Livro Logo R.I.P. (free download). Totalmente atualizado e revisado. Uma homenagem a uma grande pesquisa de 50 logos que não existem mais ou foram redesenhados. Inclui um prefácio de Gert Dumbar e apresenta um design clássicos da NASA, a British Steel, BOAC e Pan Am. Fonte: http://www.logorip.com/Dica

4. “Logo R.I.P. is not just a nostalgia trip,
but a serious questioning of the ephemerality of modern life.”
The Sunday Times
“Logo R.I.P. works both as a critique of corporate culture
and design’s complicity in it and a celebration of some of the
past century’s most resonant graphic symbols…
It may be clever enough to appeal to anti-corporate activist
and corporate climber alike.”
EYE Magazine
“The notes are the strongest asset of the book:
well-informed and often hilarious.”
de Volkskrant
“Logo R.I.P. is more than just a frivolous bit of fun at the expense
of defunct institutions or over-greedy corporations who went tits-up…
It serves as a genuinely useful archive and reference resource.”
Dazed & Confused
“This book is an obituary to the visual casualties of
today’s ruthless business environment, and to those trademarks
that have tried to battle the powers of globalisation.”
Creative Review
“Logotypes get scrapped everyday, as casualties of
mergers, bankruptcies and new-image campaigns.
Their passings are generally unsung, but Logo R.I.P.,
offers dignified adieus to 50 defunct graphic icons.”
Print
“Behind every good logo is a hidden history of the rise and fall…
Logo R.I.P., is a compact, well-illustrated study.”
NRC Handelsblad
“The Stone Twins are the undertakers of style…
Included in this hall of fame, are 50 pertinent logos
who do not deserve oblivion; but a minute silence…
and this commemorative book.”
Étapes

5. logo r.i.p.

6. Publishing house:
bis Publishers
Building Het Sieraad
Postjesweg 1
1057 dt Amsterdam
The Netherlands
t +31 20 5150230
f +31 20 5150239
www.bispublishers.nl
bis@bispublishers.nl
First Edition 2003
Second Edition 2012
isbn 978 90 6369 290 2
Copyright © 2003 and 2012
bis Publishers and
The Stone Twins, Amsterdam
All rights reserved.
No part of this publication may
be reproduced or transmitted
in any form or by any means,
electronic or mechanical,
including photocopy, recording
or any information storage
and retrieval system,
without permission in writing
from the copyright owner(s).
All featured logos are trademarks
of the respective copyright owners.
Every reasonable attempt has been
made to contact owners of copyright.
Errors or omissions will be corrected
in subsequent editions.
written, designed + photographed by
the stone twins, amsterdam
www.stonetwins.com
www.logorip.com

7. a commemoration of dead logotypes
The Stone Twins

9. plot page
contents
preface 9
foreword by Gert Dumbar 13
introduction 15
obituaries
i Imperial Airlines/BOAC ‘Speedbird’ 127
ii Swastika 128
iii NASA ‘Worm’
129
iv P & G ‘Moon and Stars’
130
v Kodak ‘K’
131
vi Enron ‘Tilted E’
132
vii VOC ‘Monogram’
133
viii Tarmac ‘Seven Ts’
134
ix The New Haven Railroad ‘NH’
135
x British Steel ‘S’
136
xi Robertson’s ‘Golly’
137
xii Energie Noord West ‘Jupiter’
138
xiii Riley ‘Diamond Badge’
139
xiv 3M ‘Plumber’s Gothic’
140
xv Mac Fisheries ‘St. Andrew’s Cross’
141
xvi Xerox ‘Digital X’
142
xvii Telecom Éireann ‘TE’
143
xviii CCA ‘Box’
144
xix Pharmacia & Upjohn ‘The Hand, Bird, Star’
145
xx Mexico 68
146
xxi NeXT ‘Cube’
147
xxii RUC ‘Harp & Crown’
148
xxiii Transamerica ‘T’
149
xxiv Betamax ‘β’
150

10. plot page
obituaries
xxv Spratt’s ‘Dog’ 151
xxvi Lucent ‘Innovation Ring’
152
xxvii DSM ‘Hexagon’
153
xxviii Hoechst ‘Tower and Bridge’
154
xxix MetLife ‘Four Ms’
155
xxx Arsenal FC ‘VCC Crest’
156
xxxi Commodore ‘C’
157
xxxii PTT Post
158
xxxiii AT&T ‘Globe’
159
xxxiv Midland Bank ‘Griffin’
160
xxxv HTV ‘Aerial’
161
xxxvi Pye ‘Roundel’
162
xxxvii Reuters ‘Dotted Logotype’
163
xxxviii Festival of Britain ‘Britannia’
164
xxxix DeLorean Motor Company ‘DMC’
165
xl BP ‘Shield’
166
xli Rover ‘Longship’
167
xlii Unilever ‘Twin Pillar U’
168
xliii BT ‘Piper’
169
xliv Braniff Airways ‘BI’
170
xlv Abbey National ‘Umbrella Couple’
171
xlvi Wellcome ‘Unicorn’
172
xlvii Pan Am ‘Blue Globe’
173
xlviii UPS ‘Bow-Tied Package’ Shield
174
logo r.i.p? 176
xlix British Rail ‘Double-Arrow’
179
l Sun Microsystems ‘Ambigram’
180
references 182
bibliography 186
appendix: new identities 189
index 191

13. preface
Welcome to the fully updated and revised second
edition of Logo R.I.P. Readers of the original book,
will notice that several things have changed in this
new version. All articles were substantially rewritten,
and, in some cases, were replaced by more compelling
or current examples. But what has not changed is
the core thesis of this book: that defunct logos – that
were once an integral part of the landscape, our visual
culture and our lives – are worthy of commemoration,
or even preservation.
We wish to thank all the people who took the time to
share their ideas on the website logorip.com, since its
launch in 2003. This online ‘Book of Condolences’, or
digital repository, provided a wealth of new material.
It’s a platform where fellow designers advocate for the
preservation of iconic logos and critically discuss the
merits of our funerary homage.
Just as importantly, the forum also attracted input
that reveals the human cost of discarded logos:
those individuals who lost their jobs, and are the
fallout of corporate euphemisms, such as downsizing,
restructuring, consolidation, repositioning or merger
(the very terms that accompany the launch of shiny
new trademarks). In addition, the website reveals the
strong emotional bonds that ordinary people have with
9

14. logos, and how they can trigger heated discussions on
a variety of topics: from the environment (BP) to
racism (Robertson’s) or corporate loyalty (Wellcome),
amongst others. The overall quality and scope of the
comments on logorip.com enriched our understanding
of the subject and provided a fresh impulse to refine,
sharpen and update many of the ‘obituaries’.
We take advantage of this opportunity to include
several logos that have suffered an ignominious death,
since the first edition in 2003. The ubiquitous and
historic corporate symbols of Abbey National, AT&T,
DSM, Hoechst, Kodak, Lucent, Rover, Unilever and
Xerox have all been consigned to the logo graveyard.
No revision of Logo R.I.P. could ignore the significance
of these trademarks and the calls for their inclusion.
This fully revised version of Logo R.I.P. is also an
acknowledgment of the growing movement to docu-
ment the cultural and design history of trademarks;
particularly icons from the golden era of corporate
identity design (1950s to the 1970s). The preservation
of our visual culture is central to our hypothesis; and
echoes the goals of the architectural conservation
movement. Some will argue that logos are just marks
on paper and, inherently, ephemeral – but that’s
beside the point. As stated in our original introduction,
10

15. great logos are much more than graphic marks that
symbolise ideas or represent organisations. Logos
hoard our memories, passions and reputations.
Besides, the great work of great designers is worthy
of preservation. The graphic marks included in this
book have significance every bit as important as
landmark architecture. In recent years, this idea has
been embraced by the writings of Michael Bierut 1
and Scott Stowell. Logo R.I.P. has also inspired several
2
exhibitions, most notably L.I.P. (Logo in Peace) at the
Chaumont Poster Festival in 2010, and the series of
Dead Brands events hosted by AIGA since 2009.
Furthermore, no update of this book could disregard
the Global Financial Crisis of the late-2000s, which is
considered by many economists to be the worst financial
downturn since the Great Depression. A period that
has seen the collapse of financial behemoths, such
as Lehman Brothers and Washington Mutual – and
contributed to the demise of household brands such as
Kodak and Woolworths. The failure of these businesses,
and the subsequent retirement of their visual signifiers,
is one of the recurring themes in this book. With the
pace of corporate funerals set to pick up further, many
more titans of logo design look set to take their final
bow. So, don’t put away the black garb yet.
11

16. In short, Logo R.I.P. is as relevant as ever. Acknowledged
as both a critique of corporate culture and a celebration
of some of the most potent logos ever created – we
invite you once again to take a moment to pause and
reflect on our selection of lost logos that are, quite
simply, well-conceived, well-crafted and well-known.
Gone but not forgotten.
‘Logo R.I.P.’
Declan and Garech Stone, The Stone Twins
Amsterdam, May 2012
12

17. foreword
By keeping memories alive of things that happened in
the past, one defines some sort of civilisation. In
most cases, this is done in the form of a memorial such
as a statue, an arch or a column. Graveyards too are
places of reflection and act as a beacon of the
collective memory.
This book is a commemoration of historical logos that
have passed away. No one likes funerals, but in Logo
R.I.P. there are many valuable trademarks that should
be remembered, not just for today’s generation of
designers but also for the next.
The selection contained in Logo R.I.P. reveals the
optimism, skill and craftsmanship of some great classic
trademarks and logos. Apart from the functionality
of these marks, which represent services and trades,
these logos conjure up emotional responses – which
range from the depraved (the Swastika) to the
ingenuous (Spratt’s).
This book is an important alternative to the new trend
in logo design that is marketing-orientated nonsense.
Many of today’s solutions are produced by agencies
that consist of a ratio of ten pin-stripes to every one
creative. They are strategy-driven and lack stylistic
durability, are missing concept, magic, wit, emotion or
13

18. narrative – some of the major ingredients of a good
logo. This marketing-driven fever of clients ultimately
leads to nothing, producing bland future brands.
Metaphorically speaking, these agencies are the
‘gravediggers’ for many design classics.
I hope, and sincerely wish, that this book becomes a
valuable design resource in the future. Let’s not make
this a coffee-table book!
Gert Dumbar, Studio Dumbar
Rotterdam
14

19. introduction
gone but not forgotten: the thankless life of a rejected logo
Like it or not, logos are everywhere. In addition to the
spine of this book, there’s probably one emblazoned
on your watch, sleeve, spectacles, shoes and coffee
cup. Logos adorn almost every item in our vicinity,
screaming their message, clamouring for attention.
Logos are signs, small graphic identifiers; things
that help differentiate a product or service from its
competitors. Yet over time, their meaning has trans-
cended mere differentiation. Like personal signatures,
logos are unique statements of their origins. They give
away our background, our interests, our vanity and
vulnerabilities. They mock our lifestyles, tell our
income, betray our sociopolitical point of view.
And still they’re so much more. Logos hoard our
memories, passions and reputations. Made familiar
with time, we come to trust and befriend them. Then,
like mates, we give them nicknames (the ‘Swoosh’,
‘ Worm’ or ‘Piper’). In naming a logo, we infuse it with
meaning, it helps classify and define who we are. In
short, it helps us be.
Then one day, they desert us. They rust, fade from
billboards, are replaced by new italicised upgrades.
15

20. background
Two years ago, when we began this book, our
hypothesis was based on first-hand experience. We
were submerged in a project based on the logo of
pharmaceutical giant SmithKlineBeecham. Though
we hadn’t created this trademark, our task was to
devise a corporate identity program for its application.
Then just as we reached the implementation stage, it
was announced that the entire project was to be
dropped. The reason was simple: SmithKlineBeecham
had agreed to a merger with arch rival GlaxoWellcome.
The new company was to be called GlaxoSmithKline
(GSK) and unified under a new logo. Naturally, all our
templates were irrelevant. Never again, would we
glimpse the trademark of SmithKlineBeecham. The
logo was no more. The logo was dead.
Around the same time, we became conscious of other,
similar stories. Practically every week, the effects of
globalisation dominated the headlines. Takeovers,
mergers, buy-outs, bankruptcy… the list went on and
on. Numerous familiar visual identities had to redefine
or die.
These changes were echoed in our postbox. New
names and motifs appeared on bills for our mobile
networks, insurance companies and energy concerns.
16

21. Even the logo on the postman had changed. Later we
were to reminisce the lost logos of our youth: the
manufacturer of our first game-console, the wrapper
of our favourite ice-lolly, our parents’ first car.
One-time precursors of our daily lives, these familiar
‘ landmarks’ had vanished and we had hardly noticed.
Yet in contrast to the ceremony and pomp that greeted
their arrival, they often suffered an ignoble death.
Used-up and superfluous, they were discarded or
replaced by a shiny new signifier. Businesses went
under, but no one shed a tear for the other loser of
diversification – the logo.
Logo R.I.P. is a collection of lost design icons. Icons that
despite achieving ‘stylistic durability’, have been
deemed defunct, consigned to the logo graveyard.
No longer allowed to signify.
This compilation recognises that each dead logo is
a story in itself, an ideogram of its time. They are
cultural barometers, expressions of a recent but
bygone age. Like the sounds of an old LP or a
particular smell, they transport us to what was.
Here we attempt not only to properly commemorate
their demise, but also to tell their tale. The end of the
book is dedicated to a series of ‘obituaries’; or articles
17

22. that give a short account of the logo’s life, including
details such as the nature of the organisation behind it
and the reason for its discontinuation.
Unlike contemporary corporate identity design, many
of the logos in this book weren’t accompanied by
lengthy press releases; their ‘magic’ is inherent, their
ideas clear. They were designed by creatives not
committees, were tested on real people like family
members and directors’ wives, not the clinical environ-
ment of the modern day test-group.
We bid farewell to these once familiar logos, and pay
tribute both to the designer’s ideas, and the
corporations behind them. Join with us in mourning.
‘Logo R.I.P.’
Declan and Garech Stone, The Stone Twins
Amsterdam
18

24. The term ‘logotype’ and its
shortened form ‘logo’ come
from the Greek logos, meaning
word. Logotype sometimes
refers to marks that are longer
and easily readable names,
while logo sometimes refers
to shorter names, acronyms or
abbreviations. Sometimes both
terms are used as synonyms for
the graphic trademark, which
also includes picture marks.
Source: Mollerup, Per, Marks of Excellence:
The History and Taxonomy of Trademarks,
Phaidon Press, London 1997 (p. 109)

25. in memoriam…

27. i

29. ii

31. iii

33. iv

35. v

37. “… it’s time for this old friend to retire
with the grace and dignity it deserves.
So, today, we’re saying ‘goodbye’…”
Mike Eskew, ups Chairman
and ceo, on the departure
of Paul Rand’s ups logotype.
(March 25th, 2003)117

39. obituaries

41. plot i
Airways and British Airlines. The new
state-owned national airline retained
the Speedbird as its unifying symbol.
By the 1950s, BOAC led many of the
developments of the passenger jet era
– and the Speedbird both evoked and
expressed the glamour and romance of
air travel during this period.
Throughout the 1960s, the BOAC
livery of a dark blue tail with gold
initials on the cheatline and a gold
Speedbird on the fin was a familiar
imperial sight around the world. The Speedbird,
airlines/boac albeit a slightly restyled version by Karl
‘speedbird’ Gerstner in 1964, had survived for
generations and was stylistically relevant
1932–1984 to brand the airline even further into
design: theyre lee-elliott (uk) the future – adverts from 1971 show it
visualised on the supersonic Concorde.
In 1932 Imperial Airlines (est. 1924) With the fusion of BOAC and its
introduced a stylised motif of a bird in sister airline BEA (British European
flight, nicknamed the ‘Speedbird’, as Airways) to form British Airways in
its corporate emblem. The bold logo 1974, the iconic Speedbird was
perfectly captured the spirit of this jettisoned in favour of a truncated
new and exciting mode of transport. version of the Union Jack as the airline’s
To many it is a design classic, an icon logo. BA’s chairman, David Nicolson,
created before its time. According to explained that the new look, by design
designer Peter Wilbur it is a “mark agency Negus and Negus, expressed
which although created in an age of “a modern, efficient, confident and
100 mph aircraft is still remarkably friendly face to the public.”4 However,
modern in concept.”3 after a large number of petitions from
The Speedbird was designed by ex-BOAC staff, the Speedbird was
Theyre Lee-Elliott, a noted poster recalled – and featured as a separate
artist. During the 1920s and 1930s, emblem on the nose section of the
the artwork he produced for Imperial aircraft.5 This diminished role for the
Airlines frequently employed this legendary symbol lasted until 1984,
motif to illustrate the various British when BA launched a new look, as part
imperial or empire routes. of its preparations for privatisation.
In 1939, British Overseas Airways Discarded to the dustbin of history,
Corporation (BOAC) was formed only the Speedbird name endures – in
after the merger between Imperial the title of BA’s HQ and call-sign.
127

42. plot ii
Salzburg Congress, the Swastika was
unveiled as the official emblem of the
party. It appeared in a white circle on
a crimson background. The original
designer of the Nazi insignia, Dr.
Friedrich Krohn (a dentist), initially
drew it counter-clockwise but Hitler
insisted on a change to its direction.
In Mein Kampf, Hitler describes this
reductive yet stark visual mark as the
symbol “of the fight for the victory of
swastika Aryan man” and adds that it “has been
and always will be anti-Semitic.”6
–1945 From 1933, Albert Speer, Hitler’s
design: unknown personal architect, moulded the
image of Nazi Germany. He created
Although instantly acknowledged as the a decorative scheme of Swastika orna-
symbol of Nazi Germany, the ‘Swastika’ mentation throughout Germany which
is in fact an ancient symbol. It has been was as pervasive as the Führer’s image.
found on Byzantine buildings, Buddhist To the international world, these
inscriptions, Celtic monuments and designs broadcast the arrival of a new
Greek coins. Throughout the course powerful Germany – the result of a
of 3000 years it represented life, sun, mass will and restored national pride.
power, strength and good luck. Today, many regard Speer’s starkly
Even in the early 20th century the powerful designs as the beginnings of
Swastika, or the ‘hooked cross’, was post-war corporate identity schemes.
a largely benign emblem used inno- Since the defeat of Nazi Germany
cently as a decorative motif to signify by the Allies in 1945, all forms of
good fortune and well being. It was the Swastika have been banned in
frequently used on cigarette cases, many countries. Hitler took an ancient
postcards, coins, and buildings. During symbol and perverted it to such a
World War I, the Swastika was found on degree that it can never be used again
the shoulder patches of the American without evoking all the associations of
45th Infantry Division and right up destruction, death and vileness that the
until the mid-1930s, Carlsberg etched NSDAP perpetrated. If the Swastika is
it onto the base of their beer bottles. displayed in any part of the western
With the rise of National Socialist world, the reactions are universally of
Germany, Adolf Hitler decided that the rage and disgust.
NSDAP (Nationalsozialistische Deutsche
Arbeiterpartei) needed its own insignia • buddhists + hindus still commonly employ
and flag. On August 7th 1920, at the the swastika as a religious symbol.
128

43. plot iii
maximum visibility during the
pioneering flights of the Space Shuttle
in the 1980s. According to designer
Michael Johnson: “The Worm came to
symbolise space travel itself – modern,
flowing, sinuous, a continuous line…
Corporate America identity design had
its role model, and needed no further
prompting… The Worm created a new
benchmark to which designers could
refer when they were seeking to appear
nasa ‘worm’ ‘new’ and ‘technological’.”8
The emblematic design program by
1974–1992 Danne and Blackburn, not only had
design: danne & blackburn (usa) to consider the design from a graphic
viewpoint, but also had to take into
In 1975, the National Aeronautics consideration the technical aspects,
and Space Administration (NASA), such as the application of the logotype
introduced a new unified visual onto spacecraft, uniform patches,
communications system. This was publications and satellite markings.
commissioned as part of the US Federal Over the years, the program was widely
Design Improvement Program, a 1972 cited, and in 1984, it was awarded one
initiative to modernise the use of of the first Presidential Awards for
design by government agencies. Design Excellence.
A central part of the new identity was In 1992, as part of a process to
the NASA logotype, devised by Bruce restore its badly shaken morale
Blackburn, of the New York agency caused by the 1986 Space Shuttle
Danne and Blackburn. The ‘Worm’, disaster, NASA scrapped the clean and
as it is more popularly known, consists progressive Worm, and re-instated ‘The
of NASA’s initials reduced to their Meatball’ (an insignia comprising of
simplest form, with the A’s abstracted a sphere, stars and orbit, designed by
into minimal cones that metaphorically James Modarelli in 1959). NASA chief
suggest rockets ready for take-off. The Daniel S. Goldin, believed that the
one width, continuous-stroke letters older logo, laden with ‘Buck Rogers’
evoke “a feeling of unity, technological imagery, represented the optimistic
precision, thrust and orientation days of glory for the space program.9
toward the future.”7 Nowadays, and sadly for design
The Worm was used in a vibrant purists, the far superior Worm is
shade of red, and was often accom- only used on retro merchandise –
panied by auxiliary information set a treatment viewed in some quarters as
in Helvetica. The logotype achieved an act of cultural desecration.
129

44. plot viii
to design a new symbol to represent
the new concern. Designer Ronald
Armstrong created a strikingly bold
solution, that was contemporary in spirit
and progressive in outlook. Dubbed the
‘Seven Ts’, the symbol communicates
myriad meanings: the seven merged
companies, construction and the ‘T’
for tarmac. As DRU explained: “The
scheme was designed for eventual
extension to all the companies in the
tarmac group, a unification which is expressed
‘seven ts’ in the symbolic cluster of seven Ts.”23
The symbol became an ever-present
1964-1996 icon in the British landscape during the
design: design research unit (uk) rapid motorway expansion in the 1960s
and 1970s (throughout this period, the
The Tarmac Company is one of the Tarmac logo was often an unwelcome
UK’s foremost construction firms. sight as it was synonymous with delays
Ever since its founder Edgar Purnell due to roadworks). By 1974, Tarmac’s
Hooley had accidentally discovered logo was “voted one of the world’s
Tarmacadam (when he noticed that a top trademarks.”24
passer-by had covered some tar spillage As Tarmac diversified further in the
with waste slag),22 the company has 1970s, going into house building and
literally built much of Britain. property development, it became a
During the 1960s, there was a worldwide player. In the 1980s it was
construction boom in the UK. Post- one of the lead companies involved in
war prosperity created new city skylines the construction of the Channel Tunnel.
and a motorway network extended Nevertheless, by the late 1980s, high
across the country. Under the director- interest rates caused serious problems.
ship of Robin Martin, Tarmac After recording record losses in 1992,
undertook a staggering expansion the company fragmented and refocused
program. However, Tarmac’s rapid on its three core activities: quarry
growth and diversification had caused products, housing and construction.
serious communication problems and On May 1st 1996, Tarmac unveiled
confusion over the company’s image. a new corporate identity (designed by
In 1963, Design Research Unit Enterprise IG) to represent this change
(DRU) – one of the first generation of in strategy: a single green and white T
British design consultancies combining on an oval yellow background. After
expertise in architecture, graphics and more than 30 years service, the famous
industrial design – was commissioned ‘Seven Ts’ logo was discontinued.
134

45. plot ix
the railroad’s unfocused and highly
ornate script wordmark (which had
existed since 1891) with an eloquent
logo composed of its initials ‘NH’. The
stacked elongated slab serif letterforms
aptly evoke a rail-network, connection-
points or rail tracks. Over the next two
years, Matter and his associate Norman
Ives moulded a comprehensive visual
identity for New Haven – a prodigious
amount covering brochures, adverts,
the new haven timetables and the famous train livery
railroad ‘nh’ of black, red and white.
As with most of Matter’s work, the
1954–1968 NH logo is as compelling now as it was
design: herbert matter (usa) back in the 1950s. The great Paul Rand,
when celebrating Matter’s oeuvre, once
The New York, New Haven and said: “His work of ’32 could have
Hartford Railroad Company, commonly been done in ’72 or even ’82. It has
known as the New Haven Railroad, that timeless, unerring quality one
operated in the states of Connecticut, recognises instinctively. It speaks to
New York, Rhode Island and all tongues, with one tongue. It is
Massachusetts from 1872 to 1968. uncomplicated, to the point, familiar,
The company operated freight and and yet unexpected.”25
passenger trains over a Boston – However, by 1960, the New Haven
New York City main line and a Railroad was approaching insolvency
number of branch lines. In its heyday, and the company filed for bankruptcy a
the New Haven was generally year later. After a decade of struggling
considered the largest and most along under various trustees, the New
important transportation enterprise in Haven Railroad was absorbed by the
New England. ill-fated Penn Central Transportation
With the arrival of new president Company in 1968. The NH symbol,
Patrick McGinnis in 1954, Herbert which had become one of the most
Matter, the Swiss émigré designer and identifiable symbols in America, had hit
poster artist, was commissioned to the buffers.
create a corporate identity for the In a strange twist of fate, the
railroad. In line with many other classic NH logo was revived, and
large American Corporations (e.g. ibm lives on as heritage livery for a
and Westinghouse) The New Haven different railroad company, the New
was endowed with an international Haven line of MetroNorth Commuter
Modernist aesthetic. Matter replaced Railroad (MNCRR).
135

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Quarto Publishing, London 1987
Ricci & Ferrari, Top Symbols & Trademarks
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Case Studies in International Applications F.M. Ricci/Deco Press, Milan 1981
Sanno, Tokyo 1979
Schleger, Pat, Hans Schleger – A life of Design
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ABC Editions, Zurich 1965
Sedgwick, Michael, Auto’s uit de Jaren ‘50 en ‘60
Niggli, The New Graphic Art Batteljee & Terpstra, Leiden 1984
Switzerland 1959
Slater, Stephen, The Complete Book of Heraldy
Nourmand, Tony and Marsh, Graham, Anness Publishing, London 2002
Film Posters of the 70’s
Spencer, Herbert (ed.),
Reel Poster Press, London 1998
The Penrose Annual 1969 (Vol.62)
de Nijs, Ronald (ed.), The Image of a Company: Lund Humphries, London 1969
Manual for Corporate Identity
Stevens, Harm, Dutch Enterprise and the VOC
SDU Uitgeverij, The Hague 1990
Walburg Pers, Amsterdam 1998
Ogilvy, David, Ogilvy on Advertising
Tambini, Michael, The Look of the Century -
Crown Publishers, New York 1983
Design Icons of the 20th Century
Pastoureau, Michel, Heraldry: Origins/Meaning Dorling Kindersley, London 1999
Thames and Hudson, London 1997
Watano, Matsuzaki, Design for Public Institutions in
Pedersen, B. Martin (ed.), Graphis Logo 1 The Netherlands, Shigeo Ogawa, Tokyo 1989
Graphis Press, New York/Zurich 1991
Wilson, Charles, The History of Unilever,
Pedersen, B. Martin (ed.), Graphis Corporate Cassell & Company, London, 1970
Identity 1, Graphis Press, New York/Zurich 1989
Whyte Andrew, 101 Great Marques
Pentagram: The Compendium Guild Publishing/Octopus Books, London 1985
Phaidon Press, London 1993
Wilbur, Peter, Trademarks: a Handbook of
Pijbes, Wim (ed.), Studio Dumbar: Behind the Seen International designs, Studio Vista/Reinhold Art,
Verlag Hermann Schmidt, Mainz 1996 London, 1966
Pilditch, James, Communication by Design:
A Study in Corporate Identity, Berkshire 1970
Poynor, Rick, Design without Boundaries
Booth-Clibborn Publications, London 1998
188

47. appendix
new identities
From left to right, top to bottom:
BA ‘Speedmarque’ (Interbrand); NASA ‘Meatball’ (James Modarelli); P&G ‘Wordmark’(Peterson & Blyth);
Kodak (BIG); Tarmac (Enterprise IG); Corus (Enterprise IG); Nuon (Tel Design); 3M (Siegel+Gale);
Xerox (Interbrand); Eircom (Identity Business); Pharmacia (Crosby Associates); Police Service N. Ireland;
Transamerica; Alcatel Lucent (Landor Associates); DSM (Coley Porter Bell); Hoechst (Hans Günter Schmitz).
189

48. From left to right, top to bottom:
MetLife (Young & Rubicam); Arsenal FC (20/20); PostNL (VBAT); AT&T (Interbrand);
HSBC (Henry Steiner); ITV (Red Bee); Reuters (Interbrand); BP ‘Helios’ (Landor Associates);
Unilever (Wolff Olins); BT (Wolff Olins); Braniff (Cars & Concepts);
Santander (Landor Associates); GSK (FutureBrand); UPS ‘Shield’ (FutureBrand)
190

49. index
Page numbers in italic denote colour plates
3M 49, 140, 189 BIG 131, 189 D
20/20 156, 190 Blackburn, Bruce 129 Dabinett, Peter 143
β 69, 150 Blair, Tony 167 Danne and Blackburn 129
Blue Globe (Pan Am) 115, 173 Decca 162
A BMW 139 DeLorean, John Zachary 165
Abbey National 10, 111, 160, 171 Bowie, David 162 DeLorean (DMC) 99, 165
Adidas 176 Bow-tied Package (UPS) 117, 174 Dempsey, Mike 136
Aerial (HTV) 91, 161 Braniff 109, 170, 190 Design Research Unit 134, 168, 179
Agfa 154 Brattinga, Pieter 153 Digital X (Xerox) 53, 142
AIGA 11 Britannia (Festival of Brit.) 97, 164 Dog (Spratt’s) 71, 151
Akzo 138, 169 British Airways (BA) 127, 189 Dotted Logotype (Reuters) 95, 163
Albert Heijn 153 British Dept. for Transport 177, 179 Double-Arrow (BR) 177, 179
Alcatel Lucent 152, 189 British Motor Corp. (BMC) 139 DSM 10, 75, 153, 189
Allen, Tony 145 BOAC 23, 127 Duke, Joseph C. 140
Ambigram 165, 180 Brit. Petroleum (BP) 10, 101, Dumbar, Gert 14, 158
Amoco 166 166, 190
Apple 147, 157 British Rail (BR) 177, 179 E
Armstrong, Ronald 134 British Steel 41, 136 Eastman, George 131
Arsenal 81, 156, 190 British Telecom (BT) 107, 169, 190 Eastman Kodak 131
Atari 176 Brooks Stevens Associates 140 Eckersley, Tom 164
AT&T 10, 87, 142, 152, 159, 190 Brownjohn, Robert 160 Eckerstrom, Ralph E. 144
Aventis 154 BRS Premsela Vonk 138 Edward L. Barnes Associates 173
Burroughs, Silas 172 Eircom 143, 189
B Burroughs Wellcome 172 EMI 162
Bache, David 167 Burton, Richard 161 Energie Noord West 45, 138
Baker, Stanley 161 Enron 33, 132, 147
Banks & Miles 169 C Enterprise IG 134, 136, 163, 189
Barclays 160 Carlton 161 Ervin, Don 149, 155
Barney, Gerald 179 Cars & Concepts 190 Eskew, Mike 174
BASF 154, 178 Centre Pompidou 176 Eskilson, Prof Stephen J. 132
Bass, Saul 159 Chapman, Colin 165
Bass/Yager & Associates 159 Chaumont Poster Festival 11 F
Bayer 154 Chermayeff & Geismar 142, 173 Festival of Britain 97, 164
Bayer, Herbert 144 Chermayeff, Ivan 173 Field-Bush, Max 151
BBC 161 Citigroup 171 Fletcher, Alan 130, 137, 163
Bechtolsheim, Andy 180 Coca-Cola 159, 173 Four Ms (MetLife) 79, 155
Behrensbau 154 Coley Porter Bell 153, 189 FutureBrand 174, 190
Behrens, Peter 154 Collis Clements 168
Bell System 159 Commodore 83, 157 G
Ben 176 CCA 57, 144 Gamble, James 130
Beta 150 Corus 136, 189 Games, Abram 164
Betamax 69, 150 Crosby Associates 189 Garland, Ken 141
Bierut, Michael 11, 159 Crosby/Fletcher/Forbes 163 Gates, Bill 157
191

50. General Motors 165 J McGinnis, Patrick 135
Gentleman, David 136 Jack Tinker and Partners 170 McNealy, Scott 180
Gerald Stahl & Associates 140 Jacobson, Egbert 144 Meatball (NASA) 129, 189
Gerstner, Karl 127 JAL 176 MetLife 79, 149, 155, 190
Giannini, A.P. 149 James, Ken 168 Mexico 68 Olympics 61, 146
Girard, Alexander 170 Jefferson Smurfit Corp 144 MG 176
Giugiaro, Giorgetto 165 Jobs, Steve 147 Microsoft 157
GlaxoSmithKline 16, 172, 190 Johnson, Michael 129 Midget, Hairy 197
GlaxoWellcome 172 Joy, Bill 180 Midland Bank 89, 160
Globe (AT&T) 87, 159 Jupiter (ENW) 45, 138 Minale, Marcello 166
Goldin, Daniel S. 129 Minale Tattersfield 166
Golly (Robertson’s) 43, 137 K Modarelli, James 129, 189
Granada 161 Kinneir, Jock 179 Monsanto 145
Gray, Milner 164 Knobil, Marcel 160 Moon and Stars (P&G) 29, 130
Griffin (Midland Bank) 89, 160 Knox, Ginny 137
Kodak 10, 11, 31, 131, 189 N
H KPN 142, 158 NASA 27, 129, 189
Haloid Photo. Company 142 Krohn, Dr. Friedrich 128 National Westminster 160
Halpin, Geoff 151 Nazi 128
Hand, Bird, Star 59, 145 L Negus & Negus 127
Harlech, Lord 161 Landor Associates 142, 152, 166, Neuhart, John 170
Harp & Crown (RUC) 65, 148 171, 189, 190 Newell and Sorrell 145
Helios (BP) 166, 190 Lawrence, Harding 170 New Haven Railroad (NH) 39, 135
Henrion, FHK 164 Lee-Elliott, Theyre 127, 164 NeXT 63, 147
Hexagon (DSM) 75, 153 Lehman Brothers 11 NI Policing Board 148, 189
Hill-Wood, Peter 156 Lever Brothers 141, 168 Novivorm 153
Hitachi 178 Leverhulme, Lord 141 NS 153
Hitler, Adolf 128 Leyland Motor Corp. 139, 167 NSDAP 128
Hoechst 10, 77, 154, 172, 189 Lipson Alport Glass 130 NUON 138, 189
Hooley, Edgar Purnell 134 Lloyds 160
HSBC 160, 190 Loewy, Raymond 166 O
HTV 91, 161 Logo in Peace 11 Oestreich, Peter J. 131
Longship (Rover) 103, 167 Ogilvy, David 144
I Lotus 165 Olsen, Henrik 152
IBM 135, 147, 157 Lucent 10, 73, 152 Oracle 180
ICI 178
Identica 151 M P
Identity Business 143, 189 Mac Fisheries 51, 141 Paepcke, Walter 144
Imperial Airlines 23, 127 Margarine Unie 168 Pan Am 115, 173
Innovation Ring (Lucent) 73, 152 Marketplace Design 167 Patten, Chris 148
Interbrand 142, 145, 159, 163, Massey, John 144 Peterson & Blyth 130, 189
189, 190 Mather & Crowther 141 Pharmacia 145, 189
ITV 161, 190 Matter, Herbert 135 Pharmacia & Upjohn 59, 145, 172
192

51. Philips 162, 178 Selame, Joseph 131 TPG Post 158
Pickard, Peter 160 Seven Ts (Tarmac) 37, 134 Tramiel, Jack 157
Piper (BT) 15, 107, 138, 169 SHV 153 Transamerica 67, 149, 189
Plumber’s Gothic 49, 140 Siegel+Gale 140, 166, 189 Trefoil (Adidas) 176
Polaroid 176 Skilling, Jeffrey K. 132 Tsurumaru (JAL) 176
Postma, Paul 163 Smith, G. Dean 159 Twain, Mark 175
PostNL 158, 190 SmithKlineBeecham 16 Twin Pillar U (Unilever) 105, 168
Poynor, Rick 158 Snail (TÉ) 55, 143
Pratt, Vaughan 180 Snoopy 155 U
Procter & Gamble (P&G) 29, Sony 150 Umbrella Couple (Abbey
130, 189 Space Shuttle 129 National) 111, 171
Procter, William 130 Speedbird (BOAC) 23, 127 Unicorn (Wellcome) 113, 172
Prudential 138, 169 Speedmarque (BA) 189 Unilever 10, 105, 168, 190
PSNI 148, 189 Speer, Albert 128 UPS 117, 147, 174, 190
PTT Post 85, 158 Spillers 151
Pucci, Emilio 170 Spratt’s 13, 71, 151 V
Pye 93, 162 St. Andrew’s Cross 51, 141 Vázquez, Pedro Ramírez 146
Pye, William George 162 Stanford 180 VBAT 190
Stanley, Charles 162 VCC Crest (Arsenal) 81, 156
R Starley & Sutton 167 VOC 35, 133
Rabobank 138, 169 Star Wars 159
Rand, Paul 132, 135, 174 Steiner, Henry 160, 190 W
Red Bee 190 Stowell, Scott 11 Washington Mutual 11
Reed, Matthew 156 Strong, Henry 131 Wellcome 10, 113, 172
Reuter, Paul Julius 163 Studio Dumbar 14, 158 Wellcome, Henry 172
Reuters 95, 163, 190 Sun Microsystems 178, 180 Wells, Mary 170
Rhône-Poulenc 154 Superbrand 160 Werkgroep Novivorm 153
Riley 47, 139, 167 Swastika 15, 25, 128 Wilbur, Peter 127
Robertson’s 10, 43, 137 Swoosh (Nike) 15 Wilson, Harold 167
Roundel 93, 162 Winter, Eric 171
Rover 10, 103, 139, 167 T Wolff Olins 160, 168, 169, 171, 190
RUC 65, 148 Tani, Karl 170 Woolworths 11
Rush, Harry 139 Tarmac 37, 134, 189 Worm (NASA) 15, 27, 129
RVS 171 Tay, Chong Huang 160 Wyman, Lance 146
Tel Design 138, 189
S Telecom Éireann 55, 143 X
Saab 11 Terrazas, Eduardo 146 Xerox 10, 53, 142, 189
Sandgren & Murtha 149, 155 Thatcher, Margaret 167
Santander 171, 190 Thomson Reuters 163 Z
Saunders, A. R. 166 Tilted E (Enron) 33, 132 Zucker, Margo 142
SBC Communications 159 T-Mobile 176
Schleger, Hans 141 TNT Post 158
Schmitz, Hans Günter 154, 189 Tower & Bridge (Hoechst) 77, 154
193

53. acknowledgements
We would firstly like to express our
sincere thanks to all the featured
designers and companies for their
cooperation. Only the active support
of most of the persons included in
this book, or of their heirs, has made
it possible. We’d also like to thank the
individuals who submitted suggestions
and condolences since the first
edition in 2003. There are too many
to mention by name, but we would
especially like to thank: Rudolf van
Wezel (bis) for his belief and commit-
ment to our project, Gert Dumbar
for his encouragement and infectious
enthusiasm, Jonathan Bolger for his
critical eye, and our Mam and Dad for
their invaluable assistance. Thanks also
to Adrienne Stone, Irene Stone, Ines
Scheffers, Dick Bezem†, and our clients
who pay the bills.
Lastly, but most importantly, our thanks
and love go to Marieke and little Sam
for their remarkable support, under-
standing and fresh coffee.
We thank You, we praise You.
We find strength and courage to go on.
AMEN.
Declan and Garech Stone,
The Stone Twins
Amsterdam, May 2012

54. about the authors
The Stone Twins is a creative partner-
ship, based in Amsterdam. Founded by
twin brothers Declan and Garech Stone
(born Dublin, 1970), the agency is noted
for its concept-driven and engaging
solutions. The duo are also Head of the
Communication department at Design
Academy Eindhoven. www.stonetwins.com

55. A Book of Condolences
is open at
www.logorip.com