I read the article Identity crisis at BA by David Bernstein (DW 30 July) with amazement due to the irony it projected. BA’s new visual identity obviously signals a strategic shift in its positioning. Undoubtedly, this is spurred on by the changes in the air travel industry where alliances are constantly being redefined to achieve a better global network. This aggressive pioneering move by BA to establish itself as a global leader is commendable. Interbrand Newell and Sorrell’s visual system to communicate this pursuit is innovative and challenges the traditions of corporate identity. To a beholder who is numbed by the obligatory national flag on the tailfins, an ethnic design could be too much of a visual leap. Perhaps this balance is too advanced for such viewers. However, if you really examine the new designs, the tailfins are a secondary element, supporting the primary logotype with the “swoosh” ribbon in the red and blue of the national colours applied consistently in other areas. Let’s be serious, a livery design does not an identity make. Derek Zee London SW15
Discussed at this year’s Design Indaba conference, Brck is a Kenya-based start-up that gives school kids in rural areas access to the internet and new learning materials. We speak to
The revamped Great Hall’s permanent exhibition space is part of the museum’s redevelopment masterplan, which is set to be completed by 2025.
A new book celebrating the visual history of British wrestling is soon to be published if it hits its crowdfunding target – freelance illustrator Ben Tallon reflects on how the