Allianz Logo

The logo's history goes back as far as the 1920s




Allianz to simplify its brand strategy

The Allianz Group will simplify its brand strategy from 2006. The Allianz Group logo, primarily designed to appeal to the capital markets, will be replaced by the Allianz word-picture logo. Michael Maskus, Group Head of Global Marketing, was interviewed about the future of the company's brands.

AllianzGroup.com News: What has prompted Allianz to take such a decision?
Maskus: We have decided that from 2006 at the latest we will replace our Allianz Group logo with our Allianz logo, a word-picture brand, on a worldwide scale.

Our primary aim in concentrating on this logo is to strengthen our worldwide flagship brand and to safeguard its high brand value. At the same time, we want to carefully streamline our worldwide brand portfolio.

How will this affect the Allianz brand?
Maskus: Experience has shown that it is the Allianz logo which our clients basically know and recognize. As far as they are concerned, our name is simply "Allianz".

By strengthening the brand value of this logo, we will create an easily comprehensible, direct and familiar link to our business areas in all relevant markets, for all clients. Not only that, but the Allianz logo will continue a history stretching back as far as the 1920s.


Does this mean that in 2006 other brands will disappear from the Allianz Group?
Maskus: This decision only affects the use of the Allianz Group logo, which will no longer be used as of 2006. However, in the last few years we have been carrying out detailed analysis of the value of all the large brands in our group, as a result of which 40 brands have already been replaced by the Allianz brand in the last four years.

Where local brands have remained, this is because our clients perceive that they have a high brand value. This is true for Dresdner Bank in Germany, for example, and also for our brands in France and Italy, among others.

If you look at the marketing literature of two companies in the Allianz Group, you will see that the new logo is already in use. Dresdner Bank is using it in its new marketing campaign "Neue Dresdner Plus" and since our asset management arm changed its name to Allianz Global Investors in October, it has also been using the Allianz logo to show that it belongs to the Allianz Group.

In various Asian markets, on the other hand, we have either replaced local brands with the Allianz logo or introduced a combined brand identity, because there in particular we have discovered that a large international brand like Allianz has a high perceived value for the client.



Reference:http://www.allianz.com/en/allianz_group/press_center/news/company_news/allianz_group_brands/news11.html

The Town of Richmond Hill Logo

Richmond Hill’s association with the Duke of Richmond started in 1819 with his visit to the area. About 1919, the Council of Richmond Hill commissioned a logo for its signs and stationery. Adapting the logo from the Duke of Richmond’s coat-of-arms, it represented a brave and regal lion standing on a hat with ermine (both symbols of high rank) framed by Richmond Hill’s world-famous roses and the motto “Like the rose I flourish.”

Over time, the Town of Richmond Hill’s logo has changed as shown below:

Present Day


























Reference:http://www.richmondhill.ca/subpage.asp textonly=true&pageid=town_logo_history

Subaru Logo

The Subaru Brand

What makes a Subaru, a Subaru?

A company’s brand is its most important asset. A brand is a leadership tool. It is a unique identity of your company and your business perspective. A brand defines your business, products and services you offer. It is a guarantee of quality. Your brand helps your business establish a relationship with customers and define your position in the market. The brand makes a promise to customers and key stakeholders that must be delivered at every touchpoint.

Brand identity is key to communicating the brand promise and is often the biggest investment into the success of a company. The consistent presentation of the brand and its related promise, when applied to advertising, literature, corporate collateral, presentations and websites, helps to connect our brand to our consumers.
This is executed in many ways, especially through the presentation of corporate logos and the use of a recognizable creative style.The goal is to provide consistency to enable our audiences to easily and clearly recognize who we are and what we stand for.

The Subaru Philosophy is to create customer excitement for what makes Subaru a smart and distinctive automotive brand - “What Makes a Subaru, a Subaru?” Our communications should reflect our brand image of fun, freedom, adventure, confidence and control. Along the way, we create passion and excitement that translates into lasting customer relationships and positions the Subaru brand for long-term success.


Explanation of the Subaru Star Cluster Logo

When Fuji Heavy Industries Ltd. (F.H.I.) entered the automobile industry in 1958, it established Subaru as its exclusive automobile brand. Since then, the Six Stars Symbol and SUBARU logo have supported several generations of Subaru cars. “Subaru” is the Japanese name for Pleiades, a prominent cluster of stars in the constellation Taurus. The easily-recognized Pleiades cluster can be seen clearly in Japan’s winter skies to the right of Orion. As a result, Pleiades has served as a trusty guide for ancient travelers around the world throughout the ages.

The Star Cluster graphic is the symbol of the Subaru brand and when used in combination with the SUBARU logo type, it is the most important brand identity symbol. The design symbolizes the six brightest “Subaru stars” of the Pleiades cluster enclosed in an ellipse, indicating that it is just one part of the cluster.

The SUBARU logo type expresses the brand name and is used in combination with the Star Cluster graphic (excluding certain exceptions approved by F.H.I).


Reference:http://print.subaru.com/logos/

Western Pest Services Logo

In 1928 when our Company was founded and the Western name was drawn from a hat, we began our work as Western Exterminating Company. The cowboy and cowgirl were added later as a natural tie-in to our name.


Through the years our company grew, and we needed to refine our name to express what we did both residentially and commercially. In the 1960s, we changed our name to Western Termite & Pest Control. At that time our logo became the “branding cowboy."


In 1980 Western began to modernize the logo. The cowboy was replaced by the orange and red lines we referred to as the "hockey sticks."




We simplified our logo in 1994 by exchanging the “hockey sticks” with the slash marks above and below the Western name.



In 1997 Western refined the logo even further by moving one set of slash marks to the front of our name. At the same time we introduced our new business name as Western Pest Services to more accurately reflect all the service offerings we presented to residential and commercial clients.


Reference:http://www.westernpest.com/residential/about/logo_history.cfm

Linux Logo

Linus Torvalds Speaks Out About the Penguin


Why a Penguin?


The following is a quote from Linus Torvalds:

Somebody had a logo competition announcement, maybe people can send their ideas to a web-site..

Anyway, this one looks like the poor penguin is not really strong enough to hold up the world, and it's going to get squashed. Not a good, positive logo, in that respect.. Now, when you think about penguins, first take a deep calming breath, and then think "cuddly". Take another breath, and think "cute". Go back to "cuddly" for a while (and go on breathing), then think "contented".

With me so far? Good..

Now, with penguins, (cuddly such), "contented" means it has either just gotten laid, or it's stuffed on herring. Take it from me, I'm an expert on penguins, those are really the only two options. Now, working on that angle, we don't really want to be associated with a randy penguin (well, we do, but it's not politic, so we won't), so we should be looking at the "stuffed to its brim with herring" angle here. So when you think "penguin", you should be imagining a slighly overweight penguin (*), sitting down after having gorged itself, and having just burped. It's sitting there with a beatific smile - the world is a good place to be when you have just eaten a few gallons of raw fish and you can feel another "burp" coming.
(*) Not FAT, but you should be able to see that it's sitting down because it's really too stuffed to stand up. Think "bean bag" here.

Now, if you have problems associating yourself with something that gets off by eating raw fish, think "chocolate" or something, but you get the idea. Ok, so we should be thinking of a lovable, cuddly, stuffed penguin sitting down after having gorged itself on herring. Still with me? NOW comes the hard part. With this image firmly etched on your eyeballs, you then scetch a stylizied version of it. Not a lot of detail - just a black brush-type outline (you know the effect you get with a brush where the thickness of the line varies). THAT requires talent. Give people the outline, and they should say [ sickly sweet voice, babytalk almost ]"Ooh, what a cuddly penguin, I bet he is just _stuffed_ with herring", and small children will jump up and down and scream "mommy mommy, can I have one too?". Then we can do a larger version with some more detail (maybe leaning against a globe of the world, but I don't think we really want to give any "macho penguin" image here about Atlas or anything). That more detailed version can spank billy-boy to tears for all I care, or play ice-hockey with the FreeBSD demon. But the simple, single penguin would be the logo, and the others would just be that cuddly penguin being used as an actor in some tableau.
Linus


The Story Behind Tux the Penguin

One of the first questions asked by mainstream technology companies beginning to offer Linux products or services is, "Who owns the penguin?"
The answer is no one. The Linux logo, a plump penguin known as Tux, is an open-source image. Anyone can employ Tux to promote a Linux-related product, and there are no licensing fees or any need to get official approval from someone to use the penguin. "I was amazed to find out that anyone with a Linux-related product or project has the right to use the penguin "said a public relations representative who requested his name not be used. "Normally, teams of always-angry lawyers fiercely protect logos. And when I discovered you could alter the penguin however you choose, I was flabbergasted. Logos are sacred, untouchable icons in corporate culture."

But allowing people to add, alter and tinker with Tux has turned the portly penguin into a widely recognized logo, minus the usually high development costs that are invested into corporate design.

"Tux is an excellent proof of concept of the whole rationale behind open source and free software development," said Marco Pastore, an open source programmer. "Release your creation to the community, let them do with it as they see fit, and you'll end up with something wonderful."

Tux is not the product of an advertising agency, and no money was invested into his development. Artist Larry Ewing first drew him in 1996 when developers began to feel that one of the things that Linux really needed was a logo.

Ewing designed Tux using GIMP (The GNU Image Manipulation Program), an illustration program that comes with many GNU/Linux distributions.On his website, Ewing grants everyone permission to use and modify the Tux image as they see fit, but he requests that he and GIMP be given credit "if someone asks."The penguin concept was picked from the crowd of other logo contenders when it became apparent that Linus Torvalds, creator of the Linux kernel, had a "fixation for flightless, fat waterfowl," said Jeff Ayers, a Linux programmer.Linus Torvalds has claimed, in various posts to Linux kernel discussion groups over the years, to have been attacked by a "ferocious penguin that bit me and infected me with a little known disease called penguinitis. "Penguinitis makes you stay awake at nights just thinking about penguins and feeling great love towards them."Torvalds later said that while he did indeed have a close and personal encounter with a penguin, the bird wasn't ferocious, and just timidly nibbled on Torvald's finger.The general consensus among the Linux development community is that Torvalds was never attacked, nibbled, or otherwise molested by a penguin, but became fixated on Tux because a fat penguin wasn't a typical corporate logo, a theory that has been backed by later statements from Torvalds.Still, variations of the story that "Linus was assaulted by a huge, rabid man-eating penguin that was running amok and was moving at more than a 100 miles per hour when it attacked him" are still happily told in the Linux community, but few take it seriously."No, I don't really believe Linus was bitten by a penguin. But it's such a great story that it should be true," said Robin Miller, editor of geek news websites Slashdot and NewsForge.Before Tux came into being, many thought a strong, smart and fierce beast would be the best representative for Linux.Sharks, foxes, eagles and hawks were discussed on the Linux-kernel mailing list, a discussion forum for Linux developers.But then Torvalds spoke up and said he thought that a penguin would be the perfect Linux logo.But not just any penguin -– Torvalds specifically wanted to steer away from the "macho penguin" image, and instead urged the developers to focus on creating an image of a cute, cuddly and contented penguin.

Torvalds discussed the finer points of penguins with the list members, suggesting that "contented" means that the penguin "has either just gotten laid, or it's stuffed on herring." "Take it from me, I'm an expert on penguins, those are really the only two options," Torvalds wrote, noting that, although Linux developers might appreciate having a horny penguin as their mascot, it would be more politically correct to go with the "stuffed to its brim with herring" option instead. So when you think penguin, Torvalds told the developers, "you should be imagining a slightly overweight penguin, sitting down after having gorged itself, and having just burped. It's sitting there with a beatific smile -- the world is a good place to be when you have just eaten a few gallons of raw fish and you can feel another burp coming." Torvalds told the developers that they would know they had a successful design if small children, upon seeing the image, were compelled to "jump up and down and scream, 'Mommy, mommy, can I have one, too?" Tux's name, according to Linux community lore, is not based on the idea that penguins, with their black and white coloring, appear to be wearing a tuxedo.When Torvalds was otherwise occupied, developers launched a "let's name that penguin while Linus is not around" contest. Sentiment was running high for "Homer" since several developers thought the chubby Linux logo had a disconcerting similarity to the Simpson's cartoon character, when one James Hughes offered up the suggestion "(T)orvolds (U)ni(X) -- TUX!".But even after the penguin had been officially adopted and named, not everyone was thrilled with Tux. Some developers muttered about the "cutesy" logo -- and they are correct in thinking it's inappropriate, claims Tony Pagano, a former teacher at the School Of Visual Arts who taught corporate logo design.

"A logo is supposed to communicate something about the company or product. What does Tux communicate besides cuteness?" Pagano said. "Tux makes the mental association of 'Toy' when people look at the image in advertising or product packaging. It's misleading. Linux is not cute."But Slashdot's Miller believes that Tux is a "great" logo because it has sex appeal. "Women are strongly drawn to Tux, they love Tux," Miller said. "That's why Linux developers are always smiling."Miller said he was recently in Nashville, Tenn., to talk to the local Linux users group which was meeting at the Auto Diesel College. He'd been given directions that got him to the campus, but had no idea which room the group was meeting in."Then two beautiful girls got out of a pickup truck, and unloaded a four-foot-high stuffed Tux. They headed off and I followed them and Tux to the meeting," Miller said. "You're not going to see Microsoft users carrying around a Window, or Mac people with a big stuffed apple. But you always know when you're in Linux country because you will see Tux."

While Tux's sex appeal is in the eye of the beholder, the penguin's popularity can't be disputed. Tux appears in advertising, on product packaging, T-shirts and toys. The penguin has been morphed into a surfer, a snowboarder, a tropical vacationer, the president of the United States, various mythological gods, a biker and an anime-character-in-penguin-clothing.Tux is also represented by several penguins at England's Bristol Zoo, which have been adopted by a Linux user group as a birthday present for Torvalds.The zoo versions are sleek and slim black-footed penguins, which bear only a family resemblance to the chubby Tux. It gets lonely out there on the floe, apparently.

[humorix] Interview: Tux Penguin
Interview: Tux Penguin
October 5, 1999

Tux Penguin is a very elusive creature to contact. When
he's not attending Linux conventions or visiting relatives
in zoos, he's taking a vacation in sunny Antarctica.
Nevertheless, thanks to the diligent efforts of Humorix's
Vast Spy Network(tm) and (of course) a truckload of fresh
herring, we were able to convince Tux to spend a few hours
chatting with us at Humorix's new European Headquarters in
Helsinki.

HUMORIX: So, Tux, how have things been going?

TUX: [munching on fish] Yum, herring. I can't eat just
one... Things have been going very well for me. I've just
been informed that the .GIF image of me is present on more
webpages worldwide than the "Best Experienced With IE" and
"This Page Under Construction" icons combined. The
penguinization of the Net continues at a healthy pace, I
must say.


HUMORIX: Well, now that you mention that, how did you
become the official mascot?

TUX: Well, as we all known, Larry Ewing[2] originally
wanted to the mascot to be a fire-breathing dragon,
representing the flame wars that Linux zealots ignite on
Usenet. As this was too similar to Mozilla, he eventually
decided on a penguin. As flightless birds, we penguins
(unlike airplanes and Windows 98) never have the
opportunity to crash.

I heard through the grapevine that Larry was searching for
a penguin model, so I faxed him my picture, and the rest is
history.


References:http://www.linux.org/info/logos.html
http://mail.nl.linux.org/humorix/1999-10/msg00018.html
http://www.linux.org/news/2001/03/13/0004.html
http://www.wired.com/culture/lifestyle/news/2001/03/42209

St George Hospital Logo

Logo
The St George Hospital and Community Health Service logo includes the words: "Tu souffres cela suffit". These are the words of Mr Louis Pasteur, the great French scientist and humanitarian. Mr Pasteur laboured for neither reward nor honour, but for the sole satisfaction of helping his fellow man. In troublesome times in France, when his work was being publicly discouraged, he stated: "One does not ask a sick person from what country or of what religion are you. You are sick, that is enough. Put yourself in my care and I will treat you." Thus came the motto of St George Hospital and Community Health Service: "Tu souffres - cela suffit", which translated from Latin literally means "You are sick - that is enough".


History

St George Hospital began operation in November 1894. From its humble beginnings as a "cottage hospital" more than 100 years ago, the Hospital has progressed beyond its primary function of caring for the ill or injured at a basic level. By subsequently bringing new life to the area, as well as a community-based focus to the district, it became a district hospital in 1924 and began saving lives through surgical skills.


By 1934, it was equal to any district hospital in metropolitan Sydney. In 1964, it became a teaching hospital with specialised departments and became known as The St George Hospital.

In the late 1980s, following a NSW Goverment grant of more than $200 million, St George began its transformation into a world class tertiary teaching hospital, providing the people of southern Sydney with specialist healthcare services closer to home.

In the years since, the redevelopment of physical facilities, expansion of services and acquisition of new technology have been complemented by the recruitment of nationally and internationally recognised staff. This elevation of the clinical standard has been accompanied by an enhanced reputation of the Hospital as a teaching facility, resulting in the St George Hospital becoming one of the most popular first preferences among graduates of both nursing and medicine as a place of employment.


Reference:http://www.sesahs.nsw.gov.au/sgh/ab_hist.asp

Alcatel-Lucent Logo

A Logo is a distinctive visual symbol for the company and what we stand for:

Our logo reinforces two organizations and cultures coming together with a commitment to creating a better future for our employees, our clients and their customers around the world.



Wordmark
The wordmark uses a bold, contemporary typeface that underscores Alcatel-Lucent’s core value of supporting cutting-edge innovation. The type is designed to aid readability and comprehension with upper and lowercase letters.

Icon
The icon is a stylized version of an infinity symbol that has the letters “A” and “L” written in a fluid manner, which implies movement. This stylized infinity symbol speaks to both the endless possibilities for the future and our commitment to being an enduring ally for our customers.

Color
Purple symbolizes ambition and is associated with creativity, wisdom, and dignity.



Reference:http://www.alcatel-lucent.com/wps/portal/!ut/p/kcxml/04_Sj9SPykssy0xPLMnMz0vM0Y_QjzKLd4y38DIESYGZzgH6kShiBvGOCJEgfW99X4_83FT9AP2C3NCIckdHRQA0CwaZ/delta/base64xml/L3dJdyEvd0ZNQUFzQUMvNElVRS82X0FfNEc5

Trail Blazers Logo Information and History

Harry Glickman’s cousin, Frank Glickman, of Boston, Massachusetts, designed the original logo, consisting of a straight up and down pinwheel with black on the top and red on the bottom.


It’s meaning is simple: a modern graphic interpretation of the game of basketball, five players from one side playing against five players from another.

In 1992, the Blazers changed from the lowercase typography to a bold, uppercase typeface, adding a dimension to the word mark and tilting the pinwheel, an affectionate name that evolved with fans and media, forty-five degrees to signify motion of the game.

This most recent change adds silver and a black background, tapers the ends of the logo, and moves the red back to the bottom of the pinwheel, as it initially appeared in 1970. This gives the logo a three-dimensional appearance, better matching the typeface. The typeface is also changing, adding a trailing serif to the letters, signifying motion.


In addition to updating the logo, the Blazers are adding a secondary mark to the team’s identity. This secondary mark makes the Blazers the twenty-second team in the NBA to add a secondary logo as a part of its graphic identity. The Blazers are asking fans to submit names on Blazers.com to give fans the opportunity to don the secondary mark with its official name in late June 2002.

Both the updated logo and secondary mark were designed by Portland native Steve Sandstrom of Sandstrom Design.

On February 24, 1970, just two weeks after Portland was granted an expansion franchise by the NBA Board of Governors, Harry Glickman announced a public name the team contest. A panel of judges was selected and the public was invited to mail entries to the team’s offices. Fans submitted more than 10,000 entries; the most popular was not Trail Blazers, but Pioneers. One of the rules of the contest ruled that name out because team nicknames of any Northwest colleges would not be considered, and Pioneers is the nickname for Portland’s Lewis and Clark College.


One hundred seventy-two people submitted the name Trail Blazers, and the panel of judges ultimately selected that name. The name was announced at the half time of the March 13 Seattle vs. New York game in front of 11,035, and it was met with mixed reaction.

Glickman made it clear at the time that the team’s official name, Portland Trail Blazers, was three words, and that the team’s nickname should be Blazers. Within a few years, the team’s name became a household word, as the team won the NBA World Championship in 1977.


Reference:http://www.nba.com/blazers/features/Blazers_Logo_Information_and_H-46091-41.html

Huawei Logo

Brand & Logo

Huawei's logo reflects its principles of customer-focus, innovation, steady and sustainable growth, and harmony, conveying Huawei's sincere commitment to helping its customers realize network transformation and launch a variety of competitive services through continuous innovation and an enterprising spirit. With the introduction of the new visual identity, Huawei will develop more steadily in an international and professional direction, focus increasingly on customers, and grow in a healthy way by creating a harmonious business environment together with its customers, partners and peers.

Huawei's logo is an extension of the company's core values.

Customer-focus
The radiating shapes of the icon are focused on the bottom center and indicate Huawei's commitment to creating long-term value for our customers based on our customer-oriented strategy.

Innovation
Vivacious and contemporary, the new logo indicates that Huawei will continue to provide innovative, customized and competitive products and solutions for our customers with an enterprising spirit, and jointly face the challenges and opportunities of the future together with our customers.

Steady-and-sustainable growth
A confident and optimistic symbol, the new logo conveys a sense of maturity and steadiness in a professional and international manner.

Harmony
Adopting a graduated tone while keeping symmetrical, the new logo looks more natural and compatible, and acts as a metaphor for Huawei's open-minded attitude and partnership strategy, indicating that Huawei will maintain its healthy growth and create a harmonious business environment.


Huawei's Letter to Customers regarding change of Logo


Huawei’s former logo



Dear Sir/ Madam,

First of all, we would like to express our sincere gratitude for your long-term support of Huawei Technologies.

As our valued customer and partner, you are familiar with Huawei’s former logo, , which has been with us throughout the years. Now, it’s our

pleasure to announce that Huawei Technologies will have a new logo, , starting 8 May, 2006.

Maintaining the original style of youthfulness and an enterprising spirit, the new logo reflects Huawei’s principles of customer focus, innovation, steady and sustainable growth, and harmony, conveying Huawei’s sincere commitment to our customers. We will continue with our enterprising spirit, helping our customers realize their network transformation, and launch more competitive services with our continuous innovation. We will develop more steadily in an international and professional direction, focus increasingly on our customers, and create a harmonious business environment by working together with our customers, partners and peers.

We believe that serving our customers is the only reason Huawei exists, and customers’ requirements are the fundamental driving force for Huawei’s development. We will face future challenges and opportunities together through our unrelenting spirit of perseverance through hardship for success, continue to create long-term value for you with our high quality products and services, and enrich people’s life through communication by our joint efforts.

Yours sincerely,
Huawei Technologies Co., Ltd.

Reference:http://www.huawei.com/corporate_information/brand_logo.do

PBS Logo Evolution

Original pbs logo
This is the original PBS logo designed for PBS by Ian McCausland some 25 years ago. Here's a short story about the logo and the his chance word developing Rolling Stones posters:

"I've always supported alternative radio and David Heard (Acid Country program on PBS) was always generous in his support for the country band that I was playing in at that time (Chicken DeVille). So when it was suggested that I come up with a new design for the PBS logo I was only too happy to have a go. I suppose the logo is based somewhat on the 40's style of RKO Radio Pictures and Screen Gems designs - the globe being encircled by communication so to speak. I designed it in two colours (red & black) and I used a similar lettering style to the initial logo to give this new one a sense of continuity. It has been amended/changed/added to since the original design - taken on a life of it's own sorta.

As far as the Stones stuff, I was just lucky to be asked and luckier still to come up with artwork for their two tour posters that I was happy with." see Ian Mccausland website for more information.

PBS logo 3d transparancy
I found this on a slide transparency for projecting onto a wall. Nice 3d concept.

Animated PBS logo example
This one was thrown together by our marketing manager as a quick idea for you animators out there.

PBS logo on frisbee
This design was featured on the pbs frisbees we had made some time ago and offered as subscriber incentives.

Current PBS logo
This is the logo that we currently use. although we are looking to use something like the logo described below.

Logo for flyers/posters
This is the current style of design we are using on promotional material, as it can be seen more easily and clearly than the logo above.

Oh and I almost forgot... the 2nd and 3rd logo
Now you can plot the change from original to the 2nd to the 3rd. should keep all you train spotters entertained for hours.


Reference:http://www.pbsfm.org.au/Documents.asp?ID=1490&Title=PBS+Logo+Evolution

Alfa Romeo Logo

The first logo 1910/1915

The Alfa Romeo logo consists of two Milanese symbols: The Visconti serpent on a pale blue background (the idea for which came to a young designer from the technical office who noticed the serpent on the Filarete tower while he was waiting for a tram in Piazza Castello) and the red cross on a white background, enclosed in a metallic circle with the words ALFA ("Anonima Lombarda Fabbrica Automobili") and MILANO separated by two Savoia dynasty knots.




The second logo 1915/1925
ALFA ROMEO-MILANO becomes the new wording on the logo after the factory is bought by Nicola Romeo.




Logo 1925/ 1946
A crown of laurels in embossed metal around the logo recalls a legendary victory: the P2 at the 1st World Driving Championship (1924). The diameter increases from 65 to 75 mm. In 1930 it is reduced to 60 mm, remaining unchanged until 1945.


LOGO 1946/1972
Following the fall of the monarchy and the proclamation of the Italian Republic, the Savoy dynasty knots are replaced by two wavy lines. The diameter of the logo is 54 mm. From 1950 it is made in enameled brass.


Logo 1960:
from 1960 onwards the logo is made of plastic.







Logo from 1972 to today
With the construction of the ALFASUD factory at Pomigliano, the word MILANO is dropped from the logo and only the two Milanese symbols remain, beneath the words ALFA ROMEO.



Reference:http://www.alfaromeo.com/cgi-bin/pbrand.dll/ALFAROMEO_COM/history/history.jsp?BV_SessionID=@@@@1652090321.1197856389@@@@&BV_EngineID=cccjaddmkjfglffcefecejgdfkhdfjj.0&categoryOID=-1073750515

DMV Logo History

The history behind DMV's name and logo


In 1926 six small dairy producers founded a company called the Cooperatieve Centrale Melkproductenfabriek – De Meijerij. The name was later changed to De Melkindustrie Veghel, and finally altered to DMV International in 1992.

Our company logo was first developed in 1948. The symbols in the logo, called ‘molenijzers’*) come from the Middle Ages when lords and knights, who fought bravely during the crusades, were given rights to mill and store grain, have their own court, and use their own seal. To display those rights, the ‘molenijzer’ was incorporated into their family shields, and later became part of the banners for cities and regions.
For many centuries this symbol has been associated with the Meijerij region in the southeast of Holland, where our company is located.

*) The ‘molenijzer’ is the iron part in the centre of a millstone that allows the millstone to be adjusted.


Reference:http://www.dmv-international.com/default.asp?selected=dmv-int.aboutus.history&l=en

Café de Colombia Logo

The Juan Valdez logo was developed by the National Federation of Coffee Growers of Colombia in March 1981 and was first introduced to the trade in September of the same year.

Featuring Juan Valdez (the quintessential cafetero), his mule, and the Colombian mountains in the background, the purpose of the logo is to identify and serve as a seal of guarantee to the brands that do indeed consist of 100% Colombian Coffee as approved by the Federation.

In 1982, it was introduced to consumer advertising; however, given the limited number of 100% Colombian Coffee brands in the market -- 9 small supermarket brands -- at the time its presence was limited to print advertising.

In 1983, the logo was added to consumer spot television advertising as 100% Colombian Coffee brands featuring the logo were introduced in regional markets.

By 1987 there were nearly 30 supermarket brands and at this point the logo was included in all creative materials on a national basis.

Logo Versions

Two versions of the logo were created:

North American Version: "100% Colombian Coffee"

International Version: "Café de Colombia"

In 1995, in an effort to globalize the brand, the Federation decided to phase out the English version of the logo. Current advertising programs, including multinational media buys and sports sponsorships with global reach, suggest that a common logo across borders will generate the highest awareness while minimizing consumer confusion.

The "Café de Colombia" logo is now used in all advertising and promotional materials. However, North American marketers that feature the logo on their packages are not yet required to change the "100% Colombian Coffee" on their packages.


Logo Awareness & Recognition

Logo recognition varies from country to country, but has reached its highest levels in North America and Spain, the most active advertising markets for Café de Colombia over the past few years. In the U.S., logo association ranks between 80% and 90%; this portion of the people surveyed associate the logo with coffee when they see it without any descriptive words underneath. Actual identification of the logo in the U.S. is currently around 50%, which means that around half of those surveyed were able to properly identify the logo as the Colombian Coffee logo.


Reference:http://www.juanvaldez.com/MENU/logo.html

Virginia State University Logo

During the early years of Virginia State University, the school’s mascot was known by several names, including the “Bearcats” and the “Hilltoppers.” It was not until 1936 that the University adopted the Trojan as its official school mascot.

Although no exact date or designer can be identified, the Virginia State University Alumni Association adopted the above logo sometime in the late 1960s or early 1970s, as the visual symbol of its distinct identity and history. The logo depicts a Trojan Warrior in true fighting form standing in a chariot and carrying a staff announcing the arrival of the fighting men and women of Troy.


The logo reflects an attempt by the Alumni Association to combine the best of both worlds by remaining true to the “Trojan” depicted in Greek tradition and the pride of being the loyal sons and daughters of Africa.

In November 1998, the logo was modified by the Association’s Board of Directors to include a seal around the Trojan to emphasize the full name of the Alumni Association and the date of its incorporation. In 2007, the Board of Directors officially adopted the logo for official use by all active chapters within the Association.

Reference:http://www.vsuaaonline.com/logo_history/

APL Logo History

The Pacific Mail Steamship Company, 1848-1925 The company logo.
Seal, imprimatur, emblem, the one thing that never fails to elicit a response — good, bad, rarely indifferent — from the viewer. Today, we’re inundated with logos in one form or another. But ocean transportation company logos have a special history, thanks to their seafaring origins. Because of their maritime heritage, logos like those belonging to APL and its forebears evolved differently from the kinds of logos we see on correspondence, billboards, or even buildings.

Because of the international nature of trade, transportation company logos are every bit as significant as national flags. Even as recently as 50 years ago, steamships were the lifeline for many remote parts of the world, and people relied heavily on the services offered by shipping companies like APL and its predecessors.

Dollar Line, 1900-1938
The local population often turned out in force when a ship entered harbor. But first, through cupped hands, an open window, or perhaps a telescope, people looked for a familiar silhouette, the ship’s house flag, or the logo on its smokestack to determine which company it belonged to — and whether the ship carried the cargo and passengers for which they had been waiting.

In this way, these early transportation logos gradually became associated with service, reliability, and other competencies of the companies to which they belonged. In addition to these qualities, leadership is something that people began to associate with the logos belonging to APL and its forebears.

Circa 1938
Only a handful of global companies can say they’ve been in business for more than 150 years — and fewer still can count among their predecessors companies that helped to shape the future of an entire industry. This rich history of leadership has been evident in how APL, Dollar Line, and the Pacific Mail Steamship Company have approached the business of transportation.

For many years, the Pacific Mail logo embodied the brash, risk-taking spirit that built the West after the California Gold Rush of 1849. At one point in the company’s history, its vessels were so numerous nearly every ship entering the Golden Gate flew the Pacific Mail house flag.

Circa 1955

The distinctive dollar sign used in Dollar Line’s logo appeared on the smokestacks of a growing fleet of ships in Asia during the first decades of the 20th century. By the time Dollar Line acquired Pacific Mail in 1925, the Dollar Line logo was a familiar sight in ports around the world.

And in its many iterations, the APL eagle logo has been seen around the world for decades. The eagle became the APL logo in 1938, when Dollar Line was purchased and renamed American President Lines by the U.S. government. Designed to resemble the flag belonging to the office of President of the United States, the first APL house flag featured a red eagle and four stars.


Circa 1980
Ever since, APL vessels have been easily recognized by an august assemblage of eagles. Whether stalwartly looking toward the horizon from a vantage point on the ship’s smokestack, aloft and seemingly in motion on the house flag, or gracefully spreading their wings across the bow, the APL eagles serve as company envoys throughout the world. Although the APL eagle has been updated over the years, and our name shortened to simply APL, this proud symbol continues to represent excellence in transportation, logistics, and related services.


1988



Reference:http://www.apl.com/history/topics/prosper/logos.html

Air India Logo

“The logo of the new airline is a red coloured flying swan with the `Konark Chakra' in orange, placed inside it. The flying swan had been morphed from Air India's characteristic logo, `The Centaur', whereas the `Konark Chakra' was reminiscent of Indian's logo”.

The new logo would feature prominently on the tail of the aircraft. While the aircraft will be ivory in colour, the base will retain the red streak of Air India. Running parallel to each other will be the orange and red speed lines from front door to the rear door, subtly signifying the individual identities merged into one. The brand name `Air India' will run across the tail of the aircraft.


The Maharajah

'We call him a Maharajah for want of a better description. But his blood isn't blue. He may look like royalty, but he isn't royal.' These are the words of Bobby Kooka, the man who conceived the Maharajah.

This now familiar lovable figure first made his appearance in Air India way back in 1946, when Bobby Kooka as Air India's Commercial Director and Umesh Rao, an artist with J.Walter Thompson Ltd., Mumbai, together created the Maharajah..The Maharajah began merely as a rich Indian potentate, symbolizing graciousness and high living. And somewhere along the line his creators gave him a distinctive personality: his outsized moustache, the striped turban and his aquiline nose. What began as an attempt as a design for an inflight memo pad grew to take Air India's sales and promotional messages to millions of travellers across the world.

Today, this naughty diminutive Maharajah of Air India has become a world figure. He can be a lover boy in Paris, a sumo wrestler in Tokyo, a pavement artist, a Red Indian, a monk... he can effortlessly flirt with the beauties of the world. And most importantly, he can get away with it all. Simply because he is the Maharajah!

He has completed 56 years and become the most recognizable mascot the world over. His antics, his expressions, his puns have allowed Air India to promote its services with a unique panache and an unmatched sense of subtle humour. In fact he has won numerous national and international awards for Air India for humour and originality in publicity.

And as with all great men, he too has had his critics. But the millions of travellers whose lives he has touched far outnumber them. In fact, to them, the Maharajah with his inimitable style, charm and wit is a very real person. He's almost like a friend to every Air India traveller. A friend who reaches out with warmth and hospitality, even to the farthest corners of the world.



Reference:http://home.airindia.in/SBCMS/Webpages/Logo-Livery.aspx?MID=196#
http://home.airindia.in/SBCMS/Webpages/The-Maharajah.aspx?MID=196#

Sanlam Life Insurance Logo

In the past, there was not really uniformity with regard to the use of a Sanlam logo. Different logos were used, sometimes more than one at the same time. For example, the official seal of the company was initially used as a logo, soon followed by first a springbok head, and later a stylised drawing of the 1932 head office, superimposed on a map of South Africa.

In December 1932 the shield-design by TO Honiball, in conjunction with Prof. Blommaert of Stellenbosch, was introduced. The four birds (provinces) being fed by their mother symbolised support and protection. The stylised, flying birds were symbolic of speed and progress, and the springbok represented South Africa.

With Sanlam's 21st birthday in 1939, the logo was adapted. With few minor changes this remained in use until 1953 when the head office relocated to Bellville. A new logo was introduced - the word "Sanlam" on a white or black background.

During 1968 the "S-Shield" was introduced: a shield for protection and security. In 1970 blue was adopted as Sanlam's corporate colour and became the colour of the shield. Blue was felt to be a quiet, cool colour that could be associated with a trustworthy financial institution.

The present-day logo of two nurturing hands was first adopted in 1973. It portrays the protecting hands of Sanlam's financial expertise, shielding the world of the company's clients. The pointed fingers represent powerful growth and the solid base, stability. Initially it was used with or without "Sanlam" written underneath, but in 1991 the aforementioned use was standardised. Since 1998, each business unit in the Group has added its name where more specific client focus was required.


Reference:http://www.sanlam.co.za/eng/aboutus/companyinformation/history/sanlams+history.htm

Philips Consumer Electronics Logo

Philips Consumer Electronics introduces Environmentally Friendly Green Logo

Philips Electronics has introduced a new consumer logo for its environmentally friendly and safe consumer product range: The Philips Green Logo. This new logo allows consumers to easily identify products that have significantly better energy efficiency than the nearest competitor products in the same category as well as having other environmental benefits such as the use of flame retardant materials.

Philips' sustainable practices have been recognized at a company wide level. In 2006 Philips was No 1 for leisure goods in the Dow Jones Sustainability Indexes. For the third year in a row, Philips is among the Globally 100 Most Sustainable Corporations in the World. Additionally, Philips is one of the top ranking sustainability companies of all companies listed on the Amsterdam Stock Exchange and is included in the FTSE4Good.

The Philips Green Logo is another step forward towards helping consumers make informed environmental choices and is a part of Philips' long-running EcoDesign program.

First introduced in 1994, Philips launched its EcoDesign initiative in order to reduce the environmental impact of its products. Given the growing need for environmental change, the Philips Green Tick program provides consumer with more information purchasing consumer electronics products.

The Philips Green Tick logo only applies to Green Flagship products in the Consumer Electronics portfolio, all of which are annually certified by external auditors. Philips Green product portfolio accounted for EUR 2.2 billion turnover in 2006. Currently, seven of Philips' Flat TVs™ carry the Green Tick logo with a target of doubling the number to 14 by the end of 2007. Furthermore throughout 2007, Philips Consumer Electronics will continue to increase the range of Green Tick products to include DVD Recorders, Home Theater Systems, Wireless Solutions, Portable Accessories and other consumer electronic devices. The Green Tick logo will launch into retail outlets from April 2007 across Europe, North America and Asia.

Recent research has found that Philips' Green Logo products outperform competition in energy efficiency. When watching television or a favorite DVD with a Philips Green Tick product, consumers consume less energy than competitor products.

"Philips is committed to being a responsible industry leader and helping consumers find more energy-efficient lifestyles through increasingly advanced products and better information," according to Rudy Provoost, Chief Executive Officer, Philips Consumer Electronics. "Our Green Logo provides consumers with an easy way to identify products enabling an informed purchasing decision."

Reference:http://www.ifa.philips.com/press-releases/8.html

Philips Brand

The foundations for what was to become one of the world's biggest healthcare, lifestyle and technology companies were laid in Eindhoven, the Netherlands, in 1891 when brothers Gerard and Anton Philips founded Philips & Co. to meet the growing demand for light bulbs created by the commercialisation of electricity.

Today we are all used to seeing the name Philips in uniform blue capital letters. It may appear in different sizes and colours but the basic shape of the seven capitalised letters is instantly recognisable wherever in the world we encounter it.



In the early years of the company, the representation of our name took many forms. One was an emblem formed by the initial letters of Philips &Co., and another was the word Philips printed on the glass of metal filament lamps.

In 1898, Anton Philips used a range of postcards showing the Dutch national costumes as marketing tools. Each letter of the word Philips was printed in a row of Light bulbs as at the top of every card. In the late 1920s, the name began to take on the form that we recognise today.

The now familiar Philips waves and stars first appeared in 1926 on the packaging of miniwatt radio valves, as well as on the Philigraph, an early sound recording device. The waves symbolised radio waves while the stars represented the ether of the evening sky through which the radio waves would travel.

It wasn’t until 1930 that the four stars flanking the three waves came together for the first time in a now familiar circle. They appeared on radios and gramophones, which featured the circle, complete with stars and waves, as part of their design. The use of the circle emblem was then gradually extended to advertising material and other products.

By this time, our business activities were expanding rapidly and we wanted to find a trademark that would be uniquely Philips, but that would also avoid legal problems with the owners of other well-known circular emblems. It was this wish that resulted in the combination of the Philips circle and the wordmark within the now familiar shield emblem.

In 1938, the Philips shield made its first appearance. Although modified over the years, the basic design has remained constant ever since and, together with our word mark, gives us the distinctive identity we enjoy today.

Whilst the logo of the company has been consistent since the 1930s the way Philips has advertised and communicated to the outside world has varied. Up until the mid-1990s all advertising and marketing campaigns were carried out at product level on a local market basis. This led to many different campaigns running simultaneously, not giving a global representation of Philips as a global company.

In 1995 Philips introduced “Let’s make things better”. This was the first global theme and the first global campaign that encapsulated One Philips. This theme was rolled out globally and appeared in all markets and on all Philips products. This was also the first campaign that bought the whole company together,giving the employees a sense of belonging and providing a unified company look for an external audience.


“Let’s make things better” has served the company extremely well over the past nine years, but as the markets change and the company evolves so has the tagline. 2004 sees the new brand promise of “Sense and Simplicity” being delivered.


Philips is now looking at the entire brand perspective of the company, ranging from the online experience through to internal design processes. The new brand promise of “Sense and Simplicity” will help to take Philips forward as a healthcare, lifestyle and technology company, into new emerging and exciting markets.




Reference:http://www.philips.com/about/company/history/historyofthebrandmark/index.page