
INTRODUCTION Of all the tasks a graphic designer has to face and solve, that of designing a trademark is without doubt the one which implies the greatest effort to achieve synthesis and clarity. This, for several reasons. First of all, the use of lettering as a structural basis implies absolute readability. Secondly —and because of the first— he is obliged to seek particular graphic means to express a specific content, without diminishing the readability of the initial. Last of all, he must be commited to the image itself, apart from its content, in the search for an aesthetic solution which stimulates, in the observer's mind, a feeling of greatness, elegance and contemporaneous quality, and which has durability when competing with other images. Despite the surge of abstract designs in the field of commercial promotion, it is interesting to note that the trademark continues to offer clearer, more precise and more memorable solutions, thanks to the dual relation of form and content. Even more noteworthy is the intense search carried out by the graphic designer in solving the forementioned difficulties, as can be seen in the examples chosen. One might mention that there are three bas
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