Tag Archives: branding

D&AD Identity 2017: The Beautiful Meme

Agency ‘The Beautiful Meme’ have been commissioned by D&AD again to design the creative for the 2017 D&AD Festival. The iconic D&AD Pencils have been animated alongside textures, designed to individually represent the award levels or categories from the D&AD Professional Awards.

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Ben Haworth, Creative Director says:

In advertising and design the D&AD pencil, the symbol of excellence, is ever-present. Around it the industry is weft and warp and flux. Nothing stays still and that’s as it should be. That’s what this year’s identity is about.

This amalgamation of 3D, geometry and motion design is proving to be a very popular design trend, and this has to be my favourite identity for D&AD to date. I particularly love the black Pencil above as it’s using just one colour (bar the yellow D&AD logo), which also happens to be my favourite colour… Also, the animation reflects the popular gif culture that has taken over the art and design world, with the designs working well as both statics and animations.

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Brand Identity: Kaibosh

Design agency Snask were commissioned by Norweigen eyewear company Kaibosh to create a brand identity for both their general campaign and for in-store design. Encompassing the requirements from Kaibosh, Snask created an identity using a custom typeface (Sentrum) and bold icons for a colourful, fashionable and expressive rebrand.

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I love this! “Eyes before guys” ha!

The brand and tonality was translated into visual form and matched with a custom-made display typeface, named Sentrum, made to suit the in-store signage. We added two eyelashes as a symbol to distinguish the identity and to use as graphic elements for many different scenarios. We created the entire flagship store with shelving systems, signage, colours, murals, etc. The project ranged from a typeface and still life photos to campaigns, fashion photography, notebooks and towels.

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No Tax on Tampons: A Design Solution

Pentagram’s Paula Scher has designed an identity to undo stigma around womens’ periods, creating the visual identity for a new organisation which aims to get rid of the ‘tampon tax’ in certain states in the US. A petition has 60k+ supporters wanting to follow in Canada’s steps by eliminating tax on period items as “women spend upwards of $70 a year on sanitary products like tampons and pads”. The same uproar surrounding tampons and pads has been protested by Brits and Aussies too.
Euromonitor released findings that “sanitary protection reached current value sales of US$3.1 billion in 2015, up by 1%. Retail volume sales remained stable with 1% growth”. That is insane!

Paula teamed up with the non-profit organisation Period Equity to create the identity, which includes the perfect sans-serif font ‘Margaret Calvert’s New Rail Alphabet’ and self-explanatory, bold red dots.

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Branding: Diz-Diz Popcorn

I can’t say I’ve ever seen such extravagant and fashionable popcorn packing before! Gourmet microwave popcorn brand Diz-Diz hired branding and design agency TATABI Studio to design packaging for their unusual flavours.

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The colour-scheme and metallic packaging is so on trend, particularly as gold and silver tones (especially rose gold) are dominating fashion and clothing designs. These beautiful combinations, on top of a white and grey marble, are also prominent in cosmetics brands – I feel like I should be rubbing the popcorn on my face, not eating it!
Usually consumers would be interested in the speed and ‘ready-meal’ appeal of microwaveable popcorn, but TATABI have gone above and beyond this POS, focusing on the quality and aesthetic of such a simple product.

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TATTOO.PL: BRAND IDENTITY

As someone with 3 tattoos, from 3 different tattoo studios, I’ve spent a considerable amount of time over the years researching studios and artists for each inking. As a creative, I have naturally picked up on branding, website design and social media identities that the studios present themselves as… and they are all crap. It’s been hard not to make judgements upon the artists themselves when the visual identities they display are painful to a designer’s eye. Perhaps the reasons for a lack of concern when it comes to branding is to do with money, or it could simply be to do with studios relying on tattoo subculture to bring back the same customers, and recommend certain artists to other inked folk. However, in my case, I can’t even count on one hand anyone I know who is passionate about tattoos and body art! So I’ve had to rely on personal experience rather than knowing who to get inked by through association, which meant digging deep into the many studios London has to offer.

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So, the new brand identity for Tattoo.pl by Minima Advertising People from Poznań, Poland, is wonderfully refreshing (weirdly, I really dislike Minima’s own website….). In my experience, all tattoo studio websites are dark, dingy and so poorly designed, with often pixelated images and no clearly distinguished brand. Tattoo.pl’s new identity couldn’t be more opposite – and this communicates the artistry and philosophy of the tattooists, rather than the usual, dark portrayal that a lot of people still have about those who are inked. I love the basic colour palette, the type-face and the minimal but clear imagery.

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If Tattoo.pl were a London based studio, just by their visual identity alone I would choose them over a website that looks like a 16-year-old built it at home for a web design school assignment. The clean, clinical style embodies fashion, professionalism and the artistic individuality of tattoo art. These are all important aspects of tattoos, which are often overlooked due to negative opinions (somehow still) surrounding body art. Tattoo.pl have said that their “main aim is to popularise tattoo and body art through our activity and co-operation with the members of the tattoo subculture. The communication strategy designed by Minima clearly reflects our philosophy.”

It gets a thumbs-up from me!

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NatWest Rebrand

Consultancy FutureBrand has designed the new branding for NatWest. The logo is based on the original created in 1968, which I didn’t find particularly exciting… but the illustrations that come with the rebrand are great!

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The creative direction has evolved really well with this rebrand, and they certainly visually stand out amongst their competitors. NatWest’s aim was to lend themselves to a younger audience, and the use of bright, bold graphic illustrations, typography and gifs is definitely on-trend.

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BBC Neurodiversity: magneticNorth

MagneticNorth has created an identity for a new BBC project to help people with neurological conditions (such as Tourette’s, dyslexia and autism) in the workplace.

The logo and the brand’s font is simple and clean, reflecting research that claims that people on the autistic spectrum can find complex patterns unpleasant and distracting. Likewise, the colour palette for the brand was intended to feel calming and accessible for all, yet bold enough to stand out amongst other campaigns.” (src: magneticNorth).

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CAPE, an acronym from “creating a positive environment” was developed by the BBC. Only 15% of working age people with neurodiverse conditions are in employment, and this longterm project aims to promote the notion that they “have unique talents and skills that are not currently being harnessed affectively in the workplace.”

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The branding is currently featured on print posters, digital screens, leaflets and event branding.

As someone with a huge interest in social design, projects like CAPE reinforce why I love my industry. Designers (and general creatives) have the ability, and opportunity, to communicate and educate using their talent, for the greater good. What an incredibly special skill to have!

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Mastercard: 20 Years

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Michael Bierut and Luke Hayman have created a new visual identity Mastercard, whilst staying loyal to the iconic overlapped circles created in 1968. The flat design (very on-trend!) was definitely a great choice, in my opinion, and the new typeface works well with the new ‘digital’ aesthetic they’re moving towards. In fact, the new font was inspired by the brand’s 1979 branding, which used typography with a circular structure.

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