Pentagram writes: ‘Founded in 2003 by the esteemed editor Ann Godoff, Penguin Press is an imprint of Penguin that publishes literary fiction and quality non-fiction by a distinguished list of authors that includes Thomas Pynchon, Zadie Smith, Ron Chernow, John Berendt, Michael Pollan and Errol Morris, among many others. Pentagram’s Michael Bierut and his team have designed a new identity for Penguin Press that establishes an iconic symbol for the imprint. Bierut and his designers also recently developed the new brand identity for Penguin Random House, Penguin’s parent company.’
While developing the wordmark, Pentagram ‘focused on working with the “PP” acronym, which is actually a difficult pair of letters to work with. The team soon recognized the similarity to ¶, the proofreader’s symbol for a paragraph, which is called a pilcrow and consists of two Ps in reverse. Using the same configuration provided a concise acronym that evoked the essence of what publishers sell: words turned into sentences turned into paragraphs.’
‘The identity utilizes the font Balto Light, designed by Tal Leming. The lowercase g has been customized with a flat ear, to better complement the flat x-height of the wordmark. The identity has started appearing on book jackets and promotions, and is featured as a pattern on the Penguin Press Winter 2015 catalog.’
‘Post Projects was commissioned to create the identity for the restaurant. The identity execution took the form of menu design, stationery, website, signage and custom wallpaper.’
Restaurant photography by Jennilee Marigomen.
MGMT., the exhibition designers write: ‘An exhibition at the Boston Society of Architects. Curated and designed by MILLIGRAM-office with graphics by MGMT., Rights of Way: Mobility and the City is a global exploration of mobility and transportation in cities. The exhibition features dozens of examples of visionary urban thinking, showing how the city is shaped by the ways people move through it.’
The BSA writes: ‘The exhibition will examine large-scale urban futures, contemporary examples of innovative design for transit and public space, historical attempts at remaking the city, and individual adaptations of mobility systems.’
‘Rights of Way demonstrates that our urban environment is the result of constant negotiation among designers, policy makers, the private sector, and individual residents. By claiming that access to mobility is access to opportunity and that everyone has his or her own “right of way,” this future-oriented show reveals how those public rights are always at play in the shared commons of the city.’
The designers write: ‘Our challenge was to unify different purpose spaces in one unique design voice. We did that by using a single typeface, the excellent Torque by Type Supply and keeping the color palette simple and on brand.’
‘We designed information graphics, pictograms, quotes from known educators and innovators in a way that either grabbed attention or receded, depending on each room’s objective.’
‘Simply put, we had a heck lot of fun with typography and illustration to help communicate Estácio’s particular vision of the future.’
The Syracuse Connective Corridor is about ‘place-making’ — connecting university and community assets to create a place where talent wants to live, work and invest.
The Connective Corridor is a nationally recognized example of university engagement. The multidisciplinary project is reshaping the face of the City of Syracuse through new urban spaces and streetscapes, bike and pedestrian paths, public art, parks and landscapes, green infrastructure, façade improvements, historic preservation, neighborhood revitalization, signage and branding, and events programming. The Corridor is a linear stage that connects University Hill with downtown Syracuse, providing a platform for interaction between the campus and an engaged creative community. And, it is collaboration that strengthens the education experience, as well as the community.
Tal Leming writes: ‘One of my favorite things about being a typeface designer is seeing what people do with my typefaces. Case in point: Ohm. This typeface started as a piece of lettering that then turned into a type design parlor game that then turned into a typeface. I had no idea if anyone would ever use it, let alone what it would be used for. But, designers have used it to great effect.
‘Well, not too long ago a really weird thing happened. I got a tip that I should go to a nice market near my home here in Baltimore. My wife and I showed up at the appointed time and grabbed a quick bite. While we were eating our lunch, a truck pulled up. A truck carrying some Ohm. Literally, a truck carrying some Ohm. I took a picture to prove it:
‘(Faces obscured to protect the innocent guys who were quite puzzled by the weirdo excitedly taking pictures of their truck.)
‘As it turns out, the market was getting a brand new sign. The typeface used on the sign was Ohm. Did I mention that I live near this market? And that it specializes in local grown and produced products? Small world…
‘Neat! But wait… I drew Ohm to look as if each letter was made from a single tube. I did a little research on neon tube mechanics, but I decided that it was more important for the letters to look like neon than to be accurate technical drawings. Anyway, upon further inspection of the sign as it was being installed, I noticed that each “tube” representing a letter was actually made of numerous real tubes:
‘OMG! OMG! OMG!!!!! Seriously, this is one of my favorite things ever. I’m a huge nerd about the technicalities of constructing letters, so this hidden detail amuses me so much. At night, it all blends together perfectly:
‘So, in summary, this sign features a neon interpretation of a typeface that itself is an interpretation of neon letters. If I was still in art school, I would write a wordy essay about this and it would probably earn an A- in that Understanding Post-Modernism class that I didn’t do too well in.’
Thanks to Mary Mashburn at Typecast Press for using Ohm on the sign!