According to Blake Gopnick, author of Warhol: A Life As Art, he said on the confusion that Warhol created the design “It has nothing to do with the look of his art, especially the conceptual framework that he always worked in.”
Therefore, Braun redid the logo, creating more of an elongated version of it, with different line tracings in the tongue.Įver since, Braun’s version has become the official one, but, because of Andy Warhol’s association with the album artwork for Sticky Fingers, who was trying to develop the zipper feature on the record, most people have come to associate the tongue and lips logo with Warhol. Because of how everything was rushed, the logo ended up coming out of the other end in the States, all grainy. For the American release, due to time constraints, the logo had to be faxed over to the States (remember, this is before the internet) to Andy Warhol and Craig Braun who were designing the album artwork for Sticky Fingers. Pasche’s logo – or at least a version of it – would be used on the Stones’ brilliant 1971 album, Sticky Fingers. In a letter addressed directly to Pasche, he was then commissioned “to create a logo or symbol which may be used on notepaper, as a programme cover and as a cover for the press book.” Jagger and the rest of the Stones wanted an identifiable logo, one that became synonymous with the band and everything it stands for. This would prove to be a bigger hit, and the artist was subsequently contacted by Jo Bergman, the Stones’ personal assistant. Pasche’s second logo would include a Concorde turbojet poster with the small version of the logo on the plane’s tail.
After Jagger showed Pasche a picture of Kali, what stuck out to the London based artist was Kali’s tongue which was, well, sticking out. John Pasche said in an interview with The New York Times in 2020, “I thought, That was that, then.” However, Jagger gave Pasche another shot, saying to him, “I’m sure you can do better, John.” Jagger was looking for a logo design based on the Indian Hindu deity, Kali.
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