A groundbreaking new exhibition at Fredericton's Beaverbrook Art Gallery is highlighting the crucial role that modern graphic design played in shaping New Brunswick's visual identity and history. The comprehensive showcase, titled "Pursuing the New: A Modern Graphic Design History of New Brunswick," chronicles the evolution of provincial logos, corporate identities, and organizational branding from the late 1930s through the early 1990s.
Curator Tanya Duffy, who also serves as creative director at The Details Design and Branding, was inspired to launch this ambitious project approximately six years ago after rediscovering the distinctive 1965 logo for NB Tel, the former New Brunswick Telephone Company. The logo, featuring a simple circle with two intersecting electronic arrows, represented one of the region's first major corporate rebranding initiatives and became a defining symbol of modern design excellence in Atlantic Canada.
"It was so distinguished," Duffy explained, emphasizing how the elegant simplicity of the design marked a revolutionary departure from traditional corporate imagery of the era. "NB Tel made this pivot to something that was so simple. They needed something that people would instantly recognize. They needed something that would go on vehicles, and you could see from a distance, in the snow." The practical considerations behind the design were equally important, as Duffy noted: "It was a safety precaution for them, that you would be able to mark vehicles and mark uniforms and have people immediately know what that was and what it stood for."
The NB Tel rebrand proved to be an overwhelming success with the public, and the iconic electronic arrows endured as a symbol of reliability and modernity through the 1990s. The design received a contemporary update during that decade before finally being retired in 1999 following the company's merger with Aliant. "It's such an example of epic modern graphic design, at a time when you didn't usually see stuff like that," Duffy observed, highlighting how rare and innovative such sophisticated design work was during that period.
Beyond NB Tel, the exhibition comprehensively documents the evolution of Crown corporations as they worked to establish distinct individual identities during the transformative decades of the 1960s and 1970s. This movement included the creation of memorable visual identities for NB Liquor, which was founded in 1976, and NB Power, which was transitioning away from its previous incarnation as the New Brunswick Power Corporation. Remarkably, NB Power's distinctive orange circular arrows continue to serve as the utility company's official symbol today, demonstrating the enduring power of effective design.
The exhibition also celebrates the longevity of certain designs, particularly the Fredericton-based Sansom Equipment logo, which was first introduced in 1965. "Sansom still uses it, in its original form," Duffy noted with admiration. "It may be the oldest logo in New Brunswick that is still in use," making it a testament to timeless design principles that have weathered decades of changing aesthetic trends.
Visitors to the exhibition will encounter numerous designs likely to evoke powerful feelings of nostalgia, including a carefully curated collection of iconic Theatre New Brunswick posters from the 1970s. These striking theatrical advertisements were designed in-house by TNB designer Lea Learning and represent a golden age of local creative talent. The show also features the memorable NB 200 moniker from 1984, which commemorated the province's bicentennial celebration, alongside nostalgic tributes to former companies that once defined the local business landscape, including Hatfield Potato Chips, which was owned by the family of former Premier Richard Hatfield.
The intersection of politics and visual communication forms a fascinating focus of the exhibition, spanning from the sleek but short-lived logo of the former Le Parti Acadien to the strategic messaging campaigns of the Equal Opportunity initiatives during the 1960s under Premier Louis Robichaud's progressive administration. "EO was stamped on government envelopes. They created brochures that went out in the mail, there were ads in the paper," Duffy explained, describing the comprehensive nature of the campaign. "It may be the first time we branded public policy," she added, recognizing the pioneering nature of applying modern marketing techniques to government initiatives.
A significant portion of the exhibition traces the fascinating evolution of New Brunswick's official government logo—the distinctive galley ship design—which emerged from the province's official coat of arms. Prior to a major branding initiative in the late 1980s, the government's visual identity lacked consistency and coherence. "There was no consistent guideline for our branding," Duffy explained, referring to the government's scattered approach before the unification effort. "Each department sort of used whatever logo they wanted. They were trying to pull it all together and create one consistent set of tools."
The late 1980s government rebranding process itself became the subject of considerable controversy and public debate. An early design proposal created by a prestigious New York advertising agency relied heavily on the Canadian maple leaf symbol, giving it what Duffy described as "a bit more national looking" appearance. However, this external proposal was ultimately rejected in favor of an in-house design created by local communications teams, which retained the traditional boat imagery that had become synonymous with the province. "It got rejected in the end, and it was redesigned in house by the communications teams here, still using the boat. It was a bit of a controversy at the time. The headline was the NB ship beats the New York agency," Duffy recounted, highlighting the pride and determination of local designers to maintain the province's unique visual heritage.
Through this comprehensive historical survey, Duffy hopes the exhibition will inspire visitors to develop a deeper appreciation for how talented designers helped elevate New Brunswick's stories, products, and governmental mandates through thoughtful visual communication. "It's not something to be taken for granted," she emphasized. "There is a lot of emotion tied to design. People get really attached to branding and logos. People do care," acknowledging the profound psychological and cultural connections that effective design can create between organizations and their communities.
The exhibition will be accompanied by a companion book scheduled for release in December, providing visitors with a permanent reference to this important chapter in New Brunswick's cultural and commercial history. "Pursuing the New: A Modern Graphic Design History of New Brunswick" represents not just a celebration of design excellence, but a recognition of how visual identity has played a crucial role in shaping the province's sense of self and place in the broader Canadian context.
