With a solid base underpinned by authority and heritage, they can be free to express their creativity and innovative nature.
From the development of the existing brand that has been undertaken by Neville Brody’s research studios.
The rollout of the new brand hasn’t made it to the main site at the time of writing, but the changes aren’t huge. With such a big reputation the RCA doesn’t need to try too hard with it’s identity, instead using it’s visual capital simply. A nicely drawn crest and some modern serifs is a pretty neutral understated treatmment that says ‘we are the Royal College, and we don’t need to shout about it’.
Very simple and clear. Perhaps that’s why there is a reasonably comprehensive ‘Graphic Identity Toolkit’ explaining the correct and incorrect uses of this plain wordmark. In fact the rationale is explained in the toolkit. In answer to the question ‘Isn’t the logo a bit boring?
The logo is part of our graphic identity system, and is intended as a ‘stamp’ of identity. A simple design was chosen to maximise legibility and recognition across all applications. The burden is placed on other elements (content, tone of voice, photography, etc.) to convey our personality.
Also interesting is that having London as an integral part of the wordmark draws on the huge brand recognition of London, making it less important to create one’s own identity. The college being in London is a huge part if it’s identity.
Similar to the University of Surrey, the colour scheme and very wide open font combine to create a bit of a 70s modernist feel. I can imagine it fixed on a brutalist campus building.
There is detailed explanation of the crest
Awarded University status in 1992, the University has used the trusty combination of a modern sans-serif combined with a nicely simplified crest. The typeface looks like a Univers – Futura combination, all kicked off with a very pointed ‘A’.
Starting out with the lovely title, The Institution For The Diffusion Of Useful Knowledge, UCLAN have a very sparse logo
The name UCLAN seems at little cumbersome, but since UCL is taken I guess it makes sense.
A pretty figurative approach is taken on the rendering of the roses, instead of a the more abstract approach often taken by the newer universities. It’s difficult to see past the red rose as a symbol to use when talking about Lancashire since it is so strongly associated with the county. Unsure why there are two. Whilst they sit tidily enough, the placement of the roses and foliage doesn’t seem to add any great sense of tension or balance in the logo. A little bit of Pareidolia has the user vaguley aware of pair of eyes looking out. In fact the pair of red eyes put me in mind of an L S Lowry painting – The Man with the Red Eyes. I think this might be a bit of a reach , but an interesting association nevertheless.
The font looks similar to Frutiger. A legible choice, though used very plainly all in lowercase, giving it a strange, passive voice.
Vaguely reminiscent of a bio hazard sign, this logo is described in the identity toolkit as a link symbol, it is explained thus –
bq. The Link is made up of three connected Cs, which stand for Canterbury Christ Church. It also signifies the three core activities of the University: teaching, research, and administration.
Again, the detailed toolkit tells us that the Typeface is Humanist 777 by Adiran Frutiger.
The combination of these two things make this logo fairly typical of a new university style. The slightly generic symbol and sans-serif combination makes for a mildly antiseptic logo, though it needs to said the long name makes it a challenge to be compact. Trading personality in this way makes it difficult to imagine any real affection for the logo, instead pursuing a low risk strategy.
Judging by the tops of the lower case n, m and g looks to be using FF Dax with the modification of the lower case e straightened. A fresh face without too much modulation in the strokes – interest instead coming from the way the aforementioned m’s, n’s and g have arcs that finish abruptly at the junction of a vertical stroke.
The castle is simply drawn with some nice details to show light coming from the right. At the bottom is I presume, a representation of the River Trent. The combination of the two window slits in the tower and the river suggest (to me at least), a slightly whimsical face.
A simple vertical line delineates the text and graphic portions of the logo, with either side anchored around it. A neat little separator for a logo that is a confident use of ‘heritage’ imagery with a contemporary typeface.
Strangely disparate logo. The illustrative part seems to function independently of the typography.
On first glance the illustration is suggestive of the famous double helix of DNA , but this is refuted here. Instead it is more mundanely signifying the coming together and intertwining of the UNiversity’s aims and outlooks. As such it’s less specific and also less interesting.
The typography looks like a combination of Kabel and Gill Sans. The ends of the diagonals on the K and V are finished square, like Kabel, whilst the letter U has no spur in common with Gill Sans. It is very widely spaced, giving an almost art deco air. It reminded me of a less successful version of the Leeds University logo.
The simplicity of the typography perhaps needs a correspondingly strong pictorial element, which the ribbons don’t quite provide.
The graphic element of the logo is the combination of two letter U’s interlocking on a background of 3 colours. The U’s are from a srif font, with one smaller than the other. The white one bleeds to the edge of the blue box, making the serifs look almost triangular. The light blue U in the foreground is more intact, but has an odd green patch appended on the top. If there’s some significance to the shapes created by the interlocking and negative space I’m afraid it’s lost on me. It seems overly fussy, and a distracting rendering of two letters.
In contrast, the choice of Optima for university font with it’s large x-height and delicate curves makes for a very open and fresh feel. The combination of colour and font weight make for a nice balance; the ‘Ulster’ is bold without becoming overpowering.
Lovely page of typography in the corporate guidelines explaining the usage and providence of the logo. Originally designed by pentagram and more recently updated by Dalton Maag the Mark is a refined treatment that lets the long established name shine through.
The K dominates and one can admire the understated elegance of the strokes because of they have been unafraid to leave space around the large letter. The rest of the wordmark is tighter with the italic ‘college’ providing some useful contrast.
Set in what appears to be Trajan Regular for ‘the university of’ and then perhaps a custom variant for the larger Warwick text. The inscriptional font brings to mind all the usual associations of age, experience and tradition. In this case there is a certain liveliness created by the long tail of the R and the very sharp serifs seem to be breaking out at angles.
At smaller sizes some of this liveliness dissipates and one is left with a classical feel and tail of the R underlining the W becomes a more prominent feature.