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of color in this context is due to the mechanics of human visual perception wherein color and contrast play critical roles in visual detail detection. In addition, we tend to acquire various color connotations and color associations through social and cultural conditioning, and these play a role in how we decipher and evaluate logo color. While color is considered important to brand recognition and logo design, it should not conflict with logo functionality, and it needs to be remembered that color connotations and associations are not consistent across all social and cultural groups. For example, in the United States, red, white, and blue are often used in logos for companies that want to project patriotic feelings but other countries will have different sets of colors that evoke national pride.
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393:, are completely abstract forms; pictographs are iconic, representational designs; logotypes (or wordmarks) depict the name or company initials. These elements can be combined in a set position and relative size in a logo lock-up, so named because elements are "locked" together and should not be broken apart or resized individually. Because logos are meant to represent companies' brands or corporate identities and foster their immediate customer recognition, it is counterproductive to frequently redesign logos.
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389:. A logo is the central element of a complex identification system that must be functionally extended to all communications of an organization. Therefore, the design of logos and their incorporation in a visual identity system is one of the most difficult and important areas of graphic design. Logos fall into three classifications (which can be combined). Ideographs, such as
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art to figurative imagery with sections of bright, flat colors. Playful children's books, authoritative newspapers, and conversational periodicals developed their own visual and editorial styles for unique, expanding audiences. As printing costs decreased, literacy rates increased, and visual styles changed, the
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only a few of the thousands of ideograms in circulation are recognizable without a name. An effective logo may consist of both an ideogram and the company name (logotype) to emphasize the name over the graphic, and employ a unique design via the use of letters, colors, and additional graphic elements.
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Color is a key element in logo design and plays an important and potentially vital role in brand differentiation. Colors can have immense consequences on our moods. They are remarkably dominant to the point that they can psychologically manipulate perspectives, emotions, and reactions. The importance
322:
The current era of logo design began in the 1870s with the first abstract logo, the Bass red triangle. As of 2014, many corporations, products, brands, services, agencies, and other entities use an ideogram (sign, icon) or an emblem (symbol) or a combination of sign and emblem as a logo. As a result,
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of late-19th century, partially in response to the excesses of
Victorian typography, aimed to restore an honest sense of craftsmanship to the mass-produced goods of the era. A renewal of interest in craftsmanship and quality also provided the artists and companies with a greater interest in credit,
258:
Innovators in the visual arts and lithographic process—such as French printing firm
Rouchon in the 1840s, Joseph Morse of New York in the 1850s, Frederick Walker of England in the 1870s, and Jules Chéret of France in the 1870s—developed an illustrative style that went beyond tonal, representational
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In today's digital interface adaptive world, a logo will be formatted and re-formatted from large monitors to small handheld devices. With the constant size change and re-formatting, logo designers are shifting to a more bold and simple approach, with heavy lines and shapes, and solid colors. This
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Designing a good logo often requires involvement from a marketing team teaming with the graphic design studio. Before a logo is designed, there must be a clear definition of the concept and values of the brand as well as understanding of the consumer or target group. Broad steps in the logo design
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The arts were expanding in purpose—from expression and decoration of an artistic, storytelling nature, to a differentiation of brands and products that the growing middle classes were consuming. Consultancies and trades-groups in the commercial arts were growing and organizing; by 1890, the US had
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in Israel) exemplifies a well-known emblem that does not need an accompanying name. The red cross and red crescent are among the best-recognized symbols in the world. National Red Cross and Red
Crescent Societies and their Federation as well as the International Committee of the Red Cross include
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Choosing an organisation's logo color is an important decision because of its long term implications and its role in creating differentiation among competitors' logos. A methodology for identifying potential logo colors within an industry sector is color mapping, whereby existing logo colors are
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A company that uses logotypes (wordmarks) may desire a logo that matches the firm's
Internet address. For short logotypes consisting of two or three characters, multiple companies are found to employ the same letters. A "CA" logo, for example, is used by the French bank
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govern registered designs, patents, and trademarks. Ordinarily, the trademark registration will not 'make claim' to colors used, meaning it is the visual design that will be protected, even if it is reproduced in a variety of other colors or backgrounds.
476:(1972). Later, he would produce logos for a number of Japanese companies as well. An important development in the documentation of logo design is the study of French trademarks by historian Edith Amiot and philosopher Jean Louis Azizollah.
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had shed its roots as an avant-garde artistic movement in Europe to become an international, commercialized movement with adherents in the United States and elsewhere. The visual simplicity and conceptual clarity that were the hallmarks of
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and imagery together on the page. Simultaneously, typography itself was undergoing a revolution of form and expression that expanded beyond the modest, serif typefaces used in books, to bold, ornamental typefaces used on broadsheet
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700 lithographic printing firms employing more than 8,000 people. Artistic credit tended to be assigned to the lithographic company, as opposed to the individual artists who usually performed less important jobs.
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required for copyright protection can be quite high, so a logo that contains simple geometric shapes or text might not be eligible for copyright protection although it can be protected as a trademark.
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process include research, conceptualization, investigation of alternative candidates, refinement of a chosen design, testing across products, and finally adoption and production of the chosen mark.
299:'s dictum, "Less is more." Modernist-inspired logos proved successful in the era of mass visual communication ushered in by television, improvements in printing technology, and digital innovations.
875:
A. Ramage, "Golden Sardis", King
Croesus' Gold: Excavations at Sardis and the History of Gold Refining, edited by A. Ramage and P. Craddock, Harvard University Press, Cambridge, 2000, p. 18.
687:" is an important way to recognize a team's history and can intimidate opponents. For certain teams, the logo and color scheme are synonymous with the team's players. For example,
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used to aid and promote public identification and recognition. It may be of an abstract or figurative design or to include the text of the name that it represents as in a
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might have little resonance in most
European markets. By contrast, ideograms keep the general proprietary nature of a product in both markets. In non-profit areas, the
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432:(2003), and others. Due to the simplicity and boldness of their designs, many of their earlier logos are still in use today. The firm recently designed logos for the
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571:, a cartoon figure presented in many different contexts, such as eating, drinking, and playing sports. By the early 21st century, large corporations such as
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organisations worldwide which make available application procedures to register a design to give it protection at law. For example, in the UK, the
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to industrial in the 18th and 19th centuries, photography and lithography contributed to the boom of an advertising industry that integrated
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464:. Bass was responsible for several recognizable logos in North America, including both the Bell Telephone logo (1969) and successor
130:, which is two or more letters joined, but not forming a word. By extension, the term was also used for a uniquely set and arranged
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name written in different alphabets because of the standard color and "ribbon wave" design of its logo. The text was written in
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reduces the confusion when mingled with other logos in tight spaces and when scaled between media. Social networks like
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Ideograms and symbols may be more effective than written names (logotypes), especially for logos translated into many
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as an artistic movement formed a powerful toolset for a new generation of graphic designers whose logos embodied
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Zena O'Connor (2011). "Logo Colour and
Differentiation: A New Application of Environmental Colour Mapping".
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The logo design profession has substantially increased in numbers over the years since the rise of the
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can aim to facilitate cross-language marketing. Consumers and potential consumers can identify the
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in the 1950s. Three designers are widely considered the pioneers of that movement and of logo and
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Since a logo is the visual entity signifying an organization, logo design is an important area of
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Graphic mark, emblem, or symbol used to aid and promote public identification and recognition
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all have a recognizable logo that can be identified by any fan of the respective sport.
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Numerous inventions and techniques have contributed to the contemporary logo, including
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logo. It has been modified to include images within the black areas from time to time.
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led to an expansion of typographic styles and methods of representing businesses.
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The Coca-Cola logo is identifiable in other writing-systems, here written in
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and in common usage, a company's logo is today often synonymous with its
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This article is about the graphic mark or emblem. For other uses, see
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in increasingly globalized markets. For instance, a name written in
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systematically identified, mapped, and evaluated (O'Connor, 2011).
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states that the term 'logo' used in 1937 "probably a shortening of
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Logos and their design may be protected by copyright, via various
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1212:"The new corporate logo: Dynamic and changeable are all the rage"
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made by overlapping or combining two or more letters or other
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Fugate, Jennifer Marie Binzak; Franco, Courtny L. (2019).
888:(1817) pl. 2, illus. in Wagner, Anthony, Richmond Herald,
616:, but only one can have the Internet domain name CA.com.
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In some countries, especially civil law countries, the
444:, who was one of the originators of the Swiss Style of
460:. The third pioneer of corporate identity design is
283:leading to the creation of unique logos and marks.
814:, Studio Vista, London, 1969, SBN 289797055, p.54.
440:. Another pioneer of corporate identity design is
19:"Logotype" redirects here. For the racehorse, see
254:bearing the head of a roaring lion with sun rays
1241:"Intellectual Property Office (United Kingdom)"
595:that change over time from setting to setting.
665:Intellectual Property Office (United Kingdom)
373:, which was a popular writing style when the
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827:© 2006 John Wiley & Sons, Inc. (page 4)
468:globe (1983). Other well-known designs were
159:Douglas Harper's Online Etymology Dictionary
53:International Bureau of Weights and Measures
1277:(Third ed.). John Wiley & Sons.
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270:The first logo to be trademarked was the
1010:. The Coca-Cola Company. Archived from
978:"TICoRD'13: Global Product Development"
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563:In 1898, the French tire manufacturer
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886:Monumental Effigies of Great Britain
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612:, and the US software corporation
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520:(now is the time to drink), 1898
250:A coin from early 6th century BC
226:converted western societies from
92: 'word, speech' and
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1122:Les Marques Francaises 1824–1974
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1247:from the original on 2013-01-14
1222:from the original on 2007-02-14
1210:Rawsthorn, Alice (2007-02-11).
354:in Muslim countries and as the
1185:Color Research and Application
1040:. Design TLC. August 1, 2020.
608:, the Dutch clothing retailer
359:these symbols in their logos.
1:
1303:The dictionary definition of
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1216:International Herald Tribune
99: 'mark, imprint') is a
1275:A History of Graphic Design
853:Online Etymology Dictionary
683:For many teams, a logo or "
646:used as a logo on a van in
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1008:Coca-Cola Official Website
1004:"The Coca-Cola logo story"
472:(1968), Dixie (1969), and
25:
18:
599:Internet-compatible logos
261:Victorian decorative arts
215:, and the development of
1151:10.3389/fpsyg.2019.00206
825:Designing Brand Identity
673:threshold of originality
410:Chermayeff & Geismar
297:Ludwig Mies van der Rohe
280:Arts and Crafts Movement
197:trans-cultural diffusion
1138:Frontiers in Psychology
892:(Penguin, 1946), pl. I.
794:Oxford University Press
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436:and the fashion brand
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661:intellectual property
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408:design: The first is
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274:red triangle in 1876.
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224:Industrial Revolution
120:hot metal typesetting
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28:Logo (disambiguation)
1322:Communication design
1243:. UK Patent Office.
758:Swiss Style (design)
470:Continental Airlines
466:AT&T Corporation
377:was being designed.
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1077:, pp. 369–374.
967:, pp. 162–167.
955:, pp. 159–161.
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916:, pp. 138–159.
890:Heraldry in England
693:Toronto Maple Leafs
493:Logo design process
434:Library of Congress
430:National Geographic
217:printing technology
126:), as opposed to a
1014:on 28 January 2016
943:, p. 148–155.
849:2022-12-13 at the
739:to form one symbol
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406:corporate identity
398:Modernist movement
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303:Contemporary logos
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140:mass communication
138:. At the level of
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1284:978-0-471-29198-5
1197:10.1002/col.20594
833:978-0-471-74684-3
812:Basic Copyfitting
689:Manchester United
655:Design protection
589:Saks Fifth Avenue
518:Nunc est bibendum
371:Spencerian Script
356:Red Star of David
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984:. Springers
862:Herodotus.
585:Morton Salt
577:Nickelodeon
381:Logo design
203:languages,
201:logographic
81:; from
1316:Categories
1251:2013-01-05
1226:2008-05-21
1111:Meggs 1998
1099:Meggs 1998
1087:Meggs 1998
1075:Meggs 1998
1063:Meggs 1998
1018:28 January
965:Meggs 1998
953:Meggs 1998
941:Meggs 1998
926:Meggs 1998
914:Meggs 1998
902:Meggs 1998
769:References
480:Logo color
474:United Way
391:Chase Bank
232:typography
209:watermarks
864:Histories
737:graphemes
650:, England
462:Saul Bass
442:Paul Rand
418:Mobil Oil
367:Coca-Cola
348:Red Cross
340:alphabets
312:Red Cross
293:Modernism
288:Modernism
154:Etymology
144:trademark
49:Paul Rand
1273:(1998).
1245:Archived
1220:Archived
1170:30863330
1048:June 22,
1042:Archived
982:Springer
866:, I, 94.
847:Archived
729:Monogram
724:Logogram
714:Heraldry
703:See also
630:LinkedIn
626:Facebook
565:Michelin
538:Facebook
522:Michelin
428:(1986),
424:(1984),
420:(1965),
363:Branding
332:Cyrillic
228:agrarian
163:logogram
136:colophon
132:typeface
128:ligature
124:Garamond
113:wordmark
79:logotype
51:and the
1263:Sources
1161:6399154
1144:: 206.
648:Bristol
634:Google+
622:Twitter
610:C&A
400:in the
318:emblems
237:posters
222:As the
169:History
101:graphic
97:(tĂşpos)
90:(lĂłgos)
66:of the
1281:
1168:
1158:
831:
788:Lexico
783:"logo"
748:Slogan
691:, the
679:Sports
632:, and
587:, and
581:Google
524:poster
456:, and
109:symbol
105:emblem
103:mark,
1327:Logos
844:logo-
733:motif
695:, or
685:crest
414:Chase
252:Lydia
186:coins
148:brand
107:, or
95:τύπος
88:λόγος
85:
1306:logo
1279:ISBN
1166:PMID
1050:2021
1020:2016
990:2016
829:ISBN
731:, a
719:Icon
552:The
540:logo
536:Old
314:and
278:The
272:Bass
75:logo
41:NASA
1193:doi
1156:PMC
1146:doi
573:MTV
554:MTV
458:ABC
454:UPS
450:IBM
426:NBC
422:PBS
199:of
195:),
184:),
165:".
146:or
134:or
47:by
45:IBM
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624:,
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190:c.
179:c.
150:.
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