All About Logos

Carl Shank • September 1, 2022

I like and resonate with what John McWade said to us novice designers in the magazine he founded and edited, "Before & After," in the 1990s — "Learn typography. In my years of reviewing the portfolios of college graduates, I've seen most consistently a weakness in handling type. Type is the voice of the printed word, and your greatest tool. Learn it well. If you're learning on your own I suggest you study the typography in major magazines. Pay attention to the ads. Watch for type selection, size, spacing, position on the page, relationship to other type, contrasts and so forth. Duplicate what you see." (Before & After, Vol. 4. No. 6, 1995) His most ardent desire was for us to practice craftsmanship, which he reflected in the pages of these issues of Before & After. If you can get hold of them, prize them, study them and reflect on the craftsmanship in them.


He left nothing to sloppiness or a truncated view of typography. In his remarks about logos, he wrote — "In graphic design parlance, the word marks properly refers to the broad group of designs that are used as corporate signatures. Marks without type are called symbols, but symbols used to communicate (like in traffic signs and on restroom doors) are really pictographs. When marks are wholly typographic, they can be either lettermarks, which are usually initials or abbreviations, or logos, which may be entire words or the company name. When symbols and logos are used together, they are referred to as combination marks. And when any of the above are registered and protected by law, they are referred to as trademarks." (Before & After, , Vol. 5, No. 3, 1996, p. 5)


You can see some of these logos below in the sample.

Successful Layout & Design

Small Caps

By Carl Shank • August 4, 2026
small capitals (often called small caps) are specially designed uppercase letterforms that have the proportions and stroke weight of lowercase letters while retaining the shapes of capitals. They are not simply reduced full capitals; true small capitals are drawn specifically for the typeface. Small capitals originated during the Renaissance as printers sought a harmonious way to incorporate the dignity of Roman capitals into continuous lowercase text. Over five centuries, they became a hallmark of fine typography, especially in books, Bibles, scholarly editions, legal documents, and reference works. When properly designed as true small capitals rather than scaled-down capitals, they provide elegant emphasis, improve textual hierarchy, and contribute to the refined appearance that has characterized high-quality typography since the sixteenth century.

All About Romans

By Carl Shank • August 1, 2026
All About Romans. No, not the Roman Empire, or the Caesars, or Christ, but the typographic distinction between Old Style Roman and Modern Roman typography. Roman typefaces are among the most influential developments in the history of typography. Although all Roman types descend from the humanist writing of the Italian Renaissance, they evolved into distinct stylistic categories over several centuries. Two of the most important are Old Style (Old Face) and Modern (Didone) Roman typefaces. They differ not only in appearance but also in their historical origins, methods of production, readability, and aesthetic philosophy. Old Style and Modern Roman typefaces represent two major stages in the evolution of Western typography. Old Style typefaces preserve the humanist ideals of Renaissance calligraphy, emphasizing warmth, balance, and readability. Modern (Didone) typefaces embody the Enlightenment pursuit of precision and refinement, using strong contrast, vertical stress, and delicate serifs to create a dramatic, sophisticated appearance. Together, they established the foundation for later serif classifications—including Transitional, Slab Serif, and Contemporary designs—and continue to influence typography in publishing, branding, and digital media today.
Show More