Shelter’s new brand identity is created by Superunion and features a red arrow formed by brushstrokes. The intention is to bring a sense of the activism that was at the heart of the charity when it was formed in the 1960s back to the logo, while still referencing the shape of a roof which was a central part of Shelter’s previous mark.
The new ad campaign is created by ad agency Who Wot Why and features imagery of real people affected by the housing emergency projected onto buildings and homes. It is set to a track by Wretch 32.
The film is accompanied by a striking set of outdoor, print and online ads, featuring bold text and striking black-and-white portraits shot by photographer Tom Cockram.
The campaign, and new identity, aim to return some urgency and fight to the charity’s messaging, emphasised by the tagline, Fight for Home. “The housing emergency has escalated to staggering levels, impacting the lives of one in three of us,” says Willow Williams, head of marketing at Shelter. “Meanwhile, the global health crisis has made things a whole lot worse. This situation demanded an urgent and unflinching campaign to inspire everyone to join Shelter in the fight for home.”
Credits: Brand purpose and Identity: Superunion and The Sustainability Practice at Ogilvy Ad agency: Who Wot Why ECD/Founder: Sean Thompson Creatives: Jack Walker, Ali Dickinson, Rebecca Conyngham-Hynes, Dan Scott Photographer: Tom Cockram Production Company: Independent Films Directors: Sarah Gavron, Anu Henriques
DesignStudio has updated the mental health charity’s branding, creating a new colour palette and drawing on the organisation’s logo to create a set of squiggly punctuation and design elements.
It’s been ten years since Mind last updated its branding, and in that time the mental health crisis has become more pressing – only exacerbated by the events of the last year.
DesignStudio says it was time for the organisation to recapture its “fighting spirit” with refreshed branding that would help expand Mind’s reach. Established in 1946, the organisation supports those facing mental health challenges as well as raising awareness and lobbying for change. DesignStudio’s new palette revolves around a brighter version of Mind’s blue, used alongside a pastel pink, minty green and bright coral.
“We wanted to build on existing elements but broaden Mind’s appeal for today’s diverse audience,” says DesignStudio creative director Vinay Mistry. “After extensive research with employees, volunteers and people with lived experience, we brought fresh thinking to the visual toolkit.”
Perhaps the most charming bit of the refresh is the squiggly punctuation DesignStudio has introduced – inspired by Mind’s existing symbol, and made using hand-drawn illustrations created by the studio team. Farmer describes the update as “more modern, diverse, accessible and legible” – all of which feels essential for the organisation to keep connecting with, and helping, people across the UK.
The platform is used for finding inspiration, sharing imagery and creating digital mood boards, lending itself to the cut and paste aesthetic that underpins the new look. Led by Made Thought, the new identity aims to put the people who use it – dubbed ‘Pinners’ – front and centre by creating unique scenes reflecting their various interests.
The art direction feels fun and eccentric, thanks to the disparate imagery and use of flexible colour schemes rather than a fixed palette, while the slant of the new sans-serif typeface created by Grilli Type aims to represent “a literal lean into the future”, according to Made Thought.
“We set out to give Pinterest a brand identity as fluid, personal and creative as its own platform — driven by the meandering choices of the user and their ever-evolving dreams of what might be,” says Made Thought creative director Alistair Webb.
The Tokyo-based publisher Kodansha owns several literary and manga magazines, and first published much-loved manga series Akira in the early 1980s. It also released some of Haruki Murakami’s earliest novels, as well as manga series Attack on Titan, which was published in 31 serialised volumes, 100 million copies of which have been issued.
The new identity and logo is Kodansha’s first brand update in over 100 years, and is themed around a fresh statement of purpose: inspire impossible stories. Gretel’s work is reminiscent of art gallery or cultural institution branding, featuring an elegant new logo made up of intersecting lines in a square – a nod to the layout of comic book pages.
“The brand logo represents Kodansha’s position at the crossroad of all cultures, where many ideas, voices and stories intersect,” says Gretel creative director Sue Murphy. “It’s also inspired by Japanese hankos, acting as a stamp of quality on Kodansha’s content, as well as a monogram.”
Kodansha CEO Yoshinobu Noma describes the rebrand as an opportunity to “communicate who we are on a global scale”, suggesting it’s an attempt to help spread Kodansha’s profile outside of Asia.
2 AM Agency was contracted to develop the label’s design and packaging. The notion of simplicity, authenticity, and luxury were combined to create a simple, yet sweet face for the bottle. A brown paper is used for the label, extending up the length of the bottle, unlike a traditional bottle whose label typically makes up about a quarter of it. The typography is curved and eclectic, drawing attention to the otherwise completely blank label. The paper provides a tactile experience, while the hand written font identifying what type of wine it is, adds a sense of personalization.
ARCAD is a specialty wine sub-brand of Hotel Arcadia in Slovakia. Producing wine from the grapes they grow in their own gardens, they offer their clients/residents a bottle of wine to enjoy their evenings in a luxurious atmosphere.
Zoomin is a personalized photo printing service, that prints up your memories into beautiful products – prints, posters, mugs, frames, etc. They had been around for a long time now, and it was time for a packaging refresh. The packaging design goals were to come up with something – – Beautiful. – Economical. – That would print well on eco-friendly Kraft paper. – Consistently on-brand, that could be applied across their variety of products. – Fresh and fun but not loud i.e something that would appeal to their wide user base with varied tastes. – That also conveyed the love and care that Zoomin put into fulfilling their customer orders.
We fulfilled these goals with a cheeky typographic design that speaks to the customers directly, combined with a seamless custom pattern for flavor. After experimenting with some patterns, we decided on a zentangle-inspired pattern that appears to zoom in – a subtle reference to the brand name. The design works because it can be applied across envelopes, boxes and tubes alike, and can easily be customized to suit the product being shipped, while being consistently on-brand.
The economic disruption due to the pandemic created ripples across every sector. Some suffered more than others, notably in entertainment, hospitality, and foodservice. Restaurants having to close on-site dining bore the brunt of the impact, but less seen were the ancillary businesses relying on the same on-site dining, such as suppliers and purveyors. Sound, a sparkling beverage company, was one of those firms.
Primarily focused on the foodservice industry, Sound saw their monthly sales drop from 6 to 4 figures in March 2020 and were faced with shifting its business to e-commerce and retail. As part of the change, Sound refreshed the brand and the packaging to stand out in retail.
The previous packaging was attractive but restrained. Sound’s cans and labels have just enough color to stand out in a cafe cooler but perhaps too reserved to grab consumers’ attention in the crowded sparkling beverage space. The previous visual identity broke out a lot of the label space with stark and contrasting boxes with ingredient labels and graphics.
No child should have to go to bed hungry, but the UK’s latest statistics on child food poverty highlight a systemic problem that urgently needs tackling. Pre-Covid, 30% of all children across the country were living in poverty, while food insecurity in families with children has increased dramatically in lockdown.
Launched in response to the government’s new Healthy Start voucher, Rashford has joined forces with Michelin-starred chef Tom Kerridge on a new national campaign, Full Time: Get Cooking with Marcus & Tom.
The campaign, which aims to equip children with vital life skills to support their navigation into adult life, is supported by Facebook and Instagram and aims to eliminate stigma around the use of Healthy Start vouchers.
Kerridge has created 52 simple, family-friendly recipes as part of the 12-month-long programme, which encourages parents and carers to enjoy one hour of valuable time each week cooking with their children, and puts emphasis on recipes that use limited equipment and longer shelf life goods.
Recipes will be available to pick up in various forms from selected supermarkets every Sunday morning. Each recipe will feature a QR code linking through to the Full Time Instagram page, where users can access short-form tutorial videos hosted by Tom, Marcus and a selection of celebrity guests.
London-based design studio The Clearing was brought in to lead on the branding for Full Time, with a brief to develop the campaign’s visual identity, name and strategy.
The result is a colourful take on home cooking, which swaps off-putting, health-focused language for more casual phrases such as ‘Get stuck in’ and ‘It’s time to fill up’.
C&A is a Dutch international fast fashion brand established in 1841 by the siblings Clemens and August Brenninkmeijer. The brand maintains presence in 22 European countries, in addition to Brazil, China and Mexico. C&A arrived in Mexico in 1999 and expanded quickly establishing their largest headquarters positioning itself as an accessible fast-fashion brand.”