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REVEALED!

ALL THE WINNING PROJECTS FROM THE BRAND IMPACT AWARDS 2015

ISSUE 245
OCTOBER 2015
DIGITAL EDITION
PRODUCED IN
THE UK

PITCH MORE
PERSUASIVELY
How to sell your design concepts
toeven the most sceptical client

FeaTUrinG
johnson banks nb
The ParTners r/Ga
MovinG brands
AND MORE...

M
e
G

r
b

Essential tips to deal with clueless clients,


image licensing, plagiarism and more

M
o
si d

his
t
m ct
o
r
f pa
s
t
h d Im rs
g
i
s
n ran inne
i
e
v rs B d w
i
s
u
l ea war
c
x
y A
E

i
d
an

The LeGaL GUide For desiGners

F
o
s

W
G
n

do YoU CharGe bY The hoUr?

You might as well be punching yourself in


theface, says freelancer Sabrina Smelko

W E LCOME

OCTOBER 2015

EDITORS LETTER
This is a very special issue, in which were delighted to announce
the winners of the second annual Brand Impact Awards our
celebration of the best branding work from around the world.
But the huge extended feature at the core of this issue goes far
beyond a showcase of the projects that impressed our judging panel.
Weaved throughout are the gems of wisdom that helped make those
projects world-class and like the awards themselves, these are
carefully tailored to the market sector for which they were created.
Once again, our two special awards recognise the ever-increasing
importance of delivering meaningful social impact, and the value that
fruitful collaboration can have to a project. Its telling that the winners
of both also won our Best of Show gongs.
One of the most crucial aspects of creative collaboration is a
strongrelationship between designer and client but of course, not
alldesigners are so lucky. Therefore our second feature reveals how
toturn things around in a pitch to a sceptical and uncooperative client.
Next month, we shift our focus from the projects to the studios
themselves, as we reveal the final 30 in our UK Studio Rankings 2015,
the result of a huge nationwide peer reputation survey of over 60
leading creative directors. There are 12 new entries since last year, not
to mention a few spectacular rises and falls and well be exploring the
secrets of all these studios successes. See you then!

KEEP IN
TOUCH WITH

TWITTER.COM/
COMPUTERARTS

FACEBOOK.COM/
COMPUTERARTS

NICK CARSON
EDITOR
nick.carson@futurenet.com

FEATURING

KARAN SINGH

KIRSTY WHITTAKER

VERNICA FUERTE

JAMES KENT

SUNITA YEOMANS

This issues cover artist is


illustrator Karan Singh. His
bold and colourful style
is a playful interpretation
of minimalism particularly
focusing on depth and
dimension through
pattern and repetition.
Professionally, hes worked
with Google, Adobe, IBM,
Asics and the band OK Go.
www.wakeupmrsingh.com

Kirsty is a senior designer


and team leader at NB,
where she has worked for
four years. Her most recent
project has been curating the
Sign Of The Times exhibition
at the Protein Gallery,
featuring the work of 100
leading designers. Turn to
page 91 for her Aspallcyder
rebranding workflow.
www.nbstudio.co.uk

Veronica set up Hey Studio


in 2007 after working for
a number of years with a
variety of design studios
inBarcelona. She was soon
joined by Ricardo Jorge and
together they built Hey into
the multi-disciplinary studio
that it is today. Turn to page
20 for her take on the Tokyo
Olympics logo controversy.
www.heystudio.es

James Kent was founding


partner of KentLyons for
12years before setting up
Why. He has been working
with leading brands such
as BBC, Channel 4, BT
and BSkyB for almost 20
years, and offers advice
andexpertise on how to
winover difficult clients in
our feature on page 42.
www.wearewhy.co.uk

Brand impact Awards judge


Sunita has a wealth of clientside experience at major
retailers and supermarkets,
having previous worked as
head of creative at Tesco,
creative controller at Argos
and head of online design
at Boots. She shares her
insights from the BIA judging
process over on page 68.
www.sshy.co.uk

COMPUTERARTS.CREATIVEBLOQ.COM
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M E E T T HE T E A M

OCTOBER 2015

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EDITORIAL

NICK CARSON
EDITOR
Nick has been running 16.5 miles home from work
recently inpreparation for his first marathon. Check
out his just cause over on the Just Giving website at
www.justgiving.com/nc-marathon.

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JO GULLIVER
ART EDITOR
Not satisfied with one holiday, Jo took two this month
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for a long stag weekend. Green beer was consumed.

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TIM HARDWICK
OPERATIONS EDITOR
Tim took a time-out in Yorkshire with his family and
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REGINA ERAK International director


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RICH CARTER

Tel: +44 (0)1225 442244


Fax: +44 (0)1225 732275

DESIGNER
A sad goodbye is in order as Rich is moving on from
CA to pastures new at Bath-based branding and
packaging agency Design Group International.
Congratulations and good luck to you, Rich!

MANAGEMENT

CONTRIBUTORS

Tom Dennis, FranklinTill, Veronica


Fuerte,Kate Marlow, Michael Molfetas,
Tommy Parker, Karan Singh, Sabrina
Smelko, Matthias Steffen, Anna
Richardson Taylor, Wijtze Valkema,
Anne Wollenberg, Tom Woolley

ADVERTISING

SASHA MCGREGOR Ad manager


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SUZANNE SMITH Client director
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NIAL FERGUSON Content & Marketing director


MATT PIERCE Head of Content & Marketing,
Photography, Creative & Design
DAN OLIVER Group editor-in-chief,
Creative & Design
RODNEY DIVE Group art director,
Photography, Creative & Design
TOM MAY Group content editor

STAFF CONTRIBUTORS
JULIA SAGAR

NEXT ISSUE ON SALE

16 October 2015

COMMISSIONING EDITOR
Julia had a swashbuckling few days at the Boomtown
Fair, where the theme this year was pirates. However
Julia misinterpreted this and went dressed as
Liberace; she got mocked for excessive sleevage.

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SAMMY MAINE
COMMISSIONING EDITOR
This month Sammy has been reading Americanah by
Nigerian author Chimamanda Ngozi Adichie, and The
Secret History by Mississippi-born writer Donna Tartt.
What should she read next? Tweet @sammymaine.

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OCTOBER 2015

ISSUE 24 5
OC T OBER 20 15

CULTURE
10

TRENDS: Massaging the mind with a spectrum of light,


plus Barcelona-street inspired patterned carpets

13

PLACES: Elmwoods Daisy Hill highlights some of her


favourite current hangouts in the city of Leeds

14

PEOPLE: Creative studio Lord Whitney talks about its


newly revamped website and its whimsical humour

16

EVENTS: What happens when a creative studio takes


a vacation together? We have the scoop here!

INSIGHT
20

PLAGIARISE THIS: Heys Veronica Fuerte on what


it means to cross the red line from being influenced
bysomething to just plain copying it

24

STOP CHARGING BY THE HOUR: Hourly pricing


for your creative services is tantamount to punching
yourself in the face, argues Sabrina Smelko

26

SHOWCASE
Our selection of the worlds best new
graphic design, illustration and motion
graphics work 28

DOING IT FOR THE KIDS: Here Design creative


partner Kate Marlow looks at the consequences of
starting a family on ones creative career

D IARY 2
V I D EO WA L KT H R O U G H
D IARY 1

NB STUDIO

PROJECT DIARIES
A global rebrand for Carlsberg, 3D-printed numerical resin
sculptures, and using blood as ink for a poster to mark the
anniversary of the Hiroshima and Nagasaki bombs
83

D IARY 3

COMPUTERARTS.CREATIVEBLOQ.COM
-8-

Senior designer Kirsty Whittaker


explains how NB combined eight
generations of apple expertise in a
new identity for Aspall cyder
91

C O N TE N TS

OCTOBER 2015

BR AN D IMPACT AWARDS

80 GEMS OF BRANDING WISDOM


The results are in from this years Brand Impact Awards. Find out who came top of their
creative category and absorb advice from the best brand designers in the business
48

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IN DUSTRY ISSUE S

NE E D T O K NO W

PITCH PERSUASIVELY

LAW FOR DESIGNERS

Not every creative project is smooth sailing


from pitch to delivery. Heres what to do
when a client rejects your design
42

Has your creative work been ripped off?


Fear not: help is at hand. We reveal how to
navigate legal pitfalls for designers
102

COMPUTERARTS.CREATIVEBLOQ.COM
-9-

WE LOVE ...

COLOUR
THERAPY
Hortense Duthilleux massages the
mind with a spectrum of light
cientific research into the psychological
and physiological impact of colour
isdeveloping rapidly, all thanks to
advances in the monitoring and quantifying
ofour responses to sensorial stimulation.
Thereisalready compelling evidence that
ourperception of colour really does affect
ourminds and bodies. As a result, artists and
designers are testing colours power to alter
visual perception, mood and mental state.
In an attempt to manage our fast-paced,
increasingly out-of-kilter work-life balance, a
growingnumber of consumers are turning to
meditative practices to help reduce stress as
well as enhance performance and productivity.
Recent Central Saint Martins graduate Hortense
Duthilleux explores how light can be used as a
tool to restore a sense of balance by completely
massaging the mind with light. Using different
filtersof light housed inside optical goggles,
wearersare encouraged to absorb coloured
lighting whilst staring at a spinning spectrum in
order to achieve the optimummeditativestate.

IMAGE CREDIT: Highlight by Hortense Duthilleux

www.hortense.co.uk
Each month, our Trends section is curated by
experienced creative consultancy FranklinTill
(www.franklintill.com).

CULTURE TR END S

OCTOBER 2015

DE SIGN E D FOR LIFE

antique triumph
Hidraulik takes up the pavements of Barcelona and gives them a modern in-house twist
erceptive creatives visiting Barcelona
wont have failed to notice the opulently
patterned hydraulic tiles that line the
citys iconic streets and squares. These art
nouveau flourishes gave local T-shirt company
Ddeloi the inspiration to create similarly
geometric shirt designs and before long the
patterns had inspired a whole new brand.
I thought the best way to show these patterns
was still on the floor, but using carpets, says Eloi
Rossins, founder of Hidraulik Modernist Rugs.
Initially my intention was to use handmade New
Zealand wool, but I realised they would be more

modern if they were created out of PVC and


printed using UVI ink, making them anti-bacterial,
fireproof, cool insulating and easy to clean.
With help from Barcelona-based branding
and web design specialists Huaman Studio,
Rossins was able to produce both classic
and modern carpet collections which come in
stylish yet inexpensive contemporary telescope
packaging, displaying logo, barcode, model name,
size and technical information. Huaman Studio
also designed the flexible, neutral identity and
website, creating added value to the innovative
products and widening their target audience.

PRODUCT:

Hidraulik rugs come


in Classic, Modern
and Custom ranges,
with unique designs
inspired by particular
Barcelona streets.
www.hidrauliktiles.com

COST: 230540

Stay one
step ahead
with our
barometer
of visual cool

MAINSTREAM

STILL FRESH

EMERGING

No longer just for


girls, pastel pink
is the new modern
shade for a range
of packaging
andbranding.

Colour bleed: paper


edges appear to
be dipped in colour
allowing for the
ink to bleed freely
across the page.

Digital drag:
capturing the
repeated digital
tracers from a font
thats been dragged
across a screen.

COMPUTERARTS.CREATIVEBLOQ.COM
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ILLUSTRATION: Michael Molfetas


www.michaelmolfetas.com

TRENDING

P LA C E S CULTURE

OCTOBER 2015

STREET VIE W

CRE ATIVE QUARTE RS

ACCESS OUR
GOOGLE MAP AT
bit.ly/CALeeds

LEEDS, UK

Elmwood account manager Daisy Hill loves keeping her design consultancy
team updated with the latest creative places and events around Leeds. Here
shehighlights some of her current favourite hangouts in the West Yorkshire city

DUKE STUDIOS

3 Sheaf Street, LS10 1HD


www.duke-studios.com
This creative co-working space hosts
studios for nearly 50 companies,
encourages collaboration, supports
start-ups and has brought together
an active design community. Its been
beautifully converted to include the
new Sheaf Street Cafeteria.

THE TETLEY

Hunslet Road, LS10 1JQ


www.thetetley.org
A not-for-profit arts and learning
centre in an iconic art deco building.
Its packed with workshops,
exhibitions and opportunities to
take part in the citys art projects.
Past projects have included painting
workshops and food festivals.

VILLAGE BOOKSTORE

Call Lane, LS1 7BR


www.villagebookstore.co.uk
Village is an independent book
store and gallery. They stock a
huge range of zines and books, and
it has the added benefit of being
in the Corn Exchange, which is a
beautiful building, home to loads
ofindependent businesses.

BELGRAVE MUSIC HALL

ILLUSTRATION: Tom Woolley, www.tomwoolley.com

1 Cross Belgrave Street, LS2 8JP


www.belgravemusichall.com
The music scene at the Belgrave
is second to none, the events are
varied and the ever-changing street
food offering keeps you on your toes.
There is a constant stream of events
happening. And to top it all off,
theres a roof terrace with a bar.

MUNRO HOUSE

Duke Street, LS9 8AG


www.munro-house.co.uk
A well-established creative hub in
the city centre, known for its everchanging exhibitions and a variety
of events. The main draw is an
independent book and design shop,
Colours May Vary, which supports
local designers and print makers.

Daisy Hill first moved to Leeds in 2009 to study design at university. After falling in love with the city life she decided to
stay. In 2014 she joined Elmwood, having admired the brand design consultancy for several years. www.elmwood.com
COMPUTERARTS.CREATIVEBLOQ.COM
- 13 -

CULTURE P EOP LE
MY STYLE IS...

BALLERINA MEETS
HELLS ANGEL VIA
MARILYN MANSON

Amy Lord and Rebekah


Whitney have redrawn
their website to reflect
the studios expansion

Michelle Haswell is
a Glasgow graphic
designer and blogger,
otherwise known
asQueen Michelle.
www.kingdomofstyle.net

NE W V E NT URE S

STOMACH TATTOO
Most of my tattoos are in memory
of my parents, except one illconceived one on my stomach,
which I got when I was 20. I may
ormay not have been drunk.

DOWN THE
RABBIT HOLE
Creative studio Lord Whitney has revamped
its website, filling it with its signature blend of
absurdaesthetics and whimsical humour

outed as self-proclaimed
connoisseurs of make-believe,
Lord Whitney exudes creative
passion. From surreal sets to music
videos and ad campaigns, its dedicated
team has worked with a range of
high-profile names like Cartier and
TateLiverpool. Now with a redesigned
website, online visitors can indulge
themselves in the nonsensical court
ofLord Whitney.

IRIS VAN HERPEN COUTURE SHOES

ILLUSTRATION: Rob Grasso, www.robgrassoillustration.com

These shoes are mental. I tried


them on and had to have them,
even though they are entirely
impractical. I rarely wear them,
therefore they are destined for a
display cabinet at some point.

BALLET GEAR
When Im not designing and
blogging, Im a ballet dancer. Its
my passion and I couldnt live
without it. Ballet is this beautiful
collision between femininity, pain,
strength and precision.

Tell us what Lord Whitney does.


We are passionate about play, creativity
and the overuse of our imaginations, and
we apply this to each of our projects
whether thats a set piece for a fashion
editorial, props for a window display, or
an immersive environment for a theatre
piece. Were makers and make-believers
at heart; we are a studio that has a
talented team dedicated to designing
and delivering original, imaginative
andexciting new work.
What made you update your website?
When we designed the website three
years ago we worked with Boxhead, who
did an incredible job of representing Lord
Whitney as the main two artists Amy
and Rebekah. Since then, weve grown
COMPUTERARTS.CREATIVEBLOQ.COM
- 14 -

into a team of seven and been involved


inmuch larger scale and high-end
projects, so it just felt like wed changed
as a company and it didnt quite represent
what Lord Whitney has become. We
were keen to evolve the site in the same
way that weve evolved as a studio.
How did you generate ideas for what
the site could look like?
Weve developed a distinctive aesthetic
and brand for ourselves, so it was natural
to follow that through into the website
design. There was a lot of generating
ideas with Rabbit Hole, bouncing ideas
back and forth with them and trying
out different options, and of course we
looked at websites we liked as well not
just their aesthetic but their functionality.
What was the most challenging part
andhow did you overcome it?
Trying to explain and get across the
variety of work we do can be difficult.
Its much easier to just show people.
Wewanted to let the work speak for
itself, but also offer a more in-depth
lookat Lord Whitney for those who
takethe timeto explore the site.
What three pieces of advice would
you give any design studio looking
toredesign its portfolio website?
Think about how to get across a sense
of your personality and creative style
without trying to force it too much. Be
clear about what you do, how you do it
and who youve worked with. And have
fun with it! See your website as a piece
ofwork in itself, and design it with the
care and creativity that you would give
toany other work.
www.lordwhitney.co.uk

5
3

M Y DE SIGN SPACE IS...

PICTURE PERFECT

Illustrator and designer Tamer Koseli maintains a Zen-like zone


ofcreativity amid the hectic bustle of Istanbuls business district
oes art imitate life or vice versa?
The perennial question hovers
tantalisingly over the clean,
orderly and meticulous creative space
ofillustrator and designer Tamer Koseli,
who could easily be sat in a scene straight
out of his own minimalist sketchbook.
Truth be told, its also the living room
ofSwiss-born Koselis home, a square peg
in the round hole of downtown Levent, a
bustling cluster of skyscrapers in one of
Istanbuls most frenetic business districts.
Ive been living here for five years,
explains the bespectacled designer. Its
basically full of things that have meaning for
me, but one of the best things about it is that
I can get to work right after Ive got my first
espresso while I still have my boxers on.
Convenience coffee comes with a twoway grip, thanks to the vestibular vessel (aka
Dombo) at Koselis right-hand side (1). I got
this unbreakable Domoor cup while I was

exhibiting at Milan Design Week 2009 as


astudent, he recalls happily. It reminds me
of the good old days when I was constantly
chock-full of inspiration, and how much fun
I had on that trip I guess it reminds me of
childhood in a way.
Far from being relegated to a bygone
era, design events are a recurring feature
of Koselis rich and co-ordinated creative
lifestyle, suggested by thePictoplasma
Character Portraits book that sits on his
shelf (2). I love design conferences and
2014 could well be the year that I attended
the most, he says. I really appreciate the
creativity of thepresentationsthere.
The illustrator continues to find plenty
ofinspiration in childrens toys as
evidenced by the sentinel-like ForceBot
that overlooks an assortment of retro action
figures and iconic figurines (3). It really
doesnt matter what age I am, Ill always
like them, he assures us. And despite

the fact that he doesnt have feelings, Ill


always careabout ForceBot, because he
was my first ever robot toy. Ill admit that
Imfairlymad about them.
His fondness for the giant LEGO head
container (4) is more practical however: Im
not sure if theres another toy than LEGO
which has affected the way I design and
illustrate things, he reflects. Combining
simple geometric shapes with a limited
colour palette thats definitely a method
Ilearnt from playing with the little bricks.
Finally, its impossible not to notice the
Happy New Year card designed by Hey
Studio, delivered by Monocle that takes
singular pride of place on the whitewashed
walls (5). Koseli reflects on the framed
design: Creating an illustrationforMonocle
was like a milestone for me. After that my
career changed a lot, he reveals, hinting at
the exhibitions, print and online clients that
his distinctive work has adorned ever since.

COMPUTERARTS.CREATIVEBLOQ.COM
- 15 -

Tamer founded his


studio in Istanbul,
Turkey in 2010. He has
worked with clients
such as Cond Nast,
Knack Magazine,
Mens Health, The
North Face and The
WallStreet Journal.
www.tamerkoseli.com

CULTURE EVENTS

OCTOBER 2015

KEY INFO
LOCATION
Ibiza, Spain
www.ibiza.travel
WHEN
August 2015
PREVIOUS DESTINATIONS
Copenhagen, Barcelona,
Paris, Hamburg, Berlin,
Reykjavik, Marbella,
Oslo, Ibiza (again)

S O M E O N E S U M M E R PA R T Y

SOMEONES
SPANISH SOCIAL

Award-winning London-based design practice SomeOne knows


how to party! We caught up with founder and strategic director
Simon Manchip to find out what makes the perfect team holiday
ork hard, play hard it could
soeasily be the motto of
designagency SomeOne,
whose recent holiday party saw the
entire agency take Ibiza by storm

What are the key factors in deciding


ona location for the party?
Will it be memorable? We make our own
fun, but its even better in a castle! Will it
run out of drinks? We drank the Marbella
Beach Club dry. Will we be asked to leave?
Because 44 people can make quite a
scene. Get those right and its great!
Do you set aside studio budget for
these events or does everyone chip in?
Everything is paid for by the company.
With the parties, we have always set out
to give people the chance to experience
things they couldnt easily do on their
own. Weve hired a suite of private villas
with their own private pools. Weve
swam in volcanic heated lakes in Iceland,
been pulled across tundra by huskies,
chartered yachts for the day, and taken
over more than a few beach clubs and

high-end restaurants. Its all budgeted


for. No one has to put their hand in their
pocket. Everyone is invited.
Is it a big job pulling it all together
do you have designated organisers?
It takes about three months to organise
them. We have a core team who
specialise in the various components.
Flight. Hotel. Events. Food. Because
we know theyve got to be amazing we
just fit in chats about plans when we
get a chance. Its entirely based on the
enthusiasm to make it rock.
Are these trips strictly no work chat or
do you ever have creative epiphanies?
People can pretty much do whatever they
want in the studio or on the beach. Its all
interlinked. Its fun discussing next weeks
film shoot in a sun-drenched jacuzzi.
Youve been to Ibiza before. Why again?
I think we may have found our spiritual
home. We are already talking about going
back next year. Its got it all.
www.someoneinlondon.com
COMPUTERARTS.CREATIVEBLOQ.COM
- 16 -

Poolside cocktails,
sunshine-drenched
sailing and, of course,
clubbing are the
perfect combination
for the SomeOne crew

E V E NT S CULTURE

OCTOBER 2015

KEY INFO
LOCATION
The Catskills, New York, USA
www.visitthe catskills.com
WHEN
August 2015

VAULT49 TE AM GE TAWAY

GOING WILD
WITH VAULT49

New York-based design agency Vault49 looks forward to


its summer retreats as an opportunity to get back to nature.
Jonathan Kenyon talks good times in the Catskills countryside
etting out of the studio is
goodfor you especially if
yousubstitute it for a placid
lakeside and undulating countryside.
Which is what Vault49 did on its last
retreat in upstate New York

balance is incredibly important, Id say


especially in a creative profession. Were
fortunate enough to all be doing what
we love, but its also a demanding career
and its important to get a healthy dose
ofperspective.

Why did you choose the Catskills for


your retreat and how was it?
New York is deceptive. You feel like
youre in the middle of an urban
metropolis but in just a couple of hours
driving youre exposed to some of the
most impressive countryside to be found
anywhere in the world. The Catskills
offered us boating, fishing, hiking, camp
fires, and all on a working farm, so each
morning we got our own milk, eggs, and
supplies for the day. Oh, and there was
no cellular signal either, so we couldnt be
tempted to do a little work on the sly!

Do you have a recovery period or do


you get straight back to work after?
Our team returns to the office noticeably
energised and ready for any challenge.
Theres no recovery period and, if
anything, we achieve so much in the
following weeks to not notice the days
wewere absent.

Why are studio socials so important?


Our regular outings are an opportunity
to celebrate our team, enjoy each others
company, and also course-correct. Its
a clich of course, but its true: work-life

Finally, what would your advice be to


fellow studios thinking of organising
something like this every year?
Theres no reason why every studio cant
do regular team retreats. The returns are
so much greater than the outlay, both in
terms of effort and cost. A retreat doesnt
have to be expensive, it doesnt have to
be far, and it doesnt have to disrupt client
work if its well organised.
www.vault49.com
COMPUTERARTS.CREATIVEBLOQ.COM
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Boating, fishing,
hiking,canoeing
andcamp fires all
theelements that
make Vault49s retreat
one to remember

CULTURE EVENTS

OCTOBER 2015

WHATS ON

dates for your diary


The Pixel Show returns with a bang to the Latin American creative scene in October, with
OFFSET London taking the schedule into November promising a raft of top notch speakers

LONDON DESIGN FESTIVAL

BRAND NEW CONFERENCE

19-27 SEPTEMBER
Various venues, London
www. londondesignfestival.com
First staged in 2003, LDF is
oneofthe worlds most hotly
anticipated annual design events.
The festival programme is made
up of more than 350 exhibitions,
installations, talks and debates
thatare staged by hundreds
ofpartner organisations from
across the design spectrum.

24-25 SEPTEMBER
Lower Manhattan, New York
www.underconsideration.com
Hosted by UnderConsideration,
this two-day event focuses on the
development of corporate and
brand identity projects by some of
todays most active and influential
practitioners from around the
world. Speakers this year include
Etsys Julia Hoffman and Snask.

GLOBAL DESIGN FORUM

THE SECRET
HANDSHAKE CONFERENCE

20-25 SEPTEMBER
Cromwell Road, London
www.globaldesignforum.com
Staged during and organised by
the London Design Festival, the
GDF is the agenda-setting event
for design, and aims to challenge
established thinking bypresenting
key global issues and linking them
to opportunities in the design
sector. David Adjaye will design an
installation for Somerset House
as part of the Festival, which also
features Wolfgang Buttress, the
designer behind the UK Pavilion at
Milan Expo 2015.

02-03 OCTOBER
ADC Gallery, New York City
www.learnthesecret
handshake.com
The Secret Handshake helps
young creatives looking for
insider insight, honest answers
and solid solutions to go pro.
Produced in partnership with
the Art Directors Club (ADC),
this conference bringstogether
abroad rangeof talks, inspiration
and educational panel discussions.
Speakers thisyear include Wolff
Olins LisaSmith and ADCYoung
Guns2011 WinnerPing Zhu.

HOW INTERACTIVE DESIGN


CONFERENCE
05-07 OCTOBER
Chicago, USA
www.howinteractive
conference.com
Billed as the web conference for
designers, HOW brings together
interactive designers behind
blockbuster web design projects
for the likes of Google, Etsy, Fitbit
and more. Through a mixture of
talks and workshops, speakers will
demystify concepts, share design
processes that you can include in
your own work, and highlight hot
web design trends and tools.

SENSES & SENSIBILITY

PIXEL SHOW
17-18 OCTOBER
So Paulo, Brazil
www.pixelshow.com.br
The Pixel Show is the biggest
creative event in Latin America
and the third largest in the world.
Each year it brings together the
Latin creative market featuring
national and international lectures,
workshops, exhibitions, live
paintings sessions, new musicians
and Sharp Talks (the mini free
lectures that were such a success
at last years show). Organised by
Zupi, it caters best for creatives
from Argentina, Brazil, Chile,
Peru, Colombia and Portugal.

05-07 OCTOBER
Lisbon, Portugal
www.iade.pt/unidcom/
senses2015
This conference is an international
forum for sharing and exchanging
information which embraces the
theoretical, applied and related
areas of design and marketing.
Strands will be delivered in
parallel sessions through keynote
presentations. Themes include
culture and design, sustainability,
future trends and innovation.

INTERACT LONDON

AIGA DESIGN CONFERENCE

OFFSET LONDON

08-10 OCTOBER
Hyatt Regency, New Orleans
www.designconference.aiga.org
The AIGA conference brings
the design community together
to experience provocative
speakers, local culture, nightly
networking receptions and
competitions, including Command
X, in which emerging designers
face off in head-to-head battles.
The moderator for the event
this year is Roman Mars, host
of the popular 99% Invisible
podcast on design. Exhibitions,
professional development sessions
and face-to-face roundtables
with design heroes also feature.

12-13 NOVEMBER
Shoreditch Town Hall, London
www.iloveoffset.com
One of the most well-regarded
creative events around comes to
London for the first time, and looks
set to build on past successes
when it has regularly drawn over
2,000 delegates to Dublin. A
smorgasboard of top speakers
will be in attendance, including
illustrators Yasmeen Ismail, Tomi
Ungerer, McBess and Seb Lester,
creative agencies Graphic Thought
Facility and Mother London, set
designer Rachel Thomas, fashion
designer Una Burke, and the
inimitable Morag Myerscough.

COMPUTERARTS.CREATIVEBLOQ.COM
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20-21 OCTOBER
The British Museum, London
www.2015.interactconf.com
Interact London is a bespoke event
that explores the importance of
design and the roles that UX and
IA play in todays digital society.
Together, the speakers and talks
represent a mix of philosophy
and practice from some of the
most accomplished thinkers and
practitioners in their fields who
believe design makes a difference.
.

OCTOBER 2015

Strong opinion and


analysis from across the
global design industry
THIS MONTH
VERONICA FUERTE
FOUNDER, HEY STUDIO
www.heystudio.es

SABRINA SMELKO
ILLUSTRATOR AND ART DIRECTOR
www.sabrinasmelko.com

KATE MARLOW
FOUNDER, HERE DESIGN
www.heredesign.co.uk

REGULAR WRITERS
BRUNO MAAG
FOUNDER,
DALTON MAAG

MARK BONNER
PRESIDENT,
D&AD

SABRINA SMELKO
ILLUSTRATOR AND
ART DIRECTOR

BEN TALLON
FREELANCE
DESIGNER

CRAIG WARD
DESIGNER AND
ARTDIRECTOR

LOUISE SLOPER
HEAD OF DESIGN,
CHI & PARTNERS

WAS THE TOKYO


LOGO FIASCO A
WITCHHUNT?
Veronica Fuerte blames social media
not plagiarism for the abandonment
of the first Tokyo Olympics logo

V E R ONI C A F UE R T E INSIGHT

OCTOBER 2015

ABOUT THE WRITER


Veronica Fuerte set up Hey Studio
in2007 after working for a variety of
design studios in Barcelona. Within a
year she was joined by Elisava graduate
and Hey Studio partner Ricardo Jorge,
and together they built Hey into the
multi-disciplinary studio that it is today.
www.heystudio.es

s designers we are constantly surrounded by


inputs. Information is everywhere and we
are all bombarded by it all the time. Walking
down the street we see posters, adverts, shops, people;
on the internet we read blogs and articles, and look
atthousands of images that people we follow have
liked. Our culture is alive with ideas and they can
beaccessed as never before. We absorb all this
information. Most of it goes in unconsciously and
sometimes something stops us for a moment in
ourbusy lives and makes us think, setting off a
trainof thought that arrives somewhere else.
Its quite normal that you remember some of
thesethings you have seen and use them in some
waywithout thinking about it too much. This is how
the creative process works. There is an accumulation
of ideas that over the years evolve in different ways
when applied by different people.
In a creative profession like design its essential
tobe aware of what has been done and what is being
done. This is how we learn, how we get better and
howthe work that we produce grows. The really
bigchallenge with making an identity is to create
something unique. To make something completely
unique is incredibly hard and if you manage to do it
then you have either done something revolutionary
and brilliant or something bad and wrong!
An artist or a designer who is angry that their
creativity has been copied makes a good news story.
Social media explodes and everyone can give their
opinion. Theres a big fuss, its a lot of fun and then it is
forgotten. The disappointing thing when this happens
in the less visible creative industries, like design, is
therealisation that the only time that the profession
seems to get noticed is when we are meant to be at
warwith each other. Sometimes you think it would be
nice if the story could just be that someone produced a
good identity but obviously we all know that isnt the
way these things work. Disaccord makes a better story.
How closely one piece of creative work resembles
another also depends on the type of work it is.
Crossing the red line from being influenced by
something to just copying it isnt the same in every
creative process. The smaller the creative palette, the
more similarities there will be. That doesnt mean it
has been copied, it just means that if people are using
the same tools, it is more probable they will come up
with ideas that are like each others.
When you work with geometry and synthesis in
illustration and design, it is quite easy to arrive at a

similar place. You might have got there by completely


different routes but it really isnt at all surprising or
unlikely that you reached conclusions that have things
in common. The Tokyo logo is exactly this. There are
similarities, elements that look the same, but that is
just a coincidence which comes down to nothing more
than that they were created using similar styles and
techniques. Anyone would love to think that their
work had been copied for a truly global event like the
Olympics, but that just isnt the case. But that doesnt
make as interesting a story as plagiarism.
We live in an age where information and opinion is
everywhere. Social media allows people to share their
thoughts where before only a select few could do so
through traditional media. This has been a positive
thing in terms of what it allows us all to see and do.

PUBLIC OPINION, AS EXPRESSED THROUGH


SOCIAL MEDIA, PUT TOO MUCH PRESSURE
ON THE OLYMPIC ORGANISING COMMITTEE
AND WE SHOULDNT BE SURPRISED THAT
THEY DECIDED TO ABANDON THE LOGO

The downside is that social media can act like a lynch


mob, gathering enough force and momentum to make
things happen which, with perhaps a little more
thought, we wouldnt allow to happen. Public opinion,
as expressed through social media, put too much
pressure on the Olympic organising committee and
we shouldnt be surprised that they decided the easiest
thing to do was to abandon it and try to move on.
I personally do not agree with taking legal action
incases like this because I believe it was a coincidence
rather than an infringement of copyright. These
things are very difficult, and expensive, to prove in
court and, more importantly, I think that designers
should be working together, not fighting each other.
Whats your take on the Tokyo Olympics logo design? Tweet
your thoughts to @ComputerArts using #DesignMatters

COMPUTERARTS.CREATIVEBLOQ.COM
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INSIGHT D ES IGN MAT TER S

OCTOBER 2015

HOW DO YOU MAKE BRANDING


EMOTIONALLY ENGAGING IN A
SATURATED MARKET?
H OL LY K A R L S S ON
DIRECTOR, SHILLINGTON (US)
www.shillingtonschool.com

Develop an intimate knowledge of your


target audience; dig past the stereotypes to
find what resonates with them (and what
doesnt). You also need a clear understanding
of what it is youre trying to communicate;
you cant expect your audience to listen when
you dont know what it is youre trying to say.

R I C H A R D BA I R D
FREELANCE DESIGNER AND FOUNDER, BP&O
www.bpando.org
Branding projects should be seen as short stories; ones that
designers are enthusiastic and capable of writing or talking about
in a variety of situations. Good aesthetic sensitivities appeal to base
instincts and a shared sense of taste. It is a connection easily made,
but just as easily broken. In a saturated and increasingly capable
market it is commonplace and offers little in the way of
differentiation or longevity.
Fostering and enhancing a genuine emotional connection
comes from the recounting of process. This should be clear and
honest, not reworked or post-rationalised. Happenstance should be
celebrated, not downplayed. Process stories should be written or
told with good intention, character and passion, in a way that is
insightful and self-assured, yet avoids arrogance and the esoteric.

GEMMA GERMAINS
CREATIVE STRATEGIST, WELL MADE
www.wellmadestudio.com

It takes many skills to build


a brand. Its not enough to
rely on strategists, we need
to be proactive in the predesign stages. However, we
can build relationships that
equally value these skills.
Good design wont fix a
dysfunctional team, immoral
goals or a rubbish product.
Maybe sometimes we should
consider doing nothing at all.

YOUR VIEWS
Comment on Facebook,
ortweet @ComputerArts
with your thoughts using
#DesignMatters

AUBREY DELA CRUZ


Context and timing based on relevant
truths and pains. Just like comedy.

@SUBEECHALI
Know what your specific market loves
and put it on full display. Dont market
vaguely to everyone, ages 0 to 100!

COMPUTERARTS.CREATIVEBLOQ.COM
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@LUKETONGE
Dont bamboozle or overcomplicate
things. Find a compelling truth
andtellitsimply. Assume the
bestofyouraudience.

DE SI G N M AT T E R S INSIGHT

OCTOBER 2015

B RU N O S E L LS
CO-FOUNDER, VASAVA
www.vasava.es
I believe that the key to connect and improve engagement with
branding work nowadays is to celebrate the differences, embrace
the originality and let the brands speak their very own language.
Asdesigners it is our duty to define brands voices. Markets are
veryfragmented and so the brands should be; it is our job to
buildidentities in a inventive and unpredictable way, avoiding the
standandarised solutions and allowing enough time and resources
to explore every single aspect and peculiarity of the brand. If we
can detect what makes a brand unique and build over it accordingly
well be succeding no matter how crowded the market.

ROB G ON Z A L E Z
CO-FOUNDER, SAWDUST
www.madebysawdust.co.uk

Its a tricky question, but emotional


engagement must come from the
organisation itself, the visual branding
can only do so much. Its the lifeblood
that runs through the business (that
the identity is for), which ultimately
will engage with its audience.

@JRPCD
Truth is always a nice way to
connectwith people. It should
betheessence of every good
brand;that and a decent product.

@JAMFACTORY
By being honest!

TIM SMITH
STUDIO LEAD, USTWO
www.mypoorbrain.com

We work a lot with users from


the very beginning of a project
atbrainstorming sessions to
testingof prototypes. We like
totackle problems and create
exciting experiences with their
best interest at the core of the
project. The branding tends
tolead from the product itself
andtherefore it fundamentally
connects and engages with the
user they crafted it with us
afterall! So my advice would
betowork with the intended
users as muchas you can.

@RHAPSODYDESIGN
Be honest and tell the story of what
drives you to help people, what makes
you unique as a brand and a person.

COMPUTERARTS.CREATIVEBLOQ.COM
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@LIAMBRAZIER
Throw in a free cuddly toy?
Thatappears to be the key draw
tobuying insurance these days.

I NSIGHT S ABR INA S MELKO

OCTOBER 2015

ABOUT THE WRITER


Since graduating from her
illustration course in 2012,
graphic designer and
illustrator Sabrina Smelko
has amassed a client list
that includes Cadbury and
The New York Times.
www.sabrinasmelko.com

Stop charging by the hour


According to Sabrina Smelko, hourly pricing is tantamout
topunching yourself in the face. The Ontario-based freelancer
explains how to not be punished for being good at what you do

eople turn to charging hourly because it


seems easier than conjuring up some
random flat fee, but youre only punishing
yourself by doing this. Pricing hourly can be a
slippery slope that leads to being underpaid, bitter
and anxious. Its counter-intuitive to growing as a
professional. And thats no fun.
Lets say youre just starting out as a new designer
and youre charging $50 hourly. Project X takes you 10
hours, so you get $500 for the job. Years later, youre
more experienced and your skill level is far better
you work faster, youre more efficient and a more
well-rounded human being and that same job could
now be done in half the time, meaning youd get $250
for it. Thats right you, a more experienced, advanced
designer, are making less for all of your experience and
knowledge. So, for the sake of argument, lets say over
those few years you were smart enough to increase
your rate from $50 to $100 (a significant jump which
Iguarantee clients will notice and do the math on),
youd still only be making $500, which, need I remind
you, is the same amount as you did when you first
started. And whats worse? Your clients will likely turn
their nose up at your price increase, pinch the pennies
and (in some cases) call you out.
Alternatively you might get told, Listen: youre
good at this and its easy for you, so can you have a new
pricing model where your fee changes depending on
how easy a project is for you to do? And, feeling
defeated, you may cave but fight that wimpy urge!

You should respond with, My time is worth my time,


but this response is often misunderstood (I speak from
experience), leaving both the client and you a bit limp.
There is one proven way to make more money with
hourly pricing: by lying and finding ways to spend
more time on a project while your client is trying to
dothe opposite. Doesnt that sound like a great idea?
No, its extremely awkward is what it really is. Lesson
learned: you should never be paid less simply because
youre good at something. In fact, you should be
compensated fairly for that expertise. How easy
something is for you to do should never dictate
pricing. Its unfair to be punished for being good at
what you do. Thats the problem with hourly pricing:
its completely counter-intuitive.
So what should you do? How should you price?
There are so many factors that come into play, but
ingeneral pricing a flat fee based on value is typically
more fair for everyone involved. Value-based pricing
means you price based on a few factors: your time
spent; your skill level and experience; the actual scope
of the work (whats really needed), and details such as
usage, due date, number of anticipated revisions, size
of the client and so on.
So if you plan on getting better at what you do,
please do yourself a favour and consider charging
based on value rather than by the hour.
Do you prefer to charge by the hour, and if so, why?
Tweet@ComputerArts using #DesignMatters

COMPUTERARTS.CREATIVEBLOQ.COM
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I NSIGHT K ATE MAR LOW

OCTOBER 2015

ABOUT THE WRITER


Kate Marlow founded
award-winning creative
studio Here Design with
CazHildebrand and
MarkPaton in 2005.
www.heredesign.co.uk

Doing it for the kids


Inequality in the design studio isnt simply a gender issue. Creative
partner at Here Design Kate Marlow argues that the consequences of
starting a family on ones creative career have yet to be addressed

ast month, Computer Arts revealed the


results of its first Creative Salary Survey
and one stat in particular stood out.
According to the data, male graphic designers
ingeneral are twice as likely to receive a pay rise
through an internal promotion. But once they
reach senior designer level, the reverse is true.
What a weird statistic! Im sure it cant just be
about confidence. I prefer to think there must be
some really bizarre and unlikely explanation.
Being one of four partners, three of whom are
women, I can honestly say that I have never suffered
any financial setback from being a woman and that
my salary has always been a reflection of my efforts.
Icount myself lucky that Ive always worked in
non-sexist studios. Salaries always appeared to be
related to merit. At Here it goes without saying that
we raise our designers salaries in accordance with
their brilliance, regardless of gender or level. In fact
there was a time when we struggled to find male
designers that lived up to the high creative standards
set by a largely female team. So, Im surprised to hear
about the imbalances thrown up by the survey in the
junior positions, yet proud that women are positively
rewarded in the highest creative positions.
On gender issues in the workplace generally, I
think that the consequences of starting a family and
parenting seem a far less-voiced problem. Women
who leave their jobs to have children can often find
that inequality faces them upon their return. I feel

that since I had children Im taken a little bit less


seriously within our industry, yet its something
nobody would ever admit to or voice openly. And if
Im feeling it just slightly then I wonder how many
women feel it more acutely. It can feel like a bit of a
minefield deciding whats right and wrong. Is it fair
for your colleagues to compensate for your need for
flexi-time just because you have kids and need to
leave early to spend time with them? Is it a lifestyle
choice that you should have to deal with through
good and bad? Is there a social responsibility for
others to support your decision? There dont seem
tobe any easy answers that feel fair to everyone.
One glimmer of light does occur to me. More
mothers work part time or shorter working hours
than fathers. That suggests a rather old-fashioned
view. Despite my husband and I being supporters
ofgender equality, Im the one who leaves early to
collect the children and Im the one who is there if
they fall ill. Why is this? Our gender drives us into
certain traditional behaviours. As a progressive,
modern couple I dont mind admitting that my
husband and I are still a bit trapped in a gendered
way of doing things and I feel conflicted about it.
Maybe same-sex couples who have children will
show us the way to equality at work and at home.
Ihope so: Im up for some new role models.
Are you paid what you deserve? Download the CA Creative
Salary Survey 2015 at www.creativebloq.com/salary-survey

COMPUTERARTS.CREATIVEBLOQ.COM
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Computer Arts selects the hottest


newdesign, illustration and motion
work from the global design scene

BILATERAL RELATIONS
UK/MEXICO 2015 IDENTITY
by Alphabetical
www.alphabeticalstudio.com

UK/Mexico 2015 is a cultural celebration


between Mexico and the UK a year-long
festival hosting a programme of highprofile cultural, academic and trade
projects taking place across both nations.
Shoreditch-based Alphabetical was
asked to come up with an identity for the
festival. "The challenge was to produce a
truly bilingual concept that embraced the
unification of the two nations," says studio
co-founder Bob Young. The solution was a

custom typeface that visually connected


both cultures and allowed them to speak as
one. Young continues: "We wanted to strike
the balance of a contemporary festival feel,
but with enough historical equity from both
countries that we could visually reference
each nation without it becoming clichd.
With this in mind we made sure that the
rest of the identity system outside of the
typeface featured a vibrant colour palette
and graphic use of photography."

S HOW CA SE

OCTOBER 2015

UK/MX is the biggest ever cross-cultural


celebration between Mexico and the UK
Many weeks of sketching were involved in
developing the typeface's style
Typographer Jeremy Tankard helped to craft
thedesign and make it more functional
The rest of the identity outside of the typeface
features a vibrant colour palette
Graphic use of photography reflects the cultural
diversity of the year-long festival programme
The typography works as an impactful and
iconicnumbering system for programme events

COMPUTERARTS.CREATIVEBLOQ.COM
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T HE V E R Y B E ST NE W DE SI G N

OCTOBER 2015

THE REST OF THE


INDUSTRY SAYS
BEN TALLON
Illustrator and art director
www.bentallon.com

The clean-cut identity leaves


me with a sense of essential
intrigue. By avoiding temptation
to involve flags or obvious clichd
references to either country, the
typeface succeeds in its daunting
challenge toreference both cultures
with a strong and vital subtlety.
Alphabetical's identity design allows
all forms of creative work showcased
to breathe and stand alone under an
instantly recognisable look and feel.

MARK RICHARDSON
Founder, Superfried
www.superfried.com

This project is one of those where


you wished it was sitting proudly
on your own home page. It must
be challenging to create a typeface
to represent a whole culture,
but to represent two seamlessly
is borderline masochistic. It's
commendable that despite the many
boxes it must tick, the lettering style
is still experimental, yet legible. The
typeface also looks awesome in
isolation or combined with imagery.
So often type looks great with strong
photography, but weak without or
vice versa. To achieve this balance
is especially impressive considering
the bold palette. The only negative
is that the flamboyant, Mexican
contribution potentially makes old
Blighty look a bit dull in comparison!
COMPUTERARTS.CREATIVEBLOQ.COM
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S HOW CA SE

OCTOBER 2015

STRIPEY MIGRAINE
STRIPES
by Charles Williams
www.madeup.org

Self-initiated work can be an excellent opportunity


toexperiment with new styles, but this project from
London-based illustrator Charles Williams proves
thatit can make good business sense too.
"The brief I set myself was to explore a variety
of3D forms typographic, abstract objects and so
on just using undulating lines," says Williams of
project, which has already led to commissions from
thelikes ofWired and Fortune magazine.
"I have a sort of recurring obsession in my work
the idea of revealing something hidden in interesting
ways. I like to depict forms that suggest content (often
typographic), playing with legibility and creating an

interplay between the textural, intricate forms that


create the image, and the image itself," Williams
continues. "This project is a continuation of that idea,
using a simpler aesthetic toolkit just stripes and
simple colourways."
Like most of his projects, Williams' so-called "stripey
migraine" began life on isometric gridded paper, which
enables him to work ideas out, before he moves the
piece into Illustrator where the real work begins. But
Williams assures us the pay-off is worth it: "It's fun when
you get to the point where the thing you are trying to
depict starts to appear and it goes from complicated
mess to something clean and representational."

COMPUTERARTS.CREATIVEBLOQ.COM
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T HE V E R Y B E ST NE W DE SI G N

OCTOBER 2015

BEHAVIOURAL ECONOMICS
FORBES JAPAN ILLUSTRATIONS
by Karolis Strautniekas
www.strautniekas.com

Tasked with illustrating a series of articles with


potentially dry subject titles like 'Rational
emotions' and 'The science of scarcity', some
illustrators would struggle from sheer lack of
inspiration. Not Karolis Strautniekas, who
received just such a brief from Forbes Japan
magazine, for a special in-depth look atthe
worldof behavioural economics.
"The articles were the only materials I had,"
says the Lithuania-based illustrator. "But the art
directors gave me absolute freedom to interpret
it and I'm very thankful for that." Strautniekas'
main challenge was toavoid straightforward
interpretations and come upwith deeper, more
beautiful metaphors. In the illustration shown
here, Strautniekas sought to express the idea
that scarcity constrains ourideas and our
choices: "For example, poor people can't afford
to think about the future in the long term as
theyare always forced to think about today
andtomorrow."
With the first rough sketches of each idea in
his Moleskine notebook, Strautniekas turned to
his Cintiq and drew them in Photoshop. "I would
describe the aesthetic as literary, calm,
melancholic, from a time that is difficult to
define,"he adds.

COMPUTERARTS.CREATIVEBLOQ.COM
- 33 -

S HOW CA SE

OCTOBER 2015

PRINT
HIGHLIGHT

GOLDEN AGE OF DESIGN


BRAND GUIDE: SINGAPORE EDITION
by Foreign Policy
www.foreignpolicydesign.com

Say hello to the first edition in a series of publications featuring the iconic
homegrown brands that make up the current golden age of design in
Singapore. The idea was conceived by local idea makers and storytellers
Foreign Policy design, who sought to document the people and the
process behind some of Singapore's most successful brands.
"I wanted to share the journeys and stories of how brand owners build
their brands, typically starting with only an idea and a belief," explains
ambassador of design Yah-Leng Yu, who combined traditional and digital
tools in its production. "The people who help craft and design them should
be celebrated and should continue to inspire the next wave to come."
Yah-Leng Yu wanted to buck the trend of image-heavy design books
lacking written information about featured projects, and saw the
proliferation of great brands as an opportunity to document their stories
and inspirations. "Finally we can blow our own trumpets," she says.
"There's no better time to be a designer in Singapore."

COMPUTERARTS.CREATIVEBLOQ.COM
- 34 -

T HE V E R Y B E ST NE W DE SI G N

OCTOBER 2015

COMPUTERARTS.CREATIVEBLOQ.COM
- 35 -

S HOW CA SE

OCTOBER 2015

BASKETBALL FOREVER
KOBE BRYANT BRAND TYPEFACE
by Sawdust
www.madebysawdust.co.uk

London-based creative agency Sawdust was


approached by Nike to develop a fully functional
display typeface for its signature basketball player
Kobe Bryant. The brief was to create something
entirely bespoke based on Bryant's existing logo
mark(the sheath logo), which needed to work
alongside and expand on this existing branding.
"Like with any bespoke typeface the idea was to
have something that exists exclusively for the brand
in this case Kobe Bryant and represents him as
aniconic sports player," explains Sawdust co-founder
RobGonzalez. "We worked closely with the designers
at Nike to realise something that is unique, versatile
and very much on brand. This meant we had to design
something that commands attention, is unapologetic
and striking, like Kobe himself."
The main challenge was to create type that felt
unique yet complemented the existing logo. "We found
inspiration from the negative space and the star-like
central point of the sheath logo mark," says Gonzalez.
"These elements went on to form the base structure
ofthe letterforms."

COMPUTERARTS.CREATIVEBLOQ.COM
- 36 -

T HE V E R Y B E ST NE W DE SI G N

OCTOBER 2015

FEATURED
SHOWREEL

BALL GAMES
STUDIO SHOWREEL
by Cub Studio
www.cubstudio.com

You can't create a showreel without a portfolio of work


to draw from, but there's more to a creative reel than
simply tacking past projects together. The animation
and motion graphic specialists at London-based Cub
Studio were busy animating client projects throughout
2014 and didn't get an opportunity to showcase their
latest and best work until March of this year.
"We finally managed to sit down and create a
shortlist of key shots we felt we had to include," says
Cub Studio co-founder Ben Skinner. "After numerous
edits we managed to agree on about a minute of
footage. We wanted to ensure the reel stayed punchy
to ensure viewers were engaged. With so many
showreels created each year it was important to us
toensure people watched and remembered ours."
The reel opens explosively with a flight of fighter
jets screeching over an American football stadium
taken from the studio's Guide to Liberals, Ladies and
Limeys animation and there's no let-up in pace
throughout as the pumping beat carries the sportsoriented action toa satisfying conclusion.

COMPUTERARTS.CREATIVEBLOQ.COM
- 37 -

S HOW CA SE

OCTOBER 2015

BUILDING BLOCKS
POSEIDON HELSINKI BRANDING
by Kokori & Moi
www.kokoromoi.com

Poseidon Helsinki is a Finnish company with the


aimofcentralising the tasks of architect and builder
under the same roof. Creative agency Kokori & Moi
was approached to create a visual identity for the
company and design brand applications covering the
full remit, from website to collateral and products.
The primary elements of the identity are the
outlined geometric shapes filled with colour, inspired
by a map of downtown Helsinki with all its blocks and
buildings. These illustrate the area where the company
operates as well as the potential sites it could take
over and renovate, while the text and logo are placed
in horizontal and vertical directions like streets running
around buildings. Graph paper was also incorporated
into the identity in order to highlight the company's
architectural design principles.
"The visual identity was inspired by the era of
modernism, with its colours, grids and shapes," says
Kokori & Moi co-founder Antti Hinkula. "We took
influence from architecture and the art of time, led by
Corbusier and the masters of geometric abstraction.
Itwas a super-fun project and straightforward!"

COMPUTERARTS.CREATIVEBLOQ.COM
- 38 -

T HE V E R Y B E ST NE W DE SI G N

OCTOBER 2015

MOTION
HIGHLIGHT

LIFE AMPLIFIED
ITV2 CHANNEL IDENTS
by ManvsMachine
www.manvsmachine.co.uk

ITV Creative approached ManvsMachine looking


for a youthful brand refresh to help ITV2 reconnect
with its target audience of 1634 year old Brits.
Theproject needed to embrace the programming
anddemographic while unabashedly celebrating
excessive entertainment by shaking things up a bit.
"ITV2 is the naughty sibling of the ITV family, so
we created a badly behaved channel brand system
that disregards the norms of sheduling," explains
creative director Mike Alderson. "Rather than
delivering a pre-packaged set of idents, we

delivered an automated modular play-out system


that assembles idents randomly on the fly."
In keeping with ITV2's outlandish brand of
entertainment, the studio latched onto the theme
ofamplifying everyday life as the visual hook. "Life
amplified," says Alderson. "It's cheeky, whimsical and
unapologetically excessive. Creating a torrential
rain of hammers was particularly enjoyable!"
The scenes are a mix of CG and live action, the
CG shots created in Cinema4D and the live action
scenes shot on Arri Alexa and Amira cameras.

COMPUTERARTS.CREATIVEBLOQ.COM
- 39 -

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P I T C H M OR E P E R SUA SI V E LY

OCTOBER 2015

WIN OVER
SCEPTICAL CLIENTS

Not every creative project is smooth sailing from pitch to


delivery. Heres what to do when a client rejects your design
WORDS:
Anna Richardson Taylor
ILLUSTRATION:
Wijtze Valkema
www.bamseontwerpt.nl

icture this: the concept is perfectly sound in fact


its the best youve designed in a while. The team
has invested copious research, insight and creative
juices, and come up with a presentation that will envelop
the client in a wave of enthusiasm and appreciation. The
deck is finessed, the sell is delivered with gusto and
everyone looks up at the client in anticipation only to
find tumbleweed blowing, followed bya big fat no.
Admittedly, this scenario is extreme. Everyone
knows that good designers build relationships with clients
based on trust and communication. It is important to
create that trust from the start, to challenge a woolly brief
and seek access and exchange throughout the design
process, making a point-blank dismissal unlikely. As James
Kent, founding partner and executive creative director of
Why, says, communication is 80 per cent of a designers
job. A good designer needs to sell ideas, concepts and
variations on a theme throughout the project, minimising
the risk of outright rejection wherever possible.

ALGY BAT TE N
C R E AT I V E
DIRECTOR,
FIVEFO OTSIX
Algy is the co-founder of Fivefootsix, a
design and branding consultancy that
creates strong personalities for
organisations. He has also worked at
studio Browns, Nokia and Unicef.
www.fivefootsix.co.uk

JAMES KENT
CO-FOUNDER
WHY
James was a founding partner of
KentLyons for 12 years before setting
up Why. He has been working with
leading brands such as BBC, Channel
4, BT and BSkyB for almost 20 years.
www.wearewhy.co.uk

However, although it is not the norm, the big fat no


can happen. At US design studio Go Media, rejection of all
ideas in the first round happens in less than 5 per cent of
cases: Although spontaneous client feedback can range
from Genius! to This is not even close were you even
listening to me?, says Go Media president and designer
William Beachy. Therefore, if youre faced with rejection,
dont panic. This is the point at which a designers mettle
and communication skills come into their own.

READ THE ROOM


If you find yourself in a client scenario that screams
rejection, its always important to remember that those
clients are just people, stresses Steven Wills, creative
director at Substance. Just as in any other situation, it is
easy enough to spot when someone is being ignorant, kind,
helpful, unhelpful, arrogant or an odd combination of all of
these, Wills says. So it is easy to pick up the signals being
projected by the people in front of you in a presentation.

ROBERT SOAR
C R E AT I V E
DIRECTOR,
DRAGON ROUGE
Prior to joining Dragon Rouge, Robert
was a director and creative director at
Enterprise IG (now Brand Union) and
FutureBrand UK, as well as creative
director at Fishburn Hedges.
www.dragonrouge.com

COMPUTERARTS.CREATIVEBLOQ.COM
- 43 -

SAR AH C AT TLE
C R E AT I V E
DIRECTOR,
PEARLFISHER
Sarah leads Pearlfishers design
studio, encouraging imaginative, bold
ideas. She has been responsible for
the creative direction of some of
Pearlfishers award-winning work.
www.pearlfisher.com

I N DUST RY ISSUE S

OCTOBER 2015

CLIENTS MIND GAMES

Expert recruiters and negotiators give us their


toptipsforimproving your current situation
SYMPATHY/LIKEABILITY
The sympathy/likeability principle of influence posits that people are more prone to
be influenced by those they like. In laymens terms, make the right impression at the
crucial initial presentation stage it can make or break an idea.

AUTHORITY
When people feel unsure about a purchase, they look for a testimony from a person
with authority on the subject. As a designer, your position of expertise is given why
else would a client commission you? Dont create an us versus them atmosphere
though; guiding the client rather than dictating them through the process is key.

ULTIMATE TERMS
The psychological theory of ultimate terms states that certain words carry more
power than others. The three categories of persuasive words include god terms
thatdemand obedience or carry blessings (such as progress or value); devil terms,
that are despised (fascist, paedophile); and charismatic terms, which are less well
defined. So choose your words wisely, their message will be all the more persuasive.

YALE ATTITUDE CHANGE APPROACH


The Yale Attitude Change psychological approach dictates that a number of factors
and characteristics can enhance persuasive speech. Being a credible, attractive
speaker, for example, can work wonders with certain audiences. In addition,
messages should not appear to be designed to persuade, and speakers should
alwayspresent a two-sided argument.

AMPLIFICATION HYPOTHESIS
This theory states that displaying certainty about an attitude when talking to another
person will help to increase and harden that attitude, according to online resource
ChangingMinds.org. Conversely, when the attitude displayed is uncertain it will soften
the attitude in the other person too. To persuade someone, therefore, you need to
align your attitude to theirs. So if a client has an opposing opinion, you show vague
agreement, but if the client expresses a better opinion, agree wholeheartedly.

Therefore its your job as a person, not a designer, to


understand and pick up on this.
You have to make sure you get the measure of the
room. Some people need persuasion, some are skeptical
from the start, some just want to learn more in order for
them to make a decision on something which isnt their
area of expertise, says Kent. Agood designer and
presenter would be able to see this and tailor their
presentation to fit these people and to answer their
requirements, allowing them to concentrate on the work
and make informed and confident decisions.
So if a design is going down like alead balloon,
dont keep on presenting. Youre better off acknowledging
things arent quite right. Engaging in a conversation at this
stage is vitally important, adds Kent. This is when the
client is at their most engaged and this is when you can
pick the key drivers that will make them love the next
route you show. If you labour that first route that they hate
and drone on, then when you get to route three, even your
excitement for it wont be enough to bring them round.
Sarah Cattle, creative director at Pearlfisher,
agrees. If a client isnt sure or shows a degree of
indecisiveness, this is when a situation could be turned
around and helpful suggestions made to try and help make
them appreciate it, she says. Giving clients the time and
space to absorb the ideas is a good idea. What on first
viewing may evoke a strong reaction, either way, can
change within 24 hours, says Cattle. Encourage clients
tocombine their immediate gut reaction with their
perspective 24 hours later.
If the response is an ultimate rejection, however,
itis time to listen even more so. Beachy suggests restating
the clients feedback back to them. This shows the client
that you are listening and it also helps to eliminate any
misunderstandings, he explains. Its tough to hear
negative feedback about your design. And its quite natural
to throw the defenses up and fight. But just stop. Take a
deep breath and consider what the client has told you.
Maybe theyre right.

COMPUTERARTS.CREATIVEBLOQ.COM
- 44 -

P I T C H M OR E P E R SUA SI V E LY

OCTOBER 2015

creative director at Dragon Rouge London, tries to think


ofall the questions a client may have. I need to prove
thatI havethoughtof everything and this gives the client
more confidence in us. They become more open to
beingpersuadedthat our idea is right as a result.
You need to back up all ideas with concrete
insight, adds Kent. Frank and honest conversation is
always the best solution. If you genuinely dont think a
clients preference is right, then you need to offer the
suggestion why. If through your research and background
Nonetheless, having listened to and understood
work you can honestly say that
aclientsfeedback and views, you
pink will offend 36 per cent of
might still want to stand up for
theaudience, then this is what
what you believe is the right
willconvince otherwise. Do your
design route. Algy Batten, owner
research and have a reason for
at branding agency Fivefootsix,
everything, dont stew in the
reckons that doing an about-turn
studio pushing pixels.
the moment a client doesnt see
The way you present those
the value in something suggests
facts can also make a marked
the designer might not have
impact. You have to state your
confidence in the solution, making
case calmly and knowledgeably.
the client lose faith.
Ifyou cant intellectually explain
Fredrik st, co-founder
the merits of your design choices,
and creative director at Swedish
maybe your design choices are
agency Snask, says that he has
WILLIAM BEACHY
more subjective than design
experienced rejection of design
driven, says Beachy. For
ideas many times, but has always
instance: Well Bob, we shouldnt
managed to fight for them. Fight
put yellow text on a white background because there
for your ideas anddesign concepts. If you dont know
isntsufficient contrast for anyone to read it is a design
howto then you havent designed with the right process,
merit-based point.Well Bob, we shouldnt make your logo
he says. If youhave a good relationship with the client,
pink because, uhh, its ugly is just your subjective opinion
then it shouldnt be persuasion but convincing. The
and isnt going to convince anyone of anything.
difference is that convincing is showing evidence and
reason as to why and how your idea and concept works.
Then the client will have to reason as to why it doesnt
work, and then you can agree or disagree but it will end
Using real-world examples to make a case can help to
ina compromise, and you will want that compromise to
convince a client of the merit of a design idea, adds
bebeneficial for both sides.
Beachy. Its hard for clients to argue with you when
Showing the evidence and reason behind a good
yourefollowing a design principle that Nike, Apple
design is crucial. Before a presentation, Robert Soar,
andCoca-Cola are also employing.

As many point out, designers are not artists, but


hired to produce great creative work within the confines
of a brief. Designers must remember this, says Wills.
Clients have a far greater understanding of their specific
business and marketplace than the designer does and
therefore have a valid and important perspective in
shaping what is ultimately created.

FIGHT FOR IDEAS

ITS TOUGH TO HEAR


NEGATIVE FEEDBACK
ABOUT YOUR DESIGN.
AND ITS QUITE
NATURAL TO THROW
THE DEFENSES UP AND
FIGHT. BUT JUST STOP.

THE REAL WORLD

COMPUTERARTS.CREATIVEBLOQ.COM
- 45 -

I N DUST RY ISSUE S

OCTOBER 2015

Another trick, says Beachy, is to show clients


bothoptions their preferred way, and yours. This gives
the client the feeling that they are in control. In fact,
reassuring the client that they are in charge is a crucial
step in dealing with rejection. You need to start by
lowering their defences, says Beachy.
No matter how adept at communicating a designer
is, eventually there will come a situation, in which a return
to the start is required. At this point, the challenge is to
refuel and find energy to start over again, says st.
Kent suggests taking a significant step back. Dont
try and design yourself out of it. Dont sit at a computer,
fiddling with things, hoping the next route will solve the
problem it wont, he explains. You need to take a bigger
step back and work with the client, take each step of the
process with them so they are party to all the information,
reasoning and background. Then when you re-present
ideas they will see how you came to that conclusion.

Pick your battles, Beachy says. Take a moment


toremind yourself that youre a commercial artist.
Yourebeing paid to help a client execute something.
Youshould always work to produce good design, but
knowwhen to fight and when to just give the client
whatthey want. Learn to put your ego on the shelf
forawhile. Ultimately, your design is not you. You have
tens of thousands of these projects ahead of you. So
letsnot giveourselves a heart attackover every one.

REASONS FOR REJECTION

From fear of failure to simple impatience, here


are the common causes of client rejection

Reasons a client might reject an idea are manifold from reasons with
noreasoning behind them, as Fredrik sk from Snask puts it, to simple
budgetconsiderations.

BACK TO SQUARE ONE

Naming often elicits powerful reactions that see clients dismissing ideas out

Coming up with an entirely new design can have an


impacton costs and time, but there are ways of tackling
this challenge too. When Cattle and her team were at
thefirst stage of a project for natural skincare brand
Green&Spring, she loved a concept that was later
rejected. I took it on the chin, says Cattle, but rather
than give them another set of three worked-up concepts
which would have taken another two weeks, I decided
toapproach it differently.
Cattle created loose conceptual boards, with
sketches and inspirational imagery, which took her around
two days. When those pieces were presented to the client,
they fell in love with the British Bird concept. Ironically,
the second solution is often better than the first, Soar
points out. And so it should be: You are now very
clearwhat the client does and does not want.
Through the fog of possible disappointment and
the energy spent on extolling the merits of your brilliant
original idea, one thing in particular is worth remembering.

ofhand, sometimes for a variety of personal reasons rather than considered


decision-making, says Whys James Kent.
The fear of failure can also play a part. A particularly daring idea can be
perfect for a client, but at the same time push their comfort zone, Kent adds.
The client looks at this and thinks, We are spending quite a bit of budget on
this,if I dont get the ROI I am going to have a very uncomfortable review
meetingwith my boss. Best play it safe.
Another idea might be too early for a certain target market, Sarah Cattle
atPearlfisher says. Designers, by their nature, need to be ahead of the curve.
You might just see your concept 10 years later.
But its not all about the clients opinion subjective, reasoned or otherwise.
Rejection can be due to a designers own making. Steven Wills of Substance,
forexample, says that only once has he presented work that ultimately met
withacomplete rejection. I put this down to my own eagerness and impatience,
he says. I should have spent time challenging what was a flowery and quickly
writtendesign brief and foolishly thought I could overcome this obstacle by
getting all creative. It was a big, expensive mistake, as a full and final parting
ofthe ways quickly ensued.

COMPUTERARTS.CREATIVEBLOQ.COM
- 46 -

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upon request. Prices correct at point of print and subject to change. For full terms and conditions please visit: myfavm.ag/magterms. Offer ends 15/11/2015.

ILLUSTRATION:
Karan Singh
www.wakeupmrsingh.com

80 G E M S OF B R A NDI NG W I SDOM

OCTOBER 2015

M
E
G

F
O
S

BRANDING
WISDOM

The winning agencies at Computer Arts


veryown Brand Impact Awards 2015
sharetheirbranding expertise

he great and the good of branding filled


Londons Grand Connaught Rooms in
September for the second annual Brand
Impact Awards our celebration of the
best branding from all across the world.
One of the things that sets the BIAs apart
from other design awards is that work is judged
in context. As well as a strong concept thats
beautifully and consistently executed, judges
were asked to consider whether the project
stands heads and shoulders above the rest of
themarket sector for which it was designed.

Over the next 32 pages, well showcase


allofthe hugely inspiring projects that have
won or been highly commended at this years
BIAs, including two special awards that are
designed to recognise the power of social
impact and the value of fruitful collaboration.
But weve also channeled thecombined
experience of all the agencies that created these
projects into 80 gems of branding wisdom
advice that, inthe spirit of the BIAs, istightly
focused on the market sector at hand. Read on
to discover the secrets of world-class branding...

COMPUTERARTS.CREATIVEBLOQ.COM
- 49 -

S PE CIA L RE PORT

OCTOBER 2015

Artisan

Winner (programmes)
Mister Cooper
by johnson banks
www.johnsonbanks.co.uk

johnson banks was asked by ice-cream start-up Mr Cooper to create a


distinctive logo and set the tone for its unconventional brand.Specialising in
alcoholic and gourmet flavours, Mr Coopers treats were strictly for grown-ups
and the brand needed an identity to match its approach.
After presenting a number of initial designs johnson banks developed the
concept of a typographic lipstick mark to express the hedonistic nature of the
product in an appropriate form. The logo could be rubber-stamped onto white
paper cups and napkins as though a cheeky kiss had been planted.
The challenge was to craft a beautiful hand-lettered mark utilising both
positive and negative space to spell out the brand name within the lip shape.
Asthe logo developed further, johnson banks experimented with a variety of
lettering styles and worked through challenges within the design such as
legibility and spacing, before arriving at an arrangement and lettering style
thatreally worked.Lettering specialist Rob Clarke helped fine tune the
details,making the logo look voluptuous and unified. Finally, the firm brought
the identity to life across real-world applications including packaging,
uniformsand merchandise.

80
GEMS OF
BRANDING
WISDOM

LONGITUDINAL THINKING When dealing with


individuals in a potentially stressful start-up scenario,
you have to keep imagining that one day, that little brand
could be something really huge, advises Michael Johnson of
johnson banks. Keep on believing in what the team is trying to
do,without lapsing into trendy for a week designer clichs.

01

WWW.COMPUTERARTS.CO.UK
- 50 -

80 G E M S OF B R A NDI NG W I SDOM

OCTOBER 2015

Automotive

Highly commended (programmes) Williams F1 Group by hat-trick www.hat-trickdesign.co.uk

hat-trick rebranded the Williams


Group to bring the focus of the
corporate brand back onto the
famous name, drawing all the
activities together under that
name and simplifying the brand
architecture.
The firm created a simple but
distinctive logotype, featuring a
W monogram that could be used
as a shorthand mark. To reflect
the precision engineering of the
group, a distinctive, elegant
typeface with a small bevel detail
was designed for use across all
communications, while the
heritage of the 35 F1 cars in the
companys history is preserved
through graphic silhouettes.

Bar and
Restaurant

Highly commended (programmes) Pico de Gallo


by Bienal Communication www.bienal.mx

Pico de Gallo is a contemporary Mexican


restaurant in Yucatan, Mexico, with an
elegant and irreverent personality. The
restaurant name was inspired by typical
Mexican salsa, and creative studio Bienal
Communication collaborated with
Mexican architect Gerardo Sarur to
create a consistent, congruent
atmosphere based on essential flavours
from Mexican cuisine.
The branding breathes with the
interior design, in harmony with the
eccentric graphic concept inspired in
traditional Mexican cantinas but
adapted for new generations.

BUILD IN LONGEVITY In conservative sectors


like Automotive, hat-tricks Gareth Howat
advocates building a case for change. Show that your
branding has flexibility and potential to adapt, and
therefore longevity, he says. For Williams, they trod a
line between the brands technical and emotive sides.

02

START WITH THE DETAILS Many people brand


restaurants by first creating the concept then
thinking about decoration, music, type of food, and so on.
Bienal creates in the reverse: from the particularities to the
general concept. This way our creative process is better
nourished and without limits, says designer Eugenia Diaz.

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Culture

best of show
shortlisted.

Winner (programmes)
Almedia Theatre
by NB Studio
www.nbstudio.co.uk

To mark the arrival of a new artistic director and to signal a new strategic
direction, the Almeida Theatre approached London-based branding and
communication firm NB Studio to review and refresh its brand. After an
intensive period of immersion and briefing sessions, NB highlighted
thekeythemes that would inform the work, proposing a bold re-brand
ratherthan mere cosmetic enhancement.
The new visual language reflects the theatres boldness of purpose,
contemporary relevance, and ambition to challenge and question theatre,
thestage, the plays and its dialogue with the world. To ensure effective
andcreative use of the branding in all communications, NB partnered
withAlmeida toprovide creative direction and design of all key applications,
fromthe on-site identity to show imagery and membership materials.
In the six months following the rebrand, the Almeida Theatrehas
gainedplenty of high-profile media coverage, taken three sold-out shows
totheWest End and beyond, and went on receive an impressive haul of
theatreawardnominations.

CREATE DEBATE Never be afraid to put your hand in the


blender,says NB Studio. Cultural organisations thrive on
debate,so if you dont challenge them, youre not doing your job. For
theAlmeida for example, NB created posters with photographer David
Stewart. These visceral images divide opinion and ignite debate, says
brand strategist DanRadley. Its exactly what the Almeida is all about.

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Highly commended (programmes) DeviantArt by Moving Brands www.movingbrands.com

DeviantArt is the worlds largest


online social network for artists.
Moving Brands was asked to support
its drive for new partnerships and
aggressive growth goals.
To guide the creation of the new
brand, Moving Brands defined the
core story Bleed and Breed Art
and evolved the logo into a literal
representation of its desire to turn
the art world upside down. The
pattern uses the symbol, while the
system includes brand typography
and a fully customised iconography
set for the website and mobile app.
At launch, millions of lapsed and
new members rediscovered the site.
Tellingly, thousands of artworks were
created from the new brand.

Highly commended (programmes) The Jewish Museum by Sagmeister & Walsh www.sagmeisterwalsh.com

Sagmeister & Walsh was tasked by the Jewish


Museum with connecting the historic and
contemporary, and engaging multiple visitor
generations. To do this, the firm designed a new
identity system founded on an ancient geometric
system from which the Star of David was formed.
Drawn on this grid, the branding system invites
surprise and flexibility across all media, while
remaining unified in visual language. A processing
app was also built to turn a photo or webcam
stream into a Jewish Museum illustration.

BE A STORYTELLER For cultural organisations,


the articulation of why they do what they do
isthe most important aspect to get right, says Moving
Brands co-founder and chief creative officer Jim Bill.
Acultural brand without a clear story can never have
acompelling brand, period.

05

DO NOT DECEIVE Honesty is key when


formulating a cultural brand, says Stefan
Sagmeister. Whatever we deliver as branding specialists
wont work if its not sincere and truthful to the institution
or organisation itself. Bending the truth is a high risk
manoeuvre, and lies usually only work once, not twice.

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Highly commended (campaigns) Google Year In Search by R/GA London www.rga.com

Year in Search was a breakthrough film telling the story


of 2014 through the trillions of searches made around the
world. More than a wrap up of the year, Year In Search
was a data-driven narrative, exploring our burning
questions and heartfelt reactions to big events and the
minutiae of our everyday lives, to give one of the most
genuine perspectives of the world today.
R/GA crunched millions of lines of data to uncover the
human insights hidden within Google search and turned
big data into an even bigger story. From pure questions
like what is love? to reactions to global tragedies like
Flight MH370, this film offers a snapshot of the times
were living in. R/GA set out to do more than remind
people of things that happened: it wanted to offer fresh
insight and a new way of looking at the world.

EXIT THE COMFORT ZONE The arts are a


progressive voice, opening debate, changing
opinionand highlighting new ways of thinking. Brands
shouldpush the boundaries in the same way, says Moving
Brands chief creative officer Jim Bull. If your work feels
withinthe comfort zone, its time to start over.

07

COLLABORATION IS KEY Collaboration from early


on is always a good thing, says NB Studios brand
strategist Dan Radley. When working on cultural brands,
consider setting aside a transformation spaceto gather
earlyopinion on what the current branding lacks, and
wherethe client sees the organisations cultural narrative
headingand how the new branding will reflect that.

08

LET CREATIVE BRANDS BREATHE If youre


designing identity systems, keep things simple
andflexible, advises Radley. Your clients wont have
loadsofmoney to spend but what they will have is lots
ofimagination. So, respect the shared nature of cultural
assets, and have the audacity to hand control to the
peoplewho usethem every day.

09

FASHIONABILITY KILLS A timeless branding


solutionwill saveyour client a potential fortune
infuture rebrand fees, saysRadley. Rupert Goold, the
director oftheAlmeida,recently told us, Aristotle invented
modern theatre.So, if youre doing a Greek series, youd
betterknowyour Greeks. Similarly, if youre seeking
designinspiration for a cultural organisation, always
startwiththe founders story.

10

BREAK OUT OF THE MOULD Look at what every


otherexisting cultural organisation is doing in the
samecity or local region and then stay well away from all
ofit, warns Stefan Sagmeister, unless of course you are
workingfor an institution whose stated missionis to copy
another one in town.

11

BEWARE STAKEHOLDER MANAGEMENT Close


collaboration with your client may be key (see tip 08)
but even intellectual giants of the cultural world sometimes
need rescuing from their own bewildering inclusiveness.
Alwayskeep this in mind in this space, and above all have
thecourage of your convictions in the face of adversity.

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social impact
shortlisted.

Education

Winner (programmes)
Apprenticeships Awards
by Purpose
www.purpose.co.uk

Back in November 2013, the NEC Birmingham first held The Apprenticeships Awards
eveningand accompanying Made by Apprentices exhibition. The event celebrated
theyears achievements from the countrys top apprentices, promoting the various
ways they have made a difference to workplaces across the country.
Branding agency Purpose was hired to create a visual identity that celebrated all
the great products that had been made by apprentices over the past year. It designed
an adaptable scaffolding system to create various structures throughout the event,
tohold everything from earrings, to Lewis Hamiltons Formula 1 car.
The studio designed a Meccano-esque typeface, called Assemble, made from
graphic plates and rivets, and a complete graphic language based around the elements
of construction, echoing the apprentices handcrafted creations. This approach
became a visual thread running through the messaging, materials and graphics
acrossthe entire venue, working to praise the accomplishments of young apprentices
and put them firmly in the spotlight.
Due to the success of the branding programme, the identity was used as a
benchmark and consistently applied across all communications at all subsequent
Apprenticeship Awards events.

INVOLVE THE STUDENTS Students are


incredibly passionate about any changes to
what an institutions brand represents, notes executive
creative director at Purpose, Stuart Youngs. So take a
broad cross section of them through the process with
you, or pay the consequences later.

13

NEVER TALK DOWN Nobody likes a pretender,


warns Youngs. Never attempt to speak to
studentson a level because they will always see
straightthroughit. Education brands in particular
needtobe aspirational and behave with absolute
integrityif they areto be respected.

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Highly commended (campaigns) UAL recruitment campaign by Spy Studio www.spystudio.co.uk

Camberwell, Chelsea and


Wimbledon, three of the six colleges
that form University of the Arts
London, needed a student
recruitment campaign and asked SPY
Studio to come up with something
vibrant and engaging that captured
the spirit of the art school.
Experimentation, a sense of
adventure and eclecticism are central
to the values of the institution and
the campaign had to communicate
these qualities. SPY spent time on
campus getting a feel for the
environment and produced collages
that were the foundation for the
branding. The final materials
differentiated the colleges and
personified their spirit and energy.

Highly commended (campaigns) UAL: The Album by Supple Studio www.supplestudio.com

Arts project Album was borne out of a collaboration


between the Widening Participations department
atUniversity of the Arts London and photography
archive Autograph as a taster project undertaken
byLondons inner-city youth.
Taking the traditional family album as a starting
point, young people explored their identities and
cultural heritages and that of their communities.
Theproject culminated in a week-long exhibition
atthe Autograph gallery in East London.
The identity for Album is inspired by the creative
ways people juxtapose their photographs in a family
album. These many juxtapositions helped create a
flexible, ever-changing identity system which reflects
thediversity and creativity of the students who
completed the course.

ASSUME NOTHING People


assume that all educational
establishments are the same but every
institution has its own set of problems
to grapple with, says Spy Studios Ben
Duckett. Go in with eyes wide open.

15

MAKE IT REAL Education is a


passport, so be sure to focus on the
destination, says Purposes Stuart Young.
Theres rarely a better way of proving a
providers ability to take me there than
through peer to peer examples.

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BE BRAVE In education there


areoften many stakeholders
needing to be pleased, says Ben
Duckett. Create open channels of
communication to share views, but
always stay true to your ethos.

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Entertainment

Winner (programmes)
BBC Newsbeat
by Moving Brands
www.movingbrands.com

The way people consume news is changing, and BBC Newsbeat, the news
serviceaimed at 16 to 24-year-olds, had fallen behind. Moving Brands was
engaged toreinvent the Newsbeat offer.
The agency took inspiration from the Newsbeat name. Like the beat, the
brandis bold, unmistakable, always on and always moving on. The wordmark
is designed to react to the beat; when a user hits pre-programmed points within
thesite, a beat sequence animation is triggered in the mark. The beat part of
thewordmark can also act independently from the news part to take on the
roleof aload animation.
The grid system is built to replicate a simple music time signature.
Allelements of the grid are divisible by four, with content landing on or
offthebeat.A unique component of the Newsbeat brand identity system is
thecolour picking method, a tool which uses tones found within editorial
imagery,appliedas slice overlays.
The BBC Newsbeat brand launched in April 2015. The first article
publishedon the new site went on to trend on Twitter a huge success for
asitethat aims to be more shareable and social than any of its peers.

CURATION IS KING At a time of saturation and mass


availabilityof media (legal and illegal) there is huge value
incuration, says Darren Bowles, executive creative director at Moving
Brands. To appreciate the curator you have to like what they represent,
their character and their personality. Our role is to capture that
personality and embody it in how the brand looks, speaks and acts.

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Highly commended (programmes) TouchCast: The Story of Now by Lambie-Nairn www.lambie-nairn.com

Lambie-Nairn was commissioned by


the BBC to create the brand identity
for Story of Now, a documentary
fronted by Idris Elba. The series can
be found on the BBC Taster website
and is an interactive experience in
which visitors can choose to explore
video clips and other short-form
content via an interface, instead of
watching longer episodes.
Story of Now was created using
the TouchCast platform, which is
available as an app that enables users
to create interactive videos that can
include social media posts, Google
Maps and websites. The series has
become a kind of calling card for
TouchCast, as its one of the best ways
to explain what the technology does.

Now responsible for branding strategy at global investment firm


Franklin Templeton, BIA judge David Delaney has many years
ofbranding expertise in the finance sector, including stints as
head of marketing communications at HSBC, and head of brand
management at Barclays. Here, heshares his experiences of
theBranded Campaigns room...
Which categories most impressed you this year?
Within Campaigns, the best work was definitely in Not-For-Profit
and Sport. At the heart of the former were strong and compelling
human stories and storytelling always helps to bring campaigns to
life. In Sport, theres clearly alot of strong brands competing in the
sector, and we felt the work was particularly inventive as a result.
Whats the most memorable project you saw, and why?
I think the one that was most talked about in our room on theday
was Google World Cup, which really shows how brand owners and
marketers have to think beyond just the marketing department and
build bridges with social, HR, legal and many other teams to build
momentum. Its all about collaboration.
Were there any particular trends that stood out for you?
We talked quite a bit about the stronger contenders having more
focus on not just the visual, but the verbal with the power of words

coming through in some of the stronger examples of campaigns.


That was particularly true with theUnicef work, where copywriting
is really at the core. Communications clearly need both, but in other
submissions the language sometimes didnt always get the same
level of focus. That helped us sort the wheat from the chaff.
Besides a strong concept and beautiful execution, we asked
allthe judges to consider how a piece of branding stands head
and shoulders above the rest of its market sector. Whatwas
thebiggest challenge in doing this?
Relevance was definitely the biggest challenge. Its very easy to
lookat a strong idea and get wrapped up in the execution, but you
have to be able to judge it in context, and whether itsrelevant to
itstarget audience. Between all of us on the judging panel, we had
abroad range of market-sector expertise represented but the
bestsubmissions also gave us heaps ofbackground context to
takeinto account.
Finally, whats your one piece of advice for agencies entering
nextyear how do they catch your eye as a judge?
We made a point of judging entries based only on what was
submitted, and one of the things we struggled with was when
projects didnt come with enough evidence to say that they
workedacross numerous touchpoints. Thats crucial.

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Finance

Winner (programmes)
Zhuck by NB Studio www.nbstudio.co.uk

An app developed for Bank24.ru, a leading Russian


bank, Zhuck was created specifically to cater to
disillusioned entrepreneurs, accountants, managers
andinvestors who want a closer control of their
business without getting caught up or slowed down
bythe bureaucratic Russian banking system.
It focuses on three main areas: profit and loss,
invoices and payments, and partners. However, unlike
many banking/productivity/financial apps, Zhuck
jokes,provokes and occasionally insults the user,
cajoling them into action, making doing nothing
seemlike the difficult option.
The name Zhuck translates to English directly
asbeetle, but the word has a deeper significance in
Russian. The best way to understand it is when a person
is described as as a shark: on one hand it can mean
aggressive, predatory, cunning and malicious, but on
theother hand a shark is savvy, clever, entrepreneurial
and driven. Put simply, a Zhuck is someone you want
on your side, not against you.
NB Studio was challenged to create a brand identity
that worked both on- and off-line. The bookish elegance
and seriousness is offset by touches of bright colour and
the marauding Zhuck character. Frequent trips to Zhuck
HQ in St Petersberg, and co-creation sessions in London
plus expert consultancy from Michael Wolff and Daljit
Singh, and interface design by Else ensured the brand
identity and digital experience were closely connected.

BE LIKEABLE People hate finance brands, says NB Studios Dan Radley.


In this risk-averse sector, personality cuts through. Zhuck is about inspiring
Russian entrepreneurs wading through bureaucratic treacle. It jokes, provokes
and even insults the user the point is it connects emotionally. The finance brands
which succeed will be those who recognise our desire for a light touch in routine
transactions, but an attentive personal touch in the critical moments of our lives.

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Highly commended (programmes) Wealth Horizon by 3 Sixty www.3sixty.co.uk

Wealth Horizon is offering a revolutionary, digital


way to invest; this needed to be reflected in the
identity. Following an in-depth positioning review, 3
Sixty helped turn their thinking into a brand identity
that communicated the company ethos.
They set out to create a brand that looked simple,
fit for digital purposes, yet iconic. It needed to look
trustworthy, whilst communicating how accessible
investing can be. 3 Sixty designed a mark that is
distinctive enough to stand alone, but works across
the entire campaign.
The online tool had to be accessible and simple,
and work in harmony with the branding.
3 Sixty created a responsive website with marketing
automation, which nurtures leads, provides
real-time analytics, runs emails, evaluates leads and
manages campaigns. It all adds up to an online
brand thats bold, efficient and works well across
print, digital, social media and animation.

Highly commended (programmes) The Family Building Society by johnson banks www.johnsonbanks.co.uk

The Family Building Society was set up to facilitate


inter-generational giving, where grandparents lend
money for deposits on flats, children get help from
parents to finance first mortgages and so on.johnson
banks task was to create a unique visual identity and
positioning to match this interesting brand idea.
The chosen solution allows the building society to
customise its own logo to each of its customers by
overprinting their customer names. This way, what was
a generic offer becomes specific to each particular
family, even down to their own version of the logo.
They established clear photographic guidelines for
the societys applications, and introduced ways for the
featured customers handwriting to be used in the
printed items. Genuine, authentic families are used in
all communications to re-enforce the brand idea.

DIGITAL IS KEY When was the last time you


spoke to your bank manager? asks John Waring
at 3 Sixty. Today, most transactions with financial services
are digital. Customer service can support or undermine the
brand promise. Investing in UX research and design will
leave a positive and lasting impression on the brand.

20

AIM FOR SECTOR SUBVERSION Finance is a


sectorthat still doesnt really get branding, laments
Michael Johnson. Either gowith theindustry defaults of
blue, purple and letterspaced capitals, or try and subvert
the received wisdom, reject the generics and argue hard to
standout.Be prepared for a battle against conservatism.

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best of show
shortlisted.

Luxury

collaboration
shortlisted.

Winner (programmes)
The Connaught
by The Partners
www.the-partners.com

The Connaught hotel in London is a British icon. It has been in business


since1815 and today presents a clever combination of elegance, tradition,
andmodernity. According to The Partners BIA entry, the agency was briefed
tohelpThe Connaught capture and visually articulate the spirit, richness
andmagic of our unique corner of London.
The agency decided that nothing less than a work of art would do the job,
andover a year was spent working with artist Kristjana S. Williams, the client,
and a team of designers. Fine etchings from the hotel were collaged and handcoloured by Williams, creating a work that has a modern look while preserving
the heritage. To capture something of the experience of staying at the Connaught
the agency interviewed guests, who spoke about a magical feeling that lingers
with them long after theyve left the hotel: A sense of possibility, adventure
andmemories being created.
The artwork is made up of the most iconic details from the hotels life,
suchasthe crest of hounds, portraits of the Duke of Connaught, and the
chestnut trees at the entrance. The history is re-expressed in a quintessentially
British way,creating an image of wonderland in Londons Mayfair district.

MAKE THE DIFFERENCE Provenance, authenticity and evocative


stories are the justification luxury brands have over one another, says
The Partners Greg Quinton. Just look at the luxury watch market: hundreds of
virtually identical products how does a buyer make a decision without being
an expert? The why is the last true differentiator of a customer choosing your
brand over another; it is unique for each brand; it is their point of difference.

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best of show
campaigns.

Not-for-profit

social impact
winner.

Winner (campaigns)
Unicef UK
by johnson banks
www.johnsonbanks.co.uk

While people recognise the Unicef brand, recent research showed that it
wasnot front of mind. There was an overall lack of familiarity with the
brand,with many not even realising that Unicef is specifically a childrens
charity.Ensuring more of the worlds children are fed, vaccinated, educated
andprotected than anyother, it has done more to influence laws, policies
andcustoms to help protect children than anyone else in history.
johnson banks needed to clearly establish a consistent link between
thecharity and children, whilst also forming a much stronger emotional
connection with the public and potential donors of all types and ages. The
newapproach was based around five words: For every child in danger, which
always appear adjacent to and locked to the logo. Giving particular attention
tothe positioning of danger, this enables the charity to illustrate the millions
of children facing violence, disease, hunger, and the chaos of war and disaster,
then ask for the publics help to keep children safe.
Whilst this is the main aspect, theres also a softer side to the new identity,
which allows the charity to talk about its work for every child and safety,
giving inbuilt flexibility within the campaign.

FIND THE STANDOUT FACTOR You have to find,


orhelpdiscover a truly great and innovative core
ideathatwillhelp a not-for-profit really stand out, says
johnsonbanks Michael Johnson. Thisis a sector where millions
ofpounds and often millions of lives are at stake and its our
collective responsibility tosearch forideas that cut through.

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Winner (programmes) Tusk Conservation Awards by The Partners www.the-partners.com

best of show
programmes.
collaboration
winner.

Initiating community development and environmental


programmes across Africa, Tusk Trust currently support
50programmes across 18 African countries.
The not-for-profit organisation needed a new logo
andvisual identity for the Tusk Conservation Awards that
would help them raise the profile of the brand. The design
needed to be authentically African, with particular enphasis
on traditional African patterns.
The Partners studied African patterns extensively,
paying particular attention to recurring aesthetic and
graphic details. Creating a unique pattern of its own using
the T-U-S-K letterforms, the agency intentionally crafted
itto remain discreet, ensuring the viewer sees the pattern
first, rather than the name itself.
The unique pattern was then used as a reveal with
aspects such as the belly-band wrap for the programme,
orthe isolation of the wordmark as a visitor scrolls on the
website. In a twist of genius, Tusk also worked closely with
the Kenyan Enkiito tribe to create 50 traditional beaded
wristbands in the brands signature pattern a key factor
inthe project picking up the Collaboration Award at the
BIAs. These bracelets led to 17.5 million online impressions,
which was a huge 400 per cent increase from last year.

WHATS THE STORY? The not-for-profit sector has become a


showcase of great creativity, thanks to increased activity from
advertising and brand agencies, says Stuart Radford, creative director
at The Partners. The sector has become more sophisticated and now its
much harder for brands to differentiate and get the publics attention and
support. So, now more than ever, cut-through depends on a strong story.

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Highly commended (programmes) Help Musicians UK by hat-trick www.hat-trickdesign.co.uk

Previously known as the Musicians Benevolent Fund,


Help Musicians UK needed an update to reach a broader
audience. The starting point was to update the name.
Musicians had said that benevolent sounded remote
and didnt convey, these days, the kind of work the
organisation actually does.
Based on the structure of music staves, hat-trick
created a flexible brand device, focusing on a powerful
new imagery style that showcased people the charity
hashelped in the past. Simplifying the colour palette,
aclean and effective typographic style was put in place,
which was further applied to the restructure of the
organisations online presence.
To digitise the identity, filmmakers created a series
of powerful case studies to help explain the work of the
charity and the impact it has.

MAKE IT PERSONAL Know your audience and how


to emotionally engage and motivate them to adopt
and care about your cause, advises The Partners creative
director Stuart Radford. A fun event that creates a following
can be as powerfully motivating as a heart-breaking story. It
all depends on your audience.

25

MAKE IT EASY Once youve communicated your


campaigns primary objective, make sure your
audience knows its role in achieving it with a call to action
thats clear and as easy as possible to follow through on,
saysRadford. Unfortunately, no matter how important the
cause is, the reality is that people are busy, so the easier
andsimpler the better.

26

MAKE IT IMPACTFUL Achieving maximum impact


andwidespread awareness is a must, but this is
alwayschallenging with a small budget, says Radford.
Usingguerilla approaches, unusual channels or expected
channels in surprising ways can often make a huge impact
particularly, when the approach itself garners press attention
that amplifies the reach of the campaign.

27

MAKE IT UNEXPECTED The most important thing to


remember is to do all of the above in an original and
unexpected way, says Radford. Of course, creatively, this is
the Holy Grail, but it is also essential in ensuring your message

28

cuts through the noise of the many other worthy campaigns


vying for attention in the not-for-profit sector.
FIND THE REAL PROBLEMS Start in the right place,
advises Michael Johnson of johnson banks. Dont
assume that what youve been told is true the real problem
that a brand faces often isnt what everyone first assumes it is.
If theres money, track where they are before you start so that
you can assess the impact of what you do next.

29

FIND A CASE FOR CARING Take time to develop


rock-solid narrative and really good reasons why
people should give a damn, says Johnson. Dont jump to
design too soon nearly everygreat brand in this space
makesjust as much sense verbally as it does visually.

30

FIND YOUR FEEDBACK LOOP Protect four to six


weeks for a proper design phase that leaves no stone
unturned, says Johnson. Be prepared for design ideas from
this stage to subvert the verbal ideas from stage two.
Remember not to be precious just see it as a feedback
loop,amend and go forward.

31

DONT BE TOO DEMOCRATIC Find the best route.


Get agreement. From everyone. Even the naysayers,
say Johnson. Alternatively, get the majority vote and hang the
naysayers out to dry. Lifes too short for complete democracy.

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Highly commended (campaigns) The Royal Institution: ExpeRimental by Supple Studio www.supplestudio.com

The Royal Institution (Ri)s charitable purpose is


toencourage people to think more deeply about
thewonders and applications of science. In line
withthis, it launched ExpeRimental to encourage
kids to think about science in a creative way, creating
a suite of videos encouraging parents to carry out
simple science experiments at home.
It needed to be engaging and accessible; it
neededto inspire youngsters to observe, question
and explore the world around them.
Supple Studios solution was to create an Ri
houseicon that was more playful than its previous
designs whilst still sticking with the Ri brand as
awhole. The icon was then coupled with a strong
setof house illustrations by Peter Grundy,
communicating that you can make your home
ascience lab with everydayhousehold stuff.

Highly commended (campaigns) The Donkey Sanctuary by The Allotment www.theallotment.co

With a 30+ million income, The Donkey Sanctuary


isthe worlds largest donkey and mule charity in the
UK.The charity wanted to appeal to a younger
audience. To do this, The Allotment was asked to
reviewthe charitys product approach and recommend
away forward as part of a broader retail strategy,
producing a series of brand-led gifts.
After a collaboration with the senior team at
TheDonkey Sanctuary, The Allotment realised that
theinitiative needed a range which would appeal to
different audiences, for different gifting moments and
atdifferent price levels. With this in mind, the agency
developed three ranges: Designer Donkey, Donkey
Antics and the Souvenir Range.
A mix of the contemporary, the high-end and the
cheeky, The Allotments range of products were aimed
atdonkey devotees as well as gifts that would appeal
intheir own right.

HAVE A PURPOSE The


not-for-profit sector is all
about communicating the reason
for an organisations existence, its
purpose and cause, advises Stuart
Radford at The Partners.

33

BUILD A TOOLKIT A great


branding toolkit that the various
stakeholders can use is essential, insists
Michael Johnson. Again, dont be precious,
be flexible. Implement your ideas, then
track them. Strive to make an impact.

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GIVE A ROD, NOT A FISH By


creating easy-to-use brand assets
and guidelines, you empower the client to
create simple on-brand comms that dont
cost a small fortune, agrees Supple Studio
designer Katie Cadwallader.

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S PE CIA L RE PORT

OCTOBER 2015

Highly commended (campaigns) Up For School by The Partners www.the-partners.com

Established by former UK Prime Minister


GordonBrown andhiswife Sarah, #UpForSchool
isan initiave which aims to get all children, all
around the worldinto school and learning.
The Partners was asked to create an
identityforthe initiative that would engage
anaudience of youth ambassadors and young
supporters in order to create the largest petition
inhistory a petition that no governments,
politicians or leaders can ignore.
The identity is an illustration of a book in the
shape of an upward arrow, accompanied with a
colour palette inspired by childrens schoolbooks and
a deliberately provocative tone of voice.
Purposefully lo-fi in their design, the simple
visual assets enable young supporters to create
theirown posters, banners, stickers and badges,
andget campaigning around the world. The
campaign isset to culminate in the delivery of the
worlds largest petition, presented to the United
Nations atthe end of 2015.

social impact
highly
commended.

COMBINE STORY AND IDENTITY Not-for-profit


organisations must have strong, distinctive visual
identities supported by a powerfully told narrative that
communicates and emotionally connects the audience to
whattheyre all about and why it matters. Its the
combination of the two that makes people sit up, take
noticeand most importantly, care, says The Partners
StuartRadford. Standout without story equals meaningless
noise; story without standout equals lost in the crowd.

36

INCREASE YOUR EMPATHY Put yourself in the shoes


of the audiences you are trying to communicate with
and always seek to appeal at a highly emotive level, says
PaulMiddlebrook, managing partner at branding agency
TheAllotment. With not-for-profit work, you have an
opportunity to really dial this up.

37

BE BUDGET-AWARE Making a small budget stretch is


key. Be creative and the constraints of a tight budget
can lead to powerful solutions, says Katie Cadwallader,
designer at Supple Studio.

38

BE CONSISTENTLY RIGOROUS Apply the same


disciplines and rigour to not-for-profit work as you
dofor other clients, advises The Allotments Paul Middlebrook.
Itsstill all about blending incisive strategy with meaningful
creative work.

39

KEEP IT SIMPLE As you can see from theother


entries, this is a fiercely competitive sector where
everyone is vying for attention, says hat-tricks Gareth
Howat.Our approach to achieve impact is to keep the
coreconcept really simple and singleminded so that it
standsout. Inthe case of Help Musicians UK, we simply
usedthe musiciansto tell their own life stories of how the
charity hashelped them to create a powerful story.

40

AVOID CLICHS AT ALL COSTS One of the biggest


challenges in this sector is creating powerful and
distinctive imagery with typically tight budgets, says Howat.
It is so important to avoid bland or clichd imagery. By now
wehave probably used up our allowance of favours from
friendly illustrators and photographers.

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OCTOBER 2015

Public Sector

Winner (programmes) Swedish Handicraft Association by Snask www.snask.com

The Swedish Handicraft Association is a non-profit


organisation working to preserve, promote and develop
handicrafts, both by individuals and business.
With a vision to give every person the opportunity to
discover the beauty, usefulness and the joy of handicrafts,
the association has been around for more than 100 years.
But with over 17,000 members, 22 regional offices
andeight retail shops they had a big challenge to gather
everything under one name and one brand.
Snask, a brand, design and film agency situated in the
heart of Stockholm, began with the idea of transforming

THINK OF BRANDS AS HUMANS Snask uses this


exercise to start with since its so simple to imagine:
whats the brands personality? How should it speak? What
should it say? To who? How should it dress? How should it
walk? How should it charm? Can we help it be cooler,
smarter, better suited for its environment?

42

theway people perceived Swedish handicraft. It was time


tomove away from old-fashioned notions of butter knives
and knitting into the artisanal concept of everything being
made by hand combining a modern sensibility with the
associations rich history of knowledge and experience.
The agency created a new logotype for the association,
which could be made by hand flat on a surface as well
asbuilt up by any material, or as an graphic identity.
The new design formed the bedrock of joining
togetherall the various elements of the association
underone stylish,unifiedidentity.

NAVIGATE THE HIERARCHY Despite what some


think, we do have unnecessary hierarchies in the
Swedish public sector, says Snasks Fredrik Ost. Theres
nobetter tip tonavigate your way to the very top and get
to talk to decision makers directly instead of destroying
ideas through the grinding hierarchy systems.

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OCTOBER 2015

Highly commended (programmes) BBC Newsbeat by Moving Brands www.movingbrands.com

Also appearing in the Entertainment category, Moving


Brands work on the BBC Newsbeat project aimed to
reinvent the news service for 16- to 24-year-olds and
enable it to regain traction in the sector. Working with
the client embedded within the studio, it collaborated
on the proposition and design of the brand and website.
Inspiration was taken from the Newsbeat name.
Thewordmark is designed to react to the beat; when
you hit pre-programmed points within the site, a beat
sequence animation is triggered in the mark. The beat
part of the wordmark can also act independently from
news to take on the role of a load animation.
The grid system is built to replicate a simple music
time signature. All elements are divisible by four, with
content landing on or off the beat. A unique component
of the newsbeat brand identity system is the colour
picking method, a tool which uses tones found within
editorial imagery, applied as slice overlays.

BIA judge Sunita Yeomans has a wealth of client-side experience


at major retailers and supermarkets, including being head of
creative at Tesco, creative controller at Argosand head of online
design at Boots and now runs herown studio, SSHY. Here,
shesheds some light on the deliberations in the Branding
Programmes judging room...
What was the stand-out category for you this year?
I liked Technology. It was refreshing to see creative solutions that
werent predictable digital graphics, especially the branding for
Fugue. Also, the Financial sector is working so hard to present
itselfas human that theres some wonderful, innovative design as
aresult. The Family Building Society expresses real life beautifully,
and Zhuck is witty and charming.
Did you have a favourite single project?
My favourite was the Connaught Hotel. The design and illustration
was a visual extravaganza. I love imagery where yousee something
new every time you look at it for me, thats one of the most
effective ways to keep a brand identity fresh.
Were there any visual trends running through the work?
I saw a lot of texture throughout all of the entries, regardless
ofwhether it was created with typography, illustration or
photography. There was also a huge amount of colour. Its

notreallysurprising, as trends have been moving this way for


afewyears. Consumers want to be cheered up by the graphics
around them. Theres a move towards more complex design that
demonstrates skill and expertise, to stand out against the mass
ofcomputer-generated design.
For you, what does it take for a piece of branding to stand
outinthecrowded modern marketplace?
I used to believe that great design needed to be invisible, that
aconsumer should barely notice it, just act upon it or feel affinity
with it. These days, I think the opposite. Most consumers are now
very design literate, especially the generations that have been
brought up with tablets, smartphones and other tech. They create
their own imagery and design all the time, and are fearless in their
approach toit. Brands that want to have impact need to create
identities that challenge the status quo, and make consumers
wonder: How on earth did they do that?
Finally, whats your one piece of advice for any branding
agenciesthat are consideringentering the BIAs in 2016?
Get away from your desks and your computers, and allow
yourdesigners to roam the streets for inspiration. Trust
yourgraduate designers when they suggest brave ideas.
Andaboveall, try to do something totally new for your
clients.Youmight think its impossible, but its not.

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Retail

Winner (programmes)
Argos
by The Partners
www.the-partners.com

Argos, a UK retail institution with 40 years of heritage, is well loved.


But as an old world catalogue company, it needed to transform in a
big way.With online rivals busy transforming how the nation
shopped, Argos needed to change to compete effectively.
Moving beyond a core heartland audience, Argos needed to
become a brand for all. That meant reaching out to new audiences.
The Partners was tasked with repositioning the store as a categoryof-one SuperRetailer fuelled with energy, attitude and dynamism.
This was achieved through a complete re-launch, creating a new
brand identity and body language that was executed consistently
across every channel and embraced by all parts of the business.
GET SET GO ARGOS was the big idea and branding device.
Packed with energy and confidence of New Argos, it was designed
toincite action as well as reappraisal. The driving concept was that
When you need to make things happen, you need a SuperRetailer.
From TV to outdoor to tactical press, social channels, mobile and
beyond, this was a joined up re-launch like no other.It all took place
as Argos stores were transforming into digitally integrated spaces,
which seamlessly connect customers in-store and online.

ENTERTAIN ME Retail is theatre, according to


ThePartners. Done well, it can be stimulating,
interestingandexciting. The stage is set, the staff are
theactors,products are the props; make it fun and we
willspend,declares creative director Dave Roberts.
Boreusandeventually well go elsewhere.

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S PE CIA L RE PORT

OCTOBER 2015

Highly commended (programmes) Dilo Bonito by Bienal Communication www.bienal.mx

Dilo Bonito (Portguese for Say it pretty) is an online


giftdelivery store whose main objective is to create an
integral gift-shopping experience, from the moment
the client orders anything in the website to when the
recipient gets the product. The user has the option to
buy, inter alia, presents such as flowers, piatas,
cookies, occasion cards or gift sets.
Due to the products colourful nature, Bienal
Communication decided to create an elegant brand
that uses mainly black and white, with a pastel colour
palette that contrasts perfectly, to emit a clean, sober
and timeless celebration atmosphere.
Bienal chose a typographic logo that represents the
ribbons of gift wraps, positioned diagonally to make a
reference to the effectiveness of the delivery service.
Finally, the graphic applications were a simple black
and white polka dot pattern a direct wink to the
protagonist of every celebration: the confetti.

45

DONT DESIGN IT, THINK IT FIRST Weve all heard


the phrase retail is detail but you cant use this as
astarting point, explains The Partners Dave Roberts. The
trickis to start big and think about the whole experience
youre creating for people, and then work backwards.

49

46

JOIN UP THE BRAND Be sure to avoid a collection


ofzones and ideas that are only bolted together by
the brand, says Roberts. There are too many shops with no
lasting memory or pleasure when you visit, they are just a
place to purchase with a badge above the door.

50

MAKE FRIENDS Great stores are created by many


people and you often have to work with multiple
agencies to achieve your goals, Roberts explains. Brand,
environmental, advertising, merchandising all need to be
close to what youre doing. You cant just do a big reveal at
theend of a project and expect everyone to get on board.

47

COLLABORATE TO INNOVATE Retail design goes


beyond the graphics concept, according to Bienal. One
of the most important things is to set the rules of the game
clearly to engender collaboration. When the central concept
isdeveloped and all those involved live and breathe the same
brand, the outcome is more consistent and homogeneous.

51

DONT CALL ME A CONSUMER Consumers,


demographics and the ABC world are useful to
apoint, but wouldnt you rather design for real people?
Roberts explains: You need to question your work against
themindsetof real people, not consumers. Its about
creatingenvironments that people want to be in.

FRIENDLY FEEDBACK For Bienal, the importance


ofamicable feedback between client and design
agency is critical. We work as if our retail clients are our
friends, says graphic designer Eugenia Diaz. Values such
ascommon decency and professional chemistry are crucial
when designing a public-facing retail project.

48

BE TRUE TO YOUR BRAND Build a personality


intothe brand thats true to the brand, not true
tothelatest trends, says Roberts. Far too many retailers
(especially groceries) opt for the local hipster type look.
Whatthey dont realise is that people see through it!
FOLLOW YOUR GUT Avoid paralysis by analysis,
isBienals advice. Always follow your gut and your
common sense: feed your revolutionary instinct and the need
for change. Set on fire what a retail store should look like and
just be bold with your proposal, but keep in mind functionality.

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Sport

Winner (campaigns) Game Before The Game by R/GA London www.rga.com

R/GA has been working with the Beats by Dr Dre


headphones since 2011. Recent commercial The Game
Before The Game stars some of the worlds greatest
footballers Neymar Jr., Goetze, Sturridge, Fabregas,
Suarez, Chicarito, Van Persie, Schweinsteiger, Altidore,
Sagna, Matuidi and features their authentic pre-game
rituals. It also includes some of the worlds biggest celebrity
football fans, such as LeBron James and Serena Williams.
The ad shares the pre-game rituals of famous football
players, fans and celebrities around the world, as they
silence all doubts, distractions and fears in their preparation

for victory. Every ritual from every player and nation is


completely authentic; as is the role that Beats headphones
has come to play in each athletes preparation.
By leveraging key influencers, R/GA was able to connect
and engage with fans through storytelling content across
multiple brand touchpoints.
The agency worked closely with key broadcastpartners
throughout the campaign, in order to blur the line between
the studio shows, games, and the film itself and a strong
360-degree communication strategy helped maximise its
breadth and depth of reach.

EXPRESS YOURSELF Theres in an interesting drive on sports


products and brands becoming means of self-expression, says
R/GA associate design director Daniel Nieuwenhuizen. Theyre not
about giving you the chance of buying Ronaldos or Messis latest
boots, but how you can use them as a way to express yourself
performing at the highest level.

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Winner (campaigns) Google World Cup by R/GA London www.rga.com

Google wanted to connect with peoples passions around


the 2014 World Cup. The event would be absolutely
saturated with marketing, so Googles contribution
hadtobe unique and valued.
R/GA London designed and built a process that took
real-time search data, crafted it into a highly shareable
pieces of content, and released it out to the world during the
tournament. These pieces of content were called Trends.
Throughout the entire tournament, R/GA set up a team
of translators, data analysts, writers, designers, strategists,
producers, developers and social managers to uncover
fascinating search trends, offering insightful and
entertaining search stories in 12 different languages.
These Trends attracted coverage on some of the most
influential media houses like the BBC and ESPN, and the
biggest names in football and media including Lionel Messi,
Marco Reus and Mesut zil.
Without a single dollar spent in media, the project
delivered over 3.4 billion impressions, worth around $13.6M
in media spend. From a brand perspective, 30 per cent of all
retweets @google in 2014 came from World Cup content.

CONSIDER PERFORMANCE Keep in mind the movement of


sportscompaniesinto areas of technology, says R/GA Londons
Daniel Nieuwenhuizen. These days they are building hardware, storing
andsupplying data, and helping users measure and quantify their activities.
Thereforethe products are expected to perform on not just an emotional
level, but alsoa practical one and to prove that they can.

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collaboration
highly
commended.

80 G E M S OF B R A NDI NG W I SDOM

OCTOBER 2015

Winner (programmes) Invictus Games by Lambie-Nairn www.lambie-nairn.com

The Invictus Games are an international sporting event for


wounded, injured and sick service personnel organised in
partnership with The Royal Foundation of The Duke and Duchess
of Cambridge and Prince Harry, and the Ministry of Defence.
Lambie-Nairn was briefed to bring the inaugural event of
September 2014 to life by developing a logo and powerful brand
identity, which would reflect the events core values, and attract
and engage competitors and audiences on international level.
The agency had just seven weeks to build the brand from
scratch and develop an identity that would put the inspirational
stories of injured service personnel centre stage. This also had
tobecollaborative, so everyone could pick up and participate.
The inspiration for the I AM idea which became the
Gamesrallying cry came from the final lines of the poem
Invictus by William Ernest Henley:
I am the master of my fate,
I am the captain of my soul
The logo reflects the events core values of personal
achievement. Invictus is Latin for unconquered, so I AM
capturedthe spirit of the games perfectly.

DONT OVERCOMPLICATE THINGS Keep


itsimple, make it cool, advises Adrian Burton,
creative director at Lambie-Nairn. The world is
absolutely fullofsports brands with deep pockets.
Invictus wasdesigned to be uncomplicated, bold
andiconic. Who doesnt like black?

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social impact
shortlisted.

S PE CIA L RE PORT

OCTOBER 2015

Highly commended (programmes) Williams Martini Racing by hat-trick www.hat-trickdesign.co.uk

hat-trick was originally commissioned to refresh the


corporate brand for the Williams Group, but the identity
review revealed the need for a wider look at the whole
relationship of the racing team to the Group.
The introduction of Martini as a lead title sponsor
led to a change of direction and a swift response was
needed to rebrand for the 2014/15 season.
The challenge became how to integrate the iconic
Martini racing stripes with the newly evolved Williams
brand to create an exciting and vibrant racing team
identity. hat-trick created a series of graphic illustrations
for each of the circuits and asked the team to choose its
favourite racing corners.
The agency worked closely with the Williams
in-house design team to implement the identity across
arange of print, environmental, uniform, livery, online
and sponsorship graphics. The new look was launched
at the Australian Grand Prix in March of last year.

MAKE IT ORGANIC One of the key things that is


becoming ever more important in this sector is how to
work alongside other brands and sponsors, says hat-tricks
Gareth Howat. Its critical to consider a system of how that
works up front and not as an afterthought.

56

STAY ADAPTABLE All brands have to be flexibleto


betruly successful, says Howat. Butonekey
thingwehave learned from working with Wimbledon and
Williams is just how many different people are involved in
implementing that branding. Thats why creating and testing
ideas that are adaptable is important at the beginning.

57

FACTOR IN FAN FEEDBACK Sport has very big


audiences, says Manchipp. So get ready for a lot of
feedback, particularly from the fans. It wont all be good. So be
sure of the direction youre taking and that the clients are even
more sure of their direction. You dont want to see them take a
U-turn when Wendy says she doesnt like it in the Daily Mail.

60

COMMUNICATE VISUALLY Sport isglobal, so if youve


got an execution that hinges onlots of words, watch out,
says Manchipp. Non-written communication is a smart thing
to consider early. This isthe perfect place to roll out suites of
useful and ownable graphic languages. Youll need top creative
teams though, asmany of those paths are very well trodden.

61

DATA DRIVEN DESIGN With data becoming one of


the main ways to measure well-being, sports brands
need to think about what impact theyre having on peoples
lives when they arent practicing sports, says R/GA Designs
Daniel Nieuwenhuizen.

PERSONAL AND EMPOWERING Sports brands


liveand breathe self belief. Think Adidass All In or
Nikes Just Do It. Those competing are doing so not simply
against each other but against themselves.

AGREEABLE DESIGN Sport has lots of stakeholders,


notes Simon Manchipp, co-founder of SomeOne
shortlisted for a BIA for its Baku 2015 European Games
identity. Get ready for lots of meetings and opinions. The
good news? Everyone is really into the sport youre working
with. Its fun. But be sure to design ways for people to agree.

LEARN FROM THE BEST Sport inspires us, unites


usand defines us, but for sport today you could read
Nike, Adidas or EA, says Adrian Burton, creative director at
Lambie-Nairn. These are the category convention authors
against which all sporting brands are now measured. Dont
copy them, but do learn from them.

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Technology
and Telecoms

Winner (campaigns)
Beats Music
by R/GA London
www.rga.com

Streaming music services lack heart, according to R/GA Londons BIA


entry. Algorithms arent enough to fix the problem and cant deliver
people the perfect music for the moment. If you love Paul Simon, youll
really enjoy Art Garfunkel. That makes perfect sense to a computer, but
not to a human being who lives and breathes and feels.
To fix that problem, R/GA needed to figure out a way to combine
technology and people driven by a passion for music. That was the brief
given to the agency by producer Jimmy Iovine and rock god, Trent Reznor;
to help design a revolutionary new service combining human curation and
technology, and create a new way to experience music. The result is Beats
Music, a digital music service that reinvents the category, by combining
technology with human curation.
There are three layers to the app. The first is a smart profile that
usersset up by telling it what genres and bands they are interested in.
AnAI layer connects that profile with input from human curators. An
editorial team, made up of music experts, feeds the system with handselected playlists, albums, and songs. With a slick design and intelligent
recommendations that enable you to personalise your music more
successfully than any algorithm-only competition, its a real innovation.

THE SERVICE IS THE STORY According to


R/GA, tech brands are often related to a signature
way toprovide a service, rather than just aesthetics or
comms. As wetry to define the brands of the future,
weneed to thinkabout the story it has to tell as the user
interacts withit look at Snapchat, Instagram or Tinder.

64

AVOID THE CLASSIC CLICHS Stay away


from the technology clichs at all costs,
cautions Stefan Sagmeister. Chances are that the
competition has already used them to the point
where all the juice they might have had has
already been pressed out of them.

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Winner (programmes) Fugue by Sagmeister & Walsh www.sagmeisterwalsh.com

Fugue automates the creation, operations, and regeneration of


cloud infrastructure. When learning about the software, what
stood out to Sagmeister & Walsh was the importance of
ephemerality, as the software replaces the need for maintenance of
long-lived components in the cloud with automated regeneration
of short lived ones.Creating a brand that visualised all this
involved embodying Fugues core attributes of lineage and elegance
and departing from the typical tech graphics. Sagmeister &
Walshs logo works like the software does: it constantly regenerates
itself while data moves from one point to another. The logo
application also has a drawing function so that you can draw
abstract visuals in the Fugue language using a tablet device.
The name of the software, Fugue, references music
composition made famous by composers like Bach, Mozart, and
Beethoven. The creators of the software are former musicians, and
functionalities in the software reference terminology from music.
This is paid homage to with the branding and software developed
to load any music from a users library. The logo speed alters to
reflect the beat of the music. The logos with sound can then play
attrade shows, in the application demo, or online as animations.

VISUALISE EMOTIONS Consider the emotional


quality of the technology, product or service youre
promoting and see if there is a way to visualize this emotion,
advises Sagmeister. Go and see Disney-Pixar film InsideOut
for a great example of this.

66

BECOME AN AESTHETE Genuinely consider


beauty as a branding feature, offers Sagmeister.
In technology, where everything is considered rational
andfunctional, beauty is the golden path leading to
truefunctionality.

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Highly commended (programmes) Function Engineering by Sagmeister & Walsh www.sagmeisterwalsh.com

Function Engineering specialises in


mechanical design and engineering for
product development within, but not
limited to, consumer electronics,
computing and networking, mobile,
medical, robotics, entertainment,
commercial and industrial equipment.
Function approached Sagmeister &
Walsh to create a new brand identity
system; narrowing in on Functions
expertise in designing hinge and linkage
mechanisms, the agency designed a
typographic system based on a hinge/pivot
system. Itexpanded on the system by
creating a series of icons, illustrations, and
patterns which can be used flexibly across
various collateral in print and online.

Highly commended (programmes) Open Knowledge by johnson banks www.johnsonbanks.co.uk

Open Knowledge has been the leading organisation


opening up data across the world since 2004 and is at
the forefront of a technology revolution. The brands
narrative asks if we want to live in a world where access
to knowledge is open or closed, choosing a world
where knowledge creates power for the many, not the
few. A world where data frees us to make informed
choices about how we live, what we buy and who gets
our vote. A world where information and insights are
accessible and apparent to everyone.
The identity was sourced by johnson banks
directlyfrom the data in one of the organisations
projects, the Global Open Data Index. The branding
agency extrapolated the symbol from the datasets of
72countries in the Index, showing how open (green)
orclosed (red) their data is. The symbol is also designed
to work on multiple levels, as an earth, as an eye, and
asanO for Open.

CHALLENGE THE STATUS QUO Technology is


asector ripe with clichs, awash with money yet
bereft of imagination, says Michael Johnson. Challenge
them with ideas that havent been seen in the sector before.
Force them out of their comfort zone. Be prepared to be
applauded, or fired.

68

GIVE IT A HUMAN FACE If you can


ground the technology and make it
seem more human, more real, that can be
really useful, says Johnson. No-one really
cares about giga-bits and terra-bots, its
howit impacts their life that matters.

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S PE CIA L RE PORT

Transport
and Travel

OCTOBER 2015

Highly commended (programmes) Airbnb by DesignStudio www.wearedesignstudio.com

Home-rental site Airbnb wanted to


bethe first community-driven super
brand and DesignStudios rebrand
needed to reflect this vision. Their
research found users typically have
astrong, emotional sense of purpose
and affection for the community
theyre a part of. This was reflected via
the idea of Belong Anywhere, which
informed every aspect of a new global
brand identity. Central to this was
thenew Bel logo, a symbol aiming
totranscend language and cultural
barriers globally, with a long-term
goalto become a universal symbol
ofbelonging. The new identity
waslaunched across all corporate,
consumer and community channels.

Highly commended (programmes) The Verb Hotel by GBH www.gregorybonnerhale.com

After Boston property developers acquired an


unloved 1959 Howard Johnson motel, GBH was
approached to rename and rebrand the property.
The agency drew inspiration from the motels
history as part of the areas 60s /70s music-driven
cultural scene and all-round bohemian lifestyle.
New name The Verb (as in reverb) positioned it
as a spiritual home of Bostons music scene, and
the logo plays into the hotels 1950s origins. To
involve the local community, GBH commissioned
photographs of flamboyant locals making the V
(or Verb) sign, which are used throughout the
identity. Musical authenticity is also brought to
communal areas through the music memorabilia
collection of David Bieber, former editor of local
counter culture paper The Boston Phoenix.

THINK GLOBALLY Its vital to know the client on


a global scale, says DesignStudio co-founder Ben
Wright. You need to assess the brand experience for
people travelling through different countries. Conducting
an in-depth immersion process helps capture local
inspiration and insight to develop an authentic brand.

70

CREATE AN EXPERIENCE According to GBH, great


branding for the transport and travel sector is about
understanding a guests experience, and creating a journey
of discovery through well-considered touch points: Its
about knowing when to create a big surprise, when to
raisea wry smile, and when to gently whisper.

71

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80 G E M S OF B R A NDI NG W I SDOM

OCTOBER 2015

Wine, Beer
and Spirits

Winner (programmes)
Crafty Dan
by WPA Pinfold
www.wpa-pinfold.co.uk

WPA Pinfold was asked to create the identity and packaging for a new, innovative range
of packaged and keg beers for Daniel Thwaits Brewery. The Crafty Dan range aims to
take on the American craft beer imports and reposition Thwaits beers in the
contemporary craft beer sector appealing to younger, trendy drinkers while still
trading off the companys rich heritage.
Combining the best of both worlds, old and new, with nearly 200 years of brewing
know-how and American hops and malts, each design has a clear definition of its beer
style (which is a key communicator for todays more experimental drinkers). For
example, the 13 Guns design celebrates the formation of the United States of America,
with classic illustration and typography, symbolising the craftsmanship and attention to
detail that has gone into the brewing process, whilst maintaining a clean and fresh look
which also reflects the beer itself.
The challenge was to integrate the branding across all packaging formats (bottle,
canand fount) and communicate a premium positioning. The designs have roots in
traditional scraperboard illustration style, with a contemporary edge that resonates with
the graphic style for craft beers in the USA. After launch, Thwaites saw a 590 per cent
increase in average sales per beer.

PUT THE ART IN ARTISANSHIP Craft is all about putting the


artinto artisanship and creating great beers that differentiate
themselves from the more mass-produced alternatives, explains WPA
Pinfolds Myles Pinfold. In the USA, craft brewers have recognised the
power of the brand tohelp them take on presiding market forces. This has
been instrumental in making some of the now classic craft brands famous.

72

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S PE CIA L RE PORT

OCTOBER 2015

Highly commended (programmes) Miller Lite by Turner Duckworth www.turnerduckworth.com

Miller Lite is the USAs third largest beer brand and


invented the light beer in 1975. With a dramatic
decrease in sales, MillerCoors wanted to radically
redesign the brand to attract new drinkers. Turner
Duckworth felt that the existing packing didnt
relate to the original promise of great tasting beer
with half the calories, so, inspired by the history of
the brand, the agency aimed to remind customers
that Miller Lite was the original light pilsner, an
iconic US product with strong brewing credentials
and an innovator in the beer market. The original
1970s packaging was redesigned in a modern way,
introducing new elements such as iconic wallpaper,
custom type and a monogram logo to add depth.

73

EMBRACE CREATIVE FREEDOM The poor drinker


isoften challenged when theyre trying to make an
informed choice, believes WPA Pinfolds Myles Pinfold.
Thereis simply toomuch visual chatter in the category
andnot enough clarity.As designers, we can create any
lookand feel to orderand in this sector there is endless
inspiration, with tensof thousands of beer labels and
beerbooks toreference. It really is too easy to simply
followthe herd in this sector.

DEFINE THE BEER EXPERIENCE Too often the


brewer and designer focus on the individual beer
brand, instead of championing the passion and individuality
ofthe brewer, or understanding the recipe and style of the
individual beer, adds Pinfold. Telling the drinker what the
beer tastes like is a good starting point a learning that can
be had from the wine category. Remember, there are over
8,000 beers in the UK and the diversity of beer is amazing,
there are even more styles of beer than there are of wine.

THINK OFF-PACK Beer brands must be recognised


across a bar and look cool in yourhand, says Turner
Duckworth co-founder Bruce Duckworth. So invest your
designtalent in a few highly considered visual assets
thataredominant on pack, but that can also come to
lifewhentaken offthe pack.

EMPHASISE THE CRAFT Brewing is a nuanced craft


and the packaging design needs to reflect that in the
fine detail, says Duckworth. Wine should look intriguing, less
big brand and more artisanal. You need a story.Raid the brand
archives, quiz the makers until you find something thats an
unmistakable difference, and then use thatas the central
theme of the design.

74

SOCIAL DESIGN As Duckworth points out, beer,


wineand spirits are inherently social things, passed
between friends, shared, put on tables even bought as
gifts.Design with that in mind, is his advice. Design
packaging to look good in its social setting, to be talked
about,and to make people feel good.

75

HOW DOES IT TASTE? People tend to imagine that


products taste like they look, argues Duckworth. So
think about that in your choice of typefaces, colours and
iconography with that in mind. Everything youdo says
something, he points out.

76

77

78

MAKE IT VISUAL Wine in particular can be incredibly


difficult to shop, very complex, and very verbal the
shelf is a wall of words; often in a language the shopper cant
speak, says Duckowrth. Make it visual. Memorable visuals
make wine easier to buy, and easier to buy again.

79

THINK ABOUT CHARACTER Across all drinks


categories from craft beers and tequila to tea and
coffee people are looking for character. So create distinctive
things, nurture the idiosyncrasies, craft objects of character,
advises Duckworth.

80

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I NT R O P RO J E C TS

OCTOBER 2015

Computer Arts goes behind


the scenes with world-leading
designers as they reveal their
working processes

INCLUDES PRO
WORKFLOW ADVICE
Plus: the latest
toolsandtech
fordesigners

CARLSBERG
REBRAND:
A NEW LEAF
Taxi Studio reveals how it
harnessed Carlsbergs
long-standing brand heritage,
building a fresh globalidentity
around its iconic hop leaf 84

QUESTIONING THE
BOMB POSTER:
SEEING RED

3D-PRINTED NUMERALS:
LETS GET PHYSICAL

How Pentagram used


real blood as ink to
mark 70 years of the
A-bomb attack
on Japan 98

Radim Malinic explores a


range of creative processes to
produce a set of free-standing
resin sculptures 95

PLUS:

CRAFT THE IDENTITY OF A HERITAGE BRAND

THE LEGAL GUIDE FOR DESIGNERS

Video walkthrough: senior designer Kirsty Whittaker


91
reveals how NB refreshed Aspalls identity

Esssential tips and advice for steering clear of all


102
theclassic legal pitfalls that await designers

COMPUTERARTS.CREATIVEBLOQ.COM
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P ROJE CT S

OCTOBER 2015

CARLSBERG REBRAND:
TURNING OVER A NEW LEAF
Tasked with creating a new global visual presence for Carlsberg,
TaxiStudio harnessed the potential of the companys longstanding
heritage, placing the iconic hop leaf motif at the brands creative core

PROJECT FACTFILE
BRIEF
Recognising the need to simplify
the brands visual presence across
its portfolio of beers, Carlsberg
briefed Taxi Studio to reappraise its
global visual identity and packaging.
The brief was to symbolise, simplify
and rationalise, and the resulting
creative leverages the brands
iconic Hop leaf motif to create a
striking and flexible new system.
AGENCY
Taxi Studio
www.taxistudio.co.uk
PROJECT DURATION
18 months
LIVE DATE
August 2015

The outcome was a fridge of family beers that share a strong genetic link

THE DESIGN BRIEF

Spencer Buck

SPENCER BUCK
CO-FOUNDER AND
CREATIVE PARTNER, TAXI
Spencer is one of the creative heads
at Bristol-based Taxi Studio, which he
co-founded with Ryan Wills and Alex
Bane in 2002. Taxis philosophy?
Fearless dedication to getting brands
noticed because no one ever had
agreat idea by playing it safe.

J C Jacobsen discovered the Carlsberg yeast and


sharedit with the world rather than keeping it to
himself. He wanted to push the boundaries of beer
development. Jacobsen worked with great minds of
his time, like Louis Pasteur and Alexander Fleming,
and most lagers in the world today can be genetically
tracedback to theyeast that he found and sourced.
Today, Carlsberg is facing a considerable amount
of competition in the lager market. A lot of key
competitors have been going through a process of
premiumisation and simplification it was felt that
Carlsberg was starting to lag behind and its current
portfolio of beers was fairly disjointed. People need
to encounter the same visual expression whenever
they experience Carlsberg in any market. At the
same time,each sub-brands proposition must be
communicated with its own merit without being
divorced from the master brand.
COMPUTERARTS.CREATIVEBLOQ.COM
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Jessica Felby, Carlsberg:


Since the beginning, the Carlsberg company has sat
at a crossroad between art and science. The majority
shareholders are the Carlsberg and Tuborg Foundations,
so every beer sold helps the worlds of art, science and
music. In many markets, the lager we see as the core
isnt necessarily the master brand and the biggest seller
the sub-brands werent supporting one another and
some of them were becoming increasingly disjointed.
This was about pulling everything together as a brand.
It wasnt broken as such, but we needed to understand
and elevate our positioning.
A series of creative workshops took place where
we identified opportunities and issues. Taxi was very
involved with these. We sat down with different people
from different agencies who had worked on the brand.
After that, we sat down with Taxi to write the brief and
continued to hold workshops throughout the project.

DI A R Y 1 : TA XI ST UDI O

OCTOBER 2015

PROJECT AT A GLANCE
Key stakeholders at Taxi Studio and Carlsberg explain the creative process

1 Brand credentials

2 Best representation

3 Iconic potential

Spencer Buck: Carlsberg is one of the worlds most


iconic brands, spanning a history of some 168 years.
Our overriding ambition was to create a fridge of
individual family beers and determining how to
apply the brands premium credentials and heritage
was absolutely fundamental to this creative task.

Benjamin Hoffmann: What is something you would


recognise Carlsberg by? That was the question
we asked ourselves. How could we use our design
architecture to represent ourselves in the best way?
We have a great heritage and a great story, but some
markets arent going to be interested in that.

Spencer Buck: We explored the potential of


elevating the hop leaf as a key asset. As part of this
exploration, we really understood the potential of
the hop including the creative gift of one of the core
sub-brands, Elephant, fitting perfectly into it which
paved the way for all sub-brands in the range.

4 Eureka moment

5 Projecting the future

6 Design explorations

Jessica Felby: The hop plant is, of course, what


makes beer. Its an intrinsic part of the brand and
is physically in the product. A eureka moment
happened when we saw the Elephant test. We
knewthen that this was a design solution that
wouldwork for all the sub-brands.

Spencer Buck: We did some thinking about how we


couldsimplify and modernise the brand mark. We
setourselves the challenge of imagining Carlsberg
in 50 years time. How many steps back from that
should we take to reach a comfortable place? That
was an interesting exercise to go through.

Spencer Buck: It soon became clear that, over time,


this could become as powerful and iconic as the Nike
swoosh. We explored line extensions and sub-brands
to see how we could push the hop icon over time.
We also explored the scientific rationale for size and
placement, and tested different lock-ups.

7 Colour theory

8 Bespoke typeface

9 Distinctive sub-brands

Jonathan Turner-Rogers: Carlsberg must stand out


in a world of green. We looked at the compounds
of different greens including the greenest green
possible and examined what they meant and how
people reacted. We looked at bright, vibrant greens
for refreshment and darker, richer, premium hues.

Spencer Buck: Carlsbergs existing typeface wasnt


taking its cues from the core brand. We worked with
Kontrapunkt to create a bespoke, relevant typeface
that worked in harmony with the Carlsberg brand
mark and could also work as a standalone equity
anda visual shortcut to the brand.

Spencer Buck: Each sub-brand still communicates its


own individual personality. Some key elements have
been retained to ensure people can still identify their
favourite beers in the future. Each sub-brand drives
equity back into the hop leaf and therefore into the
overall Carlsberg brand identity.

COMPUTERARTS.CREATIVEBLOQ.COM
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P ROJE CT S

OCTOBER 2015

JESSICA FELBY
GLOBAL DESIGN DIRECTOR,
CARLSBERG
As head of design for Carlsberg Group,
Jessica heads a team that handles design
for Carlsbergs international brands. She
has 20years of FMCG experience,
including at Coca-Cola Europeas well as
various agency-side roles.

JONATHAN TURNER-ROGERS
ASSOCIATE CREATIVE DIRECTOR,
TAXI
Jonathan joined Taxi Studio in 2011 after
building his creative credentials at the likes
of Blue Marlin, JKR and Landor Associates.
He has 15 years experience and previously
studied packaging design at Somerset
College of Arts and Technology.

WORK IN PROGRESS

Jonathan Turner-Rogers

Our role was to sensitively evolve the core brand


identity, ensuring it would adapt to various market
needs and to other formats and sub-brands. Our
explorations helped us to decide what we should and
shouldnt develop they were an effort to really hone the
brief to the point of perfection by bringing things to life
and showing them to people to see how they reacted.
We knew Carlsberg had a certain set of colours. It
is recognised as the green beer brand. But what is the
right green? We looked into the science behind different
shades of green and considered how we would use it
while the early concepts were too radical, you can see
hints and smatterings of that learning and exploration
in the final creative. The green was just a glow before,
but its now part of the brand equity.
We created the Carlsberg Shard Light system to
dramatically emphasise the hop leaf on packaging and
communication materials. This system becomes more
graphic with some key sub-brands, such as Elephant.
Working with Carlsberg was about understanding not
only the core portfolio but also how to expand the brand
into promotional, limited edition or seasonal branding
with consistency. So, for example, weve produced a
limited-edition winter pack and have started to look
at limited-edition designs for the Asian market. Each
design is totally unique to Carlsberg we want them to
be beautiful, to stand out and be collectible.

Developing the new typeface in conjunction with


Danishtype specialist Kontrapunkt

Taxi Studio refined existing elements to declutter


andstreamline without squandering brand equity

Spencer Buck:
Weve created an illustrative style that drives Carlsbergs
premium credentials back into the branding. One thing
we are being very careful about is to be sure that we use
the hop leaf, and the visual articulations of it, sparingly
and respectfully. Were going to curate a limited amount.
To complement all of this and introduce another layer
of ownable premium craft, Taxi Studio and Carlsbergs
design team worked with Bo Linnemann at Kontrapunkt
to create a proprietary typeface and Probably logo that
borrows design cues from the iconic Carlsberg logo.

Exploring the potential of elevating the hop as a key asset, it became clear that, over time,the emblem could
becomeas powerful as the Nike swoosh as a standalone symbol

INITIAL
CONCEPTS
THREE IDEAS
THAT DIDNT
MAKE IT
THROUGH

This route was too revolutionary, but the


learnings of form and function benefited
the final design. The triangle represents
excellence in many forms, in keeping with
Carlsbergs relentless pursuit of perfection.

This design made it to the final cut as it was


loved internally and externally. It taps into
Nordic design principles and articulates
Carlsbergs brewing heritage and premium
credentials. It also deploys green sparingly.

COMPUTERARTS.CREATIVEBLOQ.COM
- 86 -

This was the most radical as it evolved all brand


assets. The idea stems from the name itself,
which refers to founder JC Jacobsens son Carl
and to the hill where they placed the brewery.
The hop leaf sits proudly as a marker on the hill.

DI A R Y 1 : TA XI ST UDI O

OCTOBER 2015

STEP 2

STEP 1

STEP 3

THE PURSUIT
OFPERFECTION
JONATHAN TURNER-ROGERS EXPLAINS
TAXISTAKEON THE HOP LEAF
STEP 1
The distinctive device above the r in Carlsberg was
derived from organic signatures in the hop leaf plant. Part
of our exploration was to see how far we could push that
shape beforeit lost its identity.
STEP 2
We tried to make it conform to a perfect triangle, which
is a perfect form in science and nature, but somehow the
hop lost something when it was made completely perfect
so we kept it as it was. As part of imagining Carlsberg in
50 years time, we also used the simplistic shape to see
how far we could push it in a triangle format.

STEP 4

STEP 3
One of the lock-ups that we explored was this idea of
the Hero Hop, which allowed us to start exploring the
size relationship between Carlsberg and the brand
mark. We started to look at a system that has since been
dropped, but something that we did use was the perfect
relationship between the brand mark and the hop icon.
STEP 4
We also looked at how we could introduce a bit more of
an organic form to the hop leaf that wasnt so rigid and
linear. Some of these explorations were taken forward and
some were not.
STEP 5
On the final designs, you can see areas where we use the
core brand mark and have deployed the hop, and the size
relationships between the two strike a perfect balance as
they were born out of this experiment. Everything in the
visual system has rhyme or reason to it, nothing is there by
chance, and it all taps into Jacobsens original belief about
striving for perfection.
STEP 5

COMPUTERARTS.CREATIVEBLOQ.COM
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P ROJE CT S

OCTOBER 2015

BENJAMIN HOFFMANN
DESIGN MANAGER,
CARLSBERG
Benjamin joined Carlsberg Group in
2010 and has over 15 years industry
experience. He was previously design
innovator at Coca-Cola Europe and
owned freelance design consultancy
Akkurat. He has a Masters from the
Royal Danish Academy of Fine Arts.

CONCLUSION

Jessica Felby

This is a timeless system that has the flexibility to


evolve. We havent designed ourselves into a cul-de-sac.
It can grow organically over the years and will allow the
brand to have a life.
We have all worked together on various brands over
the years, so we didnt have to go around the houses
trying to build trust and establish ways of working
and talking. Of course, working in the beer industry
means you can go out for a drink if you put beer into a
relationship, its always good for getting on! It also helps
that we have a team at Carlsberg entirely made up of
trained designers, which means we can be champions
internally and we can be design diplomats. And weve
had a lot of fun along the way.

Spencer Buck:
The whole process has been very democratic. We keep
each other honest. We dont have a traditional clientagency relationship its a truly collaborative one. None
of us are afraid to declare our feelings about a project
or a particular direction. The barrier that traditionally
exists has been truly demolished by frank, open and
honest conversation.
This project has been opened up to more and more
internal departments at Carlsberg and everyone has
commented positively on it. From our perspective, it has
been easy to work with and translate across different
touch-points, enabling us to provide consistency
and, where relevant, to add in those layers of wit and
creative expression that are so important for us as an
agency. Carlsbergs heritage plays upon this intelligent
humour, which is something we really champion and
have pushed Carlsberg to champion too. The reason
we work so well and the reason its so collaborative is
because we understand that having fun is fundamental
to the creative process. You have to take the work very
seriously, but you cant take yourselves too seriously.

PROJECT
SOUNDTRACK
CO-FOUNDER SPENCER
BUCK TAKES US ON A NOTEXACTLY-SERIOUS TOUR OF
THE TAXI STUDIO STEREO

The Hop Leaf can be subtly and beautifully incorporated into illustrative designs. Limited-edition cans have been
designed for Asian territories, while the Shard Light system appears on the new range of packaging

MASSIVE ATTACK:
TEARDROP
We play a lot of music in the
studio. We had to start with
Teardrop by Bristols very own
Massive Attack because weve
had some tough feedback to
deal with and overcome.

GRANDMASTER FLASH:
WHITE LINES
We needed something to pick
us back up again after that tough
feedback so, once wed finished
sniffling, we played White Lines
(Dont Do It) by Grandmaster
Flash and the Furious Five.

COMPUTERARTS.CREATIVEBLOQ.COM
- 88 -

DOLLY PARTON:
9 TO 5
We played Dollys 9 to 5 over
and overagain ironically of
course, because the whole
concept of working nine to
fivesimply doesnt exist any
more inour world.

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V I DE O WA LK T HR OUG H: NB ST UDI O

OCTOBER 2015

PROJECT FACTFILE
V IDE O WA L K T HR OUGH

CRAFT THE IDENTITY


OF A HERITAGE BRAND
Senior designer Kirsty Whittaker explains how NB brought eight generations
of apple expertise together in a refreshed identity for cyder-maker Aspall

BRIEF
Capture the unique eccentricities of a
300-year-old family business to refresh the
Aspall identity across the packaging range
on and off trade together with the website,
point of sale and livery.
AGENCY
NB Studio
www.nbstudio.co.uk
DESIGNER
Kirsty Whittaker
STUDIO SKILLS
Conduct forensic research to identify
authentic heritage assets
Source and craft the typography for
anewwordmark
Work with craft specialists to illustrate
brand symbols and signatures
Develop colour palette, secondary
visualassets and tone of voice

NB STUDIO
NB is a branding and communication
studio. Owners Nick Finney and
Alan Dye say: We get quickly to
the heart of organisations and were
never afraid to challenge the things
we find. Our aim is distinctive ideas
that help people consider, enjoy and
even fall in love with brands. We call
this creative courage.
COMPUTERARTS.CREATIVEBLOQ.COM
- 91 -

VIDEO
CONTENT
WATCH THE VIDEO AT
bit.ly/ca245-NBstudio
ORINOURiPAD EDITION
See page 81

P ROJE CT S

OCTOBER 2015

KIRSTY WHITTAKER
SENIOR DESIGNER
Kirsty Whittaker is a senior designer
and team leader at NB where she
has worked for four years. Her most
recent project has been curating
the Sign Of The Times exhibition
atthe Protein Gallery, featuring the
work of 100 leading designers.

1 Forensic research

DESIGN TASK

We did our due diligence, investigating the product range and where the logo
appeared. We found lots of variants of the wordmark and many typefaces.
Then we dug into the archive in search of authentic assets.

Our challenge was to refresh an authentic craft brand


and behave like a British contemporary classic.
On the Twitter feed we found a perfect positioning
in 140 characters: @Aspall: Eighth generation of family
cyder makers: in Suffolk since 1728; obsessed about
apples and quality. A new British success story.
The two brothers who run the company, Barry and
Henry Chevallier are apple fanatics who still follow the
standards set by Clement Chevallier in 1728. But their
brand looked tired and inconsistently applied. It just
didnt match the vitality of the people we met.
We wanted it to be true to Aspall this is a classic
British artisan brand that deserves a beautiful identity.
On the video Ive talked mainly about the product
labels, where the whole identity really comes together.
We found quite a few technical design issues to solve,
so essentially we took all the separate elements apart,
polished them up and put them back together.
But the first role any designer needs to play is
detective. For me this involved a joyful dive into
the archive at Aspall Hall, blowing the dust off old
documents and records, and uncovering old marks,
motifs and photographs.

4 The inspiration
We spent time in St Brides printing and publishing library exploring swashes,
ligatures and other quirks. Then we loosely re-drew the wordmark, retaining
everything that was distinctive only making it better!

7 Secondary motifs
Apples are at the heart of Aspall. So we worked on a special collection of
paintings by botanical illustrator Rosie Sanders. We were delighted to find
someone who was as fanatical about apples as our client!
The NB team developed a robust identity system, from packaging to point of sale

COMPUTERARTS.CREATIVEBLOQ.COM
- 92 -

V I DE O WA LK T HR OUG H: NB ST UDI O

OCTOBER 2015

2 Concept development

3 The analysis

Some of our early ideas played into the solution: an authentic identity sourced
from the archives; treating cyder as if it was champagne; and a typographicallyled concept we called apple press meets printing press.

The P and A of the old wordmark had character. But we found issues too: a
pronounced swash on the A added personality but also made it hard to use,
and there was too much space between the A and S.

5 The development

6 Commissioning illustration

The evolved version is more calligraphic and glyphic. The scaled initial A has a
pronounced swash flourish. Weve matched the crossbars of the A, added an
angled serif and lifted up the curve on the L.

The old version of the knight symbol looked untouched by a craftsmans hand.
Couldnt he have more spirit? Hand-cut by illustrator Christopher Wormell,
our version references the original statue on which the knight was based.

8 Bringing it all together

9 The new logo

Other elements we looked at included the colour palette, which conveys the
spirit of the Suffolk landscape, engravings of the founder and family, and a
tone of voice rooted in local vernacular.

The redesign is sensitive to Aspalls heritage, emphasising the authenticity of


the products. Robust principles provide a platform for future cyder variants,
the Aspall vinegar range and new product development.

Watch the video nowonourYouTubechannel: www.bit.ly/ca245-NBstudio


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- 93 -

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DI A R Y 2 : B R A ND NU

OCTOBER 2015

3D-PRINTED NUMERALS:
LETS GET PHYSICAL
Wanting to create a series of beautiful physical objects,
Radim Malinic explored a range of unfamiliar creative
processes to produce a set of free-standing resin sculptures

PROJECT FACTFILE
BRIEF
Radim Malinic experimented
with 3D printing to turn vector
illustrations of numerals into a series
of limited-edition sculptures, which
were cast in resin and then given
a chrome finish. He collaborated
with designer, artist and maker of
premium figures Chris Alexander,
of Creo Design, to create the
resinsculptures.
DESIGNER
Brand Nu
www.brandnu.co.uk
PROJECT DURATION
Seven months
LIVE DATE
September 2015

RADIM MALINIC
GRAPHIC DESIGNER,
BRAND NU
Czech-born Radim is an awardwinning freelance art director,
illustrator and graphic designer
based in London. He established
the name Brand Nu in 2006 and
hasworked for clients including
Coca Cola, Penguin, O2, Orange,
PlayStation, Xbox 360 and Heineken.
COMPUTERARTS.CREATIVEBLOQ.COM
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P ROJE CT S

OCTOBER 2015

THE DESIGN BRIEF

Radim Malinic

The basic premise was to take


vector illustrations and turn them
into freestanding resin sculptures
with a chrome finish. Were losing
touch with physical things these
days, renders are so good that people
dont expect things to actually
exist.I wanted to create a physical
product that would almost be
encapsulated in time.
I had created a type illustration
of number 7 about four years
ago. I was playing around with the
Blend tool in Illustrator, making
incisions in a regular number to
create something with a fluid life
of its own. The idea was to take
the character and make it ownable.
Iproduced an 8 the next month
andplanned to create new ones
monthly. But then I thought: this
could be turned into a 3D sculpture.
I had some basic awareness of 3D
printing and it was something that
Iwanted to explore.
The numbers 3 and 7 are
closeto my heart. My birthday is
21March or 21.03 and 7 was my
ice hockey jersey number. I added
the 5 as it followed the order and
itwas something I hadnt published
before. I would have created an
entire alphabet in 3D if I could
have, but the process to make these
handmade turned out to be more
than I could budget for, so 3, 5
and7 felt right as a set.

PROJECT
EVOLUTION
RADIM MALINIC TAKES US
FROM 3D MODELLING TO
FINISHED SCULPTURES

STAGE ONE The initial sketches were the result of


experimentingwith the blend tool in Illustrator

STAGE FIVE The next step was to create the mould boxes
that would be used to cast the sculptures

STAGE TWO Finding someone to do the 3D modelling was


surprisingly challenging, but we eventually discovered Hobs Studio

STAGE SIX Chrome finishing was used to colour the sculptures and
provide a metallic finish

BEVELLED BEGINNING

MODEL SEARCH

3D PRINTING

Chris Alexander from Creo Design


made this whole project possible.
We first met at The Meat creative
conference in Aberdeen. I showed
him my original illustrations, which
had a liquid-gloss look. I wanted the
numbers to have pronounced bevels
and I was trying to blend in colours
that I hadnt used before.

I simplified the vectors to be


3D-modelled. The desired look
couldnt be achieved easily so
Chrissuggested I find a 3D modelling
studio to help. This was surprisingly
difficult. Eventually though, I found
Hobs Studio in London who were
ableto model the designs and do
the3D printing for me.

Hobs Studio provided one 3D


print for each number they were
glass-like in appearance and almost
transparent. I didnt want them to
be flat on the reverse side, as they
needed to live in a 360-degree
world.Then I had to get the number
5re-rendered because the base
wasnt strong enough.

COMPUTERARTS.CREATIVEBLOQ.COM
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DI A R Y 2 : B R A ND NU

OCTOBER 2015

HOW I WORK
RADIM MALINIC ON THE
VALUE OF CREATING
TANGIBLE OBJECTS

STAGE THREE We had the number 5 re-rendered


because the base needed to be strengthened

STAGE FOUR Chris Alexander smoothed and sanded the


3Dprints until they were perfectly polished and smooth

I set out to create something with


emotional value its a physical
item and it can break. We make
so many things that disappear
quickly. I wanted this to live offscreen in the real world. I come
from a print background, so Im
used to making final decisions
every day. Digital work can
make you spoilt you can always
change things and re-upload.
This project has further
influenced my regular client work
it has given me some healthy
confidence to experiment with
turning things into physical
objects. For example, I branded
an online mediation-courses
company, Rest & Be, and
designed a logo based on my
custom designed ampersand.
Once that was signed off, I went
to a laser-cutting company
and made some test props for
the film set. You can create
beautiful renders showing logos
on T-shirts, but this was about
taking the visual concept and
turning it into a physical object
to hand to the client. No digital
file is as good as actually holding
something unusual in your hands.

STAGE SEVEN This limited-edition set had 15 of each number. Id like to create more in the future

SMOOTH OPERATOR

MAKING THE MOULDS

CHROME COLOURING

FUTURE POTENTIAL

The 3D printing was a bit fragmented


and rough. We had to make it smooth
and super-polished. Chris filled them
with an epoxy filler and glued the two
halves together, then he filled the join
line with epoxy putty, sanded them
smooth and applied a filler coat of
paint. Then he sanded down the filler
coat to reveal surface errors.

To create the mould box, we moulded


half the number in a pressure
chamber at 60psi, which crushes the
air bubbles in the silicone, and cast
the resin in the same method which
produced an almost blemish-free
surface. Chris then sanded the split
line, filled blemishes, sanded the
surfaces and removed mould grease.

The original test colours were


obvious. It wasnt a case of going to
the end of the Pantone book for less
obvious shades if youve got a nice
monochrome room then you want
something that blends in nicely. Chris
suggested a chrome finish; Chrome
Illusion created one of each to test,
completed about six months later.

We produced 15 of each number,


so 45 in total. Im really attached to
them. I dont think Ive realised their
full potential yet. Theyre so leftfield
from my two-dimensional work this
project has gone way beyond the
social media post where it began.
Id love to be able to create more of
these numbers and complete the set.

COMPUTERARTS.CREATIVEBLOQ.COM
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P ROJE CT S

OCTOBER 2015

QUESTIONING THE BOMB


POSTER: SEEING RED
Using his own blood as ink, Pentagrams Harry Pearce created a visceral visual
treatment to mark 70 years since the bombing of Hiroshima and Nagasaki

PROJECT FACTFILE
BRIEF
Ahead of the launch of its
Questioning the Bomb exhibition
in September, the Art Gallery of
Maryland asked creatives to design
poster treatments. Pentagram
partner Harry Pearce used his
blood, dropped into water and
photographed by Richard Foster,
tocreate an abstract representation
ofthe mushroom cloud.
AGENCY
Pentagram London
www.pentagram.com
PHOTOGRAPHER
Richard Foster
www.richardfoster.com
PROJECT DURATION
One month
LIVE DATE
September 2015

THE DESIGN BRIEF

Harry Pearce

The Art Gallery of Maryland asked a series of artists


and designers to respond to the exhibition concept of
Questioning the Bomb. It was about giving a personal
take on the fact that it has been 70 years since the
nuclear bombing of Hiroshima and Nagasaki the idea
was to create something that would add to the debate
rather than trying to answer it.
I knew I needed to do something with real gravitas.
I was experimenting with ink drops underwater for a
different project and I realised that this resembled the
mushroom cloud. The central idea came from my belief
that what we do to others, we are doing to ourselves.
COMPUTERARTS.CREATIVEBLOQ.COM
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Metaphorically speaking, everyones blood was spilt that


day and we cant wash our hands of it. We have all been
affected ever since, which was why I needed to actually
use my own blood.
I showed my GP some sketches and asked for help
taking the blood. She was keen, but couldnt say yes
immediately blood is actually considered a weapon
and taking your own blood away isnt something you
would normally do. Once the other doctors in the
practice agreed, we arranged a date to take the blood
first thing in the morning and then go straight to the
photographic studio to get to work.

DI A R Y 3: P E NTA G R A M

OCTOBER 2015

HARRY PEARCE
CREATIVE PARTNER AND
DESIGNER, PENTAGRAM
Harry became a Pentagram partner
in 2006, having co-founded and
grown Lippa Pearce in the previous
16 years. He works for a broad range
of clients, and is a board member
and designer for Witness, Peter
Gabriels human rights charity.

WORK IN PR0GRESS
Richard Foster

The dropper is held at the perfect height


for the blood to disperse in the water

Harry Pearces own blood was taken for use in the photo shoot

The team shot over the course of a day in sequences of five or six images to try and capture the perfect shot

PROBLEM
SOLVED
PHOTOGRAPHER
RICHARD FOSTER
ON CREATING
THE IDEAL BLOOD
DROPLET

We experimented with a whole range


of apparatus for generating drops of
blood, from garden irrigation systems
with drip nozzles to syringes and
pipettes. We found a pipette worked
best. I hadnt anticipated how close
we would need to be to the surface
of the water when creating the drip
normally youd be looking to get
more of an impact, but the blood just
completely broke to pieces because
the surface of the water was much
stronger than youd expect.

COMPUTERARTS.CREATIVEBLOQ.COM
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My objective was twofold: to keep the authenticity by


making sure we did actually use Harrys blood, and to
make something beautiful. We used paint and ink to
start working out the scale and the right drop height.
Wealso needed to think about the type of liquid we were
dripping it into. Should that be more dense than water?
We did do some pricking of fingers and squeezing of
blood when we were experimenting. The temperature
of the water was also key because it affected the way
inwhich the blood dissipated or stuck together.
We used a clear tank and lit the floor underneath to
reflect off the bottom of the liquid. The drop of blood
in the final image was only about 5mm wide, but the
distance from the back of the tank to the background
was around 4 metres theres a wave-like quality that
was being reflected from a background a long way away.
We didnt want to add anything to the blood, so we
needed to be able to adjust everything else around it.
We shot in live video mode and found it wasnt
effective to use motion-sensor triggers because we
were waiting for a delayed effect after the blood hit the
surface. That took too long for the triggers to work, so
we found it was better to just do it manually. Dropping
blood into water makes it start to change colour, so we
tended to shoot a sequence of five or six images, review
what worked and what didnt, then change the water. As
the day went on and our store of water got warmer, the
images were getting less beautiful and we found that we
needed to lower the temperature in the tank.
It was important to preserve the purity of Harrys
idea. This was one moment in time and it couldnt be
done using trickery in Photoshop. There were so many
unexpected elements, such as the little globules you can
see in the final image and the plasma skirt, which came
together very organically. Some of the drips and shapes
were two or three times the length of this one, with a
slower build. This one was a bit more compact.

P ROJE CT S

OCTOBER 2015

RICHARD FOSTER
PHOTOGRAPHER
Richard is a London-based
photographer whose client list
ranges from global agencies and
consumer brands to broadsheets
and magazines. Richard and Harry
have been working together for
30years, including work for
Helping Haiti and Witness.

CONCLUSION
Harry Pearce

During the shoot, we viewed the shots on-screen


nextto photographic images of the mushroom cloud.
Ittook a lot of experimentation and dozens of tries to
getit right. We were starting to worry that we might
have to combine multiple images, but there was no
debate once we saw this shot. It was clearly the right
one.It was one of the very last shots of the day and it
hadthe most evocative shape.
Everything else needed to stay very minimal. As
muchas its my image, it simply could not have happened
without Richards forethought and attention to detail.
Im a huge believer in chance and accidents. This was
a total gamble where we could end up with something
or with nothing. We had to hope that our ideas and
experiments would work, as it could so easily have been
a failure. In the end, the only surprise was how perfect
itended up being.

LESSONS
LEARNED
HARRY PEARCE SHARES
SOME INSIGHTS FROM
THE PROJECT

One of the last shots of the day resulted inthe perfect image for the final poster

SHARP SHOOTING
The doctors advised
us to shoot as quickly as possible as,
once blood starts to congeal, it gets
heavier and wont dissipate so well in
water. I went to the surgery, had five
vials of blood taken, jumped straight
into a taxi and then we spent the rest
of the day shooting in the studio.

PERFECT PARAMETERS
Temperature was
essential. If the blood was slightly
cold when it hit the water, it would
have just dropped in a line with no
explosion. If it was too warm, it would
dissipate immediately. Drop it from
too great a height and the surface
breaks up too much.

COMPUTERARTS.CREATIVEBLOQ.COM
- 100 -

GENUINE DEPTH
With design, it can
be very hard to create something
that has real feeling as there are so
many layers of complex messaging
to negotiate. This is one of the most
complete things Ive ever done in
terms of the depths of thinking
andthe expression.

NEXT MONTH

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30 STUDIOS
INDUSTRY ISSUES

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All the latest news and insights from Designyatra,


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PUTERARTS.CREATIVEB LO Q.CO M
- 101 -

NEED TO KNOW
WORDS:
Tom Dennis
ILLUSTRATION:
Tommy Parker
www.tommyparker.co.uk

THE LEGAL GUIDE


FORDESIGNERS
Has your creative work been ripped off? Perhaps youre dealing with a clueless
orunscrupulousclient, or facing a law suit yourself? Fear not: help is at hand.
Werevealhowtonavigate all the classic legal pitfalls for designers
he design business can be a
murky one at times, with
copyright infringements,
licensing misuses, passings-off, and
accusations of outright creative theft
unfortunately commonplace.
Few professional creatives set out to
infringe anothers work. But it happens:
often deliberately, but sometimes
unintentionally. Infringements and
legalactions are costly and disruptive.
Yet seeing work being used without
credit literally and figuratively makes
acreatives blood boil.
The sad truth is that copyright abuse
affects all scales of creative businesses,
from Marian Bantjes a designer whose
work is in the permanent collection at the
Cooper-Hewitt National Design Museum
to video artists, illustrators and even

design students. It can take the form of


stolen pitch ideas; apparel and poster
rip-offs; and clients misunderstanding
the terms of a commission and illicitly
profiting from your work. The story of
Modern Dog the Seattle design studio
that was forced to sell its building in
2013to fund legal proceedings against
Disney and Target is well documented
(see www.moderndog.com and also
www.robynneraye.com). Such a case
reveals the stark fact that copyright
actions are almost always expensive to
bring and often difficult to prove.
A very famous pop star created a
map of their music career that was
very obviously copied from my Map of
Influences, says Bantjes. [Bringing legal
action] was a really long shot on my part
because although it was clearly in the

COMPUTERARTS.CREATIVEBLOQ.COM
- 102 -

style of [my own work] it wasnt directly


lifted or scanned in any part.
This kind of thing is incredibly
difficult to fight, if not hopeless, Bantjes
says, admitting that bringing expensive
litigation against the pop star was a big
and potentially costly gamble.
My lawyer drafted a letter drawing
up 13 separate points in which their
map was the same as mine, but he told
me that the worst-case and most likely
scenario was that they tell us to fuck
off back to Canada; the best-case was
that they give us some money. However,
to our astonishment they did the latter
not that it wasnt the right thing to
do of course. They also destroyed the
remaining copies of their map. We
thought they were going to be assholes
about it, but they werent.

PREVENTION
IS PROTECTION
Follow these pre-emptive rules and
your creative work will be safer against
the scourge of copyright infringers
A result like the one Bantjes achieved
doesnt necessarily need a legal team,
though. Calling in the lawyers and
heading to court should always be the
last step in any dispute. The first step
should be knowing your beans when it
comes to copyright legislation.
As a very, very brief overview (see
thebox on page 97 for greater resources
and country-specific bodies), under
both US and UK law, anything original
and creative is copyrighted once it is in
a fixed medium. Original simply means
you created the work; that you are the
originator. Ideas and styles however are
not copyrightable. This means its okay
for someone to examine how you work
and to create their own version based
on their own idea thats what influence
is. Every amateur painting of sunflowers,
fruit bowls, or ascending angels is an
original work alongside those of Van
Gough, Cezanne and Raphael. However
taking those original works or elements
of them and using them elsewhere is a
breach of copyright.
The question is whether or not
the possibly infringing work takes
the expression of an idea which
is a violation of copyright laws as
opposedto simply expressing the
sameidea as the work, says Scott
Burroughs, a US-based attorney

whospecialises in copyright disputes at


www.designerlawyer.com and writes for
www.youthoughtwewouldntnotice.com,
a site dedicated to identifying, naming
and shaming copyright infringement
within the creative industries. If an
artist is familiar with their own work,
andmost artists know their art intimately,
it shouldnt be too hard to identify cases
when someone has copied or stolen
fromthat work.
Image rights are a separate area of
intellectual property to copyright. They
protect the (mainly financial) interest
that a person has in their appearance.
In short, image rights mean you cant
use a photo, recognisable illustration or
likeness of Olympic champion Jessica
Ennis-Hill on your clients product
packaging without paying a lot of
moneyfor her image rights.
Youll find it pretty difficult to claim
copyright on names, words, shapes and
colours individually, none are unique
enough to be deemed copyrightable.
Combining such elements in to a new
design for a logo or company branding,
though, may come under a legitimate
copyright infringement claim. It is
possible to register the appearance
of a product or design, its logo, its
packaging and shape, and the associated
patterns and colours of that product.

Watermark your work


The most obvious way you can prevent your creative
work being abused is to watermark it. You might reckon
this uglifies your creations in an instant, but only lazy
creatives steal, so watermarking has its merits and there's
a reason why stock libraries emblazon their samples.
Show off
The best way to spot plagiarism is to let the community
at large do it for you. Post new work to your site, submit
it to showcase blogs, keep your portfolio up-to-date and
link to your work on social media. The more people who
know your work, the more eyes to spot infringers.
Retain proof
The Digital Millennium Copyright Act (DMCA) is based
on proof of ownership.' Keeping your project files
organised and retaining any correspondence or other
proof of creation date means you have documented
evidence available should you need to call in the lawyers.
Register your work
In the US you can register your work officially for a $5 fee
at www.copyright.gov/eco and in the UK various services
such as www.copyright.co.uk and www.copyrightservice.
co.uk offer certified registration and litigation assistance
for around 40.
Explain the terms
Make it clear to clients that they can buy a licence to use
and reproduce the work, or buy it from you in perpetuity.
Unless otherwise agreed and paid for, any work that you
create remains your copyright.

COMPUTERARTS.CREATIVEBLOQ.COM
- 103 -

N E E D T O KNOW

AUGUST 2015

STAY ON THE RIGHT


SIDE OF THE laW
Ensure you don't make the mistake of
infringing someone else's intellectual
property by sticking to these rules
Dont use Google Image search
Lots of creatives tell us this regularly. It's impossible
totrack where images might come from and who
ownsthem once they're slapped on a mood board,
andtheslightest error when creating hundreds of
projectassets can cost you dearly.
Dont take on dodgy work
Clients can also be the initiators of copyright issues. If
you're asked to produce something you're uncomfortable
with, or to copy an existing piece of design by a client
who has little or no imagination, walk away not only will
these types of projects do your portfolio few favours; it
could see you being labelled a design plagiarist.
Dont take chances
Freelancers and smaller studios will most likely be
supplied assets and key visuals by the client or client's
agency. Don't assume they're all legitimate, though.
Services like Image Exchange by Picscout.com help
youtrace copyright images.
Check your licences
Before you hand over a completed project, check
all ofthe licences that might be associated with the
assets. For example, any stock imagery might require
acommercial fee; any fonts which are embedded into
a UX design or app need the appropriate licences; and
make sure you check the time-periods of each licence
aswell as which countries and formats are included.

IF ALL OF YOUR EFFORTS GO UNANSWERED


OR THE RESPONSE IS UNSATISFACTORY, THEN
YOU NEED TO MAKE A CALL TO A LAWYER
Trademarks and Registered designs like
this must be applied for, however.
If you notice your work being used
without your permission, the first thing
to do is make whoevers using it aware of
the infringement. The likelihood is that
most businesses wont have realised,
and will have commissioned a cowboy
creative who provided a logo or website
design that more than heavily borrows
from your existing creation. No matter
they are responsible for removing your
copyrighted work.
Hobby illustrators and enthusiast
designers can often be unassumingly
guilty of infringements, believing theyre
within their rights to take elements of
stills and videos and remix or use them;
especially if its for a charitable or local
event or service. Theyre not, though,
and so a gentle and polite reminder
of copyright laws normally solves any
problems. Clients are often the worst
and least intentional culprits, taking
your work and reusing it in various ways
in which theyre not entitled. Again,

COMPUTERARTS.CREATIVEBLOQ.COM
- 104 -

educating your client and spelling out at


the beginning of the project what rights
of use theyre purchasing from you can
save a lot of hassle down the line.
If its a showcase or stock site
thats selling your work, there will be
a reporting function on the site. List
your complaint, give a take down
request, and link to your original piece.
For hooky online stores flogging your
designs on apparel and posters, suggest
compensation but let them state an initial
figure: youve no idea how many units
have been sold. The essential lesson is to
sound as though you know more about
copyright and the way in which it is
being infringed than they do.
Read the Digital Millennium Copyright
Act (DMCA), advises Burroughs. This
protects you regardless of whether
your work is copyrighted or officially
registered, and it also lays out the
principles for proof of ownership. If your
initial contact goes unanswered, followup with a firm statement that proves
beyond doubt that you know your rights.

DI G I TA L I LLUST R AT I ON T OOLS

JULY AUGUST

RESOURCES AND TOOLS


TO PROTECT YOURSELF
Knowledge is power when it comes
to protecting your creative work.
Arm yourself with these resources
WIPO worldwide
The World Intellectual Property Organisation helps you
protect your work and resolve copyright breaches. Their
Intellectual Property Handbook is an essential read.
www.wipo.int/about-ip/en/iprm
USPTO USA
The US office for patent and trademark approval also
registers copyrightable works. Its Learning and Resources
section includes detail on what the Digital Millennium
Copyright Act is and how to enforce it. www.uspto.gov

Find a DMCA Take Down letter template


online, and state that you have the
original files, evidence of the date of its
creation, or other proof of ownership.
If all of your efforts go unanswered, or
the response you get is unsatisfactory,
then you need to make a call to a lawyer.
In the UK its possible to bring copyright
cases to the Intellectual Property
Enterprise Court under the Copyright
Designs and Patents Act 1998, but only if
the damages being demanded are under
5,000. Even so, its likely youll require
the services of a lawyer as most decisions
at small claims courts are appealed.
Make sure you do your homework and
hire a firm which specialises in copyright
disputes. Collect all of your proof and
correspondence and show it to your
lawyer before asking for a quote; youll
get a more solid idea of the outcome
and cost. Youll also be asked to list what
demands you see as fair compensation.
In most cases youll be granted a cease
and desist or take down order, and
awarded costs if you succeed.

If the work is making someone


else money, which youre entitled to a
share of, then you can request financial
compensation. This isnt an invitation
to pluck a price from the air, though,
no matter how aggrieved you feel. You
need to calculate your financial losses
at what is a conceivable and provable
market rate; this is known as damages.
Its up to the courts to impose any fines
for the infringement. When it comes to
compensation claims, most courts deem
a buy-out fee or a percentage of revenue
earned as fitting compensation.
If you get to this stage, though, its time
for the legal pros to take over and for you
to get back to the Mac and (try) to focus
on your creative work. Copyright cases
are never pretty and always expensive.
But the law exists as the final and most
powerful means you have of protecting
your work, and possibly even your
creative career.
Next month: Create the right studio
environment and be more productive.

Intellectual Property Office UK


The area of the UK government website covers
UKcopyright and trademark law. It includes detail
onwhat rights you have and how to protect them.
www.gov.uk/topic/intellectual-property/copyright. For
25, you can also search to see if you hold the copyright
to existing work. www.gov.uk/search-registered-design
DACS UK
A not-for-profit artists' rights organisation which can
assist you in collecting unpaid royalties and approaching
copyright breaches. They offer a registration and disputeresolution service. www.dacs.org.uk
AIGA USA
The professional designers body offers support,
resources and reams of advice and information on
protecting your creative work, plus case studies and
support on what to do if it's breached.
www.aiga.org/resources
World Trademark Review global
An organisation whose Design Rights publication
givesdetailed information of individual nations'
copyrightlaws and how to enact them, plus contact
details of government bodies and support services.
www.worldtrademarkreview.com/Intelligence/
Design-Rights/2015

COMPUTERARTS.CREATIVEBLOQ.COM
- 105 -

o, you cant just put makeup on


brands,because problems need
solutions and every brand will have
problems. Solutions should be a mix of strategy
and design. If you just do something fancy then
youre just doing whatever you think looks good
and thats it, or youre letting the client decide
whats beautiful or suitable. You have to take
control and start to do branding and design for
real, basedon a strategy anda solution.
Stop thinking of an identity as only a logotype.
Its so much more. Every time we enter a pitch
we do it full-on and try to solve problems that
the client most often never even asked for or
(better yet) knew they had. Thats our number
one recipe for winning them. Most of the time
our competitors come to presentations with
mood boards, saying the obvious and showing a
mediocre identity. We always tend to stand out
by starting out with presenting the client with
problems they never even thought about.
We then go on and show them what they are
today, followed by how they want to be perceived
in the future, and then compare it to how they
should be perceived in the future. So: what they
are, what they think they should be, and what

ENEMY OF
TH E MONTH

Fear
Fear is dominating the world at
the moment. And as ridiculous as
it sounds, Yoda had it spot on:
Fear leads to anger. Anger leads
to hate. Hate leads to suffering.
So stop being afraid of everything
new or unknown and make sure
you stay well-read.

they actually should be. Of course, you have to


doyourresearch here but you will be surprised
byhow far normal logical reasoning will take you.
So it doesnt matter how awesome your design
is if its not made specifically for the client in
question as well as solving their problems. Thats
how you will be persuasive enough to win a pitch.
Thats how you convince sceptical and difficult
clients that your design solution actually is a real
solution and not just makeup.
Last year Basque athlete Ivn Fernndez
Anaya competed in a cross-country race. He
was second and a good distance from the
race leader, Abel Mutai. As they entered the
finishing straight, he saw the Kenyan runner
mistakenly pull up about 10 metres before the
finish, thinking he had already crossed the line.
Instead of exploiting this, Ivn stayed behind
and gestured to him to cross the actual finish
line first. Thats something our industry needs
to learn from. Why? Because even if he had
won the race he wouldnt have been the best.
By thetime you are among the best at what
you do,youwill simply realise it yourself and no
longer seek theacknowledgement of others.

SNASK OFF!
Snaskified is a recurring column by Snask, the
internationally renowned creative agency, that
strives to challenge the industry by doing things
differently. They worship unconventional ideas,
charming smiles and real emotions, and see
theoldconservative world as extremely tedious
and as the worlds biggest enemy.

Fredrik st
www.snask.com

GOSSIP

CA NDY

F ILT H

Q &A

T H U MB S U P !

THUMB S D OW N!

Q: What character from Game


ofThrones would Snask be?
A: We would love to be
JonSnowbut were probably
amix ofArya Stark, Tyrion
Lannister and ManceRayder.

Revenge

Donald Trump

The Argentinian movie Wild


Tales is mind blowing. Its just
about the utterly beautiful,
ridiculous and stupid urge for
revenge. See it!

Donald Trump is the biggest


idiotof a generation of old men
going to their graves with their
conservatism. Yet he seems
tobegaining votes. Whats
wrongin thisworld?

COMPUTERARTS.CREATIVEBLOQ.COM
- 106 -

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