Thonik (Amsterdam, The Netherlands)
Thonik (Amsterdam, The Netherlands)
"A good logo has to be visually strong and appealing to the target group. The design itself, the form, does not take long, but the research and the interaction with the stake-holders can be very time-consuming."
Thonik Designs Visual Communication was founded in 1993 by Thomas Widdershoven and Nikki Gonnissen. It currently has 15 employees. Initially, Thonik concentrated on the cultural sector (publishers, architects, museums, cultural trusts and events). Since 2003, its operations have extended to organisations involved in politics and administration. The strength and confidence of Thonik’s work and its experimental character make it instantly recognisable.
IdN v18n5: Logographic Issue p44-45
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IdN v18n5: Logographic Issue — Stamps of Authority
A good logo never stands alone — it always acts as the front-runner for a whole identity package. At least, that's what the experts tell us. And the simpler it is, the more effective it will probably be. It should also be flexible enough to be capable of adaptation to almost any media. These are just a few of the lessons you will learn if you read what our 17 leading logo designers have to say on the subject. And their messages are backed up with bags of visuals demonstrating their own best efforts in this field.
IdN v18n5: Logographic Issue (US$17.5)
Now available at IdNPRO Shop!
What makes good website design? Great visuals, good rhythm, good user flow and great motion, if possible. As a designer, I treat the web as a moveable graphic canvas — it can exhibit something more than an image, and how to present the content within the small window is a kind of art in itself.
Thonik (Amsterdam, The Netherlands)
"A good logo has to be visually strong and appealing to the target group. The design itself, the form, does not take long, but the research and the interaction with the stake-holders can be very time-consuming."
Vanessa Lam (Los Angeles, USA)
"An ID that I really love is that for ‘Visit Nordkyn’ by the Norwegian studio Neue. The logo, dependent on the temperature of the country, has endless permutations that are constantly changing. It is a simple shape yet complex and flexible in its possibilities. The overall feel and execution are a perfect reflection of that cold, mysterious region."
"It’s very easy to design one logo; the trick is designing the right logo. Typically we will explore several ideas, sketches and approaches before culling the unsuccessful candidates — it’s vitally important not to be too precious at this stage and to be constructive with your opinions. We will then focus on a chosen few to craft up to a finished design. Depending on the number of applications, this process can be fast-tracked to cater for smaller-scale identities or expanded upon for larger application projects."
"There are many French designers, but I don’t believe there is one French graphic-design style. French graphic design is no longer the model or reference-point that it used to be. Today, it is more influenced than influential, it is not sufficient to itself."
"We had a great period years ago, with illustrators such as Savignac, or more militant graphic designers such as Grapus. Traces of this legacy remain. The French touch is maybe a kind of mix between a bit of craziness and our graphic-design roots – plus the influence of world-wide images."
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