Siebenthaler Creative

10/20/2025

Though too often referred to as "rebranding" this corporate identity update is a major improvement in both visual appearance and public perception; from relatively opaque LLS to transparent and relatable Blood Cancer United. https://gdusa.com/lls-rebrands-to-blood-cancer-united/

10/16/2025

I've never thought the case for A/B testing held water, especially for SMBs; this column by Amanda Natividad spells out the whys and why nots. Can anyone imagine A/B testing Apple's 1984 monster hit? Or making the argument for chartreuse over ivy green as a button color? Do yourself a favor — hire a good CD or AD.

Marketers love to talk about A/B testing. Heck, I’ve said it too. It sounds prudent. Responsible. “Test before you commit! Don’t waste resources!” But the

10/13/2025

if you only had one design muse to follow…

Paula Scher, a celebrated graphic designer and Pentagram partner since 1991, has left a lasting mark on modern design with her bold typography and iconic logos. She redesigned the Windows 8 logo in 2012, simplifying it into a minimalist, four-pane window symbol that reflected the Metro design language, emphasizing functionality and modernity. Scher also created logos for Citibank, the High Line, The Public Theater, Tiffany & Co., and Shake Shack, blending cultural and corporate aesthetics over her 50-year career.

10/08/2025

Important! “Remained legible even at small sizes”. Long before the need for business cards and Yellow Pages were a major consideration.

In 1977, Apple needed a new logo to replace its original, overly complex design by co-founder Ronald Wayne, which depicted Isaac Newton under an apple tree with a poetic inscription. Steve Jobs, preparing to launch the Apple II, the first personal computer with a color display, wanted a modern, approachable logo to reflect the company’s innovative and user-friendly ethos. Janoff, a young art director at Regis McKenna, was given the project with minimal direction from Jobs, famously summarized as, “don’t make it cute.”
While the logo was hand-drawn (not designed on a computer), Janoff’s sketches were refined into a precise, geometric form. By 1990, Landor Associates further streamlined the silhouette for consistency, using careful measurements to maintain its proportions. The logo’s simplicity ensured it remained legible even at small sizes, such as on product labels or software icons.

09/25/2025

don't know who needs to see this — we're not out of the woods yet... h/t Laura Olin

Predictions of apocalyptic events that will result in the extinction of humanity, a collapse of civilization, or the destruction of the planet have been made since at least the beginning of the Common Era.[1] Most predictions are related to Abrahamic religions, often standing for or similar to the e...

09/25/2025

Mercedes-Benz just proved print's not dead with this ingenious campaign. Points for flawless ex*****on.

Credit: BBDOIndia

09/18/2025

The recent dust-up over Cracker Barrel's logo is examined in this discussion on marketing, identity, and branding. By retreating to a worn out design leftover from the 1960s, the chain is left with an illegible blob the color of government cheese and brown furniture.

Debbie Millman on Cracker Barrel's new logo, the company's quick reversal, and branding in a culture saturated with outrage.

09/07/2025

A squandered opportunity to develop a mark that looks like something more than brown furniture on a field the color of government cheese.

A logo is more than just a logo.

09/03/2025

In 1982, graphic designer Salvatore Gregorietti, born in Palermo in 1941, redefined Pirelli’s iconic logo, cementing its place as a timeless symbol of corporate identity. Trained at Milan’s Liceo Artistico di Brera and Zurich’s School of Arts and Crafts, Gregorietti began his career in the 1960s with Massimo Vignelli, designing for Milano Libri. Joining Unimark International in 1965, he collaborated with Bob Noorda on branding for major firms like Agip and Feltrinelli. For Pirelli, Gregorietti standardized the logo’s stretched “P” a nod to founder Giovanni Battista Pirelli’s signature, first introduced in 1914 but inconsistent in use. His 1982 manual detailed precise letter proportions, spacing, and designs for the “R” and “E,” ensuring uniformity across all applications. This update, later expanded in 1997 by Pierluigi Cerri, emphasized speed and stability, aligning with Pirelli’s tire manufacturing identity. The logo’s enduring design became a hallmark, notably through Pirelli’s Inter Milan sponsorship from 1995 to 2021. Gregorietti, who later founded Gregorietti Associati and won a Compasso d’Oro for Ottagono magazine, left a lasting mark on graphic design with this project.

08/27/2025

with the uproar over the ongoing disaster that finds itself drowning in, this timely piece on the importance of and principles behind corporate visual identity is a reminder that DIY is a poor strategy for successful ...

Hyperakt's Deroy Peraza on why logos matter less—and more—than you think.

08/21/2025

08/14/2025

LA artists use the power of design to deliver a message... https://gdusa.com/la-artists-and-designers-present-visual-response-to-ice/