Pentagram writes: ‘There’s nothing quite like experiencing New York City on a bike, especially on a beautiful spring day surrounded by thousands of fellow riders. On Sunday, May 4, over 32,000 cyclists will bike 40 miles of traffic-free streets in the annual TD Five Boro Bike Tour, presented by the non-profit organization Bike New York. Pentagram’s Emily Oberman and team have designed the graphics for this year’s Tour, as well as the promotional campaign for Bike Expo New York, a two-day event that leads up to the big ride.’
The identity revamp for the eponymous ‘Tonight Show’ was led by Pentagram partner, Emily Oberman and her team.
Pentagram writes: ‘This week Jimmy Fallon takes over hosting duties for “The Tonight Show,” the long-running NBC late-night talk show that celebrates its 60th anniversary this year. Pentagram’s Emily Oberman and team have designed the new identity for the series, updating the classic “Tonight Show” crescent moon with a full moon that signals Jimmy’s fresh take on the program, which has moved back to New York after more than 40 years in Los Angeles.
The crescent moon has been part of the “The Tonight Show” logo for much of the program’s history, starting with Johnny Carson’s three-decade tenure (1962-1992), into the Jay Leno years (1992-2009, 2010-2014), and even the brief Conan O’Brien interlude (2009-2010). With Jimmy’s arrival, we thought it was time to really bring the moon front and center. And so, the moon becomes the holding shape for the entire logo, creating a circular emblem that can be used as a photograph or a flat graphic.’
Read on and see more background and in use examples here…
NME magazine redesign
Creative Review has interviewed NME’s art director, Mark Neil, who is behind the redesign.
Q: What were your main sources of inspiration?
You have to look back to go forward — working for a historic brand such as the NME, my first stop was the archive cupboard. My favourite time in NME’s history is the Barney Bubbles era — I’m a big fan of his original stencil treatment to the masthead and his illustrative attitude towards the paper during a time when production was so limited.
I then started to look at old magazines that represented that timeless, iconic, being part of a club look, along with other graphic design that connects in the same way — classic album covers and posters for example. I’m a massive follower of Bob Newman’s blog and one of my favourite inclusions was covers of NY Rocker from the late seventies/early eighties. This was the kind of thing I needed to inject into this project — a cut and paste illustrative fanzine kind of feel that can be produced effectively in a modern, weekly publication.
Q: What particular features did you set out to address with the re-design?
NME had become a little confused in its visual language. It was still using a very text heavy, newspaper-like design and readers in focus groups said it was bland. My mission was to inject a bit of energy into it and connect the visual language with the editorial — something magazines like Bloomberg do fantastically well.
The new display font is Lucas Sharp’s Sharp Sans, the sans serif is Calibre by Klim’s Kris Sowersby and the serif is Sowersby’s Tiempos Text. The typefaces are all modern font designs that celebrate old classic neo-grotesque/geometric aesthetics. Sharp Sans was perfect for the main display font as it has a fun retro character but used in bold, it adds a maturity that can be applied well to features.