The font seems to be Standard CT Extra Bold. It’s a chunky Helvetica lookalike, that is pretty compressed and solid.
The overall effect is a very confident,perhaps strident exclamation of the University, it’s location and it’s name. Such a dense block of type is offset a little by the stylised heraldic lion, taken from the coat of arms of Simon de Montfont. The choice of an all uppercase treatment also neatly sidesteps any confusion about the proper capitalisation of de Montfort.
Ultimately, the overall effect is of a no-nonsense and confident approach, eschewing more restrained and traditional approaches.
Comprehensive roundup of the History of Birmingham City University history, particularly the history of the brand can be found on the wikipedia page.
The logo itself is a tiger taken from a coat of arms from one of the constituent parts of the university. An unfussy and nicely detailed rendering, it is given pride of place in the logo, where it’s large scale in comparison to the type really shows it off. Added to this is the strong contrast of the deep gold and blue.
A Counterpoint to the tiger is the choice of a weight of FF DIN a modern and efficient font in uppercase to make the identity clear. It’s very readable and compressed nature contrasts well with the heraldic feel of the tiger, and it’s all finished off well with university set in lowercase.
A solid square contains everything, making a very self contained identity that manages to scale from a simple letterhead to the sides of buildings.
The shield shape is suggested by two calligraphic marks at the top and bottom. Incorporated in the logo is a book, an anchor, a pickaxe and a hammer. The dragon at the top of the shield looks like it has been squashed to fit the space which a little off putting, and makes it feel like an add on. The way the shield has been created with open space and marks tops and bottom, is perhaps designed to make it less formal, but also suggests an anchor shape.
For the bi-lingual element of the logo, the two parts are given roughly equal weight and prominence, both placed beneath the shield.
Modern sans-serif typeface adds to the informal feel. A very curvy and modulated typeface, Cosmos has some extreme changes in strokes and a large x-height, setting a fresh yet quirky tone.
Proabably one element too far (the dragon)betraying a lack of focus in an otherwise fresh take on a university logo.
Tidying up exercise on Salford’s roundel described in the corporate guidelines. The supporting text around the Lion (in a pose called rampant)) has been made bolder, larger and simpler, whilst also removing some ornamentation. Like the simplicity of just one lion. A strong character in a dynamic pose free of distractions alludes to the history suggested by a coat of arms, without labouring the point. The circular shape is a strong mark when done with simply and with confidence. Was reminded me of the Midland Bank Griffin
The wordmark is in sentence case and set in Frutiger, which adds a light touch to the overall mark. Also nice to see the university happy to be have a less formal feel rather than the more common uppercase.
A calming and fresh choice of green for the wordmark, contrasting nicely with the burgundy of the lion.
A golden stag holding a key with a gently authoritative word-mark, it’s a big improvement on the previous typographic logo. This logo, able to to be modern but comfortable in displaying traditional elements in a new way. A selection of quotes from the styleguide make the purpose of the new mark explicit, even if the last quote is over-egging the pudding a bit!
The new logo and identity for the University of Surrey has been created to reflect our strong heritage whilst at the same time looking forward to the bold future the University has to offer.
The icon is derived from the University coat of arms where the stag denotes the medieval royal hunting park on which the main campus is built and the key a heraldic symbol of learning.
The stag is an effective representation of the University: bold and independent; strongly engaged with its world; challenging yet protective; forward-looking and ambitious.
A successful exercise in taking existing imagery from crest and making it modern without losing the charm of the original mark.
Thanks to the impressively comprehensive style guidelines we find the text is set in Baker Signet Regular, an inscriptional face that has lovely subtle modulation of curves offset by the calligraphic sharpness of spurs throughout – particularly on the S and E. The softer curves of the Y also end the words gently.
If I had to choose clothes to match this font, I think I’d choose a 1970s safari shirt:- something stylish and relaxed, serious yet wordly. So, an original choice for a University, that fits very well with the other distiguished element of the logo.
A graphic treatment
The Stag holding a key is taken from the University coat of arms, and has largely been turned into a silhouette. It works very in making it a clear and recognisable animal especially when in a full colour version where the rich gold tone adds a regal air to the mark. The arrangement with the text is simple and uncluttered, letting all the nice touches of the logo speak.
In common with lots of universities, Aberystwyth uses a shield which has been derived from the University’s crest. The elements of the crest are explained in the branding guidelines.
The main features are:
Two red dragons which symbolise the optimism of Victorian
north and south Wales
An Open Book – symbolising the world of learning
Eagle or Phoenix rising open-winged above a flaming tower – symbolising, perhaps, the rebirth of the College after the
fire of 1885
The legend ‘Nid Byd, Byd Heb Wybodaeth’ – ‘A World Without
Knowledge, is No World’
Nod to tradition
The shield portion of the is pretty symmetrical and direct, possibly even literal. The more interesting aspect of this particular logo is the treatment of the type. The ‘A’ sticks up sharply above the level of the rest of the uppercase classical serif, which is in turn tightly spaced. Not sure if the ‘ry’ pair is a usual kerning, where the R joins the Y. Similarly, the W and Y are joined where I think a little space might have let the letters breath better.
Balancing the bi-lingual
Probably the least resolved part of the logo for me was the uppercase sans serif typefaces above and below the text. Aligned top left and bottom right, they seem to upset the balance of the logo. Looking quite like a squashed Helvetica, the bi-lingual aspect doesn’t work. Perhaps the point of the A is preventing the ‘prifysgol’ being read before the ‘Aberystwyth’, having of the unfortunate effect of dislocating the welsh portion of the logotype.
Also curious is the strange swoosh. Used extensively as a graphic device on lots of publications and screen based media, it works better. When used with the logo it seems to lose it’s nerve and ends up being a sad little frown rather than a more confident extension of the A. The way that it tapers means it’s less clear as a flat graphic and ends up suggesting a ribbon, but without really being either.
Available in colour and monochrome
I notice on the website and printed publications that a buttery yellow Pantone 123 is used as a background to the logo, but the guidelines don’t specify this is a requirement. Perhaps to give the university some room for manoeuvre. The solid yellow allied with the crossing swooshes device used on the site and in print give the logo a bit more impact. Aberystwyth don’t provide any portrait orientation of the logo, but as is standard they do provide monochrome and reversed versions. The single colour works well to unify the elements of the logo,and I was surprised not to see it used much on the site.
A solid implementation of the the familiar technique of using a shield to suggest history and tradition, undermined by a not fully resolved treatment of the demands of being bi-lingual. Would have liked to see more made of the strong visuals present in the shield. Also think if colour is to be used then perhaps develop a palette of colours to compliment the existing colours of the shield.