The logo was to be new, distinctive and meaningful, something with a historic reference and yet contemporary, even abstract, something recognizable, but distinctly African. To be avoided was something with a reference to Africa like a lion’s head or the Namibia map and flag. It needed to portray the action, purpose and work of a stone sculptor or the process of stone sculpting. Other criteria were that this emblem should stand the test of time, be recognisable. It should offer the ability to be incorporated into another coat of arms or logo of a person that has worked at WHUDA MARBLE ART but wishes to open his/her own workshop. In so doing, that person recognises and is being recognized of having passed through this workshop and thus the legacy lives on.

Guiding emblems were the European/German coal miners, i.e. two hammers crossing each other at 45⁰, or the hammer and sickle in the Russian flag. Thus, a direct reference to work or maybe even more than that, like the compass and setsquare in the Freemasons’ logo – it needed to be just as powerful and identifiable in future. Those carrying this symbol will be identified as a special breed of people, belonging to a special group – the group of Namibian/African stone sculptors/artists.

The elements of the logo should not be grouped into a strict 45⁰  inflexible, authoritarian, geometric shape but be free spirited, liberal, dynamic, and creative, yet formal enough to show honour and respect. A commitment and responsibility towards our past, our local and foreign ancestors and present peoples, our future generations, our heritage, our resources and environment and finally our country as a whole.

The traditional stone sculptor tools form the basis of the emblem, tools that are identifiable and specific to only this art and craft. In the middle is the hammer or mallet, an ancient tool. It probably was the very first tool that developed after the knife, and is now used in all arts, crafts and professions that require a unique hitting action. In our case, however, its head is smaller than the traditional wooden mallets, indicating that it is of metal, steel or iron, thus pointing towards adherence to an evolution of the same tool. It is round, has no edges or action heads like normal hammers, therefore distinctly not a normal hammer one gets at the hardware store. It is multidirectional and can be used at any angle, in any direction and with any force. It is shaped to give the artist greater freedom to focus on his art and not necessarily need to be conscious or careful as to where and how the hammer hits the chisel in order not to hurt himself.

To the left is the ‘flat iron’ used to flatten and even out irregularities in the sculpture. Its flat side points to the left, i.e. indicating a barrier to any negative or opposing energies coming from the back. To the right is the ‘toothed iron’ a chisel used to roughen up the stone in order to get to the final shape as quickly as possible. Its teeth are like a row of sharp chisels, each doing the same work of a single sharp chisel. It points up and to the right in the direction of a positive energy flow, indicating progress and aiming towards the future.

On either side of these chisels is a ‘pointed’ chisel. One of these could be interpreted as the ‘tracer’ chisel whilst the other is the ‘sharp’ chisel. This chisel is sometimes referred to as the ‘destroyer’ chisel, or first chisel, as it is used to bring the raw stone block to the approximate final shape of the sculpture. Thereafter the toothed or flat chisels are being applied. Both tools could also be seen as a kind of wreath enclosing or holding the other tools. The left chisel points to the left, to guard against evil from that side and the right one points up and right to indicate the way forward and upward.

Finally, the handle of the mallet is shaped ergonomically, meaning it fits correctly and snugly in a sculptor’s hand, thus implying human organic nature.

Where all the tools meet at the bottom, almost at the end, the crossing point is marked with a hole in the shape of a rhombus or diamond. This is a clear reference to the precious stones, found in Namibia, a reference to its wealth of natural resources, in particular its minerals like marble and granite. This shape is, however, also very common in the arts and crafts of the Owambo, Himba and Kavango, another reference to Namibia, but also to African art as a whole. Apart from this, the rhombus is a symbol of matter and spirit unification, which is exactly what a sculpture is all about.

When looking at the emblem overall at a glance, the following images may also come to mind:

That of a campfire or grass bundle in the Namibian Bush. A campfire is a place around which we Namibians like to sit and tell stories. Or that of a Cannabis leaf, a plant with endless uses and potential, spiritual and otherwise. Or images of African sculptures – a direct reference to its origin, i.e. Africa and Namibia: Crossed legs, short legs spread open in a rhombus shape or arms held up high, rhombus patterns, round-shaped heads like a mallet, Bushman engravings, carved Ostridge eggs and shells, etc.