Logo

A logo (abbreviation of logotype;[1] from Ancient Greek λόγος (lógos) 'word, speech', and τύπος
(túpos) 'mark, imprint') is a graphic mark, emblem, or symbol used to aid and promote public
identification and recognition. It may be of an abstract or figurative design or include the text of
the name it represents as in a wordmark.
Three logos: LibreOffice, IBM by Paul Rand and the International Bureau of Weights and Measures.
Coat of arms of the Chiswick Press

In the days of hot metal typesetting, a logotype was one word cast as a single piece of type (e.g.
"The" in ATF Garamond), as opposed to a ligature, which is two or more letters joined, but not
forming a word.[2] By extension, the term was also used for a uniquely set and arranged typeface
or colophon. At the level of mass communication and in common usage, a company's logo is
today often synonymous with its trademark or brand.[3]

History

Numerous inventions and techniques have contributed to the contemporary logo, including
cylinder seals (c. 2300 BCE), coins (c. 600 BCE),[4][5] trans-cultural diffusion of logographic
languages, coats of arms,[6] watermarks,[7] silver hallmarks, and the development of printing
technology.

As the industrial revolution converted western societies from agrarian to industrial in the 18th
and 19th centuries, photography and lithography contributed to the boom of an advertising
industry that integrated typography and imagery together on the page.[8] Simultaneously,
typography itself was undergoing a revolution of form and expression that expanded beyond the
modest, serif typefaces used in books, to bold, ornamental typefaces used on broadsheet
posters.[9]

The arts were expanding in purpose—from expression and decoration of an artistic, storytelling
nature, to a differentiation of brands and products that the growing middle classes were
consuming. Consultancies and trades-groups in the commercial arts were growing and
organizing; by 1890, the US had 700 lithographic printing firms employing more than 8,000
people.[10] Artistic credit tended to be assigned to the lithographic company, as opposed to the
individual artists who usually performed less important jobs.
A coin from early 6th century BC Lydia bearing the head of a roaring lion with sun rays

Innovators in the visual arts and lithographic process—such as French printing firm Rouchon in
the 1840s, Joseph Morse of New York in the 1850s, Frederick Walker of England in the 1870s,
and Jules Chéret of France in the 1870s—developed an illustrative style that went beyond tonal,
representational art to figurative imagery with sections of bright, flat colors.[10] Playful children's
books, authoritative newspapers, and conversational periodicals developed their own visual and
editorial styles for unique, expanding audiences. As printing costs decreased, literacy rates
increased, and visual styles changed, the Victorian decorative arts led to an expansion of
typographic styles and methods of representing businesses.[11]

The first logo to be trademarked was the Bass red triangle in 1876

The Arts and Crafts Movement of late-19th century, partially in response to the excesses of
Victorian typography, aimed to restore an honest sense of craftsmanship to the mass-produced
goods of the era.[12] A renewal of interest in craftsmanship and quality also provided the artists
and companies with a greater interest in credit, leading to the creation of unique logos and
marks.

By the 1950s, Modernism had shed its roots as an avant-garde artistic movement in Europe to
become an international, commercialized movement with adherents in the United States and
elsewhere. The visual simplicity and conceptual clarity that were the hallmarks of Modernism as
an artistic movement formed a powerful toolset for a new generation of graphic designers
whose logos embodied Ludwig Mies van der Rohe’s dictum, "Less is more." Modernist-inspired
logos proved successful in the era of mass visual communication ushered in by television,
improvements in printing technology, and digital innovations.

Contemporary logos

Red Cross and Red Crescent emblems

The current era of logo design began in the 1870s with the first abstract logo, the Bass red
triangle. As of 2014, many corporations, products, brands, services, agencies, and other entities
use an ideogram (sign, icon) or an emblem (symbol) or a combination of sign and emblem as a
logo. As a result, only a few of the thousands of ideograms in circulation are recognizable
without a name. An effective logo may consist of both an ideogram and the company name
(logotype) to emphasize the name over the graphic, and employ a unique design via the use of
letters, colors, and additional graphic elements.
The Coca-Cola logo is identifiable in other writing-systems, here written in Cyrillic.

Ideograms and symbols may be more effective than written names (logotypes), especially for
logos translated into many alphabets in increasingly globalized markets. For instance, a name
written in Arabic script might have little resonance in most European markets. By contrast,
ideograms keep the general proprietary nature of a product in both markets. In non-profit areas,
the Red Cross (varied as the Red Crescent in Muslim countries and as the Red Star of David in
Israel) exemplifies a well-known emblem that does not need an accompanying name. The red
cross and red crescent are among the best-recognized symbols in the world. National Red Cross
and Red Crescent Societies and their Federation as well as the International Committee of the
Red Cross include these symbols in their logos.

Branding can aim to facilitate cross-language marketing.[13] Consumers and potential

consumers can identify the Coca-Cola name written in different alphabets because of the
standard color and "ribbon wave" design of its logo. The text was written in Spencerian Script,
which was a popular writing style when the Coca-Cola Logo was being designed.[14]

Logo design

Since a logo is the visual entity signifying an organization, logo design is an important area of
graphic design. A logo is the central element of a complex identification system that must be
functionally extended to all communications of an organization. Therefore, the design of logos
and their incorporation in a visual identity system is one of the most difficult and important
areas of graphic design. Logos fall into three classifications (which can be combined).
Ideographs, such as Chase Bank, are completely abstract forms; pictographs are iconic,
representational designs; logotypes (or wordmarks) depict the name or company initials. These
elements can be combined in a set position and relative size in a logo lock-up, so named
because elements are "locked" together and should not be broken apart or resized
individually.[15] Because logos are meant to represent companies' brands or corporate identities
and foster their immediate customer recognition, it is counterproductive to frequently redesign
logos.

The logo design profession has substantially increased in numbers over the years since the rise
of the Modernist movement in the United States in the 1950s.[16] Three designers are widely[17]
considered the pioneers of that movement and of logo and corporate identity design: The first is
Chermayeff & Geismar,[18] which is the firm responsible for many iconic logos, such as Chase
Bank (1964), Mobil Oil (1965), PBS (1984), NBC (1986), National Geographic (2003), and others.
Due to the simplicity and boldness of their designs, many of their earlier logos are still in use
today. The firm recently designed logos for the Library of Congress and the fashion brand
Armani Exchange. Another pioneer of corporate identity design is Paul Rand,[19] who was one of
the originators of the Swiss Style of graphic design. He designed many posters and corporate
identities, including the famous logos for IBM, UPS, and ABC. The third pioneer of corporate
identity design is Saul Bass.[20] Bass was responsible for several recognizable logos in North
America, including both the Bell Telephone logo (1969) and successor AT&T Corporation globe
(1983). Other well-known designs were Continental Airlines (1968), Dixie (1969), and United Way
(1972). Later, he would produce logos for a number of Japanese companies as well.
An
important development in the documentation of logo design is the study of French trademarks
by historian Edith Amiot and philosopher Jean Louis Azizollah.[21]

Logo color

Color is a key element in logo design and plays an important role in brand differentiation. Colors
can have immense consequences on our moods. They are remarkably dominant to the point that
they can manipulate perspectives, emotions, and reactions.[22] The importance of color in this
context is due to the mechanics of human visual perception wherein color and contrast play
critical roles in visual detail detection. In addition, we tend to acquire various color connotations
and color associations through social and cultural conditioning, and these play a role in how we
decipher and evaluate logo color. While color is considered important to brand recognition and
logo design, it shouldn't conflict with logo functionality, and it needs to be remembered that color
connotations and associations are not consistent across all social and cultural groups. For
example, in the United States, red, white, and blue are often used in logos for companies that
want to project patriotic feelings but other countries will have different sets of colors that evoke
national pride.

Choosing an organisation's logo's color is an important decision because of its long term
implications and its role in creating differentiation among competitors' logos. A methodology for
identifying potential logo colors within an industry sector is color mapping, whereby existing
logo colors are systematically identified, mapped, and evaluated (O'Connor, 2011).[23]

Logo design process

Designing a good logo often requires involvement from a marketing team teaming with the
graphic design studio. Before a logo is designed, there must be a clear definition of the concept
and values of the brand as well as understanding of the consumer or target group. Broad steps
in the logo design process include research, conceptualization, investigation of alternative
candidates, refinement of a chosen design, testing across products, and finally adoption and
production of the chosen mark.

Dynamic logos

Facebook logo
The MTV logo. It
has been
modified to
include images
Nunc est within the black
bibendum (now is areas from time
the time to drink), to time.
1898 Michelin
poster.
In 1898, the French tire manufacturer Michelin introduced the Michelin Man, a cartoon figure
presented in many different contexts, such as eating, drinking, and playing sports. By the early
21st century, large corporations such as MTV, Nickelodeon, Google, Morton Salt, and Saks Fifth
Avenue had adopted dynamic logos that change over time from setting to setting.[24]

Internet-compatible logos

A company that uses logotypes (wordmarks) may desire a logo that matches the firm's Internet
address. For short logotypes consisting of two or three characters, multiple companies are
found to employ the same letters. A "CA" logo, for example, is used by the French bank Credit
Agricole, the Dutch clothing retailer C&A, and the US software corporation CA Technologies, but
only one can have the Internet domain name CA.com.

In today's digital interface adaptive world, a logo will be formatted and re-formatted from large
monitors to small handheld devices. With the constant size change and re-formatting, logo
designers are shifting to a more bold and simple approach, with heavy lines and shapes, and
solid colors. This reduces the confusion when mingled with other logos in tight spaces and
when scaled between media. Social networks like Twitter, Facebook, LinkedIn, and Google+ use
such logos.

Mobius strip used as a logo on a van in Bristol, England

Design protection

Logos and their design may be protected by copyright, via various intellectual property
organisations worldwide which make available application procedures to register a design to
give it protection at law. For example, in the UK, the Intellectual Property Office (United
Kingdom)[25] govern registered designs, patents, and trademarks. Ordinarily, the trademark
registration will not 'make claim' to colors used, meaning it is the visual design that will be
protected, even if it is reproduced in a variety of other colors or backgrounds.

In some countries, especially civil law countries, the threshold of originality required for
copyright protection can be quite high so logo that contains simple geometric shapes or texts
might not be eligible for copyright protection although it can be protected as trademark.

Sports

For many teams, a logo or "crest" is an important way to recognize a team's history and can
intimidate opponents.
For certain teams, the logo and color scheme are synonymous with the
team's players. For example, Manchester United, the Toronto Maple Leafs, or New York Yankees
all have a recognizable logo that can be identified by any fan of the respective sport.

See also

Wikimedia Commons has media related to Logos.

Graphic design

Heraldry

Icon

Logogram

Monogram, a motif made by overlapping or combining two or more letters or other graphemes
to form one symbol

Seal (emblem)

Slogan

Sound trademark

References

1. "logo" (https://www.lexico.com/definition/logo) . Oxford Dictionaries UK Dictionary. Oxford University

Press. Retrieved 2014-03-05.
 2. Fyffe, Charles. Basic Copyfitting, Studio Vista, London, 1969, SBN 289797055, p.54.

3. Wheeler, Alina. Designing Brand Identity © 2006 John Wiley & Sons, Inc. (page 4) ISBN 978-0-471-74684-
3

4. Herodotus. Histories, I, 94.

5. A. Ramage, "Golden Sardis," King Croesus' Gold: Excavations at Sardis and the History of Gold Refining,
edited by A. Ramage and P. Craddock, Harvard University Press, Cambridge, 2000, p. 18.

6. C. A. Stothard, Monumental Effigies of Great

Britain (1817) pl. 2, illus. in Wagner, Anthony, Richmond
Herald, Heraldry in England (Penguin, 1946), pl. I.

7. Meggs 1998, p. 58.

8. Meggs 1998, pp. 138–159.

9. Meggs 1998, pp. 126–134.

10. Meggs 1998, p. 148–155.

11. Meggs 1998, pp. 159–161.

12. Meggs 1998, pp. 162–167.

13. "TICoRD'13: Global Product Development" (https://www.springer.com/us/book/9788132210498e) .

Springer. Springers. Retrieved 26 November 2016.

14. "The Coca-Cola logo story" (http://www.coca-cola.co.uk/stories/history/advertising/the-logo-story/) .

Coca-Cola Official Website. The Coca-Cola Company. Retrieved 28 January 2016.

15. "What is the difference between a logotype, logomark, and logo lockup?" (https://designtlc.com/what-is-t
he-difference-between-a-logotype-logomark-and-logo-lockup/) . DesignTLC.com. Design TLC. August 1,
2020. Retrieved June 22, 2021.

16. Meggs 1998, p. 363.

17. Meggs 1998, pp. 369–374.

18. Meggs 1998, pp. 373–374.

19. Meggs 1998, p. 369.

20. Meggs 1998, p. 375.

21. Les Marques Francaises 1824–1974

22. Fugate, Jennifer Marie Binzak; Franco, Courtny L. (2019). "What Color is Your Anger? Assessing Color-
Emotion Pairings in English Speakers" (https://www.ncbi.nlm.nih.gov/pmc/articles/PMC6399154) .
Frontiers in Psychology. 10: 206. doi:10.3389/fpsyg.2019.00206 (https://doi.org/10.3389%2Ffpsyg.2019.
00206) . PMC 6399154 (https://www.ncbi.nlm.nih.gov/pmc/articles/PMC6399154) . PMID 30863330
(https://pubmed.ncbi.nlm.nih.gov/30863330) .
23. Zena O'Connor (2011). "Logo Colour and Differentiation: A New Application of Environmental Colour
Mapping". Color Research and Application. 36 (1): 55–60. doi:10.1002/col.20594 (https://doi.org/10.100
2%2Fcol.20594) .

24. Rawsthorn, Alice (2007-02-11). "The new corporate logo: Dynamic and changeable are all the rage" (htt
p://www.iht.com/bin/print.php?id=4548949) . International Herald Tribune. Retrieved 2008-05-21.

25. "Intellectual Property Office (United Kingdom)" (http://www.ipo.gov.uk/types/tm.htm) . UK Patent Office.

Sources

Meggs, Philip B. (1998). A History of Graphic Design (Third ed.). John Wiley & Sons. ISBN 978-0-471-
29198-5.

External links

Look up logo in Wiktionary, the free dictionary.

Northern Army Preservation Society (http://preserve.northernarmy.com/) : A gallery of noted

Canadian corporate logos.

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