Old Sapo logo

…it can increase the value of the “after.”

Sapo logo

In-house (I think) design for Portuguese ISP Sapo (translates as “toad”), using Proxima Nova Bold.

That said, I’m not so keen on the use of arbitrary golden spirals.

Sapo logo

Via The Branding Source. More on Brand New.

The Sapo identity manual is here (PDF).


Do you really think it is arbitrary? The proportion of the leg to the body uses the golden ratio, so does the height of the knee, the eye is positioned right on the spiral. And there could also be other places where the proportion is used that are not readily apparent.

I’m making such a fuss about it because I try to use the golden spiral in my designs and would like to know what you consider a proper use of the Golden spiral.

Certainly a huge improvement, nobody can deny that.

Although there’s something that (to me) is not quite right with the weight and space taken up by ‘SAPO’ in relation to the frog.

Also maybe the placement of type would have been better on the left. Maybe.

I love that frog. Linked pdf file is great to gain further info and insight.
Just wondering what was the approximate cost/price considering the client type.

I always wonder at what point in the design process does the golden section (spiral) appear:

Does the designer:
– use it as a template and design the logo to fit?
– design the logo and then adjust it to fit into the template?
– develop a post design rationale to help sway the client?

My concern is that the golden section is used to justify the design as opposed to relying on one’s aesthetic sensibilities and experience.

Forgetting the proportion, I did a quick study at 10% wider and 10% taller. Personally, I think 10% wider is less rigid and better without adhering to any higher proportions.

Hi Alex, I’d use it in a project where the spiral has particular meaning — for a company that has something to do with tornados or whirlpools or plant life or galaxies, for example. And symbols aren’t always used in isolation, so I’ll consider the wider identity elements before putting any shape constraints on a single mark.

The type’s neither here nor there for me, Gareth (except for the removal of the unnecessary ‘.pt’). The symbol’s so much stronger, though.

Good questions, Jerry.

Oh I see, thanks for the reply David.

I misspoke, I didn’t mean that I use the actual spiral in my designs. I only use the proportions (1:1.618). As I’m arranging the elements I try those proportions and if they give me a better result than other things I try, then of course I keep them.

The reason, I belive, designers show the spiral when presenting their designs is so that non-designers can more easily identify and associate it with the perfect designs from nature or Ancient Greek architecture.

You’re very welcome. I didn’t mean to use the spiral in a literal way, either, but rather to let it guide the proportions in a project where the spiral has particular relevance.

If it’s working for you and your clients, though, that’s the main thing.

I tend to use the spiral only when working with geometric shapes, it helps me to have a better understanding of the relationship between elements. But sometimes can be dangerous as it forces you to fit shapes in a way that visually doesn’t feel right. Specially when it comes to space between elements.

The logo looks great in keeping up with the time. Similar to fast food chains and corporate logos, modernizing a logo is an ongoing process to appeal to the current audience. I would like to see it in context as far as stationery or advertisements go. Great Job!

I’d do same, only if it had relevance. The black solid version of this Sapo I feel fails to leap, it’s strong but it looks like a fish or a whale, not a frog. Since it’s Portugal, perhaps the fish is relevant.

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