It's a house tipped over?

“I was gonna vote lib dem but there was an arrow pointing to a box and I don’t even know how this happened..?”

Logos need to be distinctive, practical, simple and appropriate. Their message should immediately resonate. It should have conceptual value, be easy to reproduce on many platforms, recognisable at any reasonable size, and work in greyscale. It should be polished in execution, bold, and perpetually revealing new layers.

Ladies, gents and fellow design lovers, I give you: The Brexit Party.

A simple working of negative/positive monochrome shapes with a clear sans serif typeface, positioned centrally in black lends itself well to greyscale, re-sizing and printing on an assortment of surfaces. It looks like nothing controversial or comical (for instance, it cannot be mocked for being redacted information, or a barcode [CHuK]), has no ornate features (a rose, or linework of a lionhead [Labour, DUP]), and is difficult to misunderstand (unlike UKIPs £), yet is more inspiring than a simple ribbon [SNP]. For many of visual acuity, the LibDems with their simple linework, distinct shape and preference for a bright, positive colour palette would have given – until recently – their competition a run for their money.

“It’s a house tipped over,” Anna Soubry argued to Adam Boulton (possibly inferring chaos, shambles, or any other matter of discord). Indeed it is; it’s the House of Commons metaphorically lying on its side, as the two-party system collapses in response to Parliament's brazen exposure of the illusion of democratic choice and Theresa May’s overwhelming hubris.

Playing with subliminal messaging? Or just negative space?

The ‘huh’ moment came when people realised – much like other popular logos – that there is hidden meaning within the layered negative space of the branding. The bright arrow, pointing ahead to the future, is negative space created by a superimposed, enlarged EX on the outer edges of the logo. Ex. Like Ex-EU?

The controversial arrow (and I never thought I’d be writing that phrase – but here we are) was pointed out by many frothing over the design that it subliminally encourages people to vote for the Brexit Party[1]. Particularly unfair when given Chuk, with their trademark political acumen, failed to produce a logo in time at all.

But we must be fair; subliminal messaging can disrupt an impartial competition. Which was precisely the accusation levied at the Remain camp when their EU ballot guide arrived with Remain already ticked[2]. But I am told now, for reasons hitherto unclear, that is different.

A Question of Colour

As it happens, YouGov in the spirit of debatably useful polls, determined that blue is the UK’s favourite colour[3]. Indeed, the world seems to prefer this natural, relaxing and positive pigment. You can argue that it symbolises clarity, strength and reassurance (or depression, loneliness and abandonment, if you are a Tory), but officially speaking, for whatever reason people find most compelling – most favour blue. So it’s only natural that a successful logo adapt it – if it's appropriate for the brand.

With simple shapes, a positive message, interesting subjective depth and bright hues, this logo is so brilliantly designed it has raised the ire of even the more rational publications as Metro or Evening Standard.

And of course, we cannot conclude our analysis of an objectively well considered logo without a dishonourable mention:

I never really cared for my granny's Liquorice Allsorts anyway.

Meghan Flight is a designer and member of Artists for Brexit.