The redesign kicks out the museum's previous logo, a monogram based on a 16th century woodcut by a collaborator of Leonardo da Vinci's, and replaces it with a bold typographic treatment that merges flare serifs together and which has provoked nothing short of outrage.
"The whole ensemble looks like a red double-decker bus that has stopped short, shoving the passengers into each other’s backs," says Justin Davidson in this Vulture article that's kicked off a Twitterstorm of designer fury, with respected designers including Miles Newlyn and Adrian Shaughnessy stepping up to voice their disapproval.
It's not all incandescent designer rage, though. In a considered Facebook post, Wesley Stuckey notes that the shared stems and serifs of the letter forms are a basic design principle, but goes on to say: "The part that really irks me is the over emphasized 'THE' atop MET. This irritation includes the obscene amount of leading between the lines of type. If you are going to have a -100 kerning, you should balance that with -100 leading. Also, 'THE' should be at least half of the 'MET' in size relationship."
Bearing this in mind, he's quickly come up with his own treatment.
Other designers have been similarly thoughtful and pragmatic:
And at Wolff Olins, they're far from troubled by the reaction. "We think it’s great that people are talking about the work," a spokesperson told The Independent. "At Wolff Olins we always aim to create work that people feel strongly about."
How do you feel about it? Let us know in the comments.
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