At first glance, the new Nescafe logo does not look significantly different from the old logo. The typeface is still in all caps but more rounded, a crossbar still extends from the “N”, an accent still hovers over the “e”, and red is still a dominant color. And yet, it feels more contemporary, more capable of competing cup-to-cup in a Starbucks world.
When introduced by Nestle in 1938, Nescafe (Nestle + café) instant coffee was the height of modern convenience. Even today, Nescafe remains one of the world’s most distributed brands of instant coffee, sold in over 180 countries. But until recently, Nescafe had no single global identity; each region was allowed to interpret the brand elements for their own market. Increasingly, however, young consumers have come to think of Nescafe as the passé powdered drink found in their grandparents’ pantry. The brand looked tired and disjointed.
As we celebrate Independence Day in the U.S., it seems fitting to give credit where credit is due to Francis Hopkinson, who substantial evidence shows designed the first American flag in 1777. Hopkinson, a New Jersey lawyer and signer of the Declaration of Independence, had a natural love of heraldry and art, and dabbled at graphic design (a profession that didn’t exist back then). During the American Revolution, Hopkinson was serving as chairman of the Navy Board’s Middle Department, when it got an urgent request to come up with an official banner of some sort that soldiers could carry into battle. At the time, the rebelling colonies were flying a flag that featured a variation of the British Union Jack in the canton surrounded on three sides with horizontal red and white stripes. (It looked like a knock-off of the British East India Company flag.)
There are some retail brands that we can spot a mile away, driving 65 miles per hour, even before we can make out the letters in the name or the logo. We recognize the brand by its signature colors. Color is a critical part of any graphic identity system. Some designers reformulate colors by tweaking the hues –making shades richer, darker, lighter or more orange, green or purple, etc. — to strengthen their proprietary link to a brand. Others simply choose “off-the-shelf” colors but display them consistently in the same combination –e.g., red, white and blue and a certain North American country. This quiz challenges you to match these color swatches with the brands they represent. Good luck! See answers after the jump.
The Mall of America in Bloomington, Minnesota, is no ordinary shopping mall; it’s an entertainment destination. The 4.2 million square foot complex boasts more than 520 shops and the nation’s largest indoor family amusement park. Yet its old traditionally patriotic logo in red, white and blue evoked an era that pre-dated the digital revolution. No longer. The Mall teamed with Minneapolis-based Duffy & Partners to develop an identity system that looks like a multi-colored translucent ribbon merrily transforming itself into different shapes and shades, ultimately forming a star. The new identity anticipates a variety of animated applications and color changes for special events as well as how it will look as a stationary symbol. The myriad possibilities match the Mall’s new tagline “Always New.”
For decades, Moleskine has been renowned for its little black notebook that artists, designers, and writers carry with them everywhere to capture their first inklings of brilliant ideas. Other brands offer notebooks too, but only Moleskine, in iconic black with its external elastic band and ribbon bookmark, signals that you are an authentic and serious creative type. So, Moleskine’s announcement that it is releasing its notebooks and planners in four bright colors, in addition to black, is newsworthy. Insecure creatives may be reluctant to buy a color other than black.
Middagsfrid — a service that delivers wholesome fresh foods, menu plans and recipes to subscriber homes in Stockholm — has launched a line of its own branded products. Stockholm-based agency, Bold, designed the packaging in collaboration with illustrator Peter Herrman. To create a sense of an ideal world filled with preservative-free, farm-to-table ingredients, Herrman sketched a fanciful landscape with a giant cheese grater and mixing bowl tucked among the houses, along with grazing cows and other livestock, horse-drawn cart, fruit-bearing trees and flowers. The idyllic scene is printed on newsprint-like stock to mirror the humble way locally grown goods are wrapped and affixed with a simple red label. The look suggests quality and craftsmanship.
Designed and built by Ethan Frier and Jonathan Ota, two industrial design students at Carnegie Mellon University, Project Aura is an ingenious solution for making bicyclists more visible at night. That’s the time of day when most bicycle fatalities occur. Thirty-six percent of these accidents happen at intersections. One reason is that while many bikes are equipped with headlights, taillights and reflectors, they aren’t very visible from the side – which means they can be clobbered at intersections or nicked from cars changing lanes without seeing them. Frier and Ota addressed that by installing RGB LEDs inside the rim of the wheels, and made them powered by a wheel dynamo that worked through pedaling. Not only are the lights visible from all sides, they respond to speed of motion, making the wheel lights change from white when at cruising speed to red when slowing down. The rim-mounted LEDs are self-powered (no batteries, motor or switches required), and can be seen from passing vehicles – a great safety idea for cyclists and a relief to motorists – plus they looked really sci-fi cool.
As a senior project at the Kyoto Institute of Technology in Japan, designer Mika Tsutai came up with this manga comic drawing approach to decorating Japanese-style plates. It’s a sight-gag that really works best when dining Japanese style, where each dish is served on its own small plate, rather than served with side dishes and entrée placed together on one large dinner plate.
On Tsutai’s manga plates, the food itself becomes the “hero” or subject of the story — e.g., the fist drawing striking a pulverized food mass; the strawberry slices forming the woman’s earrings, a volcano erupting a red lava flow. The presentation is meant to be appreciated as a single visual image. Even the arrangement of plates imitates the panels of manga comic strips. This is just as Tsutai intended. “By placing these dishes in a particular manner, you can transform your dinner table into a story, just like that of a page from a Japanese comic,” he says. It’s an interesting concept for those who like to be entertained while eating, but it’s hard on the cook who has to plan the menu around the storyline. Via Design Boom.
A spectacular façade isn’t all that the Kuggen, an office building in Gothenburg, Sweden, is all about. It is totally sustainable too. Designed by Winngardh Arkitektkontor, the Kuggen was inspired by a cog wheel (hence its name in Swedish) and the saw-toothed edges of a leaf.