Our logo is clean, simple and bold. It has been designed using our bespoke font, which gives our brand a unique and distinctive character. Our logo must always be reproduced from master artwork and never from a second copy. It should never be recreated.
I think I agree with the commenters that say it’s more of a campaign than an Identity – though I do like the variety that stems from this approach.
Simple Helvetica in a square. Making the most of the London location in a similar way to Imperial College.
A Case Study on the Kingston brand describes how the overall strategy is to ‘tell the university’s story’ and as a consequence the logo seems to be a less important element in the overall approach. Overall not a great deal to like or dislike.
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.
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.