As Mario Piazza says, the brand is “the tiniest particle but the most powerful personality disseminator.” Little wonder that logo design requires the utmost sensitivity. A coordinated image design encapsulates a subject’s identity and the era to which it belongs through a few simple graphic or typographic strokes. But given the speed today at which fashions, styles and even devices are evolving, logos can bear the brunt of the passage of time.
Very few logos have become “immortal” and made it into graphic design history; many could do with a redesign. Their transience, as we have recently seen, is related not only to time but succession. One example is the “logo” of the British Royal Monarchy, which, after the recent passing of Queen Elizabeth II had to be redesigned for King Charles III. The Queen’s historic monogram, widely visible throughout the United Kingdom, consists of Elizabeth’s initial, her ruling numeral “II” and R, which stands for Regina, Queen in Latin. The cipher is surmounted by the crown of St. Edward, which was made for King Charles II in the 17th century.
Besides intertwining the letters C and R, the big difference for King Charles III’s new monogram, designed by the College of Arms, is the somewhat obsolete graphic stratagem of the number III enclosed within the R (Rex) and the choice of the Tudor crown. Experts interpret this crown as a tribute to his grandfather King George VI, whose monogram featured the same item. Another major innovation is the double version of the Scottish crown monogram, approved by Lord Lyon, King of Arms.