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has designed many of Australia’s iconic brands, such
as Qantas (he was part of the team who redesigned
the Qantas “flying kangaroo” in 1985 and he designed
the latest version in 2007), Woolworths supermarkets,
P&O Cruises, the MLC “nest egg,” and Taronga Zoo,
to name a few. His company has also designed many
of Australia’s leading packaging brands.
Hans Hulsbosch
Hulsbosch Strategy & Design, Sydney,
Australia
Killed Productions, by Sean Heisler
“The best logos are always the ultra-simple ones
because they will be remembered, and this one surely
will be. I first saw it late last year on the LogoLounge
website, and I remember thinking, the designer could
have used a gun, bullet holes, blood, the usual. But
instead he used typography, and the impact is far
better. Also, it doesn’t apply to any trend; it is timeless.
Simplicity is key, so no wonder it is my favorite.”
Hans Hulsbosch was born in the Netherlands. He stud-
ied and worked in Amsterdam during the 1970s, before
moving to Sydney, Australia, in 1979. He worked as the
creative director of the top advertising agency until 1985
and opened his own strategy and design company. He
a local ad agency while attending Minnesota State
University–Moorhead, studying under Professor Phil
Mousseau. Minneapolis design pioneer John Reger
asked Sherwin to joined Design Center after college,
where he rose to vice president at age twenty-seven. In
2001, he started Schwartzrock Graphic Arts and now
collaborates closely with 3,2,1, a brand-strengthening
firm that informs the visual solutions his company
provides for a wide range of clients.
Sherwin Schwartzrock
Schwartzrock Graphic Arts, Minnetonka,
Minnesota
Ponzu Sushi House, by Keo Pierron
“As a designer who is also an artist, I’m always attracted
to beautifully rendered marks that are more artistic than
practical . . . of which there are lots in this book. How-
ever, when I take off the artist hat and think strategically
as a graphic designer, for me the perfect logo is one that
(1) states the name of the company, (2) conveys what
they sell, (3) captures the spirit of the company, and (4)
does all of these visual things quickly and efficiently. The
logo for Ponzu meets all of these requirements. Sure, it
doesn’t have as much artistic pizzazz as other marks in
this book, but I guarantee you, this logo will work hard
and efficiently for its owner.”
At the age of thirteen, Sherwin Schwartzrock began
drawing a weekly comic strip for a dozen Minnesota
newspapers and freelanced as an illustrator through-
out high school. After graduating, he found work at
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In addition to managing the firm and relationships with
clients, Bart provides strategic and design direction to
the firm’s projects and programs. His work has been
recognized by nearly every professional design orga-
nization, and he’s been featured in many national and
international design and business publications.
Bart Crosby
Crosby Associates, Chicago, Illinois
Vino with Veterans, by Schwartzrock Graphic Arts
“After two days of viewing more than 5,000 logos,
my thoughts were: ‘haven’t I seen this somewhere
before?’ and ‘having an idea is way better than having
a computer.’
I purposefully went back to select my favorite more than
a week after I’d finished judging—after all, a logo should
be memorable and should make a lasting impression.
And it should be unique to the client or the initiative
or the event for which it was created. And while there
were twenty or so that I thought were really outstand-
ing, the one that stuck was AIGA Minnesota’s ‘Vino
with Veterans.’ ”
Bart Crosby is president of Crosby Associates Inc.,
Chicago-based specialists in the planning and design
of organizational, product, event, and initiative identi-
fication and branding programs. Founded in 1979, the
company has a client roster that includes multinational
corporations, educational institutions, professional
associations, financial services firms, government
agencies, and individual entrepreneurs.
Originally from Colombia, Silvio Giorgi and his brother,
Sandro, founded their own studio in the mid-1990s in
Quito, Ecuador. With a multidisciplinary process, they
develop corporate identities, packaging, brand doc-
umentation, and implementation. In the past sixteen
years, Latinbrand has captured and expressed the spirit,
personality, and culture of its Latin American clients.
Their portfolio of brands gained attention in the design
community, and after a couple of years of fruitful collab-
oration, they started to receive invitations for countless
features in international books and magazines. Their
work has been recognized nationally and internation-
ally, and has been featured in the Graphis Poster and
Logo Annual, World Graphics Design, Communications
Arts, Latin American & Caribbean Graphic Design Book,
Logo Design 2, and Brand Identity Now! With a string
of awards for their brands, the multidisciplinary group
continues to produce high-quality work for corporate
identity and visual communication projects.
Silvio Giorgi
Latinbrand, Quito, Ecuador
Tetris, by Britt Funderburk
“I like when a logotype tells a story. The Tetris logotype
made me smile and reminds me of the long hours that I
spend playing the famous game. This logo has the ele-
ments that it needs, it doesn’t need color, and it is fun
and clever. Great concept.”
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most major design and illustration publications, including
Communication Arts, Print Magazine, How Magazine,
The Graphis Design Annual, American Illustration, and
the Society of Illustrators. She was featured as one of
Step Magazine’s 25 Emerging Artists, Print Magazine’s
New Visual Artists 2009 (commonly referred to as “Print’s
20 under 30”), and The Art Directors Club Young Guns.
She was named Lettercult’s Person of the Year 2009.
She has released one typeface, called Buttermilk, which
is available at both www.myfonts.com and www.veer
.com, and is best known for her ongoing project, Daily
Drop Cap, in which she illustrates a decorative letter
every day.
Jessica Hische
Jessica Hische, New York, New York
Snooty Peacock, by Ryan Russell Design
“In order for a logo to be considered ‘great’ in my eyes,
not only does it have to be very well executed, it also
has to be smart. Of the thousands of logos submitted
to LogoLounge, this logo stood out to me because not
only was it executed perfectly, it is such a smart visual
representation of the company name. Many logos were
beautiful and perfectly executed, but few were as mem-
orable as this mark. It put a smile on my face when I first
saw it, and throughout the judging process I couldn’t
get it out of my head.”
Jessica Hische is a typographer and illustrator work-
ing in Brooklyn, New York. After graduating from Tyler
School of Art with a degree in graphic design, she
worked for Headcase Design in Philadelphia before
taking a position as senior designer at Louise Fili Ltd.
While working for Louise, she continued develop-
ing her freelance career, working for clients such as
Tiffany & Co., Chronicle Books, and the New York Times.
In September 2009, after two and a half years of little
sleep and a lot of hand-lettering, she left to pursue her
freelance career further. Jessica has been featured in
Marius should have been a successful plastic surgeon
(he holds a medical degree from the University of Medi-
cine and Pharmacy in Romania), but as a young student
he landed a part-time job in media and advertising.
After working as a cartoonist and graphic artist for a
radio station and then for a national media trust, he
went on to be a designer and art director for agencies
in the United Kingdom and the United States. Then, in
1999, he founded Grapefruit, one of the first branding
agencies in Romania.
Meanwhile, he started studying design in New York at
Sessions College, and then with Milton Glaser at the
School of Visual Arts. He continued with a master’s
degree at SNSPA Bucharest and now is studying digital
communication in a European Master of Interactive
Multimedia program. He holds an impressive pile of
international prizes, among which the most recent is a
Brand Leadership Award from World Brand Congress
2009 in India.
Marius Ursache
Grapefruit, Iasi, Romania
AIGA Minnesota, by Schwartzrock Graphic Arts
“I know nothing about Minnesota. But the combination
is simple and smart, and would definitely make me want
to join AIGA.”
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Jeannie currently works as a design director at Wolff
Olins, a branding firm in New York. She graduated
from the Yale School of Art with a master’s degree in
graphic design in 2003. Since then, she has developed
and presented concepts for projects involving a broad
range of media. Jeannie’s approach is based on her
experience bridging the worlds of art and design to
bring a unique vision to the clients she works with. Prior
to joining Wolff Olins, her seven-year design career
included work for clients such as Nokia, Herman Miller,
Amdocs, Apollo Tyres, Swiss Re, Ford, Virgin, Nike,
MTV, Sundance, VH1, TBS, VIVA Plus, the USA Chan-
nel, and RES Magazine.
Jeannie Servaas
Wolff Olins, New York, New York
EVCI, by bartodell.com
“I’m usually a freak about hand-drawn, illustrative logos,
so I thought I’d give a shout out to modern, clever, and
simple elegance this time.”
Tessa has more than twenty-three years of experience
in print, package design, corporate identity, and envi-
ronmental branding. She is energized by the challenge
of working across many disciplines, creating strategic
solutions that communicate the total brand experience.
Tessa has led creative teams in the development of
strategic design solutions for a wide range of national
and global clients, including Procter & Gamble, Disney,
Marriott Hotels, Timberland, Starbucks, Coca-Cola,
Key Bank, Barnes and Noble Books and Music, Sony
Canada, and Jockey.
She now lives in Geneva, where she leads a creative
team for the Landor Geneva regional office.
Tessa Westermeyer
Landor, Geneva, Switzerland
Jugar Creative, by Hernandez Design Studio
“There is a level of simplicity that makes this so com-
pelling; the use of positive and negative creates an
impactful result. It is so successful in black and white,
however, that I could imagine it executed in a range of
very graphic primary colors. There is timelessness in
this design. It harkens back to a simpler era, although it
still has a fresh and relevant feel today.”
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