Quick Link: Paula Scher at OFFF
Along with the many signature artworks in its collection, The Museum of Modern Art (MoMA) possesses one of the most recognizable logotypes of any cultural institution in the world. In recent years, however, the application of this identity across the museum’s broader graphics program has been indistinct. Now MoMA has recast its identity, building on its familiar logotype to create a powerful and cohesive institutional voice. The new graphic identity has been designed by Paula Scher, and further developed and applied by Julia Hoffmann, MoMA’s Creative Director for Graphics and Advertising (and a Pentagram alumna).
While the MoMA logo is iconic, it alone is not enough to continually carry the spirit of the institution. An organized and flexible system was required that would support program material across print, web and environmental applications. The new system designed by Scher and Hoffmann employs prominent use of the MoMA logo as a graphic device, dramatic cropping and juxtapositions of artwork, and a brighter color palette to create a bold, contemporary image. The identity also underscores the museum’s leadership role in the field of design.
A look at the new identity after the jump. All pictured applications designed by Julia Hoffmann and her team at MoMA.
Quick Link: Paula Scher at SPD@FIT
Michael Bierut and Paula Scher have projects featured in CAN & DID: Graphics, Art, and Photography from the Obama Campaign, a new exhibition that opens tonight at Danziger Projects in New York. The show surveys visual work that appeared during the 2008 presidential election. Bierut is represented by his Fifty State Strategy poster; Scher contributes the “O” banner that hung in front of Pentagram’s New York office during the presidential campaign. Also shown is work from Shepard Fairey, Jonathan Hoefler, Lance Wyman, Annie Leibovitz and the Design for Obama website, among others.
The exhibition remains on view through 28 February at Danziger Projects, 521 West 26th Street, New York.
Today the New York Philharmonic announces its 2009–2010 season and introduces a new graphic identity designed by Paula Scher. The identity coincides with the arrival of Alan Gilbert, the Philharmonic’s next music director, and acknowledges the orchestra’s long heritage of distinguished conductors by taking as its inspiration the graphic line of the baton.
A preview of the identity after the jump.
During the financially dismal 2008 holiday shopping season, one product held up nicely: bras. Intimacy, a growing chain of high-end intimate apparel stores, saw its sales increase 4.4 percent over the past year, a period during which it launched a new identity by Pentagram and a new store design by Pentagram Architects.
Located in upscale shopping malls across the country, Intimacy as a brand differentiates itself from its competitors by offering personalized bra fitting services, elegant environments and European designer brands such as La Perla. The first store built with the new design is in Boston’s Copley Place, the city’s most distinctive shopping destination, and will serve as the prototype for future stores, as it has for Intimacy’s most recent outlet in Miami.
Developed by James Biber and Associate Michael Zweck-Bronner, the Intimacy environments feature spacious, well-appointed fitting rooms, high-end furnishings and fittings, and a refined color palette of gray and gold. Intimacy’s logo, designed by Paula Scher, is evoked in the details of the store’s design. Custom-designed hangers and gold environmental graphics play off the mark’s ornamental brackets that snugly embrace the company’s name.
A look inside Intimacy after the jump.
Many of you may have met Mattie during a visit to our New York office, where she was a member of Team Scher. She spent many of her days here in the studio and sometimes appeared in our work, as seen in this page from the 2007 Publikum Calendar.
AIGA members, start watching your mailboxes: your copy of 365: AIGA Year in Design 29 will be arriving soon. Designed by Paula Scher, this year’s annual marks the book’s return to a larger format, measuring eight-by-ten inches and containing 368 full-color pages of the year’s best graphic design. “My major goal for the annual’s design was to make it bigger,” says Scher.
The cover has been printed in four different colors (to help distinguish your copy from your studiomate’s) and features a concentric motif that is carried throughout the interior pages in the form of the table of contents, end pages and color-coded chapter openers.
Selections from Year in Design 29 can be found online through the AIGA Design Archives or at the 365: AIGA Annual Design Exhibition 29 being held at the National Design Center in New York through 20 February. The annual will also be available through Chronicle Books in early 2009.
A look inside the annual after the jump.