I am in New York City again this week on business. Last time I was here, I was not able to blog about some of the great sounds and sights of this great city. Today, I am blogging about one of my favorite building in New York; The Flatiron Building.
I hope you enjoy this article.
The Flatiron Building, originally the Fuller Building, is located at 175 Fifth Avenue in the borough of Manhattan, New York City, and is considered to be a groundbreaking skyscraper. Upon completion in 1902, it was one of the tallest buildings in the city and one of only two skyscrapers north of 14th Street – the other being the Metropolitan Life Insurance Company Tower, one block east. The building sits on a triangular island-block formed by Fifth Avenue, Broadway and East 22nd Street, with 23rd Street grazing the triangle’s northern (uptown) peak. As with numerous other wedge-shaped buildings, the name “Flatiron” derives from its resemblance to a cast-iron clothes iron.
The building anchors the south (downtown) end of Madison Square and the north (uptown) end of the Ladies’ Mile Historic District. The neighborhood around it is called the Flatiron District after its signature building, which has become an icon of New York City. The building was designated a New York City landmark in 1966, was added to the National Register of Historic Places in 1979, and designated a National Historic Landmark in 1989.
History of the site
The site on which the Flatiron Building would stand was bought in 1857 by Amos Eno, who would shortly build the Fifth Avenue Hotel on a site diagonally across from it. Eno tore down the four-story St. Germaine Hotel on the south end of the lot, and replaced it with a seven-story apartment building, the Cumberland. On the remainder of the lot he built four three-story buildings for commercial use. This left four stories of the Cumberland’s northern face exposed, which Eno rented out to advertisers, including the New York Times, who installed a sign made up of electric lights. Eno later put a canvas screen on the wall, and projected images onto it from a magic lantern on top of one of his smaller buildings, presenting advertisements and interesting pictures alternately. Both the Times and the New York Tribune began using the screen for news bulletins, and on election nights tens of thousands of people would gather in Madison Square, waiting for the latest results.
During his life Eno resisted suggestions to sell “Eno’s flatiron”, as the site had become known, but after his death in 1899 his assets were liquidated, and the lot went up for sale. The New York State Assembly appropriated $3 million for the city to buy it, but this fell through when a newspaper reporter discovered that the plan was a graft scheme by Tammany Hall boss Richard Croker. Instead, the lot was bought at auction by William Eno, one of Amos’s sons, for $690,000 – the elder Eno had bought the property for around $30,000 forty years earlier. Three weeks later, William re-sold the lot to Samuel and Mott Newhouse for $801,000. The Newhouses intended to put up a 12-story building with street-level retail shops and bachelor apartments above, but two years later they sold the lot for about $2 million to Cumberland Realty Company, an investment partnership created by Harry S. Black, CEO of the Fuller Company. The Fuller Company was the first true general contractor that dealt with all aspects of building construction except design, and they specialized in building skyscrapers.
Black intended to construct a new headquarters building on the site, despite the recent deterioration of the surrounding neighborhood, and he engaged Chicago architect Daniel Burnham to design it. The building, which would be the first skyscraper north of 14th Street, was to be named the Fuller Building after George A. Fuller, founder of the Fuller Company and “father of the skyscraper”, who had died two years earlier, but locals persisted on calling it “The Flatiron”,a name which has since been made official.
The Flatiron Building was designed by Chicago’s Daniel Burnham as a vertical Renaissance palazzo with Beaux-Arts styling. Unlike New York’s early skyscrapers, which took the form of towers arising from a lower, blockier mass, such as the contemporary Singer Building (1902–1908), the Flatiron Building epitomizes the Chicago school conception: like a classical Greek column, its facade – limestone at the bottom changing to glazed terra-cotta from the Atlantic Terra Cotta Company in Tottenville, Staten Island as the floors rise – is divided into a base, shaft and capital.
Early sketches by Daniel Burnham show a design with an (unexecuted) clockface and a far more elaborate crown than in the actual building. Though Burnham maintained overall control of the design process, he was not directly connected with the details of the structure as built; credit should be shared with his designer Frederick P. Dinkelberg, a Pennsylvania-born architect in Burnham’s office, who first worked for Burnham in putting together the 1893 World’s Columbian Exposition in Chicago, for which Burnham was the chief of construction and master designer.Working drawings for the Flatiron Building, however, remain to be located, though renderings were published at the time of construction in American Architect and Architectural Record.
Since it employed a steel skeleton – with the steel coming from the American Bridge Company in Pennsylvania – it could be built to 22 stories (285 feet) relatively easily, which would have been difficult using other construction methods of that time. It was a technique familiar to the Fuller Company, a contracting firm with considerable expertise in building such tall structures. At the vertex, the triangular tower is only 6.5 feet (2 m) wide; viewed from above, this pointed end of the structure describes an acute angle of about 25 degrees.
The “cowcatcher” retail space at the front of the building was not part of Burnham or Dinkelberg’s design, but was added at the insistence of Harry Black in order to maximize the use of the building’s lot and produce some retail income to help defray the cost of construction. Black pushed Burnham hard for plans for the addition, but Burnham resisted because of the aesthetic effect it would have on the design of the “prow” of the building, where it would interrupt the two-story high Classical columns which were echoed at the top of the building by two columns which supported the cornice. Black insisted, and Burnham was forced to accept the addition, despite the interruption of the design’s symmetry. Another addition to the building not in the original plan was the penthouse, which brought the building to 21 floors. It was constructed after the rest of the building had been completed to be used as artists’ studios, and was quickly rented out to artists such as Louis Fancher, many of whom contributed to the pulp magazines which were produced in the offices below.
New York’s Flatiron Building was not the first building of its triangular ground-plan: aside from a possibly unique triangular Roman temple built on a similarly constricted site in the city of Verulamium, Britannia, the Maryland Inn in Annapolis (1782), the Gooderham Building of Toronto (1892), and the English-American Building in Atlanta (1897) predate it. All, however, are smaller than their New York counterpart.
The facade of the Flatiron Building was restored in 1991 by the firm of Hurley & Farinella.
The Flatiron Building has become an icon of New York City, and the public response to it was enthusiastic, but the critical response to it at the time was not completely positive, and what praise it garnered was often for the cleverness of the engineering involved. Montgomery Schuyler, editor of Architectural Record said that its “awkwardness [is] entirely undisguised, and without even an attempt to disguise them, if they have not even been aggravated by the treatment. … The treatment of the tip is an additional and it seems wanton aggravation of the inherent awkwardness of the situation.” He praised the surface of the building, and the detailing of the terra-cotta work, but criticized the practicality of the large number of windows in the building: “[The tenant] can, perhaps, find wall space within for one roll top desk without overlapping the windows, with light close in front of him and close behind him and close on one side of him. But suppose he needed a bookcase? Undoubtedly he has a highly eligible place from which to view processions. But for the transaction of business?”
But some saw the building differently. Futurist H. G. Wells wrote in his 1906 book The Future in America: A Search After Realities:
I found myself agape, admiring a sky-scraper the prow of the Flat-iron Building, to be particular, ploughing up through the traffic of Broadway and Fifth Avenue in the afternoon light.
The Flatiron was to attract the attention of numerous artists. It was the subject of one of Edward Steichen‘s atmospheric photographs, taken on a wet wintry late afternoon in 1904, as well as a memorable image by Alfred Stieglitz taken the year before, to which Steichen was paying homage. (See below) Stieglitz reflected on the dynamic symbolism of the building, noting that it “…appeared to be moving toward [him] like the bow of a monster ocean steamer – a picture of a new America still in the making,” and remarked that what the Parthenon was to Athens, the Flatiron was to New York. When Stieglitz’ photograph was published in Camera Work, his friend Sadakichi Hartmann, a writer, painter and photographer, accompanied it with an essay on the building: “A curious creation, no doubt, but can it be called beautiful? Beauty is a very abstract idea … Why should the time not arrive when the majority without hesitation will pronounce the ‘Flat-iron’a thing of beauty?”
Besides Stieglitz and Steichen, photographers such as Alvin Langdon Coburn, Jessie Tarbox Beals, painters of the Ashcan School like John Sloan, Everett Shinn and Ernest Lawson, as well as Paul Cornoyer and Childe Hassam, lithographer Joseph Pennell, illustrator John Edward Jackson as well the French Cubist Albert Gleizes all took the Flatiron as the subject of their work. But decades after it was completed, others still could not come to terms with the building. In 1939, sculptor William Ordway Partridge remarked that it was “a disgrace to our city, an outrage to our sense of the artistic, and a menace to life.”
Due to the geography of the site, with Broadway on one side, Fifth Avenue on the other, and the open expanse of Madison Square and the park in front of it, the wind currents around the building could be treacherous. Wind from the north would split around the building, downdrafts from above and updrafts from the vaulted area under the street would combine to make the wind unpredictable. This is said to have given rise to the phrase “23 skidoo“, from what policemen would shout at men who tried to get glimpses of women’s dresses being blown up by the winds swirling around the building due to the strong downdrafts.
Original tenants and subsequent history
The Fuller Company originally took the 19th floor of the building for its headquarters. In 1910, Harry Black moved the company to Francis Kimball‘s Trinity Building at 111 Broadway, where its parent company, U.S. Realty, had its offices. They moved them back to the Flatiron in 1916, and left permanently for the Fuller Building on 57th Street in 1929.
The Flatiron’s other original tenants included publishers (magazine publishing pioneer Frank Munsey, American Architect and Building News and a vanity publisher), an insurance company (the Equitable Life Assurance Society), small businesses (a patent medicine company, Western Specialty Manufacturing Company and Whitehead & Hoag, who made celluloid novelties), music publishers (overflow from “Tin Pan Alley” up on 28th Street) and other miscellaneous concerns (a landscape architect, the Imperial Russian Consulate and the Bohemian Guides Society), as well as the offices of the Roebling Construction Company, owned by the sons of Tammany Hall boss Richard Croker.
The retail space in the building’s “cowcatcher” at the “prow” was leased by United Cigar Stores, and the building’s vast cellar, which extended into the vaults that went more than 20 feet (6.1 m) under the surrounding streets,was occupied by the Flatiron Restaurant, which could seat 1,500 patrons and was open from breakfast through late supper for those taking in a performance at one of the many theatres which lined Broadway between 14th and 23rd Streets.
Even before construction on the Flatiron Building had begun, the area around Madison Square had started to deteriorate somewhat. After U.S. Realty constructed the New York Hippodrome, Madison Square Garden was no longer the venue of choice, and survived largely by staging boxing matches. The base of the Flatiron became a cruising spot for gay men, including some male prostitutes. Nonetheless, in 1911 the Flatiron Restaurant was bought by Louis Bustanoby, of the well-known Café des Beaux-Arts, and converted into a trendy 400-seat French restaurant, Taverne Louis. As an innovation to attract customers away from another restaurant opened by his brothers, Bustanoby hired a black musical group, Louis Mitchell and his Southern Symphony Quintette, to play dance tunes at the Taverne and the Café. Irving Berlin heard the group at the Taverne and suggested that they should try to get work in London, which they did.The Taverne’s openness was also indicated by its welcoming a gay clentele, unusual for a restaurant of its type at the time. The Taverne was forced to close due to the effects of Prohibition on the restaurant business.
When the U.S. entered World War I, the Federal government instituted a “Wake Up America!” campaign, and the United Cigar store in the Flatiron’s cowcatcher donated its space to the U.S. Navy for use as a recruiting center. Liberty Bonds were sold outside on sidewalk stands. By the mid-1940s, the cigar store had been replaced with a Walgreens drug store.
The building sold
In October 1925, Harry S. Black, in need of cash for his U.S. Realty Company, sold the Flatiron Building to a syndicate set up by Lewis Rosenbaum, who also owned assorted other notable buildings around the U.S. The price was $2 million, which equaled Black’s cost for buying the lot and erecting the Flatiron. The syndicate defaulted on its mortgage in 1933, and was taken over by the lender, Equitable Life Assurance Company after failing to sell it at auction. To attract tenants, Equitable did some modernization of the building, including replacing the original cast-iron birdcage elevators, which had cabs covered in rubber tiling and were originally built by Hecla Iron Works, but the hydraulic power system was not replaced. By the mid-1940s, the building was fully rented.
Equitable sold the building in 1946 to the Flatiron Associates, an investor group headed by Harry Helmsley, whose firm, Dwight-Helmsley, which would later become Helmsley-Spear, managing the property. The new owners made some superficial changes, such as adding a dropped ceiling to the lobby, and, later, replacing the original mahogony-panelled entrances with revolving doors. Because the ownership structure was a tenancy-in-common, in which all partners have to agree on any action, as opposed to a straightforward partnership, it was difficult to get permission for necessary repairs and improvements to be done, and the building declined during the Helmsley/Flatiron Associates era. Helmsley-Spear stopped managing the building in 1997, when some of the investors sold their 52% of the building to Newmark Knight-Frank, a large real estate firm, which took over management of the property. Shortly afterwards, Helmsley’s widow, Leona Helmsley, sold her share as well. Newmark made significant improvements to the property, including installing new electric elevators, replacing the antiquated hydraulic ones.
The building today
As an icon of New York City, the Flatiron Building is a popular spot for tourist photographs, but it is also a functioning office building which is currently the headquarters of publishing companies held by Verlagsgruppe Georg von Holtzbrinck of Stuttgart, Germany, under the umbrella name of Macmillan, including St. Martin’s Press, Tor/Forge, Picador and Henry Holt and Company.Macmillan is renovating some floors, and their website comments that:
The Flatiron’s interior is known for having its strangely-shaped offices with walls that cut through at an angle on their way to the skyscraper’s famous point. These “point” offices are the most coveted and feature amazing northern views that look directly upon another famous Manhattan landmark, the Empire State Building.
There are oddities about the building’s interior: to reach the top floor, the 21st, which was added in 1905, three years after the building was completed, a second elevator has to be taken from the 20th floor; on that floor, the bottoms of the windows are chest-high; the bathrooms are divided, with the men’s rooms on even floors and the women’s rooms on odd ones.
During a 2005 restoration of the Flatiron Building a 15-story vertical advertising banner covered the facade of the building. The advertisement elicited protests from many New York City residents, prompting the New York City Department of Buildings to step in and force the building’s owners to remove it.
In January 2009, an Italian real estate investment firm bought a majority stake in the Flatiron Building, with plans to turn it into a world-class luxury hotel, although the conversion may have to wait ten years until the leases of the current tenants run out. The Sorgente Group S.p.A., which is based in Rome, controls just over 50% of the building and plans to increase its stake. The firm’s Historic and Trophy Buildings Fund owns a number of prestigious buildings in France and Italy, and was involved in buying, and then selling, a stake in New York’s Chrysler Building. The value of the 22-story Flatiron Building, which is already zoned by the city to allow it to become a hotel, is estimated to be $190 million.
In popular culture
In the 1958 comedy film Bell, Book and Candle, Jimmy Stewart and Kim Novak were filmed on top of the Flatiron Building in a romantic clinch, and for Warren Beatty‘s 1980 film Reds, the base of the building was used for a scene with Diane Keaton.
Today, the Flatiron Building is frequently used on television commercials and documentaries as an easily recognizable symbol of the city, shown, for instance, in the opening credits of the Late Show with David Letterman or in scenes of New York City that are shown during scene transitions in the TV sitcoms Friends, Spin City, and Veronica’s Closet. In the 1998 film Godzilla, the Flatiron Building is accidentally destroyed by the US Army while in pursuit of Godzilla, and it is depicted as the headquarters of the Daily Bugle, for which Peter Parker is a freelance photographer, in the Spider-Man movies. It is shown as the location of the Channel 6 News headquarters where April O’Neil works in the show Teenage Mutant Ninja Turtles TV series. The Flatiron Building is also the home of the fictional company Damage Control in the Marvel Universe comics and for the CIA sponsored, super hero management team “The Boys” in the Dynamite Comics title of the same name.
In 2013, the Whitney Museum of American Art installed a life-sized 3D-cutout replica of Edward Hopper’s 1942 painting Nighthawks in the Flatiron Art Space located in the “prow” of the Flatiron building. Although Hopper said his picture was inspired by a diner in Greenwich Village, the prow is reminiscent of the painting, and was selected to display the two-dimensional cutouts.
(photo, below) Rear View of the Flatiron Building
Mapping time has long been an interest of cartographers. Visualizing historical events in a timeline or chart or diagram is an effective way to show the rise and fall of empires and states, religious history, and important human and natural occurrences. To see more interesting maps ranging in date from 1770 to 1967, visit over 100 examples in the Rumsey Map Collection.
For any nation, the flag is a source of great pride, whether it’s being flown on a national holiday or being waved in the air at a sporting event. This is certainly no exception in the United States. The American flag has become just as much a part of the American identity as baseball, apple pie and fruited plains.
In fact, so important is the flag to the people of America that there are several laws in place to make sure that it is flown, stored, and cared for properly. They range from the simple rules of respect (don’t put any marks or drawings on the flag) to the slightly more specific (how a flag should be raised to half-mast).
This infographic breaks down all of these laws, and also takes a look at how the American flag has evolved throughout history, from 15 stars at the beginning to the 50 we know today.
Waking up is hard. Most of us would love to sleep in. Getting that extra hour or so of sleep can make all the difference to some of our temperament for the day. But there are other things, possibly important things that could be accomplished while you are getting that extra sleep.. The benefits of waking up earlier are significant. You can get that work out in, read the newspaper, etc. You can get to the bagel shop before breakfast rush comes in. You would have more time to prepare yourself for the day to come.
Taking time to be more proactive in the morning is what everyone should do at least do once or twice a week. Getting up before most people are awake would give you that special quiet time to get organized and a time to plan things out thoroughly. If you get to the gym early, you’ll practically have the whole place to yourself. Exercise and going to sleep early will grant you more motivation and energy throughout your day.
This infographic displays a few high-profile business leaders that get their day started early. Chances are the majority of us may not ever become the CEO of a company. One thing for sure is that many of us can definitely utilize time more wisely in order to be better and more successful. Success comes to those who have the will to seek it. Take charge of the morning and get your worms, Early Bird! [Source]
Color Emotion Guide
Logo designers have several puzzles to solve when presented with a new logo design project. One of the main considerations that a designer must deal with is to understand what it is that the client wants to achieve with the logo design.
The designer asks the client a series of questions that illicit answers helping to bring the parts of the puzzle together. A typical question might be “What qualities does your business want to be known for?” The answer might be for a doctor for instance, “I want to be known as someone you can trust”. So the question and answer begs: How does the designer portray trust in the logo design?
Scientists have been studying the way we react to colors for many years. Certain colors make us feel a certain way about something. As long as the designer knows what these colors and emotions are, the designer can use that information to help present the business in the right way. These are not hard and fast rules but smart designers use the information to their clients advantage.
This fun infographic lays out the emotions and qualities that well known brands like to be known for. The color psychology is only one part of the puzzle but I think you will agree it is a very important part of it.
Before you commission a logo designer for your new logo design, make sure they have a good understanding of the psychology of color. It´s so easy to fall into the trap of portraying the wrong qualities and sending out the wrong message if the colors don´t work. That mistake could cost you a lot of money in re-branding, just a short time down the line.
I came across an interesting article about logo evolution in Business Insider written by Jason Nazar (photo, right). Mr. Nazar is the co-founder and CEO of Docstoc.com, one of the premier online website for small businesses that provides the best quality and largest selection of documents and resources to help start, grow and manage your small business and professional life.
Mr. Nazar states that a logo is the visual representation of your company’s identity. Consumers are exposed to a lot of logos throughout the day, and they tend to treat logos the same way they would human faces. They will pass many logos they are unfamiliar with on the street or down the grocery aisle, but if they recognize the face of a dear old friend in the crowd, they are more likely to approach that person and engage with them.
Many of the largest brands iterate on their logos regularly, and some of their changes are more drastic than others. Some of history’s biggest logo evolutions were a step forward for their companies, but others prompted a negative response from customers. Let’s take a look at the best (and the worst) logo progressions of all time, and see what we can learn from them.
Radical but Effective Changes
Most corporate logos go through rather natural evolutions that adapt with changes in consumer tastes. Companies design new logos in order to embrace new cultural design aesthetics, but still make a point to maintain recognizable elements of their brand. Starbucks provides a good example of a logo progression that eases customers into a new style while preserving the essence of their old logo:
Some changes, however, are not quite as gradual. These are some of the more extreme logo shifts throughout history that took a leap and succeeded. These monumental brand shifts were the result of company name changes, rebranding efforts, tackling new markets, or significant business pivots.
Canon was originally called Seikikōgaku kenkyūsho (translated to Precision Optical Industry Co.), and they were responsible for producing Japan’s first 35mm camera, which was called the “Kwanon.” This early 1934 logo depicts Kwanon (an enlightened female being who is revered in East Asian Buddhism) sitting on a lotus flower with thousands of arms. Soon Canon dropped the visual depiction of Kwanon, and in 1947 decided to change its name to Canon instead. This name and logo change opened Canon up to a more international market and has served them well for decades.
We’re all familiar with the famous bitten apple, but few are aware of the quaint, vintage-style logo originally used by the now multi-billion-dollar company. Apple’s first logo, designed by then co-founder Ron Wayne in 1976, featured a pastoral scene of Isaac Newton sitting under an apple tree. Later that year Steve Jobs hired graphic designer Rob Janoff, who simplified the logo to just an apple and included a bite so that it wouldn’t be confused with a cherry. Steve Jobs insisted that Janoff also make it colorful, to humanize the company and make it seem more welcoming (this “colorful” approach was also successful with their first generation of iMac desktops, which were meant to appeal to the average, non-tech-savvy user). Today, Apple has adopted a much sleeker look to match its smooth and glossy gadgetry, but their logo maintains the original apple silhouette that brought them so much fame.
The pixelated, 90s-style red logo you see above was used very briefly during the early days of the internet. Yahoo! quickly went on to design the logo style that most of us are familiar with, the playful (but much cleaner) font that lasted all the way through this year. In August of 2013 Yahoo! announced that a new version of their logo would be released in a month, and Marissa Mayer used the 30-day countdown to promote the logo creation process as well as their newly revamped “My Yahoo” homepage product. Click here to learn more about how the public has reacted to their logo change.
When Jim Casey merged his American Messenger Company with a competitor and created the United Parcel Service in 1917, he designed his first logo with an eagle carrying a parcel and the words “Safe, Swift, Sure” written on the side. They used their black-and-white parcel logo from 1961 to 2003, and interestingly returned to their old brown-and-gold color scheme in their 2003 redesign after over 40 years of a colorless logo.
NBC has gone through some sweeping changes since their first design. NBC began as a radio station broadcast network as early as the 1920s, and used a microphone logo from the 20s until 1942. Their timeless rainbow peacock design emerged in 1956 to celebrate and encourage the ubiquity of color televisions. This peacock logo experienced many permutations throughout the decades, and today some people don’t even realize that the NBC logo is supposed to be evocative of a bird.
This aquatic Nokia logo from 1865 may seem fishy, but that’s because Nokia has gone through some serious pivots since its launch. It started as a Finnish paper mill, and opened a second mill near the town of Nokia on the Nokianvirta river (hence the logo’s water theme). Since then, Nokia has changed focus a lot, creating everything from rubber goods to electronics.
Bold yet Ineffective Redesigns
Almost all logos need to evolve, but when companies move forward they occasionally take a step in the wrong direction. In an attempt to keep up with the more simple and modern design trends, a brand sometimes misses the mark and ends up alienating and confusing their loyal customers.
Here are a few logo modifications that have been generally regarded as “mistakes,” and which their companies ended up retracting. Let’s see what we can learn from their blunders. (Tip: Before letting your logo hit the market, learn how to do logo research and get feedback on your designs).
The logo change seen above was generally considered a PR disaster for the Gap, who decided in 2010 to stray from their famous blue and white box and try something more “contemporary.” The new logo received a lot of extremely negative reactions, and it was dropped after less than a week. Their president, Marka Hansen, resigned not long after the debacle. The reality was that the Gap’s original logo was well-liked by customers and it already had a rather modern edge to it; many fans felt the new logo looked a little too much like basic clipart—moving towards a clean-looking logo is popular, but remember that there’s a fine line between minimalism and too simple.
Kraft has been around for a long time, and many of its brands have been in production for well over 100 years. Kraft’s logo has always had a familiar blue font surrounded by a red oval, but in a 2009 press release Kraft announced that they were giving their “logo a facelift to more clearly deliver ‘delicious’” through a colorful burst and a blue line reminiscent of a smile. It would be a little presumptuous to dismiss this redesign as a “failure,” since some fans ended up being receptive to it, but many customers felt the logo was a little too different and not reminiscent of Kraft at all. No red oval, lowercase instead of capitalized letters and a whole new color scheme. This is perhaps why Kraft has held off using this new logo on their actual packaging; when customers are walking down the aisle, you want them to immediately recognize your products.
In 2009, Tropicana eliminated their old straw-in-orange look for more modern-looking cartons. On the surface, Tropicana did everything right; they’d been using the same imagery for decades, and wanted a cleaner look while maintaining the same colors and theme. However, President Neil Campbell admitted that they “underestimated the deep emotional bond” that loyal customers had with that red-and-white straw protruding from a juicy orange. Many customers also complained that the new design looked too similar to other brands, and they confused Tropicana with other generic options when shopping. Tropicana quickly returned to using their original logo, and probably will do so for years to come. The lesson? Sometimes what you believe is holding your company back is actually what sets you apart from your competitors.
Tip: Need help creating a logo? Learn more about logo creation and other business design skills with this free online course.
I also encourage you to visit Jason’s Web site for Docstoc.com here.