And the "Worst Logo of theYear" award goes to RAGTIME — Page 3

Where is this production going to play? Soho?

Have the graphic designers not seen the show? Do they not know what the show is about??


ETA: Unless it's just a placeholder, it's official, as it's on the telecharge group sales page.

Updated On: 8/7/09 at 12:53 PM

I would have designed the logo to look like a piece of vintage ragtime sheet music.

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I don't mind the logo having a slightly modern look, as it is meant to appeal to a contemporary audience. Still, the typeface is reminiscent of the turn of the century, with it's embossed ink look. All the colors of the rainbow are not represented, but actually different shades of red and blue, which makes it distinctly American. The fact that it is different shades of the American colors is representative of the melting pot of cultures which the show depicts the collision of. The image of Coalhouse is distinctly Christ-like, which is appropriate, because of the martyr-like role he plays in the story. He is sacrificed in the name of the noble cause of racial and ethnic harmony.

I think the logo actually says a lot about the show and is infinitely more interesting than Tiffany glass or ragtime sheet music.

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I like it.

It's not good but not as bad as that for the London production:



What is this musical about: ?
What period is it set in: ?
Where does it take place: ?

Updated On: 8/7/09 at 04:36 PM

All the colors of the rainbow are not represented, but actually different shades of red and blue, which makes it distinctly American.

If you look closely, all the colors are there. Yellow, orange, green an purple are not actually shades of red and blue. They are secondary colors that involve either one or both of the primary colors, but they are not shades of primary colors. And the use of the rainbow as a symbol of the American "melting pot" is as cliched as it is horribly out of touch and more connected with the gay liberation movement than American racial heterogeny. The block lettering I guess is supposed to be old typeface lettering, but the stylized use of color and graduated fonts are too modernized and ultimately weaken the suggestion of anything of the period. There is nothing about it that is evocative of anything uniquely American or turn-of-the-century.

The image of Coalhouse is distinctly Christ-like, which is appropriate, because of the martyr-like role he plays in the story. He is sacrificed in the name of the noble cause of racial and ethnic harmony.

The Christ-like depiction of Coalhouse is trite and, if intended, terribly misguided (much like Coalhouse was for most of the second act). Jesus was not a terrorist and didn't threaten to blow up or harm his oppressors in a vengeful rage. And I guess that's supposed to be a piano? It's really hard to tell and quite generic. Other than the fact that it appears to have what might be a black man and what could be the top of an upright piano (or part of a window, or a chalkboard, or virtually any partially rectangular object), that design is about as specific to the show as a photo of Bristol Palin's box of unused maxi-pads.

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Resized!

Sorry - I overlooked your link Lizzie.

Updated On: 8/7/09 at 04:42 PM

That's better. When you look at the programme cover for the London production you can tell that Ragtime is clearly set in the 1970s:

Updated On: 8/7/09 at 05:05 PM

This is what the London Ragtime logo reminds me of:

Updated On: 8/7/09 at 05:27 PM