![]() ![]() The second genre has to be more flexible, like the heroes it’s designed for it has to be able to grow and adapt. The first is consistent, it has a permanence, is practically unchanging, and basically is just like the heroes it represents. Personally, I have a strong preference for two kinds of logos Old-school logos, and reinvention logos. Visually, a logo must give a hint of what to expect, to entice the appropriate people to pay attention. Just like a business logo, comic logos are designed to echo the characteristics and aura of what/who they represent. In the past I’ve done a fair amount of logo and identity development for various kinds of businesses and individuals. ![]() While I was reacting to comic logos on a gut level (which, incidentally is how I think graphic design functions work for most people), somewhere deep down I was also analyzing why and how. On some subconscious level I was cutting off from the rationale of why I was attracted to something, and simply enjoying the ride, the feeling, to desire to purchase and immerse myself in a new comic.Īs soon as I tried to explain all of the things that I wasn’t noticing, I realized that I was noticing them, but I hadn’t ever articulated my opinion, even to myself. I always chose to let my understanding and knowledge of design take a back seat to the simple comic-reader within me. It obviously isn’t that I dislike design, or don’t care about it (it’s my work and a passion), but when it comes to comics, I’ve always let the imagery speak first. ![]() I rarely notice comic logos on a conscious level, (unless they put me off buying the comic). Every time this came up, I avoided it, thanking the person for their suggestion, but dismissing it. the way the title of the comic is written on the cover. Since I started writing these articles for iFanboy, a few people have suggested that, as a professional graphic designer, it might be interesting to write about logos in comics, i.e. ![]()
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