3 Comments on “We ❤️ NYC”
Thank you, Raven!
Various commentators have pointed out that the I ❤️ NY campaign from 1977 was commissioned by the State of New York, while this one focuses on the city – hence the added C.
The design obviously leans heavily on Milton Glaser’s iconic mark. And while it is described by the initiators as “a 21st century version of the ’70s campaign”, We ❤️ NYC is not intended to replace it. The established brand is continued by the New York State Department of Economic Development, see iloveny.com.
According to welovenyc.nyc, the new campaign is “a public-private endeavor that intends to continue through 2024, which marks 400 years since the Dutch colonial settlement on Manhattan Island.” Initial funding is provided by the Partnership for New York City, “a nonprofit organization of business leaders.”
It doesn’t even matter if it’s not meant to replace Milton’s piece, those are the optics, man! You’re in politics, you should think about this stuff!
The typeface Glaser used, a serif typewriter typeface, seems effortless and friendly. The bold gothic type […] of the new logo is a workhorse face. When stacked, its horizontals and verticals fit nicely together. But in this context, staggered or lined up, it is too bold and too mechanical. Inviting? No! It doesn’t say “welcome,” but rather, “STOP.” This text is then inharmoniously stuck to the logo’s second element, its bulbous emoji heart, which clearly references the more delicate symbol of Glaser’s original, which uses the heart as a shorthand for love. The new version is a heavy-handed, sensationalized variation that cartoonishly beats like the actual organ on digital ads as you wait for the bus. Granted, people are accustomed to encountering emoji even in their dreams, but in this instance, I see the heart as blowing a valve. Is that any way to represent New York?
I honestly think the worst part about this is the supplementary typeface, it makes me feel uneasy.
The We ❤️ NYC campaign claims to use design elements that pay tribute to NYC grassroots, yet picked the worst thing possible for its secondary display font: New York Line, a font that encapsulates nothing but tourist gaze.
Designed in 2018, Court De Decker based his nostalgic New York Line typeface on the lettering of what today is known as Hotel New York. Around 1900, this building on Wilhelminapier in Rotterdam, the Netherlands, served as the headquarter of the transatlantic Holland America Line, and was the departure point for Dutch emigrants leaving to New York.
Nothing modern, nothing grassroots, not even designed for English in the first place. I simply wouldn’t associate New York Line with anything authentically New York because it has the city in its name. If that’s the case, they should’ve picked Comic Sans because this whole campaign is a joke.
Possibly Inter as the logo font with a modified middle E bar.