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Najbrt Studio's new logo and identity for the National Gallery in Prague
The Národní Gallery v Praze ("National Gallery in Prague"), founded in 1796, is an artistic gallery with a selection of works by Europeans from the 1200s to 30s and the biggest Czech artistic selection. The state-run gallery extends over nine different edifices - the Fair Trade Palace, which contains the Museum's contemporary arts collections, is the biggest.
In late 2017, the gallery started an invitational contest in cooperation with CZECHDESIGN, an organisation that assists customers in finding and organising such design contests. Goal of the new pictorial identities is to make the National Gallery in Prague appealing, modern and highly evocative, to raise the profile of this prominent Bohemian arts and crafts centre, to promote the interest of tourists, to raise the number of tourists visiting its collection and temporary exhibition, as well as to enhance the supporting programmes.
And the new brand's identities are built on: "National Gallery in Prague as a living and open institutional, kind and comfortable for visitors", a step away from a large, unapproachable institutional, symbolised by today's Lions logo. Designed for ten studio's, the victorious competition's visually appealing design is built on a unique logo derived from the National Gallery's role as a showcase for artistic expression.
Logo defining the background for different kinds of contents (image, text, video) within the three characters of the National Gallery in Prague shortcut creates a catchy and flexible mark. Colour and pictorial styles stay as open and lively as possible, as do the artist's approach, which is presented in the country's most important gallery facility.
Its old logo was far from inspirational or welcoming, and it was bluntly ugly and ugly with its extra spaced out, the lower case serious and the strangely rimmed "e" next to the lid (which wasn't bad). However, in his reluctance to be cool, he may have managed to communicate his long story, and the use of the Leo from the country's emblem made it clear that he is the property of the state.
This new logo corresponds to the newer gallery/museum logo in the use of a serifless and a primarly dark colour scheme, so there are no surprise that it looks as if it is. It is also not strange that it is used as a windows, since in fact it is the reason why art institutions and art institutions cry out for it.
In spite of the fulfilment of certain aspirations, there are a few beautiful things about this logo in particular, especially the deliberate position of the pad, where its upper right hand side corners snap into the inner cross bar of the "G" and its upper left hand side corners are directly above the angles of the "N".
A further thing that makes this logo stand out - what you can see better in the lower picture (especially in the third upper line banner) - is that the empty pad acts as a shape-like border that cleanly emphasizes the underlying area and does so in a less apparent way than most logo as windows textures.
Identität is then based on the more apparent Logo-as-Window pattern, so there is. Identification has a reasonable degree of versatility where the logo can be used large or small, stuffed or caressed, mad or not mad. The new logo undoubtedly looks more modern and harmonises Národní Gallery v Praze with other large arteries.
But given the logo, I can't believe that the idea is too thrilling or too bold, so I don't know if the leap to such a visual exuberance is too excessive for the public. However, this is a well-made brand with a lot of promise.