Selected by Richard Baird.
A continually updated collection of some of the best graphic identity design work created for theatres, reviewed and published on BP&O. This post features work by Pentagram, Studio fnt and Spy, and includes projects that cover programmes and posters, but also those that included supergraphics and wayfinding.
These share a strong visual impact and a graphic immediacy in the contrast of colour, type and form. Some are codified while others shift, capturing the unique creative direction of each season. For the most part, these are rooted in a compelling concept such as Paula Scher’s ongogoing work for Atlantic Theater and Public Theater. Be sure to click the images to read more about the project, the intentions of each design, and how these work alongside other assets.
This post was published as a quick way to browse through BP&O’s content and get access to older but equally interesting projects through different themes, and expands on previous posts under the category The Best of BP&O. This series can be subscribed to here.
Opinion by Richard Baird
Atlantic Theater Company was founded in 1985 by playwright David Mamet and actor William H. Macy and, since then, has established itself as an influential Off-Broadway theatre group. It is also known for having a bold and original voice, producing groundbreaking new works by both emerging and established playwrights. This bold and original voice was central to the design of the theatre’s visual identity back in 2015. The first iteration was a visually loud mix of Hoefler&Co’s Tungsten, red and blue ink, an iconic spotlight/ megaphone-like A, a postmodern freedom from formal grids and the overprinting of type and shape. Designed by Pentagram partner Paula Scher, and reconfigured between seasons, this has been a striking and recognisable foundation of the theatre’s communications. Having designed the campaign identities for 2017–18 and 2018–19 Paula Scher returns to design the campaign for the 2019–20 season, introducing photography for the first time and a new material component.
Opinion by Richard Baird
When organic waste breaks down in landfill, methane, a potent greenhouse gas, is released. This has been identified as a significant contributor to climate change. Through composting, this organic waste can be repurposed as a soil nutrient which can then play a role in developing local and sustainable methods of regional food production. The challenge of turning this into a consistent resource comes down to good waste management, both on the part of households and collection services. Few of the latter exist, however, in Auckland, We Compost intends to make this a widespread reality. Collecting over 40,000 kg of organic waste and diverting it from going to landfill each week We Compost has grown over the last seven years to become the city’s leading commercial compostable waste collection service.
With a desire to continue this growth, We Compost worked with design studio Seachange to help with brand positioning and visual identity, to better align it with their ambitions, make it an every household mainstay and to move it beyond those already invested in ecological challenges and solutions. To achieve this, Seachange’s strategy sought to find a fresh graphic approach to compostable waste management and collection, to find a fun, modern and accessible route that would be an invitation to all ages and types of households to get involved. The studio achieved this by way of a custom typeface that draws on the crucial role worms play in the process of composting, and pairs this with a variety of greens. A range of patterns and statements deliver a convivial and recognisable immediacy across differing of contexts, these included bin liners, t-shirts, business cards, posters and website.