Sinclair - TM : the untold stories behind 29 classic logos

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Sinclair TM : the untold stories behind 29 classic logos
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TM offers graphic designers and those interested in the history of design and branding a uniquely detailed look at a select group of the very best visual identities.
The book takes 29 internationally recognized logos and explains their development, design, usage, and purpose. Based upon interviews with the designers responsible for these totems, and encompassing the marks from a range of corporate, artistic, and cultural institutions from across the globe, TM reveals the stories behind such icons as the Coca-Cola logotype, the Penguin Books colophon, and the Michelin Man.
Based upon comprehensive research, authoritatively written and including a wealth of archival images, TM is an opportunity to discover how designers are able to squeeze entire identities into 29 simple logos

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TM

The Untold Stories Behind 29 Classic Logos

Mark Sinclair

Contents Saul Bass 1969 Gerry Barney Design Research Unit 1964 David - photo 1

Contents

Saul Bass

1969

Gerry Barney,

Design Research Unit

1964

David Gentleman

1969

William Golden

1951

Jean Widmer,

Visuel Design Association

1977

Allan Fleming,

Cooper and Beatty

1960

Gerald Holtom

1958

Frank Mason Robinson

1886

Anton Stankowski,

Stankowski + Duschek

1974

Mike Dempsey,

Carroll, Dempsey & Thirkell

1991

Otl Aicher

1974

Milton Glaser,

Milton Glaser, Inc.

1975

Edward Johnston

1916

OGalop

1898

Coordt von Mannstein,

Graphicteam Kln

1968

Bruno Monguzzi

1983

Bruce Blackburn,

Danne & Blackburn

1974

Ian Dennis,

HDA International

1974

Manolo Prieto

1956

Edward Young

1935

FutureBrand Buenos

Aires and Lima

2010

Unknown

1907

Ben Bos,

Total Design

1966

Joan Mir

1984

Wolff Olins

1999

Paul Rand

1961

Alan Fletcher,

Pentagram

1989

Franco Grignani

1964

Sir Peter Scott

1961

Introduction The seeds of this book were sown in a special issue of Creative - photo 2

Introduction

The seeds of this book were sown in a special issue of Creative Review magazine, in which my colleagues and I attempted to tell the stories behind the creation of some of the worlds best-known logos. As with the issue, this book is also a group of favourites, rather than an attempt at a definitive best ever list. The logos are not ranked in any order; while they have each vied for attention in the real world, they are not in competition here.

My use of the term logo is as a catch-all that includes logotypes (typographic or wordmark logos) and symbols (pictorial logos). Of the 29 featured, for example, 13 are symbolic in nature, 13 are based on an arrangement of letterforms, and the remaining three are best described as a combination of the two approaches. And yet, they are all so different. One was conceived on a scrap of paper in the back of a taxi (I Love New York), while another was thought-up in the shower (V&A); one owes its existence to latenineteenth-century penmanship (Coca-Cola), another to a trip to London Zoo (Penguin). Each of them, in its own way, has a story to tell.

As well as products, the selection includes logos designed for transport services, such as the London Underground and the Canadian National railway, and organizations, both cultural and charitable, from the Muse dOrsay in Paris and the Tate galleries in London, Liverpool and St Ives, to WWF and CND.

Some slightly more esoteric entities also get a lookin, from the expressive face created from the initials of the English National Opera, to the striking bull silhouette devised for the Osborne drinks brand, and the lighting company ERCOs subtle play on the process of illumination itself. As these three examples highlight, while logo design is a serious business (with serious implications for businesses), it is one in which the results can be evocative and playful, even pleasing to the eye and the mind. The aim of a logo, after all, is to connect with the viewer and create a visual shortcut between it and the service or company, institution or organization that it represents.

Most of the logos featured in the book date from many years ago: some stretch back to the early part of the twentieth century, others cluster around the middle years. A much smaller group emerges closer to the millennium. Resonance is important here: it takes a long time for a logo to acquire its place in the world, and many more years for some idea of its worth to be properly considered. There is the sense that the evolution of many of these logos can now be told with some perspective, that the dust has settled on them.

Many of the examples are now well established in the collective visual culture - photo 3

Many of the examples are now well established in the collective visual culture, some at a national level, some international. Some were in use for years but have since been retired; others are still working hard and have been applied to a host of different media. They are now found on screens as often as they are in print.

Yet some contemporary designers have been vocal about their dismissal of the logos place in the twenty-first century. The holistic brand experience and the development of branding systems and languages are, we are told, the driving methodologies behind the visual communications of todays companies and organizations.

Certainly, new technologies have enabled motion graphics, animation and the internet to reinvigorate static logos Saul Basss work for Bell Systems, which opens the book, is an early example and todays world includes plenty of logo systems, from Aol to MIT, that have helped to reconfigure the landscape of identity design.

But these excursions inevitably reflect our own time and the symbol, the mark, the logotype the logo whatever we choose to call it, is invariably still there. It is doing its job as part of a wider picture, but doing it nonetheless. That central role has not changed very much since the time of the earliest designs included here.

And while some of these logos are certainly fixed to a particular point in time, many of them have been adapted to continue working long after they were first designed. Simple cosmetic changes can reflect the attitudes of the day, such as the fact that the Michelin Man no longer smokes a cigar, while the graphic evolution of the WWF panda represents the new breadth to the organizations approach to conservation.

At the same time, some logos have seamlessly been embraced by a new generation of designers to give them a new lease of life. Troika studios kinetic version of the V&A logo, which spins above the entrance to the museum in South Kensington Tube subway, is a perfect example of this. Alan Fletchers stroke of genius in removing a leg of the A and letting the ampersand supply the crossbar had produced a striking monogram in 1989. Twenty years later, it was transformed into a palindromic sculpture in which the letters twist on their own axis, deconstructing and remaking the logo each time it revolves. One can imagine that Fletcher would have enjoyed the celebration of his work in this way, and would also have been pleased that his design contained another surprise within its form, which was just waiting for the right moment to appear.

That capacity for renewal, for me, adds to the case for its status and inclusion in the book. I hope that the stories behind the other 28 logos will, in their own ways, offer similar revelations.

BELL SYSTEM Saul Bass 1969 The Bell System was the name given to the - photo 4

BELL SYSTEM Saul Bass 1969 The Bell System was the name given to the - photo 5

BELL SYSTEM

Saul Bass
1969

The Bell System was the name given to the sprawling network of 23 separate US companies that provided the country with its telecommunications from the time the first licensed exchanges had been set up in the late 1870s until the group was broken up by the US government in 1984. Headed up by the American Telephone and Telegraph Company (AT&T) from 1885, the system was effectively a sanctioned monopoly. By 1968, it was also the worlds biggest corporation with a million employees and 100 million telephone lines running across North America. The scale of the company was unprecedented, and when the designer Saul Bass was asked to look at overhauling the Bell System identity it was the largest design project of its kind.

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