Edenspiekermann developed a dynamic typographic concept and logo that are based on the customer experience inside and outside the museum walls. It is both graphic and sculptural and becomes visible due to the interplay between light and shadow. They used Kris Sowersby’s beautifully crafted contemporary typeface ‘Karbon’ and brought it to life with the help of Cinema4D software.
About the project
The Kröller-Müller Museum offers an unique experience of art, architecture and nature. It combines the second largest collection of Van Gogh paintings in the world with the biggest sculpture garden in Europe. The museum whishes to reach a bigger and wider audience. Edenspiekermann developed a new brand identity inspired by elements of nature such as light, shadow and movement. This is how we brought together the inside and outside experience of visiting the museum. The result shows a dynamic, typographic logo and a colourful, flexible identity with which the museum can present itself strongly and recognizably.
What stroke us, was how much more the Kröller-Müller Museum has to offer, besides its art. The surroundings and environment plays an important role in the experience of the visitor. The museum is located in a beautiful, green area and its huge windows really draw the nature inside. Outside in the sculpture garden, you’ll find a large part of the art collection. So, depending on the weather and season, and depending on whether you look from the outside in or inside out, the museum always has a new experience to offer. This interplay between art, nature and architecture was our starting point for the identity. Influenced by light and movement, the characters become sculptural typography which can be animated subtly.
One of the first visible expressions of the new identity is the campaign we developed to celebrate the renewed presentation of all the museums’ Van Gogh paintings and drawings. Edenspiekermann was also responsible for the visual design of the exhibition and brought together Forbo Flooring and the Kröller-Müller to create the customized yellow carpeting in the Van Gogh zone of the museum.
A comprehensive identity program like this is always a work in progress and we’re still working on various other brand expressions like the website and wayfinding for the museum and its beautiful sculpture garden. But don’t let this stop you from scheduling a visit to this hidden gem in the heart of the Netherlands some time soon: it will surely tickle your senses!
Curious about the way this works out? Have a look on their website:
Cityroom (The New York Times), has invited 8 designers to critique the new NYC Taxi Logo:
Perhaps not since 1970, when all medallion cabs were required by law to be painted yellow (to distinguish them from gypsy cabs), has the face of the New York City taxi changed so noticeably. City Room asked a number of designers and typographers to critique the new logo, which is being placed on medallion cabs as they go in for regular inspections. We even asked some to propose their own versions if they cared to. We will be showing their responses through the week.
Continue reading the article.
We have interviewed Si Scott on this blog approximately one year ago, and since then, he kept getting better and better.
He designed/illustrated & art directed this Resonate series, for a new monthly music collective which is going to be released every month in a poster packaging format with a different animal each time.
Look at these “just arrived” images of some of his latest work.
Hot bunny for the cosh gallery exhibition – ‘that’s all folks – the bunny show’.
The Tank Theory one is for a high end T-shirt brand in New York (the design is made up out of naked women).
Flip it 180 and look at the chin it is a women on her back – and where the horns join the head also.
Si Scott Studio
Ok, you problably know this, but I had never seen this logo before:
The first Apple’s logotype, designed by Ronald Wayne. Wow… and check the first computer, the Apple I:
Long live Wikipedia (Typography of Apple Inc).
The first book devoted entirely to typographic tattoos.
It has been called INSPIRING, SHOCKING, AND VOYEURISTIC… BODY TYPE explores the ideas and emotions behind this indelible commitment.
From Shakespeare to Radiohead, from Dante to James Joyce, from celebrations of love to homage and memorial, the wide breadth of messages captured provides insight into the human condition.
BODY TYPE is not only for tattoo aficionados, but also for all lovers of the written word.
Get it here.
With her first line of clothing due to cause riots in Topshop at the beginning of next month, plus other projects in the pipeline, Brand Moss has arrived, her new image sealed by an identity masterminded by Peter Saville, in collaboration with typographer Paul Barnes.
Read the full article at Creative Review.
TIME Magazine has been redesigned by Pentagram.
As Stengel says in the editor’s letter in the new issue, “This issue of TIME marks a new beginning. The magazine has a new look and structure. Every issue of TIME tells a larger story about the world we live in, and we wanted to create a design that would best present that story.”
“The magazine has been modernized,” Hayman agrees, “but it still has the TIME ‘DNA.’ We deliberately chose fonts and design elements that echo classic TIME magazine.” During the redesign process, Hayman worked closely with TIME’s in-house team, including Stengel, Hochstein and deputy art directors Cynthia Hoffman and D.W. Pine.
Paula Scher, who collaborated with Hayman on the redesign prototype, explained part of the thought process behind the project. “We created a system that we thought would resonate with today’s readers. It’s full of quick bits and relevant info, but still retains the spirit of TIME. We used the display typeface Franklin Gothic that was part of the history of the magazine, and revisited the grid used by Walter Bernard,” the legendary editorial designer.
Source: Pentagram’s Blog.
Siruca™ is a custom stencil font designed for low-budget signage projects, together with its pictograms.
Also check other fonts by Fabrizio Schavi.
BaseLAB specializes in designing new and custom fonts, customizing existing fonts, producing fonts and logotype design and optimization. They also create small tools and programs for specific client needs and also for designer’s recreation.
From the alrealy wonderfull Base.
The typography was originally based on Franklin Gothic, over 100 years old and still looking as fresh as a daisy. Strong, solid, clear, no messin’. Then it was a matter of getting it flowing together smoothly, focusing on the shapes of each character and almost morphing them into each other so that it wasn’t just four independent letters but one seamless sculptural piece. This involved a lot of squinting and standing back until it felt right.
This is an example of what you can find at Brand New, a Speak Up spin-off displaying opinions, and focusing on corporate and brand identity work. It is a division of UnderConsideration.