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.

The post Whitney Graphic Identity
by Experimental Jetset appeared first on Dezeen.

Antrepo, led by designer Mehmet Gozetlik, based the Made in Japan project on 35mm SLR cameras manufactured in the 1970s and 1980s.

The designers noticed that cameras made by Canon, Nikon, Pentax and Minolta in that period all featured simple line drawings in place of the brands' logos, which were normally much bolder.

The line drawings cut production costs by making them easier to apply to the metal camera bodies, Gozetlik explained to Dezeen.

Antrepo took the colourful logos of contemporary web-based companies and services like Instagram, eBay and Twitter and turned them into stark monochrome designs.

The new logos appear to be etched into metal, echoing the appearance of the vintage cameras.

We previously featured Antrepo's minimalist take on well-known food packaging designs.

Earlier this month we reported that famous brands including Heinz, Marmite and Levi's had produced "unbranded" versions of their products for sale at London department store Selfridges.

Last week American Airlines unveiled a new logo and livery for its aeroplanes, while designer Yves Béhar recently revamped the packaging of skincare brand Nivea – see all graphic design on Dezeen.

Here's more information from Antrepo:

Made in Japan

Canon AE-1, Nikon FTn, Ashai Pentax ESII, Minolta XG-1 – these cameras are some of the Japanese 35mm SLR cameras from the vintage '70s and '80s, the "Made in Japan" era, when Japan set the global standard of producing quality.

When we take a look at the vintage 35mm cameras, we notice that almost all of these brands used the same style for their logos and typography – line-based logos and extended-outline fonts.

Almost all of these brands used bold logos on their packaging or advertising in the '70s and '80s.

The production industry created line-based logos for the metal bodies, probably to cut down the production costs. So we try to see the digital world in the same perspective of this vintage style.

The post Made in Japan
by Antrepo appeared first on Dezeen.

News: American Airlines has unveiled a new logo and livery for its aircraft, designed by brand consultancy FutureBrand.

FutureBrand has simplified the American Airlines eagle into a slim diagonal logo, with the bird's white head appearing between red and blue wings.

The aircrafts' bodies will be painted pale silver, with red and blue stripes on the tailfin evoking the American flag. About a quarter of the fleet, or between 150 and 200 aeroplanes, will have the new design by the end of 2013.

Massimo Vignelli, the designer who created the airline's outgoing logo, told BusinessWeek he wasn't keen on the new design. "It has no sense of permanence," he said. "There was no need to change. Every other airline has changed its logo many times, and every time was worse than the previous one."

Above: the previous logo, designed by Vignelli

Vignelli also noted that FutureBrand had replaced the Helvetica font the carrier had used since 1967. "We used Helvetica, which was brand new at the time," he said. "It looked great. The typeface was great. We proceeded by logic, not emotion. Not trends and fashions."

FutureBrand has also been working with the airline to produce web and mobile apps, airport lounges and onboard menus and branding.

Last year we reported that Finnair had decorated its aircraft with a floral print from Finnish design brand Marimekko and also showed Priestmangoode's design for a first-class cabin with sofas and wardrobes, and the longest flat business-class bed ever made by Pengelly Design.

See more stories about graphics »
See more stories about transport »

Here's some information from Futurebrand:

American Airlines & FutureBrand Partner to Create a Modern New Look for the Iconic Brand

With the launch of a refreshed look and livery for American Airlines, FutureBrand is proud to announce our ongoing partnership with this truly iconic brand. Recognising that it was time for a new look to better reflect the progress it had made in the ongoing modernisation of the airline, American engaged FutureBrand to partner on the modernisation of the logo, livery and overall look and feel of the customer experience.

Our work is inspired by the company’s heritage and incorporates colours and symbols universally associated with the American brand. A reimagined logo — called the Flight Symbol — evokes the star, “A”, and iconic eagle of American’s past, all brought to life in refreshed shades of red, white and blue. Together, they reflect a more modern, vibrant and welcoming spirit.

The logo debuts along with a boldly reimagined livery. With proud stripes and a timeless silver body, the livery expresses American’s origins but also the spirit of modern America: innovative, progressive and open to the world.

During our multi-year collaboration with American, we’ve extended the new look to the broader customer experience — on web and mobile apps, modernised airport terminals and check-in experiences, premium airport lounges, updated onboard menus and communications, as well as a host of new branded elements. We continue our work with American as they continue their journey to modernise.

The post American Airlines debuts
new logo and livery appeared first on Dezeen.

Competition: Dezeen Watch Store features in this new book about brand identities that use dynamic graphic design by designer and author Irene Ontwerp, and Dezeen readers can win one of five copies.

Congratulations to the winners! Otto Chen from Australia, Brian Longman from the UK, Maria Grønlund from Denmark, Andy Clifford from the UK and Jacob Peel from the USA all won a copy of Dynamic Identities.

Dynamic Identities presents examples of branding, logos and marketing material with design systems that allow them to change and generate new versions depending on various input factors.

The Dezeen Watch Store identity features a timepiece with a constantly changing pattern of colours and segments according to the time of day, the month and the viewer’s geographic location, and was created by designers Zerofee who share a building with Dezeen. See it in action on the Dezeen Watch Store website.

In the book, each project is explained with information about the brand and designers, alongside large images displaying the artwork both on its own and in context.

A lenticular cover features a selection of the logos that morph when the book is tilted to demonstrate the way they change.

This competition is now closed.

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

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Dynamic Identities to be won appeared first on Dezeen.

Dezeen Wire: Microsoft launched a new logo yesterday, its first redesign since 1987 - Reuters

The post Microsoft launches
new logo appeared first on Dezeen.