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A few weeks ago, a stream of tweets went out within my network about LogoGarden, the latest cheap logo design DIY site to pop up on the internet. What really drew my attention is the fact that many well-known graphic designers were finding logos that they had designed for sell on the site as icons. While the poaching of logos isn’t something new, the audacity with which LogoGarden repurposed some of the best examples of logo design from some of the most respected designers in the niche is. I spent a few hours thoroughly searching the site to make sure that none of my work had been stolen, and I was fortunate enough that it wasn’t. However, many of my friends, heroes and some of both weren’t so lucky. Jeff Fisher of Jeff Fisher Logomotives documented on his blog 20 of his creations that were being sold on the site as LogoGarden originals.

It’s disheartening to discover that John Williams, the founder of LogoGarden, is supposedly a leading logo design expert, who served as Entrepreneur.com’s branding columnist for five years. If he’s truly an expert then he would have a deep understanding of the strategy and client collaboration involved in developing a successful logo. Williams doesn’t even demonstrate a basic understanding of the keys to effective logo design — flexilibity, memorability, differentiation and timelessness. How do you differentiate yourself when you give everyone the same off-the-shelf options for their logos pared with a handful of fonts that aren’t designed with the logomark in mind? If Williams is an expert on logo design because he’s found a way to capitalize on other people’s creations, then I can honestly say that I’m an expert on fashion design in that I’ve sold used clothes in a garage sale. He is, in fact, an expert in finding a vulnerable market and exploiting the consumers and workers for his own profit.

The design community has done an excellent job of bringing the debacle to the attention of fellow designers, but we really need to spread the word to the client base of LogoGarden to discredit the founder, John Williams. I’ve taken time to search out any articles that John Williams has written for small business owners and start ups, and I’ve left comments warning readers about the dangers of LogoGarden. Many business owners may not be aware of the legalities associated with logo trademarks, and the best thing for us to do as designers is to educate them.

I also sent an email to John Williams through the LogoGarden site, and I was surprised when I received a response. Here’s his response in it’s entirety which looks to be a canned response sent to several designers.

“First, I appreciate you bringing this to my attention. To build our vast symbol library, LogoGarden.com contracts with designers nationwide and from around the world. Many of the symbols in question came from a small number of these designers.

If any of these symbols do indeed violate copyright laws, our policy is to extract them from our online symbol library immediately and to terminate contracts with the designers who submitted them. As a business practice, all the designers we contracted with signed a “work for hire” contract that guaranteed their work would be original.

Given the library’s size, although we do our best to ensure originality of our artwork, we can’t catch everything. And while sometimes a design conflict may be obvious, other times it’s a judgment call. We do our best.

We ourselves have issues with our logo symbols being copied, so we appreciate your concern and vigilance. In the future, if you find any symbols that you feel violate artwork you’ve designed and copyrighted personally, let us know.

Thanks for your understanding,

John Williams,

President, LogoGarden.com”

While I give him a little bit of credit for responding, I don’t agree with most of the email. In particular, I don’t see much evidence that the staff of LogoGarden scans any of the logomarks for copyright infringement. I understand that Williams and his staff can’t possibly know every logo design that is trademarked, but I do find it revealing that the World Wildlife Fund panda and the Time Warner eye are included as options. Both logomarks are highly recognizable inside and outside the industries that they represent. Also, the fact that they have their logos copied is laughable at best. Does that make those a third generation copy?

The response only opened further questions for me. Who is qualifying the logo designers that Williams is using? As I business owner, I know I wouldn’t just hire anyone because they can produce what I’m selling. Interviewing, references and a resume would be only a few of the crucial steps I would use to hire designers to represent my business. What happens to the stolen property that’s been sold through the site? While it’s great that he’s removing the copyrighted material, LogoGarden should also be responsible for contacting any businesses that have purchased the stolen material offering a full refund, and taking care of any legal fees associated with the use of the trademarked property for both the purchaser and the designer that created the original work. I would also question how upfront LogoGarden is about the fact that business owners won’t be able to protect themselves with a trademark from their DIY logo creation. Many of the icons are listed in multiple categories, and from what I can tell are not removed when a client purchases that symbol. To put this into perspective, your logo will not be unique. Hundreds of other companies can use the same icon for their company, and hundreds of companies will. Instead it looks like LogoGarden maintains the copyright to your icon, which is not how you want to start your business.

DIY logo sites sound like a great idea for the start-up business on the shoestring budget, especially with costs as low as $79, but the cost to effectively use a poorly designed logo backed by no strategy can put a company out of business in the long run. It’s important to realize that a logo is an investment in the long-term health of your overall brand rather than an item you check off of your brand grocery list. Working with a designer to develop a logo to take you through the first 5-10 years of your company’s life has a much higher value at a much lower cost.

The best thing that we can do as designers is educate our clients and prospects on the dangers of sites like LogoGarden, and to continue making as much noise about the issue as we can in the most professional way.

Other Posts Regarding LogoGarden (via Jeff Fisher)

The perils of do-it-yourself logo makers; The Logo Factor Design Blog – by Steve Douglas of The Logo Factory [08.15.11]

Thoughts on the Logo Garden controversy; by Dani Nordin [08.15.11]

Logo Garden Sells Logos it doesn’t Own; In Brief: August Miscellany – Brand New [08.15.11]

DIY, Crowd Sourcing or Piracy – You be the Judge; Drawing Conclusions – Prejean Creative [08.15.11]

Grand Theft Logo; Northwest Indiana Creative – by Judith Mayer of Keyword Design [08.16.11]

WWF panda for just $69; by David Airey of Logo Design Love [08.16.11]

LogoGarden Should Be Plowed Under; Drawing Conclusions – Prejean Creative [08.16.11]

More Logo Thievery; by Scott Lewis of Iconify.it [08.16.11]

How low can they go?; by Cathy Fishel, LogoLounge.com [08.17.11]

What is the liability of using stolen property for your business?; You get the idea, by Roland Murillo of Murillo Design [08.17.11]

Charlatan, Huckster, Moron, Thief!; Love Thy Logo, by Bill Gardner, RockPaperInk [08.18.11]

How to get your logos removed from LogoGarden.com; Drawing Conclusions, by Brent Pelloquin of Prejean Creative [08.18.11]

Logo Garden’s bitter harvest; The Logo Factor Design Blog – by Steve Douglas of The Logo Factory [08.18.11]

AIGA ACTION ALERT: Check LogoGarden for identity work stolen from you; from Richard Grefé, AIGA Executive Director, AIGA [08.19.11]

LogoGarden Responds Regarding Stolen Logos; by Scott Lewis of Iconify.it [08.19.11]

The Rape of the Bear Logo; by Sean Adams, Burning Settlers Cabin [08.19.11]

Dubious Mother F****r Stealing Other People’s Logo Work and Reselling It; The Denver Egotist [08.19.11]

Official response from LogoGarden.com; Drawing Conclusions, by Brent Pelloquin of Prejean Creative [08.19.11]

Logo Design Trend: Blatant Fraud; ohTwentyone [08.19.11]

AIGA Launches Action Alert for Design Theft by ‘Logo Garden’ Site; by Steve Delahoyde of UnBeige [08.22.11]

Graphic Artists Guild: Advocacy Alerts: LogoGarden.com may be infringing your work.; Graphic Artists Guild [08.22.11]

Leggo My Logo; by Jaci Russo of The Russo Group [08.23.11]

LogoGarden: Copyright and Do-It-Yourself Logos; by Jonathan Bailey of Plagiarism Today (PT) [08.25.11]

LogoGate 2011; by Von Glitschka, Drawsigner [08.26.11]

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For part 2 of my interview with Jeni Herberger we talk about creativity, public speaking, and we even talk a little shit. Don’t forget to check out part one.

What was the impetus behind you becoming a more prominent public speaker particular with HOW and AIGA?

It was quite accidental. I get a high or rise out of feeling other people’s energy shift from being negative to being positive, or to see them overcome fears. Fears that I don’t really have. Or to see them be hopeful about something maybe they weren’t ever hopeful about. I can literally feel the charge in a room change when I’m talking about something.

I’ve done it in different arenas throughout my life. When I was a very young adult it was for my family. Making a difference for my family. In front of people that I worked with as a photographer and creative director. And then when my company got big, as far as employees are concerned, it was about making differences in their lives. About feeling that charge, that energy for my clients, too. I’ve always enjoyed it.

And then, somebody said, “Why don’t you talk about it?”

What would you say is the hardest presentation you’ve had to get through and why?

The very first time that I had to give a client presentation, not a speaking presentation, but a client presentation. My partner couldn’t make it, so I just went and did it by myself. I walked in to this very, very corporate office. You’ve seen how I dress. I dress pretty stylishly and not very much like a designer. (laughs) I walk into this corporate office. I’m like “Okay, this is going to go great! This is going to go great!” I look into the room, and it is a boardroom of about I’d say 18-20 men all wearing blue suits, red ties and white shirts. And they’re all at least 45, 50 years old and up. And I literally thought to myself “Oh shit! This is going to be horrible. They are going to slaughter me.” I’m this little girl, all by myself going to give this presentation. So, I walk into the room, and nobody stood up. So, I just stood there. And finally, the CEO goes, “Well, why don’t you have a seat.”

I said, “Well, a lady just entered the room, and not one gentleman stood up. So, I’ll wait until ya’ll decide to do that.”

That’s awesome!

And so at that moment, everything broke and I put myself on equal footing with them. (laughs) I figured if I could tackle that one I could pretty much tackle anything, right?

So, did the presentation end up going well after that?

Oh yeah. We totally won it, and it was awesome. It was great, but I knew that those guys were going to eat me alive. I knew that they were instantly going to take off on a very chauvinistic approach, and I was like “Yeah, this isn’t going to happen.” So, instead of balking and rebelling against being a woman I just totally played into it. (laughs) It was a lot of fun. It’s one of my favorite stories I think to this day.

Tell me a little bit about you’re companies.

I actually own five companies. Because you’re required to box all of these into separate entities, right? But what’s really, really funny about it is the only one that I would consider to be a business in the traditional sense of the word is Big Fish Staffing.

And you know, that was an amazing adventure. An adventure that really brought me to the place that I am today both financially and just in how it is that I go about doing what it is that I do. It was tremendously successful, which is awesome, because it’s afforded me the opportunity to do what I’m doing right now. It’s become a bit of a ministry for me for lack of another word. To where I don’t have to worry about whether I’m making a zillion dollars when I’m out talking to people. I truly get to be a human advocate. You know, a minister, call it whatever it is that you want to call it.

Jeni Herberger Logo

And then, the whole branding yourself is always a very interesting thing. I’m not branding a design firm. I am literally branding me, and that’s a trip and a half to brand yourself. Because it can have a tendency to be a bit on the egotistical side, and you’re like “Whoa, whoa, whoa! I am not quite that egotistical. We gotta humble this thing out a bit.” So, that’s [Jeni Herberger Creative Concepts] another business venture if you will.

And then, we have an avocado farm in Hawaii which is just weird.

That’s not weird.

Well, how many people do you know that have avocado farms? (laughs)

Apparently just one, but I love avocados. So I wouldn’t consider that weird at all. I could see myself having an avocado farm just to be able to eat my product.

(laughs) There you go! We actually yield about 6000 pounds of avocados a year, and it’s so bizarre to literally have the luxury, if you will, to throw avocados away. When you buy them over here on the mainland you spend two and half to three bucks for an avocado, and it tastes like crap in comparison to what comes off of our farm. It’s an organic farm. It’s just so amazing. So, that’s just another business, crazy side venture that we have. We make like $3000 off of it a year. It’s awesome!

Have you had to learn a lot about farming or did you know a lot ahead of time?

I had to learn a lot of it, although what was so funny about it was, the first house that we looked at over there was a coffee farm. And we decided that that wasn’t for us. We didn’t like the location as much. So, then when we started looking around, and we actually found this avocado farm. I started laughing my ass off when we seriously considered doing that, because my dad and his dad were the first people to ever put an avocado on an airplane.

So, back in the day, in San Bernardino County my dad and his dad and my dad’s brother owned Herberger & Sons which was an avocado processing business where they transported them. And they had a crazy idea of putting gourmet avocados on a plane, and sending them to the east coast. Nobody had ever done that before. And so, avocados are in the blood. So hilarious when I bought this farm. I called my dad and I’m like “Oh my god, dad. I’m going back to our roots.” And I never even grew up on an avocado farm.

Give people the space to be creative in the way that they wantThere’s nothing better than seeing your husband who grew up in Spokane, Washington and had never done anything like that with a pickup truck full of chicken shit. And he’s spreading it around 80 trees. (laughs)

But see that’s when you get back to what you’re talking about and creativity. That’s a creative life. And I think that’s something that we can all pull into. What we have to be able to do, is we have to be able to give people the space to be creative in the way that they want to be creative.

Who’s been the biggest influence in your life, particularly who influenced you to go the route that you did?

Beyond a shadow of a doubt, my dad, and right next to him my mom, because they’re so connected as a couple. I grew up in an all male family, meaning I have all brothers. And my parents were pretty traditional, but they had one of the first marriages I’ve ever seen that was truly a partnership where it wasn’t about roles. It was about getting it done. And my dad realized very early on that I had a pretty good head on my shoulders, and not only that (laughs) he called me a hustler. I’d go after things. And so simply because I didn’t have a penis that did not matter to my father. He pushed me in the most loving and wonderful ways, yet always expected me to act like a lady. He didn’t ever want me to change that aspect, but he wanted me to be able to conquer the world however I saw fit.

And right next to him was always, always my mom with that big smile on her face going “Yep! You can do it. You can do anything you want to do.”

Do you find that you have that same influence on your kids?

I hope so! I think so. It’s always hard when you’re in the moment when you’re with you’re kids, because you sit there and you go “Oh my god, do they really love me? Do they really know everything that I’m doing for them and how hard I’m trying.” You know, being in it is very, very difficult. I think the joy comes once you’re outside of it, and you get to look back. And you get to go “Oh thank god they are well-adjusted!” (laughs)

If you’d like to find out more about Jeni visit  jeniherberger.com, or follow on twitter @jeniherberger. And be sure to tune in to Talk Story to hear her do the interviewing!

Like what you see feel free to email me at tad@creativesquall.com and don’t forget to become a fan on Facebook. Check out the Creative Squall site to see how we’ve put imagination in action.

For the first interview in the Untapped Creativity Series, I was lucky enough to interview the brilliantly talented Jeni Herberger. If you aren’t familiar with Jeni’s show Talk Story, then you need to be. She hosts a blog talk show where she talks to some of the brightest minds in the graphic design world. Often on her show she has brought up the very idea that creativity is something that is present in all of our careers. She even mentioned that she wants her accountant or surgeon to be the most creative person that she knows. In addition to a wildly successful career in the creative industry, Jeni is a guest writer for HOW Magazine, Communication Arts and Business JournalJeni Herberger Logo as well as a veteran speaker for AIGA, AMA, AdClub and HOW. I had the opportunity to meet her last year at the HOW Conference in Denver, and I was immediately struck by her blunt optimism. As she is a person of many words, great ones at that, I’ve split her interview into two parts.

You’ve had an interesting career path and journey to where you are today. Give us a little bit background about yourself.

I grew up in on the beaches of southern California, literally. I was super, über good in science and math and wanted to be a marine biologist. That was absolutely what I wanted to do. I was a cheerleader. I know that is shocking.

Here you go. I’ll give you a little trivia that you can put out to the world that not a lot of people know. I was actually Miss San Clemente in 1984. So, how’s that for funny?

I’m not surprised.

(Laughs) It was hilarious! And I was first runner up in Miss California the following year. So, that was my one claim to “I can’t believe I was that dumb to do this!”

I didn’t end up going into marine biology, because everybody talked me out of it saying, “There was no money in it. You should become a doctor.” So, I got talked into going into a medical school program through UCLA that was for some of the top students in the U.S. which was kind of cool from that standpoint. I lasted about 3 months in that program. I think it was after an organic chem test when everyone was swarming around trying to see what their grades were, and I’m jumping up and down because I got a C- which means I passed. I had a whole bunch of people standing around me crying because they got a 98%. I’m like “Oh my god! I can totally not do this.”

So, I switched my major around to music, but I hated that because it took something that I loved and turned it into something that was far too theoretical. And then from there I actually took photography classes, and I loved it. I took to it. That was the pathway that I started down, and it was also really fun because I had done a small amount of modeling in my past. So for me, it was so fun seeing what was happening on that side of the camera. To me that was where it was all at. That catapulted me into the fashion industry, as far as photography was concerned. I switched my degree one more time and ended up with a degree in theater.

Between my junior and senior year of college, I actually had the privilege of becoming pregnant and having my first kid. So, that kind of accelerated my senior year of college. Made me a mom very early. But you know (laughs), I’ve got a 22 year old daughter. Absolutely, positively, no complaints!

Through photography, I had my own studio. Did a lot of fashion photography, and that led me into sports photography which was really interesting. I did a lot of stuff for the NHL, a lot of stuff for Harley, Marlboro. It was crazy. So, a lot of fun stuff photographically speaking.

Depending on whatever your bent is you’re either going to be somebody who directs people, or you’re going to be somebody who actually does the work. You don’t have to move into directing, but there are some people that will do it. Some do it quicker than others, and some never do it at all. I moved from being a doer to being a director very, very quickly. And I think it’s just because I have a teaching background. So, I started doing a lot of creative directing on the photo shoots, and the next thing you know agencies are hiring me not only to do photography but also to act as creative director on a project. And that’s what catapulted me into the graphic design industry.

Kind of crazy, huh?

You can see all of the skills that you picked up along the way. So it does make sense.

Well, and the fun thing is how those skills breached back. That’s what’s really, really fun, is being in your forties, you know, now I have a chance to look back. And I’m doing things that I haven’t done since my twenties, but it’s so obvious that I had to go through this pathway. Like being on stage. I’m back on stage again, aren’t I? I was a theater major, and I didn’t get on stage for 20 years. Now I’m on stage all the time talking to people. I actually taught high-school biology for two years. I’m back teaching again. So, it’s really, really a beautiful thing when you’re kind of at the height of your career, and you get to look back at that pathway. You can see how everything converged together to make you who it is that you are today.

So, would you say you pretty much live an outwardly creative life?

Absolutely! I think that’s an interesting statement from you. When you say an outwardly creative life, what to you mean by that?

I look at an outwardly creative life as you’re ending with what most people would consider a creative product.

For you, I think that’s a great thing to really build upon is that concept of outwardly creative. And I know with all of the folks that you’re going to be talking to a lot of them are going to be people that might be defined as inwardly creative. It’s like you heard me say on Talk Story all the time, I believe because we were created by God, and God is a creative being, and we are made in his image that means we are innately creative. Whether we want to be or not. And I think that there are some people that literally hold that and stifle it because they’re afraid of it. They just don’t want that. They would rather tap into the more analytical side of life. I think there’s some people that just go hell-bent on the side of creativity, and then I think there’s a whole range of us in the middle, and the levels in our life that we decide to be creative in are really interesting. For instance, some of us have gone down what is considered to be a creative career path where like you’re saying the end result is actually art in some respect or another.

I think a lot of it too, is how you live your life. One of the things I look at in myself is not only am I creative in my career, meaning I chose a creative pathway, but  I’m also creative in how I go about everything. If it’s parenting, people ask me all the time “How do you do it? Have three kids and have a business?” And honestly, I’m very creative in how a make sure my kids have what they need, my business has what it needs, and my clients have what they need. It’s a constant process in my head of actually making the life that I want to make. So, I don’t do things the way the book says. Not because I think the book is wrong, but for me it works better if I create it on my own.

I live in Hawaii, and I live in Seattle. People say, “Well, how do you do that?” Well, it’s really, really easy. I wanted to do it, so I found a way to create that for myself. It’s not about money. It’s not about success. It’s about the fact that I created that pathway for myself, because driving fancy cars wasn’t important to me. Traveling all over the world isn’t something that I can do right now. So, one thing that I can do, one thing that I did want to create, was the ability to go back and forth between two places that I really love. So, that to me is the idea of living a creative life.Creativity is making whatever it is you want.

How would you define creativity for yourself in the most basic terms?

In the most basic terms, it is making whatever it is you want. Whether you’re doing that for someone, or you’re doing that for yourself, it is making something that you want. So, if you’re doing it for a client, you’re making something that they want, but you’re going about it the way that you feel it needs to be done.

So, I think we really get hung up on the word creativity? You could define it a zillion different ways. All being creative is IS creating something. If you want to take a different verb then use making it or doing it. So, for me creativity is really, really that simple.

What do you think is the biggest reason why people don’t view themselves as creative?

I think that humans innately have a need to label, to put a box around it, to make it work. When it comes down to even your faith, and some higher power or something, the biggest obstacle that people have with the idea of God is the fact that they can’t put him in a box. They can’t label it. And if something doesn’t align itself exactly right that must mean that He doesn’t exist. The greatest things that we have are things that you cannot define like love. You can’t define love. Why do I love my husband? Hell, half the time I don’t know, trust me. The other half of the time, I absolutely know. I think that because humans have to define things, innately define things, they end up defining themselves out of things.

Look at the words that we put with creativity. You’re rebellious. I don’t know how many times I’ve heard people say things like “Well, if you draw outside of the lines, you’re creative.” Why does that make you creative? Isn’t it just as creative to draw inside the lines? I really don’t understand that. “You’re creative if you think outside of the box.” Well, who the hell defined the box in the first place? And can’t I be creative inside of the box, as well as outside of the box?

So, I think that innate need to define things and label things makes human being put boxes around themselves, but then exclude them from being allowed to be other things. For instance, designers do this all the time. Designers think they suck at business. You want to know something? I am awesome at business. And most of the designers that I know out there could be if they’d stop saying they aren’t good at it. Because, honestly we should be the best business people out there, because we are tapped into our creativity. We are comfortable with our creativity. Business is not about numbers. It’s about making things happen. It’s about getting things out to the public. Isn’t that what designers do, hmmm?

Another big part of it is just being able to communicate, which is what we sell on a daily basis.

Exactly! Almost every designer I know says “Oh, I can’t communicate. I can’t really talk to people.” You communicate everyday, so if you can’t talk to people then just draw people’s friggin’ pictures for crying out loud. Yes, you can communicate. You just have opted to do it a different way. And I think what we do is, we then box ourselves in.

My first marriage did not work out, and I got divorced. I had a teacher go, “Oh my god. I had no idea that you’re kids were from a broken home, because they are so well adjusted.” And I looked at her and I said, “Broken home? Are you kidding me? I fixed that home.” And so it was a totally different way of looking at it. But we keep putting labels and all of this junk on top of things. And it’s so stupid, because I think it makes us think of ourselves in one particular way.

If you’d like to find out more about Jeni visit  jeniherberger.com, or follow on twitter @jeniherberger.

Check out part two of my interview with Jeni Herberger.

Like what you see feel free to email me at tad@creativesquall.com and don’t forget to become a fan on Facebook. Check out the Creative Squall site to see how we’ve put imagination in action.

Part 3 of The Paper Cuts Series

LogoMotives LogosThough the design industry has changed in many ways just since the 90’s, printing is still a thriving and vibrant source for connecting with consumers, and paper is the key. For this series, I’ve interviewed some of the best printers, paper reps, and designers to give their insights into how paper can strengthen your brand.

Jeff Fisher of Jeff Fisher LogoMotives has been designing logos and  corporate identities for three decades, and he’s witnessed the changes that design and more specifically paper have gone through, all the while maintaining a focus on print as a predominant part of brand identity. Jeff has seen it all, and done it all when it comes to graphic design, and he was nice enough to share a bit of his experience.

Give us a little background about yourself.

My career as a professional designer began in 1978 as the graphic designer for the advertising department of the daily college newspaper at the the University of Oregon, where I was a design student within the School of Journalism. In an economic climate much like today, when I got out of school there were few full-time design jobs to be had. Informational interviews with the principals of advertising agencies and design firms soon led to a lot of independent work coming my way. Eventually, one of my clients offered me an opportunity to join them in-house to create and lead a new design department. In addition, I was the art director for the group of medical publications. My next position was as art director for a Portland advertising agency. Following a move to Seattle, was I hired as the creative director for a clothing manufacturer. Each previous position gave me the experience necessary to go out on my own in 1987. However, it wasn’t until 1997 that I officially adopted the business name Jeff Fisher LogoMotives, and began focusing on identity design and branding.

In the last ten years I have found myself writing about design a great deal through blogs, design sites, and industry magazines such as HOW. I’ve also written three books on design topics: ‘The Savvy Designer’s Guide to Success: Ideas and tactics for a killer career’ (HOW Books, 2004, re-released as PDF on CD, 2009), ‘Identity Crisis!: 50 redesigns that transformed stale identities into successful brands’ (HOW Books, 2007) and the upcoming ‘Logo Type: 200 Best Typographic Logos from Around the World Explained’ (HOW Books). Other books are in the works.

I’ve also been speaking and teaching about design, social networking and small business marketing for almost a decade. I often make presentations at design schools, universities, design conferences, AIGA chapters and business organization events. For a week this past June, I taught at the © CEDIM design and innovation college in Monterrey Mexico, something I would enjoy doing much more. In addition, I’m a member of the HOW Magazine Board of Advisors, HOW Design Conference Advisory Council and the Art Institute of Portland Advisory Council.

What first drew you to graphic design?

From the time I was five or six years old I was obsessed with art – and always told people that I was “going to be an artist when I grow up.” Of course, everyone discouraged me and told me I would never be able to make a living as an artist. Art teachers in junior and senior high took notice of my talents and abilities and gave me a great deal of encouragement to continue. In fact, after complaining that one of my high school art instructors had told me that I “wasn’t doing my painting right,” I was the first student put on independent study in art in my school district and my advisor, art teacher Ken Collins, had a huge impact in my determination to have a career in the arts. While a senior in high school in 1974, I came across the new book “Graphic Design,” by Milton Glaser, at my local public library. It gave a name to what I wanted to do and showed that someone could have a successful career in such work.

I began my formal graphic design education in the Fine Arts department at the University or Oregon in 1974. Frustration with the program led me to consider quitting school completely. It was suggested that I speak with professor Roy Paul Nelson, the author of well-known books on the design of advertising and publications, who taught in the UO Journalism School. In our first meeting he told me, “Get the hell out of the Fine Arts program and into the Journalism School where you can learn some marketable skills.” To be able to take classes in typography, advertising design, publication design and cartooning I was required to take all the journalism course work. All that I learned in the program still serves me well today. My junior year in college I started working professionally as a designer.

How does paper impact your design process?

I will often have specific papers, or a paper line, in mind throughout the design process. Colors, textures and other paper attributes are usually in my thoughts as I design an identity and consider possible colors and applications for the design. Often the desire for a specific paper color or texture will determine the paper to be used. I’ve appreciated situations where paper reps, or paper houses, have provided sample stocks – and even constructed mock-ups of some projects – allowing me to determine if my design and printing concept is evidence that I am completely out of my mind.

How has the way you spec paper for print projects changed over the years?

Early in my career I would spend a great deal of time in the paper samples rooms of local paper companies seeking out just the right paper for a given project. Later, paper reps would make sure I had complete sets of their paper swatch books. I always enjoyed getting together with them, over a cup of coffee or cocktail, to update my swatch sets. In recent years, I usually request samples of specific papers from the print house producing the final product. Much of my research of paper stock these days is done online, at conferences or by way of those annoying paper stock inserts in design magazines.

Can you think of a project where the paper stock has defined the project or increased the overall impact, and how so?

Barrett Rudich Photographer StationerySelection of a specific paper can greatly impact the success of a designed project. Years ago I worked with a photographer who wanted an extremely unique card. Much of his photography work was black and white, and we ended up discussing a card that would be black on black. It was important to find a heavily textured black paper stock (I don’t remember the specific paper now) that would be almost completely smooth when the photographer’s name, title and phone number were blind embossed. A black foil was used to make the text info on the card “pop” even more. The card was also cut 1/4 inch shorter than a traditional business card; giving the illusion that it was a much different size than normal. It was necessary to work closely with the print house to “test drive” a few paper stocks to get the desired result and give the business card the impact wanted by the client. The card was very successful for the client and appears in several design books. To complete his stationery package, the photographer’s name was imprinted in black foil on a bright white letterhead sheet and envelope.

Can paper be used to define a brand, and in what way?

The texture, content, weight or color of a paper can be an important design element for a brand – just as important as color, type treatment, and actual design elements. How the paper stock is used in branding a business, product or organization can have a major impact on how that brand is perceived by the target audience.

Have you seen a case where a paper choice hindered the effectiveness of a printed piece, and in what way?

I have seen many cases of the wrong paper, or improper ink color, being used for specific project. Some heavy paper textures are not appropriate for the even ink coverage wanted. Ink sometimes soaks into paper stocks, muting the desired impact of a printed piece. I’ve seen nightmare situations where the paper cracked when folded after printing, resulting in an end product being rejected by the client. I know of cases in which designers didn’t take paper weights into consideration and caused postage costs to be much more than budgeted or anticipated.

What has been your proudest use of paper in one of your projects to date?

One of my favorite, and proudest, design moments occurred over a period of six months in 1992 when I was contracted to create the identity for The Governor Hotel in Portland, OR. It was quite an undertaking for a one-person design firm. I was responsible for creating the identity for the hotel and restaurant, and then applying the identities to all branding devices from signage to menus. The client initially looked at me like I was crazy when I proposed printing various project elements on totally different paper stocks. Papers from different mills – with varied textures, colors and weights – were used in producing various brand elements, creating a unique paper family for the hotel. The stocks included laid, linen, vellum and coated finishes, parchments, metallics and others. I designed every piece of printed material for the hotel including a stationery package, computer papers for the reservations office, brochures, a commemorative poster, direct mail pieces, stickers, coasters, grand opening invitations and much more. Many of the pieces were printed on recycled stocks, a bit more difficult to find nearly two decades ago.

The Governor Hotel Identity System 1

Unfortunately, there was a great waste of paper in the process of having items printed for the hotel. For all elements of the project I suggested earth tone ink colors. The interior designer of the hotel butted into the project and recommend a much bright color selection. I did my best to discourage the hotel management, but they went with the brighter palette in the initial printing of 10,000 of all pieces. When the printed materials were delivered, the hotel general manager opened the first box and exclaimed, “Oh my God, it’s the Taco Bell hotel.” The ink selected by the interior designer printed a much brighter orange than she ever expected. All printed materials were scrapped and the entire project was reprinted in the colors I had originally speced. Much of the earlier printing was salvaged where possible to create half-sheets and notepads.

The Governor Hotel Identity System 2My printing rep, Tom Switzer, was instrumental in keeping me sane (and the client happy) during the months of the project. I still work with him as a printing rep 18 years later.

In what way do you collaborate with your printer or paper rep during the design process?

As a one-person design firm, over the years it has always been necessary to create a personal team of collaborators – often including print and paper representatives – to successfully initiate and complete a project. I have paper and printing reps that I’ve worked with for almost 20 years. From the beginning of my career, over 30 years ago, I have almost always made contact with my printing rep and the print house production staff a priority early in the project. I’ve never been one to finalize a design and then drop some production nightmare on my chosen printer. For me it’s always been important to share my concepts with the print house and learn how I can make the process, from design through printing, smooth for all involved.

Having worked professionally as a designer for 13 years prior to a computer appearing on my desk, I developed a very hands-on approach in working with printers and learned a great deal about the printing process. My participation in the process continued when I was able to hand projects over to the printer on disks. Throughout my career incredible relationships developed with print reps when we would be meeting at all hours for press checks for major projects. I’ve spent quite a few hours sleeping on couches in the lobby of print houses waiting for a specific project to go on press. In the two years that I designed all marketing pieces for the Seattle Seahawks professional football team, my printing rep Julie Beaver and I became great friends. All projects, printed in six colors to ensure NFL logo colors and with runs of up to one million pieces, required personal press checks.

Over the years, my paper reps have always been very helpful in providing samples, creating mock-ups of folded pieces and making sure that the stock desired is available. Often that meant the rep was responsible for tracking down examples of a specific paper and hand-delivering samples to my home-based studio to meet a client demand or deadline.

In what ways has your role changed as a designer with online digital printing, sustainability efforts and the economy?

With online digital printing, I do still need to babysit – or lead – the client through the process. I still make paper and printing method recommendations. I don’t like to completely step out of the process of a project until the final product is delivered to the client and meets their satisfaction. I appreciate that many of my clients feel much more comfortable being involved in the digital printing process, than the traditional processes of getting projects produced.

What’s your favorite paper stock and why?

I’ve always been a fan of ESSE – and have only been able to use it on client projects a couple times. I love the watermarked grid of squares in the stock. It’s one of those papers that needs to be particularly appropriate for the specific project to really pull off the desired effect. Your question made me realize that I’m a long-time champion of many Neenah papers. In the past 30 years, I’ve recommended that many clients use papers such as Classic Columns, Classic Crest, Classic Laid, Classic Linen and others in printing their stationery packages.

I would consider myself anything from the French Paper line, because it’s more utilitarian, unassuming and a little rough around the edges. Which paper stock would you be and why?

I also am a fan of French Papers, but if I need to be a specific stock I don’t want to copy you. I suppose it would be the Eames line from Neenah Paper. There’s an ability to convey sophistication or be a bit more pedestrian. The color palette, variety of finishes, patterns and weights, and the way the paper invites closer inspection by those coming into contact with it all seem to convey various aspects of my personality.

Is print dead or just playing dead?

If dead, I think someone forgot to make print aware of the fact. I think it’s funny, and telling, that David Carson’s book, “The End of Print,” is in something like its fifth printing. Print has not died – it is just constantly evolving.

Jeff Fisher LogoMotivesIf you’d like to find out more about Jeff Fisher LogoMotives visit jfisherlogomotives.com. Be sure to follow Jeff on twitter @LogoMotives, and become fans on facebook of LogoMotives. For the latest on upcoming design books and helpful articles on business and graphic design check out bLog-oMotives.

Check back next month when we talk packaging with a New Orleans graphic design firm for Part 4 in The Paper Cuts Series.

Like what you see feel free to email me at tad@creativesquall.com and don’t forget to become a fan on Facebook. Check out the Creative Squall site to see how we’ve helped clients add a touchy, feely side to their brands with paper.

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