Neighborhood
Ballet
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Rebecca Harman
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“TOGETHER WE FLY”
For us, it’s a metaphor for how we like to work. Part skill, part improvisation. Always paying attention. In the work. It doesn’t just look good, it feels good. We’ve always got a record on in the studio.
Not smooth jazz. Old jazz. Timeless jazz. For us, it’s a metaphor for how we like to work. Part skill, part improvisation. Always paying attention. In the work. It doesn’t just look good, it feels good.
For us, it’s a metaphor for how we like to work. Part skill, part improvisation. Always paying attention. In the work. It doesn’t just look good, it feels good. We’ve always got a record on in the studio. Not smooth jazz. Old jazz. Timeless jazz. For us, it’s a metaphor for how we like to work. Part skill, part improvisation. Always paying attention. In the work. It doesn’t just look good, it feels good.
"DISCOVERING DANCE"
Neighborhood Ballet is an Atlanta-based dance studio that gives students of all ages a place to discover, inspire, and develop a love for dancing. After opening in Grant Park in 2017, the studio had since grown to four neighborhood locations around the city of Atlanta. Neighborhood Ballet needed a brand update that would represent their vision and growth. We worked closely with founder, Rebecca Harman, to align the identity more closely with the quality of the brand experience.
For us, it’s a metaphor for how we like to work. Part skill, part improvisation. Always paying attention. In the work. It doesn’t just look good, it feels good. We’ve always got a record on in the studio. Not smooth jazz. Old jazz. Timeless jazz.
– Louis Armstrong
One subtle but meaningful shift was to move away from “The Neighborhood Ballet” to “Neighborhood Ballet” as a way to bring some singularity to the name and avoid use of the “TNB” acronym. We also addressed some practical issues with the previous identity in terms of legibility and color.
For us, it’s a metaphor for how we like to work. Part skill, part improvisation. Always paying attention. In the work. It doesn’t just look good, it feels good. We’ve always got a record on in the studio. Not smooth jazz. Old jazz. Timeless jazz.
– Louis Armstrong
One subtle but meaningful shift was to move away from “The Neighborhood Ballet” to “Neighborhood Ballet” as a way to bring some singularity to the name and avoid use of the “TNB” acronym. We also addressed some practical issues with the previous identity in terms of legibility and color.
For us, it’s a metaphor for how we like to work. Part skill, part improvisation. Always paying attention. In the work. It doesn’t just look good, it feels good. We’ve always got a record on in the studio. Not smooth jazz. Old jazz. Timeless jazz.
– Louis Armstrong
One subtle but meaningful shift was to move away from “The Neighborhood Ballet” to “Neighborhood Ballet” as a way to bring some singularity to the name and avoid use of the “TNB” acronym. We also addressed some practical issues with the previous identity in terms of legibility and color.
For us, it’s a metaphor for how we like to work. Part skill, part improvisation. Always paying attention. In the work. It doesn’t just look good, it feels good. We’ve always got a record on in the studio. Not smooth jazz. Old jazz. Timeless jazz.
– Louis Armstrong
The new brandmark uses playfully hand-drawn linework that wraps itself into an abstract N-shape, with the name gathered around. It can also be read as a thumbprint – communicating the idea of the individuality of each dancer. The organic line in the symbol extends throughout the system, creating texture, patterns, and forms, that evoke the movement of dance.
For us, it’s a metaphor for how we like to work. Part skill, part improvisation. Always paying attention. In the work. It doesn’t just look good, it feels good. We’ve always got a record on in the studio. Not smooth jazz. Old jazz. Timeless jazz.
– Louis Armstrong
One subtle but meaningful shift was to move away from “The Neighborhood Ballet” to “Neighborhood Ballet” as a way to bring some singularity to the name and avoid use of the “TNB” acronym. We also addressed some practical issues with the previous identity in terms of legibility and color.
For us, it’s a metaphor for how we like to work. Part skill, part improvisation. Always paying attention. In the work. It doesn’t just look good, it feels good. We’ve always got a record on in the studio. Not smooth jazz. Old jazz. Timeless jazz.
– Louis Armstrong
The new brandmark uses playfully hand-drawn linework that wraps itself into an abstract N-shape, with the name gathered around. It can also be read as a thumbprint – communicating the idea of the individuality of each dancer. The organic line in the symbol extends throughout the system, creating texture, patterns, and forms, that evoke the movement of dance.
For us, it’s a metaphor for how we like to work. Part skill, part improvisation. Always paying attention. In the work. It doesn’t just look good, it feels good. We’ve always got a record on in the studio. Not smooth jazz. Old jazz. Timeless jazz.
– Louis Armstrong
One subtle but meaningful shift was to move away from “The Neighborhood Ballet” to “Neighborhood Ballet” as a way to bring some singularity to the name and avoid use of the “TNB” acronym. We also addressed some practical issues with the previous identity in terms of legibility and color.
For us, it’s a metaphor for how we like to work. Part skill, part improvisation. Always paying attention. In the work. It doesn’t just look good, it feels good. We’ve always got a record on in the studio. Not smooth jazz. Old jazz. Timeless jazz.
– Louis Armstrong
The new brandmark uses playfully hand-drawn linework that wraps itself into an abstract N-shape, with the name gathered around. It can also be read as a thumbprint – communicating the idea of the individuality of each dancer. The organic line in the symbol extends throughout the system, creating texture, patterns, and forms, that evoke the movement of dance.
For us, it’s a metaphor for how we like to work. Part skill, part improvisation. Always paying attention. In the work. It doesn’t just look good, it feels good. We’ve always got a record on in the studio. Not smooth jazz. Old jazz. Timeless jazz.
– Louis Armstrong
One subtle but meaningful shift was to move away from “The Neighborhood Ballet” to “Neighborhood Ballet” as a way to bring some singularity to the name and avoid use of the “TNB” acronym. We also addressed some practical issues with the previous identity in terms of legibility and color.
For us, it’s a metaphor for how we like to work. Part skill, part improvisation. Always paying attention. In the work. It doesn’t just look good, it feels good. We’ve always got a record on in the studio. Not smooth jazz. Old jazz. Timeless jazz.
– Louis Armstrong
The new brandmark uses playfully hand-drawn linework that wraps itself into an abstract N-shape, with the name gathered around. It can also be read as a thumbprint – communicating the idea of the individuality of each dancer. The organic line in the symbol extends throughout the system, creating texture, patterns, and forms, that evoke the movement of dance.
For us, it’s a metaphor for how we like to work. Part skill, part improvisation. Always paying attention. In the work. It doesn’t just look good, it feels good. We’ve always got a record on in the studio. Not smooth jazz. Old jazz. Timeless jazz.
– Louis Armstrong