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New Logos From Hugh
Sharpe and Berkeley Fitzhardinge
| Descriptive Notes about this group of logos
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The Logo is based on the spiral form
which has significance in several places in the Edmund Rice Icon. The
form creates a link between the logo and the strong Edmund Rice focus of
the icon. There are two forms of the logo: a simplified version as at
the left and a detailed version.
The
colours used are:
Gold for the central core in keeping with
the use of gold in Icons to represent destiny/eternity/the spirit.
Red to represent our fire/flame of zeal, love and dedication.
Green to represent our Irish origins as well
as Hope and the Future -- concepts that inform our personal lives and
are also our main motivation - improving future prospects for our
clients.
Blue to represent the light of day, the earth
and an authentic human life into which our members and our clients move
with increased confidence. It gives us glimpses of the ‘blue planet’
which underlies our works and hopes, and a planet we are learning to
cherish spiritually and ecologically. Blue also represents our
traditional devotion to Our Lady. |
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White, Burnt Siena and Brown represent the
internationality of the membership of the Congregation, (people of every
colour). The colours also symbolise the fields of our work: Those
marginalised in the first, second and third worlds of human development.
In the simplified design these concepts are contracted into the extra
colour used (mauve in the above example. Mauve is also symbolic of
respect).
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Shape and content:
The shape
is ovoid (egg-shaped) to symbolise the constant re-birth that is a
challenge to the members who will wear it as well as grounding ourselves
in earthly ministries.
The design
is not symmetrical to symbolise the complexity of living a lay religious
life with active ministry among those on the margins.
The circle
symbolises both the source and goal of our living: to deepen spiritual
values in both our own members and clients.
The cross
symbolises our Christian origins and goals. In combination with the
circle it also symbolises food and learning as well as commitment and
eucharist.
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The spiralling forms
represent flames of love, action, contemplation, dedication and
sacrifice. They can also symbolise the three vows as they enrich the
individual member and facilitate outward-looking mission.
They can also represent both members and
clients in a constant inwards and outwards movement – inward towards the
values that enrich life, - outwards to embrace humanity and its needs.
The upper smaller form can be taken to represent youth and care for the
young and the formation and pastoral care of our new members. The
outspread and embracing arms represent inclusiveness, working and
celebrating together, prayer and praise. The spiralling figures can also
be seen as bells, announcing good news to all: “to proclaim liberty to
captives and to the blind new sight, to set the downtrodden free, to
proclaim the Lord’s year of favour” (Luke 4:18-19)
The three outermost circular shapes:
As well as humanising the spiralling forms, symbolise the importance of
communal prayer (a memory of the rosary beads which was an important
early devotion). They are also symbols of world cultures – the dot
painting of remote Australian Aboriginal Tribes, and the bead craft of
the African Masai. |
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Major design aims were to create a logo that:
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Is totally unique – a vital quality of a
good logo. No logo is immediately identified by observers. A good
logo, though, because of its unique design, involves a shorter
learning curve.
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Has an inherent sense of movement ie is
not static.
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Has a ‘wow’ factor – making people ask
about its significance.
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Speaks to both the wearer and the observer
of the aims of the organization which are always in process ie
inspires the wearer and educates the observer.
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The image is taken from the Edmund Rice Icon. My suggestion is that
the icon is a source of several concepts which could be developed as
logos, in particular any of the various spirals. 359a is merely an
example and a logo could be developed using it as a source of
inspiration. Please ignore part of the founder’s head which I could not
easily remove.
Up to three spirals may be able to be accommodated in the smallest
logo.
A small heart, star or cross could stand alone at the centre or be
combined with a coloured circular shape.
The spirals would symbolise our movement inwards or into the depths
of human and religious life (reflective/spiritual/educative/affirming)
combined with our movement outwards (internationality/margins/inclusivity/needy/ignorant).
Such a design would not only capture our present and future entity,
but be a constant challenge to the wearer of the goals of our
Congregation and Edmund Rice Family.
A series of coloured dots around the perimeter of the logo could
symbolise the people we work with/for/among, the rosary (devotion to Our
Lady) as well as stand as cultural symbols (Aboriginal sand or dot
painting, Masai craft with coloured beads).
Alternatively, the three spirals could end in coloured oval/round
shapes, turning them into human symbols that are rooted in the central
symbol and moving outwards towards humanity.
The possibilities that can arise from a logo artist working from
these ideas enthuse me for the following reasons:
- The design would have a uniqueness about it
that logo versions strongly based on a cross form may not have. I
believe that no logo informs the viewer about the identity of the
wearer at first sight. A good logo, by its unique design, is
remembered by the viewer from previous associations and gradually
comes to be defining of the wearer. For example the Mercy Cross is
readily recognisable, not because it tells us of the Mercy
Congregation. It is instantly recognisable because it has a unique
design and as well many Mercy Sisters wear it and it is used as Logo
for Mercy enterprises as well as letterhead etc and so has become a
familiar symbol.
- The spiral-based design has an active
symbolism which asks for an explanation.
- It can be made into a colourful design which
attracts attention and can become memorable.
- It can include a cross symbol without being
based on the cross shape
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I believe that the process is too focussed on endpoints eg a particular
logo design.
My opinion is that the quest for a logo be widened to include the uses we would
make of a logo - eg
- Larger or more complete forms in posters, wall hangings etc
- Versions that might be used on walls of houses, buildings etc
- Smaller Versions for publications, letterhead, internet use
- Smallest versions for use on ties, tie-pins, embroidered on shirts etc.
In my opinion this widens the scope (size, content, colours, symbols) of the
logo. For example the full logo may include several elements from which one or
two are used in smaller versions.
For a logo that is personally worn, someone suggested that for a man an engraved
shaped or enamelled ring might be more appropriate than a brooch as currently
worn.
The personal logo would need to be available in versions to suit the cultures
and dress customs of our members. For example an around the neck version might
be an optional alternative to suit forms of African dress or hot climates where
ties are not worn.
Personally I do not think a traditional cruciform shape is a good start, neither
is celtic colouring or tracery. We need to display not our origin but our
present (which soon will become the near past as the logo will have a life of
many years). Presently we are an international congregation of laymen (not
clerics and among male wearers crosses have been associated with clergy) with
our current impetus coming out of Africa and Asia (India) and our work
increasingly being social as well as educational in scope.
A textual discussion not tied to producing a considered preferred logo might
help your committee find its way in this matter.
Regards
Berkeley Fitzhardinge HSP
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