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    of 37
    See how you feel iGo ‘Symbol’ is a colossal word. In religion, literature and a symbolism has engrossed and fascinated thinkers and believers, writers and artists down the ages. ‘One of the great games of civilization is the creation of, ‘symbols, thelr concealment, uncovering, interpretation and study. The way In which the graphic symbols in this book also lend themselves to these subtle games is, what makes the subject so entertaining. Changing meanings What is meart by the word ‘symbol here needs some defining. This presents problems, because the defiition as changed over the last century and continues to 0 $9. One reason for ths isthe lax and relatively recent intarchangeabilty of the terms ‘symbol’ and "ogo, which has been and stl is confusing Design is a business where the latest buzzwords can be embraced without too much ‘nought being given to the consequences. So it was with (ogo when it frst entered the language in the 1930s as a tend feshionable short form af logotype! Logotype stems trom the Greek ogos, meaning word, and relalas to any typographic styiing of a name or word that makes it easily recognizable or significant as a mark of ownership or identity. Buti logo’ once meant the same es logotype’ it no longer does. It has departed from being a clone of its parent and come to mean a more genaral mark identity. For some, a lago na longer even has t0 involve 2 word or words. For others, add a logotype to # symbol ‘and gat a logo. But thal is a kind of post noc rationalization of the contusion This modern use of logo’ has pushed the meaning of the symbol into a corner. Onoe the idea of a graphic symbol was simple: twas an allemibracing term for any single coherent visual davioa that denoted identity, recognition, ownership or efflation, But now that logo’ has taken up much of this space, ‘syemacl has had to meke room for it and confine its meaning only those abstract or pictorial graphic devices that represent the essence of identity. This simoler definition hashad the effect of refining tne subject of graphic symbols, giving it @ new and distinct status within identity design. ‘At one time or another, designers have also appropriated ‘other words for use in the modern business of graphic visual identity, probably for no better reason than thal they seemed tobe fresh and appealing alternatives to the status quo and ‘were teken up in much the same spirt that logo’ was, (Grest, badge, ‘seal and''embler’ come from particular areas, of identity such as heraldry, correspondence an engraving they could also just be called symbols. Likewise, signature! ‘olen’ and ‘igor’ ara names for symoo's that first qualtiec inather spheres, from personal identity to religion. ‘There are also words that are technical and thus legitimately esoribe types of symbol, As such, ‘monogram, fogograrn’ ‘and pictogram’ are particular and explain and celine themselves, Then there are systematized craft symools suchas ‘hallmarks’ and eymbols usad as iradernarks! ‘brandmarks| which are vested with a certain kind of ‘emotional appeal and power. Mark’ has become popular 8 3 useful catch-all. So a!a0k back aver the story ot symbol design is bast placed in this context of mutiple and changing definitions, Writing and trading The family of graphic marks that are symbolic in part or in whole was once large. Symbols representideas and information, cbjects and fealings. The alohabetis a system of visual symbls used to denote language. Aa Eric Gil admonished: ‘Letters are nat pictures but signs for sounds” It language is chonetic, writing was originally simply a means: Cf recording it ar conveyingit to people aut of earshot, cf for the recard. But writing also then became a primary expression in itsell, extending the spoken language into the written language ~ the phonetic inte the graphic. The use of symbols in trade and commerce goes back to the origins of market society. In the ancient world, makers’ marks (ctl picth were stamped or painted on the necks of amohorae Used to transport wine or oll Roman brick mekers and soap makers were obliged to mark the products they sold net, just with their names but also with the place and date of manufacture ~ even the name of the emperor. The practice .was labeling as we now know it,and employed visual devices a the kernel of commercial identity. This is the reaim of the ‘trademark’, which hes been joined mare recently by ‘orandmark’ anew word that is beginning to do to ‘ogo! ‘what ‘logo’ once did ta ‘symioa! ‘The recognition that trademarks had their own velue and needed to be protected came relatively recently in the rineteenth century. In a seemingly innacuous event in ‘commercial history, a red triangle locked together with the signature of the word ‘Bass’ was registered by the ‘eponymous brewery in 1875. In thi, the first registration of a trademark, we see the beginnings of an important formal distinction betwacn the use of makers! marks as symbols of product value and as mere convayors of information. ‘The commercial power of the symbal was dawning, Business identity styles became more geometric and simplified es art nouveau waned towards the end of the nineteenth century. In 1907, another significant step in the progress of commercial graphic design was taken when Peter Behrens, designer of tha trademark symbol for AEG, made it part of e comprehensive design scheme in which he appliad the symbol to all print work, products and architecture for the company. This was the frst complete corporate identity systern, The distinction betwaen information and persuasion has continued. Symbols that are used to distinguish, label or indicate category are useful in the control and functioning of ‘an ordered society ~ a bit ike fling. This informative role has spawned all sorts of specialist designs, which have had their ‘ow line of evolution, particularly in the form of the pictograms ‘and computer icons of the present day In functional symibols there are no hidden agendas; what you see is what you get In faot, clarity is everything, and the ambiguities and competitive subtleties of trademark symbols ere deliberately messing Trademark symbols, on the other hand, tigger emotions ‘through the allusions inherent in their design or by the associations they build up over time as they come to epitomize the spirit and reputation of whet they represent. ‘This is part of branding, where brandmarks have become a subset of trademarks and are thus prized as assets in themselves ~ in some cases, the most valuable asset ¢ ‘comparly may possess, Functional symbols So. functional symbols are those graphic davices that are not invested with any power other than their overt function They represent or replace words of language in order to concentrate meaning more efficiently so that it can be understood, et a single glance, by anyone from anywhere. Athough they are nat represented inthis book, they nevertheless contribute to, an use, the seme assumptions of meaning that efect tne design of tradomerk or brand symbols. Often the work of the same designers as the creators of trademark symbols, functional symbols are everywhere. Public signs, esnecislly on roads, have a language of symbols that changes and develops as people leam and become more ‘adept at interpreting it As with any language, the intention is for the symbols to be understood instinctively, withaut having to think about how. The meaning af an arrow used as a symbol of movement and precise direction on a road sign 's obvious, even though the original abject has nat been ‘commonplace for over three centuries, Visual Iteracy also allows the arrow to ba used for trademark symbols, Allanguage consisting of graphic symbols that could be Understood anywhere on the planet was the dream of many leading designers of the modernist movement in the lest ‘century. in the 1970s, American industrial designer Hanry Dreyfuss published an exhaustive ‘dictionary’ of graphic symbols that he had collected and codified by mearing and categorized by use* The belle! was that these could be the basis of a universal means of communication, the prelude 10.8 more generalized way of communicating, seen by some 43 liberating humanity from the stratiacket of specialization, However, this was before the actual practice of globalization ‘Superseded the assumptions and boundaries of modernist Universality, when tha dream began to die elong with many of the purist tenets of the movement. Maybe itis ust hibernating while the media - the Internet, mobile communications and computing, satelite positioning and navigation ~ catch up. ‘The limitations ofthe symbol lenguage areilustrated by the road sign next 10 a bus lane or parking bay that consists of a symbol with, underneath i, the words ‘at any time’ akind of reducto ad absurdium, especially for anyone who doesn't know what the symbol means inthe fist place, However, the failure ofa gystem of functional symbols to become a global language has not been due tothe faure of individual symbal, Which continue to be used and refined as visual Iteracy develops around the world ‘Computer isons, another family of functional symbols, were born towards the end of the last century. The Mac icons invented by Susan Kara for Apple Computers in the early 19805 were part of the revolutionary Macintosh interface, Along with the computer mouse, the appeal of these simple, intuitive symbols heloed to turn what was a frighteningly complicated machine into 8 docile, friendly piece of fruit. With ever increasing sophistication fuelled by the competitive war between tne Mac Oparating System and Microsoft's Windows series, the development of computer screen icons has continued the trend of helping te bring the ‘computer closer and closer to becoming part af cur bodies. ‘and brains. incidentally, the core definition of the word ‘con’ hes developed in two different directions into two new and seemingly unconnected meanings. The originalicon was 43 sacred representation of a Biblical seene or figure painted (on a small wooden panal and venerated in the Orthodox and Catholic Churches. The idea of the icon as a smallimage signifying a greater power was hubristicaly appropriated by the designers of computer screen eymbols to convey the potential or power that may be tapped by the click of a mouse. And the meaning of ‘icon’ as something venerated has come to be used to describe anyone or anything of gadike status in popular cuture, from classic cars to star celebs, Codes and practice this proiteration of symbols replacing words in so many espects of life, graphic designers have claimed semilogy ~ the analysis af signs and symbol, originally confined to ature but increasingly adapted and applied across most cultural forms = for its relevance to their work. As graphic design becomes one of the most imoortant communication disciplines, applicable to practically every 220! of culture, the temptation is to define visual semiotics 1 this specific context. This would give the grephic designer academically approved understanding of what signs mean, a theary providing a formal set of tools and the skills 10 corporate them meaningful into design work, ever, semiotic codes are systems of signs that involve jonships end meaning, and are partly subjective anc ‘objective. So, comprehending a visuel grammar of ideas S difficult because the creation of araphic images depends on \ceptual, social, emiotional, impliad and thematic meanings. Semiotics cannot be easily adapted and appiied to graphics, until new codes are defined that embrace specifics such as visual structure, typography, phatography and colour, Design and its messages are also relative, The way people ive saveral meanings from visual massages and interpret them differently is semiotically complex. Nevarthaless itis 2 process that is chenging ways of understanding the world, and will eventually, inevitably, require a specific and effective semiotic framework Trademark symbols in 8 world of persuasion, commercial, politcal and ideological advocates vie for the attention of the public. tis here that we find those symbols that are designed as bewitching devices 10 bestow on thelr owners the far-reaching implications of ower. This iS 2 take on the phrase ‘potent symbol, which is 2 tautology; by definition, trademark symbols have power, Paul Rand, whose work included trademarks for IBM, UPS, Westinghouse and ABC, was one of the great exponents of ‘graphic design in the high modemist period of the latter part of the twentieth century. His desians heipad set the siyles that endure to this day, characterized by simplicity, neutrality and clerity with an added measure of wit and playfulness. (On the power of the trademark, he wrote, "A trademark is not merely a device to adorn a letterhead, to stamp on a product, or to insert atthe base of an advertisement; nar one whose sole prerogative is to imprint itself by dint of constant repetition on the mind af the consumer public, The trademark is @ potential ilustrative feature of unappreciated vigour and efficacy; and when sed as such escapes its customary fate af being a baring restatement of the identity of the product's maker'* In the competitive world of commerce, itis crucial for & product's maker to be seen as unique, or at least cifferant ‘And the more distinct that difference, the better. Where the ‘common manis the market, the full potency of the graphic symbol s realzad in those marks of identity that are trademarks or brandmarks. The emotional - same say spiritual - power of the symbol creates and consolidates sense of belonging and so inspires allegiance snd loyally, The use of the symbol as a tool of business began as a ‘mark of ownership but soon became a merk of trade as well Ithas long been connected with the modern idea of branding, and the word ‘brand’ ike symbol itself, has changed its Imesning over time. For most of the last century ‘brand’ meant the image of a product in the market - the kind of psychological isposition it generated in people through its definition and reputation, and its visual representation by a traciemark or brandmark, The origins of branding, literally the marks of ranch ownership seared on the rumps of cows with a branding iron, give us ‘an idea of just how long the symbol has been recognized 8 a 1001 of commerce and trade, The emotional point of the brand is: who the cow belanged to might also signity how good the beef was. So the brangmerk was not simply @ way of recognizing which cows belonged to whom but elo, by extension, now valuable they ware in the market ‘The notion of the brand experience, which is now combined with the idea of brand image in the marketnlace, was a ‘sophistication of brand creation and analysis, So the brand has becorne a symbolic ides or faving created in the minds of the pubic, and consists of al the information and expectations associated with @ product or service. With the increasing importance of the brand 2s a conceot, the stock of the araphic symina! as its representative also began to ascend. In the symino) you see haw you feel about the brand: itis the epitome of the brand's essence, use branding works for products and services, the same ve, using the same precepts, is applied in other sectors: -xample, by corporations and cultural institutions, ‘onal associations, and towns and cities. So ‘branding come the term for this completeness. And the visusl that represents ithas become the ‘brandmark: jostling ‘symibo' logo’ andl trademark’ in the naver-encing ‘or advantage and marketplace ‘cao! art of commercial identity has come full circle, from the ant marks of gods and rulers, ta the early visual marks ness andon up to the modern brandmarks that sms and lives of today’s committed 8. Nike, the Greek goddess of victory, hes rmed into Nike the al-conquering athlete's brand ‘swoosh mark that is recognized the fer, the famous attentions of ant-globalizetion es notwithstanding, ‘Symbol forms ihe top 1000 companies in the United States led that around a quarter of them had symbol arks (11 per cent of these were abstract, such as Manhattan's and 18 par cont representational or such as Apple's), Another It per cent had composites | and.name, and the rest had logotypes thet used or inital. 'er, whose work included identity design for the Vietoria & Albert Museum and ABB, was one of ding, if mostiasyneratie, raphle designers, wha in the United States with iuminaries Paul Rand and Albers. He was a knowledgeable judge of what made a works mercial symbols are like people. Some ate reasonably ogetier but ack personality, others are aggressive, or .0us, of merely unpleasant, Occasionally one encounters ‘estng charaoter. Whatever the case, 1o be effective, ccemark must meet & set of criteria: the utlilarian values 1ng relevant, appropriate and practical and the intangible 125 of being memorable and distinctive; and that ning extra, the visual tweak which creates 2 unique ality’ © ing an all-embracing term for any visual device of ty, worship or language to becoming 4 niche definition 28 single abstract representation of the spirt of a group, moary oF aliance, the symbolis graphic dasign at its most -, The symbols gathered by Angus Hylend and Steven san in this book sre divided into the abstract, based on eS and geometry, and the representational, basad an pictorial forms, ye the abstract symbol ig the purest form af trademark sentation, The geometrical forms invalvad include. res, circles and triangles - the clgssics of Bauhaus design theary ~ and variations on these, as well as arrows, ots, rings and many others. The abstract design allows for Interpretation; its meaning is nat set - until, thats, it becomes the unique signature of the organization or brand it represents. The circle, for instance, may be used because it symboizes Containment or inner strangth, ort may represent the planet, thereby suggesting international or global reach. But these codes are far from clear and most symbols based on the circle are created for arbitrary reasons of taste ar whim. ‘Symbo's categorized as abstract forms adopt mostly & hard-edged machine reguiarity and simplicity, which appea's 10 8 sense of order and certainty while allowing them ta be reproduced easily and elticiently. As such, they are also the inheritors of Mies Van Der Rohe's famous modernist tenet: ‘Less fs more’ Where for aver a century the trademark ‘symbol has been reproduced in prin, and designed to be so, the abstract symbol meets the present and future by lending 'tgelt more readily to the television and computer screen, mainly because it can be animated more frealy Representationsl or pictorial forms deliver more literal takes: can the name or activity of the owner, Seminal examples are. the Appia symbol with a bite out of i, signifying the partaking Of the tree of knowledge. The Shell mark is now so well recognized that the company name has been dropped entirely, without any loss of power This first happened after, the introduction of the 1940s version created by Rayrnond Loewy, probably best known as the designer of Greyhound buses, Studenaker cars, and streamlined trains, Including the wondertul Pennsylvania Si Alan Fletcher suggested thatthe rase was the classic ‘example of something commonplace if beautful that moves sity nto the symbole A rose is @ rose 18 flower of course, but thas # distinguished record as en easly reterenced symbol is five patals were identiied with the fve wounds of Jesus on the cross The pinkness of the classic rase gave its colour to the French language — and wine. In England, roses stood for the royal houses of York (whit anc Lancaster (rod) and thus becarne competing symoals of allegiance in the Wars of the Roses - stil serving the two counties todey. A rose is also a delicate English maiden red rosa is @ symbol of love especialy favoured on St Valentine's Day, wrile a white rosais a symbol af chastity. And as an emblem, the (ose is deployed for the England tugby team and ase trademark for Cadbury Roses chocolates. ‘Twenty-first-century moves Once just stamped or painted, then printed, symbols nov have to be designed for an unprecedented diversity cf media, ‘The requirement is for tharn to read wellal extreme sizes, formats and resolutions ~ as a menu icon on a mobile phone, con the URL bar of 2 website, as a TV or movie ident as well in print, ‘The impact of daital media is net confined solely to how 8 ‘symbol can be made to behave within its various applinations, ‘The computer also hss @ profound anc productive impact on INIROBUCTION/ the working practices of grephic designers. Profound because those most laborious effects and illusions that previousty could nat be attempted without help can be achieved quickly nd precisely; productive because idess can be transformed into reality and then applied efficient in the flesh of a keyboard stroke and mouse click ‘Tne demand for symbols to be effective in a greater range of media snd izes requires thet symbol design continues to volve, Where once the designer might have exploited the creasing availablity of colour in the printing process, naw re s the opportunity to digitally engineer a symbol to work, ne dynamic interfaces of mobile phones, Internet sites and D virtual environments, Designing for multilayered (build-up) ime-based [enimated) effects nas moved from a fringe ‘ement to the mainstream in the first decade of the wenty-first century. ures change and styles change - often so gradually thet ‘anyone notices. But, as ever, the avant-garde eventually omes the convention, Yat many of the auirkier, most netive symbols of the twentieth century would not get ook-in today at the reviewing committees of commissioning ‘osnies ar their marketing departments, Perhaps the y that Giga processing technology grants 10 the y-first-century designer hes enriched the cleverness. yet impoverished, the range of symools. Is a symbol now arevated to catch the eve, or just fo compensate for its nerkable design? ‘or its living, a symbol has to be seen in fact, it must ghly exposed. Repetition and recognition are what itis sored for 60 that it ean build a bond with the emotional sitions of the consumer's mind, Without that, its -5ning, is interpretation, the artfulness of its form and its ness are nothing, How much of the power of the: ‘ols understood by the public, or even the designer, is Often the creators of graphic symbols, working 10 3 1's briet, will admire only the neatness of form and the: osulation of an idea, rather than the power it will bestow mining the fortunes of the ofient. Detving into these questions of power, overt and covert, that ‘ools reoresent, designer Lora Starting describes, and warns of, deeper influences inherent in the syrnbol than are sereraly supposed. Here, we move from the idea that the wer of vival identity lies somewhere in the same emotional 2 seeing an old friend in a familar sut to the post- us, post-rationalst mystical idea that a trademark ol as en aura of indefinable but determining energy.* lho knows? But ust as the acceptance of the conceptual anc sbetract as legitimate in artis accelerating, so we may 7 know which way the wind is blowing, isinly true that as modernism loses its grip on the maanation and education of designers, more intuitive and rescriptive parameters are being used to judge the of symbol forms. semiotic theory is created fcally for, rather than adapted to, graphic dasign, then a usable set of tools for comprehending the symbolism of symbols can be built up and cisseminated to create standard, and thus universally understood, visual language. For each generation, the call of originality and newness is, defining. Paople who think they know differently from what went before aftan get to be designers, Afterall, designers ‘want to be reggonsible for making something entirely fresh ‘ut of nothing. Despite warnings that ‘nothings new, creating ‘a symbol goas a lang way towards scratohing tat keh. A transformation of the symool from a general mark into 3 pectic graphic form, has taken piace. The simplioty of the symbollends itself to ubiquity with its propagation through print, ass production, television and the computer screen, Much is invested in ts creation because it wioles power ~ and thus makes money. As a visible device that represents, ‘an abstract idea, the symbol does not just derive power by expressing the qualities of its owner, it also creates its own. 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Case Susy Transport for LONdOn uegdinthteny sents contay oust seston cathe Loncon a ARSON OK, 5-8 comprised a sold red enamel disc and a blue horizontal bar upon which the station name appeared. Designed to distinguish tne station name trom the myriad type styles and imagery of surrounding advertisements, the ber and circle provided the ingpiration for today's roundel, designed by Edward Johnston (1872-1944) between 1816 and 1819. Having been commissioned to dasign a new typeface by the Underground's publicity menager, Frank Pick (1878-1941), Johnston also updoted the bar end circle mot, which he referred to as @ ‘bulls-cye! By 1917 he had reworked its proportions to accommadata the new typeface and Underground logotype; the red disc became a circle and the new syinool was registered as a trademark, Officially signed off in 1919, the new roundel was applied across publicity ‘material and began to appear an station exteriors and platforms from the early 1920s. 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Cusrrets combi olin Soups tS Spe gece forme nate holst Spr fr 8 wee 28564 mp\esonalwing hurr iteaney Asotbscf creas aymbolzes —_—_aopoasvofafeatier ara elon od, stl omg personal heathen re chacor 12, Global Waste Technologie recy UE Treimarseciog cigs xm 3 nedea! eons 40. AFF cen tcrey. Norway ono UR 2008 lublealudrstorleratee tocler and rey ‘ean Ges Nonnay 2998 Tiree cveteoane exclos wages homes conte Conmiaser aby ar Gonponert Water pea his menaperen constancy oftanewslarccoranu'y the oi exeoiton weeas fons onset deveuemont trough ahaa? “urthersueporstrs compsry/simovate33¢ 68. Lapponla House property evecemert Fist insiytsangerpeences, 153, Peapod tran SA Potkro esa Fone 8 90, TramA tango Greece Arvah USA 2008 Coutseries re acaping leet en pode HOU ee Verma Uk 2008 ‘Apiyl are eyrssiaing on rravatioe tneaneaen fer esr eurporvng es elas ‘The sym ora publ war stem tens “reighboumoed ler veri tose emdnoe teoustmars jy frie suggest th founay and oc, Provan susanable ates 20/ ABSTRACT icles Case Sey CND carcaignortuces eamanens Organized by the Direct Action Committee Against Nuclear War, the first Aldermaston march took place on Easter weekend, 4~7 April 1965, ‘Several thousand people took part in the inaugurel 62-mile march trom Trafalgar Square to the Atomic Weapons Research Establishmant at Aldermaston in Berkshire. The frst four-day march captured the pulbie’s imagination and, at their height during the early 1960s, subsequent marches attracted tens of thousands of activists, A familar sight et ‘those marches - and at sry peace march since ~ was the nuclear disarmament symbol designad by Gerald Haltom (ig14-85), A professional artist and designer, Holtom was a graduate of the ROA ‘and, as a conscientious objector to war, an ideal candidate to design 6 ‘symbol for the Aldermaston march, Combining the semaphore letters 1N'{the angled, downward strokes! and''D' the vertical strokel to spel "Nuclear Disarmament, Holton desigried one of history's most recognizable symbols. Haltom expiained thet the design was intended to symbolize ‘human bsing in despair with outstretched arms, However, he later expressed regret at the element of despairin a letter to his friend, the American pacifist Ken Kolsbun, saying he would have liked to have inverted the symbol to suggest a more postive, proactive tone, Although intialy designed at the behest of the Direct Action Carnmittee, the symbol wasnit copyrighted and was adopted by the Campaign For Nuclear Disarmament, also founded in 1958, Sil used by the ND, Halton's symbol has transcerided its intended use and is now recognized across the globe 2s 2 eymbol for peace in general, as well as for the ongoing campaign for nuclear disarmament. 4 «y Lu _Rochesterinstiute of Technology ete Rarwgon USA, 959 omlonssey The int saesrer ono cessor ot Grape Daaghal HE 2 Museo Fotografia Contemporanea, 2 rune ay, 299¢ hye pace egeoste the cui ofan rar Tler/showeasgar gay OOO CommonweatthBank ‘is, AHH Goto Paine, Asst, C97 Syl ent ve ster te Seumern TERE Asis 208 To sauaresrafr to I prosuts cesta he Frenen. comen Some Sr wrecarean ae Sima rei) rorscnse ay Symon for aanulaciveraeresietend 24 ABSTRACT /Saumee Deutsche Bank ‘Antan Stankawsk’ was 8 founding partner of German design firm Stankowski + Duschek and one of the true giants of corporate identity design; that Symbols peppered with examples of their work i testement to their expartise in this area, However, he symbol highighted here is arguably one of the finest corporate marks ever designed, Deutsche Bank s one of tho werid's lading providers of financial solutions, a European global powernouse serving the nancial needs ‘of corporations, rms, institutions and private and business clents \Wwordwitle, When the bank was founded in 1870 an Imperial eagle led its identi his was sucesededin 133 by an oval containing ths intals 03" Although there was a brief return tothe eagle the ‘DB’ itias on an oval cground remained the bank's core identity for mary years. By the 970s the banking industry was chenging and Deutsche Bank denied heneed for anew symbo)~ one that refiscted the changing timas, an extendod Service palette, the introduction of modem techniques and technologies and increasing globalization, Eight designers were invited to submit designs and when Stankowskis vas selected it reflected the bank's positive attitude towards progress and change — tis bole and simple, yet must have teken many by surprise. The ciagonal stands for consistent grawth and dynamic development, whi the square suggests security; on its website, Deutsche Bank summarizes the symbol as representing 'dynemic growth ina stable environment It sought an identity that was easy 10 apply in any medium, stiking, unmistakable, fee of any fashionable’ accent and able to stand the test of time. ‘Stankowski met the brief perleclly and the resulting symbol speaks for itselfin ary language In 2010 Deutsche Bank retaunctied its brand anid visual identity so that the symbol — unchanged since 1074 —is used independently of the Deutsche Bank logotype. in ine with cther global superbrands and reflecting Siankowsk's ongnal recommendation. 98 / ABSTRAGT Saunton na Rreingis . a | Rasisto TumoridelPlemont Valo 12, Frat Bank frre LS 18. 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SoftPertner AS iterratonseheley, 2% LamereisEsangen rb, Germany Pk Germany, so ‘Agpraricmark aageera revatio 9 ‘36 DAKO Dictionary of Australian Artists comaary ish se-voe reeam hia IT Onin aris andere, Ausrala ‘jams for mal aremdum sd anita Neushvishdsogn Asti 05 4 Evanatan ARICemer sano hr A obokeas sono: a) anna eeacrabe Ins Wee Asceges USA, Se = So 08 the aes inelved ‘athe! Ausaien anand [vivant mort epresering anf reat Led mei 42, The BankotNew York ‘e702 LS gestae gaze 97, Mareus Beale Archit ongyeindsin Fane Pepe ions ut Seven easnuae Ds’ of sabi aren ports anv 38, Ministry of Cltere Republic of Croatia Bussey Croatia 250 Symbol auogeatng te ih na of 2i-cay Crean re Inangea Cove Susy Currently administered by VOSA (Vehicle & Operator Services Agency), the MOT testis an annual examination af automobile safety, roadworthiness and exhaust emissions epplicable to most vehicles in the UK over three years old, Wander around the more industrial areas, of any UK town or city and youll see this familiar symbol on the signage of garages both large and small indiesting thet they offer MOT tasting services, The symbols an endorsement of roadworthiness, also often displayed on gar windscreens. Look closely at the triangular composition and you might spot the lattars MOT, indicating the Ministry of Traneport, he government department that introduced the test. However, the Ubiquitous nature of this symbo! and the abstract qualtias that make f such a cleer and distinctive marque transcend lettering in much the same way, for example, a8 the Internationel Paper Company symbol designed by Lester Beall in 1960. Jock Kinne (1917-24) designed the MOT symbol around the same lime, probably during the late 1260s when ho was working an a number lof projects for the Ministry of Transport and Civil Aviation, @ period curing which he and Margaret Cslvert designed the Transport typelace. MOT tests were introduced in 1960, with Kinnei’s symbol the frst and only gyrbo! used to identify test centres. Half a century later itis stil going strang. 4 M.0.T 44) = CUSTOMERS | # VIEWING AREA | > > |

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