The Arlington Street Church logo represents and reflects our vision for a community and a world gathered in love and service for justice and peace.
Our image is intentionally designed to be both universal and multi-representational. Like the flaming chalice, long the symbol of Unitarian Universalism, the Arlington Street Church logo allows the viewer to attach to it her/his own personally meaningful associations and interpretations.
The floral motif is found throughout our church building in the Tiffany Memorial windows, in our intricate plasterwork and pulpit wood carving, and even on our pew cushion fabric. It is a rich metaphor for many important concepts that are shared by Unitarian Universalist and concepts that unite our diverse congregation.
These include, life, openness, growth, beauty, simplicity, nature, wholeness, blossoming, love, friendship and support.
We invite you to find in this image your own personal meaning, and we hope that you will carry it in your heart and mind as a symbol of this beloved community.
This image was created by Donnie Baker, graphic designer, and a group of church members and staff.
The Font: Baskerville
Designed by John Baskerville in the 1750’s and cut for him by John Handy. This is the epitome of neoclassicism and eighteenth-century rationalism in type, and the face was far more popular in Republican France and the American colonies than in eighteenth century England, where it was made.
It has a rationalist axis, thoroughgoing symmetry and delicate finish.
The American printer and statesman Benjamin Franklin deeply admired the Neoclassical type of his English contemporary John Baskerville, and it is partly due to Franklin’s support that Baskerville’s type became more important in the United States and France than it ever was in Baskerville’s native land. But the connection between Baskerville and America rests on more than Franklin's personal taste. Baskerville’s letters correspond very closely to the federal style in American architecture. They are as purely and unperturbably Neoclassical as the Capitol Building, the White House, and many another federal and state edifice. (The Houses of Parliament in London and in Ottawa, which are Neogothic instead of Neoclassical, call for typography of a different kind.)
From: The Elements of Typographic Style, version 2.4, By: Robert Bringhurst