Opinion BY Sam Becker

THIS AMER-ICAN LIFE

This American Life, the mesmerizing, hour-long NPR radio program and podcast about nothing and everything unveiled their new identity earlier this month. It will soon grace everything from podcast icons to tote bags (and hopefully book spines given the vertical nature of the lockup). The show, which is produced in Chicago and recorded in Manhattan, is hosted by the incomparable Ira Glass.

This American Life sprung from humble beginnings in 1995 (the inaugural budget was approximately $250,000 for the year) but is now carried by over 500 affiliates to 1.7 million eager listeners each week. Mr. Glass’s best quality is his preternatural ability to seem impartial while exuding energy and passion about divisive topics—anything from healthcare to terrorism. He is, like the show, smart, literate and understated—things to keep in mind when evaluating the new identity’s success.

The show recently posted a blurb on its Facebook page:

You may have noticed our new This American Life logo […] by the talented folks over at Number 17, who have made logos for all sorts of famous places like Saturday Night Live, 30 Rock, Orbitz and The Daily Beast. We were lucky to have convinced them to slum it with us.

Along with several logos, designed by Number 17, that were not chosen:

Runner-up logos designed by Number 17 explore the notion of dialogue or discourse

Let me first state that I like typographic identities as much as the next designer. There are few better ways to express a logo boldly and memorably. If the old (and inconsistently used) identity seemed appropriate it was at the expense of being vague, nostalgic and a little too quiet. It makes sense that a brand like This American Life would fall into the capable hands of a firm like Number 17. They have made a name for themselves delivering interesting typographic logos to many East Coast broadcast institutions.

Past all-caps, typographic identities by Number 17

This latest effort, however, I find a little puzzling. This (dream) job is well within their comfort zone and yet everything seems arbitrary down to the color choice of orange and purple. For a show that focuses on the commonalities of American lives, why divide ‘American’ into two words? The first time I read it, I wondered if the new identity was supposed to highlight the phrase, "I Can." It is also the most inconspicuous use of Flama (more specifically, Flama condensed) that I’ve ever seen. They took a bold, contemporary typeface and used it in such a way that it may as well be Trade Gothic.

By contrast, Number 17’s past solutions seem to exhibit so much purpose. 30Rock eloquently captures the Art Deco qualities of Rockefeller Center, while Late Night With Jimmy Fallon expresses the show’s off-kilter cool and smartly minimizes the "with." The SNL identity boldly visualizes the way so many actors have screamed the show’s iconic name at the beginning of each airing. The identity for This American Life seems to borrow an aesthetic divorced from its original meaning. Even the towering nature of the lockup seems incongruous with the show. I’m curious to see if there’s a compelling horizontal lockup for more restrictive applications.

Now, the good news about straightforward typographic identities is that they have the potential to be iconic. They’re often simple enough to become imbued with the positive qualities of whatever they signify. One problem with the past identity was that it was too specific (of a place, time, feeling, etc.). I don’t doubt the show will continue to be excellent and, in time, the new logo will come to stand for that. It just seems like a missed opportunity for a show that is so easy to like. Hopefully their web site, to be unveiled in the coming weeks, will add some much needed dimension to this American brand.

Thanks to Adam Flanagan for the tip.

Cory’s comment is:

It’s funny you posted yesterday about brands whose logos shout. This new TAML logo does just that. I find it really unappealing given the often understated delivery of the show’s content. It just doesn’t match up with what you hear: soft voices telling stories which are scored by music that is often times incredibly atmospheric. But maybe that’s point.

Even so, I’m a little let down since I’m an avid listener. Not that I’ll be exposed to much of their visual identity, since I always manage to catch the show in the car anyway!

On Jan.27.2010 at 07:06 AM

Swifty’s comment is:

I absolutely love it. First of all, I don’t see the color scheme as orange and purple, but rather a warm tone of red and blue - which I find appropriate. Secondly - and this is purely my pragmatic side speaking - I find it very clear and easy to read. Even “American” being broken into two lines still immediately reads as one word. And finally, I like the emphasis on “Life” in the logo.

Sure - another typeface might have kicked this up to a five star logo, but seeing it put into use on my iPhone’s screen, I think it definitely works.

On Jan.27.2010 at 07:21 AM

buruno’s comment is:

If I had to choose between one of them, I’d go with the second one (the one with the odd perspective), not without making some major adjustments.

IMHO, dividing a word is not a pretty thing to do unless you have a strong argument — I recall Paul Rand’s poster for Minutemen —, which doesn’t seem the case; the “I CAN”, if intentional, doesn’t communicate at all — though I can’t say if it has something to do with the radio show itself — , unless it is referencing Obama’s campaign motto, which, in this case, just sounds silly.

On Jan.27.2010 at 07:30 AM

Jason B.’s comment is:

What I find most odd is that the sample you show is purple and orange, yet the image used for the podcast is a more traditionally Amurrikan blue and red. iTunes link

Still, I think it’s a solid, well-balanced logo. Tho, I prefer this t-shirt design from Brian Kaas

On Jan.27.2010 at 07:34 AM

Adam Bestwick’s comment is:

Of the four identities designed - the chosen one is the best – (not a fan of the options to be honest) - my only thought was on the colour scheme.

Sorry Swifty, I don’t agree.
I think they’ve tried at all costs to avoid the red/blue colour palette cliché - but I think it would have been totally justified here.
With lots of vertical strokes to the typography, it could have hinted at the ‘stars & stripes’ just by using colour alone.

Given it’s usage (online and ipod environments) it probably reproduces really crisply compared to the old brand.

On Jan.27.2010 at 07:40 AM

Adam Bestwick’s comment is:

…when I say vertical stripes - I was imagining the shape of the type unit mimicing a flag hung vertically (obviously)…

On Jan.27.2010 at 07:42 AM

Martin Boath’s comment is:

This looks like a logo where you have a vision in your head of what you want but when it comes to replicating it you find that is doesn’t work.

I guess it comes down to whether ‘American’ is important or not. If not, then ‘This life’ absolutely stands out because ‘American’ is lost, not just because it’s split but also because both parts are different sizes.

Really disappointing considering some of the work on the logos section of Number 17’s site. It really looks like they have gone at it half-hearted.

On Jan.27.2010 at 07:45 AM

James Kurtz III’s comment is:

I prefer the graphic treatment they use during the opening of their Showtime television program.

On Jan.27.2010 at 08:17 AM

Lisa’s comment is:

Just wanted to say that your comments are usually spot on in observation of the logos and identities you post. However, it would be refreshing to see not only the logos you deem poorly designed, but some logos you think are great. We all see bad design everywhere, everyday - good design is a lot harder to come by. Just my two cents. L.

On Jan.27.2010 at 08:38 AM

Neil Wengerd’s comment is:

I don’t have a problem reading “American”, even though it’s split. Perhaps it’s from being a long time listener, but my brain seems to just connect the red characters into one line. I have to agree with Swifty and Jason B. that the intended colors are red and blue. It renders very well at a small size in my iTunes window, and has potential to become very iconic.

On Jan.27.2010 at 08:47 AM

Brian’s comment is:

I find this, and the rejected lockups very underwhelming. I think, at the very least, the type should fill a square format so that it’s maximized within the context of the podcast icons. This logo says nothing and doesn’t function well. Also, I really really wish #17 would have redrawn the ‘3’ in 30 Rock. As it is, it looks far too narrow compared to the rest of the characters. Just lazy design IMO.

On Jan.27.2010 at 08:50 AM

Ryan’s comment is:

Ick. Really Ugly. I know what they are trying to do, but this is awful.

Number 17, ick. Their ‘River to River’ stuff is super ugly too…and we New Yorkers have to look at it.

On Jan.27.2010 at 09:03 AM

Larry W’s comment is:

I LOVE the perspective logo they submitted. It was catchy, edgy, interesting, and peaked my interest in learning about it. I would have thrown in a map of America behind it, but that’s me. The one they went with is good, though, and I think it works nicely.

On Jan.27.2010 at 09:52 AM

Alex P.’s comment is:

With exception of the Late Night with Jimmy Fallon logo (which I love), I’ve never been that impressed with No.17’s logo work. This logo is just big horsey type without any statement or reason. Having said that, everything No.17 does (branding, editorial, television) is really fantastic so I would imagine the other supporting work will absolve this mark just fine.

On Jan.27.2010 at 10:03 AM

Barrett’s comment is:

I’m a huge fan of TAL, both on the radio and the tv show on Showtime. It has always been accompanied by illustrations and animations by Chris Ware and so the old logo seems to fit the vibe of it. The new one lacks the simple, handcrafted feeling that I get from the show.

On Jan.27.2010 at 10:06 AM

felix sockwell’s comment is:

big fan of #17 but i think sam hits on some valid observations. the towering structure isn’t as friendly as say, the dialogue box (which i voted for). Yet, for what its worth this new stack stands head and shoulders above the former throwback “globe-scroll”.

on a type nerd note, the curves/ perspective on the blue all caps Gotham lockup seems to have been executed in CS1. I have the same problem getting a proper perspective using the “free distort” tool.

On Jan.27.2010 at 10:18 AM

Deshler’s comment is:

I actually like the nostalgic qualities of the original. It could have been cleaned up and simplified a bit, with its essential qualities being carried over to the new identity.

But then, I’m a sucker for silly nostalgia.

On Jan.27.2010 at 10:18 AM

Chris Rugen’s comment is:

I will admit up front that I absolutely love Chris Ware’s work. Also, as a TAL listener, I thought his style and tone fit the show perfectly. As a result, I’m a big fan of their old logo.

I can’t find one thing I like about the Number 17 logo. I see none of the life and personality of TAL here. If pushed, I’d choose the dialogue logo. But I’d like to see more personality and detailing, and less sterile, oddly loud typography. Also, purple and orange? Where did that come from?

Perhaps there are answers for all of this. But they are not coming through in the design.

On Jan.27.2010 at 10:20 AM

meks’s comment is:

I would argue that the place the logo will be seen the most is by podcast listeners in their ipod screen and to a lesser extent, in iTunes and the Facebook news feed. Radio-only listeners could easily be unaware that there even is a logo.

In iTunes, the logo is not allowed to scale bigger horizontally, but is vertically, it’s the same way in Facebook profile pictures. This in mind, along with the tall-screen nature of the iphone and ipod touch, this logo shape becomes pretty important.

On Jan.27.2010 at 10:23 AM

Carlson’s comment is:

This just doesn’t feel like TAL. The odd colors don’t make up for the otherwise industrial feeling I get from the all-caps type. Number 17 needs to get out of their comfort zone. Maybe even use lowercase letters or serifs. Their other examples feel appropriately “NYC,” but TAL should be more about the rest of the country.

On Jan.27.2010 at 11:14 AM

grubedoo’s comment is:

Man, I really like the quotes logo. The chosen one is okay, but I wonder about the colors.

On Jan.27.2010 at 11:32 AM

NJudah’s comment is:

I liked the original one better, but mostly because it was designed by Chris Ware, who not only did many of the CD covers, but is an amazing artist.

His style tends to capture that calm-yet-forceful impact of the show.

The new one is ok too, but if you haven’t seen some of Ware’s other TAL work, check it out.

On Jan.27.2010 at 11:32 AM

Alexander Greyling’s comment is:

This redesign is just as bad as the original, so I am rather going to see what Apple is up to over there in Cupertino, California today. Far more interesting stuff happening in American life with the iSlate/iTablet?

On Jan.27.2010 at 11:57 AM

Nate’s comment is:

At first glance, I wondered what the hell an “ICAN” was.

AMER…ICAN

AMER…UCAN

AMER…WECAN

On Jan.27.2010 at 12:04 PM

Bryan’s comment is:

I much prefer this iconic representation, the typestyle not withstanding, that was available as a t-shirt:

I know not all t-shirt translates to a logo, but I think this works much better than the Number 17 identity.

On Jan.27.2010 at 12:17 PM

MSGDS’s comment is:

Sorry, this is not working, and when it doesn’t work it shouldn’t be a presentable option. Any of the other three could have been a better choice, especially the second one with a unique perspective.

On Jan.27.2010 at 12:34 PM

Susan’s comment is:

Sorry, but I don’t know what you mean by “lockup.” I’m a designer and have never heard that term before. Do you mean the justified text?

Also, what do you mean when you talk about the typeface here… “They took a bold, contemporary typeface and used it in such a way that it may as well be Trade Gothic.”

Huh? I don’t get the point you’re trying to make.

On Jan.27.2010 at 12:50 PM

Alisha’s comment is:

WHY
DOE
SEVE
RYO
NEN
EED
TOD
OTH
ISIN
THE
IRD
ESIG
NS?

(Why does everyone need to do this in their designs?)

I don’t know about everyone else, but this was a design technique that I thought was interesting and impactful when it first came out, but now that everyone is starting to do it… it’s getting old.

I like the old logo much petter. It has personality, and illustrative quality that’s completely lost in the new logo. I’m sorry I didn’t really read the whole post so I’m unaware of what this program is like. But if I had to guess by the new logo I would say it’s some corporate show trying to be cool. With the old logo, I would say it’s a program for the everyday person produced by people that aren’t about making money, but just want to entertain their audience.

On Jan.27.2010 at 12:58 PM

Adam Bestwick’s comment is:

@Susan

My understanding of the term ‘lock-up’ is elements or part of a brand signature that are ‘set in stone’ and cannot be altered in any way including the relationship of the components to each other.
So although this is a type-based logo, users are discouraged from creating their own version using that font to avoid inconsistencies in kerning, font size, colour execution etc.

On Jan.27.2010 at 01:52 PM

bryan’s comment is:

The first time I heard the radio program, it clicked with me. Since that first listen, I’ve enjoyed how regardless of the topic, more often than not, I feel invested in the stories.

I don’t get that here. It’s like seeing someone for the first time after hours and hours of phone conversations. “Oh. You’re stacked type. And purple. You didn’t sound purple on the phone.” This solution doesn’t make me want to run away, but I’m not gearing up for a hug either.

Then again, how do you design one element that needs to connect with so many folks? Maybe it shouldn’t be iconic. Maybe-just maybe-it should slip into the quiet background of subconsciousness…

(( Cue the aloof instrumental music ))

On Jan.27.2010 at 01:58 PM

Art Meier’s comment is:

This feels like another example of a program with nostalgia, rejecting their history for their future. (and a small bump in audience) This would have been much more successful if they geared the new design towards the “redesign” mindset instead of creating something new. Don’t throw something out just cause it’s old, give it some polish instead.

On Jan.27.2010 at 02:17 PM

Dallas Criminal lawyer’s comment is:

I can see both of the logos having strong points, I lean slightly to the older one but with proper execution the new one will work just fine.

On Jan.27.2010 at 02:37 PM

marcus’s comment is:

I think the chosen one is fine. But I voted for the dialogue as the one I’d prefer if I couldn’t vote for the chosen one. It looks a little 1950s, but I think that’s why it would work.

On Jan.27.2010 at 02:45 PM

Larry W’s comment is:

@Alisha:

I fully agree. It was cool for a while, but its getting a little irritating.

On Jan.27.2010 at 03:06 PM

Brian Son’s comment is:

It may not be the most appealing I’ve seen, but definitely the most understated. Nothing pops, nothing shouts, despite the color choices and the use of all caps. Maybe that’s a personal bias and free use of capped words. If anything is shouting, it’s “THIS LIFE.” Which, isn’t that what the show is all about? Does it appropriately convey the show? As a non-listener but well-aware of the show and its content—I would say yes.

This is a prime example where a flattering, colorful, or eye-catching logo is not what is needed. Something simple, yet refined, but most of all, subtle. Read into it as much as you want to, but then you’re just making assumptions making an ass out of, well, just yourself.

Based on the fact that the show itself is only an hour per session, despite the heavy content and topics that are discussed on the show, how else do you visually convey the amount of thinking that is cramped into one, brief hour?

On Jan.27.2010 at 03:46 PM

valt1’s comment is:

Not creatif and all 100% amercian

On Jan.27.2010 at 04:12 PM

buy r4i’s comment is:

Good choice with the new logo (compared to the others).Thanks for sharing such a great article here.Now where do I get stickers to put all over the place?

On Jan.27.2010 at 11:43 PM

Heather Clark’s comment is:

I am sad to see the folksy McSweeney’s-esque look gone, but I guess I’ll have to get over it.

This is an example of how stacked type can cause some rather forced looking sizing issues, and to me this is not a good solution. ICAN being so much larger than AMER is a big problem for me, especially with THIS and LIFE being about the same size. The eye immediately goes to ICAN, which makes me initially think of another endless Apple offshoot product, rather than a wholly unique and groundbreaking radio show. Maybe that’s my problem— not that this logo is *bad*, but that it’s not unique or nuanced enough for TAML.

On Jan.28.2010 at 09:48 AM

Marcio K’s comment is:

I agree with Brian, the finger, map and plant is way more legit for what the show is about. From the killed ideas I like the speech bubble, however it’s a little too close to NABS (A uk advertising/marketing professionals charity), which by the way it’s a brilliant logo.

On Jan.28.2010 at 10:05 AM

ilovetype’s comment is:

BORING

On Jan.28.2010 at 12:24 PM

John’s comment is:

I can’t say that I’m impressed. The break in “American” is aggravatingly distracting, the colors are odd and the type, well, kind of perfunctory. Worst of all, it’s just flat out boring. Color me unimpressed.

On Jan.28.2010 at 01:55 PM

mike’s comment is:

The Dialog logo ties in more conceptually, but the leading of “this” and “life” is a bit odd.

On Jan.29.2010 at 12:06 PM

Kevin M. Scarbrough’s comment is:

A long term fan of the show, I LIKE the broken “AMERICAN” because it recognizes one of the purposes of the show overall: That we are all, on subtle and monumental levels, different. This was my initial thought in seeing it.

From a color stand point, the selected hues play nicely off each other. The tried-and-true, traditionalist red white and blue would NOT suit the show’s overall quirky nature.

Love the logo.

On Jan.31.2010 at 11:05 AM

Tom C.’s comment is:

It was a difficult choice between the chosen and dialogue, but the chosen wins. The dialogue is a little too timid for the show. I would have liked to have seen a combo of both, but the chosen works as well as the colors.

On Feb.02.2010 at 01:05 PM

Peter Whitley’s comment is:

TAL is a narrative, literary show. The logo seems neither. Shame, but not a loss…it’s merely benign.

On Feb.03.2010 at 01:52 PM