(Est. 1907) “World Sailing is officially recognised by the International Olympic Committee as the governing authority for sailing world-wide. As such, WS is responsible for promotion of the sport internationally, managing sailing at the Olympic Games, developing the Racing Rules of Sailing and Regulations for all sailing competitions and the training of judges, umpires and other administrators, the development of the sport around the world, as well as representing sailors in all matters concerning the sport. World Sailing is made up of 141 Member National Authorities (MNAs), who are its principal members, and responsible for the decision making process that governs the sailing world. There are currently more than 100 World Sailing classes, ranging from the small dinghy classes for young people up to 60-foot ocean racers.”
rbl (Leamington Spa, UK)
With a bolder colour palette, more accessible typography and the use of dynamic ‘sheet’ lines, the identity comes together to give World Sailing greater flexibility across both digital and traditional platforms. Making dramatic use of new photography shot in Rio , Adam Concar, rbl’s Head of Creative explained: “We wanted to convey the sheer power and drama of being that close to nature. While many sports exist in controlled environments that are safe and predictable, sailing is the very opposite of that. This is elemental!”
Images (opinion after)
The old logo had a somewhat crude/brusque rendering of a sailboat that, perhaps, if it didn't have the name of the organization below it, would have been hard to decipher. The clunkiness of the icon was enhanced by the harsh, static, all uppercase wordmark that had a very corporate feel. The new icon is much better but not necessarily a great one; at least, it's a better interpretation of a sail boat and a more pleasant unit. The overlap is a nice nod to the thin sails of the boats. The wordmark is terrible — a more unflattering font choice could not have been made for the sport. That "a" looks like a flat tire and the overall wideness of the font hinders the icon from conveying any kind of motion. The applications are fine in the sense that the curves tie in with the icon but it's like the designers couldn't contain themselves and went curve-crazy using them as overlays, as overlays multiplied, as strokes, and in all sizes. Then everything is punctuated by that terrible font choice and paired, terribly, with a geometric sans serif (as seen in the brand book image). Overall, the identity got off to a good start with the icon but then capsized under its own visual language.