Logo Decks

Logo Decks Reviving the blueprint of traditional of logo design, one grid at a time.
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Explore the geometry of logos and unearth the hidden stories behind their construction. Join me as we dive into the fascinating world of logo design, uncovering the hidden geometric principles that make these iconic brands visually striking. Through this page, I aim to explore the intricate relationship between geometry and logos, analyzing the shapes, proportions, and symmetries that contribute t

o their visual impact. Get ready to unravel the design secrets behind renowned logos and discover how geometry plays a vital role in their creation.

Scott Baker, a Microsoft in-house graphic designer, created the company’s iconic “Pac-Man” logo in 1987, which endured w...
01/06/2026

Scott Baker, a Microsoft in-house graphic designer, created the company’s iconic “Pac-Man” logo in 1987, which endured with minor tweaks until 2012, one of the longest-running logos in tech history. Replacing the quirky 1980–1982 “Blibbet” design (so beloved that employees launched a “Save the Blibbet” campaign and the cafeteria served a commemorative burger), Baker crafted a bold, italicised Helvetica Black wordmark with a distinctive diagonal slash through the “o.” The slash separated “Micro” from “soft,” emphasised the “soft” part of the name, and conveyed motion and speed, perfectly capturing Microsoft’s ambitious rise during the Windows era. Internally nicknamed the Pac-Man logo for the notched “o,” it became a global symbol of the company’s dominance through the 1990s and 2000s on countless Windows and Office products. Baker has remained largely out of the public eye since leaving Microsoft, with little documented about his later career. The logo was retired in 2012 for the modern four-square tile and Segoe UI identity tied to Windows 8, but Baker’s clean, dynamic design is still celebrated as a masterclass in longevity and brand recognition.

Saul Bass, a legendary graphic designer celebrated for his groundbreaking work in film titles and corporate branding, cr...
01/06/2026

Saul Bass, a legendary graphic designer celebrated for his groundbreaking work in film titles and corporate branding, created the iconic Warner Communications logo in 1972 in collaboration with Herb Yager & Associates.

Officially known as the "Big W," the design featured a bold, stylized, cable-like letter W that symbolized connectivity and unity. This modern mark successfully brought together Warner’s diverse array of film, music, and publishing divisions under one cohesive identity, replacing the traditional Warner Bros. shield that had defined the company for decades.

Paired with a modified version of the Handel Gothic typeface, the logo emphasized Warner’s forward-looking focus on communication and media innovation. The enduring design remained in active use until the company’s major 1990 merger with Time Inc., highlighting Bass’s remarkable talent for crafting simple yet timeless visual identities that resonate across generations

Yusaku Kamekura (1915–1997), Japan’s foremost postwar graphic designer, created TDK’s enduring geometrical logo in 1967 ...
31/05/2026

Yusaku Kamekura (1915–1997), Japan’s foremost postwar graphic designer, created TDK’s enduring geometrical logo in 1967 as the centerpiece of a complete corporate-identity overhaul for Tokyo Denki Kagaku Kogyo (now TDK Corporation). The emblem is an irregular black-and-white hexagon formed by interlocking triangles and squares, officially described by TDK as symbolizing “the connection of electronic components and magnetic materials that support the industry.” Introduced one year after Kamekura’s overlapping-letter wordmark variant in a red circle, the 1967 hexagon quickly became the primary symbol and has remained virtually unchanged for nearly six decades, one of the longest-lived corporate marks in electronics history.

Trained in Bauhaus-influenced modernism and celebrated for his 1964 Tokyo Olympics posters, Kamekura fused geometric precision with profound symbolic clarity, producing a logo that feels both timeless and unmistakably Japanese. The hexagon, often paired with bold “TDK” lettering (also refined under his direction), perfectly captured the company’s pivot from industrial chemicals to magnetic tapes and consumer electronics. Kamekura himself ranked the TDK identity among his proudest achievements, and it continues to be studied worldwide as a masterclass in minimalist, meaningful design.

Walter Landor (1913–1995), a pioneering brand designer born in Munich as Walter Landauer, founded Landor Associates in 1...
31/05/2026

Walter Landor (1913–1995), a pioneering brand designer born in Munich as Walter Landauer, founded Landor Associates in 1941 and revolutionized corporate identity with his consumer-focused approach. After moving to San Francisco in 1939, he worked with diverse brands, including Levi Strauss & Co., where he left a lasting mark. In 1967, Landor was hired to modernize Levi’s branding, resulting in the iconic “Batwing” logo. This design featured a bold, all-caps sans-serif wordmark with a curved top border, mirroring the Arcuate stitching on Levi’s back pockets, symbolizing strength and durability. Unlike previous logos, which used all capitals, Landor suggested a lowercase “e” in later iterations, giving the brand a youthful, timeless feel.

The Batwing, introduced to unify Levi’s identity, became a global emblem, though it evolved with color and style tweaks over time. Landor’s work extended beyond Levi’s to brands like Coca-Cola and Bank of America, emphasizing emotional connections through design. His legacy, built on research and adaptability, continues to influence branding, though some critique his designs as overly commercial. Specific details of the Levi’s update process remain tied to his firm’s collaborative efforts.

Seiichi Horiuchi (1932–1987), a renowned Japanese art director and illustrator, designed the iconic Brutus magazine logo...
30/05/2026

Seiichi Horiuchi (1932–1987), a renowned Japanese art director and illustrator, designed the iconic Brutus magazine logo in 1980 for Magazine House. The bold, red logo features letterforms with broken, jagged edges, inspired by the spiked beard of Popeye’s nemesis Brutus, reflecting a rugged masculinity. Horiuchi’s design contrasted with the softer Popeye logo, targeting trend-conscious men aged 20–50. Known for his work on anan and picture books like Gurunpa’s Kindergarten, his Brutus logo remains a cultural symbol, recently celebrated with a design blueprint T-shirt for subscribers, showcasing his lasting influence on Japanese editorial design.

The 1979 update to the LOT Polish Airlines logo was crafted by Polish designers Roman Duszek and Andrzej Zbrożek. They d...
30/05/2026

The 1979 update to the LOT Polish Airlines logo was crafted by Polish designers Roman Duszek and Andrzej Zbrożek. They developed a comprehensive visual identity system, modernizing the iconic crane logo originally designed by Tadeusz Gronowski in 1929. The updated design retained the stylized crane, a symbol of elegance and tradition, while introducing a fresh livery for the airline’s fleet. The new look featured a predominantly white fuselage with a bold, italicized “LOT” inscription and a distinctive navy-blue stripe running along the aircraft. The crane was prominently displayed on the tail, preserving its role as a core element of the brand. This redesign aimed to blend modernity with LOT’s heritage, ensuring the logo and livery reflected the airline’s forward-looking vision while honoring its historical roots. Duszek and Zbrożek’s work created a cohesive and recognizable identity that strengthened LOT’s presence in the aviation industry.

Manabu Sakamoto, born March 9, 1968, is a Japanese graphic designer and visual communication expert who graduated from T...
29/05/2026

Manabu Sakamoto, born March 9, 1968, is a Japanese graphic designer and visual communication expert who graduated from Tsukuba University's Special Arts Group with a major in Visual Transmission Design. He joined Sony in the early 1990s, working in the Creative Development Department at Sony Creative Center as a senior producer until 2011. There, he contributed to branding for products like VAIO and became renowned for conceptualizing the iconic PlayStation logo in 1994, ahead of the console's Japanese launch on December 3 that year.

The original PlayStation logomark features interlocking "P" and "S" letters in a dynamic, perspective-distorted form, evoking a 3D shadow illusion to symbolize the era's shift to immersive 3D gaming. Sakamoto developed about 20 prototypes, blending 70% concept ideation (inspired by keywords like "inspiration" and "logic") with 30% refined design. Colors, red for passion, yellow for happiness, green for excellence, and blue for patience, added emotional depth, targeting a youthful, diverse audience.

This simple yet bold emblem, with its custom clean typeface, has endured across generations, evolving subtly (e.g., desaturated for PS5) while retaining core unity. Sakamoto's work not only defined PlayStation's identity but also influenced Sony's global branding success, turning a gaming console into a cultural powerhouse.

Kashiwa Sato, born in Tokyo in 1965, is a renowned Japanese creative director and graphic designer. He graduated from Ta...
29/05/2026

Kashiwa Sato, born in Tokyo in 1965, is a renowned Japanese creative director and graphic designer. He graduated from Tama Art University’s Graphic Design program and worked for 11 years at Hakuhodo, a leading Japanese advertising agency, before founding his own studio, Samurai, in 2000. Known for his minimalist and iconic design approach, Sato draws inspiration from Japanese culture and traditions, emphasizing simplicity and clarity. His work spans branding, logo design, product development, and architecture, with notable clients including Uniqlo, Honda, and Seven Eleven.Sato designed Uniqlo’s current logo, introduced in 2006, to reflect the brand’s Japanese identity and global ambitions. The logo features the word "UNIQLO" in a custom typeface, stacked vertically, against a bright red square background, echoing the colors of the Japanese flag. A second version incorporates the Katakana script "ユニクロ" (yunikuro), creating a dual-language design intended to appeal to both Japanese and international audiences. This redesign debuted at Uniqlo’s flagship store in New York’s SoHo district and became the official logo in Japan by 2009. Sato’s intention was to make the logo simple, memorable, and evocative of Japanese pop culture, aligning with Uniqlo’s global branding strategy under CEO Tadashi Yanai. He has also overseen broader branding efforts, including store designs and the UT T-shirt line, reinforcing Uniqlo’s identity as a functional yet culturally rooted fashion brand.

In 1965, Saul Bass redesigned the corporate identity for Celanese Corporation, a global chemical and materials giant. Th...
28/05/2026

In 1965, Saul Bass redesigned the corporate identity for Celanese Corporation, a global chemical and materials giant. The original 1920s script logo failed to unify the company’s diverse portfolio, spanning fashion textiles to industrial products. Bass’s solution was a stylized “C” logo, a versatile, abstract spiral that bridged these worlds. Designed for adaptability, it worked across signage, storage tanks, clothing labels, and TV animations. The logo’s vertical and horizontal lock-ups ensured clarity at any scale, paired with a custom sans-serif typeface for uniformity and a warm reddish-orange palette for consistency. This design symbolized Celanese’s progressive identity, replacing fragmented divisional symbols with a unified voice. Used until the 1987 Hoechst acquisition, the logo exemplified Bass’s genius for creating timeless, functional corporate identities that endured for decades.

Commodore's Chicken Lips Logo: From Typewriters to 17 Million C64sChris Yaneff, a Canadian graphic designer, crafted the...
26/05/2026

Commodore's Chicken Lips Logo: From Typewriters to 17 Million C64s

Chris Yaneff, a Canadian graphic designer, crafted the iconic Commodore logo in 1965, originally for the company’s typewriters and calculators. This stylized "C" with a swallow-tailed flag, affectionately nicknamed "chicken lips," featured red and blue colors symbolizing innovation and nostalgia. Its geometrically simple design, with a slight ellipticity, scaled effortlessly across products. The logo gained legendary status with the Commodore 64, launched in 1982, which sold over 17 million units. Early "silver label" C64 models showcased a silver version, while later iterations adopted the classic red-and-blue scheme, becoming a hallmark of 1980s computing culture. Despite Commodore’s bankruptcy in 1994, the logo’s legacy endures, preserved by trademark holders and recreated by retro enthusiasts. Yaneff’s other works remain largely undocumented, making this design his enduring contribution to tech history.

Photo Credit: Commodore International Historical Society

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