Many of McDonald’s recent campaigns, particularly those for France, have had a stripped-back, minimal aesthetic. Now TBWA\Paris has revealed a new set of minimalistic posters, which follow the popular sparkly Open Late campaign, launched just last month.The three posters in this campaign feature just the packaging of the brand’s three archetypal products – the Big Mac, the Nuggets and the French Fries. The brand takes minimalism to a new extreme with these posters which are devoid of any text, or even the actual product; just a few lonely crumbs.
I hate football, but even I love this branding.
New type foundry launches with twelve fonts inspired by the capital, its buildings, language and traditions
Its first collection features fonts designed by the founders and a London Dingbat set by designer Peter Grundy. The set combines famous London landmarks, iconic designs and symbols with a set of London door numbers (added by Harpin).
London Hoxton Square by Paul Harpin
London Fatface by Paul Harpin
London Modern by Paul Harpin
London Bloomsbury Old style by Paul & Patricia Hickson
London Belgravia Pro by Paul Hickson
How beautiful is this branding?
“SOS is a new South Korean cosmetics brand that wants to help women with a daily skin care protection and routine. We created new branding for a set of makeup products that have premium quality for the luxury Asian market. The main features of this set are the skin masks for the healthy and perfect care of a woman’s daily treatment.
With a clean look that is sophisticated and feminine, a color scheme of balanced and soft tones with gold bring a bit of luxury to the overall look without it being ostentatious. SOS is perfect for the women who love their skin and want to enhance their natural features.”
“‘Do the KIND thing for your body, your taste buds and your world.’
This very ambitious mission statement wasn’t quite matching up with the products on the shelf.
A new logotype was created to more truly reflect the brand. Harsh grotesque all-caps characters were replaced with gentle curves and natural shapes.”
In his new exhibition and book Cartographic Colour, photographer Giles Revell deconstructs flowers to reveal the beauty and the complexity of colour in nature. Working at Kew and the RHS Wisely garden, Revell photographed a selection of blooms which, using a grid placed over each image, he then set about analysing.In each square, Revell created graphic representations of the constituent colours of the flower concerned, revealing that what we might see as one strong colour, is often actually a combination of many. Cartographic Colour is divided in two. A series of ‘palettes’ reinterpret the colours of well-known flowers, abstracted to eliminate the distraction of form. Petals and stems are reduced to accurate graphic examinations of their constituent hues. “The plants were stripped of identity through the process of mapping, with the aim of creating a series of images where engagement is purely through scale, shape and position of colour,” Revell explains. “I was hoping to make arresting interpretations without the necessity of structure and form.”