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Remy Overkempe’s comment is:
Loving it. "I think it's totally hot!"
On Sep.29.2008 at 09:46 AM
Darrel’s comment is:
Dang. This isn't about MAD magazine.
On Sep.29.2008 at 10:15 AM
Anonymous’s comment is:
great stuff - this is branding that is non debatable.
On Sep.29.2008 at 10:15 AM
Andrew Klein’s comment is:
I just can't read a square as an "i" or a rounded square as an "A"- I like the aesthetics but it's alot of work to read. Design is supposed to communicate, right? Is it supposed to be communicating with it's non-communication?
I dunno, maybe it's just monday and i'm bitter.
On Sep.29.2008 at 10:32 AM
damon’s comment is:
Love the bus, and the animation where the MAD logo unfolds.
Robert Augustin’s comment is:
I love it. It's so 1970. And I don't know why, but it reminds me of San Francisco...
On Sep.29.2008 at 10:50 AM
Rob’s comment is:
The way the logo plays out is interesting (though at first seemed like too easy a solution), but the alphabet is pretty clunky. Designers have been making alphabets based on circles and squares for 30 or 40 years at least, and now every hot senior in graphic design school is making one too. The only time this really looks great is when an entire paragraph is set in it. When it becomes a pattern, it's legibility is less crucial, and it doesnt really need to be read anyway. When it's large and used for headlines I find that it looks pretty amateur. I think if you've been to graphic design school in the past 5 years you know what I mean. Great identity otherwise though! I love the animated logo.
On Sep.29.2008 at 10:59 AM
Matt Hunsberger’s comment is:
This looks pretty trendy. Usually Pentagram transcends trendiness.
On Sep.29.2008 at 11:20 AM
Stephen Bourke’s comment is:
Mad as Hell... We are Mad... Lets go Mad... I'm sick to God of otherwise good design being let down by rubbish concepts. The cheap puns are both distracting and pointless.
On Sep.29.2008 at 11:22 AM
Folksy’s comment is:
This was their former logo.
ArnoldP’s comment is:
I'm MADly in love with this. I kinda have a man crush on this Beirut guy.
On Sep.29.2008 at 11:44 AM
Bart’s comment is:
looks good!
On Sep.29.2008 at 11:59 AM
Stuart’s comment is:
@ Matt and Stephen.
I couldnt agree more. Tough to read, bubbly letters are so 'in' right now. Id like to think that pentagram would move beyond designer fads. This will look dated in 15 years.
On Sep.29.2008 at 12:15 PM
Keenan Cummings’s comment is:
This is disappointing. Although some of the extensions of the brand are nicely done, the base logo and style is an easy solution. This geometric bubble type style is hardly a new trend—if anything, it is being caught by the mass of designers as the best that have already used are are moving on. This über-hip Euro style has been done well (look at Non-Format for a good reference), but the voice of the copy and the tone of the collateral doesn't work at all with this style. It is just bizarre.
On Sep.29.2008 at 12:29 PM
Eli’s comment is:
"If you can read this you are mad" seems awfully weak to me. It suggests design = inaccessibility, which seems a little snooty. As a redeeming factor, it is flexible, animates well, and extends well, but I think a better solution would have been able to hit those points without resorting to illegibility as an asset.
On Sep.29.2008 at 12:59 PM
Blue’s comment is:
It took me some time to decipher the word 'city' in 'new york city is mad'. I read the 'C' as a lowercase 'a' and couldn't work out what letter the square block was supposed to be. It wasn't until I re-read it a few times and took in the 'is' fully, that I understood it. Not sure an 'i' should be as wide as other letters. Not something I expected, anyway. Maybe I'm just thick.
I think some of the applications of the logotype are lovely, though - (as damon mentions) the multicoloured letters on the side of the bus and the unfolding animation, in particular - and are more successful than the typeface is in itself - which to be honest I think is just a little bit crap.
On Sep.29.2008 at 01:14 PM
Paul Lloyd Johnson’s comment is:
mad!? nope! very happy this time around!
On Sep.29.2008 at 01:21 PM
Mongoose’s comment is:
It's an artsy logo for an artsy museum. Agreed that the legibility can suffer somewhat for the design, and the big chunky geometric letters I think will work well for the branding. It's distinctive, perhaps a bit hoity-toity but it's a Manhattan museum of design after all. One mustgo for the hoity-toity in that position.
My first impression of the font isn't terribly 'trendy' either. To me, with their color palette, it's a bit more 70's as someone noted.
I like it plenty. Next time I'm in NYC I'll have to stop in, and I imagine there'll be increased visits with the new branding, which seems well-thought out. Artsy, but fun.
--Mongoose
On Sep.29.2008 at 02:25 PM
Keenan Cummings’s comment is:
COME ON! THIS REALLY ISN"T A GREAT BRAND— TECHNICALLY SKILLFUL, YES, BUT NOT DISAPPOINTING!
The copy is weak, the tone of the taglines across the collateral doesn't match the trendy Euro-minimal look. This IS a tired trend, and they have done nothing new with it. (look here for a good overview of this style: http://www.underconsideration.com/speakup/archives/004151.html).
Again, it isn't bad work at all, but it is nothing new, it is safe. Look at 2x4's identity fro the Brooklyn Museum of Art. Look at any mediocre design firm in the UK. Look at a lot of the current European magazine typography. It is getting old.
And I can;t get over the tongue-in-cheek copy. It's way too cute for this style.
On Sep.29.2008 at 02:47 PM
Keenan Cummings’s comment is:
OOPS, I meant to say that IT IS DISAPPOINTING.
On Sep.29.2008 at 02:49 PM
altoption’s comment is:
Too derivative of Wolff Olins' NYC campaign.
On Sep.29.2008 at 03:20 PM
damon’s comment is:
"I couldnt agree more. Tough to read, bubbly letters are so 'in' right now. Id like to think that pentagram would move beyond designer fads. This will look dated in 15 years."
so will most design of the time, that's sort of the point. I think with a museum of design, you can rebrand quite frequently. It's not about consumer recognition on a busy shelf, or competitive market. The idea is that the museum is contemporary and reflects that. When it gets old, it'll be time to redo it.
that doesn't work for banks and consumer products nearly as well as it does for a museum of design.
in the end, it's always in the same place, the identity need only suggest it that it's current and in the know.
On Sep.29.2008 at 05:31 PM
Anonymous’s comment is:
"I think with a museum of design, you can rebrand quite frequently."
True, but the issue with this brand isn't how long of a life-span it will have. The issue that I haven't heard addressed is that for a design museum, the identity should either be quiet and minimal (so that the work in the museum itself can shine) or it better be something fresh. There have been plenty of Museums that brand and rebrand often—look at Walker art center, allowing it's fellowship program to be a place for experimentation and new and interesting design, or also look at the museum branding work of Graphic Though Facility and Experimental Jetset.
This just feels contrived and commercial. I would expect to see the experimental and new on display in the museum, and I wish the brand reflected that.
On Sep.29.2008 at 06:26 PM
Michael Bierut’s comment is:
Thanks to everyone for the compliments and criticism (constructive and otherwise).
Here are two points I'd like to add to the mix.
First, the identity work is just the tip of the iceberg, and one that tends to acquire exaggerated importance when a place like this first opens. Those seeking innovation should, if they can, visit the museum and check out the astonishing interactive displays created by my partner Lisa Strausfeld and her team. We'll post some images online at the Pentagram site, but nothing will beat seeing them live.
Similarly, the exhibition catalogues, designed largely by Joe Marianek, are real masterworks. They brilliantly evoke the real reason that people go to museums.
On Sep.29.2008 at 07:48 PM
Robert McKenna’s comment is:
Good? Sure. But trendy. Come on, Pentagram.
David’s comment is:
I am a fan of this, must have been alot of fun to work on. "MAD" is a very cool acronym to play with. The graphics system is pretty slick.
p.s. What is the concept behind the front facade of the buildings architecture? Why am i reading "HE" in the windows?
Ray Dang’s comment is:
So hipster…
On Sep.30.2008 at 01:41 AM
BWJ’s comment is:
Fantastic.
On Sep.30.2008 at 07:57 AM
KC’s comment is:
Reminds me quite a bit of http://www.dancemade.com/
On Sep.30.2008 at 08:30 AM
neil’s comment is:
I agree with those who think this is too trendy and expect more from Pentagram. It's cool looking but will soon look dated.
On Sep.30.2008 at 11:28 AM
neil’s comment is:
You know what, after going to the Pentagram blog, looking at the sketches, animated logo, and reading the writeup, I think it works. Unlike most places I've seen this sort of type used, it has a rationale. It's also REALLY well-done (the rest of the branding); amazing down to the boxes and bags.
On Sep.30.2008 at 11:39 AM
Anonymous’s comment is:
Of course the Brand is well done. Pentegram always pulls off top-notch systems, and like Michael says, when viewed as a whole, there are a lot of beautiful parts. I think most of us are just used to seeing a Pentegram identity and being wowed. The base of this identity, for me, just isn't as smart as everything else they've done.
And let me make this disclaimer: saying I am disappointed with the ID is like those girls on My Super Sweet Sixteen that are disappointed that their brand new Beamer wasn't in the color they wanted. I have just been spoiled by Michael's (and his fantstic team's) past work.
On Sep.30.2008 at 02:09 PM
Keenan Cummings’s comment is:
Of course the Brand is well done. Pentegram always pulls off top-notch systems, and like Michael says, when viewed as a whole, there are a lot of beautiful parts. I think most of us are just used to seeing a Pentegram identity and being wowed. The base of this identity, for me, just isn't as smart as everything else they've done.
And let me make this disclaimer: saying I am disappointed with the ID is like those girls on My Super Sweet Sixteen that are disappointed that their brand new Beamer wasn't in the color they wanted. I have just been spoiled by Michael's (and his fantstic team's) past work.
On Sep.30.2008 at 02:11 PM
emily’s comment is:
what i wouldnt give to work with Michael Bierut. hes so fucking brilliant.
On Sep.30.2008 at 04:10 PM
Dylan Mullins’s comment is:
I love the varied applications of this. Not sure why so many people are bitching about a contemporary art museum being edgy / trendy.
On Sep.30.2008 at 04:55 PM
rickyaustin’s comment is:
I think it works well, and Futura as a companion makes sense.
On Sep.30.2008 at 04:59 PM
Matheus’s comment is:
this
is
super
cliche'd
right aligned
print work
trying to
get cool like
wolf ollins and
other lame trendy design
companies
Mr Posen’s comment is:
Expertly realized, though a little played. As Rob stated early in this post, a logotype made from simple geometric shapes is an easy option.
This is often the starting point for many a logo, especially if you use Illustrator, though the best solutions push further than this.
Overall the applications are really great, and make the most out of the core logo, I just wish the mark was something more original.
On Oct.01.2008 at 12:23 AM
Mr Posen’s comment is:
"Homage du Babyteeth?"
Milton Glaser Babyteeth 1968
Ralfy’s comment is:
This font, Neutrino, is very similar:
On Oct.01.2008 at 08:21 AM
Goffredo Puccetti’s comment is:
Top marks! I am as many others, unsure about this visual identity life-span so to speak. Will it look dated soon?
I don't know, frankly, I don't think so.
Anyway, today I love it.
G.
On Oct.02.2008 at 06:38 PM
mia’s comment is:
whether the brand system is good or bad doesnt really make a difference at this point. the reality is that the work looks exactly like the majority of trendy design college work being churned out. hence, i wont look twice, and whatever amazing systems lie behind are a lost cause.
especially considering that the museum of art and design's audience is mostly made up of artists and designers, you would assume that they could push the envelope a little bit more. this is what i expect from some trendy downtown 'design exhibition' filled with arbitrary posters and vinyl toys.
On Oct.06.2008 at 03:25 PM
mia’s comment is:
no, seriously, i don't want to come off as a grouch, but... no. this stuff is beyond the pale. i would be embarrassed if i had designed this.
On Oct.06.2008 at 03:37 PM
chris’s comment is:
Lamosca and Emil over in Spain have been doing this kind of work for years. It just looks like a serious rip-off of their style- which is truly a style of their own.
Pentagram used to be original- back in the day. The only reason is gets props is because Pentagram is itself now a brand. They can get away with this and everyone goes "oh wow", but I mean, good grief, give props to the actual creators. This is like stealing beats from the latest hip-hop crew and calling it your own.
On Oct.06.2008 at 06:19 PM
Ray’s comment is:
Come on, Chris. And where do you think they got that aesthetic from? 1970's are back, apparently. At least Beirut was around back then.
No one has done something truly innovative in a while.
(I do think this identity is brilliant by the way)
On Oct.06.2008 at 07:08 PM
Mr Posen’s comment is:
Chris and Mia your comments reek of jealousy.
Whether this mark is truly 'unique'or not, the identity applications are exceptional. They are simple but rich in complexity, consistent but flexible enough not to become repetitious. This identity also is fun, a nice trait of Mr Beruit and his teams work.
I would like you both to remember that this was created by designers much like yourselves, and not a faceless corporation. Critique the work, not the designer.
Folksy’s comment is:
This is like stealing beats from the latest hip-hop crew and calling it your own.
These beats...geometry, knows no authorship.
mia’s comment is:
I'm not jealous. Annoyed, frustrated, cranky and probably not the best company, yes. Jealous? No.
I stand by my comment that I wouldn't look twice at this system because of the aesthetic. I just see it everywhere. I'm tired of it. It's not inherently bad - it's fine. It looks nice. But I don't think making a piece of work look this trendy does a service to MAD, simply because with an audience as design literate as theirs they could have pushed and pushed. I don't feel they did. You may disagree.
Maybe I just don't 'get' it.
On Oct.07.2008 at 06:14 AM
Spanky’s comment is:
Here's one way to make a paper hat! Click me you fool!
On Oct.07.2008 at 02:53 PM
Design’s comment is:
This is generic, trendy, and 'ok'.
It's coming late to an already played out trend of counter-less type.
They're even taking note from Wolf Olins now by throwing bad, again-generic, illustration, pattern, and imagery inside the logo to show off 'versatility'.
It seems brand strategy is trying too hard these days, while the designers aren't trying at all.
On Oct.08.2008 at 02:30 PM
chris’s comment is:
Mr Posen,
Probably. Have you ever considered becoming a psychologist?
In your world every single critique is based in some kind of deeply rooted stink. But maybe your critique of me is based in your deep jealousy of my... It is a never ending cycle of bologna if you take that angle sir.
Mia, cheers to you.
c
chris’s comment is:
PS- Emil and Lamosca do it better, and I am TOTALLY JEALOUS!!
On Oct.08.2008 at 05:01 PM
David’s comment is:
"Emil and Lamosca do it better"
Who?
Josh’s comment is:
I'm not sure what Lamosca has to do with the way Pentagram approached this project. Their styles may converge a bit, but I personally don't see in what way they currently do.
@Kenneth
Your employer is a great example of fine concept and I enjoy their work. Though "copycat", staid examples lie in their portfolio. A cd cover in Avant Garde...C'mon! Reminds me of a Wilco song. Also have to remember this is brand identity, not one off design solutions. They have to be scalable and while Non-Format has done similar stuff and expanded beyond just the basic letterforms, the elements don't have to be repeatedly used.
All Wolff Olins remarks aside as well, this isn't Paul Rand's universe anymore. Brand identity these days is more in service to make you look than to follow strict standards of past practitioners.
Clients are content to redesign today and are prepared to do it again in the future. Those that decried the changes to Kodak and UPS are not necessarily wrong in speaking out against the redesigns, but despite your sentiments, they were outdated and needed an update.
Cultural institutions in America are far behind the rest of the world in new and experimental ideas related to branding. The whole of Europe is ground for experimentation, but also of staid, corporate design that is at times brilliant, though at others feels like anything MetaDesign has ever done.
The Pentagram team on this project may have borrowed others crayons, but while it may not be mind-blowing and not riding the tracks laid by Paul Rand and others, its another step in invigorating a brand that needs people to visit, learn and become appreciators of the past and the present.
Whether you love or dislike this, can someone please let me know when brand identity in America goes for a summer backpacking trip in Europe. Then we can talk more thoroughly about this.
On Oct.08.2008 at 08:02 PM
Jef’s comment is:
terrible. i wonder how much they paid pentagram to rip off non format.
On Oct.10.2008 at 06:16 PM
Amanda’s comment is:
"hot. white hot."
On Nov.02.2008 at 03:34 AM
acplus3’s comment is:
Come on, give credit where credit is due. DSOS1 is a classic. This is almost an exact copy, down to the box design.
DesignerShock released DSOS1:the user manual in 2001 if you can find a copy pick it up.
