Football as Football is a collection of American football team logos in the style of European football club badges. Here are badges for the Detroit Lions (in the Italian style) and New England Patriots (in the Spanish style).
If you've watched a movie in the past 20 years, chances are you've seen the animation featuring the Pixar logo and Luxo Jr., the company's mascot. Luxo hops in, squashes the I, and takes its place; here's what it looks like:
According to the Pixar wiki, there have been several variations of the logo, including the one where Wall-E comes out to fix Luxo Jr's busted lightbulb:
Others include 20th and 25th anniversary versions, a 3D version that premiered with UP, and versions from Cars 2 and Finding Nemo that incorporate story elements into the logo.
This particular logo debuted with Toy Story in 1995. For the short films Pixar produced before that, they used variations on the not-very-exciting theme of circular indent in beveled square, a shape borrowed from the look of their Image Computer:
Many of the logo animation variations, including the pre-Luxo Jr. versions, can be seen in this video:
..Though the poster contained no painted imagery, it did introduce a new logo to the campaign, one that had been designed originally for the cover of a Fox brochure sent to theater owners....Suzy Rice, who had just been hired as an art director, remembers the job well. She recalls that the design directive given by Lucas was that the logo should look "very fascist."
"I'd been reading a book the night before the meeting with George Lucas," she says, "a book about German type design and the historical origins of some of the popular typefaces used today -- how they developed into what we see and use in the present." After Lucas described the kind of visual element he was seeking, "I returned to the office and used what I reckoned to be the most 'fascist' typeface I could think of: Helvetica Black."
The Microsoft brand is about much more than logos or product names. We are lucky to play a role in the lives of more than a billion people every day. The ways people experience our products are our most important "brand impressions". That's why the new Microsoft logo takes its inspiration from our product design principles while drawing upon the heritage of our brand values, fonts and colors.
The origin of the mark goes like this: Knight wanted to differentiate BRS's custom product from the ones they were importing from Onituska in Japan: "...so Knight turned to a graphic design student he met at Portland State University two years earlier." One day in 1969, the student, Carolyn Davidson, was approached by Knight and offered $2 per hour "to make charts and graphics" for his business. For the next two years Davidson managed the design work on BRS. "Then one day Phil asked me if I wanted to work on a shoe stripe," Davidson recalled. The only advice she received was to "Make the stripe supportive of the shoe." Davidson came up with half a dozen options. None of the options "captivated anyone" so it came down to "which was the least awful."
One of the films up for the Best Animated Short Oscar is called Logorama. It's a Pulp Fiction-inspired ditty composed almost entirely of inventively used corporate logos. A screenshot is instructive in illustrating what I'm talking about:
Deep in the conservative bowels of corporations and brand identity firms, they've got cute little nicknames for logos. The GE logo is The Meatball, the AT&T logo is The Death Star, and the Warner logo is Two and a Half Hot Dogs. (via quips)
Take a logo as simple as the Mercedes-Benz star. Just three points framed by a circle, its geometry is easily described in a few lines of Mathematica code, with some obvious parameters controlling the number of points on the star, the sharpness of the star's points, the thickness of the outer circle, and the orientation of the star.
Well, the "O" was the identity for the Obama '08 campaign and the campaign is over. That doesn't mean that the mark will be forgotten; I think the memorabilia from this campaign will have a long shelf life and will stand as a visible symbol of pride for people who supported the candidate and for those who see it as a representation of a watershed moment for our country. As far as having another life, I can't say. Perhaps the 2012 campaign will hark back to it in some way.
What do I think about the new Pepsi logo? Eh. Companies spend way too much time, effort, and money building up feelings about logos -- like decades and billions of dollars -- and then they just go and change it all. Of course the new logo and colors are similar to the old ones and it's variations on a theme but the new designs feel like someone's idea of what packaging is going to look like 10 years from now, an approach that never seems to work out well (see Back to the Future II). Coca-Cola had such success refreshing their brand with a simple take on their classic look and logo, why can't Pepsi do the same with this classic look?
Raymond Loewy is well-known as an industrial designer but he was also responsible for some of the world's most iconic logos. Pictured below are several sketches that Loewy did for the new Exxon logo:
Big business moved more slowly back then; the sketches were done by Loewy in 1966 but the name change and new logo didn't go into effect until 1972. Loewy was also responsible for several other logos: Shell, Hoover, BP, Nabisco, Canada Dry, and U.S. Mail.
In another case, a truck painted with DirecTV and other markings was pulled over in a routine traffic stop in Mississippi and discovered to be carrying 786 pounds of cocaine. Police said they became suspicious because the truck carried the markings or DirecTV and several of its rivals. An 800 number on the truck's rear to report bad driving referred callers to an adult sex chat line.
Cartype: "A comprehensive collection of reviews and study of typographical applications of emblems, car company logos and car logos with images, comments, links, car company information and general interest."
On brand indentities that are flexible (vs. those that are static). Examples: Google's logo, Target's bullseye, and Saks' jumbly identity. "As advertising agencies lose their grip on the communications channels, the logos are starting to come out of the corner. Once pushed as far over to the bottom right as possible, they're becoming central to communication, no longer content to just be the the full-stop at the end of a piece of branded communication." (via quipsologies)
A rare positive review from Speak Up of the new London 2012 that everyone else in the world seems to hate. "I believe, despite any ensuing boo's, that this is some of the most innovative and daring identity work we have seen in this new millennium, and the lack of cheesy and imagination-impairing gradients gives me hope that identity work can still be resurrected on a larger scale."
Instead of giving out wasteful schwag bags and tshirts that no one wears, the Interesting 2007 conference is asking participants to provide their own used tshirts (they'll screenprint the logo on it) and will be using plain old plastic bags with the conference logo screenprinted on them. What a great twist on recycling. (via bbj)
The mid-2000s may be seen in the future as not such a fantastic time for logo design. One further piece of evidence: the what-were-they-thinking? new design for the Dairy Queen logo. "[The] gold and blue curved swishes [signify] food and treats." Don't know about you, but that blue swish make me want to cram ice cream down my treat-hole!
Kodak has themselves a new logo and gosh it looks plain and boring and undistinctive. Who are the folks convincing companies like Intel and Kodak that these logo/brand overhauls are going to revitalize their companies? Revitalization is a hard business...a new coat of paint isn't going to cut it.