New Work: ‘Valentina’


Now largely forgotten outside the fashion industry, Valentina was an iconic figure in the 1930s and 1940s, a gifted couturier who dressed famous actresses and socialites and was a fixture in New York society. She was also a progenitor of the modern luxury brand, skilled at marrying her designs to her own fame. Valentina: American Couture and the Cult of Celebrity is a new exhibition designed by Abbott Miller at the Museum of the City of New York that rediscovers the work and legacy of this designer’s designer. Miller’s design for the exhibition takes as its inspiration the beauty of the diagonals and verticals in the letterforms of Valentina’s name, as well as in her structurally innovative creations.

Enter the world of Valentina after the jump.

New Work: Deutsche Kinemathek


Justus Oehler and his team continue to design for the Deutsche Kinemathek – Museum für Film und Fernsehen in Berlin. Their latest projects for the museum include the design of promotional campaigns for Casting a Shadow – Creating the Alfred Hitchcock Film, a major exhibition about Hitchcock and his creative collaborators, and for two programs presented in conjunction with the Berlin International Film Festival: 70mm – Bigger than Life, a retrospective of movies presented in the 70mm format; and Winter adé, or After Winter Comes Spring – Films Presaging the Fall of the Wall, a special series that will screen films produced in the GDR and Eastern European countries in the 1980s, just before the collapse of the Soviet Union and the reunification of Germany. The series will travel to theaters across Germany to mark the 20th anniversary of the fall of the Wall.

Oehler and his team previously designed the museum’s identity and campaigns for several exhibitions.

The 70mm and Winter adé posters after the jump.

Marks Hits the Shops


Marks, Pentagram’s latest book, collects 400 symbols designed by our partners between 1962 and the present day. The limited edition of 1000 copies has been published by Laurence King Publishing and is identical to the book produced by Pentagram for its friends and clients, sans tote bag but with the addition of a fetching white belly band. The book is printed on French-folded bible paper, bound in a red, cloth-covered softback cover and includes five ribbons for bookmarking.

Marks goes on sale today in the UK and will be available in the US and Europe in early March.

Order now from: / /

A look inside Marks after the jump.

New Work: Denk mal an Berlin


Justus Oehler and his team have designed the new identity for Denk mal an Berlin e.V., an organization created to maintain and restore historical monuments in Berlin. The name is a play on words as “denk mal an Berlin” translates into “Think about Berlin,” while “Denkmal” means monument. In order to achieve visibility, a bright red “B” with an integrated exclamation mark was chosen as the organization’s visual symbol.

Pentagram also designed the posters and communication materials for the organization’s current project, the restoration of the spire and chimes of the famous Parochialkirche in Berlin’s Mitte district. Over 500 campaign posters have been displayed throughout Berlin.

New Work: Worldwide Palliative Care Alliance


A Pentagram team led by Domenic Lippa has designed a new mark, identity, website and branding guidelines for the Worldwide Palliative Care Alliance (WPCA). Founded in 2008, the WPCA is a global action network of palliative care organisations that campaigns at the international level with the goal of improving care at the end of life.

New Work: D&AD Student Awards


As reported in Creative Review, a Pentagram team led by Domenic Lippa has designed the promotional campaign and identity of the D&AD Student Awards for the fourth year running. The awards are the most popular design competition for students in the world; in 2008 they received over 3600 entries from students at over 150 colleges in 33 countries, responding to briefs across the disciplines set by organisations such as Unilever, Orange and Vitra. For a lucky few students, the inclusion of their work in the Annual, a compilation of the most noteworthy entries to the awards, is the highlight of their educational career. In 2009 the D&AD plans to take the annual online, making it accessible to as many people as possible. Pentagram’s identity highlights the dramatic change that the movement of the annual away from print and in to the digital world represents.

Revamped Auburn Magazine Takes Flight


When two Auburn University students or alums meet they exchange the customary verbal greeting “War Eagle!”. There’s also a real eagle at Auburn who flies over the stadium crowd during football games. So when DJ Stout found out that one of the stories planned for the launch issue of the Auburn magazine he was redesigning featured Auburn’s Southwestern Raptor Center (who care for the much revered “War Eagle”) he knew it had to be the cover. “I love it when you can kill two birds with one stone with a cover solution like that,” says Stout. “Using a powerful portrait of the school’s beloved football mascot for a cover feature on a prized academic institution like the Raptor Center is a total WIN WIN scenario in the magazine world.”

New Work: President Lincoln’s Cottage


In honor of President Lincoln’s 200th birthday (not to mention the recent discovery that he was perhaps an early adapter of emoticons), we bring you a new identity designed by Pentagram. President Lincoln’s Cottage at the Soldiers’ Home is a historic Gothic Revival house on a hilltop on the outskirts of Washington, D.C. to which Lincoln and his family often repaired during the wartime years of his presidency. Recently having undergone a seven-year $15 million restoration by the National Trust for Historic Preservation, the house opened to the public last year for the first time in its history. The new identity employs an eloquent example of penmanship adapted from Lincoln’s own signature — the 16th President spent much time writing at the Cottage, and drafted the Emancipation Proclamation during his first summer living there — which provides a personal focus to the site’s somewhat complicated name.

Michael Bierut and his team, who worked on this project, also designed the identity for the National Trust as well as the Philip Johnson Glass House. Like the Cottage, the Glass House is also a National Trust site.

Applications of the identity after the jump.

New Work: 2wice Everybody Dance Now


Given the current state of the world, who couldn't use a little dancing? Everybody Dance Now, the latest edition of 2wice designed by Abbott Miller, is a portfolio of photographs by Martin Parr that capture the universal delight in getting down. Photographed over the past 35 years, the color-saturated pictures, including a few early black and white images, document the twisting, twirling, shimmying and shaking that take place in nightclubs, dance competitions, parades and celebrations from Blackpool to São Paolo.

"After so many collaborations with choreographers and dancers, it was fun to remember that dancing happens everywhere and is done by everyone," says Miller. "Working with Parr's photographs during this particularly gloomy time provided a bright spot, and we hope the publication provides the same lift to others."

Come dancing after the jump.

New Work: The Museum of Modern Art


Along with the many signature artworks in its collection, The Museum of Modern Art (MoMA) possesses one of the most recognizable logotypes of any cultural institution in the world. In recent years, however, the application of this identity across the museum’s broader graphics program has been indistinct. Now MoMA has recast its identity, building on its familiar logotype to create a powerful and cohesive institutional voice. The new graphic identity has been designed by Paula Scher, and further developed and applied by Julia Hoffmann, MoMA’s Creative Director for Graphics and Advertising (and a Pentagram alumna).

While the MoMA logo is iconic, it alone is not enough to continually carry the spirit of the institution. An organized and flexible system was required that would support program material across print, web and environmental applications. The new system designed by Scher and Hoffmann employs prominent use of the MoMA logo as a graphic device, dramatic cropping and juxtapositions of artwork, and a brighter color palette to create a bold, contemporary image. The identity also underscores the museum’s leadership role in the field of design.

A look at the new identity after the jump. All pictured applications designed by Julia Hoffmann and her team at MoMA.