Brand New News
Established in 1932, the New Theatre is a proudly independent theater in Sydney, Australia. "We're not slick, we're not refined and we don't conform," is only one of many statements it makes, "We believe in artistic and social expression, not just escapism. When we take the stage, we're for real." Or "We're driven by passion, not money." You get the point. This past January, New Theatre introduced a new visual and verbal identity created by the Sydney office of Interbrand.
At the centre of it all, a new logomark referencing unexpected twists and turns in the form of an 'NT' device, that stems from the word mark. The logo combines the three initial letters of The New Theatre into one simple mark. The unique mirrored structure of the mark allows applications and messaging to be rotated. The device is used to communicate the theatre's aims for constant reinvention, transitions and alternative viewpoints. It allows New Theatre to sit proudly at the centre of their productions, literally stamping them and claiming them as their own. The idea of 'new' collaborations with local businesses and the community also comes to life through product and event partnership.— Interbrand project page
Brand video.
The old logo was not as terrible as one might think of a splatter-based logo; with the lowercase italic and contrasting color combo it did manage to convey being an independent and edgy theater but not much more positive can be said about it. The new logo and identity are fantastic and amazingly smart and clever. The "N" monogram on its own is instantly readable as an "N" and having its slab serifs be the "T"s of the name is great. On top of that, the "N" with the wordmark works perfectly to cement the concept and execution. The rest of the identity is wittily crafted and executed from pins to restroom signage. It's early in the year, but this is one of my favorite projects so far.
Play posters, above. Postcards, below.
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Dulux, owned by Dutch multinational conglomerate AkzoNobel is an international brand of paint with a history dating back to 1931 which, during its lifetime, has been sold by Dupont and former British chemical company ICI. Initially aimed at wholesalers and decorators the brand moved into the retail market during the 1950s and delivered a significant (and memorable) advertising impact with the introduction of the "Dulux dog" as part of a 1960s advertising campaign which continues to be used today. Following a decision to resolve the international variations of Dulux into one premium paint brand, October 2010 saw the initial launch of a new global visual identity system created by London-based Design Bridge across Canada, China, India, South East Asia, the Pacific and the Netherlands with other regions to follow.
[…] This harmonising identity would need to work across 14 existing brand names in 50 local markets, in every format and application, from simple business cards to point of sale, livery and major advertising campaigns.International creative collaboration between our studios produced a new identity symbolised by the iconic, energising Flourish logo and motivational strapline: "Let's Colour". This universally understood shorthand liberates creativity by opening consumers' eyes to the transformative power of colour.— Design Bridge Case Study
The previous logo was a straightforward but competent typographical construction with a distinctive "U" character that neatly paired with the "l" and "x". The use of bold italics delivered a fairly conventional sense of motion but appropriately resolved the product's swift application and durability. Reliable but certainly not inspiring. In contrast Dulux's new global identity is bursting with bright colours and rhythm that feels positive, creative and inclusive. It understands today's home decor/DIY market as one of frequent change and self-expression and as such delivers a positive "can do" message through the dynamic posture of a hero-like character and billowing flag aesthetic that implores consumers to go forth and colour.
The wordmark, developed by freelance designer Rob Clark (and created as a complete and proprietary typeface), resolves the same visual messages of the previous identity but in a far more understanding and accessible manner through its smooth curves and windswept terminals. The lock-up has a smart balance of positive and negative space, the "hero" is well placed and carries the direction of the "x" well and together with the wind swept banner deliver a strong forward momentum.
I'm really impressed by the bold duality of this identity in its smart contrast of geometric, organic, and anthropomorphic visual styles. For me it neatly balances the world of functionality with that of the cosmetic with a simple modular build that neatly resolves all the international variations. I see the identity as a smart representation of personal expression, practicality, and global inclusivity (and perhaps diversity) that ties in neatly with the "Let's Colour" campaign.
4-minute summary of the "Let's Colour" initiative.
Richard Baird a British freelance design consultant based in Prague, CZ who specializes in logo, brand and packaging design. He has written for Design Week, The Dieline, featured in Computer Arts magazine and runs the design blogs BP&O and Design Survival
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Quick reminder: Prices go up tomorrow, Saturday, for the Brand New Awards.
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Established in 1943, the National Tooling and Machining Association (NTMA) aims to "help members of the U.S. precision custom manufacturing industry achieve profitable growth and business success in a global economy through advocacy, advice, education, networking, information, programs and services." Citing a misunderstanding of American manufacturing as being in trouble, NTMA wants to make sure everyone understands that is not the case and that this community is thriving. With 50 chapters across the U.S., NTMA counts with nearly 2,000 members — "members" are counted as businesses not individuals — covering industries "from aerospace to electronics to nuclear power." The new identity was designed by Atlanta, GA-based Matchstic.
Old materials.
The new brand mark is an evolution of the previous logo, refined and updated. We retained some defining characteristics — the color and shape — but recast it in a richer shade of blue with custom lettering. The new identity reflects experience and precision.— Matchstic Case Study
I was almost going to say that the old logo wasn't that bad — in that un-logo-less, inoffensive way — but then I saw that the "T" ate the serifs of the "N" and "M" next to it. I got offended. The old logo could have been for any non-profit whatsoever and didn't reflect any kind of allusion to manufacturing. The new logo looks like it has been manufactured and chiseled with a precision machine and in the full-color application with the shine and shadows it looks like a badge that could go on the grill of a car or the door of a refrigerator. The logo is now much more appropriate and relevant, although it's certainly not the best thing since the Industrial Revolution. On first instinct I want to like it, there is something blunt and industrial about it that catches my attention, but on the details and execution it doesn't quite hold up: What does the diagonal line mean? If the angle of the "N" matches that line, why wouldn't the notches in the "T" and "M" match too? Why is the crossbar in the "A" so short? Why is there so little space after the "A"? One more round of refinement and customization would have yielded a stronger logo.
The logo placement feels unresolved throughout in the rest of the identity but somehow it strikes a good balance of being contemporary and having a blue collar look and feel. The use of OCR-A, always a hard trick to pull off, works well used sparingly. Overall, an improvement for sure, but it just needed a little extra kick to take it to the next level.
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