{"data":["I like the brand’ paradox, the idea of\n’unlocking the beauty of the simple, yet universal knowledge that can unlock the limitless. When the board is presented in front\nus, the geometric form envelopes the mundane, and vice versa. Pretty symbols\ncannot match the universal, visceral essence of the amazing.Yet, multiple sections representing the universality of the marks leave room for\nvarious contents to appear on the page —\nI believe the project embodies the true potential of graphic design. Good designers understand this and design theories that permeate all fields of design\nreflects the innate simplicity with which the human spirit works.Here is\n\n\nGood. Great. Awesome. Anagram. Situations.\n\nteachers. We examine the reasons organizations fail, and how they behave in stressful situations. We deconstruct the situation, improve upon it, and optimize it. We use the momentum to create great implementation, beyond the simple, single-minded focus of daily operational performance. We encourage operational agility, strategic innovations, and unanticipated results.We use the metaphor of organizations, focusing on the human factors that make up the operation of a business. We immerse the reader in the vivid world of operations, metrics, and dashboards to let the individual even the slightest bit of knowledge with whom he or she interacts to influence the world.\n\nAIG receives funding from both the government and private foundations, and as such has some pretty aggressive advertising history — for comparison, a typical cable channel. The events and contributors described in this post may not be as well known or as offensive as some of the stuff they cover, but they are all still cool.\n\nWith such a track record, neither the client nor the creatives responsible for previous identities will have a hard time filling this one. And that’s definitely a positive.\n\nThanks to my wife for the tip.\n\nContinuing our hard-nosed reportage on the rise of craft and microbreweries as the latest industry to receive press introduction today with news that Oklahoma Brewing, The Golden Fleece, New Belgium, Boundary, and Five Waters will all get their moment in the spotlight.","A large logo was key to reflect the importance of the brand message through classic methods such as decoration and typography. The letters were written in curving {\\bolder} to express openness, youth and energy. The flexible format allows the logotype to be reproduced in any form, be it on a business card, calendar, patch, pin or digital presence.\n\nAt first glance, the old logo doesn’t seem to have any relation to the new logo either. After all, it doesn’t transform you, it isn’t a logo you will see on business cards, don’t make you go to wedding invitation or whatever it is you do when you go to set your logo. It’s when you see the applications like the business cards where the concept is, especially in the serif version, turns heads and amazes you. The logo is set in Hauptmann Florianicher ST 1951 – American Text style with canted baselines and rotated crossbars for dynamicity. In review: this is super weird and there is a good dose of confusion of what is a “regular” and a “hand” logo. To be honest, based on what we’ve seen about it, I think this is the actual wrong approach.\n\nWhat makes this approach right and, I think, potential problems for the future of the Olympics is that every year we see it again and again until we get used to it, we will be part of the Always on Logo experience. When I check my e-mail I don’t find an “nop”, I find an “o”. And when I log on to Flickr via MySpace (yes, it is an actual company and you are reading it right now) my e-mail is always greeted by “Leo gets his programming pointers from you Leo”. Furthermore, it becomes a repeat pattern on all the Yahoo-facing assets (logos, mascots, e-mail) and if you get used to it, it will start to feel almost like an NBA/NFL/Buckeye/whatever sports identity where the cool new kid on the block is able to operate at small sizes and still be on the map. With that said, I very much appreciate the new Peanut Sixx rebranding by Landor. With the release of the new identity last week, Yahoo was forced to admit that the redesign was a fake and was meant to “mock up the new user experience.” Which is actually a good thing, because the new user interface is fairly decent, especially the lock-up of the logo.\n\nNew logo.\n\nI won’t even attempt to wax poetic about the other team’s logo because, other than the awful, awful typography, there really isn’t much to say about it. The new logo is another in the long string of Phoenix Falcons team logos that has gone off the rails, here.","Instruct your designer to make sure that they always stay on brand with the logo while structuring their layouts.","If Frankenstein’s monster would be a designer, he'd say that, but what channels do you lead? I always say that a brand is as important as the person behind it. The way you communicate Something personally, personally, authentically, is by being fearless and unconcerned with success or failure. You create an experience for your audience that they will remember fondly, whether it’s the experience you take away from it or not. There has never been a company in recent history that has been as integral to the world around them as they are today. It is this relationship with the people of Tomorrow, that binds them together as much as the things they touch. It is no different than the National Aeronautics and Space Administration’s (Nasa) connection with the people of Earth.— Principal placeholders, for Using & Translating, White Space, & Mean Streets, White Space, & Mean Streets inflection points, for Use & Translating, Mean Streets, White Space, & Mean Streets (highlight to lowlight variation).\n\n“At TAL, we’re constantly seeking out relationships between space, time and people. We constantly seek connection wherever we go. The visual system we created for THAT conference was inspired by moments of silence, incidents of silence in the space we occupy and the way we use space in our social interactions. Like the space, it’s always changing and evolving. It is like an ever-changing morphometry of a spaceship.”— Jennifer Robertson, Senior Vice President, External Relations, PO Box 14185, Box 1a\n\n“As the world burns, we need solutions that last. We also need to learn to start anew. Our role is to help the world catch up to where we are — where we were five years ago, or five years from now. And we have to start from scratch if we are going to catch up to where they are.”— Miguel Deanes, Global Creative Director, Interbrand\n\nSince we receive travel tips daily, be sure to check back in with us again in a few days time. mCookies ensures that you get the most comfortable browsing experience on the Internet with optimization to assist in measuring the development of a fast online cookie CTR optimized experience. Please read this carefully; make sure you understand our new cookie policy; and accept our terms of use. Name * Email * Cookie * Confirm Password Confirm Password Confirm Confirm Password Cookies have become very popular in recent years. Always use a password that is at least 10 characters. Passwords are case-sensitivity-sensitive. If you enter via username or password, make sure to save the password you are going to use for cookie optimization. valid Passwords This string of characters must be a valid passcode for the given user. If it exists, it must be used for the given cookie. SetPasscode is a command-line tool that allows you to practice new passcodes at will, for example through GoToEndKey.","The typeface was designed for the logo of the Romanian Technology Park By Design, and is applied on the official road signs in the park. Authors of the Romanian Technology Park Hi Beta have designs for the fonts, but do not intend to release them. \n00 Q&A What is a Templates Template? This external link provides an introduction to the templates that we use for creating layouts. This template allows us to preserve the integrity of the visually up-to-date documents we need to present to customers, and allows our team to update it as necessary. How do I download the custom font used for the HRC Lettering systems? Use the Contact Us tab to make your selection. What are the differences between the HRC Word Mark and the HRC Word Hyphen? There are no significant differences between the two. Which typeface should I use for our language? Use the Contact Us tab to make your selection. What do the guidelines are for using the HRC Word Mark? Use the Contact Us tab to make your selection. How do I download the Font Bureau website? Use the Font Bureau website Download Forum Download for our font files. Download fonts for: Sans Serif: Socio-Fonts. Light: Ascender. Light Sans: Ascender. Medium: Ascender. Medium. Bold: Ascender. Medium Bold. Black: Ascender. Black. Wright Sans: Ascender. Wright Sans. What is the typographic hierarchy? Our language is Ascender. Ascender is the primary family found in the HRC Word Mark. The secondary family is Ascender Neutral. The thirdary family is Ascender Medium. The tertiary family is Ascender Bold. The typographic lockup The typographic lockup as a graphic element is as important as its counterpart in the body. The body should create an apperance of equal prominence to the font. In the example shown, the apperance is very visible and should clearly differentiate the two families. The example shown only showcases the typographic hierarchy as a whole and may be used as a reference to documentation. The lockup shown is mainly for reference and planning purposes, and is not meant to be too innovative. I will get back to the design fairly quickly. Back to the Website In the interim release of time, we have put together a new website that helps showcase our extensive portfolio of creative work and supports our media work and branding. It is a pure typographic system, and our goal is to put together a toolbox of concepts and assets that will allow us to produce occasional typographic hurts. At Reedblum Labs, we want to be able to present work in a clear,platform-independent manner. Therefore, the new logo is instead replaced by a gallery of scanned assets, which gives a stronger impression of huge companies pulling together to create something super slick.","It was challenging to create a typeface for this brand because of the contrast between the pictorial elements and the type elements but we knew we had to do it. When you look at the typeface you feel it’s just the opposite: it’s extreme contrast. It’s very creative and there are some pictorial elements – the booger, the smile – that we’ve always used but they aren’t actually related to the type. That gave a new lease of life, so why not make them part of the brand?”\n\nFrom here, Jordan and his team developed a visual language of circle shapes, rectangles, and other graphic Galt-esque elements. The elements act as conduits and networks that flow through each other, and through a system of bookmarks, pass messages and headlines that follow you on the internet. This whole dedication to a single element, through every aspect of the design, is clear in its self-deprecation. “Forums and email, for example, are the most amazing things because they make you an expert in seconds,” he says, astutely pointing out the dangers of becoming disenchanted with a service.\n\nThe whole identity is an exercise in honing in on one element, one small step that returns Daniel to the warmth and accessibility of his best functions. “The artists who sign your files are going to be the nicest people, so it’s good to have a group of people supporting you”, he tells It’s Nice That. Completely at odds with the warmth of his emails are two quotations from the Dalai Tiks, T-L0: “Don’t romanticise history; romanticise the situation” and “Don’t plagiarise; don’t take inspiration from yourself”. It’s these lines that give The Dalai Lama’s speeches meaning, and his position as the foremost authority on his people’s relationship with the world.\n\nHis emails begin: “Hello? Hi. It is you, I believe you are reading this from the Land of Milk and Honey. It is very important that you read this carefully as we must know who you are and what you are doing before we talk to you. We must ask you a few questions before you continue. Do not cover your face; do not chew gum or smoke or tie your shoes. Do not eat or drink or play phone or sit on furniture or leave comments on clothes. Keep your belongings in a safe place; keep all receipts; keep folders with you and everywhere you will be working. Also, it is your responsibility to make sure that your handwriting is not strange; of course you can ask anyone to do this for you, but be aware that they might think you are doing it for the Beatles. Please try to avoid symbols or words you have used in the past; they can be used to disguise your mistakes.","Papayrus is my favourite font on his site. Its square has the consistency of a chunky font, yet its width is always on the smaller side, making it mellow at the same time, which is not advised when taking a screenshot. The lowercase “f” kicks ass but perhaps also the accentuation in the form of a “R” in the same configuration as the stem breaks the rhythm of the wordmark. Nonetheless, a lovely font that’s short, tidy, and versatile.See full project\n\nToro is a stylish line of audiovisual solutions and one-offs geared towards the hipster market, aimed at the young and restless. Designed by WireImage, the identity plays off the name to speak directly to its target. A live-action cookie takes on a life of its own — you can see on their product video page — spinning fast, satisfying in a same way that a product or service in general does. The alternate typefaces of black and grays complement the bold wordmark and scalable illustrations. Plus, pun intended, it’s kinda cute. See full project\n\nAll selections this week come from the finalists of the LAD Awards that were announced this month and that contain images of this year’s winning entries.\n\nAmie Cyclery, based in Philadelphia, makes specialty coffee and cafe food. Their identity and packaging was designed by local firm, The Studio, who also designed the identity for the 2014 LAD Awards. Who does quirkier, healthier, and more drinkable coffee at the top of the list? Oh, right, it’s the same as always. If I don’t know that “2” meant “two hands” I feel a bit lost but this is a case where the opposite is true so I shall refrain in my bravado. The “debbie” wordmark is quirky and pleasing with its extra tight letterspacing and, most importantly, the extra colorful Amie Cyclery packaging is all kinds of lovely. The new black and white photography for the loose leaf options is quite nice and when blown up or down or rotated is when the identity enters territory where it can start to cross the line into slightly repetitive but still fun moments. Overall, this is a great case where the appeal is that the coffee is awesome and the packaging makes it clear what’s what.","Creating a quirky and fun brand is always engaging because it’s so in tune with the audience: It’s confusing, outdated, hurtful, broke, random, mocking, vicious, random, obnoxious, no one likes the new You get it wrong and you’re bound to offend lots of people.\n\nIt’s no secret that I do not art direct or write design books. But from my exposure to this so far, it seems that Clear channel produces some of the most interesting and engaging output out there at a remarkably contemporary style and content. Their design output walks a fine line between the slick and the playful, stuck in the past but never wrong, opting for the cool minimalist line in most projects. Case in point: the new identity and packaging for Clear Channel’s own product, recently developed for their own Jack Daniels range.\n\nThe packaging for their own Jack Daniels (no syllabus, just lazy but honest as hell) was designed by London based design studio Charter. Learning about their process via this review here, they explained:\n\n“The challenge with the graphic identity of this particular brand is that it should consistently inspire and inspire emotion, but at the same time, it should have a clean, conceptual approach, allowing the clear messaging of the product’s name to carry the day.”\n\nHaving worked with Clear Channel for many years we were very taken with the visuals for their own brand of Jack Daniels, so we were expecting a less than warm response when we posted the identity guidelines online. And there I thought, it would be just like the rest of Clear Channel’s portfolio… overwhelming but also perfectly in tune with the Clear Channel approach. \n\nI have never been particularly fond of Clear Channel’s typographic work, which puts it in linguistic line with the typographic handbook approach of many beer brands, but they do have a knack for getting interesting word marks that are not just smooth and curve-y. This new logo is no exception and while its stiff and blunt feel is apparent, it’s actually a pretty nice word mark. The sick lobanensis is very nicely executed and has a nice contemporary look that makes it work as well for a brewery as it does a marketing-y food brand.\n\nI wouldnt go as far as saying that the typography is good, but it fits and fits the industry and time period. Also, in an era of geometric sans serifs like Helvetica or Vertices, this sharp cecil isnt just neat but rather uniquely identifiable, it adds a whole other layer to this icon. Good job!\n\nAs far as its acronym goes, that plays really well with the new logo as does the idea of a house that holds a house, which is one extended family that can be subdivided and there is a whole bunch of different colors that represent different possibilities."]}