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  2. Chermayeff & Geismar & Haviv - Wikipedia

    en.wikipedia.org/wiki/Chermayeff_&_Geismar_&_Haviv

    Chermayeff & Geismar & Haviv logo design for Warner Bros. Entertainment and its division and subsidiaries (2023) [39] Chermayeff & Geismar & Haviv logo design for TNT Sports US (2023) Chermayeff & Geismar & Haviv logo design for Warner Bros. Pictures Animation (June 9, 2023-January 11, 2024)

  3. Sagi Haviv - Wikipedia

    en.wikipedia.org/wiki/Sagi_Haviv

    A Brand New Logo. Fast Co. Design; America has a 250th birthday coming up, and that birthday now has a logo, Boston Globe; Warner Bros. Discovery Gets a Modern New Logo in Fast Co. Design; Chermayeff & Geismar & Haviv’s striped logo for the US Olympic and Paralympic Museum takes the form of an “abstract flame” on ItsNiceThat.com

  4. Tom Geismar - Wikipedia

    en.wikipedia.org/wiki/Tom_Geismar

    It was met with resistance but stood out from competition, leading other corporations to create abstracted corporate logos. [6] His designs for Xerox, Chase Manhattan Bank, Best Products, Gemini Consulting, PBS, Univision, Rockefeller Center and, most notably, Mobil (1964) have received worldwide acclaim. Geismar has also had major ...

  5. Add, rename, and change your toolbar icons in AOL Desktop Gold

    help.aol.com/articles/Change-your-toolbar-icons...

    Add your favorite featured products or services to your Desktop Gold toolbar and they'll always be one click away. 1. Sign in to AOL Desktop Gold.

  6. Bruce Blackburn - Wikipedia

    en.wikipedia.org/wiki/Bruce_Blackburn

    NASA "worm" logo by Bruce Blackburn and Richard Danne Orion Artemis I. Blackburn worked for Chermayeff & Geismar, a design firm in New York, by the late 1960s. [1] In 1974, Blackburn was a designer, with his partner Richard Danne, of the 1976 NASA logo, also known as the "worm" for the shape of the red letters that make up the logo [1] [2] for astronaut's uniforms. [3]

  7. Herb Lubalin - Wikipedia

    en.wikipedia.org/wiki/Herb_Lubalin

    Lubalin entered Cooper Union at the age of seventeen, and quickly became interested in typography as a communicative implement. Gertrude Snyder notes that during this period Lubalin was particularly struck by the differences in interpretation one could impose by changing from one typeface to another, always “fascinated by the look and sound of words (as he) expanded their message with ...