Brain Pickings

Posts Tagged ‘advertising’

09 OCTOBER, 2012

Logo Life: The Visual Evolution of 100 Iconic Logos

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“Newton… a mind forever voyaging through strange seas of thought…alone.”

It takes a special kind of creative alchemy to transmute image into icon and catalyze a cultural cult driven by a commanding brand identity. Logo Life: Life Histories of 100 Famous Logos (public library) from Dutch publisher BIS and creative director Ron van der Vlugt offers exactly what it says on the tin, covering brands as diverse yet uniformly enduring as Apple, LEGO, adidas, Google, Xerox, and VISA. Each short chapter traces the visual evolution the respective brand logo, zooms in on noteworthy milestones in the company’s trajectory, and highlights first-hand accounts and curious anecdotes by the logo designers.

Apple (1976-2007)

Van der Vlugt tells the story of one of today’s most ubiquitous and recognizable brand identities:

Apple’s first logo was complex picture, a tribute to Isaac Newton sitting under an apple tree, with a phrase from Wordsworth: ‘Newton… a mind forever voyaging through strange seas of thought…alone’, along with the name Apple Computer Co.

Hard to reproduce, it was soon replaced by Rob Janoff’s ‘Rainbow Apple’ logo, with the introduction of the Apple II in 1997. In a later interview, Janoff said that there was no real brief. Steve Jobs only told him not to make it ‘too cute’. Ironically, the logo was designed by hand, using pencils and strips of paper.

The colors represented the monitor’s ability to reproduce colors, a unique selling point at the time. Its bright colors were intended to be appealing to young people.

The bite was added so that people would still recognize it as an apple rather than a cherry. According to Janoff, it does not represent the computing term ‘byte’, nor is there any biblical reference. Also, the bite fit snugly around the first letter of the brand name in Motter Tektura, a typeface that was considered cutting-edge at the time.

In 1984, with the introduction of the Apple Macintosh, the less than mathematically precise curves of the original logo were refined. The brand name was dropped at that point, since the apple alone proved to be an iconic symbol for the company.

From 1998 on, with the roll-out of the colorful iMacs, the stylish monochromatic themes of the logo were used, which perfectly matched the innovative character of the products.

LEGO (1934-1998)

Bayer (1881-2010)

BP (1920-2000)

3M (1948-1978)

Pirelli (1906-1945)

For a related treat, complement Logo Life with brand memory game from the same publisher.

Some images via designboom; thanks, Paola

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28 SEPTEMBER, 2012

Ways of Seeing: John Berger’s Classic 1972 BBC Critique of Consumer Culture

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Gender roles, the elusive promises of advertising, and what oil painting has to do with the publicity machine.

Forty years ago this year, BBC premiered a series of four 30-minute films written and anchored by art critic and author John Berger. Soon adapted into a book, Ways of Seeing (public library) went on to become a landmark postmodernist critique of Western cultural aesthetics, exploring not only how visual culture came to dominate society but also how ideologies are created and transmitted via images — a subject of pressing timeliness in that golden age of photography.

In the third episode of the series, Berger looks at oil painting and its formative role in the creation of consumer culture, showing that paintings are, before anything else, objects to be bought and sold, and admonishing that “we should be somewhat wary of a love of art”:

Berger writes in the book:

Publicity is the culture of the consumer society. It propagates through images that society’s belief in itself. There are several reasons why these images use the language of oil painting.

Oil painting, before it was anything else, was a celebration of private property. As an art-form it derived from the principle that you are what you have. It is a mistake to think of publicity supplanting the visual art of post-Renaissance Europe; it is the last moribund form of that art.

The final installment in the series explores the world of advertising and its perpetual promise of an even-elusive alternative way of life, depicted through a language of words and images that never cease to seduce us.

This series began by considering the tradition of the European oil painting. It has ended by us looking at publicity images today. Because I believe that, in many respects, these images continue that tradition. I’ve been critical of many things in that tradition, of our culture, of some of the values which it celebrates, and I’ve illustrated my arguments by using the modern means of reproduction. But, finally, what I’ve show and what I’ve said, like everything else that is shown or said through these means of reproduction, must be judged against your own experience.

But one of Berger’s most memorable and lasting contributions is the discussion of how media culture shapes gender politics and woman as object. Though the series was produced four decades ago — shortly after the Good Girls Revolt, a time of tectonic shifts for women’s rights — and much has changed since, it remains a priceless piece of cultural anthropology, as well as a stark reminder of how deep-seated some of our cultural conditioning is, and how much more is still to change if we are to transcend those burdensome bequests:

To be born a woman has to be born, within an allotted and confined space, into the keeping of men. The social presence of women is developed as a result of their ingenuity in living under such tutelage within such a limited space. But this has been at the cost of a woman’s self being split into two. A woman must continually watch herself. She is almost continually accompanied by her own image of herself. Whilst she is walking across a room or whilst she is weeping at the death of her father, she can scarcely avoid envisaging herself walking or weeping. From earliest childhood she has been taught and persuaded to survey herself continually. And so she comes to consider the surveyor and the surveyed within her as the two constituent yet always distinct elements of her identity as a woman. She has to survey everything she is and everything she does because how she appears to men, is of crucial importance for what is normally thought of as the success of her life. Her own sense of being in herself is supplanted by a sense of being appreciated as herself by another….One might simplify this by saying: men act and women appear. Men look at women. Women watch themselves being looked at. This determines not only most relations between men and women but also the relation of women to themselves. The surveyor of woman in herself is male: the surveyed female. Thus she turns herself into an object — and most particularly an object of vision: a sight.

Ways of Seeing is part The Century of the Self, part Christ to Coke: How Image Became Icon, and wholly recommended in its entirety.

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11 SEPTEMBER, 2012

Vintage Ads for Libraries and Reading

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“There’s a future in books…and a book in your future!”

After a look at those vintage ads for iconic books, how about some vintage ads and posters for all books? Delightfully colorful and brimming with endearingly bad copywriting, these mid-century gems exude the same charming literary enthusiasm we’ve previously seen in the reading PSA posters of the WPA era.

Complement with Maurice Sendak’s little-known and lovely posters celebrating reading and this photographic love letter to public libraries, then see Franz Kafka on what books do for the human soul and Rebecca Solnit’s beautiful meditation on why we read.

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20 JULY, 2012

Trust Me, I’m Lying: Confessions of a Media Manipulator

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How the economics of the Internet are exploited to change public perception.

I like to believe the role of public media — of good public media, at least — is to frame for people what matters in the world and why. E. B. White, ever the idealist, famously said that the role of the writer should be “to lift people up, not lower them down” because “writers do not merely reflect and interpret life, they inform and shape life.” But the currencies of what’s essentially a question of motive change dramatically when public media become big business, and the kind of life they inform and shape can become a gross and dangerous aberration of reality, of what really matters from a humanistic perspective. Trust Me, I’m Lying: Confessions of a Media Manipulator (public library) by Ryan Holiday lives somewhere between The Influencing Machine, The Filter Bubble, and The Information Diet, exploring precisely what happens when these motives become business motives and not motives of civic responsibility. And Holiday should know — former media strategist for clients of Dov Charney’s notoriety and current marketing director of American Apparel, the college-dropout-turned-communications-mastermind has been, as he puts it, “paid to deceive” on behalf of world-famous authors, musicians, movie moguls, and politicians alike.

Holiday proudly professes:

Usually, it is a simple hustle. Someone pays me, I manufacture a story for them, and we trade it up the chain — from a tiny blog to Gawker to a website of a local news network to the Huffington Post to the major newspapers to cable news and back again, until the unreal becomes real. Sometimes I start by planting a story. Sometimes I put out a press release or ask a friend to break a story on their blog. Sometimes I ‘leak’ a document. Sometimes I fabricate a document and leak that. Really, it can be anything, from vandalizing a Wikipedia page to producing an expensive viral video. However the play starts, the end is the same: The economics of the Internet are exploited to change public perception — and sell product.

If it sounds appalling and revolting and like the end of the free press, it’s because it is — but lest we forget, Trust Me, I’m Lying: Confessions of a Media Manipulator is also a product, and if selling it requires a calculated maneuver of scandalization, then it’s both fair game and meta-commentary on the very system within which Holiday plays.

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