, 107-1d,
107-2c, 107-2d, 120-3d, 120-5d, 130-
1c, 134-2b, 143-3b, 145-1 c, 169-3a,
173-3c
Rodgers Townsend 87-1c, 107-4a,
107-4b, 107-4d, 129-2b
Roman Design 75-5c, 156-4b, 160-
3b,176-3b
S Design, Inc. 99-5d, 151-4c
Sabingrafik, Inc. 72-5a, 95-2b, 104-
2c, 104-5a, 106-1 d, 106-2b, 106-4a,
109-1 c, 111-5d, 112-3b, 119-4b, 121-
5a, 122-1a, 122-3b, 122-3d, 122-4d,
122-5a, 123-3b, 126-5b, 127 -4c, 127-
4d, 129-5b, 132-1b, 132-3b, 132-3d,
132-4b, 132-4c, 132-4d, 136-1a, 136-
1b, 136-1c, 137-3c, 137-5d, 138-2b,
138-4d, 138-5a, 140-2d, 144-3b, 144-
4a, 144-4d, 144-5a, 145-2a, 145-2b,
146-2d, 147-1c, 147-1d, 147-2b, 147-
3a, 147-3b, 147-4d, 147-5d, 149-4a,
152-2d, 152-4a, 153-4c, 156-3b, 156-
5c, 156-5d, 157-1c, 164-4c, 164-5c,
165-5b, 167-5d, 168-4b, 169-3c, 172-
2b, 172-2c, 175-5d, 176-1 d, 176-2a,
177-1d, 177-3a, 178-4b, 178-4d, 178-
5a, 178-5d, 180-1b, 180-2a, 180-2d,
181-2c, 181-3a, 181-3d, 181-4b, 181-
4c, 181-5b
Sackett Design 70-5d, 85-3a, 90-4d,
109-2b, 152-1c, 154-1b, 161-1a
Sandstrom Design 70-3a, 74-2d, 77-
4b,80-2c,80-3b,83-1d,85-1c, 85-2c,
91-2d, 93-1d,93-5a, 97-4c, 105-2d,
105-3a, 106-5a, 114-1 b, 124-1 d, 127-
5c, 129-1 c, 129-2d, 132-2b, 136-5b,
137-1c, 137-4d, 142-4d, 147-3c, 154-
5b,167-5a
Sanna Design Group, Inc. 73-5b,
120-1d, 143-5a, 159-3c
Saturn Flyer 76-2b, 170-2a
Sayles Graphic Design, Inc. 72-4a,
83-3c, 90-3c, 92-3c, 97 -4b, 100-5d,
103-2a, 103-3b, 103-3c, 103-4c, 103-
5b, 104-1a, 104-2a, 104-3b, 107-5c,
110-3b, 111-1b, 111-1d, 111-2a, 111-
3c, 120-4c, 121-4c, 122-3a, 134-2c,
139-3c, 140-1c, 142-2c, 146-4d, 146-
5a, 149-2c, 151-3c, 152-2a, 152-2c,
153-2d, 164-4a, 167-2d, 169-5d, 172-
1d, 176-1a, 178-3d, 180-3c
Sibley Peteet Design 74-5d,75-2c,
78-4a, 82-2a, 83-4c, 100-5a, 106-1c,
107-3a, 116-1d, 119-2c, 119-2d, 135-
2b, 138-2d, 143-2c, 146-4b, 150-2a,
151-1d, 151-5c, 152-1a, 152-4b, 153-
5c, 162-3b, 163-3c, 167 -4b, 167-4c,
171-1 b, 172-5a, 172-5b
Simon & Goetz Design 74-3a, 74-4a,
78-4c, 81-1d,82-1d,82-5c, 83-4a, 86-
2d, 100-1 a, 109-3a, 11 0-4a, 11 0-4d,
114-4b, 120-2c, 120-3b, 122-1 b, 130-
3a, 132-1a, 138-5c, 139-5d, 140-2b,
142-2d, 144-4c, 145-1d, 153-3a, 157-
4a, 159-1b, 161-4d, 165-2a, 172-5c,
178-3a
SPATCHURST 73-1 b, 80-2d , 113-2b,
125-2b, 130-4a, 136-3a, 161-1b
Spiral Design Studio 147-5a
Spot Color Inc. 77 -4a, 120-3c,
157 -4c
Start Design Ltd. 88-2c, 88-2d
Sterling Group 82-1 b, 90-1 d
Stone & Ward 72-2a, 86-4d
Studio Rayolux 124-4d
t.b.g. design 100-3b, 100-3d, 137-2c
Tharp Did It 80-2b, 137 -3a, 139-2a,
169-3d, 180-5b
Tim Frame 78-2b, 79-3c, 79-5d, 93-
4b, 93-5c, 103-4a, 104-2b, 105-4a,
116-3d, 129-5a, 130-4c, 156-3d, 165-
2d, 173-5a, 173-5b, 176-4a, 177 -4c,
181-1c
Treehouse Design 79-3a, 130-4d,
131-2c, 150-1d,153-1d
Trickett & Webb 72-3a, 89-2d, 89-4d,
90-3b, 97-4d, 161-4a, 169-3b, 172-4b
Triple 888 Studios 86-4a, 117-3d,
138-4a
Vanderbyl Design 107-3d, 119-5d,
120-1 a, 120-1 b, 120-1 c, 137 -2d, 143-
5c, 144-4b, 145-5d, 146-3a, 159-5a,
162-3c, 162-5c
Visible Ink Design 77-2a, 96-5a, 109-
1d, 123-2c, 132-1d, 168-5c, 178-4a
Wages Design 70-2a, 74-1c, 75-3c,
78-3d, 78-5c, 85-3d,87-3a, 89-5b,96-
4b, 96-4c, 101-4d, 113-3d, 113-5b,
124-5c, 124-5d, 125-2c, 131-2d, 140-
4b, 143-5d, 150-1 c, 158-2d, 158-3c,
162-4d, 164-1 a, 164-1 d, 171-4b, 178-
1a, 179-5c, 181-2a, 181-4d
Webster Design Associates Inc.
73-1 a, 78-5b, 116-2a, 116-2b, 122-5b,
136-4c, 149-1 c, 156-2b, 162-1 d,
162-4a
Willoughby Design Group 89-1 a, 90-
5b, 91-3b, 93-2b, 93-4d, 96-2b, 97 -2c,
104-3c, 104-4c, 113-1 b, 121-5d, 146-
3c, 150-1a, 151-2b, 172-5d, 173-5c
Woodhead International 117 -5b,
140-1 d
Zenarts Design Studio 86-4b, 143-
3a,178-3b
2b1a Bel Bare Cato Purnell Partners Design One
Germany Australia Australia United States
49.17.51.96.83.79 0413.459.610 61.3.9429.6577 828 .254.7898
www.belbare.com www.cato.com.au www.d1 inc.com
AdamsMorioka, Inc.
United States Beth Singer Design Chase Design Group Device
310.246.5758 United States United States United Kingdom
www.adamsmorioka.com www.bethsingerdesign.com 323.668.1055 44.20.7221.9580
www.margochase.com
Addis Bird Design DK Design
United States United States Chermayeff & Geismar, Inc. United States
510.704.7500 616.458.4844 United States 818 .763 .9448
www.addis.com www.birddesign.com 212.532.4499
Dogstar
www.cgnyc.com
After Hours Creative Blue Beetle Design United States
United States Singapore Cincodemayo 205.591.2275
602.275.5200 65.323.3282 Mexico
Dotzero Design
www.bluebeetledesign .com 8183425242
Angryporcupine United States
www.cincodemayo.com.mx
United States Boelts/Stratford Associates 503.892.9262
408.873.9021 United States Corporate Image www.dotzerodesign.com
www.angryporcupine.com 520.792.1026 Consultants, Inc.
Eisenberg and Associates
www.boelts-stratford.com United States
Art Chantry United States
813.963.6729
United States BrandEquity 214.528.5990
www.cibydesign .com
314.773.9421 United States www.eisenberg-inc.com
617.969.3150.x232 CRE8 Communications, Inc.
Artimana Elixir Design
www.brandequity.com United States
Spain United States
612.227.0908
34932075356 Braue; Branding & 415.834.0300
www.e-cre8.com
www.artinet.net Corporate Design www.elixirdesign .com
Germany Cronan Group
Artomat Design Enterprise IG
0471.983.82.0 United States
United States United States
www.braue.info 510.923.9755
206 .623.9294 415.391.9070
www.cronan.com
www.artomatdesign.com Brian Sooy & Co. www.enterpriseig.com
United States Dan Stiles Design
Associated Advertising Essex Two Inc.
440.322.5142 United States
Agency, Inc. United States
www.briansooyco.com 415.720.3262
United States 773.489.1400
www.danstiles.com
www.associatedadv.com Bright Strategic Design www.sx2.com
United States Dennis Purcell Design
Balance Evenson Design Group
310.305.2565 United States
United States United States
www.brightdesign.com 310 .301 .0106
830.990.2888 310 .204.1995
www.dennispurcelldesign.com
www.studiobalance.com Bumba Design
Felixsockwell.com
United States Design and Image
BBK Studio United States
818.761 .1353 United States
United States 212.579.5617
303 .292 .3455
616.459.4444 Buz Design Group www.felixsockwell.com
www.d-and-Lcom
www.bbkstudio.com United States
Flynn Design
310.202.0140 Design Machine
Be Design United States
www.buzdesign.com United States
United States 601.969.6448
212.982.4289
415.451.3530
www.designmachine.net
www.beplanet.com
 Gardner Design Indicia Design, Inc. Lexicon Graphix, Inc. Minale Tattersfield
United States United States United States & Partners Ltd.
316.691 .8808 913.269.5801 315.423.0510 United Kingdom
www.gardnerdesign.com www.indiciadesign.com www.lexicongraphix.com 44.0.20.8948.7999
www.mintat.co.uk
Grapefruit Design James Lienhart Design Lieber Cooper Associates
Romania United States United States Mires
240.32.233068 312.738.2200 312.527.0800 United States
www.grapefruitdesign.com www.lienhartdesign .com www.liebercooper.com 619.234.6631
www.miresbrands.com
Graves Fowler Associates Jeff Fisher LogoMotives Liska + Associates
United States United States Communication Design Miriello Grafico, Inc.
301 .816.0097 503.283 .8673 United States United States
www.gravesfowler.com www.jfisherlogomotives.com 312 .644.4400 619.234.1124
www.liska.com www.miriellografico.com
GTA - Gregory Thomas John Evans Design
Associates United States Logoboom Mitre Design
United States 214 .954.1044 United States United States
310.315.2192 323.650.6513 336.722.3635
John Silver
www.gtabrands.com www.logoboom.com www.mitredesign.com
United States
Hecht Design 425.379 .8284 Luce Beaulieu Modern Dog Communications
United States www.johnsilveronline.com Canada United States
781.643.1988 514.849.9075 206.789.7667
Jon Flaming Design
www.hechtdesign.com www.moderndog.com
United States Made on Earth
Henderson Tyner 214.987 .6500 United States Mojo Unlimited, LLC
Art Company 818.761.4545 United States
Kellum McClain Inc.
United States www.madeonearthstore.com www.mojounlimited.com
United States
336.748.1364
212.979.2661 Marcus Lee Design Monigle Associates Inc.
www.hendersonbromstead.com
www.kellummcclain.com Australia United States
Hess Design Works 61.03.9429.3100 303.388.9358
Ken Shafer Design
United States www.marcusleedesign.com.au www.monigle.com
United States
914 .232.5870
206.223.7337 MB Design Orange 32
www.hessdesignworks.com
www.kenshaferdesign .com United States United States
Hornall Anderson 360.733.1692 631.864.0082
Kiku Obata & Company
United States www.mb-design.com www.orange32.com
United States
206.467.5800
314.361 .3110 McMillian Design Pat Taylor Inc.
www.hadw.com
www.kikuobata.com United States United States
Howalt Design Studio, Inc. 212.665.0043 202.338.0962
Klauddesign
United States www.mcmilliandesign.com
United States Phinney/Bischoff Design House
480.558.0390
415.781 .6021 MetaDesign United States
www.howaltdesign.com
www.klaud.com United States 206.322.3484
Hoyne Design www.metadesign.com www.pbdh.com
Kontrapunkt
Australia
Denmark Miaso Design Planet Propaganda
61 .3.9537.1822
45.33.93.18.83 United States United States
www.hoyne.com.au
www.kontrapunkt.dk 773.862.5822 608.256.0000
Hutchinson Associates, Inc. www.miasodesign .com www.planetpropaganda.com
Laura Manthey Design
United States
United States
312.455 .9191

-
~
Plumb line Studios Roman Design Spiral Design Studio Vanderbyl Design
United States United States United States United States
www.plumbline.com 303.526.5740 518.432.7976 415 .543.8447
www.spiraldesign .com www.vanderbyldesign.com
Pogon S Design, Inc.
Yugoslavia United States Spot Color Inc. Visible Ink Design
381.11 .626.039 www.sdesigninc.com United States Australia
703.378.9655 61.3.9510.7455
Portal 7 Design Sabingrafik, Inc.
www.spotcolor.com www.visibleink.com.au
United States United States
212 .254.4236 760.431.0439 Start Design Ltd. Wages Design
England United States
Prejean LoBue Sackett Design
020.7269.0101 404.876.0874
United States United States
www.startdesign.com www.wagesdesign.com
337.593.9051 415 .929.4800
www.prejeanlobue.com www.sackettdesign.com Sterling Group Webster Design Associates Inc.
United States United States
Proart Graphics/Gabriel Kalach Sandstrom Design
www.sterlingbrands.com 402.551.0503
United States United States
www.websterdesign.com
305.532.2336 503.248.9466 Stone & Ward
www.sandstromdesign .com United States Willoughby Design Group
Pure Imagination Studios
501.375.3003 United States
United States Sanna Design Group, Inc.
www.stoneward.com 816.561.4189
630.933.8167 United States
www.willoughbydesign.com
www.pureimagination.com 516.719.6235 Studio Rayolux
www.4sdg.com United States Woodhead International
Randy Mosher Design
206.286.9963 Australia
United States Saturn Flyer
www.rayolux.com 61.8.8223.5013
773.973.0240 United States
www.woodhead.com.au
www.randymosherdesign.com 571 .212.0338 t.b.g. design
www.saturnflyer.com United States Zenarts Design Studio
Renegade Design
770.474.6600 United States
United States Sayles Graphic Design, Inc.
www.tbgdesign.com 703 .757 .9551
330.899.0649 United States
www.tangled-web.com
515.279.2922 Tharp Did It
Richard Leland
www.saylesdesign.com United States
United States
408.354.6726
443.604.3420 Sibley Peteet Design
www.tharpdidit.com
www.leland.nu United States
512.473.2333 Tim Frame
Richards Brock Miller
www.spdaustin.com United States
Mitchell & Associates
614.598.0113
United States Simon & Goetz Design
214.987.6500 Germany Treehouse Design
www.rbmm.com 49.69.96.88 .55.0 United States
www.simongoetz.de 310.204.2409
Rickabaugh Graphics
United States SPATCHURST Trickett & Webb
614.337.2229 Australia United Kingdom
61.2.9360.6755 44.0.20.7388.5832
Rodgers Townsend
www.spatchurst.com .au
United States Triple 888 Studios
314.436.9960 Australia
www.rodgerstownsend .com 61.2.9891.2888
www.triple888.com .au
Bill Gardner is president of Gardner Design and has produced work Cathy Fishel is a freelance writer and editor who specializes in graphic
for Learjet, Thermos, Nissan, Pepsi, Pizza Hut, Kroger, Hallmark, Cargill design. She is the author of many books on the subject; contributes to
Corporation, and the 2004 Athens Olympics. His work has been featured many magazines, including PRINT and Communication Arts; and is editor
in Communication Arts, Print, Graphis , New York Art Directors Annual, Step of LogoLounge.com.
Inside Design , Mead Top 60 , the Museum of Modern Art, and
many other national and international design exhibitions. He lives in
Wichita, Kansas.