The Importance of Visual Hierarchy

I said it before and I’ll say it again: I hope my design work invites the viewer to become involved, gets them to act for a cause, educates and informs. In the simplest of terms, inspires and motivates the viewer to do something. One way to accomplish this goal is ensuring I have established visual hierarchy when placing the different elements into my design. How these elements interact and engage with each other relates directly to how well the piece communicates to my intended audience.

Wikipedia.org defines visual hierarchy as the order in which the human eye perceives what it sees. Visual hierarchy is a group of visual elements arranged according to emphasis. (1)

Visual design aspires to communicate some sort of message to an intended audience. How you organize and prioritize the elements in your design conveys valuable information to the viewer about how important they are. Visual hierarchy helps the viewer comprehend, reinforces your message, and guides your target audience through your story. Establishing hierarchy in design is simply organizing objects (type, imagery, etc) into different levels of relative significance. Visual hierarchy creates organization and prioritization through the use and placement of visual elements.

Using basic design principles allows you to emphasize one element over another so more important content looks and presents as more important. Placing the elements so they are on the same level of visual hierarchy can create a sense of visual tension, a visual tug of war of sorts. This visual struggle can result in the design feeling cluttered and disorganized leaving the viewer confused. Don’t get me wrong; some visual tension is a good thing to have for it offers a sense of energy and movement. The issue occurs when everything in the composition is screaming, “look at me!”

Properly established visual hierarchies create focal points in your design, communicate additional meaning through convention and repetition, highlight actions you want your visitors to take and establish patterns of movement and flow. (2) Try asking yourself this simple question: what do I want the viewer to see first, second, third? Placing the elements in the composition according to the predetermined numbered list is a simple but effective way to start establishing visual hierarchy. 

I mentioned the principles of design and want to ensure I offer you a list of some of these to help offer more clarity (3): I say “some” for there is really is no definitive list and we can add any number of additional elements to it. Please feel free to do so!

Alignment


The way different objects within a composition are spaced to each other.

Balance

Designs in balance have the parts of the design arranged in a planned, coherent visual pattern. "Balance" is a concept based on human perception and the complex nature of the human senses of weight and proportion. Humans can evaluate these visual elements in several situations to find a sense of balance. A design composition does not have to be symmetrical or linear to be considered balanced. It is also true that perfectly symmetrical and linear compositions are not necessarily balanced. Asymmetrical or radial distributions of text and graphic elements can achieve balance in a composition.

Contrast

Distinguishing by comparing/creating differences. Some ways of creating contrast among elements in the design include using contrasting colors, sizes, shapes, locations, or relationships. For text, contrast is achieved by mixing serif and sans-serif on the page, by using very different type styles, or by using type in surprising or unusual ways. Another way to describe contrast, is to say "a small object next to a large object will look smaller". As contrast in size diminishes, monotony is approached.

Emphasis

Making a specific element stand out or draw attention to the eye. Emphasis can be achieved in graphic design by placing elements on the page in positions where the eye is naturally drawn, by using other principles such as contrast, repetition, or movement. Bold and italic type provides emphasis for text. Graphic elements gain emphasis through size, visual weight, color, complexity, uniqueness, placement on the page, and other features.

Gestalt

Sometimes considered a distinct principle of design, gestalt is the concept that "the whole is greater than the sum of its parts." Gestalt is a concept from psychology, where theorists note the propensity of humans to conceptually group things together to make a meaningful whole. When viewing designs, humans apply this principle unconsciously by seeing connections and relationships among and between the elements in the design. The overall perception of gestalt in a design is created through harmony, unity, balance, proportion, proximity, and other visual cues. Designers can use this principle to create visual connections and relationships that clarify and strengthen the overall "feel" and meaning of the design.

Harmony

As with music, graphical elements can be said to be working in harmony - the individual parts come together as visually compelling and a meaningful whole. Disharmony can also be used just as it is in musical compositions: to enhance the emotional complexity, to challenge the viewer, and to give a contrast within the overall composition.

Movement

Movement is creating instability, making motion to blur the image. Movement can be achieved by using graphic elements that direct the eye in a certain direction such as arrows that point the way overtly or a series of lines or dots that get progressively larger or smaller, creating a more subtle sense of movement. Movement can be accomplished simply by using a photograph or clip art of something moving - a runner - as opposed to something stationary - a person standing.

Proportion

This indicates the relative visual size and weight of particular graphical elements in a design composition.

Proximity

Closeness or distance of individual design elements. Close proximity indicates a connection.

Repetition

Repeating a sequence; having it occur more than a few times. In design, repetition creates visual consistency in page designs, such as using the same style of headlines, the same style of initial capitals, or repeating the same basic layout from one page to another.

Excessive repetition (monotony) may lead to boredom and uninteresting compositions. If one cannot avoid excessive repetitions for any reason, do not forget to add some visual breaks and white spaces where eyes can rest for a while.

Rhythm

Successful designs have an effective ebb and flow. Text and graphics should seem to be paced and patterned. Spacing is an effective application of this principle. Second, human beings are more comfortable with variation in general. Psychologically, most any serious lack in variation of anything (a solid, a line, a sound, a situation) can become very boring. Adding a little variation at non-specific intervals (every now and again) gives most any design an interesting appeal as long as it is not overdone.

In setting type, rhythm can be created or disrupted. Compare the gibberish strings, "as erav mono ewone zenao oro remuna oravanam" and "githol urtym reislyt quadirit". Notice how the latter seems to be more organic and readable than the former. This is resultant of two things. One, the eye more easily follows abnormalities and variation, like an ocular foothold. Too-narrow columns result in over-hyphenation. Images that interrupt a passage of text can break the rhythm for the reader and they could disturb the visual appearance of the page.

Unity

Unity creates a feeling of wholeness. Unity is usually achieved when the parts complement each other in a way where they have something in common. Unity can be achieved by use of the same color, or different tints of it, or using a similar graphic style for illustrations.

White Space

Areas of a design devoid of text or graphics. White space includes margins, gutters, space between lines of type (leading), off-set of text from images (text wraps) and any other part of the page that is empty. White space is also analogous to "negative space" where "positive space" is defined as images, blocks of text, and other graphical elements. In graphic design, the white space, or negative space, is considered an important element of the overall design. It is used - and evaluated - based on the same criteria as the rest of the elements in the design. White space can add to or detract from the balance, unity, harmony, rhythm, and overall success of a design. White space can give emphasis, contrast, and movement. It can be used for repetition and pattern, and work within various relationships with other elements of the positive and negative spaces in the design.

Perhaps a visual example will help cement the idea of establishing visual hierarchy for you. (4)

Above is text without any visual hierarchy established. This formatting is acceptable, if it comes as a mobile text message, but in a layout this arrangement fails to guide and help the user getting information.

So let’s add in some of the design principles outlined above to help establish visual hierarchy. One design principle we can utilize is proportion. The level of attention on a specific element can be decided with typography scale, weight, and alignment. Yes, simply formatting the typography alludes to what the viewer should read first, second and so on. Further detailing can be done using color, texture, shape and even by layering the elements to support the visual hierarchy even more. Establishing visual hierarchy in your layout supports your message and justifies the importance of design details. It helps establish visual priorities in your intended communication. Do you see the difference?!

Below are some excellent resources you might want to reference if you are exploring ways to establish visual hierarchy in your designs.

How To Create A Visual Hierarchy

http://theelearningcoach.com/media/graphics/how-to-create-a-visual-hierarchy/

Understanding Visual Hierarchy in Web Design (many of these principles can be applied to many other design mediums)

http://webdesign.tutsplus.com/articles/design-theory/understanding-visual-hierarchy-in-web-design/

Blog Resources:

(1) Visual Hierarchy:

http://kellysevernscurtis.com/art140/art140_visual.htm

(2) Visual Hierarchy: How Well Does Your Design Communicate?

 http://www.vanseodesign.com/web-design/visual-hierarchy/

(3) Graphic Design/Principles of Design: http://en.wikibooks.org/wiki/Graphic_Design/Principles_of_Design

        

(4) designjunction.in / blog

http://designjunction.in/blog/2009/08/31/visual-hierarchy-and-typography/

Objective and Subjective

I’ve presented enough concepts to clients throughout my career to know every visual solution must be a hybrid of one’s own perspective (subjective) and well researched facts (objective).

Dictionary.com defines subjective as existing in the mind; belonging to the thinking subject rather than to the object of thought. Pertaining to or characteristic of an individual; personal; individual: a subjective evaluation. Placing excessive emphasis on one's own moods, attitudes, opinions, etc.; unduly egocentric.

When guiding and mentoring designers, I place much emphasis on intuition otherwise known as following your gut instinct. The purpose of this emphasis is to help you find your own voice! We are creative thinkers and interjecting our own point of view into designs is what helps bring unique solutions to the table. The goal is to develop a stand out message, right? Since you have your own perspective, your own point of view, you can offer what no one else can.

One of the biggest challenges I personally faced when first entering the workplace ions ago was to trust my own instinct. Design education provides a supportive learning environment that pushes and inspires all the while helping to refine the art of creating effective type and image. In the classroom there is a sense of comradery for everyone shares a common passion for design. In light of this team mentality, I became conditioned to ask the designers around me for their opinions on projects I was working on. After the group consensus, I then made my final decision. The system I developed seemed to work for me and my final design portfolio presented well. Well enough to score a job right out of school.

Issues quickly arose at that first job. I landed a job at a small, award-winning design studio in Philadelphia, PA. The owner of the company needed a designer to work on projects while she was out building her business: meeting with clients, getting new accounts, etc. This left me alone in the office much of the day. Serene and quiet yes, but for a newbie designer who was used to asking those around him for their insight on design decisions, a huge issue. I literally sat in front of my sketchpad and computer staring with absolutely no idea what direction I was supposed to take. The simple problem was I didn’t trust my own opinion or myself. While I may have had intuition buried deep within, I certainly wasn’t in any position to listen to it let alone trust it! Needless to say I didn’t keep my first job for very long and it was a huge blow to my self-confidence. Trusting your own intuition was a tough lesson learned.

As much as I want you to follow your gut when concepting and designing, not everyone you work with or present to is going to respond favorably to you saying “I chose this layout (color, typeface, etc) because it felt right.” We can only take intuition (subjective) so far. You need to find other ways to prove your solution is the most effective at solving the problem. That’s where the objective side comes into play.

Dictionary.com defines objective as not influenced by personal feelings, interpretations, or prejudice; based on facts; unbiased: an objective opinion. Intent upon or dealing with things external to the mind rather than with thoughts or feelings, as a person or a book.

Arm yourself with research and facts to support your design decisions. No one can argue with a fact, that’s why it is a fact. Do the research and determine ways to support your design decisions that go beyond your own opinion. If you opt to use red in a design provide the client with evidence as to why this is a viable choice. In this example you'd be wise to cite the psychology of color. (1) In his article “Color Psychology” David Johnson states that red is the most emotionally intense color. It stimulates a faster heartbeat and breathing. It is also the color of love. Since it is an extreme color, red clothing might not help people in negotiations or confrontations. In decorating, red is usually used as an accent. Decorators say that red furniture should be perfect since it will attract attention. (2) Remember, colors not only enhance your design — they also influence behavior. Consider the impact that the colors you use will have on your intended audience. Make certain to cite the research (objective) when presenting your concepts. The facts may just convince the client that your design solution is the right way to go. (1) Of course, this is only one example of how you can arm yourself to ensure you are presenting an objective case.

Focus on finding a balance between the subjective (opinion) and objective (fact) in all of your designs. A design solution needs both attributes in order to be successful. Don’t forget, you must convince the client before ever getting a shot at convincing the consumer! If you don’t win over your client, the concept won’t see the light of day. In most cases your brilliant idea will end up on the cutting room floor. Now, that’s a sad thought.

Additional clarifying points: (3)
• Objective statements are facts that can be verified by reputable sources.

• Subjective statements may or may not be entirely true as they are formulated by your own opinion/perspective.

• Use a hybrid of objective and subjective statements to get your point across.

Below are some excellent resources you might want to reference if you are exploring ways to integrate subjective and objective elements into your designs.

Objective Vs. Subjective

http://thefuturebuzz.com/2009/04/20/objective-vs-subjective/

Objective + Subjective = Brand Balance

http://www.fuelyourbranding.com/objective-subjective-brand-balance/

Blog Resources:

(1) The Psychology of Color in Marketing

 http://www.nightcats.com/samples/colour.html

(2) Color Psychology

http://www.infoplease.com/spot/colors1.html#ixzz1VrRdcBrx

(3) Difference Between Objective and Subjective
http://www.differencebetween.net/language/difference-between-objective-and-subjective/

        

And in This Corner, Weighing in at…

The subject of what separates art and graphic design has been debated for what seems like forever. Artists and designers both create visuals, but their reasons for doing so are quite different. So what exactly is the difference between art and design? (1)

Dictionary.com defines art as the quality, production, expression, or realm, according to aesthetic principles, of what is beautiful, appealing or of more than ordinary significance.

The creation of art spans the entire history of humankind, from prehistoric times to today. Whether you observe caveman paintings or Botticelli angels, you can find visual arts that challenge your creative side and inspire you to find beauty in man made forms. (2) Art is a tug of war between the head (analytical level) and the heart (emotional level). Art moves between the "classical" and the "romantic," or head and heart. On the classical end, art focuses on ideas and logic (head). On the romantic end, you find passion and feelings (heart). Most artists are a combination of both attributes. While the artist studies to learn the mental and technical skills, he/she needs to follow his/her heart. (3)

Dictionary.com defines graphic design as the art or profession of visual communication that combines images, words and ideas to convey information to an audience, especially to produce a specific effect. Graphic design is a creative process — most often involving a client and a designer that focuses on visual communication and presentation of a specific message to a targeted audience. (4)

Since prehistoric times, people have given visual form to ideas and concepts, in order to store knowledge in graphic form, and bring order and clarity to information. While graphic design was only recognized as a profession in the early twentieth century, archaeologists have discovered 270 pieces of engraved ostrich eggshell, which date to around 60,000 years ago, from a site called Diepkloof in South Africa’s Western Cape province. The fragments are now considered the “earliest evidence of a graphic tradition among prehistoric hunter-gatherer populations.” (5)

Designers are social commentators of their time. Simply stated: we design in response to things that are happening around us. 60,000 years ago, prehistoric hunter-gatherers were doing just that! Many history books designate the late 1800s, early 1900s as the beginning of graphic design as a legit profession. It was a time of commotion and change that altered all aspects of the human condition: social, political, cultural, and economic character of life was in upheaval. Changes in technology led to changes in methods of mass communication. America and Europe became more consumer-driven and graphic design was an important cultural force that vocalized this change. The industrial revolution brought with it many mass-produced items that needed product differentiation. Graphic design and branding gave unique personalities and voices to these otherwise identical products and companies.

If you follow the history of art and graphic design you can draw connections between both fields. Fine art influenced graphic design and graphic design influenced fine art. No one was or is creating in a bubble. I can cite hundreds of examples supporting this sentiment so let’s just take it as an objective statement. (If you really want examples, write me back and I’ll get them for you!)

Whether you are a fine artist or a graphic designer, doesn’t your process of creating begin by staring at a blank canvas? A work of art stems from having a viewpoint, opinion or feeling that you hold within yourself. Art is anything that stems from our creative side. Any body of work that expresses feelings, symbolizes emotions, that shows something that would be impossible to express through mathematical formulas could technically be considered art. Many artists believe their creative side comes from something that can’t be explained — it disputes logic. (6)

Perhaps it is the intended result that is the true determining factor here. Fine art is produced for art's sake, whether it is for personal expression or commissioned, the finished piece is a work of art. A fine artist expresses his/her feelings when creating. Whatever the medium (oil, acrylic, water color, collage, photography, charcoal, etc), they pour their heart and soul into the creation of the piece. This is an extremely internal, personal journey of self-expression. When the piece is completed, chances are the work is shown in a gallery and exhibited to the world for all to see.

You then have 100 people come into the gallery and look at the piece. What that piece communicates to each viewer is as personal as the creation of the piece is to its creator. One person may be moved by use of color, one enraptured by the intensity of the brush strokes, and yet another may not be interested in the piece at all. This is an extremely personal experience for us all. The end result doesn’t really matter as long as you walk away feeling something.

Now let’s talk a bit about a graphic design work. In most cases, a graphic designer is trying to solve a communication problem through the effective use of type and image. There is a specific goal established at the onset of the creative process. That being said, the way you create type and image can be as personal and varied as the different mediums a fine artist uses. I encourage you to use your own voice, insight, ideas, perspective, illustrations, photography, writing, hand drawn typography, your own... in the creation of your visual communication. The use of fine art in the creation of your type and image equates to the work being unique and one-of-a-kind. This means your work has a platform to stand out from the endless parade of other designs that consumers come in contact with. Embrace spontaneity and hunt for “happy accidents” in your work. Creative exploration can result in the discovery of a single, unique idea you can build an entire campaign upon. This “leave no creative stone unturned” exploration means a fine art foundation is built into every graphic design solution.

The true difference between fine art and graphic design (in my opinion) comes into play when we bring those 100 people into the equation. The goal is to get those 100 different people who are doing 100 different things to stop what they are doing, interact with the design (not just passively observe it), comprehend the message and ultimately invite the viewer to become involved, get them to act for a cause, educate, and inform. In the simplest of terms, inspire and motivate the viewer to do something! It isn’t enough to have the viewer walk away from the piece feeling something. In order for visual communication to be successful action needs to occur.

Do you know how hard it is to get those 100 different people to take the exact same action?!

Of course, I’m curious. What are your thoughts on the difference between fine art and graphic design?

Below are some excellent resources you might want to reference if you are exploring art and graphic design in greater detail.

Art vs. Graphic Design

http://www.aiga.org/art-vs-design/

Graphic Design vs. Art

http://www.underconsideration.com/speakup/archives/001362.html

Blog Resources:

(1)            http://www.webdesignerdepot.com/2009/09/the-difference-between-art-and-design/

(2)            http://www.arthistory.net/

(3)            http://www.ndoylefineart.com/artmaking.html

(4)            http://www.decographic.net/graphic_design_miami.html

(5)            http://hyperallergic.com/3514/news-13/

(6)            http://www.ringsurf.com/online/1306-arts.html

31 Flavors and Then Some

Baskin Robbins has been an ice cream stable for years. For over 62 years, Baskin Robbins has been delighting their customers with irresistible ice cream treats. With more than 6,000 retail shops in 35 countries, Baskin Robbins is now the world’s largest chain of ice cream specialty shops. (1) 

So why am I talking about Baskin Robbins? Believe it or not, there is a connection to design here. Why is it when I walk into their establishment, see the endless row of every flavor imaginable, (at last count it was 31 flavors and then some, at least according to the advertising jingle it is 31) I walk out with plain vanilla?! The simple point is this: too many options can overwhelm and impede our selection process.

Now let’s play devil’s advocate.

Dual Nobel Prize winner Linus Pauling said: “The best way to have a great idea is to have a lot of ideas.”

Some creative thinkers will come up with ten, a hundred, or even a thousand times more ideas than their peers. It is safe to say that even beyond that, those who have created the most are also the ones who have the most significant innovative impact. Reference the past and you’ll find several objective examples to support this statement; Pablo Picasso produced 20,000 pieces of art; Einstein wrote more than 240 papers; Bach wrote a cantata every week; Thomas Edison filed a record 1,039 patents. And yes, this statement holds true today too. Prince is said to have over 1,000 songs stored in his secret “vault,” and Richard Branson has started 250 companies. (2)

Our job as visual communicators is to concept unique, stand out, attention worthy ideas and bring them to life through effective use of type and image. We make connections to disparate objects by building an unexpected bridge between them. Only when the consumer is able to walk across that bridge will they understand the connection and see the wit behind the concept. The key is to find unique, unexpected connections. If the concept (the bridge) is expected, it is boring. If it is boring, no one will pay attention to it. If no one pays attention to it, you have not accomplished your communication goal. Finding that unique connection is where having lots of ideas pays off. As you are concepting, the wider the net you cast during your research, development and thumbnail stages, the more quality connections (bridges) you should be able to build. What we do is not just make things look “cool.” There is purpose, intent and strategy contained in the foundation of every bridge we build.

There is room in the design process for both the “Baskin Robbins 31 flavors and then some” scenario and the “have lots of ideas,” Linus Pauling approach.

As you research, concept and develop your initial designs, leave no creative stone unturned. This suggestion connects directly to Pauling’s philosophy. You have the freedom to explore if you are open to the possibilities. This is the point of the creative process where having an abundance of potential options pays off. You can blend, hybrid different ideas taking you in even more unique directions. Your personal exploration is your chance to push your concepts to the limit.

When the time comes to present concepts to your client, remember the “Baskin Robbins 31 flavors and then some” scenario. Be your own worst critic and identify the concepts that rise to the top, that build the strongest bridges and solve the communication challenge most effectively. In most cases, your client is uneducated in the art of visual communication. Presenting too many options can overwhelm your client forcing them to walk out of your meeting holding that vanilla ice cream cone.

Let me sum this post up with a final comment: anyone who knows me also knows I am a health nut. I couldn’t even tell you the last time I ate “real” ice cream and I actually think I’m lactose intolerant. For the sake of this discussion, taking some dramatic license to elicit my point was worth the white lie. In all actuality, I’d be standing in front of the 100% fat free, sugar free machine. In that scenario, there really are only two options: chocolate and vanilla. That’s kind of sad. :(

Below are some excellent resources you might want to reference if you are exploring thumbnailing and idea generation in greater detail.

9 Ideas For A More Creative And Effective Brainstorming Process

http://freelancefolder.com/9-ideas-for-a-more-creative-and-effective-brainstorming-process/

6 Tips to Generate Outstanding Ideas

http://litemind.com/6-tips-generate-outstanding-ideas/

Blog Resources:

(1) http://www.baskinrobbins.com

(2) http://timkastelle.org/blog/2010/08/the-best-way-to-have-a-great-idea/

MTV is officially “old” today!

Yes, MTV turns 30 today. With my party hat on and noise maker in hand, I can’t stop from blurting out a short but sweet history lesson in honor of the special event. (I also ask that you take note: MTV’s contribution to graphic design and the role it played in evolving identity system design is like, HUGE. HUGER than HUGE!)

At the onset of this discussion, let’s separate the term identity system into two parts: the identity and the system.

Identity is the collection elements used to give a company, product or service unique characteristics.

System is the process used to ensure that the audience always associates tangible elements with the company, product or service.

We relate best to personable things and store information based on our senses. Sight is one of our most trusted and important senses. Most of us trust sight above all other senses.

An identity system is used to give character traits to something that does not have character of its own. Products, companies and services have no native visual presence. In order for a product to be remembered, or a complex business structure to be understood, it helps to assign symbols and visual clues to them. Graphic design is used extensively to help convey this corporate image and branding in a physical way primarily through logo design — a core component of what is known as corporate identity.

As companies become more global and diversified, it is more important than ever to make sure their principles and structure are presented clearly in order to be understood by the intended audiences. A great brand, if inconstantly applied or often changed, will fail to make a lasting impression on the desired audience. On the other hand, a poorly designed or executed brand, if consistently applied, will create a lasting impression, but chances are it be the wrong one.

Let’s move onto the brand of the hour: MTV

The original MTV logo started out as a poorly executed Polaroid shot of a hand holding a tomato. Sounds mystical doesn’t it? Guess it never saw the light of day. (2) Frank Olinsky and the creative team at the risk-taking, experimental design firm Manhattan Design (1979 — 1991) introduced the concept of an MTV logo with a constantly changing persona. It is a graphic that can stand numerous changes/treatments, depending on the occasion, without ever losing its base design and familiarity. (3) The music television (MTV) identity was contrary to the widely held belief that trademarks should be absolutely fixed and used in a consistent manner. (I swear I’ve heard myself say “ying while others yang” like a million times?!)

MTV first went on the air in 1981 and eventually changed the way music is presented and marketed internationally. I must point out this event foreshadowed motion graphics to come. The MTV logo played a major role in redefining visual identity in the electronic age, both for electronic media and print.

Rumor has it during the design process, one Manhattan Design partner scribbled “TV” onto another partner’s design indicating that the design needed something to make it pop. The network liked the combination of the M and TV so much that they changed the name of the network from the music channel to music television.

The MTV logo is an easily recognize symbol today. When you see “the chunky, block `M’ and the dripping ‘TV’,” you recognize what it stands for. Today this symbol has lasted more than 30 years almost unchanged. I can't help but ask you: Why has this symbol stood the test of time?

Some thoughts: by keeping the design simple Manhattan Design allowed the ‘M’ to be altered without altering the identity itself. This flexibility has given MTV an opportunity to put whatever they want in the ‘M’, be it a pattern to match a holiday or an illustrative pattern to represent a genre of music. Music is always changing and with a flexible logo, it allows for changes in the identity too. Manhattan Design went against the long held mantra “consistency is key to the success of an identity system.” They successfully designed a logo made for change. (4) Gotta love that the creative minds behind this identity system were willing to take a creative risk.

Below are some excellent resources you might want to reference if you are exploring the history of MTV in greater detail.

On This Day in History - MTV Turns 30

http://peachtreecorners.patch.com/articles/on-this-day-in-history-mtv-turns-30

The first video played on MTV: Video Killed the Radio Star

http://youtu.be/hiJ9AnNz47Y

The Long, Colorful History of MTV's Logo

http://new.music.yahoo.com/blogs/amplifier/89578/the-long-colorful-history-of-mtvs-logo/

History Lesson of the MTV Logo http://929dave.radio.com/2011/07/31/history-lesson-of-the-mtv-logo/#ixzz1TnW6b6gi

Blog Resources:

(1) http://www.wiley.com/WileyCDA/WileyTitle/productCd-0471699020.html

(2) http://worldsbestlogos.blogspot.com/2007/10/mtv-logo.html

(3) http://929dave.radio.com/2011/07/31/history-lesson-of-the-mtv-logo/

(4) http://www.writingfordesigners.com/?p=45

And now a word from our sponsors...

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