Logodotes: 2 Boys in a Bed...

[Over the 30+ years I've worked professionally as a designer, interesting side stories have come up about my identity designs. This is one of an ongoing series of "Logodotes" - anecdotes about my logo designs.]

To be honest, a designer doesn't often find themselves in the position to create a logo with the subject matter of "2 Boys in a Bed on a Cold Winters' Night." I've always been lucky enough to have the opportunity to balance my corporate work with design efforts that are a bit more off-the-wall. "2 Boys in Bed..." was a play being presented by local avant garde theatre company triangle productions!

During almost two decades of designing work for the theatre client, producer Don Horn has always provided the scripts to the shows for which I was creating graphics. In this case the title of the play described the show fairly well. In a 1987 New York winter setting, at the height of the AIDS crisis, two gay men met in a bar, go back to the threadbare apartment of one and, after having sex, end up having a lengthy discussion.

With the design, I immediately wanted to create an eye-catching and simple graphic that would subtly convey the activities of the characters and the passage of time during the night. Within the windows of three graphic panels (above) the moon and star elements seemed to move, hinting at the time passing. My warped sense of humor had a great deal of fun positioning the feet in the bed to reflect a variety of possible sex acts taking place as the night progressed.

The graphic image, without accompanying type spelling out the name of the play, was printed on the front of a white T-shirt promoting, and sold at, the show. The logo, with type (below) was reproduced on the back of the shirt. Ticket and T-shirt shirt sales were very successful.

I have shelves of T-shirts. I'll often grab one and put it on without even paying attention to the printed graphics. Such was the case on the day I wore my "2 Boys in a Bed" tee to a local grocery store. I was still oblivious when I became aware of a woman walking directly my way.

As she got closer she said, "I love your T-shirt design - where can I get..."

It was then I saw a look of horror come over her face as she zeroed in on the positions of the feet in the beds of the graphic. With her face now bright red, she added, "Never mind," and walked away as fast as possible.

If the hope of a graphic designer is for their work to produce action, or a reaction, the "2 Boys in a Bed..." logo was certainly a success.

The identity 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). On my Logopond showcase the comments and critiques of the design even drifted to the question of whether two men could have sex in one of the positions shown. It also has the distinction of being included in the recent Graphic Design Blog post "40 Weird and Playful logos – A Double treat!"

© 2011 Jeff Fisher LogoMotives

Logodotes: Stumptown Clowns

[Over the 30+ years I've worked professionally as a designer, interesting side stories have come up about my identity designs. This is one of an ongoing series of "Logodotes" - anecdotes about my logo designs.]

I often tend to be my own worst client. When designing for myself, I usually go into a very picky and hyper-critical mode. It did take me 10 years to create the Jeff Fisher LogoMotives identity.

With the image for Stumptown Clowns the process was surprisingly much different. Following attendance at Clown School, and a great experience as part of the Amtrak Cascades Character Clown Corps for the Portland Rose Festival, my clown pal Pippa suggested that those interested in clowning around a bit more participate in the 2009 Portland Pride Parade. As the event was not an official Rose Festival event we would need to march under a new clown troupe moniker. Pippa came up with the name "Stumptown Clowns."

In my odd logo designer mind, as soon as I was made aware of the name, I literally saw the words visually as a potential clown face. The "U" letterform in the word "Stumptown" could become a winking eye, with the "O" in the term creating another eye that was wide open. It only made sense that the "O" in "Clown" would become a big red clown nose.

There was no sketching or doodling of the concept. The design was so clearly defined in my mind that I went directly to the computer. The font Blue Plate Special, by Nick Curtis of Nick's Fonts, was the first and only choice for the logo. It seemed to convey the celebratory, circus-like quality I desired. The weight of the font, and the curves of some letterforms, complimented the graphic elements which were created first.

In a one-shot process the Stumptown Clowns logo was complete (top image). However, there was something that bugged me about the end result. It was an optical illusion, but the identity seemed to be tilting. I doubled-checked the horizontal allignment of the design. The lightness of the "winking eye" and the heaviness of the "open eye" element were causing the logo to look as if it had rotated clock-wise a bit.

Rotating the design a quarter of a degree, counter clock-wise, seemed to correct the visual issue for me (directly above).

Stumptown Clown pals Lou, Pippa, Trip and Toots Caboose preparing for the 2009 Pride Parade though downtown Portland

With our official Stumptown Clowns logo on an identifying sign for the parade (Thanks to Kathy at Signs Northwest!) the new clown troupe was ready for its parade debut.

This project did remind me of a previous identity design client with an incredible attention to detail - OK, the guy was anal retentive (Hmmm...am I more anal?). The logo project was finalized. Disks were prepared with all the necessary digital files for the client. The invoice had been sent off for payment. The the client called to request that I rotate the design - which did not have balance issues with its circular design - five degrees clockwise. It was one of the oddest, and most specific, requests I'd received in regards to a job. No explanation - just "please rotate the design five degrees."

I revisited the logo and rotated the image two and a half degrees. The client was perfectly happy.

The Stumptown Clowns logo was recognized with a 2010 American Graphic Design and Advertising Award, and Silver honors in the 2010 Summit Creative Awards. It appears in the books Logolicious, iheartlogos Vol. 1, and Logo Nest 01. (Australia).

© 2011 Jeff Fisher LogoMotives

Logodotes: Cat Adoption Team concept

[Over the 30+ years I've worked professionally as a designer, interesting side stories have come up about my identity designs. This is one of an ongoing series of "Logodotes" - anecdotes about my logo designs.]

It's always interesting to be contacted by a nonprofit organization with a request to design a logo pro bono. I get numerous such requests each month. These days, to give myself permission to politely decline some inquiries, I only consider donating my services if the project is related to education, nonprofit performing arts groups, children's causes, HIV/AIDS or issues in which I have a strong personal interest.

I had certainly heard of the Cat Adoption Team (C.A.T.), the Pacific Northwest’s largest nonprofit, limited admission cat shelter with its own on-site full-service veterinary hospital. My initial contact with the organization came via an email from a graphic designer doing volunteer work for C.A.T. She explained that she was a fan of my own identity design work and asked if I would possibly consider designing a new logo for C.A.T. as it approached its tenth anniversary celebration.

After expressing my interest in taking on the project, an appointment was made with the woman who was the group's Executive Director at the time. I appreciated the advertising and marketing background of this individual. She had a great understanding of branding - and the fact that the logo in use at the time (above left) may have served the agency well in its first decade, but it was time to convey a stronger, more professional and memorable public persona. With the emotional and historical investment in the existing logo, the was certainly a "never tell a potential client their logo sucks" situation. Personally, I felt the hand-drawn logo, with one black cat looking outside a window while another looked in, projected a melancholy and somewhat sinister image.

My hope was to create a simple, memorable logo, that would be appeal to both adults and children, as an identifier for the group. With the gift of an organization name acronym creating the primary word associated with the cause, I set about the design a logo turning C.A.T. into the graphic image of the animal. I got increasingly excited as I doodled (above right) and saw a recognizable cat form taking shape within the name.

My excitement was shared by the Executive Director when I explained the direction in which I was taking the project. As I fine-tuned the concept, I opted to make use of letterforms from the font Frankfurter to form the cat and then be used to spell out the organization name. The roundness of the letters created a soft, friendly, inviting design (above) for review by the client Board of Directors. The Executive Director seemed very pleased by my effort and felt it could successfully take C.A.T. into its second decade with a clever and professional graphic identity.

The Board of Directors did not agree. The Executive Director shared that the board members did not feel the design was "warm and fuzzy enough" to successfully represent the cause. She then graciously offered me an opportunity that no previous client had suggested. Given the fact I had donated my time and invested so much energy, into a design that I was convinced would best serve C.A.T and the Board of Directors disagreed; she was allowing me to remove myself from the situation if I chose to do so.

I accepted her offer to separate myself from the project. Afterwards I learned that other designers had less than successful past business relationships with the agency, too. The combination of a mostly volunteer organization, the historical and emotional attachments to the group's past designs, a voting Board of Directors sometimes becoming a "design by committee' presence, and other elements can make such projects challenging - for the designer and the client.

Soon after ending my participation in the C.A.T. project, I received a call-for-entries for a book to display 50 of the best international rejected, or "killed," design concepts. The C.A.T. logo concept design got a second life when it was accepted for publication in the book Killed Ideas: Vol 1.

The C.A.T. design went on to have more than nine lives beginning with winning a Silver Award in the Summit Creative Awards. It is also featured in the books Letterhead & Logo Design 11, American Graphic Design & Advertising 25, Designing for the Greater Good, LogoLounge Master Library Vol. 2, Logolicious, For a Good Cause (Spain), iheartlogos season one and Logo Nest 01 (Australia). 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. Most recently it is an illustrative element in an article I wrote for the 2011 Artist's and Graphic Designer's Market.

© Cat Adoption Team

What became of the need for a Cat Adoption Team logo design? Well, another designer (if I knew the name I would post it here) did take on the project and successfully created an identity for C.A.T. (above). It seems that the organization got their more literal and "warm and fuzzy" feline representation within the logo design. It has been used as the agency's identity for some time now.

I had an immediate critical, rather than personal or bitchy, reaction to the new logo when first seeing it - and other logo designers have emailed me with similar thoughts. With the illustrative cat's head resting on the "C" letterform, that letter seems to visually close creating a noose-like appearance - or the cat's head seems to resting in wait for the falling of a guillotine blade or the ax of a a public executioner. Perhaps not the best graphic message for a "no-kill" cat shelter.

© 2010 Jeff Fisher LogoMotives

Logodotes: North Bank Cafe

[Over the 30+ years I've worked professionally as a designer, interesting side stories have come up about my identity designs. This is one of an ongoing series of "Logodotes" - anecdotes about my logo designs.]

In the summer of 2009, I was very sad to learn of the passing of one of my favorite, and most fun, clients. Cecilia Murphy was one-of-a-kind and a Portland institution. It made me smile when, in doing one of the newspaper's "Life Story" features, The Oregonian began the article with "Cecilia Murphy lived by the unofficial motto "'more is more.' Less was not for her."

In that same newspaper article was the minor mention "She had a short-lived coffee shop." That's how I met the vibrant force known as Cecilia Murphy.

In late 2003, Murphy contacted me to assist in helping brand her latest venture - a coffee house and cafe in the St. Johns neighborhood of North Portland. She conveyed a desire to have the business project an image of the television show Northern Exposure meeting North Portland. Some Victorian elements were to be mixed with comfortable over-stuffed furniture and a few rustic Northwest touches - including vintage mounted heads of hunted wildlife.

Her eyes twinkled as she suggested that the cafe identity might included the image of a winking moose, with long eye-lashes and a "big rack." I knew that Murphy meant antlers in this case, but her smile told me she knew exactly what she had said. Throughout our conversation the moose was referred to as "she."

After thinking about the input for a moment, I told my client that I didn't think a female moose would have antlers. Murphy quickly replied, "Well, I guess we'll have a cross-dressing moose."

I appreciated the opportunity to be totally playful with the North Bank Cafe logo project. The moose image quickly developed as a fairly cartoon-ish creature. I researched moose hoof prints, to be used as bullets in the design, and had fun playing with type possibilities, prior to settling on Horndon as my favorite primary font for my initial design concept. Still, second-guessing myself, I was a bit unsure about having possibly taken the beast too far. I included one more conservative concept in the rough designs I presented (above left).

As is the case in 85-90% of my identity design projects, the client was immediately drawn to my very first concept. With a little fine-tuning it became the final logo for the North Bank Cafe (above right).

The North Bank Cafe was short-lived. Unfortunately, Cecilia Murphy is also no longer with us. I am happy that the cross-dressing moose of the logo does live on. It appears in the books Logo Design for Small Business 2, 1000 Restaurant Bar & Cafe Graphics (and its recently-released paperback mini edition) and 100's Visual Logos and Letterheads.

© 2010 Jeff Fisher LogoMotives

Logodotes: Al Bauer Advertising

[Over the 30+ years I've worked professionally as a designer, interesting side stories have come up about my identity designs. This is one of an ongoing series of "Logodotes" - anecdotes about my logo designs.]

In 1980, my first year out of college, ad agency owner Al Bauer asked me to design a logo to identify his firm. Bauer had been toying with the idea of using an abstract image to represent the company. In fact, he'd even considered making use of an abstract painting created by his daughter, artist Marlene Bauer. The pre-digital printing expense of reproducing a four-color image led to the client quickly changing his mind about the possibility.

The initial concept (above left) evolved out of my interest in the minimalist logo imagery I studied in school during the 1970's. Many logos of the time were simple, somewhat heavy, and involved geometric forms. The client almost immediately selected this particular design. I was told that he appreciated its abstract representation of how advertising was often a very orderly discipline - until something went completely out of whack.

A couple of weeks later an excited Bauer called me, having just realized the design was in actuality very abstract lower-case a and b letterforms (visually defined above right).

© 2010 Jeff Fisher LogoMotives

Logodotes: W.C. Winks Hardware

[Over the 30+ years I've worked professionally as a designer, interesting side stories have come up about my identity designs. This is one of an ongoing series of "Logodotes" - anecdotes about my logo designs.]

Jane Winks Kilkenny passed away, at the age of 98, in December 2009. For nearly five decades she managed the day-to-day operations of a Portland institution W.C. Winks Hardware. I first met her in 1996, following her retirement, when daughter Anne Kilkenny hired me to design an identity for the business, which had been without a logo throughout its previous 87-year-old history. In one of our early interactions, Mrs. Kilkenny bluntly informed me that she didn't like the new logo at all.

W.C. Winks Hardware was established in 1909 by William Caldwell Winks and his daughter Jane stepped in to run the business upon his death in 1945. In 1996, his grand-daughter Anne Kilkenny provided me with one of the few existing photos of the founder (above left) as a possible centerpiece for the first logo for the hardware store.

In designing the symbol I hoped to convey a historical perspective for the retail establishment. Making use of ovals with banners, to showcase a stylized representation of Winks, graphically hinted at the turn-of-the-century founding of the business. The typefaces Horndon, Copperplate Gothic 33 and Copperplate Gothic 31 added to conveying a look of the time.

When the finished logo (above right) was presented to Anne Kilkenny, she was very pleased, and told me "it looks like the logo that would have represented the store when it opened in 1909." Shortly thereafter, at the Winks Hardware annual holiday party for customers and staff, Jane Winks Kilkenny told me, "I don't like the logo at all; it doesn't look anything like my father."

In 2001, Winks Hardware moved from its long-time Pearl District location to a much larger building in the city's Central Eastside Industrial District. The logo was prominently displayed on the front of the building as signage. Anne Kilkenny and her husband Jon Naviaux drove her mother by to see the completed new location of W.C. Winks Hardware. "The logo looks really good," was her first comment.

The W.C. Winks Hardware logo became an element of an anniversary image in 2009 when the store celebrated 100 years in operation (above).

Since its introduction the Winks Hardware logo has appeared in the books American Corporate Identity/14, New Business Card Graphics 2 (Japan), Letterhead and Logo Design 7, Graphically Speaking, LogoLounge - Volume 1, Logo Design for Small Business 2, Logos from North to South America (Spain), 1000 Retail Graphics and The Best of Letterhead and Logo Design.

© 2010 Jeff Fisher LogoMotives

Logodotes: Dishin' With Divine

[Over the 30+ years I've worked professionally as a designer, interesting side stories have come up about my identity designs. This is the fourth in an ongoing series of "Logodotes" - anecdotes about my logo designs.]

While in high school and college, in the 1970s, I created ink line drawings of historic Oregon architecture to be sold in galleries, and marketed as prints and notecards. I was often commissioned to execute illustrations of specific structures. At the University of Oregon, I was asked to produce such original art of many of the fraternity and sorority residences on campus. Within the fine detail of the drawings I would hide the Greek alphabet forms representative on my own fraternity, Sigma Chi.

Over the years, I have occasionally had the opportunity to hide similar graphic elements within some identity projects. One such effort was a logo created for a theatrical production of the show "Dishin' With Divine."

A designer does not often get the chance to create a logo featuring a infamous female impersonator such as Divine. The 1994 request to design the identity for the one-man show, written by my friend Don Horn, provided a great opportunity to possibly be playful with the image. I found the chance within the eye of the illustrative element of Divine's portrait. As my personal little "wink," the graphic element representing the reflection of the eye was created in the shape of a women's high heel shoe (above).

The fun with "Divine" didn't end with the logo design. T-shirts featuring the image were produced for the show. In designing the paper doll book Dressin' With Design, I got to art direct my college friend Tracy Hayes as she provided the illustrations for the item to be sold at performances. A set of paper doll refrigerator magnets, complimenting the book, was also produced as a marketing tool. Occasionally the collectible book and magnets may now be found on online auction sites.

© 2009 Jeff Fisher LogoMotives