Martina Karklina
WHY AND HOW DO LOGOS CHANGE? Tutor: Monika Parrinder
KAR06221991 Yr3 BA (Hons) Graphic and Media Design, Design for Information London College of Communication Year of graduation 2011
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PREFACE Graphic design all together, branding and logo design has become very important part of people everyday life in last hundred of years. Logos were invented for brand recognition they include look and feel of brand and its overall message to the people about who the brand or company is and what it does. Logo has to be reliable, trustful and tell story behind the logo but with time they look is changing less or more depending on current fashion, people lifestyles, color popularity or even possibly on development of new technology such as motion graphics. Interesting is the point why logos change with time, and what designers look for when they developing brand new logos, or changing existing logos to different ones or only refreshing they look. Therefore, it very depends on a decision of graphic designer. Bo Bergstrom in his book “Essentials of visual communication” also talks about messengers, between sender and receiver in visual communication, gifted professionals, whose "instincts are well attuned to current needs, values and expectations, giving them an insight that can be invaluable when it comes to communicating a message through words and image.” (2008, p)Further in book are discussed different kinds of messages. Where one, for example, is incisiveness, and comparing to the logo theme, where this will be doing absolutely the same work as in advertising expecting a person to have an intelligently analytical and clear-thinking when seeing an outcome, either advert or logo. Apart of logos representing specific area of exact brand, they are somehow influenced by graphic design changes in time, by people mindset, which is affected by popular combinations of shapes, color, understanding of sign language in different decades.
“Logo is “a symbol or other small design adopted by an organization to identify its products, uniform, vehicles, etc”. Logotype “a single piece of type that prints a word or group of separate letters. •Asingle piece of type that prints a logo or emblem.” (Mac Dictionary)
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TABLE OF CONTENTS
Acknowledgements List of Illustrations/Figures Introduction PART 1 Redesigning Logos 1.
What are the reasons for changes?
2.
Popular/Mass understanding.
3.
Approaches.
PART 2 Examples and Analysis 1.
Logo that changes
1.1.
Argos logo
1.1.1.
First
1.1.2.
Second
1.1.3.
New
1.2.
Other logos
2.
Logo for Olympic games
2.1.
Olympic logo 2012
2.2.
Other Olympic logos
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3.
Logo that do not change over time
3.1.
British Rail logo
3.2.
Similar logos
PART 3 Parodying Logos PART 4 Future Affecting Logos 1.
Technologies
2.
Moving images
Conclusion Bibliography
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ACKNOWLEDGEMENTS
Thanks to my tutors Ian Horton and Monika Parrinder for aiding me in my research process and giving advice in the preparation of dissertation.
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LIST OF ILLUSTRATIONS/FIGURES 1. Rolex logo, http://upload.wikimedia.org/wikipedia/en/thumb/9/95/Rolex_logo.svg/500pxRolex_logo.svg.png 2. Burger King logo, http://upload.wikimedia.org/wikipedia/en/thumb/3/3a/Burger_King_Logo.svg/1000pxBurger_King_Logo.svg.png 3. Abbey logo, http://www.abbey.com 4. Santander logo, http://upload.wikimedia.org/wikipedia/en/thumb/1/1d/Banco_Santander.svg/1000pxBanco_Santander.svg.pngC 5. Olympic 2012 fitness area in Charlton Park, photo by author, April 2010. 6. Original Argos logo, argos.co.uk 7. Argos logo in situation, http://upload.wikimedia.org/wikipedia/commons/d/d8/Rushmere_ %2810%29%2C_August_2009.JPG 8. Argos logo 1999, http://upload.wikimedia.org/wikipedia/en/d/d4/Argos.png 9. Argos logo 2010, http://upload.wikimedia.org/wikipedia/commons/thumb/7/78/Argos.svg/500px-Argos.svg.png 10. Waterstone’s old logo, source unknown 11. Waterstone’s new logo, source unknown 12. ExcelAirways old logo, source unknown 13. ExcelAirways new logo, source unknown 14. Federal Express logo, http://www.fedex.com 15. FedEx Corporation logo, http://www.fedex.com 16. London Olympic games 2012 logo. 17. Spread from Swami, J. (2010) book “London Burners” photo with Mac 18. Wenlock and Mandeville, http://www.youtube.com/user/london2012#p/u/45/WE32IaWqiXE (screenshot)
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19. Rio Olympic games 2016 logo, http://upload.wikimedia.org 20. British Rail logo, http://upload.wikimedia.org 21. Swastika, http://upload.wikimedia.org 22.
Flag of Nazi Germany, http://upload.wikimedia.org/wikipedia/commons/thumb/a/a2/Flag_of_Nazi_Germany_ %281933-1945%29.svg/2000px-Flag_of_Nazi_Germany_%281933-1945%29.svg.png
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Photo of page from S. Heller’s book “Swastika – redemption impossible?”
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Matilde Moisant in 1912 wearing a swastika, http://upload.wikimedia.org/wikipedia/en/b/bc/MatildeMoisant_detail.jpg
25.
Etiquette of Carlsberg’s beer,
http://www.netetiket.dk/hvidt_ol_skattefri_carlsberg_lys.htm 26.
Etiquette of Carlsberg’s beer, http://www.carlsberggroup.com/Experience/Timeline/Pages/Labeldesignsdownthroughtheag es.aspx
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Etiquette of Carlsberg’s beer , http://www.flickr.com/photos/11814739 @N00/3562162183/ , By Jan Egil Kristiansen
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Carlsberg’s Elephant Tower, http://upload.wikimedia.org/wikipedia/commons/a/a7/Elefantporten_Ny_Carlsberg.jpg
29.
Logo of “Emperor”, scan from Ch. Spajdel’s book “Lord of the Logos”
30.
Poster “London Shit”, downloaded from www.flicker.com unknown author.
31.
Parody of Beijing 2008Olympic game s logo, http://www.youtube.co m/watch? v=NvCCFwSMZZs&feature=related(screenshot)
32.
Parody of “FedEx” logo
33.
Parody of “Xerox” logo
34.
Parody of “Nokia” logo
35.
Parody of “General Motors” logo
36.
Spread of the book “Motion Graphics”
37.
Making logo, (http://www.flickr.com/photos/toxi/3889620100/sizes/m/in/set-
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72157620899002878/) by toxi, creator 38.
Poster, (http://www.flickr.com/photos/toxi/3906093063/size s/z/in/set72157620899002878/)
39.
Poster, (http://wklondon.typepad.co m/w elcom e_to_optimism/2009/09/wk- installation- ahighlight.html), (screenshot)
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Creating the poster, (http://www.flickr.com/photos/toxi/4122065046/size s/m/in/photostream/)
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INTRODUCTION In this dissertation, I will look at the different logos in last hundred years to understand why they are the way they are. I want to find out why some logos are redesigned, but others are not. Have happenings in contemporary design affected the look of the logos? My aim is to get more insight and understanding about logo culture, especially why and how they change, in a way of researching, comparing and observing them and their visual receivers. In first part, I will look at changing logos. Discuss what was the reason for this change and find out if the popular culture has influenced the trendiness of logos. I will look at cycle of fashion. Second part is full of examples and their analysis. First section of it will look at logo that changes over time. As a main example “Argos” logo will be discussed. In addition, there will be many examples of different logos that changed their look. Second section is devoted to Olympic Logo theme. The most of attention is given to Olympic Logo of 2012 games in London. I will be looking at other Olympic Logos to find where the concept of designing logos lies. I will look at the importance and significance of how Olympic Logos are designed and what is special about them. Third section is concentrated on logos that do not change over time. Finding out why they do not change and what is the secret of it, seems to be interesting enough for me. Is it possible to describe these logos as strongest ones? Third part is about parodying logos. I will look at some examples of logo parodies trying to find issues, answering the question – what leads to parodied or redesigned logos. Fourth part is for drawing up possible future of logo design. I will look at logo in motion graphics and logo created by generative software for festival ‘Adventures in Motion’.
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PART 1 REDESIGNING LOGOS Some companies are changing they logos over time, but others do not. What is the reason to change existing logo design? Do customers and company owners benefit from this change? Is that affected by contemporary design practice and how? Is there something to do with logos’ look on its own or company’s attitude towards business altogether. "How It All Began" the book by Maurice Baren tells stories behind those famous brand names, how they began their business, how it has started and developed. This book shows very beginnings of many company logo designs. It relates to history of logos. Knowing the very beginning of how brand was born explains at some point why the first logo was as it was. Only in very few cases, logo stays the same; in most cases, logos underwent redesigning later. Redesigning a logo for company or event is very important part of communication without words to existing and new future customers to make recognizable image. 1. What are the reasons for changes? Decision of how logo should look depends on many factors such as: • Time (it should be related to contemporary graphic design practice) • Geography (depends where the logo is supposed to be used; continent, country, region; climate, weather, population and their habits) • Audience (age, sex, profession, lifestyle) • Business (business partners, area of distribution, co-working, competitors in the same working sphere) 2. Popularity and mass understanding. I am particularly interested in how certain obstacle dictates the process of making logo and final decision can be often find influenced by style and fashion. Making comparison of logos and applying visual research to analyze deeper influence on the customer by the meaning of each logo is not so complicated if taken the simple way. Example is
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mentioned in “Visual Research” book by Ian Noble and Russell Bestley, where two logos are featured: “Rolex”(Fig. 1) and “Burger King”(Fig. 2). (2005, p96, 97)
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Fig. 1 Rolex logo, Fig. 2 Burger King logo Both have same associations for royalty – crown symbol over the name Rolex, and word “king” under the word “burger”. But “are at different ends of the value system…”
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For instance, typeface fashion design can change the way logo will be used and applied. Successful brand has to keep they logo up to date, where one of the reasons could be example discussed by Steven Heller in section: “Crimes against typography: the case of Avant Garde” talks about history of typeface, but notices that each time had their own popular style – type, there was an era of Avant Garde, then Futura and then Helvetica. ‘During every generation at least one typeface represents - often accidentally - the zeitgeist. Through widespread use, the font’s style then becom e s emblematic of aesthetic points of view. Futura was “the typeface of the future”. Helvetica was the In addition, each of them represented what is popular in that time. Here looks like an effect is taking place. Same when talking about logo changes from 2D to motion graphics, section “The Image Culture”, where C. Rosen writes about that moving image comes in to our culture in, replacing and supporting existing still and silent graphics. 3. Approaches. At certain times logo always has to reflect communities, lifestyles people are living. When logos do change, often people do not like them, which can be seen in example in section1, part2, by researching customer debates online. They prove that people do not like the appearing of new redesigned logo for a good company that has already established in business. Why did they ask
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designers to make new logo that looks weird, not eye catching? Customers used to see old logo and they are particularly happy with the company and they services. People are not going to turn their back to the company, but all they feel is confusion and that something as if possibly contemporary graphic design has played part here. May be it is just time to realize that time is going on and nothing stays on the same place. Is it because people love what they used to have? Changes can create confusion for people. However, may be it is actually regression if there is no progress? Over time clients get used to new logo, they are starting to accept it and then everything is all right again. If company keeps its business running at high level, such thing like a redesigned logo actually plays no big part. The most important here is approach to business, reliability, keeping customers trust and loyalty unchanged. To succeed people should be informed long time in advance about changes the company look will undertake. When customers are prepared, they suffer less stress even if new logos look is not that satisfactory at all. For example, “Abbey”(Fig. 3) changed their name to “Santander”(Fig. 4), which is completely different name. Not many people are interested that company’s owners might change.
Fig. 3 Abbey logo
Fig. 4 Santander logo In this case, logo sign was left the same; only letters were replaced from “Abbey” to “Santender” keeping the same style for their writing. In banking cases, informing customers’ long time in advance about coming changes is crucial. Philosophical question is: how do people feel about changes in logos? It is such a complex situation in making logo and keeping it simple, trying to stay over current
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fashion in design world. That is long and difficult process, and to succeed “military mobilization 2
skills come in handy” , says author Alina Wheeler in her book “Designing a Brand Identity”. By this, she means highly organized designers with fast reaction on current design standards. Overall branding and designing has started to pay attention to people lifestyles more than to single ‘good looking’ logo design, that in the best cases includes symbols or references what this logo is all about. John Grant, in his book "The Brand Innovation Manifesto", talks about old business strategies, denies them and calls people to apply more innovation in the way they practice marketing. Author has a point about the need for a greater focus on cultural innovation when it comes to developing an appropriate message to the customer. Relation between designing a brand and making a logo has much of the same. Same idea is covered in a book "Bullet-Proof Logos" by David Carter, who assumes that knowledgeable design firms know ways how to approach identity creation and make logos. What is the future of logo designing? Is logo designing as a simple logo sign is going to an end? What makes to think about this is that most of biggest known brands are giving huge significance not to the logos look on its own, but they attempt to reflect to modern world in challenging to associate company with lifestyle and habits, with need of communication and appreciation. For example, Olympic2012 logo and its sponsor “Adidas”, who made a fitness area (Fig. 5), where people can come to do sports.
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Fig. 5 Olympic 2012 fitness area in Charlton Park. Area is built in shape and colors of Olympic2012 logo; also, logo of “Adidas” appears everywhere. As a sport is dependence and people cannot live without movement, they will start to associate lifestyle with these logos and colors. "No logo: no space, no choice, no jobs" by Naomi Klein. “In the global economy, all the world's a marketing opportunity. From this elemental premise, freelance journalist and Toronto Star columnist Klein methodically builds an angry and funny case against branding in general and several large North American companies in particular, notably Gap, Microsoft and Starbucks. Looking around her, Klein finds that the breathless promise of the information age that it would be a time of consumer choice and interactive communication has not materialized. Instead, huge Jane Fulton Suri + IDEO's book "thoughtless" has loads of images where people or they actions are observed and captured in very natural everyday life situations. That leads us to think about why it is happening like that, and even better if there is designer who thinks about how many of these actions can be turned into valuably designed upgrades for peoples' life. Understanding that every little action has a meaning can be seen in one of the sentences at the end of the book: "When we dig deep enough, behavior that might at first seem arbitrary, surprising, idiosyncratic usually has an insightful explanation.”
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It is important to get these innovations and upgrades out to the public perception. The strength of the new logo lies in its ability to be remembered by customers. Most of people remember company by its visual presence, by its logo sign, less on services that company offer. So it is very important that new logo is visually attractive and easy to remember. On successful logo change, company’s business will benefit, but bad logo redesign can lead to loosing customers and failure. To mention the book "Logo-art: innovation in logo design" by Charlotte Rivers where she says: "Logos as aesthetic objects, exploring both the logistics and creative inspiration behind the design. Through its detailed analysis of real work, Logo-Art leaves no stone unturned in its exploration of the intriguing world of logo design".
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Some logo redesigns can become very popular within days, but for other it can take long time while customers will used to them. There are cases when logo redesigning is just a modification of the old logo. For example, “Argos” logo, which will be discussed in part two, was modification of existing logo. Even little change in the logo can create enormous impact. The new logo cannot associate customer with the same brand anymore. The positive aspects of redesigning logos are: • It can improve an outdated logo design with fresh look • Can improve brand image • Increases customer awareness of new services offered • It is sign that company is dynamic and ever updating • Can attract a variety of new customers The negative aspects could be: • Logo redesign can coast loads of money • Can be difficult if logo is too different from previous one • Can take long time for customers to get used to it • Customers can not recall same brand anymore • Bad redesign can damage companies image
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PART 2 EXAMPLES AND ANALYSIS 1. LOGO THAT CHANGES 1.1.
“ARGOS” LOGO.
“Argos Student Pack”, downloadable from “Argos” website says that “Argos” was launched in summer 1973 with 17 stores. Now “Argos” is the leading catalogue store chain in Europe and third biggest in the world. In addition, student pack tells the history behind the logo: “In 1988, Argos unveiled a new eye-catching in-store design as part of a multi-million pound refurbishment and new store opening programme. As well as bringing merchandise onto open display in redesigned stores, the new look network featured a scarlet, silver and black color scheme. In 1989, newly designed display graphics were introduced into the entire network.” (Argos.co.uk/student_pack) 1.1.1. First “Argos” logo Original “Argos” logo was created in 1989. “Argos” was a household retailer and as such, the logo was chosen very appropriate for the time. Argos first logo tells about popular design typefaces used in those times. Similar type was used very wide: Brands, shop names, posters, and adverts included this kind of type. It was popular normal and most stylish then. To note the bold stems and serifs those are visually representing power. In addition, letter in beginning is connected to letter at the end, which speaks about united feeling. At the same time, “g” is adding a trendy feeling of beauty with its tail scrolled. Many people still love this one first “Argos” logo. For me, personally, really, it would be interesting to research how big is percentage of people who prefer this first logo compared to any new designs coming later.
Fig. 6 Argos logo. 1.1.2. Second “Argos” logo. First logo was redesigned in 1999. There are two versions: one with logo on a bleu background, other on white background.
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Fig. 7 Argos logo1999 on blue background in situation.
Fig.8 Argos logo 1999 on white background. 1.1.3. Third, the new “Argos” logo. In 2010, design agency “The Brand Union” redesigned “Argos” logo. The Brand Union says about themselves: “We help brands grow. We offer direction. We protect brands against the economic and cultural elements.” (http://www.w p p.co m/wp p/com panie s/com panydetail.htm? id=89 ) This statement gives credence that work they do will be high standard. Especially when deal is with ‘Argos’ when 90% of people live within 10 min distance from one of the ‘Argos’ stores, it is big responsibility to get new design right. The online publication “10 UK Logo Redesigns till Mid 2010” says that: “The visible change is the smile going separate from the “Argos” letters and the red and white colors inverted.” However, I do not agree that ‘smile’ is going separately now; I would not call the ”A” letter’s tail extension for smile in 1999 years design. (Fig. 7 and 8)
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Fig. 9 Argos logo 2010 After viewing this publication, it looks quite common to redesign new logo to more contemporary one in style. Contemporary – because of digital age, where all details are more clear, so does the letters – they stand-alone and are good readability ect. Argos slogan on Autumn/Winter 2010 catalog says: “Find it. Get it. Argos it.” Ease like an Internet use. Simplicity in short words. To me it’s a silly rounded smiley, just like saying “the look of myself as a logo has no more importance. All is a matter of a cheap products and delivery. You know me already.” Another possible phrase the logo is trying to say us is: ‘I am a simplicity, I am not going to distract your attention from products I am delivering to you’. To trust people what they are saying and writing on line is as good as to trust people when you are interviewing them in live (ex. on street). There is no big difference. There is no point to be suspicious about what people are saying on line, such as it could be not true. It is true. It is the same people. These people are honest about what they are saying, even more precise and detailed then they would be if you were interviewing them “in face”. One of the sources is an online forum about new Argos logo at: http://www.ukbusinessforums.co.uk/forums/archive/index.php/t-157975.html (visited 10/10/10): Genuinegraphics says: “In my opinion Ithink they should stuck with the first one. It's like they've gone back to the 80's” Dawg: “Ithink it's slightly more modern, in that it apes the Amazon roundly feel.” Maxine: “Ilike the new one better... it's a bit more smiley :)” Barnie: “New logo looks gash, looks like a "value" show sign” LittleOne” “The new one just looks like writing with a line underneath. The first one at least looks like a logo.” JAPears: “The older one is better has a 'more together' feeling” Dorada:
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“Iprefer the old one. Ido like the smiley factor on the new one... but Ithink the font looks cheap.” After reading all these and many similar opinions, raises feeling that people do like new logo that is “modern”, but many are upset that it looks “cheep”. Where is the explanation? Is that dictated by today’s designing unwritten rules? For me it looks like the answer is “yes”. Designers do have to accept modern design to be on track and to stand close to everything what is changing in graphics. No one can really have old looking logo if logo includes any type style in it. Possibly logos with type in them has to be changed with time for sure, especially for company who offers things related to style as a household and furniture fashion, for example like Argos is. As this company keeps peoples houses modern, so must be their logo: always in style. 1.2.
OTHER LOGOS
As Argos does, the “Waterstone’s” logo has the same way change: “Waterstone’s is a bookstore chain in UK. Itredesigned its traditional and classical design into a more contemp orary approach. The design firm involved was “Venture Three”. The new logo resem ble s the McDonalds “M”, only inverted vertically into a
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Fig. 10 and 11 Waterstone’s old and new logo Excel Airways. Old logo (Fig. 12) and new logo (Fig. 13).
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Fig. 12 and 13 ExcelAirways old and new logo. The old one logo looks more stagnated, boring and even old fashioned. The new logo is may be very brave step into changing logo. It looks as designed for future or technological design. The new logo is uncommon for airline design. All three of previously mentioned, ‘Argos’ (Fig. 9), ‘Waterstones.com’ (Fig. 11) and ‘Excel Airways’ (Fig.13) have the same rounded forms and simplicity that is called contemporary in nowadays. Nevertheless, there are different customer and designer responses: arguing and proving each their own opinion when the logo has been changed already. FedEx logo. Richard Runyan designed the original Federal Express corporate logo (Fig. 14) in 1973.
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Fig. 14 Federal Express logo. The logo below (Fig. 15) is the corporate version of the FedEx logo. The FedEx logo was created in 1994 by Lindon Leader, as Senior Design Director at Landor Associates. It has been ranked by Rolling Stone Magazine as one of the eight best logos of the past thirty-five years. The logo has won over forty awards worldwide.
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Fig. 15 FedEx Corporation logo Look closely and you will see a hidden arrow between the ‘E’ and the ‘x’– a symbol for speed and precision, both FedEx communicative attributes. The creation of the arrow came after FedEx and the designer had already created and reviewed over 200 designs. The ‘Ex’ in FedEx comes in several different colors: FedEx Express – Orange
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FedEx Freight – Red FedEx Ground – Green FedEx Kinko’s – Blue FedEx Trade Networks – Yellow FedEx Services – Grey, this is also the color of the ‘Ex’ in its corporate logo. Using different color schemes to inform people became popular at the end of last century. That is why in FedEx logo design colors are used to inform people about different types of services, that company is offering.
2. LOGO FOR OLYMPIC GAMES Now I am going to look at the Olympic logos over time. This is useful, as it will show that designing for Olympic games reflects each time and country where the games will be held. In the cases with Olympic games all the logos for time being have been less or more similar. What are expectations of logo design, like Olympic logo? 2.1.
OLYMPIC LOGO 2012
Fig. 16 London Olympic game s 2012 logo Why 2012 logo looks so different from others? Possibly, there was a touch of the very modern world, new technologies, focusing on the youth, nowadays differences in lifestyle and communications. An “Eye” 11–14 October 2007, review by John L. Walters: “And it was fun to see jaws dropping as Patrick Cox of Wolff Olins bigged up his company’s widely derided identity for the 2012 Olympics as a paean to ‘my beautiful, disobedient London’, describing the campaign as one intended to ‘break the rules of
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corporate identity’. This didn’t discourage him from packing his PowerPoint presentation with lots of rules, including: ‘No dancing figures’.” (http://www.ey e m a g a zine.com/review.php ?id=152&rid=747) I would say “dancing figures’ here mean ones associated with Beijing Olympic Logo, which had a lines representing movement or ‘dancing people’. For me thinking about London 2012 Olympic Logo first similarity to come in mind was that influence of graffiti style. The image below is from a young photographer’s Jete Swami book "London Burners".
Fig. 17 Spread from book “London Burners” This book has many photos of graffiti done in London. How important is the role of graffiti writing in London shows this one sentence from the book: "They (police- note by M.K.) don't need your face or fingerprints at the scene, just planning is enough; they take advantag e of the new laws London is imposing to catch terrorists. Ithink they use these new pow ers more on writers than on Bin Laden's team.” (p) Where author may wants to show his feelings that police is giving to graffiti that much attention, that this is definitely one of the most important things in the city. In addition, as it is important thing for today, is that why Olympic Logo 2012 reminds me about its culture? Because people living in cities know what graffiti is. Most of it is done by youth, and it is appealing mostly to youth itself. Which were the bad and good sides of all the process of making logo familiar to the audiences?
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To be in that fashion is to attract people attention to be it good or bad. Any attention will raise popularity. Popularity is the one thing what is needed to inspire masses. That is what Olympic games are designed for – for masses. The general answer is short: Olympic games are for masses, for everybody in the whole world. Therefore every single person on the Earth is waiting the logo to be designed the way he will accept, the way he think it would be OK and the way it would represent and say something special about the coming games. As many people are out there as many opinions are about the design. Olympic logo for 2012 has raised too many debates. Why people opinions are so different when it comes to Olympic logo design? There is an article about Olympic logo in Design Week dated 7 June 2007: “On se eing the London Olympics logo this week, these are my, and I'm sure quite a few others', opinions: •The Olympic mov e m e nt is about togetherness, but this exe cution is falling apart •The logo would be better suited to a new Arthur C Clarke novel (2012) •The text is illegible and doe s not portray confidence •Our cleaner thought it looked like a house of cards that is falling apart! •The logo will look awful (http://www.de signw e e k.c o.uk/opinion/the- olympic- logo- sends- me- tosleep/1135134.article) This makes me smile feels like people were really panicking then about this design. However, at same time I think how brave and back proved had to be this design. Knowing how fast style and technologies are changing and to design logo which will have huge significance only many years afterwards. As I said before, people often do not like new things, but they get used to it. Videos from “London 2012” You-tube channel are very appealing and colorful.
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Fig. 18 Wenlock and Mandeville . In figure 18 we can see Wenlock and Mandeville – two symbolic characters representing Olympics 2012. This again reminds that no logo works on its own, but branding and identity stands together with logo. Additional identity items enhance the basic logo. 2.2.
OTHER OLYMPIC LOGOS
The next Olympic logo is “Rio 2016”
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Fig. 19 Rio Olympic game s 2016 logo My associations: river, woods, organic, bio…
Naomi Klein in her book “No Logo, No Space, No chance, No Jobs, in Chapter 15 ‘The Brand Boomerang’ talks about tactics of Brand based campaigns: “In an odd twist of marketing fate, corporate sponsorship itself has become an important lever for activists. And why shouldn't it? When the International Olympic
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Committee (IOC) became mired in bribery and doping scandals in late 1998, the media immediately focused on how the controversy would affect the games' corporate sponsors — companies that claimed to be aghast at the IOC's innocence lost. "It goes to the heart of why we're involved in the Olympics. Anything that affects the positive image of the Olympics affects us," said a spokesperson for Coca-Cola”. (Chapter 15)
3. LOGO THAT DO NOT CHANGE OVER TIME This section is intended to find logos that has not changed, and understand the reason for this. 3.1.
“BRITISH RAIL” logo (Fig. 19). This logo had no changes since “British Railways” was
changed to “British Rail” and assigned new logo. This logo represents two rails and arrows likely to show directions. It is simple and straightforward. It is easy to use in different media, printed, online and in situation.
Fig. 20 British Rail logo The right one logo has arrows going clockwise, or in left hand driving, which is in Britain. The same as with “FedEx” logo there are arrows – symbol of speed. Speed in transportation services is necessary today. 3.2.
Swastika (Fig. 20) and ‘Nazi swastika’ (Fig. 21).
Fig. 21 and 22 Swastika and flag of Nazi Germany From images above, we can notice few differences between swastika and Nazi logo. Swastika usually lies on one side and is clear sign, but Nazi swastika is turned in 45 degrees, stays on one corner and usually appears inside the white circle on a red flag. The symbol is the same,
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but positioning is used different. Citation from BBC News “Origins of the Swastika”: “In Mein Kampf, Adolf Hitler wrote: "Imyself, meanwhile, after innumerable attempts, had laid down a final form; a flag with a red background, a white disk, and a black swa stika in the middle. After long trials Ialso found a definite proportion betwe e n the size of the flag and the size of the white disk, as well as the shap e and thickness of The following image, Fig.22, is from Stevens Heller’s book “Swastika – redemption impossible?”. This page confirms many different types of swastika used all around the world.
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Fig. 23 photo of page from S. Heller’s book “Swastika – redemption impossible?” Nazis for their logo depraved for those times widely used sign of swastika or fire cross. Before Nazis for as long as there is evidence in history this sign was used as a guard, safety and power giving attribute. Article from ‘wikipedia’ says: “In the Western world, the symbol exp erienced a resurgence following the
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archae ological work in the late 19th century of Heinrich Schliemann , who discov ered the symbol in the site of ancient Troy and associated it with the ancient migrations of Proto- Indo- Europeans . He conne cted it with similar shap e s found on ancient pots in Germany, and theorized that the swastika was a "significant religious symbol of our remote ance stors", linking Germanic, Greek and Indo- Iranian cultures. By the early 20th century, it was used worldwide and was regarded as a symbol of good luck and succe s s.” (http://en.wikipedia.org/wiki/Western_use_of_the_Swastika_in_the_early_20th_century )
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Fig. 24 Matilde Moisant (1878- 1964) wearing a swastika. There is an example where swastika is used as an accessory and worn as a good luck charm. In Fig. 23 we can see the aviator Matilde Moisant (1878-1964) wearing a swastika medallion in 1912. The symbol was popular as a good luck charm with early aviators A Danish brewery company “Carlsberg” had swastika as their symbol, but had to remove it later, because of mistaken association with Nazis.
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Fig. 25 and 26 etiquette of Carlsberg’s beer http://www.netetiket.dk/hvidt_ol_skattefri_carlsberg_lys.htm http://www.carlsberggroup.com/Experience/Timeline/Pages/Labeldesignsdownthroughtheages.a spx
Fig. 27 etiquette of Carlsberg’s beer http://www.flickr.com/photos/11814739 @N00/3562162183/ By Jan Egil Kristiansen Symbol on the ‘Carlsberg Porter’ label in Fig. 25 shows swastika inside the sun. This also could confirm the warmth and bright meaning of the symbol.
Fig. 28 Carlsberg's Elephant Tower with elephants and swastikas on their sides.
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“The Danish brewery company Carlsberg Group used the swastika as a logo from the 19th Century until the middle of the 1930s when it was discontinued becaus e of asso ciation with the Nazi Party in neighbouring Germany. However, the swa stika carved on elephants at the entrance gates of the company's headquarters in Cop enhag e n in 1901 can still be seen today.” (http://fiveprime.org/hivemind/Tags/carlsberg,swa stika ) Swastika on elephants is little different as it has the dots between the rays of swastika. This and elephant figures associates more with India. Swastika with dots inside is more used in India. Swastika symbol is old with clear and bold graphic shapes. I think that there is nothing to add or take away to make it more graphically appealing. As a symbol with its constant shapes, it works well. But people are very suspicious about mass understanding, they abbey fashion, and once this graphic sign has associations with a World War II, there is no way to bring sign back for long time. Possibly Nazis wanted logo because it was very popular and with good meaning. I would like to put short citation from Gregory Thomas book ‘How to Design Logos, Symbols and Icons” where he talks about “Bank of America” logo. This logo was replaced at first, but as customers did not recognize it, it was redrawn later. The author says: “Once the view er manag ed to visually “resolve” the puzzle, the mark becam e a classic symbol of “once you se e it, you can’t se e it any other way”.(p15) This is exactly what people do with association towards swastika. People got it deep as a Nazi symbol after World War II and they cannot see it in any other way. The striking thing about it is – how powerful it is! However, its still prohibited in Europe mostly, but not in other regions of the world, where II World War had no that impact. But its dead and buried as a logo, however its not gone from people minds. Swastika is also mentioned one of the first in a book “R.I.P. LOGO”, where logos that are not in use anymore or are changed, are assigned gravestones with their images in a cemetery. Nazi logo has never changed since. The power of its meaning will continue to exists over centuries, probably. May be it is time to separate this one Nazis sign from the original sign of swastika, beautiful sign of sun and life? Nazis has deadly influenced all kinds of swastika signs after war. No one can freely use it now without being referenced to Nazis or warned about danger. That leads to think about power
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behind graphics. People in Europe and Jews have forgotten “sun” - they think “Nazis”. How much meaning can carry in just a few graphic shapes! There I will give one more type of logos, which as long as I know, never change. This is an example of the most popular logo for music band “Emperor” from the book ”Lord of the Logos”.
Fig. 29 logo of “Emperor” There is amazing compilation of logos designed for metal underground; these logos mostly influenced the designer by nature views. Simplest way of explanation where the shape of logos could come from is to expect that viewer knows nothing in advance. There some pages between the logos have photos with beautiful nature views, such as woods, trees, butterflies, branches, which leads viewer to think that these were possible ideas of the shapes to apply to the logos. The first impression is like an intro. It is not difficult to explain why these music band logos do not change. They are rather like a name for something unique, like given names for people when name is for life. Why they are not changing? Is that stability? What is the difference between company delivering services or products and music band delivering music? Is it similarly to other logos with no letterforms but graphic symbols only that can keep it live through decades. First thought that comes in mind is that logo without type works better. However, if not exactly it works better then it has longer living. Typefaces are fashionable thing, but signs and symbols are ageless. One more aspect is to keep logo with fewer elements as possible, and as basic as possible. Then it will be long living, and with no changes needed. At least for hundreds of years, if not longer logos will survive, if we take in count that basic graphic elements do remain same for centuries.
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PART 3 DESIGNING PARODIES Ordinary people love to redesign famous logos. Usually they are parodies of the logo. Official logo is official one, but parodies in some cases tell us story “behind the logo” or I would say – what actually the brand is like. Reasons for people to redesign logos for unofficial use are different, but sometimes it reflects what the truly company does to the people conscious or unconscious but it affects masses. Therefore, these underground designers make it clear in simple expressing way – redesigning or changing something in the original logo. In many cases ‘truth is coming out of the water’, issues are raised about the political situation, shortness of taste, economical situation in the country and truly technical problems encountered with using company’s products. There is an example of parodying Olympic logo of 2012. Honest dislike towards 2012 logo can be found in many places online. Do people really hate this logo? How otherwise any could explain such a big work: to redesign, print, and then stick them on the streets to shout in the people’s eyes.
Fig. 30 Is that because of the logo look is bad, or style and colors are not good? Viewer can decide. Another example is Olympic logo for games in China. The Beijing Olympics games has attracted its share of controversy because of the fact that the games are being held in China where human rights issues are considered to largely ignored. This has led to many creative logo
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parodies.
Fig. 31 Parody of Beijing 2008Olympic game s logo. In 2008-2009, there was a major economic crisis with many companies facing bankruptcy or facing severe financial issues. Some designers came up with funny versions of the popular brands and logos.
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Fig. 32 Parody of “FedEx” logo This parody of “Xerox”:
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Fig. 33 Parody of “Xerox” logo This is the parody of Nokia, the mobile phone giant: QuickTime™ and a decompressor are needed to see this picture.
Fig. 34 Parody of “Nokia” logo This is the parody of General Motors that took billions of dollars from the government in 2008/2009:
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Fig. 35 Parody of “General Motors” logo Extract from Naomi’s Klein book: ”No Logo, No Space, No Choice, No Jobs”: "Ithink a lot of people who are really interested in subv erting adv ertising or studying adv ertising probably, at one time, wanted to be ad people themselv e s," says Carrie McLaren, editor of the New York zine Stay Free/21 You can see it in her own ad busts, which are painstakingly seamle s s in their design and savag e in their content. In one issue, a full-page anti- ad show s a beat- up kid face down on the concrete with no shoe s on. In the corner of the frame is a hand making away with his Nike sneakers. I would say it is like that, however not all people designing subverts want to be an original advert makers, but they are most like a lawyers, saying truth behind. I think they are more philosophers and people with open eyes. Nevertheless, what this all has to do with changing logos? Up to date logos are representing people and their lifestyle. Take for example, above mentioned ‘Nike’ – it is lifestyle, all people wore them, not those ‘good’ only, but ‘bad’ alike. They steel, they kill, … they ‘just do it’… In my point of view, it is the same case with swastika, discussed in part 3 – that is a power in people mind what takes place.
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PART 4
FUTURE AFFECTING LOGOS 1. TECHNOLOGIES Technologies are definitely affecting many areas in today’s life, where appearance of logos is also involved. Logos goes online and on TV. Ex 2D logos are turning in to 3D and moving images. Stephan Ott in chapter "generative poetry" in a book “3deluxe, Transdisciplinary Approaches to Design", says: "Hardly any other discipline has exp erience d such an explosion in form and function in the last 15 years as the related disciplines of d esign and architecture . In addition, hardly any other discipline has come to the fore and becom e so indispensa ble in the last 15 years as digital information technology and the dev elopm e nt of corresponding 2D and 3D program’s. Finally having recognized the creative constructive potential of
2. MOVING IMAGES Use of World Wide Web and online media has changes the approach to design. Motion Graphics: There I choose example showing that in logo design, when it comes digital, designers do make them different, according to country and nation who will be the end customers. MTV - "x" / "s" "For the launch of MTRV's digital suite, a new set of channels created exclusively for digital cable, The Attik produce s a series of twenty- ten- second IDs. For MTV"X", a rock channel, the firm pursued a cold, sharp, aggressiv e, darker vision for the channel. For MTV"S" an exclusive, Latin orientated video channel, they structured a
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Fig. 36 spread of the book “Motion Graphics” According to Bo Bergstrom in his book “Essentials of visual communication”, in chapter 2 “Storytelling” about Interactive storytelling, author discusses a different types of web page structures, naming the most common ones as a: linear, tree and web types. He says that the linear one is the simplest for the web page visitor to navigate and understand, however this structure becomes “boring and predictable”. (Bergstrom 2008, p.25) At this point, I would like to relate that any kind of logo design. That is a complicated process, where designer has to go through different and only appropriate ‘structures’ to find solution for the right logo outcome. Further quote speaks all about the same: “… Sometime s the best option is a combination of different structures. An airline may give visitors the opp ortunity to search for destinations and flights in a tree structure, but when it com e s to booking a ticket, the structure is linear.” I can draw an example of “Channel 4”, where 3D moving structure on screen is turning in to 2D logo when it comes to still image or print. Then he continues: “Whatever the medium and storytelling technique, the important thing is always to get the audience involved in the story.” (p26) That means what it says: that important thing is to get the audience involved, let it be visually, when talking about logos. He talks about choosing the right storytelling perspective, about surprise and misleading element, which again is important for the customers to make them remember the logo, as the good logo has always a story to tell.
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In chapter ‘Modern Stories’ author reminds, “Itis important to remember that storytelling can also be used to set up a smoke s cre en and distract attention”. Well this is interesting, but true. For example “Eye Bee M”, that’s “IBM” logo design by Paul Rand. Next example, I want to strike, is also my favorite one, it is identity created by Wieden&Kennedy festival identity for Onedotzero. Onedotzero is a contemporary, digital arts organization that promotes innovation across all forms of moving image and motion arts. It is actually a so-called ‘logo’, but as it is ever changing moving image, therefore it becomes an identity.
Fig. 37 flowing logo. (http://www.flickr.com/photos/toxi/3889620100/sizes/m/in/set-72157620899002878/) by toxi, creator Word ‘logo’ would be used for still image. A unique piece of generative software was created to make identity work, but to make posters for the event, application had to be paused, then the printed poster was possible to make.
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Fig. 38 poster. (http://www.flickr.com/photos/toxi/3906093063/size s/z/in/set- 72157620899002878/)
Fig. 39 poster. Wieden&Kennedy website also describes identity for festival “Adventures in Motion’ as a ‘giant logo’: "The highlight to look out for is an installation by Wieden & Kennedy that aims to channel all worldwide conv ersations about onedotzero that are taking place on socialmedia websites and conv erge them as colorful strands into a giant onedotzero logo. We cannot really picture it either, but it sounds like a crazily ambitious project that will surely be worth checking out. There will also be an interactive music video lounge and a multi-touchscreen installation at the BFIfor the duration of the festival." (http://wklondon.typepad.co m/w elcom e_to_optimism/2009/09/wk- installation- aMay be now it is more useful to specify visual identity than logo? Similar is design for the V&A Decode identity where the open source generative software was used.
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Fig. 40 making of a poster. (http://www.flickr.com/photos/toxi/4122065046/size s/m/in/photostream/) An identity for Decode and Adventure in Motion was created by the same consultancy PostSpectacular that is a small London based design studio. Threads that future logo design is becoming closer to digitally moving logos are reality. At “telegraph.co.uk” website dated 07 September 2009 is interview with Shane Walter, the founder and creative director of onedotzero. She says: “Ialso think the idea of open source and sharing is a recent dev elopm e nt hat is now being taken more seriously by larger brands and companies. Itis good to be open is a panel discus sion that explores this. Open source dev elop e d out of an open distribution of software, offering practical acce s s to source code for others to improv e and dev elop together. This open and collaborative approach has spread much further as a means to approach design, dev elop m ent, and new production models as the world wake s up to the value of sharing and openne s s.” (http://www.telegraph.co.uk/culture/onedotzero/6131768/Interview- with- Shane- Walterfounder- of- onedotzero.html)
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CONCLUSION At the very end, following discussed herein issues, I become concerned about meaning of the fashion as it is. Logos will continue to change their outfits. However, they will be only those ones who had the “seasonal” outfits. Seasonal is means of reliability and undergoing the contemporarity in graphic designing. In my opinion that involves all sorts of fashion: color, style, materials logo is applied on, technical possibilities, even attitude towards customers. Some logos, however, I would call “strong” logos. These never change, nothing can affect them, they have related to their being, clean style. These are appropriate and meaningful logos. I would even say, “Scam free”. Because people so much know them, trust them and actually take them “for granted”. Gillian Rose in book “Visual Methodologies” says that in adverts in 1970s “…famous people were frequently used to promote products”. (p87) Today many “real” people are used to that. As we can see in identity design for “Adventures in Motion” exhibition, people were involved in playing with logo, which in my understanding is taking part in existence of the logo. To me it seems to relate to branding and logo design, in past and today. My end point is that logos are becoming more complicated things to design. And as we can see from the newer forms of designing, logos have endless future.
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REFERENCES: 1. Suri, J. IDEO Thoughtless 2. Wheeler, A. Designing a Brand Identity 3. Noble, I., Bestley, R. Visual Research p 96 4. Klein, N. No logo: no space, no choice, no jobs 5. Rivers, C. Logo-art: innovation in logo design
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BIBLIOGRAPHY: Books:
1. Armstrong, H. (2009) Graphic design theory: readings from the field, New York, N.Y.: Princeton Architectural Press
2. Baren, M. (1992) How it all began: the stories behind those famous names, Otley: 3. Bergström, B. (2008) Essentials of visual communication. London: Laurence King 4. Bierut, M. (2006) Looking closer 5. New York: Allworth Press Smith Settle 5.
Berger, J. (2008)Ways of seeing, London: Penguin; British Broadcasting Corporation
6. Butler, M. & Gravatt, S. (2005) People don't buy what you sell: they buy what you 7.
Castells, M. (1997) Power of identity, Malden, Mass; Oxford: Blackwell
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Carter, D. E. (1998) Logo Power: creating world-class logos and effective identities New
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9. Cummings, N. (2000) Value of things, Basel: Birkhäuser; London: August Media 10. Curran, S. (2001)Motion graphics: graphic design for broadcast and film. Rockport
11. Fishel, C. (2010) Logo Lounge, master library: 3,000 initial & crest logos. Volume 1, Gloucester, Mass.: Rockport
12. Grant, J. (2006) Brand innovation manifesto: how to build brands, redefine markets, and defy conventions Chichester, West Sussex, England; Hoboken, N.J.: John Wiley & Sons
13. Heller, S. (2008) Icons of graphic design, New York: Thames & Hudson 14. Higgins, J. & Carter, D (1999)Bullet proof logos: creating great designs which avoid legal problems, New York: Hearst 15. Klein, N. (2000) No logo: no space, no choice, no jobs; taking aim at the brand bullies, London: Flamingo
16. Mark de Bretton Platts (1979) Ways of meaning: an introduction to a philosophy of language, London: Routledge and Kegan Paul,
17. Nagasawa, H. (2007) Logo mondo papier collè Rockport 43
18. Noble, I. (2005)Visual research: an introduction to research methodologies in graphic design, Lausanne: AVA
19. Ochs, M. (2005)1000 record covers, Köln; London: Taschen 20. Rose, G. (2001) Visual methodologies: an introduction to the interpretation of visual materials. London: Sage 21. Suri, J. (2001) Thoughtless acts? : Observations on intuitive design, San Francisco, Calif.: Chronicle 22. Swami, J. (2010) "London Burners", Prestel Publishing, Berlin, Munich, London, New York 23. Szpajdel, C. (2009)Lord of the logos: [designing the metal underground] Berlin: Gestalten 24. Spiekermann, E. (1993) Stop stealing sheep: & find out how type works, Mountain View, Calif.: Adobe Press
25. The Stone Twins, (2003) Logo R.I.P.: a commemoration of dead logotypes, Amsterdam: BIS 26. Wurman, R. S. (2001) Information anxiety 2, Indianapolis, Ind.: Que 27. Wheeler, A. (2006) Designing brand identity: a complete guide to creating, building, and maintaining strong brands Hoboken, N.J.: John Wiley & Sons 28. "3deluxe", Transdisciplinary Approaches to Design", Frame Publishers, Amsterdam
Places: Branding Museum in London Adidas 2012 open fitness area in London
Web sites: www.designobserver.com www.aiga.org http://design.umn.edu
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www.designwritingresearch.org www.underconsideration.com www.typotheque.com; (accessed 10/10/10) www.adbusters.com; (accessed 10/10/10) http://nextd.org; (accessed 10/10/10) http://www.logoguru.co.uk/blog/redesigned-logos-mid-2010/; (accessed 10/10/10) http://www.fashion-era.com/index.htm http://www.dinesh.com/ http://www.rio2016.org.br/en/Galeria/Imagens/Default.aspxhttp://www.dinesh.com/history_of_log os/logo_parodies/general_motors_logo_parody.html(accessed 25/10/10) http://www.logotree.com/html/history_logo_design.htm; (accessed 25/10/10) http://postspectacular.com/ http://www.onedotzero.com/ http://vimeo.com/7791424 www.argos.co.uk http://news.bbc.co.uk/1/hi/magazine/4183467.stm http://www.youtube.com/user/london2012 http://www.london2012.com/ http://www.youtube.com/watch?v=NvCCFwSMZZs&feature=related (Beijing 2008 parody) http://www.eyemagazine.com/review.php?id=159&rid=787 http://www.davidthedesigner.com/davidthedesigner/that_london_2012_thing/ http://www.creativereview.co.uk/cr-blog/2007/august/the-new-ugly http://www.crackunit.com/2007/08/03/london-2012-shit-poster/ http://www.mylondon2012.com/mascots/ http://www.wpp.com/wpp/companies/companydetail.htm?id=89 http://www.mad.co.uk/Main/News/Articles/827f038afd344ef99dbcc5dc2fc050a6/The-BrandUnion-works-on-European-banking-brand-Zuno.html http://www.marketing-interactive.com/news/17354
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http://www.logolounge.com/articles/default.asp?Archive=True&ArticleID=570 http://www.logoguru.co.uk/blog/redesigned-logos-mid-2010/ http://books.google.co.uk/books? id=Yl0gMLnPfb0C&printsec=frontcover&dq=steven+heller+swastika+symbol+beyond+redempti on?&source=bl&ots=0ONDD63OVu&sig=4F8I5Q43xcbZxPZz1JxAN5UG7c&hl=en&ei=S3pATf_PEJGKhQff3oymBQ&sa=X&oi=book_result&c t=result&resnum=2&ved=0CCEQ6AEwAQ#v=twopage&q&f=false http://www.eyemagazine.com/review.php?id=170&rid=890 http://www.eyemagazine.com/review.php?id=159&rid=787 http://www.eyemagazine.com/dosearch.php http://www.eyemagazine.com/review.php?id=152&rid=747; (accessed 17/01/11) http://www.eyemagazine.com/feature.php?id=152&fid=653 http://www.eyemagazine.com/opinion.php?id=123&oid=299 http://www.eyemagazine.com/opinion.php?id=151&oid=405 http://www.fedex.com/gb/ http://www.brandsoftheworld.com/logo/latvijas-balzams http://identitydesigned.com/ http://www.logodesignlove.com/ http://www.logodesignlove.com/free-logo-design-love-book-chapter http://www.underconsideration.com/brandnew/archives/big_w_little_w_what_begins_with_w.php http://www.logodesign.com/ http://blogs.telegraph.co.uk/technology/shanerichmond/100005782/facebook-and-twitterdominate-online-communities-map/ http://eu.wiley.com/WileyCDA/WileyTitle/productCd-0470027517,descCd-description.html http://www.highbeam.com/doc/1G1-147029309.html http://uk.biz.yahoo.com/17092010/389/world-s-most-powerful-brands.html
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