Validation Designed.

Image via Wikipedia

Some how I usually end up passing up or missing webinars and podcasts. But Friday I ended up spontaneously viewing the HOW DesignCast, Master Class “Chermayeff & Geismar’s Design Process Revealed” with Sagi Haviv. And it was, well, validating.

Chermayeff & Geismar have designed some of the most iconic logo marks, recognized around the world, for organizations that are huge and iconic in of themselves. The Library of Congress, National Geographic, Chase Manhattan, to name a few.

At first, I thought I wasn’t going to learn anything really new when I saw their list of criteria for what makes for good graphic identity.

Here it goes:
1. Appropriate in form and concept. It’s not about you, it’s about the client. It has to be right for the client and industry they represent.

2. Pragmatic: works well in the required range of applications and media. Check. Run the design through an obstacle of applications and see how it stands up. I’m all for practical. Otherwise what was thought of as brilliant could fall flat on its face.

3. Simple and bold. When these guys say simple and bold, they mean SIMPLE and BOLD.

4. Distinctive and memorable. I would add it has to stand the test of time, but they get to that later.

By now I feel completely validated. I know this stuff and practice it. I have been in the business for quite a while now, but it feels really good to know from the big guys, I’m doing it right. Except maybe the simple and bold part. Some of my logo work is a bit more complex, but it still passes the pragmatic test.

What was particularly interesting was Chermayeff & Geismar process for overhauling existing logo marks.

Before they do any design, they really examine their client, its history, its culture, its audience. If their client has competition, they pull out all the competitors’ logo marks and line it up with their clients’. This makes for a revealing before (original logo mark) and after (new distinctive logo mark) exercise.

Second bit of validation ~ Chermayeff & Geismar put their ideas down on paper first, doing a number of sketches to flush out a look. I do this, too. There is something so organic about drawing out thoughts. It creates an energy that is textural and flowing. It’s a slower process that allows you to really think out all the criteria for application and rationals as to why this will work. You can’t get that sitting in front of a computer.

Here’s what surprised me. Because Chermayeff & Geismar design process arrives at very simple and bold logo marks, they understand, that at first, the new logo mark won’t have any meaning for their client, or anyone else for that matter. They understand what a huge risk it is for their client to embrace a new design to represent their organization.

Here’s what didn’t surprise me. In order for a client to embrace a new logo mark, you have to SELL it. That means pairing it with the right typography. It means showing it in action ~ in print, web, animation, building signage, even lapel pins. It means giving the new design a style guide of how to use it properly across all media. That’s when a logo begins to take on a life of its own. It becomes recognizable and begins to be forever connected with the organization it represents. It becomes iconic.

This is what I admire about design masters like Chermayeff & Geismar. When they are so completely certain a logo mark they designed is perfect for their client, they will go through all measures to proved it to them. This isn’t done with any kind of arrogance. It’s done based on knowledge and experience and I would have to say with heart.

I haven’t completely spoiled the show by telling the whole story, because I haven’t. As I said before, I’ve been at the business of design for some time now, but even I learned a few things I plan to add to my design process. I may not ever get the opportunity to create something truly iconic, but I’ll know my process is moving in the right direction.

Next week: Good Design is in the Relationships

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• Examining The Design Process: Clichés and Idea Generation (smashingmagazine.com)

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