LOGO & IDENTITY

A brief look into the effectiveness of utilising a logo in creating a graphic identity

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Contents
Rebecca Lim, Basic.................................. p. 2 Bruce Mau Design, OCAD University...... p. 4 Franco Grignani? Woolmark.................... p. 6 Alan Fletcher, V&A................................. p. 8 Pentagram, Fashion Law Institute...........p. 10

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Rebecca Lim, Wellington Basic
Rebecca Lim of Wellington, New Zealand designed the branding for Basic, a company that produces high quality artists journals. The branding and logo are entirely based on simplicity. Lim describes it as portraying 'the Basic brand values of simplicity, honesty and quality.' The idea of the cut out logo is to reveal the quality stock that the book is made of. This is an interesting application of a brand logo in extending the identity of a brand and communicating more about the brand, which builds on the identity.

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Bruce Mau Design, Toronto OCAD University
This is some branding and identity for the Toronto based arts institute OCAD. It has recently gained university status and along with this has come a brand and identity update courtesy of Bruce Mau Design - also based in Toronto. This logo is particularly interesting as it works integrally with the identity, helping to form it. The logo is interactive. This is fantastically appropriate for a university of the arts. It communicates a lot about what the identity is about. Certainly a successful application of logo to develop identity.

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Franco Grignani? Milan? Woolmark
Woolmark hold the rights to what is possibly one of the worlds most famous logos. And possibly one of the most credible. Creative Review have recently declared it their favourite logo of all time. A bold, yet significant claim from one of the most reputable design magazines. Although it holds high ranks in popularity and respect in the design world, no one really knows who designed it. The suspect is Franco Grignani, a noted Italian pop artist in the 60s. It is thought that he may have designed the logo under the pseudonym of Francesco Saroglia entering a competition set by Woolmark to design their logo. To this day, nobody knows. And with the passing of Grignani in 1999, we may never know. However, the logo will always remain - its mystery attached. Pictured are variations of the logo that are used on garments that contain certain amounts of wool. Its a lovely extension of the logo that builds on the brand nicely.

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Alan Fletcher, London V&A
This is without a doubt one of my favourite logos. I like to think that it influences me in my practice in the fact that I have to work monstrously hard to reach the standard on graphic design at which this was produced at. After all, Alan Fletcher was a bit good at graphic design. Although he's now sadly gone, his name will live on through this beautiful logo. What's more is the way in which it is applied and interpreted in building identity for V&A exhibitions. On the opposite page are just two lovely examples of how this logo is cleverly instilled into a creative and appropriate context for the circumstance of use. The V&A brand is maintanined whilst a unique identity for the respective exhibition is created. Identity mastery.

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Pentagram, London Fashion Law Institute
There is a reason why Pentagram are one of the largest and most respected design agencies in the world. It's because they have the capabilities to produce fiercly clever design such as this. It's a classic logo that looks easy but the concept is precicely what makes it. It just so happens that a cotton reel and a needle make a gavel when placed together. How convenient. It represents the Fashion Law Institute perferctly. On top of this conceptual wizardry, it's nice to see an interesting application and adaptation of the logo. A much more artistic interpretation of a logo than the previous examples but it nevertheless communicates and extends the brand controlling the viewer's perception of the institution.

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'A symbol is understood when we conceive the idea it presents.' Susanne Langer