LogoLounge, master library. Vol. 2: 3000 animal & mythology logos from LogoLounge.com

297 Pages·2010·61.951 MB·English

by  Fishel, Catharine M.;Gardner, Bill

volume 2
library
M A S T E R
3000 ANIMAL & MYTHOLOGY LOGOS
FROM LOGOLOUNGE.COM

catharine fi shel and bill gardner
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To Saul and Paul. LogoLounge.com is the world’s largest database
of logo designs where, in real-time, members
—Bill Gardner
can post their logo design work; study the work
of others; search a database of more than
130,000 logo designs by keyword, designer’s
name, client, industry, and other attributes; learn
from articles and news written expressly for and
Thank you to all of the ever-generous designers about logo designers; build lightboxes for
who are so willing to inspire others; to Bill and inspiration; and much more. Anyone visiting the
the LogoLounge team for this ongoing opportu- site has access to editorial materials, although
nity; to my three amazing sons, two majoring only members have access to search, upload,
in graphic design and the youngest of whom is and lightbox functions.
showing every sign of falling into the brink; and
LogoLounge is also parent to two lines of
to my best friend and husband, Denny, for being
bestselling books about logo design, published
the most thoughtful person on earth.
by Rockport Publishers:
—Catharine Fishel
• T he original LogoLounge series (1, 2, 3, 4,
and 5; Book 6 is under development now)
• T he Master Library series, built from seven
volumes, each of which contains 3,000
topic-specifi c logos. The topics covered will
be Initials & Crests; Animals & Mythology;
Typography; People; Shapes & Symbols;
Nature & Food; and Arts & Culture.
For more details, please visit
www.LogoLounge.com.
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contents
FROM THE
LOGOLOUNGE.COM
INTERNATIONAL
COLLECTION
3000 ANIMAL & MYTHOLOGY LOGOS
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6 Introduction: BILL GARDNER
12 Interview: Tracy Sabin
18 Interview: Andreas Karl
24 Interview: Michael Vanderbyl
13 Sidebar: Felix Sockwell, Republicrat
15 Sidebar: Studio GT&P, A.J. Mobilità
17 Sidebar: Naughtyfi sh, Naughtyfi sh
19 Sidebar: Bradford Lawton, San Antonio Zoo
21 Sidebar: 13THFLOOR, X Games
23 Sidebar: Von Glitschka, Street Value
25 Sidebar: Banana, Inc., Little Taipei
27 Sidebar: Redbrand, Minin & Pojarskiy
29 Sidebar: Thomas Vasquez, Centaur
Expanded animals
31
Collections of
LogoLounge
32 BIRDS
Identity
Categories 71 FISH, BUGS, REPTILES
117 MAMMALS
mythology
217
283 Index
288 Directory of Contributors
296 About the Authors
library
MASTER
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introduction
LOGOLOUNGE
MASTER LIBRARY
ANIMALS & MYTHOLOGY
>
A symbol of fertility, quickness, vulnerability,
softness, and more, the rabbit—like many
animals—holds many different signifi cant
meanings as a potential logo candidate.
6 3000 ANIMAL & MYTHOLOGY LOGOS
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> reinforced over many years’ worth of parables
Consider the rabbit—or, for
and experience. It becomes part of our toolkit for
purposes of this discussion, the bunny. The
forming opinions and making decisions.
Easter Bunny, although it is a mythical creature
(born of Christian culture), is clearly based on a
Belief forms the bridge between real and
real animal from the real world. It’s soft, cute,
imagined. It is what allows our brains to easily
cuddly, and on a symbolic level, representative
accept that a rabbit can somehow get into our
of fertility.
house to deliver jelly beans (which aren’t really
beans, but that’s a whole different story), or that
It is based on a real animal that, over time, has
a simple logo can somehow represent a
been imbued with human characteristics. It
bricks-and-mortar company.
(somehow) brings gifts of candy and eggs, is
often portrayed wearing clothing, can be shown
walking upright and smiling, and is, in general,
regarded as a benevolent creature that likes to ANIMALS
please children, like a favorite uncle.
People who have historically had the Easter The power that animals have over humans is
Bunny as part of their culture buy into all of this amazing. From the moment children are born,
100 percent, even the implausible parts. At their parents surround them with stuffed animals,
some level, they believe in the Easter Bunny. images of animals on clothing and décor, and
books about animals. Adults teach children
Now consider another bunny, the Playboy bunny,
lessons and morals using stories about animals.
who turns the entire rabbit equation on its—well,
Children come to understand the world through
ears. This icon is represented in two ways: by
animal analogies and metaphor—“stubborn as a
the company’s logo and by young women
mule” or “clever as a fox.”
dressed up as the animal. Ironically, these human
versions have been symbolically successful In this way, people grow to understand the real
because they adopt the exact same positive and sometimes unfairly infl icted personalities of
attributes as the more wholesome Easter Bunny: animals. They know which are “good” and which
soft, cute, cuddly, and representative—in a very are “bad.” For instance, a skunk may be strik-
different way—of fertility. (Imagine how immensely ingly colored and have very soft fur, but it has
unsuccessful either would be if they picked up one single attribute that lands it with a thud in the
on negative attributes of rabbits, such as leaving “bad” category. A dog, on the other hand, might
droppings everywhere and having large, yellow, also smell awful as well as bite and ruin the
sharp incisors.) carpet, but it is almost universally categorized as
“good.” Dogs are loyal; skunks stink.
People believe that the Easter Bunny and
the Playboy bunny (the logo or the fi shnet- Animals are so powerful as symbols that people
stockinged version) are “real” because we will apply their image in the form of a tattoo to
believe that rabbits are real. Our understanding the skin, graphically adopting the conceptual
of or belief in the physical and conceptual nature of that animal. Images of animals are
attributes of any creature—its “realness”—is a used as sports mascots the world round that
powerful tool, often developed in childhood and people stay fi ercely loyal to all of their lives.
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MASTER 7
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Designers can use this preexisting knowledge
and belief in their logo design. If an owl is
understood to be wise, then a logo that includes
an owl might suggest wisdom on the part of the
company it represents. It’s a boost toward
understanding.
Animals that really exist in our world (as well as
extinct ones) offer special advantages for the
logo designer. Some have a unique and easily
traded-upon shape. For instance, the outline of a
giraffe is very simple to identify, whereas that of
a weasel may be confused with a ferret or otter.
Even the outline of a snake or other “scary”
animal is safer to the brain than that of an
unidentifi able monster. The more familiar the
shape, the more information it conveys.
A unique shape, especially if it is very simple—
such as a butterfl y—is graphically impactful and
easy to remember. Also, humans have a certain
compassion for animals and might feel more
emotionally connected to an animal-shaped logo
than they would to a hard-edged, geometric
design. Animals are simply more like us.
Some animals carry multiple messages. For
instance, birds can be a symbol of peace, fl ight,
launch, song, nesting, and much more. Just
using their wings makes a statement, even when
they are applied to objects as unlikely as a coffee
cup or the letter H.
An animal can also be used to suggest a region
or topography: A loon might suggest a North
American fi shing camp or a horse can suggest a
Western ranch. Animals are also often used to
indicate nationalism, as a kangaroo represents
Australia, and an eagle represents the United
>
Because of their unique body shapes, wildly disparate States. Or, an animal can represent a more
sizes, and intriguing colorations, animals offer the logo
fi gurative arena, as doves often are used to
designer plenty of creative options. (All designs created
represent Christianity.
by Gardner Design.)
TOP DOWN: Wichita Montessori School, SeaWorld
BlueTeam, Books for Life, Bradley Paper
8 3000 ANIMAL & MYTHOLOGY LOGOS
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traits: All could be said to be alive, at least in the
imagination, and all have a story connected to
them. When we already know that story, the path
to discovering the meaning of a myth-based logo
is short.
Some of these creatures are known worldwide.
For example, the use of skeletons or skulls in
identifi ers such as fl ags or banners goes back to
pirate fl ags of the 1700s. As a symbol of death
or danger, it is almost universally understood.
But others are not so widely understood, and
unless such a reference only needs to be
understood within a specifi c geographic area
or group, its use in a logo should be carefully
considered.
> Animals have always fi gured prominently in the minds For example, consider the witch Baba Yaga,
of humans. In the past, animals were a source of the central character in a Slavic tale who lures
resources—food, furs, and transportation among children to her home. Her house has giant
them—but also a source of danger. (Petroglyphs at
chicken legs that carry it about in the forest and
Newspaper Rock, Indian Creek, Utah)
so can never be found in the same place. Baba
Yaga fl ies about in a mortar and pestle, and like
most witches, is a horrible hag. But in some
versions of her story, if a visitor is kind, polite,
MYTHOLOGICAL
CREATURES and/or wise, Baba Yaga provides invaluable
answers to questions—but every answer she
We are a society of storytellers. We love stories. gives ages her another year.
We use stories as a tool to sell our heritage,
Clearly, the story is rich in visual and emotional
morals, and ethos to our children. In many
triggers. But if Baba Yaga is not a story that you
of these stories, mythological creatures fi gure
grew up with, it is very diffi cult to relate to it, at
prominently. Think Little Mermaid. Think Big Bad
least at fi rst telling. Even the most adeptly
Wolf. Think Batman.
designed logo that includes a house on chicken
The mythological creature is even more mal- legs or an old woman sitting in a pestle will be
leable than a real one. It can have special meaningless—or just plain crazy—to all but
powers or bizarre qualities. A horse is good, those who heard the story as children and have
yes, but what if it had wings? A horn? Is it pure since contextualized its meaning as adults.
white or black or multicolored? What if it could
We may be becoming a more homogeneous
talk or fi ght valiantly? It just gets more and
people in terms of our commercial lives and
more interesting.
products, but in some respects, local cultures are
For all their diversity, the mythological creatures much slower to change. Myths just don’t cross
included in this collection have two common cultural boundaries well.
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MASTER 9
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>
Standing atop a tall column in Piccadilly Circus in London, the Eros statue is symbolic of how
integrated mythology is in modern society. It is of us and around us, but of a higher nature.
But mythological references can be dangerous Cultural references are also shifting. The visual
in logos even within a single country or region. portrayal of a vampire in the eighteenth century
Not even neighbors know the same stories: is markedly different from the movie vampire of
For example, in the United States, many Native today. At one time, they were portrayed as the
Americans are familiar with stories of Coyote, evil and ugly undead. Today, they can be young,
the trickster, who gets himself in scrape after attractive, and quite sympathetic characters.
scrape. But move outside of those families, even
Stories today are very often illustrated through
within the same grade school, and Coyote is
media, so mythological creatures can be
completely unknown.
cartoon or anime characters. In the future, will
There are also situations where a certain the Wii mini-Mii be a meaningful character?
area’s mental picture of a mythological creature Bart Simpson? The GEICO gecko? It’s hard to
differs from that of other areas. A spirit or ghost know now what will gain traction over time.
might appear in the mind of one person as a
The common thread of using mythological
sheet-covered, fl oating shape, as a malevolent,
characters in a logo design is that it pulls up the
ragged wretch to another, or as a semitranspar-
viewer’s past through story and memory, and
ent human or animal form to yet another person.
connects it to the present. It draws people into the
The word ghost simply does not conjure up a
identity using the knowledge they already have.
consistent image.
10 3000 ANIMAL & MYTHOLOGY LOGOS
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