Corporate Identity


Created by a company named Meat Cards, these unconventional name cards are made by laser-etching the necessary details onto slabs of tough dried meat. While these cards are perishable, they can actually stay edible for up to an entire year—they may not be for everyone, but they seem particularly apt for certain businesses, such as a survival training school. Check out Meat Cards, http://meatcards.com/contact for more information on how you can have your own beef jerky business card made—currently there is no standard pricing and “everything’s negotiable”. (via Design Taxi)

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Facebook has rolled out a new logo, and given some of its other icons an update for the first time in years. For its new logo, the social media giant has rid its square “f” icon of the faint blue line at the bottom, and the letter “f” is also pulled closer to the edge of the box.

Other official pages of the social network—from the mobile icon to the security icon—have also been redesigned, and their backgrounds featured in Facebook’s signature blue color, making things more uniformed. According to web developer Tod Waddington of Cut Out + Keep, the Facebook’s new square “f” logo appeared on Friday in the company’s newsroom webpage; however, Facebook has not updated all of its pages yet. (via Design Taxi)

Facebook

We usually think about a brand in terms of ethos, voice, visual identity, and in that order. For Gretel NY, the VH1 project was exciting because “they came to us very specifically looking for a language system first, ethos and visual identity second…sort of an inverted brief, or maybe just a more contemporary brief. The solution was the plus sign, which works as a connective tissue. It’s the core strategy of the brand and it’s baked into the logo and all brand language. It also speaks to enthusiasm, hyperbole and inclusiveness, which are core components of the brand. The visual identity is essentially a delivery system for that language, which can be reorganized and reinvented as needed. In the end, VH1 got a much-needed refresh as their viewership and programming had evolved beyond their old branding.” (via Design Taxi)

VH1

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.thedieline.com/blog/2012/8/15/happy-birthday-paul-rand.html

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)

Barnbrook’s identity for a new art biennale in Kiev is based around a bespoke and fluid open source typeface called MA VujaDe. Arsenale 2012, The First Kiev Biennale of Contemporary Art was launched recently and runs until 31 July at the Mystetskyi Arsenal, Kiev’s new National Culttural Art and Museum complex which incorporates an old arsenal building of national cultural importance, hence the name which translates as Art Arsenal.

The festival has a theme – The Best of Times, The Worst of Times, Rebirth and Apocalypse in Contemporary Art – and it comprises the work of around 100 artists which is organised around four hub ideas which are titled thus: The Restless Spirit, In the Name of Order, Flesh, and The Unquiet Dream. It is around these ideas that the identity is based.

“Rather than a fixed logo, the design employs a bespoke open source typeface that reflects the international scope and diverse array of art represented at the Arsenale,” says the studio of the project. “MA VujaDe draws in alternative letterforms, analphabetic characters, icons and symbols from DejaVu (custom versions of which are being developed for the Arsenale and also for the Mystetskyi Arsenal venue’s visual identity systems) to create a typeface that cycles through a selected glyph palette for each character in both Latin and Cyrillic causing the tone of the text to change as it’s typed,” Barnbrook continues.

“This will become an open source project whereby the public can download and edit the code and add to the glyph palette, creating a creative dialogue between the festival and its visitors.”

As well as the identity for Arsenale 2012, Barnbrook has developed “a visual language system” for the festival’s first discussion platform, entitled Art After the End of the World. “The design draws inspiration from the notion of a dialogue,” says Barnbrook, “multiple points of view overlapping and engaging with one another. The aesthetic acknowledges recent protests and uprisings that saw people utilise technology to unite and overthrow dominant systems of power.”  (via Creative Review)

This is playful, intriguing and eyecatching. Love experimental typography.

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