Font Aid IV release 'Coming Together' benefits Haitian victims through Doctors Without Borders

The Society of Typographic Aficionados (SOTA) is proud to announce the release of “Coming Together”, a font created exclusively for Font Aid IV to benefit the victims of the recent earthquake in Haiti. The font consists entirely of ampersands, to represent the idea of people coming together to help one another. Nearly 400 type designers, graphic designers, and other artists from 37 countries around the world contributed artwork to the font.

The ampersand contribution of Jeff Fisher LogoMotives (above right) was inspired by traditional Haitian art hand-cut from discarded steel drums. The vines and leaves coming from the roots in the art, signify regrowth; while the bird taking flight represents hope for the future.

The font is being be sold for $20US and is available through font distributors Ascender Fonts, Veer, FontShop, and MyFonts. All proceeds from the sale of the font will go to Doctors Without Borders, to help with their relief efforts in Haiti.

The “Coming Together” font contains over 400 glyphs and is supplied as a single, cross-platform OpenType font. All glyphs are accessible using OpenType-savvy applications, Unicode-savvy utilities, the Character Map utility on Windows, and FontBook on Mac OS X.

Proceeds from previous Font Aid efforts have gone to UNICEF to help war and disaster refugees, benefit the victims of the September 11 tragedies in the US, and raised funds to expedite relief efforts in countries affected by the Indian Ocean earthquake and tsunamis. In the 2005 Font Aid III initiative, a combined program of SOTA and Building Letters, designer Jeff Fisher submitted an icon that became part of the the collaborative Fleurons of Hope typeface.

© 2010 Jeff Fisher LogoMotives

Toot! Toot!*: Identity by Jeff Fisher LogoMotives published in 'Designing for the Greater Good'

The new released book Designing for the Greater Good: The Best in Cause-Related Marketing and Nonprofit Design, by Peleg Top and Jonathan Cleveland, features an identity design by Jeff Fisher, the Engineer of Creative Identity for the Portland-based Jeff Fisher LogoMotives. The designer's logo concept for the Cat Adoption Team (C.A.T.) appears in the Rockport Publishers volume.

Designing for the Greater Good features interviews with leading designers who do cause-related work for all kinds of organizations. A wealth of eye-catching full-color examples include notable and memorable designs from social service campaigns and organizations around the world. Also featured is a valuable Q&A with influential designers from both government-funded and private non-profits which explores the design ideas employed, the designers' inspirations, materials, and the financial results that effective cause-related design work can achieve.

Fisher's Cat Adoption Team design won a Silver Award in the Summit Creative Awards. It is featured in the books Killed Ideas, Vol. 1, Letterhead & Logo Design 11 and American Graphic Design & Advertising 25. The yet to be published LogoLounge Master Library Vol. 2, Logolicious and Logo Nest 01 (Australia) will include the design. The logo also appears in the textbook Perfect Match Art Primary 5, by Prisca Ko Hak Moi - a collaborative project of publisher Pearson Education South Asia and Ministry of Education Singapore.

Fisher, a 32-year design industry veteran, is the author of Identity Crisis!: 50 redesigns that transformed stale identities into successful brands and The Savvy Designer's Guide to Success: Ideas and tactics for a killer career. He is currently writing the book Logo Type, about typography in identity design, with a scheduled release of late 2010.

The designer has received over 600 design awards and his work has been published in more than 130 books on identity design, self-promotion and the marketing of small businesses.

More information about Jeff Fisher, and his design and writing efforts, may be found on the Jeff Fisher LogoMotives blogfolio.

(* If I don’t "toot!" my own horn, no one else will.)

© 2010 Jeff Fisher LogoMotives

Theatre Logos

(Clockwise from upper left)

The Food Chain
Client: triangle productions!
Location: Portland, OR USA

This 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 Night
Client: triangle productions!
Location: Portland, OR USA

This 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 State
Client: triangle productions!
Location: Portland, OR USA

"The Dream State" is another theatrical production identity. It won a 2002 American Graphic Design Award, and appears in the books The Big Book of Logos 4 (Collins Design, USA, 2005), Logos from North to South America (Index Book, Spain, 2005), Logos Cafe (Page One, Singapore 2005), Logos from North to South America (Paper-mini, Index Book, Spain, 2005), The Big Book of Logos 4 (Paper - Harper Design, USA, 2006), and 100's Visual Logos and Letterheads (Angela Patchell Books, UK, 2008).

triangle productions! 14 Years of Tears and Cheers
Client: triangle productions!
Location: Portland, OR USA

Stylized 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 © 2015 Jeff Fisher LogoMotives. All rights reserved.

Putting a new face on a common design element

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

Jeff Fisher to present live HOW/Print DesignCast - 'Using Social Media as a (Free!) Marketing Tool'

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

Identity Re-Design: Balaboosta Delicatessen

The Japanese book Works in Progress: Graphics for Visual Presentations features a portion of the logo design process for Balaboosta. The following example of a logo re-design project by Jeff Fisher LogoMotives goes into a bit more detail.

Local chef and restaurant owner Lisa Schroeder was opening a new traditional delicatessen on a city block where she owned two other eating establishments. Initially the new eatery was also going to display and sell artisan furniture made from reclaimed products. A polished identity was needed to represent the new business.

Furniture designer Brett Bigham had created an initial image for use in promoting the establishment which would also showcase his creative efforts (above). A more stylized and finished business identity was desired by the owner of the business. Retaining the image of a waitress in the graphic was discussed, as was the incorporation of some retro restaurant imagery.

With "Balaboosta" being a rather unique word, I first presented the client the word in a wide variety of typefaces - both upper and lower case for each font presented (above).

The initial concepts (above) incorporated waitress imagery, a retro-like checkerboard pattern and all of the text elements desired by the client. The first two logo concepts included an oval shape - an element used in the identities of the client's tow other eating establishments.

Feedback on the initial concepts led to the elimination of the waitress image. The client suggested that I concentrate on promoting the food offerings of the delicatessen within the logo design.

I then decided to incorporate a cup of coffee and a bagel as replacements for the "O" letterforms in the word "Balaboosta." In addition, concepts were presented that conveyed a restaurant tabletop with coffee cups, bowl, plate and pitcher. (above) Again, one of the designs involved the inclusion of the oval shape.

The oval resonated with the client and I was asked to move forward with that shape as a graphic element. The coffee cup remained within the design; while the bagel was replaced with a half sandwich and a dill pickle slice. In simplifying the design, the name Balaboosta Delicatessen was the only text retained. A variety of background treatments were presented (above).

The client, who had a great understanding of design and typography, then suggested that I take a look at the font Serific/Serifa as a possible primary type treatment. Baskerville was discussed as a complimentary type selection for the word "Delicatessen" (above).

The simplification of the logo design continued with the elimination of all illustrative elements. The diamond pattern background of previous concepts brought my attention to the tile pattern on the floor of the historic building housing the delicatessen. I then brought that tile pattern - and the colors of wood, paint and tile within the restaurant - into the design (above).

The oval shape was a consistent element from the beginning of the process to create an identity for the Balaboosta Delicatessen. Through the process of distilling the design down to a simplified image, a final sophisticated logo was created.

The client was very pleased with the final identity image and how it complimented the logos of her other restaurants. Unfortunately, the design got little use, as the eating establishment was reconcepted shortly after opening.

In addition to appearing in the Works in Progress: Graphics for Visual Presentations, the Balaboosta design lives on in The Big Book of Logos 5, 1000 Restaurant Bar & Cafe Graphics, 100s Visual Logos & Letterheads (UK), Design DNA - Logos: 300+ International Logos Deconstructed and Logo Design Vol. 3 (Germany). It also received an American Graphic Design Award from GD:USA.

Check out some other Jeff Fisher LogoMotives identity re-design projects.

(Note: My book, Identity Crisis!: 50 Redesigns That Transformed Stale Identities Into Successful Brands, contains case studies from 35 designers and firms located around the world. Learn more about the book on the Identity Crisis! blog.)

© 2010 Jeff Fisher LogoMotives

Business Logos

(Clockwise from upper left)

Deschutes Plumbing
Client: Deschutes Plumbing
Location: Bend, OR USA

The identity for a plumbing contractor located in the resort community of Bend, OR - near the Deschutes River and the Three Sisters Mountains. It is featured in the book New Logo & Trademark Design (Japan).

PavelComm
Client: PavelComm
Location: Portland, OR USA

A 2008 identity redesign for PavelComm, a customer service focused organization specializing in complete communications and technology solutions. The identity appears in the book Logo Nest 02 (Logo Nest, Serbia, 2012). Read more information about this logo design project.

KIOTI
Client: KIOTI Tractor, Inc.
Location: Portland, OR USA

In 1985, I participated the naming process for a tractor company, importing an equipment line manufactured by Daedong of South Korea. Once the name was confirmed, I created the initial identity for the business.

Buttonberry Books
Client: Buttonberry Books
Location: Lebanon, NJ USA

Logo for a book publishing company. The identity appears in the books New Logo World (Japan), Logo Design for Small Business 2, and Logos from North to South America (Spain).

Check out additional Jeff Fisher LogoMotives business logo designs.

All logo designs © 2015 Jeff Fisher LogoMotives. All rights reserved.