A MONOGRAPH

Michael Bierut studied graphic design at the

University of Cincinnati’s College of Design,
Architecture, Art and Planning, graduating
summa cum laude in 1980. He worked for ten
years at Vignelli Associates before joining
Pentagram as a partner in 1990.
His clients at Pentagram have included
The New York Times, Saks Fifth Avenue,
The Robin Hood Foundation, MIT Media
Lab, Mastercard, Bobby Flay Bold Foods,
Princeton University, the New York Jets,
the Brooklyn Academy of Music, and
Playwrights Horizons. As a volunteer to
Hillary Clinton’s communications team, he
designed the H logo that was ubiquitous
throughout her 2016 presidential campaign.
Bierut served as president of the New
York Chapter of the American Institute
of Graphic Arts (AIGA) from 1988 to
1990 and is president emeritus of AIGA
National. He also serves on the boards of
the Architectural League of New York and
the Library of America. Bierut was elected
to the Alliance Graphique Internationale in
1989, to the Art Directors Club Hall of Fame
in 2003, and was awarded the profession’s
highest honor, the AIGA Medal, in 2006. He
 TABLE OF CONTENTS

Introduction 02

WalkNYC 06
Wayfinding system for New York City’s pedestrians
How New York City developed its wayfinding signage

MIT Media Lab 14

Brand Identity & Environmental Graphics

Mastercard 20
The Rebranding Process

Timeline & Recap 26

Colophon 28
 Michael Bierut
GRAPHIC DESIGNER • WRITER • EDUCATOR

INTRODUCTION

After graduating from the University of Cincinnati’s College of Design,

Architecture, Art and Planning in 1980, Michael Bierut went on to work
for Vignelli Associates for 10 years and later became its vice president.
He has been a partner at Pentagram since 1990 and has worked with
many famous clients on multiple projects, won hundreds of awards and
published his own books. Bierut now has work in permanent collections,
including MoMA and the Met in New York.

“Not everything is design. But

design is about everything. So
do yourself a favor: be ready
for anything.”

4 5
 1 2
1. Michael Bierut: How
to design a library that
makes kids want to
read, TEDNYC, 2017.

2. Landmark sign on
the façade of the The
New York Times’
headquarters in
New York City.

3. The Masters Series:

Michael Bierut: the
first comprehensive
retrospective of the
graphic designer and
Pentagram partner’s 35- Michael Bierut studied graphic design
year career, presented at at the University of Cincinnati’s College
the School of Visual Arts of Design, Architecture, Art and Planning,
in New York City, 2015. graduating summa cum laude in 1980.
He worked for ten years at Vignelli
4. Graphic arrows Associates before joining Pentagram
borrowed from one as a partner in 1990.
of Bierut’s posters
for the Yale School His clients at Pentagram have included
of Architecture, The The New York Times, Saks Fifth Avenue,
Masters Series: Michael The Robin Hood Foundation, MIT Media
Bierut Exh., 2015. Lab, Mastercard, Bobby Flay Bold
Foods, Princeton University, the New
5. The Masters Series: York Jets, the Brooklyn Academy of
Michael Bierut Exh., 2015. Music, and Playwrights Horizons. As a
volunteer to Hillary Clinton’s commu-
6. Now You See It and nications team, he designed the H logo
Other Essays on Design, that was ubiquitous throughout her
Michael Bierut, 2017. 2016 presidential campaign.
Bierut served as president of the
New York Chapter of the American
Institute of Graphic Arts (AIGA) from
1988 to 1990 and is president emeritus
of AIGA National. He also serves on the
boards of the Architectural League of
New York and the Library of America.
Bierut was elected to the Alliance
Graphique Internationale in 1989, to
the Art Directors Club Hall of Fame in
2003, and was awarded the profes-
3 4
sion’s highest honor, the AIGA Medal,
in 2006. He was winner in the Design
Mind category at the 2008 Cooper-
Hewitt National Design Awards. In
2016, he was the Henry Wolf Resident
in Graphic Design at the American
Academy in Rome.
Bierut is a senior critic in graphic
design at the Yale School of Art and
a lecturer in the practice of design
and management at the Yale School
of Management. He is a cofounder of
the website Design Observer and is
the co-editor of the five-volume series
Looking Closer: Critical Writings on
5 6
Graphic Design published by Allworth
Press. Michael’s book 79 Short Essays
on Design was published in 2007 by
Princeton Architectural Press. A mono-
graph on his work, How to use graphic
design to sell things, explain things,
make things look better, make people
laugh, make people cry and (every
once in a while) change the world was
published in 2015 by Harper Collins. His
collection of new essays, Now You See
It, was published in fall 2017.

6 7
 WalkNYC
WAYFINDING SYSTEM FOR NEW YORK CITY’S PEDESTRIANS

2013

The New York Department of Transportation launched its WalkNYC

program in the summer of 2013 to “provide a clear visual language and
graphic standards that can be universally understood, encourage walking
and transit usage by offering quality multi-modal information, and provide
consistent information across a broad range of environments in the city.”
Lauded design firm Pentagram’s PentaCityGroup developed the identity.

8 9
 1
1. The orientation of the
WalkNYC maps uses
“heads-up mapping,”
in which north, south,
east or west is rotated
to correspond with
the direction the
user is facing.

HOW NEW YORK CITY DEVELOPED ITS WAYFINDING SIGNAGE Dwell: First off, when did modern wayfinding come about? What large-scale
historic and present-day wayfinding projects did you research and how did
An interview with Michael Bierut by dwell these inform the WalkNYC plan?

Bierut is part of an interdisciplinary team called the PentaCityGroup, which is
comprised of the following design firms and organization, all of whom contributed
to the look and feel of the signs.
Pentagram | graphic designers:
Michael Bierut, partner-in-charge and designer; Tracey Cameron and Hamish
Smyth, designers; Jesse Reed, icon designer; Tamara McKenna, project manager.
Michael Bierut: Wayfinding is as old as mapmaking, and maps of New York go
back almost to its first European settlements.
There were probably three useful precedents for the work we did on WalkNYC.
First were a series of urban wayfinding programs in Great Britain that many
of our team members, including CityID and T-Kartor, have been involved with
over the years.

City ID  |  lead designers and wayfinding specialists:
Mike Rawlinson, Harriet Hand, David Gillam, Sam Coultrip, Rachel Abrams,
Matt Jephcote, Jason Smith and Jenny Janssen.
T-Kartor  |  GIS database developers and cartographers:
David Figueroa, Charu Kukreja, Wendy Bell, Kathryn Green, Rich Perkins, Jeff
Vonderheide, Hanna Lindahl, Thilda Garö and Matthew Archer.
RBA Group  |  engineers, urban designers, project managers:
Jackson Wandres, Chris Lucas, Klaus Weidemann and Kevin Ballantyne.
Billings Jackson Design  |  industrial designers:
Duncan Jackson, Eoin Billings, Paul Leonard, Aidan Jamison, Dale Newton
and Simon Kristak.
Second was a wayfinding system I worked on for the downtown New York
business district back in the ‘90s. This was, at the time, the largest single
coordinated wayfinding program in New York City and we learned a lot, not
only about how people navigate a complex urban district, but what you have
to deal with when you install things like maps on the streets of New York in
terms of regulations and maintenance.
Finally, there were the graphics that Unimark did for the New York subway
system in the late sixties and early seventies. I worked for Massimo Vignelli
at the start of my career, and I was always impressed by the way the Unimark
system managed to superimpose an abstract visual logic on a city that seems
so illogical at every turn. WalkNYC attempts to do the same thing.
Dwell: Can you tell us about some of the components of the signs? How did
you pick the landmarks to feature? What was the editing process like in terms
of deciding what information to relay and what to skip?

Bierut: We had a “more is more” attitude about the signs. As opposed to a

reductive diagram meant to be taken in at a glance, we wanted the maps to
be comprehensive: people need to feel reassured that if they’re looking for
something, they’ll find it on he map.

10 11
 1 2
3
1. Icons for the program.
2. The kiosks present
two maps, one of local
streets and the other
of the area’s location
in relation to the city.
4
3. The program’s palette
is inspired by the
colors of the city.
4. ‘You’ icon that locates
the user on the map.
5. A customized version of
5
Helvetica was created
for the program.
6. The program’s logo.
7. Icons for buildings
and attractions
around the city.
12
6 7
Of course, there is always editing. We picked landmarks from a list of the
obvious suspects — destinations that people might be looking for — but we
also added some more obscure buildings that may not be well known, but
that function as wayfinding aids. As the senior designer on the project here at
Pentagram, Hamish Smyth, has pointed out, most people, even New Yorkers,
don’t know what the Newtown Creek Digester Eggs Sewage Treatment Plant
is. It’s not on many tourist must see lists. But these big shiny egg-shaped
orbs — a beautiful design by Ennead Architects — are visual landmarks in
Brooklyn.
Dwell: How many icons did you design for the map? How did you adapt the
standard AIGA Symbol Signs for this project?
Bierut: There are about two dozen icons on the map overall. All of them were
redrawn from scratch. We started with the symbols that Cook & Shanosky
design for the AIGA back in the ‘70s and adjusted their weights so they fit
better with the weight of the customized Helvetica font we used. With so
much information packed in such a limited area, it was important keep the
dissonance between the visual elements on the sign as low as possible.
We created some new icons and modified others, for instance changing a
generic “gift shop” icon to a shopping bag with Milton Glaser’s familiar I Love
New York logo on it. We also did a bike icon that reflects the unique frame
(and bag holder) on the official CitiBike used in the city’s bike share program.
Dwell: How did Universal Design factor into WalkNYC?
Bierut: We did a lot of readability tests when we were picking the type sizes
and color combinations [the color palette is shown in this slide] to make sure
the information was as legible as possible. And I feel strongly that one of the
best things about the signs are that you don’t need a smart phone to access
them: they’re right there on the street, as democratic as can be.
13
 1 2

“One of the many goals of the

system is to encourage people to
walk more. It’s healthier, it’s better
for the environment, and it’s good
for business. ”

3
Dwell: How have smartphones changed the ways people navigate cities? Did 1. The kiosks designed
that impact the WalkNYC program? by Billings Jackson
echo the forms of the
Bierut: Smartphones, GPS systems, and digital technology in general prob- city’s architecture.
ably had the most dramatic impact on the WalkNYC program.
2. Landmarks are layered
Modern GPS has created the expectation that the top of the map you’re into other information
looking it is the direction you’re facing. Our team’s wayfinding specialists at on the map.
CityID did tons of research showing that people found this kind of “heads up”
mapping easier to read. At the same time, the cartographers we work with 3. The signs are designed
at T-Kartor created a digital system where the data can be rotated into any to guide users to
position and the type and icons all rotate with the map. public transit and
major landmarks.
This seems like a simple thing but it’s really a miracle. When we did the down-
town system in the late nineties, we basically had a single overall map with
north at the top and we stuck that everywhere and we thought we were doing
fine. The mapping systems in WalkNYC are so much more advanced.

Dwell: In addition to spatial distances, you’ve also depicted walking times. Is

that standard practice?

Bierut: One of the many goals of the system is to encourage people to walk
more. It’s healthier, it’s better for the environment, and it’s good for business.
Using walking times isn’t standard, but I think it shows people, particularly
New Yorkers, that sometimes destinations are closer than they think they
are. Walking can be faster than a bus or subway, or — especially in New York
traffic — a taxi or a car.

14 15
 MIT Media Lab
BRAND IDENTITY & ENVIRONMENTAL GRAPHICS

2014

Pentagram has designed a new visual identity for MIT Media Lab, the inno-
vative, interdisciplinary research laboratory at MIT. The design began with
designer Richard The’s 25th anniversary logo for the Media Lab, which
was based on a seven-by-seven grid. Using that same grid, the Pentagram
team generated a simple ‘ML’ monogram to serve as the logo for the Media
Lab. Using the same underlying grid, the designers extended that identity
to each of the 23 research groups that lie at the heart of the Lab’s activity.

16
16 17
 1 2
1. MIT Press Logo,
designed by Muriel
Cooper, 1962.
2. New logo for the MIT
Media Lab, designed
by Pentagram, 2014.
3. Richard The and E. Roon
Kang’s 25th anniversary
logo and visual identity
for the Media Lab.
4. Using the same
underlying grid, the
designers extended
that identity to each of The MIT Media Lab moves fast. From
the 23 research groups shapeshifting displays to technology
that lie at the heart of that could 3-D print Eames chairs and
the Lab’s activity. self-lacing McFlys, the Media Lab rein-
vents the way we think about the future
every single day. Now the Media Lab
is reinventing its visual identity with
the help of Pentagram partner Michael
Bierut. The new logo is an abstract set
of pixel-art hieroglyphics that marry
two distinctly different eras in MIT’s
rich graphic design history.
Three years ago, MIT Media Lab cele-
brated its 25th birthday by unveiling its
first ever logo: a colorful and dynamic
identity designed by Brooklyn-based
designers E. Roon Kang and Richard
The. In keeping with the Lab’s spirit
of invention, it had a custom algorithm
that coughed out over 40,000 permuta-
tions of the logo, enough to provide the
Media Lab with unique business card
designs for the next 40 years.
But the logo’s randomness ended up
working against the Media Lab. “They
were always getting calls, asking to
provide their logo, and they just didn’t
have a fixed one,” Bierut says. And it
had another issue, too. The Media
18
“Even though we were asked to
come up with something more
fixed, the theme of variability still
seemed meaningful to me.”
3
Lab isn’t really a single entity. It’s an
umbrella. It spreads itself over 23 very
different departments, from Macro
Connections to the Tangible Media
Group, each trying to forge the future
in its own different way. And MIT holds
the handle. The 25th-anniversary logo
was a beautiful reflection of the Media
Lab as a colorful, spinning umbrella, but
it didn’t reflect the unique identities of
the individual departments it sheltered,
nor did it reflect MIT as a whole.
For the redesign, Bierut was tasked
4
with creating a more static identity
that reflected every aspect of the Media
Lab. “We were looking for a graphic
identity that would allow us to express
multiple groups in the lab,” MIT Media
Lab co-founder Nicholas Negroponte
tells me. “Something that reflected this
hierarchy where MIT was the parent,
and the Media Lab itself was a subsidi-
ary, but still had these other groups with
their own unique identities under them.”
Bierut started by ripping out everything
but the fixings: the underlying 7×7-unit
grid which the 25th-anniversary logo
used to algorithmically generate its
designs. “Even though we were asked
19
 1 2
1. Physical application
of the new logo.
2. Physical application
of the new logo.
3. Icons for the
visual identity
4. Helvetica, so central to
MIT’s communications
when the Media Lab
was new, has been
reinstated to support
the overall system.
5. Incorporation of the to come up with something more fixed,
new visual system the theme of variability still seemed
into print materials. meaningful to me,” Bierut tells me. “It’s
an acknowledgement that the Media
6. The underlying Lab is not fixed in time or purpose, but
7×7-unit grid which the can accommodate so many different
25th-anniversary logo ideas and directions in terms of what
used to algorithmically passes through it.”
generate its designs.
Using this grid as a base, Bierut looked
to MIT’s graphic design history for
inspiration. Both Bierut and Negroponte
were particularly drawn to the MIT
Press logo. A masterful visual identity
designed for the university’s publishing
arm by Muriel Cooper in 1962, the MIT
Press logo is a straightforward repre-
sentation of the organization’s name,
but can also be decoded as a series of
book spines, computer digits, and more.
“There was something about Cooper’s
logo for MIT Press that contained much
of the simplicity and irreducibility that
had eluded the Media Lab in its quest
for an identity over the years,” Bierut
says. And since Cooper was also a
moving spirit of the Media Lab in its
earliest days, coming up with a logo that
reflected her influence seemed fitting.
20
3
4 5
What Bierut ended up with for the
finished identity was essentially a type-
face, masquerading as a logo. Using the
same 7×7 unit grid that figured in the
25th-anniversary logo, Bierut calcu-
lated all the possible ways a maximum
of three different letters could fit into 49
pixels, yet still be readable. The Media
Lab itself has its own logo, denoted
by a low-res “ML,” where as Media
Lab departments each have their own
sibling identities, represented by their
initials. A plus? It’s a design that still
looks pretty good on a tote.
“The best compliment I can give the
6
new identity is that it’s almost as
good as the MIT Press logo, which is
a masterpiece,” Negroponte told me.
So it’s almost a masterpiece? “Well,
to be almost as good as the MIT Press
logo is to be extraordinarily good,” he
laughs. “And anyway, I don’t want to
declare any living person to be the next
Michelangelo. But Bierut’s every bit the
designer that Cooper was.”
21
 Mastercard
THE REBRANDING PROCESS

2016

The iconic red and yellow intersecting circles of Mastercard are one of
the world’s most recognized brands. Today the company launches an
evolution of its brand identity featuring a new mark that highlights the
connectivity and seamlessness of Mastercard and its payment systems.
Designed by Pentagram, the identity brings simplicity and clarity with an
increased emphasis on the interlocking circles, and is optimized for use in
digital contexts, an increasingly important part of Mastercard’s business.

22
22 23
 1 2
1. The new mark.
2. The new mark on
dark background.
3. The evolution of
the brand mark
over the years.
4. Color palette.
5. The colors were
carefully calibrated
to appear bright
and glowing against
different backgrounds.
The Pentagram team collaborated
6. FF Mark, the typeface closely with Mastercard leadership on
of the identity. the project, including Raja Rajamannar,
Chief Marketing and Communications
Officer. The goal was to convey simplic-
ity and modernity, while preserving
the company’s heritage and enormous
brand equity. Digital technology is
a growing segment of Mastercard’s
business, and it needed an identity
that would help position the brand as
a forward-thinking, people-centered
technology company. The new mark is
designed to work seamlessly across all
digital platforms, retail channels and
connected devices.
The new logo represents both
Mastercard the company and the full
suite of Mastercard products and
services, creating a single brand
system for the entire organization as
well as its existing and future prod-
ucts. This replaces a 2006 version
of the logo that was meant to distin-
guish Mastercard corporate from the
consumer-facing image. The new brand
mark will be used across every touch-
point of the Mastercard brand, from the
cards carried by consumers, to signage
at Mastercard headquarters, to the digi-
tal payment system on smartphones.
24
3
4 5
To create the new symbol, the design-
ers isolated the brand’s elements to
their purest form. From the very begin-
ning, in 1968, Mastercard’s brand mark
has relied on extraordinarily simple
elements: two interlocking circles in
red and yellow. The overlapping forms
effortlessly express the idea of connec-
tion, while the basic circular shapes
suggest inclusiveness and accessibil-
ity, key to Mastercard’s brand message
of “priceless possibilities.” The new
brand mark preserves and builds on this
iconic foundation, providing a crisper
look that has flexible configurations
more suited for digital applications.
6
To date, over 2.3 billion cards around
the world have been issued with an
existing Mastercard brand mark, and
millions of merchants display the
Mastercard acceptance mark. The
simplicity of the new mark allows it
to co-exist with these older iterations
as the various brand expressions are
updated and implemented, starting
with Masterpass, the digital payment
service, which will introduce the new
identity this month. In global market
research for the mark, Mastercard
found that an astonishing 81 percent of
consumers spontaneously recognized
25

“The entire identity is built using
the core elements found in the
logo: geometry and color.”
the new symbol without the inclusion of
the Mastercard brand name.
The entire identity is built using the
core elements found in the logo: geom-
etry and color. A new set of graphic
tools have been developed to help
Mastercard communicate effectively
and concisely in all media. The tools
consist of a distinctive color palette,
a new typographic system, and pure
graphic shapes with parameters
that enable the creation of an infinite
series of varied yet connected graphic
patterns. In addition, custom icon sets,
illustrations and photographic styles
have been established to create a
consistent visual system to express a
wide range of messages.
One of the subtle changes was to
lowercase the “c” in the wordmark,
as a visual cue to de-emphasize how
the brand is no longer just a card in
consumers’ wallets, and will continue
to give way to other forms of payment
in the digital world. The lowercase
typography is in line with the simple
and modern approach, and allows for a
consistent treatment in names of prod-
ucts such as Masterpass.
26
1
1. Credit cards.
2. Priceless Cities
on mobile.
2
The wordmark is set in the contem-
porary sans serif FF Mark. During its
research, the team looked back to a
version of the logo used in 1979, which
featured typography with a circular
structure. The new typography plays
on the perfectly circular forms of the
mark, with rounded letterforms that
each contain a portion of the circle
(even “m” and “t”).
Getting the three colors in the mark
right was a challenge for the designers,
requiring hundreds of tests to find the
perfect hues that would work success-
fully in every conceivable context. The
logo needed to work on white back- they created a darker color. The new The complete color palette is built from
grounds, black backgrounds, and symbol uses an additive mix — the colors scales surrounding the red and yellow
different values in between. This meant now produce a brighter orange. This of the logo. The use of warm greys, both
that the colors had to be carefully cali- projects an overall effect that is lighter dark and light, as the base for all compo-
brated, so they would stand out and not and fresher, giving the symbol a subtle sitions ensures neutrality. Orange is the
disappear, and have sufficient contrast glow and a bolder, more optimistic feel. new primary color, a perfect midpoint
from the orange in between. between red and yellow.
In applications, the graphic elements
In the final mark, the color of the over- complement the typography and are
lap is both lighter than the red and built parametically around mathe-
darker than the yellow, suggesting that matical principles found in the mark.
the two circles are translucent, rather Coupled with the power of comput-
than solid, giving the brand a feeling of ing, the parametric design generates
transparency. The original Mastercard infinite arrangements, each different
logo used a subtractive color mix: when from the next, though all part of the
the red and yellow circles overlapped, same visual system.
27

1957 1975 1970s
• born in Cleveland, Ohio • studied graphic design
at the University of
Cincinnati’s College of
Design, Architecture,
Art and Planning
• internship under
Chris Pullman
1999 1996
• 1999 Beaux Arts Ball • United Airlines
Poster design Brand Identity, Interiors
(Light Years) & Architecture,
Client: the Architectural Environmental Graphics
League of New York Client: United Airlines
2000 2007
• The L!brary Initiative • The New York
Brand Identity, Times Building
Environmental Graphics Environmental Graphics
Client: (Robin Hood Client: The New
Foundation) York Times
2014 2013
• MIT Media Lab • WalkNYC
Brand Identity, Environmental Graphics
Environmental Graphics Client: The New York
Client: Massachusetts City Department of
Institute of Technology Transportation
28
Timeline & Recap.
1980 1980s
• graduated summa • worked for the Vignelli
cum laude from Associates in New York
the University of • became vice presi- MICHAEL BIERUT
Cincinnati’s College of dent of the Vignelli
Design, Architecture, Associates
Art and Planning ACHIEVEMENTS PUBLICATIONS
1988 – 1990 • president of the New 1994 – 2007 • five-volume series
York Chapter of the Looking Closer: Critical
American Institute of Writings on Graphic
Graphic Arts (AIGA) Design, Allworth Press
• president emeritus 2007 • 79 Short Essays on
1995 1990 of AIGA National Design, Princeton
• Brooklyn Academy • joined Pentagram 1989 • elected to the Alliance Architectural Press
of Music Graphique Internationale 2015 • How to use graphic
Brand Identity 2003 • elected to the Art design to sell things,
Client: Brooklyn Directors Club explain things, make
Academy of Hall of Fame things look better, make
Music (BAM) 2006 • awarded the AIGA Medal people laugh, make
2008 • winner of Cooper- people cry and (every
Hewitt National Design once in a while) change
Awards, in the Design the world, Harper Collins
Mind category 2017 • Now You See It and
2016 • the Henry Wolf Other Essays on
2008 Resident in Graphic Design, Princeton
• Saks Fifth Avenue • Bobby’s Burgers Palace Design at the American Architectural Press
Brand Identity, Brand Identity Academy in Rome
Packaging Client: Bobby’s TEACHING POSITIONS
Client: Saks Burger Palace • senior critic in graphic
Fifth Avenue design at the Yale
• interviewed in the School of Art
Helvetica documentary • lecturer in the practice
of design and manage-
ment at the Yale School
of Management
2012 2010 2016
• Mohawk • New York University • Mastercard • volunteered in Hillary
Brand Identity Abu Dhabi Brand Identity Clinton’s communica-
Client: Mohawk Brand Identity Client: Mastercard tions team for the 2016
Paper Mills Client: New York • Playwrights Horizons presidential campaign
University Brand Identity
Client: Playwrights
Horizons
29
 COLOPHON

The editor/designer would like to thank Bree Galbraith­—instructor of

COMD-315-SU01-2018 Production Technologies—and members of the
class for the technical support and helpful critiques in the process of
designing this monograph.

Editor & Designer: Triet Pham

email: phamminhtriet1111@gmail.com
trietpham.com

Text source:
Introduction:
https://www.pentagram.com/about/michael-bierut
WalkNYC, How New York City developed its wayfinding signage
https://www.dwell.com/collection/how-new-york-city-developed-its-wayfind-
ing-signage-812a8ae3#7
MIT Media Lab
https://www.fastcodesign.com/3037339/pentagrams-michael-bierut-rebrands-
the-mit-media-lab
https://www.onlygraphicdesign.com/2017/10/13/mit-media-lab-visual-identity
Mastercard
https://www.pentagram.com/work/mastercard/story

Image source:
commons.wikimedia.org/wiki
designapplause.com/design/concept-design/mit-media-lab-identity
designerd.info/archive
designweek.co.uk/issues/15-21-january-2018
dwell.com/collection
ted.com/talks
thegreatdiscontent.com/interview/michael-bierut
pentagram.com/work

Typeface:
Sequel Sans
Designers: Oliver Jeschke
Design date: 2017
Publisher: OGJ Type Design

Printed with Copies Plus, June 2018.

30
“And anyway, I don’t want to declare any
living person to be the next Michelangelo.
But Bierut’s every bit the designer that
[Muriel] Cooper was.” — NICHOLAS NEGROPONTE

“Not everything is design. But

design is about everything. So
do yourself a favor: be ready
for anything.” — MICHAEL BIERUT