504 Pentagram Testimonials

"The Pentagram team also established the sequencing and pacing of the color and black-and-white imagery shot in a variety of formats and divided up the sections of the book with spreads featuring quotes from Lanker’s vast network of admirers."

"Pentagram built the brand identity around a core ‘timeline’ visual, representing a progression from functional solutions to transformative organisational and societal perspectives."

"After considering changes that ranged from imperceptible to unrecognizable, Pentagram redrew the original Guitar Hero logotype, adjusting some of its more aggressively odd features to enable accurate reproduction at a variety of scales and in media from digital animations to temporary (or permanent) tattoos."

"The visually rich typography appears on everything from menus, packaging and swag to signage and the website."

"The show was divided into five sections: Plan, Festival, Film, Charity and Impact, tracing the lasting cultural implications of the festival from 50 years ago all the way to present day."

"The identity shifts the emphasis from the Commission to the main event, the debates themselves."

"Pentagram created a number of different atmospheres in the store, each presenting a separate aspect to the Marimekko lifestyle."

"Plenaire was created as a direct-to-consumer brand for young people who seek out accessible luxury and a more modern, curated approach to skincare."

"The clean, easy to navigate tabs allow users to quickly find what they are looking for, while also being able to freely explore other areas of TUTS online."

"Pentagram has created a new identity for The William Morris Society. At its centre is a hand-drawn emblem that is derived from William Morris’s Bird print."

"Pentagram has weaved ‘dazzle camouflage’ throughout the game."

"The logotype for MUSE shows the relationship between the museum and the mountains of the Trento valley in which it is located."

"The Pentagram team also updated OCU's caps-and-small-caps wordmark with a contemporary Roman typeface called Romain, set in a more approachable upper- and lowercase, and downplayed the word ‘University’ in a smaller sized sans-serif face, called Houschka Pro, in all caps."

"The visual identity is built on the theme of ownership being a fluid continuum, with handsets changing hands and of customers being in control."

"The book’s iconography is simple and dynamic, mixing bold two-dimensional graphics with photographic images of people and objects."