Shelter’s new brand identity is created by Superunion and features a red arrow formed by brushstrokes. The intention is to bring a sense of the activism that was at the heart of the charity when it was formed in the 1960s back to the logo, while still referencing the shape of a roof which was a central part of Shelter’s previous mark.
The new ad campaign is created by ad agency Who Wot Why and features imagery of real people affected by the housing emergency projected onto buildings and homes. It is set to a track by Wretch 32.
The film is accompanied by a striking set of outdoor, print and online ads, featuring bold text and striking black-and-white portraits shot by photographer Tom Cockram.
The campaign, and new identity, aim to return some urgency and fight to the charity’s messaging, emphasised by the tagline, Fight for Home. “The housing emergency has escalated to staggering levels, impacting the lives of one in three of us,” says Willow Williams, head of marketing at Shelter. “Meanwhile, the global health crisis has made things a whole lot worse. This situation demanded an urgent and unflinching campaign to inspire everyone to join Shelter in the fight for home.”
Credits: Brand purpose and Identity: Superunion and The Sustainability Practice at Ogilvy Ad agency: Who Wot Why ECD/Founder: Sean Thompson Creatives: Jack Walker, Ali Dickinson, Rebecca Conyngham-Hynes, Dan Scott Photographer: Tom Cockram Production Company: Independent Films Directors: Sarah Gavron, Anu Henriques
DesignStudio has updated the mental health charity’s branding, creating a new colour palette and drawing on the organisation’s logo to create a set of squiggly punctuation and design elements.
It’s been ten years since Mind last updated its branding, and in that time the mental health crisis has become more pressing – only exacerbated by the events of the last year.
DesignStudio says it was time for the organisation to recapture its “fighting spirit” with refreshed branding that would help expand Mind’s reach. Established in 1946, the organisation supports those facing mental health challenges as well as raising awareness and lobbying for change. DesignStudio’s new palette revolves around a brighter version of Mind’s blue, used alongside a pastel pink, minty green and bright coral.
“We wanted to build on existing elements but broaden Mind’s appeal for today’s diverse audience,” says DesignStudio creative director Vinay Mistry. “After extensive research with employees, volunteers and people with lived experience, we brought fresh thinking to the visual toolkit.”
Perhaps the most charming bit of the refresh is the squiggly punctuation DesignStudio has introduced – inspired by Mind’s existing symbol, and made using hand-drawn illustrations created by the studio team. Farmer describes the update as “more modern, diverse, accessible and legible” – all of which feels essential for the organisation to keep connecting with, and helping, people across the UK.
The Tokyo-based publisher Kodansha owns several literary and manga magazines, and first published much-loved manga series Akira in the early 1980s. It also released some of Haruki Murakami’s earliest novels, as well as manga series Attack on Titan, which was published in 31 serialised volumes, 100 million copies of which have been issued.
The new identity and logo is Kodansha’s first brand update in over 100 years, and is themed around a fresh statement of purpose: inspire impossible stories. Gretel’s work is reminiscent of art gallery or cultural institution branding, featuring an elegant new logo made up of intersecting lines in a square – a nod to the layout of comic book pages.
“The brand logo represents Kodansha’s position at the crossroad of all cultures, where many ideas, voices and stories intersect,” says Gretel creative director Sue Murphy. “It’s also inspired by Japanese hankos, acting as a stamp of quality on Kodansha’s content, as well as a monogram.”
Kodansha CEO Yoshinobu Noma describes the rebrand as an opportunity to “communicate who we are on a global scale”, suggesting it’s an attempt to help spread Kodansha’s profile outside of Asia.
Zoomin is a personalized photo printing service, that prints up your memories into beautiful products – prints, posters, mugs, frames, etc. They had been around for a long time now, and it was time for a packaging refresh. The packaging design goals were to come up with something – – Beautiful. – Economical. – That would print well on eco-friendly Kraft paper. – Consistently on-brand, that could be applied across their variety of products. – Fresh and fun but not loud i.e something that would appeal to their wide user base with varied tastes. – That also conveyed the love and care that Zoomin put into fulfilling their customer orders.
We fulfilled these goals with a cheeky typographic design that speaks to the customers directly, combined with a seamless custom pattern for flavor. After experimenting with some patterns, we decided on a zentangle-inspired pattern that appears to zoom in – a subtle reference to the brand name. The design works because it can be applied across envelopes, boxes and tubes alike, and can easily be customized to suit the product being shipped, while being consistently on-brand.
The economic disruption due to the pandemic created ripples across every sector. Some suffered more than others, notably in entertainment, hospitality, and foodservice. Restaurants having to close on-site dining bore the brunt of the impact, but less seen were the ancillary businesses relying on the same on-site dining, such as suppliers and purveyors. Sound, a sparkling beverage company, was one of those firms.
Primarily focused on the foodservice industry, Sound saw their monthly sales drop from 6 to 4 figures in March 2020 and were faced with shifting its business to e-commerce and retail. As part of the change, Sound refreshed the brand and the packaging to stand out in retail.
The previous packaging was attractive but restrained. Sound’s cans and labels have just enough color to stand out in a cafe cooler but perhaps too reserved to grab consumers’ attention in the crowded sparkling beverage space. The previous visual identity broke out a lot of the label space with stark and contrasting boxes with ingredient labels and graphics.
C&A is a Dutch international fast fashion brand established in 1841 by the siblings Clemens and August Brenninkmeijer. The brand maintains presence in 22 European countries, in addition to Brazil, China and Mexico. C&A arrived in Mexico in 1999 and expanded quickly establishing their largest headquarters positioning itself as an accessible fast-fashion brand.”
These new editions bring a fresh set of covers to well-known titles, wrapping them in clashing two-colour palettes and featuring graphics inspired by the contents of each title.
Jo Thomson, deputy art director at 4th Estate and William Collins, says the art department was briefed to create jackets that would look nothing like other classic book editions, but still be timeless enough to stand apart from current trends.
Drawing on her love of typography, Thomson began playing around with designs that used huge lettering and decorative fonts, paired together with graphic images or photos. The real breakthrough for the design came when she shifted the authors’ names away from the centre of the cover and off to one side – allowing the type and imagery to do the heavy lifting. The graphics have also been given a print grain filter to add some extra texture.
Each book has its own unique colour palette, with Jung Chang’s Wild Swans wrapped in mint green and neon red, and Jeffrey Eugenides’ The Virgin Suicides enjoying a forest green and bubblegum pink.
“One of the key things that we wanted to do was open these books up to people who haven’t read them before,” Thomson. “For books that are older, we wanted to give them a new lease of life with a cover that’s more vibrant and modern than previous classics have been.”
As part of the rebrand, independent consultancy Zag and Zoopla’s in-house design team worked on the creation of a new logo, colour palette and overall design language. The new visual identity system is joined by updates to the products and services across both the Zoopla website and app, including the launch of a new homeowners hub called My Home.
The new design and brand experience aims to “connect more deeply with homemovers and bring back the joy and excitement in what can be an otherwise stressful, or at worst, transactional experience,” according to Neil Cummings, ECD and partner at Zag.
The rebrand feels somewhat familiar yet it brings energy and personality to a process that is painful for most people moving home, while the messaging comes with a certain warmth and sentimentality that has worked so well for the likes of B&Q during the pandemic.
Renault has introduced a flat, black-and-white interlocking symbol that harks back to the 70s.
Renault is the latest to join the bunch, overhauling its existing 3D diamond – which dates back to 1992 – in favour of a geometric symbol that’s somewhat reminiscent of the much-loved Woolmark logo (considered by some to be the best logo of all time).
The work (described by the brand as a ‘Renaulution’) was done in-house, and is clearly designed with digital usage in mind. In a video discussing the new logo, Gilles Vidal, Renault’s design director, discusses that it was important to keep the diamond shape, which has been in existence in one form or another since 1925, while bringing in “fresh and new values for the future”. That said, the logo bears some resemblance to the brand’s 1972 mark, which also featured a set of interlinked stripes.
“Now it made sense to again go back to flat design, which is a thing of our times, and yet give it movement through the interaction of two diamond shapes looping one into the other to create movement, interaction, complementarity,” says Vidal, who emphasises that the flat logo is better suited for websites, apps, smartphones and screens inside cars.
The first model with the updated logo will appear in 2022, and by 2024 all Renault cars will bear the new symbol.
Founded in 2019 by Sam Franklin, Theo Margolius and Xav Kearney – all of whom previously worked at estate agency Nested – Otta offers a decidedly different take on the drudgery of job hunting.
Rather than displaying users long lists of jobs, it tailors recommendations according to what people are actually searching for – taking into account desired salary, size of company, industry and so on. Otta also offers extra details about companies actively recruiting including a profile, the amount of funding they’ve received, company values and benefits.
“We wanted these to be really bold, expressive and exaggerated, and have that sense of being warm, soft and enveloping but also bright and a bit lairy. We wanted to get people’s attention and send a signal that this was something that was the complete opposite of some of the other experiences.” Ragged Edge