Logo lounge master_library_volume_3

volume 3
:. Expanded Collections of .:
LogoLounge Identity Categories
FROM THE LOGOLOUNGE.COM
INTERNATIONAL COLLECTION

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--- volume 3 ---
logolounge:MAS T E R Iibrary
3000 SHAPE & SYMBOL LOGOS
FROM LOGOLOUNGE.COM
catharine fishel and bill gardner
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Text © 2011 by Bill Gardner
All rights reserved. No part of this book may be reproduced in any form without written
permission of the copyright owners. All images in this book have been reproduced with the
knowledge and prior consent of the artists concerned, and no responsibility is accepted by
producer, publisher, or printer for any infringement of copyright or otherwise, arising from the
contents of this publication. Every effort has been made to ensure that credits accurately
comply with information supplied. We apologize for any inaccuracies that may have occurred
and will resolve inaccurate or missing information in a subsequent reprinting of the book.
First published in the United States of America by
Rockport Publishers, a member of
Quayside Publishing Group
100 Cummings Center
Suite 406-L
Beverly, Massachusetts 01915-6101
Telephone: (978) 282-9590
Fax: (978) 283-2742
www.rockpub.com
Digital edition: 978-1-61060-238-9
Softcover edition: 978-1-59253-690-0
Library of Congress Control Number is available
ISBN-13: 978-1-59253-690-0
ISBN-10: 1-59253-690-5
10987654321
AT&T logos courtesy of AT&T International Property. Used with permission.
Design: Gardner Design
Layout & Production: tabula rasa graphic design
Production Coordinator: Jessica Hansen / Gardner Design
Cover Image: Gardner Design
Printed in China

,..•.........•..................•.......•..........•...•.......................•........•...••.......................~..••.•.•....•.••...••..............•.....•......•..............•........•............•........•......•.........•..•..
A decimal dedication with much to be
thankful for:
Millions of hits on LogoLounge.com annually;
One hundred thousand-plus logos uploaded
to the site;
Ten thousand-plus members of
LogoLounge.com;
One thousand-plus designers included
in this book;
One hundred-plus countries our members
call home;
Ten Gardner Design and LogoLounge.com
partners;
One daughter and one wife who make my life
a tru'e joy.
-Bill Gardner
To Denny, Alex, Andrew, Sam, and the fabulous
Venture Crew 318: You always make me smile.
To Bill and the whole LogoLounge team: You are
an inspiration.
-Catharine Fishel
LogoLounge.com is the world's largest database
of logo designs where, in real-time, members
can post their logo design work; study the work
of others; search a database of more than
109,000 logo designs by keyword, designer's
name, client, industry, and other attributes; learn
from articles and news written expressly for
and about logo designers; build lightboxes for
inspiration; and much more. Anyone visiting the
site has access to editorial materials, although
only members have access to search, upload,
and lightbox functions.
LogoLounge is also parent to two lines of
bestselling books about logo design, published
by Rockport Publishers:
• The original LogoLounge series (1, 2, 3, 4, 5,
and 6; Book 7 is under development now)
• The Master Library series, built from seven
volumes, each of which contains 3,000
topic-specific logos. The topics covered will
be Initials & Crests; Animals & Mythology;
Typography; People; Shapes &Symbols;
Nature & Food; and Arts & Culture.
For more details, please visit
,
www.LogoLounge.com.
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••
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FROM THE
LOGOLOUNGE.COM
INTERNATIONAL
COLLECTION
' .........................................................................................................................................................................................................................................

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: 6 Introduction: B ILL GAR D N E R
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Interview: Steff Geissbuhler
Interview: Jerry Kuyper
Interview: Hans Hulsbosch
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Sidebar: Andy Payne, bpost
Sidebar: Chris Rooney, WE
Sidebar: Roy Smith, Further
Sidebar: Ty Mattson, Mottsy
Sidebar: Cesar Hirata, Grupo Boticario
Sidebar: Gia Bokhua, ACT
Sidebar: Marco Escalante, lonos
Sidebar: Tim Driesen, Ageas
Sidebar: Bojan Stefanovic, Vibrant Drive
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Expanded
Collections of
LogoLounge
Identity
Categories
31
228
shapes
symbols
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il logoloungei MASTERlibrary

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MASTER LIBRARY
SHAPES & SYMBOLS
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:. After thousands of years, the symbol first used to
represent ivy leaves not only changed from green to red,
but it slowly acquired a whole new meaning as our
modern-day heart.

••• All logos rely on sYD1bology.
And all logos have shape. So on the surface, this
book's title might seem a little indiscriminate or
perhaps just over-reaching.
But when you're dealing with a growing data-
base of hundreds of thousands of logos, as
LogoLounge.com does, some organizational
categories are necessary. We've selected the
names shapes and symbols to represent two
very specific categories, just as food, crests,
animals, sports, and others (we use twenty-one
file names in all) are used to help categorize
other logical groupings.
So what do the terms shapes and symbols
mean, in this context?
• Shapes are generally logos that are more
concept-oriented. That doesn't mean that many
designs in the shape category don't rely on
their form/shape to convey a message. A circle
used in a logo may well represent a globe or
infinity or completeness or any number of
concepts. But the total meaning for some of
these logos is not reliant on the shape; instead,
it depends on many different elements in the
design to convey the full meaning.
• Symbols are logos that are based on pictorial
representations of concept-a heart, a star, or
a cross, to name a very few. In large part, their
meaning is drawn from the specific base symbol.
Like any spoken language, the visual language
of symbology is always evolving, but until
recently, that evolution was usually quite slow.
As the pace and spread of media increases,
new potential symbols are being born every day.
Witness the hundreds of new icons born every
year, created especially for websites and PDA
screens. They receive wider exposure, so their
comprehension is quicker. If anyone gains
traction, it could well become a symbol-but only
over time.
The new wind power logo is a good example. It's
hard to know in ten years where or what it will
be. It was intended from the start to be iconic-
like the recycling symbol-unlike some arbitrary
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:. The new icon representing wind energy could become ubiquitous and a familiar element in logo design.. .or maybe not.
il logoloungei MA5TERlibrary
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:. Top down: Swedish Council of America, Kansas Heart
Hospital, Spirit AeroSystems. Traditional symbols have
been worked into each of these logos in a way that
keeps the symbols in the background while bringing their
core meanings forward. (All designs by Gardner Design.)
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shape, like the smiley face, that unexpectedly
gained traction. But despite this original intent,
the wind power symbol hasn't really worked its
way into the public consciousness yet. And if the
technology for gathering wind power changes
away from giant windmill-driven turbines, it could
become completely irrelevant.
If it does catch on, though, this logo or parts of it
could become flexible parts of the visual vocabu-
lary very quickly. The blades could take on
additional symbolism never originally intended for
association with this icon. They could represent
the concept of never-ending power or wind or
movement, or maybe they will be a symbol for a
person who is full of himself/full of hot air. Used
as part of a logo, the blades could represent any
number of products and services that have
nothing whatsoever to do with wind-powered
energy. The icon will have become a symbol.
The icon found on the "power" button on most
computers is another example. The unfinished
circle with the line sticking out of its top is certainly
iconic in computer-users' worlds. So it will be a
short leap for the icon to become a symbol that
means on or power in any parlance. (This is
despite the fact that it doesn't mean on at all. The
shape originated in the early 1970s as part of a
set of symbols used by electrical engineers: It
meant standby. The actual "on" symbol was a
complete circle, such as might be seen on a car's
air-conditioning panel. But I digress.)
With almost no alteration whatsoever, because
of a visual entendre, the "power-on" symbol is
presently being used as a symbol in the official
condom campaign in New York City. We are
seeing more and more power button-based
logos loaded onto LogoLounge as well. Its simple
design and very basic meaning have the kind
of adaptability that is a hallmark of an effective
symbol: It could host many ideas. The older a
- 3000 SHAPE & SYMBOL LOGOS
••

symbol becomes, the less literal it is, and the
greater its capacity to contain more diverse
symbolism.
Some symbology is very old, yet even these
samples continue to grow in meaning. The heart
is a familiar symbol to most, and its origin and
evolution demonstrate this growth very well. The
basic heart shape can be traced back to the third
millennium B.C. In art and carvings, the heart-
shaped ivy leaf was used to represent life and
living things. It may also have represented
tenacity and, by extension, long-lived devotion.
In the twelfth century C.E., when the tree of life
was depicted in art, often in religion documents,
its leaves were heart-shaped (today such shaped
leaves are called cordate, cor being Latin for
heart). In the fifteenth century C.E., the notion of
the red heart evolved. Because of blood, red was
considered a color for life, health, love, and good
luck, and soon red heart-shaped leaves were
seen, deftly twisting these two similar but distinct
strands of symbology together.
The notion of the red heart spread across Europe
and became widely adopted by the Catholic
Church to represent sacred and everlasting love.
That the red heart did not look like an actual
human heart was as unimportant then as it is now.
Love and caring comes from the heart, which-
emotionally-we feel is housed somewhere deep
within us, as the actual organ is. But intellectually,
that love and caring is represented by the image
of the shape of the upside-down red ivy leaf.
Many ancient symbols have similar histories.
They succeed over time because people have
:. Spirit AeroSystems uses an unconventional star
to indicate direction and lift toward the stars. (Identity
created by Gardner Design.)
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:. Top down: Atigeo, Silk, Wichita Riverfest. Shape
logos such as the top two rely more on concept than the
form/shape of the logo itself. The Riverfest logo, though,
uses symbolic flames in a much more literal manner.
(All designs by Gardner Design.)
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the mental ability to interpret symbology. When
we create new symbols and shapes today, we
rely on the exact same ability.
Consider two logo projects from our office. The
design for the Swedish Council of America is
symbol-based (see page 8). The design for
Atigeo (left) is shape-based. Yet both succeed
because of the human intellect's ability to
translate stored knowledge into a new and
distinct experience.
The Swedish Council design is clearly based on
a star, and simply the use of that symbol lends
the logo an official or national feel. But adding
the variables of size, number, arrangement, and
color to the use of the symbol gives it greater
meaning.
The star is formed from negative space created
by the careful arrangement of three crowns,
which represent another familiar symbol from
Sweden's national crest that represent the days
when Sweden, Finland, and Norway were all
under one rule. The parallelograms at the bottom
complete the star, representing the ocean that
spans beneath the continents, as the crowns
also represent traveling to the new world. The
colors are pulled from the Swedish flag, but the
white star on the partially blue field also speaks
clearly of the USA.
The concepts of Swedish-ness and American-
ness are brought together in a new symbol, built
from other symbols. We are able to "read" and
understand the logo because of what we already
know about crowns and stars.
Atigeo's logo is clearly not a specific symbol; it
is instead a new shape. But it also depends on
symbology for the viewer to extract meaning.
Atigeo defines itself as a "compassionate
technology" company that helps its customers to
better understand the world through data and
- 3000 SHAPE & SYMBOL LOGOS
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:. Top down: Southern States Energy Board, Thermos
Nissan. A number of familiar symbols were combined
to create the Thermos Nissan Logo. The shape of a
cylindrical Thermos lying on its side can be envisioned
in the negative area at the center. The red area above or
below this negative space indicates the possibility of the
contents being kept either hot or cold. In this example,
the concept is more important than the message sent
nby the exterior shape of the logo. (All designs by
Gardner Design.)
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thereby be able to make better decisions about
the Earth. So we built into this design many
relevant messages. You might see a yin-yang,
or a globe in the process of forming, or light
bursting forth from a center focus.
There is balance in the logo. Its colors speak of
the Earth and of nature. You might see arrows
pOinting toward a center goal, and the triangle at
the bottom of the design can represent the letter
A for Atigeo.
All of these interpretations are possible, and all
can represent the company well. As customers
come to know Atigeo, the logo begins to stand
for all of these attributes. Again, symbology helps
people to "read" and understand the company.
- Bill Gardner, LogoLounge founder
LOOKING FORWARD
Symbol and shape logos are categories of design
that are always evolving. A well-rooted under-
standing of their history and development enables
today's designer to not only use the tools more
confidently; but more creatively as well.
That's the whole reasoning behind the Master
Library series: to inform and inspire. Each book
shares the origin of techniques/ interviews with
leading logo designers,' and a massive, highly
focused visual resource of 3, 000 topic-specific
logos. Everything was collected in one place in
order to feed your work, and ultimately improve
value to the client.
For more information on the seven-volume
Master Library series (future editions will include
Typography/ People/ Shapes & Symbols/ Nature
& Food,' and Arts & Culture-Animals & Mythology
and Initials & Crests are already available),
and other books by LogoLounge, please visit
www.LogoLounge.com.
il logoloungei MASTERlibrary ID

Steff Geissbuhler is well known as
an accomplished and award-winning designer
of integrated brand and corporate identity
programs. His work for a broad spectrum of
international and national clients includes identity
systems for NBC, Merck, Time Warner Cable,
Telemundo, Voice of America, Toledo Museum of
Art, National Parks of New York Harbor, Crane &
Co., Calamos Investments, Conrad Hotels, and
Morgan Stanley Smith Barney. Prior to forming
C&G Partners, he was a partner at Chermayeff &
Geismar Inc. for thirty years.
What makes a logo that uses a common
symbol or shape successful?
:. Some, like a star, a heart, a torch, or a bird,
conjure up an emotion or a universal under-
standing. In turn, they can symbolize many
different meanings. It is by repetition that we
come to understand these.
But the ones that are the most successful
combine two or more associations. If you look at
our Darien Library logo, you will recognize the
shape of a book with flipping pages. We made it
blue and green to show Darien is a very green
town and near the water. It looks lively and in
motion, like the very busy library it is. It is
transparent like the new building they're in.
There's even a 0 in it somewhere.
When the mark was presented, some even saw
the wing of a heron in it-a heron was the library's
previous logo. Sometimes the client sees more
in it than we do. I think that is a sign of success.
Is it necessary to be more illustrative today
with shapes or symbols?
.................................................................................................•••• ••••••• [§;)'" •••
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DarienLibrary
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o
Children's library
• Winter 2009

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1, 2, 3: Darien Library logo
:. I am at heart an illustrator. I think that more
illustrative symbols have a tendency to be more
readily understood. The NBC peacock is a good
example. People associate the bird with color,
even more than they do with something like the
color wheel. It's more immediate.
It seems like logo design is becoming again
more illustrative. We may be running out of
geometric shapes, or maybe they are just
becoming meaningless because they have been
abused and there are so many similar-looking
logos. The other day I saw a hospital logo of two
squares intersecting: You have seen that a
million times and you still don't know what it
means, and it's so cold and remote.
Illustrative logos have more of a chance to be
understood. But it depends on how literal they
are. The simpler and iconic they are, the more
you can do with it.
Does the trend toward abstract names work
for or against using shape or symbol logos?
:. It's difficult to visually translate an abstract
name. It's already a made-up word, then to
convey its meaning with a symbol, unless it's
based on a shape you already know, is very
difficult.
bpost
Andy Payne
on bpost
As told by Andy Payne, Global Chief
Creative Officer, Interbrand, New York City
"The previous bpost logo was
based on the horn that had historically been
used to announce the arrival of mail. We needed
to take this forward to represent a business
that had undergone significant reorganization.
This was particularly important as the postal
market in Belgium was about to become
deregulated, putting the business in competition
with European and global carriers.
I
"In the redesign, we leveraged two key factors:
bpost knew Belgium better than anyone else, and
while global providers talked a lot about the logistic
side of the business, bpost would have more
focus on building relationships with customers.
"We modernized the postal horn mark to
preserve the visual equity and then brought it
to life through crops, patterning, animation, and
as a physical object. It can build a whole visual
world around itself, with the equity of the new
•symbol at the center." ••

Nonprofit
Finance Fund
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4: NBC Peacock logo, 5: Nonprofit Finance Fund logo, 6: Time Warner logo
When we designed the logo for the Nonprofit
Finance Fund, you have to ask yourself what
does this company do? The first part of the name
is non, which already sounds negative. Then the
contradiction between Nonprofit and Finance is
confusing. The company actually helps nonprofit
organizations by evaluating their costs and
income, holdings, assets, and depths and tries to
find solutions that let the nonprofit operate better
and fulfill its mission. First we came up with the
tagline Where money meets mission. The logo
connects the business and analytical side with
the emotional, aspirational, and mission side of
its service. Its left, gray side represents bar
charts and steps, while the right side is in the
form of a warm yellow flame, or a growing leaf.
Both sides, although abstracted, are familiar
forms with clear associations and meaning.
Together they are trying to explain what NFF is
all about.
Is there any danger in using very familiar
shapes? Can they become too tired?
:. You might think that there are shapes or
symbols that have become so integrated or
abused that they become untouchable and as soon
as you go there, you are stopping yourself. We just
had a situation on another project where a book
shape would have been a possible solution. We
initially stopped ourselves, since we just did the
Darien project, but eventually found a very different
way to use book shapes to communicate education
and learning.
I remember when I created the Time Warner eye and
ear logo, some people said we couldn't use an eye
for a media client-CBS has the eye. The designer
has to overcome these issues and find new ways of
using these common symbols in new and meaningful
ways when they are the most appropriate solution.
How do people come to understand an abstract
symbol or shape?
:. The abstract symbol was being used very early in
Europe. It has to do with heraldry and code of arms
with their visual language of graphic symbols, such
as circles, triangles, squares, crosses, and chevrons,
etc., which became the graphic language of king-
doms, knights, armies, and royal families. You didn't
have to show a realistic picture of a castle or crown, it

". i' !
" t .
just had to read as a mark on your shield and
banner identifying your army.
Think of the Swiss cross. It was taken from one
of the three original cantons, Schwyz, which had
a small white cross in a red shield. It became the
flag when Switzerland was founded, a white
cross on a red square. During the Geneva
Convention, established in Switzerland, it was
chosen as the symbol for the Red Cross simply
by reversing the Swiss flag, a red cross on a
white field, symbolizing the essence of health,
blood, and hygiene. These changes of meaning
are quite interesting to me.
The same thing happened in commerce. It used
to be that the shoemaker would show a shoe or
boot on the shingle of his business. But at some
pOint, the business changed and the shoemaker
started making handbags, scarves, clothes, and
maybe perfume, and the boot was misleading as
a symbol of the business. Old stock certificates
would show maidens, horns of plenty, factories,
and general imagery, which only described the
company in very general terms. Now you have to
be more explicit to differentiate your business
and create a unique "code of arms" again.
,
Chris Rooney
onWE
As told by Chris Rooney of Chris Rooney
Illustration/Design, Berkeley, Calif.
"The WE Move:an.ent is a public
awareness campaign devised by Ramsell, a
family of companies serving the underserved, to
encourage politicians, civic leaders, and ordinary
citizens to help coordinate community resources
across the nation onto one unified platform. The
name WE represents all Americans, from coast
to coast.
"The logo is a patchwork of red and blue speech
balloons that form the shape of the contiguous
United States. It symbolizes all these different
voices interacting for a singular cause.
"The design is quintessentially American,
nonpartisan, and it projects a distinctive, graphic
impression they could use in their nationwide
campaign. The colors are quite obvious to all
Americans-red, white, and blue working
together and blurring the notion of what are red
•or blue states." ••

Banks used to use keys in their logos to suggest
safety; that's when people only used banks to
store their money. But now banks are much
more abstract institutions, which leads to more
abstract symbolism. The Chase bank logo has
been around since 1960 and has survived
mergers, acquisitions, and name changes,
because it is so simple, memorable, and classic.
But as Richard Wurman said, "You can only
understand something based on what you
already understand." So new abstract symbols
have to become meaningful somehow. The
disease of the swoosh is a good example. It's
not a geometric form; it's certainly amorphous
and meant nothing at one time. Now that you
associate it with Nike's products and attitude it
has accrued meaning. People use the swoosh-
all too often-whenever they want to underline,
or jazz up, or show action within a logo and it
loses meaning again.
How do you explore new symbols or
shapes?
:. It starts in the old sketchbook. I write and
doodle to explore forms; it's like shaping clay,
really. You have to get your hands on it and see
what it wants to be. I believe it was Louis Kahn
who said, "I asked the brick what it wanted to be,
and it answered: an arch."
Then later, I go back through my doodles. I end
up pushing something a little further and try it on
the computer. Shapes evolve from an intellectual
idea to a visual translation. It's this back-and-forth
that leads me to a visual manifestation of an idea
and a final simple shape and form. However, it is
not easy and is frequently a struggle.
Sometimes, in spite of having a very clear
strategy deck and outline, I have purely visual
associations, another way to express the
company. It's just not possible for me to take
VHS10
1W@7U5'r1 •• MERCI{.,
a recipe of all the attributes I'm supposed to
express and then bake the cake. It often seems
at the end to be a retrofit of the verbal to the
visual. Many of the attributes are often meaning-
less anyway: How do you show growth? Global?
Social responsibility? Leadership? Aspiration?
What are some of your favorite symbol or
shape logos?
:. The CBS eye is still one of the all-time greats.
It is a very simple form, and it has everything to
do with TV and vision. It's very compact and
complete.
I do like the original Chase logo because of its
simple message of safety, enclosure, and
security. What they are doing now with it, puffing
it up to make it friendlier, softer, and more
three-dimensional, is a bit obvious and strange.
I understand there is evolution of logos, but a
pillow has little to do with a bank.
The Mobil logo is so clean and clear and works
extremely well: The red 0 has everything to do
with wheels, cars, and mobility. It all comes
together and is expressed with minimal means.
It's the epitome of what I am striving for, that
little twist that makes a logo great.
Merck & Co..Inc.

ACLS
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.••.•.••.••.•..•••.••..•••.•..••.•...••.•.•..•.•....•..•....•.......•..••...•....•...••...••.•..•....•.
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7: Merck logo, 8: American Council of Learned Societies
logo, 9: Multicanal cable logo, 10: Charles Square logo,
11: New York Health Hospital logo
Roy Smith
on Further
As told by Roy Smith, Roy Smith Design,
Norwich, England
"Further is fa.st becoD1ing one
of the UK's leading search and social media
marketing companies.
"The company identified search marketing as the
area where it is making the most difference for
its clients, so they wanted an identity mark that
would reflect the core values of 'going further'
and 'search.' I explored various extended
letterforms, but the final solution was achieved
by a device that appears to drive forward into the
future while at the same time reaching out in
every direction. It definitely moves. The icon also
resembles a subtle iris of the eye to evoke the
idea of 'search,' the main focus of the business.
The blues and greens add the dimension of
natural growth.
"Further is delighted with their eye-catching new
identity. I like that it works well out of reverse and
its retro feeL" :.

Jerry Kuyper has thirty years of experi-
ence directing and designing brand identity
programs, His passion is bringing business and
brand strategy to life through creativity and
design. He established Jerry Kuyper Partners in
2004, Previously he held senior creative posi-
tions with leading identity consultants including
Lippincott, Siegel+Gale, frog design, Landor, and
Saul Bass, He has designed visual identities for
numerous companies and organizations includ-
ing Aqua America, AT&T, Cisco, Cushman &
Wakefield, Invisalign, LodgeNet Interactive, and
Touchstone Films,
How do symbols work?
:. The term symbol has many definitions. Carl
Jung, Henry Dreyfuss, and Adrian Frutiger have
all written books with the word symbol in the title,
yet each has a different understanding of the
term, My observations apply to graphic symbols
as pictograms or visual identities.
Symbols transcend language. Recently I was in
Moscow where almost all signs are in Russian
with Cyrillic fonts. What a relief it was to see the
familiar restroom symbol of the standing male.
Symbols are efficient. Compare seeing one
pictogram with the word men written in four
languages. Then imagine not being able to read
any of those four languages. We live in a world
of horizontal type, from print to websites, so
another advantage of symbols is being able to
visually break through that horizontal pattern.
Symbols require some degree of learning and
involvement from the viewer to be understood.
The meaning of the power symbol on our
computers is not inherently clear and needed to
be learned.
Symbols may be representational or abstract or
any place along that spectrum. They provide a
more immediate and visceral reaction than
words. Imagine seeing just the words cross,
Nazi, and peace, and then seeing the well-
known symbols of a Christian cross, a swastika,
and a peace symbol.
..................................................................................................... .. . .. ......• •• •
···
Symbols require some ;~~@~
degree of learning and ;~~~
involvement from the ~~~~
vie'W'er to be i~~I~
understood. ... i ~~~
· ...................................................................................................... .. . . . ......
Symbols draw strength and clarity over time
and through exposure, and their meaning can
change over time. Recently a client of mine
suggested that a logo we designed did not have
the same iconic quality as the peace symbol. I
replied it was unrealistic to expect a newly
created logo to instantly be an icon.
We all have first reactions to seeing something
new. I remind clients to be aware of their first
reaction to a new design. Visual identity is a
long-term, strategic activity, and clients need to
be aware of their perceptions over a period of
time and not feel compelled to make an

LodgeNet.
..•..•..•......•......•...............•.•......•......•.....•.......•........••......................••
CARTUS
•...•....•.••.•.....•..................................................................................
I
coolsculpting )
by ZELTIQ
.......................................................................................................
Frontier Renewal
.......................................................................................................
1: LodgeNet logo (information technology), 2: Cartus logo
(professional services provider), 3: Cool Sculpting logo
(fat reduction), 4: Frontier Renewal logo (developers)
•
• •
Ty Mattson
on Mottsy
As told by Ty Mattson,
Mattson Creative, Irvine, Calif.
"Mottsy is a.n online printer.
Its name is a made-up word. I developed a
number of designs, all explorations illustrating
creativity. One aspect that was very important
to the brand was the concept of versatility. The
user can use Mottsy to create anything he or
she could think of.
"The idea of versatility led to the creation of a
character who could be dOing many different
things, which is where the octopus concept came
from. A lot of my other ideas had to do with
abstracted ink drops, referring to the printing
aspect. But I wanted the ink to feel more like a
burst of ideas and creativity than anything else.
"The quadrants are built from one shape that has
been repeated and rotated, which creates an
interesting balance of stability and the unex-
pected. It's that balance of continuity, an
exaggerated expression that makes it work." :.

5: Fusion logo (telecomunications company), 6: Invisalign logo (invisible braces)
immediate decision. The initial perception often
changes within hours or days.
By the time clear associations are estab-
lished, do symbols or shapes start to
become somewhat cliched?
••• Twenty years after the AT&T globe was
created, a trademark attorney at AT&T told me
they had tabulated that more than 24,000
companies in the U.S. have used a globe as a
symbol. Clearly, AT&T wasn't the first. I would
bet there aren't many truly global companies
within the 24,000.
Saul Bass once said to me that something
becomes a cliche because it's understood and it
works. He didn't try to avoid cliches but worked
with these familiar associations and presented
them in a fresh manner. In fact, combining two
familiar components has been a very fertile
ground for me.
I also recall hearing Milton Glaser say in a
lecture that if he could present a design com-
posed of elements that had literally never been
seen before, the client would probably look at it
without any reaction, positive or negative. Think
of crop circles. When they were first seen,
:.................................................................................................:...............
· .
··
Saul Bass once said
to me that something
becomes a cliche
because it's
understood an.d
it ~orks. ...
•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• •••• •••• •••
people didn't know what to think. They didn't have
any clear association. With symbols or shapes, there
has to be some connection, some aspect that the
mind recognizes as familiar. The brain keeps on firing
until some association is made or it moves on to
more pressing matters.
You frequently work with clients in other
countries. What has been your experience in
working cross-culturally with symbols and
shapes?
:. In terms of knowledge gained and visual stimula-
tion, I have often said a day traveling abroad is worth
two days in your own country, and that certainly

applies to working with clients. I have been
extremely fortunate to work with a range of
clients based in Europe, Asia, South America,
and the Middle East.
Understanding and respecting other cultures is
crucial, not only regarding creative work but also
with personal interaction. Something as simple as
a "thumbs up" or "OK" hand gesture has very
different meanings in other parts of the world.
Before I visit another country, I always refer to the
book Kiss, Bow, or Shake Hands.
Clearly one needs to be aware of the local
culture and tradition. I also believe that design-
ers, utilizing an outside and objective
perspective, can have an advantage. One of the
greatest compliments I ever received was from a
••••
• ••••
•••••
• ••••• •••
IR2Dx
••LIVING FAITH II
CH RI STIAN CH U RCH
.......................................................................................................
7: IR2Dx logo, 8: Living Faith Christian Church logo
grupo boticdrio
Cesar Hirata
on Grupo Boticario
As told by Cesar Hirata,
FutureBrand, Sao Paulo, Brazil
"0 Boticario is the largest cosmetic
franchise chain store in the world. It has more
than 2,700 stores in Brazil, with a presence in
fifteen other countries. To deal with the expan-
sion, 0 Boticario took a decisive step to increase
competitiveness.
"Our logo design for the client was inspired by
the golden ratio. It represents an ideal, harmoni-
ous composition, born of a spiral and on a
trajectory of continuous growth. The choice of
these proportions satisfies a fascination for
harmonious forms found in nature. The upper-
case G and lowercase b are integrated into the
design as well.
"Vibrant, transparent, Brazilian colors fill the
outlines with joy and warmth and proclaim a
solar beauty, while the overlapping of forms
indicates permanent movement, a companion
•of renewal and change.••

zoom
ASSOCIATES
9: Ohlin Associates logo (brand development company), 10: Zoom 360 logo (company product displays objects in 3600
rotation online)
client in Saudi Arabia. They said our work
appeared to be familiar with their culture, but
they had never seen anything quite like it.
The meaning of a fundamental shape such as
a star is very different, depending on whether
it has five, six, or eight points. The symbol
we developed for this client incorporated an
eight-pointed star, which was far more
appropriate for them than six points would
have been.
The international perspective came into play with
the same client. We knew that green is per-
ceived very positively in Islamic countries and
the selected logo had initially been presented in
green and gold. Our client then asked to see the
logo in blue and silver. It turned out that several
of the executives had attended college in Texas
and were big fans of the Dallas Cowboys. We
changed the logo to blue and silver and, having
been culturally sensitive to both local and
international criteria, ended up with a very
appreciative client.
The challenge is often compounded when
working for global clients. Snoopy, for instance,
has positive associations in many parts of the
world, but a dog isn't as effective in representing
a company in some other cultures.
When you create a shape- or symbol-based
logo, what do you keep in mind?
••• One of my teachers at the Basel School of
Design introduced me to a very fundamental set
of definitions. A dot is a point. A line is a point set
in motion. A shape is a line in motion. A volume
is a shape in motion.
When does a dot or line become a shape? When
you enlarge a dot, at some point it becomes a
circle, a shape. Four lines placed at right angles
visually describe the shape of a square.
Shape is one of the most important aspects of
visual identity. You recognize the canted oval of
Samsung before you can read the name. The
red cross of the Red Cross is seen long before
the name. The more distinct the shape, the more
recognizable it will be.
First and foremost, I am looking for meaningful
concepts that meet the strategic objectives we
have agreed upon.

". i' !
" t .
I draw a distinct difference for these approaches
to visual identity:
• logotypes (such as FedEx, Mobil)
• wordmarks with a symbol imbedded within the
name, (such as Dell)
• symbol/logotype combinations (such as AT&T,
Cisco)
I always recommend to clients that all of these
options be open for exploration. The primary
challenge to designing logotypes or wordmarks
is to add significant visual interest without
hindering legibility. In my opinion, the nick in the
Microsoft logotype is very weak in providing a
meaningful visual identity.
Recently I have worked with a number of
health-care clients. There is a plethora of logos
using familiar depictions of health-care crosses
and people. Some of my clients want to avoid
these cliches while others feel they are appropri-
ate and should be explored. My responsibility is
to demonstrate the challenge of overuse as well
as bring forward a range of directions that are
distinctive and memorable.
Apple uses a very familiar symbol, the apple, for
its logo. The apple has associations with health,
temptation, and education. The specific shape
with the leaf and the missing bite makes it
unmistakably Apple.
In designing logos I look for distinctive shapes
and symbols. Even if I use a common base shape
such as a circle or square, I look to incorporate
distinctive shapes or symbols within them.
,
actresearch
Gia Bokhua
on ACT
As told by Gia Bokhua of SIM,
Tbilisi, Georgia
"ACT is a D1.arket research consult-
ing company in Tbilisi, Georgia. The managers
gave us two weeks to design. During the first ten
days I was in creative block. Then it clicked. It
took me twenty-five minutes to render the logo.
"In the design, letters represent the information
that research gathers. The sphere unites that
information. I chose Helvetica because it's most
universal. H also fits well with the Georgian type
that I used in the symbol. In the ACT wordmark,
I altered the t, too.
"I presented the logo to the Internet community
right away; everyone loved it. But the client said
it was too complex and decided to present it to a
focus group. Some said the logo was nothing
special; others even strongly disliked it. To make
long story short, after a few months of hard
thinking, the ACT management decided that this
•logo was exactly what they needed. ••

Hans Hulsbosch was born in the
Netherlands and worked in Amsterdam before
moving to Sydney, Australia, in 1979, He was the
creative director of Clemenger BBDO until 1985
and opened his own company, Hulsbosch,
Communication by Design, in 1986, He has
created many of Australia siconic brands, such
as Qantas, Woolworths, Foxtel, MLC, and
Taronga Zoo, He is the only designer to receive
the Telstra Small Business Entrepreneur of the
Year Award. Recently, he received the Australian
Marketing Institute Award for marketing excel-
lence, and his company won the 2009110
AdNews Specialist Agency of the Year.
Why are shapes and symbols so powerful in
people's minds?
••• Shapes and symbols that speak to us help to
articulate our values, because often they identify
the products and/or services we want to engage
with. Excellent symbols reflect what we see as
important in our lives. A successful symbol
triggers an emotional response by neatly
identifying the range of thought and sentiment it
has to convey.
Thus the most powerful symbol is a shape that
acts as an allusion, an indirect reference to a
personal experience. The power of symbols lies
in the apparent simplicity of the work. A symbol
only needs to hint at a specific event in our lives
and it does not take too much before we start to
associate the symbol with that event.
Can you give an example of how this works
in your design?
:. Elements of design that are important and
communicate significant messages are color,
line, and shape. We all associate colors with
human emotions; we even use color in our
language, for example we might say someone is
feeling blue or is red with anger.
Our association with shapes is so strong and yet
so subtle that it does not take a lot of imagination
to assign it a specific meaning. For example,
when we are confronted with rounded shapes we
tend to feel warm and fuzzy. Yet we react very
differently when we encounter angular and sharp
forms. Let me explain with an identity that I have
been very closely involved with: Woolworths.
..................................................................................................... .... ... ......
.
Thus the most ~ ~~c§l~
powerful symbol is :~~~
a shape that acts as ~~,~
an allusion, an indirect ~[§Jc§;l~
reference to a ~l£:)c§l~OO
personal ~ M6
experie:nce. ... ;~~[§;JceJ
: [§J~(£]C§f
My role was to articulate their vision. Not just
through a catchy logo or a different typeface, but
to develop a symbol that was indicative of the
values and beliefs of Woolworths. It had to be an
identity for the entire business that could be
implemented on signage, packaging, T-shirts,
posters, private label products, websites,
advertising campaigns, and everything else a
customer comes in contact with.

Once I collated all the information needed to
understand the critical DNA of the business, a
pattern started to emerge that I call "building
blocks." Next I needed to visualize these
essential building blocks. For instance, I knew
that the people who shop at Woolworths are
predominantly female. So I designed fluent, open
.......................................................................................................
woolworthsthefresh foodpeople
..................................................................•.•••••••••••.•.••••••.•.••••••••.•••
1: Woolworths grocery store logo
rounded shapes that were soft, welcoming, and
engaging, but not too much that it would alienate
male shoppers. I used a lot of green shades
because this color represents nature, life, hope,
growth, and freshness, which of course is crucial
for a supermarket. I made sure in the overall
design that all crucial components were in place.
Are people hardwired to like certain shapes
better than others?
:. Although meaning to shapes and symbols is
contextualized in a culture, there are also shapes
and symbols that are understood universally.
When developing a shape that is universally
understood, you cannot rely on a written word
but you have to develop a symbol that is instantly
recognizable and evokes a specific emotion.
IONOS
Marco Escalante
on lonis
As told by Marco Escalante,
Dialog NYC, New York City
"Zonos provides clhnate forecasts
for agriculture markets, delivering reports on
weather conditions for maturing crops and
harvests to farms, ranches, vineyards, or
orchards. The name is short for ionosphere,
which is the uppermost part of the atmosphere.
"We explored different weather elements, such
as clouds, rain, temperature, and wind, as well
as visual concepts associated with growing. The
logo that the client selected can be interpreted
as a group of plants moving as the wind blows,
as the wind itself, or even as a radar wave.
"The movement in the shape can be compared
to how the wind blows through the crops, as a
radiating pattern that relates to the client's
technology.
"The movement idea is very important to reflect
that the weather is always changing. The design
will be animated in the future." :.

Why some shapes or symbols trigger that
specific memory and others fail to register is a
bewildering question that has plagued mankind
ever since a certain snake offered someone an
apple. Although this particular piece of fruit
landed people in deep water a very long time
ago, the apple has since developed a symbol of
its own and has become a recognized image
associated with, to name a few: a well-known IT
manufacturer, a city that never sleeps, even one
of the most successful online shops in the world.
Somehow this symbol has managed to capture
the essence of what the companies suggested
above, however varied, are all about.
Specific devices such as color, line, and shape
will help us decode and make meaning. Even
when choosing something as simple and small
as a specific typeface, we can tell a whole story.
For example, the lines of the Helvetica g inspire
cleanliness, determination, and the future.
However, there is a certain coldness about it; it's
smart but there is little emotion. When you take
the serif g from Garamond, you'll see that it
evokes quite the opposite reaction: its rounded
shapes are more maternal, and it is warm,
inviting, and open. It reminds us of natural,
traditional, and days of our youth. So the shape
of a specific font is very important.
Is symbolism more or less important today?
:. Symbolism is more important today than ever
before, as the world is fast becoming one
economic, global entity. These days, with the
speed of new technology, we are constantly
bombarded with visual images, and only symbols
that are universally understood, with which we
can really connect, make it into our conscious-
ness. Anyone who claims otherwise is na"lve.
Designers are very privileged people as they
have the ability to articulate and communicate a
message in a nonverbal way. And with that I
mean that designers have managed to develop a
unique language altogether. This visual language
of signs and symbols is a very potent and more
universal language than any of the spoken
languages used. The signs and symbols they
design cut across culture, age, gender, politics,
and socio-economic divide.
For example, consider Apple, Nike, and Qantas.
Millions of people right across the world not only
understand these symbols but more important,
they understand what they stand for: Apple and
Nike for innovation and creativity, and Qantas for
Australia as a great destination.
.......................................•............................................••..•............ .. . .. .. ...• •· .··
·· This visual language
of signs and symbols
is a very potent
and more universal
language than any
of the spoken.
lan.gu.ages
u.sed. ...
Good designers are experts in transforming an
individual who is basically satisfied with life into
someone who desires to become part of an
exclusive club. The sense of belonging is very
strong, especially for brands like Apple and Nike.
Their items are highly desirable irrespective of
class, culture, age, place, or income. All you
need to do is see the hype when a new model
phone or shoe is about to be launched on the

FreelV
Australia
.......................................................................................................
Meals onWheels
2: Qantas Airlines logo, 3: Free TV Australia logo,
4: Meals on Wheels Australia logo
agea~®,
Tim Driesen
on Ageas
As told by Tim Driesen,
Famous, Brussels, Belgium
"Ageas, forD1.erly kno'W'n as
Fortis AG Insurance, is an international
insurance company that is ranked among the
top twenty insurance companies in Europe.
"The logo we created is open, round, and
symbolizes connection, emphasizing the
cooperation between cultures and business
partners. The brand needed to reflect the
corporate walues: responsiveness, intimacy,
community, as well as a business environment in
which human relationships are key.
"The logo is very different for the insurance
environment. We started out by experimenting
with layers of perfectly drawn circles, but the
result wasn't what we had in mind. So we just
scribbled some circles with a Wacom pen.
"We used DIN Bold for the word ageas: It's
serious and neutral. The e and a are connected,
as are Europe and Asia." :.

................................•...•........•...................•.•..•........................•.....................•...•............•.........•.........•...................•.....•.......................•.••••••......•
Good designers are experts in transforming an
individual who is basically satisfied with life into
someone who desires to become part of an
exclusive club. The sense of belonging is very
strong, especially :for bran.ds
like Apple an.d Nike. ...
••••••••.••••••.............................................................................................................................••......••...•..•..•.•..•.•.•.••............................. ... ... ... ... ...
market. You want to be seen with an iPhone in
your hand and the latest runners on your feet
because you want to be seen to belong to that
exclusive group of people who are very cool,
young, and "with it."
Many of the symbols used are now so well
known that the company name and taglines that
were associated with the logo, such as Nike's
"just do it" or Apple's "think different" have been
dropped; they just don't matter anymore. These
logos now have a much broader universal
appeal: The ability to read English is irrelevant
as the message is clearly communicated in any
language through the symbol alone.
What is your favorite symbol?
:. Pure Wool is a great symbol. When I first
became aware of it I realized how clever and
simple it is, and how it is instantly understood
as a ball of knitting wool the world over. The
intertwining lines are actually quite sophisticated
in their design, and yet they simply speak of
warmth, enveloping the body, and continuation.
The lines really force your eyes to go round and round
in circles until you arrive at the center of the symbol;
you are embraced but not locked in because the lines
are left open. This is precisely the way wool works.
Its fibers stretch and they are light, with air pockets
that trap the heat, so a woolen garment is warm, it
allows your body to breath, and it will never feel too
tight or too heavy. This symbol clearly communicates
all of that.
Is there a shape or symbol that is overused?
:. A shape or symbol needs to be used in a respon-
sible way in that it must demonstrate a promise that
can be delivered by the product or service. It only
appears overtired or overused if the symbol creates
an illusion the organization can't fulfill. Very soon the
symbol will be associated with negative experiences
and can even become a sign of ridicule. So it is up
to the designer and the company that a symbol or
identity is designed conscientiously and used in an
appropriate manner.

Perpetual
• •• •
•••
•
•
.~,-
•••
• ••••~;;4.·
•
.......................................................................................................
star mart
5: Perpetural Investments logo, 6: Australian Airlines
logo, 7: Star Mart store logo
Bojan Stefanovic
on Vibrant Drive
As told by Bojan Stefanovic,
Logoholik, Belgrade, Serbia
"Vibrant Drive is a European
interactive agency led by Dragan Simonovic, a
user-experience professional.
"The name Vibrant Drive came after long
brainstorming sessions. It needed to be memo-
rable with an available domain since its business
is Internet-based. Since all team members are
young people and full of life, that's where the
name came from. They also strive to improve
their skills and to use the latest technologies.
"Knowing the above information, my job was
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2A 0 Gardner Design e Datility 2B 0 Gardner Design e Datility 2C 0 thackway+mccord e Italian Trade Commision
3A 0 face e University of Bradford 3B 0 Able 3C 0 Studio Grafik e MOV-Mobile Option, Austria
4A 0 markatos I moore e Playspan 4B 0 Jarek Kowalczyk e Dialog 4C 0 The Netmen Corp
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lC e SAMARAJIWA, Design-Studio, Buero fuer Gestaltung e 3Liter PPS Engineering
2A e logostogo e Morgan Marketing 2B e Corporate Image Design & Marketing e MD Webhosting 2C e Laing Branding e Polyester Fibers
3A e Pawel Tomas "Substrate" 3B e Gardner Design e Atigeo 3C e Gardner Design e Chrysler
4A e Denis Olenik Design Studio e Avivo 4B e Kastelov e streamline 4C e The Netmen Corp e Clean Energy

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4A e Latinbrand e Eos 4B e designfocus 4C e Kastelov e Apogee Group
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2A e Gardner Design e Pioneer Telephone Association 2B e Boelts Design e Commerce Bank 01 Arizona 2C e Integrated Media, Inc. e Integrated Media, Inc.
3A e Karl Design Vienna e Ethianum Klinik Heidelberg 3B e Hazen Creative, Inc. e The Forum lor Healthcare Strategists 3C e Strange Ideas
4A e Axiom e Fotolest International 4B e The Netmen Corp e Worldgate 4C e Asgard e Abi Bank

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lA e Lesniewicz Associates e Landtel lB e 5Seven e Dealnews,com lC e Monigle Associates Inc, e Virginia Power
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3A e KW43 BRANDDESIGN e Europaeische Schule 3B e TPG Architecture e Picasso Lighting 3C e Diagram e Polish Soccer Association
4A e Gee + Chung Design e TelePlace 4B e Tran Creative e HammockPotato,com 4C e NewCity e Northwestern Health Sciences University
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3A 0 TypeOrange e Available 3B 0 Hand dizajn studio e Aktis Pharma 3C 0 Heisel Design e Sarasota Paint
4A 0 daverawlins.com e Grace Church 4B 0 Rome & Gold Creative e Challenge 4C 0 Amy Lewis Design e Touch Tier Communications

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4A e Cubic 4B e RedSpark Creative Ltd e Virtual Logistix 4C e danny woodard e Lenz Marketing
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3A e Danielle McLelland e Sunbelt Motivation 3B e Pennebaker e Galapagos Family Wealth Management 3C e Ahab Nimry e SOMA Massage Therapy
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3A e Adapt-Studio, Inc. e Fourth is King 3B e logostogo e quadrant 3C e volatile-graphics
4A e Extrabrand e Artebaleno 4B e 903 Creative, LLC e Buggs Island Telephone 4C e BBMG e Institute for Sustainable Communities
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3A 0 A. Shtramilo design studio e Pereveslo asset management 3B 0 Down With Design e Almog Koren 3C 0 Extrabrand e Ambartsumyan Family
4A 0 Glitschka Studios e Pacific Blue Agency 4B 0 Chancellor Branding & Design e Comunidade Nova Alianca 4C 0 Saltree Pty Ltd e Legacy Property Group

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3A e TRUF e Evolvinx, inc. 3B e Delikatessen e Polpharma 3C e Communication Agency e GAME-S
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3A e Rule29 e Ampure Electronics 3B e dialog e Javier Sordo Madaleno (Grupo Public) 3C e Stacy Bormett Design, LLC e Ideation Factory
4A e Paradigm New Media Group e Innovation Associates 4B e Riham AIGhussein e Gulf Pearl 4C e Gizwiz Studio e Occam Systems

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3A 0 Lienhart Design e The Frerichs Group 3B 0 Grafikona, design studio e Design Studio Grafikona 3C 0 Riham AIGhussein e Bangles
4A 0 cincodemayo e Mextile 4B 0 INEO Designlab e IT Optima 4C 0 Acute Cluster Ltd. e AcuteCluster
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2A e Kuznetsov Evgeniy I KUZNETS e minkan 2B e www.miazga.info e Studio Silenzio 2C e Vizualle e The Center for Innovative Media
3A e balsamstudio e radiofonia 3B e Anthony Lane Studios e Paris Holley 3C e Gillen's Army e Imi architectural resources
4A e Bronson Ma Creative e Prophet Equity 4B e The Sutter Group e InteliTarget 4C e Aroosha Design

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2B 0 Amy Mallik e The Homestead Resort 2C 0 Ishan Khosla Design e Institute for Inner Studies Publishing, India
3A 0 volatile-graphics 3B 0 TD2, s.c. e Liverpoollnmobiliaria 3C 0 FiveStone e ReThink
4A 0 IF marketing & advertising e Teflabs 4B 0 Brian Blankenship e Jetta 4C 0 LeBoYe e Royal Oak Development Asia
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3A e Burocratik - Design e CRF 3B e Kitchco e Abovo Group 3C e Abiah e CNNH
4A e dialog 4B e Methodologie e Eoscene 4C e elf design e Eccolo Media

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3A e Firestik Studio e RAC 3B e Firestik Studio e Racer 3C e classic lines design e ten cosmetic solutions
4A e PrintAssure elsa Wali Empowerment Initiative 4B e Escobas e Teico 4C e substance151 e Center For Mental Healthcare Improvement
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3A e Velocity e Hobbs and Associates Ltd. 3B e David Clark Design e Lariat Petroleum 3C e Rhombus, Inc. e ViaLight
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3A e PMR Design e Access Title 3B e Gizwiz Studio e Thomas 3C e Rise Design Branding Inc. e Zhongxin Travel Agency
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2A e Braue: Brand Design Experts e Lloyd GroBverbraucher Service GmbH & Co.KG 2B e About350, Inc. e CoMIT- The College Major Interest Test
2C e FIRON e Tangerine 3A e Willoughby Design Group e Blue Valley School District 3B e Verna/Beck, LLC e Marketing Goddess
3C e Kommunikat e Instytut Zdrowia i Urody 4A e BenKandoraDESIGN e Health and Beauty Medical Spa1
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2A 0 Frogie Designs e occhio lounge bar 2B 0 Thomas design e Coppermoon Bar and Grill 2C 0 Ryan Cooper e Archrival
3A 0 Hazen Creative, Inc. e Pilates Pro 3B 0 Savage e Elemental Design 3C 0 Cacao Design e Tribu
4A 0 Copilot Creative e Equity Momentum 4B 0 KITA International I Visual Playground e kunstlerkreis berlin 4C 0 Nicholas Associates e Woven Earth
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3A e LIFT HERE, Inc. e Aurora, Inc. 3B e David Clark Design e Four Winds Casino/Eslick Design 3C e Essex Two e Edmonton Clinic / Alberta
4A e Diagram e ING Real Estate Development 4B e Nicole Goodman e Southern Cross Care 4C e neodesign e Infinite Cirrocumulus Foods Co., Ltd.

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4A e Natasha Mileshina e Moliter Art Jewellery 4B e maoStudios e Genuinsanity 4C e Doug Beatty e Hotworx/Steelcase
II
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