(Est. 2017) “The Hammer Series will push the world’s best cycling teams to the max across the core cycling disciplines to find the ultimate winner. Each event in the series - run in partnership by Infront Sports & Media and Velon - will consist of three high-intensity days of racing in a format that will test the teams to their limit by featuring different types of riding, and is guaranteed to go down to the wire. Five riders from each team of seven are selected to tackle each day’s discipline with the ultimate goal to cross the finish line first after three punishing days. Each day will feature multiple laps of between 8-10km ensuring wherever fans are on the course they will get the ultimate view of the action.”
Designwerk (London, UK)
The agency began by choosing the name Hammer to represent the supercharged rallying cry of all race fans, based on a pro cycling term “Drop the Hammer”, which is the moment when a rider decides to make a break away from his rivals.
The Hammer logo captures that intuitive split-second when a rider makes the decisive move that delivers a win. The sweeping line from left to right represents the surge to victory.
The identity has a versatility and flexibility to bring the host venues to life, and a kit of parts to work seamlessly across all media. It translates perfectly in road racing situations where broadcast coverage and fan engagement are paramount.
Designwerk provided text
Images (opinion after)
Although the name references a cycling term — which, as an aside, I think “Drop the Hammer” is used broadly enough that I doubt it can be pinpointed to belong to cycling — there is something really odd about a sports event being called “Hammer”, it’s like an unfinished sentence. Even “Hammer Series” feels awkward. But the intended intensity of the name comes across in the pointy monogram that at first only looks like a spiky “H” but there is a nice, subtle nod to actually dropping said hammer with the darker purple line swerving and passing to the front. It’s a clever hidden cue and it adds some dynamism to the monogram. I think the bottom-right, lighter-purple line should also curve where it meets the darker-purple line just like the top-left line does. The logo-as-window… gratuitous but fine. The wordmark is typeset in Univia Pro and it’s a good break from the typical sans serif. The kerning is tricky because the “AMM” part is full of diagonals that leave airy counterspaces and than the “ER” feels super tight. The applications introduce a wavy, concentric lines that, sure, denote speed and team but feel like they belong to another project. Overall, though, this feels sporty and hardcore with a dash of corporateness, so it’s pretty effective.