Article Original Source: Creative Bloq
Given how controversial updated logo designs seem to be, this April Fools’ Day prank by Virgin America is sure to tickle a few graphic designers. In a press release that landed yesterday the airline revealed it had ditched its iconic red scribble logo in favour of, well, whatever this new logo looks like…
Only, of course, it didn’t. This is just one of the many April Fools’ Day jokes flying around the internet today. However the thinking behind this parody logo might be a little too accurate for some designers to handle.
Created by the fictional creative agency N_Fuzion, this project lovingly rips apart certain aspects of the design world. With a creative director that challenged the team to go “beyond basic” on a project that took millions of dollars and a number of years to complete, it seems Virgin America really know what they’re talking about when it comes to mocking the industry.
Fictional Chief Creative Officer Connor Barnaby is probably best suited to introducing his vision: “The two prominently displayed half circles represent both our tech-forward innovation on the one hand – and our supportive approach to guest care on the other. By connecting the two half circles, we’re making it clear that they are inextricably linked.”
2 degrees is a health food company which mission is more than just to eat well, every time you buy one of its products a child in the world is getting a plate of food, so, rather than help you maintain your good health, you are helping children in need. The company wanted to expand its product portfolio, so it created the Coffee Ready & Go, a coffee with the highest standards of natural processing created to expand this great mission to help, so that the company required a design unique packaging and that captured at the point of sale immediately in bright colors, with clean design, to keep the essence of the brand
Opened in 1973, the Sydney Opera House, designed by Danish architect Jørn Utzon, is one of the most iconic buildings in the world and serves as a multi-venue performing arts centre in Sydney, Australia. It is home to four resident companies: Opera Australia, The Australian Ballet, the Sydney Theatre Company, and the Sydney Symphony Orchestra and stages more than 1,600 performances a year to over 1 million audience members, which is a fraction of the amount of visitors it receives outside. More than 8 million a year. A new identity — the logo remains the same — aims to bring some of that massive potential audience inside for the performances. It has been designed by the Sydney office of Interbrand in collaboration with Collider for motion work and Studio Laurenz Brunner (who designed Akkurat and Circular) for typography.
There are two parts to this project: The motion work above, and the typographic work below. We’ll start with the motion because pretty. The structure of the motion work literally revolves around the building’s logo — by the way, can someone confirm who designed it? Frost*? — which, obviously revolves around the building’s iconic domes that have beautiful natural shading that informs the visual tone of the animation. Revealing structural shapes amidst flat fields of color, the motion work is subtle yet dynamic and surprising with some absolutely stunning moments and animation behaviors. I’m not sure how much air play this part of the project actually gets on Australian TV or online but I hope the Opera House takes advantage of it because it’s jaw-dropping.
The second part is based on a sculptural rendering of Circular, named Utzon. Depending on your penchant for 3D typography this will be great or terrible. I have always loved dimensional typography and this is particularly enchanting in its off-balance approach. It’s a chiseled effect but it’s not symmetric within each letter and sometimes gives off a Mobius Strip-like illusion. You would think the letters are not physically possible but, lo and behold, they can be 3D-printed or built as actual things. The tone-on-tone shading works in unison with the motion work to establish, well, a consistent tone.
In application, the typography works best against black backgrounds, which amplify the dimensional effect and looks elegant and sophisticated. At the same time, it works well on the brighter colored backgrounds and fares pretty good when paired with humans. I like how they have also established two different flavors for its use: When it’s all uppercase, the letters are spread wide apart, letting them stand on its own; and when it’s title case, they are typeset normally, and have a subtler presence. Overall, I don’t know if this work will have a direct influence in bringing people inside the Opera House but it helps create a visual link between the building and the communication, so at least the segue from taking a selfie outside to sitting inside will be more natural.
Article Source: UnderConsideration
Launched in 2009 (originally named UberCab), Uber is a ride hail application that connects drivers with riders but since there is a chance you are reading this while riding in an Uber car, you probably don’t need me to tell you much about Uber. Created by Travis Kalanick and Garrett Camp and headquartered in San Francisco, CA, Uber is now available in 400 cities across 65 countries where it has disrupted — for better and worse — the incumbent taxi system. Originally, a semi-affordable luxury that focused on big black cars, Uber now comes in every flavor with even the least fanciest cars as part of the unattached fleet and has even expanded into services like Uber Rush, a messenger service in Manhattan. Whether loved or hated, Uber is here to stay and, to cement its position, the company introduced yesterday a new logo and identity designed in-house (more on this at the end of the post).
The previous logo was so thin it would crumble at the slightest sneeze. The wordmark lacked a lot of weight to be of good use in small screens and the wide letter-spacing forced it to take up too much space, making it necessary to make it smaller, making it barely readable. I’ve always disliked the little curl on the “U” but other than that, it was a mostly innocuous logo.
The new one fixes the usability of the logo by going bolder and tighter. On that aspect alone, the logo evolution is a success. Beyond that, there is nothing else nice to say about it but also nothing negative. Okay, well, maybe a couple of things: the inner curves on the bottom halves of the “B”, “E”, and “R” are very awkward and the elliptical (because they are far from rounded) corners are also strange and give the sensation that the letters have been stretched. Overall though, it’s fine. It could be a lot worse, it could be a lot better.
If you read one identity guideline page this morning, make it the above.
The identity goes into an oddly conceptual thing about bits and atoms. Probably good to watch the video below to either understand or scratch your head a little harder. I’m going to skip on thinking too much about the concept because it sounds far too self-important. The “bit” is significant in that it appears in a lot of places and is basically a square that has info in it or frames things. It reminds me a little of the dot in Google’s Material visual language but less sophisticated. The “atoms” are the textures above which, yeah, okay, they are just textures inspired by each location. They are fine as well. Nothing too exciting but they help add a visual element.
The problem with the bit and the textu… the atoms is that, at least judging from the main Uber website, there is no real synergy between them and no relationship to the logo or the rest of the layout and typography. It’s all nicely placed on there but it feels like patchwork.
Brand movie. Important, I guess, to understand the “atoms and bits” idea.
App loading screen. Thanks to Tin Kadoić for capturing and uploading.
The bigger issue with the redesign — far more troubling — than the logo redesign is the app icon. In this case the app icon gets more action than the logo itself. That’s the first interaction from most users. If I wasn’t a fan of the curl in the “U” of the old logo I was even less of a fan of the inward serifs of the old icon. But, hey, it was a “U” for Uber and it was shiny like the badge on the grill of a car. The new icon is completely unidentifiable in any way as Uber other than it saying “Uber” underneath. Let’s assume that it’s a matter of being used to poking on that icon for the last five or six years and that we just need to get used to poking at this new one but, even then, it seems like this is an icon for something else altogether. I don’t think there is enough strength in the bit as the principal (and literal) touchpoint. Having a separate icon for drivers that looks even less like anything doesn’t help the cause of establishing a consistent, recognizable mobile environment.
After watching the two movies above I’m still left unclear about what the purpose of anything is. It feels like the team just threw stuff together hoping it would add up to a cohesive whole but everything seems disjointed in a very polished way that ticks off a number of trends, including dramatic music in the videos. Perhaps part of the problem was the process.
WIRED has an extremely in-depth article about the redesign that is entertaining in how it aggrandizes all the “a-ha!” design moments but mostly chilling about the involvement of Uber’s infamous CEO, Travis Kalanick, whose brash and bro-ish personality has taken as many headlines as the service. If you thought Yahoo’s weekend charrette between CEO Marissa Meyer and her design team was scary, try an extended process of more than a year of a non-designer CEO micro-managing the process. We rarely get to read about how the sausage gets made and WIRED did a great job in capturing the whole process but this may not have been the best case study for Team Branding as it sounds far from optimal.
If the picture above is any indication, Shalin Amin, shown far left and lead designer on the project, you can sense — nay, feel deep in your heart — the weariness in his face. I’m only going on assumptions here and what the WIRED article shared but it’s somewhat clear that part of the confused outcome of the identity had a lot to do with a lack of design leadership (or the wrong design leadership) in the process. Overall, the identity is functioning and it looks good but it doesn’t come across as a confident or exciting expression of what Uber is or can be.
Article Source: Under Consideration
The Premier League have marked their new multi-million pound television deal with a brand new logo, though the design leaves a lot to be desired.
Arguably the most drastic change to the logo ever, it now features just the head of the iconic EPL lion, with Premier League written in bold beneath it. Designed by DesignStudios, the company’s CEO Paul Stafford said of the new logo: “Our aim was to create an identity that acknowledges everyone who plays a part in one of the most exciting leagues in the world. With a fresh, new take on the iconic lion, we’ve created an identity that’s purpose-built for the demands of the modern world. While staying true to the Premier League’s history and heritage.”
The Premier League’s managing director Richard Masters said of the change: “We are very pleased with the outcome: a visual identity which is relevant, modern and flexible that will help us celebrate everyone that makes the Premier League.”
From next season, the Premier League is going to look a little bit different…https://t.co/4n4mNohG2Z
— Premier League (@premierleague) February 9, 2016
But with the league’s new TV deal somehow leading to ticket prices around the country rising, football fans aren’t best pleased that so much money has been invested into giving the league an expensive makeover. This, coupled with the new logo being far from easy on the eye, means that many are today taking to the likes of Facebook and Twitter to criticise the move.
The logo has also been adapted for use on Premier League clubs’ shirts, though if anything it looks even worse on a sleeve than it does on paper:
But regardless of our thoughts on the matter, it looks like the EPL are sticking with the new logo, along with their continued quest to make purchasing a ticket for a football match increasingly financially irresponsible.
Capturing the attention and the hearts of modern consumers in a traditional and declining category.
The frozen desserts category was becoming irrelevant to modern consumers as eating occasions and patterns changed. Younger consumers believed the frozen dessert category was not for them and more casual eating occasions like ice cream and chocolate where taking market share. A brand refresh was needed to help Nanna’s standout on shelf and capture the hearts of a new generation.
We took a whimsical look back at the brand’s heritage and its delicious home-style desserts. Building on the positive aspects of Nanna’s brand equity we captured a sense of quality that comes not just from heritage but from a feeling of love and care, creating loyalty on a deeper level, based on an emotional connection.We avoided old fashioned cues while maintaining the feeling of traditional quality and the care of a homemade style product.The doily graphic, which forms the holding shape for the brand, hints at the traditional kitchen where Nanna would create her delicious sweet treats. In contrast the fresh, bright colours and clean graphics give a modern and youthful feel. It is this conflict between traditional and modern which creates the tension and interest in the Nanna’s story. To complement this a quirky and endearing tone of voice was developed to communicate the sweetness of the brand personality in a concise and friendly way.
Brand Strategy, Brand Identity, Packaging Design, Packaging Application, Brand Writing & Communications, Bespoke Illustration, Point-of-Sale.
When you’re selling a product that’s forging a whole new category of goods, how do you create a representative brand identity? – One that wins consumers’ attention, affection and trust. That’s exactly what Fruigees asked Dimes to do. Fruigees are at the forefront of innovative food products. By providing a puréed mix of fruits and veggies in a pouch pack, Fruigees make healthy eating delicious, fun and, above all, convenient. And because they don’t fit into any pre-existing product group, visual identity is vital in showing consumers what Fruigees are all about.We built from the ground up with Fruigees, creating a comprehensive visual identity including visual language, website and package design. The designs’ colours came from the natural vibrancy of fruits and vegetables, exuding health and vitality, the essence of the brand. We created a logo that links fruits and veggies to a sense of fun.This sense of fun is common to the design’s dynamic lettering and the squeeze packs themselves. Energy and playfulness are carried over into the Fruigees website where a vivid virtual collage takes users on the Fruigees journey.
We think the branding and packaging we designed for Fruigees captures and conveys how delicious their product is. With annual sales growth of 217% in 2015 plenty of people agree.
The range of raw juices and plant milks that is Bruce Juice is fresh, fun and exciting. We designed a brand to match. Every aspect was created by hand – from hand drawn typography to unique illustrative logos for each variant. Combine this with a vibrant colour palette and you have a contemporary, playful brand with personality that packs a punch. Good. Better. Bruce. A brand identity that’s as fresh as the product