Daniél Niederkofler

Italian club night Soul Juice receive’s designs from Daniél Niederkofler

Soul Juice club in Brunico, Italy, receives playful artwork design from Daniél Niederkofler. The ethos that Soul Juice follows for it’s club nights are:

Forget the outside world and dance without worries

However, this idea is the premise behind’s Soul Juice’s:

founded in a necessity for an open minded space where people could enjoy themselves

Niederkofler demostrates his visual communication interests in graphic design, animation and illustration through each night at Soul Juice, as he creates and designs artwork that utilises strong line art illustrations, complemented with a candy-like colour palette. His playful approach with his artwork also examples acid house smileys, pizza slices and bowling bowls. These illustrations references Niederkofler’s creative design approach:

I like to create work that is funny, bold and somehow weird

From It’s Nice That:

Asked to contribute by the founders of the collective, its title was the designer’s first creation with the team and raw sketches of a creative direction followed. “The design we chose is influenced by African LP covers and retro games,” he explains.“The graphic is based on a simple grid, creating a modular system that gives me the freedom to create a range of variations.” Each poster is designed around the centre, “always a main element that connects to the collectives name”. From there,“the colour palette refers to the idea of a vibrant environment. The modules are filled with information and secondary elements like patterns and other symbols”.

What I can take in for inspiration for my own design work is Niederkofler’s creative design approach of: funny, bold and somehow weird. Taking in this approach certainly results in artwork and designs in a playful and fun output. Especially with the use of typography, colour choice and illustration style.

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Daniél Niederkofler

It’s Nice That

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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

It’s Nice That

The Partners

Brooklyn Symphony Orchestra receives rebrand from The Partners

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Working in there New York office, design agency The Partners, has rebranded Brooklyn’s symphony orchestra’s logo, stating that the new logo describes as “music made visual”. The new logo design is a complete overhaul compared to the 2003 logo, stripping the full name and Brooklyn Bridge silhouette, to concentrating on the intials of the name, but with some creative thinking behind the design.

“The design of each letter exemplifies an individual aspect of the orchestra, the agency explains. The blocky “B” is representative of Brooklyn, “robust, industrial and iconic”. The more delicate, serif “S” stands for great music, “elegant, dynamic and expressive”. The “O” is made up of a collection of dots, to symbolise the community of musicians, “convergent, complementary and collaborative”.”

The creative thinking behind the intial letters design is unique and strong, as taking representation for each intial gives the logo some character, and creating a sense of recognition. Each of the letter designs is effective and works well, as each letter does represent the reasoning behind it, from the design agency.

Although the design agency has rebranded Brooklyn’s symphony orchestra, the agency is also working on developing software too. The software is to visualise music interpretations in real time, and so the agency will be creating graphics to go along with that development, as well as the symphony orchestra’s digital platforms.

The design team says that the identity:

brings dynamism and freshness to the presentation of music that transcends the time it was written

Artistic director at BSO, Nick Armstrong comments on the agency’s rebrand work:

The Partners’ work has yielded an exciting, contemporary resource for us, which brings together a graphical logo, and a dynamic use of that logo which the BSO will use in its marketing.

As well as the rebranded logo, other visuals within BSO has also received an overhaul of wonderful design. Such exmaples include the poster designs and marketing materials. In the poster designs, the use of shape and colour typically reflects on the logo design, symbolic and abstract. The combination of the coomposition, shape and colour, gives the poster design, and the BSO as a whole, a contemporary feel and look, even though the content of the orchestra, is primarily traditional and hundreds of years old. The colour choices and shapes gives the orchestra an opening for a new audience, as well as their exisiting one, as these visuals certainly attract a younger audience.

What I can take from this as inspiration from my own work is the creative thinking behind the logo design, as well as the strong use of shape and colour. Creating represtional symbols in the logo can be a strong effective solution, which I could incorporate into my own logo design projects. As well as the logo, the strong effective use of shape and colour can also be taken into consideration. The shape and colour used in BSO’s poster designs and marketing materials open up the subject and content of the orchestra in a clean and contemporary look and feel. I can use this forward thinking into my own poster and material designs.

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The Partners

It’s Nice That

Kodak (Work-Order)

Kodak returns to original vintage logo identity

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Reverting to its original symbol logo design, Kodak is the latest company to undergo a retro branding. 34 years of the original symbol, the Kodak “K” is back, originally designed by Peter J. Oestreich in 1971. In 2006, Kodak removed the symbol and simply display the company’s name in the logo design. However, Work-Order has designed the logo to be stacked capitalised type for the word Kodak inside the letterform.

“Capitalising the type is “the clearest departure from the past” says Work-Order, as Kodak has always used lower case. “The symmetry of the capital letterforms creates a molecular flexibility that allows the wordmark to be stacked,” says the design studio. “It is reminiscent of film perforations and street signage. It acts as a manufacturer’s stamp: the logo is the first read and the name is the supporting mark. When small, the name is removed leaving just the icon.”

The same colour palette is used, identifying and acknowledging the company’s trademark colours. Also, the trademarked yellow and red is consistently and effectively utilised throughout all materials and media for the company, such as the packaging and identity design.

What I can take from this as inspiration for my own work is the strong use of colour and symbolic logo design. A strong symbol logo, with strong colours can turn a logo design into a legacy design, that in turn, could stay strong for a number of years, creating a trademark. Also, I could take the simplicity of the logo design in consideration, as it’s strong in shape, not overcomplicated.

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Work-Order (Kodak)

It’s Nice That

Craig & Karl

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

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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”

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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

It’s Nice That

Tate Design Studio

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

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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.

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It’s Nice That

Tate

Peter Saville