Concrete Identity

I won’t disagree with Stephen’s observation that there is handsome type put to use there, but as a body of work it strikes me as sharply whatever: banal, airy junior-designer-clicking-a-mouse-until-it-looks-right sort of stuff. Certainly nothing there that hasn’t been done a thousand times before, with microscopic variation.

All the more depressing to consider they probably billed more for ‘designing’ one logotype than, say, Richard Lipton will ever make from licensing Sloop.

Corporate design. Yay.

Ditto on the Sloop comment. Lipton’s design is that logo.

Reminds me of an incident a few years back.

Rudy and Zuzana discovered a magazine logo

that won an award, and was reproduced in a

design annual. The name of the magazine: SÌ

Two characters set in Triplex Italic. DONE.

No mention of the type designer, though. He

was somehow just incidental to the process.

FWIW, I happen to be partial to Dean's use

of Brothers on the Cardigan Industries, Inc.

site. Nice shadow treatment there, Dean. It

has a pleasing effect with the white contour

outline.

I liked the "Sable & Rosenfeld" one.

Speaking of not giving credit, I encountered a really bad case recently: the award-winning book "John Kelly", which is set entirely in Bloemsma's unique Avance* for text, titles as well as captions (where it works incredibly well), gives it not an iota of credit. You don't use the rara avis Avance by mistake - it was clearly a very deliberate choice, especially considering its hybrid nature in the context of a book relating to transexualism. That's just mean.

* The only thing that comes somewhat close in style is Burke's recent Parable.

hhp