Packaging

Branding of Dripp Coffee

The visual identity system for Southern California-based Dripp Coffee Shop is intriguing for what is fixed and what is flexible. Designed by Turner Duckworth San Francisco and London, the Dripp branding system centers around a hand-drawn script logotype which angles upward. The rest of the visual content is structured within a grid of color blocks with minimal flat-graphic images. The flourished style of the letters sets the logo apart from the rest of the visual content and, by contrast, draws attention to itself. The silhouetted objects themselves can be changed to suit the product, season or event, as long as they retain the stylized look and simplified color palette of the brand – as shown in the set of posters below created by Turner Duckworth. This graphic system also accommodates changing needs and uses, including this sleeveless hot paper cup design by Istanbul-based designer Salih Kucukaga.


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Advertising

A Big Hand for Honda “Hands”

Clocking in at two minutes, this Honda commercial would be a very expensive ad buy on prime-time TV, but thanks to the accessibility of YouTube and Vimeo, audiences are seeking it out online. The Honda “Hands” ad starts with a cog, just like its award-winning Cog commercial (see July 24 post below). This time Honda teamed with Wieden + Kennedy London to “celebrate the curiosity of Honda engineers” who have made Honda the world’s largest engine manufacturer and racing company since it was founded in 1948. Through “slight of hand” and brilliant animation, the cog morphs into a dazzling array of products, from motorcycles and jet planes to solar-powered cars and robots. The making of this video, directed by Smith & Foulkes and Nexus Productions, is a technological feat in itself. For brands that think they don’t have the budget for such an ambitious production, consider this: Is it better to do something middle-of-the-road and run it on prime time TV or to create something awesomely original that people will “google” to see on their own. If it is good, it will go viral.

Advertising

Intentionally Designed by Apple

It is nice to see that Apple is still channeling Steve Jobs in this new ad campaign by TBWA/Chiat/Day. The “Intention” video is classic Apple. Like Apple’s products and its packaging, it feels elegant, devoid of fussiness and ostentation. It communicates simply, directly, softly. It doesn’t provide boastful descriptions of its own engineering prowess or gee-whiz features. In fact, it doesn’t show or name its products at all. It tells you how it strives to deliver what you want to feel when using Apple products. It’s all about you… your desires… your pleasure. If iMac was a guy, he’d have women swooning at his feet.

Advertising

Advertising Made Complex a la Rube Goldberg

Over the year, Rube Goldberg-type devices have popped up in a diverse array of TV commercials, from a promo for the “Elementary” mystery series, an ad for Beneful dog food, and the 2003 classic “Cog” film for Honda Accord. Unlike commercials that demonstrate or tout the product outright, these get their message across in the most tangential way. There is no story line, no spokesperson pointing out product features, not even a lot of voiceover commentary. But the viewer’s attention is riveted to the commercial and the product it is trying to sell.

Just who was this Rube Goldberg? And how did his crazy inventions inspire 21st century advertising creatives to design TV commercials to market their products so circuitously? Let me introduce you. Rube Goldberg (1883-1970) was an engineer-turned-cartoonist whose primary cartoon character was one Professor Lucifer Gorgonzola Butts, an inventor of gadgets that accomplished the simplest tasks in the most complicated, elaborate roundabout way. For those unfamiliar with how Goldberg started a chain reaction of copycat inventors, here’s an example. Goldberg’s cartoon above explains Professor Butts and his Self-Operating Napkin, which was activated when a) the soup spoon was raised to the mouth, pulling a string, b) which jerked a ladle, c) tossing up the cracker inside, d) past a parrot, e) causing the parrot to leap for the cracker, f) thereby, tilting the perch, g) which tipped a bowl of seeds into a pail, h) which, due to its added weight, pulled a cord, i) which ignited a cigarette lighter, j) setting off a rocket, k) which caused a sickle l) to cut a string, and m) freeing a pendulum and causing an attached napkin to swing back and forth, wiping the diner’s mouth.

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Illustration

The Iconic Images of John Van Hamersveld

A look at the art movements of the 20th century lists everything from Art Deco, Cubism and Dada to Surrealism, Op Art and Pop Art, but it often skips over the one movement that embodied the youth culture of the mid-century – the psychedelic images of the 1960s and 1970s. Perhaps no one influenced that period more than John Van Hamersveld, the southern California surfer-cum-designer whose “Endless Summer” movie poster became emblematic of the sun-drenched surfer culture. Van Hamersveld, who recalls being paid $150 for the poster, took a photograph of the film’s opening scene and converted it into sunset silhouettes by reducing each color to a single tone and giving each shape a single, hard edge. Van Hamersveld went on to design more than 300 record album covers for virtually every major rock star in the ‘60s. For aging baby boomers, Van Hamersveld illustrations are as much a symbol of the times as Beatles tunes, protest marches, acid-trips and love beads. Van Hamersveld’s iconic images are presented in his latest book, “John Van Hamersveld: 50 Years of Graphic Design,” released in June.

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