A logo communicates in the smallest amount of time and space possible, so the graphic elements need to be unique enough to catch the viewer’s attention. At the same time, the logo can’t be so complicated that the viewer is left scratching his head, wondering how the design is related to the message. Two logo designs and their stories prove that this process is not as straightforward as it sounds.
In 1975, Milton Glaser was commissioned by the state of New York to design a logo for a campaign that would boost the city’s sinking reputation. His “I LOVE NY” is still a beloved and ubiquitous representation of the city. When the London Olympics committee unveiled its logo for the 2012 games, the public response was one of absolute disgust and outrage.
Why does Glaser’s logo still generate more than $30 million per year, while the London Olympics committee wasted £400,000? Here are three lessons from two epic tales of logo design:
1. Form and content must cooperate
“I LOVE NY” works because it takes a fraction of a second to decode the heart symbol and place initials, but the logo is universally accessible. Remember, this was a pre-emoticon era, so using the heart symbol for liking something was innovative. The viewer reacts quickly by affirming the message: Yes, I do love New York, who doesn’t?
The logo for the London Olympics, on the other hand, is overdressed for the occasion. It takes far too long to realize that the stylized, jagged forms make out the numbers 2012. The viewer, who anticipates the logo as a national symbol, finds no indication of London-ness, British-ness, or Olympic spirit.
2. Trust a designer, not a committee
Steve Wozniack, co-founder of Apple, wrote in his memoir, “I don’t believe anything really revolutionary has ever been invented by committee. Work alone. Not on a committee. Not on a team.”
The committee responsible for the London Olympics logo took the opposite approach. They spent more than one year (and £400,000) consulting over 60 stakeholders and young people. Milton Glaser, on the other hand, was doodling in the back of a taxicab in Manhattan when he drew the sketch for his iconic logo (which you can see here). Without consulting anyone but himself, Glaser distilled a sentiment that is still relevant 35 years later.
In case you are still unconvinced that doodling is a serious practice, listen to this TED talk that defines it as “making spontaneous marks to help yourself think.”
3. Don’t try to be cool
Committee chairman Lord Coe explained the London Olympics logo as “interactive and absolutely at the heart of what we need to do – engaging the attention of young people through new media and the virtual world they can get transported into.” That young people will have a fundamentally different reaction to a logo than older people just doesn’t make sense. Logos are simple beings that should retain their effectiveness whether they are drawn on a dinner napkin or displayed on a website.
Glaser was not trying to impress anyone when he first sketched his idea in the back of a taxicab. Looking back, he remarked, “I’m flabbergasted by what happened to this little, simple, nothing of an idea.”
Find Us On