Left, Michael Samuel created this logo worthy of M.C. Escher for
Design Visionaries. And he added a fuzzy drop shadow to really spiff
it up. Above, Samuel plays with flip-flopped 45° block shadow letters,
superimposing a field of horizontal lines that further confuse the
planes of this logo for the ISM Company.
There are virtually no
graphic effects that we
create today that could
not have been achieved in
the old days—albeit with
much greater difficulty.
At left is a 1939 example
from the Martin Weber
Studios in New York. All
the effects shown were
from the single line of
black type in the upper
Clueless at Remyco, a long-defunct company of a bygone era. And is it any wonder! Had their logo
sported a correctly made block shadow, they might today be competing with Sony for market
share. Granted, the logo designer had to ink this job with a ruling pen and didn't have a com¬
puter to help him out. But he still could have slid a tracing of the logo down to the right at 45°
and used it to guide him. Instead he made it up and drew it by eye. "Never rely upon memory, for
you might be betrayed by it," said Andrew Loomis, illustration luminary.