Some lovely Italian marks in the Archivio Grafica Italiana.
Officine Ranchetti logo, by Heinz Waibl, 1959.
Simon & Schuster logo evolution.
“Richard Simon and Lincoln Schuster stumbled upon “The Sower,” a painting by Jean François Millet, as they strolled through a gallery during their first week of publishing. It occurred to them that the image of a man sowing grain was the perfect publishing metaphor for “planting seeds of wisdom.” So they hired John Everett Millais to render a reproduction of the painting for their colophon.”
Vintage predecessors to contemporary company logos, on 99% Invisible. Related, from the archives (2008): When logos look alike.
Top marques — a collection of vintage French logos from the 50s and 60s. No credits, but nice.
And a good quote from Paula Scher on how design school doesn’t teach you what you get paid for.
“Mostly, designers get paid to negotiate the difficult terrain of individual egos, expectations, tastes, and aspirations of various individuals in an organisation or corporation, against business needs and constraints of the marketplace. […] Getting a large, diverse group of people to agree on a single new methodology for all of their corporate communications means the designer has to be a strategist, psychiatrist, diplomat, showman and even a Svengali. The complicated process, usually a series of endless presentations and refinements, persuasions and proofs, is worth money. That’s what clients pay for.”
What they don’t teach you in design school, in the CR archives.