First revealed last May, the updated identity revolves around the idea that DailyPay is “flipping the system” with regards to acccessing earnings. It’s reflected in a symbol that doubles as a sun peeking behind the horizon and a coin dropping into a slot. The two interpretations are joined together in an animated execution, in which the sun motif flips over to reveal the coin.
The colour palette has been updated from light blue to a sunny orange, and a new custom typeface has also been introduced. The type design, called Horizon, evokes the main symbol through the elongated serifs, exaggerated hooks and the full stop.
The studio was briefed to name and brand Huch, which will offer a collection of cabins in the Australian countryside, all intended to reconnect visitors with nature and offer “relaxed luxury in the wilderness”.
Each space is designed to offer the comfort of a hotel room, but without creating a negative impact on the environment – something Christopher Doyle & Co wanted to reflect in the Huch identity.
Park Lane, the luxury hotel in New York City, has launched a new identity designed to emerge from a “sea of old-world sameness” according to Mother Design, which was behind the new look.
“The previous branding, rooted in 70s luxury design, was in dire need of an update; not only from a visual perspective, but also to feel more inclusive,” Mother Design says. “We brought seasonality into the design, a super rich colour palette, and most of all brand language that’s both elevated and invitational; the poetic language entices locals as well as travellers.”
Known for using vibrant colours and bold patterns, Ilori’s work injects joy into everyday spaces and tells stories that nod to his British-Nigerian heritage. The installation draws on the artist’s childhood memories of visiting the local launderette on Essex Road, north London, with his family, with help from a group of current students from his former school, St Jude & St Paul’s C of E Primary School.
On a visit to a local launderette, Yinka asked the young students how they would rebuild the space for the better and bring people in the community together. Their playful ideas shaped the transformation of elements typically found in a launderette from the banal to the fantastical.
“As we know, all families are unique and in many ways that’s what the BBC’s Christmas film is all about – how we are united by our differences,” says Paul Jordan, ECD at BBC Creative. “The BBC is a unifying theme that runs through the heart of the film, bringing us together, and if you look carefully, you’ll notice it’s always there, like a golden thread of tinsel running right through our Christmas.”
Credits: Agency: BBC Creative ECDs: Paul Jordan, Helen Rhodes Creative Director: Susan Ayton Creatives: Jules Middleton, Andy Parkman Director: James Rouse Production Company: Outsider
The store ran a pre-campaign, #whoispercypig, to tease the new voice of Percy, which has been revealed to be Spider Man actor Tom Holland. Meanwhile Dawn French – a fairy on top of the Christmas tree – takes on the role of Percy’s companion as the two scamper around the M&S store after hours. The two characters conveniently stumble across the Christmas food range in a clandestine escapade in the style of Night at the Museum.
Agency: Grey London Creatives: Sam Haynes, John Gibson Directors: Dom & Nic
M&S has simultaneously launched a Christmas spot for clothing and home created by Odd, which builds on the brand’s Anything But Ordinary strategy. Directed by Autumn de Wilde, the ad is a far glitzier and more choreographed offering inspired by musicals.
Agency: Odd ECD: Nick Stickland Creatives: Turhan Osman, Emma Jordan Director: Autumn De Wilde Production Company: Anonymous Content
“For the start of our campaign, we typically come up with a mood board that centers every piece of the creative for the full season, and so this year, we came up with the centering point around gifting and the elements that surround it, as well as elements that are really celebratory,” said Suzie Reecer, associate creative director at Starbucks.
Throughout each of the four holiday cup designs, these factors of wrapping and celebration can be seen visually throughout the entire campaign. From commercial to coffee bags to—obviously—the holiday cups, every aspect gets centered around celebration and the celebration of gifting.
For example, the first design found inspiration in a perfectly wrapped gift, featuring a circular pattern in holiday hues. The next cup features delicate ribbons encircling the cup, creating a joyful dancing movement, and it’s a design near and dear to Suzie. “It really makes me think of when I wrapped presents with my mom, and you finish all the wrapping, and you look down, and there are ribbons all over the place in the most beautiful way,” Suzie added.
The other designs are more typographically based yet still tie into the gift-giving motifs through ribbons, stripes, sparkles, and, of course, the classical holiday hues.
And while each of these cups is innovative and refreshing from the past cups, there’s a new design element that, quite literally, wraps up the entire design. “We do have a major change and shift in our design system this year, in the best way, which is bringing forward a gift tag on each of our cups,” Suzie said. Baristas will now have a dedicated spot to write customers’ names or even a note so that each drink sincerely feels like a specially gifted treat.
In the late 70s, two Americans living in Paris found themselves wishing for a restaurant resource that reflected the opinions of their foodie friends rather than those of professional critics or mystery reviewers.
The couple, Nina and Tim Zagat, ended up creating the guide they’d always wanted themselves. The subsequent success of what became the Zagat Restaurant Guide introduced people to the idea of user-generated content and helped to democratise restaurant criticism forever.
The Zagat team brought in Brooklyn-based studio Franklyn to create a new brand system and campaign assets that would better represent the review site’s history while also feeling contemporary.
Franklyn started by giving the brand’s existing wordmark a typographic polish, shifting from Helvetica, which was used for its original 1979 iteration, to a more modern and digital-friendly cut of Neue Haas Grotesk by the Commercial Type foundry.Video Player.
While the new logo has a modernist sensibility rooted in the late 1970s with its strong grids, clear hierarchies and simple compositions, the studio introduced more flexibility in the rest of the brand system.
Key design elements include a digital-forward approach to colour, iconography, hierarchy and animation, along with a more fluid typographic palette featuring Avant Garde, Cheltenham and Tungsten.
Mozilla announced it would be rebranding after inviting feedback on possible themes for the new branding – the company announced seven possible design routes. Of these, four have now been scrapped, two have led to new ideas and one has been developed further.Tim Murray, head of Mozilla’s creative team, says the final four concepts were chosen based on feedback on the seven initially put forward, as well as “principles of good design” and Mozilla’s overall brand strategy. Protocol 2.0 is the only surviving option from the previous round – it uses a colon and two forward slashes as a reference to Mozilla’s role as a ‘building block of the web’.
“By putting the internet http:// protocol directly into the word – Moz://a – it creates a typeable word mark, and by doing so alludes to Mozilla’s role at the core of the Internet (and hence the ‘Pioneers’ positioning). We’ve also beefed up the blue to the classic RGB #0000FF (as used by Netscape) to further enhance its ‘roots of the web’ credentials,” writes Johnson.
The typographic word mark could also be expanded into a typographic and pictogrammic visual language with characters swapped out randomly for other fonts and emoticons.
The Flame is a new design route which combines a pixellated flame with the letter M. Johnson says the flame acts a symbol for Mozilla’s “determination to remain the beacon for an open, accessible and equal internet for all [one of the key aims of the rebrand is to better reflect Mozilla’s internet advocacy work] and something that a community gathers round for warmth.” Pixels can be swapped out for code and the flame can be adapted to incorporate flags from various countries.
Burst is also a new concept. Jonson says it is inspired by Mozilla’s role in “recording and advocating the health of the internet” and experiments with data-led ideas. It is also loosely inspired by Wireframe World – one of the initial design routes put forward.
“As we looked harder at data sources we realised that five was a key number: Mozilla is collecting data around five key measurements as we type (and you read), and there are five nodes in a capital ‘M’. So we combined the two thoughts,” he writes.
The final option, Dino 2.0, provides a link with the company’s now defunct dinosaur logo (a design that is no longer used externally but one that Johnson says there is “still a lot of love for” among the Mozilla community). The design builds on initial design route The Eye (pictured top), which has since been discarded, and uses a chevron and white type to suggest a ‘zilla’. The eye can blink and jaws can chomp, adding animated elements to the design scheme.
The set of six stamps were created by Jim Sutherland of Studio Sutherl & and illustrator Neil Webb and include elements that react to UV light and heat.
And Then There Were None: A poem, key to the plot, is the moon’s reflection, and the mysterious U.N.Owen appears at the lit window.
Miss Marple investigates a body found in the Library
There’s a killer in the shadows, and Poirot looks on from the flames
Murder on The Orient Express: Don’t be distracted by the red kimono character, she distracts the viewer from the killer hidden behind a heat sensitive ink curtain. The curtain disappears when the stamp is touched, and names of suspects are written along the train track in micro text.
Murder is Announced
The Mysterious Affair at Styles: Poirot and Hastings investigate the crime scene – forming the skull, as the murderer used poison. The whole stamp is then reproduced in miniature on the poison bottle.
Each stamp also has a hidden letter, which combine across the set to spell ‘Agatha’. The presentation pack for the stamps is like a bookshelf packed with original objects, photographs, book covers and a timeline of the the author’s life.