Fashion Central Saint Martins by Praline
Posted: Filed under: Art and Design, Fashion, Graphic Design Reviews | Tags: Book & Magazine Cover Design, Book & Magazine Design, Book Design Review, Design Blog, Design For Print, Design Reviews: Editorial Design, Designed by Praline, Designed in London, Editorial Design, Graphic Design, Graphic Design Blog, Magazine Design, Open Bind, Spot Colours, The Very Best of 2019 Comments Off on Fashion Central Saint Martins by PralineOpinion by Richard Baird
Fashion Central Saint Martins documents and celebrates what has become one of the most influential fashion courses in the world. It is a collaboration between publisher Thames & Hudson and Central Saint Martins, and co-authored by Programme Director of Fashion Hywel Davies and Cally Blackman, lecturer in Fashion History and Theory.
The Central Saint Martins Fashion Course has a legacy of rebelliousness, pushing back against establish design conventions and subverting expectations. The course encourages self-expression, boldness and creative curiosity. Design studio Praline, who were commissioned to design the book, sought to embody this spirit within the space of the page and throughout the materiality of the bound book.
Atlantic Theater 2019 – ’20 Season by Pentagram
Posted: Filed under: Fonts in Use, Theatre | Tags: American Design, Art Direction, Brand Identity, Brand Identity Reviews, Branding, Branding Blog, Branding Reviews, Campaign Design, Colour in Use: Red, Design Blog, Design For Print, Design News, Design Opinion, Design Reviews, Designed by Pentagram, Designed in New York, Form Language, Graphic Design, Graphic Design Blog, Paula Scher, Poster Design, The Best Brand Identities of 2019, The Very Best Brand Identities of 2019, The Very Best of 2019, The Very Best of BP&O, Theatre Logos, Theatre Programme, Typography, Women of Design Comments Off on Atlantic Theater 2019 – ’20 Season by PentagramOpinion 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.
New Victory Theatre by Pentagram
Posted: Filed under: Logo Reviews, Theatre | Tags: Brand Identity, Brand Identity Reviews, Branding, Branding Blog, Branding Reviews, Campaign Design, Design Blog, Design For Print, Design News, Design Opinion, Design Reviews, Designed by Pentagram, Festival and Event Brand Identities, Fonts in Use: Knockout, Graphic Design, Graphic Design Blog, Material Thinking, Paula Scher, Poster Design, Sign Design, Supergraphics, The Very Best Brand Identities of 2019, The Very Best of 2019, The Very Best of BP&O, Type Play, Typography, Women of Design Comments Off on New Victory Theatre by PentagramOpinion by Richard Baird
The New Victory Theatre, located on New York’s 42nd Street, is described as the city’s first and only not for profit performing arts venue for kids and families. It has a programme that covers a multitude of artistic disciplines and draws on traditions from a variety of cultures. Alongside performances and family workshops the theatre also seeks to offer performing arts education and engagement, new work development and furthers paid youth employment and training.
Pentagram partner Paula Scher and team worked to develop a visual identity for the theatre and collaborated with architecture firm H3 to conceive and implement a lobby space that would better engage with theatre visitors. A ribbon motif becomes the foundation of a bright and celebratory visual language. This is expanded upon spatially and materially across signage and a 51-foot-long centrepiece mural made of felt.
