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.
We Compost by Seachange
Posted: Filed under: Environment, Logo Reviews | Tags: Best Awards Finalists, Brand Identity Reviews, Branding Blog, Branding Reviews, Business Card Design, Colour in Use: Green, Custom Typefaces & Logotypes, Custom Typography, Design For Print, Design Opinion, Design Reviews, Designed in Auckland, Designer by Seachange, From New Zealand, Graphic Design, Graphic Design Blog, Logo & Brand Identities for Co-working Spaces, Logo Design & Branding Blog, Logo Design Inspiration, Logo Design Resource, Logo News, Logo Opinion, Logos, Logotypes, Minimal Design, Minimalist Brand Identities, The Best Brand Identities of 2019, The Very Best Brand Identities of 2019, The Very Best of 2019, Type Foundry: Commercial Type, Typography Comments Off on We Compost by SeachangeOpinion 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.
Supertrash by Seachange
Posted: Filed under: Environment, Logo Reviews | Tags: Best Awards Finalists, Brand Identity Reviews, Branding Blog, Branding Reviews, Business Card Design, Colour in Use: Fluorescent, Colour in Use: Pink, Design For Print, Design Opinion, Design Reviews, Designed in Auckland, Designer by Seachange, Fluorescent Ink, Fonts in Use: Druk, From New Zealand, Graphic Design, Graphic Design Blog, Logo & Brand Identities for Co-working Spaces, Logo Design & Branding Blog, Logo Design Inspiration, Logo Design Resource, Logo News, Logo Opinion, Logos, Logotypes, The Best Brand Identities of 2019, The Very Best Brand Identities of 2019, The Very Best of 2019, Type Foundry: Commercial Type, Typography Comments Off on Supertrash by SeachangeOpinion by Richard Baird
Supertrash is a family-run New Zealand-based refuse collection service that helps to divert waste from landfill by employing circular solutions; these are typically recycling, reusing or repurposing. Although small they have big ambitions and are innovative and disruptive in their approach and ideology. Since 2012 Supertrash has diverted almost 6m kg of waste away from landfill. It is a challenge posed to and question asked of the incentives corporate firms have to build revenue streams largely around burying rubbish.
Built around the strategic positioning statement (and visible strapline) “Turning trash around” design studio Seachange developed a visual identity around the youthful, innovative and energetic disruption of what they describe as a tired and disingenuous industry. This is achieved through a striking palette of white, fluorescent pink and black, the tall condensed letters of Commercial Type’s Druk, an explosive graphic device and spherical spinning logo. These are applied across and link tote bags, lorry livery, business cards, mailers and website.