Otherway was enlisted to create the design identity for Pasta Dreams – a partnership between TV chef Jamie Oliver and Taster, a company comprised of food sub-brands which are all focused entirely on home delivery.
According to Otherway, the aim was to step away from what people might traditionally associate with Italian food, with an emphasis on retro design details.
The playful identity comes to life in a set of animations. Blobs of olive oil float through the air, and in the Pasta Dreams logotype, they rise up to form the counters in the letters A and R.
The psychedelic imagery carries through to the packaging, which highlights the “shapes, swirls, and splashes” people come across when cooking pasta and features a warm palette of peach, orange and brown.
The Pasta Dreams design concept seeks to appeal to younger customers rather than Oliver’s “traditional audience demographic”, yet there was an important balance to strike between unexpected and on-brand.
The Christmas campaign season is playing out differently this year. Ads are arriving earlier to avoid media clashes with the 2022 World Cup in Qatar, which starts late November. And of course, there’s the small matter of a cost-of-living crisis to contend with.
The message here is fun, from the soundtrack – Cerrone’s 1977 disco classic Supernature – to the colourful setting of the ad, which was filmed in Poland. It seems to strike the right tone for TK Maxx, whose USP is all about surprising finds at low prices, and steers clear of the worthiness we’re bound to see this year.
Credits: Agency: Wieden+Kennedy London ECD: Susan Hoffman Creative directors: Paddy Treacy, Hannah Smit Creatives: Georgina Brisby, Marcelo Duarte Director: Max Siedentopf Production company: Riff Raff
The campaign, entitled A British Original, plays on the ‘what is the purpose of your visit?’ question travellers face on landing, delving into the stories that lie behind such a deceptively simple statement.
The ads themselves are extremely minimal in design, making the copywriting the star of the show. Uncommon has written 500 individual lines for the campaign, which range from the mundane – ‘Because this weather sucks’ – to the moving – ‘I’ve had a ring in my pocket for long enough’.
According to Lucy Jameson, co-founder of Uncommon Creative Studio, it’s part of a move to focus on people instead of planes, in particular “British originality”. The airline is also currently working on a new safety video starring BA staff as well as some famous British faces.
Credits: Agency: Don’t Panic Creative Partner: Rick Dodds Creative Director: George McCallum Production Company: Academy Films Directors: Si&Ad DOP: Alex Barber Edit: Final Cut Post: Electric Theatre Company
As Good Club has grown and its ambitions have changed, the team commissioned Nice and Serious to find a look and feel that was more upbeat and eye-catching, and the updated visuals are certainly hard to ignore. A bold primary colour palette of pink and red gives the brand a sense of fun and friendliness, while secondary colours, such as blue, purple and yellow, add extra vibrancy to packaging and imagery.
This palette is accompanied by an array of endearing illustrations by artist Anthony Orozco that include silhouettes of refillable food items on pot labels, and a cast of playful brand mascots composed of the pots themselves. Encouraging potential and existing customers to utilise Dizzie’s refill options – a core part of the company’s mission and a bigger focus this time around – was one of the main objectives for Nice and Serious.
Speaking of the challenge, the agency’s creative director, Peter Larkin, says, “We wanted to elevate the experience out of the eco-clichés, and onto the shelves of everyday customers across the UK…. From the simplified product illustrations through to the Dizzie ‘whoosh’ and brand mascot, we created an identity full of movement and character.”
Finally, to reinforce the idea that refills can be fun, rewarding, and hassle-free, the agency developed an upbeat tone of voice to reflect this: “For the tone of voice, we set out to conjure up those little joyful moments that are totally unique to the refill experience,” explains Larkin. “So whilst being familiar (and sometimes frank) was important, it also meant using words to surprise and satisfy. Our motto was to channel ‘written ASMR’.”
Following the Trash Collection 2021, a campaign and initiative that spotlighted Ikea furniture which had been salvaged from the rubbish and re-sold at its second-hand stores, the Swedish retailer has announced the launch of the Life Collection 2022.
In a similar spirit to last year’s initiative, this one attempts to save and repurpose old furniture that is no longer needed. However, this time around, the furniture is not coming from the trash, but directly from people’s homes, with Ikea buying items back from owners.
As suggested by the title of the campaign, Ikea understands that buyers often don’t want to keep every piece of furniture forever and, given that life is a rollercoaster, these items can become unwanted due to a variety of reasons. In the short campaign film, directed by Kavar Singh and Niels Windfeldt, these reasons include death, sobriety, separation, childbirth, or simply because a significant other finds it “too tacky”.
The Life Collection 2022 marks another step towards sustainability for the brand, as it continues to address the widespread issue of waste. As one of the world’s biggest buyers of wood, it has faced criticism in the past for unsustainable logging practices, and as such, has worked hard in recent years to improve its credentials.
Credits: Agency: Try Creatives: Caroline Riis, Eirik Sørensen Designers: Jeppe Gjesti, Mats Mæland, Magnus Snickars, Dennis Magnus-Andresen, Tommy Lybekk, Marthe Solli, Elise Eik Ismar Directors: Kavar Singh, Niels Windfeldt DOP: Oskar Dalsbakken
Housed in a Grade II listed former railway engine shed in Chalk Farm, the Roundhouse has emerged as one of London’s best-loved arts venues over the last five decades, known as much for hosting world-famous musicians as putting on theatre and spoken word events.
More recently, through its youth programme, the venue has also enabled fresh creative talent to take part in workshops, learn how to break into the industry, and use affordable studio spaces to make their own work.
2023 is set to be a big year for the institution, as it opens a new state-of-the-art creative centre and co-working space for young people. To mark this new direction, and following an initial pitch process, Studio Moross was commissioned to create a new visual identity in keeping with its work.
Reviewing the existing branding created by Magpie Studio, which featured a circular logo that nods to the venue’s instantly recognisable performance space and red brand colour, the design team decided to retain – and build on – these core elements.
“We developed the logo into a spotlight that can ignite colour in its surroundings, creating a hotspot. The colour palette was broadened with bright energetic colours, including an acidic lime, creating a neon clash and glow,” says the studio.
The new logo is rendered in the brand’s core typeface, OZIK by Nuform, and comes in three brand colours. “The typeface has a lot of character, it’s fun and contemporary with a dash of nostalgia … fitting for a youth-powered venue that’s over 170 years old,” the studio adds.
The first ever gig poster for the Roundhouse informed the team’s choice of OZIK. The font is also used in headlines to create a more youthful aesthetic, while a secondary typeface, Works Sans by Wei Huang, is used for body copy to allow for focus on the messaging.
Other key elements include adaptable photo treatments, which place cut-out subjects against flat, bold colours to unify images into the wider visual design, and dynamic gradients which extend the idea of light beaming onto content. A new website designed and developed by Glasgow-based After Digital will launch next year.
Kathrein Privatbank is a private bank in Austria, aimed at helping its clients to better manage their finances and ultimately “better live their narrative”. To do so, it offers a highly personalised experience through its range of products and services.
&Walsh drew on the bank’s Austrian heritage for its visual identity, in particular the art movement Vienna Secession – which took place in the country at the turn of the 20th century. Its members rejected ‘traditional’ art styles, and promoted a move towards more unified disciplines of painting, architecture and sculpture. Founding figures included artist Gustav Klimt, architect Joseph Maria Olbrich, and designer Koloman Moser.
&Walsh’s identity reflects society’s collective reevaluation of money – with many individuals now seeking specific values and narratives, rather than just pure financial gain. Potential customers may be drawn to the fact that Kathrein Privatbank invests in “sustainable solutions, artificial intelligence, and the arts”, and as such, these three areas are reflected in marble sculptures designed by &Walsh.
“In the identity, we focused on bringing forward Kathrein’s Austrian roots in combination with their deep commitment to personalisation to separate them from their larger international competitors,” says Jessica Walsh, founder of the studio.
Every four years, the world watches on as the next host country of the Olympic Games is announced. The anticipation surrounding that announcement is closely followed by the reveal of the design identity for each Games – an occasion that gets designers talking as much as the general public.
The design heritage for the Olympic Games is so illustrious that it’s easy to forget that the Olympics has a brand of its own to look after. And since the last development of its identity, in 2011, the organisation’s needs have evolved, explains May Guerraoui, the IOC’s head of brand management. So began an extensive process to evolve the brand, which has been revealed through a gradual rollout, and is expected to be implemented in full by the Paris 2024 Games.
The Olympic colours – second only to the iconic interlocking rings in terms of recognisability – have been “subtly optimised” to have more impact and flexibility, she explains. These have been joined by an extended palette of complementary colours reflecting the gold, silver and bronze medals, to be used for cases like data visualisation and infographics.
“Art and creativity have played a big role in Olympic history, and not only in the iconic Olympic Games’ design. From 1912 to 1948, art competitions were held alongside sport – with Olympic medals awarded to architects, poets and artists,” Guerraoui says. “We wanted to bring this idea of championing the arts back into the brand identity.”
“For example, we have put the athletes at the heart of the evolved identity system with the Field of Play (FOP) design, a graphic system that expresses the Olympic brand through colour and geometry inspired by the Games,” Guerraroui says, from courts to tracks to lanes. “It was a way to incorporate the Games into the brand in a timeless way, without featuring a specific athlete or moment in a way that a photo would for instance.”