LOGO HISTORY

A strong logo and subsequent visual system is one of a corporation's greatest assets. As the international corporate structure has expanding the past fifty years, so has the need for distinct corporate identification.The world is now filled with every imaginable icon and monogram, as well as all forms of logos. Our task, as designers, is to take the common place letter forms,geometric shapes, and images-and make them distinctive and meaningful. This is a unique time, however, and we are now able to design in ways unimaginable in the past. The breadth of opportunity and the possibilities for the designer's involvement in multiple media, combined with the strategies of our clients' business, make the logo more than a nice decoration, it becomes a vital component in a company's success.

Let us begin with motive. Man's desire to claim ownership is inherent. Whether this is a result of pride, greed, or hope of immortality is personal. We mark our names on childhood drawings. We develop a signature, unique to each of us, to protect our identity. We carve initials in to tree trunks with a heart, hoping to make a union permanent. The logo is an extension of these acts. It redefines these motives from the individual to the collective.

• The idea of using marks to claim ownership is not a modern invention. Mesopotamian and Egyptian bricks were marked with stamps indicating their intended construction site. Roman bricks were stamped with the mark of the manufacturer, place of origin,and final destination. The practice of using marks to identify objects continued with housewares,decorative items, and weapons.These marks were typically a single straight line of letters or letters set on a circle or crescent.In time, figurative icons such as a palm leaf or wreath were incorporated into the symbol.Accompanying slogans were absent, although items stamped with the phrase Felix Roma(Happy Rome) are often seen,similar to current slogans such as "The Sunshine State."

• The population of medieval Europe was,largely, illiterate; thus the mark served the purpose of a signature. Illiterate societies tend toward secret practices and knowledge. The medieval stonemasons,for example, developed a complex set of rituals using specialized speech and behavior. They recognized each other by standing with their feet at right angles, by their greetings, and by following certain dress codes. Their desire to maintain a secret society led to their system of marks. Based on the cross, these marks were more like symbols than letters.

• The invention of the printing press created the craft of the printer. Early printed books were considered inferior to written manuscripts, however, and there was no desire to claim ownership for the product. As the need and appreciation for printed books grew, printers began to mark their work. In 1480, Nicola Jenson and Giovanni da Colonia in Venice introduced the prototype of the orb and cross mark. The symbolic design, earth plus faith, became one of the most typical forms used in early printer's marks.

• In 1740, the first factory to produce Sevres porcelain was founded in Vincennes, France. Twenty years later, a decree was issued assuring the King of France a monopoly on porcelain production. Every piece of porcelain was carefully marked with the symbol of the factory.The succession of regimes caused the continuous redesigning of the mark. This parallels the redesign of corporate marks with the appointment of a new CEO.

• The Industrial Revolution increased the value of identification, and trademarks were critical for visual recognition. After 1950. the usage of trademarks changed radically. Multinational corporations with a wide range of products began to utilize the logo as a tool to maintain a cohesive message. Broader usage of the logo by a more diverse group of designers and advertising agencies provided the need for a comprehensive visual system to accompany the logo. The ABC mark was the foundation for the network's clear and cohesive advertising and communications. The use of negative space, and simplicity, combined in a circle, provided a clear and consistent message to the audience.

• The needs we now face are a direct result of two thousand years of identity evolution. In the same way that management and business practices have changed, so has the role of the logo. We now place a strong emphasis on teamwork and the creative process for everyone involved in a project. The logo and supportive visual system must not only talk to the external audience, but must also provide a clear intent to the internal audience. The logo will be handled and mishandled by in-house departments, outside consultants, advertising agencies, and web designers. A simple mark for identification is not enough. A clear message conveyed to a wide and diverse audience over an extended amount of time is paramount. Ownership is needed, not only by the creative maker and client, but by the audience as well.

AUTHOR OF ARTICLE

Mario Ili? Freelance Designer with a demonstrated history of working in the graphic design industry. Skilled in Logo and Graphic Design. Fresh ideas came from new people.