Textures such as texts and logotypes were done using Photoshop.
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In movies and logotypes, on knickknacks and letterheads, two parallel strokes meant only one thing.
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In his essay, "Blackletter logotypes and metal music," Metal scholar Dr. Vitus Vestergaard suggests it was a natural move for metal bands with Satanic leanings, or those seeking to invalidate or otherwise subvert religion, to call upon, expand, and distort the typeface that brought it to the masses.
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Doyald Young (September 12, 1926 - February 28, 2011) was an American typeface designer and teacher who specialized in the design of logotypes, corporate alphabets, lettering and typefaces.
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A company that uses logotypes (wordmarks) may desire a logo that matches the firm's Internet address. For short logotypes consisting of two or three characters, multiple companies are found to employ the same letters. A "CA" logo, for example, is used by the French bank Credit Agricole, the Dutch clothing retailer C&A;, and the US software corporation CA Technologies, but only one can have the Internet domain name CA.com. In today's digital interface adaptive world, a logo will be formatted and re-formatted from large monitors to small handheld devices.
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Jerzy Janiszewski (born 11 March 1952 in Płock) is a Polish artist, best known for designing the Solidarity logo in 1980. He received a diploma of Gdansk Academy of Fine Arts in 1976. His creations include logotypes, posters, scenographies and open-air installations.
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During his interior design study, Matthews was taught heraldry and letter typography. He then became an illustrator and created logotypes, graphic and typographic designs for public administration, firms and book covers. He diminished these activities during the 1990s.Interview during Stamp Show 2000 , The Chronicle, October 2000, page 2.
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Ephram Edward Benguiat (; October 27, 1927October 15, 2020) was an American typographer and lettering artist. He crafted over 600 typeface designs including Tiffany, Bookman, Panache, Souvenir, Edwardian Script, and the eponymous Benguiat and Benguiat Gothic. He was also known for his designs or redesigns of the logotypes for Esquire, The New York Times, Playboy, McCall’s, Reader’s Digest, Photography, Look, Sports Illustrated, The Star-Ledger, The San Diego Tribune, AT&T;, A&E;, Coke, Estée Lauder, Ford, and others. Other notable examples of Benguiat’s work are the logotypes for the original Planet of the Apes film, Super Fly and The Guns of Navarone, and the typeface for the opening credits for Stranger Things.
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Designer Even Wu also initiated an on-demand design group, providing hackers with various visual assets. Dissatisfied with the makeshift logo banner, Wu would continue to work on several iterations of the logotypes, eventually completing a set of Visual Identity guidelines aimed at helping elevate g0v into an easily recognizable brand.
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Tangerine Dream played on 15 November 1982 at the Internationales Congress Centrum Berlin. Part of the concert was released on the bootleg CD Logotypes (1997). Keen Auricle released the full concert on Berlin ICC 1982 (2002), sourced from a soundboard recording. The full concert was released on Tangerine Tree 61: Berlin 1982.
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Retrieved 4 April 2008. The 33 municipalities within the county also have coats of arms. The Scania Griffin has become a well-known symbol for the province and is also used by commercial enterprises. It is, for instance, included in the logotypes of the automotive manufacturer Scania AB and the airline Malmö Aviation.
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Sowersby speaking at TypeCon Los Angeles in 2010 The Klim Type Foundry is the type foundry of Kris Sowersby, a New Zealand typeface designer. Klim was founded in 2005 and is currently based in Wellington. Klim produces retail typefaces, custom typefaces and custom lettering and logotypes. Sowersby has garnered many international awards for his typefaces.
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Carin Goldberg was born in New York City on June 12, 1953 and grew up in Long Island and New Jersey. She graduated from the Cooper Union in 1975 with a BFA in painting. While studying there, she completed work with Marilyn Hoffner, the school's director of alumni relations. She worked on logotypes until she was finally promoted to junior designer.
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The present Google logo is based on Product Sans. Slight modifications do exist in the logo compared to the typeface: the most noticeable is the slanted 'e'. The differences between the logo and Product Sans allows for distinction between the Google logotype and product name. Product Sans is mainly used in the text of Google's numerous services' logotypes such as Maps, Drive, News, Earth, etc.
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The Coca-Cola logo is identifiable in other writing-systems, here written in Cyrillic. Ideograms and symbols may be more effective than written names (logotypes), especially for logos translated into many alphabets in increasingly globalized markets. For instance, a name written in Arabic script might have little resonance in most European markets. By contrast, ideograms keep the general proprietary nature of a product in both markets.
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The Museum of Modern Art (MoMA) has one of the most recognizable logotypes in the museum world. In 1964, the Franklin Gothic No.2 logotype was originally designed by Ivan Chermayeff. By 2004, Matthew Carter had redrawn a new custom typeface named MoMA Gothic. Although MoMA's core identity is a well developed iconic museum, applications like the web, print, and physical environment have not been unified or visionary like the museum itself.
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Game & Graphics (sometimes written Game And Graphics) is a documentary blog about the visual creativity in the videogame culture. The website contains a huge and selected collection of videogame design works and creativity, including logotypes, printed advertising, cover and label design, packaging, book and magazine design, official artworks and illustrations, and sprite design among others. This selection is specially focused on classic gaming and with a prominent presence of Japanese game design.
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Since 1989 he has been involved with the Bank of Lithuania's design and manufacturing expert commission and designing some 40 commemorative coins. He is also a designer of logotypes, posters, postcards, and books in Lithuania. In 2006 he authored a book on calligraphy, Basics of calligraphy and script. Gurskas has been a member of the Lithuanian–Czech Society since its inception in 1993, and since 2013 has been Chairman of the Society.
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The Japanese version is called Hyper Zone, and its logotypes in and out of the game differ from those in the western version. Levels 1 and 3 underwent a graphics swap between the two versions: the level layout and enemy positioning (aside from each boss encounter) is still the same, but the graphics set and background music are different. It is unknown why this was done because levels 1 and 3 have bosses that do not fit into their respective color schemes in the western versions.
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In 2000, Rice walked into the Walmart Home Office in Bentonville, Arkansas, in order to personally deliver the news to David Glass: Monarch was finally selling the Grapette name. Rice told Glass, "This is a tribute to you and Sam for having the vision on this product." By late 2004, the Grapette and Orangette names (and original logotypes) had been incorporated into the Sam's Choice line of soft drinks, and had completely replaced the Sam's Choice Grape and Sam's Choice Orange brands in Walmart stores.
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The typefaces designed by Doyald Young include Young Baroque, ITC Éclat, Home Run, and the formal script Young Gallant. Commissions for logotypes and trademarks include the industrial design firm of Henry Dreyfuss Associates, California Institute of Technology, University of California at Los Angeles, exhibition catalogs for UCLA’s Clark Memorial Library, The Music Center of Los Angeles County, Mattel Toys, Max Factor, Vidal Sassoon and Prudential Insurance. With Don Bartels, designed the font for General Electric Company’s corporate identity program. His life story and working method is profiled in the Lynda.
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Thesis fonts have become popular and can be seen in various publications or logotypes. To create a varied range of fonts of different thicknesses and levels of condensation, Thesis was developed using multiple master technology, in which weights were created by 'averaging' and extending the trend between a thick and thin design to create a smooth, continuous trend in styles from thin to very bold. The fonts also include a large number of stylistic alternate characters. The family is a font superfamily, since it includes both serif and sans-serif designs.
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El Correo Catalan logotypes It is not clear whether Janer's massive property was embargoed during the war, whether he suffered any other persecutions and when he returned to Barcelona after the Carlist military defeat. A number of sources point vaguely to the late 1870s when claiming that together with Milá de la Roca and Llauder Janer was among co-founders of a new Carlist daily which would remain in print for the following 60 years, El Correo Catalan.El Norte 30.07.10, available here, Artagan 1912, p. 272 In 1879 he entered the Barcelona ayuntamientoDiari Catalá 30.05.
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Generally speaking, a more rounded form was used in Spain and Portugal (perhaps under the influence of Arabic script) than in the Italian presses, whose types were somewhat Gothic in style. It has been conjectured that the Spanish printers used logotypes in addition to the single letters. The Soncinos and Alantansis used initials, in other presses vacant spaces were left for them to be inserted by hand. Vowel-points were only used for Scripture or for prayer- books, and accents seem to have been inserted for the first time in the Bologna Pentateuch of 1482 (25).
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Walter was engaged in a prosperous business as a coal merchant from the death of his father Richard Walter (about 1755/6) until 1781. Walter played a leading part in establishing the Coal Exchange in London; but shortly after 1781, when he began to occupy himself solely as an underwriter and became a member of Lloyd's, he over-speculated and failed. In 1782, he bought from one Henry Johnson a patent for a new method of printing from logotypes (i.e. founts of words or portions of words, instead of letters), and made some improvements to it.
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Viktor Maslov in the Arden garage, 2001 At the end of 1998 Lukoil Racing decided to participate in the International Formula 3000 Championship with its own team, including current Russian F3 drivers Alberto Pedemonte and Viktor Maslov. But Lukoil was late with 1999 season participation request and bought Christian Horner's Arden International team. The team was renamed to Lukoil Arden Racing and also started to participate in the Italian Formula 3000 series. After scoring no points in 1999 season the team was renamed to Arden Team Russia with Lukoil logotypes being replaced by the inscription РОССИЯ (Russia).
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In fact, the counterfeiting industry accounts for 8% of China's GDP. Counterfeit goods are also made in Russia, North Korea, Taiwan, Bulgaria, and Greece. Greece is responsible for 2% of counterfeit goods seized by the EU. Some counterfeits are produced in the same factory that produce the original, authentic product, using inferior materials. Another trend in counterfeiting, especially seen in consumer electronics, is the manufacture of entirely new products using poor quality materials or, more often, incorporating desirable features not present in a brand's authentic product line and then including prominent and fake brand names and logotypes to profit from brand recognition or brand image.
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Carson City double eagles circulated for the most part only locally, since they were only struck in response to the deposit of gold bullion and the request of the depositor that it be coined into twenty-dollar pieces. Heavy production of the coin occurred in San Francisco and satisfied the needs of Californians and those in the export trade. As gold did not circulate in the East, most Philadelphia pieces of this era were either sent west, or exported and melted. In November 1872, Chief Engraver William Barber, Longacre's successor, submitted a set of logotypes to show how the following year's date would appear on the coinage.
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In 1534, the Cardinal Infante Afonso, bishop of Évora, ordered the reconstruction of the church, including its Manueline era portico (which was historically incorporated into the local logotypes). This church was still the object of public works well into the end of the 17th, beginning of the 18th, century. Tradition suggests that in 1495, João Cidade, later canonized São João de Deus for his charitable works and founder of the Hospital of Granada (and who inspired the creation of the Order Hospitaler of São João de Deus. The parish was the inspiration for the Porta do Bispo (Bishop's Gate), alongside the Torre do Anjo and Rua do Bispo, which connected the churchyard to the centre of the parish.
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After spending some time as a successful graphic designer, Salter became disillusioned with the consumer culture his work was contributing to. As a member of the artist collective Team Lump, in 1998 he began participating in Lump Gallery group shows, creating what one reviewer later described as "whimsical parodies of corporate logotypes and manufactured objects", using the language of institutional-style graphics to "spoof" them. Two years later, he displayed a photo series: discontinuous editing, which depicted uninhabited industrial landscapes. Both the "irrational" iconsHolliman, Woody; Art Papers Magazine, October 1998 and the images of unpopulated urban or sub-urban landscapes would become recurring motifs in Salter's work, reemerging in three-dimensional and animated forms in Salter's later work.
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The main task for the Danish regions are hospitals and healthcare. It is not to be confused with the Copenhagen Metropolitan Area nor with the Øresund Region. Unlike the counties (1970-2006) (Danish ' literally county municipality) the regions are not municipalities and are thus not allowed to have coat of arms, but only logotypes, and cannot "shuffle money around" from one area of expenditure to another area of expenditure, that is, use money for any other purpose than has been stated specifically, but must pay money not used back rather like departments or agencies of the central government. The regions do not levy any taxes but are financed only through block grants.
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Examples of graphic markers of individual identity (which often serve to correlate that identity to corporate or social/political interests) are personalized T-shirts, personal stationery and business cards, greeting cards and the like. (T-shirts imprinted with logotypes are a good example of either corporate or social identities being used by individuals as a sign of individual identity.) These “personal” items mark an “individual” identity that is socially prescribed by convention and commercial systems of exchange. Recently, such artists as Louise Lawler, Kim Gordon, Michael Asher and Vikky Alexander have designed cards, interiors and matches for individual clients. These “products” are neither part of commercial mass production nor designed for gallery exhibition and sale as art objects.
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In response to Lapinski's exhibition at MOCA in 2008, curator Bennett Simpson writes, "Throughout her work, Lapinski has made [...] symbolic iconography an important part of her lexicon. The prevalence of faces, cartoon silhouettes, swastikas, Stars of David, Christian crosses, corporate logotypes, and many less specific geometric figures (circles, triangles, checkerboards, and frets), which themselves contain symbolism of nature, science, or machinery, lend her sculptures and drawings a representational dimension that teeters between scientific reference and abstract decoration." Lapinski's work uses a variety of medium including word, wire, cement, and clay in addition to painting, photography, drawing, and found material with work often containing philosophical and historical references. With an unorthodox formalism and style, she uses the history and uncertain narratives of objects to create new meaning.
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Informatics and The Styrobot Face Off, an installation at BLK/MRKT Gallery in 2006, included a central space filled with two opposing Styrobots mirroring each other's aggressive posturing. Grouped around these oversize figures were a number of smaller works in a variety of media: lighted panels displaying Salter's "spoofs" on graphic design and corporate logotypes, a shelf of colorful toylike monsters in tubes, two imploded oil cans covered with glossy paint and appliqués, a series of images depicting surreal suburban environs, small sharks apparently swimming into a wall, and the kinetic sculpture Finger Lickin' Good. This piece and the appropriated oil cans would reappear the next year in the group show Introduction, the inaugural exhibition of the think.21 gallery in Brussels, Belgium.
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Ideographs, such as Chase Bank, are completely abstract forms; pictographs are iconic, representational designs; logotypes (or wordmarks) depict the name or company initials. Because logos are meant to represent companies' brands or corporate identities and foster their immediate customer recognition, it is counterproductive to frequently redesign logos. The logo design profession has substantially increased in numbers over the years since the rise of the Modernist movement in the United States in the 1950s. Three designers are widely considered the pioneers of that movement and of logo and corporate identity design: The first is Chermayeff & Geismar, which is the firm responsible for many iconic logos, such as Chase Bank (1964), Mobil Oil (1965), PBS (1984), NBC (1986), National Geographic (2003), and others.
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On January 18, 1873, Philadelphia Mint Chief Coiner A. Loudon Snowden formally complained to Pollock that on the new year's coins, the digit "3" too closely resembled an "8". Pollock ordered Chief Engraver William Barber (Longacre had died in office on January 1, 1869) to redo the logotypes for the date. Thus, most denominations of American coinage dated 1873, including the three-cent nickel piece, have varieties: the Close (or Closed) 3 from early in the year, and the Open 3 from after Barber made his modifications. A total of 390,000 Closed 3 and 783,000 Open 3 of the three-cent nickel were minted. Numismatist Bruce C. Goldstein indicated that several factors combined to keep the nickel three-cent piece in decline after the passage of the 1873 act.
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Southern Cross is used in a number of Brazilian states' flags, was part of companies' logotypes (like former Sudameris bank or flight company Cruzeiro do Sul) and also gave the name of Cruzeiro Esporte Clube, one of the main Brazilian soccer teams. The first cruzeiro circulated between 1942 and 1967 and had the symbol Cr$ or ₢ (in Unicode ). The ₢ sign was the only monetary symbol created specifically for Brazilian currencies: All the others used combinations of uppercase letters (in some cases, uppercase and lowercase) and the cifrão ($), including the current Brazilian real, which uses R$. Due to economic crisis and severe inflation, a second cruzeiro was issued in 1967 and circulated until 1986. Initially (until 1970) it had the symbol NCr$ and was named cruzeiro novo (Portuguese for "new cruzeiro").
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The Enco brand was also rolled out for gasoline/oil products at Humble's Texas stations, which retained Humble as the station brand until that was converted to Enco in 1962. However, one state, Ohio, used "Humble" because Standard Oil of Ohio (Sohio) refused to allow use of the Enco name, due to its similarity to "Esso" Humble's advertisements promoted the Enco brand as short for "ENergy COmpany." From 1961 to 1972, Enco advertising and promotional efforts were the same as Esso's in the eastern U.S. including the use of the Humble name in advertisements along with the "Happy Motoring!" tagline used by Esso for decades, and the "Put A Tiger In Your Tank" ad campaign introduced nationwide in 1964. Logotypes for Enco and Esso were identical ovals with blue outer edge and red lettering with white background.
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In 1998, he moved to the United States for five years where he taught at the Rhode Island School of Design in Providence, Rhode Island, and at the Maryland Institute College of Art in Baltimore, Maryland. In 1999, he was hired Full-time faculty by the Cooper Union School of Art of New York, where he also occupied the position of curator of the Herb Lubalin Study Center of Design and Typography. Philippe Apeloig has created the logotypes and visual identities for Musée de France, for the Musée d’art et d’histoire du judaïsme for its opening in 1997 in Paris, the IUAV (Istituto Universitario di Architettura di Venezia) in Venice, the Châtelet Théâtre in Paris, the estate group Icade, Médiateur européen, the year of Brazil in France Brésil-Brésils (2004), the year Cézanne in Aix-en- Provence (2006), the Palais de la Découverte (2010), the Petit Palais - Musée des Beaux Arts de la Ville de Paris, the French Institute / Alliance Française of New York (FIAF), the Louvre Abu Dhabi, Puiforcat, the cinema Le Balzac, and l'Ameublement français (a French professional union that represents furniture industries and companies).
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