Lettering and logotypes PartnersFrere-Jones Type and XYZ Type in collaboration with Champion Design and Carnegie Hall Date2021
When rebranding the historic Carnegie Hall, Champions Design turned to Fred Shallcrass of Frere-Jones Type for the wordmark and Jesse Ragan of XYZ Type for the monogram. While the designs might look completely different, they both successfully reference the Hall’s 130-year past while bringing it into the future.
While neither foundry can boast the hall’s impressive 130-year history (yet!), there’s no denying that the designers at both Frere-Jones Type and XYZ Type are some of the most practiced and skilled in the industry. The challenge in this rebrand was to bring this refined excellence down to earth–into something inclusive and modern–something youthful yet classy.
Originally named simply The Music Hall, Carnegie Hall was constructed between 1889 and 1891 and throughout its long history, it has proven one of the most admired performance venues in the world. Frere-Jones’s task was to create a wordmark that lived up to Carnegie Hall’s world-famous name. Designer Fred Shallcrass found inspiration in the large poster cases lining the iconic facade, constructed in 1919 by William Burnet Tuthill. The mark captures the distinctive features of the stained-glass poster case lettering and optimizes them for present-day needs.
Analyzing even just a few of the design’s letters reveals Schallcrass’s consideration:
C – The upper terminal extends into negative space created by the diagonals of the A; the terminals also share a common angle.
A – The apex serif is softened, the crossbar lowered, and the foot serifs are shortened to create a more even overall color.
R – The leg descends below the baseline, and the serif is trimmed to allow for a better relationship with the following letterform.
From the Champions Design case study: “The venue’s long history brings with it a culture of storytelling and a museum-worthy visual archive. The new identity celebrates the past and readies for the future by assembling a graphic toolkit now prepared to stand the test of time.”
The cornerstone for the Hall was placed by Andrew Carnegie’s wife Louise in a ceremony on May 13, 1890, with Carnegie pronouncing that the Music Hall would be “built to stand for ages.” The Hall’s steel construction–an innovation at the time–lends continued truth to this ambitious proclamation. Almost 125 years later, when the upper floors of the building were renovated, a steel beam was discovered that had been embossed with the Carnegie name.
XYZ Type’s Jesse Ragan lifted the stamp in the steel to develop Carnegie Hall’s new monogram. Starting with a lockup of the full name “Carnegie Hall,” Jesse and Champions Design homed in on a simple monogram of “CH.” They explored a range of options to add unique personality to the mark—including a high-contrast version with dramatic ball terminals that directly referenced music notation.
They finally settled on a backslanted swash sans serif framework and included some subtle quirks (which invite close inspection). The monogram bears a charming levity in its ball terminals, balancing Victorian Era history with a simplified and affable open vision for the future.
Ragan said that Champion’s move to use a monogram that has no direct visual relationship to the primary logotype was “gutsy.” The two marks certainly speak in different voices, but they also convey similar integrations of Carnegie Hall’s history with contemporary aesthetics, making the pairing successful. Further, on a practical level, they share some key characteristics:
Nesting of letterforms (the dipping leg of the wordmark’s ‘R’ and the monogram’s swashes)
Closed apertures and inward-looking shapes
Straightforward sans structures with some fussiness on the terminals (could this be the sought-after “youthful-but-classy”?)
A sense of heft
An elusive, historic feel that references stone carving & engraving
Carnegie Hall has been a bastion of musical artistry in every genre–from classical to contemporary pop music–for the length of its tenure. Through a thoughtful and engaged consideration of the Hall’s history, integrated with an eye to the future, Champions Design, Frere-Jones Type, and XYZ Type have developed a visionary re-brand we expect to remain relevant and iconic for another 130 years or more.
If your company wants to update its branding with a new wordmark or logo, contact us to start the conversation with the designers at one of our partner foundries.
In 2016, Amsterdam-based daily newspaper Het Parool launched a new design. The printed paper and accompanying website were overhauled to mark the organization’s seventy-fifth anniversary. One of the most striking changes was the new logo and masthead, expertly lettered by Spanish type and graphic designer Laura Meseguer of Type-Ø-Tones. The final mark adorns not only the newspaper and website but also all expressions of Het Parool’s identity.
To celebrate and commemorate its 150-year anniversary in 2012, Scandinavian retailer Stockmann approached creative agency Kokoro & Moi to refine and unify their visuals, a process which resulted in new packaging, graphics, and a custom typeface by foundry partner Underware. Ten years later, we’re looking back at what makes Stockmann Sans so enduring.