Category Archives: Logo Design

New Starbucks logo announced

starbucks logo

Starbucks announced their new logo just a few hours ago and already some people hate it and some others love it. Some are pointing out the logoflop GAP made last year – some do appreciate it for it’s elegance and simplicity. I really do like it, the old one did indeed look dated, specially next to the new one.

starbucks logo

starbucks logo



Creative Latitude Features five graphic make-overs by Paragon

Creative Latitude recently featured five graphic make-over case studies by Paragon Marketing Communications.

European Center for Advertising Redesign

La Baguette Logo Redesign

KGL Transportation Logo Enhancement

KGL Holding Logo Redesign

Rayyan Design Logo Redesign

European Center for Advertising Logo
by Louai Alasfahani, Paragon Marketing Communications
Background:European Center For Advertising is a Kuwait based Media Buying Unit which is ranking as number one in the local market for the past 15 years. 

As I was hired to do some consultancy work for the client I have recommended that the logo needs a redesign as it is outdated and does not represent the client leadership in the market.

I approached this redesign as I do with every project; I asked plenty of questions and worked towards achieving the agreed goals of the project, which in this particular case were to project a contemporary image of the organization, communicate its leadership and visually represent their name.


ECA logo before


I approached this redesign as I do with every project; I asked plenty of questions and worked towards achieving the agreed goals of the project, which in this particular case were to project a contemporary image of the organization, communicate its leadership and visually represent their name.

How did I decide that the logo needed to be changed subtly or completely redesigned? Since their logo was very extremely outdated I decided to completely redesign it.

I decided that the name has strong brand equity so I kept it as European Center and dropped the descriptive part “for Advertising” which was previously used as an integral part of their logo design.

I decided to move away from abbreviations and use their full name “European Center” as well as changing the typeface and color scheme to something more European.

Final result:

The client appreciated the work and the thinking process behind the work, and most importantly he appreciated that it was well perceived in the marketplace, which was a major concern of his since all of his clients are advertising agencies that are highly opinionated to the extent that he claimed that the design was not created locally.


ECA logo after

Alina’s Feedback:

The original logo was barely an actual logo. In its format of gradations and blurred background, it must have been very challenging to use in a variety of formats. I shutter to think how it went through a fax machine! Louai was smart to drop the abbreviations and descriptive tag. It creates a much stronger read, brand recognition and presence. Good choice of colors too!

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Paragon featured in four more International books

Paragonians holding their proof of success 🙂

Published in Arab Ad, December Issue. Page: 143.








Published in Arab Times daily newspaper. October 14th 2010.

Paragon Marketing Communication, one of Kuwait’s leading advertising agencies, has yet again been featured in 4 recently published international books on advertising and graphic design. Namely, ‘Logo Lounge Master Library’ Vol.1 3000 Initial and Crest Logos, ‘Logo Lounge Master Library’ Vol. 2 Animal and Mythology Logos, ‘Letterhead and Logo Design 11′ and ‘Design Matters//Portfolios’.

Logo Lounge Master Library authored by Catherine Fishel and Bill Gardner is a collection of logos assorted from the internationally reputed website The book features designs created by international design firms, along-with, top-tier logo designers who share their insights on values, traditions and the future of designing. While Letterhead and Logo Design 11 by Design Army presents the latest, most innovative, and exciting work from well-known design leaders, new design firms, and cutting-edge artists. The third publication Design Matters/Portfolios by Maura Keller focuses on what makes a design stand out from the crowd in terms of layout, core attributes, and materials used.

Paragon Marketing Communications has been previously featured in several international books on advertising and graphic design some of which are: The Complete Graphic Designer by Ryan Hembree, Crack by Alexander Egger, The Best of Business Card Design by Sibley/Peteet Design/Austin, Letterhead & Logo Design 9 by The San Francisco Design Office Mine, Logo Lounge 4 by Bill Gardner, Identity Crisis by Jeff Fisher, The Big Book of Self promotion by Peleg Top and Ilise Benun, 500 Really Good Logos Explained by Margo Chase, Rian Hughes, Ron Miriello and Alex W. White.

On these latest achievements, Sheikh Dawoud Al Sabah, a prominent International Advertising Association member and a long standing patron of Paragon Marketing Communication’s work, said, “We are proud of Paragon’s achievement and that their work has represented Kuwait well globally.”

In addition, Louai Alasfahani, Managing Partner & Chief Creative Officer, Paragon Marketing Communications, commented, “We are proud to represent Kuwait in the international arena.”

Furthermore Gaya Kruchlik, Deputy General Manager, Paragon Marketing Communications, added, “Paragon Marketing Communications achievements also include a total of 52 awards which reinforces its position as Kuwait’s most awarded agency.”

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Top 10 Signs You’re a Fontaholic

10. You spend more time looking at how the name of the car in front of you is written rather than where you’re going.
9. You have 3 or more fonts on your computer that are fantasy or science fiction languages/symbols that you can’t read, but hey… they look cool.
8. You’re the only one you know who thinks being able to have only a few HUNDRED fonts on Windows 98 is a problem.
7. You agonize for hours over which font to remove from your maxed-out system in order to install the cool new font you found today.
6. You visit a Font-of-the-Day site for two and a half months before finding a font you haven’t seen before.
5. You try to explain to your friends why you like fonts so much, and it only makes you sound geekier.
4. You truly believe Ray Larabie is a GOD.
3. You state with conviction that you can never have enough calligraphy fonts.
2. You don’t have any outline fonts on your computer when you already have their solid versions because the outline versions would only take space away for other fonts.
And the number one sign you’re a fontaholic:
1. You can often point out lettering you see in advertisements or logos by their font names; “Hey, that’s Colonial Uncial!”

Paragon is a proud sponsor of PAWS Kuwait

Paragon is a proud sponsor of PAWS (Protecting Animal Welfare Society). We like PAWS so much that we designed their van livery and re-designed their logo as well as collaborated on several other projects. We even adopted a cat 🙂 Please support PAWS in any way you can and remember little acts of kindness go a long way.

Published in Kuwait Times in April, 2006.

We also participated in the photo competition for work to be included in the PAWS calendar, two of my photos have won and got included in the calendar which we printed for them through sponsership by Arab Times daily English newspaper. I also would like to thank Kuwait Times English daily newspaper for sponsoring the printing of PAWS previous calendar.

Main photograph by: Louai Alasfahani

Main photograph by: Louai Alasfahani.

Published in The Daily Star daily English newspaper. November 11-12, 2006. Page: 14.



Spec Work and Crowdsourcing: Gambles that Don’t Pay Off

The economy’s in the toilet and you’re hungry for jobs, so you’re working on spec or posting designs to sites like CrowdSpring. It’s understandable. The problem is, spec and crowdsourcing can lower your value and hourly rates so far that minimum wage looks like a fat paycheck. Here’s what to do instead.

Written by Pamela Pfiffner on April 27, 2009

Finding meaningful work that pays well has always been a challenge for designers. You hustle to attract prospective clients, produce thorough proposals highlighting your suitability for the assignment; pitch possible design solutions; submit a bid for a budget; and hopefully get the job.

If you do, you work to develop a good relationship with the client that includes constant and thoughtful communication about objectives, goals, and branding. Based on feedback, designs evolve over time until the client is satisfied. Then you cash your well-deserved check.

But increasingly, this process is being undermined by two client initiatives, one old and one new: spec work and crowdsourcing.

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Seven ‘Kuwait Arabic Advertising Awards’ facts




By Louai Alasfahani

 1-      What is your opinion of the KAAA’s initiative – to be applauded, or pointless?

The KAAA “intended” step towards following the well established practice of Cannes Lions, Dubai Lynx and other reputed creativity awards in withdrawing trophies (from agencies that have been proven to have won with copy-cat, spoof/ghost or cliché ads) is certainly to be applauded – provided KAAA actually takes this crucial first step. Withdrawing only one trophy as an attempt to save the KAAA integrity due to mounting pressure from the industry watch-dog, the IAA Kuwait chapter (sponsors of last year’s KAAA) or as a timely reaction to the increasing publicity on copy-cats in trade publications is not enough. Only the withdrawal of all awarded copy-cat work can save the KAAA integrity and make the effort of combating copy-cat ads meaningful.

2- Shouldn’t agency staff be encouraged to look at others’ work to find inspiration, after all nothing is really original?

In theory – Agency staff are encouraged to look at others’ work to open their minds to the infinite possibilities of creating new artworks. In reality – the copy-cat problem is due to agency staff constantly looking at others’ work, falling in love with others’ work (specially internationally awarded others’ work) copying others’ work then selling it to their clients as their own creations and being awarded for such practice!!! I strongly disagree that “nothing is really original”; this statement is parallel to “there is no new thing under the sun” – Ecclesiastes i:8.Since this is a very long argument; I have summarized my disagreement with fundamental definitions/process of creativity with some quotes to clarify my point:

1-      Creativity by definition of Lateral Thinking: “When a low probability line of thought leads to an effective idea, there is a “Eureka” moment and at once the low-probability approach acquires the highest probability”. – Edward De Bono.

2-      Creativity as a process of Bisociation: “The bringing together of two previously unrelated planes of thought”. (Examples from the art world include one of Picasso’s paintings when he brought together the style of the sculpture of African masks with Paul Cezanne’s brush technique; another example is the portraying of a face in profile together with a full face).(example of daily life is sailing + surfing = windsurfing  another example is glue + Woods Shaving = chipboard) in other words “Creativity is finding new things…or expressing old truths in new ways” – Roger vol Oech.

3- To what degree is copying acceptable in terms of art direction or ideas?

“There are three arts which are concerned with all things: one which uses, another which makes, and a third which imitates them” – Plato. Copying is not acceptable at all in terms of the big-idea/concept however it is tolerable in terms of art direction and technique.
4- Why do you think the region is resorting to copycat work?

The region is resorting to copycat work for a number of reasons; in some occasions for a combination of all the listed reasons:

1-      Lack of self-regulation.  Internationally “aligned/affiliated” agencies have only embraced the international agency “name/logo” but not the more important- international agency “culture”.

2-      Un-sufficient enforcement of copyright laws in the advertising industry.

3-      Rising costs and Lower industry profit margins in the GCC than the developed world.

4-      Quick profit combined with good old fashioned laziness. “Time is money”.  It is much easier, much faster and much more profitable to copy already existing work than to invest time in creating something new and original.

5-      Lost passion. Many professionals have lost their passion for the industry so anything goes. Those who still have passion believe that “When love and skill work together expect a masterpiece” – John Ruskin.

6-      Wining at any cost. Many creative directors have resulted to spoof ads and copy-cat ads to unethically accelerate their carriers on the account of other more talented and deserving individuals – but this will not last.

7-      Lack of knowledge on the part of most clients with regards to copy-cat work which directly effects creative output in this region.(Although clients are not the ones to be blamed).

5- Do you think it is a problem particular to the region?

There is bad news and then there is very bad news; The bad news is – the problem is not particular to this region alone; as evident in blogs and websites dedicated to fighting this problem, examples are (first site in the Middle East dedicated to fighting copy-cats), (author of the world’s first book on copy-cats) and the very bad news is  – only in this region has the problem reached epidemic proportion.

6- Can agencies be better ‘policed’ to ensure copying doesn’t happen, and when it does, who should take the blame?

Agencies can be better policed in a number of ways, such as;

1.     Self-regulation. Each agency can lead by example by reprimanding any member of the agency compromising its integrity with spoofs and copy-cat ads. (Even before the idea/concept is presented to the client for approval). “I would rather fail for attempting to do something different, than just do constantly mediocre work” – Jack Mariucci

2.       If and when self-regulation fails (intentionally or unintentionally) we as industry professionals have the moral obligation to report (with proof) any copy-cat work to the industry governing body – the IAA local chapter ; which in turn will take necessary actions. (An important fact is that many creativity awards are presented in association with the IAA and industry leaders are IAA board members).

3.       In the unlikely event that the IAA local chapter does not take adequate actions then industry professionals can report (with proof) any copy-cat work to their favorite trade magazines which in turn will gladly publish it. (In addition copy-cat work can also be reported to specialized advertising blogs).

4.       If all fails then as a last measurement we as industry professionals can do the client a favor by enlightening them by means of forwarding (with proof) any copy-cat work that has been sold to them by the agency.

It is interesting to note that creative directors constantly complain about clients not embracing creativity in this region, yet manage to sell them copy-cat ads created by a different agency, for a different market, in a different continent many years ago…but continue to blame clients!!! Agencies are paid to create good work not to copy great work. “Imitation is not the most sincere form of admiration but the sincerest form of thievery”.

7- Do clients really care if work is copied if it works for their brand and doesn’t clash with anything locally?

Clients entrust agencies in producing original, creative, relevant artworks that sells products and services and are not aware they are paying for copied work.  (It is not a client responsibility to investigate the work copied by an agency). Yes, clients do care if work is copied; even if it works for them they would shift their account to another agency. To put the theory to the test publish some examples of copy-cat ads then call those clients for an opinion 😉


Jorge Frascara. Communication Design Principles, Methods, and Practice. Allworht Press, 2004.

Frank Jefkins. Advertising Third Edition. M+E Handbooks. 1994.

John Townsend & Jacques Favier The Creative Manager’s Pocketbook.

Alastair Campbell The Designer’s Lexicon.

Capsule. Design Matters.


cup cake

Moryarti writes:

Creativity for Dummies: Design sport event logo in 3 easy steps

1. Visit logo designer website
2. Play around with colors
3. Add one football
Voila…. you have one fancy logo!

What more can I say? These ‘logos for sale’ sites are being used everyday. Someone was bound to point it out! Is it an embarrassment to the agency/design company who delivered the logo to the client? Only if they charged a bundle for it!



A logo (Greek λογότυπος = logotypos) is a graphical element, (ideogram, symbol, emblem, icon, sign) that, together with its logotype (a uniquely set and arranged typeface) form a trademark or commercial brand. Typically, a logo’s design is for immediate recognition, inspiring trust, admiration, loyalty and an implied superiority. [1] The logo is one aspect of a company’s commercial brand, or economic entity, and its shapes, colors, fonts, and images usually are different from others in a similar market. Logos are also used to identify organizations and other non-commercial entities.

A copycat is a person that mimics or repeats the behavior of another. The term is often derogatory, suggesting a lack of originality. The expression may derive from kittens that learned by imitating the behaviors of their mothers. – Wikipedia.

Plagiarism: The abuse of another’s original work by copying it and passing it off as one’s own. As defined in Alastair Campbell book titled The Designer’s Lexicon. Page: 293 ISBN: 0-304-35505-4.

Imitation is the sincerest form of thievery” excerpt from a book by Capsule titled Design Matters. Page: 84. ISBN -13:978-1-59253-341-1.