Founded in 1951, the National Ballet of Canada has unveiled a new look created by Toronto-based Bruce Mau Design. This well-known ballet company, started by Celia Franca, is celebrated for its diverse repertory, including modern and classical works. With its orchestra and a company of seventy dancers, the National Ballet tours nationally and internationally to major cities such as Paris, London, Moscow, and New York City. In addition to performing three extended engagements at Toronto’s Four Seasons Centre for the Performing Arts each year, Hope Muir has served as its creative director since 2022.
The previous logo, while functional, lacked distinction. It was a mixed typographic composition with black and magenta serif and sans serif fonts, highlighted by a line that didn’t entirely align with the text. The two most obvious issues were the overly spaced “Ballet” and the closely spaced “NATIONAL” on the right margin, creating an unbalanced vibe that did little to showcase the company’s inventive and dynamic character.
The new logo embraces the complexity of the business name and utilizes alignment challenges to create a unique and memorable wordmark. The unusual word placement results in significant vacant space, which, though appearing as errors, adds to the design’s visually captivating and tense atmosphere. This strategy reflects that the National Ballet of Canada is an innovative and creative ballet company rather than a traditional one.
The all-lowercase layout in Displaay’s Haffer XH defies conventional wisdom for a national institution. The lowercase treatment of “national” and “Canada” makes the title appear less formal, rendering the brand more approachable and modern. Despite this unusual choice, the new logo maintains the gravitas and significance befitting a distinguished organization.
The logo is the foundation of a more comprehensive visual system incorporating design cues—like tight leading and lowercase text—into various brand communications. This method enhances specific production promotions and broader brand messaging by embedding the logo into phrases. The limited color scheme of orange, blue, and green effectively and clearly distinguishes the logo from the accompanying text.
The new identity heavily relies on custom photography, immediately integrating the color palette into the shots. This approach produces images that are true to the company’s aesthetic and evoke feelings of spookiness, surrealism, and dreaminess, strengthening the visual impact of the ads.
When used for production titles, the secondary typeface Eiko creates a striking contrast with the primary sans serif font. Eiko’s broad and thin strokes and sharp edges produce a visually arresting effect, though it might seem too stark when combined with the more casual primary typeface. This contrast, however, adds a level of dramatic refinement that complements the main logo’s informality.
In conclusion, the National Ballet of Canada’s new visual identity effectively conveys the company’s dedication to artistic innovation and excellence. The revised design system and logo represent a significant shift from conventional ballet branding, embodying the spirit of an organization that emphasizes innovation and modern relevance. The National Ballet’s striking new look sets it apart from other organizations and aligns with its mission of inspiring and engaging audiences in Canada and around the globe.
