The 83rd International Geneva Motor Show was a landmark event for Rolls Royce, with the launch of their new Wraith, which the carmaker calls the “most potent and technologically advanced” in its history. Justus Oehler and his team designed the customer experience for their exhibition space, building on his work with the company over the last two years and creating a narrative and a monolithic expression for the brand, encapsulating style and elegance.
The space was multifaceted, featuring a large lounge with a seating and bar area, an atelier, a sales area and glass cabinets with after-sales items. All areas were gathered around a Rolls-Royce car, a focal point in the space. Oehler designed the atelier shelves, with all its original pieces sourced from the Rolls-Royce workshops and factory. He also designed the information graphics and selected the materials needed to develop the overall look and feel of the space, collaborating with Puchner P3 architects based in Munich.
Continue reading “New Work: Rolls-Royce”
The searchlights of Twentieth Century Fox are one of the most recognized icons in the world. Pentagram’s Michael Gericke and Emily Oberman have drawn on this rich heritage and Fox’s contemporary innovations in media to create the logo and develop the name for 21st Century Fox. The new media and entertainment company will be established following the proposed separation of News Corporation into two companies. 21st Century Fox will serve as the umbrella company for Twentieth Century Fox and the rest of the group’s entertainment and media properties, all of which will retain their existing well-known names and logos.
Pentagram worked closely with the 21st Century Fox team on the development of the identity, which is designed to honor the creative legacy of Twentieth Century Fox and celebrate the company’s vital future. The name and symbol distill the elements of Fox’s familiar searchlights-and-monument logo into a dynamic new identity. The 21st Century Fox logo features a pair of sweeping searchlights that suggest entertainment, broadcasting and limitless possibilities within a circle shape inspired by a lens. Iconic and distinctive, the symbol is accompanied by a wordmark set in strong, stacked lettering that is derived from the typographic pedestal of the Twentieth Century Fox logo and Fox Broadcasting’s wordmark.
Continue reading “New Work: 21st Century Fox”
Pentagram is thrilled to announce that our partner Paula Scher has been selected to receive the 2013 National Design Award for Communication Design. The National Design Awards celebrate outstanding achievement and innovation in design and are sponsored by Cooper-Hewitt, National Design Museum. First Lady Michelle Obama serves as the Honorary Patron for this year’s awards, and the recipients will be honored at a gala on October 17 in New York, in conjunction with National Design Week.
Scher has been at the forefront of graphic design for over four decades. Bold, smart and accessible, her images have entered the American vernacular. She has created identity and branding systems, environmental graphics, packaging and publication designs for clients that include Bloomberg, Citibank, Microsoft, Coca-Cola, Bausch + Lomb, the Museum of Modern Art, the Public Theater, the High Line, the New York City Department of Parks and Recreation, the Metropolitan Opera, the New York City Ballet, the New York Philharmonic, and Jazz at Lincoln Center, among many, many others. She was previously a Finalist in the Communication Design category in 2005 and 2007.
Partner DJ Stout and designer Carla Delgado in Pentagram’s Austin office have recently completed a new identity and a rebranding of Oklahoma City University (OCU). The private urban college, located in the Uptown District of its namesake city, is affiliated with the United Methodist Church and offers a wide variety of degrees in the liberal arts, fine arts, science and business. The only Oklahoma institution listed in the top tier of the regional, master’s-level university category by U.S. News and World Report, OCU is also listed in Forbes’ “Best Christian Colleges” and “100 Best College Buys.”
Oklahoma City University is also known for its top-notch dance, music and theater programs and its impressive track-record of placing graduates in Broadway musicals and theatrical productions, most notably in the lineups of the Radio City Rockettes. In addition to its performing arts prowess OCU is renowned for its many beauty pageant contestants, contributing $2.2 million in educational scholarships to more than 340 pageant contestants over the last 55 years. Fondly dubbed “Miss America U” for its tradition of winning pageants, OCU boasts 24 Miss Oklahomas and holds the record for Miss America winners. A larger than life-size bronze statue portraying the school’s three former Miss Americas—Jane Jayroe, Susan Powell and Shawntel Smith—stands guard at the entrance to the campus.
Continue reading “New Work: Oklahoma City University”
Punk’s iconoclastic aesthetic was originally rooted in street culture, but its subversive style has had an enduring influence on high fashion. This impact is explored in PUNK: Chaos to Couture, the spring 2013 exhibition at the Costume Institute of the Metropolitan Museum of Art in New York. The show juxtaposes original punk garments from the mid-1970s with more recent fashion to illustrate how haute couture and ready-to-wear have borrowed punk’s visual symbols, and how designers continue to extend the visual language of punk by merging social realism with artistic expression. Pentagram’s Abbott Miller has designed a catalogue for the exhibition that captures the immediacy of the subject in a format inspired by the 12” LP cover.
The exhibition, one of the most highly anticipated of the season, will be celebrated at next Monday’s 2013 Costume Institute Gala Benefit, the Met’s biggest event of the year. (Joining Vogue’s Anna Wintour as co-chairs this year are Beyoncé, Givenchy “New Goth” designer Riccardo Tisci, and “Girl with the Dragon Tattoo” and recent Pentagram actor Rooney Mara.) The show opens to the public on May 9 and will be on view through August 14, 2013.
Continue reading “New Work: ‘PUNK: Chaos to Couture’”
As part of the launch of Fontsmith’s new sans serif font, FS Emeric, design studios around the world were invited make a poster. The brief was to use a single weight of the typeface to create a poster that would embody the three words that best represent its character—optimistic, adventurous and ambitious.
Pentagram partner Domenic Lippa took on the brief, creating a poster which shows the full stop, or period, of FS Emeric Core at 11,750 pt. Lippa says, “We didn’t want to over-design it so we took the most simplistic, smallest element of the typeface, the full stop, and enlarged it so it became a graphic shape in itself. The idea of the poster was also a statement: FS Emeric, full stop.”
Continue reading “New Work: FS Emeric Poster”
“The grid is an integral part of book design,” says the incomparable Massimo Vignelli. “It’s not something that you see. It’s just like underwear: you wear it, but it’s not to be exposed. The grid is the underwear of the book.”
Vignelli’s approach to book design is the subject of a new video created by Pentagram’s Michael Bierut and Aron Fay for “What Will You Make Today?” campaign from Mohawk. In the video, Vignelli discusses his use of the grid as the basis for the layout of a book’s pages, using one of his classic book designs for the architect Richard Meier as an example. Working with an audio interview edited by Hilary Frank, Bierut and Fay animated Vignelli’s sketches for the clip, taking them from skeletal grid to finished publication.
Bierut knew Vignelli’s painstaking step-by-step process well. “Because I worked with Massimo for ten years before joining Pentagram, I was very familiar with his unique way of designing books. He sits with all the ingredients—text and images—and draws each page with a pencil, including every photograph, using a grid as a layout guide,” he says.
The video is accompanied by a small limited edition journal that reproduces Vignelli’s grid from the film. The journal is available from Mohawk’s website, while supplies last.
Continue reading “New Work: ‘Massimo Vignelli Makes Books’”
Justus Oehler and his team have designed the cover for the new edition of “Sketches of Spain” by esteemed Spanish poet and dramatist Federico Garcia Lorca.
Written in 1918, the book features a series of meditations on Spanish art, landscapes and history. This latest publication by Serif publishers is the first time that the highly acclaimed book has ever been published in the UK.
Continue reading “New Work: ‘Sketches of Spain’”
In Lolita, Vladimir Nabokov (born today in 1899) tells the story of his character Humbert Humbert’s all-consuming obsession with the girlish Lolita—a romance that is strange, inappropriate and incredibly sexual, not to mention highly illegal. Pentagram’s Paula Scher is one of 60 designers invited to create conceptual covers for Nabokov’s classic for Lolita: Story of a Cover Girl, an upcoming collection of graphic representations of Lolita since its publication in 1955. Scher’s new cover captures the novel’s peculiar eroticism in custom letterforms that are ripe, fleshy and almost anatomical.
Edited by John Bertram and Yuri Leving, Lolita: Story of a Cover Girl was inspired by Dieter E. Zimmer’s exhaustive online archive of Lolita covers, as well as a 2009 cover contest held by Bertram’s blog, Venus Febriculosa. Pentagram’s Michael Bierut has also contributed a Lolita design for the book, and several of the other designer submissions can be seen in a recent feature on Print’s Imprint blog. Lolita: Story of a Cover Girl will be published this August by Print Books.
Tantrum, a new retail concept aimed at teenage girls, has launched its flagship store at Westfield Stratford in London. Pentagram partners William Russell and Domenic Lippa collaborated to develop the interior store design, brand identity and graphic language.
The logotype, designed by Lippa was based around Din rounded, with some characters re-drawn to give the identity personality. In addition, Lippa and his team decided that the identity could be moved, overlapped, made into outlines and played with to keep it fresh.
Continue reading “New Work: Tantrum”