In the late 70s, two Americans living in Paris found themselves wishing for a restaurant resource that reflected the opinions of their foodie friends rather than those of professional critics or mystery reviewers.
The couple, Nina and Tim Zagat, ended up creating the guide they’d always wanted themselves. The subsequent success of what became the Zagat Restaurant Guide introduced people to the idea of user-generated content and helped to democratise restaurant criticism forever.
The Zagat team brought in Brooklyn-based studio Franklyn to create a new brand system and campaign assets that would better represent the review site’s history while also feeling contemporary.
Franklyn started by giving the brand’s existing wordmark a typographic polish, shifting from Helvetica, which was used for its original 1979 iteration, to a more modern and digital-friendly cut of Neue Haas Grotesk by the Commercial Type foundry.Video Player.
While the new logo has a modernist sensibility rooted in the late 1970s with its strong grids, clear hierarchies and simple compositions, the studio introduced more flexibility in the rest of the brand system.
Key design elements include a digital-forward approach to colour, iconography, hierarchy and animation, along with a more fluid typographic palette featuring Avant Garde, Cheltenham and Tungsten.
The company has a new visual identity designed by creative agency &Walsh that draws on cells and nature for inspiration. While the existing logo remains, &Walsh fleshed out a new visual language around it, from typeface and colourways to illustration and imagery.
The 3D visuals are crisp without feeling overly clinical, and pop against the royal blue palette. The key assets involve orbs containing a smorgasbord of natural ingredients that inspired Geltor’s proteins. The result is like a Björk video frozen within a snow globe, complete with the surreal art direction we’ve come to expect from &Walsh.
The team also developed an iconography system and a set of line-based illustrations to help distil complex information and make the company feel warmer and more approachable.
At its heart is a bike-shaped monoline motif that blends together the infinity symbol, which has been repurposed as tyres, with a set of handlebars.
“The goal is for everyone to be able to recognise, reuse and draw the design with ease,” says the studio. “It evokes cycling, cycling routes, openness and freedom.”
According to Spintank, the identity offers a “positive, friendly and inclusive vision of the change we need to make in mobility”. It features in a teaser ad campaign that appeared across Lyon, as well as on social media, encouraging residents to participate.
Originally opened in 1886, Olympia London is undergoing a major redevelopment designed by Heatherwick Studio and SPPARC Architects, which aims to position the new area (known simply as Olympia) as a hub for creative arts in west London.
On top of the existing Olympia London events and exhibition spaces, there will be seven new buildings, including a new theatre, a live music arena, office and studio spaces, eateries and two hotels. The development is due to open to the public in 2024.
The branding for the area has been led by the London arm of SomeOne, with a brand strategy built around the idea that “it’s showtime”.
The Olympia wordmark, developed in collaboration with Miles Newlyn, follows a curve that draws on the arches of the historic Olympia Exhibition Halls. The primary typeface is Right Grotesk by Montreal-based foundry Pangram Pangram, and appears in various styles and weights as a nod to the venue’s vintage exhibition posters.
Marta Veludo Studio is based in Amsterdam and often pulls influences from folk art, pop culture, bright color, and inspiring movements into her designs. In her most recent creation, Marta Veludo created the visual identity and packaging for Golden Apple’s new makeup line. The products infuse classic design elements with stereotypically GenZ inspiration, making for a line that inspires consumers to tap into new ways of expressing themselves. Each product is packaged uniquely but makes up a cohesive set with bold typography and punchy colors.
Jocelyn Tsaih is a Taiwan-born, Shanghai-raised artist currently based in Oakland, California, and, recently, the artist collaborated with Dom Maria, the Brazilian Sparkling wine brand. Tsaih’s designs are essentially blank canvases, allowing consumers to create a custom wine label that suits all the occasions they could need. Plus, even if you choose not to decorate the bottles further, the illustrations are lively, playful, and innocent enough to leave plain.
Next’s new branding and tone of voice are designed to steer clear of the clichés surrounding insurance companies, which “are either your overly earnest protectors from doom, or rely on the absurdity of animals and athletes to help you remember them”, according to design agency Collins, which led the brand redesign.
The team took an illustrated approach to the brand visuals, which feature bright palettes and a cast of friendly, motivational characters, including a toolbox and a chef’s hat.