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.
Based in an old coal mining complex in Genk, C-Mine is one of Belgium’s most exciting museums and cultural centres.
This summer marks the arrival of the museum’s new multidisciplinary festival Zomerslag, which features a programme of theatre, dance, music, events and more.
Part of the festival is Shout, curated by Daan Linsen and Debora Lauwers of Alley Design Studio, which features work by five well-known figures from contemporary graphic design. James Joyce, Morag Myerscough and Anthony Burrill represent the UK’s design scene, alongside Berlin-based Eike König and Marco Oggian, who currently resides in Spain.
The show sees each designer draw inspiration from the museum’s history to create new pieces, with the work united throughout by a joyful use of colour.
“Shout is C-mine’s graphic-arts playground this summer, allowing five internationally acclaimed artists to do their thing with typography and colour,” says Linsen. “The result is in-your-face: confrontational, but also a lot of fun. It’s a party, and everyone’s invited.”
The Alfred Landecker Foundation was established in 2016 by the Reimann family after they researched their ancestors’ associations with the National Socialist regime. Unsatisfied by simply uncovering their own past, the family took the lessons they learned and set up the Foundation to promote action and engagement.
The studio says the site is designed and built around two principles: “the frailty of democracy against the chaos in the world, and a call-to-arms to build a civil response and do better”. Rather than adopt standard webpage names such as ‘About us’ or ‘Projects’, the website’s navigation aims to answer three questions: What we do; Why we exist; and Who we are. “These pages restack as you view them, to reflect how they affect each other and create a more immersive experience,” the studio explains.
Under those headings are pages on what the Foundation does, such as Strengthen Democracy and Depolarise Debates. These topics again inspire action and are presented almost as a manifesto for the Foundation’s activities. To build a sense of how these topics connect in both confronting and thought-provoking ways, they’re also colour coded.
A mix of typographic faces are used and are occasionally set at unusual angles to heighten this sense of discontentment, plus a series of hover states also shifts content and click-throughs off-balance. The idea is to highlight the structures under threat, which is captured best in the monogram logo itself, through its “contrast of fine hairlines resisting the dominant, and heavy strokes applying pressure”.
Designed by Lucy Price and Melissa McFeeters, Tuft the World’s packaging is as artful and playful as the tools and materials that the company sells. The color hues, illustrations, and typefaces used throughout truly make the brand come to life and inspire consumers to make the world a more creative and imaginative place.
After a full discovery phase, we created a logo suite that reflects the spirit of the tufting community and can be used in endless applications. The process of tufting was an underlying inspiration for the brand—from the custom, wavy typemark, to the repeating name pattern and grid graphic. A vibrant color palette was influenced directly from the yarn colors within the Reflect line, while the logo badges represent the wide variety of rug shapes. Hand-drawn doodles and annotations take inspiration from the creative process itself, as many rug tufters tend to be multidisciplinary artists.
In addition to custom print materials, user guides and packaging, the t-shirts and enamel pins allow the Tuft the World customers to show off their tufting pride.