Logotype

LogotypeMichael Evamy

Published in 2012 by All rights reserved. No part of thisLaurence King Publishing Ltd publication may be reproduced or361–373 City Road transmitted in any form or by anyLondon EC1V 1LR means, electronic or mechanical,United Kingdom including photocopy, recording orTel: +44 20 7841 6900 any information storage and retrievalFax: +44 20 7841 6910 system, without prior permission ine-mail: [email protected] writing from the publisher.www.laurenceking.com A catalogue record for this book is© text 2012 Michael Evamy available from the British Library.Michael Evamy has asserted his right ISBN 978 1 85669 894 8under the Copyright, Designs andPatent Act 1988, to be identified as Book design by Companythe Author of this Work. Cover design by Pentagram Picture research: Samantha Evamy Printed in China

Michael EvamyLaurence King Publishing

14 It’s all in the font 100 More or less 130 Alternative arrangements16 Sans serif 102 Flourishes 132 Rotated16 Title case 108 Rules and dividers 138 Slanted22 All upper case 110 Cropped 140 Circular30 All lower case 114 Negative space 142 Multilayered32 Serif 118 Missing parts 156 Reflection and inversion32 Title case 124 Minimal 160 Word/monogram lock-ups36 All upper case40 Mixed case42 Small/large44 Mixed font48 Modular and grid-based60 Superbold64 Stencil70 Cursive80 Handwritten86 Outline88 Inline and multilinear92 Blurred/repeated94 3-D98 Retro

Contents164 Colourful characters 250 Carriers & corners 282 East 284 Chinese166 Single-letter marks A–Z 252 Letter carriers 286 Arabic194 Linked letters 254 Carriers 292 Hebrew210 In a word 254 Circles 294 Bilingual230 Typographic marks 262 Squares230 Dots and full stops 264 Rectangles 300 Symbolic234 Slashes 270 Other shapes 302 Windows and patterns236 Ampersands 276 Frames 306 Illustrative characters238 Underlined 310 Combination marks240 Other punctuation246 Numerical and mathematical

Introduction establishing itself, a symbol needs its hand held by a written name, in theThe words we see in books and form of a wordmark or other logotype.magazines, on signs and online are Only once an association with adesigned to be read. This book is brand has taken root in the minds ofabout words and letters that are the audience can a symbol shed itsdesigned to be recognized. words. There are a handful of symbols – such as those of Shell, Apple andLogotypes – wordmarks, monograms Mercedes-Benz – that require noand single-letter marks – are where introduction anywhere; others take athe verbal becomes visual; where risk if they go it alone.elements that are usually designed tospeed the eye across the page invite For Sagi Haviv (1974–), a partner atit to linger; where the choice of font Chermayeff & Geismar, the logotypeis never less than meaningful; where is the default option. He told identityspaces and spacing are significant; blog Logo Design Love: ‘I start off withwhere the composition of words the premise that there has to be aand characters carry weight; where good reason for a symbol. Examplesletterforms and even fragments of of good reasons for a symbol include:letterforms can evoke attributes, a very long name; a need to bringatmospheres, emotions, events, together different entities, sub-places, personalities and periods brands or divisions; or a need for ain history. visual icon as a shorthand. Without a good reason such as these, the focusOnce it has become familiar, a should be on the name of the entitylogotype is registered by the brain represented.’in much the same way as a symbol:as a single, visual entity rather than Verbal and visual unite in logotypes.a set of related verbal ones. Is there So do art and craft. This bookanyone who actually reads the words celebrates all four. The art is in‘Facebook’ and ‘YouTube’ in the way the concept of a logotype; in thethey read text, when they see them in crystallization of a visual idea.their familiar fonts and settings? This can emerge from extended, educated experimentation with typeHowever, the symbol logo and the and letterforms until something – alogotype are different creatures. solution – appears. It can arrive asLanguage is no barrier to a symbol, the result of a chance observation – agenerally; to a logotype, it can be. misspelt word, a slip of the tongue orOn the other hand, a logotype needs a fortuitous reflection. Occasionally,no accompaniment to do its job the idea drops into the mind whenof identifying its owner. While it is least expected. There is a eureka

Introduction 7Clockwise from above: moment. For Archimedes, it came examples that came after arduousSketches made by Mike as he stepped into the bath. For Alan and exhaustive design stages.’Dempsey on the number Fletcher (1931–2006), searching According to Atelier Works’38 bus that led to the for the perfect way to marry an Quentin Newark, ‘The months ofidentity for the English ampersand with an ‘A’ in the V&A background work are crucial. OnlyNational Opera (ENO), monogram, it came during his by understanding the organization,proving that inspiration morning shower. its past, its competitors, the industrycan strike at any time; situation, its ambitions and itsthe final ENO logo, by Let no one think, though, that such audiences – which are all facets ofCDT Design; moments, and such visionary, the “problem” – can you begin to thinkVictoria & Albert Museum deceptively simple ideas, arrive of solutions. You could argue that it’sidentity, conceived in the completely out of the blue. They because of the spadework – leadingshower by Pentagram’s are usually the outcome of weeks, to a concise and exact definition ofAlan Fletcher; even months, of immersion in a the problem – that a clever, elegantYouTube logo, designed client’s brand issues, positioning and solution becomes possible.’by co-founder Chad business challenges. Inspiration isHurley; hard won. As Paula Scher (1948–), The idea is only part of the solution,Facebook logo, designed the designer behind the current though. After the art comes the craft.by Cuban Council and identities for Tiffany & Co., Howcast Specialist type designers are regularlyTest Pilot Collective. and New York’s Museum of Modern asked to help to achieve the idea Art (MoMA), memorably said of her in the designer’s mind: a particular ‘umbrella’ logotype for the financial union of letters, for example, or a group Citi: ‘It took me a few seconds harmonious, balanced composition to draw it. But it took me 34 years to of words. On occasion, the demand learn how to draw it in a few seconds.’ is for a completely new, bespoke font in several weights as part of a And, once a potential solution is corporate identity system, on which identified, the work doesn’t stop. the logotype will be based. (See Other routes have to be explored to pp. 12–13: Logotypes: The type exhaust the possibilities; there may be specialist’s view.) an even better idea around the corner. ‘We only know it’s the right idea if we Type designers are the modern have more than one idea,’ says John descendants of pioneering craftsmen Dowling of Dowling Duncan. ‘We had like Nicolas Jenson (1420–80) and two logos that “came” on day one,’ Claude Garamond (1480–1561) who says Michael Johnson of Johnson carved letterforms with astonishing Banks. ‘In both cases, the other 19 precision from small wooden blocks days of the design stage were spent in the earliest days of printing. But looking for something better, but logotypes have a much longer lineage. we never bettered that first idea. They arrived with the Greeks and the Having said that, we have many more Romans, when new coins bore designs

8 Introduction of interwoven letters to represent (c.1495) and Garamond (sixteenth contemporary rulers. This was the century), and in their modern, digital- birth of the monogram (meaning friendly counterparts. ‘single line’), the kind of logotype usually seen today on the doors, Probably the first logos in the modern uniforms and menus of smart hotels, sense (of being widely distributed, for restaurants and department stores. the means of identifying commercial entities) were the marks used by Craftspeople painted or inscribed the earliest printers in the fifteenth their own monograms on to tiles, century on the title or end pages of vases, bricks and other ceramic their publications. These displayed products. This form of artistic enormous invention and visual signature was probably also the first economy, ranging from decorated form of the commercial logotype, monograms, such as William and it grew in sophistication until Caxton’s, to orb-and-cross designs monograms came to be designed with initials, and from pictorial puns not to be read, but simply to be on the printer’s name to allegorical recognized. This tradition never died; engravings. Later, it was the printing craftspeople through the ages have trade that gave us the word ‘logotype’: done the same. in the days of hot-metal typesetting, ‘logotype’ was the term for a single The Romans also gave us the Latin piece of type bearing two or more alphabet – the basis for much distinct elements. of the modern world’s written communication – and their stone Today, there are logotypes wherever carvers laid the foundation for you look. The most traditional forms – the ‘roman’ typefaces developed monograms, signatures, plain type – soon after the invention of printing. still offer possibilities to designers Etruscan and Roman lapidaries of corporate identities. But the painted their capitals on to the accelerating advances in printing, marble surface before inscribing media and design technologies them with such fidelity and sensitivity have opened the door to infinite that the carved letters bore many variety. Designers can manipulate, of the subtle, human qualities of the integrate and decorate letterforms painted ones: thick and thin strokes, and words with almost total freedom, graceful ‘tails’ and thicker areas and realize visual ideas that, a at the start of strokes, where the generation ago, would have had to brush made contact with the stone. remain in the imagination. These qualities can be seen in the strokes, tails and serifs of early, non- They also have an enormous palette calligraphic typefaces such as Bembo of typefaces with which to work.

Introduction 9logotype Beginning with the boom in display It is not a development that impressesLogotype faces in the ninet eenth century – big, everyone. Italian-American designerLogotype bold, attention-grabbing alphabets Massimo Vignelli (1931–), the man for bellowing the headlines of most responsible for instigatingLogotype theatrical bills and ‘wanted’ posters corporate America’s love affair with – the development of typefaces for Swiss-made Helvetica (1957) inLogotype advertising and branding (as distinct the mid 1960s, maintains that any from text) has been unrelenting. designer worth his or her salt can getLogotype Font fashions have come, gone by on half a dozen cultured, tried-and-Logotype and come back again. And, in their tested typefaces. For many yearsLogotype search for the new, designers have ‘ideas-led’ design consultancies such revived the old. Even fonts that had as Pentagram promoted the sameLogotype been cast into type wilderness are philosophy. But, in logotype design at finding new audiences. Bookman, least, character and distinctivenessLogotype Cooper Black, Avant Garde: nothing is in type design have trumped ‘good’ off-limits. There is even a logotype in taste and breeding. More, not less, isGiving character to this book that makes use of Souvenir more in this particular field of design.characters: Typefaces (see Tomorrow by KentLyons, p.33),have a Jekyll and Hyde a font first designed in 1914 but not a It is also a field where change haseffect on words, and today hit until released by the International become the norm. Commercialthe range of personalities Typeface Corporation (ITC) in 1970, pressures, changes of senioravailable is greater than at and whose instant over-use by personnel in companies andany time in the past. designers and ad agencies consigned developments in technology it to eternal association with soft-focus and media all test the resolve of advertising, soft rock and soft porn. organizations to stick with the identity they already have. But every rebrand Of course, the digital revolution is a risk; there are almost always those hasn’t just helped to give old faces who will defend an existing identity, a makeover; it has democratized no matter what its formal qualities. type design and unlocked a flood Brands are very much more than of new typefaces. FontShop, the logos, but logos are what people grow world’s first digital font reseller, stocks attached to; they offer a focal point thousands of high-quality, hand- for all the feelings, good and bad, picked fonts from major foundries and about a brand. No other element of a independent type designers. With brand ever draws a more impassioned the right software package, anyone defence than a logo under threat of can experiment with type design, replacement. Just ask clothes retailer and turn out a font to his or her own The Gap, whose switch to Helvetica taste, whether that’s a stern slab serif, caused uproar among sections of a faux cyrillic, an extra-light script or its customer base, or United Airlines, something bold and brutalist. whose Saul Bass-designed double-U

10 Introduction mark was lost, to the publicly voiced – and the widening number of media disgust of thousands of travellers, in and experiences through which brandOpposite page: the merger with Continental. There identity is being expressed have ledTypical logo applications. are countless other examples. some designers and commentatorsLeft to right, from top: to question the value of a fixed, never-Midi café menu, by This state of restlessness applies changing logo in a brand world ofCoast; packaging and to identities themselves. Some constant flux.menus for Marmalade clients have experimented withToast café by &Larry; alternative ways of commissioning Is the logo dead? The rich diversitylettering on concrete at identities, such as crowdsourcing and of ideas in this book would suggestThe Hepworth Wakefield public competitions – department that the logotype, at least, is moreby APFEL; Harrods store JC Penney recently replaced alive than ever. And, in a future incarrier bag by Minale its Massimo Vignelli-designed which logos will have to work everTattersfield; website for wordmark with one submitted by a harder, with ever less media time andHaptic Architects by BOB third-year graphic-design student space in which to operate, the kindDesign; signage at the BK at the University of Cincinnati. The that communicates both visually andItalia factory by Vignelli development of the ‘flexible’ or verbally in a single, self-containedAssociates; business card ‘dynamic’ identity – the kind that has mark could easily come to dominatefor Highly Solar by Hesign; multiple, interchangeable variations the creation of brand identity.Melinda fruit sticker byMinale Tattersfield.

Introduction 11

12 Introduction Logotypes: The type specialist’s view at a lot of logotypes and I see missed opportunities. I’ll look at one and see aOpposite page: On high-profile branding programmes, loop or a different ending, or a ligatureBirth of a logotype: AV where the fine detail of a logotype that would have made it distinctive.Browne commissioned needs to be faultless, designFontsmith to develop a companies often seek the expert ‘The arrow in the FedEx logo – peoplelogotype and bespoke input of a specialist type design studio. love having that pointed out to them.corporate font for the Fontsmith, based near London That kind of feature makes everyNorthern Ireland Tourist Bridge, is known for its development client and every customer happy. AndBoard. ‘It was very of commercially available fonts such that’s what you’re always reaching for:important that we gave as FS Albert and FS Lola, as well as that special element where the pennyit a hint of Irish heritage,’ fonts for clients such as Channel 4 drops. ‘Something every designersays Fontsmith’s Jason and BBC One. But the studio also should do is learn how to achieveSmith, ‘but also that provides a logo design service, with expression through type. How do youwe made it feel much projects ranging from refining the make a word like “fizzy” look fizzy?younger, to echo their draft logotypes of other agencies to It’s not about typing out the name inimagery and the kind of developing a typographic ‘route’ as Helvetica and applying a “fizzy” filterexperiences the NITB part of a brand pitch or presentation, to it. It’s about thinking of an idea andwanted to focus on.’ to taking the brand brief and crafting drawing it. a fully formed, ready-to-use logotypeThis series of images from first principles. ‘Here, we always start with a blankgives a glimpse of the piece of paper. We start sketching,design process, from The studio was founded by Jason Smith and we develop an idea. Everyonean initial moodboard in 1999. Here, he talks about its work, here can draw really well; they’ve allthat captures some and how an in-depth knowledge of got an eye for shapes, curves andof the desired font letterforms can lead to better logotypes. balance. We search the words in acharacteristics (top name for any interesting relationshipsleft), through sketches ‘When I learned to draw type at between the letterforms that canand character design Monotype, the first thing I was asked to become the hook. Then we apply an(which focused on do was draw a 12-inch-diameter circle essence or vibe to it to capture thethe serif terminals), without a compass: turning the paper, personality of the brand.refinements and testing, sketching it out, looking at it, shavingto applications. Setting bits off and so on. It was a brilliant ‘An identity in its most basic formthe logotype (bottom exercise: when I thought I had a perfect is a name. The next layer is the wayleft) in lower case circle I marked it out, and it wasn’t. you present it. That’s the clever bit:enabled it to highlight conveying a message through athe country’s initials. ‘Everyone can see when a painting name. If you can build an identity in or a building or a logotype is black and white, with just the name aesthetically pleasing, but it’s the and something going on inside it, job of painters, architects and type that’s the holy grail.’ designers to figure out why it is. I look

Introduction 13

We begin with a survey of logotypesat their simplest: a word or anabbreviation set in a typefacechosen to convey something ofthe nature, stature or characterof the organization. It is wherethe focus falls squarely on theletterforms themselves and onthe communication of basic,essential values through type. Itis where logotypes most closelyfollow typeface fashion, and wheresimplicity can lead to longevity.

It's allin the font

16 It's all in the font. Sans serif: title case1

It's all in the font. Sans serif: title case 171. American Airlines 2. Streetlab 2International airline, USA Skateboard retailer, 3Designed by Unimark Sweden 4International (Massimo Designed by We 5Vignelli), 1967 Recommend (MartinIn a book dedicated to Fredricson, Nikolajexpressive wordmarks, Knop), 2010we start at the more The neutrality of Neuetaciturn end of the Helvetica (a revision ofscale. Helvetica, the Helvetica developed intypeface that forms the 1983) helps this skatebasis for the logotypes retailer steer clear ofof American Airlines, visual clashes with theJeep, Crate&Barrel, brands it stocks.Microsoft, Panasonic,3M and dozens of other 3. Sadie Coles HQglobal brands (as well as Contemporary artmany more fashionable gallery, UKnames that would Designed by Farrow, 1997shun associations with Like the gallery space,traditional big business), the logotype plays anwas considered the almost silent role, inheight of efficient, subservience to the artunruffled modernity it encompasses.when it was first appliedin logotypes in the 4. Cristina Guerramid-1960s. Contemporary Art Contemporary artA new generation gallery, Portugalof American design Designed by Atelierfirms, led by Unimark Pedro Falcão, 2001International in Chicago, Art gallery names,adopted Helvetica as like fashion brands,their house typeface. It frequently echo theresponded to a need for identity of their founders.a compact, effective, Pedro Falcão’s aim withhighly readable text this gallery identityfont, and it became the was legibility andmodernist cornerstone timelessness, ‘similarof a look that signalled to a perfume brand’.a new, expansivetechnological era in 5. ST HoldingsAmerican commerce. Record distribution and label management, UKOne of the first projects Designed by Give Up Artfor Milan-born Massimo (Stuart Hammersley),Vignelli (1931) after 2010he started Unimark’s An unassumingNew York office was wordmark for a self-to develop an identity proclaimed ‘boringto replace American box-packer’ of theAirlines’ signature eagle music industry.symbol. His solution –the name in boldHelvetica in red and blue– outraged employees,who demanded an eagleon their aircraft tails.Vignelli, equally outragedat the demands for whathe saw as superfluousand sentimentaldecoration, eventuallyrelented and grudginglycrafted a highly stylizedeagle to take a back seatwithin an ‘AA’ version ofthe identity.Vignelli, who claims thatno graphic designerneeds more than sixtypefaces in his/herarmoury, went on to applyHelvetica in numerouslogotypes – including theNew York City Subway’siconic signage – thatsurvive to this day.

18 It's all in the font. Sans serif: title case6. Asprey 12. Heller Eugene the Jeep. TheLuxury goods brand, UK Furniture and wordmark first appearedDesigned by Pentagram housewares on vehicles in the 1960s.(Angus Hyland), 2002 manufacturer, USA (Courtesy of Chrysler-For the company that has Designed by Vignelli Jeep LLC)enjoyed royal patronage Associates (Massimosince 1862, a logotype Vignelli), 1972 6with stately letterspacing Not only did Massimo 7and a final flourish Vignelli create Heller’s 8to mark its split from Helvetica wordmark, 9Garrard in 2002. he also designed the company’s first7. BurdaStyle ever product: a lineOnline sewing community of melamine stackingand resource, USA dinnerware. As well asDesigned by Area 17 developing corporate(Audrey Templier), 2008 identities, Vignelli and hisA digital offshoot of wife Leila have appliedBurda Style, Germany’s their modernist, objectiveleading DIY sewing design language topublication, with a numerous productsreinterpretation of the and interiors.magazine’s logotype thatcentres the brand on 13. Hertzfashion and style. International car rental company, USA8. Cubus Designed by LandorFamily fashion retailer, Associates (CharlesNorway Routhier, Bina KijmedeeDesigned by Stockholm and Juliane Freitas),Design Lab, 2007 2009A clean, modern identity Landor’s identity losesthat repositioned this the dated drop shadow ofmajor retail brand and the old Hertz wordmarkhelped to consolidate but keeps the italics andits presence in the rest yellow (as a background),of Scandinavia and retaining a connectionnorthern Europe. with the past while seeking to catch the eye9. LazyLazy.com of modern customers:Online family fashion cash-strapped butretailer, Denmark demanding personalizedDesigned by We service.Recommend (MartinFredricson, Nikolaj 14. SpiritualizedKnop), 2010 Rock band, UK Designed by Farrow, 199710. Nailxpress Created to coincide withNail polish strip brand, the release of the thirdSpain Spiritualized album,Designed by Talking Ladies and Gentlemen(Gonzalo Sanchez, Fabián We Are Floating in Space,Vázquez), 2009 Farrow’s utilitarianSimple, straightforward Helvetica identitytypography on perfectly complementedmonochrome packaging, its packaging for thedisplays and collateral CD, which parodiedhelps put the focus on packaging forthe brand’s main asset: prescription medicine.the spectrum of coloursin its product range. 15. Jeep Off-road vehicle brand,11. Douglas USAEntertainment Designer unknown,TV and film producer, 1960sDenmark Pure, no-nonsenseDesigned by We Helvetica Bold forRecommend (Martin the original off-roadFredricson, Nikolaj vehicle. The origin ofKnop), 2010 the name itself is stillA simple, versatile disputed among Jeep®wordmark based on enthusiasts, with somea modified version of claiming it emergedthe Akzidenz-Grotesk from the designationtypeface (the 1898 ‘GP’ (short for ‘Generalprecursor of Helvetica Purpose Vehicle’) andand Univers), designed others maintainingto sit comfortably with that GIs named it afterthe look of any of the Popeye’s magical,company’s productions. otherworldly pet,

It's all in the font. Sans serif: title case 1910 111213 1415

20 It's all in the font. Sans serif: title case16

It's all in the font. Sans serif: title case 2116. Crate & Barrel impressed the Crate with long ascenders andHousewares retailer, USA & Barrel brand on the descenders couldn’tDesigned by Tom American shopper’s generate. A companyShortlidge, 1968 consciousness. Every like Knoll needed nothingWhen a young American carrier bag became more, nothing less.couple, Gordon and a commercial for theCarole Segal, opened the store on the streets 20. Openfieldfirst Crate & Barrel store of American cities, Grain supplier, UKin December 1962, their conferring on its Designed by Purposeaim was to put before bearer a chic European (Rob Howsam, Stuarta discerning American sophistication. With more Youngs, Justin Davies),audience the kind of than 100 storefronts in 2008well-designed, modern, the USA, the brand plans A wordmark to reflect thedurable products they to go global, bringing its positive, inclusive spirithad seen on sale in American take on Euro- of a grain distributionEuropean cities while chic to, it says, ‘every company that shares itson honeymoon. The corner of the world’ – profits with farm owners.name was inspired by including Europe.the bulk packaging in 17which their stock arrived 17. Syfy 18from Europe, which they Cable TV channel, USA 19overturned to create Designed by Proud 20product displays. Creative, 2009 Launched in 1992, theWhen the company SciFi Channel changedstarted to branch out in its spelling in 2009the late 1960s, the Segals and thereby turned aturned to Tom Shortlidge, genre into an ownable,a young art director at marketable trademark,Young & Rubicam who freeing it to move intohad worked weekends in other genres such asthe original Chicago Old reality TV, fantasy,Town store to earn a little paranormal and horror.extra cash. His opinion Likewise, Proud’swas sought by Segal on identity aimed fora proposed new logo to timeless, non-genre-replace the existing all- specific simplicity.caps stencil wordmark. 18. Teach First‘I thought it was a nice Educational charity, UKlogo – but for someone Designed by Spencerelse,’ recalls Shortlidge, du Bois (John Spencer),who has rarely spoken 2010about his involvement Calm, solidity andwith the iconic US brand. understated confidence‘It was a stylized C+B, for a highly regardedand would have been independent charity.very appropriate fora glass manufacturer. 19. KnollThe warmth of the name Furniture manufacturer,“Crate and Barrel” and USAwhat that implied was Designed by Unimarkmissing.’ International (Massimo Vignelli), 1966Segal invited Shortlidge Massimo Vignelli andto have a go. ‘To reflect his co-founders atthe store’s European- Unimark Internationalness, I started looking in the mid-1960s wereat Helvetica, then a passionate aboutrelatively new typeface in objectivity, systemsthe US and one that I had and functionality inintroduced to the in-store design and typographysignage during my brief (see American Airlines,tenure as a part-time pp16–17). Knoll, aemployee. But I needed US-based companyto alter Helvetica a bit with roots in Europeanto make the logo more modernism and pledgeddistinctive. The “C” was to the values of themade rounder and closed Bauhaus, was the perfectinto more of a circle. The client for the Unimarktail on the ampersand treatment. Helvetica’swas extended, and other unusually large x-heightcharacters were tinkered (i.e. the height ofwith subtly.’ standard lower-case letters like x, n, o, a andIt was the application e) gave individual wordsof the black, bold logo and names – like ‘Knoll’around the corners of – an internal stabilityboxes, bags and displays and visual strength thatfrom late 1968 that really traditional typefaces

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It's all in the font. Sans serif: all upper case 231. Erco width combinations, 5. GoodArchitectural lighting each connoted by a Print and onlinemanufacturer, Germany different two-digit magazine, USADesigned by Otl Aicher, number. Designed by Area 171974 (Arnaud Mercier), 2006A font whose letters The ‘E’ of ‘ERCO’ is set Good calls itself theare composed of thick in Univers 65 Bold; the ‘integrated mediastrokes is said to be ‘R’ in Univers 55 Roman; platform for people who‘bold’; one whose and the ‘C’ in Univers want to live well andletters have fine 45 Light. The ‘O’ was do good’. Its two mainstrokes is termed ‘light’. lighter than the lightest outlets are a quarterlyErco, a company that weight of Univers, magazine and a websiteilluminates architectural and was individually (www.good.is), with eachenvironments, has for cut to complete the edition devoted to a topicalmost 40 years been progression. or theme, such as water,graced by a logotype food, transport or work.that gets lighter with It is usually logos, notevery letter. their designers, whose 2 lives are cut short. In 3The designer responsible this case, though, it was 4for these strokes of the reverse; the Erco 5brilliance was Otl Aicher logo lives on, but Aicher(1922–91), a pioneering was tragically killed in agraphic designer and traffic accident in 1991,educator whose career is aged 69.closely tied to Germany’spost-war recovery. 2. Ruth TomlinsonHaving actively opposed Bespoke jeweller, UKthe Nazi regime, then Designed by Felthelped the recovery of Branding (Scott Manning,his hometown Ulm by Tom Rogers), 2009co-founding the highly Jeweller to the A-list,influential Hochschule Ruth Tomlinsonfür Gestaltung in 1953, raised her profilehe immersed himself in with an elegant,creating a unified look for restrained identityan event that symbolized that complements thehis country’s restoration intricate, handcraftedto international nature of her creations.respectability: the1972 Olympic Games 3. Indiein Munich. Advertising agency, The NetherlandsAicher and his studio Designed by The Stonecreated graphic Twins (Declan and Garechsystems that covered Stone), 2009every element of the A name and a launchGames, from his much- event apparentlycelebrated pictograms influenced by the newand posters to mascots frugality (in its mostand memorabilia. Aicher relative sense) in theextended his pictogram advertising industry. Thesystem for use at Munich name suggests creativityAirport, and it was this on a low budget, while theset of symbols that Erco launch simply involvedwished to license – for spreading a gianta series of directional branded beach towel onsign luminaires – when a public beach in Cannesthey approached Aicher during the annual Cannesin 1974. Lions Festival. Indie personnel placed a fewWith a new marketing bottles of wine in an icemotto of ‘Light not bucket next to the towel,luminaires’, and a new and walked off.target audience ofarchitects and interior 4. Lichthaus Arnsbergdesigners in mind, Contemporary art andErco commissioned performance space,an entire identity Germanysystem from Aicher, Designed by Hesignfrom logo to exhibition International, 2010stands to catalogues A simple wordmark withand brochures. The an enigmatic appendage,typeface Aicher chose apparently referring towas Univers, designed the angular architectureby Swiss typographer of the glasshouseAdrian Frutiger (b.1928). space and its ambientWhat made it perfect for conditions, whichAicher’s purposes was its fluctuate between lightmultiplicity of weight and and dark.

24 It's all in the font. Sans serif: all upper case6. Foodily.com would identify its many shadow, and an extra-tall TMOnline recipe finder, USA divisions and products ‘A’, whose shape echoedDesigned by Six (John in a consistent, that of the ‘n’ as well as 6Kariolis), 2010 distinctive way. the profile of the radios 7Started by a group of Braun was best-known 8food lovers in San Mateo, 11. Heal’s for. Black letters, without 9California, Foodily claims Department store chain, shadows, were adoptedto be ‘the world’s largest UK in 1939.recipe network’. Its Designed by Pentagramwordmark reflects the (Domenic Lippa), 2005 Wolfgang Schmittel,spirit of well-fed joie After almost 200 years a freelancer in thede vivre. in business with only company’s design tentative expansion department at the time,7. International Center beyond its Tottenham redrew the logotype onfor Journalists Court Road headquarters a square grid, so thatNon-profit professional in London, Heal’s felt safe the four smaller lettersorganization, USA and predictable. Domenic all followed a consistentDesigned by Siegel & Lippa’s monochrome 2:1 height-to-width ratio.Gale, 2009 identity and packaging, The ‘A’ remained tallerEstablished in the echoing that of Crate & with a ratio of 8:3, andmid 1980s, the ICFJ Barrel in the USA, made the white space withinpromotes journalistic the Heal’s brand relevant the letterforms wasquality and integrity and contemporary, and of equal thickness toworldwide, in the belief looks set to last. Not 200 the black strokes. Thisthat it can help bring years, perhaps, but for a systematic revision gaveabout positive change. while yet. the wordmark balance,Its no-nonsense, symmetry and instantinterlocking letterforms 12. Okinaha recognition.suggest strength and Health and anti-agingplain speaking with treatment store, Belgium 15. Gravitasconsiderably more Designed by Coast Game manufacturer,success than its old (Frederic Vanhorenbeke), Canadasymbol of a globe 2009 Designed by Hambly &encircled by a bendy pen. Named after the Woolley (Bob Hambly, Japanese archipelago Frances Chen ), 20088. Inditex with the world’s A logotype withFashion distributor, Spain highest percentage of weight and authorityDesigned by Summa centenarians, Okinaha to represent a game(Wladimir Marnich), 1999 is based on principles of that encourages boldFounded in 1975 by health, longevity, purity personal responses tothe reclusive Amancio and oriental simplicity. deep questions.Ortega – Spain’s richestman in 2011 – Inditex 13. Guggenheim 16. Hahmo Designowns around 100 Partners Cross-disciplinarybusinesses, including Investment management design company, FinlandZara, Massimo Dutti and services, USA Designed by HahmoBershka. The group’s Designed by Chermayeff (Pekka Piippo, Antti2001 flotation was & Geismar, 2002 Raudaskoski), 2003preceded by the launch The name is legendary inof this new identity American business andand an extremely rare, this logotype, for a groupheadline-making public of financial servicesappearance by Ortega. brought together by the Guggenheim family and a9. JW Trading small group of partners,Consumer goods trading makes visual capital of it.company, Hong KongDesigned by Loovvool 14. Braun(Hannes Unt), 2008 Consumer productsAn identity designed to brand, Germanyconvey a sophisticated, Designed by WolfgangEuropean, fashion- Schmittel, 1952oriented positioning to The world knows Braunthe premium retailers and best for its electricspas with which it trades shavers; the designin China and Hong Kong. world loves the company for the serenely simple10. Hearst Corporation products designed byMedia conglomerate, Dieter Rams from theUSA 1950s onwards, andDesigned by Chermayeff for the logotype that& Geismar, 2005 graced them.To coincide withthe opening of the The blueprint for theshowpiece Hearst Tower famous wordmark washeadquarters at 300 created in 1934 by WillWest 57th St, Manhattan, Münch. It featured whiteHearst also invested in a characters (curiously,new brand architecture all upper case until theand logotype that ‘n’) with a black drop

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26 It's all in the font. Sans serif: all upper case17. Mass LBP westernized its name, evocation of its theatricalPublic engagement step-by-step, over nearly heyday, based on itsconsultancy, Canada 30 years, ending up with most distinctive andDesigned by Concrete Ricoh in 1963. Landor’s flamboyant visual(Diti Katona, John revisions to its logotype feature: the 12 m (40 ft)Pylypczak, Jordan are intended to enhance neon sign that greetsPoirier), 2008 its ‘readability on a guests as they arrive.Mass LBP’s identity global scale’.makes the organization 17feel more populist and 23. Lisson Gallery 18accessible, and creates Contemporary art 19impact in applications gallery, UKwith very limited budgets. Designed by A2/SW/ HK, 200718. Jerwood Gallery Sometimes, a littleContemporary art typographic refinementgallery, UK can make all theDesigned by Rose, 2010 difference. The finelyFor a gallery that sits on judged tweaks made bythe seafront in Hastings A2/SW/HK to the Lissonamong the famous, Gallery’s letterspacedtall black fishing huts, Gill Sans wordmark –a logotype inspired such as reducing theby the hand-painted space between theregistration numbers of two words, wideninglocal boats. and opening out the ‘G’ to complement19. Samuel H Kress the ‘S’, shortening theFoundation mid-stroke of the ‘E’Art history education and deepening the ‘v’fund, USA of the ‘Y’ – made for aDesigned by C&G more unified, balancedPartners, 2008 and optically pleasingSamuel H Kress was logotype.father of a nationalempire of dime stores 24. Vitsœselling affordable, Furniture manufacturer,durable housewares. UKWith his wealth, he Designed by Wolfgangestablished a foundation Schmidt, 1969to advance the In the late 1950s, Danishconservation of pre- furniture entrepreneur20th-century European Niels Wiese Vitsœ wasart. C&G Partners’ introduced to Braun’scustom typography chief designer, Dieterincludes a ‘K’ inspired Rams, by designer-makerby decorative details on Otto Zapf. Vitsœ andone of SH Kress & Co.’s Zapf set up their ownart-deco stores. business to manufacture the Rams-designed20. Terry Moore Design 606 Universal ShelvingInterior design company, System – a precision-UK engineered designDesigned by Kimpton classic. When Zapf left(David Kimpton, Katie in 1969, Vitsœ & ZapfAlger), 2010 became Vitsœ, with aA monogram that repeats wordmark in Universthe founder’s initials to 75 Black, whose ‘Œ’emphasize his ownership ligature was hand drawnof his firm’s design by Wolfgang Schmidt tooutput. include the full counter (internal space) of21. MediaCom the ‘O’ element – theInternational media standard Univers ligatureagency, UK resembled a reversedDesigned by Rose, 2009 ‘D’ fused to an ‘E’. In soA high-visibility logotype doing, Schmidt createdfor a business built on a unique typographicmaking its clients more glyph, and a highlyvisible. distinctive logotype.22. Ricoh 25. The Savoy 20Office equipment and Luxury hotel, UKcamera manufacturer, Designed by PentagramJapan (John Rushworth), 2008Designed by Landor To coincide with itsAssociates, 2010 roof-to-basementEstablished in 1936 as refurbishment, TheRikagaku Kogyo, the Savoy gained a logobusiness machine maker that is a contemporary

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26. Stedelijk Museum for the museum’s identity It's all in the font. Sans serif: all upper case 29Modern art museum, and graphics until 1985, 27The Netherlands when De Wilde stepped 28Designed by Total Design down. Through his design 29(Wim Crouwel), 1963 of radical typefaces, 30It is a sign of how timeless such as the pixellatedthe simplest logotypes New Alphabet in 1967,can be that this section and a series of identitiesof the book includes for TD’s corporate clientsmany wordmarks still in the 1960s and 1970s,in use 40 years or more Crouwel influencedafter they were designed. generations of graphicTheir longevity, though, designers. Not many ofalso has much to do with his wordmarks remaintheir owners’ enduring in use, but one of hisattachment to the very first does. For thevalues and ideas that Stedelijk, the visualbrought their identities identity Crouwel createdinto being, such as to complement themodernist principles of museum’s displays is assimplicity, accessibility, relevant and powerfulfunctionality and clarity. as ever.When Edy de Wilde 27. Republicwas appointed head of Fashion retailer, UKAmsterdam’s Stedelijk Designed by B&W StudioMuseum in 1962, he (Lee Bradley, Andrewbrought with him a young Droog), 2009designer, Wim Crouwel,who had designed 28. Restaurant Tschinea series of daring Restaurant, Switzerlandposters and catalogues Designed by Hotz & Hotzfor De Wilde at the (Roman Imhof), 2007Van Abbemuseum in Tschine is the casualEindhoven. dining restaurant at the five-star Carlton HotelOne of the first tasks for in St Moritz. Its identityCrouwel was to establish needed to reflect its morea modern identity for contemporary tone, whilethe museum. He aimed still conveying prestigefor a typographic style and sophistication.that would be easilyrecognizable and 29. Quintessentiallyindividual to the Stedelijk, Private members’ club, UKbut that wouldn’t detract Designed by Rose (Garryfrom the artistic subject Blackburn), 2002matter. A case of letterspacing spelling luxuryAn admirer of rationalist and exclusivity.Swiss design, Crouwelfound what he needed 30. The Hepworthin Univers, a typeface Wakefielddesigned in a wide Contemporary artrange of weights almost gallery, UKa decade earlier by Designed by A PracticeSwiss typographer For Everyday LifeAdrian Frutiger. Crouwel (APFEL), 2009employed Univers for the The Hepworth Wakefieldmuseum’s monogram opened in 2011 andand the text on its houses a collection ofcommunications. Univers 20th-century art thathad been designed as includes many worksa neutral, functionalist by Barbara Hepworthtypeface, but in Crouwel’s (1903–75), Wakefield’shands, on a long series most celebrated artisticof Stedelijk posters, it offspring. The gallery’sbecame the core element logotype echoes theof what became known in British modernistThe Netherlands as the typefaces of Hepworth’s‘SM style’. era, and the oblique tips of the lettersIt was Crouwel’s reference the pitchedrelationship with the roofs of the buildingStedelijk that helped forms, designed by Davidto get Total Design, Chipperfield Architects.the pioneeringmultidisciplinaryconsultancy that he co-founded, off the ground.He remained responsible

30 It's all in the font. Sans serif: all lower case1. aarrkk enterprising residential 1Property developer and property developers, 2invester, UK North created a 3Designed by Brownjohn typographically led 4(James Beveridge), 2009 identity system based on an ‘organic’, custom2. Evo font designed with typeFitness centre chain, design house DaltonNorway Maag. The alphabetDesigned by Mission includes alternativeDesign (Gary Swindell), designs for many letters,2009 such as ‘g’, ‘e’, ‘a’ and ‘y’.Hints of wheels and legs This offers designersin this wordmark for a numerous options whenfitness centre chain branding individualattempting to evolve developments while(hence the name) this ensuring their designsestablished market. remain recognizably on- brand. It also allows the3. Sirca type family to be addedFinancial data provider, to over time. Like anAustralia Urban Splash property,Designed by Naughtyfish it’s a work in progress.(Paul Garbett), 2009 8. Golla4. Loft Investments Personal electronicsFinancial services carriers, Finlandprovider, Sweden Designed by HahmoDesigned by (Pekka Piippo), 2000Lundgren+Lindqvist, 2010In a highly conservative 9. seymourpowellmarket, Loft’s identity Product designsuggests a fresh consultancy, UKapproach without ringing Designed by GBH, 2002alarm bells, employing On the face of it, a simplestrong typography to lower-case wordmark.establish trust. But, by highlighting the ‘we’ and adding words like5. Ferrovial ‘think’ and ‘transform’,Infrastructure and the identity doubles as aconstruction company, strapline. And, by doingSpain something similar withDesigned by Summa the ‘our’ and appending(Andreu Balius, Daniel nouns such as ‘foresight’Bembibre, Tilman Solé), and ‘proposal’, it marks2008 the firm’s ownership of itsSumma developed a skills and creations.typeface to identifyFerrovial and itsmany subsidiaries.Following rapid growthand evolution from aconstruction companyinto an internationaldesigner, sponsorand builder of majorinfrastructure projects,the group is given ahuman, contemporaryface through thelogotype.6. NederlandseStaatsloterijNational lottery,The NetherlandsDesigned by Teldesign(Jaco Emmen, René deJong), 2007A simple, durablewordmark to sit easilywith the many brandsunder the lottery’s wings.7. Urban SplashProperty developer andregenerator, UKDesigned by North, 2008For Urban Splash,one of the UK’s most

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32 It's all in the font. Serif: title case1. Atelier LaDurance countries, employing local The McNay, in San 1Denim fashion brand, skills and creating jobs in Antonio, celebrated its 2France marginalized communities. 50th anniversary by 3Designed by Boy Its wordmark was created adding a major new wing, 4Bastiaens/Stormhand, to work across a range of designed by Jean-Paul2002 applications, from stitched Viguier, to the originalTimelessness and stylish labels to catalogues to 19th-century mansionGallic unfussiness for this the brand’s website. museum. A new identityexclusive denim label. uses a classical font, 7. Pearson Lyle Minion, but adopts the2. Folksam Photographic agency, UK modern way of referringInsurer, Sweden Designed by Dowling to the museum.Designed by Stockholm Duncan (Rob Duncan,Design Lab, 2001 John Dowling), 2009 11. TomorrowWith roots in Swedish An elegant slab serif Retirement financialtrade union and that creates character services, UKcooperative culture but keeps a low profile Designed by KentLyons,and a name that sprang alongside the company’s 2007from the merger of clients’ work. Some typefaces goits two insurance through peaks andbranches (Folket 8. Ragne Sigmond troughs of popularity.[people] and Samarbete Photographer, Denmark Souvenir, with its quirks[cooperation]), Folksam Designed by and curves, was huge inis one of the country’s KalleGraphics, 2007 the 1970s in advertisinglargest insurers and and on soft-rock albuminvestment managers. 9. Canon covers, then looked onIts identity, in a high- Imaging and optical in horror throughout thecontrast serif face, products, Japan 1980s and 1990s.has a homely, modest, Designed by Canon, 1956 Now, though, designersuncorporate air. The Canon name, like are rediscovering Sony, was originally a Souvenir and putting it3. Goldlog product brand before to novel use, such as inRock band, Norway being adopted as the this rebrand of retirementDesigned by corporate name. In specialist GE Life,KalleGraphics, 2005 1934, Precision Optical commissioned by ownerAmerican Typewriter, Instruments of Tokyo Swiss Re. Maybe it strucktightly tracked, lends a prototyped Japan’s first- a distant chord withgentle, DIY feel to the ever 35mm camera with the 1970s generation:identity for a folk- a focal-plane shutter, and the rebrand was suchinfluenced band. christened it Kwanon – a hit with retirees that the Japanese name for Tomorrow was quickly4. Kaspar the Buddhist goddess of snapped up by LV=.Luxury stationery brand, mercy. When the cameraSwitzerland entered production, theDesigned by Hotz & Hotz trademark it bore was the(Roman Imhof, Herbert closest Western wordSeybold), 2006 to Kwanon: Canon. TheFor a business dealing accompanying wordmarkin products such as was a spindly, hand-notebooks bound in drawn affair, with a large,full-grain leather and oval ‘C’ and an ‘a’ with awriting cabinets made of distinctive, sloping stem.cow’s horn, a hand-drawnlogotype that attempts In 1947 as Canonto fuse the sophisticated cameras won overcharacter of serif type photographerswith the soft, fluent look worldwide, the companyof handwriting in ink. adopted the name. Six years later the logo was5. Kemistry Gallery redrawn with thickerGraphic design gallery, UK strokes, and the ‘C’ andDesigned by Proud ‘n’s gained their first,Creative, 2005 tentative serifs. TheUnderstatement with, in letters were bulked upthe ligature between ‘s’ further in 1956 to createand ‘t’, a quiet flourish for Canon’s idiosyncratic,a wordmark that mustn’t semi-serif wordmark:shout louder than the the ‘C’ made smaller andwork on show. more circular, the serifs and terminal on the ‘a’6. People Tree harmonized, and the ‘o’Fair Trade fashion brand, given its angled stress.UK/JapanDesigned by Practice 10. The McNay Art+ Theory (Andreas MuseumPohancenik), 2007 Regional art museum,People Tree designs USAexclusive fashion for Designed by C&Gmanufacture by 50 Partners (EmanuelaFair Trade groups in 15 Frigerio), 2008

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It's all in the font. Serif: title case 3512. Google much tighter into the 13Search engine, USA letterforms. 14Designed by Ruth Kedar 15and Sergey Brin, 1999 Keeping its logotype 16Ruth Kedar was an simple, free of anyassistant professor form of illustrationof design at Stanford or symbolism, has,University in California ironically, allowed Googlewhen a friend introduced to take liberties withher to a pair of computer- its identity on a regularscience PhD students, basis. Branding wisdomSergey Brin and Larry urges consistency, butPage. The research in Google’s case theproject the pair had liberties it takes are itsbeen working on – a trademark, because theysearch engine that play on the logotype’sranked websites by the universal recognizability.number of pages that Its ‘Google Doodles’,linked to them, not by designed to markthe repetition of search anniversaries and majorterms on a page – was events, help keep thestarting to attract serious simple Google logotypeinterest from technology – seen by more than ainvestors, and they asked billion unique vistorsKedar to help them to every month – fromgive it an identity. being boring.The pair had a name for 13. Rupert Sandersonthe search engine – one Luxury shoe designer, UKthat they hoped would Designed by Johnsonsuggest its grasp of vast Banks, 2000volumes of information. For a shoemaker toIt was the largest number the stars, an aestheticthey knew the name of: designed to beone followed by 100 ‘undesigned’, creatingzeros, known as a googol. an air of authenticityTheir misspelt number and craftsmanship byhad a playfulness they recalling the innocent eraliked, and it stuck. before graphic designers and ‘the brand’.Brin had created amulticoloured wordmark 14. Scotland + Venicein a simple graphics Arts funding partnership,program with a standard UKbold serif font and an Designed by Graphicalexclamation mark. Kedar House, 2009was asked to refine the Scotland + Venice islogo into something that the umbrella identitysuggested complexity for the bodies that fundbut that was not visually Scotland’s participationcomplex. in the Venice Biennale art festival. A wordmark thatAfter experiments employs an amendedinvolving Garamond, form of Baskerville andweb motifs, crosshairs, a minimalist ‘+’ capturesoverlapping ‘o’s, the contemporary naturemagnifying glasses and of the art and the historicall upper-case letters, context of Venice.Kedar ended up with justthe word itself, set in the 15. Soda Reklamebyråquirky Catull typeface, Advertising agency, Norwaywith different coloured Designed by Missionletters and shadows on Design (Karl Martineach that ‘floated’ the Sætren, Garylogo on the search page. Swindells), 2004Finally, she revived Brin’s A splash of Rockwelloriginal primary colours for Soda.progression, completewith a green ‘l’ to convey 16. SugarSinunpredictability. The logo Confectionery shop, UKthat saw Google through Designed by &Smith,its boom years was born. 2011 A typewriter-esque faceThe only change since with round, lollipop-stylethen was made on 6 May terminals for a ‘non-2010, when the logo traditional’ sweet shop foradopted more vibrant adults and children.shades of the samecolours and the dropshadow was brought

36 It's all in the font. Serif: all upper case1. Molton Brown 6. Taryn Rose elderly ladies with deep 1Premium beauty brand, International pockets by unclipping 2UK Luxury shoe designer, the name from its Royal 3Designed by Farrow, 2011 USA Warrant crests. 4Molton Brown started out Designed by Elixir Designin 1973 as a hair salon at (Jennifer Jerde, Nathan 9. The New York Palace58 South Molton Street in Durrant), 2005 Luxury hotel, USALondon’s Mayfair, mixing A wordmark for a fashion- Designed by &Smith,its first products in the shoe business founded 2009room upstairs using in 1998 by orthopaedic The identity of a Madisonnettles and camomile. surgeon Dr Taryn Rose. Avenue landmark,After 38 years, the Serif fonts with small which combines thebusiness felt that the capitals are favoured spectacular Villardoriginal logotype, with by luxury and heritage Mansion of 1882 with aits hand-tooled capitals brands, particularly in 55-storey tower blockand white highlights, was North America, for giving from the late 1970s.in need of modernization a stamp of refinementand simplification. and craftsmanship. 10. GSA VentureFarrow stripped away Partnersthe outline, leaving just 7. Norton & Sons Venture capital fund, USAthe highlights, and drew Bespoke tailor, UK Designed by Area 17a new logotype based on Designed by Moving (Sara Berks), 2010this skeleton of shapes. Brands, 2006This use of natural Norton & Sons is as 11. Via Snellaingredients has led to a steeped in history and Male fashion brand,modern, more refined tradition as any brand. Swedenmark that still bears the A Savile Row tailoring Designed by Westamp of the original. firm dating back to 1821, Recommend (Martin it has kitted out the likes Fredricson, Nikolaj2. MC Partners of Winston Churchill, Knop), 2008Recruitment consultant, Cary Grant, Frank A confident, classicalUK Sinatra, David Niven and identity designed toDesigned by Rose, 2007 three US presidents. As create a solid base onA City of London Moving Brands delved which the brand canrecruitment firm skilled into Norton’s history develop over seasonsat making ‘mutually in the early stages and years, and withcompatible’ introductions of a contemporary which it can widen itsand connections – hence rebranding directed at international distribution.the ligatures on the ‘R’s. young gents, a designer queried the inverted3. Northsea Capital ‘S’ on the shopfrontPrivate equity advisor, signage. It was foundDenmark to be the result of anDesigned by We uncharacteristicallyRecommend (Martin hasty repair after theFredricson, Nikolaj shop suffered bombKnop), 2007 damage in the 1940s.Pure type with integrity The quirk has beenfor one of the largest kept and an equallyindependent private- idiosyncratic, notchedequity advisors in small-caps typefacenorthern Europe. adopted, to capture classic English4. Arup eccentricity in aMultidisciplinary logotype.constructionconsultancy, UK 8. Rigby & PellerDesigned by Pentagram Corsetry retailer, UK(David Hillman), 1985 Designed by Springer &In construction, the name Jacoby, 2002‘Arup’ is synonymous Rigby & Peller’s bespokewith innovation and lingerie and expertingenuity – so why add bra-fitting service haveanything else? earned it a distinguished female clientele over5. Tiffany & Co. the years, including HMJewellery and silverware Queen Elizabeth II. Forretailer, USA decades, its only storeDesigned by Pentagram was in South Molton(Paula Scher), 1995 Street, opened in 1939 byA redrawing of the Mrs Rigby and Mrs Peller.Tiffany & Co. logotype In the last few years, itthat subtly revives has reached out to athe air of impeccable younger, more fashion-craftsmanship, taste conscious market. Itsand exclusivity. 2002 brand revitalization created a new logotype that removed the impression that its products were only for

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It's all in the font. Serif: all upper case 3912. Sony Corporation 13. I/Object 13Conglomerate, Japan Online fashion and 14Designed by Yasuo homewares retailer, 15Kuroki, 1961; modified Belgium 16by Sony, 1973 Designed by CoastSony’s belief in the (Frederic Vanhorenbeke),value of a simple, 2010memorable, consistently Sustained! I/Objectpresented brand name sells furniture, fittings,was fundamental to gadgets and giftsthe company’s rise to sourced from aroundglobal eminence from the world. Its high-a radio repair shop in a contrast serif fontbomb-damaged Tokyo complements the of-the-department store. moment nature of the merchandise.Masaru Ibuka and AkioMorita came up with 14. Fabbricathe name as a way of Italian restaurant, Canadabranding their line of Designed by Concretetransistor radios, which (Diti Katona, Johnstarted in 1955 with the Pylypczak, Edmond Ng),TR-55. ‘Sony’ suggested 2010products that were A super slab serif recallssound-related or ‘sonic’ post-war Italian type – or(from the Latin origin spaghetti westerns? – for‘sonus’), but also echoed this Toronto eaterie, setthe English word ‘sonny’, up by Canadian celebritymeaning boy. It was chef and entrepreneurshort, bright and easily Mark McEwan.said in any language,and ‘sonny boy’ was also 15. Foodparcused in 1950s Japanese Gourmet food hall, USAto connote smart, Designed by Muccapresentable young men. Design (Matteo Bologna,A cartoon character Andrea Brown), 2010known as Sony Boy For this high-tech foodfeatured in advertising hall on Sixth Avenuefor the firm’s increasingly designed by Bladesuccessful pocket radios. Runner and Aliens set designer Syd Mead,So well received was the Mucca sought an identitycombination of compact that was ‘a whimsicalproduct design and a blend of the organic andWestern-friendly brand, the technological’.that the company – untilthis point known as Tokyo 16. KopiostoTsushin Kogyo KK – Artists’ and writers’adopted the Sony name copyright organization,in 1958. For a Japanese Finlandbusiness to brand itself Designed by Hahmowith a logotype of Roman (Pekka Piippo), 2005letters and not kanjicharacters was almostunheard of at the time, aswas Sony’s desire for aname that did not restrictit to any one industry.The first Sony logo was ahard-to-read wordmarkwith an angular ‘S’,squashed into a box.When it came to creatinga large neon sign indowntown Tokyo in 1961,Sony publicity designerYasuo Kuroki redrew thename as a stretched-out serif wordmark,and it stuck. Apart fromsome slight filling outof its letterforms toadd a little extra visualweight, and despite acompetition in 1981 tofind a replacement, thelogotype has remainedunchanged for more than50 years.

40 It's all in the font. Mixed case1. Amlin retro-futuristic font, titled 1Insurance and Elevon, was the work of 2reinsurance underwriting London type designers 3group, UK Dalton Maag. 4Designed by OPX (BillBickerstaff, David 7. Green ParkBennett, Adam Johnson), Organic fashion brand,2010 UKMixing small caps Designed by B&W Studiowith lower case, this (Lee Bradley, Andrewwordmark was designed Droog), 2007for typographic impact A fashion line dominatedacross a wide range of by combats and hoodies,applications, from pens with a logo to catch theto rugby sponsorship eye of skateboarders.hoardings. 8. Constitutional Court2. iD of South AfricaElectronic payment Constitutional court,system, Japan South AfricaDesigned by Good Designed by MisterDesign Company Walker (Garth Walker),(Takuya Tomohara, 2004Manabu Mizuno), 2005 The site chosen foriD allows consumers South Africa’s newto pay for goods and constitutional courtservices contactlessly in 1994 was that of anby waving a ‘Osaifu-keitai’ apartheid-era prison(mobile wallet) handset whose rubble wasover a compatible reader. recycled into the newLike credit cards, it is building. Originallybased on post-payment, created for the court’sand in its first five years way-finding system, theit gained more than font of its official identity15 million subscribers comprises charactersin Japan. based on documented cell-wall graffiti by3. Puntari apartheid prisoners, andElderly care home, prison signage. A case ofFinland letters speaking volumes.Designed by Hahmo (ErikBertell, Hanna Hakala, 9. architectsAllianceAntti Raudaskoski), 2010 Architectural practice, Canada4. Friendship Works Designed by ConcreteChildren’s mentoring (Diti Katona, Johncharity, UK Pylypczak), 2000Designed by hat-trick A pure, modern(Gareth Howat, Jim approach, withSutherland, Alex the emphasis onSwatridge), 2010 the ‘Alliance’, forFriendship Works gives this 40-strongsupport to children in multidisciplinaryLondon by providing practice.adult mentors whoencourage, listen and 10. Kilvilguide them towards Sports equipmentadulthood. The adult- retailer, Andorraand-child ‘Ff’ gives Designed by Summathe organization a (Tilman Solé, Eduardodistinctively human but Cortada), 2005professional face. Mixed case goes down well with people5. Arboretum Kalmthout who go downhill well,Arboretum and gardens, if this wordmark forBelgium an extreme-sports-Designed by Studio Hert equipment shop in the(Bart Rylant), 2009 Pyrenees is anything to go by.6. Virgin GalacticSuborbital spaceflights 11. oki-niservice, UK Online fashion retailer, UKDesigned by GBH, 2006 Designed by TomatoLike the Erco logotype (Simon Taylor), 2004(see p.22), the wordmark Founded in 2001, oki-nifor Richard Branson’s works with establishedstratospheric tourism brands and innovativeventure uses a range designers to makeof weights to represent available exclusivelylight and dark. The limited-edition fashion.

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42 It's all in the font. Small/large1. Bidfreight Port 6. RTVE 1Operations Public broadcaster, Spain 2Portside logistics, Designed by Summa 3South Africa (Tilman Solé, Rocío 4Designed by Mister Martinavarro, JoernWalker (Garth Walker), Oelsner), 20082006 For the first update ofFor South Africa’s the Radio y Televisiónamalgamated portside Española (RTVE) brand inlogistics and stevedoring decades, Summa placedoperations, a logotype special emphasis onof large and small the ‘e’, which stands forletterforms inspired ‘Española’ (Spanish) andby shadows cast by recurs in all RTVE’s TV-letters on the sides channel and radio-stationof corrugated steel brands. Its customshipping containers. typography strives to suggest ‘a balance2. Mini Museum Mürren between the human andMuseum, Switzerland the technological’.Designed by Atelier Bundi(Stephan Bundi), 2009 7. HEMUThe Mini Museum Mürren Academy of Music,is a very small museum Switzerlandindeed – just a few shop Designed by >moser,windows, in fact – in and 2010about Mürren, a small The Haute Ecole devillage in the Swiss Alps. Musique (HEMU) in Lausanne is renowned3. SOM for the eminence ofTelecommunications its faculty members;operator, Andorra amplifying the last twoDesigned by Summa letters of the logotype(Tilman Solé, Daniel stresses the importanceBembibre), 2009 of serious musical study.SOM, the new brand forAndorra’s sole telecoms 8. Low-Incomeoperator (Servei de Investment FundTelecommunicacions Social investor, USAd’Andorra STA), is an Designed by C&Gacronym that also means Partners (Steff‘we are’ in Catalan, and Geissbuhler), 2010seeks to identify the LIIF is about peoplebusiness with its paying helping people:customers. connecting low-income communities with capital4. SoundCircus markets to get socialKees Kroot projects for housing,Recording studio, education and childcareThe Netherlands off the ground.Designed by The StoneTwins (Declan and GarechStone), 2007The logotype forSoundCircus changesall the time, followingdifferent waveforms ondifferent applications andincorporating sloganssuch as ‘The GreatestSound Studio on Earthfeaturing Kees andhis Amazing TwiddlingKnobs’.5. Pueblo ChicoTheme park, SpainDesigned by Summa(Josep Maria Mir), 2000Pueblo Chico (LittleTown) is a park in Puertode la Cruz, Tenerife,where the story of theCanary Islands is toldin miniature, with scalemodels of streets,plazas, landmarksand monuments.

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44 It's all in the font. Mixed font1. Association of Art faces, designed to reflect 1Historians the many sides to oriental 2Professional body, UK beauty. 3Designed by REG Design 4(Emily Wood, Ruth Sykes), 6. TOJO2005 Furniture andTwo fonts by a favourite housewares retailer, UKsubject of art historians Designed by Graphical– Eric Gill (1882–1940) – House, 2010convey the association’s A double logotypetwin concerns. Joanna, conveying the rangea typeface influenced by of design on offer inthose of Robert Granjon this Glasgow store. Afrom the 16th century, heavily abstracted markrepresents art from all reduces the letters toperiods of history, while their simplest formsGill Sans symbolizes while an elegant classicalcontemporary practice. rendering offers a diametrical contrast.2. ESADEBusiness school, Spain 7. International CreativeDesigned by Summa Union Center(Wladimir Marnich, Creative arts centre, ChinaEduardo Cortada), 2008 Designed by HesignRanked the world’s International (Jianpingforemost business He), 2008school by The Wall A monogram to representStreet Journal in 2006 the multiplicity ofand 2007, ESADE is a disciplines and directionslittle less conservative at this state-run centrethan other international for artistic training andschools in its branding. cultural activities.The second ‘E’, pickedout in a bold sans serif, 8. Danish Fashiondenotes education, Institute Academyethics and enterprise – Network organization,the three fields in which Denmarkstudents should aim for Designed by Homeworkexcellence. (Jack Dahl), 2009 In design terms, Denmark3. Historic House Trust is perhaps better knownPreservation for its furniture thanpartnership, USA its fashion. The DanishDesigned by Doyle Fashion Institute aims toPartners (Stephen Doyle, rectify that, encouragingAugust Heffner), 2006 innovation and promotingThe Historic House Trust Denmark as ‘a fashionis a consortium of 23 brand in itself’.houses and buildingsin New York City,offering insights into thehistory of the city. Thecombination of typefacesin the logotype alludes tothe diversity on offer.4. Fresh Co.Grocery retailer, CanadaDesigned by Rethink,2010A new discount grocerystore brand launchedin 2010 by Sobeys, oneof Canada’s largestsupermarket chains,Fresh Co. is designed tobe fresh as well as lowin price. The logotypeuses the Bree typefaceto convey ‘fresh’ and themore functional DIN torepresent the bargainprice point.5. Joly BeautyCosmetics brand, ChinaDesigned by HesignInternational (JianpingHe, Jun Dai, Lin Yu), 2008A logotype of many

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46 It's all in the font. Mixed font9. Muscular Dystrophy 15. Hulton Archive 9Campaign Picture library, UK 10Charity, UK Designed by Pentagram 11Designed by Spencer (Angus Hyland), 2000 12du Bois (John Spencer), In 2000, Getty Images1998 embarked on a projectInfluenced by the to digitize its entireattitudes of muscular collection of 15 milliondystrophy sufferers historic British pressencountered during images, and called itthe brandng process, the Hulton Archive.John Spencer created This meeting of historica logotype that directly images and modernconveys the progressive technology is capturedweakening and wasting in the logotype.effects of the diseasein the type contrast 16. Gr(eat)between the strong and Delicatessen, Denmarkand the ‘dystrophic’. Designed by Homework (Jack Dahl), 200810. Take Ten Somewhere to eat green:Change management a Copenhagen deli withconsultancy, The a special respect for theNetherlands environment in its foodDesigned by Burobraak and packaging.(Arjan Braaksma), 2008Change made tangiblethrough type.11. Martin ProsperityInstituteThink tank, CanadaDesigned by Hambly &Woolley (Frances Chen,Barb Woolley), 2007Part of the University ofToronto, this think tankstudies the role of ‘sub-national factors’ in globaleconomic prosperity. Thediversity of research andexpertise at the instituteled to a multifacetedlogotype.12. Oliver & BonaciniRestaurantsRestaurant group,CanadaDesigned by Gottschalk+ Ash International (UdoSchliemann, MichaelKirlew), 2008Peter Oliver and MichaelBonacini teamed up in1993 to open Jump inToronto’s Bay Street,and their portfolio ofrestaurants has grownsteadily since. Oliver isthe business half of thepartnership; Bonacini isthe chef.13. Avid ReaderIndependent bookstore,AustraliaDesigned by Inkahoots,1997Eclectic reading from thisBrisbane bookstore.14. Kino CinemaArt-house cinema,AustraliaDesigned by SadgroveDesign (Brian Sadgrove),1985

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48 It's all in the font. Modular and grid-based1. MoreySmith typography and solid, 1Interior design perforated materials for a 2consultancy, UK company that illuminates 3Designed by Cartlidge the built environment. 4Levene, 2007Ten years after it had 7. Cha Cha Moondesigned MoreySmith’s Chinese noodle bar, UKoriginal identity, Designed by North, 2008Cartlidge Levene redrew Cha Cha Moon inthe logotype as a dot- London’s West Endmatrix font. It was then creates high-qualityrepeated and offset, fast Chinese food.creating a fluid identity Noodles are, literally,and new opportunities its trademark.for tactile applications,such as thermography 8. Bespoke Careersand laser cutting. Design recruitment agency, UK2. Living Beauty Designed by 1977 DesignSkincare concession, UK (Paul Bailey), 2004Designed by SEA (Bryan Bespoke, in London’sEdmondson), 2004 design heartland ofThe clinical and the Clerkenwell, is identifiedorganic meet in this by a logotype based onidentity for Selfridges’ its own, appropriatelyskincare concession. custom-designed typeface, with letters3. Marawa the Amazing built around perfectHula-hoop artist, circles.Australia/UKDesigned by Mind Design 9. JBPR(Holger Jacobs, Romilly Public relations agency,Winter), 2010 UKA logotype based on Designed by Studiorevue theatre display Tonne, 2010fonts that makes thejob of putting Marawa’s 10. Six Wines Eightname up in lights Wine retailer, UKstraightforward, should Designed by Hyperkit,that ever be necessary. 2007 Six Wines Eight stocks a4. Cupcake changing selection of 48Spa and crèche, UK wines (6x8=48). HyperkitDesigned by Mind Design developed a vine-like grid(Holger Jacobs, Craig that generated a bespokeSinnamon), 2008 typeface and logotype.Composing Cupcake’sidentity of dots leaves 11. Dalton Maagopen the option of using Type design studio, UKmultiple colours and Designed by Mode (UK)creating a ‘Smarties’ (Phil Costin, Ian Styles),effect to catch the eye 2002of young children. Dalton Maag’s craft is steeped in centuries of5. North / South / tradition, but its identityEast / West reflected the need toPhotographic/musical appeal to the company’sproject, UK principal audience ofDesigned by Give Up Art graphic designers. The(Stuart Hammersley), logotype, based on early2009 Modernist type, usesFor a series of only the abbreviationcollaborative projects ‘DaMa’ – the signaturebetween recording appended to all Daltonartists from four different Maag font file namesparts of the world, a (i.e .DaMa).typeface with characterscreated from a gridof tiny crosses, eachone representing thecompass of cardinalpoints.6. Speirs + MajorLighting designconsultancy, UKDesigned byBibliothèque, 2010A logotype that is aconstruction of light,

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