This week the design Twitterati were all over the new Airbnb logo from DesignStudio. While many were impressed, there’s always a range of opinions (and usually the inevitable Tumblr lampoons) around redesigns these days; see Michael Bierut’s excellent essay Graphic Design Criticism AS Spectator Sport for more on this phenomenon. It got us thinking though about some of the best logos and identities we’ve seen so far this year; and so we present a selection of the most interesting examples from the first half of 2014. We’ve also opened comments so you can agree with us, slate our bad taste or suggest some we might have missed…
Sagmeister & Walsh: The Jewish Museum
Inspired by an ancient geometric system on which the Star of David is based, Sagmeister & Walsh’s identity for the Jewish Museum in New York was a great example of combining tradition and heritage with a contemporary aesthetic that works across platforms.
Dot Dash: Fatties Bakery
London studio Dot Dash have established a real reputation for exceptional design in the hospitality sector, but this identity for the terrifically-named Fatties bakery is a real treat, based around the pleasingly simple and joyfully communicative elongation of either the “a” or the “e” in the name.
“Capturing the soul of one of the most innovative companies of our lifetime is a big challenge,” explains fuseproject founder Yves Behar about the much-talked about PayPal redesign unveiled in May. The idea was to create a “bolder, more progressive” expression of the online payment company, and although reactions were mixed (see the comments on this Creative Review article for a flavour) I like the evolution of the look.
Made Thought: G . F Smith
G . F Smith is a brand with a prominent and well-established role in the creative industries; as such its redesign was always going to be the subject of some scrutiny. But thankfully Made Thought’s perfectionism and the company’s own sense of both its past and its place in the contemporary culture led to a redesign that not only lived up to expectations, but exceeded them.
Michael Bierut: Penguin Random House/Penguin Press
As James Cartwright wrote about Michael Bierut and his Pentagram team’s work on the Penguin Random House merged identity, the pressure of " creating a new set of brand guidelines for two of publishing’s biggest names and their 250 individual imprints…hardly bears thinking about." Michael’s solution was deceptively simple; its success lay in its restraint and not trying too hard. But personally I’m just as impressed with his work on the Penguin Press imprint, inspired by the proofreader’s paragraph symbol to give the “PP” acronym some real style. And while we’re here, a word too for Matt Young’s work on Penguin’s Pelican range and the epnymous new logos, in both their flying and standing iterations.
Noeeko: Branch Creative
Warsaw studio Noeeko knocked our socks off with this tree-mendous (sorry not sorry) identity for production studio Branch Creative. It’s fun, it’s flexible and (although not a major consideration) it’s superbly documented.
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- From woodcut type to spinning tops: Can collecting inform your creative work?
- Jeremy Jansen’s graphic design work bridges concept and coherency
- Michael Craig-Martin: a cool, clean and colourful riot of everyday objects
- Anatoly Grashchenko's randomly generated posters for a Moscow theatre
- Japanese illustrator Nimura Daisuke is back with his charmingly naughty gifs
- Should illustrators be treated like designers?
- Why “cool” stunts creativity: one agency offers its opinion
- Fresh, vibrant poster work from South Korean designer Soojin Lee
- Grey London's thoughtful, powerful and innovative new campaign for Tate Britain
- Colourful masses with a Memphis aesthetic in Mariano Pascual’s illustrated alphabet
- Introducing French design studio plus mûrs and its beautiful poster designs