取自 2019 年冬季刊，p38。部分内容参考机翻。
Foreword: From Warhol’s Factory to a Texas highway to a research lab at MIT, the Rabbit Head has inspired artists of every ilk from every corner of the globe for 65 years and counting. Here’s a warren of our favorites.
从沃霍尔的工厂到得克萨斯州的高速公路，再到麻省理工学院的研究实验室，65 年来，花花公子的兔子头一直都鼓励着来自全球各个角落的各行各业的艺术家——而且还在不断增加。 这就是我们最喜欢的兔子窝。
A few weeks before PLAYBOY’s first issue was due at the printer, Hugh Hefner and graphic designer Arthur Paul set out to create a symbol to represent the nascent publication’s visual identity.
“I wanted it to be something so simple that when you made it larger you could do many things with it,” the late Paul recalled in a 2018 documentary about his profound impact on the relationship between art and publishing.
“我希望它是简洁的，但也是包容的。”已故设计师保罗在 2018 年的一次访谈中回忆到。在艺术表达和传统出版商的关系上，他的影响极其深远。
But back in 1953 , PLAYBOY’s founding art director had no clue that the sophisticated, mischievous bow-tied rabbit with a cocked ear that he’d drafted in under an hour would become arguably the most recognizable silhouette in the world.
“If I’d had any idea how important that little Rabbit was going to be,” Paul said, “I probably would have redrawn him a dozen times.… As it was, I did one drawing and that was it.”
One take was all it took. The symbol made its cover debut on the magazine’s third issue (having graced the interior of the first two). And since the 1960s, it has appeared—sometimes prominently, often cleverly hidden—on nearly every cover. (A careful scan of this story will reveal the first Rabbit to hide within PLAYBOY’s pages. Hint: It’s not one of LeRoy Neiman’s Femlins.) The Rabbit’s reach quickly extended beyond the magazine: In 1959, a letter mailed from New York addressed with only the symbol was delivered to Playboy’s Chicago headquarters; by 1964, the Society of Typographic Arts had ranked it among the top logos ever designed in the United States.
第一次设计就是最终稿。该标志首次在花花公子杂志封面上亮相是在第三期（前两期在其内部的内部装饰增光添彩）。 自 1960 年代以来，它几乎出现在每张封面上——有时显眼，但通常被很巧妙地隐藏起来。（仔细浏览这个故事，你会发现第一只兔子就藏在杂志页面中。提示：不是 LeRoy Neiman 的 Femlins 之一。）兔子标志的影响力迅速扩展到杂志之外：1959 年，一封从纽约寄出的只有兔子标志的信件被送到花花公子位于芝加哥的总部；1964 年，印刷艺术协会（the Society of Typographic Arts）将其列为美国有史以来最顶级的设计标志之一。
From Andy Warhol’s immediately recognizable red rendition (opposite page) to Neiman’s delicate expressionist version (above; featured on a 1991 Christmas card and previously unpublished), the Rabbit Head continues to serve as a blank canvas for artists nearly seven decades after Paul executed his “simple” idea.
从安迪·沃霍尔 (Andy Warhol) 极具辨识度的红色演绎（p39）到内曼 (Neiman) 精致的表现主义版本（上图；出现在一张 1991 年的圣诞贺卡上，此前未出版）。在保罗执行自己“简单（simple）”概念的七十年后，兔子头继续为后继的设计师们充当泼墨挥毫的空白画布。