a beautiful collection of fragile nature specimens from american photographer terry evans
me news
something old, something new,
something borrowed, something blue…
following my posts on the new VPRO identity also here and here, the identity launch has been covered on several other sites and although not everyone is unanimous about it’s qualities, the general view seems to be much more positive than at first seemed to be the case, this last comment posted on my blog (see below) by ‘c poitcha’ sums it all up rather well..
Well it looks fine to me, though nothing outstanding. Sometimes solutions like this (“you can color it any way you want!”) seem to be a bit of a cop-out. But this is often the problem with designing for a company with a lot of ‘heritage’; they only want an evolution of their old design. I wasn’t too familiar with the old logo, but when I saw it, I thought it looked VERY dated and tired (not “neutral” and “timeless” as others have commented). The outlined letters, with their overly sharp angles and difficult proportions, seemed like something from the ’30s re-interpreted in the ’70s.
While I can’t applaud Thonik’s work (modified Avenir again?!), I think the new interpretation does the job.
Actually, there seem to be more ‘ideas’ present in the older 1970s version than in either of the successors. The logo’s swash forms echo musical instruments or horns seem to be very appropriate for a cultural “omroep” organization.
Nobody’s perfect, but I can’t see why anyone would love the old logo so dearly.
from here to patternity
fashion, graphic design, textiles, architecture, product design and just about anyhting else, but from a different angle… patternity is mostly concerned about the repetitive nature of things…
not fully booked
online photo magazine ‘photo q’ has started selling photobooks, not many yet but it’s a start…
reality
…but then augmented, although i do hope that this isn’t the future… because it makes my eyes go all funny
…the architecture of the contemporary city is no longer simply about the physical space of buildings and landscape, more and more it is about the synthetic spaces created by the digital information that we collect, consume and organise; an immersive interface may become as much part of the world we inhabit as the buildings around us…