Years ago last century when I was communications manager at a forest products company, my boss used to call Kit Hinrichs “that gray designer” because he always managed to use 402 Gray in every job he designed for us. Then Kit outgrew his gray period and developed a fondness for 032 Red, which to him is the most wonderful red he’s ever seen. He didn’t use it on everything, but you knew he loved it. Now he is passionate about 123 Yellow. Never try to engage Kit in a discussion about using 035 Red instead of 032, or try to sneak it by him. He’ll know. The guy’s color perception is like a dog’s sense of hearing. Very keen and nuanced.
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Argentine architect Andrea Stinga and Colombian graphic designer Federico Gonzalez put together this animated video of globally renowned architects and their most notable work. The minute-and-a-half long video manages to squeeze in a lot of information, including architects and landmarks from around the world. Still, art director Gonzalez apologizes that some legends had to be left out because they only needed one architect per letter of the alphabet. Stinga is a principal in Ombu Architecture, based in Barcelona, Spain. The music soundtrack is “The Butterfly” by Eugene C. Rose and George Ruble.
Sydney-based design agency, The Creative Method, says “give us a great story and we’ll give you a great brand.” So when Alternative Organic Wine asked them to design the packaging for a premium limited edition of its organic Marlborough Sauvignon Blanc, they focused on the product’s naturalness and not on the traditional way that luxury wines are presented. Creative Method explains that the “concept shows a vine, from the leaves to the bark to the wine.” Every aspect of the packaging was natural, from the outer wrapping paper with the grape leaf pattern printed using organic inks, to the laser-cut balsa wood label, to the string and the wax seal used to affix the label. Just by looking at the packaging, it communicates unique and organic.
There is more than eye-catching design to the ICC Cricket World Cup logo created for the matches to be held in Australia and New Zealand in 2015. When invited to produce the logo for the 2015 match, the international agency, FutureBrand, turned to the Australian graphic consultancy, Jumbana Group, Balarinji, to imbue it with cultural motifs significant to the indigenous people of the two neighboring countries. The result was the player’s torso made of the Maori Infinity Twist pattern representing the joining together of peoples and cultures in bonds of friendship and loyalty, and the legs and bat incorporating a familiar Aboriginal motif. Together the logo design is meant to symbolize toughness, glory, resilience and connection. And it was meant to be memorable, which it is.
On Friday, Peru officially launched a brand for the country, by stringing its new logo across the front entrance of the New York Stock Exchange. Gone are the old logo and slogan, “Land of the Incas.” In its place is a new identity developed by the British firm, FutureBrand, which also created Australia’s country brand in 2003.
The adoption of the spiral letter “P” wordmark represents the country’s bold move toward raising its identity internationally, not just as a tourist destination, but as the source of a broad line of export goods.
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The photographs tell the whole story in this advertising campaign for the Sydney International Food Festival, sponsored by The Sydney Morning Herald, in Australia. The national flags represent the countries participating in the event’s World Chef Showcase Weekend (October 9-11) and are made up of ingredients and/or dishes for which each region is known. The promotion was created by WHYBIN/TBWA in Sydney, with Garry Horner as executive creative director and Trish Heagerty as food stylist.
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When nations consider their exportable resources, design is often far down the list, but a 2008 study conducted by the Victoria government in Australia revealed that over $300 million in state revenue can be directly attributed to design-related exports. The state ’s design sector, centered in Melbourne, contributes $7 billion annually to the economy and employs more than 76,000 Victorians – this in a country with a population of just 21.5 million people. The study made apparent that design talent is a highly desirable and exportable commodity. The Australian creative industry could be as marketable abroad as iron ore and manufactured goods.
Australian designers have skills sought in many parts of the world, particularly in rapidly industrializing areas like neighboring Southeast Asia. In fact, the vast geographic size of Australia actually makes the flying distance from Melbourne to Singapore or Indonesia shorter than from Melbourne to Perth. As it is, many studios in Singapore are heavily staffed by Australian designers.
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Anyone who has ever been involved in designing or managing a graphic identity program (pretty much everybody in design and mar-com) has experienced fleeting impulses to rebel. Rigid rules and authoritarian orders run counter to freedom of expression and creativity. But identity guidelines are the foundation of branding. Consistent and repeated use builds brand recognition. And yet! Just once, wouldn’t it be fun to run the logo in pinstripes or push the corporate colors into a more punk PMS shade? Or tell the “identity police” that being forced to use the logo is a blight on your beautiful cover design?
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