So many eco-friendly packages are reminiscent of brown paper sacks—boring, colorless, no personality. The materials, themselves, can be difficult to navigate from a design perspective to make them more palatable, and avoid the use of harmful glues, inks, and bindings. Here, four firms have successfully navigated the eco terrain to come up with tactile and beautiful design solutions that meet the strict recycling, reusable, or biodegradable packaging standards. Read the rest here.
Graphic design is all about solving problems and making things functional and easy to understand, and wayfinding materials such as signs and maps aren’t the exception. In fact, they’re the rule. If the information is wrong or misunderstood, there can be deadly consequences. But not all maps are life and death. Some can be really fun while providing factual information, such as maps for parks, playgrounds, museums, and more.
One company that knows how to put the fun in mapmaking is Visual Maps based in Copenhagen, Denmark. They’ve designed colorful, richly detailed maps for parks all over the globe for the past 20 years. “It started with an illustration for a DUPLO universe on a LEGO package I did, which was spotted in Legoland, which then commissioned me to do their park map,” explains founder and creative director Mads Berg. Since then, they’ve designed all the Legoland parks worldwide, and have specialized in park maps since.
Here are five tips for creating successful map designs.
- Combine fact with fiction for emphasis
Designing wayfinding maps for parks isn’t so much scientific as it is illustrative. Sure, you need to help visitors find their way around the park, but it’s much more loose and playful than a city map. “There’s a mixture of reality and fantasy in each design,” he notes. “Google does the reality thing beyond compare. We love to do the fantasy part.” Of course, they do this without overriding the wayfinding purpose. (Read the rest of the article here.)
Beyond offering a selection of food and beverage items, a good menu design is an extension of the restaurant’s identity, it’s well organized and easy to read, and hopefully it’s appetizing. Here, we offer up several menu designs with decidedly different ethnic and cultural offerings.
Köksbordet is a family-style restaurant serving locally produced foods in a friendly, relaxed atmosphere. Designer Björn Berglund, who’s known for his hand-lettering, was tasked with creating the identity. Köksbordet literally means “kitchen table,” so he intentionally made the o’s look like a round table, and the wavy baseline for the word indicates the restaurant’s close proximity to the sea.
Once the logo was determined, Berglund focused on a color palette derived from the natural ingredients served at the restaurant, and he worked with illustrator Fanny Schultz, who drew the imagery. “I love to collaborate on larger projects, if you find the right partner. The overall quality is so much better,” he says. The illustrations are used on the menus, business cards, and on the website. Read the rest of the article here.
In the early ’90s, the graphic design landscape was undergoing a dramatic shift. Desktop publishing was in its infancy and everyone was making it up as they went along—some better than others—while trying to keep up with the new technology and software. Then in 2000, the dotcom bubble burst, and in 2008 the worst recession since the Great Depression hit. Many studios weathered the storm, while others simply closed shop.
Here, we talk with the survivors of the past few decades, many of whom have reimagined their careers, and in some cases, started new vocations altogether. Read the rest here. (Poster design by Modern Dog.)
Whether you’re designing for a print or online publication, many rules are the same with the goal being legibility. If users can’t read it or don’t understand the hierarchy, you’re going to lose them. Trends in editorial design have run the gamut from over-the-top imagery and graphics, to sparsely inhabited pages of floating type in a sea of white space. And what works for one publication doesn’t work for another, so it’s completely subjective.
Designers Xavier Schoebel and Amélie Lecocq have plenty of experience working in publication design in France for cultural institutions like the Louvre and Pompidou Center. Both teach graphic design—Xavier at LISAA, Institute of Applied Arts in Strasbourg, and Amelie at the Fine Arts of the University of Strasbourg. “Much of our work in editorial design revolves around cultural subjects, where we use illustrated charts and graphs to depict the information. For instance, what works for a children’s book, will not work in a fashion magazine,” Xavier explains.
Here, the duo, who also run their studio Collectif Ça va 2 Paire, share their predictions for five editorial design trends to watch for in 2018—many of which are tried and true. Read the rest of the interview here.
If you’re an identity designer, the most critical function in the beginning of the project is research—getting to know your client’s brand inside and out, as well as the competition, and some of that involves what Sharon Werner, principal of Werner Design Werks in Minneapolis, Minn., calls “feet on the ground.” This is especially true when working on a start-up brand, like Mr. Mak’s Ginbao, a new wellness drink that is based on a traditional Chinese recipe made from natural ingredients.
Werner and her team spent the day in New York’s Chinatown with the Mak family, even enjoying a traditional Chinese lunch prepared by Mrs. Mak. “We walked the streets of New York and looked at brands they liked and disliked in the same category,” Werner explains. “When it’s a startup we want the identity and the brand to feel true to who they are, and the only way to do that is through an intensive immersion and getting to know them. We want to understand who they are compared to their competitors; what they’ll offer that others don’t; what their personal beliefs are and how those will translate to their business and product.”
A challenge with developing brand identities for start ups is determining what will work past the first year, which is sometimes hard for clients to envision. “We’re building for a future, which means we’re asking the ‘what if’ questions—What if you add more flavors? What if you add 100 employees? What if you sell the company?” she says. “We want to build an identity that can grow with them and is fluid enough to adapt if the ‘what if’ becomes ‘What do we do now?’” Read the rest of the story here.
He should know. He leads the design team at Mother Design, the official design arm of Mother New York, a branding and communications agency with clients like Target, Nasty Gal, New York Fashion Week, and Sundance Film Festival.
Here, Kaye talks to us about how design and advertising are different, how ads can be misleading, and how social media levels the playing field for all.
What, to you, are the main differences between design and advertising?
I think it’s the desired outcome, frankly. I do feel like advertising is created with a sense of trying to make an immediate change. A quickness. A reason. Put this ad out in the world and create this action.
Design is a bit of a slower burn. Create this artifact that becomes the representation over a longer period of time. I think the intent—though it gets blurry in the middle—is a bit different. Both in terms of what the objective of the pieces out in the world are, and in the process to getting to those pieces. Read the rest of the interview here.
Su Mathews Hale is senior partner at Lippincott’s San Francisco office, where she heads up branding initiatives for clients such as Hyatt, Walmart, eBay, and Shutterstock. Prior to joining Lippincott more than 10 years ago, she was an associate partner at Pentagram in New York. Hale is currently president of the National AIGA.
We’re so pleased to have her on our panel of judges for this year’s LogoLounge competition. Here, she gives us some advice on creating effective and endearing identity programs.
When working on a large branding project, is the logo always the first thing to consider?
The logo is one of the considerations, but rarely the first. The most important thing to consider is the business strategy and to ensure that the creative vision aligns with where the company is headed. Things designers need to ask themselves, is what does the brand stand for? What’s happening in the company (growth, new products, broader customer base) that the design needs to accommodate for? Most successful companies get to a point where they need a visual facelift to stay modern and relevant, but even in those cases the logo redesign is second to the strategy of the company and changing needs of the customer.
Read the rest of the interview here.
It’s on! The competition for LogoLounge 10 is heating up and the judging panel is hotter than ever. The breadth of the work done by this group of international judges encompasses the largest swath of name brand identities under one roof err … website, including Facebook, Apple, WalMart, eBay, The Today Show, Patagonia, Nike, Mac Cosmetics, Gevalia, and Verizon, just to name a few.
Normally eight judges comprise the panel, but this year LogoLounge founder Bill Gardner upped the ante to ten, because he’s expecting more entries than ever before. “Some folks don’t realize that this competition is probably the single largest and most competitive with 25,000-30,000 entries historically,” he notes. “We decided it would give each entry more scrutiny if we expanded the panel, and with this the tenth anniversary, pushing the panel to ten was a natural.”
The judges this year include:
“We’ve always been fortunate to have strong judges, often with name brand value, to guide us to the very best of our submissions. This year, we’re introducing a digital version of the book that will have dramatically broader distribution, so we went back to a few of our past jurors,” Gardner says. “These are designer favorites the industry loves, and we also reached out to a new generation of superstars with amazing talents.” The make-up of the panel is a good blend of designers and illustrators with broad skill sets like typography and letterforms, symbols and marks, conceptual to illustrative, and boutique to international. This diversity ensures a compelling selection of designs.
Several of the judges have been featured in past LogoLounge books. Gardner has noted that Felix Sockwell, was subscriber No. 1 to LogoLounge.com, and also served as one of the first judges. Von Glitschka has also judged before, and his work has been featured in nearly every LogoLounge book as well. “It was ten years ago that another designer picked up a LogoLounge account and submitted about 50 amazingly crafted marks. Seems like the judges loved him too, and picked close to half of his work for the book,” Gardner recalls. That person was Aaron Draplin, and he has been a LogoLounge supporter ever since. Gardner adds, “He is one of the most genuine individuals I’ve ever met, and deserving of every success he’s earned.”
It’s no accident that the best logos in the world end up in the book because the people selecting them know what comprises a great logo design and how it will resonate with its intended audience. No one walks into a LogoLounge book just because they submitted. It’s a healthy competition where only the strong survive.
As an added bonus this year, LogoLounge is teaming up with HOW, which will feature a sampling of the top-rated selections in its Summer issue. “We’re excited to share the best logo entries with the HOW audience, and discuss the merits of why these logos work so well,” Gardner says.
Chantry is an outspoken critic of modern design and designers, but despite that, he’s being honored as a 2017 AIGA Medalist. The irony hasn’t been lost on him. It just goes to show that good work is good work, and you can be welcomed into the club even if you’re an outsider with a bad attitude. Even he couldn’t believe it when he received the call from AIGA.
Here he talks about what’s wrong with design today, his hoarding habits, and why he’s such a pain in the ass.
Do you like design today?
That’s a loaded question. I do like SOME design done today. But, frankly, I look at old design, not new design. Old design, pre-computer design—when the IDEA was the coin of the realm. I look at contemporary design annuals and see this incredibly high level of mediocrity. Page after page of beautifully rendered (crisp and clean) design that all looks the same. About every 10 to 20 pages one piece will pop out like a huge sore thumb. At first you can’t figure out why. Then you realize it’s because it actually has an idea being presented. Most graphic design today is not really design. It’s decoration. Graphic decoration. It just has to look nice, or pretty, or cool. It has to fit in to a very high standard of production values that only computers can give you.
Any design work that doesn’t look exactly like your ‘comp’ is pounded down like a nail that sticks up. Ideas are erased so fast in an environment like that. These are all things that I try to avoid in my work. Strangely, ideas are all I have to offer any more. Computers don’t have “idea” buttons (yet).
Read the rest of the interview here.