Запоминающиеся логотипы (бессмысленная логофилия)

Wings. Подробнее см. в теме "WINGS: эволюция логотипов"
https://www.beatles.ru/postman/forum_messages.asp?cfrom=1&msg_id=9889&cpage=11&forum_id=0

Олбрайт, завэртайтэ... ещё бы Royal Hunt сюда!

2Андрей Хрисанфов:

Не вопрос!

один из...

2Primal Scream:

>>Это Элвис. В логотипах не нуждается.

>А в представлении?

Я встречал немало людей, которым ни имя, ни логотип, ни музыка не говорили ничего. Так что ответ не такой очевидный, как может показаться

2cat man:

>2Primal Scream:
>>>Это Элвис. В логотипах не нуждается.
>>А в представлении?
>Я встречал немало людей, которым ни имя, ни логотип,
>ни музыка не говорили ничего. Так что ответ не
>такой очевидный, как может показаться

Я тоже тогда буду сначала всех представлять. Например, это Пол, это Джон и т.д.

Designed by John Kosh

Mick Haggerty designed these seemingly simple LEDs for the cover of the 1981 "Ghost in the Machine" LP. The Police are, from left to right, Andy Summers, Sting, and Stewart Copeland.

This Holist design, in which the sum is greater than the whole of its parts, was created by Jim Gibson in 1978.

Designed by Scissor Sisters' guitarist Scott "Babydaddy" Hoffman in 2001.

создатель логотипа - основатель "Крафтверк" Ральф Хюттер (1970)

About this holist 1977 logo for the band, bassist John Illsley recalls, "The original red guitar logo came from the fact that Mark (Knopfler) was playing a red Strat at the time and we needed a logo, as you did in those days. The record company, Phonogram at that time, got someone in their in-house (art) department to make it happen. There were little red guitar badges being given away at the time to all and sundry - these were the idea of the band. God knows where they all ended up! I asked Mark about this and apparently the record company came up with a rather large-ish cardboard version which we thought could be improved by making them into a badge size (made) out of metal. So I suppose the original idea came from the record company - a rare thing these days!"

Illustrator of fantasies large and small, Roger Dean designed this icon for the band in 1982.

Вот прикольный!

Designed by GISM mainman Sakevi Yokoyama in 1985. Yokoyama, in a recent e-mail: "AK-47 T-SHIRTS FIRST USED IN 1985 MAY 30TH AT NAKANO PUBLIC HALL." Right!

The downright lowdown, straight from Stray Cats Central: "Slim Jim Phantom's first tattoo in 1980 was the Teddy Boy Stray Cat which he has on his left forearm. Jim and Brian Setzer went the same day to tattoo artist Bob Roberts, and between them they drew up the cat's head design. Brian had just the head tattooed on his arm but Jim wanted a whole body. The cat's head design became the official logo of the Stray Cats. Early copies of the band's debut self-titled album contained bonus stick-on tattoos of the Stray Cats logo. Regarding the "official" name of the logo, the three Stray Cats refer to it as the "Cat's Head"." When the Stray Cats showed up in the early '80s, they were a breath of fresh air after a cultural tank full of the nitrous oxide of New Romantics, New Wave and the New Wave of Brutish Heavy Metal. Strangely, they've been around longer than the '40s and '50s actually lasted; they show no signs of stopping so long as there's still the kind of "Miller Time" that doesn't make it into the commercials.

Despite repeated allegations by a few staunch Christian evangelicals that AC/DC's lightning bolt is a Satanic one, designer Gerard Huerta responds, "It is difficult to understand the controversy of this lettering when you know the origin. I was an album designer at CBS and in 1975 I did some lettering for a Blue Öyster Cult live album called "On Your Feet or On Your Knees." As it featured a church on the cover, I researched Bible lettering, in particular Gutenberg Bible, the first printed book. I designed the lettering based on these religious forms that came from hand-done calligraphy. I rendered them in metal as there was a limousine on the cover and I thought the idea of a car marque would be cool. In 1976 I designed some lettering for an album called "AC/DC High Voltage." They had used the lightning bolt to represent electricity in the Australian version so I was asked to design one into the lettering. In 1977 I was asked to design some lettering for an album called "AC/DC Let There Be Rock," on obvious reference to the bible. I recalled the lettering I used on Blue Öyster Cult and designed this version to be placed in the sky which was shining down on the group on stage. The orange contrasted nicely with the dark blue sky and I added dimension to the lettering as in the Blue Öyster Cult job. In the late '70s there was a rush of typography which seemed to be influenced by this style and was referred to as "Goth." Maybe as a result of the types of groups that AC/DC and Blue Öyster Cult were this typography started to be associated with heavy music. But as you can see from my standpoint it was more "Gutenberg" than "Goth"." This was a calligraphic style that also manifested in barrio murals and gang graffiti throughout the greater metropolitan Los Angeles area. Huerta also designed the logos for Nabisco, Ringling Bros. and Barnum & Bailey Circus, and Eternity perfume(!). Fortunately, the satanic lightning-bolt crowd has moved on to the evils of Harry Potter and homos and we're all really glad they did.