Carril Bustamante

01/09/2026

The £50 logo that defined rock forever.

In 1970, art student John Pasche (BA Brighton College of Art, MA Royal College of Art) was recommended to Mick Jagger for a Rolling Stones European tour poster. Jagger loved the work and commissioned a logo for the band’s new label.

Inspired by Jagger’s mention of the Hindu goddess Kali and her protruding tongue, Pasche created the bold red “Tongue and Lips” design. It debuted on the 1971 *Sticky Fingers* album and instantly became the ultimate symbol of rock rebellion—still one of the most recognised logos on Earth.

Pasche was paid just £50. He sold the copyright for £26,000 in 1984. In 2008 the original artwork fetched $92,500 at the Victoria and Albert Museum.

15/08/2026

“It’ll Grow on Me”: How Phil Knight Nearly Missed the Power of the Swoosh.

The Nike "Swoosh," designed in 1971 by Carolyn Davidson, a Portland State student, draws from the Greek goddess Nike’s wing, symbolising speed and victory. Phil Knight, Nike’s co-founder, initially lukewarm, said it would “grow on him.” The logo’s minimalist curve, once criticised as a mere checkmark, became iconic for its adaptability, stretching across products without needing the brand name.

In Greek mythology, Nike, the winged goddess of victory, soared above battlefields, crowning heroes with glory. Daughter of Titan Pallas and Styx, she symbolised triumph in war and sport, often depicted with wings, a wreath, or a palm branch alongside Athena or Zeus. The Winged Victory of Samothrace, a breathtaking 2nd-century BCE sculpture, captures her dynamic grace, embodying success and achievement. Revered by athletes and warriors, Nike’s legacy endures as a beacon of excellence.

Inspired by this divine figure, the Nike brand adopted her name and crafted the iconic Swoosh logo, evoking the goddess’s wing. This sleek, curved design symbolises motion, speed, and victory, perfectly aligning with Nike’s ethos. Paired with the bold “Just Do It” slogan, the Swoosh has become a global emblem of athletic ambition, adorning footwear, apparel, and stadiums. From ancient Greece to modern tracks, Nike’s spirit of triumph unites mythology and modernity, proving victory is timeless.

15/08/2026

Turning Pixels into Meaning: The Vision of Susan Kare.

Susan Kare is the visionary graphic designer who humanised personal computing through her groundbreaking work on the original Apple Macintosh. At a time when computers were intimidating and text-heavy, she used a simple grid of pixels as her canvas to create a visual language that made technology feel accessible and even playful. Rather than relying on technical commands, Kare introduced intuitive, symbolic icons that people could instantly understand. Her most enduring creations include the smiling “Happy Mac” startup icon, the Command symbol (⌘), and the Trash can, designs that translated complex digital actions into familiar, real-world metaphors.

Beyond iconography, Kare also shaped the typographic identity of early computing by designing foundational fonts like Chicago and Geneva, which balanced readability with personality on low-resolution screens. Her work was not just functional; it carried a subtle sense of humour and warmth that softened the machine’s edges. By blending clarity with charm, Kare helped transform the computer from a tool for specialists into a welcoming, everyday companion, influencing how millions of people interact with technology to this day.

05/08/2026

Las cosas que uno tiene que ver. Han hecho un refrito de los discos —por cierto, maravillosos— que grabaron Tony Bennett y Bill Evans, metiendo, como quien no quiere la cosa, cinco temas que nada tienen que ver con aquellas sesiones.

Y lo más triste es la portada. Han utilizado una fotografía en la que solo aparece Tony Bennett y han eliminado por completo el nombre de Bill Evans, cuando el verdadero valor artístico de estas grabaciones reside precisamente en el diálogo entre ambos. En los discos originales, el nombre de Bill Evans figuraba con el mismo protagonismo que el de Bennett. Aquí desaparece.

El diseño lleva el logotipo de Craft Recordings, creo que es el sello que hoy gestiona este catálogo. Lo que ya no resulta tan comprensible es que la presentación dé la impresión de que se trata de un disco de Tony Bennett en solitario, relegando al pianista a un simple acompañante, cuando Bill Evans fue el auténtico coprotagonista de uno de los mejores encuentros entre un cantante y un músico de jazz de la historia.

Supongo que así colará con la excusa de que es un disco de baladas y se acabó.

31/07/2026

Y SI TODAVÍA NO HEMOS ENCONTRADO LA MANERA DE LEER LA OBRA DE FONTICIELLA?

Durante décadas hemos leído la obra de Fonticiella de forma fragmentaria: el escultor por un lado; los dibujos, por otro; los poemas y los escritos, como un apéndice. ¿Y si todo formara parte de un único pensamiento expresado mediante distintos lenguajes? Esa es la pregunta que me llevó a escribir este nuevo artículo, fruto del trabajo desarrollado en torno a El ingenuo y al proyecto LEGADO FONTICIELLA.
Es una invitación a replantear cómo se estudia una de las obras más singulares del arte cubano contemporáneo y a abrir nuevas líneas de investigación allí donde hasta ahora solo parecía haber oscuridad.

Si te interesa el arte cubano, la memoria y las preguntas que todavía siguen sin respuesta, te invito a leerlo en mi blog.

https://robertocarrilbustamante.mystrikingly.com/blog/y-si-todavia-no-hemos-encontrado-la-manera-de-leer-la-obra-de-fonticiella

15/07/2026

Bienvenido a mi página.
Soy Roberto Carril Bustamante, Director de Arte Editorial.
Desde hace más de treinta años desarrollo proyectos de diseño editorial, comunicación visual, ilustración e identidad visual para editoriales, instituciones culturales, empresas y agencias.
En esta página compartiré libros, proyectos editoriales, ilustraciones, motion graphics, procesos creativos y reflexiones sobre diseño y comunicación visual.

15/07/2026

Desde la herencia de Hollywood a la geometría moderna: la creación de Warner Bros. Identidad.
Emily Oberman, socia en Pentagram, dirigió el rediseño de 2019 de Warner Bros. , creando un sistema de identidad moderno que respeta casi un siglo de historia de Hollywood. Su desafío no era reinventar el famoso escudo WB, sino perfeccionarlo para un primer mundo digital. El rediseño implicó reconstruir el escudo y el monograma con una geometría cuidadosamente considerada, mejorando proporciones, espaciado y legibilidad en todo, desde pantallas de cine hasta pequeñas aplicaciones digitales. El proceso de construcción se centró en una silueta más limpia, relaciones equilibradas entre el escudo y las letras, y un sistema de diseño flexible que podría funcionar a través de múltiples plataformas. Inspirada por principios matemáticos incluyendo proporciones de oro, la nueva estructura dio al emblema clásico mayor armonía mientras preservaba su carácter reconocible. El trabajo de Oberman demuestra cómo una construcción reflexiva puede transformar un símbolo icónico sin perder su patrimonio.

From Hollywood Heritage to Modern Geometry: The Making of Warner Bros.’ Identity.

Emily Oberman, partner at Pentagram, led the 2019 redesign of the Warner Bros. logo, creating a modern identity system that respected nearly a century of Hollywood history. Her challenge was not to reinvent the famous WB shield, but to refine it for a digital-first world. The redesign involved rebuilding the shield and monogram with carefully considered geometry, improving proportions, spacing, and legibility across everything from film screens to small digital applications. The construction process focused on a cleaner silhouette, balanced relationships between the shield and lettering, and a flexible design system that could work across multiple platforms. Inspired by mathematical principles including golden-ratio proportions, the new structure gave the classic emblem greater harmony while preserving its recognisable character. Oberman’s work demonstrates how thoughtful construction can transform an iconic symbol without losing its heritage.

15/07/2026

The Toyota Logo Hides a Relationship, Not Just a Letter.

Masashi Uehara, an art director at Japan's Nippon Design Center, led the creation of Toyota's iconic three-oval emblem, introduced in 1989 for the company's 50th anniversary. Chosen from 240 proposals after a five-year development process, the logo was designed to give Toyota a single, instantly recognisable identity around the world. At its heart are three interlocking ovals, each carrying a specific meaning. The two inner ovals represent the heart of the customer and the heart of Toyota, overlapping to symbolise trust, mutual respect, and a lasting relationship. Together, they also form a subtle letter "T" for Toyota. The larger outer oval surrounds them, representing the world embracing Toyota and the company's expanding global reach. The varying thickness of the lines was inspired by traditional Japanese brush calligraphy, creating balance and elegance. More than three simple shapes, Uehara's emblem became one of the most recognizable automotive logos ever created.

04/06/2026

La autora franco-iraní convirtió su historia personal en una de las novelas gráficas más influyentes del siglo XXI. Con un dibujo en blanco y negro, directo y aparentemente sencillo, Satrapi demostró que el cómic podía contar la revolución, la guerra, la represión y la identidad sin renunci...

07/04/2026

From Code to Icons: How Susan Kare Humanised the Macintosh

Susan Kare is the visionary graphic designer who humanised personal computing through her work on the original Apple Macintosh. Using a grid of pixels as her canvas, she crafted a visual language that replaced complex code with intuitive, whimsical metaphors. Her most enduring creations include the Happy Mac startup icon, the Command symbol (⌘), and the Trash can, all of which bridged the gap between man and machine. Beyond icons, she designed foundational typefaces like Chicago and Geneva. Her minimalist aesthetic and artistic wit transformed the cold screen into a friendly, approachable workspace for millions.