Logo Modernism

Modernist aesthetics in architecture, art and product design are familiar to many of the creatively inclined. In soaring glass structures or minimalist canvases we recognize a time of vast technological advance which affirmed the power of human beings to reshape their environment and to break, radically, from the conventions or constraints of the past. Less well-known, but no less fascinating, is thedistillation of Modernism in logo design. With the creation of clean visual concepts, graphic designers sought to move away from the mystique they identified with the commercial artist, and tocounterbalance an increasingly complicated world with clarity.

This unprecedented TASCHEN publication, authored by Jens Muller, brings together approximately 6,000 trademarks, focused on the period 1940–1980, to examine howModernist attitudes and imperatives gave birth to corporate identity. Ranging from media outfits to retail giants, airlines to art galleries, this sweeping survey of the logo is organized into three design-orientated chapters: Geometric, Effect, and Typographic. Each chapter is then sub-divided into form and style led sections such as alphabet, overlay, dots and squares.

Alongside this comprehensive catalog resource, the book features an introduction from Jens Muller on the history of logos, and an essay byR. Roger Remington on Modernism and Graphic Design. Eight designer profiles and eight instructive case studies are also included, with a detailed look at the life and work of such luminaries asPaul Rand, Yusaku Kamekura, and Anton Stankowski, and at such significant projects as Fiat, The Daiei, Inc., and theMexico Olympic Games of 1968. An unrivalled, encylopedic resource for graphic designers, advertisers, and branding specialists, Logo Modernism is equally fascinating to anyone interested in social, cultural and corporate history, and in the sheer persuasive power of image and form.

Text in English, French, and German