(Est. 1766) “Bristol Old Vic is the longest continuously running theatre in the UK, and celebrated its 250th anniversary in 2016. Under Artistic Director Tom Morris and Chief Executive Emma Stenning, the historic playhouse aims to inspire audiences with its own original productions, both at home and on tour, whilst nurturing the next generation of artists, whether that be through their 350-strong Young Company, their many outreach and education projects or their trailblazing artist development programme, Bristol Ferment.”
Eureka! (London, UK)
Bristol Old Vic press release
At the heart of the new identity is Bristol itself. The brand is bold and playful, dynamic and welcoming. It celebrates the connections between all facets of Bristol Old Vic’s rich new offer – theatre, education, heritage, cafe, new studio theatre, events space. But it also reflects a revitalised Bristol Old Vic, and a new exciting stage in its history. It is designed to speak to the city as a whole, to welcome not only theatre-goers, but the great Bristolian public, back to their theatre. We are honoured to play our part in creating a brand which will provide a clear and coherent voice for a theatre with unrivalled history but one which is in the spirit of Bristol itself, embracing change, unafraid to take risks, reinvent itself. A theatre with renewed confidence and reconnecting with the city and the wider Bristolian audience.
Images (opinion after)
The old logo was more or less (maybe more less than more) fine with an unexciting sans serif and a lack of tittles. The new logo has much more presence with the use of Hoefler & Co.’s Knockout or Champion — after all these years I can never tell them apart — and stacking it up for a unit that can be used bigger. Using Knockout/Champion for a theater by now feels like a cliché somehow… In this case the addition of a subtle drop shadow makes it slightly more interesting as it gives the typography some added dimension and a nice layering effect when paired with images. The applications show some playfulness in the color palette; which works as long as the logo and typography are light on dark colors — the examples of the pin and the ticket where the shadow is white completely destroy the effect. Overall, not ground-breaking in any way but pleasing enough.