Matthew Manos is the Founder and Managing Director of Very Nice, a design strategy consultancy that gives half of its work away for free to nonprofit organizations. Right now, he teaches at Art Center College of Design and shares his belief of designing for the good of the public. He believes that …
Matthew Manos is the Founder and Managing Director of Very Nice, a design strategy consultancy that gives half of its work away for free to nonprofit organizations. Right now, he teaches at Art Center College of Design and shares his belief of designing for the good of the public. He believes that every designer should give half of their designs away for free. He encourages his students to work for people who really need help like he did when he was a college student.
His company, Very Nice, recently launched New Models of Impact which is a role-playing and ideation game that simulates the process of launching a social enterprise. The game is leveraged by educators, students, and practitioners in 100+ countries, and has generated an estimated 25,000+ new business model concepts. Not only as an entrepreneur but also as a creative director of his company, verynice.co, he has been created amazing works for branding and UI/UX designs.
On February 19th, Mathew Manos is having a workshop with Chris Do, who is also a professor at Art Center College of Design and the owner of The Futur. Register and visit the workshop if you want to share his belief of designing for the good of the public.
The logo for the Recording Academy is one that has always had intense recognizability. As with any rebrand, one of the first questions in the creative process is does the logo need to be updated? In a case like this, it feels as though it doesn’t. The logo is, after …
The logo for the Recording Academy is one that has always had intense recognizability. As with any rebrand, one of the first questions in the creative process is does the logo need to be updated? In a case like this, it feels as though it doesn’t. The logo is, after all, a graphic representation of the trophy used for the Grammys.
The Academy, which has been around since 1957, represents performers, songwriters, producers, engineers, and all music professionals while honoring achievements in the recording arts and supporting the music community. The organization is of course best known for the annual Grammy Awards.
The wordmark moves away from the serif typeface Trajan (designers rejoice) and introduces the sans-serif Francis Gradient by Typotheque. The gradient feature, an interesting capital-only display version that features different widths, is used primarily in the logo animation where is responds to the sound and rhythm of music it is paired with.
As for the logomark, I am very pleased it has not changed. I feel that the classic gramophone is successful in communicating what the academy represents and has a timeless quality to it. However, the icon has been rendered in 3D to be used in dramatic close-ups as an abstract graphic element in the applications.
Poketo is a designed-in-house store located in the Art Districts in Downtown Los Angeles. They design and develop Poketo brand products and collections, curate products, to development of their new interactive workshops. In her own words, Angie, a creative art director and a co-founder of Poketo described the in-house store: …
Poketo is a designed-in-house store located in the Art Districts in Downtown Los Angeles. They design and develop Poketo brand products and collections, curate products, to development of their new interactive workshops. In her own words, Angie, a creative art director and a co-founder of Poketo described the in-house store:
“Born out of a belief in ‘art for your every day’, Poketo is an online destination and brick-and-mortar shop for design-driven wares that take art off the gallery walls and into people’s lives.”
Poketo started out as a small upstart creative collective. They used to sell unique wallets that has paintings of local artists that were in the Sunday market. Over the years, Poketo has been commissioned by Nike, MTV, Weezer, SF MoMA and many more national wide brands.
I would love to recommend you to visit Poketo when you are in Los Angeles, they have beautifully curated homewares, gifts, creative workshops you can’t miss.
New 2018 Leeds United Logo When I thought I had seen it all in football logos, Leeds United comes and blows my mind up…literally, and I don’t mean it in a good way. Leeds United, also known as the peacocks, are approaching their centenary. What a better way than to …
When I thought I had seen it all in football logos, Leeds United comes and blows my mind up…literally, and I don’t mean it in a good way. Leeds United, also known as the peacocks, are approaching their centenary. What a better way than to celebrate it with a new branding, right? Well, they released their new logo two days ago and it wasn’t a celebration.
Leeds United is a well-known team in England that plays in the championship second tier. For the past months, they have been planning a rebranding that would connect them closer with their fans. The teams’ management argued that their current logo doesn’t express who they are and having the clubs name abbreviated rather than spelled out makes them unrecognizable. Leeds also utters how they want a logo that represents a bright future because their old one is full of bad luck. So what did they do? Well, they created something opposite to what they wanted to convey.
The club claims that the new crest underwent a rigorous design process that lasted six months. During that period they consulted over 10,000 people affiliated with the club. The final concept was inspired by the classic Leed United fan salute that has been an expression of the passion that connects them to players and team. The people behind the design literally placed a fan with a fist in their chest inside a shield. They then spelled out the team’s name on top.
How literal could it get?
When I first saw this logo, I saw a person saluting the American national anthem; I guess that’s why some critiques say that this logo is Americanized and could be acceptable in the MLS, but not in Europe. In two days, a petition was signed by 50K fans to get rid of this emblem. The next day the team management opted to not move forward with this new design after the backlash.
In almost 100 years, Leeds will see their crest changed for the 11th time. That definitely shows that something is not being done right in the design process. If Leeds really cares about their fans, as they say, they should hire professionals that are willing to explore the clubs history and find a design that will connect them with their fans. The previous logos weren’t great at all but have elements interesting enough to be used in a new logo. The peacock, the owl, the color palette of 1984 are things that could be rescued.
You connect with fans not by putting them in a logo but preserving the history of the logo. Of course, there’s always room for improvement. I’m the person that believes that football logos, especially for teams that been around for years, aren’t supposed to show how beautiful they look. They should celebrate their historic significance in football. If any Leed’s fan or management read this post, you may want to consider Alfalfa. I mean anything could be better than would you have now.
Last week, we critiqued the recent redesign of The Guardian‘s visual identity. Now to join the long line of revitalized visual identities for publications is the online magazine, Slate. Back in 1996, Slate‘s identity was perfect for its time, where computers could only handle a small fraction of bandwidth. Websites optimized their print logos for limited write-up languages, and people still read their online news on their desktop computers.
Well, it’s 2018, and no one has time for that. The internet is a sophisticated digital jungle and far fewer people read newspapers on their home and work computers.
Mobile-device use dominates the online market.
These new demands are throwing various publications off their game, but Slate is prepared. Their new logo is a drastic redesign to the original. With a completely new font, color scheme, and new website, they can finally keep up with the cool kids and own their “Slateyness.” (Don’t worry you will know what that is soon.)
Compared to Slate‘s old logo, Slate is a bolder version of its old self. It drastically moved away from the serif font to a robust and solid sans-serif. Based on the non-linear structure of Slate’s journalism, New York-based design firm, Gretel and Slate’s in-house design department, took liberalities on the typographic anatomy of the word “slate.” The severed “a” is an ode to its origins. The “a” is the driving force behind this logo.
The magazine’s Design Director, Jason Santa Maria elaborated on their choices with BRAND NEW:
“Our visual research led us to layers of noise, microfiche, zoom-ins, and handwritten scribbles. We devised a technique of layered ‘slates’ that would bring structure to article layouts and reveal the story for the viewer as they scroll the page. This idea of layering and revealing was echoed in the logo. To inject the wit and whimsy that’s so true to the voice, we created a photo-illustration style that could take the place of stock photography and instantly bring ‘slateyness’ to any article.”
– Jason Santa Maria, Design Director for Slate
Extended to multiple extensions of the company and applied to various media, its most important redesign is its website. As a bulk of their audience uses their website, the user experience, as well as the application of their new brand identity, is key. Making or breaking the value of their design.
In my opinion, Slate‘s homepage looks superior to The Guardian, who is relentlessly holding on to their old newspaper look. Slate takes a different approach that works in its favor, white space is partly to thank. If you take a look at their style-sheet, the overall color of its body copy is beautifully simple, happily interacting with lush visuals like illustrations and collages. Unlike its competition, Slate‘s website trying to to be new, finding a comfortable place between to meet old and new standards of 2018.
What do you think about their new logo? Love it. Hate it? Share your opinion below.
I have been a huge fan of Hvass & Hannibal’s work and I am so happy to share this great Copenhagen-based design duo with you today.
Nan Na Hvass & Sofie Hannibal started their multi-disciplinary arts and design studio in Copenhagen in 2006. Through their unique sense of color and shape, Hvass & Hannibal has created amazing works by combining illustrations and graphic designs.
They do personal and tailor-made work, from illustration to identities, textile design, printmaking – basically, anything has a visuality to it.
“I like to say that we are like a really amazing restaurant that only has one table, and if you are lucky to get a seat, we will shower you in design love.”
Hvass & Hannibal recently created a brand identity for Haven, a new festival taking place in Copenhagen. The festival is a collaboration between Aaron & Bryce Dessner, Mikkeller, and Claus Meyer. Visit their website if you’d like to find more about the Haven festival and the wonderful work of Hvass & Hannibal.
A Brand Identity that Goes Places: The Oslo City Bike
As a new bicycle owner, I’ve been paying more attention to all things bike related lately. One thing that caught my eye is the new brand identity for Oslo City Bike. Designed by Norwegian agency Heydays, the identity is minimal without being boring. The logo is an abstraction of a …
As a new bicycle owner, I’ve been paying more attention to all things bike related lately. One thing that caught my eye is the new brand identity for Oslo City Bike. Designed by Norwegian agency Heydays, the identity is minimal without being boring. The logo is an abstraction of a bicycle that comes to live in a myriad of fun ways. The logo is at once an emoji, an icon, a mascot, and a flexible brand identity that comes to live in the form of a charming character that guides you through the entire cycling experience.
By just simply modifying the four elements that make up the logo—two wheels, one seat, and one handlebar—, the brand can express almost anything from sad to happy, from afraid to surprised, and from sweaty to skeptical. These expressions come really handy when using the app as well as when featured in digital signage and advertising.
In tune with the simplicity of the logomark, the color palette is also quiet; The two main colors white and blue, used with the accent colors—dark blue and light blue—are all you need for the complete system. To round up the system, the bicycles and kiosks themselves feature the logo in the same quiet, elegant way.
Since launched, the Oslo City Bike branding has won many accolades including a pencil from the British Design & Art Direction. Congrats to Heydays for a job well done. This logo makes me want to visit Norway so I can ride these bikes. Until then, you will see me riding my bright orange bike along the Hudson River.
The most talked about country thus far has to be Russia. And they are well aware of the attention, using it their advantage. Whether its football or politics, everyone has their eye on Russia. We all know that they will be hosting the next world cup this year and that the …
The most talked about country thus far has to be Russia. And they are well aware of the attention, using it their advantage. Whether its football or politics, everyone has their eye on Russia.
We all know that they will be hosting the next world cup this year and that the event itself will be bringing millions of people from all over the world… but that’s not enough. Russia wants the other side of crazy football fans to explore their country with the launch of a campaign and its cool branding. Russia wants you to go explore their culture, palaces, cathedrals, and stadiums. Their new tourism brand captured the essence of Russian pride.
Forming an idea
In 2015, the Federal Agency for Tourism of the Russian Federation and the Association of Branding Companies of Russia initiated a branding competition that surprisingly led to something nice. There were about 480 submissions and ten were selected for public voting. This past November, two years later, is when they made a selection. The winning proposals were designed by Vladimir Lifanov, Ilya Lazuchenkov, Yegor Mysnik, Denis Schlesberg, and Erken Kagarov.
A brand that embraces Russian culture
The first idea behind this new Russian tourism logo was to avoid any type of cliche visuals. They were inspired by the Suprematism art style which is a less known Russian artistic expression. The cliche would have been constructivism. A little similar to Avante Garde, suprematism uses abstract shapes that allude the Russian map.
The shapes comprised in this branding project shows how harmoniously contrasting shapes can work together. The shapes subtly resemble the shape of Russia. The abstract shape of Russia is unique compared to other countries.
Why it’s successful
This logo looks so good, regardless of what materials it is applied to. It can be huge as a billboard to something small like a credit card in this identity. It is just flexible. For example, in the billboards below, you’ll see how that logo is used as a window to highlight Russia’s sports, art, architecture, and gastronomy.
Personally, I really like this logo due to the fact that its different from others. Many logos have become minimal, which is great because I do believe that “less is more.” However, I also believe that it should be a concept behind every minimal design and not just approach it to follow a trend. I cant call this design minimal, nor busy, but I know is that I like it!
The redesigned Guardian’s digital edition The Guardian is an old newspaper, it was first published in 1821, but its new designs are anything but that. They are fresh, colorful, and ready for the future. “We have grounded our new editions in the qualities readers value most in Guardian journalism: clarity, …
The Guardian is an old newspaper, it was first published in 1821, but its new designs are anything but that. They are fresh, colorful, and ready for the future.
“We have grounded our new editions in the qualities readers value most in Guardian journalism: clarity, in a world where facts should be sacred but are too often overlooked; imagination, in an age in which people yearn for new ideas and fresh alternatives to the way things are.”
Katherine Viner, Editor-in-chief, The Guardian
The redesign was executed by the Guardian’s creative director, Alex Breuer, along with other editors and designers. Commercial Type pitched in to work on a new font called the Guardian Headline that is one of my favorite parts of the redesign. Commercial Type also worked on the previous typeface, Guardian Egyptian, in 2004.
A BBC review of the redesign pointed to the front page as the weakest part of the redesign, and I tend to agree. As the primary motivation to redesign the paper was economic, the design changes accompanied a switch from traditional broadsheet sized pages in their print newspaper to tabloid size. The redesign is estimated to save millions of pounds in production costs. The new logo, which is relatively tall, takes up so much vertical space the actual content on the first page is less prominent in addition to there being physically less of it.
The BBC noted that the Independent’s switch to tabloid size and accompanying redesign flipped the logo so that it ran along the side to adapt to the change, a design which I find much more effective. That said, I was quite pleasantly surprised by when I opened the guardian digitally to find everything redone.
Clean, modern, and unique, its difficult not to like Dr. Jart+‘s new packaging design by Pentagram. By simplifying and focusing on Dr. Jart+’s essential symbols, like the “+,” they were able to revitalize the brand’s look to a more cohesive system. Their goal was to set the brand apart from other competitors.
Strengthening Dr. Jart+’s brand element, “+,” they created beautiful interpretations of the shape to represent a different product. With different lines and shapes making up the distinctive mark and a cleaner usage of Helvetica, the brand delightfully stands between the elegant and sleek. The forms of the bottles were inspired by various unexpected objects like industrial oil cans and paint tubes.
This redesign launched in Korea, but will not be distributed globally until later this year.