Ontario Provincial Logo

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13 comments — Leave a Comment

1. Todd Falkowsky   April 14th 2006

   M,

   The designer is Cynth’s dad. Norman B Hathaway Associates – Corporate Communications. Not sure of the date.

   T

2. admin   April 14th 2006

   Thanks T.

3. cynth   April 16th 2006

   will find out date… and much more. He’s a gold mine and will have lots more to submit! Smarties, Jell-O, Quench, Black Magic, Maybelline, Aero Bar, Coffee Crisp, GM, the list goes on. Will interview him for the site too.

   this site is fantastic… finally… good going!!! Bravo

4. optimus   May 6th 2006

   Wouldya believe that the McGuinty government actually issued an RFP to look for a replacement for this perfect piece of graphic design? I kid you not…

   The details are here.

5. Darryl   July 14th 2006

   Yeah, unbelievable. Have you seen the new logo? They spent $219,000 on THIS

6. jennifer   October 3rd 2006

   Wow, that new logo is absolutely god-awful. Why would they do that?

7. Unknown   January 2nd 2007

   What font is used in this logo?

8. Gary Ludwig   January 14th 2007

   This is a later one than the Hathaway version. This was done by me in 1994 at Spencer Francey Peters (now Cundari SFP). The branding manual was published in October of that year.

   The typeface is redrawn from a Frutiger body. Custom details were added to better complement the design of the Trillium device and make the overall design more proprietary and easier to manage.

   The Hathaway version itself was an update of an earlier version designed by Wolfgang Letzin and Stan Libera, and the actual details of the design program on the Hathaway version were done by Ernst Barenscher. The identity manual for that one is dated June 20, 1972.

   I think the Letzin-Libera version was from 1964, but I’m going from memory on that one.

9. Paul Hodgson   January 14th 2007

   Here’s a bit more background on the Ontario Provincial logo shown here. It was actually designed by Gary Ludwig while he was working at Spencer Francey Peters. Indeed, this version uses the original trillium that Ernst Barenscher designed while working with Norman Hathaway. However, Gary created the customized “Ontario” logotype and provided guidelines for identity system. Gary’s logotype was based on a Frutiger body with details shaped to complement the trillium and make the type more proprietary. Interestingly, the Barenscher/Hathaway version of the trillium itself was an update of the original one designed by Wolfgang Letzin and Stan Libera (they also designed the ParticipAction logo (which you can see in the centre of the trillium).

10. Norman B. Hathaway   January 28th 2007

    The original Trillium Symbol and Logotype was designed at Hathaway Templeton at the request of the Robarts government. This was designed by Norman B. Hathaway and Wolfgang Letzin, while Letzin was an employee of Hathaway Templeton.

    The updated version was done by Norman B. Hathaway Associates at the request of the Davis government in 1972 to to bring it into a more purely graphic form. Ernst Barenscher, under the direction of Norman Hathaway, developed the revised version. A complete corporate identity manual that specified how the Symbol should be used was presented to the government, which was unfortunately, not strictly adhered to over the years.

    Since I have not lived in Toronto for the past 17 years, I have no idea what has been done to the Symbol and Logo during that time. I question the statement by one Paul Hodgson, that Gary Ludwig designed the logo while working at Spencer Francey Peters. As I recall, over the years many designers have tried to lay claim to the Trillium Symbol, but I can definitely say that the only people actually involved in the design of this symbol were Norman B. Hathaway, Wolfgang Letzin and Ernst Barenscher. Stan Libera had nothing whatsoever to do with the creation fo the logo. His role was to work on the finished art of the original symbol. Gary Ludwig had nothing to do with developing the guidelines for the original identity system.

    It is interesting to note that the original and revised Symbols (inclusive) were done for less than $ 10,000 (ten thousand dollars)!

    I have maintained a complete file on the development of the original and revised Symbol, so I believe I can speak authoratatively on this issue.

11. Gary Ludwig   May 10th 2010

    This is all very old news now – particularly as the province has moved to the hot tub symbol; but just for the record (seeing as how it was brought to my attention, and this is intended to be a sort of definitive resource):

    – No, I didn’t design the Trillium mark, and I don’t think anyone said I did. I created the evolved Ontario signature. It was comprised of a minor rebalancing of the Trillium graphic elements and a new, customized Ontario logotype. Keen eyes will show that it isn’t the original Helvetica.

    – No, I had nothing to do with the original guidelines, and again I don’t think anyone said I did. They were a fine document; but were superseded by the guidelines and branding policies I created to control the application of the new signature and system. The whole program of graphic expression evolved and changed to meet different needs in a different time; therefore the graphic and policy guidelines had to evolve and change to reflect that new reality.

    So, what is shown at the top of this page is not whatever revised version Mr. Hathaway is referring to that was undertaken by his office. Paul’s comments in regard to my work are correct; but thanks to him for clarifying some of the other details regarding the provenance of the original design.

    I do think though, as to the dollar amount, it hardly seems fair to quote a number from decades ago as illustrative of anything without applying some calculation to make it relevant to the current times. Inflation alone would have made that figure more like $60,000 at the time of Mr. Hathaway’s post. So, $219,000 for the logo that replaced the one above does sound like a lot of money, but (my opinions of the quality of the design itself aside) these fees are never just for a logo design. It only makes sense to comment on the cost if you’re fully aware of the extent of the engagement.

12. Glenn Fretz   July 30th 2011

    I came across this discussion while recently looking to renew my contact with Ernst Barenscher. It’s interesting how time has shaped some of the events surrounding the development of the Ontario Trillium Symbol. Hopefully, I can add some new information from my own experience.

    In December 1969, I started work as a graphic designer at Norman B. Hathaway Associates in Toronto. During my time at NBHA, I worked on design projects for companies like Gillette, Rowntree, Welch’s, Ford and General Foods. In 1971, Ernst Barenscher was invited to join the NBHA team to become the design director of a project commissioned by the newly-elected Davis provincial government. The project was to bring the existing provincial symbol into “a more purely graphic form”. It was in this context and under the direction of Ernst Barenscher and Norm Hathaway, that I was given the responsibility for the redesign of the Trillium Symbol (1972 version) for the Province of Ontario.

    Ernst was the team leader and took on the task of designing a simplified rendition of the Provincial Coat of Arms (still in use today). Gundi Barenscher also worked as a consultant on the project. I was asked to work on the symbol. With respect to Norm Hathaway’s account, I don’t remember Wolfgang Letzin being a part of our process. He may have consulted with Norm, but I don’t recall ever meeting him.

    I am the person who developed a geometric rationale for the trillium shape and the super-ellipse — a mid-point between a circle and a square — that contained it. I also worked with the Barenschers on the design of the Helvetica Medium upper and lower case logotype (Ontario) and a rationale to control the type size, spacing and position of Ministry names in relation to the Trillium symbol and logotype.

    I created the finished art for the symbol (not sure who Stan Libera is/was). I constructed the trillium from six overlapping circles in 60-degree increments to create a pinwheel. The alternating negative and positive shapes at the centre were identical in shape. The leaves were simple geometric projections from the pinwheel core. I recall that getting the radii to intersect seamlessly during the construction of the super-ellipse was a daunting task — particularly with ruling pen and compass on a 2-foot square piece of illustration board. I also recall the process of resolving an effect created by the tips of the upper two petals of the trillium and their proximity to the ellipse. An optical illusion made the shape look distorted — squeezed in at the top. By carefully manipulating the position of the trillium within the ellipse, the effect was minimized. Upon reviewing my work, Barenscher declared that it was a “perfect solution”.

    The Barenschers subsequently designed the identity manual (published on June 20, 1972). It contained detailed sections on Symbology (symbol and coat-of-arms), Typography and Stationery applications. Other sections on Publications, Vehicles, Signage and Advertising were included but limited in content by today’s standards.

    I recall that the project budget was $10,000 and believe it covered the symbol/coat-of-arms design, guidelines, applications and identity manual. As Ludwig suggests, the cost is relative — but it seemed like a lot of money at the time.

    I feel I was given an extraordinary opportunity to contribute to a truly iconic image — one that has been seen around the world and lasted for over 35 years. Today, I still acknowledge, with gratitude, the confidence Norm Hathaway and Ernst Barenscher put in me as a 23-year-old designer just out of art college. For the record, I met with the Barenschers in May, 2010 and verified this account with them.

13. Richard Eppstadt   May 20th 2014

    I had the privilege of having Ernst as an instructor at the Ontario Collage of Art and Design.
    I was studying graphic design at the time. It was his Swiss German methodical structure and analysis that I apply to every project. He also taught me how to write a proposal and charge for my work. Basic business not generally taught in Art School. My first job was with Alan Fleming and Burton Kramer working on CN and Reed Paper. My second job was an 8 year stint in the environmental department at Don Wall + Associates.
    There was a lot of great talent and inspiration around at that time.