Since the logo emerges from the graphical transformation of a compositional technique, it, of course, may be played upon and animated.

The feel for colour so evident in Schönberg’s paintings offers a palette of tone colours. Two of these colours, orange and blue, were extracted and incorporated in the visual figure.
The logo, thus systematically developed, lends itself to a variety of possibilities in the designing of programmes, brochures, reports, posters etc. Well produced, these printed materials in turn lend a sense of identifying character.