Power and Iconography

Filed Under: Society, Journal.

As a matter of opinion I would say that Rand’s original logo for UPS has recently rocketed to the stature of immortality (in what limited scope we may foresee). From what I gather from reading, logos such as these will continue to be esteemed a work of art, no matter the decisions of private enterprise for which the mark was created.

For an interesting discussion on logos please see:
http://www.underconsideration.com/mt-static/mt-comments.cgi?entry_id=1594

For an interesting discussion on the UPS logo that extends into the fundamentals of logo design, please see:
http://typographi.ca/000561.php#000561

I am always curious to see how others can pour such passion into these works. Logos are, in the end, about ideas. As with writing a poem, we begin with a message. From the message, we juxtapose metaphors while either avoiding, or playing upon, common cliches. Stroke, flourish, weight, figure, & ground all play an essential role in giving this symbolism an emotional flare.

What ideas we are trying to express? What emotions we are trying to convey in the expression of those ideas? Do the norms of graphic design revolve around elegance, wit, charm and humor? I am reminded of the early Japanese court culture where one’s attractiveness was measured by their ability to merge calligraphy with poetry.

I suppose we live in a culture where, at best, commerce courts the populous by way of their delights. And, at worst, we are subjected to coercion, trickery, and exploitation much in the way American immigrants were led by an empty promise of good wages by the iron barons of the late nineteenth century.

If we step back to South Asia during the 2nd and 3rd century, we will find the most powerful iconography was not created for commerce, but for the religious establishment. Emperor Ashoka of the Mauryan empire was well known for embracing Buddhism and calling for the spread of Buddhist iconography throughout the empire.

I wonder. During this period of time, was religion responsible for courting the populous in much the same way commerce now assumes the role? What can design and the ideas encapsulated in its visual language tell us about the movement of power?

We understand that the iconography of early Buddhism told a rather complex narrative about peoples lives and understandings of the world. However, as tempting as it might be to disregard any possible depth of today’s trade marks, does present-day iconography tell an equally complex narrative?

By all accounts, our work is the celebration of what we love

For more information about Emperor Ashoka, please see:

http://www.kamat.com/kalranga/budhist/asoka.htm

Published: 4 years, 2 months ago