60+ Brandbook design examples | Muzli Design Inspiration (2024)

Visual Design work for Fast Sports Nutrition Brand. designer, graphic, graphic design, color, colour, inspiration, logo, logofolio, branding, branding agency, packaging design, brand identity, stationery, packaging, graphics, behance, dribbble, photography, art, typography, prints, digital art, trendy, skill share, skill share class, adobe, adobe photoshop, mood, art direction, istanbul, london, paris, new york, los angeles, san fransisco, idenity, custom, monogram, design studio, letterpress, brand, brand design, visual identity, corporate, corporate identity, ux, ui, interface, animation, user interface, user experience, startup, start up, minimal, creative, minimalism, simple, negative space, label, fashion, business, badge, illustration, icon, icons, drawing, sketch, freelance, freelancer, logotype, marketing, black and white, designers, website, web, work, web designer, brandbook, brand book, brand manual, catalog, business card, stationery, flyer, clean, basic, guideline,

“Connect the Dots” Established in 2007, One Medical is an independent, premium, primary care provider in the U.S.. What that means is that instead of going to your usual doctor's office that typically looks like you are going to leave more sick than when you first came in and that operates more like a FedEx dispatch facility than a place where people are cared for, you go to shiny pretty offices, you can properly book appointments online and in an app, and you get quality care. Becoming a patient with them requires an additional membership fee on top of the health insurance you are already paying for but in return they "offer you the innovative digital health tools and value-added services that make One Medical unique." One Medical has 60 locations in eight major cities, expanding to a ninth one in 2019, and has taken this opportunity to introduce a new identity designed by San Francisco, CA-based Moniker in collaboration with their in-house team. Moniker worked collaboratively with the internal design team to rebuild One Medical's identity system from the ground up. We began with an extensive brand audit and competitive analysis, identifying key equities in the existing identity and opportunities for expansion. Each element of the identity was then aligned with the company's focus of delivering people-centered care.The result is a sophisticated brand that is equally premium and human. A refined logotype, simplified color palette, and expressive typographic system laid the foundation of the brand, while intimate photography of real people and hand-drawn illustrations brought a personal touch to expand the visual system. A comprehensive set of guidelines provided a flexible foundation for the brand to evolve with the company as they expand into new markets and services.Moniker provided textLogo.The old logo was already fairly good and had established a more premium feel than most doctor practices, resembling a healthcare insurance company more than an on-the-ground group of doctors. The wordmark was nice and the icon was (and still is) ambiguous but decent -- its color palette was the one thing that felt cheap. The new logo is a beautiful evolution, making it better in every aspect, starting with the size relationship of the icon to the wordmark, which makes the icon feel more elegant and dignified, like it doesn't need to shout anymore. Based on Ginto by Dinamo -- with whom Moniker collaborated on the development of the logo -- the wordmark now feels much more unique and even luxurious, which is aided by the lush dark green color. It's such a great progression to the logo... it reminds me, in philosophy, of the Lufthansa redesign.Business cards.Look at those business cards. So nice.Photography. By Michael O'Neal.Brochures.The identity introduces a perfectly conceived and art directed set of photographs with a beautiful range of colors and that literally add a human touch without feeling cliché, cloying, or cheesy. These integrate seamlessly with the dark green brand color, the logo, the icon on its own, and the supporting serif, Grilli Type's GT Super, which was subtly customized for this job. This is the only element that I'm not 100% convinced by and it's because, at times, the display version of GT Super overpowers the other elements as it's a typeface that demands a lot of attention -- the text version is a little less dramatic. Still, this is all really nice.Magazine.Ads.Posters.Notebook.Illustrations. By Charlotte Trounce.Brochure with illustrations.The identity also uses illustration and the plan is to use different illustrators over the years as opposed to building a single library for the rest of eternity. For now, this set by Charlotte Trounce is great, avoiding the trendy, mono-thickness, flat approach and instead introducing something that's warm, fuzzy, and has all the feels. The color palette is in tune with the photography and, in the same way, works seamlessly with the dark green and the rest of the elements.Ad with illustrations.Website. By Instrument.Various applications.Overall, this is tremendous redesign that better supports the premium offering of the company and makes it feel like it's worth the investment and make those co-pays a little more bearable. A little.

“My Kind of People” Established in 1988, The Book People is an online and mail-order independent retailer of books in the UK. Starting with a single van selling books to businesses in the Guildford, Surrey, UK, area, the company soon had 140 vans and later expanded its reach through mail-order catalog before launching its online store in the late 1990s and continues its delivery-only operations without any brick and mortar retail stores. Recently, The Book People introduced a new identity designed by London, UK-based The Clearing. The Book People had to take on the might of Amazon. Only Amazon sell more books in the UK, and this rebrand brings The Book People's undisputed love of books right to the front of the business.For too long they had been trying to play Amazon at its own game; competing on price, convenience and range of titles. But over time the brand had become focused on deals and promotions, at the expense of building any emotional differentiation. Without a set of ownable assets, they were unable to distinguish themselves from other online retailers. They needed to focus on their mission, 'To inspire a lifelong love of reading'.The Clearing project pageSamples of OLD identity.Formed from a stack of well loved books, which can be rearranged, picked up, and knocked over, signalling that books are there to be handled, passed on and loved! The flexibility and movement the logo has a playful personality.We've given them a single-minded approach to colour, leading with a bright and playful red, punctuated with white and black to create a brand with real standout. Supporting this is a palette of pastels which can carry any book cover design.The Clearing provided textLogo.Logo animation.The old logo was as basic as it gets, with a straightforward sans serif in a bold and light combination. It was red. I know I am just describing what you are all clearly seeing on your own but I'm doing so because there is nothing else to say about it. The new logo, on the other hand, is such a great expression of the joy of having books around: they are there. Piled, stacked, lined-up, scattered, and aplenty. With one book for each word of the name, the logo can be used in a few different combinations to fit its use with the primary being the horizontal version where the name reads perfectly as the books topple over. At first I wasn't convinced of "Book" being capitalized (vs. being uppercase) but it works well to highlight the important part of the name as well as to look like different book spines -- which makes me wonder if they tried a version of the logo where each word was a completely different style but I can also see how that could create readability issues. Anyway, I love this logo and how simple yet playful it is.Logo with character.We worked with illustrator Mr Griff to create a playful gang of characters, packed with personality who clutch, climb up or jump over their trusty books to share this love of reading. These guys reflect the enthusiasm and excitement people have for books, the stories they contain, the imaginary worlds you get visit, or to educate and inspire.The Clearing provided textCharacter illustrations by Mr Griff.Other illustrations.The logo and the identity are accompanied by a great range of illustrations in a style that is not the faceless tech drones and the Brand New world rejoices. I love the style, the expressions, and the way they have integrated the books (always in red covers to match the logo). If there was one concern is that they can skew very young, making it seem like The Book People mostly sells children's books so maybe a few more drawings like the tie-wearing guy with the dinosaur screaming at him would help. Still, these are joyful.We have crafted a bespoke typeface called Book People Pen with Paula Diloka and Luke Prowse. The use of a handwritten font instills a real sense of personality across the brand, for use on everything from printed catalogues, social posts, to their heavy hitting E-commerce website.The Clearing provided textMessaging.The handwritten fun is nice, playful, and a good complement to the illustrations but in dire need of alternate characters and some OpenType magic to take it to the next level.Website.Catalog.Card and tote.Traveling bus.Not a whole lot in terms of applications but from the few prototypes (and the live website) it's easy to see what a huge improvement this is from what existed before. From the logo to the illustrations to the handwritten font this all exudes excitement for books in a way that Amazon, in all its money-saving glory, has never been able to do.

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Logotypes & Marks -- Tags design, designer, graphic, graphic design, color, colour, inspiration, logo, logofolio, branding, branding agency, packaging design, brand identity, stationery, packaging, graphics, behance, dribbble, photography, art, typography, prints, digital art, trendy, skill share, skill share class, adobe, adobe photoshop, mood, art direction, istanbul, london, paris, new york, los angeles, san fransisco, idenity, custom, monogram, design studio, letterpress, brand, brand design, visual identity, corporate, corporate identity, ux, ui, interface, animation, user interface, user experience, startup, start up, minimal, creative, minimalism, simple, negative space, label, fashion, business, badge, illustration, icon, icons, drawing, sketch, freelance, freelancer, logotype, marketing, black and white, designers, website, web, work, web designer, brandbook, brand book, brand manual, catalog, business card, stationery, flyer, clean, basic, guideline, rebranding

“Library to the Max” Established in 1800, the Library of Congress is an agency of the legislative branch of the U.S. government whose mission it is to "document the history and further the creativity of the American people and which record and contribute to the advancement of civilization and knowledge throughout the world, and to acquire, organize, provide access to, maintain, secure, and preserve these collections." It is the largest library in the world, with more than 167 million items on approximately 838 miles of bookshelves. The collections include more than 39 million books and other printed materials, 3.6 million recordings, 14.8 million photographs, 5.5 million maps, 8.1 million pieces of sheet music and 72 million manuscripts. A portion of those collections are available digitally and is one of the best places of the internet. Yesterday, the Library of Congress introduced a new identity designed by New York, NY-based Pentagram partner Paula Scher. Pentagram has designed a new brand identity that captures the spirit of the Library and its universal collections in a dynamic logotype that is a metaphor for a bookshelf or bookcase―a place to collect things―and can hold images and typography.While it officially serves Congress and the federal government, the Library also serves as the national library of the American people. Its central mission is to provide a rich, diverse and enduring source of knowledge that can be relied upon to inform, inspire and engage. The breadth and power of its collections should be easily understood, and be coupled with an invitation for all to visit physically or virtually to take advantage of all the treasures within.Pentagram project pageLogo.Lock-up variations.Our view here at the Library of Congress is the image of a treasure chest, filled with limitless information and services, ready to explore and amaze if you open it up.So today, the Library of Congress is introducing a new visual brand that seizes on this concept and amplifies it. It can change to feature different collection items, stories, images and sounds. The potential is limitless, like the Library itself.Library of Congress blogBooks/bookshelf concept.Logo with clippings from the collection.Other than the use of Trajan, the old logo was great. Designed by Chermayeff & Geismar & Haviv in 2010, the icon brought together two elements -- a book and the stripes of the American flag -- in a simple, effective way that felt... congressional. The new logo is interestingly very un-governmental -- no blue, no red, no stars, no stripes -- and as much as those things generally lead to overly American-looking identities they do help create a more instant connection between institution and government. This new logo could easily be an extension of Amazon. The objective and brief, though, are evidently to make the Library of Congress more library, less congress which would explain some of the decisions and the approach to make this look more like it belongs in the retail and cultural sector.I still have a hard time with the emphasis on library as what makes the Library of Congress impressive is not the fact that it's a library but that it's the library of the United States. I can go to a library any day of the week I want but the library OF CONGRESS, that's another story. Making the logo so much about "LIBRARY", to me, plays down that this isn't just any library. But, again, assuming that the job was to out-Library congress, then this does the job well. I like the concept of the condensed "LIBRARY" being books on shelves and, as you know, I am a huge proponent of Druk Condensed so as a piece of typography I can dig it. What bothers me, a lot, is that the word "library" is then repeated again, smaller, in the full name of the organization. I keep reading "Library Library of Congress" and it's not entirely pleasant. I would have loved to see "OF CONGRESS" in the same style and size, given the same importance, and then you would have a huge line of metaphorical books lined up and you could also stack the words up to make it look like shelves. My guess would be that this was attempted but the lack of readability of Druk Condensed was maybe too much.I also like the idea of interspersing "stuff" between the letters just as we all do in our personal libraries, putting book-ends, photos, knickknacks, between and around our books. The execution works great when it's crops of a picture vs. the silhouetted objects that, even though they surely come from the LOC's collections, some of them end up looking like clip-art. In the folder shown a couple images down, the silhouettes work best when they are more evidently historical images.Stationery.Folder.LCM magazineSocial media presence.Collection posters.Exhibit posters.Map.The applications have a bold energy to them thanks to Druk Condensed which, again, is bad-ass and in its condensed-ness allows for a lot of things to happen in layouts with big typography and still plenty of room for imagery. To me, the collection posters are the best kind of manifestation of the identity, with the tight, even spacing around all the elements that feel like a unit working together and the images and text playing off of each other.Signage.T-shirts.Mugs.Totes.The merch renders are okay; I still react more positively to the ones that show blocks of stuff in between the letters. The ones with the repeating logo look kind of cool but also awkward when you stare at them too long trying to figure out what to write about them (as just happened to me these last three minutes). Overall, this definitely breaks through any pre-conceived expectations and limitations about what a government identity should look and act like and it also definitely solves the goal of emphasizing the library-ness of the Library of Congress but in its friendliness, accessibility, and cultural bent perhaps it has lost its status as an authority and as one of the few branches of the government that celebrates the knowledge and output of the people.

Visit Link Pretty epic brand book -- part history, part strategy, and part guidelines -- that showcases the identity work by Collins for vitaminwater in collaboration with their creative team.

“Rise and Shine” Opening this September (2019), The Prince Akatoki in London is the first 5-star luxury hotel of many planned by the partnership between Prince Hotels Group, which manages nearly 30 hotels in Japan, and StayWell, one of the largest hotel management groups in Asia Pacific. The Akatoki hotels -- the second one will be in Guangzhou, Southern China -- will bring Prince Hotels' sensibilities and style of luxury to the rest of the world, fusing Japanese aesthetics and hospitality with the culture of each location, "aimed at high-end travelers looking to escape the chaotic pace of modern life, guests will discover a sanctuary within". The new identity has been designed by the Sydney, Australia, office of Interbrand, who also conceived the name. Starting with a strategy that spoke to a unique brand proposition--to exemplify Japan's unique sophistication and hospitality to the world--we were tasked with developing a name, visual identity, and design system that reflects our modern take on Japanese tradition.Interbrand project pageBrand introduction. Motion by Conlan Normington.I usually put brand introduction videos at the end but this one is worth watching at the beginning as it sets the mood perfectly with its earthy narration and super sweet motion design.The name Akatoki comes from an ancient Japanese word for dawn. It captures the optimism and positivity for the day ahead. As the sun comes up each morning, guests at The Prince Akatoki will wake up relaxed, rejuvenated, and ready for the possibilities of the day ahead.We call this feeling Poetry at Dawn. It is the idea that drives every detail in the brand experience; from the logo, an identity inspired by the colours of sunrise, to a guest experience that emphasises the best ways to start your day.Interbrand project pageLogo.Stacked version.Akatoki detail.The script "P" comes from the Prince Hotels logo, which had to be included in the lock-up and even though it's treated as nicely and effectively as possible it is indeed the one element that looks out of place with the rest of the project, which is all kinds of delicate, subtle, and beautiful, starting with the "AKATOKI" wordmark that converts the "O" into a rising sun. No, it is not an original idea, but it is so perfectly executed, it hurts. The implied reflection of the sun as if it were setting in water is simply a crop of the "O" itself and I'm biting my knuckle in jealousy. Not sure if most everyone will share my feelings, but I love it. The stacked version of the logo works best as it looks more contemporary and integrates the "P" a lot better.With sunrise graphic.Name explanation and where the sunrise graphic comes from.Logo animation.The sunrise graphic is stunning as well... it's just the right amount of feathering, in the right tone, providing the right amount of contrast to the thin wordmark.The Prince Akatoki design system is a modern interpretation of traditional Japanese fusuma panels. These sliding doors can open or close to redefine the purpose of a room, or they can create intriguing patterns and layers. It is an endlessly flexible system that creates structure for text, acts as a container for imagery, comes alive in motion, and physically divides spaces throughout the hotel.Interbrand project pageFusuma panel explanation.Primary illustrations, by Matt Murphy, and panel treatment.The pink on cream illustrations by Matt Murphy are simply amazing and, for the first time in a long time on Brand New, we are seeing a very different style of illustration that breaks the mold from the happy faceless people in flat colors and line art. These are just so effusive and calming and mysterious. Pairing the illustrations with the opening/closing treatment of Fusuma panels makes them even more delightful with the stacking effect that creates beautiful crops of the illustrations.Panel configurations.Actual panels.Sample interiors, in collaboration with Kate Ingram.Would totally stay here... if I could afford it.Geisha illustration, by Jeremy Lord, animated by Brian Neong San, and type treatments.The secondary illustration of the geisha is also great and its line work pairs perfectly with the thin typography and Japanese writing. Also... the motion on the latter? Swoon.Business cards.Brochure.Book with illustration and sunrise.Phones with sunrise.Prints.Brand principles.Customer experience handbook.The applications make great use of the elements, integrating the rising sun, the illustrations, the thin lines, and the subtle typography in wonderful ways using white space generously and strikingly.Room keys.Welcome kit.Book.Bag.Toiletries.Robe.I do realize I am being overly positive about this project but it's so well done and so different -- without going for the super weird, Brutalist trend -- from what we've been seeing for the past couple of years that I just feel excited about it. Outside of the context of Brand New, which is where it matters, this identity screams luxury and peacefulness while promising a unique experience different from large luxury hotel chains.

“Take the Helm” Established in 2006, Xenith is a brand of helmets and other supporting equipment for American football. Based in Detroit, MI, Xenith is a newcomer to the industry, competing with leaders Riddell and Schutt (established in 1927 and 1918), but in a short amount of time their helmets have been adopted by hundreds of thousands of players at all levels, including youth, high school, college, and the NFL. At the end of last year, Xenith introduced a new identity designed by Detroit-based Skidmore Studio. Designed to harness the raw emotions of the brand personality, the X's strength lies in its bold, asymmetrical strokes intersecting at unexpected angles. It flexes to grow big and bold on packaging, scatters to create an iconic camo pattern and shrinks into a simple, recognizable mark on gear.Skidmore Studio project pageLogo.Logo on helmet, before and after.The old logo was bad; not only was the wordmark ugly to look at, hard to read, and weirdly connected but it also looked more like the title treatment for a YA fantasy book series. The new logo is clearly within the sports world as there are plenty of spikes to be seen and while the new wordmark doesn't change the game, the new "X" icon is great. Its asymmetry and slight awkwardness make it feel dynamic and explosive, looking almost like a mark a helmet would leave in another helmet when they hit -- although that may not be a metaphor anyone wants to sell because concussions. Anyway, it's a really great graphic and in the before/after comparison of the helmets above, the improvement is undeniable, going from a gangly-looking "X" that barely fit in the space allotted to a much more robust, better-fitting, identifiable element. The wordmark is more or less okay but the cuts in the "E" and "T" feel gratuitous. I almost liked the one in the "E" because the bottom-left angle of the icon visually connects to it but then the on the bottom-right where it could have aligned with the cut of the "T" it doesn't. I understand the inclination to tie the icon with the wordmark but the result feels forced. Still: Bold! Sports! Yeah!Guidelines.Catalog.Various applications.Equipment.For a football equipment brand this actually makes for a pretty good lifestyle brand as well, almost like a skater or surf brand -- something that competitor Riddell could not pull off. The yellow accent color works very well with the logo and the "camo" pattern (more if it below) is... rad.Across the whole product line, we simplified. The strong black-on-craft aesthetic differentiated Xenith's premium products from its competitors. Messaging focused on moments that athletes could connect with. And a consistent use of camo created a Xenith billboard in every aisle, uniting a wide variety of products across the store.Skidmore Studio project pagePackaging.But there is more to a retail experience than looks alone. For Xenith's flagship product, the football helmet, we created an in-store unboxing moment that encourages young athletes to interact with the product. A mysterious, peek-a-boo corner-cut shows off just enough of the helmet, inviting shoppers to pull it out and get hands-on with a product that is designed for ultimate fit and feel.Skidmore Studio project pageHelmet packaging.Packaging details.The packaging is bad-ass, with the camo pattern that deconstructs the icon in different ways to generate a fun, active pattern that looks great against the kraft boxes. If they had used gray chipboard of some kind this would have been epic but kraft is a lot more workable so it will definitely do. I like how the "x" icon lives in a yellow box that wraps around the boxes and the use of white silkscreen makes each product name pop clearly. The boxes have a 1990s feel -- in a good way.Spot introducing the new brand. The tape! (At the 0:09 mark)Overall, I think this is a really great redesign. It operates well within the boundaries of sports aesthetics but it manages to offer a fresh perspective and makes Xenith a much more covetable brand.

Re-styling of Pompeii Brand. Made as Ux/Ui designer in Pompeii. Just a proposal.All the images belong to their owners.Tags: design, designer, graphic, graphic design, color, colour, inspiration, logo, logofolio, branding, packaging design, brand identity, stationery, packaging, graphics, behance, dribbble, photography, art, typography, prints, digital art, trendy, skill share, skill share class, adobe, adobe photoshop, mood, art direction, idenity, custom, design studio, brand, brand design, visual identity, corporate, corporate identity, minimal, creative, minimalism, simple, negative space, label, fashion, business, badge, illustration, icon, icons, drawing, sketch, freelance, freelancer, logotype black and white, designers, brandbook, brand book, brand manual, catalog, clean, basic, guideline, rebranding, modern, contemporary, luxury, simplicity, concept, firm, font, typeface, type, brandmark, collection, geometry, texture, patterns, mark, bold, bright, grid, shape, one page, typographical logo, minimal logo, modern branding, unique, minimal identity, creative logos, good, logo inspiration, best european design, best logo, best logotype, typo, lettering, sneakers, sneaker shop, start up,

“I Heart Canada” "Destination Canada (formerly Canadian Tourism Commission) is Canada's national tourism marketing organization. A federal Crown Corporation, we lead the Canadian tourism industry, alongside federal and provincial governments and private-sector partners, in marketing Canada around the world. We passionately believe that Canada is a place where travellers can create their own unique and extraordinary personal experiences. Canada's stunning natural scenery, its vibrant cities, its geography built for memorable personal journeys and, above all, its people, are building blocks in great travel stories." Design by Cossette Related links Destination Canada press releaseStrategy News story Relevant quoteDestination Canada, the national tourism marketing agency, has tapped into what it means to be Canadian and evolved its brand to inspire even more international travellers to visit Canada.The tagline For Glowing Hearts, which was inspired by the national anthem, and a distinctive heart-shaped logo, rooted in the country’s bold red and white iconography, are elements of an evolved brand architecture designed to create a strong emotional connections with travellers. Images (opinion after) Logo.Guidelines.Spreads from brand booklet. Sort of ignore the red band, which I am guessing looks cool on the actual printed book, running within the gutter of the book.Destination Canada CEO David Goldstein with new sign. (Image source)Brand video. Opinion The old logo was not the most exciting thing in the world and looked too much like a boring part of the government instead of the cool, fun part of the government tasked with getting people excited about visiting Canada. Execution-wise, I guess it was fine. The new logo is certainly more visual and graphic with a large “CANADA” in the shape of a heart — an awkward, very wide heart, which, to be honest I didn't see initially. I kind of want to like its boldness and daringness but there is something unappealing about the way the letters have been modified to contort into a heart shape. It really is a valiant effort though, to do something off-kilter and expressive in an age of sameness so I have mostly positive feelings despite the relatively negative reaction to the letterforms. Obviously, no Canada logo is complete without a maple leaf and this one almost looks and works like a trademark symbol. Not much in application other than a brand booklet PDF you can download and look at the painful Separat type in action, which, yeah, is super weird. Overall, a bold and dramatic change into something much more guttural and evocative that opens the door to more engaging applications and messaging.

“Archery” Opened in 1873, Alexandra Palace (Ally Pally to friends) is a culture, sports, and entertainment venue in London, UK, hosting exhibitions, conferences, festivals, corporate events, and more. An Act of Parliament in 1936 established that Alexandra Park and Palace would have to be made available for the free use and recreation of the public forever regardless of who the trustee in charge was. Located in a 196-acre estate, Ally Pally offers eight different rooms and halls within the palace that can accommodate more than 10,000 people. The palace has been host to major events from its inauguration in the late 1800s to serving as a refugee camp in WWI to hosting the world's first regular high-definition public television broadcast that took place from the BBC studios that were then housed at the Palace. Needless to say, a lot of history has played out here. Recently, coinciding with the planned renovation of its East Court and Victorian theatre, Alexandra Palace is introducing a new identity designed by London-based Lovers. (The identity is not live online yet but has been implemented on site.) Ally Pally (as it's fondly known to Londoners) has been a multi-recreational Mecca since 1875. But without a coherent brand identity to champion its historic and contemporary significance, the palace's efforts were feeling fragmented. Lovers stepped in to help the brand reclaim its cherished place in the hearts of audiences.No London cultural centre contains as much eclecticism as Ally Pally; music stages, sporting arenas, skate park, theatre, boating lake and 196 acres of parkland. Our 'pleasure dome simplicity' logo seeks to put a lid on it all, along with a colour palette that celebrates breadth.Lovers project pageLogo.The old logo looked elegant but that was about it, unless we want to unpack the swash in the "A" which was a little stiff and not very useful. The new logo is a direct reference to the iconic arches of Ally Pally's Great Hall. The length of "ALEXANDRA" lends itself quite well to the arch treatment -- especially with book-ending "A"s at the start and end -- and works nicely over "PALACE". Unlike other arch or type-on-a-curve wordmarks that typically look cool but without a particular reason, this one looks cool and AND is warranted. Typeset in Ganby, the arch logo serves as the more serious hinge of the identity.Business cards.Letterhead."AP" monogram references.Complementing the wordmark is an "AP" monogram that can be found physically in certain details of the Palace and provides a charming antique ornament that speaks to the history of the venue. Used large or small, it's a quirky and peculiar device that provides a striking contrast to the main logo.Monogram totes.Notebook.Custom font.To complement the wordmark AND the monogram is a custom font that's sort of a cross between the serif in the old logo and carnival typography, yielding a very, VERY unique typeface with a lot of personality. It's hard to hate it because it's having so much fun just existing. It's a very unexpected identity element but I like how it's evocative of the architectural excess of the venue and serves as a way to convey the joy and diversity of the many events that take place here."I AP Ally Pally" applications.Ally Pally's new brand voice channels a colourful cast of characters from its past and present, borrowing vocal techniques from BBC pioneers, Victorian daredevils and other dreamers. We jotted the recipes in a pocket book for easy reference by the palace's brand team.Lovers project pageBrand voice book.Ad.Banner ad.Pencils.Coaster.Exhibit area.Banner.It's a little hard to judge the actual application as, so far, there isn't an evident system that comes through in the images shown. Yes, there is the display typeface and Granby but it's kind of hard to connect the "Whatever Next?" banner with the coaster with the image directly above. But maybe that's the point... providing these ingredients that can be mixed and matched as necessary depending on the subject matter.Signage.The examples of the signage and wayfinding look great, mixing Granby with some ornate icons. The grate-like applications are excellent, adding to the already rich textures of the building. Overall, without knowing what the old identity used to look like (but I imagine wasn't much to look at), this is a great update that manages to feel buttoned up, which is something you want as an event manager, as well as loads of fun, which is what you want as a patron.

“Home is where the Book is” (Est. 2013) "Literary Emporium is an independent brand creating gifts for book lovers including jewellery, stationery and apparel. With a design studio located in the creative town of Frome, Somerset we take inspiration from classic literature and beautiful words to bring a range of literary-themed gifts for bookworms and bibliophiles." Design by Fiasco Design (Bristol, UK) Related links Fiasco Design project page Relevant quoteWe designed an icon that could be enjoyed as a badge or used as a charming page divider. It is intended to reference the vintage stamps of classic publishing houses, the kind that their audience would be familiar with and looks lovely embossed or stamped onto book jackets.Just below the surface of the smart and classic literary feel, we’ve given the brand a subversive edge using a bespoke pattern created from the inky, tattoo-like illustrations from their products. The pattern acts as the endpapers of the visual identity – always appearing after the turn of a page or lifting of a flap in order to add intrigue but never to overpower. Images (opinion after) Logo.Lock-up variations.Pattern.Letterhead.Thank you note.Business cards.Bookmark.Deboss p*rn.Packaging.Tissue paper. Opinion The old logo was fine, nothing great, nothing terrible, with a decent vintage-ness to it but also a bit of clip-art generic-ness. The new logo takes the book and literally flips it on its head, creating a fabulous icon where the book looks like a home with the bookmark looking a chimney. The execution is excellent with each side of the book having different “pages” — an easy way out would have been to simply mirror one side — and just the right amount of wobbliness for a vintage feel. The typography around the icon is a classy serif paired with a classy sans serif… no trends, no presumptuousness. In fact, this feels like classic logo design in a way — the best of ways — that’s not common anymore. The secondary configurations are equally good and the applications are all perfectly nice. I like the addition of the tattoo-esque pattern as a way to give it a bit of a rebellious attitude. Overall, a top-notch evolution.

“Concrete Jungle” This past September we celebrated our 10th Brand New Conference -- we've been doing it for 9 years but in 2016 we did 2 of them so not yet our 10th anniversary -- in New York, NY. Having done it there four times before we weren't sure what we could draw from the city to base the identity on. Turned out, that that something was the easiest and most obvious thing about New York... A few other links before getting into itFull set of photos of the materials here; believe it or not, the ones shown here are a limited selection.Our brief presentation during the conference with more behind the scenes photos, videos, and stories can be found here.A copy of the program, cube, and/or t-shirt can be purchased here.ConceptThis year's identity is based on a cliché but we liked where that cliché took us so we went with it: New York is a "Concrete Jungle", ergo we are going to use concrete. This wasn't conceived as a metaphor but as the literal, core ingredient through which we would standardize all the materials. Later on, we realized that this concept was meant to be, as written down in the annals of hip hop 8 years ago...Your browser does not support the video tag.Snippet of Empire State of Mind by Jay-Z featuring Alicia Keys. Wait for the TWO highlighted lyrics. The second one is everything.Part of what makes New York a "Concrete Jungle" and, no big reveal here, are the buildings. Aside from being tall, one cool thing about New York buildings are the inscriptions carved unto some of them, regardless of whether they are a church, a bank, or a school. One of the great things about these inscriptions is the variety of typefaces and lettering they use.A small sampling of etched inscriptions and signage on New York buildings. Top two photos by Paul Shaw, all others by Wally Gobetz.One style that we thought we could expand on is the high-contrast sans serif with its calligraphic/chiseled structure. As a way to further channel the cacophony that New York can be we decided that instead of choosing just one font or type family we would use a bunch of high-contrast sans serifs together. We chose Chap (Black to be specific) from Schick Toikka as the primary font and we added Hoefler & Co.'s Peristyle, Typotheque's Valter, Fatype's Beausite, and Frere-Jones Type's Bosca and Bosca Compressed -- that are not yet available but we got to take out for a trial spin.The five high-contrast sans serifs at play.No LogoAlthough we had to decide on one treatment early on to use for the production that started six months before the conference, we decided to not have a single logo that would be repeated but instead allow the different typefaces to take on different configurations and allow the typography to set the tone.The closest we got to a logo. Different logo-ish treatments.Concrete... For RealTo reiterate: what you will see in the images to follow is made with real concrete. All 1,112 covers; 1,342 badges; and 939 cubes. These are not renders.Your browser does not support the video tag.Pouring concrete into molds -- just one of the many steps in the production process.ProgramsProgram covers.Once we decided to use concrete, the first step was figuring out how, where, and, well, HOW. We eventually decided we would apply it to the covers of the program, the attendee badges, and a little memento cube. The program has a slab glued on the cover, offset half an inch from the spine so that it would open smoothly. One unexpected -- and quite welcome -- outcome was that each slab of concrete came out in a different shade of gray and slightly different texture that yielded some pretty great variations.A few different views of the covers.Spine detail. The air bubbles added a great range of texture.Close-ups of the typography.If you are curious about how fragile a slab of concrete is on a book, we put it to the test: first we dropped it from the top of our roof but the tile glue we used proved to be too effective so we had to take more drastic measures...Your browser does not support the video tag.Sound is NSFW. Two punchlines in this video, for the price of one. (Bonus: shot-by-shot comparison of punchline number two.)For the interior of the program we went with a dense, boxy approach, much like what we had established on the website.Your browser does not support the video tag.Sample spreads.BadgesBadges.We created the pieces of concrete for the badges before we even had a finalized design for the overall badge. We don't recommend this approach! But we've done so many badges by now that we knew we would be able to retrofit a design to the piece of concrete. Eventually it involved mixing the concrete with high-end Silly Winks -- we say that both sarcastically and as an oxymoron -- as well as a pretty nice gray stock from Colorplan (one of our sponsors) and adding each attendee's info on a label.A few different views of the badges.Cubes!Cubes.These cubes don't really have a purpose other than them being little cubes made of concrete with "BNCONF" on them. We could have easily skipped them but after we did a prototype we were not able to let go off the idea. They are 2 × 2 × 2 inches.A few different arrangements.BagsBags.A cloth tote bag didn't seem right this year as they are too floppy in contrast with concrete. We found some sturdy gray paper bags that, when filled with goodies, looked like a block of concrete -- with some imagination, sure. We thought it would be a good break from our past approaches to print the full schedule of the conference on the bags. Not the most useful schedule but we thought the typographic texture was rather cool (and the schedule was on the program as well so it wasn't like it was the only place to see it).A couple of views.T-shirtsT-shirt.We originally wanted to mix and match three or four different shades of heather gray as the t-shirt base but unfortunately the inventory was not in our favor. We selected a mid gray and printed some big Bosca type on it using water-based printing, which colors the fabric instead of putting ink on top of the fabric, so it has a super nice soft feel.A couple of details.Stage LettersStage letters.By now you are probably thinking "Oh, no, they didn't" and you would be right, we did not. The letters are not made out of concrete. We thought about it, no doubt, but then realized both how difficult it would be and how impossibly heavy they would come out. We worked with a local carpenter who makes props for the theater in town and he made them out of insulation foam and a very convincing paint job.From far away to up close.Screen GraphicsLast year we counted with the help of Studio TBT who created some awesome and snappy motion graphics. We thought we would earmark a budget for it this year but ultimately decided to spend that money on an endless supply of bags of concrete, so we were left to our own devices. Past speaker and friend of the agency, Mark Kingsley, who always prepares a soundtrack for the breaks during the conference had suggested a punk theme to this year's music and we took that as a cue to make some modest speaker introductions. We made three different "styles" and each one has a subtle flashing sequence at some point in the video.Your browser does not support the video tag.Your browser does not support the video tag.Your browser does not support the video tag.Three different music clips and animations.We realize these are not very impressive but perhaps you might be surprised to learn that the music and flashes were synched using... Keynote. A good lesson here is to do the best that you can with what you have. And this last little clip we think sums that up nicely with an animation that punches above its weight using only close-up photos of the cubes and some semi-randomly-placed typographic treatments that helped open each day of the conference. Sound on!Your browser does not support the video tag.Opening intro for the conference.Instagram LoveYour browser does not support the video tag.People sharing the conference materials on Instagram.Many thanks to everyone that expressed their appreciation of the materials on Instagram. It's one of the most rewarding gestures for us.That's it!We have no idea where to go from here in terms of what 2019's identity will be made of or how it will be made but we are going to be in Vegas, so there is no shortage of inspiration. If you know you don't want to miss out, we are currently in pre-sale for the 2019 Brand New Conference on October 17 - 18!

“Step Up your Game” (Est. 2013) "ClassPass, based in New York City, provides access to yoga, strength training, barre, martial arts, pilates, boxing, and indoor cycling classes, as well as use of health clubs via its flat-rate monthly subscription billing service. [In 2011, after spending over an hour searching online for an open ballet class in New York City, 28-year old Payal Kadakia, an Indian American graduate of the Massachusetts Institute of Technology and employee of Warner Music Group, had the idea to create a search engine and reservation system for fitness classes.] Led by CEO and major investor Fritz Lanman since March 2017, ClassPass is the world's largest health club aggregator and has partnerships with 8,500 health clubs in 49 cities worldwide. The company receives a discounted cost from health clubs in exchange for providing the clubs with increased usage." (Wikipedia) Design by In-houseCustom fonts and logo collaboration: Triboro Related links ClassPass blog post Relevant quoteWe redesigned our ClassPass logotype and ClassPass logo (the latter symbolizes the many steps you take with us). We commissioned a new custom typeface called Circuit (it’s a sporty little font, inspired by the connections you make as a ClassPasser). We streamlined design throughout our product. We captured new photography and video for campaigns and projects — all in an effort to make this brand as vibrant and full of life as our customers are on the platform. At its best, the new ClassPass brand celebrates the way you push yourself every time you press “book.” And with all this work, we want you to feel inspired — inspired to do things, to try new things, to find your thing. Images (opinion after) Monogram, before and after.Logo.Color variations.Custom fonts.App.Ads.Your browser does not support the video tag.New identity introduction video. Opinion The old logo was… type. Even for minimalist type-only logos this was a bit of a stretch in how un-designed it was. The gradient “C” was nice-looking but that’s all it was. The new logo now features an ownable device in the shape of a monogram that abstractly blends a “C” into a “P” in an upward, forward (if perhaps slow-moving) motion. The concept is of taking a step forward and I like how they have translated it through the distortion effect that makes the graphic look as if it’s going up a StairMaster. The only thing I wonder is if the transition from “C” to “P” should be more aggressive? Like, right now, it feels almost passive… like it’s slowly making its way up. Still, I dig the effect. The wordmark has gone from all uppercase to all lowercase and it’s quite nice, although using a CamelCase might have been more beneficial to support the monogram. And even though the wordmark operates in the minimalist range, it has a little bit more personality than usual. The more interesting part of the identity, to me, is the custom stroke font… there is something really cool about it and I wish there were more applications showing it in use. The video does make good use of it. Overall, this is a cool evolution that gives the company and its audience something with more personality and recognizability.

“And Upward” Established in 2017, Onward is a small, nonprofit, consulting firm based in New York, NY, that works with corporations, nonprofits, school systems, and communities to "dismantle systems of oppression, to be the change, and to build an equitable world" with the goal of building personal and organizational capacity for change. Their services include organizational strategy, executive coaching programs, learning opportunities, and tools to support partners in promoting diversity, equity, and inclusion. Lacking a brand and digital presence in its first two years, Onward has introduced a new identity designed by Chicago, IL-based Firebelly. After exhaustive visual exploration, we created an assertive, custom-drawn wordmark. Subtle shifts in the counters of the O and D convey forward movement, while the trimmed edges of the letterforms create a sense of solidity, as well as solidarity. The wordmark lends itself to stacking, a demonstration of strength in numbers.Firebelly project pageLogo.Logo, stroked and stacked.Secondary lock-up.There is so much to like about the wordmark -- although I totally understand that there might be a lot to dislike if our subjective preferences differ -- so let's start with the most distinguishing element, which is the angled counterspaces of the "O" and "D" that create a moment of visual dissonance. While the explanation says they are meant to convey forward movement, which they do, I interpreted them more as being a metaphor for creating change from within by doing things that may seem uncomfortable and starting to move things in a new way, starting on the inside. Philosophical musings aside, I love the contrast they generate and how they even help frame the word like book ends, with one slash on each side. The letters themselves are pretty cool as well, with those chunky semi-ink-traps that create some sturdy-looking shapes. If I had one complaint it might be the bowl of the "R", which feels like it was just sliced at the end. The stroke version looks good too as does the stacked lock-up but it's definitely its strongest in full color and one line.Color palette.Guidelines.The olive-led color palette is quite nice and works so good with both orange sparks and black tone-on-tone elements. I would have left the blue out or gone with a really pale one.When broken out from the wordmark, the forward slash functions as a layering, connective or disruptive device. The system's underlying grid is flexible and cohesive, with images cropped at the same 15 degree angle, adding to an overall sense of progressive momentum.The device can be used to frame content, and to tether items together or tape over them, creating new ideas and energy.Firebelly project pageAngle of the counterspaces isolated as the main device for the identity.Grid.Tape-like strips.Posters.The identity uses the 15-degree angle from the counterspaces and a contrasting 75-degree angle to create some great layouts with plenty of tension and a great balance of white space, photography, typography, and minimal elements. The supporting serif is nice but perhaps it was a choice with too much contrast, like it's trying to demand a lot of attention -- by the same token, that could be a good thing as it highlights their messaging. Speaking of the messaging, the identity mixes the serif with a sans serif in the same sentence, which is a decent approach but, again, I think the serif is somehow fighting the approach. Still, everything has a great energy.Postcards.Your browser does not support the video tag.Website home page.Onward urges compassion alongside discomfort to create what its leaders call "productive disequilibrium" through empathy-building exercises, self-interrogation and actionable strategies for dismantling systemic racism. This brand is made to express itself, in all its complexities, as a trusted advisor, activist and builder of a better world to come.Firebelly project pageInstagram Stories.Notebooks.Tape.Stickers.Tote.Overall, this is a really great identity that gives Onward a bold and confident voice that manages to capture a sentiment of change and revolution without being too antagonistic as they literally try to fight against decades of detrimental habits, attitudes, and systems in companies, organizations, and communities.

“Ele-fayn-to, Ele-fahn-to” Introduced in 1941, Elefante is a brand of tomato extract available in Brazil. It was originally owned by Cica, later Unilever, and now Cargill. Design by Interbrand (São Paulo, Brazil office) Related links Interbrand project page Relevant quoteWe understood that people lost connection with family and close friends. So we created Elefante as a brand that gather people around the table. The brand repositioned itself to make people more involved with food and we updated its identity and started to talk right to the customer, like equals.We have brought a new way to talk about all that Elefante believes. Now, Elefante tells and participates of the stories that gather people together.The new logotype is modern and clean, besides that it was designed to remind an elephant body, with clumsy terminals and bold structure. The visual identity explores the idea of ​​the intensity and concentration of tomatoes inside the package, and this is reflected in all its visual language, with the letters always together and the warm colors. Images (opinion after) Logo (with elephant).Pattern.Type treatments.Illustration style.Posters.Notebook.Packaging, before and after.Packaging.New brand and logo introduction (in English). Opinion The old logo barely qualified as one, typeset in small caps in a very generic serif that lacked any kind of appeal. The new logo is quirky and charming with a very funky rounded-ish sans serif with some odd flaring — the “n” in particular stands out but I can also appreciate how it fills the space before the “t”. It’s funny because when I glance at the logo, sometimes I hate it and sometimes I like it. The elephant remains mostly the same, in part because it isn’t a traditional mascot that can be evolved willy nilly but is instead a comic book character, Jotalhão, created by Mauricio de Sousa in 1962 and adopted by Elefante in 1979. Most of its traits remain the same but with a brighter green and sunnier disposition. The new packaging is not a bastion of greatness but it is so much better than the old one, looking friendlier and more… new. The other applications are so-so… The jumbled, overlapping typography is clunky and the illustrations look somewhat unfinished. The pattern is almost okay but the green things — dismembered elephant trunks? — make my eyes hurt. Overall, it’s certainly an improvement that makes the product look more enticing.

“Icon by Icon” Established in 1994, SMK (short for Socialinių Mokslų Kolegija or "Social Studies College" in English) is the largest, non state-owned, higher education institution in Lithuania. With two campuses -- one in Vilnius, Lithuania's capital, and the other in the port city of Klaipėda -- the university counts with 2,400 students and offers study programs in the areas of informatics, health, arts, business and public administration, law, and social sciences. Earlier this year, SMK introduced a new identity designed by Vilnius-based Andstudio. Our biggest inspiration were SMK people. Every SMK student is a unique individual, all together they are forming a vibrant, dynamic and active community. To represent every individual we created more than 200 pictograms. Together they become a graphic system that overcomes any limitations of a traditional logo and helps to recognize the brand from a distinctive set of different visual elements.Andstudio project pageLogo.The old logo was fairly decent, cleverly balancing the "S" with an abstracted "K" to maintain weight symmetry around the "M" and place an open book underneath aligning neatly with all the letters. The new logo is a contemporary evolution that maintains the same construction sans the book, which I kind of would have to liked to see evolved in the same style. The "K" is a little harder to decipher in the new logo but graphically it's more striking. The full name underneath could use some extra leading to let it breath a little.Logo composition sample.If you miss the book graphic like me, the logo is most often accompanied by a wide range of icons arranged in a grid and these become the centerpiece of the identity.Icons for each study program.The different study programs get their own set of icons, some are literal, some are metaphorical, some are head-scratchers (but that's fine). Apart from these, there are a few dozen others to convey your mood, personality, and habits.A few icons, bigger.[Through an] app SMK students can create their own unique symbol. 4 easy steps of games and tests and the application generates a personal logotype. The exported logotype can be used on any university paper work, social media or merchandising.Andstudio project pageLogo generator. You can play with it here (there is an option to do it in English).Logo presentation/animation.I like the concept and the result is visually stimulating and energetic. I don't know if the icons could have been more cohesive somehow? Or perhaps it's the lack of cohesiveness that makes it work? Or even further, these ARE cohesive? Nonetheless, the intention is good and, in application, they clearly help establish a distinctive personality.The whole identity system is based on University's mission, core values, modern approach and open-mindedness. It also becomes a symbol of constant change, where every person has the possibility to create his own unique SMK visual identity.Andstudio project pageStationery.Various materials.Program.At a glance, or for a student seeing this for the first time without the context of what the icons mean, the design can feel random or gratuitous and some of the icons -- like the orange with a leaf -- make you question what in the world this is all about. But at the same time, the design helps SMK look very different from other educational institutions in an attractive, energetic, and youthful way.Website.Exhibitor booth.I would totally flock to their exhibitor space at what looks like a college fair. Regardless of what I wanted to study, I would go see what that was about.Lanyard.Tote bag.Pins.Short video case study of all of the above.Overall, I still wonder if the icons are right or if they are too overpowering or distracting in that they demand to be decoded -- like, why is there a tennis ball and an airplane on the tote bag? -- but, shutting down logic, I find this to be entertaining, exciting, and bold.

“Anchor Management” Established in 1873, Delta Gamma is one of the largest women fraternities* in the U.S. with more than 250,000 initiated members in 152 collegiate chapters and 195 alumnae groups. (* Delta Gamma refers to itself as a fraternity instead of a sorority.) Their Greek letters were chosen by the three young women who founded the fraternity in Oxford, Mississippi, at the Lewis School for Girls when they were unable to go home for the Christmas break, because of their desire to "Do Good", which remains their motto today. In 1951, the Delta Gamma Foundation, a nonprofit organization, was formed to support fundraising, scholarships, programming and grants and specifically to help the visually impaired and other organizations that promote sight preservation and conservation. This month, Delta Gamma introduced a new identity designed by Columbus, OH-based Ologie. The Delta Gamma identity represents us visually at the most basic level. It's a signature, a stamp of quality, and a symbol of pride for all of us to rally behind.The brand mark is a combination of elements that are unique to Delta Gamma. It represents timelessness and pride, and is deeply rooted in our fraternity's history.The wordmark is a distinctive graphic treatment of our name. It's usually positioned alongside the brand mark to create a recognizable logo for our brand.Delta Gamma Brand GuidelinesLogo.Lock-up variations.Color variations.The first question that might come to mind, is why an anchor? It was adopted in 1877 as a symbol for hope. The second question that might come to mind, is why hope? It's one of the values of the fraternity and their original pin featured a letter "H". So... The old logo depicted the anchor in a rather mundane way, looking like a random marina or seafood restaurant and accompanied by painfully obvious fake small caps with the "D" and the "G" far too bold in contrast to the smaller uppercase letters. The new logo is a lovely and much needed evolution that not just adds sophistication but brings it into the academic world. The anchor is now more minimal and instead of the rope as a garnish it features the Greek letters filling in the counterspaces quite well and supported by a minimal rose graphic that follows the contour of the anchor. The wordmark is set in a very nice serif -- ID help, please -- that looks book-ish and contemporary. The year at the bottom is probably not needed but it does create a good balance with the anchor. Overall, the logo manages to feel feminine, strong, and confident without being heavy-handed about any of those aspects.Our color palette is bold and distinctive. It relies primarily on our heritage colors of blue and pink, along with generous white space. Secondary colors are used for deeper levels of content in layouts and for breaking up headlines. By leaning on our heritage colors and plenty of white space, we create a modern look that still connects with our tradition.Delta Gamma Brand GuidelinesColor palette.The eagle, rose, and pillar badges represent our three entities: fraternity, Foundation, and Housing.Delta Gamma Brand GuidelinesBadges.Typography.The rose is an iconic symbol of our fraternity that's deeply rooted in our heritage. The leaves and laurels represent Greek life. Like our floral illustrations, colored leaf backgrounds represent the femininity and beauty of the Delta Gamma spirit.Delta Gamma Brand GuidelinesPatterns.Patterns and typography.There is a really nice variety to the identity elements: the color palette feels warm and approachable, the typography comes across as both bold and relaxed, and the patterns provide attractive visuals to frame content and messaging. I particularly like the combination of the condensed Anton with the bold Tropiline serif and I'll admit that I'm a low-key admirer of hand-drawn script fonts... I rarely, if ever, use them but I really like them, in all their inspirational-quote-goodness.Social media.Invitation.Publication.Welcome kit.Swag.Sign.Brand video.The applications are all fairly good. I'm not the target audience in any way but if I were a teenage woman eager to get into a sorority/fraternity, or an alumnus of Delta Gamma, I would be all over this. I have no idea what other sororities/fraternities' identities look like but I have a feeling they are not as well considered or as robust as this. Overall, this comes across as inviting, energizing, and fun for past, present, and future members.

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Booka is a new, digital service that aims to make your life a little bit easier by giving you direct access to the calendars of a wide variety of professions, ranging from carpenters and plumbers to real estate agents and car dealerships. By accessing their calendars, you can see when they are available, book an appointment directly, and skip the hassle of endless phone calls and e-mail conversations. We developed a brand strategy, name and visual identity for the start-up, aiming to set them apart from other web-based services through humor and a focus on the interaction between the customer and service-provider.

“OO Brother, Where Art Thou?” Established in 2003, BOO is the premier streetwear and skate brand in Vietnam. Founded by twin brothers, Viet Anh and Viet Hung, who grew up in the Czech Republic and moved to Vietnam when they turned 20, the company started with them selling other brands' merchandise from their home before opening their first retail store and eventually developing their own apparel starting in 2009. According to this article, the company is named in honor of cows -- "boo" is "moo" in Czech (although I couldn't confirm the translation through Google so any bovine Czech enthusiasts reading are welcome to confirm). Today, BOO has over 50 retail stores across the country and enjoys growing influence in the Vietnam fashion scene. Earlier this year, BOO introduced a new identity designed by Ho Chi Minh City, Vietnam-based Rice. For BOO, Rice created a comprehensive and heavy-lifting new identity system designed to focus and streamline the brand. Reducing brand assets in order to make them work harder, reorganizing hierarchies to clarify offerings and initiatives, and introducing systems for design and communication, Rice aimed to help BOO stay relevant for the new generation on Vietnamese streetwear lovers.​​​​​​​Rice commissioned Displaay type foundry to create an exclusive, Vietnamese version of Roobert Regular with custom discretionary ligatures for BOO. The BOO word-mark is type-able and can be displayed within any line of copy and was designed with a variety of lock-up's in mind. Branded stamps were designed with each shape mimicking an encapsulated stamp of approval.Rice project pageLogo.Sub-brands.The old logo was not good by traditional logo standards --it was very difficult to read as "BOO", more like "B8", and the laurel wreaths had nothing to do with anything visually or conceptually -- but when it comes to streetwear and skate wear my impression is that such concerns don't matter and if the audience embraces it then it's cool AF and that seems to be the case here. Nonetheless, it wasn't a good logo. Meanwhile, the new logo is pretty awesome, with a super funky "OO" ligature that is unexpected and rule-defying, giving it a challenger-brand personality with a mature, confident approach. The logo is simple, minimal, and catchy in an odd yet satisfying way. Complemented by a heavy dose of a customized version of Displaay's Roobert Regular and thin stroke holding shapes, the logo system does verge into the deadpan trend territory but it's so nicely done that it's hard to be mad at it in any way.Logo garnishes.Customized version of Displaay's Roobert Regular.Your browser does not support the video tag.Brand book.Your browser does not support the video tag.Layout system.Posters.Your browser does not support the video tag.Instagram account.Your browser does not support the video tag.Website.While I wish there was a slight visual twist somewhere, somehow, beyond the Brutalist approach -- which, in this case, is kept on the light side -- the design system is effective mostly because now it seems like such an acceptable visual language for fashion brands. Perhaps it's a novel approach in Vietnam that isn't as pervasive as in Europe or the U.S.... or a design blog.Label/tag system.Hang tags.Bags.Store sign.Products.Cap.Button.The strength of the logo is demonstrated in how easily it can brand everything on its own, from hang tags to caps to buttons, and being such a small device, it can remain readable even in the smallest of real estate.Rice created a sub-brand for BOO called BOO LAAB. BOO LAAB is a place for BOO to experiment with new approaches to product making and push themselves into unexpected territories. The BOO LAAB product can be found at BOO stores but also at their own stand alone retail outlets. The BOO LAAB word-mark is constructed using a special AA ligature which mirrors the OO in BOO. Times New Roman is adds some spice to the typographic mix.Rice project pageLAAB logo.Hang tags.Bags.Labels.Posters.The BOO LAAB sub-brand follows the same parameters but in yellow instead of mint green and with the addition of Times New Roman as an extra dose of graphic irreverence (which, eh, it was an interesting idea a decade or more ago but not so much anymore). I wish the "AA" ligature were more exaggerated to match the "OO" as it can almost pass unperceived.Store sign.Store interior.Overall, despite some expected fashion and identity tropes, this is really well done and gives the brand a sense of maturity without losing the rebellious attitude.

La Maison Léonie Paris is a creator of fine confections that combine rare Indian spices with refined French elements. Made by great pastry chefs, these recipes offer a unique culinary experience to be shared on memorable occasions with privileged guests.The project consisted in creating the brand's territory as well as its graphic guidelines based on the name "Léonie", the name of Marcel Proust's aunt who offers him the famous madeleines in the book "In Search of Lost Time". Graphéine invented the storytelling of the brand by imagining the fantasized youth of this famous character of French literature. This "prequel" is told in the form of a fairy tale. It lays the foundation for the enchanting universe of LÉONIE Paris. Its visual identity embodies the promise of a unique blend, a clever balance between a graphic design evoking Indian traditions and flavors and, on the other hand, a typically French elegance and sophistication.

“Split Personality” Opening its first location in the Summer of 2019 in New York, NY, Equinox Hotels is a new brand of luxury hotels -- rooms start at around $700 -- from, as its name implies, the brand that turned going to the gym into a luxury lifestyle choice, Equinox. While Equinox isn't the biggest fitness club, with only 83 locations, it does have one of the biggest and most alluring (for some) personalities with its ultra sexy photography and all-black fashion style. Dialing down the ripped-body, fitness focus of the clubs, the hotel is more about the indulgence of chilling out in tricked out digs after working out. Equinox Hotels is already planning hotels in Houston, Chicago, and Los Angeles, with possible locations in London, and Hawaii. The identity has been designed by New York- and San Francisco, CA-based COLLINS. We defined the Equinox audience as those who are constantly striving to be better than who they were yesterday. It's through this pursuit that they are lead to opposing extremes: Discipline and indulgence. Relentlessness and relaxation. Excess and absence.They want it all. They go after it all. And they want a place that shares their appreciation for these collisions. For the all and the nothing.COLLINS project pageBrand book that describes the hotel's audience.Apart from the price, getting a glimpse into who Equinox Hotels wants its audience to be (more here) is a pretty good indicator of whether staying at an Equinox Hotel is right for you. Spoiler: It's not for me. However as not-for-me as it is and given the slightly douchey (for me, at least) way that Equinox markets its fitness clubs, the approach for the hotel brand, while still grandiose, is relatively restrained and even inviting.We believed these dualities could complement each other. By crafting an uncommonly disciplined brand -- rooted in the idea of extremes -- we embraced this philosophy. Light and dark. Warm and cool. Hard and soft. Up and down. Black and white. Near and far. These extremes define the new brand of Equinox Hotels.COLLINS project pageShadow animation.We looked to amplify the relevant equities built into the existing Equinox brand, yet elevate and evolve them. By taking a familiar graphic element from the original Equinox wordmark, for example, we could imbue it with new meaning and tell a new story. Now, in addition to inviting guests to work out with Equinox for a few hours, they are invited to stay for days. By embracing a tone of purposeful design restraint, we expand from the power of physical movement to the art of regeneration.COLLINS project pageLogo animation, taking the fitness club logo and expanding it.Logo.The logo is a really great and clever extension of the well-known Equinox logo, taking the stenciled "O" and splitting each of its halves amongst the two words, creating an abstraction of night and day, sun and moon, all while establishing an elegant and sophisticated wordmark. Not a whole lot else to say about the logo as it's quite straightforward and very appropriate in its minimalism.Business cards.Stationery.Letterhead.Notecard.One-sheet.Instagram stories.Digital ads.The applications are as restrained as the logo, with the bare minimum of design elements and a single weight of Gill Sans Nova used for the limited amount of additional copywriting and information. If you have read Brand New for more than a year, you have probably heard me diss Gill Sans but this application, in all uppercase and in one of the thinner weights, is Gill Sans at its best. Some of the photography and slow motion video is a little on the irritating side but, again, I'm not the target audience.The brand is built to embrace the distinct tones of each location, acting as a framework for the unique qualities of each city. The first Equinox hotel launched in New York City's Hudson Yards, with plans to open doors in several cities across the globe.COLLINS project pageNotepad.Key card.Pencils.Signage.Unsure.Invitation.Overall, this is a perfect embodiment of the Equinox brand properly adapted to luxury hospitality -- whether it's your cup of tea or not, that's another issue and you can always sip that cup of tea at a Holiday Inn... with me.

New visual identity and online presence for Pure Waste to facilitate their ambitious vision is to lead the textile industry into a future of sustainability by pushing everyone to "Think again". Their dedication to sustainability and 100% recycled materials inspired the main concept of "recycling" staple typefaces to create something brand new. This typographic base was combined with planet friendly printing choices, hand drawn illustrations, documentary style brand imagery and simple look-book shots celebrating everyday staple clothing.

LOGOFOLİO - BAD LOGOS 2 Logotypes & Marks -- Tags design, designer, graphic, graphic design, color, colour, inspiration, logo, logofolio, branding, branding agency, brand, brand identity, stationery, packaging, graphics, behance, dribbble, photography, art, typography, prints, digital art, trendy, skill share, skill share class, adobe, adobe photoshop, mood, art direction, istanbul, london, paris, new york, los angeles, san fransisco, idenity, custom, monogram, design studio, letterpress, brand, brand design, visual identity, corporate, corporate identity, ux, ui, interface, animation, user interface, user experience, startup, start up, minimal, creative, minimalism, simple, negative space, label, fashion, business, badge, illustration, icon, icons, drawing, sketch, freelance, freelancer, logotype, marketing, black and white, designers, website, web, work, web designer, brandbook, brand book, brand manual, catalog, business card, stationery, flyer, clean, basic, guideline

FİRSTFOLİO - BAD LOGOS Logotypes & Marks -- Tags design, designer, graphic, graphic design, color, colour, inspiration, logo, logofolio, branding, branding agency, packaging design, brand identity, stationery, packaging, graphics, behance, dribbble, photography, art, typography, prints, digital art, trendy, skill share, skill share class, adobe, adobe photoshop, mood, art direction, istanbul, london, paris, new york, los angeles, san fransisco, idenity, custom, monogram, design studio, letterpress, brand, brand design, visual identity, corporate, corporate identity, ux, ui, interface, animation, user interface, user experience, startup, start up, minimal, creative, minimalism, simple, negative space, label, fashion, business, badge, illustration, icon, icons, drawing, sketch, freelance, freelancer, logotype, marketing, black and white, designers, website, web, work, web designer, brandbook, brand book, brand manual, catalog, business card, stationery, flyer, clean, basic, guideline, r

Fresh New Brand Identity for Sweet Films abduzeedoJun 26, 2018 Elvis Benícioand Diego Bolgioniwereinvited to create a new brand identity for Sweet Films. The goal of this rebranding was toadapt to the new strategic position and vision of the studio and communicate the message to the market. Sweet Films is a Brazilian boutique studio specialized in video production for advertisem*nts. The design solution that they created included dynamic visual elements made up of fresh components and a new typeface.The final deliverables included a visual identity guideline book, website (UI/UX), stationery and animated signature.CreditsMotion graphic:Rafael Fernandes/Graphic Design: Elvis Benicio,Diego BolgioniBrand identityConcept.After going through many possible ideas about shapes and graphic concept Diego and Elvis realized that it could be interesting to build a metaphorical connection with a fly (as a client) and something that looks yummy (sweet). From this starting point, everything pumped up in their minds and the process began to be playful, upbeat and consistent. Theproject was approved with success by the client without any changes. (all in!)Stationery.Social kitVisual elementsWebsiteSignatureBefore / after branding

“I Wanna Be in the Boom Where it Happens” (Est. 1996) "KABOOM! works with communities to build incredible, kid-designed playspaces that help give kids in every zip code the opportunity to thrive. Kids who don't have access to play miss out on childhood and are denied critical opportunities to build physical, social and emotional health. For more than two decades, we've teamed up with bold, inspiring partners and community members, starting with the kids themselves, to understand each neighborhood's unique aspirations. Then we build incredible places to play, inspired by their design, courage and leadership. Over the last 23 years, we've built or improved 17,000+ playspaces, engaged more than 1.5 million community members and brought joy to over 11 million kids. As we look to the future, we'll continue our efforts to build collective action and community opportunity, spark hope and enable kids to reach their full potential. And we promise that we won't stop until we put an end to playspace inequity. For good." Design by N/A Related links KABOOM! Twitter announcementKABOOM! Brand Book (PDF) Relevant quoteOur logo is the core of our brand identity. The mark in our logo positions KABOOM! as the spark for playspace equity. With a new refined aesthetic to one that’s contemporary and established, our logo sets up KABOOM! to be known by its full, true mission to not only build playspaces but to ensure playspace equity for every kid. Images (opinion after) Logo.Mark and social media avatars.Mark with kids.Color palette.Business cards.Sketch pad sheet.Banner.Playground sign. Opinion The old logo was energetic for sure but it felt too much like just a comic book graphic and not enough like a large nonprofit organization. The name alone is enough of a kaboom that it doesn’t need the full-on bombastic graphic treatment as the new logo demonstrates. The abstracted “K” that looks like a spark provides just the right amount of visual excitement in an otherwise restrained logo. The wordmark is chunky and with rounded corners, both of which make perfect sense for the name and focus of the organization. I really like how the curve of the “K” mark aligns with the angles of the “A”, making for a pretty clever integration of the two elements. The “K” mark on its own is pretty strong too and looks really good in a solid color — it will need a good year or two to become easily associated with KABOOM! but it has potential. The applications are a little shy at the moment but there is a decent start there with the loopy arrows and squiggles. Lots of room to grow with such a solid logo but definitely still has to evolve, which will probably happen once they move from renders to actual applications. Overall, a great, feel-good logo evolution for a fantastic, feel-good organization.

“It’s a Bird… It’s a Plane…” Established in 1946, the Montréal Alouettes are a professional football team based in Montréal, Québec, that compete in the East Division of the Canadian Football League (CFL). One of the original teams of the CFL, the Alouettes have folded twice, once in 1981 and rebuilt as the Montreal Concordes (for four years, then returning to the original name), and another time in 1987 not coming back until 1996. Through the ups and downs, the team has won six CFL championships, the last one in 2010. This week, the Alouettes introduced a new identity designed by Québec City, Québec-based GRDN Studio. "Taking this step goes well beyond a rebranding exercise; we have defined the identity of the entire organization," said Alouettes President and CEO Patrick Boivin. "This new identity can be summarized in one word: MontreALS. We came to the conclusion that our DNA must reflect Montreal's DNA even more. We intend on better connecting with Montrealers in different areas that define our city such as music, gastronomy, fashion and culture, among other things."Alouettes press releaseConcept.Logo.Icon detail.The old logo was pretty bad and looked like a high school team -- I do admit that I find it kind of charming (in a funny way) how the legs of the "A" are the legs of the bird as it rushes forward. So, nothing lost in moving away from it. The new logo revolves around an icon that amazingly manages to be an "M", a plane, a bird, and a nod to the fleur-de-lys all while shoving sport logo conventions to the gutter. If this icon had been designed in the 1950s it would be in the Design Canada movie, which is a way of saying it's pretty damn great. The wing shapes are perhaps a little exaggerated but it's a minor quibble as I really like its simplicity, starkness, and how well it works as a stroke-only mark. The type in a circle is okay... it's a hard, long set of words to kern nicely on a curve -- the "ALO" combination is a prime example. The icon also needs to be nudged down a tad so that it's centered visually not mathematically.MontréALS wordmark. A nickname for the Allouetes is the "Als", hence MontréALS. The identity adds a "MontréALS" wordmark, typeset in GT America Extended (as is the rest of everything), that introduces a stroked-type treatment that is used throughout the identity. I like the concept of building the nickname of the team into the city as it's probably the only team in the CFL that can do that.While MontreALS represents who the Alouettes are, the Toujours Game slogan, which came out during the 2018 season, represents the organization's state of mind. Just like Montreal, the Alouettes are a proud, passionate and resilient team that has guts. This motto was created by VICE, which Sébastien Boulanger called upon to illustrate with the proper words the concept which defines the Alouettes identity."When we were doing research to grasp the Alouettes identity, we identified a parallels between the organization and Montrealers," said Paul Labonté, Creation Manager at VICE. "Whether it's the players, the employees the fans, Montrealers from past and present generations or new residents, it takes resilience, passion and openness to live in Montreal. Toujours Game is that lifestyle, that attitude which consists of being ready to embark and face adversity, in the summer or the winter. It's in the Alouettes DNA and it only exists here."Alouettes press releaseNew look teaser. (Sound off by default and it's hoppin' so turn that ish up.)Your browser does not support the video tag.Some of the identity elements.Posters.What looks like maybe a brand book?Maybe pages from the above?The posters and the book and spreads above are the closest we get to some applications. If you are a fan of identities that repeat words and sentences, you are in for a treat. I personally don't find it too interesting -- I like the visual effect, sure, but I think it's a way of compensating for a lack of substance as well as being too hard of a trend. But, yeah, I'll admit I like looking at it and that it creates an interesting blend of old school and new school for the team, especially with the pairing of the vintage photos and what are arguably newfangled graphic treatments. Things get a little weirder from here...Your browser does not support the video tag.Your browser does not support the video tag.Your browser does not support the video tag.Things that repeat that maybe are something.Look book-slash-something.If you ever wondered what a football team would look like if a design firm and VICE had a graphic baby, wonder no more, this is literally it. And, to be perfectly honest, I am completely torn on whether I love this or hate this. My eyes are all like "Yeah! Hell yeah! More!" but my brain is all like "But, why?" and my fingers are all like "So, what you want us to write?".I really like the intersection of fashion and football... I think this somehow manages to combine the deadpan affectation of streetwear with the raw energy of the sport in a successful way. But I wonder how universal the appeal of this is -- I'm not sure the average Molson Canadian-drinker would be rocking a floor-to-ceiling-length scarf-slash-rug. This is somewhat clearly an effort to make the Alouettes the urban-style team of the league and there is some coolness in that but is it appropriate for the general Montréal-football-loving population? I'm not sure.Uniforms.Oh, and look, there is uniforms too. They are okay. I do like the detail on the helmet of using the team's old icons as a nod to its history.Redesign explanation. Long but worth the watch.Overall, as expressed, I'm torn on this one. There are aspects I love (like the icon) and aspects I hate (like the sad look of all the models as a way to sell football). I do appreciate the effort to do something so outside of the norm but maybe it took the team one realm too far.

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“Sensory Overload” This past October 17 - 18 we celebrated the tenth anniversary of the Brand New Conference in Las Vegas, NV. It was a fun two days and, as usual, we enjoyed doing some crazy stuff for the applications especially with the challenge of channeling Las Vegas' frenetic energy. I don't go into the behind-the-scenes in this post so if you are interested in how we put together the stuff this video covers it. Long post ahead with lots of video files. Vegas ReferencesGiven that the venue for the conference was in Downtown Las Vegas -- the original townsite and original gambling district of Las Vegas prior to the Strip -- we were heavily attracted to the 1940s and 1950s version of the city, which manifested itself in an eclectic combination of the niceties of Mid-Century Modernism and the tackiness of neon light casino-ism.The book, Vegas Gold by David Willis, and the Instagram hashtag #VintageVegas, became our guiding lights -- pun semi-intended. While the neon signs are indeed the heroes of vintage Las Vegas, we were equally attracted to the unsung marquee signs that, underneath the glitz and glimmer of the neon signs, announced the various acts that were playing at any given casino and/or hotel in movable utilitarian fonts. These two elements served as the basis for the identity.Various marquee signs from Vegas Gold. Photo credits, top row: Photofest (left and middle) and Charles Phoenix Collection; bottom row: Melvyn P. Lawes, Wolf Wergin, and Las Vegas News Bureau / Las Vegas Convention and Visitors Authority (two far right images).Custom TypefaceAt first we tried to find existing typefaces that matched the marquee style but what we found was either too slick or too grungy so we turned to our old friend, eBay. We were able to locate a full package of vintage marquee letters that would provide us with a starting point.The full stack of 6-inch, Gemini-brand marquee letters.After scanning all the letters we cleaned them up, established some mathematical boundaries, and treated each character as if it had to be drawn with a ruler, compass, and/or French Curves. We fell in love with the modularity of the letters as well as their flat tops and bottoms, which became more noticeable when the font was stacked, which became more interesting the tighter it was stacked. Said tightness became a key component of the identity."BNConf Marquee" -- not the most imaginative font file name but it served its purpose.Neon LightsYour browser does not support the video tag.Flamingo Las Vegas Hotel and Casino neon lights. How do you translate this into an identity that doesn't drive you completely insane?We wanted to capture the visual and sensory overload of being in Las Vegas and specifically of walking along Fremont Street -- where many of the original neon signs still stand -- which is a kind of frenetic on-off-on-off flickering of neon signs, light bulbs, and letters and the constant dinging of the slot machines inside. We took a special trip to Las Vegas, armed with a telephoto lens, and photographed every possible neon sign that we could stand under. We photographed them in bursts so that we could capture as many "On" and "Off" states as possible. From the more than 2,600 images we took, we selected the ones that yielded the best on-off states and that looked the coolest as abstractions of neon signs.Sample on-off states.We then combined the photos with the new typeface -- spelling out, as usual, "BNCONF" -- by referring back to the marquee font in real life, where each character lives centered inside an acrylic frame. We replicated these layouts but in a looser way with wider margins so that the images could show through better. This modularity then allowed us to mix and match the different images that, when paired, create that sensory overload feeling you get from being in Vegas.Using BNConf Marquee to frame and pair the images.And that gave us the primary building block of the identity: a constant on-off, neon-light-infused modular grid that we could apply to the website and social media posts.Your browser does not support the video tag."BNCONF" animated.ProgramsThe real challenge of this year's identity was how to bring to life, in analog form, our on-off compositions that were so relatively easy to deploy digitally. Enter lenticular printing. A technique we never imagined we would use, since it's something we usually associate with tacky postcards and cheap promos but it was the only way to achieve this effect. Luckily, our trusted printer, Classic Color, knew of a lenticular sheet manufacturer, Pacur, that makes some of the best lenticular sheets available so between Classic's excellent printing and Pacur's quality materials we knew we could exceed our own expectations of what lenticular can do or look like.Your browser does not support the video tag.Lenticular effect on three different programs.Your browser does not support the video tag.Lenticular effect detail.Your browser does not support the video tag.Scans of 18 different covers.Because we never take the easy way out with the conference materials we customized every single program by mixing and matching 12 different images that were each printed 6 times and each of those having a die-cut for "B", "N", "C", "O", "N", and "F" respectively. This allowed us to create an infinite number of possible combinations -- 221,298,739,200 to be exact, actually, according to our super smart 12-year-old daughter. Each letter had a peel-off adhesive backing and we manually placed each combination, one at a time over a very long stretch of hours. If you are wondering, yes, the counters of the "B" and the "O" had to be placed individually as well to match the "background". Sure, we could have easily printed 12 different compositions in a single sheet of lenticular and have the printer glue them in some mechanical way but this hand-assembled approach yielded a highly tactile feel in the spots where each letter nestled itself tightly.Your browser does not support the video tag.A sampling of the 12 on-off images that we used. Each image was reproduced 6 times with a different letter from "BNCONF" die cut from it.Various covers.Cover close-ups.Your browser does not support the video tag.Sample interior spreads.BadgesOur first inclination for the badges was to somehow fit a lenticular "BNCONF" on them but there was not enough space so we opted for a kind of nested Russian Doll slash inverted pyramid arrangement where five frames in decreasing thickness stack on top of each other for a kind of tunnel vision effect and to further play on the nature of more-is-more of Vegas.Your browser does not support the video tag.Lenticular effect on three different badges.As with the programs we printed and die-cut a variety of frames -- four of each thickness -- so that we could create various combinations.Your browser does not support the video tag.The four different sets of inverted pyramid frames that we could also mix and match.The condensed custom font proved to be very useful this year as it allowed for people's names to be displayed very large and still fit in the narrow 3.5 inches of the badge.Various badges.Badges close-up.Tote BagsGiven the amount of hand assembly required for the programs and badges we decided to keep the tote bags relatively simple with a full print on all sides. There are four different designs with the front showing a full-bleed picture of some of our favorite neon-light photos and the back showing different combinations of the "BNCONF" letters.Tote bag fronts.Tote bag backs.Various totes.Tote close-ups.Stage LettersWe wanted to create the closest rendition of neon possible and since working with actual neon is, like, super hard, we found these great thick strips of LED lights that behaved very closely to neon as they were hard to twist into curves creating similar effects to using glass tubes. We created 4-foot-tall letters in black acrylic using the custom typeface to serve as the frames for the LED strips. As a bonus, the lights had different settings and could be set to a pulsing effect so it even animated like neon. (These were made in-house, like a boss, by Bryony.)Your browser does not support the video tag.A few different views of the stage letters in action.Wide view for size relationship.Details.Letters with speakers.PodiumA fairly simple approach to the podium (so that it wouldn't steal the thunder of the letters) with a big, abstract, colorful image and big-but-not-too-big typography so that all the Instagram pictures of the speakers taken by the audience that go out into the world have clear branding.Podium.Podium with speakers.Selfie Stand BackdropA bonus application was a big backdrop for the fun selfie stand that we made using all the "holes" from the lenticular frames of the badge.Selfie stand and backdrop.In use.Results.T-shirtWe went off brand with the t-shirt as it's the only application that uses a white background but we didn't want a black t-shirt with thick white ink on it as we really wanted some big typography on it, so we opted for a smooth t-shirt with water-based printing so that they wouldn't have that plastic-y silkscreen feeling. A simple tweak on the composition was used for the staff t-shirts.T-shirts.Attendee and staff t-shirts.Motion StuffLast year, the motion pieces we did were the least well received of the project but rather than let that stop us from trying again on our own this year, well, we tried again to do these on our own this year and I hope there is some improvement : )We did two different compositions for the speakers using some of the video footage we had of the neon lights and mixing them in with the BNCONF letters. The music is jazzy-lounge-y as a reference to the 1950s vibe of Las Vegas.Your browser does not support the video tag.Your browser does not support the video tag.Speaker intros.A brief intro was also created for the very start of the conference each day. Not as impressive as those 3-minute opening titles of other conferences but, in our defense, we rarely have 3 minutes to spare during our opening remarks.Your browser does not support the video tag.Conference intro.And a couple of simple interstitials as segues between speakers.Your browser does not support the video tag.Your browser does not support the video tag.Interstitials.That's it!As usual we have no idea where we go from here but we are excited to start scheming for next year's conference in Austin, TX on October 22 - 23. Pre-sale tickets already available!

In 2018, Uber launched its new brand positioning along with a complete new visualidentity system.On this ocasion Michael Gough, Uber's head of Design, wrote the book 77 Things. A book with 77 design principles for those whowork with Uber Design and those who want to work with Uber design.This book has become an opportunity to explore the boundaries of Uber's new visual identity system, and especially create examples of how to use the entire typographic family created especially for Uber.The BookThe design of the book was inspired directly by its content. We set a pattern, we create rules, and we reproduce them throughout the book."77th: Design for PatternPattern recognition is an essential skill for creators. See the patterns in user behavior, and how to change them. Understand the implicit patterns of use, layout, and function in your work. Then, make them explicit."77 Things, Michael Gough

Moscow Photobook Festival is the international event dedicated to promoting and supporting the photobook industry and contemporary photography. The festival involves an extensive exhibition and educational program, as well as the dummy book contest. In 2018Photobookfest was focused on the photobook as a dynamic, evolving format, that opens up new ways of interpreting images as a dramatic event. The task was to develop key visual within brand identity that we developed in the previous year, that would underline the dynamic 3d aspect of a photo book.

“Is Pretty” Established in 1968, Esprit is a fashion brand that designs, manufactures, and retails clothing, footwear, accessories, jewelry, and even housewares. Most well known for its colorful, happy, and fun 1980s style, Esprit has been adapting to each decade since with its vision of "essential positivity". Founded in California by husband and wife Doug and Susie Tompkins, Esprit was first sold from their VW bus with headquarters in their San Francisco apartment and it now has 761 directly managed retail stores and over 6,300 wholesale points of sale in 40 countries with headquarters in Germany and Hong Kong. Recently, Esprit introduced a new identity designed by New York, NY-based Pentagram partner Natasha Jen. The refreshed identity system features a new custom typeface inspired by the iconic "ESPRIT" stencil logo and restores the brand's signature use of vibrant color. The dynamic identity can be carefully calibrated across the wide-ranging brand, from sleek simplicity to maximum expression.For the first time, the Esprit logo (originally designed by John Casado in 1979) has been expanded into a full custom typeface, ESPRIT Stencil. The Pentagram team redrew the wordmark for consistency, refined an existing uppercase font, and then developed a lowercase font, as well as numbers and glyphs. Upper and lower cases can now be mixed in typography for messaging that captures the spirit of the brand.Pentagram project pageLogo, before and after.Logo evolution.Logo.No, your eyes do not deceive you, there are no easily discernible differences between the old and new logo and, in this case, that is a good thing since Esprit's is one of the most iconic fashion logos, so a simple tightening of the nuts and bolts to keep it working for another 40 years seems like the best approach. One fun story about the logo that I didn't know -- explained in this must-see history page that shows the brand evolution -- is that John Casado showed the logo to the founders in his first round, who told him that that wasn't it and to come up with new suggestions, and then he came back a month later for a second round with the same logo, which then got approved because they appreciated Casado's conviction. Can you imagine doing that to a client today? Anyway, the old logo was great and the new logo stays great but I think everyone can sleep a little better with the minor tweaks done that streamline some of the letters and open up the overall spacing (between letters and pieces of letters) in an enjoyable way. You might ask "why bother?" and go through the expense of replacing the logo but with fashion being so cyclical it's perfectly feasible to work in the new logo into all the print and digital campaigns as well as new labels and shopping bags. Signage is another story but, well, no one will really notice.Custom typeface.The strong typography is accompanied by a radically simple yet effective approach to color based on a color wheel. The method introduces a wheel of 72 colors (each represented by three levels--shade, pure and tint) that offers a broad palette of possibilities yet is highly systematized. When working with the branding, Esprit's graphic designers can choose from two to six pairs of complementary colors, and mix and match the oppositional color pairs for a variety that can change seasonally and thematically, but always bring vibrancy to the brand.Pentagram project pageColor wheel.Lively typeface introduction.The new typeface is pretty great. Pulling off the stencil approach convincingly in lowercase letters is hard and this does a stellar job at it while keeping the geometric structure of the logo.The Pentagram team created a comprehensive brand style guide that covers everything from hang tags and labels, buttons and zippers, packaging and shoe boxes, tissue paper and tape. Color can be selectively applied on packaging with playful stickers. The cohesive identity framework extends to sub-brands for the edc, Esprit Sport, Esprit Jeans and Esprit Kids product lines, as well as a system of custom icons for digital and label iconography.Pentagram project pageBrand book.Stationery.Cover with stickers.Notecards.Tape.Shopping bags and boxes.Shopping bag and box with tape.Boxes.The applications have a nice range that can go from the serious stationery materials to the exuberant bags with tape -- which look great as a prototype but I wonder how its real-life application will turn out -- and a little bit of everything in between. The one thing I'm not sure how literally to take is if the blue/red/yellow color palette is meant to be the new standard combination... I do kind of like it but the Gen X in me would love to see the 1980s colors make a comeback although I do understand that that may not be a universal desire. It should, tho.Hangtags.Buttons.Store.Overall, this is a tight evolution for the logo along with a very useful addition of the full upper and lowercase typeface that will serve as a really strong branding asset and keep the Esprit spirit alive for years to come.

“Everything’s A-OC” Established in 1950, Oklahoma Christian University (OC) is a private Christian university in Oklahoma City, OK, offering undergraduate and graduate programs to approximately 2,000 students. The university counts with 94 full-time faculty and, along with students, they participate in mission opportunities around the world. Their athletics teams, the Eagles, compete in NCAA Division II. With the start of the 2019 - 20 academic year, OC introduced a new identity designed by local firm Switch. Samples of old identity.The primary finding during our interview/discovery phase was that OC wasn't many of the stereotypical things you associate with college life. There is no Greek system, football team, or expected university architecture.In search of where OC pride came from, we had to pivot from the normal way of thinking about university pride. We found that when we asked about why people were proud to be associated with OC, there was always a story -- a trip, a class, a professor, a friend.We constucted OC's new messaging strategy around this concept: The World Awaits Your Story. Rather than abstract statistics and rankings, the new voice of OC would be shared through real, tangible action, experience, and results.Switch project pageLogo.Your browser does not support the video tag.Sub-brands.I'm not sure if the holding shape in the old logo had any particular meaning beyond just a shape where "OC" fit decently but beyond that, it was a slightly painful logo to appreciate, not just for its amateur shading but for the poor construction that created little bubbles on the corners of the holding shape. At first I thought it was a problem with one file I found but, nope, that was the official logo applied everywhere. Anyway, it had the right idea in the condensed typeface for the wordmark to be able to fit that long name -- unfortunately, they used fake small caps on it. The new logo maintains the same condensed typeface for the wordmark but introduces a great "OC" monogram with a perfect circle "O" and half perfect circle "C", that on its own can feel literally half-finished but when used in application at the edge of a layout it creates a great effect. Even on its own I do like it and the condensed wordmark is a great visual contrast. I'll admit that the stacked wordmark, with the "Y" sticking out to the right makes my alignment neurons short-circuit because it was so close to being fully justified but I think they did the right thing in letting be as is. The sub-brands are crisp and they solved as well as they could the really long names of some of the department and colleges.The cost of implementing a complete rebrand is not easy for any organization, much less a private university. In order to offset this cost, we designed a smart system that allowed OC to retain existing brand installations around campus.Previous to the rebrand, OC's primary typeface was Standard Condensed. By keeping the typeface in the brand system and reimagining its use, it allowed almost all wayfinding and department signage to remain untouched while still consistent with the new brand.These typographic decisions saved the university substantial costs in the campus rebranding effort.Switch project page Guidelines.Brand book.During the Discovery process, we learned that there was frustration among academic leaders that their admissions materials were the same from department to department. The OC brand system now allows for variation in color and layout, allowing each department to show their personality while remaining consistent with the university brand.While the core brand system of logos, type and color were designed to last for decades, a geometric pattern system was implemented for the launch of the brand. This was designed to show the full scale of the new color system and introduce the brand in an exciting way. In the future, other campaigns will take over while the core brand remains intact.Switch project pageVarious applications.Welcome kit.Posters.Publications.The applications look really great. They are lively and energetic but still manage to convey a certain conservativeness that's appropriate for the university. I love how well they mix the condensed sans with a complementary round-ier, loosely-spaced sans serif, all of it in uppercase. And, as I mentioned in the logo paragraph, the monogram used on the right edge of the layouts looks so good.Your browser does not support the video tag.Website on desktop.Your browser does not support the video tag.Website on mobile.Interior graphics.Poster.Banners.Signage.Backpacks.T-shirt.Identity introduction video.Overall, this is simply very well executed from top to bottom with clear and concise messaging and nothing feels out of place or like a far-fetched reach. The university knows and understands it's a small, private Christian university and now presents that proposition in a relatively exciting way.

“It’s a Big World After All” (Est. 2013) "Overview uses satellite and aerial imagery to demonstrate how human activity and natural forces shape our Earth. This perspective provides a powerful look at the planet where we live and the civilization we are creating. Through our imagery, shop, and collaborations we aim to inspire the Overview Effect.Our daily feature - Daily Overview - is one of the most popular blogs on social media, garnering one of the largest followings on Instagram (currently 753,000+ followers) of brands with an environmental focus. Images from the project have been featured in hundreds of publications around the world including the New York Times, Washington Post, WIRED, The Economist, VICE and more. Lastly, large-format prints from have project have been exhibited at numerous exhibitions around the world with noteworthy installations in Barcelona, Munich, San Francisco, Tel Aviv, Los Angeles and Hjo, Sweden." Design by Landscape (San Francisco, CA) Related links 2015 Brand New Noted Images (opinion after) Logo.Icon.Stationery.Invitation.Lots of flat things. Opinion The old logo — which will still be used for the Instagram account as the “Daily” segment of the newly named Overview — was good, with a “D” orbiting around an “O” as if it were taking pictures from above. The new logo is a reflection of the growth of what started as one of the most addictive and satisfying Instagram accounts to date that has evolved into additional publications and collaborations. The new wordmark may not be the most exciting but it is still quite nice to look at as it’s flawlessly done. The full-circle “O” obviously alludes to Earth and is used on its own confidently on the website — which, by the way, is absolutely stunning in its simplicity. The applications are very straightforward and I think that’s fine because when you have imagery as amazing as what Overview creates, the identity should get out of the way. Overall, a good thing just got good-er and if you don’t follow Overview (or have their book), I highly recommend it.

“Going our Separate Waze” Established in 2006, Waze is one of the most popular navigation apps in the world, with 130 million users in over 180 countries and is, in part, fueled by its community of users who report, in real time, traffic and road conditions (along with the very helpful police-up-ahead reports so that you can slow your speeding, which you shouldn't be doing). Originally created as a free digital database of the map of Israel in Hebrew built through crowd-sourcing and named FreeMap Israel, the Israel-based company created Waze in 2008 to commercialize its technology and after a few years of expansion and adoption, it was purchased by Google in 2013. Today, Waze fills the gap in many countries where Google and Apple Maps isn't available or as accurate -- if it weren't for Waze, me and my family would probably still be lost in the mountains of Costa Rica in 2018 at 10:00pm during a massive wind storm -- or by sending you through routes you never thought possible that are so obscure they stop short of making you drive through people's backyards. Long way of saying, Waze rocks. Last week, Waze introduced a new identity designed by New York, NY-based Pentagram partner, Natasha Jen. Pentagram has refreshed the Waze brand identity with a universal system that enhances the platform's collaborative spirit and provides a better experience on the road. The identity updates the iconic Wazer symbol, introduces a set of new "Moods" that help users more authentically express themselves within the app, and streamlines the platform's signature use of illustration. The system introduces a colorful visual language called "Block by Block" that is inspired by the modular design of the city grid, roads and streets. The refresh also included the development of a new brand voice and messaging that is bold, witty and welcoming.Pentagram project pageYour browser does not support the video tag.Transition from old look to new look.The new identity builds on this heritage to create a visual language that unifies the look of the brand while reinforcing its joyful sense of individual expression. The refreshed logotype is based on Boing, the sans serif typeface which combines personality with utility and has rounded corners for a friendly look. (The font was originally designed by A2 Type, who tweaked it for the logo).The Wazer itself now features a rounder, more upright form, with the wheels placed on either side to give it a sense of depth. The shape more clearly suggests a speech bubble, emphasizing the app's focus on communication. Two Wazers are paired for the new Carpool Wazer, heading somewhere together. The simple, playful outline-based style extends to the Moods and other illustrated elements and icons.Pentagram project pageLogo.Wazer icon detail.Your browser does not support the video tag.Wazer as speech bubble.Despite my deep appreciation for Waze and its existence, I have always found its logo and overall appearance somewhat disappointing, much in the same way as Skype back in the day -- great product, amateur logo and identity -- which I mention because Waze's old rounded sans serif reminds me of Skype's old logo, along with the blue color. Anyway... regarding Waze... the old logo was... I wouldn't say "bad" as it had a non-challenging, user-friendly charm that is hard to disagree with but it definitely had a kind of naive aesthetic that didn't fully inspire confidence in that this thing could take you from Point A to Point B. The old icon, which I have to admit I had never thought twice about it being a speech bubble, was mostly fine except for its two wheels on the front which just rubbed me the wrong way and it's this specific evolution I appreciate the most in the new logo where one wheel is in front and one behind, adding depth and, somehow, more personality to the bubble which now has also been finessed to look more like a speech bubble and less like a ghost. Its more round proportion makes it more adorable as well. The wordmark evolution is very welcome as well, going from an early 2000s Web 2.0 rounded sans serif with drop shadow to a late 2010s serious sans serif, which might be exchanging one trend for another but at least this one looks more trustful and contemporary. tl;dr this is a great, subtle evolution of the logo that keeps the goodness and recognizability of the old one through a more refined approach while maintaining all of its playfulness.Typography.Color palette.Sample of old icons.New icons.Like the logo, the new icons have gone through a subtle evolution but they are infinitely better. The simple shift of all of them now having black strokes makes them a more cohesive set and they now look much better integrated with the Wazer icon.Your browser does not support the video tag.Icon transitions from old to new.Illustrations and infographics.Drivers see each other on the Waze map as Moods, the avatars they use to express whatever they're feeling--from clear-sailing bliss to gridlocked frustration. Highlighting the humanity of the Waze community was a goal of the refresh, and an expanded set of 30 new Moods helps bring people to the forefront by focusing on the emotional experience of driving. The new Moods offer a broader range of emotions so users can more accurately share their current state of being, enabling them to better connect with and help other drivers. (The additional Moods were designed in collaboration with FIG.)The new Moods are based on recognizable feelings or emotions expressed by a person or character, rather than on how they look. To capture as many feelings as possible, Waze conducted research with 13,000 drivers to find out how they described their daily commute. This helped guide and define the range of unique emotions for the new Moods, which capture feelings like Happy, Adventurous and Zombified with more clarity and humor than ever. The family of Moods is infinitely expandable, and extends to custom Moods for partnerships with other brands and celebrities.Pentagram project pageSamples of old "moods".New moods.I'm sure many users (and possibly many BN readers) will find the old moods better and I do think there is something engaging about them but I very much prefer the new, simplified moods, in part because they remind me of the Mr. Men book series.An underlying framework based on a geometric grid provides a strong but flexible foundation for the brand as it moves forward. The system builds on the minimalist Waze interface, which uses flat color and clean lines. Along with the logo and Wazer symbol, the program updates core visual elements including the Moods for users' driver avatars, speech bubbles and product icons, which have all been carefully redrawn based on the same grid. The system ensures consistency across a range of assets, from infographics to social posts to email templates.This grid comes to life in the new Block by Block visual language inspired by the modular design of the streetscape. The system organizes information into colorful "block-scapes"--from simple, elegant layouts to hectic, city-like structures--that create an instantly recognizable world of Waze across a multitude of contexts, from the app to social media and the Waze website. The blocks are a simple way of bringing the road and map to life in a cohesive way, with an infinitely flexible array of shapes that reflect the variety of the brand but always read as Waze.Pentagram project pageYour browser does not support the video tag.Grid use from logo to blocks.Your browser does not support the video tag.Blocks.Blocks and moods together.Another fun improvement in the identity is the addition of the colorful city block backgrounds that take the ubiquitous map grids and transform them into something playful and relevant for Waze to use as a key identifying element for its communications.Your browser does not support the video tag.Layout system.Website.Instagram.Facebook.Emails.Out of home advertising.The applications are not super exciting but they are consistent, colorful, and have a common visual purpose -- now jumping from the website to Instagram to Facebook to receiving their emails looks like a properly unified experience (whereas if you look at the previous posts on their Facebook or Instagram in relation to their old website, it's a little all over the place). One complaint is that I do hope the copywriting on the speech bubbles (as seen in the ads above) is placeholder because those are painful. Overall, this is a great evolution that keeps Waze's playfulness and gamification vibe alive but all done in a much more refined and attractive way.

“It’s a Mads, Mads, Mads, Mads World” Launched in 2008, Evernote is a mobile app for taking notes, clipping web pages, organizing, making task lists, and archiving. Developed by Evernote Corporation -- a global, privately-owned company headquartered in Redwood City, CA -- the app now has over 225 million users who have generated more than 8 billion "notes" and works natively in 25 languages. Amazingly, Evernote has not been bought by Google, Facebook, Microsoft, Apple, or Keurig Dr Pepper. Yesterday, the company introduced a new identity designed by DesignStudio in collaboration with their in-house group. [We] asked our partners at DesignStudio to go for range, to frighten us, make us uncomfortable. Explore everything from slight revisions to an outright "rip and replace." The exercise was exhaustive, from researching other elephant marks in use globally to pushing the boundaries of abstraction.The exploration garnered plenty of strong opinions and debates, but ultimately, it brought us back to the idea of a considered design evolution rather than a radical shift. It was the right thing to do. We wanted to signal change, not shoot ourselves in the foot. Our customers, community, and employees had a soft spot for Mads. So after significant effort, and because we had a collaborative and understanding partner, the conversation turned to what was and wasn't working in our current logo and wordmark, and how to refine it.Evernote Medium postWar room.Elephant icon explorations.While Mads had aged fairly well, there were some structural issues to iron out. First, we wanted to round out his geometry, to soften the edges and make him feel more balanced. This provides for more flow in the negative space and ultimately optimizes white space around the mark. We looked at losing the fold in the ear -- which evokes both the dog-eared page of a book and the common icon for a document -- but chose instead to honor our past by doubling down on its significance and increasing the size. Both of these decisions helped with scaling and recognition issues. We rounded the trunk into a spiral, a symbol of progress, and added a more defined slope in the forehead to give a sense of forward momentum. We softened the eye as well, going for approachability and a sense of serenity as opposed to the previous crescent shape which had been described alternately as "smiling" or "angry."Evernote Medium post"Mads" icon, before and after.Finally, we addressed color. Given that our two most recognizable assets were Mads and the color green, the combination of the two was a no brainer. To our surprise, everyone thought Mads was already green. He's wasn't, nor had he ever been. He was always grey -- as elephants are. But his grey color against a green gradient had poor contrast and felt a little dated. So we made him our signature color, and changed that color to a more pure green than we'd used previously. After further shaping, finessing, and debating the tiniest details, we arrived at the place that felt right.We debated and explored moving to a sans serif face. It seemed more modern and representative of the technology space as a whole. But when we saw those treatments next to Mads, they felt flat, lacked character, and didn't seem like us. [...] We ultimately landed on Publico, a serif typeface that takes many cues from contemporary type design yet still has a timeless feel. Rendered in 100% black, it stands up to and accentuates the pure green logomark. It aligns perfectly with our DNA of confidence and clarity, and the balance between elements is beautiful.Evernote Medium postLogo.It's interesting to see all the elephant icon explorations and that, even when some of them are visually cooler or graphically more interesting than the old icon, it does feel like it was the right decision to stick closely to the icon that has become part of the growth of the app and the company. It's all about associations and none of the cool new elephants feel like they represent Evernote. That doesn't mean Evernote can never change its icon but, at this point, it's sensible to go through an evolution.The revised icon is much better, with a more organic trunk, slightly floppier ear, gentler eye, and a more exaggerated dog-ear fold that is much better resolved than before. The icon looks great big and small. Changing the elephant to be green instead of gray is a brilliant move because there are no green elephants, obviously, so this makes Mads a little more unique.The choice of Publico as the wordmark is... not quite right. There is a sharpness to it that doesn't contrast well with the roundedness of the icon. I admit that if they had gone with a geometric sans serif I would have complained about it being yet another geometric sans serif but it probably would have yielded more visual consistency. But, overall, it's not bad, and it gives Evernote a more mature and editorial look.The patterns were inspired by ideas related to our brand: teamwork, integrations, potential, achievement, and of course, what matters most. The shapes that comprise these patterns have the flexibility to be pulled out as standalone graphical elements, scaled down to act as texture, scaled up and cropped for abstractions, and used as masks to highlight product screens or act as a container for photography. Most importantly, they're meaningful, perhaps not consciously to the viewer but through clear associations that work on a deeper level. And from time to time we'll just sprinkle them about. It's a little something we call "Ever Better Dust(TM)."Evernote Medium postPatterns.Color palette.Illustrations.Type treatments.Photo treatments.The patterns and illustration style are a great new system for Evernote. They feel friendly and accessible while also still within the current trend of bubbly, happy illustrations but just different enough to stand out. The photo treatments above -- of stock photos -- are pretty cool. Some of the illustrations, like the brain one, are questionable but overall they have a great style and they look excellent animated (as shown in the video at the end). I also like that, even though in application the circles, plus signs, check marks, arrows, and hearts come across as basic icons, they have a solid concept behind them.App icon and UI.Identity at a glance.New identity presentation video.Overall, this is a solid evolution. It's not the most exciting or sophisticated we've seen -- i.e., Lufthansa or Hyundai -- but as far as a redesign for a mainstream app goes this is thoughtful and cheerful.

“Dance Dance Revolution” Established in 2012, 305 Fitness is a growing fitness club and movement that mixes dancing, a live DJ, and a light show into a 55-minute cardio workout. It was started by Sadie Kurzban, a Miami, FL, native -- "305" is Miami's area code -- and an economics student at Brown University, where she applied to their annual Entrepreneurship Pitch Competition and won $25,000 to get it going. Now, 305 Fitness has five studios in New York, one each in Washington DC and Boston, as well as pop-ups in Chicago, Los Angeles, and San Francisco, and has attracted the attention of celebrities like Amanda Seyfried and Ashley Olsen, investment from NBA player Kevin Durant, and plenty of positive attention for a business started by an early-twenties young woman and her emphasis on inclusivity and body-positivity. With plans to expand to 20 locations by 2021, 305 Fitness introduced a new identity last year designed by Montréal, Québec-based ēthos. The new identity--loud, pop and in your face--is exemplified by a wildly diversified clientele, out-there instructors and classes (aka "dance parties") that are completely outrageous.ēthos project pageMood board. Best. Mood board. Ever.Logo.The old logo wasn't great or terrible but its biggest issue was that it looked more like a CrossFit gym than a fun, dance-led studio. The new logo corrects that and spryly establishes a Miami-esque, nightlife mood with a dash of 1980s nostalgia and I'm here for it. I have a very weak spot for 1980s neon and colors so this logo and identity had me at hello. More constructively though, I like the layered effect started in the logo that then drives the rest of the identity with a combination of a custom condensed sans serif and a fun script that contrasts really well. The one thing that bothers me about the logo is how the frame interacts with "Fitness", with the rounded endings of where the frame is cut -- I think that should have been handled less default-y. And, yeah, the color combination is questionable for its readability but, sorry, it's bitchin'.Custom typefaces.Interplay of condensed and script typefaces.The two custom typefaces are really good and without a lot of pretense, both having a fun and loose aesthetic. The color palette... the rainbow approach... I'm not a big fan and would have liked to see a more focused range of colors.Color palette.Brand book.Sports bag.Instagram account.Towels. And lady.Business cards. And lady.Water bottle.The applications are fairly straightforward given that the ingredients are few and their interaction very simple: Big condensed type underneath, less big script type on top. Done. And on point in every instance. I'm not saying it's the greatest identity ever, just that it's very efficient in getting the studio's vibe across.Messaging.The one complaint I would file is that for all their focus on inclusivity and body-positivity, all of the images above with models in them don't really reflect. I mean, yes some inclusivity of people of color, but those are some toned bodies and meticulous hair. Their website and Instagram account do a better job in showing a wider range of people and bodies so hopefully they could do some equally sexy photo treatments with more relatable models. Having said that, the art direction on the photos is pretty great.Neon: "Everyone shines in the right lighting".Neon: "Where sissies & bitches belong".Neon: "On an island of pigeons be a flamingo".🤷Neon: Nothing else.Overall, this really nails it, both in terms of building on the origin of the studio -- Miami 4eva -- and establishing a clearly different vibe from the many existing fitness options that are either too burly or too sexy... or too silly (in terms of identity).

“Giddy-slurp!” (Est. 2015) "Ramen Hero home delivers authentic Japanese ramen accessible to all Americans no matter where they live, or who they are. It all started when Ramen Hero founder, Hiro Hasegawa, noticed he couldn't find authentic ramen in the U.S. like back in Japan. So he decided to do something about it. Ramen Hero is committed to spreading ramen love throughout the country and years from now will be known as the brand that made real ramen a permanent part of American culture. Ramen Hero gives everyday Americans a chance to enjoy authentic ramen that's easy to order, make and brings families and friends together." Design by Iyashi (San Francisco, CA)Mascot: Juan Molinet (Berlin, Germany) Related links Ramen Hero blog postIyashi Medium post Relevant quoteThe concept of Honkaku is at the heart of everything Ramen Hero does, and so the same had to hold true for this new brand relaunch. More than a word, Honkaku is an attitude of authenticity, creativity, professionalism, and attention to detail.For millions of people ramen isn’t just a food, it’s an essential part of their daily lives, a sustenance that not only feeds their bellies but their souls. Similarly, when we redesigned the Ramen Hero logo we wanted it to represent a lifestyle, not just a brand.Ramen Hero’s latest ad isn’t just an ad, although we do hope it inspires noodle lovers to slurp down some delicious ramen. Created by the San Francisco based Iyashi brand studio, the ad is part of a newly unveiled brand relaunch for Ramen Hero aimed at highlighting Japan and America’s rich history of creatively blending cultures, particularly when it comes to food. Images (opinion after) Logo.Yama, the mascot: "Mt. Fuji come to life and ready to party."More Yama.Product photography.Advertising.Business cards.Digital spot. Stick around for the last 2 seconds.Short spot: Wisdom.Short spot: Slurping Etiquette. Opinion The old logo was pretty good, with a speedy bowl of ramen coming at you like a super hero, along with a decent, if un-hero-ish, wordmark typeset in Freight Micro Pro. The new logo takes the starting point of Freight Micro and recreates it in a kind of Japanese comic book title in a bold, primary color palette — I could totally see this working with a weathered texture on a vintage tee. The logo is accompanied by Mt. Fuji come to life in a charming mascot that is very excited for ramen. Mt. Fuji with noodles and chopsticks on its peak is a silly premise and that’s what makes it work. Not much in terms of application but to make up for it there is a delightful cowboy spokesperson that pitches ramen with gusto, irony, sarcasm, and a deadpan Western drawl that’s simply too good. Overall, a very unexpected way of selling home delivery ramen but I would ride into the sunset with everything and everyone involved in this.

Pre-lance™ is a 6 week online course that walks recent graphic design graduates through the steps it takes to succeed at freelancing. The logo is based on Helvetica, the one font that most all college graduates can identify upon graduating. The split between "Pre" and "lance" depicts where the designer is now and where they will be after taking the course. Pre-lance bridges the gap between what was taught in design school and what is needed to earn money as a freelancer.//Project tags: design, designer, graphic, graphic design, color, inspiration, logo, logofolio, branding, branding agency, packaging design, brand identity, stationery, packaging, graphics, behance, dribbble, photography, art, typography, prints, digital art, trendy, skill share, skill share class, adobe, adobe photoshop, mood, art direction, orange county, california, new york, los angeles, san fransisco, identity, custom, monogram, design studio, letterpress, brand, brand design, visual identity, corporate, corporate identity, user experience, startup, start up, minimal, creative, minimalism, simple, negative space, label, fashion, business, badge, illustration, icon, icons, drawing, sketch, freelance, freelancer, logotype, marketing, black and white, designers, work, web designer, brand book, look book, brand standards, brand manual, catalog, business card, stationery, flyer, clean, basic, guideline, rebranding, re-branding, letterhead, foil, emboss, landing page, set styling, editorial and publications, interior, stamps, modern, contemporary, luxury, simplicity, concept, firm, award, awarded, sustainability, indoor, outdoor, advertising, presentation, visualisation, architecture, interiors, interior design, client, web designer, graphic designer, font, typeface, type, brandmark, collection, geometry, texture, patterns, mark, bold, bright, grid, shape, brochure, catalogue, photography, one page, typographical logo, minimal logo, modern branding, unique, minimal identity, creative logos, good, logo inspiration, best design, best logo, best logotype, typo, lettering, co-working, CSUF, costa mesa, fullerton, orange, anaheim, santa monica, hollywood, e-course, online, digital marketing, the futur.

“Nice Shield Bruh” Established in 1923, Warner Bros. is one of the most well-known entertainment companies with the creation, production, distribution, licensing, and marketing of content across feature films, television, home entertainment production, animation, comic books, video games, product and brand licensing, and broadcasting. Its library consists of more than 100,000 hours of programming that include over 8,600 feature films and 5,000 television programs. Among its most prized properties are the DC universe, Harry Potter, Lord of the Rings, Friends, and The Big Bang Theory. Owned by WarnerMedia (which is owned by AT&T), Warner Bros. employs between 5,000 and 10,000 people depending on what's in production and its picture division had over $5.57 billion in worldwide receipts in 2018. Last week, Warner Bros. introduced a new identity designed by New York, NY-based Pentagram partner Emily Oberman. The Warner Bros. shield is one of the most iconic logos in the world, visual shorthand for entertainment recognized around the globe. […] Warner Bros. wanted to build on this legacy and make the shield more functional and effective. The previous iteration, introduced in 1993, was highly detailed and hard to use at a small scale and in digital contexts, which are increasingly important.The update streamlines the logo to its key elements, returning the shield and monogram to prominence and losing the sash. The redesign refines the shield with a form based on the classical proportions of the golden ratio. The designers looked at the construction of the letterforms of the "WB" monogram, preserving their quirkiness but making them more modern. The letters of the monogram align as though made in one continuous gesture, emphasizing unity and connection.Pentagram project pageYour browser does not support the video tag.Before-to-after animation.Golden ratio: Yes? No?The logo has been optimized to perform across various platforms and scales, from the small spaces of the digital world to giant installations like the iconic water tower on the Warner Bros. studio lot. It also works well with a wide range of content. The logo appears in the signature Warner Bros. blue, which has been brightened to a more contemporary hue, with the wordmark set off in a slightly darker shade to create a complementary contrast.Pentagram project pageLogo.The team also created a dimensional version of the logo, to be used exclusively for on-screen content and special cases. The dimensional mark has the clean, streamlined look of the new logo, but with a depth that hints at the content experience. The logo can be customized for the opening and closing moments of individual movies and shows. It can also function as a window for imagery and sequences, using the edge of the shield as a frame.Pentagram project pageFlat and shaded versions.Monogram detail.I hadn't realized how much I do not like the old logo -- obviously it's a classic but I think that that is thanks to its repetition (and association to entertaining entertainment) not its merits as a piece of graphic design. The gradients, the ring, the flimsy serif for the name, and the color combination were all pretty garish. Underneath all of that is the one good thing about this logo, which is the "WB" lettering and the new logo effectively brings that to the fore by stripping it away from all of the effects that have accrued over the years and creating a more interesting proportion for the shield which was awkwardly wide before. Golden ratio malarkey aside, the taller design looks so much better with the lettering and it also better accentuates the letters' peculiarities. As much as I like the flat version I think in this case the shaded version might be better as an evolution of the logo so many people have grown accustomed to -- but, certainly, having the flat version is very beneficial as a starting point for all the movie customizations that are so popular nowadays. The new wordmark is quite lovely and I really like the blue tone on tone approach.Your browser does not support the video tag.Logo usage variations.Your browser does not support the video tag.Logo style variations.Logo as window.The simplified shield can take on a number of different styles much more efficiently than the old logo and can do so across any medium, from movies to TV to print. The shield as window (above)... a little trite but undoubtedly efficient.The distinctive monogram has been expanded into a custom typeface, Warner Bros. Condensed Bold, used for the wordmarks of the various divisions and other display typography. Designed by Pentagram and expanded into a full family of fonts by Jeremy Mickel, the typeface has a look and feel that is uniquely Warner Bros., with condensed letterforms that relate to the elongated "WB" in the shield. Details in the logo's letterforms are echoed in the font; for instance, the curvature of the "R" references the redrawn "B." Like the redrawn logo, the typeface carries a sense of the company's history, but is clean, modern and timeless.Pentagram project pageYour browser does not support the video tag.Custom type family by MCKL.I LOVE the custom type family. It has such a great balance of corporate-ness and fun-ness that is very hard to achieve. It's like a comic book version of Interstate and, I dunno, I just think it's working on all fronts.Business cards.Stationey.Website.Social media accounts.Not much in terms of application but the few institutional materials shown are quite nice. Nothing super extraordinary or fun but very lively with the use of the bright blue and the single-color new logo.Warner Bros.' iconic water tower.Overall, this is a great evolution that makes the new logo more easily adaptable to the different content while giving the iconic "WB" lettering a shot at lasting another 100 years, even if someone puts a ring around it again -- which is bound to happen when some future designer 30 years from now thinks that that nostalgic approach was the bomb.

El Centro; Sales and marketing agency specialized and focused on real estate industry, based in Guadalajara, Mexico. Their services are tailored marketing strategies, they operate projects for their clients from a team formed by professionals specialized in sales, brand development, marketing, statistics, graphic design, marketing, and strategy. In this project we share the love for Guadalajara where we had the opportunity to get involved with the brand naming, visual identity, branding, the institutional stationery and the booklet or sales book where we communicate the unique experience of living in downtown, focused into the architecture, amenities, new developments to the lifestyle that the downtown area can offer you.

“A Star is Reborn” (Est. 1869) "From before they are born until they are into their twenties, Action for Children helps disadvantaged children across the UK. We do it through practical services and programmes that are proven to work. We help children through fostering or adoption. We intervene early to stop neglect and abuse. We make life better for disabled children. We influence policy and advocate for change. Nearly 7,000 staff and volunteers run over 600 services, from family centres to intensive support services, youth work to residential care homes." Design by ASHA (Cheltenham, England) Related links ASHA project page2017 Brand New Review Relevant quoteA pragmatic, hands-on approach characterises the way Action for Children works and this inspired ASHA to create the concept ‘We Are Family’ as an internal driving idea to help shape the new brand strategy and positioning.A pragmatic, hands-on approach characterises the way Action for Children works and this inspired ASHA to create the concept ‘We Are Family’ as an internal driving idea to help shape the new brand strategy and positioning.A headline font: Appetite, was chosen specifically for its friendly character. Its distinctive look and feel means communications can be created cohesively across a wide range of messaging requirements, helping to bring the 500+ services across the country together as part of one big, united family.The organisation’s name presented a challenge for ASHA as it is also a statement. The solution was to create a signature set within a playful star shape to reflect the warm, friendly and accessible character of the organisation. This icon is recognisable from a distance and can sit on a wide range of colours, photography and illustration. This solution has liberated the organisation to create communications with flexibility, vibrancy and variety. Images (opinion after) Logo.Brand positioning.Bubble devices.Brand book.Flyers.Star-shaped brochure.Website on mobile.Balloons.T-shirts.Pin.Mugs.Cupcake flags.Tote. Opinion The old logo and identity had the usual thoughtfulness and complexity (the good kind) of a Johnson Banks project. Driven by language and tight configurations, the identity helped convey the various messages of the organization in a relatively dramatic way. It created a sense of impact and significance but I am sure it was a pain in the butt to implement and perhaps it got too serious. The new logo is a simple star with happy charming script typography inside. It signals “children!” quickly, efficiently, and evocative in a heart-warming way. No extra words needed. I’m not a fan per se of the logo — the curved points of the star are a little too softened and the script inside is very wonky (that “re” pair is cringy) — but it gets the job done. The secondary typeface, Appetite, is far too cute and playful for my taste, I even find it a little irritating, but, again, it sends quick signals that this is an accessible, active, do-good organization. I could totally do without the speech bubbles which don’t seem to make an appearance in the identity anyway. Overall, this isn’t particularly interesting or exciting but it efficiently sets up the organization as being children-first, perhaps to a fault as at times it starts to look like a pre-school organization, so maybe the answer for Action for Children lies somewhere between the last identity and this one.

“All Things Being Equal” (Est. 2000) "Women in Business began in 2000 as a club for the prestigious MBA programme at the London Business School, one of the world's most respected business schools, with 45,000 alumni working across 155 countries. Women in Business is now a leading MBA club in Europe and its annual conference drives the progression of diversity and inclusion in business. This year marks its 20th anniversary, and to look ahead to the next twenty years of disrupting the business industry and inspiring the next generation of leaders, Women in Business needed a flexible, inclusive, gender-neutral brand that welcomes everybody." (StormBrands provided text) Design by StormBrands (London, UK) Related links N/A Relevant quoteThe new brand brings together both the members club and conference with one unified goal; equality for all. While the club retains the heritage of its name at the school, it launches a new annual conference, Equall and a refreshed identity to reflect its new purpose. The conference plays an important role for the club as a platform to reach the wider business community and drive change.The previous logo and identity felt corporate and restrictive, and the update needed to feel contemporary and progressive to match the organisation’s values and vision. The rebrand also needed to be adaptable and flexible for future growth. StormBrands worked on all elements of the brand identity – from the logo itself to the website and photography guide, all pulled together with the defined strategy into a future-focussed brand toolkit. Key to the refreshed brand is the bold, bright colours.“Diversity should be celebrated. Pops of colour help tell the stories and communicate optimism. Electric blue is the dominant colour, which brings energy and dynamism to a brand that felt static. It was important to have maximum vibrancy and pace while still being legible, clear and professional”, says Gabriella Corbett, Graphic Designer at StormBrands.The logo also has an illustrative quality. The logo frame device acts as a visual metaphor for ‘framing the conversation and breaking boundaries.’ Images (opinion after) Logo.Lock-up with London Business School logo.Logo and identity messaging.Conference banner.Billboard.Instagram.Website. Opinion The old logo wasn’t great but it wasn’t terrible either, at least the serif “WIB” part because the spelled out name was a little awkward in its alignment and type sizing. The new name merges “equality” and “all” into a single word, which is okay but not entirely original — I’m not saying they copied this but that’s what happens when you sometimes go for the low hanging fruit/concept. The new logo is mostly bland but it’s at least saved by the two “l”s at the end although their repetition as frames in the primary logo are too redundant. In a way, I prefer the drier usage with the LBS logo where the wordmark stands out better. In application, the “l” frames work better when they are much bigger than the wordmark and, while also not entirely original, the framing approach is fine. The colors are a little on the annoying side and a few years too late on the extra bright trend. I wonder about the photography, where it starts to look almost like a fashion brand’s look book but maybe that’s a good thing? Bringing a little more joy and style to business can’t be all bad. Overall, this is fine but it treads on a lot of slightly overused design tropes.

“Blackletter is the New Black” Established in 2012, Prost Brewing is a crafter brewery in Denver, CO, that unlike every recent craft brewer launch does not specialize in IPAs, hazy or not. Instead, they are committed to producing the best German-style beers possible in part by adhering to the "Reinheitsgebot" or "German Beer Purity Law" adopted in Bavaria in 1516 that, among other things, states that only malts, yeast, hops, and water be used in beer -- which means you will have to go find your grapefruit-infused IPA somewhere else. The brewery even purchased and imported a 60-year-old copper brewing system from Germany. With two biergartens (one in Denver and one in Fort Collins) plus distribution locally and regionally Prost is expanding to Texas and California and has introduced a new identity and packaging designed by Indianapolis, IN-based CODO. Traditional German beer culture trappings, while fun, tend to be kitschy and dated. Don't get me wrong, I personally love everything about it: but weird old cuckoo clocks, lederhosen and ceramic steins don't necessarily convey quality in 2019.[…]If Prost looks completely modern and sleek, it undercuts what sets the brewery apart in the first place. But, as already discussed: if things look too traditional, the end result may not leap off of shelves and grab peoples' attention the way beer of this caliber should. To strike a workable balance, we toured the more modern, diverse and progressive visual language of East Germany, while retaining a touch of Bavarian familiarity. With these parameters in place, we worked with Prost to develop the brand essence, 'Berlin Modern'.This strategy culminated in a custom-built logotype that calls back to traditional German Blackletter in a clean, contemporary way (look at those sexy angles), plus a series of secondary icons and a confident makers mark harkening to traditional German craftsmanship.CODO blog postLogo.The old logo was surprisingly bad considering how much investment went into the launch of the brewery with the bringing-of-the-copper-thing-from-Germany -- even without that in mind it was just not a good logo in a really weird typeface with a bad shadow treatment, a weak monogram, and little to no German-ness. The new logo is really great, with a custom blackletter wordmark that exudes German-ness (which could potentially be a turn off for some) and avoids pretty much every current beer-related trend. The letterforms are unique and innovative and the execution is pretty slick, especially with the "t" dipping below the baseline to serve as a book-end for the "p". My only complaint would be the "BREWING CO" type, which looks almost default -- even if it were just a bolder weight of the same thing I think it would be more of a unit. All is forgiven, though, for how the crossbar of the "t" angles with the "s".Additional identity elements, bare.Additional identity elements, adorned.Not all beer-related trends can be avoided as Prost also has some badges and additional graphic elements. The "p/b" shield is pretty slick and continues the great interplay of angles. The goat, which comes from Bock style beers -- see here for explanation if you are up for some TIL -- works best in its full-bodied form and the other elements start to be a little gratuitous but nonetheless fun.Samples of OLD look.Prost's flagship packaging expands on this idea with subtle Bavarian patterning and a bold black/cream combo threading the portfolio together. Individual colors differentiate each style and SKUs. All told, we revamped 9 bottle labels and 6-pack carriers, a variety pack and 24-pack.CODO blog postBottle, before and after.Bottles.Like the old logo, the old packaging was equally, surprisingly bad -- sorry Prost Brewing people if you are reading this! -- with the super weird combination of an Art Deco "Prost" (different from the one in the logo) and some flat-looking blackletter and odd patterns and cheap photographs. Also like the new logo, the new bottles are great. Big logo, clear hierarchy, and some solid graphic additions like the "p/b" shield and a thick, dark slash in the background that adds a touch of asymmetry. The design extends nicely into 6-, 12-, and 24-packs.6-packs.6-packs, IRL12-packs.24-packs.Keg collars.Swag.Tote.Menu.Denver biergarten.Tap handles.Growlers.Various glassware.Funky shirt.Overall, the redesign amplifies the German-style approach of the beers in a way that feels both traditional and contemporary while also allowing the brewery to have some fun as the shirt above demonstrates.

Let us make your day juicy and cheerful with a story about our fresh, bright graphic design project. This time, we invite you to take a glance at the original packaging design and marketing graphics the tubik team created as a part of the general visual identity concept for a juice brand. Have fun and catch thevibe!The design process for the juice brand identity project included the following creativetasks:logo design and brand colorpalettea consistent set of illustrationspackaging design for different tastes of juice and types of packagingdesign for marketing visuals and advertising promoting thebrandThe major emotion the brand strives to share is liveliness and cheer, which it adds to everyday life; it reflects the idea of juice that makes life bright, healthy, and energetic and shares that idea in each and every point of contact with the customer.The logo design for the brand is fun and playful: it is a wordmark that uses neat and simple sans-serif font but plays with the double O, uniting two letters into one shape, original yet readable and recognizable. The brand palette is vibrant and multicolored, inspired by the colors of fruit andberries.Working on general visual identity and the packaging design in particular, the team decided to employ a set of funny geometric illustrations as a part of the style, uniting all the types of visual brand communication with the buyer into one universe of funny characters. So, the illustrator generated a flexible system of characters and graphic elements that could work efficiently for different identity items and environments. Here’s how it works on juice cartons and juicebottles.The same approach was stretched on the extended set of marketing graphics, in particular, street signs, vibrant posters, and billboards for indoor and outdoor advertising.And as a couple more details in the visual identity system, we’ve transformed illustrations into a bunch of funny stickers and considered the stylistic template for a landing pagesection.New design case studies from our team are coming soon. Staytuned!More Design CaseStudiesHere’s a set of more case studies sharing the design solutions and approaches for some of the graphic design projects done by the Tubikteam.KOISI Tokyo. Packaging Design for Japanese RestaurantPierSide. Packaging Design for Tinned FishBrandFairytale. Picture Book Illustrations andDesignSidra Vivo. Vibrant Packaging Design for CiderBrandBlack Friday. Graphic Design for Marketing CampaignAqua Dudes. Cartoonish Packaging Design for Fish FoodBrandHerteas. Packaging Design for Herbal TeaBrandNutribite. Tasty Packaging Design for GranolaBarsMilkimu. Packaging and Marketing Design for DairyBrandSoaplanet. Soap Brand Packaging Design with TravelSpiritOriginally written for TubikBlogWelcome to talk to us and check designs by Tubikvia:WebsiteDribbbleBehanceTubik ArtsCase Study: Joossi. Packaging and Marketing Design for Juice Brand was originally published in Muzli - Design Inspiration on Medium, where people are continuing the conversation by highlighting and responding to this story.

Articulating the purpose of an e-commerce darling.Nasty Gal came to us at a pinnacle of its existence: the brand had become the fastest growing e-commerce company in history; its founder, Sophia Amoruso, had charted on the New York Times bestseller list for 14 consecutive weeks with her opus #Girlboss; and the brand had amassed legions of young women that lived and breathed the Nasty Gal look.But in the midst of this rapid success, Nasty Gal found itself with a lack of unified vision, positioning and visual identity system. With sales through the roof and the company growing faster than ever, we took a step back and recreated the brand’s foundation, with its key stakeholders, retail stores and consumers hand-in hand. We created the brand’s new positioning, standing for “the girl in progress” which inspired a new secondary logo mark and brand book creation to help guide the company in all efforts moving forward.

Barclays France becomes Milleis Banque and changes its branding with Carré Noir. Work includes brand strategy and positioning, brand identity, brand book and guidelines, digital expression, iconography and retail design.

“The Future is Super” Established in 2018, SuperShe is a community for people who identify as she, providing a bevy of content, products, and connections to empower and inspire. The community is now based around a newly launched app but its origin is as an island -- nope, not a metaphor -- for women only. The 8.4-acre island in the Baltic Sea, accessible off the coast of Raseborg, Finland, was purchased by entrepreneur Kristina Roth after she sold her tech consulting company and has served as a women-only luxury retreat -- cost of the week-long stay is around $5,000 -- since then. For those that can't afford going to the island, the next best thing is the app and the community around it where members can meet, chat, and enjoy the content exclusive to the app. Late last year, SuperShe introduced a new identity designed by New York, NY-based &Walsh. When looking at other women's communities, we realized that many of them were overly prescribing the way women in that community "should be". Be a girl boss, travel the world & wear your nightly face masks. There was no one in the space allowing women to claim their own version of themselves. That's where SuperShe comes in.Inspired by the protest posters from women's marches throughout history, we developed a custom brush font designed for SuperShe. The brush font is paired with Panamera & Bureau Grot.&Walsh project pageLogo.The old logo was not great but it wasn't terrible. The monogram was sort of interesting but perhaps felt a little aggressive with that shard-looking thing coming off of the "S" and the wordmark looked like the logo of a business of a magazine. The new logo is far more approachable and embraceable by a larger swath of people. It's like an elegant comic book font which, along with the upward angle, gives it a superhero vibe but, most importantly, I think it just feels welcoming and unpretentious. The gap between "Super" and "She" perhaps could have been resolved in an interesting way, as a ligature or some kind of swash treatment but other than that, it's solid and it pairs really well with the woodtype-esque sans serif used throughout the identity (best case example being the navigation on the website).The SuperShe premise.As is usually the case with &Walsh projects, there is a lot of illustration and it's pretty cool mostly in part because unlike the rest of the illustrations we see on Brand New these figures have faces! And personalities. While the illustration style is similar overall, I like that they are not overly formulaic and are instead more diverse and loose.Custom typeface.The custom typeface doesn't appear much in the identity as it takes on a supporting role but it's definitely fun and adds a welcome hand-drawn contrast to the heavy sans serif.Business cards.Stationery.Your browser does not support the video tag.App.Your browser does not support the video tag.Website.Murals.To align with our strategy, the brand always displays merch in pairs, including two different messages on each item. We wanted to express the idea that women do not have to be defined one way. The strategy invites women to embrace the many versions of themselves, without ever prescribing one way to be.&Walsh project pageNotebooks.Totebags.Tops.Sports bras.The applications, from business card to merch, have a fairly straightforward approach of big centered type that mixes and matches the sans serif with the brush font and can be used with or without illustrations. The design, on its own, is fine but when paired with the copywriting -- which I feel like you either love or hate -- it becomes more powerful and engaging for the SuperShe community. I don't respond well to empowering messages, whether it's for men, women, or puppies, but I can definitely see the appeal and impact that this can have.Candle.Lotion.Soap.Tin mug.Vodka.Scarf.Mittens.Sun visor.Bandana.Fortune cookie.Campaign spot.Overall, I think this captures the spirit of the community SuperShe is trying to attract and does so in a bold, engaging, empowering way that doesn't rely or abide by clichés of what a women-centric community should look, feel, or act like.

“Three’s a Crowd Pleaser” (Est. 2001) "EQ3 is a Canadian retailer and manufacturer offering simple, clean, functional furnishings and home accents for every room. Founded in 2001, EQ3 is commited to quality craftmanship and original design while promoting a Canadian perspective on home furnishings in a modern environment. EQ3 offers iconic brands like Herman Miller, Marimekko, and more, as a part of its EQ3+ collection. EQ3 has 12 retail locations across Canada and two in the U.S. Apart from a large-scale wholesale presence, EQ3 also has a substantial e-commerce presence in Canada and the United States, as well as studios and stores around the world." Design by Wedge (Montréal, Québec) Related links Wedge project page Relevant quoteThe challenge was to define what they stand for, and bring new value to what it means to be a Canadian brand in today’s culture.We responded by learning about their business and DNA from key teammates, company-wide. By exploring their practises, their culture, what works, what doesn’t, and being given the space to challenge their point of view in order to evolve it, we were able to respond with a brand vision that didn’t reinvent the wheel, but reflected EQ3’s existing truths with fresh eyes.We defined a strategic position distinctly Canadian, by Design. Not an aesthetic, but a value system that is thoughtful, human, inclusive, pragmatic, restrained, and progressive, to guide every facet of the organization. Our goal was also to elevate the brand expression in a more premium direction to honour the business and quality product. Every aspect now works to attract a more premium consumer and build trust.By evolving elements like a carefully crafted logo, standardizing design systems, and providing a guide for photography and branded elements across channels, we developed a strong foundation and guide for internal teams. Images (opinion after) Your browser does not support the video tag.Before to after logo animation.Logo.Typography.Grid.Your browser does not support the video tag.Layouts. I think the animated blue lines are metaphorical?Your browser does not support the video tag.Illustrations and hangtag.Your browser does not support the video tag.Business cards.Banner.Store sign. Opinion The old logo was okay, I guess, at least in terms of not being terrible. The red box with the rounded corners, though, felt cheap and unrelated to the letterforms. The new logo smartly drops the box and goes for a much more fashion-y look with an elegant and minimalist evolution of the original typography. There is really not much to the logo but somehow it’s quite nice. The subtle change to the “3” makes such a huge difference. The applications are very minimal and stark, perhaps to a fault but they certainly exude design-y classiness, all done in a single weight of what seems to be a custom sans, “EQ3 Book”, which has that deadpan hipster vibe that’s maybe a year late but still effective. Overall, there is a nice aspirational quality to the identity that gives the furniture some extra cachet.

Introducing the Book of Branding, a guide for startups and beyond AoiroStudioNov 12, 2019 It's always inspiring to see our friends, from the industry, creating and making cool stuff to inspire others. It's a reward that we will never take for granted and we will will always be supporting. We are featuring the book release of our dear friend Radim Malinicand his Book of Branding. For short, it's an essential guide to the startup toolkit — a guide designed for entrepreneurs, founders, designers, brand creators and anyone seeking to decode the complicated world of brand identity design. With the industry shift to product design and interface design, some designers nowadays forgot the little notion of graphic design like branding for example. This is right fitted time for Radim's new endeavour and we took the liberty to share a sneak peek. Give it a look!Book of Branding aims to show designers how to get the information you need to understand the project and make it the best it can be; as well as providing those on the client-side with advice on how to get the best out of the creatives you're working with.Book of Branding - Sneak PeekBook of Branding by Radim MalinicBrand Nu book titles are available from online stores and high street book retailers in the UK and worldwide.November Universe by Brand NuAmazonBook depositoryFoylesWaterstonesBlackwell BooksWorderyAbout Radim MalinicRadim Malinic is a creative director and designer living and working in South West London. He is the founder of Brand Nu®, an award-winning branding and creative studio working across a broad spectrum of clients. From individuals and emerging startups all the way to multinational corporates, Brand Nu combines visually rich design, creativity and strategy in its work for the big brands of the future.At the break of the new millennium, Malinic moved to the UK to explore the expansive music scene, only to find even an even greater interest in art and graphic design. Since then his eclectic interests have seen him working with some of the biggest brands, companies and bands in the world. Clients include Harry Potter Platform 9 3/4, 007 Store, Coca Cola, Google, Adobe Systems, WWF and USAID, among many others.Brandnu.co.ukBookofideas.co.uk

Project Tags: design, designer, graphic, graphic design, color, colour, inspiration, logo, logofolio, branding, branding agency, packaging design, brand identity, stationery, packaging, graphics, behance, dribbble, photography, art, typography, prints, digital art, trendy, skill share, skill share class, adobe, adobe photoshop, mood, art direction, istanbul, london, paris, new york, los angeles, san fransisco, idenity, custom, monogram, design studio, letterpress, brand, brand design, visual identity, corporate, corporate identity, ux, ui, interface, animation, user interface, user experience, startup, start up, minimal, creative, minimalism, simple, negative space, label, fashion, business, badge, illustration, icon, icons, drawing, sketch, freelance, freelancer, logotype, marketing, black and white, designers, website, web, work, web designer, brandbook, brand book, brand manual, catalog, business card, stationery, flyer, clean, basic, guideline, rebranding, re-branding, letterhead,

(Est. 2004) "Talabat is part of the leading global online food ordering and delivery marketplace family Delivery Hero. Founded in 2004 by a small group of entrepreneurs in Kuwait, Talabat's success expanded to the rest of the GCC region & Jordan, making it the largest and most popular food ordering app in the region, connecting users to restaurants that cater to all taste buds. In addition to a directory of more than 5,500 restaurants to choose from, never-ending deals and offers, a secure and easy online payments, Talabat is the go-to platform for online food ordering on the Middle East." Design by In-house at Delivery Hero (Berlin, Germany) Related links Delivery Hero project page Relevant quoteBased on the new positioning, we defined the tone of voice to be likable, family-friendly, inclusive and smart. Talabat is a brand for everyone and respects the culture of the region. Talabat's visual identity is mindful of regional sensitivities, showing all citizens of the region equally — no alcohol can be visible, no tattoos are ever on show.We redesigned Talabat's logo, replacing the dated, italicized logo with a clean, digital-ready upgrade, customized with FF Mark Pro. We modernized the color palette to reflect the friendly, accessible tone — with vibrant Sunny Orange as the primary color, complemented by the secondary shades True Petro and Calm Grey, designed for use across all product touchpoints, on and offline marketing channels. Images (opinion after) Logo.Evolution from old to new... not sure what this animation demonstrates.Brand book (titled Cookbook).Ad.Livery and uniform.Identity presentation. Opinion The old logo wasn’t great — starting with the fact that the three “a”s are exactly the same and that shouldn’t be in what is meant to be a handwritten logo — but perhaps it could have served as the foundation to build a more unique and distinctive logo instead of simply typing out the name in FF Mark Pro, which makes it look like every other new logo for any company whatsoever. This could be a bank in Denver and it wouldn’t make a difference. The wordmark looks nice, no doubt, in part because the name has a great combination of letters, but there is really nothing to it or the identity. It’s just a typesetting job accompanied by good food photography. One weird, perhaps cultural-difference thing is naming one of the key colors “True Petrol”… I don’t know about folks in UAE but when it comes to food I don’t want to be thinking about petrol. The uniforms and bikes — despite the “GO” graphic — begin to look kind of engaging but that may just be because those guys look like an alright bunch. Overall, yeah, it’s all more professional, contemporary, and “digital-ready” but there is zero personality.

“It’s De Beers O’clock Somewhere” (Est. 1888) "De Beers Group is a member of the Anglo American plc group. Established in 1888, De Beers Group is the world's leading diamond company with expertise in the exploration, mining and marketing of diamonds. Together with its joint venture partners, De Beers Group employs more than 20,000 people across the diamond pipeline and is the world's largest diamond producer by value, with mining operations in Botswana, Canada, Namibia and South Africa. As part of the company's operating philosophy, the people of De Beers Group are committed to 'Building Forever' by making a lasting contribution to the communities in which they live and work, and transforming natural resources into shared national wealth." Design by PW (London, UK) Related links PW project page Relevant quoteThe new corporate identity had to work across the entire pipeline of the group from one extreme of exploration and mining, right the way through to sorting, sales and luxury retail. By facilitating workshops with the c-suite, senior leadership and global brand teams, PW have become a trusted partner and directed the approach for epic photography shoots through to brand guidelines, environments and an internal communications programme. Images (opinion after) Logo.Monogram.Your browser does not support the video tag.Identity elements.Your browser does not support the video tag.Animated guideline pages.Pysical guidelines book. Opinion The small cap approach of the old logo was just a tad exaggerated with the two initial letters being twice the height and making them look ridiculously disproportionate. The Gill Sans underneath it was fine but disjointed — they could have easily been two separate wordmarks from different companies. The new logo is an extension of the consumer De Beers brand (which, at least based on Facebook profile pics, has been in use since 2010). It maintains the small cap approach but in a more normal way. While the wordmark looks nice and classy on the consumer brand, the result on the parent brand is a very 1980s look which, I guess, in a way bucks today’s trends. The “DB” monogram in a circle is okay but not exactly a bastion of creativity — I also wonder if that should have been a “DBG” composition to include the word “Group”, which is what separates the parent company from the consumer brand. The use of Futura and the old-school printed guidelines (plus all the ghosted use of the “DB” monogram) again makes this feel heavily dated. At least it is now consistently heavily dated thanks to the comprehensive guidelines.