Branding, Logo Design

Logo Designs:

Optimistic Beverages

Love the concept.  Hate the design.  This is such a clever idea, one that for me, hasn't got old after looking at it so many times.  -And I think it is that which is important within logo design.  In my opinion, this illustrated, block style is tired and obvious, however, I can see the logo reaching its targeted audience which would focus more on the idea than the design.  So, in a sense, I suppose it is therefore a good logo?  Surely, if all that is behind a logo speaks to its audience, it doesn't matter if graphic designers dislike it?

By Helms Workshop


Committe of Organ Donation in Lebanon:

Brief:
To design the corporate identity for an organ donation initiative. Since it was our only tool of communication, the design had to instantly convey the message of organ donation. Whatever we designed had to strike an emotional chord and subtly prompt people to open up to the idea.

Creative execution:
When you pledge an organ, you gift someone a new life. We simply brought this insight to life through our design.

This is just lovely.  Just very very lovely.

Sourced: http://www.logodesignlove.com/committee-organ-donation-lebanon

 

 

 

British Steel logo

A quick excerpt from John L. Walters‘ interview with David Gentleman about the British Steel logo — in use from 1969 until 1999 when the company merged with Koninklijke Hoogovens to form Corus Group (Corus was bought by Indian steel company Tata in 2006).

In relation to the image above, I have been reminded that my logo wont just be a two dimensional digital design, it will have to be applied to different contextual surfaces.

JLW: How did the British Steel commission come about?

DG: Through a neighbour, Will Camp [British Steel’s director of information services]. They had commissioned ideas already but they didn’t like them, so he came in one day and said will you give it a go.

JLW: Was that done quickly?

DG: Very quickly, yes.

JLW: I’ve read that it stemmed from a visualisation of the steel process — is that true?

DG: It came first from my own wish to suggest that steel was strong and flexible. Only later did I discover that steel was bent in order to test its strength — so I used this as a rationale, but I didn’t know that at the time!

This logo is simple, bold and powerful- I think it is these elements which make it a memorable visual logo.  However, there is also some contextual concept behind it, which strengthens the whole idea of what this logo is the face of. 

Production for Print, Colour for Print. Monochrome and Tints.

Monochrome and Tins within Print.

Branding and Identity:

  

Asperger East Anglia

Asperger East Anglia is dedicated to providing advice and assistance to sufferers of Asperger syndrome across the region. When the time came to overhaul their existing brand, The Click were drafted in to create a striking new visual identity, printed literature, and poster campaign for the charity.

Asperger East Anglia is an important lifeline to many sufferers of Asperger syndrome located in the region. The support provided by the charity is gratefully received, as are their efforts to promote greater public knowledge of this often misunderstood condition. In order for Asperger East Anglia to sustain the personal and comprehensive assistance currently on offer across the county, it is important further resources are secured, be it through government grants, public fundraising or private charitable donations. It was decided a bold brand identity would greatly benefit Asperger East Anglia, both in distinguishing the charity among the host of other organisations vying for support, and making this important resource for sufferers of Asperger syndrome easier to recognise.

The brand

When it came to designing a new brand for Asperger East Anglia, we wanted to create something that was wholly appropriate for both the charity and their clients. One symptom of Asperger syndrome is an acutely literal use and understanding of language. It can make navigating the subtle intricacies of day-to-day communication, something many take for granted, substantially more difficult. The new brand is designed to visually represent this straightforward and honest nature, found both at the heart of charity communication and the condition itself.

We created a versatile typographic logo by re-appropriating the letter ‘A’, initial of Asperger, and using it to lead a range of titles attached to each of the products. A bold monochrome colour scheme presents the brand ‘in black and white’, a further reference to the sincere communication that is so central to Asperger East Anglia.

The Print

Each element of the full suite of communications features bold typography and adheres to the black and white colour scheme. The bold simplicity of the design coupled with the acutely literal title — A Note, A Letter, A Leaflet — constitutes an engaging visual identity that is in keeping with the cause of the charity and it’s clients. Monochrome also serves to reduce the revenue required for printing stationery, ensuring that a larger percentage of the money available to the charity goes to those who need it most.

Fruita Blanch has developed a versatile set of multi-sized labels to fit every jar. These labels have been designed to reveal as much of the jar product as possible as well as to emphasize its artisanal nature.

Here is a good example of how stock can change the tine of a monochrome design.  It doesn't just have to be black and white, something to remember.  Aside from stock I think this is a lovely idea which works well with the new outlook on 'own grown', 'natural', 'organic' sourced food in todays culture, and is something that I think the audience would respond well to.

Packaging and Promotion:

Mash Creative - SOTO Collection.  Also works with branding and identity.
With consumerism at an all time high and brand image playing an ever more
important role in consumers buying choices, we felt an overwhelming desire
to challenge what has become ‘The Norm’.
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At Mash Creative we believe there is a niche in the market for a collection of
products which turns conventional branding on its head. S/O/T/O (State of
the Obvious) is a range of merchandise and apparel which does just that.
As the name may suggest, the collection consists of branded items which
State the Obvious’. S/O/T/O uses the products description to create a unique
brand identity.
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The collection currently consists of Tote Bags, Notebooks, Mugs, T-Shirts and
Posters. Each product is supplied with custom branded packaging (selected
resellers) which utilises the S/O/T/O theme - ‘This is my Mug Box’, ‘This is my
Degradable Polythene Postal Bag’ for example.
---
The S/O/T/O collection is designed to have a playful, modern and bold brand
image which is flexible enough to be adapted across a wide variety of items.
The collection will continue to grow with many other products already in
the pipeline.

International Year of Chemistry, Simon C Page.

This poster uses tints to its advantage.  By using tints, the repeat pattern has gained depth and adds perspective to the poster, drawing the viewer in.  If it was just flat black and white, the pattern would still look interesting but wouldn't hold your gaze as it does.  I should think about this when designing something that needs to be really looked at, for example a poster in a bus shelter, where people may be waiting for long periods of time.

Information and Wayfinding:

Street names.

Street names are designed in black and white for simplicity and readability.  These colours stand out, from eachother as well as standing out from a natural environment.  

  

 Britistics

• Newspaper Supplement – Infographics, Editorial, Design
• The newspaper supplement presents British statistics collected from reputable sources such as Office for National Statistics and OnePoll. Visualising this data adds perspective and gives readers a bigger picture about British society. 

  
  

  Britistics uses a combination of symbols either: designed by me, adapted by me, public domain or designed by The Noun Project. Those attributed to the Noun Project: house, dog, sick man, family genetics, stop watch, monitor, television, laptop, CD, ipod, game controller, trolley, news, clapperboard and key.

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 This is a strange one for me.  I think this design could have benefited from some use of colour.  However, given the context it was printed in, i.e.Newspaper supplement, it makes sense as this is more economical.  There is a good use of tones within the magazine that separate information- good to remember that not all tints have to look like a gradient, they can be block.

Publishing and Editorial:

Another one on stock choice:

Clifford Chadwick Clifford.

Here, monochrome tints are used over different coloured stock.  Depending on the stock this could be an economical choice of a design choice.  I think that looking on the quality of the design of the book as a whole it appears to be  purposeful design choice.  I should think about this aspect of monochrome design when it comes to economical printing.

Where are my potential clients/employers located?

Where are my potential clients/employers located? 

53-55 Scrutton St  

London, EC2A 4PJ

+44 207 324 7799

info@dry.uk.com  

http://www.dry.uk.com/tags/graphic-design

Hoogstraat 36a
3011 PR Rotterdam
The Netherlands
+31 10 2 430 168
email@stoutkramer.nl

http://www.stoutkramer.nl/wp/?lang=en 

Production for Print, Colour for Print. CMYK.

CMYK (Process) within Print.

Wellcome Collection, London:

Medical packaging has always been an interest of mine.  It is here where form follows function in every way.  The absolute aim within this packaging is communication.  When it comes to a persons health, they have to know what they are buying and it has to be clear, and almost always has to be able to communicate effectively to all age groups and sexes- the audience generally is everyone.  

Some of the limitations include:

Along with many more.

This can leave little room to be creative within its design.  One area I find it takes advantage of is space and colour.

Packaging and promotion:

Walter Bosshardt for Wiedenmann AG

 

The packaging above is a clever use of colour that communicates what it has to whilst still looking interesting.  Consistency is key.  It is not possible to say for certain that CMYK has been used here, but there are many signs that say so.  For example, all medicine is mass produced, and therefore, so is the packaging.  This means that it would be more economical for the design to use process colours rather than spot colours because of how plates are set up within the printers.  Also, the colours used are fairly simple and look as if they could have been achieved through the process colours, unlike fluorescent which has to be printed as a spot colour.

Branding and Identity:

SocialTraders

Contributed by Daniel Peterson of Fabio Ongarato Design.

Social Traders is an independent company working in collaboration with the Australian government to facilitate support between business and community groups. Fabio Ongarato Design’s (FOD’s) role was to determine a new identity and visual language across all collateral supports that could exemplify their significant uniting role. The corporate profile was created, depicting Social Traders and outlining its strategic goals, current initiatives and future priorities, in a visually dynamic way.

In creating the identity, FOD devised a ribboning motif that through its folds, turns, and continuation created a visual motif for both the journey and the challenge. The motif is featured throughout the profile from the cover through to the thin show-through pages that are french-folded to the back cover — a complete endless continuum.

Really nice branding, using simple colour scheme that highlights the geometric shapes used.  However, does reming me somewhat of the 'Wim Crouwel, A Design Odyssey Exhibition' branding at the Design Museum I went to earlier this year:

Newspaper Marketing Agency. Contributed by Simon Manchipp, co-founder of London-based SomeOne.

Ten years ago we helped launch the Newspaper Marketing Agency as well as the ANNAs (Awards for National Newspaper Advertising).

The NMA was set up by a group of major UK newspapers to help promote advertising in what was then viewed as a medium in decline.

It was seen as an overly-traditional channel when there were other newer, more trackable ones to play with. Since then so much has happened.

The inevitable rise of digital advertising (as of today, Google’s ad revenue now outstrips ITV in the UK), paywalls, etc. means that newspaper advertising arguably faces is toughest time yet.

But curiously the inverse is true and newspapers can offer more targeted campaigns as well as successfully supporting broader conversations in the media-mix of digital, TV, and newsprint.

Newspapers reach 8 out of 10 people in the UK every week.

We can all name great newspaper ads, but can you recall a significant digital ‘classic’ that isn’t supported or lead by other media?

10 years ago, the identity we created was all about highlighting the uniqueness of newspapers and ‘quality in print’.

Today this seems a bit defensive, especially when newspaper advertising can enrich experiences and develop conversations alongside all the other channels competing for our attention.

To reflect this new age of converging conversations, we have evolved the NMA into a brighter new world of adaptive colourful dialogue.

The conversation that has always been present on the letters pages of the papers is now visible throughout the digital newspaper ecosystem. The broadcast approach to branding is no longer appropriate, it needs to flex to be part of the bigger conversation, not limited to a one-way monologue so often seen in traditional branding.

What ever you call it, multi-channel/transmedia/convergence… the digital age offers newspapers the chance to be reborn as the most engaging and dynamic channels for readers and advertisers… because they create what we crave, content that is timely and effortless to consume.

We didn’t throw the baby out with the bathwater. We kept all the good bits that gave the original it’s authority and detail.

We gave it a world to play in by introducing broad overlays of colour that come from the faceted detail in the enhanced brand mark.

These can be changed and adapted for whatever content it covers.

We’ve created a new Brand World that enables communications of any kind to be intelligently branded everywhere — without relying on traditional one dimensional badging.

It becomes more human and approachable as a result.

A revitalised, re-energised NMA for a brighter future.

Information and Wayfinding:

Publishing and Editorial:

Design Museum, London.

This exhibition guide for the Design Museum has been printed using process colours.  Simple imagery with simple overlaying text works extremely well, and also reflects the content.  But if you're the Design museum, you're going to get it right.

Wallpaper.

Wallpaper* has collaborated with GFSmith on a cover project that looks to celebrate the magazine's 15th anniversary. 15 designers or brands were approached to each create a special cover design, to be printed on Colorplan paper stock. Collaborators include Build, It's Nice That, James Joyce, MadeThought, Nike, and Spin...

"Wallpaper* asked us to commission 15 designers to each produce a 'celebrity' bespoke cover around the concept of Wallpaper* Famous for 15 years'," explains GFSmith's James Groves.

"In the true sense of bespoke, using digital printing by FE Burman, each cover design was printed on to the stock of the designer's choosing from our Colorplan range," continues Groves. "FE Burman pushed the printing by using many different processes including multiple passes of white ink. The results show how choice of paper plays an integral part of the design process."

James Joyce's design is printed on Cool Grey

A good point to remember when printing CMYK.  So long as all the colours are in the gamut range you can still produce a bright, busy piece of design- doesn't have to be a spot colour all the time.  Most of the time, especially for me, available resources will only allow for CMYK printing.  I need to learn how to make my designs reach their full potential when using process colours.

Sourced from 'Good Food' magazine.

The colours used here are process colours.  Block colour against imagery can not work at all, or can work very well.  Here, it is the latter.  The colour scheme of beige to blue works beautifully and communicates effectively.  Should think about this when adding text to my designs.  Especially editorial.