Monthly Archives: July 2022

Wolff Olins overhauls GSK’s identity

Wolff Olins has created the new brand identity for global healthcare company GSK (formerly GlaxoSmithKline), aiming to better express its focus on innovation. The agency was brought on board around 18 months ago having won a competitive global pitch to help GSK develop its new purpose, voice and identity.

According to David Stevens, executive strategy director at Wolff Olins, GSK was “determined to do something bold”. The agency was briefed to create a “visionary brand” that matches GSK’s ambitions and could help inspire its many stakeholders, including new talent that might otherwise be drawn to work at smaller biotech start-ups or big tech giants.

The new GSK logo acts as a sign that “always points the way ahead”, and is housed in a redesigned shape known as the “signal”. The new identity system was designed to flex, adapt and move to help engage audiences who encounter it across all touchpoints, from digital platforms to social to physical environments. “Today, GSK is a different company from the GlaxoSmithKline that launched in 2000, and the global context around it has shifted radically,” Stevens explains. 

CNET’s new identity

As tech has evolved over the last two decades to influence almost every aspect our lives, the media company decided to expand its coverage and advice to what matters most in modern life – including money, home, wellness, culture and climate.

To coincide with its refreshed editorial approach, CNET enlisted the help of New York and San Francicso-based studio Collins, which was tasked with crafting a new brand strategy, brand story and visual identity for the media company.

Collins’ brief was to turn CNET from a tech review site into an editorial-first brand known for its useful information and expertise, putting it alongside the raft of other news organisations that are placing renewed emphasis on trust, including the New York Times and the Guardian.

Least favourite fish gets a rebrand

Ever heard of Patagonian toothfish? Slimehead? Peekytoe crab? All of these none-too-delicious-sounding fish have been the subjects of successful rebranding campaigns, becoming Chilean sea bass, Orange roughy, and mud crab, in a bid to get people eating them.

Chicago-based practice Span Studio is hoping it can work some similar magic on Asian Carp – an invented, catch-all name for various types of carp which escaped from fish farm retention ponds in the 1970s, and have since taken over the Illinois River. The fish have impacted biodiversity and ecosystems, and there are fears they will go on to damage America’s Great Lakes.

The logo appears on a set of concept packaging designs, which envision how Copi might be sold – all emphasising the locally caught aspect. The ‘Eat well, do good’ tagline is the final element, with the rebrand designed to get people buying the fish at the supermarket, or ordering it from restaurant menus.

Plum Guide’s new ad campaign

Plum Guide is a travel brand which proclaims to curate stays in the “world’s most remarkable homes”. Its new campaign, by Stink Studios, doesn’t waste time trying to seduce audiences with visuals of these destinations though, and instead points out just how many holidays you are likely to have left, depending on your age.

The campaign is rounded off by the tagline ‘No time for average stays’. It’s a different approach for the holiday industry, which can often feel awash with identical campaigns showing palm trees and immaculate beaches. Though it might also make you feel like time is running out, a point brought home by Ali Lowry, chief brand officer at Plum Guide.

Celebration of cinema in print

“With the magazine we’re embracing the unique properties of the print medium to explore and celebrate cinema culture in delightful and unexpected ways,” says Daniel Kasman, VP of editorial content. “We don’t have regular columns or reviews – we’re building each issue bespoke from scratch. The experience is intended to be immersive, contemplative, and surprising. It’s a magazine which we intend you to delve into, take your time with, and find a fresh and exciting way of seeing the art.”

Under the creative and art director Pablo Martin, the attention to design detail – its thick, matte cover is a lovely choice – and the abundant space given to unconventional visuals play a big part in this. The newest issue, Issue 1, seems even more playful with typography, packaging and other touches, like the electric blue accents seen across the spine and binding thread. It all feels generous and worthy of a Sunday afternoon spent poring over its pages, a pace warranted by its slower than average biannual publishing schedule. And although a print publication might not be able to accommodate moving image yet, Kasman makes a poetic observation about a magazine being “hand-animated” by flipping pages.

PayPal puts people first

Online payments platform PayPal has unveiled a new brand strategy and visual identity, developed by it’s in-house brand team in collaboration with New York-based design studio Gretel.

Starting with brand strategy, Madeddu explains that the team focused on PayPal’s role as the “empowerer” and “enabler” of opportunity for people. “The new brand strategy puts the stories of PayPal customers — millions of individuals and businesses who trust, rely on and use PayPal every day — front and centre, championing their needs and wants.”

The new visual identity is inspired by one of the brand’s most recognisable assets, the payment button, which has become synonymous with PayPal itself over the years. “For many people, it is the confirmation of a transaction in a digital commerce environment. It connects function with emotion — linking PayPal with the success of a secure transaction on both merchant and consumer sides. We decided to leverage this powerful equity,” says Madeddu.

Historically part of the PayPal checkout experience, gold is now included in the brand’s primary palette along with blue. The brand’s existing monogram, featuring two overlapping Ps that are locked together, is now also used as a framing device – “turning individual users, small business owners, or CFOs of large corporations into the protagonists of their story,” says Madeddu.

Sustainable at the forefront of Dr Teal’s rebrand

To create a sustainable packaging design for Dr. Teals, student designer Hanson Ma designed the conceptual design with customization at the forefront of the design. This gets consumers excited about their purchase, but it makes them mindful of taking sustainable steps when purchasing elsewhere. The result is a packaging system that’s colorful, eclectic, and eco-friendly, something more brands, especially beauty companies, should be conscious about evolving into their own brands.

The reimagined Dr. Teal’s is an online personal care product line that is fully customizable and is individually formulated. These products are made specifically for the user. It matches specific skin and hair types, skin conditions, preferences in ingredients, and personal goals. Customers can customize the packaging with a selection of recycled plastic materials, ceramics, as well as different paints of aluminum. Labels are also personalized with the ingredient selections and color-coded with the ingredient selection.

The primary labels are bellybands. The color of the ingredient selection is shown on the inside when you take it off. The logo is embossed on the front side with a blind emboss on the back side.

Skincare Yepoda focuses on clean rebrand

Kepoda’s skincare packaging, designed by OWLSOME STUDIO, introduces consumers to the ingredients inspired by accessible skincare. The packaging is simple, focusing on a clean and sophisticated design, highlighting a vertical logo that brings the user’s eye from top to bottom. Additionally, the color palette across the line is refreshing yet playful.