BP&O Logo Gallery: Bedrock
This week, logos for Bedrock and Getty
The BP&O Logo Gallery is a collection of real-world in-use logos that resolve the needs for simplicity, usability and distinction. Want us to include your logo? Scroll to the bottom for details.
Bedrock by Studio Everywhere
Bedrock develops autonomous vehicles for construction. To think this was science fiction not long ago is mad. Bedrock worked with Studio Everywhere to develop a visual identity for the company. This also included the design of a logo. And it’s got it all. Caterpillar tracks, a sense of excavation within the negative space, building up in the positive, and sense of upward momentum which is brought to life in motion and in supporting elements online. Context matters here, I have no doubt a bunch of designers have had this on their artboard at some point, but it makes total sense here in multiple ways. It’s industrial and technological and looks fab on the back of an autonomous digger. Side thought, is that an ‘A’ for autonomous in there as well?
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Getty by Fred & Farid New York
As Getty has evolved, its existing identity no longer fully reflected the breadth of its work–art, research, conservation and philanthropy–or the diverse audiences it serves. The institution set out to create a visual identity that could better represent the many interconnected parts of Getty and deliver a sense of movement, energy and life.
Getty worked with Fred & Farid New York, to develop this identity which included the design of a new ‘G’ logo. This weaves together ideas such as a square block inspired by the travertine blocks of the Getty Center and four mosaic-like pieces drawn from artworks at the Getty Villa, and symbols of its four core programs — the Museum, Foundation, Conservation Institute and Research Institute.
The abstract art reference is clearly a driving force, wrangled into a G, but this creates a brutal and unforgiving mark. Heavy and dominant that doesn’t really feel at all invitational as the institution extends its reach towards new audiences. This is, however, softened slightly by its application, with ideas and art projected through its four tessellating pieces.
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