Shocase is a new social network site with some of the intentions of LinkedIn, Pinterest and Facebook, but is targeted specifically to the 100+ million marketing professionals worldwide. It acts somewhat like the old Blackbook directories, but in a friendlier, more interactive and constantly updated way.
Shocase CEO Ron Young explains, “Members can present their work, skills and experience in the best light to the audience they value most; brands can find the right marketing professionals to suit their needs in any discipline. The site is designed to help build working relationships, and ultimately help members grow their business.”
Read More »
It’s the end of the road for the Land Rover Defender, the UK’s original off-road vehicle. Introduced in 1948, the intrepid Defender became the vehicle of choice for safari guides, cattle ranchers and explorers of the rugged outback. But in 2015 increasingly tough emission standards finally put the brakes on production. Before we say goodbye to the iconic 4×4, let’s revisit one of the Land Rover Defender’s best ads, created by London ad agency, RKCR/Y&R, in 2011. The print ad shows an open passport bearing multiple passport stamps that overlap into the shape of a Land Rover making a steep uphill climb. The image embodies the go-anywhere, handle-any-terrain reputation of the brand simply, succinctly, and brilliantly.
Mexican food is not considered exotic to locals in Mexico, which is why Habibis, an Arabic-Mexican taqueria in San Pedro Garza Garcia, emphasized the Arabic side in its brand identity. A municipality that is part of the Monterrey metro area, San Pedro Garza Garcia has a large third-generation Arab population that has infused intriguing flavors into the local cuisine. In transitioning from a taco stand to an alluring taco cafe, Habibis looked to Monterrey-based creative agency, Anagrama, to build a brand that conveyed the fine fusion quality of its food, while preserving its street-friendly and casual ambiance.
Read More »
When Icelandic Glacial Water rebranded itself, it shifted the focus from the generic word “glacial” and placed the emphasis on “Icelandic.” That made all the difference. Designed by Los Angeles-based Team One, the new logo, bottle and packaging establish a sense of place for the brand. The frosted label features the geographic shape of Iceland with a black logotype that looks like it was hacked out of shards of Arctic ice. Instead of a predominant mineral cobalt blue color, the new label is a translucent sapphire blue that evokes the pristine purity of Iceland’s famous natural resource. The back panel, printed in contrasting varnishes, reveals the tagline “Source of the Epic Life” as if visible through a veneer of frosty ice. The new design positions Icelandic Glacial Water as a premium brand – so much so that you wonder if it contains expensive vodka.
Read More »
Querida Carmen, pre-cooked traditional foods from Spain, suggests its all-natural ingredients and clean, distinct flavors through the uncontrived look of its packaging. Barcelona-based design agency, Grafica, developed the name, identity and packaging for the brand. In addition to its appealing graphics, the packaging cleverly keeps the “wet” ingredients separate from the dry ones by placing a metal can within a cardboard carton. Everything is pre-measured, pre-chopped and pre-cooked, and all the home cook has to do is bring the ingredients in the can to a boil and then add the rice or noodles a few minutes before serving. Dinner is served.
Read More »
Coca-Cola has just unveiled six limited-edition cans to cheer on Team USA at the London Olympics this summer. San Francisco-based design agency, Turner Duckworth, combined three of the world’s most recognizable icons to communicate the entire story –the stripes of the American flag; the five interlocked rings of the Olympic logo and silhouette of an athlete, and Coca-Cola’s signature red and Spencerian script logotype. The effect is succinct, direct and graphically powerful. Coca-Cola is rotating the can designs throughout the summer, with a new one appearing every two weeks, culminating with a special composite logo timed for the opening of the Olympic Games.
Read More »
Two guys from the London brand/design consultancy Wonderland WPA walk into a classy bar and ask for a soft drink that is not the kind you can get out of a vending machine or in the refrigerated section of a truck stop.
That may seem like the set-up for a joke, but it is how Story beverages came to be invented. Finding the choice of alcoholic drinks in fine restaurants and bars limitless, but the availability of upscale nonalcoholic ones few and far between, Wonderland WPA saw a market niche begging to be filled. They defined a new category of soft drinks that would be offered exclusively in bars, restaurants and hotels, and created a brand identity that looked stylish and grown-up. The simple, elegant packaging enhanced the perception of being sophisticated and worthy of drinking on a special night out. Launched in August 2011, Story will initially be sold only in the UK, with plans to introduce it into export markets in 2012.
In case you missed the 9,000 or so listings on Google, here’s the story: On October 6, Gap unceremoniously unveiled a new logo on its website, jettisoning the familiar “white Gap in a blue box” logo it had been using for the past 20+ years. The outrage on the social media was immediate and almost universally negative. Among the thousands of comments posted online, some of the less terrible remarks were that the design was banal and probably done using Power Point – it got worse from there. One week later, Gap announced that it was yanking the new logo and returning to its old one because it realized the “passion” that consumers felt toward the old brand. This in itself seemed strange since most rebranding programs are months in the making, cost hundreds of thousands of dollars to execute, and involve dozens of corporate managers, departments and outside suppliers. What made Gap cave in to public pressure in less than seven days, rather than consider that the “shock of the new” always causes some discomfort? Why not wait to see if the furor dies down in a few weeks or months?
Read More »
The goals of designing for a nonprofit are not much different than designing for a for-profit business. Nonprofits need to raise money, albeit for an altruistic cause. They need to build strong graphic identities, market their programs and convince the public that their good intentions will produce effective results. Yet many nonprofits approach marketing their organization half-heartedly, ending up with a look that is generic at best and sometimes sadly amateurish. Yes, they are hampered by low budgets and minimal staffing, but also at times by the misguided belief that if their materials look “too professionally done,” donors will think that they are squandering their money rather than applying it to the cause they care about.
Read More »
How do you brand a banana? It’s a generic fruit, like an apple or peach. right? If you live in the tropics, you can grow bananas in your backyard. Still, for the past 65 years, only one banana has a brand identity, not to mention, a name, a face and a personality – Chiquita.
Back in 1944, Chiquita charmed consumers by turning a caricature of Carmen Miranda, the flamboyant Brazilian samba singer/dancer with the tutti-frutti hat, into its brand icon. Then to reinforce its slogan “Quite Possibly the World’s Most Perfect Food,” it created a little blue sticker that to this day it affixes by hand onto every single banana it sells.
Read More »
A consistent award-winner coveted by designers, architects and lovers of modern design, the
365 Typographic Calendar now celebrates its tenth year. Each month includes a brief description about what makes the featured font distinctive and a biography of the type designer.
The typefaces for 2011 were chosen by the Studio Hinrichs team from the archives of the 20th Century’s design and architectural icons including A.M. Cassandre, Le Corbusier and Frederic Goudy, plus contemporary stars including Zuzana Licko, Christian Schwartz and Ondrej Jób.
The 365 Calendar is available in two sizes: A wall-hanging 23" x 33" version that can easily be read from across a large room and a smaller 12" x 18" version suitable for smaller spaces and for desk use.
Super Size 23" x 33" (58.5cm x 84cm) $44 retail
Desk/Wall 12" x 18" (30.5cm x 45.75cm) $26 retail
Both versions are available at museum shops across the US and online from www.kenknightdesign.com. For inquiries outside of the US, please email Adi at Studio Hinrichs.