LogoArchive returns with Issue 5 – Technique. The technical limitations of the mid-century—the need for a steady hand and a precise mind for mechanical reproduction—demanded that an exceptional level of care and creativity be given over to shape and space, association and perception. These considerations created a rich corporate and consumer form language and range of graphic techniques. These have been partly marginalised, usurped by modern print and display technologies. They do remain as useful reference points in which to help create an effective symbol today, one that works well in a black or white, can be used with vibrant inks, seductive materials and eye-catching finishes as well as being displayed in motion on ever more diverse screens types.
LogoArchive Issue 5 focuses on eleven simple techniques, naming them, exemplifying them and offering short commentaries. It serves as an archival and pedagogical document, offering an alternative take on the ubiquitous logo tips article. In this way it looks at things another way around. This alternate viewpoint manifests itself materially in the dual modes of reading the zine, either portrait and symbol first, or landscape text first. By presenting these texts in a landscape format, the zine encourages its readers to embrace the full materiality of what began as a digital Instagram project, and view the symbols documented in different ways, to see how their form language is diminished or enhanced.
Issue 1 of LogoArchive was conceived, designed and sent to the printers within a day. It was inspired by a panel discussion that took place at Somerset House as part of the exhibition Print! Tearing It Up Today’s zine and a revival of an independent spirit, as well as the continued rise of niche print, is a question posed to publishing and distribution structures of today as well as the enduring vessel but one-off material gesture of the bound book. The LogoArchive Instagram project was founded on a long-standing love for a well-crafted symbol. However, in print, it was never imagined as a document with just a singular intention; the simple documentation of symbols, rather a mode in which to build a story and migrate ideas.
This project intends to explore the potential of the zine to reconfigure itself frequently by way of a changing insert. This is housed within the consistent form of a booklet. Issue 4 explores the liminal space between architecture and graphic design, firstly, in the documentation of symbols created for architects, architectural magazines, events and unions, and secondly, by employing the architectural and literary notion of nesting; the placing of one narrative inside another. This manifests itself in the form of a “zine within a zine”. Both exist as individual objects, however, together gain further meaning in the space and dialogue between them. The abstract texts within the insert serve as a counterpoint to the visual language of the symbols chosen to be presented in this issue. Put differently, the immediacy and visual delight of mid-century symbols and the materiality of the booklet become the mode in which to move the thoughts of the zine within. For those up on your memes, Yo Dawg.
LogoArchive Issue 4 will be printed by WithPrint on Colorplan Ebony 135gsm with multiple passes of white ink on an HP Indigo press. It features an eight-page zine insert available in three different paper colours, printed with black. These are bound with black staples. Sign up for release notifications here.
Opinion by Richard Baird
Lukas/Markus is a decade-long photographic project by Kalle Sanner shot with a large format camera and exploring the mirrored and connected chapels of Saint Lukas and Saint Markus designed by architect Sven Brolid. The structure was built during the 1960s, a period when Swedish functionalism was at its height, and is located in the Western Cemetery of Gothenburg.
The book, released May 2018 and co-published by ll’Editions and Blackbook Publications, exists in two versions. The first is an 82 page cloth-bound hardcover trade edition that measures 200 x 223 mm and the second is a special edition housed within a handmade clamshell box that includes an embroidered handkerchief and one of three c-prints signed and numbered by the photographer. Both of these books were designed by Scandinavian studio Lundgren+Lindqvist.