Brand Obama

I've posted below a two part interview with Sol Sender, the lead designer of the Obama campaign identity. His commentary on processes is quite interesting, but it does lack great conceptual insight – especially for a design strategist. Still worth viewing though. We get to see some alternate options (apparently there was 15 or 16 in total), and their applications. In the end, the chosen identity was by far and away the best option.

Branded Cities

Wolf Olins is one of the most respected and influential brand agencies in the world. They produce truly inspiring work on such a consistent basis. Unfortunately they copped a lot of criticism for their London Olympics 2012 identity (and probably rightly so). However I love their recent rebranding of NYC. I'm not so much a fan of the logo in its purest form, but more of its diverse implementation and the way it visually and aesthetically comes to life. They've created a flexible brand identity, obviously with a broad range of media channels in mind. 

And another slap in the face for consistency is their illustrative advertisements. Still very well done.

Whilst we're on the topic of city branding, I've posted an example of Amsterdam's latest efforts. A simple, consistent, tactical approach, which captures the essence of Amsterdam. Although it is somewhat reminiscent of the infamous I love NY campaign.

Helvetica

How does a Swiss font, designed in 1957 become the most widely used typeface in the world 50 years later? What does that say about graphic design, pop culture and globalisation? Just some of the questions the Helvetica documentary by Gary Hustwit tackles. If you're interested in type, you'll love this docco. NYC clip below.

Edible? Now that's a big claim.

I stumbled across this UK brand on Springwise. I initially loved the simplicity of the packaging design. And then I loved the quirky names. But it was not long before I discovered that the names weren't quirky at all – they were descriptions of the contents. Crocodile Curry, Reindeer Pate, Chocolate-coated Giant Ants, BBQ Worm Crisps and Lizard Wine. This is a bold new category idea. Definitely not for the faint-at-heart. So for gourmet adventurers sick of the usual offerings, these products deliver new experiences with rich brand stories (including origins, species and geography). Might not be such a hard one for consumers to stomach. http://www.edible.com

1800 Essential Artists Collection

1800 Tequila have embarked on finding 1800 contemporary artists across the globe, encouraging them to design bottles and shoes for the brand. You can get involved at http://www.1800tequila.com A limited edition range featuring nine artists' designs has also been launched. It's a very cool brand engagement idea that has resulted in some very cool packaging.

Killer Credits

My top five opening credits

1. Seven

My earliest memory of appreciating this art form is watching Seven at the cinema. At the time, I don't think I'd seen anything like them. The tightly cropped images are engaging and disturbing, the music is haunting. And even the perfect typography is unsettling. 

2. Fightclub

Besides being a massive fan of this movie, I love the title sequence (and the hectic Dust Brothers' theme). Your journey from the brain out through the layers of Edward Norton's head and up a gun barrel is in reverse. Impressive. Type looks a little dated now though. 

3. Dexter

Wonderfully shot introduction of Dexter getting ready in the morning. Every action mimics the art behind the murder. The saturated colours, short depth-of-field imagery, typography, and the irregular speed, make it all very creepy and engaging when the subject matter is not.

4. Kiss Kiss Bang Bang

Love the contemporary illustrative style.

5. Pulp Fiction

Just great music and great type.

Snatch deserves a mention for it's comic book style. And so does the movie Fallen with Denzel Washington. Fallen introduced a unique visual language that inspired a major work of mine in college. Can't find either online. 

Word Play

"A word cannot only represent a meaning, it can also reinforce a meaning" Alan Fletcher

Pepsi gets a makeover

It's way too easy for all of us to be critical of new ideas and design. I have always feared turning into a critic, because they are the one's who judge from the sidelines. But if you've seen the news and comments on the new Pepsi brand identity, you'll know it has a lot of critics. And unfortunately I'm one of them. 

If you're a global icon like Pepsi, how do you let your brand be diluted to smiley face? Is this the result of endless strategy, research and consumer insight? Probably. And I don't want to speculate on the time and money that was invested. I'm a fan of refreshing a brand, and have taken on many 'evolution not revolution' briefs. But the primary purpose of a refresh is to maintain (and build) your brand integrity. The confident badge of the Pepsi Challenge and big celebrity endorsements has evolved with it's own meaning. Consumers have formed a unique perception of the Pepsi brand and what it means to them. So although the logo design has undergone a small design change, it seems to have taken on a different character, with a whole new personality. This was obviously the intention, and I applaud them for having a go. A smile is probably right on brief, and the perfect expression of their 'happiness' positioning. Too me, it just seems a little generic, and unintentionally gives me a whole new perspective on the previous logo. 

I do, however, admire their confidence in attempting different logo executions for each product. Especially because Diet Pepsi, knowing it is obviously the worst in the product range, can barely force a smile...

Microsoft designs the Ipod packaging

An oldie but a goodie. Still worth a chuckle...