I didn’t think I’d be revisiting the London Olympics, but I stumbled upon a great logo alternative that’s worth some credit. “I began looking at the Olympic rings in the context of London, thinking about the city’s history, landmarks, and personality, but also remembering that this is for a sports competition.
As a side project for the past couple of years, graphic designer Rokas Sutkaitis has been collecting previously unpublished trademarks designed in the USSR. Rokas recently started uploading them to a Soviet Logos Instagram feed. The project aims to present long forgotten works as well as gather some info from people who might know more.
Some lovely Italian marks in the Archivio Grafica Italiana. Officine Ranchetti logo, by Heinz Waibl, 1959. Brian LaRossa shares the stories behind 20 publishing house logos. Simon & Schuster logo evolution. “Richard Simon and Lincoln Schuster stumbled upon “The Sower,” a painting by Jean François Millet, as they strolled through a gallery during their first week of publishing.
Gerd Leufert was born in 1914 in the coastal Lithuanian town of Memel. He attended the Akademie der Bildenden Künste (Academy of Fine Arts) in Munich in 1939 where he studied graphic design, and became a member of the Werkbund, an interdisciplinary association founded on the social importance of design and craftsmanship.
One of this year’s winning logos at the D&AD Awards. “The identity is centered around a simple abstraction of a bike, whose main function is to present itself in an attentive but subdued manner. In channels where you interact with the service, the identity opens up. The logo comes to life in a lively character guiding you through the service;…
The Music Shop is a new stock/bespoke music library serving the advertising and film industries. “…the identity basically had to represent ‘music’ and an ‘online shop’. It was here that the simple connection was made. Online checkouts use a shopping trolley symbol which also looks similar to musical notation.” — Mark Richardson, Superfried
What used to be a London-based print factory with two fully-soundproofed press halls is now Printworks — a six-acre, 6,000 capacity, licensed venue for music, fashion, film, exhibitions, and more. Only were commissioned to create an identity for the venue, one that offered a flexible framework for promoting eclectic events in what was once the largest printing facility in Europe.
Retired NASA engineer Joe Chambers was asked by his wife to look through his ever-growing collection of historical material to cull what had already been published and to clear out their house a little. When sifting through folders, Joe saw one labeled “NASA Insignias.” It formed the basis of a 2013 presentation at NASA’s Langley Research Center.
The following has been excerpted from Tim Lapetino’s , a beautifully produced book showcasing more than four decades of packaging and advertising illustrations from the pioneering video game company. Affectionately nicknamed “the Fuji,” the Atari logo still persists as a lasting part of popular culture. While other logo designs of the era — Carolyn Davidson’s Nike “swoosh” or the Apple…