Wednesday, August 5, 2015

Success Tips from Master Graphic Designer

Success Tips from Master Graphic Designer


  • Never work alone. It’s essential to be in some sort of collaboration or partnership with someone. Cultivating a creative environment is essential.
  • Become facile with technology and don’t make that a secondary thing. When you’re young and you’re a student you can learn fast, so get as much under your belt as possible.
  • Be honest, generous, loyal, curious, organized, inclusive, accessible, confident, humble, dedicated, brave, well informed and nice.
Early Beginnings:
I studied at Cooper Union in the early 1970’s, with the intention of studying fine art, although by then Cooper had been known as a school that fostered the talents of graphic designers like Milton Glaser, Herb Lubalin, Lou Dorfsman and Seymour Chwast. During my 4 years at Cooper, the graphic design department was somewhat diminished and marginalized.
During my last year of school I took a few design courses with two prestigious visiting instructors, Herb Lubalin and Seymour Chwast. But, for the most part, my formal graphic design training at Cooper was superficial at best.
It was not until the early 80’s that the department was re-establishing itself. Rudy DeHarak and George Sadek were responsible for fortifying the department.
As a young art school graduate in the 70’s the opportunity to learn on the job was easier. There were fewer graphic designers in general and certainly far fewer graphic design graduates. Expectations, competition and technology were all completely different. The global economy didn’t exist as it does today and graphic design was not as visible a profession as it is today.
I wasn’t a genius or a prodigy going in.  I was just a determined, curious, hard worker who paid attention and asked questions. I was lucky enough to get my first big break at CBS Television because Lou Dorfsman was a loyal Cooper alumnus and he gave me a chance.
I was naïve and ill equipped, but eager. On my first day Lou handed me a yellow ledger pad filled with sketches (drawn in red pen) for logos for the newly established Museum of Broadcasting. He stuck me in the corner of an empty workspace and told me to “work them up.” I was damn lucky to be within a few yards of a freelance designer/letterer who clearly felt sorry for me and happened to be the nicest, most generous guy in the world. He taught me how to hold and “master” the ruling pen. He taught me how to white things out, lig type (create ligatures) and draw curves and straights.  He taught me how to scratch and cut and ink.
It took about two weeks, working day and night, to finish the 25 logotypes. I tentatively walked into Lou’s office at the end of this grueling week and handed him a stack of logos. He said, “OK, good work, now come with me.”
Lou escorted me to the 27th floor.  Elevator doors opened and there emerged a huge and impressive art department that I had no idea even existed because I had been sequestered on the floor below for days with no human contact other than my “guardian angel of hand lettering.” From that moment and for the next year or so I worked in the bullpen “designing“ TV Guide ads. Lou was a fanatic about rags and kerning and he oversaw every detail of everything that left the department, large or small. It is there that I learned about typography.
I begged for better projects, little projects here and there that allowed me to flex my design skills. I was very lucky. The people that worked there were amazing. They were all dyed-in-the-wool designers and production people who were very generous to me and let me look over their shoulders.  I learned on-the-job from the best in the business.
Moving On In Her Career:
Once I was settled at CBS, I was able see what else was happening in the building.  I always really wanted to design record covers, and discovered that there was an entire other department, a music-packaging department, on a lower floor that was run by creative director, John Berg and senior art directors, Paula Scher and Henrietta Condak.
I worked in the music advertising department (just down the hall) first. Coincidentally, that was Paula’s first job before she became art director in the packaging department.  I didn’t know Paula at the time. We have a funny history together where I always had her early jobs; CBS Advertising, Atlantic Records, Time, Inc. Custom Publishing…. pure happenstance. We are dear friends now and share a great deal of history, baggage and lore/gossip!
I was fortunate enough to work with photographers like Duane Michaels, Richard Avedon and Art Kane, a priceless learning experience.  But, I became bored with art direction fairly quickly. I lost patience with the hours sitting around photo shoots feeling useless once I gave direction. I discovered I was much more interested in the craft of design and wanted make things rather than direct.
I was more interested in typography and form. With advertising it was more about the picture than it was about the type.
Before my time at CBS Records, I spent a year at Atlantic Records designing covers. I returned to CBS where I worked for the brilliant Henrietta Condak, designing classical albums, under her direction, for the CBS Masterworks label. Henrietta was a mentor to all of us in the department.
I really cut my teeth on record packaging with Henrietta.  I was lucky enough to be able to straddle that job with projects from Paula’s department where I could design pop and jazz covers.
Starting Her Studio:
It wasn’t long before I realized that I didn’t want to work for a corporation. Working at CBS Records was both utopian and dysfunctional. Creatively, it was really an amazing place and unquestionably THE place to be at that time.
But, it was the late 70’s and the tenor of the industry (and the times in general) was one of excess and, well, “sex, drugs and rock and roll.” I got impatient with most of that and left to work at Mademoiselle magazine during its heyday (when Alexander Lieberman was still editorial director at Condé Nast). It was a wonderful collaborative experience. Paula Greif, our creative director, gave us all a great amount of freedom and inspiration.  Roughly a year or so later I left to start my own studio.
Getting New Business:
As an independent designer I continued to do record covers. Warner Bros. called me to design Madonna’s first album cover, and I also had a fruitful working relationship with the J. Geils Band at the time. Shortly thereafter, I designed much of Nonesuch Records’ roster of releases.
I wasn’t making a killing, but had enough contacts to continue doing record covers on a regular basis. However, (the natural segue into) book jackets really became the lion’s share of my business for many years to come.
I managed to maintain a thriving business primarily consisting of book jacket design, with other things here and there. I didn’t have to reach out beyond that because I had so much work to keep me going non-stop.  I’ve done hundreds and hundreds of covers over the years enabling me to build a solid body of work.
New Business Development Today:
For all those years, I relied on the consistency of the publishing industry, and I didn’t really have to cultivate strong relationships within the business sector.  In most ways, it was fortuitous because it really allowed me to focus on the work. Most of the art directors that hired then me were very supportive of my work and enabled me to experiment and try new things. Book jacket design was not as “sexy” or as visible then as it has become. Art directors at that time had more control. There were fewer, if any,MARKETING meetings or other sorts of group decision making that often dilute the creative process. It was an easier, more rewarding time to be designing covers.
Art directors came to me for my style and my thinking and that made it possible for my practice to be more about the work and less about cultivating business relationships. To some degree I’m probably paying for that now. Cultivating relationships in the business sector is a totally different endeavor and takes a very different kind of attention and energy. But, I have few regrets. The trajectory of my career has allowed me to learn and to produce work within an environment that made me pretty happy.
Favorite Accomplishments:
Overall, I’m very thankful and proud that I’ve hung in this long.  (Laughter.) I’m very proud of the work that I’ve done. However, I can’t say I get pleasure (in, fact, its painful) from revisiting my work. Once it’s done, its done. I only look forward to the next project.
I also had a baby in the interim.  I ran a business that was demanding. I had at least 45 or 50 books that I was designing with one assistant during a six-week deadline 3 or 4 times yearly.  The demand to read reams of pages of manuscripts, to consistently come up with inventive solutions and then to run home everyday and be a mother (and a nice attentive wife) was a nearly impossible challenge. The “nice wife” part was definitely lost in the battle on occasion.
I’ve also taught design for 25 years and I’ve gained the respect of my peers in the interim. I take that quite seriously.
So all in all, I’ve done OK but I am very hungry for the experience of making new work and I’m anything but finished or satisfied with my accomplishments.
I’m now moving into a new phase. At my age, I’ve got a lot wisdom to share and apply, most of it pretty good, and I have decent reputation. But I am always aware that I have to be willing to re-invent. The business has changed, there’s no question about it, and I need to understand how I fit into the scheme of things.
Toughest Challenge:
Like any living, breathing person you get through stuff. Whether it’s losing someone close to you,FINANCIALwoes… you get through it.
I certainly won’t use these pages to list personal tragedies or specific challenges, but I will say that I am a very lucky person. I have a very supportive family and equally supportive friends and colleagues. And so far, I have my health and a few active brain cells left to work with. Plus, I’m a big advocate for therapy, marriage counseling, ice cream and mind-numbing TV.
Tips for People Just Starting out:
Never work alone. It’s essential to be in some sort of collaboration or partnership with someone. It’s really stifling and lonely to think that you can sit in your pajamas at home and work efficiently and fluidly. Design is inherently collaborative.
Also, although I wouldn’t have said this a long time ago, it’s important to become facile with technology (or have a staff with current and confident skills). When you’re young and you’re a student you can learn fast, so try to get as much under your belt as possible. The computer became a new and essential tool in the middle of my career. It was a difficult transition. It changed my work in ways I am thankful for, but sometimes I admit I am nostalgic for the times when I had control over my medium.  I often feel less empowered because of my lack of computer prowess. My assistants help me through this with great skill and enthusiasm.
About Carin Goldberg, Principal, Carin Goldberg Design:
Carin was born in New York City and studied at the Cooper Union School of Art. She began her career as a staff designer at CBS Television, CBS Records and Atlantic Records before establishing her own firm, Carin Goldberg Design, in 1982.
Over the following two decades Carin designed hundreds of book jackets for all the major American publishing houses, including Simon & Schuster, Random House, Alfred A. Knopf, Farrar Straus & Giroux, Harper Collins, Doubleday and Hyperion, and dozens of album covers for record labels such as Warner Bros., Motown, Nonesuch, Interscope and EMI. The breadth of her work covers artists as diverse as Kurt Vonnegut and Susan Sontag, Dvorák and Madonna. Her book jacket for the 1986 reissue of James Joyce’s “Ulysses” has become an icon of postmodern design.
In recent years her image making has expanded to publication design and brand consulting for clients including The Gap, Sterling Brands and Martha Stewart Living Omnimedia. From 2002 to 2004 she was Creative Director at Time Inc. Custom Publishing, where she designed and consulted on numerous publications for several clients such as the New YorkSTOCK Exchange, Microsoft, Citigroup and Gallup.
She has taught typography and design at the School of Visual Arts for 25 years. Carin was the president of AIGA/NY from 2006-2008 and is a member of Alliance Graphique International. Carin was most recently awarded the first Art Director’s Club, Grand Masters Award for Excellence in Education.

24 Things to Consider When Designing and Developing a Website

24 Things to Consider When Designing and Developing a Website

From functionality and appearance to navigation and coding integrity, a lot goes into creating an eye-catching, user-friendly website. It doesn’t end there, either. Web developers and designers must work together to produce websites that will be located by search engines, engage customers, and stimulate conversions. Whew! That’s a lot of pressure. Fortunately, the following 24 tips will guide you through the process of creating a unique user experience that inspires viewers to become loyal brand advocates. 
1. Choosing a Domain and Host
Great domain names (take a look at Google and Yahoo, for two) say so much while saying so little. In addition to being memorable, a domain name needs to accurately reflect your brand’s voice and be nearly impossible to misspell. Finding the right name for your brand is crucial, because incorporating a combination of SEO, simple spelling, and brand identity into the domain name leads to a higher chance of being located in search engine results. Simply put, businesses that are easily accessed online get more customers.
When comparing hosting packages, it’s vital to consider the nature of your website and business. Will the website be media-rich, with loads of pictures, videos, and presentations? Do you have technical support in-house, or do you need reliable, responsive support from your hosting provider? Also think about the amount of traffic your website will receive. Does the hosting company offer scalable solutions? What backup, security, and additional features are offered? Don’t forget to research reviews about the company’s performance on social media and third party websites before making a final decision.
2. Backend Services (CMS “Content Management System” / Software)
It’s impossible to develop a great website without a functional program taking care of the backend. If you think of your website as a car, you can understand why. When friends see your shiny new sports car, they look at the sleek paint job, glistening tires, and luxurious leather seating. In the world of websites, this equates to the part of your site a user experiences directly. Just like the powerful engine in your sports car, the backend of your website is where the magicreally happens. Without strong backend services, your website won’t be able to “wow” your guests. Similarly, a sports car without an engine is rendered useless. One of the best “engines” for ecommerce sites is Magento, whileWordPress is a customizable CMS ideal for informational sites. 
3. Clean Design
One of the most important things to remember during the process of website development is to create a clean, appealing design. A quality design is attractive and easy to read with intuitive navigation. Most importantly, a clean design helps viewers focus on the value of your brand and content instead of distracting graphics and large amounts of text. Often, customers associate website designs with the quality of a particular company or product. Hence, a clean design is vital to providing a positive user experience that encourages customers to return.
4. Effective Color Scheme
Color schemes are more important than customers realize. Different colors have the ability to evoke emotional responses, such as calm, happiness, or frustration. When it comes to using colors in your website design, it’s essential to consider your company’s niche, target audience, branding, and the elements of color theory. What colors will your target audience respond to? If your color scheme is similar to your logo and branding, is it overwhelming or pleasing to look at? Are you trying to convey your brand’s voice with a bright and spunky orange or a professional, calming blue? Regardless of your choice, spending the time to research the best color options will give your visitors a good impression.
5. Branding
Branding is important to all businesses, both large and small. The design and placement of your brand’s logo contributes to a viewer’s overall opinion. Professionally designed logos successfully catch the customer’s eye and provide a clear picture of the brand’s unique voice. Choose a location on your site that is readily visible to visitors, such as the upper left corner, since this is where the eye naturally begins to scan a website. To further solidify your brand’s identity, consider using the same logo on packaging, print advertising, and branded apparel. When a business is consistent with branding, it provides customers with an integrated and memorable brand experience.
6. Functionality
When thinking about functionality, there are a few matters to consider. Namely, is the website functional in the literal sense? Are there loading issues or broken links? Are the site’s security features adequate for your business’s needs? In addition to these operational issues, it’s crucial to view your website’s features from the user’s perspective. Are the contact forms, surveys, and customer feedback sections of your site working properly? One or all of these functional issues can prompt a customer to leave your site. 
7. Navigation
If a website is confusing and difficult to navigate, your customers may leave and never return. To increase the efficiency and appeal of your site’s navigation, conduct an in-depth site review as if you are a new visitor. Note the navigation streams that make sense and those that do not. One way to improve a visitor’s ability to navigate your site easily (and help search engines crawl your site) is to add a site map. Furthermore, streamlining navigation by eliminating unnecessary or underperforming pages may decrease load time while improving the quality of your brand’s online presence.
8. Usability
Websites that are easy to use are more likely to garner customer interest and encourage business. Usability can be increased by displaying product and service information in a clear, concise manner. Make sure your website has all the features a customer would need for the site to be easily accessible. If a viewer is reading your blog and wants to subscribe to an email newsletter, do they have to hunt for the opt-in form? Is your contact information clearly displayed? Does the layout of your website encourage social sharing and further interaction with your brand? These key elements are essential to review when optimizing the usability of your site. 
9. Call to Action
Placing calls to action on your website encourages customers to contact your business. A friendly suggestion, such as “Contact us today!” demonstrates that your business wants to develop a relationship with its customers. It’s important that calls to action are appropriate for a visitor’s level of engagement with your company. If they’re just discovering your brand, invite them to subscribe to your email newsletter. If they’re already a loyal customer, perhaps they’ll enjoy participating in your brand’s loyalty rewards program. Regardless of what you’re asking visitors to do at your site, always include a call to action at least once on each page.
10. Short Loading Times
When looking for information online, nothing aggravates visitors more than slow loading times. Customers can be turned away completely due to this issue. Testing your website ahead of time will help you pinpoint any loading time issues, and these can be fixed before your site’s official release. To increase customer retention and provide a positive user experience, periodically evaluate your website’s loading time once it has launched. Short load times give customers the information they want when they want it. If your site can’t deliver, a competitor’s site will.
11. Active Blog
An on-site blog helps keep customers informed about the latest products, company events, and industry-related information. Featuring a blog on your website is a great way to connect with them, especially if your posts encourage readers to interact with your brand. Keeping your blog regularly updated informs customers of your brand’s values and desire to promote communication. By regularly providing readers with fresh, helpful, engaging content, your brand becomes a trusted resource and an industry authority.
12. Clean, SEO-Friendly Code
Whether you’re developing new webpages or optimizing existing ones, it’s critical to have clean, SEO-friendly code. By taking the time to improve your site’s code, you can increase the overall return onINVESTMENT. SEO-friendly code acts as a guide for search engine spiders by providing a clear picture of your site’s content. Certain CMS services, such as WordPress, provide plug-ins designed to simplify the process of cleaning up code and increasing search engine rankings. Since it requires little coding knowledge (if any), WordPress is a great resource for companies struggling to drive traffic to their websites.
13. Compatibility with Multiple Browsers
As technology progresses, the number of internet browsers is steadily growing. From Internet Explorer and Chrome to Firefox and Safari, it can be frustrating to keep up with them all. When creating a website, it’s vital to ensure that your website is reachable from multiple browsers. Specifically, your site should load properly on all major browsers – including older versions. Failing to take this step may exclude a large section of your customer base, which can be a costly consequence for a growing business.
14. Mobile Sites vs. Responsive Sites
Statistics indicate that the use of mobile devices to conduct online searches has increased significantly in the past two years. In fact, approximately 95% of mobile device users count on their devices to search for local products and services. To effectively reach this growing population of mobile users, businesses need to be sure that their websites are available from any device. For a large company with an existing web presence, it makes sense to develop a separate, mobile-friendly website designed to perform well on any device. On the other hand, a business planning the launch of a website would be better served by choosing a responsive design capable of adapting to any device.
15. Integration with Social Media
Integration with social media is no longer a novelty – it’s a requirement. As technology makes information sharing more convenient, businesses lacking social media integration fail to take advantage of what has been likened to modern day word-of-mouth advertising. Social media provides a venue in which customers can promote your brand, provide reviews, and stay in-the-know about your company’s latest news. Written and visual content, including product images and branded video, are easily distributed on platforms like Facebook, Twitter, Pinterest, and LinkedIn with the addition of social sharing buttons on your website.
16. Captcha Tests
Spam, spam, and more spam. That’s what some businesses receive in their comment sections, contact forms, and site forums that don’t have captcha tests in place. These tests (you’ll recognize them as the random letters and numbers typed before submitting a web-based form) differentiate humans from robots. Adding these short tests to your contact forms will ensure that only humans are able to use your site’s resources – saving your business time andMONEY.
17. Effective Security
With the evolution of technology, newer and more advanced security risks threaten to compromise your website’s integrity. From malware and viruses to malicious apps and the threat of hackers, websites must prevent security breaches on both the front ends and back ends. Websites built to conduct online transactions, such as ecommerce sites, need additional security measures to protect customer information. To reduce the potential for browser-based threats, businesses must add SSL certificates to their websites. During development, it’s critical to review the security features included in your site’s framework and design. Businesses also need to conduct regular security checks or work with a provider who offers this service.
18. Offsite Reviews 
Due to Google’s search algorithm changes, greater priority has been placed on local searches. Review services, such asGoogle and Yelp, can be instrumental in generating qualified leads for businesses. Now, when customers search for a local business or product, they’re often greeted with reviews about a company on the first page of search engine results. Obtaining reviews on third party websites adds to your brand’s credibility, while making it simple for viewers to gain insight into customer satisfaction associated with your brand. To guarantee customers are able to leave reviews about your company, make sure to claim your business profile on third party review sites like Google and Yelp. You can than create a call to action on your website that will prompt a client to write a review and lead them to that particular third party review service.
Google offers a great way to connect your Google+ business page reviews with your website. As long as you have an address for your business that qualifies and a Google+ account, you can search for your business page and if one doesn’t exist already you can create one. Once Google verifies that you’re the owner you will see your Google+ business page linked to your website whenever it appears in the SERP’s.
19. Customer Testimonials
Similar to offsite reviews, customer testimonials can be used to promote your business. By featuring customer testimonials on your site, you demonstrate your company’s skills, products, and commitment to customers. If you already have a loyal customer base, reach out to a few and solicit online reviews. If they’re willing to provide a recorded testimonial, take advantage of this opportunity to create a branded video. The more genuine, detailed testimonials your company receives, the greater your chances of gaining new customers.
20. Google+ Author Verification
Though Google stopped accepting page verification requests (not to be confused with Google+ business page verification, which is still active), it remains essential to complete Google+ author verification for your site. Linking site content to specific authors using Google+ profiles allows the search engine to easily distinguish between content created by a human and content of a lesser quality. Completing the Google+ author verification steps also ensures that the author’s byline and photo appear in SERPs. When looking for relevant content, customers greeted with the promise of information provided by a real person are more likely to click on the link. As a bonus, claiming your brand’s byline in SERPs makes it easier for customers and peers to connect with it.
21. Tracking
Between Google AnalyticsGoogle Webmaster Tools and bing Webmaster Tools, web developers have the mechanisms necessary to accurately and efficiently calculate return on investment. For both traditional and mobile websites, these instruments can be used together to monitor traffic, engagement, and conversion rates. After digging deep into the data, it’s possible to uncover which marketing campaigns work best and which are underperforming. These valuable insights into why customers come to, stay on, and leave your website help your team perfect marketing strategies and adjust engagement techniques to maximize results. Since your branded online presence acts as a 24/7 storefront, it’s essential to simplify the outcomes measurement process by usingGOOGLE ANALYTICSalong with Google and bing’s Webmaster Tools.  
22. Comprehensive Sitemap
When you sit down to read a book, what’s the most helpful section to review first? Typically, it’s the table of contents. Acting as a summary of the book’s details, the table of contents provides a snapshot of material found within. Similarly, a sitemap provides visitors and search engines with the information to easily navigate your website and discover its contents. To keep your site up to date, it’s necessary to revise the site map as new pages are added. Google Webmaster Tools simplifies this process for you.
23. Original Content
When designing a website, it is crucial to write high quality, original content that is relevant to your company and products. Everything from the quality of your content to the keywords used affects your site’s ranking in search engine results. Keyword research can provide topic ideas and, if used sparingly, will help customers quickly locate the content they’re seeking. To increase the appeal, each web page should have no less than 150 words and should include links to credible resources and other pages on your website. More than providing information, the content published on your site should be written to echo your brand’s unique voice. Before publishing, use a tool like Copyscape to ensure that it passes duplication standards. Posting duplicate content on your website will result in steep penalties from Google, including possible removal from search engine results.
24.STOCK Images
Everything found on your website is considered intellectual property and falls under copyright laws. As one of the world’s leading suppliers of stock photos, Getty Images regulates the appropriate use of images online. If not posted with permission, images that are copyrighted may result in fines. When incorporating images into your site’s content, make sure to receive written permission for use and pay relevant fees, if applicable. There are also sites that offer access to copyright-free images. However, be sure to carefully review terms of use before posting them. For many businesses, the costs associated with the lawful use of images outweigh the immediate benefit of “getting something for nothing.”
Given these 24 aspects of website development and design, it’s clear that there are many factors to consider when creating a branded website. In addition to increasing traffic and generating leads, your site’s design, navigation, and content must engage customers and inspire further interaction with your brand. As you build a website, review the tools and information outlined in this guide to ensure that your site has the tools required to succeed.

Monday, August 3, 2015

An interview with Tom Geismar

AN INTERVIEW WITH TOM GEISMAR

Having created iconic logos for Mobil Oil, New York University, Chase Bank, National Geographic, and many more, Tom Geismar is one of the most highly acclaimed designers in the profession. He graciously agreed to answer your questions here on Logo Design Love.
Tom Geismar
Xerox logo
Xerox Corporation logo, 1963, by Tom Geismar
Has your approach to design changed over the years, and if so, how, and why?
I know it’s something of a cliché to say this, but we really do view graphic design, and especially logo design, as a problem solving process, a process not dissimilar to that used in other related disciplines such as architecture and engineering. The initial task is to understand and define what the issues are, and what the goals should be. With that background in mind, we strive to come up with the best possible design “solution” to the problem, using imagination and artistic invention to create something memorable and meaningful. In that sense, our approach has not changed at all. The way we went about designing logos for Armani Exchange and the Library of Congress in 2008 is essentially the same as the way we went about designing logos for Chase and Mobil in the 1960’s.
Do you think design has been overcomplicated with marketing analysis? Do we think “too much”? Have we essentially lost sight of simplicity?
The issue isn’t whether “we think too much”, it’s whether we accept marketing analysis as the last word, or simply as one piece of the larger puzzle, and recognize that it only reflects what has been, not what could be. From a logo design viewpoint, an entity with a clear definition of its goals and aspirations makes the job a lot easier.
How large a role does sketching on paper play in your design process?
For me, sketching on paper still plays a key role in my design, mainly because I find at the beginning of the design phase it is a much faster way to try out ideas, and variations on ideas. Sketching also allows me to indicate certain forms, especially curves, that I find difficult and cumbersome with the computer. And sketching allows me to suggest an idea or concept, while drawing with the computer leads very quickly to a sharply defined object. Of course, once an idea is more fully developed, the computer is a great way to study variations in color, form, etc.
National Geographic logo
National Geographic logo, 2002
When creating a logo, what influences your decision to use a wordmark vs letterform vs emblem vs pictorial vs abstract symbol?
The decision on how to approach a logo design is very much determined by how we define the issues involved, including the name, the type of organization, how the name will be used, etc. For example, if you have a client with a short, distinctive name, perhaps a wordmark would be the best approach. In 2005 we took this approach with Hearst Corporation, which had a number of operating divisions that all used the Hearst name followed by a descriptive word, such as Hearst Magazines. So we developed a distinctive bold wordmark for Hearst, and a contrasting type style for the generic descriptors that followed.
Hearst logo
Hearst Corporation logo, 2005
Hearst logo
Can you share some advice or great stories on selling ideas to clients?
Logos are funny things. At first they are just designs on paper. Eventually they come to embody all the qualities of the organization they represent, and most people cannot separate the “design” from their full range of opinions about the organization. The hard task the designer faces is trying to help the client see how the logo might eventually be perceived, how it will work for them, not just whether they “like it”. We learned this lesson early on when we first presented the Chase symbol to the chief executives of the bank. The man who was then Chairman said he would go along the decision of the others, but personally he hated it and did not want to see it on his letterhead his business card, or anywhere in his office. Six months later we ran into him at the bank. He was wearing a pin with the symbol in his lapel, and a tie-tack with the symbol holding a tie that was itself a pattern of the symbol. To him, the mark was no longer just an abstract design, it had become the representation of his organization.
Chase bank logo
Chase Bank logo, 1961
Chase bank logo
You have completed work for Mobil and PBS, two companies on opposite sides of the political spectrum. Is it a designer’s responsibility to consider the companies for which he works and their effect on society? How do you reconcile working with a company that you disagree with philosophically or ethically?
You have to work for people whom you respect. Over the years we have refused to work on various projects because we would feel uncomfortable doing so. But the issue is a complex one. For example, on the surface, perhaps Mobil and PBS might seem to be on opposite sides of the political spectrum, but during the many years we worked for Mobil (before the takeover by EXXON), it was the most progressive of the major oil companies, explicitly stating their positions, championing good design, doing impressive public-interest advertising and being, in fact, one of the major benefactors of PBS, along with numerous cultural and art institutions. In short, we respected Mobil and its people, even if we didn’t always agree with their positions.
Mobil Oil logo
Mobil Oil Corporation logo, 1964
Mobil Oil logo
PBS logo
PBS (Public Broadcasting Service) logo, 1984
Do you work for non-profit as well as profit-making organizations, and, if so, how do they differ?
Yes, in fact many of our recent clients are non-profit or governmental organizations. It’s easy to agree with their positions, but working with them is not very different from working with a profit-making organization.
Univision logo
Univision logo, 1989
Have you designed a particular logo that didn’t make the final cut or that you thought was stronger than what the client ultimately chose?
This has happened to us on various occasions. We do our best to convince our clients to go with the mark we feel is the strongest, but for a variety of reasons that’s not always how the project ends up. On the other hand, while we study a great many alternatives, we try never to present to our clients any designs that we cannot stand behind.
National Aquarium logo
National Aquarium in Baltimore logo, 1980
New York University logo
New York University logo, 1965
After a lifetime of working in the field, would you choose to be a designer in the present landscape of communication design?
I feel fortunate to have spent my entire working life as a graphic designer, and being part of a small organization where I could interact with talented partners. As an independent designer, whether on your own or part of a firm, one is exposed to many different people involved in a wide range of activities. If curious, you can learn a great deal. Today the field is much broader than it was when we started, and it’s more competitive. Yet the opportunities are great for someone who is curious about the world, interested in defining and solving problems, and passionate about design.
Ivan Chermayeff, Tom Geismar, Sagi Haviv
From left to right: Ivan Chermayeff, Tom Geismar, and Sagi Haviv
Thanks very much, Tom. Thanks to those who submitted questions, too. You posed a lot more than what’s shown, but alas, Tom’s a busy man, and we could only have so much of his time.

Creative Logo Design