For every movie logo on a
Broadway marquee, there
are a half-dozen broken¬
hearted designers. These
unchosen logos by

ASI-EASY STEPS

ill

ftOUGF

the author were done

with Mike Salisbury

Communications, a design

firm whose logo "hits"

include Jurassic Park, The

Shadow and hundreds

more. The examples here

show how key elements can

be treated with various

effects, and in different

combinations, to supply the

client a wide variety of

possibilities as well as to

puff up the presentation

package. (Keep this

between us designers, OK?)

The ease with which

variations on a theme are

created is one thing we

love about computers.

Years ago, when I worked

for him, Mike Salisbury told

me not to use flush-right,

ragged-left type columns,

because it makes the type

hard to read. I didn't

listen—most likely to my

detriment as a designer.

ESE

LOGO, FONT S LETTERING BIBLE

51

There are a number of letterers who wish their
finished work looked as good as Tony DiSpigna's
rough sketches. Below, for an infamous motion
picture, a series of rough logo designs utilizing sev¬
eral versions of Spencerian script. All were rejected.
See, what'd I tell you about the movies breaking
designers' hearts? (I suppose DiSpigna's flourishes
didn't look enough like wire hangers!) Left, most
Spencerian scripts exult in extravagant decoration
for decoration's sake alone. Here, in the develop¬
ment pencil, top, and the rough inking, below, for
a logo to emblazon the side of a yacht, the embell¬
ishments evoke the feeling of waves, wind and
sea—perhaps the first time Spencerian decorations
became the logo concept! Below left, a section of
DiSpigna's unbelievable final inks with the most
uncannily careful whiting out I've ever seen.