Tag Archives: redesign

Mozilla rebrand

Internet advocacy and software group Mozilla has revealed its new logo and brand assets – including a bespoke typeface, colour palette and proposed approach to imagery – following a seven-month “open design” process documented on its blog

The new Mozilla logo and suggest colourwaysToday – after seven months, thousands of emails, hundreds of meetings and three rounds of research – the company has finally revealed its new logo, along with a proposed colour palette, language architecture and approach to imagery. Mozilla is now inviting feedback on the branding and says it will continue to share updates as final guidelines are developed.

Peter Bil’ak of Dutch type foundry Typotheque has created a bespoke font, Zilla, for the wordmark and accompanying copy. The font is reminiscent of Courier – the default font used for coding – and was selected for its “journalistic feel”, reflecting Mozilla’s internet advocacy work. It is open-source and will be available to download for free.

Mozilla creative director Tim Murray says the company chose to work with Typotheque because of the foundry’s expertise in “localisation” and creating fonts in various languages. As Murray points out, the design bucks the current trend for sans serif fonts in favour of something rooted in the visual language of the internet.

Names and phrases will appear underneath or to the right of the logoSuggested imagery for Mozilla communicationsjohnsonbanks_Mozilla-1500px_apps2The company intends to work with artists, coders and developers to create a constantly evolving bank of imagery

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Kinnersley Kent rebrand Athenaeum hotel in Mayfair

Kinnersley Kent designed around 80 items for the hotel, from menus and coasters to luggage tags, door key-cards and umbrellas. The ‘A’ brand marque is inspired by the art deco era and the building’s architecture – “specifically, by the hard lines of the building combined with the softness of the hotel’s famous external planting,” says director of graphics Kenny Sum. The agency also created postcards for the hotel bar’s signature cocktails and invitation cards for the General Manager to use when inviting guests for a drink. Cards feature a rose gold A and an image of a man in a suit.

Typefaces Romain and Brown were chosen for their mix of “heritage and modernity” and a herringbone pattern is inspired by oak floors in the building’s lobby. Gold foil detailing and deep colours add a touch of luxury – the colour palette includes deep blue, purple and green alongside mustard, bright orange and lighter neutral shades. Colours are used to signify different spaces in the hotel: blue represents lobby activities such as checking in, purple is used for the restaurant and green for the bar.

Copywriting aims to reflect a “tongue-in-cheek British sense of humour”. A welcome mat for guests leaving the building reads Toodle Pip while breakfast order cards feature the phrase ‘Rise and Shine’.

This rebrand reminds me for my Design Museum brand

7up Redesign

7up is the latest company to have a redesign. The new look was created by Tracy Locke from New York. The design was produced in this way to bring them back to the core element that defines 7up: lemons, limes, bubbles and refreshment. 

This new design is a marked improvement on the old design (below), however it also tends to look better on the mock-ups than the final product.  The image above shows where the circles and bubble come from, using the lemon and lime and then just keeping the shape. 

Put a Hat on

Believe it or not this is a New Era baseball cap with the unusual design of Craig Green.  He is one of several art and design students selected by the hat brand to design a new Era cap, the most uniquely creative would win a £10,000 bursary to help them launch their career.

New Era is celebrating its 90th Birthday, issued 90 New Era XC commemorative boxes to 90 graduate artists and designers from Europe’s most prestigious design schools.

Dominika Lipniewska of Central Saint Martins in London was inspired by her fascination with faces and characters

“I thought about the words ‘New’ and ‘Era’ and have come up with something with a fusion of old and new,” says James Gardner of his design. “I thought about iconic head adornments of the past like Ceasers head wreath and taking something cheap like the cable ties and dyeing them to give a new look, something unrecognisable.”

Janosch Mallwitz of the Universität der Künste in Berlin created this baseball stitching inspired hat

Central Saint Martin’s Jennifer Yang cites metal art as her inspiration

Sergio Cruz from Elisava cites African masks, global crisis, Joan Miro and Lady Gaga as inspiration for his hat.

These are soon to be exhibited in five galleries across Europe – London, Paris, Berlin, Milan and Barcelona. In case you’re wondering who won the £10K bursary / prize – it was Craig Green, whose design is the image displayed at the top of this blog post.

The Independent

The Independent has just launched ‘i’, its new daily newspaper “designed for people with busy, modern lives”.  But what exactly is it for?

Editor-in-chief Simon Kelner claims that the 20p title is “the first quality daily paper to be launched in Britain for 25 years”

I have to say that the results are however a little confusing, from these photographs the layout has a lot happening and there doesn’t seem to be too much white space.  There are splashes of colour sections, making the days of black and white long gone.  There are many boxes of text and tabs everywhere and looks more suited to the web.  Every though the internet is at its peak do we want that in our newspapers?

The point of the newspaper is that it can be consumed in a small amount of time.  The News Matrix (above) provides 15 stories over a spread, each with only a mere 40-wordparagaph. 

This new design isn’t surprising given that the owner of The Independent Alexander Lebedev, famously turned The Evening Standard into a giveaway.

The most successful sections are the ones devoid of advertising.  A Health spread gives the impression that there’s a more in-depth feature to be read. 

Creative Review believes that this new reading experience is to fit in with the pace of contemporary life and the moment just adds confusion.  I have to disagree with this; to me it doesn’t seem easy to follow.  I want to look at a spread and know what the main headlines are immediately and not have to take time to read each section to find what I’m looking for.

I know that it is difficult to get everything perfect straight away but I feel to create a user friendly newspaper it still needs a lot of work.  This is just my opinion and I’d be interested to know what you think?

Spin redesigns AGI website

Spin has unveiled a new look for the Alliance Graphique Internationale’s (AGI) website.  They have managed to keep it very simple and given it a clear feel.  They have organised the sit in a way that I believe is much better and it is easier to follow. 

a-g-i.org now contains around 3,000 additional images of members’ work and also a wider range of essays and interviews with leading design figures. 

Spin’s Tony Brook hopes that the re-launched site can become a resource for students, educators and professionals, while being also appealing to the casual viewer interested in the history of graphic design.

There are many different essays and interviews on the website that are well worth a look and contain some interesting pieces on the history about graphic design.

Waterstone’s Rebrand

Waterstone’s has a brand new identity, out go the serifs and caps and in comes the sans and lowercase.  There is also a range of logo iterations in the store.  This rebrand has been completed by venturethree.

There is a mixed reaction about this rebrand, The Register described it as resembling ‘pendulous dugs’.

Nicholson and Bass

My latest project was to rebrand a print company in Belfast.  I was shocked by how bad the companies brand was, there was no one logo, colour and it was really confusing to look at, so basically anything that I could produce would be an instant improvement.  

Nicholson and Bass are a family printers and they have been around for over 70 years.  The family was a major factor in the business and I wanted to highlight this within my brand design.  The logo (see below) that I decided was to interlink the N&B to represent the union of and family and a family coming together as one. 

Colour played a major role in my design; I wanted to use a colour that would represent a family.  After research into what different colours mean and what they represent, blue came out on top as being the best colour.  Blue is said to represent understanding, patience, loyalty, security, comfort, calming and love.  I felt that these were all criteria that the print company would want. 

These words were shown within the brand design through the website and the company brochure.  Don’t think that a rebrand is just creating a logo; a brand goes beyond the logo into who the company is and what they represent.  Here is my proposal for the rebrand.    

Penguin Decades Covers

Don’t Look Now by Daphne du Maurier, designed by Zandra Rhodes

To celebrate Penguin’s 75th anniversary, Penguin have launched its Decades series this month. Were the five best titles from the 50s, 60s, 70s, and 80s were reproduced by four leading Designs: Peter Blake (50s), Allen Jones (60s), Zandra Rhodes (70s) and John squires (80g).

Here are some of my favourite from the collection and if you are interested you can click here to see the remainder.

From Russia with Love by Ian Fleming, designed by Peter Blake

I’m the King of the Castle by Susan Hill, designed by Zandra Rhodes

Hawksmoor by Peter Ackroyd, designed by John Squire

New Look Creative Review

We are set to have a brand new redesigned Creative Review from April.  The redesign has come about as part of the celebration of its 30 year in existence.  I have to say I really liked the old design so it’s going to take something extra special to win me over to accepting this change. The new design has a new logo (above) which, on first impressions, I’m not too sure about. In my opinion the original was much better. There’s also a new format to the magazine which now compresses a 4 column grid.  New typography and paper has also been employed. There were two reasons for the redesign 1. To create a better physical product.  2. To get across the repositioning of their editorial stance that has developed over the last couple of years.

They have made the magazine smaller 250mm square, which meant they save money on the postage, with consideration they decided to put this money towards better quality paper.  The inside comprised 90gsm text paper whereas it is now 135gsm, with the Crit pages on 115gsm uncoated. Inside of 250gsm cover, its now 300gsm.  They said that it can only really be appreciated when you get it in your hands.  I can’t wait to see this new look design and after that I’ll make my decision about what I truly think!