472

"When we received the assignment, we immediately read both of Senator Obama’s books. We were struck by the ideas of hope, change and a new perspective on red and blue (not red and blue states, but one country). There was also a strong sense, from the start, that his campaign represented something entirely new in American politics — ‘a new day,’ — so to speak." Steven Heller interviews Sol Sender about the development of the O monogram. Interestingly, the interview implies that Sender LLC never met directly with Obama during or after the mark’s development.

My Favorite O

obama logo

Above: Barack Obama’s signature O designed by Sender LLC and Mode of Chicago, IL.

A new day dawns.

The best part? It was there the day Obama announced his candidacy and they never went back, never changed, never wavered. The symbol was fresh and original from the start, but it became an icon because Obama stuck by it and continues to stick by it. An admirable quality in both a leader and a logo. Stay true. The greatest strength comes from confidence, consistency, and vision.

426

I am now the proud owner of a black tshirt featuring Muriel Cooper’s logo for MIT Press. Pick up your own here or here. Find out more about the logo here.

345

Amazing: the CBS eye has Shaker roots. I had no idea, but of course it makes perfect sense. The original drawing designer William Golden based CBS’s logo on is from an article on the Shakers that ran in the first issue of Alexey Brodovich’s Portfolio magazine in Winter 1950.

171

"A new Belgian carrier, Brussels Airlines, has been forced to change its logo following complaints from superstitious passengers. The 13 dots making up the stylised ‘b’ brought a flood of complaints about the ‘unlucky’ design," BBC News reports.

82

"You would have to look rather closely to see it. Extremely closely. In fact, someone could set the old logo and the new logo side by side and stare for some time before detecting even the slightest distinction. The folks who led the exhaustive makeover process couldn’t be more pleased." NYT on the ginger redrawing of MoMA’s logo, set in Franklin Gothic No. 2, c. 2003. Shortly thereafter, NYT announced its own redrawing in the form of a slightly tweaked—but subtlely compelling—new Cheltenham. Whose ghost haunts these two typographic facelifts? Morris Fuller Benton, for one. Who else? Matthew Carter, of course. For further reading, try this interview with Carter, which helps connect some more dots between the two.

29

Andy Rutledge believes that “the logo is the most abused, misapplied, misconceived, wrongfully distracting element of design and business today.” Read his essay to learn why.

17

In recent years higher education has gone bonkers for branding. The potentially educatable are now the educated potential, and, at least in terms of marketing and focus groups, the students have become the teachers. To wit, this article from NYT, which was instrumental for our critique of the New School’s new identity for BusinessWeek.