THE TYPOGRAPHIC SYMBOL
A good symbol is usually, but not always, the expression of a unified design
for advertising and manufacture. It must be original and simple in form.
have a very high degree of memorability, and be easily recognized and
noticeable. By no means every symbol has these characteristics. a proof of
how difficult it is to design a really good symbol for a firm or a range of
goods. A brisk propaganda for this elementary method of advertisement
has resulted in a real flood of new symbol designs. So truly effective sym
bols are now doubly rare.
Symbols are mostly designed and drawn today by graphic artists. These
drawn designs have no technical restrictions except that as a rule they
must be in black and white, without halftones.
A symbol need not be only drawn. It is also possible to design symbols,
sometimes even more effectively, by using typography. The advantage of
such "typo-symbols" are: no block costs. the facility for reduction and
enlargement. and the strength inherent in all things whose appearance
comes from a technical manufacturing process. The means available to the
printer for designing symbols are the typographic contents of the
KURT SCHWITTERS: Symbol for the word Pelikan