MADETODesign

MADETODesign Graphic Design Services



Run by Madalina
Graphic Designer Hi. My name is Madalina. I am a graphic designer and poet.

Poetry—it’s where my creativity begins that often shapes the way

I approach design. With a strong focus on print design, I specialise in creating impactful visuals for products like leaflets, banners, and large-format materials. Originally from Romania, I’ve been based in the UK for the past ten years, continually refining my technique and expanding my skill set. Outside of work, I find balance i

n nature and connection—spending time in parks, with friends, and with family. I bring patience, dedication, and a calm presence to everything I do, values I implement in my design process.

09/01/2026

Help Me Choose My Business Card.
Choose 1 or Choose 2.
The most voted one will go to .
Drop it in the comments.

11/10/2025

Michael C. Gross (1945–2015) was an American artist, designer, and film producer renowned for creating the iconic Ghostbusters logo. A Pratt Institute alumnus, Gross began his career as art director for National Lampoon (1970–1974), where he designed the infamous “If You Don’t Buy This Magazine, We’ll Kill This Dog” cover. In 1980, he transitioned to Hollywood, working as an associate producer on Ghostbusters (1984). Gross, with artist Brent Boates, refined Dan Aykroyd’s original concept for the “No-Ghost” logo—a cartoonish ghost in a red circle with a slash, initially intended for the Ecto-1 and uniforms. Its clean, universal design became a pop-culture phenomenon, topping Pratt Institute’s 2012 survey of admired alumni icons. Gross’s role extended to managing special effects artists and contributing to films like Heavy Metal and Ghostbusters II, where he redesigned the logo with a two-fingered gesture. His graphic design background, including work for the 1968 Mexico City Olympics and John Lennon, shaped his versatile career. Gross later retired to painting and photography in California, passing away from cancer in 2015. His logo remains a timeless symbol of the Ghostbusters franchise.

11/10/2025

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.

11/10/2025

Terry Heckler, a Seattle-based graphic designer, created the original Starbucks logo in 1971 for founders Jerry Baldwin, Zev Siegl, and Gordon Bowker. Inspired by a 15th-century Norse woodcut of a twin-tailed siren, he designed a circular emblem featuring a bare-breasted siren encircled by the text "Starbucks Coffee, Tea, and Spices" in brown, reflecting the brand's maritime and coffee-trading roots. As Starbucks evolved, Heckler updated the logo in 1987 after Howard Schultz’s acquisition, introducing green and covering the siren’s nudity with hair, simplifying it to "Starbucks Coffee." His work laid the foundation for the brand’s iconic identity.

11/10/2025

Saul Bass (1920–1996), a pioneering American graphic designer, transformed corporate branding with his minimalist approach. In 1969, Bass redesigned the Bell System logo for AT&T, creating a sleek, iconic bell symbol that became a hallmark of modern design. His process began with analyzing the outdated 1939 logo, which was overly ornate and impractical for widespread use. Bass prioritized simplicity, ensuring the new logo was scalable across 135,000 vehicles, 22,000 buildings, 1,250,000 phone booths, and 170 million directories. He sketched extensively, refining the bell into a clean, geometric form that retained brand recognition while embracing modernity. His 27-minute pitch film to AT&T executives detailed this vision, blending cultural trends with practical branding solutions, including proposals for uniforms and phone books. Though not all ideas were implemented, the logo achieved 93% recognition, cementing Bass’s legacy in design innovation until its replacement in 1983.

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Barnsley

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Monday 8am - 5:30pm
Tuesday 8am - 5:30pm
Wednesday 8am - 5:30pm
Thursday 8am - 5:30pm
Friday 8am - 5:30pm

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