The Mystery behind the Logo

LMKR's unique logo, in the bold color of navy blue, was designed by

Ismail Gulgee (October 25, 1926 – December 14, 2007), the internationally renowned sculptor and Painter.

He began painting while training as an engineer in the USA (Columbia and Harvard universities) and held his first exhibition in 1950. He continued to paint while secretary at the Pakistan embassy at Ottawa during the 1950s, developing a reputation for portraiture.

In 1957 he was commissioned to paint the portrait of King Zahir Shah of Afghanistan, and in 1959 he held an exhibition of 151 paintings and sketches in Kabul. He also painted portraits of Prince Karim Agha Khan (1961), Zhou Enlai (1964), Queen Farah Diba of Iran (1965) and President Ayub Khan of Pakistan (1968). He then turned to making portraits from marble mosaic and semi-precious stones, a technique that he had developed in Kabul in 1959. His abstract paintings, produced since the 1960s, incorporate ornamental calligraphy , coloured beads, small pieces of mirror, and gold and silver leaf. These works include a large abstract mural painted in 1965 for the British engineering firm Wates Ltd of London. In 1967 he began to make calligraphic sculptures in bronze, based on verses of the Koran, which were first exhibited in Tokyo in 1970. He made a large crescent and star in copper plate for the Faisal Mosque in Islamabad in 1986, and produced calligraphy in stone inside the mosque.

About the Logo

Gulgee has designed the logo in an abstract Calligraphic style. The angular script flows to form a fluid circular shape. It reads "LMK Resources" in Urdu.

The Kufic style is indigenous to the region's history dating back to the 8th-9th century AD.
This style developed from Mesopotamia from the Arabic script [khatt] , was at least a 100 years before the foundation of Kûfa (17H / 638CE), the town that it received its name from and in where it was first put to official use in the late eighth century. This great intellectual center did enable calligraphy to be developed aesthetically from the pre-Islamic scripts.

Both the Samarkand and Topkapi Codices compiled during the late 700's -800's both were written in the Kufic script.
Today calligraphic masters from China, Egypt, France, Iran, Jordan, U.K and Uzbekistan practice this script of calligraphy.
The result created by the logo represents a perfect visual, aesthetic and conceptual balance between ancient and modern, the East, and the West, in perfect harmony.