Take constellations for example. When we look at the night sky we look for stars that are close to one another and try to find some sort of meaning. Based on their proximity to one another we have clustered groups of stars and given them specific names and shapes such as The Big Dipper or Orion’s Belt. We have essentially created meaning out of randomness.

Look at the image of circles below. On the left side it appears that the circles are haphazardly placed in no particular order. On the right side, even though the same circles are used, it is clear to us that the shape of a triangle has been formed. Our minds have found a unity amongst the shapes based on their proximity to one another.

The Law of Proximity | Jeremy Bolton

We take comfort in the fact that something has a purpose, even if we have to be creative in how we form that purpose. This natural process of the brain can be used to a designers advantage when creating logos.

Look at the Adidas logo below. The version on the left shows the various pieces of the logo randomly spread apart. Now look at the logo as a cohesive unit on the right. The same pieces are used on both the right and the left. The only difference is their proximity to one another. Although the Adidas logo may not create any specific form, our minds create an order and cohesiveness because of how close the shapes are to one another. We begin to notice how each shape relates to the other based on their proximity.

Adidas Logo | Jeremy Bolton

In order for the law of proximity to work effectively it must be noted that empty or “white” space must also be provided within a design. This gives objects a defined space in which to relate. Take the Sun Mircosystems logo for instance. With no white space given to the logo our mind picks up a pattern rather than a single instance of the logo as you can see below.

Sun Microsystems Pattern | Jeremy Bolton

When a single instance of the logo is given enough empty space to breathe we can start to see how the proximity of the positive shapes relate to one another . With all the clutter taken away it is now easier to see how the “U” shape is used to create the “s”, “u”, and “n” in the word sun. This means the empty space around a logo is just as important as the logo itself.

Sun Microsystems Logo | Jeremy Bolton

It is worth noting the difference between the gestalt law of proximity and the law of closure. Both relate to the idea of how shapes relate to one another. However, the law of closure takes into account that to be successful the viewer must help “complete” the shape by filling in missing pieces of the design (as with the WWF logo). The law of proximity is not looking for the viewer to fill in any missing gaps, but rather assumes that all of the objects are considered a single group based on their nearness to one another. Here are a few examples of logos that use the law of proximity effectively.

The Best logo uses the proximity of each letter to easily show an increase in letter height.

Best Logo

The NYNEX would not be as effective if the “E” and the “X” were not so close to one another. Having each letter so close to the next helps the eyes transition from one set of white lines created in the “E” to the set placed inside the letter “X”, making it feel as though they are the same line.

NYNEX Logo

The London Docklands Development Project uses the close placement of each element to create a complete picture, something that may be lost if the proximity of each element was placed further apart from one another.

London Docklands Development Project Logo

The Gestalt law of proximity may be a little more subtle then the other laws, but when used correctly it can be just as helpful in creating logos that are effective and timeless.

We are inclined to look for visual patterns wether we realize it or not. This is why the Gestalt Principle of similarity works so well when designing logos. The principle of similarity states that objects which share visual features such as shape, size, color, texture, value or orientation will be understood as belonging together. When designing logos we can use this “pattern searching” part of our brain to give a logo unity and interest.

Health Unlimited Logo by The Partners, 1992

Lets take a look at a few examples of how similarity is successfully used in logo design. As you can see in the Health Unlimited logo (above) the similarity between the cross and the moving person is easily discerned. Though each of the shapes between the first and the last are slightly different our minds still sees enough of a resemblance to unite them together. The use of the solid black color for each of the shapes also serves to link each shape to the others.

Reuters Old and New Logo

In both the old and new Reuters logo similar color and dot sizes are used to make the logos cohesive even though the dots never touch. In the old logo the various letters of the word “reuters” are easily legible because the dots share a similar size and color. The current logo adds a more dynamic feel by using slightly varying dot sizes while still being linked together by the use of the orange color.

But it isn’t only similarities that our mind recognizes. We also notice when something is out of order or disrupting a pattern. This is known as an anomaly and it also works well in logo design. As you can see below both the Exxon and Mobil logos make use of a design anomaly in order to add interest. In the Exxon logo the two x’s breaking out of the baseline and cap height create the anomaly. In the Mobil logo the use of the red “o” becomes the anomaly when all the other letters in the name are in blue.

Exxon Logo by R. Lowey, 1971, Mobil Logo by Chermayeff & Geismar, 1965

Both similarity and anomaly create logos that are visually interesting and cohesive. Patterns or anomalies don’t need to be over the top in order to get their point across. When designing a logo remember that the viewer’s mind will pick up even subtle patterns or interruptions in those patterns. In short: keep it simple!

Popchips Logo

Popchips Packaging

I came across this logo and package design in a fitness magazine advertisement last month. I think this design made some great use of the Gestalt Law of closure. The letter “o” and “i” are entirely created using only negative space and the edges of the surrounding letters. I think the letter “i” is especially clever while still being easily legible. What do you think of the Popchips logo?

First up let’s take a look at the Gestalt Principle (or law), also known as the “Law of Simplicity.” The Gestalt Principle is a theory that says our minds self-organize information in a manner that is orderly, regular, symmetric, and simple. This means that when we see a cluster of lines and shapes our minds attempt to organize them into a single, cohesive form, rather than a collection of individual parts. It should go without saying that the Gestalt Principles are extremely helpful when trying to understand how a logo will be perceived by an audience.

WWF Logo Using Closure

So let’s jump right in and take a look at the law of closure. Just to be clear the law of closure will not help you bury the hatchet with your “ex.” (That kind of closure is a lot tougher to figure out).

The kind of closure we are talking about occurs when a series of visual elements suggest a connection between one another, when, in fact, they never actually touch.

A great example of this is the World Wide Fund For Nature designed by Sir Peter Scott in 1961. The image of the panda is not complete because the areas of white on the panda are not defined by a stroke or shape. However, our minds still recognize the shape of the panda and complete (or close) the two areas of white in order to make sense of the panda’s head and body.

Using the law of closure makes any logo more interesting. Paul Rand’s original design for the IBM logo in 1956 used solid letterforms based on the typeface City. It was only later, in 1960, that he used eight solid lines, separated by empty space, to add interest to the logo design. Both versions represent the same three letters, but using the law of closure makes the mark all that more interesting and causes the name to stand out amongst it’s competition.

IBM Logo

Other examples of closure in classic logo designs can be seen in the Playboy rabbit logo created by Arthur Paul in 1953 and the NBC Peacock logo designed by Chermayeff & Geismar in 1986. In both instances shapes are placed near one another, but, as you can see, none of the shapes actually touch. This causes us to think a bow-tie or a peacock is present.

Playboy Logo & NBC Logo Using Closure

Using closure in your logo designs is a great way to add interest and help your client stand out. When used correctly it only subtly hints at what it is trying to represent, but is always easily identifiable upon closer examination. So the next time you are sketching out logo ideas for a client see if you can work in a few solutions that use closure. It may be the difference that makes or breaks the logo.