I think the shape itself is a pretty appealing, with now jarring sharp angles or edges. It’s a prototypical unthreatening shape. Vaguely dynamic in a clincal way. The typography contained within is a nice contrast. Very specifically, Helvetica Neue LT Pro is the typeface – adding to the medical feel.
The most interesting information gleaned from the guidelines is the system of specific graphic devices designed to use the logo in an illustrative capacity.
Called the ‘river lockup’ the plectrum is combined with a representation of the River Thames made up of multiple coloured circles. Apparently reprsenting a journey of transformation, there are detailed explanations and variations for many different combinations.
I think the idea of a system of graphic devices to support the brand is an innovative one. In addition to the River device, there is the stream and the orbs, which combine with the logo to give designers tasked with creating interesting brand compliant work a solid set of tools. How they put these elements together is the challenge.
The combination of the differing word order systems of English and Welsh is used to create a word-mark with top – bottom symmetry. Both languages are rendered in a typeface that seems to be a combination inscriptional/sans-serif, that also manages to suggest calligraphy. The subtle curves on the strokes and the different sizes of the letters create a craft-like effect that seems to be a nod to the celtic roots of Wales, similar in feel to that used on the Wales Millenium Centre The simple placement of rectangles above each other, in effect combines two logos, and they are brought together by the muted red.
Abbreviated to UWS, it is a simple little mark with a pleasantly oversized S. The inscriptional uppercase treatment of the full institution name adds a little touch of sharpness to contrast with the nice curves of the S, and also includes an echo with the italicised ‘of’ having the ‘f’ drop down nicely.
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
The large curves that taper on the serifs make for a nice contrast throughout the letters, providing the gravitas that established universities are often looking for. The flourish on the ‘of’ doesn’t seem incongruous and the overall effect is plain and direct.
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.
Better in one colour rather than the red and blue, which are both strong shades and compete with each other. A problem that is unfortunately exacerbated by the difference of the type. Presumably the update to the text is to make the university appear less formal, with the simple choice seeming to be sans-serif. The hierarchy is disrupted by the colours and the way that both vie for the foreground.
When a single colour is used all the elements hang together more coherently, though there’s still the tricky problem of those letter O’s that bring a lot of space right to the middle of the wordmark. Perhaps an extra level of hierarchy might help the sans-serif text to live with the larger serif, which currentlty dominates. I’m sure that it was the intention to emphasise that but overall it seems to shout Brookes whilst not quite resolving the tone of voice for the rest of the logo.
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.
Particularly interesting references in the guidelines about how the previous logo was compared to other similar universities, and found to be out of step. Which has led to the creation of a typographic logotype that speaks clearly and in a refined way, in line with where the university sees itself and it’s competitors.
With such a long word setting it all in uppercase may have led to it being to shouty, so only the smaller portion of the wordmark is done this way. Using the Freight family ,the main word is mildly compressed and the sharp serifs throughout the wordmark give a relaxed but distinguished feel.
A simple and restrained execution of a logo as part of wider considerations about brand positioning.
Set in a classical uppercase serif, the letters UEA are broken up in an almost stencil like way. The glint/spark completes the cross of the A creating an overall feel of a rather austere and technocratic feel. It reminded me of the NATO identity, and a quick search suggested others. The glint or spark from the logo is permitted to be used as a separate design element described thus
It captures an iconic representation of the creative ‘spark’ or ‘glint’ which epitomises much of our work, whilst also communicating as a mark of excellence.
A method of integrating Faculty and Department names with the logo is also suggested:
Logos with descriptors are made by adding either one, two or three lines of copy to the UEA logo. In order to establish a hierarchy for the descriptor Gotham Medium is always used for the first line, Gotham Book for the second and Gotham Book Italic for the third line.
The choice of Gotham is a good one; it’s a very open and airy font with a confident modernity. When present perhaps the idea is to balance the sharpness of the main logo in this way.
An interesting typographic exercise with negative space the sharp logo is a big contrast with the previous UEA logo, shown below, which evokes a late 60s futuristic vision and was distinctive in it’s simplicity and boldness. Perhaps indicative of the university seeking a repositioning away from it’s 60s roots, the new one strikes me as a touch on the delicate side in comparison.