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Pentagram (design firm)

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This article is about a graphic design studio. For the shape with intersecting lines, see Pentagram.

Pentagram
IndustryDesign
Founded12 June 1972 in Notting Hill, London, United Kingdom
FoundersAlan Fletcher,
Theo Crosby,
Colin Forbes,
Kenneth Grange,
Mervyn Kurlansky
ProductsDesign consultancy, graphic design, corporate identity, architecture, interiors and products
Websitepentagram.com
The former Pentagram building in Manhattan, at 204 Fifth Avenue, was designed by C.P.H. Gilbert. On top of the building at the time this image was taken (2010) is a statue by Antony Gormley, part of his Event Horizon installation on buildings around Madison Square.

Pentagram is a design firm. It was founded in 1972, by Alan Fletcher, Theo Crosby, Colin Forbes, Kenneth Grange, and Mervyn Kurlansky at Needham Road, Notting Hill, London. The company has offices in London, New York City, San Francisco, Berlin and Austin, Texas. In addition to its influential work, the firm is known for its unusual structure in the design industry,[1][2] in which a hierarchically flat group of partners own and manage the firm. It restricts ownership to only graphic designers and/or designers[3]. Each partner is responsible for their team and the clients they manage.[4]

History

[edit]

Alan Fletcher, Colin Forbes, and Bob Gill announced the opening of design studio Fletcher/Forbes/Gill on April 1, 1962. Three years later, Gill left the firm, and Fletcher and Forbes were joined by architect Theo Crosby, forming Crosby/Fletcher/Forbes in 1965.

This is Tomorrow from August 9 to September 9, 1956

[edit]
Main article: This Is Tomorrow

The inspiration behind establishing a partner-based model for Pentgram design came about when Theo Crosby created and was part of working group one at the "This is Tomorrow" exhibition hosted at the Whitechapel Art Gallery in 1956.[5] Formed by an independent group of British writers, artists and critics who would meet regularly at the Institute of Contemporary Arts.[6]As Britain had come out of the war, but with rationing still in place until 1954[6], modernism as a design movement would be seen to "...would transcend individual differences in taste" and be "envisaged as a unifying force, helping to create a fairer, socially just world, and producing timeless objects unaffected by the vagaries of fashion."[7]

Crosby attended many of the indepedent groups' meetings and was impressed by the debate and discussion around mass communication, design, art and culture. At his own request to the then director of the Whitechapel Gallery, to Bryan Robertson the exhibition would "...discuss a modern urban art drawing on advertising, comic strips, movies, science fiction - an art that was to be named Pop Art by the critic Lawrence Alloway." [8] It would bring together 38 people in 12 groups, who would produce a single piece of art.[9] The same groups would also produce six pages which would form a catalogue designed by Edward Wright, and design and print a poster to promote the show.[10] Crosby would also design the poster for the 1956 exhibition, employing red, white and black.[11]

A review by Art News and Review and now known as ArtReview said in 1956: "We must also praise without reservation the intention to extract from life, and to replunge into life, a new category of forms. That these forms will appear arbitrary to those who measure life with the yardsticks of kitchen sinks and espresso bars is only to be expected. Any attempt to rejuvenate the impact of new forms on our daily experiences is bound to be a struggle on the double front of conventional “realism” and equally conventional “modernism.” The exhibition at the Whitechapel Art Gallery tries to fight this double battle."[12]

Crosby worked in group one with graphic designers: Germano Facetti and Edward Wright, and sculptor William Turnbull, in what he referred to as his “...first experience with a loose, horizontal organization of equals. We made it a kind of practical and efficient reality at Pentagram.”

Partners over hierarchy

[edit]

The firm was successful and grew in size, and in the early 1970s, they discussed formalizing a new partnership together with one of their associate designers, Mervyn Kurlansky, and product designer Kenneth Grange.[13]

Pentagram

[edit]

In 1972, the now-five partners established a new business structure, and renamed the firm as Pentagram.[14][15][16][17] The name was inspired by the number of establishing partners, which is the same as the number of points on a pentagram.[18] In 1982, the partners moved from an office at the rear of Paddington railway station to a new space in Needham Road, in the Notting Hill area of West London. A former dairy, the space was designed by Theo Crosby and remains as Pentagram's London office.[19]

In 1978 Colin Forbes moved from London to the US to form the New York office, eventually adding graphic designers Peter Harrison and Woody Pirtle as partners. In 1990-91 Michael Bierut, Paula Scher, both graphic designers, and James Biber, an architect, joined the New York office. They eventually moved to a building at 204 Fifth Avenue, a building designed by C. P. H. Gilbert, where the office resided until 2017. The New York office is now located in a building at 250 Park Avenue.[20]

Scope and clientele

[edit]

Pentagram is best known for its work in graphic design and corporate identity, but as partners have joined and left has also worked in architecture, interiors, wayfinding and environmental design, packaging, product and industrial design and sound design. Among others, they have developed or updated identities for Citibank,[21] Sam Labs,[22] Saks Fifth Avenue,[23] United Airlines, the Big Ten Conference,[24] and The Co-operative brand.[25]

In addition to graphic design work, the firm has partners working on architectural projects such as the Harley-Davidson Museum, the Alexander McQueen shops, Citibank interiors, the Adshel and Clear Channel buildings in London, a host of private residences including the Phaidon Atlas of Architecture listed Bacon Street Residence, the new London club Matter, along with a range of other interior, retail, restaurant and exhibition projects. Pentagram was hired to redesign the American cable television programme, The Daily Show's set and on-screen graphics in 2005.[21] In 2016 Pentagram were commissioned to design the packaging for the Pink Floyd box set, The Early Years 1965–1972. The set was released in November 2016. In 2019, Pentagram were commissioned to rebrand the entirety of Warner Bros. In 2022, Pentagram were commissioned to create a new logo for season 48 of Saturday Night Live.[26]

Beyond work for commercial clients, Pentagram also works with cultural institutions and does pro bono work for non-profit organisations. On 12 February 2008 the President's Council on Service and Civic Participation awarded Pentagram the "DNA" award for incorporating pro bono services into their business culture. Recently, Pentagram has done work for the One Laptop per Child,[27] the High Line, New York's Public Theater,[28][29][30] and the National Gallery of Art.[31][32]

Partners

[edit]
Pentagram partners at an event in London in 2007. Left to right: Domenic Lippa, Lorenzo Apicella, Justus Oehler, DJ Stout, Daniel Weil, Michael Bierut, William Russell, Lisa Strausfeld and Abbott Miller

Pentagram was founded on the premise of collaborative interdisciplinary partners working together in an independently owned firm of equals, both financially and creatively. Theo Crosby claimed the structure was suggested to him by his experience of working on the seminal late-1950s exhibition This Is Tomorrow: "it was my first experience at a loose, horizontal organisation of equals. We have brought it... to a kind of practical and efficient reality at Pentagram".[33]

The firm comprises 24 partner-designers, each managing a team of designers and sharing in common overhead and staff resources. The partners in each office share incomes equally and all the partners own an equal portion of the total firm. This equality, along with the tradition of periodically inviting new members to join, renews the firm while giving even the newest members an equal footing with the partners of long standing.[34] This 'flat' organisation (there are no executive officers, CEO, CFO or board, other than the entire group of partners) along with the self-capitalised finances [35] of the business, allows equal participation and control of the group's destiny by each member.

Eddie Opara became a partner in 2010.[36] Born in London to Nigerian parents, Opara studied at the London College of Printing and Yale University.[36] He writes about the importance of his cultural background in the 'Afterword' to The Black Experience in Design.[37] His brand identity for 'Re' used innovative typographic adaptation to echo the mission of the brand[38] re―inc, the lifestyle brand co-founded by world champion US women's national soccer team members Tobin Heath, Christen Press and Megan Rapinoe and former member Meghan Klingenberg.[39]

Partners

[edit]

Partners emeriti

[edit]
  • Theo Crosby (partner from 1972–1994)
  • Alan Fletcher (partner from 1972–1991)
  • Colin Forbes (partner from 1972–1993)
  • Kenneth Grange (partner from 1972–1998)
  • Mervyn Kurlansky [70] (partner from 1972–1993)
  • John McConnell [71] (partner from 1974-2006)
  • Ron Herron (partner from 1977–1981)
  • Peter Harrison (partner from 1978–1996)
  • David Hillman [72] (partner from 1978-2007)
  • David Pelham (partner from 1981–1986)
  • Kit Hinrichs[73] (partner from 1986-2010)
  • Linda Hinrichs (partner from 1986–1991)
  • Neil Shakery (partner from 1986–1994)
  • Howard Brown (partner from 1987–1988)
  • Etan Manasse (partner from 1987–1990)
  • Woody Pirtle (partner from 1988-2005)
  • Peter Saville[74][75] (partner from 1990–1992)
  • James Biber (partner from 1991-2010)
  • Daniel Weil (partner from 1991-2020)
  • David Pocknell [76] (partner from 1991–1995)
  • Lowell Williams (partner from 1994-2007)
  • Robert Brunner[77][78] (partner from 1996-2007)
  • Lorenzo Apicella (partner from 1998-2017)
  • April Greiman (partner from 2000-2001)
  • Fernando Gutiérrez [79] (partner from 2000-2006)
  • Lisa Strausfield (partner from 2002-2011)
  • William Russell [80] (partner from 2005-2017)
  • Astrid Stavro (partner from 2018-2021)
  • Naresh Ramchandani [81] (partner from 2010-2021)
  • Sascha Lobe, London[82](partner from 2018-2024)
  • Yuri Suzuki[83](partner from 2018-2024)

    • Criticism

    [edit]

    AI Usage

    [edit]

    Background

    [edit]

    Established in 2010, the US Government Performance and Results Act (GPRA) ensures that US federal agencies, which include the Department of Defense, Housing and Urban Development Department and Labor Department provide performance goals and objectives which benefit and deliver results for the US public.[84] In 2024 the US federal government selected Pentgram as their chosen design partner with a view to create Performance.gov's website "...writing style, the use of photography, and the illustration style." The website would make US federal areas and priorities easy to understand and follow by the general public.[85][86] Pentagram also highlighted as part of their brief: "The website is run out of the Office of Management and Budget (OMB) and General Services Administration (GSA). These divisions of the government do not have an in-house art department nor the capacity to hire illustrators."[86]

    Design

    [edit]

    Pentgram partner, Paula Scher and team first design task as part of their brief was tackling detailed government reports, while accessible to the public suited experts and other US government agencies as their readership. In looking at making the editorial content readable and attractive, Shcher's team compiled a library of stock photos to be used for their top priorities alongside agency profiles. For their national strategy cards they used colour overlays to be more aesthetically appealing.[87] For their second task they employed the AI tool Midjourney to create their illustration style. In order to create a set of icons which represented the design brief, they began with paint and cut paper. This was provided as a learning input for Midjourney, which five rounds which were deemed too rough (as in showing signs of brush lines and texture). The sixth input then stuck with the colours but featured clean shapes and lines but this too was rejected for seeming too familiar. A return to the aesthetic of the first iteration was brought but this time with an amendment to their Midjourney prompt:

    "Create a pictogram of (Insert subject here), utilizing a bold and abstract style with a limited color palette of very bright red and blue, enriched with hints of green or yellow.

    The imagery should echo the style seen in the provided images, featuring stark shapes and vibrant colors for clear visual contrast. Emphasize brushstroke-like textures. Ensure all elements are isolated against a pure white background."

    The following prompt ensured 1,500 icons were created and applied across the Performance.gov website.[88]

    When it published its completed brief on 2 December 2024 followed by social media posting about it. Instagram acrued 19k likes,[89] Facebook achieved 10 likes[90] with LinkedIn achieved 310 likes.[91] With Performance.gov social media receiving little interest upon the announcement.[92] Pentagram were also met with postive press, as an interview with Designed with AI shortly followed on 6 December 2024 with the paid substack article "Pentagram leads the new era of craft".[93]

    Coverage

    [edit]

    The use of Midjourney in creating 1,500 new icons did not escape the attention of the design industry. It generated coverage in the following publications: Creative Bloq[94] American Illustration and American Photography (AI-AP) Design Arts Daily[95] Graphic Design USA[96]

    Scher defended her usage of Midjourney in an interview with Fast Company that was published on 5 December 2024. Saying:

    "My argument about this, and where the differential is, is that the definition of design in the dictionary is ‘a plan,” says Scher. “We created a plan, and it was based around the fact this would be self-sustaining, and therefore was not a job for an illustrator. If someone else wants to draw 1,500 icons every other week, they can do that.” She adds, "The whole notion of the site was to correct (government bureaucracy) by creating a site that could run all by itself."[97][94]

    Expanding on her usage of Midjourney, she said it was move to highlight their transparency but also the limitations of their design brief, telling Creative Bloq on 14 December 2024:

    What was behind the decision to use AI for the illustrations?

    Firstly, with regard to the structure of Pentagram and the way we were hired, we were not hired to use outside illustrators and photographers. This thing was a design project with a capital D, it was not an illustration project. But we were fortunate, because I had on my team a guy called Bruno Bergallo who's both a terrific illustrator and designer.

    Bruno had worked with AI before, and he knew Midjourney. These tools couldn’t do our work – they couldn’t create the right images, and Bruno didn’t want to use more than five prompts or you’d be doing it forever. So he made the paintings of our drawings, and he designed an entire style, made with paint and tape. They are originals. He is an illustrator. This was then programmed into the computer, and now we have 1500 illustrations in that style.

    We decided to be transparent and show the website to people because it solves a specific problem. Here, the problem that’s plagued government publishing is the inability to put together a program because of the interference of different people with different ideas. This solved that, which is why we published it. And our clients at OMB are very proud of it.[98]

    She went onto discuss the concern of AI usage amongst illustrators in the same interview:

    Do you think the fear of AI among illustrators is justified?

    I really think it's silly. I have been a graphic designer now for years. I started with rubber cement and exacto knives, and that was my advanced technology. Then all of a sudden there were photostat cameras you could buy and personally make your photostats. And then finally, the computer, which was the worst for illustrators because it invented something called desktop publishing, where companies just stopped buying illustration altogether and used things that already existed. And that was probably the worst version of it. There were few illustrators who pioneered and did their work on computers. And the next thing is AI.

    I mean, this is a progression of life. I like AI because I see it seeping in and being a private little helper. I guess you could say, oh, well, this is going to ruin originality, or people are going to steal, or whatever you say about it and like, I'm sorry, but I don't think anybody will be more ripped off by any kind of AI than my husband has been by other illustrators. Designers stand on each other's shoulders. Illustrators do it. You get influenced by somebody, and often that helps your work. From my point of view, AI is another tool, and how it’s used is the responsibility of the designer who is charged with delivering the project and making those kinds of decisions. I’m sorry that the illustration community feels threatened by it, but I think they'll be fine.[98]

    Expanding on her approach to design and navigating its controversies in an interview with The Great Discontent on 13 November 2013:

    Do you feel a responsibility to contribute to something bigger than yourself?

    Yes, I do. I think graphic design is an important profession because it’s part of what we put out into the world, and it’s what people see and perceive. It’s not just about doing design for the “public good.” The design community currently thinks that if you design something to help the victims of Hurricane Sandy, then that’s good, but if you design something for a bank, then that’s bad. I disagree. I think all design matters and all design deserves to be intelligent.[99]

    Debate

    [edit]

    Fast Company published a post on 17 December 2024 about Pentagram's AI usage on Instagram, inviting users to debate the subject.[100] Equally when Pentagram reshared Global Design Editor at Fast Company, Mark Wilson's post a month ago which then generated 12 comments was met with general support.[101] The design company, Red Pepper also chimed in on its website on 12 December 2024:

    If you spend any time in design communities on Instagram or reddit, you might think the only opinion you're allowed to have on artificially generated content is that it's bad. But the reality is that it can be genuinely useful when used to its strengths. Cameras and printers didn't eliminate the need for painters, computers and word processors didn't eliminate the need for typesetters, and generative AI will not eliminate the need for creative professionals.

    Unfortunately, it's really easy to skim through social media and come to a hasty conclusion that big bad Pentagram typed some words into the Midjourney tab on their browser, punched illustrators in the face, and took off early. Those sentiments won a lot of internet points. But in reality, Pentagram took the complex problem of making government performance more accessible to the public, and found a solution that can evolve with the client's needs, it just so happens to involve AI. They're not the first to do it, and they won't be the last.

    – Spencer Watson, Senior Designer[102]

    One such graphic design community, was r/GraphicDesign on Reddit which generated 188 comments discussing Pentagram design's usage.[103] The sentiment and discussion varied from its application and necessity to the visual output.

    References

    [edit]

    Bibliography

    [edit]
    • "Pentagram." The Design Encyclopedia. Ed. Mel Byars. 2nd ed. New York: Museum of Modern Art, 2004. 431.
    • "Pentagram." The Thames and Hudson Dictionary of 20th-Century Design and Designers. Ed. Guy Julier. New York: Thames and Hudson, 1999. 153.
    • Profile: Pentagram Design, by Rick Poynor and Susan Yelavich, Phaidon Press Ltd, 2004. (978-0714843773)

    Notes

    [edit]
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