LogoArchive Subject 7 — BP&O
July 6, 2020
LogoArchive Issue 1 was designed, designed and sent for printing in one day. It was brought up by a panel discussion at Somerset House as part of the Print! After the seventh numbered release (and the tenth in a row), LogoArchive reconfigures itself with each new edition to surprise and delight. This edition celebrates the symbols of the textile industry and includes texts by Jack Self, editor-in-chief of Real Review, Maria Elges from Midge Press and Richard Baird, BP & O.
As with any previous version, this problem is characterized by its own materiality, with an envelope folded by a gate and a silk-woven embossing that evokes the surfaces of textiles. This edition is available from all good independent retailers, directly in the LogoArchive Shop or using the buttons in this article. Please select the International option for deliveries outside the UK.
This latest edition examines the potential of the self-published zine to expand and be a format to share the ideas of those who have inspired it. One such person is the architect and writer Jack Self, founder of the REAL Foundation and editor-in-chief of Real Review. In this issue, Jack looks back, takes a critical look at the modernist project, and then makes a proposal for the future. Looking back on the future is the basis of the LogoArchive project. This is examined in issue 7 using an envelope folded with a gate and in the numbering of the pages and expressed in terms of content. Readers must turn back to move forward in the zine.
BP & O & LogoArchive, BP & O & LogoArchive, jumps off the topic of the editor and designer of textile logos and in his play "Metaphors We Design By" deals with the effects of the metaphor on graphic design practice, while Maria Elges in her play " Losing The Thread, ”asks designers to assume they feel lost. Many thanks to the following people for their support and contributions: Jack Self, Maria Elges, Deryck Jones, Matt Cobrin, Blair Thomson and Christophe De Pelsemaker.
LogoArchive now offers a weekly newsletter with logo inspiration, logo stories, used logos and design tips. It is the first place where you can read about new development problems, a first opportunity to pre-order future zines and to order new editions. You can subscribe to this here.
Specifications
14 pages brochure
Folded cover
Ebony color plan 135gsm
One-sided embossing of silk fabric
HP Indigo White (5x)
Black staples
Production video
Footage: WithPrint
Editor: Deryck Jones
Elliott Moody kindly asked the following questions for a piece on his website The Brand Identity. You can view this post here. These answers are intended to expand Edition 7, in which the entire project is understood on several platforms. the blog, the social media account and in print.
EM – What made you particularly interested in Jack's writing for this issue?
RB – The Real Review, whose editor-in-chief is Jack Self, has been instrumental in redesigning the way I write about design. Thanks to the collaboration with the design studio OK-RM, materiality and content seemed to work perfectly together. It easily manifested its central question “What does it mean to live today?” Through an exquisite corpse of type and picture, which is facilitated by a vertical fold. It also changed the way I understood the potential of the review to say something more than what was visible on the surface, and drew me to the idea of an “overall project,” that is, designer as author, designer as producer, editor and distributors.
LogoArchive is not just a logo, but an active interface for inquiries. Is a self-initiated, post-university educational challenge to see what design writing could be. The introduction of other writers, voices and styles is a natural development of it. After meeting Jack, I was intrigued by the way he articulated his ideas. His suggestions had precision, intentionality, and elegance. I had published an interview with him in LogoArchive Issue 4, but I wanted to continue this with a commissioned work. This is one of the joys of publishing. You can take a voice from the field of architecture and share it with graphic designers. At its core there is always an applicability. LogoArchive as a zine always wanted to use the joy and excitement of mid-century logos as a means of migrating ideas, and I was interested in Jack's ideas and forms of expression. When I find something that is insightful and beautifully expressed, I have a strong inner will to share it.
EM – What is the relationship between the editorial and the exhibited logos, if any?
RB – My article "Metaphors We Design According to" includes a fourth suggestion. This metaphor can be a tool for shaping results positively or inadvertently undermining them. Therefore, designers should consider making metaphors a more intended part of design practice. I use side-by-side metaphors – those related to the textile industry and conflicts – as a means of expression for this proposal. Maria's text uses the phrase "lose the thread" to urge designers to get lost in the creative process, as this can lead to unexpected ideas. These two articles have obvious textile basics, but Jack's play more generally relates to the LogoArchive project, the look backing. In his piece "Why We Look Back" he takes a critical look at the modernist project, from which many logos of this edition have their origin. Since this is not directly related to the topic, the employee and designer Maria Elges, who also wrote “Losing The Thread”, came up with the idea of using this like a frayed fabric. It was such a nice gesture for three reasons. First, it has an abstract reading, namely that of the unraveled modernist project, in particular the rather outdated notion of "universal man". Second, the shortness of a few lines is used to emphasize keywords or statements, so that this unusual sentence creates several hierarchies with one font size. And finally, it offers a kind of visual pleasure that works online as an image and hopefully delivers an eye-opening moment in the context of textiles. I introduced the material element of a one-sided silk-woven surface embossing to reinforce the sentence as if the paper were a single web of fabric that emerges from a loom.
From the readers
Picture: Foundation
Image: Richard Baird
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