Today, post-Trump, post-Cummings, mid-pandemic, we long for truth and transparency. Super-reflective metallic crests made the leap from car bonnets to the printed page, amoebic globes and amorphous blobs clung to wordmarks, and nameless dripping liquids strained bandwidth as they animated home pages. Curves, contours and complex colour gradients were deceiving the eye everywhere you looked. In 2007, the creative world was in thrall to skeuomorphic user interfaces and 3D icons. Much has changed in logo design since the original edition was published.

It’s a major transfusion of new material and a few classics, collected and selected from around 100 of the most accomplished and original practitioners in the field. Around a third of the wordmarks and symbols from the first book have gone, replaced by 600 of more recent vintage, bringing the total number of marks up to 1,500. The content of the book is tangibly different. Fourteen years on from its original publication, it’s high time things changed. The book contains material from China, Singapore, Taiwan and Hong Kong, Canada, Iran, South Africa, Australia, Russia, as well as the broad sweep of European countries: UK, France, Germany, Spain, Switzerland, Italy, Greece, Portugal, Scandinavia, Benelux, Poland and other Eastern European countries.There’s a lot that’s different about the new edition of my book, Logo, which has just been published by Laurence King. Retaining the striking black-and-white aesthetic and structure of Logo (also by Michael Evamy) and Symbol, 'Logotype' is an important and essential companion volume. Contributing design firms include giants such as Pentagram, Vignelli Associates, Chermayeff & Geismar, Wolff Olins, Landor, Total Identity and Ken Miki & Associates as well as dozens of highly creative, emerging studios.

Examples are drawn not just from Western Europe and North America but also Australia, South Africa, the Far East, Israel, Iran, South America and Eastern Europe. 'Logotype' is truly international, and features the worlds outstanding identity designers. Featuring more than 1,300 international typographic identities, by around 250 design studios, this is an indispensable handbook for every design studio, providing a valuable resource to draw on in branding and corporate identity projects. 'Logotype' is the definitive modern collection of logotypes, monograms and other text-based corporate marks.

Logotype by Michael Evamy