Darren Leader Studio

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Logo Rewind – front cover reveal

Defining the ideal front cover can be a challenging task – but I think the medieval trademark of Thomas Waryn, dyer, and its application of line and symbols convey the theme of passing time.

Plus, I’m excited to reveal that Jens Müller, design historian and author of ‘Logo Modernism’ has contributed the Foreword to Logo Rewind. Jens joins academics from UEA, NUA, Design Council and the Norwich Museum Services that have all written insightful essays.

And the book is now available to pre-order, with a discount ahead of its publication in October.

Order your copy at ueapublishingproject.com

Rewind Discoveries: Franz Rziha

Here is another name that is new to me – Franz Rziha. Another individual that was fascinated by the signs of the distant past and how they were designed.

The designs of merchant’s marks at first glance, appear to be intuitive and perhaps decorative. However, closer inspection reveals intelligent geometric practice. This is further explored in my essay, ‘Theories of Practice – Examining Medieval Design Methods’, for the book ‘Logo Rewind: Trademarks of Medieval Norwich’ (2023).

Here’s a brief extract:

‘Franz Rziha (1831–1897), engineer and writer, contemplated a similar question in his book, Studien über Steinmetz-Zeichen (Studies on Stonemason Signs) (1883), and submitted a theory that during the Middle Ages, a master craftsman would present their successful apprentice with a ‘mother-diagram’, to create their own mark.’ 

Find out more when ‘Logo Rewind: Trademarks of Medieval Norwich’ is published in October.

Rewind Discoveries: Rudolf Koch

The research process for Logo Rewind frequently uncovers medieval logo designs and history – the latest is Rudolf Koch, Letterer and Type Designer from the early 20th century. His typography is exemplary, but it appears that he also had a fascination for ancient signs, similar to my own.

Getting to know Rudolf’s work has been transformational for my research, and has revealed some striking connections. Firstly, he applied his mark with medieval characteristics.

He also wrote, ‘The Book of Signs’ (1923), his own investigation into the meaning of signs from the Middle Ages, and it featured numerous examples used by working people and religious institutions. Fortunately, I’ve managed to find an original copy from Ebay.

Rudolf’s interest did not end there. He encouraged each member of his circle of craftsman to follow a similar medieval design aesthetic and design their own mark – one of his colleagues was Berthold Wolpe, who famously went on to create the typeface Albertus and design book covers for Faber.

My work on Logo Rewind continues.