The same attributes that made Wolff Olin’s 2000 design of the Tate’s identity edgy also made it difficult to work with—75 subtly different variations to choose from and no guidance on which one to select for specific uses, a custom typeface with a half dozen weights, a logo built from 3,000 separate dots that could create a disturbing moiré effect, depending on the application.
Photo from Fast Company
The design agency North was hired to redesign the museum’s identity, but decided to rework it instead, saving brand equity while improving the original design’s performance. The new design contains just 300 dots, which preserves the blur while eliminating the moiré. North’s work also allows the design to be used in patterning.
Photo from Fast Company
Learn more about Tate’s identity here.