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catharine fishel

bill gardner

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2,000 International Identities by Leading Designers

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Catharine Fishel and Bill Gardner

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 2009, 2011 by Bill Gardner

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
contents of this publication . Every effort has been made to ensure that credits accurately comply
with information supplied. We apologize for any inaccuracies that may have occurred and will
resolve inaccurate or missing information in a subsequent reprinting of the book.

First published in the United States of America by

Rockport Publishers, a member of
Quayside Publishing Group
100 Cummings Center
Suite 406-L
Beverly, Massachusetts 01915-6101
Telephone: (978) 282-9590
Fax: (978) 283-2742
www.rockpub.com
Digital edition: 978-1-61673-622-4
Softcover edition: 978-1-59253-527-9
Library of Congress Cataloging-in-Publication data

Fishel, Catharine M.
LogoLounge 5 : 2,000 international identities by leading designers /
Catharine Fishel and Bill Gardner.
p. cm.
Includes index.
ISBN-13: 978-1-59253-527-9
ISBN-10: 1-59253-527-5
1. Logos (Symbols) - Catalogs. 2. Corporate image - Catalogs. 3.
Designers- Directories. I. Gardner, Bill. II. Title. III. Title: Logo lounge five.
NC1 002 .L63F57 2009
741 .6-dc22
2009001505

ISBN-13: 978-1-59253-527-9
ISBN-10: 1-59253-527-5

10987654321

Design: Gardner Design

Layout & Production: tabula rasa graphic design
Production Coordinator: Lauren Kaiser/Gardner Design
Cover Image: Gardner Design

Printed in Singapore

contents

Introduction 6
Jurors 8

Portraits

Collections

Lippincott 14

Initials 70

Felix Sockwell 20

Typography 85

Fragile 26

Enclosures 92

Cato Purnell Partners 32

Display Type 96

Chermayeff & Geismar 38

Calligraphy 1 00

Mattson Creative 44

Crests 103

Moving Brands 50

Sports 108

Origin Communications 58

Heads 110

Hulsbosch 62

People 115
Mythology 1 24

Sketches
Interbrand 84
Design Ranch 91
Studio Cuculic 102
Sf1Jren Severin 1 07
Von Glitschka 114
V-Design 127
Gardner Design 135
Roy Smith 143
Duffy & Partners 151
Landor Associates 162

Birds 128
Fish, Bugs, Reptiles 132
Animals 136
Nature 144
Shapes 152
Symbols 163
Arts 168
Miscellaneous 171
Food 174
Structures 177
Transportation 180

KittenChops 167
C2 173

Index 182
Directory 186
About the Authors 192

introduction

While at a recent conference in Moscow, I was drawn into a private

visual identity of telecommunication giant Swisscom. Read the

conversation with an amazing brain trust of the world's top-tier

story icons created for a Croatian Fairy Tale Festival, or flip for-

brand strategists. It was a group dominated by planners and

ward to a new identity for the world's largest library, the Library

implementers, but shy on designers. With no clients within ear-

of Congress.

shot, discussion centered on the inability of customers to maintain brand focus over the long term. Plans and strategies shift,
brand managers move, ownership and products change-all make
building consistency as easy as pushing a rope. "Where is the
constant?" one professional asked.

Crossing broad cultures, the logos in this book were selected

from more than 33,000 submissions from designers in over 100
countries around the world. An international panel of eight brand
experts meticulously scrutinized and ranked these submissions to
sift down to this amazing collection. Each winning logo was cat-

Corporations go through the same changes that occur in countries

egorized in this book to create a logical and seamless resource.

around the world. Occasionally, there's a new leader with new

policies, or political parties change, or new laws are created. But
unless there's a full-scale revolution, the flag of the country pretty
much stays the same. The constant is the logo.

Your ability to efficiently sort through thousands of logos is a

hallmark of www.LogoLounge.com. The site contains more than
100,000 logos to date, contributed by thousands of international
members. These members represent the brightest designers from

Logo designers are the flag designers of the corporate world.

the largest of top-tier firms to the smallest shops in nearly every

When a brand stands ready to send a message to its public, you

country on Earth.

can be assured that it will be delivered with the corporate colors

flying overhead.

It's never been easier for clients and designers to make connections than through this book or through LogoLounge.com. The site

Welcome to a book full of some pretty amazing flags. The design-

allows any member to quickly search an immense database for

ers who created the 2,000 logos in this book have a good grip

reference, inspiration, or contacts. Finding relevant content is as

on the process of boiling a concept down to its essence. They

easy as entering a simple keyword, industry, style, client, designer,

have created logos that brand loyalists and converts alike feel

design firm, date range, or other term.

good about saluting. And as diverse as the content is, each mark
speaks to its population because the designer is able to evoke
an emotion or establish a mood without being overt or trite. The
designer understands how to create an eloquent visual voice that
is singular to the client.

New features make visual searching even quicker and more intuitive, and lightboxes allow the user to easily sort and organize
content for convenient access. Every membership also allows the
user to upload his or her own work to be considered for inclusion
in the next volume of the LogoLounge book series.

Every branding or rebranding project has its own unique story that
can only be comprehended by pulling back the sanitary public
curtain and peering into the process. Journey here into the stories
behind the story with case studies of the world's largest retailer,
Walmart, or Australia's largest grocer, Woolworths. Explore development of the icon language for Apple's iPhone and the moving

Sample a bit of the site for free by logging into www.logolounge.

com/bookS, where you can search through the logos from this
book using the same tools our full members use to peruse the
world's largest searchable collection of logos. Learn more about
the 2,000 flags that are flying higher than any other today.
- Bill Gardner

Jurors
Alex de Janosi
Lippincott, New York, New York
Gartenwelt Manz, by Kommunication & Design
"This is not an easy task to review [all of the LogoLounge
submissions}: After all, there are only so many Michael
Schwab rip-offs one can handle! I much admire the
symbol for the nursery Gartenwelt Manz. Even though
we can find similar mosaics in modern art and, of

GARTENWELT

course, the Altria logo is akin, this mark is quite appro-

mAnz

priate, unique, and memorable for a garden nursery. I

like it for a number of reasons:
It does not rely on the overused leaf, vine, or tree
symbol found in 99.9 percent of other nursery logos.
The color palette used in the symbol is beautiful.
The visual system extension or graphic language you
can extract from the symbol for boxes, pots, planters,
and advertisements would be wonderful.
A successful garden conveys a rich variety and hierarchy of colors and shades, patterns, and textures. This
logo represents just that in a thoughtful, elegant, and
unique way. "

programs for U.S. and international organizations, from

Rio to Riyadh, and places in between.
De Janosi has been responsible for designing logos
and overseeing print, Web, and environmental design
development and management for a wide range of
clients.
His work has been featured in leading design publications and books on corporate identity. De Janosi holds
a B.F.A. in graphic design from the Philadelphia College
of Art (University of the Arts).

Alex de Janosi is a design partner with more than 15

years' experience developing major corporate identity

Vince Frost
Frost Design, Sydney, Australia
San Antonio Zoo, by Bradford Lawton Design Group
"My selection really doesn't need an explanation as it's
an effortless typographic illustration that makes you
smile. It's

a clever observation which turns two simple

numbers and two basic colors into a distant relative."

M;

the new logo for Mushroom Records; a new identity

and campaigns for Sydney Dance Company; the advertising campaign for Australia's Northern Territory; the
redesign of Australian Creative magazine; the design
of French cookbook for Penguin; and environmental
graphics and identities for Manta and Coast restaurants. He is a member of CSD, D&AD, ISTD, AGDA,

Design, a 30-person studio based in Sydney, Austra-

and AGI. Frost plays an active role in the world design

lia, offering a diverse mix of talents-from graphic and

community, lecturing at colleges and conferences.

and brand strategists who work on a wide range of

projects, including magazine and book design to corporate identity, environmental graphics, and interactive design, Frost's approach is all about coming up
with exceptional ideas, based on listening carefully
to the needs of each client and then coming up with
a bespoke solution-making each project the very best
it can be.

LogoLounge 5

House; broadcast and identity design for Channel

Vince Frost is principal and creative director of Frost

multimedia designers to architects, interior designers,

Frost has led the rebranding of the Sydney Opera

Andreas Karl
Karl Design-Marken fUr Morgen,
Vienna, Austria

two other animals in this logo, the picture sticks in our

memory forever.

Yellowstone Holiday, by Scott Sorenson of Axiom

arts in Wuerzburg, Germany. A freelance illustrator for

Collaborative

publishers and children's books in his first working

"After viewing more than 6,000 logo designs, I finally

years, Karl became more and more focused on logo

ended up with 250 very good ones. And this logo is the

design. From 1991, he worked as an art director and

favorite of my favorites. At the first glimpse you might

later creative director doing branding , packaging, and

say: 'Okay . .. a moose. ' But look longer! A little bit

corporate design for many angencies, and in 2001,

closer! Now you see it too. Why have I chosen it for

he founded his own studio in Frankfurt named Karl

my judge's choice? I generally like clever logos with

Design - Marken FOr Morgen (now of Austria).

Andreas Karl has studied visual communication and

animals, but this wasn't the point here. This design is a

good example of a piece of work you cannot generate
on a computer in a few minutes. You have to concentrate on every single detail. Each component must be
adjusted by hand and compared in size and position
until the result has the right proportions to form the
horns of a moose. I would be proud if I had created this
moose myself. A brilliant idea and a perfect illustra-

tion: You must not change a single line. This logo was
done by an artist who sees nature in a different way.
The quality of this mark is its hidden mystery, the things
you don 't see. For us viewers it is like falling in love at
the second sight. But once we have discovered the

Jamie Koval
VSA Partners, Chicago, Illinois
Sink, by Zoe Design Associates
"When evaluating an identity, I try to look at it purely
from a conceptual and visual perspective. That said, it
is often difficult to avoid imagining what the personality
of the company is, how the identity looks in application,
or how their products are designed, and what messaging runs parallel with this symbol. All that aside, Sink is

Jamie Koval joined VSA Partners as a creative director

and partner in 1990. In 2002, he was named president
of the firm and helped redefine the firm's integrated
approach to communication. Koval's success is
marked by his ability to combine creative and strategic
thinking as well as bring clarity to multifaceted programs that include corporate communications, brand
identity, advertising, marketing communications, and
interactive.

my choice. It was a solution that had a well-executed

Koval has worked on projects for Adidas, BP, Cingular,

idea. I appreciate the simplicity and boldness. I like the

The Coca-Cola Company, and Gap, to name a few. He

modern/retro, industrial/playful quality of this identity. "

has contributed and led creative workshops for brands

such as Starbucks and Leo Burnett and has designed
a stamp for the U.S. Postal Service.
His talent for design has been recognized nationally and internationally, and his work is part of the
permanent collection in the Library of Congress in
Washington, D.C.

Sarah Moffat
Turner Duckworth, San Francisco, California
Minus Mineral Water, by Scott Stemke of La Visual

"Many of the entries seemed over-complicated and

over-embellished, but Minus keeps things simple. This
logo rose to the top demonstrating the adage that less
is indeed more. "
Sarah Moffat was raised and educated in England
and graduated from Kingston University with a design

direction, and all strategic and design output from

honors degree in 1998. Moffat's creative talent has

the San Francisco studio, from award-winning work

been acknowledged by multiple industry and peer

for entrepreneurial clients such as Click Wine Group

awards for client projects such as Waitrose, Super-

(Root: 1, Bootleg, and Fat bastard) to cultural influencer

drug, Cadbury Schweppes, Homebase, Virgin Atlantic,

brands such as Coca-Cola (Coke Zero, Coca-Cola, and

Coca-Cola, and The Royal Mail. After working for eight

Diet Coke visual identity systems).

years in Turner Duckworth's London studio, she moved

across the Atlantic to become the San Francisco studio's design director. She is responsible for creative

Bronwen Rautenbach
The Brand Union, Johannesburg,
South Africa
Gift of Love, by Pictogram Studio
"This piece of work, done for a gift shop, has an honesty
and immediacy that I found refreshing. It explains the
act of giving so well. The crafting and characterization
has a rawness to it which contributes to its power. I
believe a good logo captures the spirit of a brand. This
is not just a gift shop: It is a place that has insight into
our human condition. I guess at the end of it, after all
the thousands of logos I looked at, this is the one that
moved me most and for that reason it gets my vote. "
Bronwen Rautenbach is an identity, visual language,
and art direction specialist, with a love for design in
the broadest sense of the word. She has a particular
obsession with logos.

~ LogoLounge 5

Rautenbach began her career in 2000 with a brief flirtation in corporate design at Graphicor, a company
specializing in annual reports and editorial. She then
joined the Switch group in 2001 , where she spent three
years. She joined the Brand Union in 2004 as a senior
designer, was promoted to design director in 2006, and
to creative director in 2007.

Michelle Sonderegger
Design Ranch, Kansas City, Missouri

the company. "

Water Wise, by Chad Worth

Michelle Sonderegger is a founding partner of Design

"This logo is a unique play on form and typography.

Ranch , one of the top graphic design firms in the Mid-

Mirroring the water droplet is reflective of a lightbulb,

west. Her work specializes in innovative, strategic, and

which says 'think.' It visually reinforces the concept of

visual communication solutions for clients ranging from

water conservation. The typography used to create the

start-ups to Fortune 500 corporations such as Buckle,

face is lighthearted and brings a human element to the

Dell, H&R Block, Hallmark, Payless ShoeSource, Lee

design, which is also important to the concept. The

Jeans, and Target.

well because it clearly communicates the message of

use of lowercase typography and soft edges is friendly

and approachable. The simplicity of the mark works

Design Ranch has been featured in several national

and international publications such as Novum, Com-

munication Arts, Graphis, and Print. The firm has

received awards from respected institutions such as the
American Advertising Federation, American Institute of
Graphic Arts, and Type Directors Club.
In 2005, Design Ranch launched a product line featuring three exclusive brands: Design Ranchables,
Meangirl, and Pantease. The products include T-shirts,
underwear, notecards, and giftables. Characterized
by visual impact and humor, the products have been
featured on Target's Red Hot Shop and highlighted in

Teen Vogue.

Von Glitschka
Glitschka Studios, Portland, Oregon
Human rights protest, by Andreas Karl
"Normally, politically motivated design doesn't do much

Von Glitschka has worked in the communication arts

industry for more than 20 years. He now refers to
himself as an illustrative designer. In 2002, he started
Glitschka Studios, a multidisciplinary creative firm.

for me. But when I saw this mark in response to the

His work reflects the symbiotic relationship between

2008 Olympics, I thought it was high-concept brilliance.

design and illustration, thus his modus operandi is that

Profoundly simple in its execution, but simply profound

of a hired gun for both in-house art departments and

in its message. Not an easy thing to do. "

medium to large creative agencies working on projects for such clients as Microsoft, Adobe, Pepsi, Rock
and Roll Hall of Fame, Major League Baseball, Hasbro,
Bandai Toys, John Wayne Foundation, Merck, Allstate
Insurance, Disney, Lifetime Television and HGTV.
He also teaches advanced digital illustration at Chemeketa Community College and operates the website
IliustrationClass.com where visitors can download
tutorials documenting his illustrative design process
on a variety of diverse project types.

Design Firm
Client
Pro ject

I liPPincott

IWalmart
ICorporate Identity Redesign

When most large companies get a new logo or rebrand , it's primarily a
matter of interest for their own staff, and secondarily, for their customers.
On the third tier, perhaps, is the design press and the design community.
But usually, it isn't national or international news.
Word of Walmart's rebranding sparked an entirely different reaction. Its
new logo-called the "spark" -was an overnight sensation. The Internet,

Walmart ~:~

national news services, newspapers, and magazines covered the new

mark. Everyone, it seemed, was wondering: Where would Wal-Mart-now
Walmart-go next?

WAL*MART

Now the company wanted to move more

toward the benefit it gave customers-the
emotional benefit

Top: Walmart's new identity contains a new word mark-minus

the hyphen-and a new logo, called "the spark." Lippincott was
the design office that worked with Walmart for nearly two years to
develop the new identity, brand pOSitioning, and the store environment that supports both.

As the leading retail chain in the United States, Walmart is bound to make
waves when it makes such a major decision. But the exceptional public
and press reaction had less to do with the news of the redesign than it did
with how it affected people personally. Some were unsure; others were

Above: Walmart's old logo was familiar to shoppers, but it did not
have the friendly, customer-service-centered feel that its manage-

intrigued. And that's exactly the connection Walmart hoped to convey

ment wanted to communicate. The old star symbol also was not

through the new identity: Affect people in a personal, one-on-one way. As

particularly ownable. In fact, many other retail stores use stars in

its new motto proclaims, "Saving people money so they can live better."

their identities.

"The key aspect of Walmart was stated in its previous motto: 'Always low
prices . Always.' Their purpose has always been to save people money.
But now the company wanted to move more toward the benefit it gave

L._

customers-the emotional benefit," says Su Mathews, senior partner with

Lippincott, the design office who worked with Walmart for nearly two years
to develop the new identity, brand positioning , and the store environment

19605 -

that supports both.

When the chain was founded in 1962, Walmart was a five-and-dime store
serving rural areas. It offered the least expensive goods. Today, with almost
7,400 stores in the United States and abroad , it has enormous buying clout
and a solid understanding of its current and soon-to-be customers. It offers
everything from car repair, jewelry, and groceries to gasoline, goldfish, and
electronics. A customer can run in for a pack of gum or an enormous flat-

screen TV and be relatively certain that the price will be the best around.
If customers save money, and their shopping experience is clean, simple,

A limited edition, hardcover brand book explains the history and

and quick, the company reasons, their lives will be made easier. Saving

evolution of the company, again using the new identity in its design.

LogoLounge 5

The spark, a symbol of inspiration, can be used in this half

form to communicate a good
idea or a moment of happiness
or satisfaction.

"

WilllTlilrt

money at Walmart allows people to afford more and spend elsewhere in

Initially, Walmart looked to Lippincott for help in assessing the goals of the

their lives.

brand to determine if a logo update might better support its objectives. But

Today, Walmart continues to look for ways to offer customers a more

complete shopping experience. One example is its expansion into financial
services, by providing money centers for customers to perform transac-

as the client and design team continued to work together, it became clear
that the emotional quotient could be significantly improved with a clean
break to something new.

tions such as check cashing . Another area is pharmacy, which offers the

The team determined that Walmart's core personality traits were caring,

best prices and saves shoppers a trip to the drugstore. Walmart also offers

real , innovative, and straightforward. This pointed toward a new identity

a "site-to-store" program to enable customers to shop online for a broad

that was more human and warm , one that showed how everyone who

assortment of items and have these shipped directly to their local store for

worked and shopped at the store was treated with respect. The new iden-

pick-up-free of shipping charges.

tity needed to convey service through the provision of quality products in

All of this growth had moved Walmart past its previous hyphenated, low-

a clean , simple manner.

emotion identity with embedded star, which had been developed in 1992.

The Lippincott team considered a wide range of ideas. Some were outside

The company needed a more proprietary, less U.S.-centric mark that spoke

of the client's initial comfort range, while others were very close to the

more about the innovation and greater benefit it was now able to offer not

1992 mark. In developing the design, the team reviewed a wide range of

just to customers, but also to its employees and the communities it served

concepts. As Walmart competes with a broad set of retailers, the design-

at home and abroad .

ers needed to consider word mark options used classically in home and

"The star in the old logo is a very generic symbol," explains Mathews. "It
does have a sense of patriotism, but it's not really ownable. Other stores
use a star in their identities, so it just wasn't that unique. It also wasn 't a
symbol that could be used separately, away from the word mark, and still
be recognizable as Walmart. "

apparel , and iconic symbols used more commonly by supermarkets, for

example. Some exploratory directions emphasized a sense of community, to reflect that Walmart is a place where people come together for
a variety of needs. Other exploratory directions more heavily spoke to
Walmart's sustainability efforts. Some playful and fun design directions

It became clear that the emotional quotient could be significantly improved with a clean break to
something new.

The new Walmart website contains a branding section that

Walmart ..:'

Our brand

Our look

explains, through its own graphic, the freshness and flexibility of

the new system,

In l\eeptng Willi 011 updated brand alJPlOKh. we've created

a comp'''''' S'I d d<'<f!1'I gwd!!llN'''ltw?", guldi>lI"'" An>
Intended to ensure consistency ClVel Just about l!IIery
Inst.ll1Ce 0( customer contact.
By building a deeper
and more ..mOIIONI connecllon 10 our cuslomer It's
subtle. Y':l SO tangible when executed properly

communicated the "low cost" message in a more lighthearted way, with

imagery inspired by price tags.
In the end, the team rejected several directions as being too literal or singularly focused. As the retailer continues to evolve, it needs an identity that
can similarly "stretch." It would have mass appeal, but not fade quickly or
become commonplace. In its simplicity, it would communicate in a straightforward and direct manner-almost as a pictogram does. They decided on
the spark.
The spark concept at first was a bit more challenging for the client, but
one that had an aspirational quality that everyone liked. Different shapes
and designs for the spark were considered-using different numbers of
spokes and various colors, for instance-but the very simple design that
was eventually chosen felt human, warm, and very to-the-point. It speaks

Our look

Walmart

Walmart was founcJed on one Simple Idea:

save people money so they can live better.
Ho
By delivering on il promise of unbeiltabll'
prices on great products and leading brands with
qulck-and-easy, one-stop shopping.

it

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benefit for people when they feel smart about what they buy. The spark
is like the lightbulb going off over your head. It's like a spark of empowerment and of living better," Mathews says. "It is visualizing the thought that
'I would be crazy to go somewhere else and spend more.'"

people. Some see it as a burst of energy, or as a sun, flower, or firework.

c.vcompiN'lY" NIIOtt

Owf

"The spark is really about the idea of being smart. There is a great emotional

The new symbol has also turned out to mean different things to different

Who we.,.,

of inspiration and of good ideas.

... ."""tIt

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~ ft~~

Others see it as a W over an M. It might also be seen as the spark of inspiration customers feel when they leave the store, or the spark of inspiration
and innovation that helps the company and employees find new ways to
save people money, or even the spark of inspiration that moved founder
Sam Walton to open his first store .
"Different people see different things in the symbol, and this enables the
spark to communicate across a wide spectrum of categories, from tires to
apparel, and from home goods to fresh food, " she adds.

Walmart

Our brand

Our look

The new logo is more flexible than the old star. For instance, it can be used
as a half-spark above a person's head in a photo or above a product in an
ad to signal a good idea. If placed before a word or phrase, it introduces a
smart concept. Placed after, it is a sort of punctuation that lends emphasis.

L"'*"'V ... <he

In animation, it can burst out, like a good idea.

_1ogo?You'Ye
GOfMto.,.. .......

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"The animation did need to support the idea that it was a spark and not a

~
to_l*"'Y

flower or something else, " Mathews says .

'W_SlyIe'

The other components of the identity system support the spark and the

pi_r",

.,eryt:hIno bland

:Jo~on ln

wo,. fIId yot,.

--And .......

client's messaging. In addition to the half-spark, "talk boxes" (which are

~:-.~::-

like word bubbles, but square) are used to call out smart messages or

bItck ofton we've

display quotes.
Walmart's new photography scheme is very warm and human. The brand
guidelines say the photography must support the key messages; be of high
quality; reflect a positive emotional benefit; and support the key personality
traits of the Walmart brand.

LogoLounge 5

The system's logotype and other copy is set in Myriad Pro. It, too, feels
warm and humanistic, with friendly curves in its letterforms. It also has a
modern sensibility. Because of its simple nature, it suggests easy shop-

Matthew Larsen
Sr. Manage r,
Advertising & Brand Strategy

ping and low price.

702 <,oll lhwt'S1 8th ~t

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T 47,!]1)4.&!364 M 479.3fh641)4
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"We use a bold, a light, and a book," Mathews explains. "The light is used

mat: .kirsen@'Wal mart.com

for apparel or items for the home, more fashion-forward products. Book
and bold are used for the basics. The cut of the book and bold weights

Other pieces in the new

work well for body copy and signage or store navigation."

Walmart identity system.

Finally, the new Walmart identity system is built around three blues: The
medium and light blue are brighter and friendlier than those used in the preThe company's new color
scheme is built around three

vious identity. The deepest blue is a clear, strong tone. In addition to being
the mainstay color of the old identity, blue is most people's favorite color,
says Mathews. It is also perceived as familiar, loyal, and trustworthy.

blues: The medium and light

blue are brighter and friendlier
than those used in the previous identity. The deepest blue
is a clear, strong tone. The

The system also includes a bright orange-red, a grass green, and a darker
green. Yellow in retail use is emblematic of low cost, so the Lippincott
designers selected a richer yellow to balance the ideas of low cost and
quality. All of these colors work well in the food, grocery, meat, and bakery
areas. It is a fresh palette, with plenty of vibrancy. The overall effect, espe-

system also includes a bright

cially inside the stores, is much warmer than the old blue-an-blue, under-

orange-red, a grass green, and

fluorescent-lights system .

a darker green.

The old word mark, previously set in all caps, was strident and heavy. To
produce a more welcoming look, the client's name is now set in caps and
lowercase. Changing the name to one word was a simple way to make
the name more a crest of quality, not a contrived word. It also helps aid
perception: It is easier and quicker to read as one word.
One curious aspect to the final design of the logo and word mark together is
that it is actually being used in smaller sizes on signage than the old combo.
With the new spark, signage just does not need to be as large.
"They don 't have to scream with the logo anymore, because now they have
the symbol. People now can read the identity by its unique shape, which
includes the spark. It is a new way of looking at Walmart," Mathews says.

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Design Firm
Client
Project

IFelix Sockwell
INew York Times
IIdentity icons for iPhone users

For all its bells and whistles and oohs and aahs, the iPhone has the same
screen as most other phones-smallish, with limited resolution-only 163
ppi. With that in mind , it's easy to understand the challenge a designer would
face in designing a set of 30 icons that would somehow communicate the
contents of the New York Times to iPhone users through the tiny screen.
Such GUI projects are more and more common these days: Each presents
special challenges. Designer Felix Sockwell is a master of the reduction
necessary to cull art to its most basic form while blessing it with the personality of the project and client at hand . His collection of thirty, 29 x 29-pixel
icons deliver just the facts , yet behave in the elegant yet lively manner of
the "Old Gray Lady," the Times.
It was an interesting project, said Sockwell. Working with the Times' Web
wizard Khoi Vinh and design director Caryn Tutine, he produced many trials

I hod to think about each icon for a long time

trying to find the most obvious solution.

for each section, trying to make each communication as simple and direct
as possible. It was very unlike a traditional logo project where a design is
usually replete with meaning and/ or symbolism.
"I had to think about each icon for a long time," he says, "trying to find the
most obvious solution. It's hard to pick just one object to represent something like sports, so some designs took a while. Also, keeping the language
consistent was a challenge. In the end , some are 2-D and some are 3-D."
Each icon is a curious puzzle for a designer: The finished drawing must
be readable in a fraction of a second, but not be a cliche. It must convey
information forcefully, but not be so strong (in humor, style, history, or whatever) that it becomes a distraction. And , of course, what might seem like
the perfect icon in the designer's mind may not hold as much resonance
for the client: Like all design, judgment is subjective. So back-and-forthing
can be a bit more likely.
Designs for GUI projects have some similarities. A finished set must have a
familial feel-that is, simply look like they go together. That means that as
the entire group is developed , certain designs- previously okay-will have
to be reworked or even discarded to maintain the aesthetic.

6!J

LogoLounge 5

The NYT's icon set lives well in the existing iPhone environment.

Another similarity is that any object considered for an icon must be very simple
in form. For example, Sockwell notes that a water bottle would likely not be
a good icon: Its form is too complicated , and the bottle shape isn't instantly
ownable by the water market. A bottle could represent almost any drink.
Sockwell begins each icon by carefully considering the category it should
represent, then selecting a few images that might be representative-a

~~

tit-

shoe for fashion , for instance. Then he heads online and pulls up plenty
of images of fashionable shoes. He creates outlines from these and studies them to see which are working best. From there, it's an exercise in
reduction - but not too much.

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"I was very happy with the economy of these icons," Sockwell says. " But
there are details in there that could be one single pixel that makes the
drawing better. Ninety percent of people would not want to think of or

II

notice the details. If as a designer you aren't into details, this will be a rough
process for you. "
It's the details that rescue the icons from bland. Still, the goal of the GU I icon
is the same as a road sign: to get people where they want to go.
"The goal is to stay out of the way and let the icon just communicate," the
designer says.

Felix Sockwell worked with New York Times' Web wizard Khoi
Vinh and design director Caryn Tutine to create a Times GUI for the

Sockwell has provided explorations for a number of the icons he created

iPhone. The simplicity of the icons belies the complicated nature

for the iPhone project to illustrate his process. The red circles indicate the

of the project.

chosen solutions; notes were added by Sockwell.

Art and Business Sockwell began the project with the art, business, latest
news, and dining icons (latter two not shown here). The contrast between
the art and business designs shows how some ideas come easily, whereas
others are more difficult. The artist's palette is a clear and recognizable

for Arts

symbol: It was simply a matter of selecting the right amount of detail for
the final art. The business concept, on the other hand, was more elusive:
What said "business"? Sockwell feels that the final solution is one of the
most successful in the group.
"The squareness of the business icon has a bit more weight on the page. It
also reads on two levels: First, you see a square or circle shape, then you
see there is something inside of it. You can read that very quickly. Compare
that to the black-and-white hands: It just takes longer to read that icon and

for Business

-----~.:II

understand what it is," he explains.

~-

Real Estate and Automobiles The real estate and automobile icons show

.1. . . . .

how one icon can influence another. Both designs had myriad possibilities,
as Sockwell's trials show. In some trials for real estate, the designer tried to
communicate different sorts of housing/buildings, and in others, he wanted
to suggest "home" through the addition of a tree. In the end , the client
wanted to be iconic. The designer kept the design interesting , though , by
adding a suggestion of a roofline and opening door.
That decision influenced the automobile design, which also had plenty of
possibilities. It also ended up being more flat, with just a touch of detail.
Politics The designer says that the client was very interested in the elephant/donkey design, but eventually decided it had perhaps a bit too much
humor. "Using the capitol dome is undeniably Washington, and therefore,
politics," he says.

for Opinion

"'p

.....

~-

Sports Because there are so many sports, this icon proved tough: What

for Automobiles

1R J

one symbol could say it all? Sockwell felt that the whistle was a good,
nondenominational symbol. But even though the three balls that were
eventually selected clearly do not represent all sport, in the public mind ,

they do identify the category easily.

Health Initially, the design team felt that the caduceus would be an ideal

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symbol to represent health. In terms of its information value, it was excellent. But in its graphical form, it proved to be a bit too complicated. The
universal first aid symbol would be better for the GUI.
Opinion Sockwell preferred the solutions that showed two contrasting
opinions through two talk bubbles. He felt that the chosen solution creeps
very slightly into the area of chat. But the client felt that this solution felt
solid and more like the rest of the family.
for Health
u.S. The symbol forthe U.S. reveals how attention to minute detail is crucial
in icon design. "These are png [portable network graphics] files. You have
to draw them really big and zoom up and down on them to figure out the
details," Sockwell says.
Home and Garden Sometimes a category that seems simple turns out to be
broader than expected. For the home and garden icon, Sockwell imagined

for U.S.

using a watering can. But when he researched the topic, he found a very
wide range of styles. He decided that an older model was more iconic.
Jobs The jobs icon proved to be one of the toughest challenges. Showing
classified ads in such a tiny format didn't work, and ideas like the writing
hand or megaphone didn't really communicate the category. Eventually,
the briefcase won out, although the designer did not feel that it represented

for Real Estate

"jobs" well. "Most people don 't carry briefcases anymore, and not all jobs
are white collar," he points out.
City The city icon presents a good lesson in designer economics. Because
there are many icons in each system he works on, Sockwell must be conservative with the time he spends on each. The city icon trials contain plenty
of detail, and therefore, presented plenty of opportunity for reworking. In
order to make money, doodling must be limited.
Obituaries The process toward a solution for the obituaries icon was perhaps the most contentious. Sockwell felt strongly that the gravestone said
it all; a coffin might also do the trick. But the client found those solutions
too morbid . So the designer experimented with placing a flower in front of
the stone. Still, no go. A lily was the final solution . "I think it's ludicrous,"
the designer says, "but it is up to the client. You can only show what you
think is right and try to sell it."

for Home + Garden

,
ED

LogoLounge 5

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for City

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United States Holocaust Memorial Museum

Identity Design
Felix Sockwell, Maplewood, New Jersey

A client whose work is as charged with emotion as the United

One concept that Sockwell liked was a candle flame that sat upon

States Holocaust Memorial Museum needs an identity that speaks

a candle shape formed by the words in the name of the client. In

plainly of its charge but which does not attempt to add fuel to

its simplest iteration, this design used an actual flame.

anyone's fire. The identity must itself be emotionless, but through

its design, inform, educate, and empathize.

"I liked the idea that the words made the candle. One of the things
they do every year at the museum is light a holocaust candle. This

Felix Sockwell (Maplewood, N.J.) was one of about ten design-

is a nice way to think about it and be reminded-better to light a

ers/design firms invited to pitch the identity for the organization.

candle than to curse the darkness," he says.

The invitation was a rigorous one: Each invitee had to share three
past jobs for which they had been paid more than $50,000 and
provide all of the museum contact information fee structuring on
those jobs. "Given the strict guidelines, I knew I didn't stand a
chance," says Sockwell.
Regardless, he pulled together what he could, teaming with
Stefan Sagmeister to build the proposal. Sockwell was certain he
would not get the job but was still intrigued with the project, as
was Sagmeister. After sending in the paperwork and portfolios,
Felix and pal Thomas Fuchs met at a local bar and sketched over
conversation.
"We were just in awe of the challenge of the whole thing," Sockwell recalls. "What could you actually do? It's such a huge challenge. We stopped talking and began thinking on the back of a
big envelope."

It was a potent emotional device, one that also could be played

out in marketing. The museum could sell candles in honor or
memory of specific people or events, and the monies could be
used to support the museum.
Growing from this basic idea, another concept superimposed the
simple shape of an eye across a line drawing of a flame. Inside ofthe
eye and flame was the image of a dove. The deSigner also played
with a design that settled a dove at the base of a flame. These were
sturdy statements, he believed, but perhaps too charged.
The Star of David design that eventually became the submission
he sent to the USHMM committee combined symbols of oppressive power (upside-down triangle), and literal translations of land,
water, flame, hand, and a dove. He began the design with the
upside-down triangle on the right, a powerful symbol that, in this
context, speaks of the tenuous balance of peace. He proceeded

Although the USHMM does represent survivors through exhibits

around the star clockwise, continuing to alter and transform each

and education, a new focus has been to witness and prevent

triangle in subtle, meaningful ways.

genocide today. It represents all victims. One of the museum's

main goals was to attract younger patrons. It also wanted to make
all possible visitors and patrons more aware that the museum
was not simply a repository for history, but that it was strenuously
advocating for the future.

"I like this mark because it lacks emotion. It's all science. Facts.
Yet its contents are really bold. There is no whimsy in it. It was
trimmed back quite a bit after about 40 or 50 versions. I couldn't
stop working on it. It was insane. I had to figure this thing out
before my head exploded. It became personal," Sockwell says.

The day after sketching with Fuchs, Sockwell pulled out the
sketches and began reworking them, a process that would continue over several weeks.

Although he eventually lost the assignment to Pentagram's Paula

Scher, Sockwell had no regrets about the project. In fact, he says,
it was invigorating. "It was nice to lose to Paula. I have a lot of

"It was a subject that had to be treated respectfully. A new design

would have to be evocative, emotive, and dynamic so that younger
people would feel expression in it," he explains.

24

respect for who she is and what she does."

Design Firm
Client
Project

IFragile
IAlios
IIdentity Redesign

A fashion-forward client needs an identity with long legs, as well as an

eternally youthful body that can be dressed and redressed, season after
season, and always be in style.
Such was the case for Alias, an Italian firm famous for its innovative
approach to furniture design. Every year, the company produces an entirely
new line of furniture that must have an entirely new identity in order to be
marketed properly. But the company's own core identity needs to remain
intact-recognizable and solid-all of the time.
"Changes occur rapidly for our client, according to fashion, production,
new stores, or the partner's ideas. They need a common frame for the
company identity, but a very elastic, prompt response to outside influences," says Mario Trimarchi, principal of Fragile, the Milan-based design

.,

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our lives.
firm that has worked with Alias since 1999 to keep its identity fresh and
relevant. "Every season we change something in the communication for
that year's design."
Alias' products are highly designed, down to the smallest details: Unconventional use of commonplace material, such as polyester mesh and
extruded aluminum, has been carefully considered and crafted. Invention
is also in play: For instance, one chair is made of wood but has a core of
injected polyurethane, to reduce weight. Trimarchi says that the company's
far-reaching aesthetic is a well-known company attribute. So all graphic
design work associated with the client must have that same panache.

The identity for Alias, created by Fragile (of Milan), is like a clear

Trimarchi designed the company's logo - a straightforward word mark - in

container. Visual messaging of all sorts can be shown through,

1999. It is simple and solid . At first glance, it might not seem to be an apt or

inside, and around the container. This keeps the identity change-

at least highly stylish graphical representation of the core organization. But

able and fresh for the fashion-forward furniture manufacturer year

the art director had a very good reason for the basic nature of his design: If
he chooses, he can use the letters in the word "Alias" almost like television
screens through and around which he projects additional color, texture and/
or graphics. The screens stay the same shape, but they constantly reveal
new information about the client as it evolves and changes over time.

~ LogoLounge 5

after year.

Fragile also uses the client's actual products and product components in

"The water bottle is a commodity," Trimarchi notes, "but it is also an

the same way: Their shapes can be containers for art or information, or they

archetype: It has proven to be long-lasting in our lives." This is how Alias

can be formed and reformed in patterning. They are ingredients, Trimarchi

wished its new line to be seen: Yes, a chair is a commodity item, but a chair

says: "It's like working in the kitchen. With the same basic ingredients, you

designed by Alias has timelessness, practicality, and purity of purpose.

can make cake or bechamel."

Also part of the 2003 promotion was a series of pictures in the catalog

It's an approach that Fragile likes. For a recent logo design for Poste Ital-

that showed the most interesting design details of the products in order to

iane, the Italian postal service, Trimarchi created a system composed of

highlight the extreme care on manufacturing process: The chair legs are

photos of six different Italian landscapes. Each shot is underlined by a

represented as aluminum, artificial "bones," and every subtle curve of the

yellow, horizontal strip containing the logotype. The pictures can, in the

armrest enter the pages with large close-up.

future, be easily replaced with other photos or visual information, such as

Italian architecture, famous artists or art, or different people, depending on
the corporate mission as it develops over time.

In 2004, Trimarchi took the ingredients one step further. His team assembled chairs from that year's collection in groupings or structures that, when
photographed, accentuated their sculptural qualities. Alone, each chair

"This is the post service," he explains, "but it is really Italy. If the company

is a work of high design. But when seen as a grouping, even great visual

management changes and wants to alter the identity, they can change the

interest is achieved.

software part of the design, but the hardware is fixed. If the management
decides to get into banking in the future, there is no problem. They can
change the identity, but it is still linked with the postal service."
The key, the designer says, is to tell a story that allows the client to accommodate the future and its eventual brand evolution. A static, moment-intime logo doesn't work for clients anymore.

"Here, not just one chair forms an icon, like before. Now the whole family
of products could be the icon. Imagine it like a company of dancers: The
design and the beauty comes from the whole group," he says.
In that period, the strategy of the company was to present a family of products with the same design developed on different themes. For this reason,
Fragile started to think to the most significant and original way to show the

Trimarchi is quick to point out that the "ingredients" philosophy is not a

importance of the whole, single collection. The collection pictures were

fallback style for his company, but an approach that can be crafted in new

used on the initial pages of each chapter of the company catalog, in order

and different ways for clients. "For any design, you know that the company

to introduce the single pieces.

and its market will not be the same over time. We try to leave a window
open for them, windows to the future. The same car company whose customers want performance cars today may produce hybrid cars tomorrow.
They don't want to covert themselves totally, but they need to be able to
face new challenges," he says.
A designer should care for a client like an arborist cares for a tree, he says.
The tree may be very large, but you need to care for it regularly-and that's
much easier to do if there is an open and ongoing system in place.

In 2006, the pictures taken for 2004 were repurposed. Mirrored and flipped,
then repeated, new and intriguing patterns are formed. A new recipe is
complete, but it contains the same ingredients as were used before.
"The multiplication by computer forms interesting wallpapers. I like the idea
to create two-dimensional graphics through the use of three-dimensional
items. We can continue to play with the basic elements, too-color, blackand-white, 2-D, 3-D. It all refreshes the brand but is always linked to the
mood and expression of the product," Trimarchi says.

But many clients are very accustomed to closed systems: In the past, a
client would have received a static logo and a strict guidelines manual from
his designer, and he would have been strongly encouraged to stick with
both. Evolution is not a part of the plan. If the company changed enough,
the designer would suggest a new or updated static logo: The old mark
would be modified or thrown out.
"This is why our job is so difficult: Clients don't always understand
this way. But we show them that it is better to have a process in place
rather than a final solution. We don't give them a corporate design -we
give them a corporate personality. Once upon a time, a person would

As part of the 2003 promotion

be defined as 'elegant,' and that person acted that way all of the time.

for Alias, the Fragile designers

Today, people and companies are diverse. You can be elegant but
make a range of choices in your life for your bike, your clothes, your
car. A smart logo allows the company to emit its personality throughout its lifetime, no matter what it is at the time," he notes.

isolated visually interesting parts

from that year's lines and used
them as illustrations in the catalog. Shown here is a piece from

The evolution of Alias illustrates how a "living" system works. In 2003,

the Alias logo was used in a new campaign for the company, suggesting that its furniture is "essential and light." On the cover of that year's
catalog, a water bottle with the name Alias on it appeared. It represented purity, harmony in purpose, vocation, change, and flexibility.

the back of a featured chair and

the same piece shown as part of
the assembled chair.

~-- ~

4-~
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n
For the 2004 collections, creative director Mario Trimarchi took the "ingredients" approach one step
further. He built structures using the furniture, highlighting their unique forms and sculptural qualities.
He compares this approach to that of a dance company: Together, the group can create even more
beauty.

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In 2006, the pictures taken for 2004 were repurposed. Mirrored and
flipped, then repeated over and over, new and intriguing patterns
are formed. The same ingredients can be used to complete an
entirely new and delicious recipe, Trimarchi says.

In 2008, the photos taken of individual furniture components were

repurposed again. Recharged with vibrant color, the pieces are
reassembled into intriguing patterns. They are like an entirely new
alphabet. In Alias' first-ever retail store, which is completely white,
the alphabet components provide the only color.

&

LogoLounge 5

This invitation cover and trade show display show how the new patterns and wallpapers can be used.

The new patterns continued to move the identity forward by building up

For this event and Alias' newest collection, this new alphabet was based on

new icon-based visual alphabets, from the single piece to the family, and

the silhouettes of furniture parts. These, the designer says, have as much

here from the family to an entire universe. The patterns covered many the

beauty and are just as carefully designed as the furniture pieces.

surface, become wallpaper to be extended in all the directions, and were

used for covering all the vertical walls of the stand at the Salone del Mobile
Fair in Milan, on the invitation card, on the cover of the company profile,
and in a certain number of internal pages of this document.
Then in 2008, Alias opened its first retail store in Milan, called AliasShop.
The store is distributed over two floors . Interior space is extremely fresh
and white, in order to emphasize the products without suggesting any idea
of actual placement. The layout, designed by architect Renato Stauffacher
(CEO of Alias), is aimed to express the company's key values: lightness,
technology, and innovation. The products are shown in their white versions

"People can't usually see the individual pieces of a chair, but it is a reality and is perhaps more beautiful. Each piece is used like an icon, like a
logo. In the catalog, we could use these pieces to form a flower or another
shape and place it across the spread from the chair itself-show people the
beauty of the technology alongside of the product," he explains.
The Alias identity system is one that will continue to evolve. A process
rather than a static identity solution is a better fit for most companies,
Trimarchi says. "We spend time with our client and develop a system that
can live on-not a corporate identity, but a corporate personality."

and are located in full-transparent glass cabinets. The only presence of

color is the vibrant Fragile alphabet.

Creative direction: Mario Trimarchi/Fragile

Graphic design: Mario Trimarchi with Andrea Plenter, Elena Riva/
Fragile team

II

IS

Design Firm
Client
Pro ject

ICato Purnell Partners

IDubai Airport organization
ICorporate Identity Redesign

Dubai Airports is redefining the phrase "world's biggest airport." It manages

both of the major airports in Dubai, the already existing Dubai International
Airport, as well as what will be an enormous new facility, AI Maktoum International at Dubai World Central, a global aviation hub covering 140 square
kilometers (about 54 square miles). In a region where real estate, banking,
and many other moneyed businesses are expanding at an unprecedented
rate, Dubai Airports is truly becoming a global aviation center, fortuitously
located near the geographic center of the world.
The Dubai Airport organization began working with Cato Purnell Partners in
2007 to develop an identity that would unite its holdings as well as identify
Dubai as a new world hub. The new identity would be a complete departure
from the previous one, which was no longer unique in the marketplace.

For us, the Dubai airport project gave us a

chance to look at local culture and reinterpret it.

"The Dubai region is an economic hotbed right now," says Graham Purnell,
partner with Cato Purnell Partners, headquartered in Melbourne, Australia.
"It's a rapidly emerging region with many large-scale projects. For us, the
Dubai airport project gave us a chance to look at local culture and reinterpret it. It was a great mix of tradition and modernity."
Purnell notes that the rapid expansion of business in Dubai has attracted
many designers and design firms there, but not all have succeeded. "You
must be very careful of regional sensibilities. Arabic calligraphy, for instance,
has wonderful forms to look at, but we can 't read it. We have really good
people in Dubai who work as our sounding board as we design. You need

(Top) At the identity's launch, the new design posed a definite

to work with local people to bring your ideas to light."

breakthrough in its freshness and energy.

"We saw these airports as a true global hub, connecting people from all
other parts of the world. Bringing that alive became our main direction,"

(Center and bottom) In these images from a trade show, the fractal

Purnell says.

imaging introduced by the new identity is evident in the architecture

The designers had a host of key words around which to build their work:

and patterning. In the photo at left, moving kaleidoscopic images

global hub, where heritage meets the future, integration, connection, move-

are projected onto an overhead screen.

ment. A number of these concepts were explored, but the direction that
eventually emerged struck the right chord and checked off every word on
the list.

ED

LogoLounge 5

Dubai Airports

Dubai

Dubai
International

World Central
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The new logos for Dubai Airports, Dubai International, and Dubai World Central mark an enormous new air hub located at the
geographic center of the world, Dubai. Created by Cato Purnell Partners, the new identity system mirrors mosaics from the region,
while giving the ancient art form a new spin, through kaleidoscopic imagery.

The strongest direction emerged from local art: traditional patterning found

"You have to take the familiar and re-evaluate it," says Purnell. "You have

on fabrics and formed in tile. Mosaics are an ancient art in the region, dating

to breathe new life into things that other people might overlook."

back to the seventh century: Unlike Byzantine mosaics, which form figurative representations such as pictures of religious figures, Islamic mosaics
are mostly geometric and/or mathematical. But despite their rigorous
patterning, Islamic mosaics feel alive with energy-an ancient yet perfect
analogy for a modern airport.
The designers imagined the ceiling of a mosque, beautifully patterned and
still visually relevant despite the passing of many hundreds of years. It is
a familiar image and one could-despite its inherent visual interest and
lovely color-be interpreted as cliche. Cato Purnell partner Ken Cato travels
regularly in the region and has amassed a great knowledge of such arts.
The mosaic inspiration felt appropriate and true.

To bring new life to the concept of the mosaic, Purnell's team literally turned
it inside-out and let new light shine on it: They took a star-centered design
from the inside, concave surface of a mosque dome and spherized it on
the outside of a globe.
The mosaic star could serve as a strong unifying device, and it also graphically marks the centralized geographic position of the city on the globe.
The star and patterning that grows out from it can be changed in color to
identify separate holdings or operations. They could easily be animated
into moving, kaleidoscopic images that change endlessly, sparking new
interest in the eye of the viewer. Even in the static image, though, movement

More onscreen and LCD projections of the energetic imagery.

The image on this poster was created using a photo of a runway

with planes sitting on it.
At the time this book was written, in late 2008, the new identity
system was still being implemented. This shot shows how patterns
and photos can be injected into the kaleidoscope. The possibilities for new visual information are endless, while the basic form
remains the same and identifiable.

We were able to take traditional elements and make people look at them in a new context that
is quite surprising. Working with a different culture is always a positive experience. We are
always learning.

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is directed in toward the center and away again , just as travelers move to
and from the airport.

-- -

For Dubai International, a blue and gold color scheme was selected . The
color scheme is derivative of the region, tweaked to give it a modern feel.
Dubai World Central uses a quartet of blues.
Other sub-brands are easily accommodated by the new system. Additional
patterning and colors are overlaid, but the strong tie to the center star
remains. At this writing, the sub-brands are still in prerelease stage, but the
family ties to central identities are strong.
The new system uses plenty of photography that centers on the connections people make, with each other and with other parts of the world.
There is a definite sense of motion introduced through blurs, suggesting
the energy of the airports.
A kaleidoscopic effect is extremely versatile. The theme allows flexibility in
application, is symbolic of movement and energy, ties in with patterns of
the region-it strongly resembles mosaics-and provides an opportunity
to instantly recognize images as linked to Dubai Airports. Modern photography is spun into traditional patterning.
The typefaces were selected to deliver the best clarity. These logos need to
be reproduced at varying sizes. As English is a second language for many
people in the area, but it still needed to be clear, yet distinctive and ownable
to Dubai Airports and project the professionalism of this organization, yet be
complementary to all the sub-brands. The Arabic script that was specified
comes in many versions and is exceptionally versatile, more so than English
copy, allowing the Arabic to script to be developed after the English to make
sure they would work together in dual language lockups.
Implementing the new identity across the vast expanse of the client's holdings is still under way. The sphere is being played out on everything from
tarmacs, windows, and vehicles to uniforming, signage, and advertising .
Purnell says he is delighted with the project's outcome. "We were able to
take traditional elements and make people look at them in a new context
that is quite surprising ," he says. "Working with a different culture is always
a positive experience. We are always learning."
The culture and business is well represented through the new mark. "It
gives a sense of character to the entire place. "The audiences for these

III

airports are enormously broad, " Purnell says. The new identity speaks to
them all, residents and nonresidents alike, as they come and go.

The pieces of the logos themselves are also very versatile. Here, a
moderate close-up, extreme close-up, and the insertion of photos
provide new impressions of the same identity_

--!-..)

. --pluna

Design Firm
Client
Project

IChermayeff & Geismar

Ilibrary of Congress
Ilogo Design

LIBRARYOF
CONGRESS

There are some logo solutions that just seem inevitable- not predictable,
but somehow, just right. Chermayeff & Geismar's logo for the Library of
Congress in 2008 is such a design. Once viewed, it's hard to imagine that
any other solution would be possible.
Founded in 1800 to serve the research needs of the United States Con-

LIBRARYOF
CONGRESS

gress, the Library of Congress is the nation's oldest federal cultural institution. It is an organization well known by name to citizens of the United
States, but few people ever appreciate the true extent of its wingspan.

The new identity system created by Chermayeff & Geismar for the

The largest library in the world, it contains millions of books, recordings,

Library of Congress includes a logo that is completely ownable by

photographs, maps, and manuscripts in its collections, and millions more

the Library. Incorporating the images of a book and a flag, it's an

are added every year.

ideal image for America's library.

We wonted to convey the ideo of a very lively

place, at the forefront of things. It is definitely
not just a tomb for books.

LIBRARYOF
CONGRESS

Additionally, the Library of Congress includes the research arm of Congress; the U.S. Copyright Office; the American Folklife Center; an extensive
Braille library and resource center; the Kluge Center, which rewards lifetime
achievement in the humanities; the Law Library of Congress, which contains the world's largest collection of law books and legal resources; an
extensive poetry and literature center; and millions of film, video, and sound
recordings. More than 5,000 people work to support the Library's efforts.
The Library's sheer scale, however, proved to be a liability when it came to
its identity. Like many large organizations, various divisions had developed
their own logos and graphics over time, and there were a handful of differing
marks in circulation for the Library itself, with little attempt at coordination .

LIBRARYOF
CONGRESS

So while most citizens and members of Congress knew about the Library,
few recognized its scope and reach.
As a result, in mid-2006, the Library embarked on an overall branding study
to bring greater cohesiveness and integration to the Library's communications and overall identity. Developed by the Library's Brand Working Group
and Fleishman-Hillard, the study defined a clear vision statement and a
comprehensive brand message architecture. It left open the next step, the

LIBRARY OF CONGRESS

development of a unified graphic identity to ensure "thinking, communicating and behaving as one enterprise connected by a unified vision."
Various mock-ups of the new logo.

EI!J

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It was at this point in mid-2007 that Chermayeff & Geismar was retained
by the Library of Congress to develop a new visual identity program that
would complement the overall branding initiative and better represent the
complex, modern institution the Library of Congress had become.
Tom Geismar was quite familiar with the Library. He had designed a series
of major exhibitions and related graphics over the past decade and was
concurrently heavily involved in helping to develop a new, more interactive visitor experience, a new wayfinding system, and so on. To begin the
project, Geismar conducted a series of interviews with a dozen senior
people representative of the key constituents of the Library. Many of the
interviewees were familiar with the issues, having served for many months
on the Library's Brand Working Group. Jo Anne Jenkins, the chief operating
officer, was a key member of this group.
Chermayeff & Geismar also conducted an extensive visual audit of materials produced by the various divisions and programs. "The audit yielded
many different identities and a wide variety of graphic styles. That's part of
the problem," says Chermayeff & Geismar partner Sagi Haviv.
Chermayeff & Geismar felt that the new identity needed to unite all the
pieces, to bring everyone under the same banner. The task was to find a
logo that graphically represents not only the Library and its contents, but
its aspirations and future as well.
These early sketches reveal how the design of the logo emerged.
Creating a new identity for such an iconic institution with so many layers
and so much history is a challenge, Geismar acknowledges. "It contains
books, but like all large libraries, it is rapidly digitizing its collection. We

Other concepts, including torches (to represent the light of learning and the torch atop the Library's dome) were also explored.

wanted to convey the idea of a very lively place, at the forefront of things.
It is definitely not just a tomb for books."
Previous logos had focused on the dome of the Library's most famous
building, the magnificent Thomas Jefferson Building, an iconic structure
that, in truth, presents the picture that springs to mind for most people
when they think of the Library of Congress. "But we felt that the dome
as an image is quite static, and perhaps suggests the past more than the
future," notes Haviv.
"In any case," as Geismar explains," the Jefferson Building is right across
the street from the U.S. Capitol, whose dome is considerably larger and certainly more famous and more recognizable in the Washington landscape.
We see it on the news every evening."
As visual explorations were initiated, Ivan Chermayeff, Geismar, and Haviv
all began to develop different concepts for how best to symbolize this
complex institution.
One source of inspiration was the Thomas Jefferson Building itself. Completed in the 1890s and fully restored in the 1990s, the building is filled with
elaborate artwork, murals, sculptures, and decorative patterns. Much of the

The inspiration for the lettering in the system was inspired by the

art focuses on symbolic themes relevant to a great cultural institution. One

incised inscription over the entrance to the Library's Great Hall.

image found throughout the building (and on the top of its dome) is that of

The classic Roman style was very similar to Trajan, which was the

a torch or flame, symbolizing knowledge and enlightenment or learning.

"We developed a number of torch-inspired ideas. It was one of the ideas
mentioned by a number of members of the Library staff, and in terms of
meaning it seemed very appropriate," notes Geismar. "But while some
torch concepts made it to the final rounds, in the end we recognized that
it was very difficult to make a torch or flame that is sufficiently distinct and
memorable. There are just too many of them out there."

face eventually chosen.

The Library is an enormous organization with many branches. So

it was natural that, over the years, various identities and design
approaches had emerged.

A selection of Library resources

with the new identity in place.

This collection of brochures that use the new identity shows how
the many different Library branches could be coordinated, yet
through the use of the organization's rich photographic and art
resources, be kept fresh and unique.

CI!J

LogoLounge 5

The new logo has distinct animation possibilities, as shown by these stills.

As Haviv points out, "Just do a Google image search for 'torch logo' and

historians believe marked the location of the two great libraries of Rome.

thousands of examples come up."

So the choice of Trajan-which evokes a sense of dignity and tradition-

Another obvious direction was to convey the concept of a book or group

was an easy one.

of books. A number of these were studied, and some interesting designs

As part of their recommendations, Chermayeff & Geismar also developed

emerged . The challenge here was to develop an image that somehow con-

an approach to the design of brochures and reports, which in the past have

veyed more than just books, one that could also be viewed as aspirational.

been completely uncoordinated. One part of the recommendation is to fea-

A design created by Haviv that held special resonance all the way through
the sketching and presentation processes was a book that essentially took
the form of a waving flag. It proved to be the perfect combination and was
the mark eventually recommended by Chermayeff & Geismar.
"A national library needs something really unique. Who can claim the American flag more than the national library? This solution was specific to them:
No one else could have this mark," Haviv says.

ture photography of the artwork found in the Jefferson Building. Produced

by more than fifty American artists, sculptors, and craftsmen , it provides a
rich trove of imagery, and one can almost always find an appropriate representation. Other parts of the recommendation were the use of full color;
the adoption of Baskerville as the typeface for titles; and the inclusion of
the Library's graphic identity on the cover of all pieces.
The overall graphic identity study lasted approximately six months. During this
time, Geismar made two interim presentations to the Library's Brand Working

Symbolically, the new logo speaks of knowledge and information flowing

Group. After each presentation, refinements and revisions were made. Then,

from a central core. It suggests life and motion through its wave. Its stripes

in December 2007, a final presentation and recommendation was made to

suggest the wide array of services that are available through the library.

the Group and to Dr. James Billington, the Librarian of Congress.

Another key element of the new identity is the way that the Library's name

For Chermayeff & Geismar, the project was a major one. The successful

is depicted. In the initial interviews, Geismar discovered that the word

outcome was to some extent a validation of the firm 's approach of working

The, while always included in prior identities, was not actually part of the

closely together to find the best possible result for each client. Notes Haviv,

Library's legal name. Eliminating The made possible the creation of a much

"There is no ego here-we all help each otherfind the best quality for every

more symmetrical word mark that can easily be used to the left or right of

client. When we all come into the project, the work quickly gets better."

the symbol, or below it, stacked in two lines or played out in one, without
losing easy recognition.

(As of this writing , Chermayeff & Geismar was starting to develop guidelines
for the implementation of the graphic identity.)

One inspiration for the lettering was the incised inscription over the entrance
to the Library's Great Hall. Reading "Library of Congress," the letters are
in a classic Roman style, similar to the typeface Trajan. Trajan, in turn , is
styled after the classic inscriptions on Rome 's Trajan Column, which some

Principal design credit: Tom Geismar and Sagi Haviv

Design Firm
Client
Project

IMattson Creative
IGrace Cathedral, San Francisco
Ilogo Design

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GRACE
CATHEDRAL

What is a church? Is it simply an organization? A building? A shelter or

concept?
These are questions that church organizers wrestle with all of the time.
For the staff of Grace Cathedral, a 1DD-year-old Gothic cathedral that sits,
solemn and imposing, on San Francisco's landmark Nob Hill, the answers
were not exactly what they wanted. The building itself is a magnificent city
icon, but its historic architecture did not exactly present a welcoming face.
In fact, the structure presented just the sort of scowly, stiff, somehow judgmental face that many city residents moved to San Francisco to escape.

The church wanted to represent its open-door

policy and how it reaches out to the community.

But behind the cathedral doors, the picture is much different. The church
is progressive and active in the city community. Its staff works hard to
involve all peoples and to create a place of discussion. In short, they want
to change the paradigm of what a church is: not a fortress, but a comfortable haven where all are welcome and nurtured.
Still, there's the issue of the actual architecture-beautiful, but potentially
off-putting. Even the church's centenarian status carried some stodgy
baggage: How relevant could a 1DD-year-old church be?
But the celebration of the landmark's anniversary and the press it would
generate also offered the opportunity for a positive change in direction .
Church organizers decided that a contemporary anniversary logo, one that
could have life after the actual event, might help people better understand
that the organization is a living organism, not a museum.
"It's not just a castle," says Ty Mattson of Mattson Creative. He became
involved with the project through the now-defunct firm Templin Brink.

The new logo and identity that Mattson Creative developed for
Grace Cathedral in San Francisco delivers a progressive, welcoming message that the building's architecture might not. While the

Mattson was intrigued with how the identity project bridged faith and CUl-

landmark might be imposing, the church's organizers wanted

ture. The church did have an existing logo-a modern representation of a

everyone to know that it is a friendly, caring place.

Gothic cathedral-but Mattson describes it as menacing . "It was the kind

of mark that had all of the stigma of a closed-door sort of church. Which
is not what they desired to communicate. They wanted to represent their
open-door policy and how they reach out to the community. The new logo

CD

LogoLounge 5

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This asterisk-like design was part of the first round of Mattson's pre-

...

sentation to clients, and it made it all the way to the end. It presents
a celebratory sense, and also includes a cross. It's an eye-catching

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design in black and white, one that would really come to life in color.
The designer points out how the individual pieces are imperfect.

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the idea of being on a hill and being a light to the community. It has

"-----

CATHEDRAl

CATHEDRAl

"Imperfection is a nice theme when it comes to church logos," Matt-

The client had asked that the designer work in the notion that the

son says. "Perfection is not a church value. Irregularity is welcome.

church is open to all in the community. Here, he experiments with

This felt very hand-done- nothing is perfect."

a walkway that leads to the doors of the church. Playful line work
demonstrates the doors' accessibility. Ultimately, this exploration felt too whimsical and playful. The literal depiction lacked the
significance of the more abstracted symbols.

GRACE CATHEDRAL

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Here Mattson brought in a common symbol, the dove, but trans-

The designer liked this design, but the client felt it was too corporate.

formed it to make it look more like an angel. "There's imperfection

"I like the interaction, the idea of the three components in the trinity.

in this design," he says, "as if it's hand-drawn."

It felt cohesive to me, but it was a little too space-age for them."

GRACE CATHEDRAL
GRACE CATHEDRAL

Mattson felt this design was too "expected" and a little Olympic.

This design had a celebratory nature that Mattson also liked. In an

The idea behind the concept was community and acceptance,

abstract sense, the shapes can be viewed as people. That sense

an extremely important message for the large alternative lifestyle

of abstraction could be continued on in how people view the

population in the San Francisco area. "This is an involving design,

church, not as an object of architecture but as an organic being.

one that causes the viewer to look at it longer," he says.

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GRACE CATHEDRAL

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A play on the shape of a dove, this design introduces the idea of

This last-minute addition to Mattson's presentation to the client

prayer, of the uplifted hand in worship, or even the idea of offering

made it to final consideration. The trio of simple, interlocking rings

service to the community. Mattson maintains the hand-drawn feel

just felt right to him, and the client liked it, too. "What the client

to the design.

responded to, I think, was the idea of imperfection," he says.

~~~

~~~
GRACE CATHEDRAL

GRACE CATHEDRAL

GRACE CATHEDRAL

GRACE CATHEDRAL

GRACE CATHEDRAL

GRACE CATHEDRAL

GRACE CATHEDRAL

GRACE CATHEDRAL

GRACE CATHEDRAL

GRACE CATHEDRAL

GRACE CATHEDRAL

GRACE CATHEDRAL

GRACE CATHEDRAL

GRACE CATHEDRAL

GRACE CATHEDRAL

GRACE CATHEDRAL

The client was most interested in Mattson's asterisk designs. It was simple, but worked on a number of levels. It incorporates the shape
of a cross, certainly the central symbol of Christian faith, but in a subtle way. The mark also has an urban sensibility: The overlapping
lines imply a city skyline, which represents Grace Cathedral's unique location. "Most importantly, I think this mark, more than any of the
others, really conveys a sense of joy, which was missing from the previous visual language," says Mattson. "When someone experiences
true 'grace' in their life, it's really an incredible thing. There is great joy in it, and I think this symbol evokes that in a way."

C9

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needed to have an urban feel and it didn 't necessarily have to integrate all
of the traditional elements of Christianity. "
Whatever he created had to be contemporary and relevant to the liberal ,

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design-savvy San Francisco community. The new logo needed to define

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the church's name: What is grace?

One of the best ways to define the church was to re-examine its history and
all of the good it has done over the years. "It's where people went when

For color, he suggested a light and dark green. It had a certain vibrancy to it,

World War II ended to pray and celebrate. Martin Luther King spoke here, as

especially when compared to the flat gray stone of the church building .

did many contemporary leaders. People had come here to celebrate occasions like these for years. It's really a very significant place both culturally
and spiritually," the designer explains. "The new mark needed to recognize

"In church imagery," Mattson points out, "there is always plenty of red and
other deep, rich colors. This goes in the opposite direction."

that history, but more importantly it needed to convey their relevance and

The type that accompanied the design had to be almost invisible, the

vision for the next 100 years. It's not meant to be commemorative. A good

designer says. "It's see-through, like a foundation. With a mark that is so

logo or brand doesn't just say who you were: It also explains who you will

expressive, there is no room for expression in the type. There cannot be

become next."

any different sizes of type of initial caps or anything else. In the final design,

As he further developed the burst or asterisk concept, the designer explored

making the shape less perfectly centered or mathematically divided. It gives
the mark visual interest and brought forth the idea that being imperfect is
perfectly acceptable.

the type is simply a foundation for the logo."

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Design Firm
Client
Project

IMoving Brands
ISwisscom, Switzerland
IIdentity Design

Moving graphic identifiers are nothing new. They have existed in the world
of television for years. However, considering a moving identity as a part of
the very core of your brand is a more recent development.
Moving Brands, a London digital and branding agency, has the creation
of a moving identity in the heart of its creative process. Movement is seen
as an aspect of identity that can be ownable and distinctive for the brand,
just like logo, colors or typeface. However, Moving Brands does not believe
that every brand should be dynamic, no more so than every logo should
be red or round or set in Times Roman.
In fact, just as a simple black-and-white monochrome version of the logo
is created as a standard practice, they believe that a static logo needs to

We realized that most of the agencies were not

addressing the onscreen behavior of a brand.

swsscom

Often the thought was put into how a logo might

live on the screen only afterwards.
The new Swisscom brand mark, created by Moving Brands
(London), is intriguing in its static form as well as in its dynamic
form, called the "life-form." The moving logo can be viewed at
be created for every dynamic identity. The possibility of it being dynamic,
however, is an integral part of the creative process, and not simply an

http://en.swisscom.ch.

afterthought.
When Moving Brands was founded in 1998, its team was often asked to
help larger design firms bring formerly static logos to life, explains founder
Guy Wolstenholme.
"We realized that most of the agencies were not addressing the onscreen

behavior of a brand. Often the thought was put into how a logo might live
on the screen only afterwards," he says.
If a logo design is to be relevant today, it must work across all platforms, he
adds, noting, "We feel this approach is truer to what clients need today."
Logos today have both visual and behavioral characteristics, and some
have sonic (or sound) identities as well. As the idea of multisensorial brand-

well in its modern focus on providing a very human, customized

ing develops, touch and even smell will become increasingly important.

experience for its customers.

"You can express more about the brand through motion," says Darren
Bowles, senior designer. A brand is like a person: If you only see a snapshot
of the individual, you really learn very little about him. Motion helps convey
personality through a series of behavior-filled moments.

EI!J

The previous Swisscom logo no longer represented the company

LogoLounge 5

An early life-form sketch, which

A sketch of the life-form, rotat-

expresses its flowing form.

ing around a clear axis.

A sketch of the life-form from a Moving Brands sketchbook.

A moment in time from the life-form animation, showing the 3-D

The Moving Brand team is shown here in a "Brand Narrative"

wire frame with full color.

workshop, where participants sketch, in real time, to visualize

client stories.

Bowles offers a caution regarding dynamic logos. "The level of expression

A multisensorial identity must be considered from every angle, not just in

through movement is key. Dynamic identities fail when the movement takes

terms of how it looks, but also how it might behave. "If you could touch it,

precedence over the story at the heart of the brand. The brand should be

how would it feel? If you dropped it, what would it do? If you could hear it,

recognized for what it stands for, not just for how it moves."

how would it sound?" says Bowles. "We talk about brands in a behavioral

The new identity that Moving Brands created for Swisscom is an excellent

sense so that they will become easier to relate to."

example of a brand that was designed to live across screen, print, and

The core story of the brand is completed together with the client. This

digital media. By its very footing in digital technology, Swisscom was the

is crucial, says Wolstenholme, because no one knows the story better.

perfect client for a dynamic identity.

"The workshops we conduct with clients are very open and co-creative.

Swisscom is a leading telecommunications provider in Switzerland with a

strong focus on IT services, media, and entertainment sectors. The new
identity was created as a part of the client's consolidation of its various

They provide plenty of insights that inform the creative work. We often
translate the stories real-time into sketches of form, shape, movement,
and interaction."

business divisions under one brand in order to make its customers' experi-

With these core stories, emotions, and behavior drivers in hand, design

ences with its services friendlier and easier to understand.

could begin.

"For this brand to live and grow in the new media environment, it had to

The former Swisscom logo was rooted in telecommunications and informa-

be more dynamic. It needed to offer much more expression," says Hanna

tion technology. It represented what might be seen as blips of information

Laikko, senior client lead for the Swisscom project.

going down the line. But Swisscom was transforming to be much more

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Brand mark and word mark crafting materials from a creative

One of the beauties of the new Swisscom mark is its ability to be

review meeting in the Moving Brands' studio.

cropped into a healthy range of brand assets.

The flexibility of the new system is demonstrated in this range of other materials.

ED

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A series of stills from the animation of the new Swisscom logo.

(Go to http://en.swisscom.ch
to see the logo in action.)

about relationships and providing warm, welcoming , easy service that

customer offering, pivoting around a single axis. They bring warmth, life, and

puts customers in focus. So there was a need for a new identity that could

emotion to the brand mark. The axis symbolizes Swisscom's heritage as a

convey the change and engage the customers with the new Swisscom.

trusted national provider of smart technology.

However, there was also the need to retain the strong heritage of the welltrusted market leader.

"Swisscom has always been trusted as a company amongst the Swiss:

That's the solid, rational axis at the center of the design," says Bowles. "But

For example, the colors blue and red are retained from the former identity.

the company wanted to also be more emotive. The life-form's malleable

Swisscom also had a very recognizable pre-existing sonic identity.

layers show that Swisscom is adaptive and progressive."

The challenge was that the existing sonic identity was hard and techni-

The Swisscom word mark was designed in collaboration with Bruno Maag,

cal. "It reflected the brand as it used to be," explains Laikko. "By using

a Swiss-origin typographer, at Dalton Maag. Still loosely based on the

a female voice to hum the melody we introduced a human element that

brand typeface Thesis, the word mark was redrawn to reflect the more

helped portray warmth, simplicity, and closeness to the recognizable sonic

personable, friendly Swisscom. The curves of the word marks' characters

structure," says Wolstenholme.

were crafted to complement the curves of the life-form.

The creative exploration involved discovering the main behavior drivers

Swisscom's red-and-blue color palette was refreshed and consolidated

for static, moving, sonic, and responsive expressions of the brand. Live

across the business lines. The role of white has been emphasized to bring a

sketching and mood-mapping were utilized to gather criteria for the emo-

sense of space, clarity, and fresh innovation. More vibrant accent colors were

tions and final behavior drivers. The client was engaged on the journey as

added for expressiveness and silver to communicate premium offering.

much as possible through workshops and ongoing dialog. This enabled

the creative team to quickly focus the development on the final route.
The final dynamic brand mark is a representation of the new Swisscom.
It is designed to give Swisscom a broader meaning beyond Swisscommunication to Swiss-community. The symbol itself is called the
"life-form." Its free-flowing planes reflect Swisscom's multilayered

How do the customers understand and appreciate the new design?

"The new Swisscom is more inclusive. We believe the new brand engages
the customers by inspiring discussion and allowing people to have their
own opinions about it," says Bowles. "The general perception is that it's a
more friendly mark."

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Design Firm
Client
Pro ject

IOrigin Communications
IAI Ahli Bonk of Kuwait (ABK)
ICorporate Identity Redesign

AI Ahli Bank of Kuwait (ABK) is one of the Arabian Gulf's most established
banking institutions with eighteen retail branches in Kuwait and an overseas
branch in the UAE. The bank has a successful history serving public and
private investors since its creation in 1967. When the bank's management
decided it was time for an identity renewal, it was clear that the challenge
would be balancing the bank's history with its modern vision for the future
in a region where tradition equals trust for many customers.
The bank selected Origin Communications based in Dubai to undertake
the project. "Origin's success stems from over fifteen years of working in
the Arabian Gulf, accumulating vast regional experience in a constantly

,I
aBK

evolving market," explains Origin design director Trevor Halton. "Our team
is made up of many nationalities including a number of Arabic staff, and we

The new identity for ABK (AI Ahli Bank of Kuwait) is modern and

deal with consultants in many Middle Eastern countries."

corporate, yet it is based on a pattern found in a Persian mosaic.

The design, created by Origin Communications, has some
resemblance to the bank's previous design but has more

The bank is expanding around the region into

"shelf presence."

markets where it is not yet established. To

attract new accounts, they needed a fresher

Ifl~

brand to compete in a dynamic market.

"We wanted to refresh the existing brand but were aware that we had to
keep a link to the existing identity. Customer loyalty could erode with a
drastic change. With a rapidly growing populace in the country, we wanted
to create a more youthful image. Sixty percent of Kuwaitis are in their upper
twenties. This changing demographic is having a real influence on branding
in the country," notes Halton. "The bank is expanding around the region
into markets where it is not yet established. To attract new accounts, they

bank desired. The color palette was drab, and many competitors

needed a fresher brand to compete in a dynamic market."

also used blue. The use of all capital letters was neither friendly

The bank's original logo had been in place for five years. The icon is
believed to have been based on a symbol derived from a Persian coin. Its
shape was quite complex. It was clear that a cleaner icon could strengthen
its visual impact from a distance. The Latin letter portion of the old logo
was set in a font probably meant to match the accompanying Arabic calligraphy, but its readability was not ideal. The colors used in the logo were
also re-evaluated.

6!J

ASK's original identity did not have a warm, modern feel that the

LogoLounge 5

nor especially readable.

These sketches show the evolution the new design experienced. The interlocking lines were an appropriate metaphor for the client, who
works with many different sorts of clients and individuals.

At the beginning of the project, the bank intended to refresh its logo, but

The design team explored new directions to look at the bank's heritage and

as the project evolved , the design team at Origin realized that a full brand

find a connection with regional history and modern branding. Extensive

refreshment would be advisable. The client agreed.

research uncovered a Persian mosaic on the fayade of a mosque that con-

A principal task was to sharpen the typography, as the English needed

strengthening. To increase the impact, the Origin designers blended the
lowercase a with an uppercase BK, to make the word mark unique. They
then adjusted the a to give a graphic flow into the B. The serif of the K

tained geometric lines similar to the bank's original icon. The mosaic was
redrawn and softened , with careful attention given to preserve the original
mark's essence. The resulting icon provided the link to the bank's strong
sense of cultural presence in the region.

was curved to help it fit comfortably next to the B. This gave the bank a

The symbol's geometric shapes are interconnected , representing the con-

memorable word mark.

cept of "coming together" for business and personal financial needs. "The

The Arabic lettering needed additional outside help. Arabic calligraphy is a

specialized skill, says Halton, so for the past eight years Origin has worked
with a Bahraini calligrapher who uses pen and ink to create letterforms that
are not only readable, but also stylistically appropriate for the project.
"Initially, we had made recommendations to replace the calligraphy with a
modern Arabic font, but the client requested that we preserve this part of
the original logo. We asked our calligrapher to redraw it making the character 'haa' more legible. We then created more fluidity to the characters
giving greater visual appeal," Halton says.
A variety of metamorphoses of the existing icon then followed .

new symbol is modern , yet it has a link to heritage and a connection to the
old icon ," says Halton. "It combines ABK's traditional corporate characteristics with a vibrant, innovative approach to modern banking.
Research into the competitor landscape led to further modifications. Origin
chose to move away from the existing robust use of blue, which had previously been the primary color in collateral pieces and was the color most
competitors used. The design team chose to differentiate the brand from its
competitors by making yellow the new significant corporate color. In addition, the new brand uses substantial white space in collateral and signage
to keep the system clean and uncluttered.
"By lightening the dark blue, and through the use of yellow, we softened

"When you start on a project like this, the development stage gets to a

the brand making its overall impression friendly and inviting. The ensuing

certain point when it may not reflect the existing logo. That is often produc-

logo refreshment led to further openness to change from ABK manage-

tive as unexpected tangents often lead to the most creative solutions," the

ment, " Halton says.

design director notes.

The new brand has been rolled out across all ABK's marketing collateral

The final ABK logo is a mix of new and old . The bank's original icon was

including credit cards, ATM screens, and websites, as well as branch sig-

used as the jumping-off point to ensure a sense of continuity in the market.

nage and environmental graphics.

We tried 0 uoriety of directions, with the oim of coming up with 0 simple, cleon icon thot could be
effectiuely reproduced on ony modern medium.

"On a project of this nature, a lot of people within a company will become
involved in the decision-making process, and this can hinder its progress. It
is very important to get direct contact with the main decision maker," says
Halton, "Because of this we successfully achieved the new brand rollout
in a short space of time."
The two-way graphic wrap on the bank's head office building for the launch
was the largest ever seen in Kuwait.
"Our launch campaign, 'the new face of banking,' reflects ABK's personality-modern, approachable, and open. Reception to the launch was
extremely positive, and ABK consequently chose to air a TV commercial we
produced during the Holy Month of Ramadan, which was based around the
identity. The adverts show family and business people interacting around a
huge scale model of the logo, which reinforces the idea of the bank being
part of people's everyday lives," Halton says.
The aim of maintaining tradition and recognizability for existing clients while
attracting new, younger clients was achieved, Halton says.
"While leaving a meeting in Kuwait, I overheard a comment that a new bank
had recently opened. Knowing that this new bank is actually celebrating its
fortieth year, I smiled to myself, job done," he adds.

Design team: Trevor Halton, Danesh Kondon, Shuma Rahman, Fahad

Hawandaji, Maria Gaturian, Catalin Marin, John Harper Own, Binoy John

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The new identity is very warm and inviting. Photography shows

images from real life; the new color palette is also lively and fresh.
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LogoLounge 5

----

Our launch campaign, 'the new face of bonking:

reflects ABK's personality-modern, approachable, and open. Reception to the launch was
extremely positive . ..

A large model of the interlocking logo was constructed for an ASK television commercial. It
showed family and business people interacting
around the new graphical identity.

De$ign Firm

Hulsbosch Strategy and Design

Client

Woolworths

Project

Ilogo Design

woolworths
s.ltwhlrNMlP1lb

Woolworths is by far the largest grocery chain in Australia with more than
780 stores, but it faces stiff competition. The company and its competitors
have all grown significantly in the past several decades, but Woolworths
stands out for being the most innovative and having remained consistent and strong with its marketing. "The Fresh Food People" tagline and
accompanying jingle are as well known within the country as the kangaroo
or koala.
Another big part of Woolworths' success is that its stores are run very
much like family businesses: Many of the employees have been there for
ten, twenty, thirty years, or more.

They take their business personally. Part of their

Woolworths
the fresh food people

strength is that they are very passionate about

what they do.

Woolworths' previous logo, a tagline ("The Fresh Food People")

run above the store name, was about twenty years old. Hans Hulsbosch of Hulsbosch Strategy and Design knew the client's tagline

"They take their business personally. Part of their strength is that they are

had great value and knew he would carry it into the new design. In

very passionate about what they do," explains Hans Hulsbosch, creative

this trial, the design is all about people. The heart-shaped fruit or

and managing director of Hulsbosch Strategy and Design (Sydney). Huls-

vegetable looks friendly and open, while symbolizing fresh food.

bosch's team was invited by Woolworths' management to produce a logo

that spoke directly of the key messages of the company- "fresh," "food,"
and "people" - but that was also clearly proprietary to Woolworths and no
other grocery that might make similar claims. They would have six months
in which to complete the project.
Hulsbosch began by considering the tag line: Did it still work for the company? His team researched the largest supermarkets in the world and
studied their taglines and how they were used. After four weeks, he felt
that the Woolworths tagline was quite possibly the best in use today and
that it had the power to last another twenty years.
"The first two months of the project we had many discussions with management to truly understand their business and to us, their whole philosophy comes through in that one line," he says. "Therefore, its words became
my guide in designing the new brand."

rths
the fresh food people

At the same time the Hulsbosch team was working on the project, the company was in the process of revamping all of their store interiors to make the
shopping experience the best it can be (a process that will be completed in
2010). Wider aisles, natural textures, materials, and finishes gave the stores

CD

LogoLounge 5

This smiling concept conveyed the "people" part of the tagline.

o
Woolworths
the fresh food people

FRESH

FOODPEOPLE
WOOLWORTHS

FRESH

FOODPEOPLE
WOOLWORTHS

FRESH

FOODPEOPLE
WOOLWORTHS

"This design was quite fun," says Hulsbosch. "This concept had

Very modern in its design, this concept focused again on people.

six or seven different faces, all made out of fruit and vegetables."

Bright colors suggest freshness and energy.

WOOLWORTHS
THE FRESH FOOD PEOPLE

."
"
~

WOOLWORTHS
TH E FRESH FOOD PEOPLI

Using a fresh green and orange, Hulsbosch here creates a human

shape that is full of energy. In retrospect, he laughs about how
similar it is to the new Walmart logo, which was released after the
Woolworths' mark.

Woolworths
The fresh food people

Woolworths
The fresh food people

Woolworths
The fresh food people

Woolworths
The fresh food people

By placing two hearts together, Hulsbosch formed a W for Woolworths. The heart was also an evocative symbol that, in the context of the store, suggested that food is life.

~
~ ~

"-'

A W-shaped butterfly, emerging from a flower, creates a very

positive, environmentally focused impression.

e
...

Woolworths
The Fresh Food People

Woo Iwo rths

The fresh food people

Woolworths

The fresh food people

Woolworths
the fresh food people

(Above left) This very contemporary approach did not last long as
it was felt to be too trendy and would age too quickly.

(Above right) The client liked this idea very much. The friendly,
The shape of the final logo emerges in this trial. Hulsbosch liked

apron-clad grocer hearkened back to days when food was raised

the simplicity of the approach.

locally and was always fresh. But the concept was eventually
discarded as too male.

(Left) This design is very close to the final, although it is flat.

Here, the "people" element emerges in the shape of a person
with upraised arms. The client requested green as the main color,

woolworths
the flesh food people

although Hulsbosch felt that red is so important in retailing.

The final design refers to fruit, freshness (through green), people
(Center) The logo is shown here in all green, but in one color, the

(person with upraised arms) and the store name (W). Further view-

leaf started to look like a candle flame instead.

ing reveals another human shape: The leaf at top looks somewhat
like a human head, tilted and looking down, toward arms curved in

(Left) Another variation with an additional leaf still wasn't quite right.

a caring posture.

a much more contemporary, inviting image. That twenty-first century feel

also guided the designers in their work.

be almost endless in their flexibility: The stores offered plenty of selections

and, therefore, imagery.

A final consideration comes from Hulsbosch's background in advertising

and design. "I learned to work with identities so that they look right at the
bottom of a print or TV ad, on a truck or on a pen. As I am designing, if
I create something that won't look right at the end of a TV commercial , I
throw it in the bin and start over," he says.

Illustrating people in the new logo also presented plenty of opportunities.

Hulsbosch tried actual and symbolic representations of people-an apronclad grocer versus a heart, for example. Each held interest and potential ,
but Hulsbosch felt that he needed to tie all of the key words together.

Hulsbosch's trials revolved around the key words and similar themes. For
fresh, the color green was a must. It suggested nature, growth, and organic
materials, as well as harmony and well-being.
The key word food, in relationship to the client's business, allowed the
designers a great deal of play. They experimented with a variety of fruits and
vegetables in his trials, noting that logos centered on food imagery would

0.

LogoLounge 5

His final solution not only represents all parts of "The Fresh Food People" in
a single mark, but it also introduces a Wfor Woolworths, making the design
ownable by the company. This final fact would allow the client to use the
logo on its own, without the Woolworths name, on packaging, signage,
uniforms, and other applications, when needed.
"The logo is first and foremost a ltv," the designer says. "Its green color
says 'fresh,' and what could be a fruit or a vegetable is part of the design.

Inside of the design is a person with outstretched arms. The leaf at the top

its signage threw into the atmosphere. So Hulsbosch and the Woolworths'

represents positive thought."

team researched a range of options until they found a firm in the United

In the final lockup, the color red is only used in the store name. "Red is the
color of retail," says Hulsbosch. "It is the color of 'two for one,' and of lower

States that could produce brilliant signage with a 70 percent reduction on

the electricity cost and use.

prices. There is no doubt that Woolworths promotes itself through good

With the logotype, the decision was to be simple and legible. This allows,

value, but we didn't want to say 'cheap."

over time, the logo to stand out, causing it to become the icon for Wool-

So red is only used in-store. "For outside signage, red will not be used.
Instead, signage will be green and dark gray. The gray lifts the image of the
brand in a wonderful way. It just zings off of the sign," the designer notes.
The rounded shapes in the design are very important to its success: They
also say "nature" and "growth," as well as friendliness and caring.

worths without the need for the typographic element. Ellen Lupton, a
designer and writer of note on typography, puts it another way: "Although
many books define the purpose of typography as enhancing the readability
of the written word, one of design's most humane functions is, in actuality,
to help readers avoid reading."
The new logo has all the attributes and personality of the Woolworths'

The gradients in the rounded shapes and the color presented special

brand not only for now but also as the brand moves forward into new and

challenges for signage. Not only are the problems associated with the

exciting phases of development. The simplicity and personable nature of

transition from daylight to backlit night viewing, the Woolworths' manage-

the mark and the association with the essence of "fresh food people" will

ment also wanted to reduce the amount of electricity it used and the heat

ensure the logo's longevity as the identifier of the brand Woolworths.

How the new Woolworths identity will be played out when fully implemented.

with Qantas in 2006. The airline's kangaroo logo, originally designed in 1944 and

QANTAS

updated in 1947, 1968, and 1984 (Hulsbo-

icon in the entire world.

"I knew it was going to be controversial," Hulsbosch says. "In 2006,
the CEO of Qantas invited me for a 'chat' and told me that the company was investing in new Airbus A380 and Boeing 787 aircraft, to
be delivered from 2008. He asked me to go to France and the U.S.,
where the new aircraft were being built and see if the old logo still

a minimum as well, as paint adds weight,

and weight adds to fuel costs. The gold

sch also worked on that update), was not

only revered in Australia, but is possibly the best-known Australian

to keep any paint added to the aircraft to

trim feature was removed and the paint

technology and application techniques were also changed to
streamline costs.
The color red and the kangaroo were, of course, sacred and had
to be kept. But Hulsbosch contemporized the animal a great deal.
The animal is definitely moving: It has a more flowing, organic
shape. The concept of streamlining the existing kangaroo was a
constant thought during the early phases of the design.

worked on the new plane's body. During our conversation we both

agreed that the old logo was tired and dated, but I had to have a

The type that accompanies the mark was also redesigned. The

very good reason for change and to design a new identity."

custom-designed lettering leans dramatically forward. The shapes

and forms mimic that of the kangaroo.

What Hulsbosch discovered after meeting with engineers in

France, in the United States and Australia was that the aircraft

Qantas' new aircraft, complete with new livery, was delivered in

tails in all new aviation design were becoming thinner and taller.

September 2008. It was met with huge interest, discussion, and

The old kangaroo design would simply not fit into this new real

acclaim. Just recently, it was voted one of the ten best identities

estate without significant alteration of shape. Also, as the entire

in the world at the Cannes Design Lion Awards in France.

back horizontal stabilizer on the new planes move up and down,

a large area is designated as a no-paint area due to scuffing.

"People have such a passion for this mark. Many designers think
that it is one of the most powerful airline logos in the world,"

"That meant that applying the old shape would cause the paint for
the legs to be ruined right away, also giving the impression that
the lower leg section was missing." Hulsbosch says.

66

Hulsbosch says.

ORNTR5

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4A Opolis Design, LLC <3 Baby Jogger 48 C!) 01 0 e Sushcof 4C PO LLARDdesign <3 Rain Direct Marketing 40 Ray Dugas Des ign e
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3A Rome & Gold Creat ive e Coffee Mystica 38 e Worth I Design e The Beanery 3C moosylvania e Virgin Mobile & Enterprise WeCar 3D e Fernandez Design e Fernandez Design
4A 0 Schwartzrock Graph ic Arts e Riverbrand Design 48 @ SchwartzrockGraphicArts <3 BI 4C STU N Design and Advert ising <3 Ballet De La Louisiane 40 G) Nectar Graphics e Min isa Ce llars
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3A Opolis Design , LLC e adidas 38 BBMG e Case Foundation 3C e Jan Sabach Design e Perlect Crowd s.r.o. 3D e Calacampania Studios e Somewhat Awesome Design
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3A e Ray Dugas Design e Human Rights Organization 38 0 Bailey Lauerman 2 3C e Dreambox Creat ive e Raymond Augustyniak 3D e LaMonica Design e I Support Learning
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SHAUN SAXON PHOTOGRAPHY

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was appropriate for both categories.

When Shaun Saxon, a Florida photographer who specializes in

found on a camera. Celtic knots, calligraphic scrolls, and matrimo-

custom fine art portraits and documentary wedding photogra-

nial paraphernalia were also explored in these drawings.

phy, decided he needed an identity for his studio, he wanted

to communicate the messages of "high end," "expensive," and
"value added." But he also wanted to get across the nature of his
product: dramatic, dreamy, natural photography with a creative
and edgy fashion feel.

"The infinity loop seemed the obvious way forward since it appears
on the camera lens itself and is also a widely recognized symbol
for etern ity and everlasting love - perfect for an engagement,
wedding, and portrait photographer," Smith says. "The challenge
was to use it in a way never seen before."

One additional requirement: Like many photographers, he needed to

use all or part of the new logo to brand his Web-based display photos
so that they could not be reproduced without permission. This meant
that the new logo should be solid and recognizable enough to be
printed onto the photo margin, like a personal signature.

Smith achieved that by weaving the symbol itself into the word
"Saxon," deftly replacing the a, x, and o. The combination produced a word mark that also housed the logo. It also created
the proprietary mark that the photographer needed for branding his photos (and, eventually, to be used as a watermark for

Designer Roy Smith was contacted by Saxon through a web-

stationery).

site that showcases designers' work. After learning what Saxon

wanted, Smith began the project by assembling a mood board
of various photographers' logos and images that were related

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3A 0 Anabliss Graphic Design e SE2 38 e Phony Lawn e Exclusive Resorts 3C e Juice Media e Reverence 3D Kille Design e The Australian Botanies Company
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38 e Ulyanov Denis e Radiance 3C rylander design <3 The Marketing Farm 3D 0 Dennard , Lacey & Associates e Weibring Wolfard Golf Course Design
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3A e julian peck e Urbivore 38 e Schwartzrock Graphic Arts e Love's Garden 3C Heather Boyce-Braddle e W ildwood Canyon Inn 3D Parallel Creative Group e Big Mountain Soap

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3A Hand d izajn studio e Djecji vrtic Kastela 38 e Gardner Design <3 McCoy Realty 3C E> Tactix Creative 3D Tactix Creative e US Postal Service
4A RARE Design <3 FSOABO 4B Gardner Des ign C3 McCoy Realty 4C Mauck Groves Branding & Design e Griffith Homebuilders 40 Jank Design e TMJ Associates
IF marketing & advertising e Connie Fuller Real Esate 56 Sudduth Design Co. e Ace Hardware 5C Gardner Design e Traditions Home 50 Corder Philips e Habitat for Humanity
2A

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Kobra Culinary Concepts 10 Sayles Graphic Design, Inc. e City of Des Moines
e Burn Creative e Burn Creative 20 id29 e Brown 's Brewing Co.
38 e Mattson Creative e Ministry Studio 3C Paradox Box e ArchStroiProject 3D e San Markos e babel bookstore

Clark Studios, Inc. <3 Deve lopers Research

28 Opolis Design , LLC

e Wild Blue Industries

e Michael Freimuth Creative e Lumpen Media Group

4A Roy Smith Design e Further/Lang ley 4B e Flywheel Design (3 rigsbee hall
3A

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Always Creative

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1C

FUEL Creative Group e

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2C

4C DAGSVERK~Design and Advertising Austurbaer Entertainment 40 Jon Flaming Design Florida Real Estate
Hanlon 5C e Felixsockwell.com NCPHS 50 4:) Palmerlee Design Sky Council Recordings

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1A e Schwartzrock Graphic Arts e Wiese Creat ive 18 e Mattson Creative e Studio 1200 1C e Sam partners e aT Center Korea 10 High Tide Creative <3 Dide Towne
Haven Productions <3 Vellano Go lf & Country Club 28 Banowetz + Company, Inc. <3 Criterion Development Partners 2C e VanPau l Design e TRE Daily 20 EXPLORARE (3 La Encomienda de La Noria
3A Sagetopia <3 Capital Bookfest 38 0 Yaros lav Zheleznyakov e The mayoralty of c ity 3C 0 Sakkal Design e Madina Masjid Kankakee 3D Adler & Schmidt Kommunikations-Design C3 Kuenstlerhaus Bethan ien , Berlin
4A 6) Integrated Communications (leLA) C3 Aspire Japan 48 Today <3 EHSAL 4C @ Martin Branding Worldwide e Prodigy Partnership 40 Ulyanov Den is e Mill
5A Gardner Design e McCoy Realty 56 Van Paul Design e Fortis 5C 0 Iperdes ign , Inc. e terre di s iena 50 Gardner Design e CastleWood Reserve
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1C Karl Design Vienna <3 Humanity 10 E> UNIT-Y C3 Webster Design Associates
c3 C3 Corporate Id 28 Tactix Creative <3 US Postal Service 2C Velocity Design Group C3 Schnepf Farms 20 Storm Desig n Inc. e Factory 1969
3A 0 Pejot e Hipol 38 RARE Design e FSORBO 3C VanPaul Des ign C3 Carticipate 3D ezza Desig n <3 JM Lavagem AutomA_vel
Tower of Babel <3 Citizens of the Road 48 0 Cfx <3 St . Louis Cellars 4C Sayles Graphic Design , Inc. C3 Bonneville 40 0 Extra Point Creative C3 HALO Racing
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E> Vasco Morell i Design e Atomic Tango 1C e Squires and Company e AviEx 10 Greteman Group e Kansas Aviation Museum
<3 Front Range Vista 28 INSP 2C Diagram e EGAC 2008 20 e Diagram e Aeroklub Radom
3A Metropolis Advertis ing e Marriott Vacation Club 38 vladimir sijerkovic e Two Brothers Canoe 3C Glitschka Studios <3 ReThink Communications 3D Oat e S. A. Weiner
4A 0 CF Napa Brand Design e Tug Boat, Inc. 48 mThelogoloft.com <3 Caravel 4C mKarl Design Vienna <3 Q / Mayflower Capital 40 Karl Des ign Vienna Q I Mayflower Capital
SA Burocratik-Design 56 m ANS Harbour Island Tourist Bureau 5C m Greteman Group The Hunting ton Harbour Philharmonic 5D Roy Smith Design Further

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18

Design Greater Than

index
Log onto www.logolounge.com / book5forfreeelectronicaccesstoadatabaseofthelogosinthisbook.Searchforlogosbykeywords.client or design firm name,
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01d 115-4B, 120-2C, 120-2D, 120-5A,

123-3C, 134-5C, 158-4D, 163-3D,
175-1 B

APOKA 158-2A

Brandon Hall 108-1 D

Clark Studios, Inc. 178-1 B

APSITS 111-2C, 113-5A, 119-2B,

121-4B, 132-4A

Brandstorm Creative Group 73-3B

classic lines design 160-3D

1000VOLTIOS 117-1A

Brian Krezel 79-4B, 101-3B, 138-4A

Clay Mcintosh Creative 90-3A

ArchrivaI74-4D , 80-3C, 82-1C, 82-1 D,

170-2C

Bridge Creative 104-3A

Clusta Ltd 87 -4D

Brotbeck Corporate Design AG 80-2C

co:lab 159-2B, 166-2D

BRUEDESIGN 74-2C , 76-5B

Cody Haltom 98-2C

Bruketa & Zinic 76-2C, 90-1 A, 159-5D,

172-4C

cogu design 171-1 C

13THFLOOR 95-3A, 97-3B, 97-3C ,

97-3D , 99-4B , 124-1C, 124-2B

Arianna Orland 90-2D

13thirtyone Design 100-5C, 116-3B

Arsenal Design, Inc. 98-5D

18 Stone Design 104-5B

Art Craft Printers & Design 131 -5D

224 Design 148-1 B

Art Libera, ZAMBEZY 10 115-2B

229126-5C

ArtFly 149-1 A

2B Design 149-2B

Artista Muvek 116-5B

2TREES DESIGN 106-5D, 161-2D

axiom design collaborative 85-5D,

139-4D

3 Advertising LLC 73-3A, 163-4C,

166-1 A

Bryan Cooper Design 108-2A,

110-3B, 112-2C, 124-4B, 129-2C,
132-2A, 137-2B, 169-5A, 174-5A
bryon hutchens I graphic design 89-4B
Buchanan Design 148-5B, 152-5B

b_werk markenarchitektur gmbh

153-2B

Bunch 152-2A

bailey brand consulting 103-5C,

165-2C

Burns Marketing Communications

154-5D
Burocratik-Design 77-1A, 78-3B,
86-3A , 93-4B , 120-5B, 133-1 B,
133-3C, 156-3D, 160-4C, 181-5A

7 Lucky Dogs Creative, LLC 83-3C

Bailey Lauerman 2 105-3B, 112-3A,

115-2A, 120-1 B, 122-2C, 122-3B,
140-5B, 160-4B, 174-1C, 175-1C,
175-4D, 176-2D, 177-2A, 180-5C,
180-5D

73ideas 74-1 B, 78-2B

banana, inc. 83-1 A, 99-1 A

7981 design 76-4C , 129-3D, 132-3C,

140-2B, 152-5C, 156-2D, 160-2D

Banowetz + Company, Inc. 71-1 D,

87-3D , 89-1B , 89-4C , 101-2C, 116-4B,
175-5C, 179-2B

314creative 118-5B
380ne 153-4C, 164-3C
451 Marketing 160-3B
5 Fifteen Design Group, Inc. 153-5C
505Design 77 -4C
5Seven 131 -5A

903 Creative, LLC 83-5C, 88-2C ,

95-2D, 96-4B, 109-3B, 136-3B,
155-5C, 165-2D

Burn Creative 142-3A, 170-3B, 178-2C

Burton (Snowboards) Corp. 90-4C,

97-1B, 109-4B, 164-5D
BXC nicelogo.com 123-2C, 138-1 D
The Byne Group 130-1 B
c3180-2A
Cacao Design 150-2C

A. Shtramilo design studio 80-3B ,

133-2A

bartodell,com 71-5B, 79-1 D, 83-3A,

103-1C, 121-3A, 137-1C, 142-4B,
153-1 B
BBDO NY 72-5A, 83-4B, 89-2C , 95-4A

Campbell Fisher Design 90-5C , 95-4C

A3 Design 112-2B, 155-4D

BBMG 95-3B, 96-2D, 119-3B

Aars I Wells 163-2D

beau bureau Kommunikationsdesign

149-5A

Canvas Astronauts & Agriculture

153-4A

Able 132-4D

Calacampania Studios 119-1 A,

119-1 C, 119-3D

concussion, IIc 164-4D

Coolstone Design Works, Inc. 146-1 C
Corder Philips 79-4D , 177 -5D
Counterpart Communication Design
170-1 B
Cre@ive Design Advertising 138-4C,
174-3D
Creative Beard 141-3A
Creative Conspiracy Inc. 111-4C,
165-1A, 170-1C, 174-4A
Creative Madhouse 174-2D
Creative NRG 79-1 C, 132-4B, 139-2D
Cricket Design Works 106-1 C,
118-1 D, 150-4A
Crosby Associates 88-3D
CrossGrain Creative Studios 154-5A
cruzcontrol design 87-1 B, 175-2C
Cubic 83-4A, 98-2B, 119-5A
Curtis Sharp Design 123-2B

CAPSULE 95-4B

D&Dre Creative 73-1 D, 75-4D, 81-2D,

85-1C , 122-4B, 150-2D, 174-2A

Addis Creson 146-1D, 146-2D

BFive 75-1 D

Adler & Schmidt KommunikationsDesign 179-3D

Big Communications 76-3D, 166-5C,

174-3A

Carmit Design Studio 87-1 D

The Adsmith 160-4D

Billy Graham Evangelistic Association

148-2A

Carrihan Creative Group 141-1 C,

152-3B

Black Osprey Dead Arts 97 -5C , 97 -5D

Carter MediaGroup 89-4A

Blackboard 157 -5A

Caspari McCormick 78-3A

Alexander Isley Inc. 89-5B, 169-5D

Blue Sky Design 152-4B

Cassie Klingler Design 78-5D , 87-1C

Alexander Kapustin 159-5A

Bounce Design Newcastle Pty Ltd

155-3B

Advertising Intelligence 76-4B,

101-5C, 131-1D

CONCEPTO WORLDWIDE 170-4D

cypher13126-4B

Ad Impact Advertising 134-1 D

Adstract Art 81 -4A

Collaboration Reverberation 93-2A,

148-2B

Canyon Creative 137 -5B, 169-4A

Beveridge Seay, Inc. 73-4D, 80-1 D,

111-1 B, 113-3A, 154-5B, 166-2A

Actual Size Creative 78-4B

The Collaboration 75-5B

Carlson Marketing Worldwide

150-1 A, 153-3C
Carrie Dennis Design 137 -3A

D&i (Design and Image) 77-3B, 87-5B,

159-4B
dache 74-3C, 75-3C , 75-5D, 77-1 B,
77 -3C, 83-1 B, 11 0-5C , 152-3D,
156-5D, 159-1 B
DAGSVERK- Design and Advertising
120-2B, 178-4C
dale harris 80-4A, 136-3C, 137-1A,
139-1 C, 156-5B

COl Studios 159-1 D, 160-5C

Daniel Matthews 156-4D

Dara Creative 154-4B

BP Design 169-2D

CF Napa Brand Design 100-2A,

105-2B, 131-2D, 181-4A

BPG Design 120-5C, 156-1 C

Cfx 180-4B

The Bradford Lawton Design Group

109-3D , 120-4C, 121-1 D, 122-5B,
123-2A, 140-1A, 142-3D, 145-2D,
149-4A, 170-2D, 172-5C

Chameleon Design Group, LLC 97-5A

David Beck Design 100-2B, 103-5A,

140-2A, 163-4D

Chan pion Design 73-5B

David Gramblin 168-4A

Che Woo Design 111-4D

David Maloney 160-2C

Brainchild Studios/NYC 72-5D

Cheri Gearhart, graphic design 144-5A

Davis Design 94-5C , 174-3C

Brainding 88-2D, 120-5D, 134-3C,

158-5C

Chris Corneal 142-3C

DBD+A Studio 111-1 A, 144-5D

Chris Herron Design 90-2C , 131-2A

DDB SF 71-4A, 86-4C

Brains on Fire 75-4C , 80-3A, 97-1C,

141-1A,147-2A

debut 161-3C

Amy Lamp Design 145-5C

The Brand Agency 93-5C, 99-3A,

130-5C, 150-3C, 155-2A

Chris Rooney Illustration/Design

77-5D, 90-5B, 106-2D, 110-1 C,
110-2A, 124-2D, 134-4D, 155-1A,
168-2D, 170-5B, 171-4D, 174-4B

Anabliss Graphic Design 145-3A

Brand Bird 130-1 C

Christian Hanson 101-5D

Anagraphic 71-1 A, 77 -4B, 85-4A

Brandbeat 161-1 C, 161-5C

And Partners 160-2B

BrandBerry 78-5A, 101-3C , 133-4D,

164-1 B

Christian Palino Design 72-2A,

149-3D, 157-3D

Alik Yakubovich Agency 70-3D, 152-2B

Alin Golfitescu 117 -5A, 128-5C
Aline Forastieri 89-3B , 113-3C,
137 -1 D, 138-4D, 148-3A, 172-1 C
Allegro Design 144-2A
Allen Creative 129-3A
Alphabet Arm Design 73-1A, 111-1D,
150-3B, 166-4A, 168-5A
Altagraf 117 -2B
Alterpop 83-2C
Alusiv 118-3C
Always Creative 178-5A

Angie Dudley 87-3C

ANS 181-5B
Antoine Rodeghiero 78-2C

Branders, Inc. 128-5B

Brandient 73-2B , 136-5C

Christian Teniswood Branding

161-1 A, 161-5A
Church Logo Gallery 148-1D, 165-5B
cincodemayo 70-4C

Darkstone&Cardinal 113-4A, 141-4B

Deep Design 70-5C

Delineate 118-1 C
demasijones 131-2B, 140-5D, 154-1 B,
157-3C, 161-3D
Denis Olenik Design Studio 73-4B,
73-5C , 101-4A, 121-3D, 129-1 B,
131-4C
Dennard, Lacey & Associates 72-5B,
74-1 A, 74-2A, 86-1 A, 103-4B, 106-5B,

115-3A, 125-2A, 125-2B, 146-3D,

149-1C, 169-1C

ex nihilo 94-1C, 130-5B, 171-2C

Gibson 72-2C

Hotwire, Inc 1 08-5B, 108-5C

Exhibit A: Design Group 130-1 D

EXPlORARE 148-4D, 179-2D

Giles Design Inc. 73-1 B, 118-1 B,

128-2B

Howerton+White 165-5D

The Department of Marketing 174-1 D

Hula+Hula 98-1 D, 100-1 D, 118-4A,

137 -3C , 150-2A, 169-3C

Hubbell Design Works 72-1 B

Design Army 74-2B, 118-2D, 119-5B,

149-3C

Extra Point Creative 92-5B , 136-2B,

180-4D

GingerBee Creative 150-3D, 170-1 D

Design Farm 106-4B, 109-1 B

eye4 inc. 157 -2A

ezzo Design 86-4D, 109-4C, 180-3D

Ginter & Miletina 101-3D, 122-2D,

145-4C, 146-4D, 150-5A

Hutner Group 131-5B

Design Forum 75-1A

face 78-1C

Giorgio Davanzo Design 73-3D

ICG 156-4C

Factor Tres 88-2B

Gizwiz Studio 87-2B, 90-2A

id29 79-3B, 178-2D

Fandam Studio 81-4B, 99-5A, 154-3D,

175-1 D

Glitschka Studios 70-3C, 87 -1 A,

96-4D, 97-2B , 97-4D, 98-3A, 11 0-4C ,
112-4B, 112-5A, 112-5B, 112-5C,
112-5D, 124-2A, 124-3D, 124-4C,
124-4D, 125-3C, 125-4B, 126-5D,
129-1C, 131-3B, 136-1C, 137-5A,
141-2C, 145-1A, 181-3C

IdeaWorks-Brand ID 144-3A

Design Greater Than 181-2A

Design Hovie Studios, Inc. 138-3A
Designer Case 71-3D, 119-4D
designheavy 74-5A
DesignPoint, Inc. 104-4D
Designwerke Inc. 79-3C
DesignWorks Group 138-4B

Felixsockwell.com 92-3C , 93-3B ,

119-1 B, 132-5D, 140-3B, 163-1 C,
178-5C

DEVELOPED IMAGE PTE lTD 152-4A

Fernandez Design 117 -3D, 118-2B,

130-1A, 136-3D, 136-4A, 137-2A,
165-3D

Dezion Studios 175-3D

Fifth letter 95-5B

Dessein 101-1 D, 153-2A

diadik 123-1 B

Gingerbread lady 90-2B , 99-3C

Identica Branding and Design

145-5A, 146-5D
IF marketing & advertising 171-1 D,
177-5A
Ikola designs ... 83-4D

The Globe Advertising + Design

86-3B , 99-4C

IIlustra Graphics 88-4C

Go Media 170-4C

Image Public, Inc. 11 0-2D

Go Welsh 147-2B

Imaginaria 94-4B

Goloubinov 121-4A

INDE 95-1 B, 164-2B

FIRON 157 -4B , 172-1 D

Graphic design studio by Yurko

Gutsulyak 156-5C

Indigo Creative 134-1 C

Filthy Clothing 93-2D

Diagram 74-4A, 89-5D , 90-4A , 90-4B ,

111-3C, 115-2D, 120-3A, 121-3C,
123-4D, 124-4A, 132-5B, 140-2D,
149-2C, 158-3B, 166-4B, 181-2C,
181-2D

Finch Creative 80-2D

Fischer Design 148-1 C

Graphic Nincompoop 115-3D

Digital Flannel 70-2D, 130-3C,

147-1C, 168-3B

Fiton 81-2A, 109-1A, 153-3A, 166-3D

Graphics & Designing Inc. 78-1A,

97-3A, 123-2D, 132-1C

Digital Slant 86-2B, 88-5A, 100-3D,

140-1 B

Hvita husid 164-2C, 166-5B

Firehouse 169-4B

FiveNineteen: a print + motion +

interactive design boutique. 169-1 A

Graphismo 139-3A

Imadesign, Corp. 78-2D

Inertia Graphics 105-2C

INSP 181-2B
Integrated Communications (IClA)
113-5C, 123-4B, 179-4A
Integrated Media, Inc. 166-3C

Fixation Marketing 157-2D

DikranianDesign 154-2C

Green Olive Media 70-5B , 83-2A

Fleishman Hillard 133-5C, 168-3A

Dill and Company 101-2B

The Flores Shop 122-4D, 176-3D

Greteman Group 116-2B, 126-1 C,

137-3B, 165-4C, 181-1D, 181-5C

Doink, Inc. 118-5D, 175-5B

Flow Creative 96-3C

GSW Worldwide 123-3A

Dotzero Design 74-3D, 82-4D , 95-1C ,

111-4B, 111-5C, 115-1 D, 171-4C,
178-5B

Fluid Studio 88-5C, 166-1 B

guten tag! 129-3C

Flywheel Design 158-2B, 175-4B,

178-4B

Gyula Nemeth 113-4D, 121-5B, 128-3C

Ivey McCoig Creative Partners

78-4C, 118-4D

H2 Design of Texas 81-2B

Jajo, Inc. 80-2B , 140-4C

Double Brand 94-5A

For the love of Creating 86-1 D,

121-3B,171-5C

HA Design 76-5D

Dragulescu Studio 81-5B , 106-3D

ForeScene & Your Eyes Here 141 -5A

Double A Creative 130-4C, 175-5A

The Drawing Board 81-1 B

Forthright Strategic Design 123-4A

Dreambox Creative 122-3C

Franke+Fiorelia 116-3A

Driving Force 72-4B, 78-4A, 109-5A

Freeman Design 139-5A, 163-4B

Duffy & Partners 94-1A, 139-4C,

164-1 D

Fresh Design 90-1 B

DUSTIN PARKER ARTS 103-3B,

112-3C
E. Tage larsen Design 131-4A
e-alw.com 156-3B

Habitat Design 82-2C

Interbrand Sao Paulo 145-1 D

Iperdesign, Inc. 92-1 D, 106-2A, 179-5C
ism 174-5D
Ivan Manolov 97-5B

James Arthur & Company 104-4A

James Kelly 96-2B

Haley Johnson Design Co. 116-2A,

133-4B

Jan Sabach Design 119-3C

Hand dizajn studio 74-4B , 76-3A,

121-4C, 160-1B, 177-3A

Jarek Kowalczyk 73-2A

Jank Design 177 -4D

Javen Design 118-2A

Fresh Oil 71-3C

Haven Productions 128-3A, 133-1 A,

179-2A

Freshwater Design 137-3D

Hayes Image 123-4C, 133-3A, 164-1 C

Jeffhalmos 71-3A, 93-5B

FUEL Creative Group 149-2A, 175-3B,

178-1 C

Hayes+Company 172-5A

Jeni Olsen Design 148-3C

Hazen Creative , Inc. 74-3B , 75-2A,

157-1A

jenn gula design 112-4D

Jerron Ames 77-5A, 104-5D, 113-2C,
125-2C, 136-4B, 150-1 C

Jeff Andrews Design 98-3C

Jennifer Braham Design 92-3A

East 14th Creative, Inc. 130-5A

Fuelhaus Brand Strategy + Design

104-3D

Eben Design 159-4D

fuszion 133-4A

Headshot brand development 74-5B,

121-1A

Effusion Creative Solutions 79-3A,

152-5A

futska IIc 126-4D

Headspring Design 147 -4B, 160-4A

Jerry Kuyper Partners 152-2D, 157-1B

FutureBrand 120-4D, 134-2A

Heather Boyce-Broddle 147-3C

JG Creative 129-4A
Jill Bell Brandlettering 176-1 D

EHA 88-4B, 97-1A

FutureBrand BC&H 85-2B, 89-2A,

99-3B

Hecht Design 93-5D , 99-3D

Heisel Design 75-2B

Jill Carson 123-5D, 169-3A

eight a.m. brand design (shanghai)

Co., Ltd 73-3C

Fuze 138-5C

Helena Seo Design 170-5D

jing 142-1 D

Galperin Design, Inc. 144-2D

Helius Creative Advertising 113-5D

JINIZM 164-5A

Gardner Design 71-5D , 72-1A, 72-2D,

74-4C, 76-1D, 80-1A, 95-2C, 96-1C,
99-1C , 101-1A, 103-1D, 105-4C,
110-5D, 111-5B, 115-2C, 122-2B,
123-1A, 129-1D, 134-2C, 134-3A,
134-5A, 137-4D, 139-3B, 139-3D,
139-4B, 141-4A, 141-4D, 152-3C,
153-2D, 154-1D, 154-2D, 155-1D,
155-3A, 155-4A, 155-4B, 155-5A,
155-5B, 155-5D, 156-1 D, 156-3C,
157-2B, 157-2C, 158-3C, 158-4A,
158-4B, 158-4C, 160-1 A, 160-3C,
160-5B, 161-1 D, 164-3A, 164-5B,
164-5C, 165-5A, 166-5D, 170-4A,
177 -3B, 177 -4B , 177 -5C , 179-5A,
179-5D

Hemmo.nl 71-4C , 75-1 B, 121-2A,

122-2A, 148-4C, 150-1 D, 154-2A

jKaczmarek 70-5D, 79-5A, 89-1 A,

164-1A

HendrixRaderWise 129-5A

Jobi 119-4A

Hero Design Studio 112-2D, 134-1 B

The Joe Bosack Graphic Design Co .

126-2C, 141-1B, 141-2D

Eggra 154-2B

EI Creative 120-4B, 165-4D

EI Paso, Galeria de Comunicacion
153-1D, 177-1D
elbow 78-3C , 11 0-2C
eldesign.ru 170-3A
Eli Atkins Design 99-4A
Eli Kirk 85-5B, 125-1 A
ellen bruss design 134-1 A, 136-4C
Emblem 121-2B, 172-5B
Entermotion Design Studio 101-3A,
105-5C, 111-3B, 159-5B, 164-4C,
169-3D, 170-4B, 172-3C
Entropy Brands 166-2C
Envision Creative Group 105-3D

Herrainco Brand Strategy + Design

81-2C

Joel Storey Design 146-1 A

Hexanine 122-5A

Jon Duarte Design Group 145-2C

Hiebing 86-1C, 108-3A

High Tide Creative 132-3D, 179-1D

Jon Flaming Design 93-2C , 125-4A,

178-4D

Hill Design Studios 103-3D

Jon Kay Design 103-5D, 108-3B

Hirschmann Design 75-1C , 113-5B,

134-3B, 140-3C, 144-4B, 145-5B,
164-3D, 165-3B, 166-5A, 174-3B

joni dunbar design 116-3C

Hoet & Hoet 71-2D

JoshuaCreative 124-2C

Josef Stapel 98-1 B, 170-3C

josh higgins design 134-2B

The Eppstein Group 106-5A, 163-2C,

171-2A

Gary Sample Design 108-3D

Home Grown logos 103-5B

GCG Advertising 79-4A

Jovan Rocanov 89-2D, 142-3B

Erwin-Penland, Inc. 105-1 C

Honey Design 120-2A

GDNSS 95-5A

joven orozco design 119-4B

ESD 175-5D

HOOK 101-1C, 101-4D

Gee + Chung Design 141-3B

juancazu 121-1 C, 170-1 A

Essex Two 112-3B, 117 -5C

Gesture Studio 95-3C

Hornall Anderson 72-1 C, 76-2D ,

88-2A, 115-3B, 152-4C

Judson Design 132-5A, 147-1A,

168-5B, 174-5B, 175-2B

eurie creative 159-3D

Juice Media 145-3C

Lizette Gecel 113-1 A

The Mixx 158-1D

julian peck 85-2D, 89-5A, 94-1 B,

124-1 D, 134-3D, 147-3A, 165-3A,
172-4B, 177 -2C

logobyte 121-2C
LogoDesignGuru.com 72-4C, 134-5D,
138-3C, 146-2A, 147-4C, 165-4A

mod&co 109-5B, 123-1C, 131-5C,

150-5C

Just Creative Design 79-4C, 166-1 C

Logoholik 134-5B, 169-2A

K2 Creative, Inc. 89-3C

Logoidentity.com 176-2A

Kahn Design 77-4A, 160-2A

Loop Design 118-2C, 129-4D

Karl Design Vienna 70-5A, 71-1 B,

75-5A , 78-5C , 80-3D, 81-1A, 86-4A,
98-2D , 11 0-4B, 113-2B, 120-4A,
133-2D, 134-4A, 134-4B, 134-4C,
165-1 C, 168-1 D, 168-3C, 171-4A,
175-1A, 176-1B, 180-1C, 181-4C,
181-4D

Luke Despatie & The Design Firm

70-2A, 80-5B, 96-2A, 129-1A, 129-3B,
130-4D, 147-5C

Kastelov 82-4B, 139-2B, 163-3C

Kate Resnick 85-4C, 136-5B

M. Brady Clark Design 89-1 C, 126-1A,

171-5A

Kessler Digital Design 133-3B

mlsane industries 85-3B , 169-5B

Kevin France Design, Inc. 163-5D

M3 Advertising Design 81-1C

The Key 83-5A

MacLaren McCann Calgary 77-2B

Kille Design 145-3D

Macnab Design 145-4D

King Design Office 75-5C , 81-4D ,

93-3A, 104-5A, 150-5D, 159-4A

Madomat 75-3B

Kirk Miller 94-2A

Marblehead 94-3C, 111-2A, 119-2C

KITATM I Visual Playground 119-2D

markatos I moore 89-2B

Kloom 113-1C, 122-1B, 126-1D,

155-2C

Marlin 103-3C, 121-5A

lunabrand design group 126-5A

Lunchbox Design Studio 148-2D
Lynde Design 172-2A

Mojo Solo 79-1 B, 82-4A, 11 0-5B,

145-5D
Moker Ontwerp 73-2D , 79-1A, 85-4D ,
100-3C
monkeebox inc. 156-4B

Oxide Design Co. 75-4B, 129-2B,

140-5A
Ozidea 153-1 C
p11creative 161-4A
Pale Horse Design 124-5B
Palmerlee Design 178-5D
Pandemonium Creative 176-4D
PaperSky Design 142-5A

Monster Design Company 81-5A,

111-5A, 169-5C

Pappas Group 72-3C

moosylvania 74-5C, 85-3C, 90-3C,

112-1 C, 117-3C

Paradigm New Media Group 165-1 D

Parachute Design 79-2D

Welcome Moxie 90-5A

Paradox Box 83-2B , 92-5A, 178-3C

MSDS 85-5C , 153-4B, 157 -4D

Parallel Creative Group 147-3D

MSI 86-2C, 88-4A, 137 -5C, 149-5B,

149-5C, 156-1 A, 165-2B

paralleldesigned 85-1 D
Park Avenue Design 101-4B

Muamer Adilovic DESIGN 72-4D,

83-3D , 168-4C, 170-2B

Parker White 124-3B

MUELLER design 82-3D

mugur mihai 113-2D, 126-3C, 144-5B

Patten 10 116-5A, 132-2C, 142-4A,

174-2C

Muku Studios 104-1 B

Paul Jobson 80-4D , 153-4D, 172-5D

MultiAdaptor 152-2C

Paul Svancara 139-5C, 164-4A

Murillo Design, Inc. 76-1 C, 113-4B,

126-1 B, 128-5A, 129-4C, 131-3C,
142-2C, 172-3A, 172-3B, 172-3D

Pavone 82-1 B, 133-5B, 163-3A

Martin Branding Worldwide 138-3B,

179-4C

My Card, My work. 154-4D

Peak Seven 149-3B

Natale Design 142-4D

Nectar Graphics 112-2A, 117 -4D

pearpod 93-5A, 109-4A, 122-4A,

123-3D, 149-5D

Koch Creative Group 154-5C

The Martin Group 124-5C, 136-3A,

140-3D, 146-5A, 171-3C

Pearson Education Ltd 98-1 A

Martin Jordan 94 -4A, 153-2C , 159-4C

NeoGrafica 116-2D

Koetter Design 148-1 A, 148-3D

Pejot 128-4D, 180-3A

Matchstic 82-3B, 120-3B

Newhouse Design 76-1 B, 83-1 C

Kolar Advertising and Marketing

105-3A, 11 0-3D

Neworld Associates 154-3C

Penhouse Design 138-5B

Matt Barratt Design 157 -5B

Kommunikat 70-4D, 93-4D , 99-2B ,

99-2C, 152-3A

nGen Works 98-3D, 133-1 D

Periscope 138-2D, 150-4B, 169-3B

Mattson Creative 82-4C , 130-3A,

178-3B, 179-1 B

Nicole Romer 126-3B

Kommunikation & Design 119-5C,

157-1 D

Nissen Design 98-4C

Phil Foss Design 87 -3B

Koray Sahan 87-5D

Mauck Groves Branding & Design

74-1C, 92-5C , 113-1D, 123-5B,
130-3B, 177 -4C

Nicole Ziegler 82-5A

Peterson Ray & Company 131-2C,

164-4B

nixture 139-2C

KROG, d.o.o. 176-3A

Maycreate 147 -4D

noe design 77-1 C, 94-1 D, 96-1 D

Phinney/Bischoff Design House

159-2C

KTD 100-4D, 132-4C

McConnell Creative 136-4D, 177 -2D

northfound 93-2B

Kurt Snider Design 85-3A

McDill Design 103-2D, 104-3B,

105-4B, 124-3A, 147-1B

NOT A CANNED HAM 92-3B, 100-4A,

171-3D

McGarrah/Jessee 94-2C , 104-1 A

NOVOGRAMA 81-4C, 148-2C

Phony Lawn 72-3D, 76-5C, 82-1A,

86-3D, 92-5D , 106-3B, 106-3C,
117-2C, 145-3B, 149-3A, 155-3D,
161-5D

McGuire Design 74-1 D, 109-3C,

128-4A

Nynas 116-3D, 116-4A, 121-4D

Piccirilli Group, Inc. 165-5C

o.pudov 93-3D

pictogram studio 115-5A

the medium 140-4B

Oat 181-3D

Pierpoint Design + Branding 118-4C

Megan Thompson Design 129-4B,

157-5D

Obnocktious 153-5D

Pikant marketing 131-1 B, 146-3A

Octavo Designs 100-4C

ODA 78-1 D, 161-5B

The Pink Pear Design Company

111-4A

metaforma design 156-2B, 158-5D

ODM oficina de diseiio y marketing

86-5C

Pink Tank Creative 89-5C , 150-2B,

161-3B

Metropolis Advertising 147 -5A,

172-4A, 181-3A

Offbeat Design 131-4D

Plumbline Studios 80-2A, 82-3C,

154-4C

KNOWGOODER 128-5D, 137-4C

Kobalto 161-4D

Kuznets 97-4C, 160-5A, 168-3D

L *U*K*E 70-3A, 71-4B, 141-4C, 180-5A
La Visual 88-1A, 99-1D, 149-2D,
169-2C, 171-2D
Label Kings 75-2C, 81-5D, 108-4C
LaMonica Design 122-3D, 147-4A,
163-1 D
LAMORA 175-3C
Landor Associates 72-3A
The Laster Group 98-5C
Launchpad Creative 75-2D
legofish 120-1A
LEKKERWERKEN 76-2A, 109-2B,
109-5C, 112-4A, 126-4A
Leo Design 126-4C
Level B Design 144-3D
Levy Innovations 122-1A, 141-3D,
161-2B

Manifest Communications 85-2C

Meir Billet Ltd. 73-2C, 117 -2A

MendeDesign 85-4B, 90-5D

Mez Design 144-4D

The Office of Art+Logik 81-5C ,

105-1 B, 119-5D, 159-2D

Michael Freimuth Creative 80-5C,

178-3A

Officina delle idee 169-1 D

Michael O'Connell 98-4D

Michael Patrick Partners 88-5B,
109-2D
Mikhail Gubergrits 90-1 C, 146-4B

ohTwentyone 78-2A , 80-5A

Oliver Russell 105-3C, 125-5C
Oluzen 88-4D
O'Mahony Design LLC 70-4A

Passing Notes, Inc.117-1B, 130-2B

Pawel Tomas "Substrate" 77-5B,

133-1C, 153-5B, 161-2C, 166-2B

Phixative 11 0-3A, 158-1 B

POLLARDdesign 81-1 D, 109-5D,

110-3C, 115-4C, 132-2D, 136-1D,
140-3A, 170-3D, 178-1A
Popgun 97-4A
Porkka & Kuutsa Oy 72-2B, 77-1 D,
133-4C, 138-1 B

One Minute Hero 130-4A

Prana Design + Art Studios 101-5B,

118-5C

ONEDRINPEN 168-5D

Prejean Creative 76-3B, 79-2C

Oomingmak Design Company 106-1 A

PULK 155-1 B

Open Creative Group 176-5B

Pumpkinfish 118-3A

Mindgruve 118-3B, 150-5B

Opolis Design, LLC 100-3B, 115-4A,

119-3A, 134-2D, 141-2B, 145-2A,
150-4D, 178-2B

Pure Identity Design 79-5D, 86-5A,

121-1 B

Mindpower Inc. 95-4D

ORFIK DESIGN 117-5B, 172-4D

Mindspike Design 106-1 B

Quantum Communications/
Brandcentral 146-5B

Origami 138-1 C

Quentin Duncan 132-3A

Liquid Agency 77-4D, 88-1C , 92-3D,

94-3B, 152-1 D

MINETM 71-4D, 77-3A, 96-4A, 139-5D,

159-3A

R Design LLC 140-2C, 171-5B

Liquid Comma 70-4B

mlQelangelo 82-5D

orton design 79-2B , 87-4B , 125-1D,

125-2D, 126-5B, 128-4B, 148-5A,
174-2B

Liquid Inc 109-2C

Miriello Grafico, Inc. 89-3D

Liquid Pixel Studio 92-2A, 96-3B

Mirko llic Corp 168-2C

Little Jacket 129-5B, 168-1 C

Mitre Agency 100-4B, 103-2C,

105-1A , 117-1C

LGA / Jon Cain 86-2D

Lienhart Design 128-2C
Liew Design, Inc. 76-2B
Lightship Visual 116-2C
Lilagan Pandji Design 125-3B,
129-5C, 147-1D
LlOBmedia 148-4A
Lippincott 78-5B, 81-3C, 83-1 D,
156-2C, 157-4C, 158-3D, 161-1B

milano.design 104-1 D
Miles Design 90-1 D, 94-5D
Milk Creative Services 94-3D
Miller Creative LLC 168-4B
millspaz design 169-4C

Oscar Morris 74-3A, 112-1 A, 131-1 C,

136-2D, 180-5B
Ostrov Svobody 129-2D

R&R Partners 76-4A, 77-2C, 81-3A,

83-3B , 94-5B, 104-2D, 113-1 B,
120-3D, 132-3B, 144-2B, 174-4C
Rain Design 75-3A, 86-1 B
Raise Studio 144-4A

Ramp 153-5A

Sally Says 104-2C

Range 71-2B , 133-3D, 158-3A

Sam partners 179-1 C

Studio Simon 108-1 C, 108-2C,

108-2D, 132-2B, 141-5C

Traction 108-3C

studio sudar d.o.o. 116-4D

Trapdoor Studio 103-4C

Tran Creative 76-4D, 93-4C , 169-2B

RARE Design 105-2D, 108-4B,

108-5A, 11 0-2B, 115-3C, 137 -2D,
138-2A, 177 -4A, 180-3B

San Markos 92-4D, 139-2A, 158-1 C,

178-3D

STUN Design and Advertising 117 -4C

Tribambuka 140-1 D

Sandstrom Design 92-2D

Stuph Clothing 80-4C , 98-5B

Triple Frog LLC 153-1 A

Ray Dugas Design 70-2B, 115-4D,

122-3A

Sayles Graphic Design, Inc. 106-4C,

142-2A, 144-4C, 148-4B, 178-1 D,
180-4C

Stygar Group, Inc. 71-2A, 103-2B,

128-3B

TRUF 87-3A

Schwartzrock Graphic Arts 86-5D,

94-4C , 95-5D, 96-4C, 97-1 D, 97-2C,
97-2D, 98-4B, 100-2D, 109-1D,
112-1D, 115-5D, 116-1A, 116-1B,
116-1C, 116-1D, 116-5C, 117-4A,
117-4B, 119-4C, 120-1C, 121-5D,
122-1C, 122-1D, 128-1C, 128-2A,
136-5D, 142-5B, 144-1 C, 146-2B,
147-3B, 147-5D, 149-4C, 166-3B,
175-4C, 176-2B, 176-3B, 179-1A

Sudduth Design Co. 92-2C, 177-5B

raykodesign 79-3D
Razor Creative 133-5A
RDQLUS Creative 81-3D
Re Generate Design 145-2B
Reaction Design & Printing 96-2C ,
121-2D
Reactive Mediums 132-5C
reaves design 78-3D, 98-4A, 168-4D
Red Olive Design 111-3A, 113-4C,
119-1 D
Red Brand 106-5C, 159-1 C, 170-2A

SCORR Marketing 130-2A, 147-5B

redkai 87 -2A

Seamer Design 119-2A, 155-4C

Subplot Design Inc. 156-5A

Sunrise Advertising 101-2D
supersoon good design 101-1 B
Sussner Design Company 105-4A,
136-2C, 142-5D, 165-4B
sv 80-4B , 97 -5C, 97 -5D

Truly Design 97-4B

Tyme Inc. 163-5B
Type Fanatic Design 124-3C
TypeOrange 153-3D
ulitenko 112-3D
UlrichPinciotti Design Group 74-5D ,
120-3C

Synergy Graphix 71-3B , 133-2C,

157-3A

Ulyanov Denis 85-3D, 88-5D, 99-2D,

104-1C, 137-4B, 141-1D, 146-3B,
156-1 B, 156-2A, 163-4A, 171-3B,
175-2A, 179-4D

Synthetic Infatuation 92-4A, 144-5C

united* 87 -4A

T H Gilmore 74-2D

UNIT-Y 75-4A, 77-5C, 106-4A, 159-3C,

180-1 D

Swanson Russell 73-5D, 106-4D

Relevant Studio 101-5A, 138-5A

Sebastiany Branding & Design 71-5C ,

100-5B, 133-2B, 148-3B, 152-5D,
154-3A, 160-3A

resonate design 144-3B

Severance Digital Studio 109-3A

Tactical Magic 73-5A

UTILITY 77-2A, 80-50

Respiro Media 165-2A

Reveal Creative 87 -5A

Shawn Huff 113-3B, 147-2D, 166-1D,

171-5D

Valhalla I Design & Conquer 98-2A,

130-5D, 158-2D

Rhombus, Inc. 109-2A, 118-4B

Shift Thinkers 154-1 C

Tactix Creative 70-2C, 82-3A, 97 -2A,

110-1D, 115-5C, 177-3C, 177-3D,
180-2B
Tailor Designs 95-1 A

VanPaul Design 99-5D, 108-2B,

110-4A, 110-4D, 118-1A, 126-3A,
137 -1 B, 179-2C, 179-5B, 180-3C

Redspine Design 177-2B

Richard Ward Associates 89-3A

Shotgun Front Ltd 133-5D, 176-3C

T&E Polydorou Design Ltd 139-3C,

149-1B, 152-1C

Tallgrass Studios 146-4A

Richards Brock Miller Mitchell &

Associates 171-3A

Sibley Peteet 79-2A

Sinclair & Co. 71-2C

Rickabaugh Graphics 126-2A,

128-3D, 131-3A, 140-4D, 168-2B

Tandem Design Agency 128-4C,

153-3B

Skin Designstudio 95-3D, 96-3D,

155-1 C

Tandemodus 95-5C

RIGGS 130-3D, 139-4A

Skybend 71-5A, 101-4C , 123-3B,

125-1 C, 136-2A

The Right Hand 78-1 B, 129-2A

Tanoshism 88-1 D, 99-4D

tarsha hall design 142-4C

Urban Influence 92-2B

Van Cyber Design 125-3D

Vasco Morelli Design 95-2A, 129-5D,

181-1B
Velocity Design Group 72-4A, 79-5B,
79-5C, 103-2A, 103-4A, 104-3C,
105-5A, 105-5B, 124-5D, 126-2D,
128-2D, 136-5A, 180-2C

Small Dog Design 142-5C

Taxi Canada 71-1 C

Smith Design 144-3C

Taylor Design 159-3B

RIZN Communication Design 95-2B

Snap Creative 82-5C

Team Y&R 75-3D , 158-5A

Vigor- interactive branding strategy

86-4B , 158-2C

Rob McClurkan Illustration 126-3D,

131-4B

S02 DESIGN 94-4D

TFI Envision, Inc. 117 -2D

VINNA KARTIKA design 88-1 B

Sockeye Creative 111-1 C

thackway+mccord 157-3B

Vision Creative Inc. 139-1 B

Sol Consultores 150-3A, 164-3B

Thelogoloft.com 123-1 D, 159-2A,

176-2C, 181-4B

VisualCrave 99-2A

Riley Designs 116-4C, 122-5D,

130-2D, 176-4C

robin ott design 147-2C

The Robin Shepherd Group 73-1 C,
111-2B, 112-4C, 142-2D, 149-1D,
166-4C, 168-2A

Sommese Design 138-5D

Soren Severin 70-1 C, 168-5C

themarsdesign.net 145-4B, 146-1 B,

146-2C, 146-5C, 149-4B, 158-1A

visual MAFIA 172-2B

Vital 172-1B

Vlad Ermolaev 82-2B , 98-1C

RocketDog Communications 92-1 C

SOUL 169-4D

Rocketlab Creative 100-2C, 148-5C

Sour Cream Glaze 176-5C

Thermostat 82-2A, 89-4D

Rocketman Creative 181-1 A

Source Mecca 125-4C

vladimir sijerkovic 109-1 C, 142-2B,

181-3B

Thielen Designs 140-4A

Roman Kotikov 78-4D, 80-1 C, 156-3A,

159-1A, 171-2B, 174-4D

soViet 77-3D , 93-3C , 141-5D, 156-4A

volatile-graphics 96-3A, 157-1 C

Think Cap Design 163-2A

Spark Studio 160-1 C

Voov Ltd. 99-5B , 99-5C , 145-1 B

Thinking*Room Inc. 76-1A, 76-3C

Rome & Gold Creative 11 7 -3A

Special Modern Design 93-1 C

Thinkpen Design , Inc. 126-2B

Rosendahl Grafikdesign 165-3C

Walsh Associates 90-3B, 90-3D,

161-4C

Spela Draslar 111-3D, 142-1 C

Thirtythr33 99-1 B

Roskelly Inc. 140-1 C

Wantulok Design 87-2D, 150-1 B

Splash:Design 85-5A

this is nido 96-5B, 125-5B, 142-1 B

Roy Smith Design 72-3B , 87-4C ,

93-4A, 109-4D, 111-5D, 118-5A, 1311A, 144-2C, 157-5C, 160-5D, 161-2A,
161-3A, 169-1B, 176-5D, 177-1C,
178-4A, 181-5D

Webster Design Associates Inc. 94-2D

Spoonbend 1 04-4B , 155-3C, 160-1 D,

161-4B

Thomas Cook Designs 104-2A, 138-1 A

Westwerk DSGN 100-3A, 137-4A

Spork Design, Inc. 117 -5D, 145-1 C,

174-5C

Thread Design 152-4D, 163-3B

Weylon Smith 131-3D

Threds 176-1 C

WHA 86-5B

Spring Advertising + Design 86-3C

three 106-2C

Whaley Design, Ltd 81-3B

squiggleS 83-2D , 154-4A

Tim Frame Design 83-5B , 92-4B,

103-3A, 103-4D, 104-2B, 122-5C,
171-4B

Whole Wheat Creative 72-1 D, 164-2D

The Royal We 83-5D

Rubber Design 117-1D, 130-2C,
148-5D

Rubin Cordaro Design 172-2C

Rumfang 130-4B, 165-1 B
The Russo Group 94-2B

Squires and Company 73-4C , 100-5A,

110-5A, 113-3D, 118-3D, 121-5C,
125-1 B, 128-1 D, 132-1 D, 138-2B,
138-2C, 140-5C, 141-2A, 155-2D,
163-2B, 166-3A, 175-3A, 181-1 C

Theory Associates 137-5D, 144-1 D

Timber Design Company 155-2B

Timbuktoons 96-5D
Today 115-5B, 139-5B, 179-4B

Willoughby Design Group 120-1 D

WONGDOODY 146-4C
The Woodbine Agency 73-4A
Worth I Design 112-1 B, 113-2A, 117 -3B
Wox 92-4C, 98-5A, 104-4C, 106-1 D,
125-3A, 176-4B

Ryan Ford Design 94-3A

Steve Cantrell 72-5C, 108-5D, 150-4C,

166-4D

Todd Linkner Design Associates

141-3C

Ryan Kegley 172-1 A

Steve Dunphy & Co. 80-1 B, 154-1 A

Ryan Smoker Design 145-4A

Steve's Portfolio 163-5C

TOKY Branding+Design 89-1 D,

93-1 A, 93-1 B, 96-5C, 104-5C, 106-2B

Stiles Design 123-5C, 125-5A

Tom Law Design 175-2D

Storm Design Inc. 180-2D

Toman Graphic Design 82-5B

Strategic America 105-5D

Tomko Design 176-4A

Yaroslav Zheleznyakov 86-2A,

87-5C , 95-1D, 96-5A, 100-5D, 115-1C,
125-5D, 179-3B

S Design, Inc. 82-2D

The Strategy Group LLC 164-2A

Tomsuey Inc. 141-5B

Yield, Inc. 90-4D, 137-2C

S4LE.com 125-4D

Strategy Studio 178-2A

Torch Creative 70-3B , 108-4A, 139-1 A

Youngha Park 88-3C, 175-4A

Sabingrafik, Inc. 77-2D , 116-5D,

138-3D, 154-3B, 176-1 A

String 87 -2C

Totem 157 -4A

Struck 105-2A, 159-5C

Zed+Zed+Eye Creative
Communications 88-3B

Sagetopia 179-3A

Studio Limbus 98-3B

Sakkal Design 179-3C

Studio Nine Creative 122-4C

Tower of Babel 76-5A, 93-1 D, 100-1 C,

105-4D, 106-3A, 123-5A, 149-4D,
180-4A

RWest 105-1 D

rylander design 70-1 D, 88-3A,

146-3C, 163-5A, 170-5A, 170-5C,
172-2D, 176-5A

TPG Architecture 158-5B

www.admarc.com 85-2A
www.zka11 .com 83-4C, 142-1A
XYNTFK 108-4D, 124-5A

Zieldesign 101-2A, 111-2D

Zwoelf Sonnen 139-1 D

directory
Old
Belarus
+375 29 6601228
www. l d.ru
1000VOLTIOS
Colomb ia
57 1 69 11 044
229
United States
864-915-7154
www.229 inc.com
13THFLOOR
United States
949-429-3055
www. 13t hfloordesign.com
13thirtyone Design

United States
715-531-0125
www. 13t hirtyone.com
18 Stone Design
United States

704-300-2895
www. 18sto nedesign.com
224 Design
United States

540-819-4008
28 Design
United States

724-449-7077
2TREES DESIGN
United States
515-314-9934
www.2treesdesignco.com
3 Advertising LLC
United States
505-293-2333
www.whois3.com
314creative
United States

770-416- 1299
380ne
United States

608-446-4032
www.38one.com
451 Marketing
United States

6 17-259- 1605
www.45 1marketing.com
5 Fifteen Design Group. Inc.
United States
847-515-8208
www.S-fifteen.com
505Design
United States
720-565-0505
5Seven
United States
4 15-814-347 1
www.fiveseven design.com
7 Lucky Dogs Creative, LLC
United States
425-337 -6634
www.7I uc kydogs.com
73ideas
United States
480-993- 1473
www.73ideas.com
7981 design
China
86-571-87 187091
www.798 1design.com
903 Creative, LLC
United States
434-774-5164
www.903creative.com
A. Shtramilo design studio
Ukraine
380445696485
A3 Design
United States
704-568-535 1
www.ath reedesign.com
Aars I Wells
United States
2 14-446-0996
www.aarswells.com
Able
United States
757-672-692 1
www.designedbyable.com
Actual Size Creative
United States
4 12-42 1-3279
www.th isisactualsize.com
Ad Impact Advertising
Aust ral ia
6 1 893 196999
www.ad impact.com.au
Addis Creson
United States
510-704-7500
www.addisc reson.com

Adler & Schmidt

Kommunikations-Design
Germany

Arsenal Design, Inc.

United States

Brainding
Argentina

Calacampania Studios
United States

401-848-0064

54 11-6775-099 1

2 15-782-1361

www.arsenal desig n.com

Art Craft Printers & Design
United States

www.brainding.com.ar
Brains on Fire
United States

www.ronaldjcala2.com
Campbell Fisher Design
United States

706-543-5555

785-776-9 151

864-676-9663

602-955-2707

www.theadsm ith.com
Adstract Art
Austral ia

www.artcraftprinter.com
Art Libera, ZAMBEZY 10
Russia

www.brai nsonfi re.com

The Brand Agency
Austral ia

www.thinkcfd.com
Canvas Astronauts & Agriculture
United States

6 1 394297406

8 905 250 64 75

61893224433

770-827 -4469

www.adstract.com.au
Advertising Intelligence
Kazakhstan

www.artlibera. ru
ArtFly
United States

www.brandagency.com.au
Brand Bird
United States

www.bethecanvas.com
Canyon Creative
United States

73272-777-0 10

361-945-6202

678-613-11 73

702-262-990 1

www.artrafael.narod.ru
Alexander Isley Inc.
United States

www.artfly.com
Artista Muvek
Hungary

www.brand bird.com
Brandbeat
United Arab Em irates

www.canyoncreative.com
CAPSULE
United States

203-544-9692

+36 30 2895046

97 1432 16615

6 12-341-4525

www.alexanderisley.com
Alexander Kapustin
Russia

www.artistamuvek .hu
axiom design collaborative
United States

www.brand-beat.com
BrandBerry
Russia

www.caps ule. us
Carlson Marketing Worldwide
United States

+49 30 8600070
The Adsmith
United States

+79206926504

801-532-2442

89 17109 1522

763-212-83 18

www.akapustin. ru
Alik Yakubovich agency
Russia

www.axiomdc.com
b_werk markenarchitektur gmbh
Germany

www.brand-berry.ru
Branders, Inc.
United States

Carmit Design Studio

United States

88314301541

+49 7123 20440

9 18-749-3 100

www.newyou r.ru
Alin Golfitescu
Romania

www.b-werk.de
bailey brand consulting
United States

www.brande rsinc.com
Brandient
Romania

www.carm itdesign.com
Carrie Dennis Design
United States

40729937251

610-940-9030

+40212308 173

Aline Forastieri
United States

www. baileygp.com
Bailey Lauerman 2
United States

www.brandient.com
Brandon Hall
United States

402-475-2800

518-312-8404

www.baileylauerman.com
banana, inc.
Indonesia

Brandstorm Creative Group

United States

28 1-300-72 11
www.alineforastieri.com
Allegro Design
United States

503-827-0169

650-654-3944

9 16-204-11 66
www.carriede nn isdesig n.com
Carrihan Creative Group
United States

2 14-658-1588
www.carrihan.com
Carter MediaGroup
Germany

305-960-2038

022 1-1687144

Banowetz + Company, Inc.

United States

www.brandstormcreat ive.com
Brian Krezel
United States

Caspari McCormick
United States

770-972-8862

2 14-823-7300

503-957-7632

www.allencreative.com
Alphabet Arm Design
United States

www.banowetz.com
bartodell,com
United States

www.briankrezel.com
Bridge Creative
United States

www.casparimccormick .com
Cassie Klingler Design
United States

6 17-451-9990

806-392-6446

678-990-0260

www.alphabetarm.com
Altagraf
United States

www.bartodell.com
BBDONY
United States

www.bridgecreat ive.com
Brotbeck Corporate Design AG
Switzerland

267-342-3815

2 12-459-5000

www.altag rafdesign.com
Alterpop
United States

www.designworks.bbdo.com
BBMG
United States

4132345 148 1
BRUEDESIGN

415-558-1515

2 12-473-4902 x204

Alusiv
United States

www.bbmg.com
beau bureau Kommunikationsdesign
Germany

www.allegro-design.com
Allen Creative
United States

628 129 144770

2 15-922-4450
www.alusiv.com
Always Creative
United States

979-446-0578
Amy Lamp Design
United States

480-577-5094
www.amylampdesign .com
Anabliss Graphic Design
United States

303-825-444 1
www.anabliss.com
Anagraphic
Hungary

+36 1 202 0555

www.anag raphic.hu
And Partners
United States

2 12-414-4700
www.andpartners ny.com
Angie Dudley
United States

770-831-8084
www.ang iedud ley.com
ANS
United States

972-526-9642
Antoine Rodeghiero
United States

+49-221-1686706
www.beau-bu reau.de
Beveridge Seay, Inc.
United States

202-822-3800
www.bevseay.com
BFive
Russia

79272 166799
www.bfive. ru
Big Communications
United States

205-322-5646
www.bigcom.com
Billy Graham Evangelistic Association
United States

704-401-2240

9 18-732-3333
www.cooperillustrat ion.com
bryon hutchens I graphic design
United States

3 10-62 1-0677
Buchanan Design
United States

858-450-11 50
www.buchanandes ign.com
Bunch
United Kingdom

385911208999
www.bunchdesig n.com
Burn Creative
United States
www.bu rn creative.com
Burns Marketing Communications
United States

+9 1 9447697673

970-203-9656
www.burnsmarketing.com
Burocratik- Design
Portugal

2 10-344-4644

35 12397 11 403

Bounce Design Newcastle Pty Ltd

Austral ia

www.burocrat ik.com
Burton (Snowboards) Corp.
United States

+6 1 249693334

905-393-8439

0033625305 1 97

www. bpdesign.ca
BPG Design
United Arab Emi rates

402-435-2525

Bryan Cooper Design

United States

www.theblackboa rd.in
Blue Sky Design
United States

France

www.apsits.com
Archrival
United States

00385992 117507

7 17-731-8579

BP Design
Canada

37 1 29457571

www.n ickbrue.com
Bruketa & Zinic
Croatia

Black Osprey Dead Arts

United States
Blackboard
India

347-328-4636
APOKA

www.apoka.com
APSITS
Latvia

United States

952-200-9279

(97 1) 4 2953456
www.batespangu lf.com
The Bradford Lawton Design Group
United States

2 10-832-0555
www.bradfordlawton.com
Brainchild Studios/ NYC
United States

802-652-3777
BXC nicelogo.com
United States

949-677-7324
www.n icelogo .com
The Byne Group
United States

845-369-0945
www.thebyneg rou p.com
c3
United States

913-327-224 1

www.arch rival.com
Arianna Orland
United States

2 12-647-9278

www.c3brandmarketing.com
Cacao Design
11aly

4 15-260-9256

www. brainchi ldstudiosnyc.com

+39 02 89422896
www.cacaodesign.it

302-42 1-9080

435-757-7852
www.cass ieklingler.com
COl Studios
United States
702-876-33 16
www.cd istudios.com
CF Napa Brand Design
United States
707-265-189 1
www.cfnapa.com
Ctx
United States
314-773-5300
www.cfx-inc.com
Chameleon Design Group, LLC
United States
508-439-4800
www.chameleondg.com
Chanpion Design
Austral ia
0423565665
Che Woo Design
United States
708-204-1630
Cheri Gearhart, graphic design
United States
847-736-0742
www.gearhartdes ign.com
Chris Corneal
United States
517-432-5299
Chris Herron Design
United States
773-278-8070
www.ch risherrondesign.com
Chris Rooney Illustration/ Design
United States
4 15-827 -3729
www. looneyrooney.com
Christian Hanson
Canada
4 16-486-7 183
www.ch rist ianhanson .ca
Christian Palino Design
United States
650-641-3230
www.ch rist ianpali no.com
Christian Teniswood Branding
Singapore
+65 8233 4295
Church Logo Gallery
United States
760-231-9368
www.churchlogogallery.com
cincodemayo
Mexico
+52(81 )83425242
www.cincod emayo.com.mx

Clark Studios, Inc.

United States

dache
Switzerland

DesignWorks Group
United States

949-878-0469
www.clark-stud ios.com
classic lines design
United Kingdom
01527 882992
www.classiclinesdesign.com
Clay Mcintosh Creative
United States
918-59 1-3070
www.claymcintosh.com
Clusta Ltd
United States
121-604-0044
www.clusta.com
co :lab
United States
860-233-6382
www.colabinc.com
Cody Haltom
United States
405-625-5751
www.codyhaltom.com
cogu design
United States
310-384- 1544
The Collaboration
United States
816-474-3232
www.the-col laboration.com
Collaboration Reverberation
United States
858-433- 1456
www.collaborationreverberation.com
CONCEPTO WORLDWIDE
Domin ican Republic
8099656592
concussion , IIc
United States
817 -336-6824 x 207
Coolstone Design Works, Inc.
United States
206-204-5678
www.coolstone.com
Corder Philips
United States
704-333-3924
www.co rderphilips.com
Counterpart Communication Design
United States
901-323-4900
www.co unterpartcd.com
Cre@ive Design Advertising
New Zealand
064 6 872 8400
www.thecreatives how.co. nz
Creative Beard
United States
949-4 13-3774
www.creativebeard .com
Creative Conspiracy Inc.
United States
970-247-2262
Creative Madhouse
United States
817 -903-2583
www.creativemadhouse.com
Creative NRG
United States
414-305- 1578
www.creative-n rg.com
Cricket Design Works
United States
608-255-0002
www.cricketdesignworks.com
Crosby Associates
United States
312-346-2900
www.crosbyassociates.com
CrossGrain Creative Studios
United States
714-628-9586
www.crossg rain.com
cruz control design
United States
312-40 1-9969
www.cruzcontroldesign.com
Cubic
United States
918-587-7888
www.cubiccreative.com
Curtis Sharp Design
United States
206-366-7975
www.curt issharpdesign.com
cypher13
United States
72 0-562-0 193
www.cypher1 3.com
D&Dre Creative
United States
512-577-9 189
www.ape-texas.com/deandrecreative
D&i (Design and Image)
United States
303-292-3455
www.seebran dgo.com

+41 786833759
www.dache.ch
DAGSVERK-Design and Advertising
Iceland
354-588- 1350
www.dagsverk.is
dale harris
Austral ia
411 899840
www.daleharri s.com
Daniel Matthews
United Kingdom
+44(0)773459204 1
www.danielmatthews. net
Dara Creative
Ireland
00 353 1 672 5222
www.daracreative.ie
Darkstone&Cardinal
Po land
+ 48 042 632 1751
www.darkstone-card inal.pl
David Beck Design
United States
214-828-9622
David Gramblin
United States
918-26 1-2042
David Maloney
United States
612-396-2548
www.david-maloney.com
Davis Design
United States
303-399-81 11
www.davisdesign.net
DBD+A Studio
United States
503-679- 1701
DDBSF
United States
415-732-2235
www.ddbsf.com
debut
United Kingdom
1902837424
www.debutc reate.com
Deep Design
United States
404-266-7500
www.deepdesign.com
Delineate
United States
240-793-56 13
www.delineatedesign.com
demasijones
Austral ia
+61882 129065
www.demasijones.com
Denis Olenik Design Studio
Belarus
+37529 7580457
www.den isolen ik.com
Dennard, Lacey & Associates
United States
972-233-0430
www.dennardlacey.com
The Department of Marketing
United States
919-256-3793
www.t hedofm.com
Design Army
United States
202-797-10 18
www.designarmy.com
Design Farm
United States
310-266-5921
www.designfarmstudios.com
Design Forum
United States
937 -439-4400
www.designforum.com
Design Greater Than
United States
970-2 14-3024
www.designgreatert han.com
Design Hovie Studios, Inc.
United States
206-783-8600
www.hovie.co m
Designer Case
Po land
502221797
www. designercase.net
design heavy
United States
206-78 1-3477
www.designheavy.com
DesignPoint, Inc.
United States
503-364-2970
www.designpointinc.com
Designwerke Inc.
Canada
416-362-6000
www. designwerke.co m

940-696- 1229
www.designworksgroup.com
Dessein
Australia
61 .8.9228.066 1
www.dessein.com.au
DEVELOPED IMAGE PTE LTD
Singapore
6597862302
Dezion Studios
United States
918-557-3695
www.dezion.com
diadik
United States
918-269-3 151
Diagram
Polan d
48618862079
www.di ag ram.pl
Digital Flannel
United States
802-457-3838
www.d igitalflannel.com
Digital Slant
United States
435-755-5783
www.d igitalslant.com
DikranianDesign
United States
813-247-5223
www.d ikran iandesign.com
Dill and Company
United States
301-760-7282
www.dillandcom pany.org
Doink, Inc.
United States
305-529-0 121
www.doin kdesign.co m
Dotzero Design
United States
503-892-9262
www.dotzerodesign.com
Double A Creative
United States
402-7 19-5362
www.doubleacreative.com
Double Brand
Polan d
+486 1 6625400
www.doublebrand.pl
Dragulescu Studio
United States
323-9 19- 152 1
www.dragulesc u.com
The Drawing Board
United States
352-346-8948
www.tdbg raphics.com
Dreambox Creative
United States
916-705-0406
www.d ream boxcreat ive.com
Driving Force
United Arab Emirates
www.d4rce.com
Duffy & Partners
United States
612-548-2333
www.d uffy.com
DUSTIN PARKER ARTS
United States
316-993- 1397
www.d ustin parkerarts.com
E. Tage Larsen Design
United States
917-88 1-2863
www.etagelarsen.co m
e-alw.com
Po land
48 602229544
www.e-alw.com
East 14th Creative, Inc.
United States
336-288-0939
www.e14c.com
Eben Design
United States
206-523-9010
www.ebend esig n.com
Effusion Creative Solutions
United States
480-227-8951
www.effusiondesign.com
Eggra
Macedon ia, The Former Yugoslav
Republ ic Of
38970 390144
www.egg ra.co m
EHA
Denmark
4540955180
www.eha.dk

eight a.m . brand design

(shanghai) Co., Ltd
China

862 1 6 1313958
www.8-a-m.com
EI Creative
United States
214-742-0700
www.elcreative.com
EI Paso, Galeria de Comunicacion
Spain
+349 1 59422 48
www.elpasocomun icacion.com
elbow
United States
415-738-8833
www.elbow.com
eldesign.ru
Russia
79262207316
Eli Atkins Design
United States
83 1-420-4053
Eli Kirk
United States
801-377-9321
www.elikirk.com
ellen bruss design
United States
303-830-8323
www.ebd.com
Emblem
United States
512-77 1-3593
www.emblemcreative.co m
Entermotion Design Studio
United States
316-264-2277
www.entermotion.com
Entropy Brands
United States
406-599-3490
www.ent ropy brands.com
Envision Creative Group
United States
512-292- 1049
www.envision-c reative.com
The Eppstein Group
United States
817-737-3656
www.eppsteingro up.com
Erwin-Penland, Inc.
United States
864-672-5583
www.erwinpenland .com
ESD
South Africa
117040943
Essex Two
United States
773-489- 1400
www.sx2.com
eurie creative
United States
702-383-9805
www.eu riecreative.com
ex nihilo
Belgium
0032 65 62 25 58
www.ex nihil o. be
Exhibit A: Design Group
Canada
604-873- 1583
www.ex hibitadesigngroup.com
EXPLORARE
Mexico
52 (222) 230-4152
www.ex plorare.com
Extra Point Creative
United States
407 -3 12-2427
www.extrapointc reat ive.com
eye4 inc.
United States
352-338-7519
www.eye4.com
ezzo Design
Portugal
+351 229969263
face
United Kingdom
01423 561780
www.face-group.co. uk
Factor Tres
Mexico
525555567178
www.factortres.com.mx
Fandam Studio
South Africa
+27(0)829017699
Felixsockwell.com
United States
917-657-8880
www.fel ixsockwell.com
Fernandez Design
United States
512-6 19-4020
www.fernandezdesign.com

Fifth Letter
United States

336-723-5655
www.fifth-Ietter.com
Filthy Clothing
United Kingdom
+44 (0)77 12 834 711
www.filthy.co.nz
Finch Creative
United States
713-490- 1000
www.finchc reat ive.com
Firehouse
United States
972-692-0918
www.fhdallas.com
FIRON
Russia
+74957986990
www.fi ron.com
Fischer Design
United States
31 0-314-2246
www.han kfischer. com
Fiton
Iceland
+354 822 0776
www.fito n.is
FiveNineteen: a print + motion + interactive design boutique.
United States
918-948-5 190
www.fivenineteen.com
Fixation Marketing
United States
240-207-2009
www.fixation.com
Fleishman Hillard
United States
314-982-7701
The Flores Shop
United States
804-496-6616
www.thefloresshop.com
Flow Creative
United States
773-276-4425
www.flowcreative. net
Fluid Studio
United States
801-295-9820
www.flu id-studio.net
Flywheel Design
United States
919-683-8 164
www.flywheeldesign.com
For the Love of Creating
United States
770-5 16-7301
www.fort heloveofc reating .com
ForeScene & Your Eyes Here
United States
410-420-2491
www.foresceneweb.com
Forthright Strategic Design
United States
415-205-4466
www.fort hrightdes ign .com
Franke+Fiorelia
United States
612-338- 1700
www.fran kefio rella.com
Freeman Design
United States
907 -258-0603
Fresh Design
Ireland
01 6729440
www.fresh. ie
Fresh Oil
United States
401-709-4656
www.fresho il. com
Freshwater Design
United States
678-9 10-6381
www. rhondafreshwater.com
FUEL Creative Group
United States
916-669- 1591
Fuelhaus Brand Strategy + Design
United States
619-574- 1342
www.fuelhaus.com
fuszion
United States
703-548-8080
www.fuszion.com
futska IIc
United States
719-235-8451
www.futska.com
FutureBrand
Australia
+61 396042777
www.fut urebrand.com

FutureBrand BC&H
Brazil

GSW Worldwide
United States

5511382 11166

6 14-543-6753
guten tag!
United States
920-426-8078
www.gutentag. us
Gyula Nemeth
Hungary
36 20 429 2019
www.seadev ilworks.b logspot.com
H2 Design of Texas
United States
512-775-7350
www.h2 dot.com
HA Design
United States
626-475-6606
Habitat Design
United States
404-784-1276
www.designbyhabitat.com
Haley Johnson Design Co.
United States
6 12-722-8050
www.hjd.com
Hand dizajn studio
Croatia
38512333489
www.hand .hr
Haven Productions
United States
6 15-794-0354
www.havenproductions.net
Hayes Image
Austral ia
52484816
Hayes+Company
Canada
4 16-536-5438
www.hayesandcompany.com
Hazen Creative, Inc.
United States
312-451-54 13
www.hazencreative.com
Headshot brand development
Ukraine
38044278 1031
www.heads hot.tm.ua
Headspring Design
Canada
9056277979
www.headspring.ca
Heather Boyce-Broddle
United States
3 16-744-6267
Hecht Design
United States
78 1-643-1988
www.hechtdesign.com
Heisel Design
United States
94 1-922-0492
www.heiseldesig n.com
Helena Seo Design
United States
408-830-0086
www.helenaseo.com
Helius Creative Advertising
United States
80 1-673-4 199
www.freewebs.com/utah rugbyg uy
Hemmo.nl
The Net herl ands
31620272777
www.hemmo.n l
HendrixRaderWise
United States
3 17-251-4332
Hero Design Studio
United States
303-832-33 10
www.herodesignst udio.com
Herrainco Brand Strategy + Design
Canada
604-688-5334
Hexanine
United States
773-678-995 1
www.hexanine.com
Hiebing
United States
608-256-6357
www.hiebing .com
High Tide Creative
United States
252-671-7087
www.hightidecreative.com
Hill Design Studios
United States
503-507 -1228
www.hi ll designst udios.com
Hirschmann Design
United States
303-449-7363
Hoet & Hoet
Belgium
+322646 4006
www.hoet-hoet.eu

www.fut urebrand.com
Fuze
United States

775-626-4577
www. ifuze .com
Galperin Design, Inc.
United States

2 12-873- 112 1
www.galperindesign.com
Gardner Design
United States
3 16-691-8808
www.gardnerdesign.com
Gary Sample Design
United States
513-271-7785
GCG Advertising
United States
817-332-4600
www.gcgadvertis ing.com
GONSS
United States
2 12-866- 1449
www.gd nss.com
Gee + Chung Design
United States
4 15-543- 1192
www.geechungdesign.com
Gesture Studio
United States
713-808-9342
www.gestu restudio.com
Gibson
United Kingdom
020 8948 9656
www.th isisg ibson.com
Giles Design Inc.
United States
2 10-224-8378
www.gi lesdesign.com
GingerBee Creative
United States
406-443-3032
www.gingerbeecreative.net
Gingerbread lady
United Kingdom
447887 811 070
www.gingerbread-Iady.co.u k
Ginter & Miletina
Germany
+49611 -7243803
www.ginter-mi letina.de
Giorgio Davanzo Design
United States
206-328-503 1
www.davanzodes ign.com
Gizwiz Studio
Malaysia
6042289931
www. logodesig ncreat ion.com
Glitschka Studios
United States
97 1-223-6143
www.gl itschka.com
The Globe Advertising + Design
Aust ral ia
+6 1894703454
www.the-globe.com.au
Go Media
United States
2 16-939-0000
www.gomed ia.us
Go Welsh
United States
717-898-9000
www.gowelsh.com
Goloubinov
Russia
+7(909)635-93-25
Graphic design studio
by Yurko Gutsulyak
Ukraine
380674465560
www.gstud io.com.ua
Graphic Nincompoop
Iceland
+354 697 9012
www.g raphicn incompoo p.com
Graphics & Designing Inc.
Japan
+8 1-3-3449-065 1
www.gandd.co.jp
Graphismo
United States
512-686- 1495
www.g raph ismo.com
Green Olive Media
United States
404-815-9327
www.g reenolivemedia.com
Greteman Group
United States
3 16-263- 1004
www.g retemangroup.com

Home Grown logos

United States

ism
United States

joni dunbar design

United States

707-338- 127 1

6 17-353-1822
www.ismboston.com
Ivan Manolov
Bulgaria
+359 889 277 395
www.behance.neUadder
Ivey McCoig Creative Partners
United States
6 15-472-8238
www.iveymccoig.com
Jajo, Inc.
United States
316-267 -6700
www.jajo.net
James Arthur & Company
United States
618-997 -6298
www.jamesart hurco.com
James Kelly
United Kingdom
www.fi remusiC.co.u k
Jan Sabach Design
Czech Re public
420733264557
www.sabach.cz
Jank Design
United States
9 17-701-5 133
www.jankdesign.com
Jarek Kowalczyk
Poland
+48 502634695
www.jarekkowalczyk.com
Javen Design
United States
718-347-2704
www.javendesign.com
Jeff Andrews Design
United States
503-269-2944
www.jeffandrewsdesign.com
Jeffhalmos
Canada
4 16-850-9616
www.jeffhalmos.com
Jeni Olsen Design
United States
707-479-1734
www.jen iolsendes ign.com
jenn gula design
United States
216-832-2679
www.jenngu lades ign.com
Jennifer Braham Design
United States
5 12-707 -9023
Jerron Ames
United States
80 1-770-2904
Jerry Kuyper Partners
United States
203-451-4 023
www.jerry kuyper.com
JG Creative
United States
208-440-230 1
Jill Bell Brandlettering
United States
9 13-649-4505
www.jillbell. co m
Jill Carson
United States
336-723-7572
jing
United States
216-272-7398
JINIZM
United States
83 1-905-1557
www.jin izm.com
jKaczmarek
United States
www.jkaczmarek.com
Jobi
United Arab Emirates
97 1504943676
The Joe Bosack Graphic Design Co.
United States
2 15-766-146 1
www.joebosack.com
Joel Storey Design
United States
9 19-815-1323
www.joelstorey.com
Jon Duarte Design Group
United States
808-550-8179
www.jond uarte.com
Jon Flaming Design
United States
972-235-4880
www.jonflam ing.com
Jon Kay Design
United States
352-870-8438
www.jonkaydes ign.com

601-520-3309
Josef Stapel
Germany
496 190931907
www.josefstapel. de
josh higgins design
United States
6 19-379-2090
www. joshhigg ins.com
JoshuaCreative
United States
559-906-0504
Jovan Rocanov
Serbia
381 112972006
www. rocanov.com
joven orozco design
United States
949-723-1898
www.jovenville.com
juancazu
Argentin a
1567847542
Judson Design
United States
713-520-1096
www. judsondesign.com
Juice Media
United States
702-433-4086
www. juicemultimedia.com
julian peck
United States
4 15-246-4897
Just Creative Design
Austral ia
+6 1 411402312
www. justcreat ivedesign.com
K2 Creative, Inc.
United States
630-460-709 1
www.k2ch icago .co m
Kahn Design
United States
760-944-5574
www. kahn-des ign.com
Karl Design Vienna
Austria
0043-1-2 08 66 53
www.karl -design-Iogos.com
Kastelov
Bulgaria
359886034 151
www. kastelov.com
Kate Resnick
United States
202-487 -14 14
Kessler Digital Design
United States
2 15-500-3204
www. kesslerdigital. com
Kevin France Design, Inc.
United States
336-765-62 13
The Key
Austral ia
+381 64 3956 793
www.whproject.com
Kille Design
Austral ia
6 14 134 12 11 1
www.kille.com.au
King Design Office
United States
626-304-0848
www. kingdes ignoffice.com
Kirk Miller
United States
773-316-9497
www.kirkmill er. US
KITATM I Visual Playground
Germany
+49.30.547 14690
www. kita-berlin.com
Kloom
Brazil
+55 (11) 3337-2607
KNOWGOOOER
United States
303-618-6309
www. knowgooder.com
Kobalto
Spain
+34 6294421 15
www. kobalto.com
Koch Creative Group
United States
316-828-2208
www. kochcreativegroup.com
Koetter Design
United States
502-515-3092
Kolar Advertising and Marketing
United States
512-345-6658
www. kolaradvert ising.com

www. homeg rownlogos.com

Honey Design
Canada

519-679-0786
www.ho ney.o n.ca
HOOK
United States

843-853-5532
www. hookusa.com
Hornall Anderson
United States

206-467 -5800
www.hadw.com
Hotwire, Inc
United States
508-386-384 1
www.hotwireindustries.com
Howerton+White
United States
316-262-6644
www. howertonwh ite.com
Hubbell Design Works
United States
714-227-3457
www.hubbelldesignworks.com
Hula+Hula
Mexico
52 55 56 84 73 62
www. hulah ula.com.mx
Hutner Group
United States
4 15-309- 1868
www.hutnergroup.com
Hvita husid
Iceland
+354 562 11 77
leG
United Ki ngdom
01772679383
www.icgonline.co.uk
id29
United States
518-687-0268
www. id29.com
IdeaWorks-Brand ID
Austral ia
6 1299094440
www. ideawork s.com.au
Identica Branding and Design
Canada
604-647-6223
www.identica .co m
IF marketing & advertising
United States
512-930-5558
www.you rifteam.com
Ikola Designs
United States
763-533-3440
Illustra Graphics
United States
717-679-2390
www. illustra-grap hics.com
Imadesign, Corp.
Russia
+ 7 495-729-5693
www. imadesign.ru
Image Public, Inc.
United States
9 17-573-4038
www. imagepublic.com
Imaginaria
United States
972-423- 1232
www. imaginariacreative.com
INOE
Greece
(0030)6937239568
www.behance.neUinde_graphics
Indigo Creative
United States
805-450-6844
www. indigocreat ivest udio.com
Inertia Graphics
United States
301-714-2282
www.designsbyig .com
INSP
United States
803-578- 1236
www. robcheney.com
Integrated Communications (lClA)
United States
310-851-8066
www. icla.com
Integrated Media, Inc.
United States
3 17-508-5022
Interbrand Sao Paulo
Brazil
+55 11 3707-8500
www.interbrand.com
Iperdesign, Inc.
United States
9 17-412-9045
www. iperdesign.com

Kommunikat
Po lan d

Liquid Comma
United States

Matt Barratt Design

Australia

mlQelangelo
Serbia

Nicole Ziegler
United States

602820318
www. kommunikat .pl
Kommunikation & Design
Germany
4977518974 00
www.kommunikat ion-design .de
Koray Sa han
Turkey
902 122902810
KROG, d.o.o.
Sloven ia
+3864 1 780 880
www.krog.si
KTD
United States
512-789-6473
www.design luminosity.com
Kurt Snider Design
United States
702-767- 1536
Kuznets
Russia
79101517929
www.kuznetS.net
L U*K*E
United States
612-342-9701
La Visual
United States
805-582-2 140
www.lavisual.com
Label Kings
United States
2127 19 1245
www.labelkings.com
LaMonica Design
United States
913-593-9644
www.lamo nicadesign.com
LAMORA
United States
303-217-3976
www.jorgelamora.com
Landor Associates
Austral ia
+61 2890887 11
www.landor.com
The Laster Group
United States
915-58 1-7900
www.lasterg rou p.com
Launchpad Creative
United States
405-5 14-5 158
www.launch pad32 1.com
legofish
Canada
416-975-0084
www.legofish.com
LEKKERWERKEN
Germany
+49 (61 1) 34109932
www.lekkerwerken.com
Leo Design
Indonesia
62213983011 8
www.leodesignjakarta.com
Level B Design
United States
515-669-8418
www.levelbdesign.com
Levy Innovations
United States
312-932-4937
LGA / Jon Cain
United States
980-253-3336
www.joncai n.com
Lienhart Design
United States
312-738-2200
www.lienhartdesign.co m
Liew Design, Inc.
United States
650-962-8103
www.liewdesign.com
Lightship Visual
Australia
61894477363
www.lightshi pvisual.com
Lilagan Pandji Design
Austral ia
+61 394196 1 64
LlOBmedia
United States
202-625-4334
www.liobmedia.com
Lippincott
United States
212-521-0000
www.lippincott.com
Liquid Agency
United States
408-850-8833
www.liqu idagency.com

212-925-2808
www. liquidcomma.com
Liquid Inc.
United States
303-282-8657
www.g iving ideasshape.com
Liquid Pixel Studio
United States
917-3 19-04 13
liq uidpixelstud io.net
Little Jacket
United States
720-227-05 19
www.little-jacket.com
Lizette Gecel
United States
804-359- 17 11
logo byte
Turkey
905356666292
www. logobyte.com
LogoDesignGuru.com
United States
877 -525-5646
www. logodesigngu ru.com
Logoholik
Serbia
9145956926
www.logoholik. com
Logoidentity.com
United States
908-665-6878
www. logoid entity.co m
Loop Design
United States
718-797-2465
www. loopdesigngroup.com
Luke Despatie & The Design Firm
Canada
416-995-02 43
www.t hedesignfirm.ca
lunabrand design group
United States
480-429-3774
www. lunabrandS.com
Lunchbox Design Studio
United States
305-790- 1885
Lynde Design
United States
212-203- 1554
www. lynde.net
M. Brady Clark Design
United States
512-698-9025
www.mbradyclark .com
mlsane industries
United States
617 -577 -6468
www.msaneindust ries.com
M3 Advertising Design
United States
702-876-33 16
www.m3ad.com
MacLaren McCann Calgary
Canada
403-26 1-7155
Macnab Design
United States
505-286-8558
www.macnabdesign.com
Madomat
United Kingdom
442072297070
Manifest Communications
Canada
416-593-70 17
www.man ifestcom.com
Marblehead
United States
972-588-33 17
www.marblehead IIC.com
markatos I moore
United States
415-235-9203
www.mm-sf.com
Marlin
United States
417 -885-4530
www.marlinCO.com
Martin Branding Worldwide
United States
804-282-3100
www.martinbranding.com
The Martin Group
United States
716-853-2757
www.marting roupmarketing.com
Martin Jordan
Germany
+49- 177-5035307
www.mart injord an.de
Matchstic
United States
404-446- 15 11
www.matchst ic.com

614188 17305
Mattson Creative
United States
949-65 1-8740
www.mattsoncreative.com
Mauck Groves Branding & Design
United States
515-288-5278
www.mauckgroves.com
Maycreate
United States
423-634-0 123
www.maycreate.com
McConnell Creative
United States
248-420-9 148
McDill Design
United States
414-277- 81 11
www.mcdi lldesign.com
McGarrah/ Jessee
United States
512-225-2000
www.mc-j.com
McGuire Design
United States
210-884-4609
www.mcguiredesign.com
the medium
United States
425-888-1696
www.t he-medium.net
Megan Thompson Design
United States
609-439- 1323
www.mtdst udio.com
Meir Billet Ltd.
Israel
+972-3-5627577
MendeDesign
United States
415-43 1-8200
www.mendedesign.com
metaforma design
Italy
+39024549 1421
www.metaformadesign.com
Metropolis Advertising
United States
407-835-8080
www.met ropolisadvert isi ng.com
Mez Design
United States
415-33 1-4523
www.mezdesign.com
Michael Freimuth Creative
United States
773-396- 1620
www.m ichaelfreimuth .com
Michael O'Connell
United States
904-705-4437
Michael Patrick Partners
United States
503-796-7777
www.m ichaelpatrickpartners.com
Mikhail Gubergrits
Russia
+79857742408
www.li niLru
milano. design
United States
561-422-9906
www.m ilanodesigninc.com
Miles Design
United States
317-9 15-8693
www.m ilesdesig n.com
Milk Creative Services
Ukraine
+38050 462 1869
www.m ilk.ua
Miller Creative LLC
United States
732-600-3933
www.yaelmi ller.com
millspaz design
United States
785-312-9 101
www.m illspaz.com
Mindgruve
United States
619-757-1325
www.m indgruve.com
Mindpower Inc.
United States
404-58 1- 1991
www.m ind poweri nc.com
Mindspike Design
United States
414-765-2344
www.m indspikedesign.com
MINETM
United States
415-647-6463
www.m inesf.com

38164 1179800
www.miqelangelo.com
Miriello Grafico, Inc.
United States
866-647-4355
www.mi riellog rafico.co m
Mirko llic Corp
United States
212-48 1-9737
www.mi rkoilic.com
Mitre Agency
United States
336-230-0575
www.mitreagency.com
The Mixx
United States
212-695-6663
www.themixxnyc.com
mod&co
United States
612-238-3930
www.modandco.com
Mojo Solo
United States
65 1-789-6656
www.mojosolo.com
Moker Ontwerp
The Netherlands
+31 (0)203307720
www.mokerontwerp.nl
monkeebox inc.
United States
703-606-9044
www.monkeebox.com
Monster Design Company
United States
707-208-5481
www.monsterdesignco.com
moosylvania
United States
314-644-7900
www.moosylvania.com
MSDS
United States
212-925-6460
www.ms-ds.com
MSI
United States
312-946-6146
www.msinet. com
Muamer Adilovic DESIGN
Bosnia & Herzegov ina
+3876 1 202597
www. logotip.ba
MUELLER design
United States
510-763-8583
www.muellerdesign.com
mugur mihai
Romania
+40 723 652336
www.mugurm ihai.com
Muku Studios
United States
808-225-6858
www.m ukustudios.com
MultiAdaptor
United Kingdom
+44 (0)20 7613 11 03
www.mu ltiadaptor.com
Murillo Design, Inc.
United States
210-248-9412
www.mu ril lodesign.com
My Card, My work.
United States
617-792-3378
www.mycardmywork.com
Natale Design
United States
480-24 1-8811
www.nataledes ign.com
Nectar Graphics
United States
503-472- 1512
www.nectarg raph ics.com
NeoGrafica
Costa Rica
506-4400061
www. neog rafica. net
Newhouse Design
United States
406-600-6532
www.newhousedesign .com
Neworld Associates
Ireland
353 14 165600
www.neworld.ie
nGen Works
United States
904-399-4411
www.ngenworks.com
Nicole Romer
Australi a
61425806177
www.nicoleromer.com.au

717 -372-0437
www.nicolezieglerdesign.com
Nissen Design
United States
503-363-5639
nixture
United States
504-25 1-7602
www.nicol lek.com
noe design
United States
515-597-4286
www. noedesign.com
northfound
United States
215-232-6420
www.northfo und.com
NOT A CANNED HAM
United States
404-316-2 132
NOVOGRAMA
Mexico
(52)(477) 1437163
www.novog rama.com
Nynas
United States
214-566-5 166
o.pudov
Russia
+79036822604
Oat
United States
617 -800-2636
www.oatc reative.com
Ob nockt ious
United States
469-450-4325
www.obnoc ktious.com
Octavo Designs
United States
301-695-8885
www.8vodesigns.com
ODA
United States
415-970-8400
ODM oficina de diseno y marketing
Spain
34956265326
www.odmofici na.com
Offbeat Design
United States
734-214- 1996
www.offbeatdesign.com
The Office of Art+Logik
United States
612-599-0286
Officina delle idee
Italy
390309959380
www.offic inadelleidee.net
ohTwentyone
United States
817-504-7550
www.ohtwentyo ne.com
Oliver Russell
United States
208-344- 1734
www.oliverrussell.com
Oluzen
Domin ican Republic
8098529907
www.oluzen.com
O' Mahony Design LLC
United States
941-377-8 168
www.omahonydes ign.com
One Minute Hero
Poland
48506758581
www.oneminutehero.com
ONEDRINPEN
United Kingdom
www.oned ri npen.com
Oomingmak Design Company
United States
817-983-0 142
Open Creative Group
United States
205-437-3395
www.opencreat ivegroup.com
Opolis Design, LLC
United States
503-287-7722
www.opol isdesign.com
ORFIK DESIGN
Greece
306932909 191
www.orfikdesign.gr
Origami
Canada
877.674 .4264
www.origami.qc.ca
orton design
United States
801-69 1-8244

tm

Oscar Morris

Periscope

Range

The Robin Shepherd Group

Sayles Graphic Design, Inc.

U nited States

U nited States

U nited States

U nited States

U nited States

512-293-5954
Ostrov Svobody

612-399-0500

2 14-744-0555

904-359-098 1

515-279-2922

www.periscope.com

www.rangeus.com

www.t rsg.net

www.saylesdesig n.com

Russia

Peterson Ray & Company

RARE Design

RocketDog Communications

Schwartzrock Graphic Arts

74955046341

U nited States

U nited States

United States

U nited States

www.os-design. ru

601-544-7273

206-254-0248

952-994-7625

Oxide Design Co.

2 14-2 15-7360
Phil Foss Design

www.raredesign.com

www. roc ketdog.o rg

www.schwartz roc k.com

U nited States

U nited States

Ray Dugas Design

Rocketlab Creative

SCORR Marketing

402-344-0168

703-850-6259
Phinney! Bischoff Design House

U nited States

U nited States

U nited States

334-844-3384

308-237-5567

Ozidea

U nited States

U kraine

206-322-3484

www.cadc.a uburn.ed u!graph icdesign!

ray. html

5 12-431-5426
Rocketman Creative
U nited States

Seamer Design

+38 044 33 1 98 86
P11 creative

www.pbd h.com

raykodesign

858-663-5082

Austral ia

Phixative

Germany

www. roc ketmanc reative.com

0394157727

U nited States

U nited States

00492 183-4 16338

Roman Kotikov

www.seamerdesign.com

714-641-2090

2 12-534-9058
Phony Lawn

www.raykodesign.de

Russia

Sebastiany Branding & Design

www.p 11.com

Razor Creative

Brazil

Pale Horse Design

U nited States

Canada

+79200250520
Rome & Gold Creative

U nited States

720-273-14 14

(506) 382-4200

United States

www.sebast iany.com.br

www.oxidedesign .com

www.sco rrmarketing.com

55 11 3926-3937

727-823-6202

www.phonylawn.com

www.razorcreat ive.com

505-897 -0870

Severance Digital Studio

www.palehorsedesign.com

Piccirilli Group, Inc.

RDQLUS Creative

www. rgcreative.com

U nited States

Palmerlee Design

U nited States

U nited States

Un ited States

410-879-6780

402-212-0108

Rosendahl Grafikdesign
Germ any

559-271-1158
Shawn Huff

347-248-6967

www.picgroup.com

www.rdq lus.com

0 04930440128 00

U nited States

www.palmerl eedes ign.com

pictogram studio

Re Generate Design

www. rosendah lgrafik.de

850-968-5736

Pandemonium Creative

U nited States

Canada

Roskelly Inc.

www.shawn huff.info

Aust ral ia

30 1-962-9630
Pierpoint Design + Branding

4 16-703- 1983
Reaction Design & Printing

United States

Shift Thinkers

40 1-683-509 1

Portugal

U nited States

U nited States

www.roskelly.com

351214 135760

Un ited States

509-466-1565

760-327 -3641

The Royal We

www.sh iftthinkerS.com

408-340-7902

www.pierpointwebsite.com

www. react iond p.com

U nited States

Shotgun Front Ltd

www.paperskydesign.com

Pi kant marketing

Reactive Mediums

316-258-2036

U nited Ki ngdom

Pappas Group

Croatia

U nited States

www.theroyalweisus.com

Un ited States

517-290-6156
reaves design

Roy Smith Design

01590677664
Sibley Peteet

703-349-722 1

38548222 127
The Pink Pear Design Company

United Kingdom

U nited States

www. pappasgroup.com

U nited States

U nited States

+44 (0)7767 797525

512-473-2333

Parachute Design

816-519-7327

773-552-2040

www. roysmit hdesign.com

www.spdaust in.com

Sinclair & Co.

0396901511
PaperSky Design

Un ited States

www.pinkpear.com

www.wb reaves.com

Rubber Design

6 12-339-3902

Pink Tank Creative

Red Olive Design

United States

U nited States

www.parachutedesign.com

Austral ia

U nited States

415-626-2990

9 19-833-9 102

Paradigm New Media Group

6129484 1239

801-545-04 10

www. rubberdesign.com

www.sinc lai r-CO.com

U nited States

www.pinktank .com.au

www.redolivedesign.com

Rubin Cordaro Design

Skin Designstudio
Norway

314-62 1-7600

Plumbline Studios

Red Brand

U nited States

www.pnmg.com

U nited States

Russia

612-343-001 1

+4792297019

Paradox Box

707-251-9884

+ 7(495) 772-39-39

www. rubinco rdaro.com

www.skin. no

Russia

www.plumb line.com

www.golovach. ru/wo rks

Rumfang

Skybend

79 177519251

POLLARDdesi9n

redkai

Denmark

U nited States

www.paradoxbox. ru

U nited States

U nited Ki ngdom

4533692070

801-983-6760

Parallel Creative Group

503-246-725 1

+44 (0)845 257 5722

www. rumfang.dk

www.skybend.com

Small Dog Design

U nited States

www.pollarddesign.com

www.red kai.com

The Russo Group

423-228-297 1

Popgun

Redspine Design

United States

Austral ia

www.parallelcreativegroup.com

U nited States

U nited States

337-962-4612

6 1 353337777

parallel designed

415-503-0108

www.smalldog.com.au

www.popgun.com

972-731-9539
Relevant Studio

www.theru ssogroup.com

Un ited States

RWest

Smith Design

4 15-867-9149

Porkka & Kuutsa Oy

U nited States

U nited States

U nited States

www. paralleldesigned.com

Finland

505-553-9359

973-429-2 177

Park Avenue Design

+35820740 1696

www.relevantstud io.com

503-223-5443
Ryan Ford Design

Un ited States

www.porkka-ku utsa.fi

resonate design

U nited States

Snap Creative

732-363-7297

Prana Design + Art Studios

Irelan d

714-642-4696

U nited States

www.parkaveg raphics.com

Austral ia

353 18535261

www.liq ui soft.com

Parker White

+61 413007899

www.resonate. ie

Ryan Kegley

3 14-482-6438
S02 DESIGN

Un ited States

www.pranast udios.com.au

Respiro Media

United States

Switzerland

760-783-2020

Prejean Creative

Romania

8 16-728-5049

+4 1227815060

www.parkerwhite.com

U nited States

40724551837

www. ryan kegley.com

www.so2design.ch

Passing Notes, Inc.

337-593-905 1

www.relogodesign.com

Ryan Smoker Design

Sockeye Creative

Un ited States

www.prejeancreative.com

Reveal Creative

U nited States

U nited States

510-835-8035

PULK

U nited States

7 17-394-6932

503-226-3843

www. passing-notes.com

Germany

425-827 -1283

www. ryansmo ker.com

www.sockeyecreative.com

PattenlD

004930319840 158

www.revealcreative.com

rylander design

Sol Consultores

Un ited States

www.pu lk-berli n.com

Rhombus, Inc.

United States

M exico

517-627 -2033
Paul Jobson

Pumpkinfish

U nited States

415-389-1998

(0 11 )(525)56586300

U nited States

206-441-1061

www.rylanderdesign.com

www.solconsu ltores.com.mx

Un ited States

954-563-5690

www. rhombusdesign. net

S Design, Inc.

Sommese Design

864-420-8998

www.pumpki nfish.com

Richard Ward Associates

United States

U nited States

www.pauljobson.com

Pure Identity Design

U nited Ki ngdom

405-608-0556

Paul Svancara

U nited States

020 8542 7536

Richards Brock Miller Mitchell &
Associates

www.sdesign inc.com

814-353-195 1
Soren Severin

S4LE.com

Denmark

Canada

(+45) 5126 2482

U nited States

905-467-7 139

www.sorenseverin.d k

SOUL

www.sm ithdesign.com

Un ited States

262-653-8000

480-580-5667

www.pu reidentitydesign.com

www.svancdesign.com

Pavone

Quantum Communications!
Brandcentral

2 14-987 -6500

www.s4Ie.com

U nited States

Lebanon

www.rbmm.com

Sabingrafik, Inc.

U nited States

717-234-8886

96 112046 13

Rickabaugh Graphics

U nited States

631-240-9 153

www. pavone.net

www.brandcentral.cc

U nited States

760-431-0439

www.sou lnyc.com

Pawel Tomas "Substrate "

Quentin Duncan

6 14-337 -2229

www.t racy.sab in.com

Sour Cream Glaze

Poland
www.subst rate.pl

South Afri ca

www.rickabaug hgrap hics.com

Sagetopia

U nited States

RIGGS

U nited States

716-517-6298

Peak Seven

+27845531616
R Design LLC

U nited States

703-726-6400

Source Mecca

Un ited States

U nited States

803-799-5972

www.sagetop ia .com

U nited States

954-574-0810

720-933-3816

www.riggspeak.com

Sakkal Design

626-644-07 10

www.peakseven.com

www. rdes ignllc.com

The Right Hand

United States

www.sourcemecca.com

pearpod

R&R Partners

U nited States

425-483-8830

soViet

Un ited States

U nited States

www.sakkal.com

Austral ia

949-361-8900

702-228-0222

646-250-9405
Riley Designs

Sally Says

+6 1 (0) 419 394 575

www.pearpod.com

www. rrpartners.com

U nited States

U nited States

www.soviet.com.au

Pearson Education Ltd

Rain Design

970-927-9261

773-633-3 124

Spark Studio

Un ited Kingdom

Austral ia

www.rileyh utche ns.com

www.sall ysays.com

Austral ia

0186531 1366
Pejot

61398265707
Raise Studio

RIZN Communication Design

Sampartners

+6 1396864703

Bulgaria

Korea

www.sparkstud io.com .au

Poland

U nited States

+3598868 15349

82-2-508-787 1

Special Modern Design

+48 601377156

404-373-3460

www. kaloiantoshev.com

www.sampartne rs.co.kr

U nited States

www. pejot .com

www. raisestud iO.com

Rob McClurkan Illustration

San Markos

323-258-12 12

Penhouse Design

Ramp

U nited States

Poland

www.spec ialmoderndesign.com

Spela Draslar

Ireland

U nited States

770-597 -737 4

02232 1 5 1 00

353 57 862 5522

213-623-7267

www.seero bd raw.com

www.sanmarkos.pl

Sloven ia

www.penhouse. ie

www. rampcreative.com

robin ott design

Sandstrom Design

003863 1 8797 11

U nited States

United States

330-465-6261

503-248-9466

www. robinottdesign.com

www.sandstro mdesign.com

Splash:Design
Canada

Swanson Russell
United States

Thomas Cook Designs

United States

TypeOrange
United States

Weylon Smith
United States

250-868-1059

402-437-6400

www.splashdesign.biz
Spoonbend
United States

www.swanson russell.com
Synergy Graphix
United States

919-274- 11 31

414-430-7030

615-306- 1485

www.t homascookdesig ns.com

Thread Design
China

ulitenko
Russia

www.wey lonsm ith.com

WHA
United States

512-473-2500

212-968-7568

8615000900098

www.spoonbend.com
Spork Design, Inc.
United States

www.synergygraph ix.com
Synthetic Infatuation
United States

www.th readdesign.com.cn
Threds
United States

www.ul iten ko.net

Ulrich Pin ciotti Design Group
United States

614-228-0900

312-203-6267

865-525-2830

www.s porkdesign.com
Spring Advertising + Design
Canada

T H Gilmore
United States

www.t hreds.com
three
United States

604-683-0 167

T&E Polydorou Design Ltd

Cyprus

www.spri ngadvertising.com
squiggle6
Austral ia

+61293372532
www.squ iggle6.com
Squires and Company
United States

214-939-9 194
www.squ irescompany.com
Steve Cantrell
United States

954-574-0601
Steve Dunphy & Co.
United States

917 -7 44-9046

513-240-51 11

+357 24654898
www.polydorou design.com
Tactical Magic
United States

901-722-3001
www.tact icalmagic.com
Tactix Creative
United States

480-688-8881
www.tact ixcreative.com
Tailor Designs
United States

708-843-3971

404-266-0899
www.3at lanta.com
Tim Frame Design
United States

614-598-0 113
www.timframe.com
Timber Design Company
United States

317-2 13-8509
www.t imberdesignco.com
Timbuktoons
United States

706-854-7704
www.timbuktoons.tv
Today
Belgium

+7926812-0388

419-255-4515

651-645-3463

8 903 659 5304

713-993-9339

www.cas pa.ru
united*
United States

www.who lewheatcreative.com
Willoughby Design Group
United States

917-734-7493

816-56 1-4 189

UNIT-Y
United States

www.wil loughbydesign.com
WONGDOODY
United States

312-388-8864
www.un it-y.com
Urban Influence
United States

206-2 19-5599
www.u rban influence.com
UTILITY
United States

214-405-2791

www.wox.com.br
www.admarc.com
United States

38163386058

888-823-6272

VanPaul Design
United States

www.admarc.com
www.zka11 .com
Bu lgari a

23 1-946-4804

www.brettst ilesdesign.com
Storm Design Inc.
Canada

www.tandemthinking .com
Tandemodus
United States

403-239-9401

773-927-9660

www.stormdesigninc.com
Strategic America
United States

www.tandemodus.com
Tanoshism
Japan

515-453-2080

+81 (0)803 1568356

www.strateg icamerica.com
The Strategy Group LLC
United States

www.tanos hism.com
tarsha hall design
United States

316-6 12-0300

206-437-7327

www.thest rategyg roupllc.com

Strategy Studio
United States

Taxi Canada
Canada

212-966-7800

Taylor Design
United States

www.tomkodesign.com
Tomsuey Inc.
United States

203-969-7200

212-867-5950

www.vigorbrand ing .com

VINNA KARTIKA design
Indonesia

www.taylordesign.com
Team Y&R
United Arab Emirates

www.tomsuey.com
Torch Creative
United States

+97 143445444

214-340-3938

Vision Creative Inc.

Canada

www.yr.com
TFI Envision, Inc.
United States

www.torchcreative.com
Totem
Ireland

VisualCrave
United States

203-845-0700

+353 58 24832

www.tfienvision.com
thackway+mccord
United States

www.totem. ie
Tower of Babel
United States

www.visualcrave.com
visual MAFIA
Germany

212-995- 1391

503-222-9385

www.t hackwayandmccord.com
Thelogoloft.com
United States

www. babeldesign.com
TPG Architecture
United States

www.strategy-studio.com
String
Serbia

38110322370
Struck
United States

801-53 1-0 122

www.struckcreative.com
Studio Limbus
Croatia

385 148 18813

www.studiolimbus.com
Studio Nine Creative
United States

720-670-9040
www.studion inecreative.com
Studio Simon
United States

403-612-9523

404-545-0660
www.tomlawdesign.com
Toman Graphic Design
Czech Republic

420777946796
www.toman-design.com
Tomko Design
United States

602-4 12-4002

334-356-8902

212-536-5205

www.thelogo loft.com
themarsdesign .net
United States

www.t pgarchitectu re.com

Traction
United States

760-429-3692

513-579- 1008

www.t hemarsdesign.net
Theory Associates
United States

www.teamtraction.com
Tran Creative
United States

415-904-0995

208-664-4098

www.t heoryassoc iates.com

Thermostat
United States

www.tran-c reative.com
Trapdoor Studio
United States

415-250-9970

602-330-202 1

www.youaregettingwarmer.com
Thielen Designs
United States

www.trapdoo rstudio.com
Tribambuka
Russia

505-205-3157

+792 1 3822829

Subplot Design Inc.

Canada

www.thielendesigns.com
Think Cap Design
United States

www.tribambuka.com
Triple Frog LLC
United States

604-685-2990

713-854-8873

203-3 17- 1042

www.s ubplot.com
Sudduth Design Co.
United States

Thinking*Room Inc.
Indonesia

www.triplefrog.com
TRUF
United States

512-236-0678

www.t hin kingroomi nc.com

Thinkpen Design, Inc.
United States

502-479-8447
www.studiosimon.com
studio sudar d.o.o.
Croatia

385989836579
www.iknowsudar.com
STUN Design and Advertising
United States

225-38 1-7266
www.stundesign. net
Stuph Clothing
United States

800-242-9 166
www.stuphcloth ing.com
Stygar Group, Inc.
United States

804-288-4688

www.s udduthdesign.com
Sunrise Advertising
United States

513-333-4100
www.s unrise-ad.com
supersoon good design
Germany

+49 40 60 73 32 94
www.s upersoo n.net
Sussner Design Company
United States

628 128867800

479-306-4632
Thirtythr33
Germany

49 175892711 8
www.t hirtythr33 .de
this is nido
United Kingdom

447715470235
www.thisisnido.com

310-392-3848
www.truf.org
Truly Design
Italy

(+39) 333 338 9485

www.truly-design.com
Tyme Inc.
United States

203-594-9074
www.studiotyme.com
Type Fanatic Design
United States

612-339-2886

480-626-3438

www.s ussner.com

www.typefanatic.com

www.wood bine.com
Worth I Design
United States

21 24925414

512-633-9247

www.to ky.com
Tom Law Design
United States

336-724-0450

www.valhal laconquers.com
Van Cyber Design
Serbia

www.taligrassstudios.com
Tandem Design Agency
United States

314-534-2000

www.wo ngdoody.com
The Woodbine Agency
United States

760-579-3491

785-842-9696

www.stevesportfol io. net

Stiles Design
United States

www.todd linkner.com
TOKY Branding+Design
United States

206-624-5325

602-499-2003

215-840-0880

718-207-0682

Whole Wheat Creative

United States

www.utilitydesignco.com
Valhalla I Design & Conquer
United States

Steve's Portfolio
United States

www.todaydesign.be
Todd Linkner Design Associates
United States

www.whainc.comiplacewrightdesign
Whaley Design, Ltd
United States

www.updesigng roup.com
Ulyanov Denis
Russia

www.tailordesigns.com
Tallgrass Studios
United States

+32 496 08 66 85

949-250-0607

619-793-5166
www.vanpaul.com
Vasco Morelli Design
United States

650-759-4617
www.vascomorelli.com
Velocity Design Group
United States

480-835-5535
www.velocitybrand.com
Vigor- interactive branding strategy
United States

717 -234-4846

+628 1 1298445

780.452.3434

408-910-4553

498945216034
www.visualmafia.de
Vital
United Kingdom

01926338811
www.getvital.co. uk
Vlad Ermolaev
Russia

+79 165559038
vladimir sijerkovic
Serbia

38164 1532347
www.vlad imirsijerkovic.com
volatile-graphics
United Kingdom

+44 (0)797669 1230

www.volatile-g raph ics.co.u k
Voov Ltd.
Hung ary

0036-20/33-94-922
WWW.voov. hu
Walsh Associates
United States

918-743-9600
www.walshbranding.com
Wantulok Design
United States

406-587-4400
www.wantulokdesign.com
Webster Design Associates Inc.
United States

402-55 1-0503
www.websterd esign.com
Welcome Moxie
United States

917-385-2314
www.mox iedesign.net
Westwerk DSGN
United States

612-251-4277
www.westwerkdesign.com

Wox
Brasil

359888835668
www.zka11.com
XYNTFK
Austra lia

+61 394158885
www.xy ntfk.com
Yaroslav Zheleznyakov
Russia

7 4852 45-65-04
www.y-desig n.ru
Yield,lnc.
United States

512-450-5050
www.yieldinc.com
Youngha Park
United States

917 -533- 1804

Zed+Zed+Eye Creative
Communications
United States

352-694- 1933
www.zedzedeye.com
Zieldesign
United States

415-282-4040
www.zieldesign.net
Zwoelf Sonnen
Germany

1794896417
www. zwoelfsonnen.de

about the authors

Bill Gardner is president of Gardner Design in Wichita, Kansas, and

Catharine Fishel specializes in working with and writing about graphic

has produced work for Cessna, Spirit AeroSystems, Learjet, Nissan,

designers and related industries. Her writing has appeared in many

Thermos, Pepsi, Pizza Hut, Cargill Corporation, Kroger, Hallmark,

leading publications. She is editor of the web site LogoLounge.com,

and the 2004 Athens Olympics. His work has been featured in Com-

contributing editor to PRINT, and is the author of many books about

munication Arts, Print, Graphis, New York Art Directors, the Museum

design, including The In-House Design Handbook, The Freelance

of Modern Art, and many other national and international design

Design Handbook, Paper Graphics, Minimal Graphics, Redesigning

exhibitions. He is the founder of LogoLounge.com and the author

Identity, The Perfect Package, LogoLounge 1,2,3,4,401 Design

of LogoLounge 1, 2, 3, 4 and the annual "LogoLounge: Logo

Meditations, Designing for Children, Inside the Business of Graphic

Trend Reports."

Design and How to Grow as a Graphic Designer.