Audi modernizes four-ring logo + Typographic Relaunch

Audi, which has been associated with the four interlocking rings since the formation of the original Auto Union in 1932, and synonymous with the logo since the revival of the brand in 1965, has given its long-running logo a minor update for the 21st century.

While the rings already look fairly modern with their three-dimensional texture and shadowing, Audi decided to shine them up a bit. The result is a finish that looks like polished chrome and is nearly as authentic as seeing the real thing emblazoned across the hood of a 'Bahn-stormer.'

Further embracing a more modern, simple style is the Audi name itself, which has moved down away from the rings and to the left of center. More importantly, it has shrunk and has abandoned its exaggerated, unconventional font (seen in the old logo pictured to the left) in favor of a plainer sans-serif font.

The end result is a very chic, modern take on an ageless design. Expect to see it quietly make its way onto Audi's website, signage, documents, and more worldwide as the brand continues to refresh itself during its centennial celebration

Audi’s Typographic Stylings

Audi Type replaces Audi Sans, a modified version of Univers Extended a Roman and Extended type family commissioned by MetaDesign from Paul van der Laan and Pieter van Rosmalen. Along with being part of the new logo,

Corporate typeface comparison, Audi Sans (above) and Audi Type. Image source.

The new type family can be seen in full action in the 2008 Annual Report, available as a PDF. The result is a strikingly modern and contemporary look that blends quite well with the Audi cars, slick and sophisticated. For a few more images and background, please visit FontFeed.

2008 Annual Report cover in red. Two other versions, green and gray, are also available.

2008 Annual Report sample spreads.

The new 2010 Audi A4 Allroad at the Geneva Motor Show 2009, with the new typog raphy.
If you look closely at some recent print ads from Audi you may discover a subtle typographic restyling. The automotive constructor stopped using the modifiedUnivers Extended called Audi Sans intro duced 12 years ago by MetaDesign, and switched to AudiType. MetaDesign – which is respon sible for this facelift as well – commis sioned Paul van der Laan (Type Invaders) and Pieter van Rosmalen (Caketype) to design the new corporate face for Audi. Both Paul and Pieter studied type design at the KABK (Royal Academy of Arts) in The Hague, The Nether lands.


The previous corporate typeface Audi Sans (a modified Univers Extended, top) and the new Audi Type by Paul van der Laan & Pieter van Rosmalen (bottom)

Print ad for Audi Quattro, Switzerland
Neither Audi nor their CI agency have released an official statement about the typographic relaunch yet. Without knowing their exact motivation I think I perceive the politics of baby steps. The foundation, or may we call it the “chassis”, is preserved – character width, grey value, metrics – while the bodywork was refined. And this is very elegant, away from the static towards the dynamic, the high-​quality.
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Some extra clari fi cation about the new typeface. We have been told that Audi Type was built completely from the ground up. Although its character has indeed been preserved up to a certain point, the character widths and spacing in the new typeface are actually quite different. Normal and Bold are somewhat of a darker colour, and ascenders and descenders are longer than in Univers to guarantee optimal legibility in the smaller point sizes.

One of three covers of the 2008 Annual Report

Detail of the table of contents, from the 2008 Annual Report. Audi Type currently exists in Normal, Bold, Extended Normal, and Extended Bold. Italics are under devel opment, and Greek and Cyrillic will be produced subsequently.

At Typo 2007 MetaDesign’s Carl-​Frank Westermann explained in great detail the strategy behind the Audi Sound Branding, specif i cally the acoustic endings of the commer cials. By applying minute inter fer ences in the overtones the MetaDe­signers lent a higher quality to the two seconds. This scenario seems to work perfectly well for typog raphy as well.

Paul van der Laan and Pieter van Rosmalen will launch their new venture Bold Monday in the near future. At Robothon Pieter handed me a set of very nice postcards with sneak previews of the typefaces. More details to follow, and sooner than you might expect.