Pentagram

Accueil
France
Mauvezin
Pentagram

Pentagram is the world’s largest independent design consultancy.
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The firm is owned and run by 21 partners, a group of friends who are all leaders in their individual fields. We design architecture and interiors, books, branding and identities, digital installations, exhibitions, films, products, posters, and websites from offices in London, New York, San Francisco, Berlin and Austin.

16/10/2026

Pentagram Partner presents ‘All Our Blood’, a new large-scale installation at the inaugural Kyoto YouMe Triennale.
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An eleven minute film that follows one drop of Harry’s blood falling into water, the sequence is accompanied by twenty-one minutes of music created by Peter Gabriel.
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It’s extraordinary how blood can emulate an atomic cloud. The former, the essence of life, the latter the possibility of its annihilation.
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The piece was filmed by Richard Foster with whom Harry has collaborated with for over forty years.
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The film has been running for the last ten days in the landmark Jushin Kaikan building – a Buddhist centre from the 1930s, in Kyoto’s Shimogyo-ku district.
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Harry is also one of the Founding Partners of the Kyōto YouMe Triennale, helping to shape the event from its earliest stages, including the development of its manifesto and visual identity.
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“This is my blood. Blood is vital to us all. What is done to one, in the end is done to all. We are all infinitely interconnected”
Harry Pearce
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“Every fruit has its juice. We have blood – and that blood never stops flowing. And in that blood lies our past, our present and the doorway to our future”
Peter Gabriel
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Harry would like to thank Isao Kitabayashi, Hiroyuki Anzai, at Liberty London and Alessandro Biamonti for inviting him to show the film, as well as the support of Kyoto’s Agency for Cultural Affairs, Kyoto Prefecture, Kyoto City.
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Special thanks to Peter Gabriel and Richard Foster for all they brought to the project.
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Also a thank you to for all the help and the ‘sound’ advice.
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Partner:
Harry Pearce
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Project team:
Johannes Grimmond Johannes Grimmond
Joshua Doorbar
Jane Kemp
Tiffany Fenner
Natsumi Wada
Kahoru Inoue
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Collaborators:
Richard Foster Richard Foster
Wren Agency WREN.AGENCY
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Peter Gabriel

15/10/2026

Marina Willer and team have created a new identity for the BFI’s London Film Festival, celebrating the creativity, craft and joy of cinematic experience.
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Now in its 70th edition, the festival brings together filmmakers and audiences from around the world. The new identity balances its long history with its ambition to remain at the forefront of contemporary cinema.
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At the heart of the campaign is an exploration of the processes involved in filmmaking, particularly the use of light, projection and film. The Pentagram team created the LFF letterforms using specially made acrylic letterforms and cardboard cut-outs, passing coloured light through them onto a dark surface. The resulting images were filmed and photographed, capturing the changing qualities of light, colour and shadow.
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The new logo takes inspiration from the illuminated National Film Theatre signage on the BFI Southbank building, originally designed by architect Norman Engleback in 1957. It’s joined by Grilli Type Foundry’s typeface Haptik, and a refreshed colour palette combining light blue with the festival’s familiar deep purple and warm pink.
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Musician and film composer Maxwell Sterling, who previously collaborated with Pentagram on ’s sonic ident, was commissioned to create the accompanying ident sound.
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The result is a distinctive, joyful and inviting identity that looks to the future while celebrating the traditions of filmmaking and the magic of cinema as a shared experience.
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Partner:
Marina Willer
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Project team:
Marina Willer Marina Willer
Marta Gaspar Marta Gaspar
Thomas Chan Thomas Chan
Hamlet Auyeung Hijklm Nopqrst
Martin Grigorov Martin 𓀫
Cam Evans .evans
Emily Ueike Emily Ueike
Fenella Rogers Fenella Rogers
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Photography: Mel Duarte
Music: Maxwell Sterling Maxwell Sterling
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Images: Getty Images for BFI, and Millie Turner
Fatherland Official Trailer, directed by Paweł Pawlikowski (MUBI, 2026)
Fjord Official Trailer, directed by Cristian Mungiu (NEON, 2026)
Naomi Ackie image credit: Nisha Johny and Jonathan Jacobs

12/10/2026

MTA Arts & Design has been bringing art to New York’s transit system since 1985, through permanent station artworks, posters, and programs that put music and poetry in front of millions of riders a day. For the program’s 40th anniversary, Pentagram partner Giorgia Lupi and her team designed a commemorative identity for the yearlong celebration, alongside A Data Love Letter to the Subway, a data-driven animation commissioned for all 52 screens at Fulton Center.

The anniversary logo builds on the existing Arts & Design mark, two circles that join the MTA logo with the program’s name, adding a geometric, monolinear “40” that extends it into a single lockup. The team also introduced a bright, distinctive violet that gives the anniversary a tone of its own. In digital applications, the violet shifts into a subtle gradient toward a brighter lavender.

The campaign line, “Art Everywhere for Everyone,” sums up the program’s mission: art that lives throughout the system, free and open to every rider. The identity is built on a two-beat rhythm of call and response, from the paired circles to the “4” and “0” to “Everywhere” and “Everyone.” In motion, the line unfolds in two parts, and the logo animates in as the closing beat, its “40” writing on in a single stroke as the zero closes around “Since 1985.” This simple answering gesture, both celebratory and grounding, affirms Arts & Design’s longstanding promise to place and people.

Check out the full case study at the link in our bio!

Project Team: Giorgia Lupi Ed Ryan Ryan Yan liz ryan 🛸

09/10/2026

We’re happy to share that “Dear Data” by Giorgia Lupi and Stefanie Posavec is featured in “Full Disclosure: The Edge of Information Design,” MoMA The Museum of Modern Art’s first exhibition devoted entirely to information design, on view thru June 13, 2027.

“Dear Data” was a yearlong data drawing collaboration originally created in 2014-2015 by Giorgia Lupi (prior to joining Pentagram) and the London-based information designer Stefanie Posavec. Each week, for a year, the designers sent each other a transatlantic postcard with analog, hand-drawn data describing what had happened during the week. Over the duration of the self-initiated project, the pair became good friends, using data as their primary source of communication.

Twelve of the postcards are featured in the new exhibition, selected from the complete set, which is in the permanent collection of MoMA. The project is documented in the book “Dear Data,” published by PA Press.

“Full Disclosure” brings together 30 works of digital and analog information design that invite close observation and critical examination, exploring how designers visualize information and shape our understanding of an increasingly complex world. Other designers represented in the show include Pentagram alum Lisa Strausfeld, Ed Hawkins, Ben Fry, Nicholas Felton, Kate Crawford and Vladan Joler, among others.

“Full Disclosure” is organized by Paola Antonelli, Senior Curator, Department of Architecture and Design, and Director, Research and Development, Jules Bernstein, Curatorial Assistant, Department of Architecture and Design, and Forrest Pelsue, 2025–26 Marron Research Consortium (MRC) Fellow.

Image 2: Installation view of the exhibition “Full Disclosure: The Edge of Information Design,” September 27, 2026 - June 13, 2027. The Museum of Modern Art, New York. Digital Image © 2026 The Museum of Modern Art, New York. Photo by Robert Gerhardt.

Image 4: Giorgia Lupi and Stefanie Posavec, Dear Data: Week 14 (Abstract Productivity / A Week of Schedules). 2015. The Museum of Modern Art, New York. Committee on Architecture and Design Funds.

Image 5: Photo by Alycia Kravitz.

08/10/2026

On September 28, Storefront for Art and Architecture held its annual benefit at the Grand Central Oyster Bar, honoring the artist Mel Chin, the arts leader Deana Haggag and the architecture firm SOLID OBJECTIVES IDENBURG LIU. Natasha Jen and team designed the identity for the event, which supported Storefront’s exhibitions and public programs.

Anyone who has eaten oysters under those Guastavino vaults knows the sign. Rudolph de Harak’s logo for the restaurant packs its letters tight, rims them in heavy black outlines, and fills them with colors straight out of a crayon box. Against the wood paneling and old tile, it has always looked like the one guest in the room who came to have fun.

Pentagram started with a simple question: what would the rest of that alphabet look like? The answer is a custom display typeface with a full set of letters and numerals. Strokes are broad, corners are clipped, and counters are angular. The O is an octagon with a diamond punched through its middle, and that shape sets the rules for every other character. Blue, green, yellow, orange, red, and purple take turns filling the forms.

The playful, custom typeface becomes the central image of the identity. “Storefront Gala 2026” appears in compact stacks and stepped arrangements, with rotated numerals adding an unexpected twist. Letters meet along their black outlines, forming continuous compositions that feel assembled from colorful building blocks. Smaller sans serif typography organizes the event information around these expressive forms.

The system runs across digital announcements, posters, a folded program, screen graphics and embroidered caps. Some pieces set the colored letters on white. Others flood the ground with a single saturated color and let the type push back.

Pentagram has collaborated with Storefront since 2012, designing identities for its benefits, exhibitions and publications.

Check out the full case study via the link in our bio!

Project team: Natasha Jen, Jin Chun, Emma Wang

08/10/2026

Design Doha is the largest platform for design in the Arab region. For its 2026 edition, Pentagram Partner Samar Maakaroun and team have designed a new identity centred on the idea of connection at every level.
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The brand functions as a flexible typographic system designed to express relationships between people, languages and disciplines with a bilingual structure that gives equal presence to Arabic and English. The two scripts are treated with parity, united in a shared typographic composition rather than as separate elements, reinforcing the Biennial’s role as a bridge between different cultures.
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Key to the design are the extended strokes of the letterforms, which act as connectors between elements of the identity. They behave like lines mapping a network or constellation, linking individual points into a larger system. The result is a dynamic, variable and ever-changing brand, echoing the Biennial’s role as a platform where ideas circulate and relationships form.
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The colour palette balances materiality with energy. Travertine-inspired beige and deep maroon evoke the region’s architectural and geological context, while vivid orange introduces brightness and optimism. Design Doha blue continues from the previous identity, ensuring continuity as the Biennial evolves.
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The team also developed a distinct expression for ‘Arab Design Now’, the headline exhibition. The same bilingual typographic system is retained, while the letterforms become heavier and more graphic, allowing the exhibition to stand out while remaining part of the same family.
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Design Doha Biennial opens on 5 November 2026, find out more about the identity via the link in our bio.
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Partner
Samar Maakaroun
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Team:
Samar Maakaroun
JACOB CHUNG

Giulia Saporito
Caroline Fay Fright
Jonathan Nielsen
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Collaborators:
Design Doha Marketing Team
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07/10/2026

Now open at the Design Museum in London, ‘Es Devlin: Other Worlds’ is the first European retrospective of the artist and designer’s 30-year practice. A self-described ‘everythingist’ – a term borrowed from artist Natalia Goncharova that neatly captures the breadth of her multidisciplinary practice – Devlin has worked across theatre, sculpture, installation, architecture and live performance. The exhibition brings together artworks, installations and film alongside the largest solo presentation of her archive to date.

Pentagram Partner Marina Willer and team created the exhibition’s marketing, film and graphic design, working closely with Es Devlin to develop a visual language based on the idea of entering her ‘other worlds’.

‘Thresholds’ are a recurrent theme throughout the exhibition, and these became central to the identity, representing an entry into Devlin’s imagination. The colour palette draws on colours she frequently uses in her work, with the distinctive red taken from the cover of her monograph, ‘An Atlas of Es Devlin’.

The typography is deliberately pared back, allowing Devlin’s work to take centre stage. Es Allianz (which coincidentally shares her name) is a contemporary adaptation of Helvetica, which is Devlin’s favourite typeface. Used in all caps (as it is in her book), it helps connect the exhibition and all its supporting communications.

The animations and film also emphasise the feeling of crossing a threshold, inviting audiences into the extraordinary worlds Devlin has created over the past three decades.

See more via the link in our bio!

Partner:
Marina Willer

Project team:
Marina Willer Marina Willer
Hamlet Auyeung Hijklm Nopqrst
Cam Evans .evans
Martin Grigorov Martin 𓀫
Thomas Chan Thomas Chan
Emily Ueike Emily Ueike
Fenella Rogers

06/10/2026

Following our recent post introducing the Kyōto YouMe Triennale, we take a closer look at the identity created by Pentagram partner and his team for the inaugural event.
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The identity grew out of the Triennale’s manifesto and a collection of hand-drawn cards sent to Harry by artists and craftspeople in Kyoto, sharing their thoughts on what the new event could represent.
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The starting point for the symbol – an interlocking three-part form inspired by traditional Japanese timber joints – came to Harry in a dream. It became the foundation of the logo, representing the coming together of art, craft and design. Appropriately, YouMe means ‘dream’ in Japanese.
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Harry and Associate Partner Johannes Grimmond developed the symbol as a flexible system that can be solid or empty, filled with images, textures and lines, embossed onto surfaces or printed onto fabric. Its different forms also incorporate the Godai (五大), the five elements of Japanese philosophy: earth, water, fire, wind and void.
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Paired with a monospaced wordmark, the identity extends across the exhibition graphics, wayfinding and catalogue for the main Triennale exhibition at Shōsei-en Garden. Here, it moves between two and three dimensions, from hanging panels featuring words from the manifesto to a supersized plywood version of the symbol and sculptural forms installed throughout the gardens.
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The Kyoto YouMe Triennale opens on 9 October and runs until 18 October 2026.
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Find out more about the project via the link in our bio.
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Partner:
Harry Pearce
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Project team:
Johannes Grimmond

Daren Howells
Amanda Aspeborg

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Special thanks to founders Hiroyuki Anzai, Isao Kitabayashi, Alessandro Biamonti and , and to the Agency for Cultural Affairs, Kyoto Prefecture, Kyoto City

01/10/2026

Introducing The New York Edition, a collection of The New York Times merchandise designed by Matt Willey and team. Shop the full collection The New York Times Store. Link in bio.

Thank you to Deb Bishop (Deb Bishop), Design Director, Books and Commerce at The New York Times.

Project team:
Matt Willey
Malithi Gunawardena
nickmarabella
Lian Huiting
jonny sikov
bellemandjes

📸:
Bobby Doherty (bobby doherty)
Jens Mortensen (Jens Mortensen)

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