# data[].attributes.headline
 Як створити знак/логотип

# data[].attributes.subject
 Як створити знак/логотип

# data[].attributes.attachment_link.title
Розробка знаків на основі архітектурних елементів

# data[].attributes.body
In 1973, Swedish designer Rolf Lagersson and Danish designer Niels Hartmann were tasked with creating a unified global identity for LEGO. At the time, the company used various logos across different international markets, which diluted its brand recognition. Hartmann and Lagersson developed the iconic red square logo featuring the white, bubble-style "LEGO" typeface outlined in black and yellow. Their design was revolutionary for its simplicity and versatility, ensuring the brand stood out on toy shelves worldwide. By harmonising the visual language, they helped transition LEGO from a regional European success into a global household name. This design was so effective that it remains the core of the company’s identity today, having only received minor digital refinements in the late 1990s.

While Hartmann and Lagersson defined the brand's graphic face, the physical face of the company arrived five years later. In 1978, LEGO designer Jens Nygaard Knudsen created the original Minifigure. Godtfred Kirk Christiansen, the son of LEGO's founder, played a vital role as its co-inventor. As the company’s head, Godtfred was the visionary who insisted that LEGO needed a "soul" a human element to inhabit the brick world. Knudsen spent years refining the scale and articulation of the figure, ultimately deciding on the classic yellow skin tone and "dot" eyes to ensure a friendly, universal appeal that transcended race and gender. His creation transformed the LEGO system from a static building toy into a storytelling platform, providing a human element that perfectly complemented the bold, modern branding established by Hartmann and Lagersson earlier in the decade.

#logodecks

# data[].attributes.body
Chip Kidd, a celebrated graphic designer, created the iconic Tyrannosaurus rex silhouette for Michael Crichton’s 1990 novel Jurassic Park. At 26, working at Knopf, Kidd sought a minimalist design that captured the novel’s theme of genetic resurrection without depicting a live dinosaur. Struggling for inspiration, he visited the American Museum of Natural History, where he found a T. rex skeleton illustration in Robert L. Carroll’s Vertebrate Paleontology and Evolution. Kidd traced the image, crafting a stark black silhouette that resembled an X-ray, symbolizing the story’s scientific core. Paired with bold blue title text and rugged Neuland Inline font, the design wrapped dynamically around the book’s spine. Crichton loved it, calling it “fucking fantastic.” The silhouette’s impact extended to Universal’s 1993 film, where it became the franchise’s logo, appearing on jeeps, merchandise, and more. Adapted by designer Sandy Collora with a circular border and palm trees, it remains a cultural touchstone. Kidd’s work exemplifies how a simple, thoughtful design can define a story’s legacy, blending narrative and visual art to create an enduring icon that resonates across literature and cinema.

#logodecks

# data[].attributes.body
The Matterhorn’s Secret: How One Designer Hid a Bear in Plain Sight

In 1990, British illustrator Andrew Davidson designed the Toblerone identity, creating one of the most celebrated examples of "hidden" graphic design. Tasked with modernising the brand’s connection to its Swiss heritage, Davidson illustrated a refined, woodcut-style depiction of the Matterhorn mountain. His stroke of genius was the seamless integration of a standing bear, the heraldic symbol of Bern, into the mountain’s crags and shadows. This clever use of negative space turned the logo into a visual puzzle, rewarding consumers for their attention and deepening the brand's storytelling. Davidson’s hand-drawn approach brought an artisanal warmth to the packaging, balancing corporate scale with a sense of local history. His work remains a masterclass in minimalist branding, proving that a single silhouette can contain multiple layers of cultural meaning.

#logodecks

# data[].attributes.body
From Code to Icons: How Susan Kare Humanised the Macintosh

Susan Kare is the visionary graphic designer who humanised personal computing through her work on the original Apple Macintosh. Using a grid of pixels as her canvas, she crafted a visual language that replaced complex code with intuitive, whimsical metaphors. Her most enduring creations include the Happy Mac startup icon, the Command symbol (⌘), and the Trash can, all of which bridged the gap between man and machine. Beyond icons, she designed foundational typefaces like Chicago and Geneva. Her minimalist aesthetic and artistic wit transformed the cold screen into a friendly, approachable workspace for millions.

#logodecks

# data[].attributes.body
Beyond the @ Symbol: Meet the Designer Behind the Threads Identity.

Jez Burrows, a British designer and illustrator based in London, played a pivotal role in shaping the visual identity of Threads. Working within Meta’s Instagram design team, Burrows was the craftsperson responsible for physically drawing the final "unbroken line" logo. The emblem is a modern, stylized interpretation of the "@" symbol, designed to represent a user's voice and the continuous flow of digital conversation. While Burrows executed the final mark, the project was a massive collaborative effort. It was overseen by creative director Cynthia Pratomo and involved key contributions from designers like Ryan O’Rourke. The team drew inspiration from the Tamil and Malayalam alphabets, eventually refining the loop using the "Instagram Sans" typeface to ensure it felt like a natural extension of the existing Instagram ecosystem.

#logodecks

# data[].attributes.body
In 1974, Richard Danne, alongside Bruce Blackburn, designed NASA's iconic "Worm" logo as part of the Federal Graphics Improvement Program. Tasked with modernizing NASA's outdated "Meatball" logo, Danne & Blackburn proposed a sleek, minimalist logotype featuring bold, red, stylized letters spelling "NASA." The design process was arduous, involving extensive research and simplification to ensure versatility across applications like publications, signage, and spacecraft. The logo's futuristic aesthetic, with crossbar-less A's evoking rocket nosecones, aimed to reflect NASA's forward-thinking mission. Despite initial resistance from NASA staff and skepticism from administrators over its abstract design, the logo was adopted in 1975. It served as NASA's official insignia until 1992, was revived in 2020 fIn 1974, Richard Danne, alongside Bruce Blackburn, designed NASA's iconic "Worm" logo as part of the Federal Graphics Improvement Program. Tasked with modernizing NASA's outdated "Meatball" logo, Danne & Blackburn proposed a sleek, minimalist logotype featuring bold, red, stylized letters spelling "NASA." The design process was arduous, involving extensive research and simplification to ensure versatility across applications like publications, signage, and spacecraft. The logo's futuristic aesthetic, with crossbar-less A's evoking rocket nosecones, aimed to reflect NASA's forward-thinking mission. Despite initial resistance from NASA staff and skepticism from administrators over its abstract design, the logo was adopted in 1975. It served as NASA's official insignia until 1992, was revived in 2020 for select missions, and earned Danne the NASA Exceptional Public Achievement Medal in 2023. The Worm remains a timeless symbol of innovation, celebrated globally.

#logodecks

# data[].attributes.body
Chip Kidd, a celebrated graphic designer, created the iconic Tyrannosaurus rex silhouette for Michael Crichton’s 1990 novel Jurassic Park. At 26, working at Knopf, Kidd sought a minimalist design that captured the novel’s theme of genetic resurrection without depicting a live dinosaur. Struggling for inspiration, he visited the American Museum of Natural History, where he found a T. rex skeleton illustration in Robert L. Carroll’s Vertebrate Paleontology and Evolution. Kidd traced the image, crafting a stark black silhouette that resembled an X-ray, symbolizing the story’s scientific core. Paired with bold blue title text and rugged Neuland Inline font, the design wrapped dynamically around the book’s spine. Crichton loved it, calling it “fucking fantastic.” The silhouette’s impact extended to Universal’s 1993 film, where it became the franchise’s logo, appearing on jeeps, merchandise, and more. Adapted by designer Sandy Collora with a circular border and palm trees, it remains a cultural touchstone. Kidd’s work exemplifies how a simple, thoughtful design can define a story’s legacy, blending narrative and visual art to create an enduring icon that resonates across literature and cinema.

#logodecks

# data[].attributes.body
Graphic designer Paula Scher, a partner at Pentagram, created the distinctive Windows logo used for Microsoft’s Windows 8 launch in 2012. Instead of the familiar multicolored flag, Scher reimagined the mark as a simple, single-color window drawn with strong perspective lines, making it look like an architectural window rather than a waving flag. The design reflected the system’s new tile-based interface and a shift toward a cleaner, modern visual language. By reducing the logo to bold geometry and flat color, Scher aligned the brand with modern design trends. Her approach emphasized clarity, flexibility and motion, helping Microsoft signal a reset.

#logodecks

# data[].attributes.body
John Pasche, born April 24, 1945, is a British graphic designer who graduated with a BA from Brighton College of Art (1963–1967) and an MA from the Royal College of Art (1967–1970). In 1970, while still a student, Pasche was recommended to Mick Jagger to design a poster for The Rolling Stones’ European tour. Impressed, Jagger commissioned him to create a logo for their new record label. Inspired by Jagger’s mention of the Hindu goddess Kali and her protruding tongue, Pasche designed the iconic “Tongue and Lips” logo in 1970, debuting on the Sticky Fingers album in 1971. The bold, red design, symbolizing rebellion, became a global rock icon. Pasche was paid £50 initially, later selling the copyright for £26,000 in 1984. The original artwork sold to the Victoria and Albert Museum for $92,500 in 2008.

#logodecks

# data[].attributes.body
Karol Śliwka (1932–2018), a renowned Polish graphic designer, created over 400 logos, including the iconic PKO Bank Polski logo in 1968. Known as "Śliwka" (plum), the logo ingeniously forms a piggy bank from the letters P, K, and O, symbolizing savings. Despite initial rejection, it won a gold medal at the 1969 Polish Poster Biennale, becoming a cultural staple. Śliwka’s minimalist, functional designs shaped Poland’s visual identity.

#logodecks

# data[].attributes.body
Gary Dean Anderson is an American designer best known for creating the universal recycling symbol, an image that has become one of the most recognizable icons in the world. In 1970, while he was a college student, Anderson entered a design competition centered on environmental awareness and developed the now-famous three-arrow loop. The logo, often referred to as the Möbius loop, features arrows chasing one another in a continuous cycle, representing the process of reducing, reusing, and recycling materials. A lesser-known but meaningful detail of the design is the use of negative space, which subtly forms the shape of a pine tree, reinforcing the symbol’s connection to nature and environmental protection. The logo’s clean, minimal form allows it to communicate across cultures and languages with ease. Rather than being decorative, Anderson’s design is functional and symbolic, proving how thoughtful graphic design can shape global attitudes toward sustainability and conservation.

#logodecks

# data[].attributes.body
Otl Aicher led the design of the 1972 Munich Olympics pictograms, collaborating with Gerhard Joksch, Rolf Müller, Wolfgang Hillinger, Hans Roericht, Herbert W. Kapitzki, Ian McLaren, Elena Winschermann, Max Lindner, Manfred Pflüger, and Peter Croy. Their 700+ icons for 21 sports and wayfinding used a minimalist, 45°/90° grid, ensuring universal clarity. Inspired by the Bavarian Alps’ colors, they rejected Nazi-associated hues, projecting a democratic West Germany. Building on Tokyo 1964, the pictograms set a global standard, influencing Montreal 1976 and modern signage.

# data[].attributes.body
Otl Aicher (1922–1991), a German graphic designer, was renowned for his systematic and minimalist design approach. In 1962, Aicher and his team, including Hans Roericht and Fritz Querengässer, redesigned the Lufthansa logo as part of a comprehensive corporate identity overhaul. The iconic crane emblem, originally created by Otto Firle in 1918, was refined into a sleek, modernist form, a stylized crane within a circle, symbolizing precision and flight. Rendered in Lufthansa’s signature blue and yellow, the logo embodied clarity and reliability. Aicher’s grid-based design system ensured consistency across all branding, cementing Lufthansa’s timeless global identity.

Otl Aicher’s sketches for the Lufthansa logo, developed with his team at the Ulm School of Design in the early 1960s, reveal an evolutionary process blending modernist simplicity with functional symbolism. Initial sketches show the transition from the original 1918 Otto Firle crane to a more abstract form, with some designs exploring a simple arrow to represent aviation’s future, as noted in design commentary. These sketches progressively refined the crane into a stylized silhouette, enclosed in a circle, emphasizing aerodynamics and clarity. Aicher’s process, documented in works like Lufthansa und Graphic Design, highlights his methodical approach, balancing tradition with innovation, though the arrow idea was ultimately set aside for the iconic crane.

# data[].attributes.body
Paul Rand, a legendary graphic designer, created IBM's iconic logo in 1956, evolving it into the 8-bar version in 1972. His design, featuring bold, horizontal stripes, conveyed modernity, precision, and reliability, aligning with IBM's technological identity. Rand's minimalist approach emphasized clarity and versatility, making the logo instantly recognizable. His work for IBM, including posters and packaging, set a benchmark for corporate branding, influencing design for decades with its timeless simplicity and functionality.

# data[].attributes.headline
Методичка для курсового проєкту

# data[].attributes.subject
Методичка для курсового проєкту

# data[].attributes.attachment_link.title
Графічні прийоми в проектуванні

# data[].attributes.attachment_link.title
Товарний знак

# data[].attributes.headline
Зразок розробки комбінованого знаку

# data[].attributes.subject
Зразок розробки комбінованого знаку

# data[].attributes.attachment_link.title
Створення_комбінованого_знака_compressed_1 (1)

# data[].attributes.headline
Знаки і Логотипи

# data[].attributes.subject
Знаки і Логотипи

# data[].attributes.attachment_link.title
Знаки -стилізації

# data[].attributes.body
The Woolmark logo was designed by Franco Grignani, an Italian graphic designer and artist. Introduced in 1964 by the International Wool Secretariat (now The Woolmark Company), the logo resulted from a global design competition in 1963. Grignani, a jury member, submitted the winning design under the pseudonym Francesco Saroglia due to his role in the judging process. His authorship was later confirmed in the 1980s, aligning the logo with his distinctive Op Art style.

#logodecks #anatomyoflogos #geometryoflogos

# data[].attributes.body
The Nike "Swoosh," designed in 1971 by Carolyn Davidson, a Portland State student, draws from the Greek goddess Nike’s wing, symbolizing speed and victory. Phil Knight, Nike’s co-founder, initially lukewarm, said it would “grow on him.” The logo’s minimalist curve, once criticized as a mere checkmark, became iconic for its adaptability, stretching across products without needing the brand name. Davidson later received a diamond Swoosh ring and stock, now worth millions. The Swoosh’s standalone recognition is rare in branding, evolving from a student project to a global symbol of athleticism and culture in a single, versatile stroke.

Carolyn received $35 for the logo and Nike also gifted her 500 shares of stock, later worth over $1 million due to appreciation, a diamond ring with the Swoosh, and Nike products, recognizing her significant contribution to the brand’s iconic identity.

#logodecks #anatomyoflogos #geometryoflogos

# data[].attributes.body
Kashiwa Sato, a leading Japanese designer, created iconic logos for Uniqlo and Nissin. For Uniqlo in 2006, he designed a minimalist red-and-white logo with katakana, reflecting Japanese identity and aiding global expansion. His Nissin work emphasized Cup Noodles’ innovative brand through strategic visuals. Sato’s philosophy focuses on simplicity and strong identity, distilling brand essence into memorable icons. His designs for Uniqlo stores and Nissin’s museum further showcase his holistic branding approach.

#logodecks #anatomyoflogos #geometryoflogos

# data[].attributes.body
In 1977, Apple needed a new logo to replace its original, overly complex design by co-founder Ronald Wayne, which depicted Isaac Newton under an apple tree with a poetic inscription. Steve Jobs, preparing to launch the Apple II, the first personal computer with a color display, wanted a modern, approachable logo to reflect the company’s innovative and user-friendly ethos. Janoff, a young art director at Regis McKenna, was given the project with minimal direction from Jobs, famously summarized as, “don’t make it cute.”

While the logo was hand-drawn (not designed on a computer), Janoff’s sketches were refined into a precise, geometric form. By 1990, Landor Associates further streamlined the silhouette for consistency, using careful measurements to maintain its proportions. The logo’s simplicity ensured it remained legible even at small sizes, such as on product labels or software icons.

#logodecks #anatomyoflogos #geometryoflogos

# data[].attributes.body
Susan Bradley is a renowned graphic designer, art director, and title designer whose career spans over three decades in film and animation. With a classical eye for storytelling, she has crafted visual identities for more than 25 iconic Disney and Pixar projects, blending custom typography, motion graphics, and immersive narratives. Her passion for title design led her to manage Walt Disney Studios' Title Graphics Department for six years, where she collaborated with award-winning filmmakers to elevate cinematic openings.

In 1995, Bradley designed the original Toy Story logo, marking Pixar's groundbreaking debut feature. This vibrant emblem features bold, geometric sans-serif lettering—"TOY" in stacked yellow and red, "STORY" in blue—evoking playful childhood chaos with sharp angles and clean contours. Drawing from fonts like Eagle Bold and Gill Sans Ultra Bold, her initial sketch explored a juicy color palette to mirror the film's whimsical toy world. The design not only captured the essence of Woody and Buzz Lightyear's adventure but became an enduring brand symbol, reprinted across merchandise and sequels.

Bradley's influence extends to A Bug's Life, Monsters, Inc., and Ratatouille. She taught title design at the American Film Institute and now directs a documentary on lettering legend Harold Adler. Her work exemplifies how typography can propel storytelling, turning mere titles into gateways of wonder.

#logodecks #anatomyoflogos #geometryoflogos

# data[].attributes.body
Terry Stephens, co-founder of London-based Nomad Design Studio and a lifelong Chelsea fan, led Tottenham Hotspur’s acclaimed 2024 brand refresh as his personal “dream project.” Unveiled in November 2024 after nine months of collaboration and input from over 300 players, staff, and fans, the “remastered” identity retains the historic cockerel crest while introducing a bolder, more versatile visual system. At its heart is the long-awaited return of the interlocking THFC monogram, a secondary mark first created in the 1950s, iconic on 1960s Double-winning blazers and immortalised on the chest of the beloved 1980s Hummel kits. Absent entirely since the 2006 crest simplification, it has been meticulously redrawn by Stephens and type designer Miles Newlyn to honour the classic geometric proportions while ensuring razor-sharp clarity across digital screens and merchandise. The revived monogram now serves as official secondary IP alongside a more expressive cockerel by Chris Mitchell, a new variable typeface from F37 Foundry, refined colours, and North London-inspired patterns. Widely celebrated in design circles for its respectful evolution rather than revolution, the update honours Tottenham’s innovative heritage and strengthens its global commercial presence.

#logodecks #anatomyoflogos #geometryoflogos

# data[].attributes.body
Paula Scher, a celebrated graphic designer and Pentagram partner since 1991, has left a lasting mark on modern design with her bold typography and iconic logos. She redesigned the Windows 8 logo in 2012, simplifying it into a minimalist, four-pane window symbol that reflected the Metro design language, emphasizing functionality and modernity. Scher also created logos for Citibank, the High Line, The Public Theater, Tiffany & Co., and Shake Shack, blending cultural and corporate aesthetics over her 50-year career.

#logodecks #anatomyoflogos #geometryoflogos

# data[].attributes.body
The 1979 update to the LOT Polish Airlines logo was crafted by Polish designers Roman Duszek and Andrzej Zbrożek. They developed a comprehensive visual identity system, modernizing the iconic crane logo originally designed by Tadeusz Gronowski in 1929. The updated design retained the stylized crane, a symbol of elegance and tradition, while introducing a fresh livery for the airline’s fleet. The new look featured a predominantly white fuselage with a bold, italicized “LOT” inscription and a distinctive navy-blue stripe running along the aircraft. The crane was prominently displayed on the tail, preserving its role as a core element of the brand. This redesign aimed to blend modernity with LOT’s heritage, ensuring the logo and livery reflected the airline’s forward-looking vision while honoring its historical roots. Duszek and Zbrożek’s work created a cohesive and recognizable identity that strengthened LOT’s presence in the aviation industry.

#logodecks #anatomyoflogos #geometryoflogos

# data[].attributes.attachment_caption
James Cross, a renowned graphic designer and UCLA Fine Art graduate, founded Cross Associates in 1963, later expanding to multiple U.S. offices. His work, celebrated for simplicity and clarity, earned him awards like the AIGA Legacy Medal. In 1986, he designed Konami’s “bacon strips” logo, a geometric, bold design using Univers Black typography, used until 2003. This logo, with its distinctive stripes, reflected Konami’s gaming identity and was specified for consistency across products. Cross’s firm was acquired by Saatchi & Saatchi in 1988, cementing his legacy in corporate design, influencing brands like Konami with timeless, structured aesthetics.

#logodecks #anatomyoflogos #geometryoflogos

# data[].attributes.body
Luc Donckerwolke, a Belgian automotive design maestro, shaped the 2021 Kia logo as Chief Creative Officer at Hyundai Motor Group. Born in Lima, Peru, in 1965, his global upbringing and engineering background fueled a career spanning Peugeot, Audi, Lamborghini, Bentley, and Genesis. The Kia logo, co-designed with Blackspace, embodies "movement" with a sleek, modular graphic system, inspired by Seoul’s energy. Featuring a minimalist "Kia" script, it uses Midnight Black, Polar White, and vibrant accents like Afternoon Yellow. This redesign, part of the "Sensuous Sportiness" philosophy, reflects his innovative legacy, earning him the 2022 World Car Person of the Year title.

#logodecks #anatomyoflogos #geometryoflogos

# data[].attributes.body
Raymond Loewy (1893–1986) was a pioneering French-born American industrial designer, often hailed as the "father of industrial design." He revolutionized consumer products by applying principles of streamlined, functional aesthetics—known as "streamlining" or "cleanlining"—to make everyday objects more appealing and efficient.

Plastic Omnium (now OPmobility) is a French company founded in 1946, specializing in automotive and environmental plastics manufacturing, such as bumpers, lighting systems, and hydrogen fuel solutions. In 1966, Loewy, through his Paris office, created the company's iconic logo, which became a cornerstone of its visual identity.

#logodecks #anatomyoflogos #geometryoflogos

# data[].attributes.body
Bruno Munari (1907–1998) was an Italian artist, designer, and inventor known for his playful, innovative approach to art, design, and education. A key figure in the Futurist movement, he explored visual perception and creativity through works like Useless Machines (kinetic sculptures), Aerial Books (experimental storytelling), and Design as Art (essays). His tactile, interactive books for children, like Prebooks, revolutionized learning. Munari’s multidisciplinary legacy blends art, functionality, and imagination.

#logodecks #anatomyoflogos #geometryoflogos

# data[].attributes.body
Yang Sung-Chun (양승춘, 梁承椿; 1940–2017) was a pioneering South Korean graphic designer, born in Seoul as the third of six children. Showing early artistic talent, he studied at Seoul National University, where he later became a professor in the Department of Applied Art. His career highlights include winning design contests in the 1960s, working for OB Beer and ad agencies, and co-founding the Korean Society of Graphic Design in 1972. He created over 300 works, including corporate identities for public organizations.In 1983, Yang's emblem won an open competition for the 1988 Seoul Olympics (Games of the XXIV Olympiad), selected from 26 proposals by ten designers. The design features the traditional samtaegeuk pattern, three swirling taegeuk motifs from the Korean flag, symbolizing centripetal forces (global unity and harmony) and centrifugal forces (outward pursuit of prosperity).

#logodecks #anatomyoflogos #geometryoflogos