And emerged in response to the question “How might we create a gender neutral brand identity for a line of period products?” Through extensive market research and brand discovery process, the identity of And began to take shape as an inclusive, high quality product line committed to meeting the needs of people with periods and disrupting outdated gender norms in the industry. And, inspired by the word ‘androgynous,’ is for him and her and them and you—And is for all of us.
Gender dysphoria is defined as distress caused by a discrepancy between a person’s gender identity and their anatomy. For some trans, non-binary, and gender-nonconforming people, the experience of menstruation can trigger intense feelings of gender dysphoria, as many associate menstruation with femininity. This association perpetuates harm, as not all women menstruate and not all people who menstruate identify as women. The menstrual care industry plays an important role in redefining gender norms by exemplifying inclusive representation.
Laytown is a village in County Meath, Ireland, overlooking the Irish Sea. Inspired by this village’s location, the branding for Laytown Soda Co is all things tropical. Designed by Jack McKeon, the color palette for the drinks is cheery and bright, everything you hope to feel while by the sea. Furthermore, the t-shaped logo doubles as an illustration of a beach umbrella, furthering the seaside theme. It’s evident that Laytown Soda is a brand that’s all about influencing a lifestyle that promotes a slow pace and 100% happiness.
A student project with Creative Direction from Dublin-based illustrator and designer Conor Merriman, the hypothetical Laytown Soda Co, based in County Meath, Ireland, put an emphasis on flavour over fizz. Their drinks offer fruity refreshment without being overpowered by an excessive sparkling sting.
The logotype, inspired by Laytown’s seaside location, features wavy letterforms and the letter ‘T’ doubling as an umbrella (or parasol considering how changeable the Irish weather is).
It’s surprising what we might have missed during the pandemic. There’s the obvious stuff – hugs with friends and family, the chance to talk over travails and triumphs face to face – and then there’s the small moments that might have even been a bit annoying, but now they’re prevented, you want them back.
The spot is the latest in what appears to be a burgeoning trend in advertising of taking a musical theatre approach. Directed by Max Sherman, it certainly makes the most of the ridiculousness of turning an ad for fries into a power ballad.
Credits: Agency: Cossette Director: Max Sherman Production Company: OPC
Leeds City Council has run Breeze for the past 20 years, offering activities, events and discounts to under 19 year-olds across the city. To coincide with the launch of a new membership app, it commissioned Kiss Branding to refresh the identity of the platform, to take in a diverse audience of toddlers, kids and teens plus also parents and tourists in the city.
Kiss Branding created a contemporary campaign featuring bright and bold typography and illustration, created in-house. “We landed on the concept of ‘Freedom’s a Breeze’ as a core brand idea,” says Poonam Saini, creative director at Kiss. “Breeze makes finding activities and discounts in Leeds ‘easy breezy’ so it was important that our new brand embodies this sense of simplicity and contentment.
“The swooping logo and typography, playful yet refined colour palette along with contemporary, inclusive illustrations come together to create a brand worthy of the Breeze offering – a world away from the typical ‘town council’ identity they had previously.”
The book, published by Formist Editions and featuring the work of type designer and Klim Type Foundry founder Kris Sowersby, asks, “When is a letter not a letter?”
Running to a hefty 800 pages, and filled with double-page spreads of giant letterforms, The Art of Letters aims to question and explore the relationship between art, function and form when it comes to type design.
In the foreword, designer and Formist director Mark Gowing says the idea for the book came from discussion around what turns an “abstract form” into part of a wider language system, as well as “the relative absurdity of these timeless and ubiquitous forms”.
The Art of Letters treats each of the glyphs drawn by Kris Sowersby – a largely self-taught type designer who set up Klim Type Foundry in 2005 – as a standalone piece of work, big enough to fill a single page.
As well as a chance to appreciate the carefully designed shapes of individual letterforms, the book itself is quite the work of art with black edged pages and a gold foil-stamped dust jacket. The introduction is, naturally, set in a custom typeface as well – Brotunda, designed by Sowersby and Gowing together, and inspired by the medieval rotunda script.
There’s been a huge boom in demand for products that are kind to both our bodies and the planet in recent years. The vegan cosmetic industry is expected to be worth a whopping $21.4 billion by 2027, according to a recent report by Marketglass, while refillable packaging services such as Loop are fast becoming the poster children for zero-waste packaging.
#WeThe15 takes its name from the 15% of the global population who have a disability and aims to raise awareness of the challenges that these 1.2 billion people often face, including access to healthcare, education and employment.
The film, created by Pulse Films and director Sam Pilling, sets out to challenge some of the stereotypes that people with disabilities face, including pity or being framed as ‘brave’. It was filmed in Bogota, Bangkok, London, Johannesburg, Milan and Manila, and includes nearly 40 persons with disabilities assembled in partnership with disabled talent agency and consultancy C Talent.
Pentagram’s identity includes a wordmark and a symbol by Pearce and his team and sonic branding by Suzuki. Throughout the Paralympic Games, athletes will wear temporary tattoos featuring the #WeThe15 symbol. A vibrant shade of purple was chosen for the identity as this represents the international colour of disability and to mark today’s launch, 125 iconic global landmarks across six continents – from Tokyo’s Skytree to Niagara Falls – will be illuminated in purple light.
Like The Office reruns and White Claw, Helvetica’s popularity remains unabated. Designed in 1957, the love for the sans-serif type hasn’t changed much, but the world in which designers use Helvetica and the world it resides in is very different.
Monotype, now the stewards for the iconic font, took a big step forward in 2019 when it released Helvetica Now, an update with additions and changes that allows designers to apply the storied type in modern applications like smartphones.
The font’s full potential wasn’t realized, however, and Monotype has just announced the release of Helvetica Now Variable, an update that makes the typeface more pliable in designers’ hands. Variable adds the ability to blend weights, sizes from four-point to infinity, and new compressed and condensed widths. Monotype’s update makes it easier to use Helvetica in new, expressive ways, making the typeface adaptable for applications needing responsive typography.
“Typographers (and good designers) know that headlines, text type, and tiny type each require special care,” Charles says. “Headlines benefit from tighter spacing and more refined letter shapes. Text type needs a breath more space and a greater emphasis on rhythm. Tiny type needs a larger x-height, breathy spacing, and more rugged forms. White type on a black ground requires different spacing than black on a white ground.”
If you’ve never had the pleasure of tasting a Brookie, a brownie, and a cookie in one, you’re severely missing out. Biting into one is like biting into a piece of heaven.
The pillowy texture and the rich nostalgic flavors make for the perfect sweet treat. With branding and packaging designed by Blank Design Studio, Brookies, the Brazil-based sweets and coffee shop has created an irresistible identity system. The vibrant color palette paired with the 1950s-inspired illustrations and typeface makes for a sweet escape.
Through the positioning strategy, we identify territories and differentials to explore in the minds of already fanatical Brookies customers. The good and warm nostalgia. Guided by this concept, a vibrant color palette and the “baking good times” tagline, we created an authentic, global, urban, fun platform with a touch of acid humor brought by its new symbol, inspired by the 1950s cartoons that explored an atmosphere of cunning and malice through their exaggerated and flashy expressions. A project as delicious as the best cookies in town.
Cultured meat may seem like something possible in the distant future, but commercially available lab-grown meat is already a reality. Late last year, Singapore became the first nation to approvesynth-meat, and Eat Just is currently serving up cultured chicken nuggets as a trial in Singaporeunder the Good Meat brand.
Although lab-grown meat is still a novelty, agency Idea Dolls recently embarked on a concept project for a hypothetical meat line, exploring how to brand such a product to the public. Dubbed “Good To All Creation,” or GTAC, the branding features some of the unique characteristics inherent to lab-created meat.