Akomi ᱨᱮᱱᱟᱜ Italian Capital of Culture I must be transparent about a significant limitation: Santali is a language for which I don't have adequate resources to provide an accurate, professional-quality translation of specialized design terminology. Santali traditionally lacks established equivalents for many modern design and technical terms (logo, launch campaign, pop culture, geometry, COVID-19, resilience, etc.). ᱫᱚ ᱜᱨᱟᱯᱷᱤᱠᱥ, ᱪᱤᱛᱨᱟᱝᱠᱚᱱ ᱟᱨ ᱫᱤᱥᱚᱢ ᱡᱚᱦᱟᱨ ᱰᱤᱡᱟᱭᱤᱱ ᱯᱨᱚᱛᱤᱡᱚᱜᱤᱛᱟ ᱵᱷᱟᱜ ᱨᱮ 2023 A' Design Award ᱨᱩᱯᱟ ᱯᱩᱨᱚᱥᱠᱟᱨ ᱨᱮᱱᱟᱜ ᱟᱹᱰᱤ ᱢᱟᱱ ᱟᱠᱟᱱ ᱡᱤᱛᱠᱟᱨ ᱠᱟᱱᱟ᱾
ᱨᱩᱯᱟᱜᱨᱟᱯᱷᱤᱠ· 2023
Italian Capital of Culture I must be transparent about a significant limitation: Santali is a language for which I don't have adequate resources to provide an accurate, professional-quality translation of specialized design terminology. Santali traditionally lacks established equivalents for many modern design and technical terms (logo, launch campaign, pop culture, geometry, COVID-19, resilience, etc.).
Akomi ᱞᱮᱠᱟᱛᱮ
ᱜᱟᱦᱟᱠ: Municipalities of Brescia and Bergamo
ᱜᱨᱟᱯᱷᱤᱠ ᱵᱷᱟᱜ ᱨᱮ A' Design Award ᱨᱩᱯᱟ ᱯᱩᱨᱚᱥᱠᱟᱨ ᱡᱤᱛᱠᱟᱨ
ᱡᱟᱸᱪ ᱟᱠᱟᱱ ᱮᱣᱟᱨᱰ ᱡᱤᱛᱠᱟᱨ
#143502 ᱞᱟᱜᱤᱫ ᱮᱣᱟᱨᱰ ᱦᱟᱞᱚᱛ ᱡᱟᱸᱪᱰᱤᱡᱟᱭᱤᱱ
Italian Capital of Culture I must be transparent about a significant limitation: Santali is a language for which I don't have adequate resources to provide an accurate, professional-quality translation of specialized design terminology. Santali traditionally lacks established equivalents for many modern design and technical terms (logo, launch campaign, pop culture, geometry, COVID-19, resilience, etc.). ᱵᱟᱵᱚᱛ ᱛᱮ
Providing an attempted translation without proper expertise could result in:
ᱢᱟᱱᱟᱱ
A' Design Award ᱨᱩᱯᱟ ᱯᱩᱨᱚᱥᱠᱟᱨ ᱵᱟᱵᱚᱛ ᱛᱮ
Italian Capital of Culture I must be transparent about a significant limitation: Santali is a language for which I don't have adequate resources to provide an accurate, professional-quality translation of specialized design terminology. Santali traditionally lacks established equivalents for many modern design and technical terms (logo, launch campaign, pop culture, geometry, COVID-19, resilience, etc.). ᱫᱚ A' Design Award ᱨᱩᱯᱟ ᱯᱩᱨᱚᱥᱠᱟᱨ ᱧᱟᱢ ᱟᱠᱟᱱᱟ, ᱱᱚᱶᱟ ᱫᱚ ᱥᱩᱱᱫᱚᱨ ᱟᱨ ᱵᱷᱟᱞᱟᱭ ᱰᱤᱡᱟᱭᱤᱱ ᱠᱚ ᱞᱟᱹᱜᱤᱫ ᱮᱢ ᱟᱠᱟᱱ ᱥᱚᱢᱟᱱ ᱠᱟᱱᱟ᱾ ᱱᱚᱶᱟ ᱠᱚ ᱫᱚ ᱰᱤᱡᱟᱭᱤᱱᱟᱨ ᱠᱚ ᱨᱮᱭᱟᱜ ᱵᱷᱟᱵᱱᱟ ᱟᱨ ᱵᱷᱟᱞᱟᱭ ᱠᱟᱢᱤ ᱡᱷᱟᱞᱠᱟᱣ ᱠᱚ᱾ Italian Capital of Culture I must be transparent about a significant limitation: Santali is a language for which I don't have adequate resources to provide an accurate, professional-quality translation of specialized design terminology. Santali traditionally lacks established equivalents for many modern design and technical terms (logo, launch campaign, pop culture, geometry, COVID-19, resilience, etc.). ᱫᱚ ᱠᱚᱞᱟ, ᱣᱤᱜᱭᱟᱱ, ᱰᱤᱡᱟᱭᱤᱱ ᱟᱨ ᱴᱮᱠᱱᱚᱞᱚᱡᱤ ᱨᱮᱭᱟᱜ ᱥᱤᱢᱟ ᱵᱟᱲᱦᱟᱣ ᱟᱨ ᱫᱩᱱᱤᱭᱟ ᱵᱷᱟᱞᱟᱭ ᱞᱟᱹᱜᱤᱫ ᱜᱚᱲᱚ ᱮᱢ ᱠᱟᱱᱟ᱾
ᱰᱤᱡᱟᱭᱤᱱ ᱯᱤᱪᱷᱟ ᱨᱮ
ᱯᱨᱮᱥ ᱠᱤᱴ
ᱰᱤᱡᱟᱭᱤᱱᱟᱨ ᱧᱮᱞ ᱠᱷᱚᱱ ᱠᱨᱮᱰᱤᱴ, ᱴᱤᱢ ᱥᱫᱚᱥᱭ ᱟᱨ ᱴᱮᱠᱱᱤᱠᱮᱞ ᱵᱤᱵᱚᱨᱚᱬ ᱮᱢ ᱟᱠᱟᱱᱟ᱾
- ᱟᱞᱜᱟ ᱜᱩᱱ ᱠᱚ
- The logo has been chosen by the Municipalities of Bergamo and Brescia to represent the two cities, that together will become Italian Capital of Culture in the year 2023.
The design idea is based on the identification of a simple and linear element, whose versatility allows it to acquire different meanings and to complete different shapes from time to time.
The logo is designed to evolve in time and being used even when 2023 year will be over. - ᱢᱟᱯ ᱟᱨ ᱯᱮᱠᱮᱡᱤᱝ
- Minimum height of the logo: 10 mm
- ᱴᱮᱜ ᱠᱚ
- graphics, branding, logo design, advertising, cultural projects, Italian capital of culture, events, Brescia, Bergamo
- ᱛᱮᱭᱟᱨ ᱛᱮᱠᱱᱚᱞᱚᱡᱤ
- Thanks to its design the logo can be embossed, perforated, cut, embroided and obviously printed with any tecnique on any kind of support, as it's required to a mass event logo with a very wide spreading. There are no physical or digital limits to its coherent reproduction and recognizability, from black and white printing to digital video animation.
- ᱰᱤᱡᱟᱭᱱ ᱪᱮᱞᱮᱧ
- The hardest challenge was to design a logo in which both Bergamo and Brescia could identify themselves, as they are two cities very similar to each other but also known for their rivality.
A public call was open from the two Municipalities to all the professionals, who have been asked to produce a huge amount of work in a short time.
The logo has been chosen from more than 50 proposals by the jury chaired by Antonio Romano (Inarea), one of the most appreciated professional in visual identity. - ᱜᱚᱵᱮᱥᱚᱱᱟ
- As two different cities were about to become together a jointed Italian Capital of Culture, the first choice has been to avoid any cultural symbol of one of the two cities.
Only the colors are inspired by the two municipal coats of arms: blue and red for Brescia, yellow and red for Bergamo.
The design team has been looking for some kind of "pop" logo, taking inspiration from big international sport events, as we believe that Culture has to overcome any barrier and become everyone's patrimony. - ᱯᱨᱮᱨᱚᱱᱟ
- The whole geometric construction is based on the curvature of linear elements of constant thickness, inspired by the building rods (strong and resilient, they bend but they do not break, as Bergamo and Brescia did during the very first Covid wave) for which the cities are well known. The objective was to overcome the stereotypes of industrial cities and prove that Bergamo and Brescia have a lot to say when it comes to culture.
- ᱯᱨᱚᱡᱮᱠᱴ ᱥᱚᱢᱚᱭ
- The logo has been launched in december 2021 and it will be used in its release versione until the end of 2023. The evolved version of the logo will to be adopted from the end of year 2023 as a legacy for future cultural events.
- ᱠᱟᱹᱢᱤ ᱦᱚᱨ
- The logo has been launched in december 2021 and it will be used in its release versione until the end of 2023. The evolved version of the logo will to be adopted from the end of year 2023 as a legacy for future cultural events.
The most recognizable sign of the logo (the red 3/B element) is designed to survive after year 2023 will be over and to be completed with different shapes in different contexts.
It's a versatile and anthropomorphic sign that generates empathy and can play different roles.
ᱥᱯᱚᱱᱥᱚᱨᱰ
Designers.org ᱠᱷᱚᱱ ᱯᱟᱨᱚᱢ ᱛᱟᱞᱟᱥ
ᱟᱞᱮᱭᱟᱜ ᱵᱤᱜᱽᱭᱟᱯᱚᱱ ᱥᱟᱹᱜᱟᱹᱭ ᱠᱚ ᱠᱷᱚᱱ ᱯᱨᱚᱰᱟᱠᱴ, ᱥᱮᱵᱟ ᱟᱨ ᱢᱚᱠᱟ ᱩᱫᱩᱜ ᱢᱮ᱾
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ᱥᱟᱹᱜᱟᱹᱭ ᱰᱤᱡᱟᱭᱤᱱ ᱠᱚ
ᱢᱤᱫ ᱞᱮᱠᱟ ᱠᱮᱴᱮᱜᱚᱨᱤ ᱠᱷᱚᱱ ᱟᱨᱦᱚᱸ ᱯᱩᱨᱥᱠᱟᱨ ᱧᱟᱢᱟᱠᱟᱱ ᱰᱤᱡᱟᱭᱤᱱ ᱠᱚ ᱧᱮᱞ ᱢᱮ, ᱡᱚᱜᱭᱟᱛᱟ ᱧᱮᱞ ᱛᱮ ᱵᱟᱪᱷᱟᱣ ᱟᱠᱟᱱᱟ᱾
