Showing posts with label logo. Show all posts
Showing posts with label logo. Show all posts

Wednesday, August 3, 2016

Designing The Iconic Flame - A Visual History Of The Olympic Torch

Source: Rio 2016

Design is the marriage of message and motif. It is the intersection of identity and icon. In crafting a logo or a slogan or a character, the end symbol is the summation of both the shape and the story.

That’s why the images of the Olympic Games have reached such exalted status. The five rings are a beacon of continental unity. The posters and medals and mascots have linked arms through the years to provide an intriguing portrait of episodic design trends and nationalistic pride.

Source: Rio 2016

Looking back at the summer and winter Games, we have offered reviews of: 

The Olympic torch is an often-overlooked aspect of sports history. Many viewers might remember the televised cauldron lightings, but few can recall the specifics of each particular torch style. This is a shame, because the Rio 2016 cresset is a testament to careful design and deeply embedded meaning.


The Rio torch, as always, represents “peace, unity, and friendship.” This particular beacon, however, features many other subtle elements to personify the flair and landscape of Brazil. For example, this torch is the first to extend and grow. From the official Olympics site:

Source: Rio 2016
The hues and textures of the expanded torch pay tribute to the gold Brazilian sun, the green mountain curves, the blue ocean ripples, and the grounded Copacabana promenade. The winning design from Chelles & Hayashi was chosen unanimously from 76 nationwide submissions. Additionally, “each torch – crafted from recycled aluminum and resin with a satin finish – weighs between 1kg and 1.5kg and stands 63.5cm high when contracted and 69cm when expanded.”

For a look back at past Olympic torches, this wiki outlines a complete list of manufacturers and designers. For a visual gallery, the Olympic site includes icons going back to the 1936 Berlin Games.

Personally, our historic favorites are the art deco Innsbruck 1976, the knifed Sydney 2000, and this year’s evocative Rio 2016:

Source: Olympic.org

Our least favorites are the spatulaed Montreal 1976, the cucumbered Albertville 1992, and the twizzlered Sochi 2014

Source: Olympic.org

For other ideas about teaching with the Olympics, we recommend:

Thursday, August 6, 2015

The Real Republican Debate - Students Rate The Candidates' Logos To Learn Visual Civics

Source: Official Campaign Websites

The first official debate of the 2016 presidential primary season kicks off today. The Fox News Channel has invited 10 of the 17 declared Republicans candidates to a highly anticipated primetime wrangle (relegating the other seven prospects to a second-tier warm-up act). The 9:00 p.m. (EST) showcase is sure to draw an outsized number of eyeballs, due to the impressive roster of accomplished candidates and the say-anything bullhorn of a certain golden-haired tycoon.

As teachers, to introduce students to the primary process, we like to begin with each candidate's logo. These symbols are the forward-facing emblems that emblazon every t-shirt and bumper sticker and that encapsulate the character of the next leader of the free world.

Many media outlets have submitted their verdicts on various designs, but students (and everyday Americans) often have different reactions from professional graphic artists. For example, kids often accurately pick the winners based solely on the appeal of their candidate crests:
Fortunately, many presidential hopefuls did announce their campaigns before the end of the school year. With each new entrant, therefore, we first showed his or her official logo to the students, with no context or explanation, to gauge their reaction to the icon's visual appeal and brand message. The results were unexpected.

In order of Fox News ranking (based on a selective use of national polls), but not in order of winning insignia, here are the best and worst of tonight's field:

Source: Donald J. Trump for President, Inc.

Real estate mogul Donald Trump's poster is certainly plain. In fact, there is little logo or design to speak of. Instead, his banner features clearly spaced, sans serif white lettering across a royal blue backdrop, with a thin border of lines and stars. Even without any graphic appeal, the placard is still ideal for Trump's mission. Arguably the best known candidate in the GOP, Trump and his moniker are already plastered across an array of airplanes, hotels, buses, and TV shows. To mess with a well-established brand would be foolish. Even the overly simplistic, exclamatory subtitle, "Make America Great Again!", is perfect Trumpian bombast and vaguery.

Source: Jeb 2016, Inc.

As the establishment favorite, former Florida Governor John Ellis "Jeb" Bush has charted a safe middle course toward the nomination. His unadorned, uninspiring logo is a testament to this risk-adverse strategy. The cherry red "Jeb!" does ring clearly across a range of posters and t-shirts. The use of only his first name also speaks to his national identity and his desire to separate himself from the potential negativity of his last name, just like Hillary, Newt, and others before him. The cartoonish, ridiculously emphatic exclamation point, however, detracts from any serious branding opportunity. With no genuine icon or subtitle, the only element that draws the viewer's attention is the election year, which might seem unnecessary, save for the fact that Bush is recycling the exact design from his prior gubernatorial runs.

Source: Scott Walker Inc

Wisconsin Governor Scott Walker is well known in the Midwest for his conservative stance against labor unions. He is just beginning, though, to introduce himself to a national audience. Walker often trumpets his everyman appeal, such as in shopping at Kohl's and not graduating from college. His campaign logo echoes this simplicity (even though his typeface is a dark Yale blue). The nicely registered kerning and leading give clarity to the banner (which is often paired with a "For America" subtitle). The attempt at symbolism, however, with the American flag "E" fails on multiple levels. The oversized blue corner and the randomly chosen three red bars warp the iconic Stars and Stripes to a distracting degree. Also, as the media immediately noticed, his device seems plagiarized directly from the trademark of America's Best Contacts & Eyeglasses

Source: Huckabee for President

Former Arkansas Governor Mick Huckabee's current logo is an improvement on his 2008 design. Huckabee's team obviously spent time crafting this upgraded image. The soft Tufts blue background allows his snow white last name to stand out above a red and white vector of lines that invoke Amtrak or the Bank of America. The viewer's eye, however, is drawn to the minor eruption of gold stars in the middle. This is an unnecessary distraction for such an insignificant embellishment. Also, the surtitle refers smartly to Huckabee's hometown of Hope, Arkansas, but it generates confusion about the precise meaning of the quasi-religious "higher ground" reference.

Source: Carson America, Inc.

Retired neurosurgeon Ben Carson began his campaign with the logo above, but it's no wonder he's recently drifted toward a newer banner (which does have its own unique problems). The "Carson America" slogan is clumsy and perplexing in its smooshing together of two unrelated nouns. Unless his team was aiming for a Captain America reference, or trying to remind viewers about where they live, this jarring phrasing is off-putting in its agrammatical asynchrony. Additionally, the gold color has only successfully been employed by John McCain in 2008 with his military background. Finally, the action of the capital "A," with its miniature eagle head, its diagonal of tiny stars, and its curlycue of flag ribbons, offers too much business within too compact a space.

Source: Cruz For President

Texas Senator Ted Cruz opts for a muted tone in stenciling his name and year (and sometimes the prolix tagline, “Courageous Conservatives - Reigniting the Promise of America”). This unconventional yet dull choice of gray puts all of the lopsided emphasis on the red, white, and blue flame on the left. Cruz walks a road previously trod by Herman Cain, who similarly relied on an ill-chosen torch icon. Instead of invoking the light of liberty, fire imagery tends to kindle medieval or destructive, rather than uplifting, feelings.

Source: Marco Rubio For President

Florida Senator Marco Rubio aims to create a contrast between his youthful, next-generational appeal and his more senior Republican (and possibly Democratic) opponents. To this end, Rubio's logo is superb. The casual, novel lowercase of his first and last name partners nicely with the contemporary ITC Avant Garde DemiBold typeface. The all-caps etching of his slogan, "A New American Century," is crisp in its reminder of his age (44) and outlook. The only misstep (albeit nice attempt) is the diminutive map of the United States perched daintily over the "i" in his last name. It seems like his team felt obliged to include some sort of Americana in the design. But the wee nature of this teeny nation comes across as reductive rather than celebratory.

Source: Rand Paul For President

Much like Bush, Kentucky Senator Rand Paul includes only on his first name in his mock up, presumably to distinguish himself from his father, Ron, who ran for president in 1988, 2008, and 2012. The problem is that the younger Paul does not enjoy the name recognition of Jeb or Hillary, so this graphic might as well be linked to the Rand Corporation. Also, the nearly-black, bold italics and the alarming red blaze on the top are more alarming than patriotic, more disconcerting than inspiring.

Source: Chris Christie for President, Inc.

In his logo, New Jersey Governor Chris Christie mimics Huckabee's pairing of a bold last name with a thin electoral year. Without the other uniting elements, however, such as a background shade or a fluid shape, this rendition feels off-kilter. Christie's banner puts all of its emphasis on the stretched subtitle, "Telling It Like It Is." While this slogan effectively evokes Christie's predilection for direct talk (or rudeness), it also reinforces Christie's reputation for self-centeredness. A better design would have crafted a message about America or its people, along with an inventive icon to adorn buttons.

Source: Kasich For America

Ohio Governor John Kasich is one of the most recent entrants into the Republican race, so perhaps we can charitably excuse the rushed misfortune of his logo. The absence of any message or slogan or election year puts all of the attention on the rose red kite flying over his last name. Surely the redundant "K" (much like Clinton's "H") could have been incorporated creatively into the flow of his name, without the overlong wavy lines that imitate Zener cards. Instead, Kasich's initial comes across like Jon Huntsman's "H," a floating letter in search of meaning.

Stay tuned for a logo analysis of the other seven Republican campaigns, as well as the Democratic challengers not named Hillary.

Friday, July 24, 2015

Designing “Anti-Logos” - Using Visual Satire To Rekindle Civics Education

Source: Bored Panda

We admit that we're fanatical about the power of logos to expand student learning. A logo packs a world of meaning into a tidy visual icon. Corporate and candidate logos combine precise elements, such as color, text, strategy, replicability, malleability, recognition, branding, and loyalty. For students, if they can unpack these multiple tiers of significance, then they can truly grasp the messages stowed within each succinct icon. This is visual and cultural literacy at its best.


Source: Lawrence Yang

In our classes, we have used logos with students to develop media literacy, to explore visual civics, and to trace Olympic history. One of the ideal uses for emblems, though, lies in visual satire. Visual satire twists familiar images to convey ironic or satirical takes on society. By warping commonplace trademarks, artists (or students) can create “anti-logos.” An anti-logo turns the intended message of an insignia on its head, using the expected visual components to springboard to a higher level of parody and meaning.

Source: Visual News
Recently, anti-logos have popped up in all sorts of places:

In lessons, teachers can invite students to create their own anti-logos. Kids can choose an established symbol and then sketch a redesign – perhaps for famous novels, historical eras, scientific discoveries, or Fortune 500 businesses. 

This activity incorporates five different rungs of higher-order thinking:
  • Understanding the essential components of a company’s, country’s, or person’s identity
  • Crafting a persuasive point of view about the topic to communicate
  • Designing a new version of the logo with a clear graphic representation and visual metaphor
  • Manipulating efficient language to tweak the original wording or intent
  • Incorporating the subtle art of satire to exaggerate or caricature the original message

Source: Fast Company, Christophe Szpajdel

Especially in the world of civics and government, a student’s ability to lampoon a candidate’s logo can provide a prime avenue for research into current events and for the development of individual political opinions.

Source: Viktor Hertz

EdSurge and Flocabulary have recently partnered, in fact, to redesign the traditional logo for a “teacher.” The familiar symbol of a bespectacled adult pointing to a blackboard seems out of date for modern, student-centered classrooms. They invite anyone to submit a new graphic via Twitter (@EdSurge) to rebrand the image of today’s educator. It reminds us of earlier efforts to rebrand education and the next generation learners.

Source: Viktor Hertz
For more ideas about teaching with logos, check out:


Monday, June 29, 2015

Visual Civics: Designing A Candidacy - Hillary Clinton

Source: Hillary For America

More ink has been spilt over Hillary Clinton’s campaign logo than on all of the other candidates' emblems combined. Much of the commentary has come from exasperated Democrats, who are gnashing their teeth and throwing up their hands at the inexplicably chunky symbol that Clinton’s team devised. Twitter went gonzo over the medieval, early-1980s graphic. A "@HillaryLogo" parody account quickly sprung up from the folks at Cold Spark Media to lob satirical grenades about the motif's perceived inelegance. Other outlets were cautiously more complimentary, while still pointing out the stiffness of the overall archetype.

All of this attention and consternation, however, actually proved the genius of Clinton's design. In politics, all press is good press. In branding, recognizability is the raison d’être. The laser-focused media spotlight meant that in an unbelievably short time, a vast viewing public got a good look at the former Secretary of State's presidential campaign. The accusations of over-simplicity were in fact its brilliance. Like the iconic 2008 rising-sun “O” of then-candidate Barack Obama, this instantly recognizable “H” gave Clinton an immediate leg up on any other team’s marketing efforts.

Source: Hillary For America; Mark Kingsley, UnderConsideration

The Clinton logo features a lust red arrow pointing rightward atop a sans-serif, palatinate blue "H." Designed by Michael Bierut of Pentagram, the sharp, block arrow and the single, spartan letter together recall the simplest of auto-shapes in Microsoft Word. The badge has been compared to everything from the FedEx logo to the "Hospital" sign to the Cuban flag.

For several years now, we have used the concepts of logos and branding in our classes to teach visual civics. As avid consumers of visual media, our students become engaged with social studies and political science through the dynamic interactions of advertising, bumper stickers, and presidential insignia. In the last election cycle, we invited kids to rate presidential logos on each banner's ability to communicate candidate values and campaign themes. When our middle schoolers checked out Clinton's 2016 design, they immediately grasped its message of forward progress. They also astutely pointed out that with Clinton's widespread name recognition, she needed little more than an "H" to connect with voters.


The greatest asset of Clinton's icon is its flexibility. It can be easily modified to adorn any type of placard or attire. It can be quickly customized to suit any constituency. The campaign has already incorporated a variety of incarnations in its mailings, tweets, and policy proposals. If fact, a quick search of "Hillary logo" in Google Images reveals the impressive malleability of Clinton's crest (albeit in some not-safe-for-work incarnations).

The surest signs of a symbol's effectiveness are its subsequent imitations and derivations. Graphic designer Rick Wolff, for example, created an entire tongue-in-cheek alphabet in a new #Hillvetica font. Other designers immediately started redrafting the "H" logo into more contemporary styles (here and here). Political cartoonists had a field day incorporating the block arrow into their Clinton commentaries.

Source: Rick Wolff

If the purpose of a logo is to establish a relationship between the product and the consumer, then Clinton's brand succeeds in spades. Its almost instantaneous market saturation proves its potency. Whether this identifiability leads to an electoral college victory, however, is unknown. But for now, the other campaigns are playing catch-up in the logo department.

For further ideas about using visual civics in the classroom, check out:

Monday, February 9, 2015

Creating Logos With Students - Understanding Visual Metaphor And Symbolic Meaning

Source: DesignMantic (click for full-size image)
Logos are short-hand, visual cues that companies use to evoke their brands. Effective logos represent automatic associations between a corporation and a customer. They connect a unique icon with an emotional reaction.

This type of tidy pictorial design can also be employed to winning effect in the classroom. Students can use logos to study visual metaphors and symbolic meanings. They can experiment with thesis and synthesis, in boiling down a range of meanings into a concise, original image.

Source: ASIDE 2015
History students, for example, can sketch logos to embody specific presidents or time periods. We had our U.S. history classes brainstorm logos for the era of the Great Depression. The designs featured in this post range from a juxtaposition of the Empire State Building going up while the stock market goes down, to a financial Dust Bowl of lost dollars.

In studying literature, learners can similarly design logos to accompany a book or a character. It's no surprise that the Hunger Games mockingjay pin became so popular among fans. Science students can draft logos for key principles or elements, or global thinkers can draw emblems to capture current events.

Source: ASIDE 2015
By translating their understanding into self-created icons, students can climb a level in their comprehension, from decoding to encoding. They can capture the essential significance or recurring tropes via clever designs that will in turn help educate their peers.

Steps for creating logos with students:
  1. Begin by having learners identify logos and brands from current media. We use these sheets of letters and symbols as games to get students excited and to introduce the range of possibilities.
  2. Invite students to rank their favorite logos and explain why some stand out in their minds. For example, we had children rate the logos of presidential candidates in 2012.
  3. Introduce some tips for contemporary design. DesignMantic has a helpful infographic of the "10 Commandments Of Logo Design." FastPrint also offers a terrific infographic about "How To Design The Perfect Logo."
  4. Ask them to brainstorm the key characters, themes, or takeaways that they would want a logo to evoke.
  5. Finally, give them a range of tools to use, from hands-on pen and paper to visual apps like Pencil by FiftyThree.
Source: FastPrint
Above all, a logo should present a clear, somewhat unexpected relationship between picture and subject. The video below, "49 Years Of Super Bowl Logos," reveals how images can evolve with the times to add layers of significance.

For further ideas, we recommend:

Monday, August 11, 2014

Visual Civics - Designing A Candidacy

Source: ASIDE, 2014
In the past 20 years, the study of civics has taken a backseat to the more elementary "social studies" and the more secondary "government." Civics, however, embodies a richer appreciation of the structures and services of American political life. In other words, civics is the marriage of a democracy's fundamental frameworks with its citizens' essential responsibilities in a free society.

The teaching of civics is often centered in the careful examination of primary documents. Today's learners, however, increasingly thrive in a visual world, where all of their educational inputs arrive via media and technology. The traditional pictures of civics, though, rely on linear flowcharts of the three branches or static portraits of the vice presidents.

To update civics education for contemporary learners, we try to blend media literacy with election politics, to communicate the power of logos, advertisements, and videos in marketing national candidates. The nuanced ability to decode shades of meaning in fonts and posters lies in the key literacy of graphicacy. It also reinforces the practice of pedagoptics, which is a method of teaching with visual tools. Click here to check out some lesson ideas for using election logos in the classroom.

The upcoming 2014 midterm elections in November feature prime opportunities to bring visual civics into the classroom. A perfect case study is the current dead heat between Mitch McConnell and Alison Lundergan Grimes in the Kentucky Senate race. This closely watched, richly funded contest features all of the binary contrasts that make politics riveting: old vs. young, male vs. female, insider vs. outsider, leader vs. rookie.


Source: McConnell Senate Committee '14

Incumbent Republican Senate Minority Leader Mitch McConnell is an institution in Kentucky, which explains why he has almost universal name recognition in the state but also dangerously low approval ratings thanks to Congress' massive unpopularity. McConnell's campaign logo is designed to present a casual, even youthful image in order to combat the perceived myopia of the 72-year-old's three decades in the Senate. The slogan of "Team Mitch" invokes an informal club, a chummy loyalty among like-minded voters. McConnell also falls back on the time-honored gambit of using only one's first name, like the historic "I Like Ike" and the more recent "Rudy," "Hillary," and "Newt."

On a design level, the exacto sans serif font is a little clumsy. The two-tone blue also makes little sense, especially in the word "team" that stretches in an Obama blue. The icon, however, is excellent, rendering the image of the state in a paintbrush swipe of the American flag. At a quick glance, the kilter of the emblem almost appears to be the head of horse. This subtle kinetic signal to Kentucky's thoroughbred heritage is clever and effective. It bodes well for McConnell's no-stone-unturned chances in November.

Source: Alison For Kentucky

Kentucky Democratic Secretary Of State Alison Lundergan Grimes faces exactly the opposite mission in crafting her logo. At 35 years old, she is little known on the national stage, and she must represent strong local bona fides to match McConnell's renown. Her insignia is much more composed than McConnell's, with layers of text, color, and image to offer a range of connotations. The bold white "Alison" aspires to first-name recognition, yet she registers her full name underneath in an overt reference to her famous political father, Jerry Lundergan. Most distinctly, Grimes features both the office of "U.S. Senate" and her campaign website prominently, reinforcing her need for name recognition and multi-source marketing.

Her seal etches a Columbia blue silhouette of the state against a Yale blue background (although Grimes also uses an identical banner with inverted blue-on-white coloring). Her landscape of spring and asparagus hues reminds us of Terry McAuliffe's winning crossover in last year's Virginia governor race. In fact, the blue and green pairing would be peculiar if not for its understated allusion to the "bluegrass" birthright of Kentucky's nickname. Clearly, both campaigns are playing for keeps, leaving nothing up to chance in their winning, contrasting designs.

Check out our other posts about design and education in elections.

Saturday, January 4, 2014

Visualizing The Winter Olympics - Designing The 2014 Sochi Brand

Source: idsgn
The Olympics is a quadrennial media and marketing bonanza. It is also an educational goldmine, with countless opportunities for classroom explorations of culture, sport, geography, history, and especially design.

The branding of the 2014 Sochi Olympics has taken the typical TV blitz to new, technological heights. While the Winter Games cannot compete with its flashier Summer cousin, the creative minds behind Russia's visual presence have devised some elegant interactives to engage viewers around the world.

Source: ap.org
So far, coverage of February's event has centered on misfortunes like the horrific terrorist bombings and the ill-fated torch relay. More attention, though, should be paid to the crisp designs of Sochi's graphic themes.

The 2013 logo underwent numerous changes and focus tests before settling on a revolutionarily modern template. The designers eschewed the traditional notion of an actual emblem or icon and instead opted for a web banner that could be deployed across an array of digital platforms and posters. In fact, the graphic scheme with the ".ru" extension is itself an advertisement for the online site. The idsgn blog nicely highlights the forward-thinking approach of this insignia.

It remains to be seen where Sochi will rank among the best and worst logo designs in Olympic history. The 2014 crest does not renounce visual flourish entirely. Indeed, the maya blue hue and the clever mirroring of the date beneath the city, as though reflected in ice or a glacial pool, echo a gelid coolness befitting a crafty contemporary Games.

Source: Sports.cn
The process for deciding on Sochi's mascots was equally as populist. An at-large contest solicited blueprints and votes, and the eventual winners were at once safe and singular. The principle figures for the Games uncontroversially feature a polar bear, a bunny rabbit, and a snowboarding leopard. The intriguing characters, however, are the two extraterrestrials of perpetual warmth and winter that represent the companion Paralympics.

Source: Sochi 2014
The official Sochi site presents a terrific interactive visualization about the mascots that explores their genesis and their historical relevance. The personae themselves may not be particularly innovative, especially when compared to the perfectly pitched First Nations animals from Vancouver 2010. They doubtlessly win, however, when pitted against the laughable mascots from Atlanta 1996 and London 2012.

Source: Olympic.org
The final design hallmark of any Games is the signature medal that a champion earns. The best and worst medal designs in Olympic history feature many iconic hits and misses. This year's Sochi ornament ranks among the finest. The imaginative cutout of etched "glass," with peak-a-boo windows of ice patterns, and the jagged interest of the implied mountain peaks all make these medals surprising and enchanting rarities of Olympic excellence. Any athlete would be proud to stand on the podium wearing one of these dignified and peerless badges.
 
For other avenues to follow the Olympic action, the Sochi site offers an interactive app for most smartphones. It also includes a regularly updated media gallery, with videos and photographs to chronicle the spectacles.

Source: ap.org
By the way, for a fascinating gallery of historic Olympic posters and designs, we recommend perusing this fine Associated Press collection that shows the evolution of advertising and marketing.

For other ideas and tools about teaching with the Olympics, check out:

Friday, July 26, 2013

New York's Mayoral Race - Designing A Candidacy

These are the dog days of summer, which is fitting given the sexual brouhaha over New York City's mayoral race. The world may be fawning over the royal baby, but the cable stations stateside can't resist lingering over the lurid details of former Congressman Anthony Weiner's ongoing scandal. Since the spotlight is already on election politics, therefore, it seems as good a time as any to examine the relative prospects for each mayoral candidate based on his or her campaign design.

If you teach older students, particularly in high school or university government classes, it's also an opportunity to debate the impact of financial and sexual scandals on political fortunes. The data is not as clear cut as you might think. Check out this study from researchers at Yale University and the University of Illinois, titled "Are Financial or Moral Scandals Worse? It depends."

The New York polls change daily as each news bulletin breaks. From a visual standpoint, however, there are obvious winners and losers in the originality and effectiveness of the candidates' logos. Twelve contestants are heading into the primaries on September 10, 2013, but only a handful have an actual shot at winning the mayorship. Also, because NYC registrations are almost 60% Democratic, it's likely the primary will decide the office.

Source: Weiner for Mayor
Democrat Anthony Weiner may be getting most of the current attention, but his campaign placard is as much of a mess as his personal life. The immediate visual response is fairly arresting, with two bold banners of blue and orange and his last name in looming block letters. But the unfamiliar pumpkin color and the bleed of the font into the white horizontal divide fashions a fuzzy union. Also, most of the letters meet at off-kilter points, leading to a jarring eye-line. The only aligned elements are the "N" and "Y," which together yield a scheme better suited for the NY Mets.

Source: Quinn For New York
Democratic Council Speaker Christine Quinn offers a more subtle, contemporary motif in her layout. Her tones of blues, French on denim, seem Obama-esque in the modern shade and the defining "Q." The even-more-interesting letterface, lowercase Solomon Book over uppercase Solomon Bold, creates an inviting pairing. Overall, her poster seems personal and approachable, which perhaps was the intent given news reports of her behind-the-scenes temper.

Source: New Yorkers for de Blasio
Democratic Public Advocate Bill de Blasio presents the most memorable trademark of the bunch. His scarlet red background stands out in a field of blue competitors, and the nestling of his first name into his nobiliary particle adds an appealing uniqueness to his bright canvas. In fact, the commercial optimism of his emblem seems more fitting for the supermarket aisles, closer in cousin to the labels for Pocky sticks, KitKat candy, or Muller yogurt.

Source: Friends of John Liu
Democratic Comptroller John Liu also opted for the metropolitan orange and blue. The silhouetted skyline beneath his slogan renders a nice urban echo for America's largest city. The net effect is passable and unoffensive, but everything about it seems familiar. The underscoring swipe of white paint and the single star have been featured on similar logos by Newt Gingrich, Tim Pawlenty, and Amazon.com. For a candidate with lower name identification, a more inspiring crest could have been more helpful.

Source: Bill Thompson For Mayor
Former Democratic Comptroller Bill Thompson has more local recognition, but he suffers from overly common first and last names that need pizzazz to make his marquee marketable. Mindbogglingly, however, his campaign team defaulted to the blandest brand possible. The uninspired white letters on the gradient, midnight blue background supply no vision or ingenuity for the office. To be fair, we've seen posters in Thompson's public appearances that add a few white stars beneath the same generic blueprint. But still, in sum, the result is as forgettable as Thompson's candidacy.

Source: Joe Lhota for Mayor
Former Chairman of the MTA (and likely Republican nominee) Joe Lhota seems to have settled on the "kitchen sink" approach. He features a font-apalooza, with a new choice on each line, and he includes two slogans where most candidates have none. His goals, in highlighting his years of experience and his vision of unity, are noble. And the azure font with the crimson underline stand out well on the white backsplash. It's difficult, however, to settle on one visual takeaway. Perhaps an artistic icon could have given Lhota some leverage in breaking into the Democratic news stranglehold.

Check out our other posts about design and education in elections.
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