Founded in 1912, Poetry Magazine is the English-speaking world’s oldest monthly dedicated to verse. Published by the Poetry Foundation in Chicago, the magazine has helped establish the reputations of poetic greats like T.S. Eliot, Ezra Pound, Carl Sandburg, Sylvia Plath, William Carlos Williams and Marianne Moore.
To celebrate its 100th anniversary, Poetry’s designers, Winterhouse Studio, invited 11 artists and designers, including Pentagram’s Michael Bierut, to reinterpret its iconic Pegasus logo, originally created by Eric Gill, the artist and type designer (Gill Sans, Perpetua), in 1932. The Pegasus has long been a symbol of poetic inspiration—the mythical creature was a gift to the Muses from Athena, goddess of wisdom—and various artistic interpretations of the winged horse have appeared on the cover of Poetry over the years.
“Today I’m Feeling Turquoise” is an attempt to do something that should have been done a long time ago: pairing up colours with their respective moods.
Because everyone knows that red means anger, green envy, and blue misery. But who knew that olive was the colour of deja-vu, brown the colour of indifference, or pink of laughing on the outside, crying on the inside?
The booklet is made up of double-page spreads of coloured paper sealed with a perforated edge. The reader selects a colour and tears open the perforations to reveal the mood it represents.
“Today I’m Feeling Turquoise” was produced by Pentagram as our 2011/12 holiday card—but it’s much more than that. It’s the first step on a journey to finally matching all the colours in the world with their corresponding moods.
This week filmmakers, studio executives and film fans will make their annual pilgrimage to Park City, Utah, for the Sundance Film Festival, the largest independent film festival in the United States and one of the premier showcases for film in the world. Established in 1978, the festival is produced by the non-profit Sundance Institute, founded by the actor and director Robert Redford to discover and support independent film and artists. Noteworthy recent films like “Marcy Martha May Marlene,” “Like Crazy,” “Being Elmo” and “Another Earth” were all honored with awards at last year’s festival, and Sundance has been instrumental in launching the careers of directors like Steven Soderbergh, Darren Aronofsky and Quentin Tarantino. This year’s 10-day festival runs from January 19 through 29 in Park City and nearby Salt Lake City, Ogden and Sundance, Utah.
Pentagram’s Paula Scher and her team created the bold graphic identity for this year’s festival, organized around the theme “Look Again.” Each year Sundance invites filmmakers to alter perceptions with their films, and Redford and the marketing team at Sundance developed the “Look Again” tagline after being inspired by a quote by Henry Miller: “One’s destination is never a place, but rather a new way of seeing things.” The theme captures the mission of Sundance and the spirit of independent film.
Looking to add a little graphic pop to your walls in the new year? Pentagram’s Eddie Opara and his team have designed The Art of Andy Warhol 2012 Calendar, a 16-month wall calendar that celebrates the work of the iconic Pop artist. The coming year marks the 25th anniversary of Warhol’s death (on February 22, 1987) and the calendar, authorized by the Andy Warhol Foundation for the Visual Arts and published by Abrams, highlights many of the artist’s most popular and recognizable paintings, prints, drawings and collages, in combination with less familiar works.
The latest issue of Circular, the magazine of the Typographic Circle, is out now. The ninth consecutive issue designed by Domenic Lippa and his team, it is the first to dispense completely with editorial typography.
This fall the Center for Architecture and the American Institute of Architects New York Chapter (AIANY) will host the inaugural year of Archtober, the first-ever month-long festival of architecture and design in New York City. Pentagram’s Luke Hayman and team have designed the identity and graphics for the festival, launching October 1.
Archtober will present over 100 lectures, conferences, films, tours, programs, exhibitions and other special events that focus on the importance of architecture and design in urban life. To celebrate New York’s contemporary architecture, the festival will feature a “Building of the Day,” each of which is a recent recipient of the AIA New York Chapter Design Award and will be open for a special tour.
Archtober is organized by the AIA New York Chapter (AIANY), the Center for Architecture, openhousenewyork (OHNY) and the Architecture and Design Film Festival. The festival grew out of New York’s Architecture Week, first introduced in 2003 when the AIANY opened the Center for Architecture and OHNY began hosting tours of buildings around the city. Since then, Architecture Week has taken place in the second week of October; in 2010 the Architecture & Design Film Festival hosted its first New York event the following week. Additionally, the Cooper-Hewitt National Design Museum’s National Design Week falls in October. The popularity of these events, in addition to the enthusiastic participation of over 30 other architecture and design organizations, has enabled Architecture Week to grow into Archtober.
We’ll have more to share about the festival in the coming weeks. In the meantime, download your own copy of the Archtober guide here.
In 2006, Yale University embarked on the most ambitious fundraising drive in its history. President Richard Levin laid out the campaign’s objectives and set a challenging goal: to raise three billion dollars in five years. This fall, the campaign comes to an end, crossing the finish line with an extraordinary $3.886 billion, a remarkable figure considering it was raised in the midst of one of the worst global recessions in recent history.
Pentagram is proud to have served as Yale’s consultants on this project, designing the campaign’s graphic identity, materials for the launch event, and communications pieces over the last half decade.
Tex-Mex is the official cuisine of the Lone Star State, but the word “cuisine” is a bit too fancy for the down-home, no nonsense Texas version of Mexican food. Many of the ingredients found in Tex-Mex are the same as those used in Mexican cuisine, but other ingredients not typically found in Mexico are often added. Tex-Mex is characterized by its heavy use of melted cheese, meat (usually ground beef or chicken), pinto beans, spices and tortillas. Texas-style chili con carne, chili con queso, chili gravy and fajitas are all Tex-Mex inventions. You won’t find Tex-Mex in Mexico, and you won’t find better Tex-Mex than at Maudie’s restaurants in Austin, Texas.
Austin partner DJ Stout has been a long time Maudie’s regular. He started going to the original Maudie’s restaurant 25 years ago and has made it his personal mission to eat there at least once a week. What started as a little hole-in-the-wall café in a strip shopping center has now grown to six locations and has become an Austin tradition. Pentagram Austin was tapped to rebrand the newest restaurant called Maudie’s Hill Country, located on the outskirts of the city in an area called Bee Cave. Stout and his lead designer Barrett Fry developed a colorful, fun new identity for the local Tex-Mex icon based on the Texas Mexico border.
“I was inspired by two things,” Stout says. “The typography and imagery found on old street posters and the vernacular of badly designed cantina menus found in the border towns.”
Laurence King Publishing has celebrated its 20th anniversary with the release of its Autumn 2011 trade catalogue. The catalogue also marks Angus Hyland’s sixth anniversary as the company’s creative director.
In his introduction Laurence King writes, “Design has always been at the centre of our list.” He goes on to announce the launch of the “100 Ideas that Changed…” series, designed by Hyland and his team. The series shows that the ideas that shaped the history of the visual arts still play a key role now.
Paula Scher’s identity for Friends of the High Line, designed in 2001.
Eventually it became the symbol of the park itself.
In the year 2000, my partner James Biber and I responded to a branding call from a retail company named Watch World. We were visited by the president of the company and his marketing director, a man named Robert Hammond. We made a Pentagram capabilities presentation which seemed to go well, and they asked to write a proposal for the project. After the meeting, Robert Hammond said he’d like to talk to me about something else.
Robert Hammond was involved in trying to stop New York City from tearing down an old industrial railway called “The High Line.” He had formed a group called “Friends of the High Line” and they wanted a logo, letterhead and some business cards, so they would look official. Their idea was to turn the High Line into a park.
As far as I could tell, Hammond had no urban planning experience and wasn’t involved with the Parks Department. He was working with a friend, Joshua David, who was a magazine writer and had no urban planning or park experience either.
I actually had no idea where the High Line was. Hammond seemed like a reasonable enough person, but I didn’t believe he had any chance moving an entire city to accomplish this dream. On the other hand, I did want the Watch World job. I thought, “High Line,” “H,” “train tracks,” “green.” How long could it take?
It took about an hour, and 11 years. What follows is the work we have done for Friends of the High Line and the High Line Itself, in chronological order. Section 2 of the High Line is opening this week and the park is the most visited tourist destination in New York City. Congratulations, Robert and Josh.