Posts Tagged ‘logo design’

Weekend Hot Links

Friday, June 2nd, 2017

Happy Friday! Get creative this weekend with recent art, design, and culture stories shared by the SVACE faculty and community.

Image via Jezebel

Image via Jezebel

Women Wonder (Jezebel): Revisiting video artist Dara Birnbaum’s feminist Wonder Woman remix. (via SVA News)

City Songs (Hyperallergic): What Did Precolonial Manhattan Sound Like? (via SVA MFA Interaction Design)

Arms Race (New York Times): Rebranding a coat of arms after Trump. (via Robert Stribley)

Living Logos (Fast Co.Design): The ingenious way TV logos were made before computers. (via Mark Burk)

Design Business (Hyperallergic): Midcentury modern design and the anxiety of selling out. (via Jess Mackta)

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Weekend Hot Links

Friday, July 22nd, 2016

Amidst a new election landscape and a weekend heatwave, Friday is here. For weekend relief, here are recent art, design, and culture goodies shared by the SVACE faculty and community.

Photo via The New York Times

Photo via The New York Times

Walled Up (The New York Times): 3-D Printing says 10 Billion people can be housed. (via SVA Interior Design)

Trophy Toons (Cartoon Brew): This year’s Emmy Nominees bring back familiar faces. (via SVA MFA Visual Narrative)

Poking Holes (WIRED): Probing into the Trump-Pence monogram. (via Jess Mackta)

Letter Grade (Crain’s): Albany endows MTA with WiFi trains, gold seal of approval. (via Steven Heller)

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Weekend Hot Links

Friday, July 15th, 2016

Another bittersweet Friday is here, but art gives us hope. For weekend relief, here are recent art, design, and culture goodies shared by the SVACE faculty and community.

"Gull Latinu Amerika" by Kristjana S. Williams, via Format magazine

“Gull Latinu Amerika” by Kristjana S. Williams, via Format magazine

Dyslexic Design (Format): Could this learning disorder give you a creative edge? (via Lisa Lordi)

Design Debt (FastCo.Design): MasterCard introduces new logo, invoiced with 22% APR. (via Lisa Lordi)

Font Finder (WIRED): It’s like Shazam for typographers. (via Jess Mackta)

Common Edge (Print): Does architecture often serve real people? (via Steven Heller)

Strange Fictions (Design Taxi): Earn million$ by tricking millions. (via Mark Burk)

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Weekend Hot Links

Friday, June 17th, 2016

Happy Friday! Might we suggest recent art, design, and culture goodies shared by the SVACE faculty and community?

millman-says-the-nyc-taxi-logo-just-seems-confused

Image via Tech Insider

Logo Losers (Tech Insider): The worst logos of all time? (via SVA News)

Turtle Power (Vulture): How TMNT hatched a comics media boom, and bust. (via SVA MFA Visual Narrative)

Sister Cinema (New York Times): This year’s Human Rights Watch Film Festival looks at women’s rights around the globe. (via SVA MFA Visual Narrative)

Lois Legacy (Print Mag): Granted a major award, George Lois speaks truth to power. (via Steven Heller)

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Get THE MET?

Monday, February 22nd, 2016

The Met’s new logo has inspired divergent criticism from the art and design press. It’s a “graphic misfire,” writes Vulture, while WIRED explains how its ligatures create “a metaphorical moment.” The capital E’s “look like butts,” quips GQ.

To build our own informed opinion of the logo, we sought answers from Ilene Strizver, a longtime SVACE faculty member who teaches Gourmet Typography.  She also writes TypeTalk, an ongoing and deeply informative blog for CreativePro.com. Ilene responded with some valuable insights. She writes:

The New Met Logo
Ilene Strizver | The Type Studio

The new Metropolitan Museum of Art logo has everyone talking – and it’s not all words of praise. The new logo is the work of global-branding firm Wolff Olins, scheduled to be unveiled on March 2016. This design is a rebranding, with a totally new look, feel, and concept compared to the previous logo. While there is certainly nothing wrong with rebranding a highly revered institution such as The Met, I’m not sure this one accomplishes what they set out to do.

Old and new logos for The Met

Old and new logos for The Met

At first glance, the connection the new logo has with the overly tight type treatments of the 60s and 70s was unmistakable. This style was first employed by Herb Lubalin, who started the whole tight type movement during the transition from metal to phototypesetting which made it possible to do things that were not viable with hot metal. Lubalin was known for his extremely tight spacing and type tailoring (as we called it then), where two or more characters were often blended into each other, creating a ligature of sorts. The new Met logo uses this technique to create extreme ligatures out of each of the three-letter words. Unfortunately it is overdone to the point where the ‘tricks’ catch the eye and take visual precedence over the meaning of the words and the great institution it represents, in effect reverting back to the “bellbottoms and tie-dye shirts” of typography of the 60s and 70s.

This cover of U&lc Vol 5, No 4 was designed by Herb Lubalin in 1978. It epitomizes the overly tight type that was the revered style of the 60s and 70s.

This cover of U&lc Vol 5, No 4 was designed by Herb Lubalin in 1978. It epitomizes the overly tight type that was the revered style of the 60s and 70s.

“Our new logo no longer relies on symbols and, instead, is based on our commonly used name ‘The Met,’ which has an immediacy that speaks to all audiences. It is an original drawing, a hybrid that combines and connects serif and sans serif, classical and modern letterforms. In this respect, it reflects the scope of the Museum’s collection and the inherent connections that exist within it.”

This statement by the museum explains that the hybrid forms are intended to symbolize the broad scope of the museum’s collection. Unfortunately the logo doesn’t ‘read’ that way. If the viewer needs an explanation in order to ‘get’ or understand a logo that is not easily recognizable, it is missing the point.

Both revising or rebranding a logo should take an identity in forward-moving direction, but this does not do that. It is a caricature of a style gone by, and does not accurately reflect the greatness and broad spectrum of the institution it is designed to represent. Don’t get me wrong, I am all for finessing and type tailoring typography to either draw attention to words or letterforms (having lovingly created many in my days working on U&lc), but going overboard with too many tricks makes the tricks the star attraction, not the word mark or the institution itself. If this logo consisted of these same letterforms without the ‘triple-ligaturization’ it might have been more successful in achieving the intended goal.

-Ilene Strizver