“Design is not art. Design is solving problems.”
- Otl Aicher
The real skill isn’t making something look good, it’s making it work so well no one questions it.
Hard Truth: If it doesn’t solve a real problem, it’s decoration.
#logodecks
“Design is not subjective.”
- Massimo Vignelli
Proportion, hierarchy, contrast—these are not opinions.
Hard truth: Saying “it’s subjective” is usually a way to avoid defending bad decisions.
#logodecks
“Good design is as little design as possible.”
-Dieter Rams
The “As little design as possible” doesn’t mean minimalism for its own sake (though Rams favoured clean aesthetics). It means intentional restraint. Design only what’s needed, and do it exceptionally well.
#logodecks
How One Designer Shaped a Global Bank’s Image.
Paula Scher is one of the most influential figures in contemporary graphic design, known for blending bold typography with conceptual clarity. In 2000, she created the iconic logo for Citibank as part of a merger between Citicorp and Travelers Group. The design famously came together in a quick sketch during a meeting, where Scher drew a simple wordmark with a red arc over the “t,” symbolizing an umbrella, a subtle nod to Travelers’ existing brand.
This minimal yet meaningful gesture unified two corporate identities into one cohesive mark. The final logo stands out for its clean sans-serif type and instantly recognizable form, demonstrating Scher’s ability to distill complex ideas into simple visual language. Decades later, the Citi logo remains a benchmark in branding, showing how strategic thinking and spontaneity can intersect to produce enduring design.
#logodecks
The Hidden Design Genius Behind Japan’s Most Trusted Delivery Logo.
Japanese designer Kenya Hara, best known for his work with Muji, supervised the 2021 refinement of Yamato Transport’s identity. Its iconic “Kuroneko” logo, depicting a mother cat carrying a kitten within a yellow oval, symbolizes careful handling and reliability. First introduced in 1957 and inspired partly by an American delivery emblem, the mark became deeply ingrained in Japanese culture and trust. Hara’s update subtly adjusted line weight, spacing, and typography to improve legibility across digital platforms and vehicle livery. The redesign also ensured consistency across packaging, uniforms, and mobile interfaces, reinforcing Yamato’s reputation for precision while preserving the emotional warmth that defines its brand.
#logodecks
From Metro Signs to TV Icons: The Architect Who Built São Paulo’s Identity.
João Carlos Cauduro, alongside his partner Ludovico Martino, revolutionised Brazilian visual identity in 1969 with the creation of the TV2 Cultura logo. Moving away from the era’s ornate and literal broadcast symbols, Cauduro applied a strict "Total Design" philosophy rooted in geometric precision and functionalism. The result was the iconic "bonequinho" (little doll), a minimalist silhouette of a human figure constructed from simple shapes. This figure was designed to humanise the medium, reflecting the station’s educational mission to put the viewer and culture at the centre of its programming.
The logo’s enduring power lies in its modularity and clarity. Because it was built on a rigorous grid, it remained legible across various media, from static print to early television animations. Beyond its technical excellence, Cauduro’s design became a symbol of modern São Paulo, helping to define the city’s aesthetic landscape. Decades later, the logo remains almost entirely unchanged, serving as a testament to Cauduro's vision of timeless, sustainable design.
#logodecks
Unlocking Creativity with Bruno Munari: Machines, Books, and Boundless Curiosity.
Bruno Munari (1907–1998) was a visionary Italian artist, designer, inventor, and educator celebrated for his playful, innovative approach to art, design, and learning. Emerging as a key figure in the Futurist movement, he soon transcended its limits to explore visual perception, creativity, and the boundaries between art and everyday life.
Munari is best known for his whimsical Useless Machines, kinetic sculptures that moved with air currents, playfully questioning utility and purpose. His experimental Aerial Books transformed storytelling into spatial, interactive experiences, while his influential 1966 book Design as Art argued that design should be imaginative, accessible, and integrated into daily existence.
A pioneer in children’s education, Munari created groundbreaking tactile books like the Prebooks (Prelibri), wordless sensory objects that encouraged young children to learn through touch, colour, shape, and sound. His multidisciplinary legacy masterfully blends art, functionality, humour, and imagination, continuing to inspire designers, educators, and creative thinkers worldwide.
#logodecks
How a Sicilian Designer Stretched Pirelli Into an Icon in 1982
In 1982, graphic designer Salvatore Gregorietti, born in Palermo in 1941, redefined Pirelli’s iconic logo, cementing its place as a timeless symbol of corporate identity. Trained at Milan’s Liceo Artistico di Brera and Zurich’s School of Arts and Crafts, Gregorietti began his career in the 1960s with Massimo Vignelli, designing for Milano Libri. Joining Unimark International in 1965, he collaborated with Bob Noorda on branding for major firms like Agip and Feltrinelli. For Pirelli, Gregorietti standardized the logo’s stretched “P” a nod to founder Giovanni Battista Pirelli’s signature, first introduced in 1914 but inconsistent in use.
His 1982 manual detailed precise letter proportions, spacing, and designs for the “R” and “E,” ensuring uniformity across all applications. This update, later expanded in 1997 by Pierluigi Cerri, emphasized speed and stability, aligning with Pirelli’s tire manufacturing identity. The logo’s enduring design became a hallmark, notably through Pirelli’s Inter Milan sponsorship from 1995 to 2021. Gregorietti, who later founded Gregorietti Associati and won a Compasso d’Oro for Ottagono magazine, left a lasting mark on graphic design with this project.
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Wolfgang Schmittel: The Visionary Who Turned Corporate Branding Into Architecture.
Wolfgang Schmittel was the visionary graphic designer who defined Braun’s visual identity for nearly three decades. Joining in 1952, he famously redesigned the Braun logo, applying a rigorous geometric grid to create the iconic oversized "A" and mathematically precise lettering used today. As Director of Communications, Schmittel moved beyond logos to establish one of the world’s first comprehensive corporate identity systems. His "Braun Design" philosophy ensured that every advertisement, package, and manual mirrored the functionalist elegance of the products themselves. By documenting these standards in his 1958 manual, Schmittel transformed corporate branding into a disciplined, global architectural framework.
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The Forgotten German Caricaturist Behind One of the World’s Most Famous Logos.
Lutz Backes, a talented German caricaturist often known by his pen name Bubec, is the mastermind behind one of the most recognisable symbols in sports history: the Puma leaping cat. In 1967, his former schoolmate Gerd Dassler, son of the company’s founder, asked him to modernise the brand's identity. Backes sketched a minimalist, powerful silhouette of a predator in mid-leap. Interestingly, he used a black panther as his visual reference rather than a puma, believing the panther’s leaner frame offered a more elegant and dynamic aesthetic for a sportswear brand.
Despite the logo's eventual global success, Backes famously missed out on a massive fortune. When offered a royalty of one pfennig per item sold, he declined, preferring a flat fee. He instead accepted a one-time payment of 600 Marks, along with a sports bag and a pair of running shoes. His design officially debuted on the world stage at the 1968 Olympic Games in Mexico City. Today, the leaping cat remains virtually unchanged, serving as a testament to the timelessness of Backes’s clean, athletic vision.
#logodecks
Dating App or Olympic Icon? Why the Paris 2024 Logo Set the Internet Ablaze.
When Sylvain Boyer unveiled the Paris 2024 logo, it didn't just spark conversation, it ignited a social media firestorm. While the design was intended to be a sophisticated "triple-entendre" of a gold medal, the Olympic flame, and Marianne, the public’s first impression was far less reverent. Critics immediately took to the internet to compare the feminine silhouette to a chic Parisian hair salon logo or, more famously, the Tinder flame. The sleek, bob-cut aesthetic was widely mocked for looking like a "Karen" or a character from a 2000s rom-com rather than a gritty sporting icon.
Despite the memes, Boyer stood by the eco-branding logic of the design. The controversy actually highlighted his primary goal: breaking the "muscular" tradition of sports logos to create a human-centric identity. By leaning into the feminine face of Marianne, Boyer intentionally traded typical Olympic aggression for a message of gender parity and French revolutionary spirit, ultimately proving that even a "haircut" can carry the weight of a national legacy.
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The Bedroom Sketch That Became One of Social Media’s Most Famous Logos.
Evan Spiegel, the co-founder and CEO of Snapchat, famously designed the app’s iconic ghost mascot, "Ghostface Chillah," over the course of a single evening in his bedroom. Inspired by the Wu-Tang Clan member Ghostface Killah, the logo was created to represent the ephemeral nature of the platform’s disappearing messages. Spiegel opted for a ghost to symbolize that even though a photo might be gone, its spirit remains. Interestingly, he chose a vibrant yellow background specifically because no other major tech app at the time used the colour, ensuring Snapchat would stand out prominently on a user’s crowded home screen.
While the design was initially part of the app’s first iteration, Picaboo, it survived the rebrand to Snapchat and became one of the most recognisable symbols in social media. Originally, the ghost had a playful face with a sticking-out tongue, but it was later simplified to a solid white silhouette. This change was made to reflect the diverse range of emotions and personalities of the community, suggesting that the "ghost" represents the user themselves rather than a specific character.
#logodecks
