threebrand’s Dubh Step

News
threebrand

Edinburgh brand and packaging behemoth, threebrand, (who are, awesomely, based on board an actual boat) has unveiled packaging design for Ola Dubh 1991 an artisan craft beer with a twist.

An extension of the core Ola Dubh range, the product is the first of a new range of craft beers by Harviestoun Brewery where the ale is matured in Highland Park Single Malt whisky casks. Released on 1 May in limited numbers it flew off the shelves – selling out in 48 hours; six weeks before it was packaged. It has captured a discerning consumer, who appreciates beautifully brewed craft beer, but also dotes on the subtleties offered by the whisky cask maturing process.

threebrand was tasked to create packaging for the beer that reflected the core Ola Dubh brand but signals that although an extension of the core range, it is a different edition. The ethos of the Highland Park Whisky look and feel were also to be taken into consideration and balanced within the design.

Nick Cadbury, creative director at threebrand, said: “It was important to reflect the artisan philosophy of the Ola Dubh brand within the 1991 bottle design. To achieve this we chose a simple craft like design with a clean and almost naïve typography. An equally simple two colour label printed on craft style stock was chosen to reflect the handcrafted nature of the brew and finishing touches such as individually numbered packs and hand labeling were employed to further emphasise this feel.”

To distinguish the 1991 design from the core Ola Dubh range a bottleneck card adornment was added. Here threebrand created a humorous link with world events from 1991. For example, in 1991 over 600 crop circles appeared across Britain. Hoax, or evidence of aliens? Harviestoun see it more “as a waste of damn good barley”.

Tw. @wearethreebrand / Fb. /wearethreebrand

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TDC at the double

News

Two delicious new projects from the The Design ConspiracyMajdan Rocks and Fitzgerald’s Clothiers

First up is the identity for a new jewellery designer, Majdan Rocks. In developing the visual identity, TDC took inspiration from the shapes of the the products designs as well as iconic shapes of an array of jewels, but it was the diamond form that stood out. Say TDC “The final mark we created was simple and bold with a bit of an edge.”

A motif derived from the mark works as a distinguishing visual, bringing sophistication to the brand coupled with the ‘Elegant and Edgy’ illustrated strap line from the skilled hand of Lord Dunsby (Steve Millington). Bling bling.

Second to the oche is finery for Fitzgerald’s Clothiers – classic mid century style menswear, think Ivy League. “Having researched the era for the right look and feel, we created a ‘signature’ style logo reminiscent of that era and incorporated crossing tails under a shield, a nod to the monkeys featured in the Fitzgerald family crest. Secondary text is set in univers ultra condensed creating a strong contrast to the logo.”

A photoshoot with photographer Lee Grubb, set in the legendary Salisbury pub on London’s St Martins Lane created the ideal setting. The heritage feel spreads entirely across the brand, from embroidered shirt labels to postal packaging to website and more. Each item is delivered in a brown postage bag, rubber stamped with the logo and sealed with branded tape. Sharp.

Love time lovers, first time posters of The Design Conspiracy’s tailorings. Check them out here.

Tw. @tdconspiracy

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Profiles — Mike Rigby {Interbrand Australia}

Profiles

It’s been a while since our last profile so we’re thrilled to be back with a chat with a much sought after modern day hero of design.

He’s a young chap yet his career has already packed a basket load of finery in the last few years; most recently his journey has led him across the world to take up his first Creative Director role at Interbrand Australia. With Australia’s flourishing design industry we were interested to hear the thoughts of Mr Mike Rigby and ‘de-corporatising Australia’ — turns out, he’s on a personal mission…

DJ: It’s three years since you made the move to the ‘sunny side’. What was it that inspired you to make the move?
MR: Although Interbrand was essentially like joining a new start-up, I had already worked with most of the senior team at other agencies; my good friend and co-creative director Chris Maclean, CEO Damian Borchok, MD Richard Curtis and GM Andy Wright.

We’re all very different characters but when it comes to design we share a vision for what we want to achieve and a view on good design. That kind of mutual understanding and respect is very rare, and so the opportunity to create something together was too good to refuse.

DJ: How are you finding living and working in Australia?
MR: It’s been a great three years – I’ve met lots of talented people, made some life-long friends and learned a hell of a lot. I’m eternally grateful to everyone at Interbrand for giving me the opportunity.

DJ: You have also worked in America and the UK, how do you find the creative industries differ between the three?
MR: I guess Australia has been traditionally more focused on craft, whilst the UK is more idea orientated. Of course the ideal is the perfect mix of the two. I have only lectured in America, although I will be spending some time working in our New York office soon so I’ll let you know about that one!

DJ:  Interbrand is your first Creative Director role. How did you find the transition from designer to director?
MR: It was exciting but very hard work. I had to learn how to be a Creative Director whilst still doing my job as a senior designer. When I first joined we weren’t really established as a studio and our team was small. The days would pass by in a blur of meetings and at 6pm I would start a full day of design work.

DJ: There seems to have been a real shift in the perception of Interbrand and larger Australasian based agencies in the last few years, from a corporate feel to a lot more of a creative space. What do you think has triggered this shift?
MR: The key to any successful business is talent. And there has been a steady flow of new talent into Australia over the last 5-6 years. Many of those new designers, writers and strategists are now working in larger studios and have helped to bring new thinking and energy to the industry. Perhaps the GFC acted as a partial trigger. But regardless of that, there’s no doubt it’s a fantastic time to be designing in Australia.

DJ: You state ‘ideas’ as being a core driver behind your work. How do you tackle the search for the idea?
MR: Chris and I often say that we design feeling first not graphics. In other words we need to understand the emotional texture of a brand before we can put a system around it. We get to ideas by talking about the problem a lot. We get angry, we ask stupid questions, and we scribble and doodle. The key is that we absolutely will not stop until we have an idea that we’re all genuinely excited about. Otherwise we’re wasting everyone’s time.

DJ: Ever had creative block?
MR: Yes! It’s usually because I don’t understand the problem properly. A problem well stated is half solved as the saying goes.

DJ: So as a Creative Director, what do you do to drive creative thinking in your team?
MR: We try to push the team out of their comfort zone. To never settle for ‘good enough’ and to see every new project as an opportunity to do something new.

DJ: You cut your teeth at The Chase. What was the most important lesson you learnt here?
MR: Humbleness. Ben and Lionel (the founders) have achieved everything you could hope to achieve in a design career. And yet you couldn’t meet two more down to earth people. That attitude filters into the culture of the agency. Working at the Chase was like being part of a big family. I was very lucky to begin my career there, working with a team of people so patient and nurturing.

DJ: You have previously spoken about design and creativity for social good, how important is this to you?
MR: Hopefully this doesn’t come across as too worthy, but design for good really does mean everything to me. I see design as a transformational force that can revitalise businesses, shift perceptions and on occasion change the world. It’s design thinkers such as Ken Garland, Bruce Mau and Tim Brown that have inspired me the most over the years. They remind me that there is much more to design than design.

DJ: Your awards shelf is pretty full now, any one you are most proud of?
MR: Awards are important as they help you to attract the best talent, but I get very little personal satisfaction from winning them. It does however give me great pleasure to see our younger designers winning awards. It’s really great to have other people also recognise how good they are.

DJ: What would be a dream project in the studio?
MR: IGLOO was a brand we created from scratch and it was a lot of fun. It really isn’t that often that you get to create something completely new. So I’d love to work with more start-ups. And I love working with charities and NFP’s for obvious reasons.

DJ: What sort of culture do you try to impress within your team?
MR: To do meaningful work, to make a difference, to work hard, to keep improving, to stay hungry, to stay humble, to be ambitious, to look out for each other and to try and live life to the full.

DJ: Any advice for younger designers out there?
MR: All of the best designers are self-learners. So read the books, go to the events, watch the TED talks, do the tutorials, ask questions and work hard. Do whatever you think you need to do to improve and learn new skills, and when you start getting good, don’t let up. Never stop learning.

DJ: Interbrand, as agencies go, don’t get much bigger. What are you keen to impress of yourself on the future of the agency?
MR: I say it often, but to join Interbrand Australia is not to join an agency but a cause. We are on a mission to de-corporatise Australia!

DJ: And when he’s not at work, Mike Rigby can be found…
MR: Probably eating! I really love food. That’s another great thing about living in Australia – the food!

www.interbrand.com  / Tw: InterbrandAusNZ
www.mike-rigby.com / Tw: @MikeRigby

Mike spoke at last year’s Brand New Conference in New York.

SAS wind the dial

News

London agency SAS have completed the identity and brand programme for Herbert Smith Freehills – a top 100 law firm born from the merger of two leading firms from opposite points of the compass (UK and Oz, not unlike ourselves).

“At the heart of the new brand is a powerful and simple idea – that Herbert Smith Freehills people “guide their clients through an increasingly complex, challenging and unpredictable world. They advise with clarity, originality and authority.” They are “Perceptive” – this is the idea at the heart of the new brand. This core idea is expressed strongly in the logo and the brand imagery.” – SAS

Lovely work here from SAS who were responsible for everything from strategy to marketing through to digital. When working with a merger, as we all probably know, it’s easy to get sucked into a vortex of ego massaging and politics; no one wants to jump the nostalgia ship easily and, generally, everyone wants their ten pence worth. Inspiring new thinking can be a tough slog, often. SAS’s solution however is both stand-out when aligned to the beige field of beige legal identities and interesting in its thinking. Aside from Wolff Olins’ PWC rebrand three years ago, (I might be wrong but) it’s difficult to single out a particularly memorable brand in the legal or finance sectors. At least none spring to mind..?

Nice, corporate, well reasoned and broad. Like…

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Branding a new member of the world’s leading law firms from SAS on Vimeo.

Team Karoshi make it onto the big screen

News

There’s fewer things in this life we take more satisfaction from than a good ol’ simple and smart identity solution. That’s right. Breath it in. Yeh. Tasty. Unlikely to be privy to that, but happy to oblige us regardless are London swashbucklers of swish Karoshi. They’ve filled our little lungs with this little trinket of an identity for independent producer of things for your tele box Newscope Films – a company who are “Innovative and advocates for highly conceptual and original genre films.”

Karoshi were commissioned to create a progressive identity solution which captured this brand spirit while remaining accessible to their broad, international audience. Developing a visual play on the notion of a unique perspective, the dynamic identity solution “evokes the movement of the animation with typographic inspiration being drawn from large-scale, three dimensional type heritage within film and cinema”… “The identity employs only black and white and each logotype is constrained to the maximum proportions of 2.4:1 – the current cinema widescreen standard.”

Initial stationery application encompassed 8 variations of the logo which will be expanded upon throughout rollout. The intention is for each subsequent production to carry a unique animated ident.

What tickles my fancy are subtle nods to filmgoing type of yesteryear that come through via some fairly solid background research, as well as the chaps seemingly taking good time to understand the medium. Whether you like the mark or not, it would be pretty hard to deny (pretty hard to the client to deny) the reasoning at presentation stage (take note younglings).

Read more about this puppy here. Wave n’ a wink here.

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Urbis Design Day

Events / News

The streets of Auckland were awash with creativity this weekend as Urbis Design Day opened it’s doors once again. If you are unfamiliar with this gem of an idea, then I shall bring you up to speed. The event essentially centers around perfect pairings, with two companies coming together to form a duo. For the past few months this handpicked selection of creative and commercial twosomes have been beavering away, pooling their knowledge and expertise to bring to the floor the fruits of their collaboration. And so, on Saturday, the results were unveiled.

Unfortunately, the absence of the revolutionary pairing for Alt and Fisher and Paykel, to create ‘The Social Kitchen‘ was notable with non of the installations reaching this rather high benchmark.

The day began for me on K Road with the Resene and Matter partnership. While I was a little unclear what was really going on here, my small ‘test pot’ of M&Ms did see me through the day.

Next came a hop, skip and a jump down to the Silo Towers, a great space to occupy. Hewlett Packard and Whitecliffe College of Art and Design took to the stage with some interesting student work on show, however the presence of the technology company seemed rather limited. My personal highlight was seeing the great work of Willem Ockhuysen being showcased, a recent graduate who’s typographic project explored the world of the partially sighted.

Next came a good old swoon at some of David Trubridge‘s finest offerings over at Backhouse in Parnell. Now you have to hand it to those Gather and Hunt girls, they show pulled in the hospitality goodies. The viewer was asked to select their favourite piece and trade it for a treat at the end—with a choice of 6 different goodies as I recall (special mention to my delicious Rye bread treat from Bread and Butter Letter). A simple concept that clearly kept the punters happy, worked with a tight space and let the pieces of work speak for themselves.

Next door we finally got to experience the glass enclosure that is the new Geyser building, and in collaboration with Design Assembly, they took us on a typographic journey of self discovery. A nice, engaging creative idea that saw the viewer make personal choices leading to them being assigned a type style based on their personality.

And last, but by certainly no means least, my highlight for the day was Mini and Switch. Head and shoulders above their counterparts these guys really delivered a cohesive experience that allowed the skills of Switch and the Mini product to sing in equal measures. This was a space you wanted to walk round more than once, with delicious, on theme, food and a clear, creative, well executed message. The highlight for me being the clever copywriting and storytelling. Each of the four mini models was matched to a personality type, with a story and accompanying visual elements that the viewer could really connect with and enjoy. Hey if I win Big Wednesday this week the Roadster will be mine!

Dance with The Lord of Misrule

News

It’s probably fair to say the Welsh like a party. If you were in Cardiff last weekend you can probably lay testament to that. And not a lot of people know, us Welsh like a festival too; we’ve got all sorts and in all shapes and sizes, from Wakestock up in Abersoch, to Croissant Neuf down in Usk. All sorts. But probably the most renowned of them all is the Green Man Festival held over four days and nine stages and enjoyed by a growing number of revellers each year since 2003, in the Black Mountains of the Brecon Beacons.

Beloved for its truly independent ethos and eclectic programming, the festival is now in its eleventh year and going strong. Headliners for 2013 include Band Of Horses, Edwyn Collins, John Cale, Local Natives, Erol Alkan and scores more. This year, YCN Studio have been commissioned to conceive and implement a fresh identity for 2013, including a new website painting a picture of the festival’s unique experience.

YCN Studio director Alex Ostrowski explains how the team began the project: “We started by asking a million questions and immersing ourselves in the materials from previous years. Pretty early on, we knew we wanted to do something unexpected with the Green Man himself… we wanted to find a way for audiences to feel his presence everywhere, rather than just in a logo.”

The festival is named after an ancient nature deity believed to originate from Pagan times. The Green Man represents nature’s wildness, and is known to be ‘The Lord of Misrule’ with a mischievous side. So YCN’s approach was to imply the Green Man’s omnipresence as an all-seeing deity, by transferring his energy from the singularity of a portrait-based logo into a more flexible visual language of organic elements. They also developed the Green Man’s tone of voice, naming the festival’s ten distinct areas, each blessed with a unique indigenous symbol. Names include ‘Babbling Tongues’ (the spoken word area), ‘Little Folk’ (the kids area) and ‘Fortune Falls’ (the waterfall & ponds area).

YCN Studio commissioned poet Kibbo Kift to create a stirring statement from the Green Man, excerpts from which flash up on the Green Man website intermittently during the user journey. From website to wristbands, YCN Studio worked with illustrator Sarah Mazzetti to develop the Green Man’s world of pagan-tinged wild strangeness. Mazzetti helped to conjure an exciting picture of the festival, felt across maps, area illustrations, print matter, and the website.

YCN Studio also developed a custom typeface for the project; drawn, woodblock-printed and faithfully digitised with help from Colophon Foundry. The typeface, available in four weights of varying ‘roughness’ from the physical printing process, contains unique symbols for each festival area.

I really love this job. It has life, it has depth, it has a purpose and it is authentic. Well done YCN. Read more about it here, or follow YCN on Twitter

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Nicknack does it again

Awesome agencies

So last week we brought you the news of Nicknack’s recent success at the 2013 Rebrand 100 Awards, well we may have been keeping something from you… they only did the double! Take a look at the second project of Nicknacks to pick up a gong, this was the challenge they faced:

“With a steady decline in the number of families with Lutheran backgrounds the Lutheran Laypeople’s League brand was suffering from a lack of awareness and relevance especially in Lutheran schools. Nicknack recommended a number of strategic and design changes to make the brand more engaging, relevant and noticeable to its audiences. Foremost among these changes was shortening the name to its acronym (LLL), which formed the basis of the new corporate identity. A new, audience-specific approach to messaging was developed that engaged them using different colours, typography styles and messaging. A new suite of collateral material was developed while the website was redesigned to reflect the refreshed corporate identity”.

@nicknack_      www.nicknack.com.au