Be a better logo designer faster by being inspired by only history’s greatest!
Hello! My name is Rich and I am a British designer living and working in London. I also built and run LogoArchive.
LogoArchive started back in 2008 as an Instagram account. It’s now the internet’s largest library of historical logos with over 4000 examples!
By being exposed to thousands of the very best historical logos Ibecame a better logo designer faster.
Some of the features of the LogoArchive reference and inspiration tool. Be a better logo designer faster, be inspired by history’s greatest.
Start at logo-archive.org
LogoArchive is the internet’s largest library of historical logos. And it’s purpose-built for professional designers. Updated daily and with a new design coming soon why not start your journey with us today at Logo-archive.org
We opened the archive up to submissions, creating a Community Logos section and, the design community delivered. Check out these gems from LogoArchive subscribers.
Have your logos alongside some of history’s greatest, have your work shared here on or channel.
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Logo Histories: Carry it! Fly it! Use it! – Stuart Ash's 1965 symbol for the 1967 Canadian Centennial.
Discover this and other histories at
#logos #design #branding #designhistory #logohistories
ZDF was launched on April 1st, 1963. This would give the Federal Republic of Germany its second channel and was funded through a license fee and advertising, and controlled by public organisations. It was created to ‘compete’ with ARD, the first channel, which was considered ‘too critical of the government’. ZDF intended to be independent of federal and local government, and rebalance political discourse.
By the 1970s, it was felt that the fixed logo of the station was incompatible with the heterogeneous nature of its programming, which was time and event sensitive, and manifold in its content.
In 1973 Otl Aicher was asked to develop a corporate image ‘appropriate for a television channel’, one that could resolve the conflict between heterogeneous programming and a requirement to make each appearance of the ZDF enterprise identifiable and consistent.
Tests had shown that Univers, designed by Adrian Frutiger, best met the conditions. However, these had also shown that the sharp-edged nature of the typeface was lost on the screen, and in particular when used at smaller sizes. The brightness and resolution of the screen (a constraint) thus defined the evolution of the typeface, with Aicher adapting this into a custom rounded version that maintained the contrast and legibility of the thicker vertical and thinner horizontal strokes.
Further variations were created to increase readability and establish hierarchy in a variety of contexts.
As this typeface and logotype was meant to be used primarily on screen–a place where movement and change was a constant–it was developed into a number of variations. It changed size and colour, and was repeated at different scales, turning it into something playful, increasing the ‘attention value’ and suggesting the diversity of the television programs that were broadcast.
