Post merged with the original one, for consistency reasons :) Read and comment here. Thank you.
I dare you find a designer who doesn’t love, or at least respect IKEA for its design dedication. Scandinavian design is almost synonym for functional design, well-thought design, void of any unnecessary elements. From their simple and practical packages to functional but homey stores and to their beautifully designed catalogue (3rd most printed publication in the world, after the Bible and yes, Harry Potter), IKEA has always been true to great design—I still remember how I asked every relative or friend that went abroad to bring me back an IKEA catalogue to draw from as I was studying for my design college exams (there was no IKEA in our country at that time).
Starting this summer, however, IKEA decided to give up the beautiful IKEA Sans (a very well designed Futura offspring) and IKEA Serif for Verdana, the omni-present web typeface, designed for Microsoft. As the Cracked fellows usually say: dear God, why?
Futura, designed by Paul Renner, is one of the best geometric typefaces, a timeless chef-d’oeuvre, which, unlike Helvetica, never seems to loose its human touch, its friendly-but-practical look, no matter where it’s used (Helvetica has been so overused through the last 50 years that it has practically lost any personality, becoming a shape-shifter, a typeface that can express almost anything, depending on the context). All IKEA’s communication, from catalogues to retail graphics were heavily based on their modified Futura, making everything look clean, clear and timeless. Verdana, even if it is a very readable typeface on screen, can’t even be compared to Futura when it comes to display usage. Microsoft-related products, as we all know, are anything but beautifully designed.
Take a look and see for yourself:
Before and after:
I’ll get the new IKEA catalogue soon, but, sadly, there will be one reason less to enjoy browsing it. As they say, it will be just business—nothing personal.
Last night IKEA’s outdoor was changed, down went good old IKEA Sans, up came Verdana. Take a look for yourself:
It is quite clear now. While in small sizes Verdana is decent enough, especially with its italics, on large prints it’s bad. IKEA Sans’ beauty was enough to sustain a phrase written on white background, with a lot of white space around. Verdana simply can’t do half as good. It looks cheap, amateurish. If I didn’t know this was a global decision I would’ve thought the local agency just let some rookie do the outdoors late at night, in a haste.
Another thing that keeps bugging me: there’s talk now all over the place, the entire community debating (most disapproving IKEA’s move). Few, however, mention that IKEA has replaced their own typeface, IKEA Sans, and not Futura. This is important since their typeface was customized, quite easy to tell apart from Futura and Century Gothic, its ‘parents’. And easy to extend with support for some new languages. I doubt IKEA’s sales dropped much during the crisis considering their target (take a look at McDonald’s, they’re booming), so jumping to a cheap, innapropiate typeface just because it’s a bit cheaper on the short run seems to me like very bad management.
But, of course, nobody can tell for sure if it really matters. Sales may drop or may rise, but nobody will link them to a typeface. After all, most people can’t tell the difference between serif and sans. For them it will be a change that never happened: “hasn’t it been like this all the time?”
IDSGN posted a thorough article about the look of the new IKEA catalogue compared to the former — Just as I thought after peeking around the UK website, Verdana looks good in the catalogue thanks to careful typesetting (extensive use of negative trackin, leading and italics). The problem is that the catalogue is a carefully designed product, made over several months, while normal communication will be done locally, most of the times by less-experienced designers or art directors (I’m talking about Romania and other countries with less general expertise in graphic design than UK, Sweden or Netherlands, for example). Type will be most of the time set with the default settings, without the thorough care the catalogue is designed with. Take a look:
Things really got big: yesterday I was interviewed by Lisa Abend for the Time Magazine! Read The Font War: Ikea Fans Fume over Switch to Verdana. Mr. Marius Ursache from Grapefruit also got interviewed, being the author of the online petition. Here’s my paragraph:
“They went cheap, in other words,” counters Bucharest designer Iancu Barbarasa, who blogged about the font change on his website. If he sounds somewhat bitter, there’s a reason. With its attention to the curve of even a $9 lampshade, Ikea has become renowned for its understanding of good design. “Designers have always thought of Ikea as one of their own,” Barbarasa notes. “So now, in a way, the design community feels betrayed.”
I can’t express what joy it brings me to be cited next to London, Tokyo and Melbourne designers. Thank you, Lisa (you can read the whole interview here).
A fun, interesting and tought-provoking short documentary about the typeface we all love to hate: Comic Sans. Makes you think that nothing must be taken lightly, especially when it comes to human perceptions (and design in general).
Here’s a challenge:
try designing a logo using Comic Sans (that’s not for a cartoon magazine, of course :P).
(via design observer)
What better title for an album that really makes you feel the sun going down, the shadows reaching higher and higher, the chill of the night slowly slipping around you, kept at bay only by the shimmering flames of a small fire, glowing in your cave, warming your heart.
Blockhead is a NinjaTune artist, born in New York, mixing jazz, down-beat, trip-hop, hip-hop and many other sounds into subtle, delicate music. Reminding sometimes of Bonobo or even Cinematic Orchestra, Blockhead manages to pull off a very well balanced album, a real enchanting journey from start to end. Definitely worth adding to the collection.
Enjoy Insomniac Olympics:
Catching some office gossips like San Francisco designers being the best among international design offices like Pentagram and MetaDesign, I was curious to see who exactly was or were partner-in-charge at Pentagram San Francisco. In comes Robert Brunner (the other Pentagram partners are Kit Hinrichs, designer and Lorenzo Apicella, architect).
Reading about Mr. Brunner on wikipedia, I was startled to find out that he leads a team at Ammunition LLC, just after reading that he had joined Pentagram in 1996. Browsing the Ammunition website, I found out he is no longer with Pentagram, since he left with his team to form his own company in july 2007 (press release). In 2008 he was joined by two other top professionals, Creative Director Brett Wickens and Band Strategist Matt Rolandson, both former leaders from MetaDesign San Francisco.
The interesting thing is that Mr. Brunner was previously the Director of Industrial Design at Apple, between 1987-1996, and was the one that hired and later proposed Jonathan Ive as director after his departure (you can watch the youtube interview).
Ammunition specializes in product design, identity design and interaction design, and you can easily see from their portfolio their work is of highest quality. And of course, they have a smart, classy logo.
I really like the simplicity of the black&white visual identity:
Here are some beautiful badges, they’re from another project they did, but they’d sure go well with the rest of the AFN identity:
Büro für Gestaltung means literally ‘office for design’. Quite a simple and odd name, considering that their expertise ranges from graphic design to environmental design, product design and even bits of architecture. But in the end, design is a very generous word, so it can easily encompass all work made for the benefit of men.
Few design companies have such thorough websites presenting their work. One interesting thing is that most of the team are women, a not-so-often thing in the design world, especially considering the very rational approach the company has. Not to mention their youth, another thing to admire, since they’ve been involved in so many big projects, both for big companies and state/local officials. It’s a great thing to be able to see how their design solutions were developed as a whole.
Take your time, watch and learn—steal if you can ;)