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Produktbeschreibungen
Kurzbeschreibung
Symbols play an integral role in branding programs. More often than not, symbols are used alongside logotypes, the two working in tandem to illustrate the values and qualities of a brand to its audience. However, symbols can be hugely effective on their own, providing organizations and brands with 'marks' that provide an instantly recognizable signifier when seen independently of the brand name and/or logotype. Nike's 'swoosh' is seldom seen with its corresponding logotype these days: it has become so familiar that we don't need the name in order to recognize the brand. Among countless other examples, the Shell symbol, Michelin's Bibendum, London Transport's intersected circle, the Guinness Harp and the Woolmark symbol form a unique visual vernacular as ubiquitous and familiar as the 'man at work' pictogram. The book features over 1,300 symbols, organized into groups and sub-groups according to their visual characteristics. Every symbol is captioned with information on who it was designed for, who designed it, when, and what the symbol stands for. These sections are interspersed with short but detailed case studies featuring classic examples of symbols still in use, and exceptional examples of recently designed symbols.
Über den Autor
Steven Bateman is a freelance writer who has worked with some of the UK's leading design agencies. A regular contributor to Grafik magazine, he also writes for ISTD Condensed, Nico and Varoom. Angus Hyland is a graduate of the RCA and a partner at Pentagram Design London. In 2001 Hyland was the cocurator, with Roanne Bell, of Picture This, a British Council exhibition featuring the work of London illustrators.
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Kundenrezensionen
Die hilfreichsten Kundenrezensionen
1 von 1 Kunden fanden die folgende Rezension hilfreich
Simplicity, neutrality, clarity, wit and a bit of playfulness = a great commercial symbol
19. Juni 2011
Format:Taschenbuch
Put logo, trademark or symbol into Amazon search and you'll come up with a few hundred books that cover every aspect of the subject, from how to design them to copyright problems. The subject is now a staple in any design publishers catalog. Hyland and Bateman's book is a notch above most because they've stripped the subject down to the basics and look at symbols only, so there are no typographic and image marks like UPS; BMW; V&A or Coca Cola, for example.
The 1300 symbols in the book are divided into two sections: Abstract and Representational. These are subdivided into categories like stripes (fifteen examples) arrows (twenty-five) radiating/circular (twenty-three) sun (fourteen) birds (thirty-two) or hearts (twenty-two). I thought the Representational pages the most fascinating because designers have to use a familiar object and change it into a unique version for a company so it will be recognisable anywhere. Anything that has a curve to it (bird, heart, eye) seems to encourage designers to create some wonderful company brandmarks.
Scattered through the pages are some case histories (over two or three pages) where there is a closer look at selected company marks. These are the only pages that use colour. All the symbols have credits for company, country, designer, date and a brief description of what the design is for.
There are a few hundred names, from around the world, in the designer index and Pentagram gets the most inclusions with sixty-two symbols, Chermayeff & Geismar get thirty-six and Karol Silwka (from Poland) gets thirty-one. Oddly the great designer Saul Bass only has one entry and Herb Lubalin none, I suppose because he was essentially a type man. There is a company and sector index also.
The book is a nice clean production with a maximum of nine images to a page. My only criticism is that the paper is a rather thick which makes the paperback a bit unwieldy while handling it. I think this is a worthwhile buy for design professionals and students.
The 1300 symbols in the book are divided into two sections: Abstract and Representational. These are subdivided into categories like stripes (fifteen examples) arrows (twenty-five) radiating/circular (twenty-three) sun (fourteen) birds (thirty-two) or hearts (twenty-two). I thought the Representational pages the most fascinating because designers have to use a familiar object and change it into a unique version for a company so it will be recognisable anywhere. Anything that has a curve to it (bird, heart, eye) seems to encourage designers to create some wonderful company brandmarks.
Scattered through the pages are some case histories (over two or three pages) where there is a closer look at selected company marks. These are the only pages that use colour. All the symbols have credits for company, country, designer, date and a brief description of what the design is for.
There are a few hundred names, from around the world, in the designer index and Pentagram gets the most inclusions with sixty-two symbols, Chermayeff & Geismar get thirty-six and Karol Silwka (from Poland) gets thirty-one. Oddly the great designer Saul Bass only has one entry and Herb Lubalin none, I suppose because he was essentially a type man. There is a company and sector index also.
The book is a nice clean production with a maximum of nine images to a page. My only criticism is that the paper is a rather thick which makes the paperback a bit unwieldy while handling it. I think this is a worthwhile buy for design professionals and students.
Die hilfreichsten Kundenrezensionen auf Amazon.com (beta)
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5 Rezensionen
11 von 11 Kunden fanden die folgende Rezension hilfreich
Simplicity, neutrality, clarity, wit and a bit of playfulness = a great commercial symbol
19. Juni 2011
Format:Taschenbuch
Put logo, trademark or symbol into Amazon search and you'll come up with a few hundred books that cover every aspect of the subject, from how to design them to copyright problems. The subject is now a staple in the design publishers catalog. Hyland and Bateman's book is a notch above most because they've stripped the subject down to the basics and look at symbols only, so there are no typographic and image marks like UPS; Dole; MetLife; Exxon or Coca Cola, for example.
The 1300 symbols in the book are divided into two sections: Abstract and Representational. These are subdivided into categories like stripes (fifteen examples) arrows (twenty-five) radiating/circular (twenty-three) sun (fourteen) birds (thirty-two) or hearts (twenty-two). I thought the Representational pages the most fascinating because designers have to use a familiar object and change it into a unique version for a company so it will be recognizable anywhere. Anything that has a curve to it (bird, heart, eye) seems to encourage designers to create some wonderful company brandmarks.
Scattered through the pages are some case histories (over two or three pages) where there is a closer look at selected company marks. These are the only pages that use color. All the symbols have credits for company, country, designer, date and a brief description of what the design is for.
There are a few hundred names, from around the world, in the designer index and Pentagram gets the most inclusions with sixty-two symbols, Chermayeff & Geismar get thirty-six and Karol Silwka (from Poland) gets thirty-one. Oddly the great designer Saul Bass only has one entry and Herb Lubalin none, I suppose because he was essentially a type man. There is a company and sector index also.
The book is a nice clean production with a maximum of nine images to a page. My only criticism is that the paper is a rather thick which makes the book a bit unwieldy while handling it. I think this is a worthwhile buy for design professionals and students.
###LOOK AT SOME INSIDE PAGES by clicking 'customer images' under the cover.
The 1300 symbols in the book are divided into two sections: Abstract and Representational. These are subdivided into categories like stripes (fifteen examples) arrows (twenty-five) radiating/circular (twenty-three) sun (fourteen) birds (thirty-two) or hearts (twenty-two). I thought the Representational pages the most fascinating because designers have to use a familiar object and change it into a unique version for a company so it will be recognizable anywhere. Anything that has a curve to it (bird, heart, eye) seems to encourage designers to create some wonderful company brandmarks.
Scattered through the pages are some case histories (over two or three pages) where there is a closer look at selected company marks. These are the only pages that use color. All the symbols have credits for company, country, designer, date and a brief description of what the design is for.
There are a few hundred names, from around the world, in the designer index and Pentagram gets the most inclusions with sixty-two symbols, Chermayeff & Geismar get thirty-six and Karol Silwka (from Poland) gets thirty-one. Oddly the great designer Saul Bass only has one entry and Herb Lubalin none, I suppose because he was essentially a type man. There is a company and sector index also.
The book is a nice clean production with a maximum of nine images to a page. My only criticism is that the paper is a rather thick which makes the book a bit unwieldy while handling it. I think this is a worthwhile buy for design professionals and students.
###LOOK AT SOME INSIDE PAGES by clicking 'customer images' under the cover.
7 von 7 Kunden fanden die folgende Rezension hilfreich
Content five, binding zero
30. Juli 2011
Format:Taschenbuch|Von Amazon bestätigter Kauf
As reviewed in the WSJ, this is a very welcome addition to the field of logo design. One can quibble that some of the leading French, German and Swiss designers are not covered in greater detail - book seems very UK centric especially in the color spreads for the Underground, BOAC, etc.
The manufacture of the book is not so great (printed in China of course - whatever happened to the printing presses of the Western world?), binding fell apart 6 days outside the Amazon return date - not cheap and poorly assembled. Check your copy carefully if you decide to buy this.
The manufacture of the book is not so great (printed in China of course - whatever happened to the printing presses of the Western world?), binding fell apart 6 days outside the Amazon return date - not cheap and poorly assembled. Check your copy carefully if you decide to buy this.
1 von 1 Kunden fanden die folgende Rezension hilfreich
Good reference book
14. Februar 2012
Format:Taschenbuch|Von Amazon bestätigter Kauf
This is a competent book on symbols being used as brand marks. I have to admit I expected much more, given the background of Pentagram as one of the leading identity firms in the world. They do not show just Pentagram's work, but even so, there are a bunch of brands that are just pitiful. I would reconsider buying this one.
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