With Walt Disney Pictures, the entertainment starts with the presentation of the graphic identity. Ethan Jones posted this compilation on YouTube to show how the studio has adapted the Disney brand logo to suit the featured movie. Every variation retains the key elements of the brand – the castle, the shooting star and the Disney script signature.
When it came to designing a graphic identity for the city of Porto in Portugal, one visual symbol wasn’t enough. Porto-based design firm, White Studio, brainstormed what made Porto memorable and unique, and asked people on the street how they viewed the city. No two answers were alike. White Studio concluded, “We felt we needed to give each citizen their own Porto. We needed to show all of the cities that exist in this one territory….It became clear to us that Porto needed to be much more than a single icon, much more than a single logo. It needed complexity. It needed life. It needed stories. It needed personality.”
The designers also needed a way to create a single unified look that would serve as Porto’s one graphic identity. The answer came in the decorative blue ceramic tiles seen throughout the city for centuries. The line drawings and illustrations on the tiles depicted visual stories about Porto’s history, landmarks, and natural surroundings. That inspired White Studio to create 70 pictograms that represented Porto and its people. The pictograms were designed to fit on a grid that could be combined into a network of images or used individually. The logotype itself is a simple blue sans serif against a white background within a blue boxed border. The beauty of this visual system is that it allows elements to be changed out frequently and still be recognizable as Porto’s graphic identity. It works.
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Those of us who are concerned about climate change finally have a slogan and graphic identity to rally around, thanks to design legend Milton Glaser.
The campaign’s slogan — “It’s Not Warming, It’s Dying” — doesn’t mince words about what’s ultimately at stake for the earth if we don’t get a grip on global warming. Done in conjunction with New York’s School of Visual Arts (SVA), where Glaser is acting chairman and a faculty member, the campaign aims to spark action on climate change through the distribution of lapel buttons featuring a graphic symbol, designed by Glaser. The logo represents the earth as seen from outer space, with the lush green disappearing into an ominous black. To reinforce the sense of a dying planet, the green swath is printed in ghostly glow-in-the-dark ink. Like his iconic “I (heart) NY” image, Glaser’s climate change logo is powerful in its directness and simplicity.
SVA is spearheading this social awareness campaign by offering Glaser’s dying planet logo as a lapel button ($5 for 5 buttons) so wearers can visibly express their concern for the planet. Up until now, the global warming deniers have been the most vocal in expressing their views, while those who believe that the climate is changing have mostly relied on scientific papers, panels of experts citing data, and Power Point-laden documentaries (a la Al Gore) to present their reasoned arguments. It’s time to be seen. If enough people around the world are seen wearing Glaser’s button, politicians and policymakers cannot easily dismiss these constituents as a minority of alarmists.
What happens when two branding experts join forces to start a sushi restaurant? Maki-san, that’s what. This one-location, create-your-own sushi place in Singapore looked too well conceived to be a humble local startup. A little online snooping unearthed the fact that Maki-san was started by art director Joseph Koh and copywriter Omar Marks, whose roots trace back to McCann Erickson Singapore. That explained why the brand concept seemed to cover all the essentials — graphic tone of voice, color palette, market positioning, typography, logo, target audience, etc. — indicating that professionals were involved.