Current TV, the media company started by former U.S. Vice President Al Gore and businessman Joel Hyatt, has launched a new logo designed by Wolff Olins and animation house GHAVA. Replacing the static pixelated identity created by Meta Design and Peter Saville in 2005 (contemporary for its time), the waving Current logo is meant to be viewed in motion, or at least to imply that it is in motion. Unlike traditional logos, the Current identity takes advantage of the technological capabilities of the broadcast medium. Dropped out of whatever background is behind it, the name undulates like a flag, leaving the borders and proportions loosely defined. The logo itself uses a familiar compressed modern gothic font and foregoes any use of proprietary colors. As flat graphics, it’s pretty simple. What makes it special is that movement isn’t used as an afterthought, but as the essence of its uniqueness.
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The publication of Noma Bar’s new book Negative Space reminds us what a provocative artist he is. Bar’s editorial illustrations pare away the superfluous and cut to the bone of the idea. Using the technique of negative space, he combines a flat graphic silhouetted image with the shape surrounding it to create an illustration rich with meaning. Discovering the image within the image causes the readers to pause and contemplate the larger story being told.
An Israeli-born illustrator Bar studied graphic design and typography at the Jerusalem Academy of Art and Design before moving to London in 2001. His work has appeared in numerous illustrious publications, including The New York Times, The Guardian, and The Economist. Bar has said that the inspiration for his distinctive graphic style emerged during the first Gulf War when he was sitting in a shelter with his family. Perusing a newspaper, he happened upon the black radioactivity symbol on a yellow background, which reminded him of the dark eyebrows and mustache of Saddam Hussein. Sketching a silhouette around it, he found that it became an instantly recognizable caricature. Upon relocating to London a few years later, he included the Saddam drawing in his portfolio; its strong concept helped win him his first assignment from Time Out London.