Logomotive: Railroad Graphics and the American Dream

(Hardback)

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Description

Ian Logan fell in love with American railroads back in the 1950s. Inspired by the songs of folk and Motown, he set off to see the places, the trains, the locomotives, and the everyday life of the first machine-powered transportation system on the North American continent.

A designer of fabrics, tin, and enamelware, Ian Logan was fascinated by the typography and graphics of the railroad companies. In the 1960s and 1970s he made hundreds of rail journeys, recording the insignia, the logos, the slogans, and livery of railroad companies big and small, East and West coast and transcontinental. He even created designs for them.

In Logomotive his photographs are assembled into chapters and picture essays recalling the great days of lines such as the Santa Fe, the Union Pacific, and the Kansas City Southern. Some of his journeys are presented as travelogues in which he meets the Fat Controller, gets to sound the horn, and wanders into freight yards to see the last generation of streamline locomotives rusting amid the weeds. Animal motifs, Native American allusions, advertising slogans, names of famous trains such as the Super Chief and the Wabash Cannonball provide the subject matter for other picture features.

When Ian Logan embarked on his journeys the passenger railway system was already declining under competition from the automobile and the plane. He was just in time to capture a vanishing world. Construction workers were demolishing the Southern Pacific railroad depot in San Francisco while he photographed it. Here is a once-in-a-lifetime glimpse into the past, preserved on film by the enthusiasm of a designer who knows a good graphic when he sees one.

In the accompanying text, the eminent design commentator Jonathan Glancey explores the distinctive visual language of the US railroads, reveling in its gritty dynamism.

Reviews

In these times, the commercial design agenda is generally set by things like automobiles, sneakers, and financial institutions. We see their logos, typographic trends, and color schemes everywhereon billboards, atop stadiums, beaming at us from our flatscreens and smartphones. Decades ago, though, the public design space was largely the province of railroads, as shown in Logomotive: Railroad Graphics and the American Dream, a beautifully produced compendium of railroad design from Sheldrake Press, a London-based publisher. The authors are Ian Logan, a noted practitioner on the British and European design scene; and Jonathan Glancey, a veteran writer and correspondent who covers design and architecture. Award-winning British architect Norman Foster offers an eloquent and insightful Foreword. The authors bring a fresh and utterly British sense of surprise to a subject that, for readers of this magazine, is likely quite familiar. I got a kick out of Logans story about his first trip to the United States, in 1968, and his encounter with a famous name on the side of a boxcar. I couldnt believe what I was seeing: the train was emblazoned with the name Rock Island. My uncle was the singer and songwriter Ewan MacColl, and I was brought up listening to folk, skiffle, and blues, so of course I knew Ronnie Donegans recording of the Rock Island Line, but I hadnt worked out that the Rock Island was a real, operational railroad. The rest of the book chronicles similar revelations. Much of Logomotive is dedicated to exploring and showcasing the company logos and heralds that have enlivened the railroad scene since the late nineteenth century. You will see multiple iterations of all the classicsthe Pennsylvania keystone, Santa Fes Warbonnet, MoPacs buzzsaw, Seaboards red heart, B&Os capitol silhouetteplus several obscure ones, accompanied by the authors sharp typographical and design analysis. One of the strengths of the book are the myriad visual contexts of the logos: on timetables and travel posters, along the flanks of diesels and freight cars and early streamliners, embedded into the walls and lintels of great stations, imprinted on matchbooks and ashtrays. Its refreshing that not everything is presented in a pristine state. There is a poignancy to a weathered Western Pacific Feather River herald, riveted to the side of a tugboat funnel; or to an SP Sunset logo, struggling to be seen through the rust of an old freight car. As familiar as the subject might be, you can learn a lot from this book. I was fascinated by its take on designer Herbert Matters creation of the famous McGinnis-era New Haven logo, as well as Allan Flemings evolution of Canadian Nationals superbly modernistic CN, first envisioned on a paper napkin. Youll see the way New York Centrals oval transitioned from its early elegant serif font to the sans-serif sterility of the cigar band, or how Great Northerns Rocky the mountain goat was updated. There were surprises, too, at least for me. I had never realized that the Cotton Belt logo of the 1880s derived from a cross-section of a cotton gin, and I was surprised to learn that design superstar Milton Glaser was responsible for Genesee & Wyomings versatile black-orange-yellow brand. The publisher has served its subject well, with a first-class horizontal treatment that includes sharp color printing, heavy paper, and a durable imprinted cover. Although the rather brief narrative is aimed at a general audiencesome of the Brits observations are amusing, and a glossary at the end is as basic as can bethe book serves as an authoritative overview of the high tide of railroad design, written by professionals who really know their business. -- Kevin P. Keefe * Railroad Heritage Magazine *

Author Bio

A designer of fabrics, tin, and enamelware, Ian Logan was fascinated by the typography and graphics of the railroad companies. In the 1960s and 1970s he made hundreds of rail journeys, recording the insignia, the logos, the slogans, and livery of railroad companies big and small, East and West coast and transcontinental. He even created designs for them. Jonathan Glancey, FRIBA is an architectural critic and writer who was the architecture and design editor at The Guardian, a position he held from 1997 to February 2012. He previously held the same post at The Independent. He also has been involved with the architecture magazines Building Design, Architectural Review, The Architect and Blueprint. He is an honorary fellow of the Royal Institute of British Architects, RIBA.