Branding


Graphic design fans rejoice—the late design legend Massimo Vignelli’s iconic New York City Transit Authority Graphics Standards Manual is set to come back in print. The hard-to-find classic recently made the news after graphic designers Niko Skourtis, Jason Reed and Hamish Smyth discovered a rare first edition in 2012, and began tweeting it page by page.

They have started a Kickstarter campaign to turn the manual into a book, to be made available to the public. According to Fast Company, the new version will be reprinted as a full-size 364-page hardcover book, and printed on 100 and 140 gsm Munken Pure ivory offset paper. It will feature 176 four-color plates printed from high resolution scans of the original Standards Manual, and will include an introduction by Pentagram partner Michael Bierut.

Licensed exclusively from the New York City MTA, it will be produced in an extremely limited run, and will not be reissued once the campaign is over. The project has far exceeded its funding goal, but you can still head over to Kickstarter to pledge for it and secure your very own copy. (via Design Taxi)

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Pearlfisher New York has created the new brand strategy, tone of voice, brand identity, and packaging for organic chocolate brand, NibMor. A premium snack brand that does things differently, NibMor was founded by two nutritionists with a love for dark chocolate, eager to share the health benefits of chocolate as part of an active lifestyle. The challenge for NibMor was how to create a cohesive brand message that was enticing to consumers, expressing their healthy point of difference in a desirable way on the crowded confectionary shelf.

Pearlfisher’s redesign and repositioning for NibMor unifies the health benefits of dark chocolate with the personality behind the brand in a dynamic way, creating a whole new visual and verbal language for chocolate. A fluid word mark takes their existing identity from earnest to energetic and reflects the personal touch that NibMor impart into each bar of their chocolate. As portion control is particularly important to NibMor’s food philosophy, Pearlfisher has used a hand as a primary design element that playfully cues the correct portion size for each product in the range. On the back of pack these hands evolve to evoke the personality and vibrancy behind the brand. The result is a new design that is modern, expressive and breaks the traditional category codes of chocolate to be both accessible and indulgent. Lastly, a new and vibrant color palette helps NibMor differentiate itself from competitor confectionary brands.

Tess Wicksteed, Executive Vice President at Pearlfisher New York comments, “We see Nibmor as the future of chocolate: chocolate with substance; fulfilling on many levels – social, personal and environmental. The project was about defining a clear brand idea and then bringing it to life both visually and verbally.” Hamish Campbell, Creative Director at Pearlfisher New York comments, “Our new design for NibMor does away with the idea of guilty pleasure, making NibMor chocolate an everyday indulgence that you can feel good about. We can’t wait to see this brand start to change the market for the better.” (via Lovely Package)

This is such a simple, but yet striking concept and packaging design in my point of view. Love the strong colour coding and the paper used for the packaging.

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Designer Ewan Yap, from Kuala Lumpur, Malaysia explore the principle of “BIG BRAND THEORY”; cropping out each brand’s identity as much as possible while maintaining it’s integrity.”Creating a series of experimental packaging design based on the principle of BIG BRAND THEORY. The main focus is to have each brand’s identity meticulously and uniquely cropped out of the packaging as much as possible yet maintaining it’s integrity and comprehension at the same time enhancing the aesthetic value”. Interesting article and for sure an idea I believe will be practiced at some point in a near future.

Branding

American cable television network VH1 has recently unveiled a new logo as part of its new multi-platform rebranding effort. A plus sign has been added to the logo, which reflects the changes in the digital world—meshing together the network’s music, pop culture and nostalgia content together.

“10 years ago, no one had ever heard of Justin Bieber, Mark Zuckerberg just entered Harvard, iPhones were five years away and hashtags didn’t exist,” said VH1 President Tom Calderone. “Our world has clearly changed, so we want to reflect those cultural and technological changes in each of the many ways that consumers now touch the VH1 brand.” According to the network, they call the plus sign a “tagmark”, and it represents the brand’s “high-energy sensibility where every is ‘more’—more fun, more bold, and more exciting.”

http://designtaxi.com/news/355094/VH1-Unveils-A-New-Logo/

VH1

http://www.adweek.com/news-gallery/advertising-branding/20-biggest-brand-fails-2012-146137#harvey-nichols-20

Scenario Interior Architects created this funny and colorful design for the interior of an ice cream shop in Akershus located in Norway. (via Fubiz)

 

When Mohawk was exclusively a papermaker, the logo was visible only in advertising and on swatchbooks, brochures and ream wraps. Now that Mohawk’s presence is much more prevalent, the new M is the centerpiece of a branding system that signals the changes underway as this 81-year-old company reinvents itself to thrive in today’s digital world. Designed by Pentagram, which also designed the previous two Mohawk logos in 1991 and 2003, the new logo based on the letter M suggests paper rolls, printing presses, circuit boards and connectivity. 



The launch includes more than a dozen color variations of the core logo and the M (with or without the full name) appears in different colors and configurations depending upon whom Mohawk is talking with, where the conversation is taking place, and when, emphasizing Mohawk’s desire to connect with all of its customers. It’s a building block to a dynamic, colorful branding system that speaks to basic concepts of connectivity, connecting the dots, and surprise. Mohawk has also simplified its portfolio of premium paper lines from 22 to 6 and it’s challenging the way paper is specified with the release of a deceptively simple tool. The New Mohawk product selector, the first in a wave of new tools, presents all Mohawk papers in one place. Designed and engineered by Michael McGinn Design Office, the selector opens to three accordion fold charts, each containing several dozen oversize paper chips. Together, they organize the papers into three broad categories based on performance, character and value. An accompanying booklet, “The New Mohawk,” is the simplified guide to all items in the newly organized lines. (via Communication Arts)

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