34th Street and East Midtown Partnerships

Pr*tty

Anchored by the Empire State Building, this district uses an art deco motif in their identity that makes perfect sense. Bonus points for also making it reminiscent of the city grid.

Sh*tty

Here the city grid is so abstracted it might as well not be there at all. Sure, East Midtown is one of the most generic, benign parts of the city, but that’s hardly an excuse for going with an entirely ambiguous concept, and then executing it in less than stellar fashion.

Wednesday Waffler: Intersecting O's

This one is a real conundrum. I really see no good reason to intersect O’s. On the other hand, if Bloomies and Bergdorf are doing it, there must be something to it, right? Of course, they’re not exactly in good company when you see the Moonstruck identity. But then again, it’s safe to say Moonstruck is effed up for a boat load of other reasons.

I just don’t know. Pr*tty or Sh*tty?

Toasties East and Lenny's

Pr*tty

Everything about this is pretty great. The dark brown and lime green combo. The slanted type that’s breaking off the edges of the sign. And Sackers is a good looking typeface. The only fault I might find is that the word East is set in a different font for no apparent reason, but since it’s the awesome Zapata I’ll forgive it.

Sh*tty

I like Lenny’s sandwiches, but what the eff is up with the Tekton. If I were a little more type-sensitive this would be equivalent to finding a pine tree air freshener in place of the lettuce on my turkey on whole wheat.

And really, if you’re going to use Tekton, at least keep it consistent... their website shows at least three different variations of the logotype. That said, I do like their little Lenny guy.

Lenny’s image from here.

Vintage Design: Pr*tty, yet Sh*tty, yet Pr*tty again.

I’m taking a slight deviation from the regular format today to examine a trend which I’ve been seeing more and more of: “vintage” design.

I’m not sure what spawned it, but it would appear a tidal wave of nostalgia has crashed into not only designers, but the general public as well. My knee-jerk reaction is to suspect the breakout success of the TV show Mad Men for a return to the marketing of old, but it’s fairly safe to say the creators of that show are simply caught up in the wave, too. Instead, one need only look at the current political, economic, and spiritual mayhem that surrounds us to see how its collective seismic impact could result in this nostalgia tsunami. The notion of returning to a simpler, happier time is compelling indeed, but largely misguided.

And “compelling yet misguided” is a fairly apt way of describing much of the design work that is being produced in the name of nostalgia. Aesthetically speaking, the work has plenty of charm, and benefits by looking different enough to stand out amongst its peers. However, it seems much of it isn’t truly vintage at all. Mind you, I’m hardly a design historian, nor am I old enough to personally remember anything predating the mid 70s, but most of the work simply appears to utilize a vintage “feel” rather than actual vintage graphics. They even go the extra mile of adding a distressed appearance, or, worse, labeling it with the word “vintage” just in case you couldn’t figure it out. Even when it is an accurate reproduction, they muck it up with an anachronistic t-shirt promotion or something.

So... so what? Big deal, right? Truly, why shouldn’t designers and marketers take advantage of the trend? I get it, I do. And like most people, I enjoy seeing the work. But the more I thought about it, the more I realized what I really like about it isn’t its retro-charm.

What I like is an apparent byproduct of designers striving for that vintage look. Be they disingenuous or spot-on, designers’ attempts at an older aesthetic are attributable to the use of techniques and standards they should have been using by default: clean but evocative typography, simple iconic graphics, and a limited palette of beautiful colors. Those are the commendable aspects in the current trend. Those are the lessons we as designers should be learning, and re-learning.

And if anything comes out of riding this nostalgia wave, I hope it is a lingering... no, a nagging desire to continue to use those lessons in everything we design. That way, when the next tsunami comes, we can stand and let it wash over us instead of sweeping us away.

Thanks to P*S* readers Kyle Gilkeson and Steve Juras, respectively, for the Raisin Bran and Mr. Goodbar images.

Separated at Birth: Bosco

Pr*tty

Humble and handsome. This is the type of guy who one day saves a kid from drowning, and only then does the world realize what an incredible and charming person he is. And yet he remains grounded throughout the media frenzy and unexpected fame. I am so joining his Facebook fan page.

Sh*tty

Let’s see... Hobo, Brush Script, and Comic Sans. All lorded over by a “zany” logo. It might not surprise you to learn that shortly after I took this picture, this truck ran over a large box of puppies. Twice.

Times Square Alliance and Grand Central Partnership

It seems like you can’t walk more than a few blocks in Manhattan without stepping into a different business district whose identity is slapped up on garbage cans, newspaper boxes, and sanitation worker uniforms (among other things).

Pr*tty

The electric T holds its own in the visual onslaught that is Times Square.

Sh*tty

A meaningless intersecting squares icon, paired with badly typeset Futura Black (upper and lower case tightly kerned, over all upper case loosely kerned?). You have to wonder if anyone involved in this design paid any attention to the fact that this district sits in the shadow of one of the most iconic buildings in the city. A clear case of irrationally fearing the obvious.

Wednesday Waffler: Starbucks ads

I don’t drink coffee, so the Starbucks brand is of little interest to me. Which means I’m also indifferent to most of their design work. I do, however, like the way this campaign looks.

But I also have issues with the copy writing here. I get it. They made some missteps, and they're trying to own up to it. But I don’t see how acknowledging you might get a bad cup of coffee, and might not get a comfortable seat helps their cause. Why not simply say, “You’ll get to enjoy a good cup of coffee while sitting in a comfy seat,” and then deliver on that claim?

Pr*tty or Sh*tty?

135 East 42nd Street and 347 Fifth Avenue

Pr*tty

Nothing less than what you’d expect at the Chrysler Building. Mmmmmm, deco.

Sh*tty

Apparently dirty hippies can own high-end real estate, too.

Separated at Birth: Gray's Papaya and Papaya Dog

Pr*tty

There was once a time when people felt it was important to dress up whenever they traveled via airplane, and some people have instilled that sort of old school class in their progeny.

Sh*tty

Then there are those people that show up to the airport in sweat pants with “Juicy” written across the ass. And Uggs.

In this scenario, the sweat pants are Jungle Fever, and the Uggs are our old friend Brush Script.

Mandee and Nygård

I don’t know much about either of these brands. They both seem to be dealing in reasonably priced clothing that appears targeted toward tacky young people and tacky old people, respectively.

Pr*tty

This thing needs some maintenance, but here is a rare instance of a sign actually making a logo look better. The more consistent stroke weight of the letters is way nicer. Is this an older version of the logo, does anyone know? Maybe the sign maker took it upon himself to improve it... it could happen!

Sh*tty

First off, I f*cking hate this logo. It’s just ugly in every possible way. Even the “proper” version of the Mandee logo is better than this. But they’ve added insult to injury by making it into an even uglier sign. A few more LEDs per square inch might be in order, unless they’re going for that Atari 2600 look.

Also, their website gave me a rash. On my eyes. Long story short, they’re batting a thousand.

Yoplait and ChapStick commercials

Pr*tty

The Yoplait logo is total cr*p, but this commercial is really quite good. The music is quirky and charming, the colors are vibrant, the different peel effects are well done, and the tie-in to peeling the lid off brings it all together.

Sh*tty

This commercial uses a sort of similar device, but holy hell is it awful. It is clearly flawed in concept and execution. If my lips are supposed to be wearing the product, why am I watching the product put clothes on? Why the wavy typography? And dear god, who the f*ck holds their ChapStick like that when they put it on?

Wednesday Waffler: Gym Source

I’m fully prepared to denounce the orange and blue rectangle and the uninspired, lower-case Helvetica italic, but I actually kind of like the -G—S- mark. It has just enough typographic wit to be interesting, and the curve in the bar gives it a degree of palpable weight that shows there’s some thought at work here.

A bit of spit and polish, and this logo could really be something. Then again, I could be mistaken.

Pr*tty or Sh*tty?

Separated at birth: Twisters

Pr*tty

Sure, it’s a little silly, and the logotype is typeset on this curve in a less than stellar way, but the Jamba Juice identity is well suited to their product. That technicolor twister is pretty delicious and juicy looking. Just imagine its proud parents.

Sh*tty

Unfortunately this twister went to live with some wishy-washy parents, who failed to shape it into the menacing bad*ss it was supposed to be. Unless I’m confused and flaccid tornadoes qualify as severe weather in Memphis.

Hess and Sunoco

Pr*tty

I am absolutely, shamelessly in love with the Hess logo. I can’t explain why, I just am. And while this particular station has seen cleaner days, I also love the understated simplicity of its design. And you have to respect that this brand feels totally, peacefully at home in that simplicity. Did I mention I love it?

Sh*tty

I’m fairly indifferent to the Sunoco logo. But the fact that their branding has more to do with their connection to Nascar than it does to communicating anything about their business confuses the heck out of me. Really? Nascar? Ok, fine. But do the graphics have to look like sh*t?

New York State Lottery redux

Pr*tty

There’s a whole series of these cute animal ads, but I think this kitty is my favorite. Continued kudos to these Sweet Million ads. So unexpected.

Sh*tty

This is trying to accomplish the same thing, but I’m sorry. Looks like a million bucks? People, nothing about Zapfino looks like a million bucks.

Children's Museums: Brooklyn and Manhattan

Pr*tty

An appropriate design, well-targeted at its audience. Are there other ways to solve the aesthetics of this? Sure. But that doesn’t make this wrong. Far from it, I think.

Sh*tty

Where would you rather take your kid(s)? If you had to think about your answer, take your kid(s) to the movies instead, and buy them lots of popcorn and candy... they deserve it.

Wednesday Waffler: Beaver Builders

This, for me, is like one one those things that’s so ugly it’s cute. Keep in mind I’m only looking at the hand-drawn name and the beaver. All the type around that is just too all over the place to appreciate.

Still, I can’t be sure, Pr*tty or Sh*tty?

Image submitted by friend and P*S* reader Joe Marianek. A dam fine fellow.

ACES Train and Mohegan Sun websites

Pr*tty

I suspect the classiest thing about Atlantic City is the train service that goes there. Would love to know who’s doing this work. (Full website here.)

Sh*tty

Why must people reward businesses who subject us to sh*t like this? I could almost sustain this blog using only designs from Mohegan Sun. (Full website here.)

Bonus Sh*tty

For those of you who enjoyed their Superfreak commercial...

Feelin' the love

I’m taking a break from regularly scheduled programming today to share with you instead a phone call I received yesterday. It was from someone I didn’t know, who identified himself as Mike. It turns out I had disparaged a design used by Mike’s business, and he requested that I remove it from the site.

I have obliged Mike in his request, and will not make mention of what specific post it was, but I must admit I only do so reluctantly and only because our conversation was cordial and respectful. It is not because I fear any legal action (there is none to take) or other form of retribution.

But this incident did bring up some interesting points which prompted today’s post. Firstly, let me be clear here. This site is not in the business of criticizing the services and/or products of the organizations whose designs are featured. There are forums for that sort of criticism, but mine is focused solely on the design put forth by those organizations.

That brings me to my second point. I critique the designs—the image and essence of these organizations—that is broadcast for public consumption. These are not internal documents or postings from company bulletin boards. They are out there, communicating to the public for better or worse.

Mike asked me to remove my critique of his graphics because he felt it painted his services in an equally sh*tty light. But what he failed to understand was that his image was already doing that on its own. He might be the best in the business, but the graphics he is using fail to communicate that. And to be frank, they contribute to the epidemic of visual pollution with which we’re bombarded daily.

I expect Mike will stop by Pr*tty Sh*tty again to see if the post featuring his business was removed. To him I say, welcome back. I hope you read this. I hope you take it to heart. My smart ass aside, this blog is a labor of love—tough love, perhaps—and I hope you’re feelin’ it.