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Cannes Lions Jury Special
BY
Ninart Lui
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Exclusive Highlight on TAXI Design Network
Interview with Steff Geissbuhler
corporation, a physical object, a professional service, or even a place. The reason for establishing a strong visual brand is to build recognition with the target audience, and to generate positive associations in the mind of the customer that predispose them toward buying or using one product or service over another.
TAXI >>You are described as helping to “invent the entire category” of corporate identity, and once argued that in this day and age working through the process and gaining consensus poses unique challenges for designers whose clients are undergoing an identity change – especially when companies merge. What has been your biggest obstacles faced so far in trying to create a new unique logo for companies with seemingly nothing in common with each other?
Steff Geissbuhler>>There is always something two companies have in common, otherwise they would never entertain a merger. Often, the two parts complement or complete each other. It is for us as designers to identify those commonalities. Most of the time, a new persona emerges out of the two previous business cultures, which is what we seek to express. But, all mergers and acquisitions have a mutually beneficial business goal in mind, which is only achievable by joining forces.
Many years ago, I designed a visual identity for a company that manufactured musical instruments—violins, guitars, drums, flutes, synthesizers, and so on. They also made technical instrumentation and systems, and they also produced beer in Equador. That is quite a diverse group of businesses to bring under one umbrella, and it was very difficult to find a unifying visual system. The final symbol was composed of four capital “N” letters, the initial of the company name. Each “N” connected at the top to form a cross with a star in the central white space between them. The extreme thick and thin letterform seemed to make the logo rotate and at the same time suggest tuning forks, sheet music icons and precision instrumentation.
Among the most famous examples is surely the symbol I designed for the merger of Time Inc. (newspapers and magazines) and Warner Communications (film, video, cable television). The resulting mark fuses an eye and an ear, graphically depicting the idea that all their combined products and services are seen and heard.
TAXI >>“Nothing dulls faster than the cutting edge” – in today’s world where digital media is so powerful and only set to burgeon, how do you constantly create symbols that remain lasting icons?
Steff Geissbuhler>>A symbol or icon that is simple, appropriate, legible, consistent, flexible and memorable has all the essential ingredients to last and endure. That said, consistency and flexibility are not mutually exclusive. A design need not be conservative to become a classic. Rather, it should be a contemporary reflection of its time without the least trendiness and able to subtly evolve in order to keep pace with its audience. To achieve this, we do a lot of research so that our design expresses a core business mission and strategy, as well as unique and differentiating attributes.
TAXI >>A firm advocate of the Swiss design philosophy where “less is more”, you also believe that color is of primary importance when it comes to designing a corporate logo. What, then, are your comments and thoughts on the Cannes Lions logo? If you were to redesign it, what colors would you select?
Steff Geissbuhler>>Since these are my hosts, I prefer not to say anything derogatory about the Cannes Lion logo, but I confess it does look a bit like a left-handed, limp-wristed lion with an Elvis hairdo. As it stands, it has little to do with color. The king of the jungle almost always appears in black & white, with the words often reversed out of a warm yellow, a red stripe and also a teal color. I have no idea how these colors were chosen, or if they relate to anything specific. Yellow and red are obviously strong, eye-catching colors that easily grab the viewer’s attention.
If I were asked to redesign the logo, I would try to design a stronger image of a lion, somewhat less illustrative and more iconographic. I might keep it black and white, because it is so basic and applicable to any kind of background or communication vehicle. However, it would not be an easy task, since the world is full of lions, beginning with Philip Morris and Merrill Lynch. The Queen of England has one in her crest, and all through Europe, as well as the rest of the world, the lion is a strong icon that has been used for products and places, services, governments and royalty.
Of course, there are many visual identities where color plays a major role. Brands like Hermes, Tiffany, Kodak, National Geographic, Coca-Cola, and the NBC peacock logo I designed are all readily associated with a color. And then there are nations—witness our own American flag—that are to a great extent recognizable and memorable by their distinct colors.
TAXI >>You’ve had immense success in your illustrious years of working as a designer, a consultant and an educator, having created evergreen, instantly-recognizable icons for large organizations such as Merck, Time Warner, NBC, National Public Radio, Telemundo, Conrad Hotels and CARE International. With the booming of the Asian economy, do you envision any differences when it comes to creating enduring logos for this particular market, perhaps to take into account cultural and geographical sensitivities? Or can a brand be truly global in today’s world?
Steff Geissbuhler>>We have designed many icons and logos for the Asian market and each time we have been sensitive not to use symbols that carry negative or offensive connotations in that culture. We have also, though, had great success with single marks that are able to express powerful ideas to multiple audiences who speak multiple languages. So, there isn’t one single answer.
An excellent recent example of what one mark can achieve is our redesign of the visual identity for Radio Free Europe/Radio Liberty. The symbol takes the form of an orange torch with bird-like flames, an icon that is understood around the world as a beacon of illumination, knowledge and leadership. RFE/RL broadcasts in over 30 countries around the world, none of which is English speaking. The previous symbol was a Liberty Bell, a totally meaningless icon in any country other than the USA and, since bells are associated with churches, not mosques or synagogues, a symbol of Christianity that has no relevance in Muslim countries.
TAXI >>There is a short article on the AIGA website where you give pointers to recent design graduates on how to build better portfolios. In your opinion, what is the biggest problem facing these young and upcoming designers right now, and how much of an difference will presenting an impressive portfolio make for them?
Steff Geissbuhler>>For a young designer, the presentation of their portfolio is the only way to demonstrate that he/she has a facility with visual ideas, icons, imagery, typography and color. An impressive portfolio is one that demonstrates technical skill and craft, an ability to generate graphic solutions and, especially, the translation of abstract ideas and concepts into visual form. The greatest challenge for students and junior designers today is that everybody expects them to have a deep knowledge of software programs in addition to the traditional design skills. That puts a burden on schools and students to master a lot of new material in a very short time. In addition, graphic design as we know it is expanding daily. Now it encompasses motion graphics, interactive and digital media, environmental and architectural graphics, wayfinding and sign systems, experience design, television, video and film graphics… With so many opportunities comes a greater demand for strong visual skills and technical fluency early in one’s career.
TAXI >>The world of advertising, branding, design and digital media is fast merging to become an all-encompassing confluence of sensory experiences for the consumer. Viral marketing and web applications such as Twitter and Facebook are enjoying massive popularity at the moment because of the interactivity it promotes amongst the global community. Where do you envision the next massive wave of consumer engagement will come from, and how does corporate identity fit in with all of this?
Steff Geissbuhler>>We don’t call it corporate identity anymore because it is too limiting, and certainly not always corporate in nature. Brand identity is a better term in that it really encompasses all the visual touch points our audiences have with the brand, be it a place, a product, a service, an organization or a company. Unquestionably, consumer engagement is currently focused on the Internet and interactive media. However, I’m in no position to forecast the future. As a reaction to the digital realm, I think we will see more and more experience design that seeks to engage all our senses. Consumers are attuned to sophisticated forms of communication, which naturally extends beyond sight to include sound, touch, smell and, even, taste.
TAXI >>What is the WORD, which you think would reside and reverberate in the design world for the next 10 years?
Steff Geissbuhler>> Innovation.
..........................................................................................................
Exclusive Highlight on TAXI Design Network
Interview with Marcio Salem
TAXI >>From a base consisting of only one client, Salem has now expanded rapidly into a full-fledged agency with a firmly established client base consisting of numerous large national and international brands. Can you tell us a little bit about how you managed to start off the relationship with that very first company?
Marcio Salem>>In 1992, Marcio Salem decided to open his own business. The Salem operations started at a small suite in the center of São Paulo, where, alone, he started to prospect clients with the portfolio that he used to take under his arm. After some time, a large company bet its communication on Marcio Salem’s expertise, and the accomplishments began to happen. He developed more projects, won more clients, hired more employees. From a suite in a building downtown, he expanded the agency to the whole floor, in the same building. When the office downtown became small, he moved to the Ibirapuera region. He still did not have the structure that he wished, and for that reason a future client refused to deliver its communication to the agency. Marcio stayed with that in mind and fought even harder to get to where he is today: at the heart of Berrini, on two floors of a business building, beside the Nações Unidas Convention Center.
TAXI >>As the proud father of a family of four boys, how do you strike the perfect balance between work and home?
Marcio Salem>>Firstly, having a great wife. A companion who gives me full support at home. Who is beside me. Secondly, the moments I have with my children – always very intense when we are together. And, thirdly, dedicate my weekends to my family.
TAXI >>You are the first Brazilian jury member at Cannes for the Direct Lions, the most awarded creative in direct marketing in Latin America, the youngest professional to be inducted into the Direct Marketing Hall of Fame in Brazil, and the proud recipient of the Irving Wunderman Award – having garnered so many notches under your belt, what is the next step for you?
Marcio Salem>>In relation to the agency, it is to have it recognized in mass media, digital and in direct relationship. These three points.
Personally, is to make movies.
TAXI >>“Awards season” usually occurs around the same period during the year, with many advertising agencies setting aside a certain budget for entrance fees, thus resulting in many agencies having to “pick and choose” which awards they enter into. Is this kind of competition healthy, or do you feel this dilutes the quality of work entered?
Marcio Salem>>The fact of participating in several prizes does not depreciate the pieces quality, as we will always choose those that we consider to be the best ones. And in relation to participation in festivals, without any doubts we select those with which we will participate in a given year according to the agency’s budget.
TAXI >>How do you feel your degree in Business Administration has helped you in your career, if at all?
Marcio Salem>>It helped a lot, because today I negotiate with the clients in equality, as I have a strategic business vision. I conciliate art with the business vision necessary to run an agency. And to have had this financial and marketing vision helps me a great deal today.
TAXI >>What is the WORD, which you think would reside and reverberate in the design world for the next 10 years?
Marcio Salem>>Original.
..........................................................................................................
Read OTHER INTERVIEWS on DESIGN LEADERS
Rodney Fitch and Alvin Tan
Mary Warlick and Simon Waterfall
David Hillman and Marian Bantjes
..........................................................................................................
© 2003 - 2008 by TAXI Design Network. All rights reserved.
Interview with Steff Geissbuhler
 | TAXI >>Hello Steff. Congratulations on being on the jury panel of the inaugural Cannes Lions Design Lions jury! With your background as a graphic designer, how do you think it has contributed to being considered one of the industry’s most established veterans on branding, with clear, methodical concepts such as “You cannot be innovative and new while staying conventional”, how much of the product do you feel is actually incorporated into today’s concept of “brand”?
Steff Geissbuhler>>The jury was composed of industry leaders from different agencies and design firms worldwide. It was a great experience and genuine pleasure to be part of this inaugural jury and to spend time with my colleagues. For a product or service to become a brand, there needs to be a set of assets or values that are linked to the name/symbol that represents the business, whether it is a |
TAXI >>You are described as helping to “invent the entire category” of corporate identity, and once argued that in this day and age working through the process and gaining consensus poses unique challenges for designers whose clients are undergoing an identity change – especially when companies merge. What has been your biggest obstacles faced so far in trying to create a new unique logo for companies with seemingly nothing in common with each other?
Steff Geissbuhler>>There is always something two companies have in common, otherwise they would never entertain a merger. Often, the two parts complement or complete each other. It is for us as designers to identify those commonalities. Most of the time, a new persona emerges out of the two previous business cultures, which is what we seek to express. But, all mergers and acquisitions have a mutually beneficial business goal in mind, which is only achievable by joining forces.
Many years ago, I designed a visual identity for a company that manufactured musical instruments—violins, guitars, drums, flutes, synthesizers, and so on. They also made technical instrumentation and systems, and they also produced beer in Equador. That is quite a diverse group of businesses to bring under one umbrella, and it was very difficult to find a unifying visual system. The final symbol was composed of four capital “N” letters, the initial of the company name. Each “N” connected at the top to form a cross with a star in the central white space between them. The extreme thick and thin letterform seemed to make the logo rotate and at the same time suggest tuning forks, sheet music icons and precision instrumentation.
Among the most famous examples is surely the symbol I designed for the merger of Time Inc. (newspapers and magazines) and Warner Communications (film, video, cable television). The resulting mark fuses an eye and an ear, graphically depicting the idea that all their combined products and services are seen and heard.
TAXI >>“Nothing dulls faster than the cutting edge” – in today’s world where digital media is so powerful and only set to burgeon, how do you constantly create symbols that remain lasting icons?
Steff Geissbuhler>>A symbol or icon that is simple, appropriate, legible, consistent, flexible and memorable has all the essential ingredients to last and endure. That said, consistency and flexibility are not mutually exclusive. A design need not be conservative to become a classic. Rather, it should be a contemporary reflection of its time without the least trendiness and able to subtly evolve in order to keep pace with its audience. To achieve this, we do a lot of research so that our design expresses a core business mission and strategy, as well as unique and differentiating attributes.
TAXI >>A firm advocate of the Swiss design philosophy where “less is more”, you also believe that color is of primary importance when it comes to designing a corporate logo. What, then, are your comments and thoughts on the Cannes Lions logo? If you were to redesign it, what colors would you select?
Steff Geissbuhler>>Since these are my hosts, I prefer not to say anything derogatory about the Cannes Lion logo, but I confess it does look a bit like a left-handed, limp-wristed lion with an Elvis hairdo. As it stands, it has little to do with color. The king of the jungle almost always appears in black & white, with the words often reversed out of a warm yellow, a red stripe and also a teal color. I have no idea how these colors were chosen, or if they relate to anything specific. Yellow and red are obviously strong, eye-catching colors that easily grab the viewer’s attention.
If I were asked to redesign the logo, I would try to design a stronger image of a lion, somewhat less illustrative and more iconographic. I might keep it black and white, because it is so basic and applicable to any kind of background or communication vehicle. However, it would not be an easy task, since the world is full of lions, beginning with Philip Morris and Merrill Lynch. The Queen of England has one in her crest, and all through Europe, as well as the rest of the world, the lion is a strong icon that has been used for products and places, services, governments and royalty.
Of course, there are many visual identities where color plays a major role. Brands like Hermes, Tiffany, Kodak, National Geographic, Coca-Cola, and the NBC peacock logo I designed are all readily associated with a color. And then there are nations—witness our own American flag—that are to a great extent recognizable and memorable by their distinct colors.
TAXI >>You’ve had immense success in your illustrious years of working as a designer, a consultant and an educator, having created evergreen, instantly-recognizable icons for large organizations such as Merck, Time Warner, NBC, National Public Radio, Telemundo, Conrad Hotels and CARE International. With the booming of the Asian economy, do you envision any differences when it comes to creating enduring logos for this particular market, perhaps to take into account cultural and geographical sensitivities? Or can a brand be truly global in today’s world?
Steff Geissbuhler>>We have designed many icons and logos for the Asian market and each time we have been sensitive not to use symbols that carry negative or offensive connotations in that culture. We have also, though, had great success with single marks that are able to express powerful ideas to multiple audiences who speak multiple languages. So, there isn’t one single answer.
An excellent recent example of what one mark can achieve is our redesign of the visual identity for Radio Free Europe/Radio Liberty. The symbol takes the form of an orange torch with bird-like flames, an icon that is understood around the world as a beacon of illumination, knowledge and leadership. RFE/RL broadcasts in over 30 countries around the world, none of which is English speaking. The previous symbol was a Liberty Bell, a totally meaningless icon in any country other than the USA and, since bells are associated with churches, not mosques or synagogues, a symbol of Christianity that has no relevance in Muslim countries.
TAXI >>There is a short article on the AIGA website where you give pointers to recent design graduates on how to build better portfolios. In your opinion, what is the biggest problem facing these young and upcoming designers right now, and how much of an difference will presenting an impressive portfolio make for them?
Steff Geissbuhler>>For a young designer, the presentation of their portfolio is the only way to demonstrate that he/she has a facility with visual ideas, icons, imagery, typography and color. An impressive portfolio is one that demonstrates technical skill and craft, an ability to generate graphic solutions and, especially, the translation of abstract ideas and concepts into visual form. The greatest challenge for students and junior designers today is that everybody expects them to have a deep knowledge of software programs in addition to the traditional design skills. That puts a burden on schools and students to master a lot of new material in a very short time. In addition, graphic design as we know it is expanding daily. Now it encompasses motion graphics, interactive and digital media, environmental and architectural graphics, wayfinding and sign systems, experience design, television, video and film graphics… With so many opportunities comes a greater demand for strong visual skills and technical fluency early in one’s career.
TAXI >>The world of advertising, branding, design and digital media is fast merging to become an all-encompassing confluence of sensory experiences for the consumer. Viral marketing and web applications such as Twitter and Facebook are enjoying massive popularity at the moment because of the interactivity it promotes amongst the global community. Where do you envision the next massive wave of consumer engagement will come from, and how does corporate identity fit in with all of this?
Steff Geissbuhler>>We don’t call it corporate identity anymore because it is too limiting, and certainly not always corporate in nature. Brand identity is a better term in that it really encompasses all the visual touch points our audiences have with the brand, be it a place, a product, a service, an organization or a company. Unquestionably, consumer engagement is currently focused on the Internet and interactive media. However, I’m in no position to forecast the future. As a reaction to the digital realm, I think we will see more and more experience design that seeks to engage all our senses. Consumers are attuned to sophisticated forms of communication, which naturally extends beyond sight to include sound, touch, smell and, even, taste.
TAXI >>What is the WORD, which you think would reside and reverberate in the design world for the next 10 years?
Steff Geissbuhler>> Innovation.
..........................................................................................................
Exclusive Highlight on TAXI Design Network
Interview with Marcio Salem
 | TAXI >>Hello Marcio. As Jury Head for the Direct Marketing category, what will be the quintessential criteria to look out for in awarding “the best creative work with the best execution”?
Marcio Salem>>The better idea is the one that, regardless of execution, already attracts the jurors attention upon first impact. An amusing idea, which fixates the attention. The jurors dedicate some time for this great idea, they comment and call me to see it. Creation is different than execution, which undoubtedly needs to be well conveyed, routed, well printed. TAXI >>Being one of the prime movers and shakers of the Latin American advertising scene, what would you say is the biggest hurdle involved in getting the rest of the world to recognize the amount of talent found there? Marcio Salem>>Again through great ideas. And ideas are universal. They do not have nationality or culture. Ideas transcend everything. |
TAXI >>From a base consisting of only one client, Salem has now expanded rapidly into a full-fledged agency with a firmly established client base consisting of numerous large national and international brands. Can you tell us a little bit about how you managed to start off the relationship with that very first company?
Marcio Salem>>In 1992, Marcio Salem decided to open his own business. The Salem operations started at a small suite in the center of São Paulo, where, alone, he started to prospect clients with the portfolio that he used to take under his arm. After some time, a large company bet its communication on Marcio Salem’s expertise, and the accomplishments began to happen. He developed more projects, won more clients, hired more employees. From a suite in a building downtown, he expanded the agency to the whole floor, in the same building. When the office downtown became small, he moved to the Ibirapuera region. He still did not have the structure that he wished, and for that reason a future client refused to deliver its communication to the agency. Marcio stayed with that in mind and fought even harder to get to where he is today: at the heart of Berrini, on two floors of a business building, beside the Nações Unidas Convention Center.
TAXI >>As the proud father of a family of four boys, how do you strike the perfect balance between work and home?
Marcio Salem>>Firstly, having a great wife. A companion who gives me full support at home. Who is beside me. Secondly, the moments I have with my children – always very intense when we are together. And, thirdly, dedicate my weekends to my family.
TAXI >>You are the first Brazilian jury member at Cannes for the Direct Lions, the most awarded creative in direct marketing in Latin America, the youngest professional to be inducted into the Direct Marketing Hall of Fame in Brazil, and the proud recipient of the Irving Wunderman Award – having garnered so many notches under your belt, what is the next step for you?
Marcio Salem>>In relation to the agency, it is to have it recognized in mass media, digital and in direct relationship. These three points.
Personally, is to make movies.
TAXI >>“Awards season” usually occurs around the same period during the year, with many advertising agencies setting aside a certain budget for entrance fees, thus resulting in many agencies having to “pick and choose” which awards they enter into. Is this kind of competition healthy, or do you feel this dilutes the quality of work entered?
Marcio Salem>>The fact of participating in several prizes does not depreciate the pieces quality, as we will always choose those that we consider to be the best ones. And in relation to participation in festivals, without any doubts we select those with which we will participate in a given year according to the agency’s budget.
TAXI >>How do you feel your degree in Business Administration has helped you in your career, if at all?
Marcio Salem>>It helped a lot, because today I negotiate with the clients in equality, as I have a strategic business vision. I conciliate art with the business vision necessary to run an agency. And to have had this financial and marketing vision helps me a great deal today.
TAXI >>What is the WORD, which you think would reside and reverberate in the design world for the next 10 years?
Marcio Salem>>Original.
..........................................................................................................
Read OTHER INTERVIEWS on DESIGN LEADERS
..........................................................................................................
© 2003 - 2008 by TAXI Design Network. All rights reserved.