Founded in 1962 on humanitarian principles, Al-Dabbagh is a family-run organisation with a unique philosophy that balances earning with philanthropy to deliver impact and scale for the greater good. Having set targets for 2020, Al-Dabbagh asked Naresh Ramchandani and Domenic Lippa to create a film to communicate its unique ecosystem and ambitions.
Harry Pearce and strategist Simon Paterson have created a new visual identity for Domaine Thomson, a New Zealand-based wine producer famous for their biodynamic Pinot Noir. The rebrand followed their acquisition of a new vineyard in Gevrey Chambertin, France, and the need to visually communicate this growth to a new hemisphere.
Two years ago, Pentagram partner Eddie Opara and his team developed a comprehensive identity and digital offering for Platform, a non-profit organization that seeks to advance the participation of minorities (through race and gender) in the fields of technology and entrepreneurship. This programming included environmental graphics for the inaugural Platform Summit, an event held at MIT featuring talks by influential leaders in technology, business, and culture.
This past October, the second annual Platform Summit was held on the grounds of Morehouse College, the famous black men’s liberal arts college in Atlanta, Georgia. Morehouse president, John Wilson, Jr. invited the Summit to the college to help spur interest in technological entrepreneurship in Atlanta as part of a vision to position the city as a hub for technology. The event was co-hosted by Georgia Tech in partnership with #YesWeCode, an initiative to train 100,000 low-opportunity youth become world-class computer programmers.
“Saturday Night Live” premiered on NBC on October 11, 1975 at 11:30 pm, and quickly changed the landscape of late-night television and modern comedy. In the four decades since its debut, the show has become a cherished American institution and has helped launch the careers of many of comedy’s most influential performers and writers. Now, just in time for SNL’s 40th anniversary celebration, Pentagram’s Emily Oberman and her team have designed Saturday Night Live: The Book, the definitive visual history of the show and a loving behind-the-scenes portrait of how it all comes together every week. Written and edited by Alison Castle and published by Taschen, the massive, 500-page book features over 2,300 images, many never before seen, an exclusive interview with the show’s creator, Lorne Michaels, and an exhaustive encyclopedia of all the seasons.
The book is a dream project for Oberman, a devoted “SNL” fan who has watched the show since the beginning. The designer has collaborated with the show on various projects over the past two decades, both before and since joining Pentagram, including three iterations of its identity, several opening title sequences, commercial parodies, and most recently, the graphics for the 40th anniversary season. Oberman’s love of the show was well-matched by Castle’s own obsessive fandom, and the pair worked closely together to develop a book that would do justice to “SNL’s” immense creativity and extraordinary legacy.
“Having worked on and watched the show for so long it was a thrill and an honor to work on this book,” says Oberman.
As YouTube has matured into a source of original programming with audiences to rival those of any television network, its homegrown channels and series are finding themselves in the enviable position of needing many of the elements of more traditional broadcasting, including branding.
Pentagram’s Natasha Jen and her team have collaborated with YouTube to develop a new brand identity for Vsauce, the group of wildly popular educational channels that feature videos on science, technology, gaming, and more. Establishing a cohesive look for the Vsauce platform, the identity plays off the unusual name and playful point of view with “fluid” typography and fresh, contemporary graphics.
This week, we are giving away twelve signed, limited edition A1 posters by Domenic Lippa and Jeremy Kunze. The posters are inspired by four interviews in ‘Circular 18’, the latest edition of the Typographic Circle’s members magazine, which was also designed by Lippa and Kunze.
We’ll be giving away three copies of each of the posters every day until Friday on our Twitter. To be in with a chance to win all you need to do is retweet one of our daily Tweets about the giveaway.
On Tuesday 3 February Deyan Sudjic gave a talk at Pentagram’s London studio, where he shared thoughts from his latest book B for Bauhaus.
An architect by training, Deyan is the Director of the Design Museum, which next year will complete a £80 million move from Tower Hill to the Commonwealth Institute in West London. Before taking the helm at the Design Museum, he was director of Glasgow UK City of Architecture and the Venice Architecture Biennale. He was also the Editor of Domus Magazine from 2000 to 2004, and was Founding Editor of Blueprint Magazine from 1983 to 1996.
Read highlights from his talk after the jump.
As every Shackburger fan knows, Shake Shack serves some of the best burgers in the world. And now, with a recent IPO that has valued the company at a staggering $1.6 billion, more of the world will get to know the Shack: From its roots as a hot dog stand in New York’s Madison Square Park, the company has grown into a chain of 63 restaurants from Chicago to Dubai, and plans to use the additional funds to expand to over 400 locations in the next decade.
Tastiness of its burgers aside, no small part of Shake Shack’s success is due to its sophisticated sense of design, expressed in an iconic brand identity and environmental graphics by Pentagram’s Paula Scher and original restaurant architecture by James Wines and his firm SITE. (Shake Shack even noted its fantastic brand awareness as an asset in IPO prospectus.)
“The modernness of the identity is perfect in keeping with the quality of the food,” says Scher. “Shake Shack looks back to the classic burger stand but is a contemporary fast-food chain with a high-level product. It’s invented a whole new category.”
In his classic novel Around the World in 80 Days, French author Jules Verne envisioned the future of travel and globalization bolstered by the technological advances of the late nineteenth century. The current exhibition at the Museum für Kommunikation in Berlin, In 80 Dingen um die Welt: Der Jules-Verne-Code (Around the World in 80 Things: The Jules Verne Code), explores the history of globalization via the route in Verne’s novel, taking visitors on a voyage of discovery around the globe and across time as told through 80 objects directly related to the story.
Pentagram’s Justus Oehler and his team in Berlin have designed the visual identity for the exhibition, which has been applied to posters, leaflets, and outdoor promotional banners. Pentagram also designed the 260-page exhibition catalogue and a series of three billboard posters displayed in subway stations around Berlin.
Naresh Ramchandani explores how every piece of creative work can do good.
Stuck to my psyche is a post-it note reminding me of the kind of work I always want to do. On the note are the words ‘… and don’t forget to change the world.’ It’s a pretty big phrase for a small imaginary post-it but it’s there to remind me that, every time I make a piece of creative work, I have the choice to make the world a little better or a little worse with that work, and the second option is not an option.