The fine tuning, as it were, of the Reinhardt brand has lead to some revelations and some decent exploration. It started out as a crackling melody lining my brain imported from a video game set in another era. It rested heavily on the age of America in the 1930s and 40s, which was heavily influenced by France in the 1920s, and continues to allow those aesthetics to shine through the design. It was based on the quality of music and the foundation of radio, and bringing it back into the household as an object of beauty. It took turns towards the present and future but relied on classic motifs in the radio industry.
One of the things I wish I had time to explore more with the project were some of the beautiful radios I found flipping through the web and out in the field. If you live in New York and have never been to Tekserve, one of the owners there has an impressive antique radio collection, if not for its bulk then for its display. Attempting to photograph them turned out pretty unimpressive so I implore you to visit instead. Other than that, the golden glow of these radios kept me inspired and I intend to snatch some of the images for some mock contextual application of the finished logo. Hopefully these radios really get at the spirit of the brand’s ambition, to hail to a time of appreciation for the broadcast sound, while being a contemporary touchstone for quality and technology.
I was chary of continuing the “lightning-zag” effect to all the letters after I had built the six-line typography in its nude form. Not only did I underestimate how long the process would be to evolve the graphics of that typography, but I was worried that it was going to be too much flavor going on for one line of type. Nine unique letterforms, each with nine individual treatments of the lightning-zag effect—the past two weeks have been a veritable study in the development of the motif. It’s an interesting language, and I just had to see how it would look when they all stood in a line like a panorama of dancers from Soul Train, all the forms jazzing and posing instead of standing as some vestige from an antiquated era. The letters now sing and conduct and croon out a saxophone tone that makes the logo relevant and artistic. Along the way, the letterforms had to alter a bit, there was back and forth with contours, there were alterations and stress with each of the characters, and in the end I could probably sculpt this design for another two weeks. Alas, Reinhardt has been given more than its due for Monthly Brand, and I’m feeling much more happy with the end product than I was a month ago. That’s the reason I gave it the time I believed it deserved. I hope you share my enthusiasm with the end product.
You can see the finalization of the logo in all the glory I can supply it in the future at its dedicated page here.