Kodak (Work-Order)

Kodak returns to original vintage logo identity

Creative Pathways PDP Entry 06

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.


Work-Order (Kodak)

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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“.



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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.


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Peter Saville

Studio Juice


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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Studio Juice


OK-RM-Antenne-Book-its-nice-that-listAntenne Books gets new and effective identity from OK-RM

Independent London-based bookstore, Antenne Books, has undertaken a minimal and bold new identity. The new, fresh yet effective identity from OK-RM, maintains a visualisation of a modern feel, with the established and traditions of a bookstore. The identity is clean, simple and maintains a refined look and feel throughout the bookstore’s assets, including stationery, packaging and their neat, refreshed user-friendly website. Utilising a clean bold typographic approach, OK-RM has effectively and succesfully conveyed their intentions of enhancing the bookstore to the products that they offer and sell. Antenne Books covers national and global publications, including the visual and communication topics of art, photography, design, illsutration, theory, writing, fashion and culture.

OK-RM says:

The main objective of the project is to provide Antenne with a clear and functional platform for displaying and offering its publications to a growing audience

OK-RM goes on to elaborate their intention:

The expression of this function is rooted in primary simplicity, evident in the colour palette and navigational devices. This same attitude inspires the new acronym AB.C deriving from ‘Antenne Books’ and also the ‘dot com’ – a signal to the digital-centric offer.

What I can take in for inspiration from this identity design project, is the effective use of simplicity. Not every idea or design has to be full or busy with detail, as sometimes, the best solutions is to go simple and minimal. In this identity design, the simplicity works effectively well, as the visualisation of it is memorable, and rather understandable, once the viewer knows about the independent bookstore. The simplicity objective also runs through the colour palette, quite evidently, and so this can also taken as inspiration. Subtle colours work well against a simple identity, as it runs the intention of the designer through well.


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Design Army

Ahead of US election, Design Army showcases a series of political chocolate packaging

Washington DC-based agency Design Army’s Pum Lefebure designer has partnered and collaborated with artisan chocolate maker, Harper Mcaw. The partnered project consists of a series of six different chocolate bars in sleeves, that uses the notable colours of red, white and blue as the primary colour palette. The name of the project is: The (Very) Political Collection, which clearly links and directs the viewer/audience to the politics of the US, especially before the election at the States.

The designs for each of the six chocolate bar sleeves vary, but all fall in the same topic of US politics. The designs feature:

…a capitalist white elephant wearing a raspberry studded smoking jacket, a depitiction of liberally minded hazelnuts mid protest, a sci-fi vision of the right wing Tea Party, and abstracted images of the democratic donkey and the republican elephant.

The designs quite clearly reflects the politics of the US, especially with the image-making merged with the notable colours of the US flag. The designs are playful, fun, visually appealing and engaging for any audience. The image-making is detailed with strong use of line and shape, which attracts persons who like images and pictures over text and words.

Designer Pum Lefebure says:

This Election Year collection is designed to give a refreshingly positive spin to the world of Washington politics, stir local pride, and shine a spotlight on the Capital’s (seldom seen but thriving) creative, collaborative side.

What I can take from Design Army’s refreshed chocolate bar sleeve designs is the topic that it covers, as well as the illustrative image-making style. What I like about Lefebure’s work on the project is the amount of colours he has used, the image-making and the layout. The designs are ‘full’, as there is not too much negative space in it. This could suggest the reflection of US politics, being ‘busy’. The patterns created with the images and colours are engaging and appealing, I can take this into account when creating packaging design for a brief/project.


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Design Army