Redesigns tagged “brands”
Fine Living Network rebrands as Cooking Channel:
On May 31st at 7:00am Eastern, Fine Living Network officially became Cooking Channel in a complete rebranding by Scripps Networks.
The new Cooking Channel logo was designed by Tröllback + Company along with the branding and broadcast graphics.
Find out more about the new Cooking Channel design here.
Vlasic Pickles brand mascot redesign
“The Vlasic line of pickles, sold by the Pinnacle Foods Group, is introducing a campaign this week with a redesigned version of its talkative stork character, which has spoken for the brand since 1974…”
—For Vlasic, It’s a Stork of a Different Color | NYTimes.com
Coca-Cola campaign for the FIFA World Cup
Attik teamed up with official beverage sponsor Coca Cola to design the new visual identity campaign for the FIFA World Cup Trophy Tour. We spotted a few different aluminum can designs in the past month.
(via Fast Company)
debut of the new Waterstone’s bookstore logo design*
The redesign is a departure from the brands’ traditional and classical design aesthetics in favor of a more contemporary approach. Venture Three designed the new logo. The Waterstone’s wordmark refresh is just one facet in a large-scale restructuring of the UK bookstore chain. From reading the comments on a recent post on The Bookseller.com, the audience may be split on their preference of the original logo versus the more modern treatment (with strong feelings on both sides, especially the notes comparing the new mark to the McDonald’s arch).
*The logo lock-up for the company website was unveiled first, and we’ll look out for the new store signage later this month.
If anyone has a link to the history behind the original Waterstone’s logo, and insight into the new approach please share.
The Bloomberg BusinessWeek redesign
On April 26th, 2010, Bloomberg BusinessWeek unveiled the magazine’s new look, only months after Bloomberg’s acquisition of the publication.
Over the years the aesthetics of the brand have evolved (as seen in 80th anniversary video above), but this latest iteration has the Bloomberg name taking its place with equal prominence in the masthead logo.
A broader color palette has also been injected throughout the spreads. Though the redesign is substantial, it is secondary to the increased variety and volume of content. The April 26/May 2nd issue has 136 pages compared to the preceding week’s magazine which only had 68 pages.
“…We’re going to double the number of stories, improve the quality of paper we print on, and increase the size of each issue by 25%. At the same time, we know that volume isn’t worth much without perspective. Everyday the world of business gets more complicated. Our writing and editing will be focused on sorting the signal from the noise, and giving you the information you need to compete in the week ahead. Our rich, vibrant design will enable you to navigate quickly to the stories and issues that matter to you most…”
—letter to readers from Editor Josh Tyrangiel in April 25th, 2010 issue
The redesign team was led by Creative Director Richard Turley, with karlssonwilker lending their talents to the infographics and charts.
(Read on about Richard Turley’s involvement with Christian Schwartz on completing the revival of the Neue Haas Grotesk typeface—discovered the info on the custom design thanks to soulellis).
For their 60th anniversary Dunkin Donuts’ celebrates with a logo redesign.
April Fools? (more on “Dunkie Drinks Dunkin’s Coffee” via Brand New)
new cover and logo for Creative Review
sample spread of Creative Review
Creative Review (CR) Magazine and logo redesign
The April 2010 issue of Creative Review launches a full redesign for the look and feel of the Creative Review brand (for better alignment with their website). We still need to get our hands on a copy, but on first look it seems very well thought out, with careful considerations to size, paper, grids, vibrant photography, and typography. CR Blog provides a very interesting read on the motivations behind the fresh new look.
“…The redesign was done by our art director, Paul Pensom, but Paul Barnes worked with us a consultant on the typography, advising us on typeface choices, page furniture and the logo. For drop caps and other ornaments, we have used characters from a new project of his involving the revival and digitisation of the St Bride type archive (more on this in a later post). We’ve just used Caslon Shaded but there will be a lot more faces available in the future…” —CR Blog
(note: the April issue features the illustration work of Anthony Burrill)
