Logo, font & lettering bible 12

LITERAL LOGOS

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Our catalogue

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Chicago,

190

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The Sears company has come a long way since the 1902 letterhead,
above, and so has its logo. The current version, right, is a good
example of the current trend in corporate identity. Basic and legi¬
ble as its letterforms are, the unusual inline treatment, suggesting
strokes overlapping one another, brings a unique dimension that
makes this logo unlike any other currently in use.

Once upon a time, as this

letterhead reminds us, a

logo was only as good as

the local printer's supply

of fancy wood and metal

fonts. Surprisingly, design

has lately come full circle,

with many designers

offering little more than

"font selection" as their

creative contribution

to logo design.

The logo below, designed

by JH! with Lizette Gicel,

utilizes the font

Copperplate as its basis.

Yet the simple design for a

real estate company rises

above the commonplace

by the elegant and

ingenious device of the

overlapping double Di

that draw the eyes to this

fulcrum of interest.

§Oaj|t rf CORNELLS & WILLIS,

TERMS Opposite Merchant*1 Ho tul.

^Р" Gi« Notice, when Geode «re delayed beyond the uaná! time of transit, »nd immediately after their receipt, of any errore.

SAMUEL M. CORNELL,
SIDNEY CORNELL,
JOHN R. WILLIS.

united)ominion

LOGO, FONT & LETTERING BIBLE

Below is the American eagle in a design of classic symmetry and
elegance. Though it was originally used as a self-stamped envelope
design (unfortunately the envelope of choice in the recent Fort
Detrick anthrax mail scare), this piece by Michael Doret for the U.S.
Postal Service has all the dynamic qualities of a good logo.

W. L. DOUGLAS
$3 SHOE.

FOR
GENTLEMEN.

Above, the owner of the W. L Douglas Shoe Company was his own
logo. His face became a "media" fixture at the turn of the nineteenth
century. Although it lacked any decent sense of typography, no one
would argue with this logo's attention-grabbing appeal.

USA

3 4

Before W

She Dost atto (Eourier

After * ™

Jim Parkinson specializes in the design and redesign of publication
mastheads, like that above for Charleston's Post and Courier, seen
both in its pre- and post-Parkinson incarnations. This is as literal a
logo as one can get—it's just a nameplate—with a concept having
mainly to do with the "Old English" lettering suggesting decorum
and a lengthy heritage. Parkinson's revision exemplifies those quali¬
ties one considers in improving lettering designs. Most noticeably,

letter weights have been evened up by eliminating too-light and too-
heavy strokes, creating consistent angles and stem weights, and mak¬
ing all letters appear to be of the same family. Such details may go
unnoticed by 95 percent of readers, yet I believe such improvements
elevate a publication's overall status and credibility for that discern¬
ing 5 percent (which may include advertisers). And I do think, on
some subconscious levels, the masses generally recognize quality.