Logotype Michael Evamy
The relationship between Evamy’s first book, Logo , and Logotype is crucial to understanding the latter's significance. Published in 2007, Logo: The Reference Guide to Symbols and Logotypes was a massive success, described as a "logo bible" that provided graphic designers with an indispensable reference source. When discussing why he wrote it, Evamy stated he wanted a "snapshot of the field," including only logos that were currently in use.
It highlights how letterforms alone can carry the weight of a brand’s personality without relying on illustrative symbols. The Power of the Logotype
Within those families, the book analyzes specific design strategies. These include the use of lowercase letters, uppercase structures, linked characters, stencil treatments, and negative space cuts.
While many iconic logotypes started as standard desktop typefaces, they rarely remain unmodified. Evamy demonstrates how world-class designers adjust kerning, alter stroke weights, and customize counters to optimize a wordmark for scaling across digital screens, print media, and physical signage. Reductions Exist for a Reason Logotype Michael Evamy
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Rather than organizing the book alphabetically or chronologically, Evamy categorizes the logotypes by their . This layout makes it an exceptional reference tool for designers looking to solve specific structural problems. 1. Classification by Type Style
While the bulk of the book is a visual index, select pages feature deeper case studies. These sections break down the process of famous rebrands, showing sketch work, rejected options, and the final application of the logo on stationery, signage, and packaging. The relationship between Evamy’s first book, Logo ,
: Logos are grouped into 75 categories based on form, such as "Handwritten," "Illustrative Type," or specific geometric shapes. Monochrome Focus
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Full brand names rendered in unique typography. This section is sub-divided by typographic style, such as Sans Serif, Serif, Script, Stencil, Distorted, and Geometric. It highlights how letterforms alone can carry the
Evamy’s book celebrates the difficulty of this constraint. Creating an identifiable brand using only letters requires extreme precision. The book proves that typefaces carry emotional weight, historical subtext, and corporate personality without needing illustrative help. Structure and Content Breakdown
Together, the three books— Logo , Logotype , and Symbol —form a complete reference library for identity design. Logo covers the full range of marks; Logotype focuses specifically on text-based identities; and Symbol (a related title in the same series) explores purely pictorial marks. For design studios and branding agencies, owning all three is akin to having a complete visual encyclopedia of contemporary identity design.
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One of the book’s hidden strengths is its arrangement by formal characteristics rather than by industry. This means you might find a logotype for a restaurant in the “Modular” section and a logotype for a bank in the “Handwritten” section. These unexpected juxtapositions can spark genuinely original ideas.
