This behind-the-scenes look at the giant practical set built for HBO's 1983 station identification sequence is impressive. It inspired Christopher Johnson at Colossal to dig into the archives for more great examples, including a vintage logo created 63 years ago for Eurovision: Read the rest
Mozilla announced its new ＢＲＡＮＤ ＩＤＥＮＴＩＴＹ today. There it is above. Reception has not been kind. But is it ever? Its nerdliness (:// indeed!) is being held responsible for the inelegance of the logotype, but it's the best thing about it.
I know it's easy to toss off "how I woulda done it" logo designs, but I think a little subtlety could have worked wonders. Something like the following, perhaps? Making the :// live within the flow of the type...
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And you thought Stranger Things had a cool opening. (via /r/obscuremedia)
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Logos from Hell is death metal illustrator/designer Mark Riddick's massive compendium of heavy metal band logos that he's gathered from across the globe. These are the sigils printed on foreboding LP jackets, scratched into school desks, scribbled onto notebooks, and inked into hesher arms the world over. From Wired:
As metal evolved into myriad subgenres, each more extreme than the last, wordmarks and branding evolved in step. “Logos just tend to get more and more extreme and as you branch out,” says Riddick. It’s reached the point that you can almost determine the style of music from the typography. Indeed, there might be no better example of typography’s multi-sensorial nature than extreme metal logos. Thrash metal bands like Metallica, Slayer, and Overkill adopted logos with straight, sharp edges to reflect the tight and controlled nature of the music. Death metal bands—which tend to focus on subjects like violence, religion, horror, and, yes, death—tend to incorporate those themes into logos that feature things like dripping blood, organs, severed limbs and skulls. The logos associated with black metal, which has its roots in deeply anti-Christian views, the occult and paganism, often are ornate, symmetrical, and derived from art nouveau’s swirling, rounded forms.
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This person has three problems with the new Uber logo. The first problem ("It can be recreated in under one minute using three of the standard shape tools) does not bother me. I actually think that's cool. But the uncentered square and the overhanging line really do suck! Read the rest
Christian Kirchesch put together a cracking set of logos as used by musicians, pirates, demo writers and other e'erdowells of the Commodore Amiga's hardcore coding scene.
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Originally this was supposed to be an article about the Top 20 Logos from Commodore Amiga. It ended up with 159. The more I digged into it, the more precious gems I fount. Graphics I hadn't seen for decades, straying around in .ADF- and .DMS-images somewhere on the Internet, forgotten by most people. Some of these Logos go even back to 1988 (Tristar, Unit A, World of Wonders).
Bit conservation! The redesign makes more sense now. Read the rest
IMO Paul Rand's best work in 20 years. I would have gone for something traditional, myself, like Zapfino, but I guess they're going for that classy slick design look.
Previously. Read the rest
Over at Display, Graphic designer Richard Danne tells the story of the fantastic "worm" logo he and partner Bruce Blackburn created for NASA in 1974. It was used for almost twenty years until the NASA administrator Dan Goldin unfortunately reinstated the previous "meatball" logo, developed in 1959. Read the rest
UCLA psychology professor Alan Castel ran an experiment where more than 100 students drew the Apple logo from memory, and the results were surprisingly terrible. Why? Read the rest
offers a surprisingly focused collection, as useful to artists as it is nostalgic to browse through. It could use filtering tools: say, if one wanted to show just those from Pysgnosis
. Read the rest
Over at Tenth Letter of the Alphabet, a fascinating history of the Star Wars logo. Above left, a decal created during the film's pre-production, to be used on film cans and other early materials. "This was how we first pictured Han Solo," production designer and artist Ralph McQuarrie explained in The Star Wars Scrapbook: The Essential Collection
. "It could be a sort of Luke character, but I think it’s more like Han. Anyway, George decided that Han Solo should be a more relaxed character, and his costume was changed. But this decal was designed before the change.” Above right, the early corporate letterhead after "The" was dropped. The lettering, based on the Precis
font, was by concept artist and SFX tech Joe Johnston. "Anatomy of a Logo: Star Wars
" Read the rest