Long before we could grab an asset on screen and tumble, spin, stretch, and diminish it into a semblance of three dimensionality, we couldn’t. Hand drafting an image to conform to a one-, two-, or three-point perspective didn’t even exist until Brunelleschi. The genial genius of Italy fathomed the concept in the early 1400’s and the renaissance shifted from simmer to bonfire. I’m just trying to give a little credit and perspective to the whole concept of perspective! Designers are copiously utilizing the same principle that jarred humanity centuries before. It was considered wizardry at the time when a subject they were accustomed to seeing on a two-dimensional plane swung back into space and suddenly created a sense of place.
These logos create a feeling of cinematic drama and though we’re no longer left in astonishment they do slow us down long enough to beg consideration. They help demonstrate space and time or anything else that exists on a continuum. They also establish the vantage point for the viewer. Logos may be looming overhead or leaving you behind. Possibly racing toward you or in the case of the Jodrell Bank Observatory logo, giving a sense of shape and space as the concave dish is defined. Squeezing down text in this fashion also tends to turn an otherwise lengthy wordmark into a compact and manageable symbol. And though the group of marks assembled here are type in orientation, it was a propensity but not an imperative to belong to the trend.
DESIGN AGENCY: ADAM GREASLEY (OAKFOLD)
DESIGN AGENCY: ORDERCLIENT: FORWARD MAJORITY
DESIGN AGENCY: APERIOS DESIGNCLIENT: AFM FILMS
DESIGN AGENCY: PAUL WILSON DESIGNCLIENT: PERSONAL BRANDING
