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I actually don't think that brand new logos are worth that much or mean that much in and of themselves. So why not have a class of third graders compete to design your logo?

Michael Bierut

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Michael Bierut
Age: 54
Designer
Graphic Designer
Cleveland
Ohio
Much
Brands
Think
Third
Thinking
Thirds
Design
Graders
Worth
Logo
Class
Logos
Actually
Compete
Mean
Brand

More quotes by Michael Bierut

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I had a lot of enthusiasms that were very contradictory, I was never very doctrinaire in the type of design I wanted to do.
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No one loves authenticity like a graphic designer. And no one is quite as good at simulating it.
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I think that you could design a terrible logo for a good company with great people and they could build it into a great program. Alternatively you could design what seems to be a brilliant logo for people who are not smart or energetic or are incapable of associating with anything positive and it would become a terrible logo.
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Simplicity, wit, and good typography.
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Designs that have a whiff of complex impenetrability tends to suggest big, complicated ideas. Academic writing tends to work the same way, I understand.
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Graphic design is the fiction that anticipates the fact.
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If you look at the Olympic graphics for Mexico or Los Angeles, those programs don't look contemporary by today's eyes but they really look like they are of their place and time.
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We get used to things, and we like reading the way we're used to reading.
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Target for example, is just a dot with a circle around it, that's all it is, so if you want a logo like Target, you don't need to hire a designer, you barely need to know how to operate a computer program, the logo may as well be anything.
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A good cook can make something amazing out of even the blandest ingredients. Still, you don't want to eat the exact same dish every day.
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For instance, I assume those carrots we have on our keyboards were there originally to express greater than and less than. Then they were adopted by coders, and now they show up all the time in the way email addresses are constructed. At least I think that's what happened.
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Australia is one of the few places that I can think of where the cities, at least those I've been to, seem to have strikingly different characters and visual textures. To an American like me, there's basically Melbourne, Sydney and Brisbane and the rest is all bush.
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I've heard some designers talk about the design process being centred on invention, starting with a blank slate. I admire that and occasionally I'm capable of that, but I have to admit that I really have trouble working with completely open briefs.
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If you ask people in the US what logos they like and recognise, they'll name Target or Nike.
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I can see how some people get sentimental about how we used to do things in 'the good old days' but in a way I just think they are being nostalgic for the way they were brought up.
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When it comes to working on identities, a lot of the time I find myself working with a company that has been around for a while. No matter what they say their goal is, the history and the impression that they have already made in the minds of the public is a real thing that you have to deal with.
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Most processes leave out the stuff no one wants to talk about: magic, intuition and leaps of faith.
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BE PURPOSEFUL AND THOUGHTFUL IN THE CHOICES YOU MAKE WHEN THE OPTIONS ARE NEARLY INFINITE.
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A lot of times, you design a logo to be timeless, but with something like the Olympics, timelessness is maybe not something you should be going for.
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I'm always conscious of the context, the history, the specific environment of anything that I design and what it is going to be operating within.
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