The creative centres on the fast food brand’s trademark flame grill lines, which are emphasised in a series of minimal graphic images that continue the vintage flavour of Burger King’s 2021 rebrand.
A series of accompanying taglines – woven into the stripy grill marks of the burgers – mock fast food competitors, with outdoor ads strategically placed near Mcdonald’s, KFC and Subway restaurants. The campaign’s echoed in limited edition Whopper wrappers, also emblazoned with grill lines, and BK employees at London’s Leicester Square restaurant will be decked out in stripy shirts.
While it might seem that Burger King is following where McDonald’s has led, it’s all part of a wider trend of simplified branding, with businesses in all areas adopting more stripped back approaches, in part to make imagery and logos work better in digital. It’s yet to be seen if the pendulum will, at some point, swing back towards maximalism.
Credits: Ad Agency: BBH CCO: Alex Grieve ECD: Helen Rhodes Deputy ECD: Felipe Serradourada Guimaraes Copywriter: Marcy Rayson Art Director: Callum Prior Designer: Christian Kolodziejski
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 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.
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.
Shot by photographer James Day, who is known for his work for the New York Times, New Yorker and Wallpaper, the new B&Q ads are simple yet beautiful.
Each features a mobile phone with a B&Q product bursting from it, including paint, a roll of wallpaper and a bloom of flowers. The only text accompanying this is the brand’s web address, which alongside the image of the phone is enough to send home the message that you can order all these products digitally.
This campaign is Belgium’s take on the theme, created by TBWA, which puts bins centre stage. “We want to make trash bins as popular as the burgers,” says Jeremie Goldwasser, creative director at TBWA.
The campaign, which will run on posters, social and in McDonald’s restaurants across Belgium, puts the spotlight on rubbish bins, bathing them in light and pairing them with witty copy.
“We asked Studio Wauters – McDonald’s’ permanent food photographer – to photograph the trash bins,” continues Goldwasser. “The challenge? Making bins look just as attractive and tempting as their burgers. We then applied the typical copywriting and design expertise to the bins, resulting in appetising design and quirky names such as the Big Bin, the Bin Deluxe and the Bin Royal.”
Founded in 1936, electrical appliances brand Morphy Richards has been a staple of many British homes for the best part of 100 years. Yet its brand vision hadn’t necessarily translated as it expanded around the world.
“Morphy Richards is historically a British brand that over the years has grown globally. As this growth happened, the meaning of the brand became inconsistent across markets. From the UK, to China, to Australia, what Morphy Richards stood for became diluted and as a result there was no longer a clear and consistent message,” explains Otherway founder Jono Holt.
Tasked with helping the business “see fundamental change”, Otherway set about identifying the brand’s point of view on the world and making it relevant to a new generation of consumers.
“The new wordmark is designed to capture the positive tension that has always sat at the heart of the business,” Holt explains. “The engineer and the salesman. The right brain and the left brain. The rational and the emotional. This juxtaposition of two personalities is represented in the differentiated fonts but somehow work in harmony.”
As our homes are set to remain a place of both work and play for many people, balancing feeling and functionality seems like a proposition that’s fit for the future.
San Francisco-based agency Moniker has rebranded cryptocurrency platform Coinbase, aiming to reach a wider audience outside the “crypto crowd”.
Moniker was initially brought in to create a new logo, but it was soon apparent that there was “a larger need and opportunity for the visual identity system”, says Moniker creative director and founder Brent Couchman.
The rebrand was initiated at a time when Coinbase was experiencing massive growth, and according to Couchman, had become “the most trusted and easiest-to-use platform for the cryptoeconomy”, but its former identity didn’t match that position.
Coinbase briefed Moniker to create a new visual identity that would balance “the excitement and energy of this new financial world” while communicating trust and security. “To reach a wider audience, not just the typical crypto crowd, they needed a visual identity that built recognition for the brand but also allowed for a really wide range of expression to speak to new users,” says Couchman.
The designers looked to the idea of wayfinding and transit signage systems for inspiration, since the team’s early conversations had unearthed the idea of Coinbase being a ‘bridge’ between traditional finance and the cryptoeconomy. “This was really the core driver early on and gave us a shared language and set of filters to think about each piece of the identity,” says Couchman. Another key concept behind the new identity was the idea that crypto is no longer a futuristic entity, but something tangible and real that can be used right now. “This also fed into the wayfinding concept, that the system needed to be immediate and grounded — not something too abstract that could potentially get in the way for users who were new to the space,” he adds.
The new icon is instantly recognisable as a ‘C’ and a coin, again conveying simplicity and accessibility. “We didn’t want people to have to work to get it, just like using the product,” says Couchman. The blue colour palette of the previous identity was retained to aid identifiability and the brand’s equity; and Moniker introduced a secondary palette to give the branding more flexibility as it grows into new markets and introduces new sub brands.
Created by Base Design, the new campaign for the eyewear brand Ace & Tate puts the emphasis on why you need sunglasses, rather than what they look like.
It’s a bold move for an eyewear business to create an ad campaign featuring absolutely no specs or shades, but the campaign is surprisingly evocative. It features pleasingly unretouched portraits of people screwing up their eyes as they’re caught in a beam of sunlight, accompanied by a simple tagline: Bring on the sun.
Base Design’s partner and ECD Thierry Brunfaut says the posters embrace a “universal feeling” of being dazzled by the sun. According to him, the campaign is the next stage in Ace & Tate’s ‘brand evolution’, as the eight-year-old business faces up to an influx of new competitors.
That’s not to say its personality-free, however. “The visuals speak for themselves; they embody a sunny spirit and cheerful mood,” says Brunfaut. “The brand strikes that ‘Dutch Design’ balance: be thorough and serious about what you do, but stay offbeat.”
And Base Design’s approach seems to be paying off, with the campaign widely praised on social media, and also apparently winning Ace & Tate its second best sales day the weekend after launch.