Having grown up and lived in Belfast all my life, I graduated as a Graphic Designer in 2015. I have a love for all things typography, branding, adverting and print design. I love solving all kinds of briefs big or small. During my studies I worked with a creative team in Belfast gaining valuable industry experience.
The latest installation by the artist sees Myerscough turn a street canopy into a stained glass-style artwork that casts bright colours onto the pedestrians beneath.
The commission is part of the ongoing regeneration of the city, which has been named City of Culture for 2021. Titled Endless Ribbon Connecting Us, the piece is located in a canopy-covered section of Hertford Street, which has been given a drastic makeover by the artist.
Myerscough’s idea for the space began with her research into Coventry Cathedral and its stained glass windows, as well as the ribbon-weaving industry that was a key part of the city’s business in the early 1700s up until the 1860s.
As well as painting her trademark blocks of colour onto the walls of the walkway – and installing a row of trailing greenery – Myerscough has covered the canopy overhead in blues, pinks, oranges and yellows.
As the sun shines through, the installation bathes the walkway – which is a key route for people coming into the city by rail – in coloured light.
National Museums Liverpool has unveiled an updated visual identity designed to bring together its various institutions, which under the previous disparate branding left visitors unaware that the venues were all part of the museum group.
The new branding by design agency SomeOne covers seven of the city’s museums: Museum of Liverpool, World Museum, International Slavery Museum, Maritime Museum, Walker Art Gallery, Sudley House and Lady Lever Art Gallery. It also elevates the group’s sub brands Hosted By, its corporate events arm, and House of Memories, its dementia awareness initiative.
The new identity revolves around a waveform symbol which when highlighted reveals the letters NML upon close inspection. While these initials might not be immediately clear to the casual passer-by, it comes to life in animations. SomeOne also developed a new black, white and fuchsia palette, a set of icons, and a brand tagline for National Museums Liverpool, which promises to be ‘never dull’.
Over 20 Soho businesses have been brought together under the GoGoSoho brand campaign, ranging from shops to restaurants to entertainment venues. Among them are iconic jazz club Ronnie Scott’s, record store Sister Ray, and part book shop, part sex shop Soho’s Original Adult Store. The campaign is supported by the Mayor of London’s office, Westminster Council and the Soho Society.
The GoGoSoho wordmark also appears across the campaign, featuring a new font, FS Marlborough, specially created in a collaboration between Fontsmith and M&C Saatchi and based on an original street sign in Great Marlborough Street.
The campaign will be rolled out across flyposters, signage, social media and a microsite hosting film content. “We’re passionate about getting Londoners back to support the businesses we’d hate to lose,” said M&C Saatchi joint head of design Andy Harris, who created the illustrations. “Every illustration is as unique as the shops we’re showcasing – the campaign style is as bold and quirky as the people and places we love.”
Beatport, which was founded in 2004, offers a vast catalogue of buyable tracks as well as a chart, and several sub brands including Beatport Link – which allows DJs to build and stream playlists.
The redesign is the first brand update for Beatport since 2012, and marks a move away from the company’s headphones motif, which has been in use since the company’s founding. The new ‘endorsing marque’ symbol borrows heavily from the shapes of vinyl records and styluses, and accompanies an updated wordmark.
Beatport had previously used a slightly squashed, futuristic-looking typeface for its identity, which has been replaced with a more sedate sans serif that the studio says can be combined with various type expressions and tailored to different categories of music.
I’m all about a good take-out pizza. There’s just something nostalgic about walking through the front door of my house, pizza in hand, movie ready to watch. I know you know the feeling because, well, who doesn’t? Bravo designed the bright typographical pizza boxes for ALT pizza that look more like posters you’d hand on your walls than a home for a hot and cheesy pie. Creating multiple different styles for the boxes was thoughtful in that if people think like me, they’ll keep ordering until they’ve collected all the designs. Pizza branding should be a fun treat, and Bravo has done an excellent job of creating an entertaining branding experience.
It seems fitting that a pastry shop would have packaging that’s as delicious as the treats that lie within. Design & Practice created the identity for Le Patissier, and the result is a gourmet design system. The geometrically designed boxes and bags perfectly paired with color combinations that could be described as “drool-worthy” with bold yet straightforward typography is a match made in heaven. The Eiffel Tower might be a sight to see, but this packaging is a close second.
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