MovingBrands 2011 HP Progress Marque Logo Now Being Used
Great news, reported by Verge, that HP are now going to be using the HP Progress Marque logo design, that MovingBrands came up with back in 2011.
I clearly remember when MovingBrands initially announced their collaboration with HP on a much larger branding project.
Many were a little disappointed that HP didn't decide to use the new logo design, and it was left as an unused, and unapproved, logo design concept.
Clearly it wasn't completely forgotten, and maybe some one at HP saw the Progress Marque's potential somewhere down the line.
Hewlett Packard have now announced that they will be using the MovingBrands logo, dubbed the 'Progress Marque' designed back in 2011, for a newly released premium range of laptop, called Spectre 13.
I think the Progress Marque certainly ties in nicely with the Spectre name, they sort of feel they do fit together.
Obviously a James Bond connection comes to mind with 'Spectre', and for me Spectre does create feelings of: hardness, angled, sharp, clarity etc etc etc.
A bit cheesy maybe, the Spectre name… OK, quite a lot I think.
Three Brand Logos?
It sure is good, from a design perspective, to finally see that Progress Mark being used.
Foursquare's New Logo Redesign Goes Superhero
Just to clarify: the Superhero wording wasn't my idea, this comes direct from the folks at Foursquare, and I quote:
Thought I'd open with that quote because I'm just not sure if they are being serious or not. Superpowers? Vision? Homescreen? Superhero?
Let me be blunt: the new Foursquare logo is anything BUT super anything.
Let me get the positive out the way, just to show you I can see good when I see it, and can appreciate good when I see it, and am willing to extend that goodness to a few positive words in my blog.
The logotype/wordmark/brand name yada yada, is pretty nice: it has presence, it's pretty damn solid, has a nice rich almost Ultra Violet style to the colouring.
I also like the two colours, but they also remind me a little too much of the Flickr colour palette.
That concludes the good.
What is meant to to super is really really bad.
I first saw the new Foursquare logo last night, and had a few back and forth tweets about it.
— Daryl Walker-Smith (@darylws) July 24, 2014
I totally didn't, see or get, that it was meant to be a vision of superheroness emboldened in a classy new super emblem: that's also a pin; which I did get by the way, albeit a rather odd map-pin.
That 'F', that is a map-pin, and a superhero emblem just looks awful. The pinky outer keyline is far too kludgy, the outer corner radius look far too large compared to the inner radius. Which then leads to the corner radius of the 'F' which looks like an afterthought, BUT don't come close to matching the far softer corner radius on the Foursquare wording.
Why oh why could they not have at least kept some consistency with the corner radius from the superhero 'F' emblem to that in the main wording? That would have at least made up for one of the most awkward looking logomark and logotype miss-matches I have seen in a long time.
There is nothing in this combination logo that looks like it should be one of a nice and cohesive whole. It's super disjointed at best.
The white-out half-cut 'F' looks really ill, and then we have that razor sharp point that certainly add's a stark and rude contrast to everything else in this logo. I get that a map-pin should be sharp, when the outer pink pin is 'super' soft, the inner white 'F' is just brutally sharp.
The logomark superhero emblem doesn't really look any better in the app either:
The typography for the main Foursquare brand name is really good, has a strong presence to it, and has style. What I simply cannot get my head around is how completely unsymbiotic the relationship between this and that God awful superhero 'F' emblem really is.
The only way I could realistically see such a lack of consistency between logomark and logotype occurring, is if: both parts were designed by completely different people, with completely different interpretations of the brief, and were not privy to what the other piece looked like. Then they took both pieces and stuck them together as best they could.
I'm not even sure a map-pin, as a visual reference, was ever needed, especially how long Foursquare has been around. It's not like Foursquare is a new brand having something to prove about it's mission and purpose, and almost feels ever so slightly patronising.
The map-pin reference is way too over dramatic, and unnecessary. Almost sure a classy icon could have been crafted from that really strong logotype without force serving up well used, and tired visual cliches.
It's actually really disappointing that with such a strong wordmark, such a flop was made of the icon. More so given it's this emblem/icon that looks like it will be the most seen, and implemented part of the logo.
The new Foursquare logotype is all grown-up, yet the icon feels it's taken a huge backwards step in this established brand's maturity.
Curious to know if this was an in-house, or out-house, logo redesign job?
AC Academy believes that every child in this country should be entitled to a first-class music education.
AC Academy runs a diverse range of music and arts education projects across the UK, working both inside and out of schools to reach 15,000 children per year.
AC Academy believes that through the work AC Academy do we offer children HOPE, HAPPINESS and EXCELLENCE, developing excellent singing and musical skills. Through our charitable status we appeal for funding to allow as much of what we do for children across the UK as free or as heavily subsidised as possible.
The AC Academy choirs that we run, create and continually develop are not auditioned. Music not only develops confidence and builds self-esteem; it has also been proven to aid concentration and behaviour.
To be perfectly honest, if you're going to do Pro bono, then you might as well do it properly, and completely for free. Doesn't feel at all right taking money from a Charity, even if offered.
The upside was that when I mentioned I'd not be happy taking any money, they countered with an offer of a half page advert for their next major concert with Russell Watson at the Symphony Hall, Birmingham: AC Academy Sing Symphony Hall So that was a great outcome for both of us!
Here are a few photographs from last years event at the Royal Albert Hall:
So here I am, frantically working on some logo designs ready to be screen-printed on 1000's of children's t-shirts for the AC Academy Sing Symphony Hall (which you can see how it looks from last years Royal Albert Hall performance, also with Russell Watson).
This relationship [with the Royal Albert Hall] culminated in a gala concert featuring 1300 children at the venue on 10 March, 2013. Russell Watson appeared alongside AC Academy singers from across the UK in the spectacular 'Around the World in 18 Tunes'. Watch highlights of this epic venture above, or on Youtube.
One of the early logo design concepts
Here's a little early taster of one of the very early logo design concepts for AC Academy. Due to cost, the white t-shirts are printed in greyscale, so the logo has to work well in full-colour, black/white, and greyscale, and be suitably bold and clean enough to be seen, and recognised, at some distance (as you can see from the photographs above).
The major challenge is attempting to visualise the idea of children and young adults singing as a group, whilst conveying the high quality and prestigious nature of the teaching and experience that the AC Academy provides children all over England.
To make things a little harder, there is no mention of what AC Academy is/does in the brand name, and tag-line, so in this case, the visual HAD to convey some connection to groups of children singing, whilst trying to avoid the usual cliches, stereotypes, and clip-art style illustration. Oh, and to also try and connect with the three word tag-line: hope, happiness, and excellence.
I think I have touched on hope and happiness through the colours, the jaunty angle of the heads, the open singing mouth, as well as each head being slightly bigger, smaller and different. The relatively clean and smart font choice helps to add the excellence aspect. Abstract meets stylish.
It's kind of hard to actually look at anything other than this beautifully crafted Dungeons & Dragons Ampersand for the new logo redesign. Since when does an ampersand literally outshine, and out class, the rest of the logo?
There is almost a painful injustice to the somewhat insignificant sizing of the ampersand when you really absorb the new Dungeons & Dragons logo design, as a whole, in.
When you see this mighty ampersand enlarged to magnificent proportions, it's clear it is a masterpiece of type craftsmanship that deserves to hog the limelight. Yet, when placed in situ, between Dungeons and Dragons wording, you can't help but feel the ampersand deserves to break free of it's shackles.
The actual Dungeons and Dragons wording is very tastefully done as well, but I just can't help but feel the ampersand is simply far too beautiful to be an 'and'. Who wouldn't die to have this ampersand as the dominant part of a logo design?
Wondering then if this ampersand will indeed be used solo? I'm thinking it would be a perfect fit for things like a new website favicon, a social media profile photo for Twitter etc? That would be a great used of such an awesome ampersand design, and would make me feel far happier.
Some of the ampersand variations that Glitschka Studios played with:
Kerr Recruitment Logo and Brand Identity ReDesign
Portfolio Update: I'm fortunate to be collaborating with Positive Advertising on this project for Kerr Recruitment. This logo and brand identity redesign project is still currently in development, but I'm happy to share the process so far of this logo and brand identity redesign.
The images detail some of the extensive mock-ups, and mood-boards, that I designed for Kerr Recruitment. This was a project where only this one main logo idea was worked-up and presented to the client, hence the need to provide the client a visual way to see the true potential of the design.
The mock-ups are based on Kerr's current applications of the logo and brand identity, additional requests by the client as part of the redesign, but also more ambitious exterior applications like the billboard, and the interior brushed metal sign.
All these mock-ups allow the client to better visualise how the logo and the supporting identity materials could be used in various practical and physical applications.
It's harsh, but let's face some facts: Reebok has rarely been cool—using 'rarely' in this instance is an over generous application of the word 'rarely', and I also know that 'cool' is subjective—in all the years I have known the brand, and this is going back to the 1980's where I remember my parents buying me Reebok's for school, even back then, this was a shoe of shame.
This was a harsh time for a kid wearing Reebok's, and one is rarely able to forgive and forget. Tried desperately to paint out the Rebook logo with that cool white trainer polish/whitener.
It's as though they simply seem to be OK with not being as cool as Nike, Puma, Adidas etc, and are happy to settle for this dull state of existence. The only comparison I can come up with is: Reebok aspiring to be like a supermarket's own budget brand, like Morisson's Savers. Nothing wrong with Morisson's Savers food, I buy quite a lot of it myself.
Reebook's logo has seen much better days, and I'm talking about the really early days, such as my school days back during the 1980's. When I look at Reebook's logo evolution, I find myself drawn to both the logo versions used between 1986 through to 1998.
The Union Jack really worked, at least with hindsight, and more so compare the crap they've ended up with now. The typography hit a good solid style circa 1996 and onwards, but then took a drastic change in 2006.
The Year is 2006
2006 was a drastic change the logos typestyle, and it's one I dig. Possibly a litter over-top with the forward slanting for my tastes, but it had character, edge, style, distinctiveness, drive, momentum yada yada yada…
Technically, what you see above, isn't the whole logo, at least I don't think it was. I believe this was the whole version.
The whole history of the Reebok logo shows a pattern of indecision and design chaos.
Never have liked the typography—the same style they have now—introduced after 2004, with that rather plain-Jane sans-serif font looking all dowdy and corporate. Don't get me wrong, that style of font is smart, solid looking, and I've even used similar styles in my own logos, but I just can't get myself to accept that it's an appropriate fit for a supposedly competitive sports brand.
Reebok's Logo Evolution
So Rebook's next corporate strategy was to introduce an already used logomark (cross-fit) that basically looks like a Bank, or some other form of investment/insurance/legal icon style. I even envisage it being used by some form of religious cult: engraved into wood, and seared into the raw flesh of new cult recruits as they all stand inside this chalk drawn version on the mud in the middle of some dark creepy forest conducting all manor of sexual sins upon each other.
My goodness, it really does look dull. It also just doesn't sit, or fit, with the wording (font style), just seems to be there. In the specific case of Reebok, I find it such a completely inappropriate logomark for a sports brand logo.
Yeah so wonderful, it seems to work nicely in the promo videos, enlarged, cropped, worn on singlets etc, but my word, only just.
Once again they [Reebok] seem quite content on just tootling along, than trying to try just a little harder with an image make-over that could at least have a chance of looking like it's ready to compete with the big boys.
Clearly I'm head-banging against a wall as I can't possibly know what the 'powers that be' have had, and now have in mind for taking Reebok forward, but for me? I just really think this was 'another' miss-mash of existing ideas/elements (their cross-fit logomark), and introducing something recycled to get the next few years sorted and out of the way
What the odd's there'll be a tweak, or two, in a few years time?
In fairness, it's quite likely that that red triangular pyramid thingy could have looked more interesting with a completely different font style and/or brand name, but golly gosh, at the moment it's just dull dull dull.
It's only my personal opinion, but yes, I'm not a fan.
I actually love it when a brand redesigns their logo, but due to the subtleness of the logo design—in this case, more of a freshen up than a redesign—the roll-out ends up being somewhat low-key. Can't say I have my ear completely glued to the ground, but I do like to think I'm reasonably up on logo news, and sometimes even catching new stuff like when Flickr recently changed a colour in their logo.
I only caught a whiff of the new Tumblr logo this morning, over on Brand New: Blink and You'll Miss it, whilst catching up on my RSS feeds.
It's one of those logo updates that just completely makes sense, restraint was practiced (which I always really admire when it's done right) with careful attention to the new letter shapes and their overall connectedness as a whole.
Overall, the new Tumblr logo feels: more tumblier (bouncier?) and friendlier, yet at the same time also more refined, solid, and as musicians would say: tight.
The Tumblr in-house design team seems to have completely nailed this one good and proper.
The one down-side, which seems to be a general consensus across the internet, is that that the 'u' looks a bit odd where it's missing the upper left serif. More so because the m, b, l and r still have it, so has a somewhat lack of consistency, but nothing major. I can see it annoying some people…
As a little side-note: This is a nice little lesson in logo redesign restraint that Yahoo (Marissa) should, at some point, ponder over. Almost a shame Tumblr didn't do this first before Yahoo completed nuked their own logo redesign.
New & OId Tumblr Logo Comparison
Just mocked-up a quick logo sheet with the old and new Tumblr logo as a couple of overlays, so you can better see where each letter has changed. In fact, some of the changes: specially the 'r', do look pretty major when you look at the letters individually, but when the logo is viewed as a whole, not so much.
With the 3rd example titled: "Old (Pink Outline) & New (Blue Outline) Overlay with shifted letters", all I did was to shift the letters sideways a little so each letters overlay was aligned more vertically aligned
Tumblr's Logo Guidelines
Loving Tumblr's simple, and lighthearted set of logo guidelines.
Far from being anal like Twitter, Tumblr are allowing some flexibility in the use of their logo, such as using different colours of the initial 't' logo, and even use different style containers. Great to see a brand as entrenched into society as Tumblr is, still allowing a decent amount of flexibility in the practical use of their brand ID.
Way to go.
Once in a while a rebrand (logo redesign ) comes along that simply looks like how it should have always been. By that I mean the revised logo simply looks like a natural evolution, but at the same time immediately becomes the 'right' look, almost immediately more appropriate, than the logo before. Not sure I'm explaining myself very well here.
To me the new Absolute logo, minus the 'Country of Sweden' & 'Vodka', works better than the logo with the additional lines. Pretty sure that's also widely agreed.
That's not to say the previous version sucked balls, far far far from it. Sometimes, in order to minimise/defluff a logo, the brand must have become so well established, adored and imprinted in our minds that stripping the fluff away to reveal the core element, in this case down to just Absolut, looks like the completely logical, and right thing to do.
Then the magic of hindsight kicks in, "why wasn't it done before now".
When the new logo simply and transparently slots into place without so much as a ripple, then you know that a brand has become deeply imbued into our psyche.
The Spirits Business: Anna Kamjou, global director of Design Strategy at The Absolut Company, said: “The brand has become so iconic that we no longer needed the full three-line logo to convey ourselves.
The same holds completely true for Starbucks, Nike and Apple. When each one of those companies simplified their logos, it signalled the arrival of maturity, strength and dominance, in an all too crowded world. When a company believes they can safely remove core elements from their logo, and that logo then, somehow, becomes stronger than more iconic than before, well, that's just magic.
The Spirits Business: The Absolut Company, which is owned by Pernod Ricard, claims the changes won’t be noticeable by most consumers, but will “strengthen the brand’s iconic status as a contemporary, forward thinking brand”.
Anna Kamjou, global director of Design Strategy at The Absolut Company, said: “The brand has become so iconic that we no longer needed the full three-line logo to convey ourselves.
“By removing ‘Country of Sweden’, and ‘Vodka’, we’re putting the focus on the most important part of the brand – Absolut. The word itself not only means the perfect, the complete, and the ultimate, but it also means the open-ended, infinite and indefinite.
I have held off voicing my thoughts on the rebranding of the Swiss Airlines brand logo and identity, but I accidentally saw it in passing again today so I just had to get bad stuff off my chest.
The first moment I saw this new logo, designed by Swiss agency Nose Design, something felt off in a big yet subtle way. There is something very odd with the typography; my brain is telling me something is totally not right with it. My first thought was that it reminded me of a unicase font where you get those awkward combinations of lowercase and uppercase characters.
I have got my measuring stick out and everything aligns as it should so nothing off with the alignment. The word SWISS is just utterly bugging me with the lack of the dot on the i has throwing me a little. The S's sometimes look like they are shifting in some king of weird bi-universe distortion field; the more I look at it the more it feels off.
The tag line also feels off with tracking falling between too much and not enough. The relatively compact and bold nature of SWISS you would think a contrasting font weight would work, but this doesn't work with the O in Our looking way too tall and thin. I also think the word spacing is off in relation to the tracking.
The whole package feels awkward, tight and a little shouty shouty.
I know people often hate it when a designer goes and shows how they would have done it better so I'm bracing myself for the criticism.
If I am going to verbally criticise the Swiss AirLines logo then the least I can do is stand behind my reasoning by visualising my thoughts.
The logo below is my perception of what I feel would improve the redesign, and for that reason is a subjective study. I personally feel this is a more coherent formatting of the Swiss AirLines logo.
And an option with the dot on the I as per the original original brand logo.
My Subjective Rework
So given my thoughts above I have made some tweaks. Just for shits and giggles I have used Helvetica Neue Heavy for SWISS and Regular for the tag line.
I feel that the cross is way too tight within that tail fin, and as they have aligned the top and bottom of the cross with the SWISS wording this is what makes SWISS look so unwieldy.
If you reduce the cross in the tail fin giving it more room to breathe you can then reduce the SWISS wording down a few point sizes. This creates more space top and bottom allowing the tagline to now be tucked in neatly underneath.
My view is that this creates more space for the cross, the tail fin and the typography, and is a neater more compact logo mark. I realise this is only a small part of the overall identity and livery but surly important to get the base logo mark looking sound?
I think the biggest and most effective change is reducing the size of the cross within the tail fin. Once you do that then everything else seems to fall into place.
Surely a case of Swiss Air Lines wanting to make the logo bigger?
I have applied my reworking of the logo to the tail fin as shown in the top plane with the original below. There is certainly a fine line here, whilst the angle of the tail fin does make it awkward to size and position the cross in a way that doesn't look too small or too large.
I would personally lean towards the cross having room to breathe rather than horribly close to the side edges.
Given that the original original logo, above, had the cross positioned with plenty of room to breath; the tail fin design leaves me wondering what happened to design finesse and confidence not to have to SHOUT and make everything so damn big.
It's not like the logo is to be seen on something like a pen now is it. It's a bloody aeroplane with these things generally being quite big and often times hard to miss.
I welcome your thoughts on the Swiss Air Lines rebranding.
I just had to follow up on post published by the Fast Company: For Twitter's 5th Birthday, New Grown-Up Logos where author Rick Barrack has decided that the Twitter logo needs a redesign.
I initially came across this post via my Google+ stream, and loved Patrick's comment, "Yup, Twitter definitely needs a new "Grown Up" logo because the current one is just not iconic enough."
In the usual case of concepts, open-letters and even major brand rebrands, such as The Gap, we are used to seeing designers come up with alternative ideas and suggestions.
I personally couldn't resist the opportunity to jump on the rebranding attempt with The Gap Logo Revisited, and I genuinely felt that it was "fair game" to put out my own interpretation of the rebrand. In this case The Gap HAD asked for designers to openly submit new designs so this was for the most part a free-for-all frenzy. I am just glad that they opted to revert back to their classic logo, but I did enjoy the opportunity to voice my own thoughts and ideas.
Sometimes these open-letters or "I can do better even though I wasn't asked" are only sparked by an individuals desire to be heard, and to have their internalizations externalised. The results can actually be fascinating, to view and read, even if it's mostly a pipe dream.
I have seen recent cases of these open-letters that have really piqued my interest, and have been impressed with the designers' take on the subject matter at hand. Other times, however, they don't offer anything worthwhile, don't improve upon the original and even make the designer look rather stupid.
Enter The Fast Company
This is where the Fast Company and Rick Barrack make a rather puzzling entrance. If you haven't scoped out the original article then do so now as you need to be aware of the reasons put forward.
Honestly? I am super baffled by this.
On one hand I can see the benefit of kicking up some controversy with the end goal of getting some epic page views, links and coverage which would of course include this post.
Nothing like kicking up a shit-storm for some good page views.
That I can understand.
What I can't understand, or quite make out, is if this is an actual joke by the Fast Company and Rick Barrack, or a genuine attempt to put forward a serious redesign proposition for the Twitter logo.
I have read, and reread this article just to make sure I have not missed anything that would suggest it's not to be taken seriously. For the life of me I can't find a thing. It really does look like a genuine proposition.
If it's a joke then the joke will be mostly on Rick as The Fast Company will already have about 20 posts in front of this by the end of the day, and will soon be a distant post in their archives. They will get a bit of a slating in the short terms as can be seen in the post comments but it will die out soon enough.
The same can't be said for Rick. This sort of thing clearly gets attention for which I am pretty sure the Fast Company were counting on, but not so sure it's the attention that Rick was expecting or counting on. I had to double check what you did for a living before my heart sunk even further.
This is the stuff that April Fools is made of.
One part of me actually considered, and wanted to believe for Rick's sake, that this post was scheduled for an April Fools but was mismanaged and a Scheduled Post was set-up with July 15th as the date.
So could this be an admin error?
If so you would think it would have been spotted by now, and discreetly pulled. So I think it's therefore safe to assume it was not a mismanaged Scheduled Post.
I don't think this was a joke as there really is not indication to suggest it is. The post is written with reasonably serious intent, and you are left with the idea that Rick truly would, and is, staking is a portion of his reputation on his idea of what the Twitter logo should now look like.
And here it is.
The Twitter Logo Redesigned
I don't agree with this assumption that the Twitter logo needs to grow up. I love the Twitter logo especially since they tweaked it a short while back. It's utterly iconic and works perfectly in pretty much every scenario and location possible from the: favicon, website header and applications icons etc.
I'll be blunt.
Rick's take on what the new Twitter logo should look like scares the crap out of me. It's just wrong.
Gradients? A speech bubble? An i morphed into the w? Please tell me this IS a joke? I would rather end up with egg on MY face if someone can point out I have totally missed the point of his post.
And to remind you of the current "official" logo just incase you're eyes are now bleeding.
I love this passage, "So it's way past the time for you to grow up as a brand. In other words, how about presenting a more appropriate image that reflects your current status? The following are just a few suggestions of how we think you should toast your fifth year as a media heavy."
So these two examples of Twitter's new logo present "a more appropriate image that reflects your current status?" If Twitter rebranded with any of these designs I would laugh till I died, and then I am pretty sure The Devil would take pity on me.
So there we have it.
If anyone chooses to practice this type of conceptualising, especially when it wasn't needed or asked for, then I think it is fair enough to say you should be able to take the flak if people, like myself, don't agree. I myself received flak for my thoughts on what The Gap logo could look like but I still stand behind the logic, and the design itself. It was based on nothing but my own views on The Gap and how I see them as a brand.
So I have now given a bit more life to Rick's post, sent a few more visitors towards the Fast Company and done my bit for their daily article page views. I hope that at some point Rick can take time to address some of the comments on his post, and show us how strongly he sits behind the Twitter logo redesigns.
I could carry on with this assassination but to be honest I just feel for the guy. This is not something you put your name to, a mainstream website, unless you enjoy playing dodgeball with career suicide.
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The Logo Smith: Logo & Brand Identity Design Studio, with 25 Years Experience,
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Graham Smith: 10 Badgers Copse, Seaford, East Sussex, England.
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