FROM Michael Hodgson
When Is a Logo a No-Go? The "new" Gap logo, designed by Laird + Partners On October 5, clothing company Gap quietly unveiled a new logo, the first change to the logo in 20 years. Consumers didn't seem to like it, taking to Facebook and Twitter to express their dislike, and design publications picked up on the outrage , giving the logo flap names like Gapgate . After announcing they were actually launching a contest to create additional logos , less than a week later, Gap retracted the logo and the contest, saying it was sticking with the 20-year-old logo instead. What happened? Frances talks with branding consultant Sasha Strauss about whether or not logos really do impact consumer behavior, and how important logos are to a brand's overall personality. Then, graphic designer Michael Hodgson talks about what makes a successful logo and walks us through some recent logo refreshes that worked. The new Coca-Cola logo, reconceived by Turner Duckworth
Lucia Micarelli: An Evening with Lucia Micarelli Violinist and actress Lucia Micarelli visits The Treatment to discuss her emotive performances as she prepares for PBS' An Evening with Lucia Micarelli.
Revisiting showrunner Steven Bochco on his memoir Steven Bochco, the writer-producer behind record-breaking Emmy winners Hill Street Blues, LA Law and NYPD Blue, fought battles with everyone from out-of-control actors to network censors in his long career. He isn’t afraid to tell those tales in his memoir, Truth Is a Total Defense. This week we revisit the conversation where he shared some of his favorite stories with us.
Farewell LA freeways, Peter Shire is back Angelenos don't want more freeways but we seem not to want mass transit either. Metro has killed the 710 freeway extension, and bus and train ridership is down across the region. What's the future of getting around in LA? And, Peter Shire is having a comeback. What attracts a new generation to his playful ceramics and furniture?
George Saunders: Lincoln in the Bardo (Part I) Lincoln in the Bardo dramatizes a grieving President Lincoln as he visits the grave of his beloved son Willie, who died at age eleven. In the novel, the buried dead believe they're not dead -- "they're sick and refer to their coffins as "sick boxes."