Friday, February 16, 2018

From 2015: Nestlé Bros by Millford


A lock back a contemporary redesign from a few years ago today. Bros is a chocolate bar brand owned by Nestlé. Bros is Dutch for "brittle" and the main feature of Bros chocolate is that includes air bubbles, similar to Nestlé Aero chocolate sold in many other countries. Back in 2015, it launched fresh new look, created by Millford.

To counter declining sales it was decided that Bros would more clearly target women aged 25-45. The new packaging and its logo are more "feminine and enthusiastic".

Monday, February 5, 2018

Dotted logos for French public TV


France Télévisions is France's public TV broadcaster, operating the domestic channels France 2 through 5 as well as the overseas services "Outre-Mer 1ère", their "satellite" channel France Ô and other services, including news channel France Info. Last week, on January 29, the channels launched new logos based on a common template. The new visual identity system was designed by Paris-based creative studio Movement, who branded the group news channel France Info back in 2016, with .

The old logo system, created by Gédéon, was introduced in 2002 when France Télévisions consisted of three channels (France 2, 3 and 5). It was meritoriously expanded when new channels were launched, but has been bursting at the seams in recent years.

The new channel logos feel less rigid and "logo-like", consisting in their pure forms of a dot and a numeral, supplemented by the word "France" when needed. The identifying colours for the individual channels have been largely been maintained and "brightened". On screen, the channels are also identified by different animated patterns, such as concentric circles for France 2, rectangles for France 3, irregularly placed circles for France 4, gridded circles for France Ô/La 1ère and rasterized images for the corporate level.

Monday, January 29, 2018

Logo round-up: December 2017


This last look back at 2017 comes a bit late, but features a handful of new logos introduced in December. A fairly short list with only around 25 entries, but many of them are quite notable and nice.

Thursday, January 25, 2018

Qualcomm cleans up its logo


Qualcomm owns technology that is used in virtually every smartphone on the market today, and has therefore grown hugely influential. A little bit too influential according to some. During the Consumer Electronic Show earlier this month it rolled out a refreshed logo, either without fanfare or overshadowed by other CES news.

The update is fairly straight-forward, switching some letters to lowercase, resolving some weird spacing issues, making everything more legible, but keeping the double-M ligature. The Q in the old logo with its off-center straight tail was so distinctive that a version of it had been incorporated into the corporate typeface. The new version looses that distinctiveness with a more generic Q.

The previous logo had been used for a very long time, but wasn't used for some key products. Notably, the flagship Snapdragon processor's didn't use the corporate logo, instead opting for a generic typeface. The new logo is more versatile and the Snapdragon logo has been updated to include it.

Monday, January 22, 2018

Bright and green reading for PressReader


PressReader is a service that provides newspapers and magazines from around the world in electronic form to libraries and their patrons as well as hotels, airlines and other organizations who want to subscribe to a variety of news sources. It cooperates and provides monetization for over 7,000 publishers and makes their content available online and trough apps. It has a refreshed brand identity, developed internally by PressReader Creative Lab.

The main icon is a combination of an app icon, a speech bubble and the letter P, with a slight gradient shadow to give it depth. According to the guidelines, PressReader's branding should convey a company that is "youthful, modern , intelligent, forward-thinking and a little bit cheeky".

Friday, January 19, 2018

From 2000: Make-a-Wish by Luxon Carrà


One of the first rebrands announced this year was the Make-A-Wish Foundation refreshing its wordmark (see more at Brand New). The previous one was introduced as one of the first rebrands of the millennium in the year 2000, and is an interesting case study in itself.

Prior to the year 2000, the Make-a-Wish Foundation didn't really have a coherent identity and its brand recognition suffered from copycats. The logo for the central organisation was a photorealistic image of a wishbone. Back then the wishbone symbol suffered from low awareness, today it feels baffling in its anatomical weirdness. It also didn't work across cultures and was hard to use in layouts.

A new more ownable identity was designed by Luxon Carrà under Patricia Houden's leadership. The clever integration of shooting star with a clear wordmark was said to represent "hope, compassion and integrity". The execution was of its time with a heavy typeface and charcoal effect. It launched on January 27, 2000.

Thursday, January 18, 2018

Ungabbable logo for Slate


Slate is one of the oldest online-only publications, once a part of MSN. It takes the form of a political magazine. This week, Slate launched a new website with a new logo. New York-based Gretel designed the new branding assets, while the editorial design was mostly done in-house.

The old logo had been used since 2006. The new version keeps the maroon color used by Slate since its foundation. Slate prides itself on not publishing bullshit and that may be the reason why they haven't published a bullshit rationale for their new logo design. Instead they contently say it "really feels like us".

Wednesday, January 17, 2018

Royal bed icon for KungSängen


Bed and mattress warehouses tend to be awful places, and their flashy branding reflects that. Swedish retailer KungSängen sought to counter that impression last October by introducing a new visual identity, created by Stockholm-based Ström & Jag.

KungSängen beds are made to order by hand, and this premium aspect of the manufacturing wasn't reflected by the previous branding. KungSängen means "the King's Bed" in Swedish and the design team clearly fell in love with the idea of combining a crown and a bed into an icon. It is supported by clear typography and a deep blue colour.

Tuesday, January 16, 2018

Happier smiley for Norwegian payment system Vipps


Vips is the leading mobile/cash free payment systems in Norway, used by over half the population. In December, it revealed a refreshed identity by Scandinavian Design Group.

Vipps launched in 2015 with an identity designed by Anti, using the same "sea green" colour as its then-owner, Den Norske Bank. Last autumn, Vipps separated itself DNB and became an independent company co-owned by most Norwegian banks. The change of color marks this separation. In an interview with Kampanje, SDG said the previous logo contained "Norway's surliest smiley" and that the new version has been translated into a true emoji that can take on many feelings.

Monday, January 15, 2018

Millford flattens balls for Dutch lottery


Lotto is the Dutch state-run lottery, operated by Nederlandse Loterij. Back in November, it introduced a refreshed look, created by Millford.

This is an interesting real-world exercise in applying the "flat" design trend onto a cheesy 3D look, while otherwise not changing too much in the basic structure of the logo.

Wednesday, January 3, 2018

Kunskapskanalen gets on the grid


Kunskapskanalen ("The Knowledge Channel") is a Swedish TV channel dedicated to educational programming, operating by the public broadcasters. In December, the channel launched a new website, featuring a new visual identity designed by Dallas Motion Agency. The actual channel still uses the old logo, but will probably adopt the new one later on.

The new identity is based around the idea of knowledge leading to more knowledge, with Kunskapskanalen acting as a guide in the "knowledge grid".

Tuesday, January 2, 2018

Clean square for Carré Noir


Carré Noir, formed in 1973, is one of France's oldest brand design agencies, with its work often featured here. Back in December, it revealed a new logo for itself.

The old logo had been around at least since the mid-80s. It was very much of its time and it is remarkable that it had been used for so long. The new simplified logo consists of a square with wordmark set in a Gotham-ish typeface, with the accent over the E rendered as a notch in that letter.