The Simplification of NFL Team Logos
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the various graphic elements embedded within it. Logo designs were likely a
manifestation of the relationship between the medium’s technological
requirements, the game itself, and the stylistic evolution of graphic design.
Television’s aesthetic requirements dictate the use of certain techniques to
produce an effective visual stimulus. Ziegler, Greco, and Riggs (2002) state that
there is a “fusing of creativity and technology in contemporary media” (p. 8).
However, early forms of television were challenging in regards to graphic
design.
Television as a medium in the 1950s and 1960s was not a particularly good
medium for creative outlet. Its scanning process—alternating lines of resolution
at 525 lines, not particularly conducive for fine details—was observed by
McLuhan (1964). The size of the television screen and its black-and-white
image were additional issues to consider. Borrows, Gross and Wood (1998), in
describing one of the critical principles in television graphic design, wrote
“Keep it simple—all lettering, all design elements, and all artwork. The screen is
too small and the scanning lines are too blurry to permit any fine detail.. . . This
is particularly true with lettering styles. Letters should be bold, thick, and well
defined, with a sharp, firm contour” (p. 228). Lettering style with serifs also
should be avoided. In addition to the technical considerations of television, the
very fast motion of the football game itself needs to be considered. If there is too
much detail on a logo design, the television viewing audience will not be able
comprehend it. McCaskey concurs: “It’s my opinion that a simpler logo in that
context is better.. . . Now if you look at the Baltimore Ravens’ helmet decal, for
instance, oh my gosh, there’s a lot on that helmet. And at some point I think you
risk it getting too busy from a design standpoint” (G. McCaskey, personal
communication, April 2, 2007).
Graphic Design. In the middle part of the 20th century graphic design was
defined by the International Typographic Style that emerged out of Switzerland
and Germany and made its way to the United States (Meggs & Purvis, 2006).
Clarity and order were the defining characteristics of this style that denounced
personal expression and eccentricity. “The initiators of this movement believed
that sans-serif typography expresses the spirit of a more progressive age and that
mathematical grids are the most legible and harmonious means for structuring
information” (Meggs & Purvis, 2006, p. 356). The philosophical approach taken
by this style would influence graphic design into the 1990s.
At the same time, the post-war United States was becoming increasingly
more mobile and television-oriented. For a nation on the go, graphic information
needed to be simple and easy to read when speeding past a billboard along the
highway, flipping through a magazine, or watching a television program. Meals
were eaten on the go, in the car, and in front of the television. Fast food
restaurants and TV dinners were part of the evolution in dining behavior.
Innovative packaging was simple, organized, and compartmentalized (see
Cullen, 2001). The game of football embodies these characteristics. Players have
highly specialized roles in a top-down, militaristic game where the goal is to