We live in an era where a company’s logo is an integral part of its identity and where despite logos being trademarked and patented they are often plagiarised and popularised. The birth of the logo can be traced back to as early as 3200 BC when the Ancient Egyptians developed hieroglyphics. Soon after the Ancient Greeks invented Linear B, a script of signs and symbols attributed to various objects. The word logo itself has been derived from the Greek words ‘lógos’ which refers to word or speech and ‘túpos’, which loosely translated refers to mark or imprint.
Following the tradition of the Ancient Egyptians and Greeks, royalty, aristocracy and nobility during the Medieval times, developed family crests, also referred to as a coat of arms or insignias. In India too, archaeological evidence proves that these have been common since eons. Be it swords and shields or the flags and drums, these insignias were part of festivities and celebrations as well as in war and battle.
The tradition continued and evolved with royal insignias being commissioned to Princely States in India under the British Crown. Each Coat of Arms was specifically curated and designed with a motto or slogan, which the kingdom identified with. The crest would define the kingdom and its values paying homage to its cultural and natural landscape.
In 1877 at the Delhi Darbar, the Court of Arms were officially granted to the Princely States. These were solely to be used by the Royal House or Princely family. One can still find these on the walls of palaces and monuments and even on crockery and cutlery of the bygone era. Presently, Royal insignias have gained mass popularity with several using ones designed during this era or their own new designs on their vehicles. Quite the royal proclamation.
However, as technology advanced the world of printmaking took over. In the 1900s, companies in India turned to fine artists to channel their creativity and give their brand its identity with a unique logo. A symbol, which would define the brand such as the Maharaja of Air India, celebrating royalty and luxurious travel or the little girl dressed in red and white polka dots on the Amul logo. Her cheeky playful grin perhaps inspired by Lord Krishna who is popularly known as the ‘makhan chor’ or butter thief.
In 1959, Doordarshan, the first Indian television channel was launched. The then Prime Minister, Indira Gandhi was impressed by the simplistic yet thought provoking design presented by a student of the National Institute of Design, Devashish Bhattacharya. He scribbled a human eye drawing two curves around it. Similar to the yin and yang from Chinese philosophy. While the logo has evolved over the decades as the ethos of the network has changed, last year the national broadcaster found itself in a controversial soup.
A change of logo colour to saffron sparked a political debate on the network's bias towards the leading political party, the BJP. Clearly a logo is more than a mere symbol, a piece of art, a tool to communicate and proclaim a powerful message.
A few months ago, NMDC Steel Limited (NSL) unveiled its logo at the NMDC steel plant. The logo, a celebration of culture and technology incorporates the Dokra craft in its visual identity. An ancient craft rooted in the Harappan Civilisation is made from metal without using any moulds and is popular in various tribal belts of India ranging from Chhattisgarh to Orissa. Featuring the art form speaks volumes on the vision of the steel manufacturer and celebrating their cultural identity as people of the Bastar region of Chhattisgarh.
Artists, be it painters, print makers or now the digital artists use their creativity to fuel a company’s persona. Their challenge is two fold. To bring the consumer an attractive logo but also the task of putting across a message. This can be even more challenging when an established entity makes the bold move of reinventing itself. Luxury auto-maker, Jaguar took on the ambitious and risky decision of rebranding and making amendments to its logo. After 102 years, the company revealed its new logo last year with surprisingly, no cars or leaping cats involved. Elon Musk proclaimed the logo did not even represent cars. A minimalist, flat and visually clean logo, a personification on the transition the brand is making to electric cars. The unveiling did receive plenty of backlash and criticism but was that not inevitable? Balancing the past and present is a challenge brands often face when mounting on a mission such as this.
However, as times change and the role transitions from painter to print maker and graphic designer, reinventing is an art in itself and integral to keep the interest and the intrigue of a brand.
The artist as the creative maestro lives on.