Posts by conormaylingdesigns

Graphic Design, Illustration, Photography, Moving Image Leeds College of Art Graduate, current Coventry University student

Adam & Eve/DDB and Pâté

Adam & Eve/DDB and Pâté launches The Telegraph’s new app, Think Ahead

Creative Pathways PDP Entry 05

The Telegraph, has release an new app, called Think Ahead, with creative agency Blink Art’s Pâté (Paul Pateman) and communications agency, Adam&EveDDB. The new launched app is in relation to the Think Ahead campaign, that:

The campaign challenges viewers to consider what “Think ahead” means to them and accompanies the launch of the new Telegraph app.”

Blink Art of the campaign says:

Pâté’s direction was invaluable in each stage of the creative,

Blink Art goes on to say:

He even stepped into the sound studio and performed the voice of Donald Trump!

Focusing around the name, “Think Ahead”, the campaign aims to ask people how to define the phrase. Utilising display, video and social media, the campaign engages with the audience through great visual communication.

The colour choices for the displays are vibrant and bold, clashing aganist each other, creating a eye-popping visual for the audience and viewer. This creates engagement and viewer’s asking themselves of what the content asks. The illustrations are simple and effective, relating to the text and questions provided on the top of each display. It’s punchy, bold and attracts an array of youth and old.

With the video, the concept is consistently used with the colour and moving-image illustrations. It is playful, reflecting a fun alternative on the quite serious case of the US presidency situation.

The app itself includes a Top Stories channel, story notifications and a scrolling news format where stories become “cards”. Luke Griffiths, The Telegraph’s digital designer explains “we have hired designers to interpret the news as it comes through to our top stories. It is a collaborative workflow between designers and editors in the newsroom.”

What I can take from this as inspiration for my own work is the effective use of simple text and words, combined with strong illustrated imagery. Creating that relation with word and image towards the audience can make a strong difference with a poor and great relation – succesfully combining the two will generate a strong outcome and reflection. As well as the layout, the flat-style illustration can also be taken into consideration, as this illustration style is trendy and popular, as it can generate quick, easily understandable images with non-complicated shapes and colours.


Adam & Eve/DDB


It’s Nice That


Craig & Karl

Berlin’s Bread & Butter gets a new identity design from Craig & Karl

Creative Pathways PDP Entry 04

Craig & Karl has designed a new identity for Bread & Butter in Berlin, encompassing around the event’s theme of Now. Craig & Karl utilised array of iconic graphics, with eye=popping colours, reminiscent of the Bauhaus movement.

Part of Bread & Butter’s new identity, the new branding involved the areas of fashion, music, food and Berlin itself, to integrate together with the bright, bold identity. The new identity design has also been appeared and utilise throughout various combinations, such as campaign imagery to website, signage and merchandise.

The icons certainly bring an essential liveliness and diversity to the identity and event as a whole.

The bold, bright and block-like graphics and colours gives the identity design a neutral feel and look, attracting a young audience primarily. The iconic graphics utilise influence from modern emojis, creating simple icons with flat colours. These elements work well across the whole identity, as the emoji-like icons, combined with the bright bold colours, gives the identity design a fresh, modern look and feel. The use of an all caps sans-serif font adds the simplicity to the identity design, not making it too overcomplicated, and more memorable for the viewer/audience.

What I can take from this as inspiration for my own work is the use of strong, bright bold colour choices, as well as the use of props, signage and merchandising materials. Keeping the props, signage and merchandising materials in mind with a identity design project, this will help judge what a design will look like, outside of screen and print imagery, and into the real world of visual communication. I can also take the effective use of the shapes created from the identity design as inspiration as well.


Craig & Karl

Creative Boom


NatWest’s redesigned identity and logo, from FutureBrand, returns to the 1968 “cubes”

Creative Pathways PDP Entry 03

Basing on the original 1968 3D logo, FutureBrand has redesigned the renowned bank firm’s visual identity and logo.

The original design of the three interlocking cubes was to represent the fusion of three banks coming together, as the design agency explains, however, the existing logo was a simplified and flattened version of that form.

FutureBrand has revived the original icon back by adding a 3D element to it – the use of shadows to the shapes. As well as the 3D element, the design agency has also consistently used the cube conecpt throughout the identity and branding, keeping it neat and subtle. To supply the new identity and branding visual, an illustrative cuboid typeface has been designed, as well as flat-style illustrations. The cuboid typeface directly links to the icon logo of the 3D element, utilising eye-popping colour. The illustrations and other branding materials utilise the same colour scheme and block-like forms, linking back to the original icon and to keep the sublte consistency.

Dan Witchell, FutureBrand executive creative director and creative lead on the project explains:

We wanted to create an identity system that was unique to NatWest and to do that we needed a brand asset that was already their own, however hidden or historical,

Witchell goes on:

We found the reference to the cubes in the RBS archive from 1968 and it gave us the sort of device we were looking for. It means that even if you don’t see the logo, you see cubes and that tells you instantly that it’s NatWest, a subconscious yet direct link back to the logo.

The idea and concept of creating the new logo to the original 1968 icon was a strong choice, as the image and visual identity of NatWest is common and well-known now, so many people can easily and quickly identity the firm behind the new 3D logo.

The typeface, illustrations and branding materials are also created strongly in correlation with the new visual identity, as they maintain the visual sense and consistency. They also work great as the colour scheme choice and illustration style gives the bank’s visual identity a modern sense of feel and look – something to attract and engage a young audience to.

What I can take from this as inspiration for my own work is the use of giving a modern look on a existing image. The limited colour choice and illustrations to go with a rebrand/new visual identity can also be taken in to consider and inspire, as these elements for a identity/branding project helps the aim for a firm/brand to be identified.


As well as designing the new visual identity of NatWest, FutureBrand also redesigned the visual identity for the Royal Bank of Scotland. The visual form relates and is influenced from Scottish patterns of tweeds and tartans. Creating a fusion of contemporary and tradition, the new visual identity utilises traditional fabric patterns and contemporary colours, generating its own RBS pattern:

the Royal Bank tweel… a subtle nod to its Scottish heritage that runs through all brand communications“.



It’s Nice That


KittoKatsu design agency recreates Düsseldorf’s “Little Tokyo”

Creative Pathways PDP Entry 02

Design agency, KittoKatsu’s Düsseldorf’s Japanese quarter, reimagines the brand image with the use of vibrant and striking imagery and type.

The fusion of Japanese culture and German heritage is visually shown with KittoKatsu’s unique reimagination brand identity. Utilising bold, vibrant and bright colours, the design agency’s colour palette typically reflects the unique identity of the area, along with the accompanying graphics and illustrations. The design agency’s aim with the rebrand identity was to:

give the district a strong and independent voice that will carry across the city limits.

Further supporting visuals for the rebrand identity included visual concept of connecting “Little Tokyo” with the wider city of Düsseldorf.

KittoKatsu is a brand strategy and design agency, based in Düsseldorf. On this project the agency worked alongside graphic designer and illustrator, Lilly Friedeberg.

The brand identity image is of typical contemporary Japanense graphic design style: bold, bright colours of image and type. Simplicity and repetition techniques are cosistently used throught the identity, to maintain the strong image that rebrand obtains.

The use of bright bold colours makes the marketing materials and posters eye-popping and striking to the viewer, as they tend to conflict and contrast aganist the German architecture, as well as the Japanese culture and German heritage.

What I can take in from KittoKatsu’s rebrand identity for inspirarion into my own work, is the effective and strong use of bold, bright and vibrant colours, used across an array of materials and posters. The colours and bold aesthetics is one key area to how this rebrand image is strong and striking, especially married with the simple and bold graphics, illustrations and typography.


Discover more on Behance


Creative Boom


Quim Marin

New Spanish club, Why Not receives bold identity from Quim Marin

Creative Pathways PDP Entry 01

Barcelona-based designer, Quim Marin has worked on the new identity design on Why Not, based in Girona, using a array of bold aesthetics and simplicity. With his past experience working within the music industry’s events, festivals and brands, Marin has this new identity design under his belt – a logical choice for a new club brand. His 15 years of crafting experience in identites and advertising campaigns in the music industry certainly maintains his visual style to this day, as his new identity work examples that.

The Spanish club needed a new brand identity for its October launch, consisting of brand materials to exemplify that, such as marekting materials, posters, canvas bags, t-shirts and billboards ads.

Quim founded his career working for a number of Barcelona design studios – Dotstation, Tmtfactory and Suki Design – before venturing out on his own to become a freelance art director and designer.

Looking through Marin’s work for Why Not, he consistenly uses bold colours, on a limited colour palette. A mixture of pastel-like colours combined with a deep navy hue, creates a sense of a modern, new feel of a club.

The use of typography in the identity works well with the other aesthetics too, as the combination of a bold sans-serif font, with a traditional serif font creates the sense of tradition, merged with a modern feel. The mixture of a sans-serif and serif font works better together, as a designer’s view, they work in harmony. Another reason why the serif font works well with this identity design, is that the serif font works great in the Spanish language, as the language is closely visually related to Latin, which serif fonts work great as well.

The marketing materials also have a trendy style of simplicity and repetition on the t-shirt and canvas bag design. They are not over complicated, and consist of a simple, striking image, that can be memorised as the brand identity for the club.

What I can take from Marin’s recent identity design work as inspiration for my own work is his bold style of type and limited colours that can produce an striking image for a brand. The combination of sans-serif and serif fonts is also a positive aethestic to take in, as the combination works great, creating a slight differentiation than all sans-serif or all serif type.


View the project on Behance

Quim Marin

Creative Boom



Tate Design Studio

Tate Design Studio and Peter Saville designs geometric beer can artwork for Switch House pale ale


Working with Peter Saville, Tate Design Studio has created Tate’s Switch House beer by Fourpure Brewing Co.

Taken from the new expansion of the Tate Modern, Saville implements the same colour palette into the can’s artwork. The artwork continues the graphic identity from Saville, as well as the general influence of the artwork being the gallery’s architecture as an assembly of simplified shapes.

The bold colours of orange, yellow, pink, turquoise, navy and red complement each other, especially with how the geometric artwork is similarly laid out like an architectural plan with colour. Using the backdrop for the artwork as the bare mineral-like aluminium creates a sense of simplicity, and a focal point for the colours used for the geometric shapes. As well as for the visualisation for the beer can design, another reason to include the stripped back aluminium as part of the design is that it:

…implemented to reflect the materials of the industry gallery building,…

Tate Design Studio’s graphic designer Mathew Whittington says:

We wanted to celebrate the simple materiality of the can and make a gesture that alludes to how the architecture of Switch House meets the raw brick of the original power station.

What I can take from Tate Design Studio’s beer can artwork design for inspiration into my own work is the visual idea of representing surrounding enivornments into a design. This creates a clever and engaging design for viewers and users. As well as the idea, I could also take the geometric shapes as inspiration into my own brief/project for artwork and identity design.


It’s Nice That


Peter Saville

Kristián Mensa


Kristián Mensa mixes real life objects with his illustrations

Illustrator Kristián Mensa combines everyday real life objects with his illustrations, to add a punchy and appealing visualisation with his pen and ink art work. The various images that Mensa illustrates include different scenarios and actions, that engagingly and humorously work well together. Such everyday objects that Mensa combines are fruits, flowers, toilet roll and shells.

The different illustrations are playful and light, which creates a strong connection for the viewer to enage and quickly understand the image. This makes the audience become varied and wide to like and understand Mensa’s artwork.

Mensa’s pen and ink illustrative style is simple and subtle, utilising a mixture of bold and thin lines, and simple mixing ink colours. His illustrative style is reminiscent of children’s illustrations in books. This is one reason amongst others as to how Mensa’s playful illustrations are engaging and fun.

What I can take from Mensa’s work for my own inspiration into my own work is the use of his simple, yet playful illustrative style into my own illustrative artwork, and possibly design briefs. The idea of combining real life objects with illustrations for extra punch is a playful idea, and so I could incorporate this idea into my own visualisations for illustration and graphic design work.



Kristián Mensa