Toronto-based Concrete was responsible for the dynamic redesign for Red Earth, a cosmetics brand inspired by the free spirit of Australia.
The entire line was reinvented. The approach established a foundational palette of visual elements that could be used to create an array of dynamic package designs – all different, yet all tied together with a common attitude and visual vocabulary.
A new exhibition designed and curated by SEA tells the story of Roundel’s brand identity for Railfreight.
The confident simplicity of Roundel’s 1987 brand identity for Railfreight stands as a rare example of clean modernism created during that decade. Symbolic and restrained, it brought a striking sense of graphic clarity to the livery and paraphernalia of the then publicly-owned British Rail freight sector, using a codified system of shapes and emblems to simultaneously differentiate and unify the different depots and units within the company.
Design studio dn&co has created a new identity system for Isokon Plus – the British furniture company.
A ‘+’ symbol now appears after the Isokon brand name – the company had been using the word ‘plus’ but dn&co designer Ed Hawkins says this “looked a little crude typographically”.
“We gave them a + icon because it’s more universal,” he adds. “It also puts the focus back on the Isokon brand and highlights this notion of collaboration.”
A sliver of wood was cut from one of the many trees used to build Shakespeare’s Globe in the 1990s. This was used to create the theatre’s new logo. The logo is part of an identity system that aims to challenge perceptions of the Globe as a heritage site aimed at tourists and instead show it as an exciting place to experience Shakespeare’s work.The theatre’s new logo – a 20-sided ring that resembles an ‘O’ – references the theatre’s distinctive shape.
The ‘O’ can be moved around and has no fixed position – it appears in various places and at various sizes on posters and printed material created so far.
The identity also features an all-caps wordmark in typeface Effra (chosen for “its historic roots”) and a red, black and white colour palette (the colours available to printers in Shakespeare’s era).
The mark took the whole (rather long and unwieldy) name of the institution and, in its most extreme form, compressed it together to form a jumble of letters that nonetheless was distinctive and memorable. In other executions, however, the name extended into a more immediately readable form.
JKR’s new branding for The Diana Award sees an uninspiring silhouette replaced with a 3D likeness of the Princess.
Its previous logo was an uninspiring – and not immediately identifiable – silhouette of Princess Diana. This has been replaced with a 3D likeness of the Princess created using photographs of her taken from different angles.
JKR worked with an illustrator to create the likeness after struggling to find a suitable photograph of Diana. The agency searched through hundreds of photographs (Diana was once the most photographed woman in the world) but found few that were taken side-on and decided to create an image instead.
The illustrator combined photographs to create a likeness of Diana’s head and shoulders. “We pieced it together from some photographs and used a little bit of artistic interpretation,” explains Sean Thomas, creative director at JKR.