Monthly Archives: October 2020

Australian Centre for the Moving Image rebrand

As the Australian Centre for the Moving Image enters a new era, the museum has revealed a fresh look created by design studio North.

When the museum reopens in early 2021, it will have a fresh look devised by UK design agency North, which will complete ACMI’s transformation from its beginnings as a local film centre in the 1940s to the most visited museum of its kind.

ACMI branding by North

At the heart of the identity is a distinctive new wordmark, which is squared off at the edges for an impactful boxy effect that lends itself well to a grid system. The ‘m’ subtly calls to mind the shape of a video cassette, and makes for a far more memorable logotype than its somewhat corporate predecessor. A new typeface, Px Grotesk, has also been introduced to the suite to be used across all touchpoints.

North worked closely with ACMI’s in-house design team on the identity, which features a streamlined colour palette that enhances the vibrant imagery used across the museum’s cultural programme. The update comes with revamped signage, merchandise and campaign assets, as well as a new website created by Liquorice and internal wayfinding by Büro North.

Hylo sports branding

London agency Otherway has designed the branding, which is intended to live between the worlds of sport and sustainability. It’s noticeably minimalist, sporting a sans serif logo and accompanying typeface, and a bolt-shaped motif that Otherway says represents the power of nature, as well as the speed and lightness of Hylo’s first shoe.

“We had conversations early on about colour or detailing, especially around branding,” Otherway founder Jono Holt. “To get that pop of colour we’d have to use an artificial dye. That extra piece of detailing needs a different supply chain. They ended up being stripped back because the design has to be simple for the supply chain to be simple, for the sustainability and responsibility of the product.”

Challenger Bank Hay gives finance a friendly feel

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.

Hay bank
Hay bank
Hay bank

Ikea sleep ads

The posters follow the brand’s recent ad, which provided a prequel to the classic tale of the tortoise and the hare, and continue its message of the value of a good night’s sleep

Creative: Mother
Production company: The Miss Jones Agency
Photographer: Amy Currell
Stylist: Amy Friend
Modelmaking: Andy Knight Ltd

Olo Loco playful spin on classic game

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.

McDonald’s ad for Moving Day

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.

Rolls-Royce new identity

Rolls-Royce branding

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.

Rolls-Royce logo
Rolls-Royce monogram
Rolls-Royce Spirit of Ecstasy
Rolls-Royce logo

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.

Candy aimed at grown-ups!

Editorial photograph

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. 

Editorial photograph
Editorial photograph

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.

Editorial photograph