logos

It is our great pleasure to announce that Brand New has joined Coroflot, the most dynamic, relevant and effective job board available for designers today. If you know exactly what this means and need no further introduction, make yourself at home and go browse or post a job at the Brand New Job Board — a handy button has been added to the right of the logo. If you would like to learn a little more, keep on reading.
For those Looking for JobsThe Brand New Job Board displays all job postings in the Coroflot inventory; you don't need to pay anything to see them. You may filter them through the categories added on the sidebar, and you might find the Branding & Corporate Identity to be your favorite. We will regularly update you on new job postings issued specifically through Brand New by posting them individually as part of our content. Basically: Enjoy. You might find your next dream job, or at least your next well-deserved paycheck, here.

For those Looking for DesignersIf you are looking for designers specializing in corporate and brand identity, packaging, as well as strategists, marketers, copywriters and brand fiends, there is really no better place to find them than Brand New, and we are happy to be able to open these world of connections.

Job postings cost US$265, here is what you get:

— Job postings are included in one category and are online for 90 days
— When you place a posting through Brand New, your job is published individually (and within 24 hours), to the home page as part of our everyday content, which generates an average of over 25,000 pageviews a day. It also goes to our RSS feed.
— Brand New's readers come from all over the world, these our top ten countries: United States, Canada, United Kingdom, Brazil, Germany, Australia, Russia, Netherlands, Spain, and Mexico.
— And these are our top ten cities: New York, London, San Francisco, Chicago, Melbourne, Los Angeles, Sydney, Sao Paulo, Moscow, and Philadelphia.
— Other than revealing the asking salaries of designers, that's probably all the information we have at the moment.

Post a job!
Don't forget to cast your vote about this post online

Based in Philadelphia, with approximately 100,000 employees worldwide, Comcast is the largest provider of cable, internet and digital phone in the United States with 23.6 million, 15.9 million, and 7.6 million customers respectively. To add to its media influence, this past December, Comcast became the majority owner of NBC Universal with a 51% stake in the company in partnership with GE, who owns the other 49%. Comcast also owns television networks like E! Entertainment, the Golf Channel and Sprouts. With a diversifying range of businesses, the parent company, Comcast Corporation announced last week that it would rebrand its consumer services — cable, internet, and digital phone — to XFINITY. All caps. The three services will now be called XFINITY TV, XFINITY Voice and XFINITY Internet, and will begin to be rolled out this week in eleven markets, with the name and identity appearing in advertising, uniforms, trucks and on the cable user interface.

The modest image adorning the sole page xfinity.com.

Surprisingly, there was no press release with a rationalization for the name or any explanations of how the logo represents cutting edge technology and XFINITY's commitment to its customers. Or whatever. The new name feels at the same time pompous and clichéd — as if there is no brighter horizon than the infinity of XFINITY but, really, nothing is as depressing as a badly placed "X," a gesture better reserved for extreme games and products, for bad dot-com era start-ups and for strip-club dancers not named Destiny. It might sound more fun than "Comcast" but at least Comcast sounds like a real company with almost fifty years of experience.

The logo is nearly decent once you accept the name, although it falls prey to a number of clichés as well. First there is the lowercase approach which, if it weren't for the obligation to write it in text as XFINITY, it wouldn't be as obnoxious but having that extreme difference will only to confusion. Then there is the omission of the tittles, the dots of the "i," that does create a cleaner wordmark but I believe lowercase "i"s are meant to live in harmony with their dots be it in this lifetime or in infinity. There is a nice gesture when the "f" and "t" join with the "x" and "y" and their crossbars are edged at the same angle as the diagonal characters. But this nice move is offset by too much space between the rest of the letters — "xf" and "ty" become tightly kerned, and the rest is too spacious. When you think about it, this identity could have been more xtremely designed, and it's surprising that there was so much restraint shown, so let's appreciate that, because there isn't much else.

Thanks to Adam Gilson for first tip. Title apologies to Ricky Ricardo.
Don't forget to cast your vote about this post online

While there have been numerous heated debates on the topic of “logo design contests” or famously branded as “spec-work”, I wish to propose a different viewpoint today. First, let me make it clear that I am neither speaking in support nor in conflict about spec-work in logo designing. What I intend to achieve through this post is to elucidate the topic from a different perspective.
Before coming to my topic, let us be a little realistic about a logo design contest. A logo design contest requires participation and nobody can be forced to participate. Those who believe they have the mettle to outclass other logo designers voluntarily participate. Your participation shows your support and interest in being part of that game and your absence clearly states that you are not interested. In short, if you do not approve of logo design contests and claim it to be unethical, simply don’t participate. Your disapproval does not grant you the privilege to mortify the contests and the logo designers who participate. My words may sound a little harsh for some logo designers but guys… “Live and let live” is the dictum we should be following.
Let me remind you that I am discussing exclusively about spec-work in logo designing. Like every business, spec-work has its share of pros and cons. Let us look at some of the merits and demerits of logo design con   tests.

How is spec-work in logo design a Boon?

Provides opportunity for in-experienced logo designers to show their talent.
Logo design contests serve as a wonderful inspiration spot for other designers.
It provides a level playing field for logo designers who are not in developed countries.
An amiable cure in recessionary periods for both clients and unemployed logo designers.
A chance for logo designers to gain experience through trial and error.
A platform to display your logo design portfolio and gain recognition in the design world.
An easy way for logo designers to test their design skills.
A chance to get acquainted with other logo designers.

How spec-work may become a Bane?

In some cases, spec-work in logo designing may provide no guarantee of any reward money.
Spec-work poses legal risks for both parties. Intellectual property, trademark and copyright infringement of logo designs are the major issues.
It devalues the logo design industry and undermines the well-established logo designers.
The logo design contests are judged only by the client’s personal liking.
It can be time consuming and without compensation can be frustrating for logo designers.
Clients trying to obtain low cost solution are compromising on quality of logo designs, as spec-work may involve little time, energy and thought for research.

In conclusion, I would recommend that logo designers and clients should be aware of all accompanying risks before entering into speculative work. As it is useless crying over spilled milk… isn’t it? No spec-work or logo design contest can steal the ideas you possess in your minds. So for all the self-esteemed logo designers out there… Chill!!!

Why do film festivals need logos? Just like a business, a festival must be aggressively marketed in order to find success and get the word out about their brand. Festivals have the unique problem of needing to attract three different markets: film makers, film lovers, and the press. This has led to some uniquely artistic logos. Here are ten of the best film festival logos we have seen.

1. Thessaloniki International Film Festival Logo Design

This film festival has an oceanic theme, with a calm, watery blue and a star. The multi-pointed star could be interpreted either as a sea star, or an astronomical one representing excellence and ‘star quality’ in the films. The many small circles throughout the logo design give a feeling of inclusiveness, while the layered circles in the center of the star create a ‘bulls-eye’ effect that pulls in the eye.

2. Syracuse International Film Festival Logo Design

This logo design definitely reflects the artistic nature of the film festival in question, with a woman’s face painted in water color along with a film strip painted over it. The watercolor image is artistic and attractive, while implying that the films are a rich experience that encompasses all of the viewer’s senses. The green color palette is both natural and calming, adding another dimension to an otherwise attractive logo design.

3. Zurich Film Festival Logo Design

This film festival has a round image that gives a friendly, inclusive image while also resembling both a camera lens and an eye. One of the lights that is in the pupil appears to be a sun rising, adding another dimension to the image. The earthy green combined with the black and white forma sophisticated and modern color palette, while the rounded yet distinctly modern font also suggests sophistication.

4. New York International Independent Film and Video Festival Logo Design

This logo suggests that the films will leave an indelible mark on the people who watch them, with a black head and shoulders painted on in white. This black and white color scheme is stark in this case, which is further implied by the hand-painted nature of the writing. The general square shape of the logo design gives a feeling of solidity that balances the image, while the rough framing of the picture creates a finished feeling to the image.

5. Cannes Film Festival Logo Design

The Cannes Film Festival is perhaps the best known film festival in the world, and the logo design is simple and expressive enough for an industry leader. The circular shape surrounds a laurel leaf, suggesting that anyone can be included in the excellence of this event. The writing is plain enough to neither add to nor detract from the image, although the all upper case letters are decidedly substantial. The blue is serene and calming, suggesting a low-stress experience.

6. Las Vegas International Film Festival Logo Design

This film festival has a logo that relates directly to its setting. From the martini to the dice, it’s hard to think of a way to fit another Sin City image into this logo design. The film strip is wrapped around the glass, relating back to the subject of the festival. The dark red and black colors are both representative of Las Vegas while also creating a vivid and yet sophisticated color palette for the logo design. The bold letters in a thick font give an impression of strength that suggests this film festival has the clout to pull in major films.

7. Imagine Science Film Festival Logo Design

A science film festival of course needs a very different logo from any other type. This logo almost looks like a Web 2.0 logo, with rounded lower case lettering and round shapes. The shapes in this case look like thought bubbles, which ties directly into the name of the festival. The shades of gray imply abstract thought. The gray together with the pointy serifs implies a serious edge, which is appropriate for the genre. Altogether, this logo design is very different from other film festival logos, tying into the main subject while maintaining individuality.

8. Holland Animation Film Festival Logo Design

This logo appears simple at first glance, but it is more complicated than the first impression suggests. First, the Mickey Mouse like image is actually some sort of cartoon character with an old fashioned video camera as its head. The fingers are clasped together in a classic Zen pose as the character walks away from the wording. This suggests that people who attend this film festival will walk away enlightened. The writing is modern with sharp serifs, giving a serious image that implies these are not your average children’s cartoons. The black and white color palette gives a sense of sophistication.

9. City of the Angels Film Festival Logo Design

This Los Angeles film festival has a logo that ties directly into the city in which it is based. A section of the LA skyline is shown with a gold halo, tying into the name. The writing is simple and plain, as is the gray color scheme. The tagline below promises ‘the most inspiring, important and imaginative independent films of the year’, which suggests that the halo applies to more than just the city, but to the film festival’s ideals as well.

10. Ombak Bali International Surf Film Festival Logo Design

A surf film festival certainly needs a different type of logo from any other, and this logo design meets that need. Instead of subdued or sophisticated tones, bright pinks and blues are used. The checkerboard pattern suggests playfulness, while the squares in the image add a more traditional image. A section of filmstrip becomes an oceanic wave at the top, which ties both subjects together seamlessly. The scattered stars imply excellence and star quality.

As you can see, even a narrow field such as film festivals can have a wide range of logos that are still communicative and powerful. This is the power of a logo: using shape, color, and image to imply certain ideas and invoke powerful emotions.

No related posts.

(Clockwise from upper left)The Food ChainClient: triangle productions!Location: Portland, OR USAThis logo for a theatrical production has been featured in the books New Logo & Trademark Design (Japan), The New Big Book of Logos, Letterhead and Logo Design 7, Graphically Speaking, LogoLounge - Volume 1, and New Logo: One (Singapore).Two Boys in a Bed on a Cold Winter's NightClient: triangle productions!Location: Portland, OR USAThis logo for a play is one nearly 100 I have designed for one theatre company over the last 16 years. The logo appears in the books New Logo & Trademark Design (Japan), The New Big Book of Logos, Logo & Trademark Collection (Japan) and Logolicious.The Dream StateClient: triangle productions!Location: Portland, OR USA"The Dream State" is another theatrical production idenity. It won a 2002 American Graphic Design Award, and appears in the books The Big Book of Logos 4, Logos from North to South America (Spain) and 100's Visual Logos and Letterheads.triangle productions! 14 Years of Tears and CheersClient: triangle productions!Location: Portland, OR USAStylized images of the traditional drama and comedy masks make an appearance in this anniversary logo of a theatre company. It appears in the book 100s Visual Logos & Letterheads (UK).Check out other theatre logos by Jeff Fisher LogoMotives.NOTE: Many of the logos designed for theatre presentations are available for licensing through the Theatre Logos Agency.All logo designs © 2010 Jeff Fisher LogoMotives. All rights reserved.

Throughout history two masks have come to symbolize theatre and its two major dramatic categories of comedy and tragedy. Such masks have played an important part in the history of drama since the time of the ancient Greeks, originally allowing actors to clearly convey emotions such as anger, joy, or sorrow to the entire large audience. Masks also made it easier for the performers, limited to the male of species, to portray female characters.During that same theatrical history the mask images were used in architecture, art, design and printing as graphic representations of stage venues, performance groups and plays. The result has been the overuse of mask imagery, in recognizeable forms, again and again.As a designer who has created theatre graphic images for over 30 years, it is a challenge when being asked to use common elements in related graphics - especially in the design of logos for theater spaces, production companies or theatrical events. When creating such identities, it is necessary to move beyond the literal to produce fresh imagery making use of ancient themes.In 1995, I was asked to design the logo for a San Francisco nonprofit using comedy performances to raise funds for AIDS organizations. The identity for Laugh Line Productions (below left) incorporated a interpretation of the comedy mask as the "U" letterform in the word "LAUGH." Today the logo looks a bit too basic and literal to me - but it is where I began to think about alternative treatments of the masks for future designs. The Laugh Line image is featured in the books Letterhead and Logo Design 4 and The Best of Letterhead and Logo Design.One of my favorite theatre logos is my design for the former Main Street Playhouse (above right) in Portland. The space was located in the old Masonic Building, designed by renowned architect Pietro Belluschi. (The building has since been completely renovated and is now part of the Portland Art Museum complex.) Outside of the building, lining the streets along the city's South Park Blocks, are beautiful cast iron street lights. While standing near the theatre one night, I realized that the globes of the light fixtures could easily become the masks of comedy and tragedy. The graphic treatment, with the human imagery almost coming across as reflections in the glass, is so subtle than many people have missed the meaning completely. Still, the design was recognized with an American Graphic Design Award and publication in the PRINT Regional Design Annual.Following the death of Portland actor (and acquaintance) Rob Buckmaster, I was asked to create a logo for the foundation established in his honor. It was a very sad time for the local theatre community, but still, thinking of Rob could immediately bring a smile to anyone's face. Once again I felt the masks of comedy and tragedy could provide a graphic solution to the design challenge. In the design the masks became a bit more graphic than in previous designs, and I purposely placed the sad image upside down to focus on the happier element within the logo. It was a widely accepted identity for the foundation. The Rob Buckmaster Fund logo appears in the books American Corporate Identity 14 and The New Big Book of Logos.Much of my logo design for the theatre has been during my relationship with the triangle productions! production company, which began back in 1990. Each new season of plays and musicals has required the creation of an anniversary logo image to be used on ticket brochures, the website, posters, ads and playbills. When it came time to design the 14th anniversary identity, I immediately saw the numeral "4" as an abstract human form that could take on the characteristics of one of the historic mask forms. With my creation of the tagline "14 years of tears & cheers," placement of the the tragedy and comedy masks was determined within the design. I have mixed feelings about the fact that most people see either the "14" or the two masks in the logo - but not both design elements. The few that do "get it" have an "aha!" moment that is very gratifying to me. The identity appears in the book 100s Visual Logos & Letterheads (UK).I wanted to present these examples to show that with a little creativity, and effort, a designer can avoid the "easy out" of just slapping very common imagery up next to some text. The result can be a unique design solution that attracts the attention of the viewer and, in some cases, draws them in for a closer second look.©2010 Jeff Fisher LogoMotives

“Turns out, creating a logo that represents a city with nearly 350 years of history is difficult,” said Brendan Quinn of Philadelphia-based branding agency 160over90. “There are cliches to avoid (I’m looking at you, cheesesteaks, Rocky, and Liberty Bell), and just as many fascinating stories that are just too obscure to a general audience.
“So we looked at the history, the people, and this place for inspiration. Digging through the museum’s artifacts, we found this map of William Penn’s original plan for the city.

“It was a tight, orderly grid with interspersed parks — Penn’s vision was for a “Greene Country Towne.” That street plan still exists in what is now called Center City between Vine and South Streets.
“So the project’s designer, Adam Garcia, began sketching versions of Philadelphia’s grid.

“We all liked this hand drawn version, as it echoed Penn’s original map while also containing the slight imperfections that make Philadelphia so unique and interesting. The final piece was adding type. And just like Philadelphia itself, that confining grid ended up giving the logo its distinctive character. Here’s the final product:”

Read a more detailed explanation on the 160over90 blog, or you can view the case study in 160over90’s online portfolio.
Published on Logo Design Love

Related posts on Logo Design Love15 years of The Public Theater in 45 seconds25 years of Duffy logosLogos from Stylo DesignThe Oak Bar logoPeter Arnell defends Tropicana rebrand

There’s a good chance you don’t choose your church based on its logo design. Many people make this decision based on denomination, location, and other decisions. However, there is a sizeable number of ‘church hoppers’, people who move from church to church until they find one that feels right. Much of this ‘feel right’ equation is based on the church’s brand, which is conveyed by the church logos. These logo designs are:

1. Harpeth Community Church Logo Design

This church puts a new spin on the traditional Christian cross, with a small green cross shape enclosed in a gray circle in their logo design. Because circles imply inclusiveness, this combined with the rounded lower case lettering creates a friendly and inviting feeling. The green is both organic and alive, which is an excellent impression for a church, while the two shades of gray create a modern feeling.

2. Word of Grace Community Church Logo Design

This church also tries to foster an image of liveliness and growth with a leafy image. If you look closely, the sprig has three leaves, representing the Holy Trinity. The thin, rounded lettering gives a friendly feeling while being plain enough not to detract from the simple beauty of the image. This logo design suggests a simple church with natural leanings.

3. Harvest Church Logo Design

The logo design here shows that this church will help people on their journey to a better life. A road is shown, which coincidentally looks like several stacked H’s. The sunset at the end of the road suggests a beautiful ending. The orange color is youthful while also relating both to the harvest and the sunset, while the gray adds a more adult side to the image. The lower case writing is friendly, while the use of two different fonts, one round and one newsy, adds to the sense of balance between opposites.

4. Valley Community Baptist Church Logo Design

This logo design combines the strength of the square with the feeling of movement that a wave brings. The square is gently rounded for a more friendly feeling, while the wavy shape is formed into the letter V, tying into the name of the church. Again we see the orange color that implies youthfulness. Instead of using two different fonts, this logo uses the same font in two different sizes and thicknesses, creating an edgy modern look while bringing balance to the image.

5. Oak Hill Logo Design

Again we see the cross enclosed in a circle with a calming green color. However, there are a few key differences. Instead of a highly stylized image, this one is a little rugged and appears hand-drawn. Another commonality with other church logo designs on this list is the use of lower case letters in a rounded font imply friendliness and inclusiveness, while the tagline below shows one of the church’s key values in hand printing. The many apparently handmade aspects of this logo design suggest that the people here really care about the finished product, which in this case is the quality of the spiritual leadership.

6. Christ Church Logo Design

This church shows their human side with a cross made of thumbprints, complete with splatters. The deep blue is calming, suggesting a serene and non-stressful experience. Again we see two different thicknesses of writing and a rounded, friendly font. The tagline of this logo design is above the name, giving the promise of ‘more to life’ marquee treatment that shows how central this principle is to the church’s brand.

7. Access Church Logo Design

This church has an extremely nontraditional logo design, which suggests a very nontraditional structure. The layered squares hint at tradition, but this message is softened by the rounded corners. The arrow is a symbol of movement that suggests a congregation that is open to change and new ideas. The red color grabs attention while implying a need for urgency, while the taupe and black are as business-like as can be. The writing is extremely thin but still visible due to the high contrast of white on black. This logo is very modern and similar to that of a luxury hotel or other upscale business.

8. Northgate Free Methodist Church Logo Design

This logo design is very similar to a Web 2.0 logo, with rounded lower case letters and bright colors. The letters are friendly and informal, suggesting a less traditional church experience. The layered shapes suggest a multilayered and complex experience. The bright colors are modern and bright, which also implies certain things about the church. If a church wants to project a modern, friendly image, a logo like this will definitely promote their desired brand.

9. Northstar Church Logo Design

The North Star is the light that guides sailors in the correct direction, so this is an appropriate basis both for the name and the logo design of this church. The star in the image does not just tie into the name; it also suggests excellence. The top of the star is separated from the rest of the image so that it points up, which gives the impression that this church will help people grow and move onward and upward. The yellow adds to this impression because it is such a positive and happy color.

10. Times Square Church Logo Design

This logo is interesting because it incorporates the name into a shape, obviously the layered squares in the central image. This creates a substantial image that is befitting a church in the center of one of the country’s most famous locations. The writing is plain and entirely upper case, adding to the strength of the logo design. As with many churches, a mixture of thick and thin writing is used to show balance. This is an attractive yet curiously nonreligious logo for a church located in an area known for less than religious behavior.

As you can see, there are a variety of ways to brand a church. Each of these churches has a logo design that is an ideal representative of the type of religious experience that they are offering. If your business needs a quality logo and brand, contact a professional logo designer today.

No related posts.

First brewed in 1959 Molson Canadian has never shied away from wearing its Canadian-ness on its sleeve. Whether it be the pseudo rabble-rousing "I am Canadian" ads of the late 1990s, the Molson Mega Keg (an overt play on Canada's love of oversized monuments along the Trans-Canada Highway), or even the brand name itself. However Canadians have always had a bit of a love hate relationship with brands that speak so directly to the notion of being Canadian. So it's no surprise that recent examples of Molson Canadian's overt Canadiana often walk the line between patriotic and palatable by presenting Canadian symbols such as the maple leaf in its logo in a rather caricaturish manner; It's as if the hyper exaggerated water-and-ice-drenched maple leaf and faux italic typography of Molson Canadian's previous identity are quite tenuously saying "We're absolutely, completely, and utterly Canadian (whatever that might mean)."

For this reason, Molson Canadian's most recent identity refresh, spearheaded by New York-based Spring Design Partners and launched on Boxing Day, is both a return to form, and a rather refreshing step in the right direction. Gone is the cartoonish "leaf-sweat" (I probably found that about as difficult to write as you did to read), and faux italic wordmark; replaced by a bold and realistically rendered maple leafing rising from a gently sloped horizon, shining down on a crisp, clean, condensed Gothic typeface.

There's a welcome feeling of honesty and authenticity to the identity that was sorely lacking in prior iterations, and yet Molson hasn't walked away from the pastiche of Canadiana that makes up the core of its brand. While the campaign imagery, featuring Molson Canadian products sitting in super saturated vistas, makes no apologies for a wholly literal representation of the Canadian landscape, the logo treatment and typography in particular take subtle cues from Canadian souvenir decals and postcards of the 40s and 50s.

Short of re-issuing the iconic "Stubby Bottle" format, it's hard to think of an identity that so thoroughly embraces its Canadian roots without slopping on the kitsch or caricature.

Thanks to Graphicology for the tip.

John Ryan is one third of creative team Motherbrand, a collaborative studio devoted to exploring and exposing Canadian design and material culture. Motherbrand's Canadian Design Resource is the world's largest archive of Canadian design, with nearly 4,000 examples of the good, the great and the occasionally unfortunate in Canadian material culture. He is an International correspondent for Brand New.
Don't forget to cast your vote about this post online

Are you ready to feel warm for a few minutes? These tropical logos may not give you a tan, but they will definitely bring up images of warm sand and palm trees. These travel logos are all very different, but they all are successful in invoking images of sun and surf.

1. The Islands of the Bahamas Logo Design

The shape of this beautiful logo follows the general shape of the islands that make up the Bahamas, although the petal-like appearance of the individual shapes makes it also appear to be a garland of tropical flowers. The colors are bright and most definitely tropical. The rounded, mainly lower case writing is friendly and inviting. In all, this logo design is an excellent representative of this group of islands, and one that will be beautiful when placed on t-shirts and other tourist merchandise.

2. Reef & Rainforest Research Centre Logo Design

This research organization focuses on saving reefs and rainforests, two key components of tropical areas. The fish in the image refers to the reef, while the leaf refers to the rainforest. The way both of these is given a roughly similar shape is attractive and makes for a well balanced image. The blue and green color palette combined with the thin, rounded writing creates a friendly and calm image that suggests that this organization is an answer to problems.

3. Tropical Asphalt Logo Design

This company creates home products, which is why a straightforward and trustworthy square is such an appropriate shape. The image is of thick palm branches, appearing to create a shelter over the wording. The plain, bold letters combined with the line between the two words gives a simple, strong image that is exactly what people want in products for their roof and home.

4. Tropical Catering and Decorating Logo Design

In order to create a logo design for a business such as this, the designer must combine tropical images relating to the name with images related to high quality and elegance, befitting a style-oriented catering and decorating business. This logo fits the bill exactly. First, the leafy images normally seen in tropical logos are present, but smaller and more symmetrical. The company’s initials are written in an upscale, swirling font reminiscent of a five star hotel. The spa-like colors are calming, with tropical green and gray accented by a small amount of dark red. This logo design blends the two considerations perfectly, and is definitely the work of a professional.

5. Travel Pacific Logo Design

A travel company definitely must have a logo that makes people want to get away, and this logo definitely achieves that goal. The blues and yellows are a nice departure from the often used greens. The rays coming off the sun and the ocean waves are both made from similar wavy shapes that give a feeling of movement that is particularly appropriate in this field. The tagline implies that a tropical Pacific vacation is a more unusual choice that offers a very different experience than the usual island getaway.

6. Jungle Products Logo Design

This line of organic coffee requires a very different logo design from the average tropical company. First, we see an earthy brown that is relevant to the product, rather than bright colors. Second, the central shape is of an inclusive circle. Last, rather than crisp lines, this logo has jagged edges that give an artisan image. However, the inclusion of a palm tree image makes sure this logo is distinctly tropical. The tagline below promises that organic is not the only benefit that this brand offers.

7. Disney’s Caribbean Beach Logo Design

This logo is as tropical as it gets, from the palm trees to the waves to the Caribbean color scheme. Wavelike shapes line the logo, invoking image of water and waves. The thin writing fits well between the many different images in this logo design, which creates an attractive whole.

8. Caribbean Tourism Organization Logo Design

Instead of bright colors, this logo design uses earthy tones that make it stand out among tropical brands. A desert island sits invitingly in the midst of a light blue ocean, with a red sun setting in the background, which is an attractive image for people seeking a desert getaway. While the round shape is inviting, the most noticeable shape is the wavy pattern on the sand, which communicates movement. The impression is that the Caribbean is an island getaway, but one that is friendly to outsiders and offering a constantly changing range of attractions. This modern image presents the region as an up-to-date and stylish place to have a holiday.

9. Aero-Caribbean Logo Design

Few images are as distinctly tropical as that of a sun setting on the ocean, which makes this the perfect image for this logo design. An airplane takes off in the foreground, which obviously relates to the industry at hand. The waves are a symbol of movement that is also appropriate here. The simple black and white combined with the minimalist images give a modern and sophisticated touch that completes the picture of this brand as a contemporary choice for tropical air travel.

10. Chiquita Bananas Logo Design

This is not exactly a tourist industry, but it may have reached further into American households than any other tropical brand. This company, which is more than one hundred years old, adopted this logo in the 1960’s. The woman relates to the meaning of the name, which is Spanish for a small girl. The woman originally was half human and half banana, which can now only be seen in the way her body curves at the bottom of the image. The fruit basket on her head relates directly to the product as well. The yellow obviously is reminiscent of the bananas, while the blue is calming and contrasts well.

As you can see, tropical logos can be very diverse while still relating to their product and following the principles of good design. These logos come from a variety of industries, but all retain a distinct warm weather flavor. A professional logo designer will know how to create a logo design for your company that similarly incorporates your past, present, and future into a single attractive image.

No related posts.

There is no Sunday like Super Bowl Sunday: The friends, the beer, the chips, the bets, the ads… and, oh yeah, the game. And just in case you were confused by this year's Pro Bowl being played before the Super Bowl, heed the news, the Super Bowl is this Sunday in Miami, Florida with the New Orleans Saints playing the Indianapolis Colts. But aside from mentioning the obvious, let us turn our attention to the Super Logo, designed this season by Attik.
The development of Super Bowl XLIV's identity system was an exciting challenge for Attik. First, it's the most exciting night in professional American sports and second, 2010 was the first year that the NFL had given the logo and visual identity system project to the same agency. And since we had done the visual identity system for XLIII, we felt more than ready to take on both this time.One mandatory from the NFL was that they wanted the logo to be more representative of the power and boldness of football as opposed to overtly representing the host city, like it had done in the past. Our response was to allow the city's personality to come through the system's color palette and support graphics.

The theme of the 2009 regular season was "Own the Moment" and we used that powerful mindset to develop the creative foundation for the identity. This foundation was the idea of a strong competitive duality; the Super Bowl is 2 teams, from 2 conferences fighting for that ultimate victory. The design reflects this by having a bold sense of symmetry and the upright / ball lockup provides a central, relevant focal point.It was a fantastic process from beginning to end. Being allowed to work with the client on a strong strategy first and then go into design helped yield a great solution. The designs started as a simple and pure mark and then we let it grow and evolve into an extensive and functional system. We can't wait to see it on Sunday!— Project insight provided by Attik

All images above provided by Attik.

The XLIV logo certainly feels bold and powerful, more so than any Super Bowl logo I can remember — here are all of the logos for reference — and I like that the logo wasn't forced to look like Miami, otherwise we might have gotten a more festive interpretation, perhaps too much Miami Vice. Looking through the old Super Bowl logos, it's interesting that XLIV is only the third logo to use a football and the first to use a goal post. I'm not entirely convinced by the goal post but I think it's one of those concepts that is so obvious most people simply avoid it and, well, sometimes you shouldn't avoid the obvious. Since the goal post is secondary to the typography, it works well in this context. Speaking of the typography, man, that is one husky type! It's really hard to ignore and it has great presence. The one thing that is a little confusing is the shadow under the "SUPER BOWL" text… I can sort of see where it's coming from, but it's left a little ambiguous as to where the dimensionality exists. Nonetheless, this is a pretty solid iteration of a very difficult, ongoing brief and at the end of the day, it's all about the ads. Sorry, I mean it's all about the game.

Patch and football images from Hlvtca.
Don't forget to cast your vote about this post online

Jeff Fisher, the Engineer of Creative Identity for the Portland-based Jeff Fisher LogoMotives, will present the live DesignCast "Using Social Media as a (Free!) Marketing Tool" on February 18, 2010 at 4:00 p.m. ET/1:00 p.m. PT. The one-hour session is sponsored by HOW and Print magazines. The registration fee is $69. Online registration, and more information, is available on the MyDesignShop.com website.Learn how to use Facebook, Twitter, blogging and more to grow your business, build networks, and reach out an international community of design peers and potential clients. Designer and author Jeff Fisher will sort through a variety social networking/media options and teach you how to use these FREE promotional activities.Jeff Fisher, author of Identity Crisis!: 50 redesigns that transformed stale identities into successful brands (HOW Books, 2007), is a 30-year design veteran. He has been honored with over 600 regional, national and international design awards and is featured in over 130 books about logos, the design business, and small business marketing. His first book, The Savvy Designer's Guide to Success was released in 2004 and has been reissued as a PDF on CD from MyDesignShop.com. Fisher is currently writing a new volume, Logo Type: 200 Best Typographic Logos from Around the World Explained, on the topic of typography in identity design.More information about Jeff Fisher, and his design and writing efforts, may be found on the Jeff Fisher LogoMotives blogfolio.© 2010 Jeff Fisher LogoMotives