Experimental Jetset developed the graphic identity around the concept of a "responsive W" that forms both a symbol of the Whitney and a framework for accompanying text and images.

"We came up with the idea of the zig-zag line, with the zig-zag being a metaphor for a non-simplistic, more complicated (and thus more interesting) history of art," say the designers.

"We think the line also represents a pulse, a beat - the heartbeat of New York, of the USA. It shows the Whitney as an institute that is breathing (in and out), an institute that is open and closed at the same time."

The designers specified Neue Haas Grotesk - a redrawn version of a 1950s Swiss typeface - for any text positioned alongside the logo, while any images can be positioned underneath.

"We began to explore the possibilities of the W as a frame to put work in, or a stage to place work on," they explain. "The lines [of the W] can be seen as borders, arrows, connections [or] columns."

The new graphic identity replaces the Whitney's thirteen-year-old logo, designed by Abbott Miller of Pentagram, and marks a period of change that will see the museum relocate to a new building by architect Renzo Piano, set to open in 2015.

Other logos designed in recent months include one for the estate of Thunderbirds creator Gerry Anderson and one for Nivea designed by Yves Béhar. See more graphic design on Dezeen.

Photography is by Jens Mortensen.

Read on more information from the Whitney:

As the Whitney approaches the opening of its new building in 2015, museum staff are taking stock of all aspects of programming and operations. While much of this work is happening behind the scenes, one very visible aspect of this focus is the Whitney's graphic identity. While the museum has changed considerably in the thirteen years since it introduced the word mark designed by Abbott Miller of Pentagram, even more extensive institutional changes will come with the move downtown.

Two years ago, Museum staff began a thoughtful internal dialogue regarding the Whitney's graphic identity and selected the design studio Experimental Jetset to develop an approach which embraces the spirit of the Museum while serving as a visual ambassador for our new building. The result is a distinctive and inventive graphic system that literally responds to art — a fundamental attribute of the Whitney since its founding in 1930. This dynamic identity, which the designers refer to as the "responsive 'W'" also illustrates the Museum's ever-changing nature. In the upcoming years it will provide an important point of continuity for members, visitors, and the public during the transition to the new space.

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by Experimental Jetset appeared first on Dezeen.

Starting in the fifteenth century with Johannes Gutenberg's Blackletter font, The History of Typography charts the major innovations in font design up to the present day.

Barrett-Forrest explains the variations between early serif fonts such as Caslon and Baskerville and how they evolved into modern sans serif fonts such as Futura and Helvetica.

Cutting out and animating the letters took Barrett-Forrest around 140 hours over a period of two months, on top of dozens of hours of research and post-production.

"It was fairly tedious cutting out almost 300 paper letters, especially the serif typefaces with their tiny spikes, but it soon became almost meditative," says Barrett-Forrest.

"I feel that I have a much closer connection with each of the typefaces that I addressed, now that I have laboured to create each one."

Originally from Whitehorse in the northern Canadian territory of Yukon, Barrett-Forrest is currently studying multimedia at McMaster University in Hamilton, Ontario. He also runs Forrest Media, a graphic design and media production company.

Other fonts on Dezeen include a typeface of impossible shapes inspired by artist M.C. Escher and graphic designer Neville Brody's reworking of the Royal College of Art's house font – see all fonts.

We recently featured an animation of the best-known buildings of 26 architects, one for each letter of the alphabet – see all animations.

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Ben Barrett-Forrest appeared first on Dezeen.

Vignelli explains how he begins a book design by laying paper over a simple grid for positioning images and text, which can't be seen in the finished article. "The grid is the underwear of the book," he says. "You wear it but it's not to be exposed."

He lists different layout options made possible by his grid system, including several pictures per page, one full page image and one smaller opposite, or double-page photos for the "wow" effect.

Vignelli sketches the images by hand when mocking up the layout as he believes it's faster for him than using a computer.

He compares the design process to making a movie. "The scale and the pacing of the images makes the book, it's just like a film," he says. "The scriptwriter is the author of the book, and I'm the director and cinematographer."

The film was designed by Michael Bierut of Pentagram for paper manufacturer Mohawk's What Will You Make Today? campaign. It features the publication Richard Meier, Architect: Vol. 3 released in 1999.

Earlier this year it was announced that Vignelli's logo and livery designs for American Airlines were to be replaced by new graphics by FutureBrand.

See more graphic design »
See more architecture and design books »

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- Massimo Vignelli appeared first on Dezeen.

News: Google has honoured American graphic designer Saul Bass with an animated doodle based on his iconic Hollywood title sequences and movie posters.

The doodle, which celebrates what would have been Bass' 93rd birthday, animates Google's logo to play on the designer's best-known work.

Bass created the opening sequences and posters for dozens of movies over five decades, including Alfred Hitchcock classics Vertigo and Psycho, Stanley Kubrick's The Shining and Martin Scorcese's Goodfellas.

He also designed corporate logos, including the bell and globe icons for telecommunications firm AT&T and United Airlines' tulip logo. He died in 1996 aged 75.

Last year Google paid tribute to architect Mies van der Rohe with a doodle celebrating his 126th birthday.

Alexander Chen from Google Creative Lab recently discussed Google Glass and the future of user interface design in a movie filmed for our Dezeen and MINI World Tour – see all news about Google.

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graphic designer Saul Bass appeared first on Dezeen.

Competition: we're giving readers the chance to win one of five packs of greeting cards illustrated with buildings by Le Corbusier.

Created by designer Stefi Orazi, the cards portray some of the modernist architect's best-known projects using simple graphics.

Le Corbusier's Notre Dame du Haut chapel in Ronchamp, Villa Savoye in Poissy, Cité de Refuge in Paris and Unité d'Habitation projects in Marseille and Berlin all feature on the front of the cards.

Each pack contains six blank A6 cards and envelopes, which are available at the designer's online store.

To enter this competition email your name, age, gender, occupation, and delivery address and telephone number to competitions@dezeen.com with “Le Corbusier cards” in the subject line. We won’t pass your information on to anyone else; we just want to know a little about our readers. Read our privacy policy here.

Competition closes 28 May 2013. Five winners will be selected at random and notified by email. Winners’ names will be published in a future edition of our Dezeen Mail newsletter and at the top of this page. Dezeen competitions are international and entries are accepted from readers in any country.

Orazi has also designed cards depicting modernist buildings in London and prints of the city's BT Tower - see them here.

See more stories about Le Corbusier's architecture »
See more graphic design »

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greeting cards to be won appeared first on Dezeen.