Design and the World Cup: what can we learn?

Germany is know for great design. Some of the best designed automobiles in the world, for example, are from Germany. BMW, Mercedes, Audi, Porsche are not only wonderfully designed cars, their very names today represent some of the strongest brands on the planet (see Interbrand's 2005 rankings). Along with the world class engineering enjoyed by these firms, of course, are intelligently designed brand identity and communication visuals. Their respective simple yet powerful logos, for example, are identifiable everywhere in the world and serve as a kind of "crown jewel" and an instantly identifiable evocative symbol for each brand. Beyond precision in engineering and industrial design, Germany also has a rich tradition of graphic design, and typography...and, of course, let us not forget where Johann Gutenberg comes from. Germany gets graphic design. According to Jeremy Anynsley, author of "Graphic Design in Germany (1890-1945)":

"German graphic and typographic design in the first half of the 20th century represents an extraordinarily rich and diverse aspect of the history of visual culture."   
                                                 — Jeremy Anynsley

Germany's Erik Spiekermann "embarrassed" by World Cup design
Given Germany's history and love of great design, including graphic design, you would think the design for the 2006 World Cup would be remarkable. But is it? At least one German design expert, Erik Spiekermann, thinks otherwise. Spiekermann is one of Germany's most famous designers and typographers and is the founder of MetaDesign, a firm whose clients include such notable brands as Apple, Audi, VW, and Nike. In this interview with Deutche World, Spiekerman says that the whole design concept for the 06 World Cup — including the Mascot and the logo — look to be the result of too many cooks in the design kitchen, a mediocrity resulting from "design by committee."

Design is functional *and* emotional
"Design has a functional role, but it also creates a mood" says Spiekermann.   "It has both important functional and psychological roles." Spiekermann thinks that that the overall design of the World Cup suffers from several problems: (1) Too many committees trying to get their ideas in. (2) Design teams aiming to please everyone and offend no one. And (3) too many messages resulting in having no real clear message at all. When all involved try to play nice and no one takes responsibility, says, Spiekerman, you get this sort of bland result as people are afraid to take a risk.

Afraid to polarize? Afraid to take a risk?
There is a saying by many designers that if something is truly remarkable, it is going to be hated by some. Truly mediocre designs rarely evoke such visceral response. This fear of polarizing people often leads to designs that are "safe" and unobjectionable, hated by no one...and loved by no one either. No one has a visceral reaction either way. Sometimes this is desirable and intended. But usually it is an accidental consequence of "playing it safe" or seeking approval of this committee or that focus group, etc.

Good advice: Present naked (but wear pants)
Commenting on Goleo, the official lion-like mascot of the World Cup in Germany (who curiously wears a shirt but enjoys parading around sans trousers) Spiekerman says, "This artificial lion is neither cute nor ugly nor relevant; it's just embarrassing." Now, I'm all for presenting naked, and for the naked truth and all that. But in public presentations, wearing pants is still highly recommended. Goleo appears to be a flop; no body loves him and the company which licensed the European rights to the pantsless mascot filed for insolvency. Read more about "Mr. No-Pants" here on the DW-World site.

Next, I'd like to look briefly at logo design and see if we can relate principles there to presentation-visual design.
 
What's in a logo?
What do you think of the World Cup 06 logo? Spiekerman hates it. "Too many messages...You can look at this and count the elements and it just flies in the face of effective communication" he says. Logos are a funny thing. In and of themselves we can not really say they necessarily succeed or fail, even if we do not care for the design. It is over time, depending on the performance of the organization/product that the logo represents that associations, good or bad, will be formed. No logo, no matter how elegantly simple or beautiful, for example, will come to signify "The Ultimate Driving Machine" if the product is indeed mediocre. Nonetheless, from a messaging and aesthetic point of view, there are some good guidelines to keep in mind when designing or critiquing a logo. According to Paul Rand (1914-1996), the effectiveness of a logo depends on several elements including;

   • Distinctiveness
   • Visibility
   • Usability
   • Memorability
   • Universality
   • Durability
   • Timelessness

A logo must also be attractive and reducible to very small sizes and to one color. How would you rate the World Cup 06 logo with these items in mind? Look at the examples of the Apple logo below. The first logo (left), which did not last long at all, is far more complex and intricate that the simple familiar "forbidden fruit" Apple of today. The first Apple logo concept could pass hardly any items on the checklist above. The best logos are simple. (Go here to see past World Cup logos; see the more Apple logos and history here.)

                            
       
From logo design to presentation visuals
The principles and ingredients that contribute to great logo design can, more or less, be applied to other forms of visual communication as well. Paul Rand said as much in this 1991 article:

"Bad design is frequently the consequence of mindless dabbling, and the difficulty is not confined merely to the design of logos. This lack of understanding pervades all visual design."

                                                               — Paul Rand

To most working professional — the "non-creatives" — logo design and other visual communication such as slide design for business presentations, etc. may seem superfluous. However, as Paul Rand suggests, graphic design is a vehicle of memory. It matters if you want people to understand you and remember you. "Good design adds value of some kind and, incidentally, could be sheer pleasure; it respects the viewer — his sensibilities — and rewards the entrepreneur. It is easier to remember a well designed image than one that is muddled." This is true for logos and it is true for presentation visuals.

Regardless of what you may think, your visuals go beyond serving as mere ephemeral "visual aids" just as a logo goes beyond a mere marker or identifier. Said Rand, "A well designed logo, in the end, is a reflection of the business it symbolizes. It connotes a thoughtful and purposeful enterprise, and mirrors the quality of its products and services. It is good public relations — a harbinger of good will. It says 'We care.'" Substitute "logo" with "presentation" and the sentence rings just as true.

Good presentation visuals support your message, they are functional and emotional...and they are a reflection of you — and on you — and your organization.

Related links
• Design observer on the power of context
• Logo dissections
• Worst logo ever
• 5 Cardinal Rules of Logo Design
• Brand names that do not travel well

Comments

[Matthew Lang]

Personally, I like the World Cup logo. It's simple and bright.

I think one thing that should be taken into consideration here is the timelessness of the logo. Simple logos that convey the name of a company and can be reduced to single colours and stuff is necessary for companies that want to be instantly recognised in this modern world of global companies.

The world cup logo however is only used in earnest for a couple of years before you hardly ever see it again. As soon as the world cup passes, very few people will use the logo.

Can you actually compare the Apple logo with the world cup logo on even ground?

[Garr]

Right, good point, Matthew. I too personally do not think it is "bad" as a World Cup event logo. I personally do not like it much, but that is largely a matter of taste. For as you say, this event is rather short lived. The World Cup 06 logo does not have the same kind of "responsibility" long-term as the logo for a firm or organization. The various World Cup logos do not really need to hold over time or pass the same criteria as other kinds of logos. They are not really memorable -- but they do not have to be.

The World Cup 06 logo is fine for the World Cup, perhaps. *If* though this kind of logo (too many elements,etc.) were to be used for a firm or product, it would be weak. Thanks for your good comment. -G

[Anndra]

BMW, Mercedes, Audi, Porsche have great design? Recent BMWs are renowned for their, um, 'controversial' design, and when did you last see a new Mercedes that wasn't either dull, or looked like it had been designed to go in a cardboard box with a free Barbie. Porsche design hasn't changed for 100 years. Audi? Yeh, I think they get it.

[Paul D]

I'm with Herr Spiekermann. I think the World Cup 2006 logo is pretty awful.

[Torsten Liebig]

Funny thing that you're bringing up the logo discussion again. I live in germany and followed the entire discussion live when they made the logo public. To be honest, I did not have any special emotions to neither soccer nor the logo back then.

Now, the World Cup is here, and I must admit that the logo just fits - at least for me. I think the PR people did a perfect job: both the logo and the claim of the World Cup ("The world hosted by friends") are aimed straight at a wonderful time for all visitors. And that is exactly what is happening: all nations of the world are coming to germany and having a great party together, and generally all people are open-minded and friendly. If the match does not involve the german team, german fans naturally dress up for one of the two other nations. The entire World Cup just seems to be made of happy, joyful people, with hardly any envy between rivaling teams. I wonder how much of that comes just through the logo and claim which seem to support that very open-mindedness and friendlyness!

[Garr]

>>Mercedes that wasn't either dull, or looked like it had been designed to go in a cardboard box with a free Barbie. Porsche design hasn't changed for 100 years.

Good thing I didn't say Opel ;-) -G

[Garr]

>>I wonder how much of that comes just through the logo and claim which seem to support that very open-mindedness and friendlyness!

In the Design Observer article (link below) they talk about context and how logos derive meaning. It is not the logo per se (which is not to say that design does not matter, it does) but what the logo comes to represent. This world Cup may indeed be special because even *I* have been watching and getting into it (and I was not at all a fan before). If the Cup in Germany turns out to be an outstanding, special event, then people may have a different view of the logo *after* the event (for those who care).

About the Rolls Royce logo, for example, Rand said: "...what makes the Rolls Royce emblem so distinguished is not its design (which is commonplace), but the quality of the automobile for which it stands." Thanks, Torsten. -G

[met]

Maybe you don't put that much importance to logos.
Almost never does a logo makeup for the actual product/event.

I think we don't like a logo when the product is lacking what the logo promises or the logo promises something entirely different from what the product delivers.

Having 'guidelines' for logo designing and such is the most stupidest things I've seen people do. Thats why Britney Spears is popular but might not be legendary for her music ( - because they use guidelines on what a celebrity should be or maybe the record labels choose artists based on set guidelines)

[met]

Adding to my above post:

"I think we don't like a logo when the product is lacking what the logo promises or the logo promises something entirely different from what the product delivers."

Which means the logo and marketing comes after the event/product is designed.
Why don't we see such an important step mentioned in the guidelines? Is it commonsense and hence don't appear in the literature?

Infact Torsten feels that the logo is appropriate because he is right in the middle of the event. How is the logo unsuccesful in this case?
Of course it doesn't fit into a particular model, so that makes it bad?

I don't particularly have feelings (like or dislike) for this logo, but I hope someone could come up with something different from swishes and casual strokes for event logos.

[Alan Pritt]

What really springs out at me with the World Cup logos is the fact that they change completely year on year. I understand the need to brand each event, but wouldn't it be worth having the equivalent of the Olympic rings?

After all: "It is over time, depending on the performance of the organization/product that the logo represents that associations, good or bad, will be formed."

http://en.wikipedia.org/wiki/List_of_Olympic_logos

[marc]

it's a fun logo to look at but it does violate the rules that allow a logo to be seen in one color or reduced. But what many brands do is have a complex logo that is used big and in full color and also create reduced versions for smaller sizes.

Anyone who has ever worked on AT&T knows that there's an 8-line version of their globe for small size to retain the lines, as well as a 12 line version and reverse versions so the "glow" is always a light color. When judging a logo that's used for a short period of time like the World Cup we have to consider that it's not logical to create all these extra logos and that for the most part these logos are being used large.

[Peter]

South Africa has pulled out all the stops to produce a logo even busier than the German one:

http://news.bbc.co.uk/2/hi/europe/5160298.stm

I suppose they can claim "exuberant tribal diversity" more easily than the no-nonsense Germans, but still.

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Germany also has a rich tradition of graphic design, and typography...and, of course, let us not forget where Johann Gutenberg comes from. Germany gets graphic design. According to Jeremy Anynsley, author of "Graphic Design in Germany (1890-1945)":

[Büyüler]

Germany also has a rich tradition of graphic design, and typography...and, of course, let us not forget where Johann Gutenberg comes from. Germany gets graphic design. According to Jeremy Anynsley, author of "Graphic Design in Germany (1890-1945)":

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[Hidden Worlds]

Thanks for the post! If you want to see some more strange design and stuff like that Lion, search for the mascots promoting the 2012 Olympics.

[grow taller]

Simple logos that convey the name of a company and can be reduced to single colours and stuff is necessary for companies that want to be instantly recognised in this modern world of global companies.