“Nourish had already carved out a piece of that market, but the brand had been launched principally for online sales. Now that it’s competing in the grocery aisle, clamoring for attention with more established names, the challenge for Nourish will be differentiating itself from the zillion other choices out there.
That was one reason Joy Bauer had her brand’s packaging completely redone. Most snack-food containers follow the time-worn strategy of slapping a huge brand name on the front along with a (usually idealized) photograph of the food. In fact, that’s pretty much the approach Nourish took when it first launched in 2014.”
“This time, the brand threw out the rule book in favor of a design that looks like a melding of carnival signage with 1970s TV game-show set, heavy on the browns and oranges, with the letters spelling ‘Nourish’ each sitting in a circle floating above a field of stripes. (There is a photo of the snack on the front, but it’s very small.) The snack bag is the work of legendary graphic designer Brian Collins, whose client list includes the likes of Nike, Google, Chobani and Facebook.
‘The crazy, bold diagonals on the front of of the Nourish package are inspired by the colorful stripes on snacks sold at the circus—popcorn, peanuts, cotton candy,’ Collins explained. ‘All those striped containers held the promise of fun and delight.’”
ManvsMachine created animations and graphics using retro patterns and a custom font inspired by the bubble in Nike’s famous shoe. Films and graphics combine witty one liners with photography and illustrations that hint at the history of the Air Max.
The campaign is one of a series of projects commissioned by Nike to mark the 30th anniversary of Air Max. The company teamed up with Unit 9 to broadcast a short animation on to the facade of the Pompidou Centre in Paris last month and ran a series of creative workshops for young people in London.
Nike also released a series of limited edition Air Max styles in the run-up to the event – from ‘remixes’ of classic styles to new designs.
Bibliothèque has designed the identity and communications material for Mere, the new London restaurant from Monica and David Galetti. The name and logo of the restaurant link directly to Monica and her family: the establishment is named after her mother Mere (pronounced ‘Mary in Samoan’), while also the French for ‘mother’. The ‘M’ logotype is apparently inspired by part of a Samoan tattoo as worn by the chef.
The identity uses a bespoke cut of the typeface Ratio by Clement Rouzaud. “Monica is a details person and our working relationship has been a close one to ensure that her exacting standards are met,” says Bibliothèque’s Tim Beard.
Bibliothèque worked with Imprimerie du Marais in Paris on the design of three ‘Food’, ‘Bar’ and ‘Wine’ menus and receipt folders. Each menu uses a combination of three inlaid materials, inspired by the restaurant’s interior design by Monica and architecture/design practice Softroom.
The Virgin V Festival has unveiled a brand new look for its 22nd incarnation this coming August created by studio Form. The redesigned logo and identity have just been rolled out in advance of the festival and will form part of the onsite design of the event.
The project has also resulted in series of additional graphic motifs – from various shapes and arrows to background patterns – which can be used in announcements in print and on social media in the lead up to V Festival 2017.
Internet advocacy and software group Mozilla has revealed its new logo and brand assets – including a bespoke typeface, colour palette and proposed approach to imagery – following a seven-month “open design” process documented on its blog
Today – after seven months, thousands of emails, hundreds of meetings and three rounds of research – the company has finally revealed its new logo, along with a proposed colour palette, language architecture and approach to imagery. Mozilla is now inviting feedback on the branding and says it will continue to share updates as final guidelines are developed.
Peter Bil’ak of Dutch type foundry Typotheque has created a bespoke font, Zilla, for the wordmark and accompanying copy. The font is reminiscent of Courier – the default font used for coding – and was selected for its “journalistic feel”, reflecting Mozilla’s internet advocacy work. It is open-source and will be available to download for free.
Mozilla creative director Tim Murray says the company chose to work with Typotheque because of the foundry’s expertise in “localisation” and creating fonts in various languages. As Murray points out, the design bucks the current trend for sans serif fonts in favour of something rooted in the visual language of the internet.