Eyes before guys, y’all. Snask developed a new, hip brand identity for an eyewear company in Norway, Kaibosh. Combined, the text, color palette, and copy give Kaboish a young and fun personality, instantly making the experience of going to get your eyes checked—which is pretty boring—way better. The approach also allows the frames to truly stand out in the store, helping consumers find stylish frames that suit them perfectly.
“We got contacted by the Norwegian eyewear company Kaibosh. They felt that they had become too boring as opposed to what they should be, a trendy and bold eyewear brand. They felt their identity was too clean and they wanted to be more expressive and outgoing. The fashionable contender would finally get a fitting dress as well as a lovely new voice. We got the assignment to start out with keeping their existing logotype and from that develop their new brand ranging from signs, ads, packaging, bags, posters as well as create their entire flagship store.”
The first ever TGI Fridays opened on the corner of New York’s 63rd and 1st in 1965. It was swiftly popularised not as the casual-dining family restaurant that it is today, but as a singles bar for cocktail-swilling young adults in Manhattan; one of the first of its kind and apparently the inspiration for Tom Cruise’s bartender character in the film Cocktail.
More recently, and much like the rest of the food scene on the high street, the restaurant chain has struggled to stand out against the raft of independent burger joints and street food venues that dominate our cities.
Working with the company’s new leadership team, SomeOne has been rethinking the TGI Fridays brand over the past six months, stripping it back down to a tagline that captures the essence of its New York origins: The Fridays Feeling.
“Our vision is to make Fridays famous again so we needed to breathe fresh life into the brand by relevantly leveraging the past,” says the chain’s CEO, Robert B Cook. “The Fridays Feeling is the inspiration for our new food and drink menus and a service plan designed to consistently deliver the best guest experiences and a generosity of spirit.”
SomeOne started by reducing the brand name down to just Fridays, based on the fact that the meaning of TGI had become lost and confused over time.
Another design feature from the restaurant’s roots is the use of bold vertical red and white stripes, which nod to the original awnings of the 1965 bar, and also take inspiration from historic circus company Ringling Bros. and Barnum & Bailey.
The luxury department store has unveiled new branding by Pentagram’s Harry Pearce that borrows cues from the historic sign that first hung over the door.
The new logo puts the name of the store front and centre, dropping the reference to its London home and instead moving it to additional brand assets alongside a redesigned crest. The iconic deep purple hue remains intact across the packaging design, while the gold seen across the lettering has been “refined”.
The new branding draws upon Liberty’s lengthy history, in particular the original sign used at its Great Malborough Street location, though the historic link may appear subtle to casual onlookers thanks to the identity’s decidedly sleeker look.
The connection to the past is established in smaller details like the full-stop, which has been reinstated on the wordmark as per the original sign. Meanwhile, the angular serifs have been dropped from the logotype in favour of a new sans-serif typeface similarly rooted in the original design.
“The process of rebranding Liberty has been one of craft, archaeology and refinement,” says Pearce. “The logotype itself hails from the lettering in the original sign above the Great Marlborough Street front door, carefully redrawn to make it the most authentic logotype in Liberty’s history.”
Founded in 1840, Yale began life as a New York-based manufacturer specialising in handmade bank locks. Today, it is one of the longest-running international businesses in the world, with million of Yale locks in use worldwide.
Yale’s refreshed visual identity includes a bespoke typeface by Jeremy Tankard and new UX, motion and sonic branding, all of which are centred around its distinctive sun-shaped logo. “We looked for something universal that would be understood around the globe. Yale already had a round yellow logo so that turned out to be a gift we could work from,” says GW+Co principal Gilmar Wendt.
“We landed on the sun as the core design idea because Yale is a warm and positive brand. You can rely on it always being there (even if you don’t see it) giving you peace of mind, and it is a big idea that is universally understood.”
The rebrand is currently rolling out internally, and will be seen externally later on in the year. For Wendt and the rest of the GW+Co team, the project has exemplified the challenges of rebranding a historic company like Yale for the digital era. “There is a need to create a future vision that builds on the past, rather than brushing it aside,” he says.
DesignStudio has created vibrant new branding for the football app, including an updated logo, a visual generator and a content strategy built around the idea of a ‘vibesmith’
“[OneFootball] needed a brand that adapted to Generation Z,” explains Vinay Mistry, design director at DesignStudio. “Generation Z is a generation of contrasts: they’re constantly adapting, they’re constantly changing, and football’s actually very similar. The rhythm of the game changes constantly as well. It made us think, actually there’s some lovely synergy there – can we define a personality for OneFootball that represents that?”
At the core of the project was the creation of a new logo. While researching the existing logo, the design team noticed its resemblance to the pictogramsdeveloped for the 1972 Olympic Games held in Munich, and also felt it was too similar to WhatsApp’s logo.
However, the team didn’t scrap the old logo altogether. Instead, they broke it down to its key parts – legs and football – and repurposed these elements into a new graphic forming a number one and a football in reference to the brand name. The new design is immediately more contemporary, partly because it does away with the gendered implications of the old logo.
The identity covers all of Heinz’s products around the world, bringing them under the same visual umbrella. The redesign arrived on shelves earlier this year, and prominently features the brand’s ‘keystone’ symbol – so shaped for the Keystone State, Pennsylvania, where the company was founded.
JKR’s work makes good use of the mark, tapping into its familiarity, and using it as a playful framing device, with spaghetti hoops, saucy beans and plump tomatoes all interacting with it.
It’s accompanied by a pair of brand typefaces, Heinz Label – which has letterforms that mimic the Heinz logo – and Intro, which offers a range of styles including inline caps and script. A new colour palette includes the requisite Heinz Red, alongside green, yellow, blue and white.JKR Managing Director Jonny Spindler says the masterbrand celebrates Heinz’s “simple greatness”, and creates “brand unification” across the various parts of its business.
NCB approached Lantern to help redefine and articulate its mission both internally and externally. We delivered a strategic and creative toolkit, covering everything from a boilerplate summary statement, to a brand manifesto, a new set of values, a clearer process and of course a new identity – all designed to define the brand with clarity and conviction.
Following a series of stakeholder workshops, they developed a new strategy to better articulate the charity’s point of difference. Their first step was to reframe the sense of unity within the organisation. Previously, ‘United for a better childhood’ meant being united internally, which wasn’t a compelling story for fundraising. Our research revealed NCB did far more than this – uniting central and local government, charities, schools, the media, and society as a whole. This meant they weren’t just impacting on the lives of individual children, but the lives of an entire nation.
The logo captures the very essence of ‘United for a better childhood’. A star, a jumping figure, an upwards arrow – the symbol provides a refreshed energy and sense of optimism.
A bespoke, illustrated typeface builds on the concept of many elements uniting, whilst the illustration style provides the opportunity to communicate complex issues in a simple and intelligent way.
The new brand is flexible enough to appear playful and engaging, whilst also being able to communicate to government officials and policy makers. As well as flexing for different audiences, the brand system is designed to work for both print and digital applications.
The identity revolves around Futr’s new winking face logo, which will also appear as the friendly avatar alongside messages exchanged with the company’s chatbots. Futr allows companies to have AI-powered conversations with customers – automatically answering queries where it can, and passing anything else onto a real person.
Lantern’s identity is intended to step away from the “abstract shapes and chat bubbles” that are found across the tech sector. According to the studio, the palette of yellow, pink and green is a deliberately optimistic choice, that helps set Futr apart from the “corporate teal” of its competitors. The sans serif font is Telegraf, from Pangram Pangram Foundry.
So Bosworth decided to consult the experts and invent a better approach—and in 2016 she launched Love Wellness, a line of curated body-positive health products for women.
The brand has had a couple different identities over the years, but hit its stride with its latest look, created by Lobster Phone and released this spring.
The San Francisco–based design firm delivered a new identity, website, packaging and creative strategy.
As Lobster Phone writes, “Inspiration for the logo was found in a late 1930s Art Deco type specimen; it felt playful, chunky and expressive. We used this as the basis for creating custom letterforms that are both clear and iconic. As illustrations are foundational to the larger brand, we made the ‘V’ of the logo into a face with lips that kiss and talk. Each product has its own quirky name, corresponding illustration and color combination that provide a not-so off-the-shelf look. The illustrations play off the style of the logo’s lips—an almost Japanese pop aesthetic—clearly demonstrating the benefits of the product in a dynamic way.”
According to Pentagram, the rebrand was a chance to avoid the “now-cliched iconography” that’s often associated with the writer.
A capital A, found in one of Austen’s handwritten letters, formed the basis for the museum’s new wordmark, while a secondary logo echoes the distinctive 12-sided desk the author sat at to write.
The colour palette is based on original wallpaper samples from the home, and Pentagram chose a pair of typefaces for the identity – Caslons Egyptian, which was released in 1816, and Caslon Doric, designed by Commercial Type.