Interesting use of Clerkenwell Regular – with a very curious extended serif of the descender of the lowercase p.
The wordmark reminds me of the Guardian identity with the different tints knocking back certain words, though it’s a good solution to a problem of differentiation that many former polytechnics face. The location and name are grouped and University is emphasised.
I like the modern and solid feel of the typeface, and the intention seems to be to take a lot of care with how the logo is used, as evidenced by the extensive guidelines were there is a lot of guidance on how to implement the university’s messages and tone of voice.
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’.
The original, flat logo is an elegant combination of the letters creating a versatile and lasting brand. As covered on Daivid Airey’s logo love there is also a subtle nod to the historical use of shields in other university branding. I’m not sure what the addition of the gradients and shadow to the logo are meant to achieve. For me. they are just modish distractions from a basic classic.
Also worth mentioning is the University’s misson for distance learning meant that there was a very strong motion graphics component to the brand. Generations grew up with the Open University idents on day time and late night television as seen in this youtube video
Finally, I can’t mention the Open University without linking to this Fry and Laurie sketch.
The leaves and bud (or is it an acorn?) – I’m no expert on trees – in two tones of green are arranged to slightly suggest of a letter Y, but not too obviously so. Combined with the thin and even sans serif the overall feel is perhaps a little generic medical. The letter ‘r’s have some pretty distinctive shoulders (I think that’s what they are called) and no dots over the ‘i’s is unusual.
A logo that seems to hark back to the late seventies, with a bold, even garish colour scheme, a grid like representation of a globe, overlaid with panels rather incongruously throwing in more traditional elements of book and bugles.
The globe and panes combine with the font to create a nostalgic feel, free of the softer swirls, swooshes and treatments of modern logos. I guess not intentional, but the bugles seem to suggest some kind of global postal service.
Overall, it seems unabashed by it’s awkwardness and the choice of Avant Garde Gothic, enhances the retro feel. A bold choice, that certainly makes it stand out. Even if I can’t help thinking it could have a bit part in this video, whilst being accompanied by this tune
Reminds me of an American college with it’s confident and bold lettering, and the choice to eschew the traditional shields and crests in favour of strong graphic device. An intriguing contrast between the very direct ‘B’ and the more involved and maze-like pattern. A pattern that made the Moscow Olympic logo spring to mind up as an association.
The decision to keep it simply a typographic solution then lends itself (maybe even requires) a variety of ideas and approaches. Some examples are given by the agency that worked on the brand – Radley Yeldar
Suprising to find out that Befordshire University is a recently created organisation and not born out the creation of many Polytechnics in the sixties. The logo looks like it has a very clear lineage to that era with it clean abstraction of the letter U and B. It also put me in mind of tulips, though I’m not sure that Bedfordshire has any particular association with them.
Whilst being a strong graphic device, the tulips are not well complimented by the light sans serif font that sits passively next to it.The tulips overpower the text and in the proportions used I can’t help thinking that placing the text beneath the image would have integrated things better. It’s maybe even a little too cool for a University, no matter how go-ahead and exciting; I could easily imagine it as a software developers logo, or on a club night flyer. Interesting basic shapes to build edesigns on though.
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.
The Northampton logo has an interesting approach, explained with this diagram from the corporate guidelines.
As you can see an attempt has been made to incorporate a few elements and meanings into the logo, it only really works if the letters function as letters first and foremost. Good idea to incorporate a graphic based obliquely on something important and relevant to the town, but trying to mangle the letters ‘n’ and ‘u’ into a pre-existing shape seems a step too far.
It could be that I’m staying up too late but I see a stylised rabbit somewhere in there. The badge shape is however, a nice variation on the traditional shield, and hints at what could be done with this logo. The ‘u’ shape makes the logo feel unresolved.
On the plus side, I Like the choice of optima as a clean and softer modern font. Tightly spaced but still managing to be fresh and open without trying too hard to be dynamic and aspirational. The decision to set it all in uppercase makes alignment easy negating any awkward whitespace within the word.
A typographic only logo from Abertay University, that uses a slab serif face, Serifa to state the basic information simply, with the kind of modern voice that paradoxically, a 1960s can provide. The modern serif is direct, strong and clear. A clear break with the name and crest based logo the university had previously.
There was a quirky characteristic that I noticed – that on some documents the dots over the i’s are absent yet on the website they are present. Which is the definitive logo is unclear. It seems rather an odd thing to do.