LSG Logo: Old and New Compared

The essential answer

The question is a redesign comparison: how the earlier LSG mark differs from the later one, and what that change means if you are matching versions, judging a rebrand, or preparing vector artwork. The subject is the LSG logomark as a pair of identity states—old and new—not a generic “LSG” file name and not permission to reuse either drawing.

LSG is an acronym used by more than one organization. A valid old-versus-new reading requires both marks to belong to the same brand. Mixing a sports club, a catering group, a regional body, or another LSG into one comparison produces a false redesign story. Confirm the issuing organization, the market or program the mark represents, and the dates or campaign in which each version was used before treating differences as an evolution of one identity.

This guide does not include a documented visual inventory of any specific LSG pair. Letterforms, colors, proportions, and construction geometry are therefore treated as things to observe on the actual artwork, not as facts stated here. Distinctions below separate what you can see on a mark, what a brand may claim in its own materials, and editorial reading of those changes.

What to hold constant when you compare

Place both versions at the same optical size, on the same background, and in the same color condition (full color, one-color, and reversed). A mark that looks bolder only because it was scaled up, or cleaner only because it sits on white, is not a redesign finding. If one file is a scan or raster screenshot and the other is a vector master, compare the intended artwork, not compression, aliasing, or a low-resolution export.

• Issuer and product: same organization, same named service or team.
• Usage window: which version was current in which period or campaign.
• Lockup: symbol alone, wordmark alone, or symbol plus wordmark plus descriptor.
• Color condition: full color, monotone, and reversed on dark.
• Master format: vector outline versus a flattened or photographed copy.

Observable differences to record

Read the two marks as drawings. Note what is present, absent, or altered. Do not treat a .svg, .ai, or .eps extension as proof of clean geometry; the file can still contain an embedded bitmap, auto-traced paths, or an unofficial redraw.

Layer	What to look for	Why it matters
Structure	Symbol, lettermark, or wordmark; whether the old unit is kept, simplified, or replaced	Tells you if this is a refinement of one idea or a new identity
Lettering	Weight, width, contrast, terminals, spacing, and whether L, S, and G stay custom or move toward a typeface	Drives recognition at small sizes and in vector outline work
Geometry	Alignment, shared heights, circles versus ovals, corner radius, stroke endings	Affects how the mark scales and how paths should be built
Color	Number of colors, whether a second color is structural or decorative, contrast on light and dark	Sets reproduction cost and one-color fallback needs
Lockup rules	Clear space, minimum size, stacking versus horizontal arrangement	Decides which file you actually ship on a kit, vehicle, or screen
Tone	How formal, industrial, sport, or civic the drawing feels	Editorial reading: useful for judging fit, not a measured property

A typical redesign moves toward fewer parts, more even stroke weight, and a lockup that survives small digital use. That pattern is common; it is not evidence that any given LSG mark followed it. If the new drawing adds a pictorial device the old one lacked, or drops a device the old one used, record that as a structural change rather than a polish pass.

Vector assets: old files and new files

For production, the useful question is which file is the current master and whether it is true vector. True vector means live outlines (or a defined symbol) that scale without new pixels. A PNG, a photo of signage, or a traced bitmap inside a vector wrapper is a picture of a logo, not a construction master.

• Prefer an official current master over an older disk copy that happens to be vector.
• Check that lettering is outlines or a licensed font, not a placed image.
• Confirm the artboard matches the intended lockup: mark only, mark plus wordmark, or full endorsement line.
• Keep the retired version labelled as retired so it is not printed by habit.
• Do not read public availability of either file as a licence to use it.

If you are redrawing, match the version you are asked to match. Mixing old proportions with new lettering, or new color with old geometry, creates a third unofficial mark. Where the new identity publishes construction, grid, or clear-space rules, those rules outrank visual memory of the previous drawing.

How to reach a conclusion

You can conclude that two artworks are versions of the same LSG identity only when issuer, lockup role, and usage period line up. You can then say, from observation, whether the change is a cleanup (same parts, tighter drawing), a simplification (parts removed), or a replacement (new symbol or new lettering idea). Claims about strategy, audience, or “modernization” belong in the editorial column unless the brand has stated them.

Gap: without side-by-side official artwork and a named issuing organization, this article cannot rank one LSG mark as better, cannot quote palette values, and cannot certify a file as the current vector master. The practical next step is to collect both official lockups from the same brand, view them at equal size in color and in one color, and record the table above against those files before you archive, redraw, or brief a designer.