What’s black-and-white and impossible to ignore? The graphic identity of 52 North, a hip restaurant and bar in London. UK-based design studio I Love Dust and interior architects 44th Hill used scale and contrast to make us aware of the geometric beauty of typography. The huge letterforms become another shape in a collage of stripes, dots, stars and diamond angles. In 52 North’s restaurant and bar, warm wood furnishings soften the starkness of the letterpress-style mural, but the mural itself becomes like a “menu” of decorative shapes that can be mixed and matched on packaging and printed materials, making each piece look slightly different yet part of the overall brand. It’s a complete identity program with room to grow.
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Less than a decade ago, a billboard was essentially a printed image blown up to a gargantuan size. The picture didn’t move, respond to what was happening in the environment around it, nor interact with passersby. How times have changed, and with it, the types of skills designers need to execute their ideas. Even printed pieces are not static anymore, what with the option of Augmented Reality movement and sound.
Stopp of Stockholm produced this subway billboard for a Swedish cosmetic line called Apolosophy by Apotek Hjärtat. Connecting ultra-sonic sensors to the billboard screen, Stopp made what appeared to be a “still photograph” of a young model come alive. Calibrated to react to arriving trains but not to passing passengers, the sensors made it look like the breeze from the passing trains were tousling the model’s hair. After the train went by, the model returned to her “still” repose. What a delightfully simple idea and brilliant use of technology.
You won’t catch any of the Super Bowl XLIII players butting heads with these helmuts on this weekend, but you can still bid on one and help the NFL Foundation, a nonprofit dedicated to the health and safety of sports and youth football.
Bloomingdale’s in New York collaborated with the Council of Fashion Designers of America to invite some of the world’s leading fashion designers to bring their own personal flair to football helmuts. The collection of 48 fanciful and impractical headgear has been on display in the window of Bloomingdale’s 59th Street store in Manhattan and can be viewed online as well. The helmuts are being auctioned off to support the NFL Foundation, and the public has been invited to submit their own design with a chance to win a Bloomie’s gift card and a mini 3-D printed version of their submitted design. Even football helmut design is a participatory sport.
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When evaluating the visibility of a logo design, most designers consider how it will look in all kinds of situations — printed on advertisements, cast in metal, embossed on letterhead, foil-stamped on packaging, blown up to a mega-size for environmental signage, etc. Logos for apps, however, are different. The most important test is how the mark will look at less than a quarter-inch high when viewed on a smartphone or laptop screen. Here’s a quiz to see if you can name these app brands, shown here larger than they are normally seen.
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How do you grab the attention of jaded creative directors? By arousing their curiosity. In a campaign for Kontor, a dance music label in Germany, Ogilvy Deutschland developed a “Back to Vinyl” direct mail piece that used high-tech gimmickry to promote the new Boris Dlugosch release. Ad agency recipients got a large flat package that contained a vinyl record inside, instead of the usual CD or USB. The vinyl came with instructions to place the record on the printed turntable on the back of the envelope, then activate the QR code with a smart phone. Recipients could listen to the latest Dlugosch track and “move” the needle to play other tracks as well or to contact Kontor via the connect icon. Needless to say, the vinyl promo often became the talk of the office and didn’t get thrown away.
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