Text by Richard Baird.
Avo is a Nordic technology and management consultancy with offices in Norway and Sweden. Since its founding in 2016 it has seen rapid growth, expanding from 5 to 85 employees in three years. It has done this through a strategic rethinking of the way in which consultancy services are delivered, removing the buzz words associated with the industry, solving business problems and then helping to make the necessary changes easy. The Avo Consultancy culture is described as having a unique and playful philosophy. It is this, and the ambiguity of the AVO name (often assumed to be an acronym, or initials with an embedded meaning) that was the foundation of a new visual identity design created by Bleed. This playful philosophy and ambiguity is expressed predominantly as an A, followed by two characters from “Avodings”, a custom typeface of unique dingbats. This links the Avo Consultancy website, alongside colour and Neue Haas Unica, with interior supergraphics, tote bags, banners, posters employee generated e-mail signatures and other communications.
Words by Richard Baird
Both Sides Now, a title borrowed from Joni Mitchell’s famous song, is a solo exhibition of Argentinian contemporary artist Leandro Erlich’s work that took place at the Seoul Museum of Art between December 2019 and March 2020. Erlich’s installations, often receiving international acclaim, mirrors, reflective surfaces, water and other various materials to create optical illusions to transform familiar, everyday spaces such as an elevator, staircase or swimming pool.
South Korean designers Studio fnt worked on the creation of a visual identity for the exhibition that would link a variety of surfaces, from supergraphics, to programmes to posters to banners and digital displays by drawing on one of the artist’s pieces to convey recurring ideas, proposals and motifs found throughout Erlich’s work.
Structure, holographic foil and distorted typographical elements are woven together to express the transience and subversiveness of a reflection or shadow, as well as the blurred boundaries between the the material objects that make up our subjective experience.
Opinion by Richard Baird.
The MoMA logotype, set in Franklin Gothic No. 2 and designed by Ivan Chermayeff, is an icon, and has been part of the New York urban landscape and international museum graphic vernacular since its creation in 1964. With evolving communicative needs and channels, the MoMA logotype was made a central graphic device as part of a new visual identity launched in 2009. Created by Pentagram and MoMA’s Creative Director for Graphics and Advertising Julia Hoffmann, this flexible visual identity was developed to bring a systematised and cohesive programme to print, web and environmental applications.
In 2019, MoMA expanded its 53rd Street location, adding 40,000 sq. ft. of new gallery space. This will showcase more of its collection with the intention of better representing and balancing a diversity of backgrounds, periods, media, and geographies, with a performative quality at the heart of its galleries. Just as in 2009, new approaches to communication; moving from exhibition-focused campaigns to a seasonal approach, required a revision to the MoMA visual identity to coincide with its expansion. New York-based Order reviewed and then defined what they described as a more modular, adaptable, and scalable design system for the museum’s communications, alongside the recommendation of a seasonal approach. This included updating the PS1 and Design Store logos, adding these as brand extensions of MoMA’s singular institutional mark. All additional applications were then designed and produced in house by the MoMA Design Studio, these included newsprint advertising, design store catalogue covers, member’s day programmes, banners, map and tickets.