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Animals in logo design

Let me know if i’ve missed your favourite example and i’ll add to the list

A number of the worlds most famous brands feature animals in their identity – an age-old technique of implying characteristics to a brand – such as the confident and brave lion, or a loyal dog.

Here are some of my favourites – both high profile, and others that I have stumbled across over the last couple of years…

HMV

His Master’s Voice by Francis Barraud (1899)

HMV stands for His Master’s Voice, a painting by Francis Barraud. Francis’ late brother’s dog, named Nipper, listens to a recording on a wind-up gramophone of his owner. The Gramophone Company didn’t begin to use the mark until 1909, and wasn’t formally known as ‘HMV’ for some time afterwards – but was referred to as that by the public – testament to its effectiveness and popularity as a logo.

Recently, HMV rebranded again, with Nipper taking on this current form.

The identity has been developed over the years into a somewhat more simplified illustration.

Fundacion Maria Jesus

Designed by NUZ Estudio

I fell in love with this logo / illustration the first time I saw it. It’s a charming drawing, but the colours and the way everything works into a circle also help to make this live in the memory. Bravo NUZ Estudio.

World Wide Fund for Nature

Designed by Sir Peter Scott (1961) – redesigned by Landor Associates (1986)

“We wanted an animal that is beautiful, is endangered, and one loved by many people in the world for its appealing qualities. We also wanted an animal that had impact with black and white printing to save money on printing costs.”
Sir Peter Scott

Netto

Designed by Peter Hiort (1991)

Hailing from Denmark, Netto is a chain of discount supermarkets, with stores across Europe. They chose a Scottish Highland Terrier to symbolise its outlets where great savings are possible – apparently, because Scots are supposed to be good with money (tell Gordon Brown that!). I applaud the continuing use of this two colour, high contrast design – it’s fun but clean.

Lacoste

Designed by Robert George (1933)

In the late 1920′s, French tennis star Jean Rene Lacoste was nicknamed ‘the Crocodile’ for his tenacious fighting style. After his career, Lacoste co-founded a sportswear company, making great use of his fame in this new venture.

Playboy

Designed by Arthur Paul (1953)

In use since the second ever issue of Playboy magazine, interestingly, this mark has never been altered since. The designer chose the subject of a rabbit for its humorous sexual connotation, while the drawing itself seeks to reflect the magazine’s lively and amusing character. A resoundingly successful design, the Playboy logo is easily one of the most recognisable logo’s ever.

Market Rasen Racecourse

Designed by [unknown]

I love the sense of movement and the clever use of negative space. It’s very refreshing and modern for a racecourse logo – which tend to be very traditionally styled – so it was a brave move by the client to go for this, and one that paid off.

Ferrari

Some logos have stories, and then there is Ferrari!

“As my trademark, I continued to use the rampant horse that had been used on the cars of the old Scuderia Ferrari.”
Enzo Ferrari

The horse was orignally the symbol of legendary “asso” (ace), Count Francesco Baracca who served in the Italian Air Force during World War I. Baracca was shot down and killed on June 19th 1918, after 34 victorious duels and many team victories. The Count wanted to use the prancing horse on his aircraft, as his squad was enrolled in a Cavalry regiment (Air Forces were in their infancy at this time and had no separate administration).

“In 1923, when competing in the first Circuito del Savio, at Ravenna, I made acquaintance of Count Enrico Baracca, the hero’s father; as a result of that meeting, I was subsequently introduced to the ace’s mother, the Countess Paolina Baracca, who one day said to me: Ferrari, why don’t you put my son’s rampant horse on your car? It will bring you luck.
I still have Baracca’s photograph, with his parents dedication in which they entrust the horse to me.
The horse was, and has remained, black; whilst I myself added the gold field, this being the color of Modena”
Enzo Ferrari