Looking at logos and logotypes by Romek, it’s clear to see his disciplined approach of clear thought, distilled and consistently expressed within a balanced square/circle geometric structure. This framework allows for individual creative expression of each solution to appear. The abstracted and bold ‘Z’ for Zenith Books and the more cursive Educational Research logo sit at opposite ends of what is possible when you have a construct to work within.
I like the way a distinctive idea emerges in each of his solutions relevant to each client, thereby creating uniqueness. His Mulberry Steel logo and that for Woven in the British Isles are great logos and like all great solutions need no explanation. In contrast, the Aldus Books logo uses subtle halftone to soften its expression to give a confident 3D effect, while the brand identity for Fawcett Preston achieved back then what many logo designers today seek, modern retro-ism.
Two stand-out logos that combine Romek’s methodology and thinking, together with his personal love of how things are made, are for the Cunic office partition system and Barnards wire fencing. Both being companies in the unglamorous world of construction, Romek elevated each product as the pure logo focus that provides initial graphic impact. With Cunic he created an expanded design system and grid for print inspired by the logo/product so that the visual experience was dynamic and totally united. Clever, understated thinking.
His rigour was ideal for the processes of print production in the pre-digital era, so in many ways this logo selection is an impression of time and can be viewed as a salient reminder of the value of a consistent approach that guarantees a unique outcome.
Pearlfisher Founding Partner and Group Creative Director. Former Graphic Design student of Romek’s at Middlesex Polytechnic 1980‑1984