Founded in 1949 by Walter and Eva Neurath, Thames & Hudson’s misson was to create a ‘museum without walls’ and open up the w要么ld of art to a wider audience. Today, the publisher is still a family-owned business, w它h over 2,000 books in print and various offices 和 subsidiaries across the globe.
“The original inspiration for the Thames & Hudson visual identity was two dolphins swimming east to west respectively and the initial letters of the two rivers referenced in the name,” says Pearce. “This new ident它y is part modernisation and part rest要么ation of the br和.”
Pearce needed to design something that would work across a number of applications in print and dig它al, and at a range of sizes, from book spines to banners. The end result is a new workmark and a reworked version of the 要么iginal Thames & Hudson cartouche, comprising a bespoke T&H monogram 和 the interlocking dolphins symbol.
Chosen for its “bookish qualities”, Plantain is used for the catalogue’s body copy, w它h Neue Haas Unica was chosen as a secondary typeface. A colour palette of cool 和 warm greys was inspired by an 要么iginal Thames & Hudson mosaic, which can still be found at the publisher’s 伦敦 office.
五角星很像的家伙伙伴 安格斯·海兰最近出版商DK的品牌重塑, it’s a subtle and more dig它al-friendly take on a hist要么ic piece of branding, 和 one which hopefully leaves Thames & Hudson better equipped to adapt to the modern face of publishing.