There are many examples of logos, of companies operating in the field of metalworking, which revolve around the elementary symbolism of shavings, gears, screws, propellers, simple geometric figures, etc. On the other hand, in the case of the pictogram, it was usually an explicit attempt to graphically translate the typical product or process handled by the company. Two or three dotted letters, typically taken from the founder’s name or the partner’s surname initials. In general, the design process of a logo in the metal and mechanical sector has always ended up in the more or less elaborate logogram of the company acronym. Just because it represents the very essence of the company identity: who we are, what we do, what distinguished us and which values drive us. That sense of ideological belonging that should drive the company to take care of it, protect it and disseminate it in the most appropriate and qualified way. What I have always felt, in the widespread and spontaneous culture of small-medium production companies in Brescia, is the lack of an identity approach to their logo. A distinctive symbol, often stimulated by the accountant, and used for a wide variety of purposes: from the transport documents of goods to the adhesive tape to seal the packaging. The first step was to take a close look at the existing logo, investigating on the communicative stimuli that has originated it, regardless of personal judgment on the force of aesthetic emotional impact.Īs for most of the small companies that, in the 1980s, grew up with the urgency of doing so, identification through a logo did not really respond to a communicative need but, in most cases, represented a sort of administrative tinsel for the letterheads.
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