North

Southbank Centre receives redesigned visual identity from North

Southbank Centre’s in-house design team has worked with North on redesigning the institution’s visual identity. This whole new refreshed identity undergoes a new logotype, design framework and typographic expression. The new visual identity is applied to all aspects of the branding and identity of the institution, which includes signage to tickets, posters and the website.

North’s founding partner Sean Perkins describes that:

The new identity clearly, confidently and consistently communicates ‘Southbank Centre’ like a title of a magazine – everything else is the weekly, monthly features and highlights, the content.

With what Perkins describes of about the new visual identity is clearly exampled with the images below, and certainly with the refreshed logotype. The logotype certainly obtains the look and feel of a magazine, especially with how the content for the institution is regulary updated on a weekly basis. The mixture of the instutition’s content with the logotype and new identity, they certainly work seamlessly together.

At the time of writing, Southbank Centre is undergoing a major renovation, so the timing of a new refreshed visual identity works well. With this major renovation in mind, the institution wanted an “impactful and distinctive” new visual language, as well as being the largest and culture and arts centre in Europe. Therefore, the identity redesign opted in for the colour yellow has the core colour identity. This creates a sense of creativity and optimism to the institution and across the visual identity. This works with what the centre is about, culture and arts. With the logotype used, the institution used the Noe Display font (from type foundry, Schick Toikka: “a modern, high-contrast serif font) and customised it to visually reference the centre’s iconic building. Southbank Centre also reasons that the customised Noe Display font creates:

an ownable, recognisable typographic tone of voice

North’s Charlie De Grussa also says:

The logotype design and serif font choice was inspired by Southbank Centre’s brutalist architecture and the original Festival of Britain identity.”

De Grussa goes on to say:

This visual language reference runs throughout the identity applications, typography and wayfinding elements.

What I can take in for inspiration from this new redesign identity for Southbank Centre, is the combination of colour choice, font choice and the actual content from the centre. The smart choice between colour and font, combined with centre’s content seamlessly works well together, providing a comteporary look and feel, which fulfills the centre’s original motive of being impactful and distinctive. Also, what I can take in for inspiration is the considered use of the centre’s iconic building that influence and referenced into the visual identity. This I can take in to help with ideas and concepts.

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Southbank Centre

North

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H.Y.T. Studio

H.Y.T. Studio showcases Yes Fam! Great graphic design

Creative Pathways PDP 10

Artist and designer, John Slade, showcases his commerical work through the graphic design studio, H.Y.T.. The graphic design studio’s clients revolve around the big names of Tate Modern, Transport for London and Channel Four.

The studio’s aim for their work output is considered to be stylistic choice of Slade’s enjoyment:

bold, striking, often conceptual graphics and illustrations.

This aim is evident with the recent works for club night Vesuvio at The Social, run by Heavenly Recordings, a London bar.

The recent works range from posters, flyers, GIFs and stickers, which are all designed and rendered with bright, bold contrasting colours, along with strong use of typography. Vitality is key with these series of works, as utilising a primary colour palette, each of the different works replicates, or even emulates how the feeling and visuals of a club night is like.

Futher works have been included with this series, as H.Y.T. has just opened an exhibition of its own works at The Social, called Pass The Hot Sauce.

The visual feeling and mood of these series of works are contemporary and trendy, and especially how the works are for a night club, this certainly conveys that to the viewer/audience. The works contain simple compositions, simple shapes and lines, which all work towards that feeling of a club night emulation.

What I can take from these works as inspiration for my own work is the strong use of colour, shape and typograhy. These elemements work great together, so taking this into my own work, I will be able to design and create visually and emotionally engaging pieces of design work.

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H.Y.T. Studio

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Ill-Studio

L’Officiel magazine recieves new look from Ill-Studio

Creative Pathways PDP Entry 09

Parisian multidisciplinary studio, Ill-Studio has worked with the renowned fashion magazine L’Officiel de la couture et de la mode de Paris, or more commonly known as L’Officiel. The Parisian studio took over the creative and art direction for the fashion magazine. With Ill-Studio in charge with the creative and art direction, there first issue was released in October, also marking the fashion magazine’s 95th anniversary issue. As well as marking as the first issue released from the Parisian studio, it was also accompanied with an exhibition at the VNH Gallery, in Paris.

The redesign marked a striking departure from the magazine’s previously conventional template.

Ill-Studio worked on a three cover page magazine on their debut, consisting of three fashion icons: Lou Doillon, Iris Apfel and Damaris Goddrie. They were shot on a Samsung Galaxy wearing Fendi against a featureless studio backdrop. Then the images were simply boxed out with an off-kilter rectangle, and framed with thick borders in three pastel-like colours of postbox red, tangerine and violet.

Inside, Ill-Studio collaborated with a bumper pack of photographers including Jeremy Liebman, Edouard Plongeon, Osma Harvilahthi, Christiani-Toubiana, Raffaele Cariou and Henrik Purienne.

The typeface used on the cover pages feels and looks traditional to a fashion magazine, yet a contemporary feel to it simutaenously. The use of the serif type creates that traditional feeling, as the layout of the image, frame and colour provides the contemporary feel. The layout of the image, frame, colour and type is simple, easy to understand and effective. It is not overloading with unnecessary information, pretty much straight to the point of the magazine.

Moving onto the double page spreads, the layout is minimal, direct and traditional. The use of type gives the impression of a traditional feel, whilst the image placements gives the spreads the minimal, yet contemporary feel.

What I can take from Ill-Studio’s creative and art direction work as inspiration for my own work is the layout and cover page design. Both designs are strong and work well with the fashion magazine’s content. This can be applied to a current project of designing a fashion magazine with Comic Sans as the font.

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Ill-Studio

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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.

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Craig & Karl

Creative Boom

FutureBrand

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.

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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“.

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FutureBrand

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Studio Juice

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Camden Town Brewery receives punchy, appealing new identity from Studio Juice

Studio Juice has created a refreshed, bold identity design for Camden Town Brewery, which follows the branding intention of: “that screams from tap rooms to bottle shops.

Implemented across its beer packaging, tap badges and advertising, the updated graphics have punchier, bolder colours and bespoke typography across the product range.

For each of the individual beer names, the design studio creates a single different treatment to each one, like with the beers: Hells, Pale Ale and Pils. The decision to apply a individual type treatment to each beer provides a sense of “character”, which the studio says. The individual type treatment also provides a visual appeal and attractiveness, as varied typography combined with varied colours gives a diverged ranged for consumers.

The enlarged product names also all have a drop shadow, inspired by sign writing, backed by vivid blocks of colour and a heavy use of white.

As well as refreshing the identity, the studio also reworked the branding of the brewery with their logo:

…revamped the brewery’s roundel, simplifying the outer circle and making the central marque more unified and visible. Creative director Ross Stirling explained the idea was to create “a standalone icon that would be instantly recognisable even without the brand name attached, and easier to apply across the brand.”

For consistency, the Camden lozenge was also altered to align with the redesigned branding. The redesigned marque gave influence for the Camden lozenge to be sharper and more in geometric design.

The strong use of bold colours for the new identity design provides a sense of vintage look and appeal, yet still maintaining a modern fresh visual.

What I can take from Studio Juice’s new identity design for Camden Town Brewery for inspiration into my own work, is the strong, punchy and bold use of typography and colour combination. This inspiration could be applied to my own identity and packaging design, or with any other design project/brief. The vintage feel and look of the colours and typography is also inspirational for creative ideas and visuals, as vintage design is trending.

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It’s Nice That

Studio Juice

Dima Shiryaev

Dima Shirayaev’s reminiscent and varied poster designs for music nights

Within the Tumblr account that Russian designer, Dima Shirayaev holds, is a host of great, diverse range of poster design work. Based in St Petersburg, Shirayaev has produced great, effective graphic poster designs for club nights, exhibitions and general experiments. Shirayaev doesn’t stick with one style, as he diverts into varied styles of image-making, typography and visual communication.

Much of Dima’s work is type-focused interspersed with geometric shapes and contrasting colours. The designer plays with word and letter placement throughout to alter the pace and mood, allowing his posters to suit the event they’re advertising. In one poster manic, tightly-kerned type is used for a bass-heavy launch party, meanwhile letters are clustered together to mimic a series of art events involving neighbouring countries in another.

The poster designs are generally detailed and visually appealing, due to the focus on typographic elements and image-making. The varied use of line and shape are bold, and constructs the poster into neat artwork that can be displayed in an art exhibition, as well as the main purpose of promoting the music night. The diverse style that the designer holds is unique and effective to have, as it creates the designer to be different in visual for each brief. This is what I can take into account for my own style, utilising different and varied style approaches for different briefs and projects.

What I can take from Shirayaev’s great graphic design poster work, is the evident use of diverse styles. Utilising this will help myself further into the field of graphic design, as it will open up to new solutions and allow myself to experiment different styles. Other aspects that I can take from the Russian designer, is his process of image-making and typography. Both design elements are rather experimental and playful, and I can take this into my own style. This will help my own style to become refreshed, neat and playful, developing it even more with other inspirational designers and artists.

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It’s Nice That

Dima Shirayaev