Logo Design Love

on logos and brand identity design

Heide Museum of Modern Art

Heide Museum of Modern Art identity design

Here’s a design approach from 2006 that caught my eye.

“The brand mark is made up a combination of fixed and flexible elements. The Heide script and layout of the type is fixed, yet the typefaces used throughout the communication are diverse and varied.”

Heide Museum of Modern Art identity design
A snapshot from Michael Evamy’s Logo, p324.

The design was by Australia-based GollingsPidgeon, who as of 2007 trades under Design by Pidgeon.

Not the most exciting on its own, but depending on how far the museum wants to go with expressive type designs, it’s flexible enough to stay fresh, yet unassuming enough to give centre stage to the exhibits.

A little more text about the Heide identity on the Design by Pidgeon website (the portfolio’s worth a browse there, too — first visit for me today).

Heide Museum of Modern Art
Heide Museum of Modern Art, photo via Broadsheet Melbourne

Logo Design Love: A Guide to Creating Iconic Brand Identities, second edition

3 appreciated comments

  1. Love it! I really do like the implementation of, what i guess would be hand drawn type. It works well against the clean type face. I have always tried and failed to get a client to go in that direction. Then again I don’t do a lot of work for great museums. Next trip, Australia!

  2. Very nice concept and strong identity — one thing I’m wondering is if they bought something like a Linotype CD with all those typefaces? How did they manage the licensing?

  3. Specific allowances may differ, Iancu, but it’s possible that providing the text is converted to outlines before distribution (from designer to client, or client to press, etc.) then switching from one to the other shouldn’t be an issue. Of course the designer would’ve needed a licence for each file.

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