Discipline
Sector
Arts & Culture
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Retrospective: London Design Festival
London Design Festival has been an annual celebration of the power of creativity for over 20 years. Since 2008, Pentagram partner Domenic Lippa has served as the LDF’s creative director, responsible every September for the design of a new visual identity. By inventively remixing a few key elements — typography, a signature red (“the colour of London”), and LDF's simple monogram — the program unifies hundreds of events while reaffirming London’s status as a global design capital.Retrospective: London Design Festival
London Design Festival has been an annual celebration of the power of creativity for over 20 years. Since 2008, Pentagram partner Domenic Lippa has served as the LDF’s creative director, responsible every September for the design of a new visual identity. By inventively remixing a few key elements — typography, a signature red (“the colour of London”), and LDF's simple monogram — the program unifies hundreds of events while reaffirming London’s status as a global design capital. -
Design should evoke emotion. Whether it’s joy, curiosity, or nostalgia, it should make people feel something.
Michael Gericke -
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Retrospective: Shakespeare in the Park
In 1954, impresario Joe Papp began a summer tradition of staging free outdoor performances of Shakespeare, inaugurating the Public Theater’s beloved Shakespeare in the Park festival. Pentagram partner Paula Scher, whose relationship with the Public spans four decades, has designed a new identity for the series for thirty consecutive summers. Each campaign is customized to the season’s theme, creating a highly visible graphic vocabulary for outdoor advertising, social media, and on-site signage.Retrospective: Shakespeare in the Park
In 1954, impresario Joe Papp began a summer tradition of staging free outdoor performances of Shakespeare, inaugurating the Public Theater’s beloved Shakespeare in the Park festival. Pentagram partner Paula Scher, whose relationship with the Public spans four decades, has designed a new identity for the series for thirty consecutive summers. Each campaign is customized to the season’s theme, creating a highly visible graphic vocabulary for outdoor advertising, social media, and on-site signage. -
Designing for the cultural sector often requires being able to integrate many facets of an institution’s world. From the visual identity to the environmental space, from a tiny ticket, to a book, app or a building. Weaving this all together is so important in building a consistent narrative displayed to the world.
Harry Pearce -
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Designing for arts and cultural institutions isn’t massively different from the corporate identity work we do. But it requires a different sensitivity. A different ‘touch’ and mindset. There is a different relationship between Pentagram, the clients, and the audiences – and this stretches us. This work doesn’t make us richer financially but richer through experience.
Domenic Lippa
