New Australian challenger bank Hay has centred its identity on a friendly, informal tone, sitting it comfortably among the cohort of fintech start-ups that are putting a clearer, more human spin on managing finances.
The colour palette and constituent parts of the logo share parallels with messaging platform Slack, reinforcing the idea that challenger banks like Hay are closer to tech startups than seemingly staid traditional banks – a perception that’s recently prompted the likes of NatWest and First Direct to experiment with new positioning.
London-based studio Sennep specialises in designing and building digital products for the likes of Google, Barclays and the Guardian. In their spare time, however, the team behind the studio have also carved out a niche for themselves creating a series of innovative and engaging digital games.
Developed with games publisher Rogue Games, Olo was launched in 2012 as a digital take on the traditional gameplay of air hockey, curling and shuffleboard. The studio has teamed up with Rogue Games again for sequel Olo Loco, featuring a new set of eccentric Olomojis, a new soundtrack and enhanced game modes.
Moving house is hard work, with one of the main goals being the moment when you’ve finally got inside your new property and can enjoy a takeaway meal to celebrate. This will be a familiar feeling the world over, but is particularly pertinent in Quebec, Canada, where traditionally most residential leases come to an end on the same day, July 1.
This means an average of over 100K households in the province pack their belongings and move into their new homes on what Quebecers refer to as ‘Moving Day’. Tapping into this event was a recent campaign from McDonald’s Canada, created by Cossette ad agency, which repurposes the contents of moving vans to look like McDonald’s meals, which can be ordered via McDelivery.
The posters also aim to tell different Moving Day stories, which helped define the objects that were featured: The fries execution was inspired by a young man moving into his first apartment in a trendy Montreal neighborhood; the Big Mac execution featured a family with kids moving into a suburban home; and the Egg McMuffin spot highlighted a young couple moving into their first home.
In a branding update led by Marina Willer and her team at Pentagram, Rolls-Royce’s RR monogram remains unchanged. However, it has been demoted in the new visual identity as the brand’s Spirit of Ecstasy motif becomes the main logo of the Motor Cars division.
While much of the 3D detail has been reduced in order to make the logo digital-friendly, the shapely figure still retains some semblance of depth, marking a refreshing change from the approach taken by many other car brands lately.
This approach has filtered down into the new wordmark, which now features angled detailing across the L and E to quietly communicate a sense of movement. The adjustments to the wordmark are based on a historic iteration, and while subtle, now looks less John Lewis and more Liberty.
The new look also comes with a linear, abstract visualisation of the Spirit of Ecstasy motif that once again maintains a sense of body and depth and contrasts the bulk of recent car rebrands, such as BMW’s new flat logo design.
There aren’t many joys as pure and unadulterated as a tasty piece of candy. That feeling of bliss when all those simple carbs and deliciously sweet notes hit the tongue, most of which we first experience as children, fades away as we get older. Some of that is over health and diet concerns, of course, but also because most candy is flavored with artificial ingredients and developed in a lab.
A lot of those sweets also get made for an audience of kids, not the more sophisticated palates that we develop as we enter adulthood.
Mayssa Chehata saw a need for a candy that was low in sugar and carbs with more refined flavors that was more of a throwback to childhood without feeling overtly kid-centric. This led her to start Behave, a new candy brand that aims to deliver guilt-free sweets with more grown-up flavors.
Chehata brought in celebrity chef and sweets expert Elizabeth Falkner to develop from these evolved takes on the childhood favorite gummy bear from the ground up. Chef Falkner went beyond standard gummy fair with flavors such as lychee, passion fruit, and raspberry. Each bag contains 3g of sugar, 6g net carbs, and only 90 calories. The gummies are also naturally sweetened with monk fruit.
To achieve Behave’s visual look and packaging, Chehata developed it alongside food specialists Gander, who also worked with brand Magic Spoon, who make healthier versions of kids’ breakfast cereal. Gander uses eye-searing blocks of neon colors to evoke feelings of nostalgia for childhood candy. Bold typography serves as the only embellishment over the neon panels, save for a giant gummy bear. The wordmark is also crossed-out, a call to defying convention and guilt.
A new campaign by Saatchi & Saatchi is sticking up for the young people who get flak for being glued to their screens. Directed by Vincent Haycock, the film at the centre of the #WhatWeDoNext campaign offers an uplifting and compelling counter-argument to the theory that young people are out of touch due to social media and other tech. Instead, it illustrates the many ways young people are instigating positive change, oftentimes using technology to get the word out.
“We wanted to capture the spirit of this generation and show their collective voice harnessed by their use of social media. They are a generation that uses technology and social media to raise awareness and create communities,” Director Vincent Haycock said of the film. “We set out to make a film that felt honest to each of the characters’ world. Most of what you see is either their actual world or inspired very closely by who they are or what they represent. Billie’s is the voice of this generation, her music and words are very important to Gen Z. Having her narrate the film couldn’t have been a better choice.”
Agency: Saatchi & Saatchi Global CCO: Kate Stanners CCO: Guillermo Vega ECDS: Franki Goodwin, William John Creatives: Mia Silverman, Francesco Grandi Production company: Somesuch Director: Vincent Haycock
Lester describes the piece as “arguably the most intricate letterform that has ever been drawn”, explaining that it’s informed by a career spent studying incredibly detailed type.
It’s a contemporary take on the illuminated letters that would have decorated manuscript pages of old, except it’s stuffed with hundreds of symbols – many of which will be recognisable to modern day designers. Look closely and you can spy relatively recent inventions such as the smiley and the Xbox logo, alongside more complex designs that draw on more historic sources.
“The piece includes symbols and patterns that chart the Dark Ages, the Middle Ages and the Renaissance, through to modern symbols, logos and emoji,” writes Lester, who spent several years as a type designer at Monotype, before focusing on his work as a calligraphy artist.
Beautiful Asian and Islamic ornament features prominently as well, so this is a truly international affair.