Say hello to our new logo
Corporate logos are everywhere. They are so prevalent and deceptively simple that we often don’t recognize that they are extraordinarily sophisticated little symbols that carry a disproportionate amount of communication responsibility. For good reason, logo design is an elite field of an already complex business; the brainiest of all graphic design. To quote legendary graphic designer Paul Rand:
The principal role of a logo is to identify, and simplicity is its means... Its effectiveness depends on distinctiveness, visibility, adaptability, memorability, universality, and timelessness.
That’s a tall order. It’s all about identity, and part of the process of rebuilding a museum like ours is to rebuild its identity. The logo is a key feature and becomes nearly as important as the design of the museum itself because the logo is often the first impression that people will get of it. If our sophisticated new museum has a logo that looks like it belongs on a box of breakfast cereal, we may have difficulty attracting an audience. Conversely, it is possible to have a logo that is too impressive, that promises too much. Mr. Rand speaks again:
A logo derives meaning from the quality of the thing it symbolizes, not the other way around.
In the case of our logo development, many questions needed to be answered. Does it reflect our content? Is it memorable? Is it unique? Will it work alongside the Bank of Canada logo? Does it evoke our building? Can it work in multiple sizes? Does it make me look fat? OK, that last one’s pretty low on the list, but all the demands made upon this humble little design are a bit mind-boggling.
And here it is. What do you think? Nice, eh? We like it. It’s a very flexible design and right now our graphics team is busy adapting it to a dozen different uses and formats. We believe it will serve us a long time and now we just have to make sure our new museum will be up to our logo’s standard. No problem there.
The Museum Blog
Museum Reconstruction - Part 8
By: Graham Iddon
The last few stragglers among our artifacts are ready for installation and the interactives and digital labels are bulking up with the final software and data, in them, so it’s all there, functional and looking fantastic.
The Yap Stone Returns
By: Graham Iddon
For us, its removal from the Garden Court dramatically marked the Currency Museum’s closing. The big stone’s return now performs the opposite role for the new Bank of Canada Museum—heralding its opening.
A New Ten on the Block
By: Graham Iddon
In a modern twist, Governor Stephen S. Poloz took a “selfie” while holding a C150 note before meeting up with the Honourable Ginette Petipas Taylor for the main photo op.
New Acquisitions
By: Paul S. Berry
Although never released for circulation, these two pieces were part of the first official initiative to mint coins in Canada.