Watch: This Is a Generic Brand Video

Rushing water, DNA helices, stop-motion footage of a city at night. Put ‘em together and what have you got? A generic brand video. Royalty-free stock footage purveyor Dissolve.com seized upon the formula outlined by Kendra Eash in a recent piece for McSweeney’s Internet Tendency and brought it to life in this amusing short, made entirely with stock footage and narrated with an avuncular twang by Dallas McClain.

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Collins Creates New Identity for Internet Week

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internet week nyHere at UnBeige HQ, every week is Internet week (if the wi-fi goes down for even a few minutes, we become testy and commence the hoarding of foodstuffs), but capitalize that “W” and you’re talking about a “festival of technology, business, and culture” that has been taking place in New York since 2008 and in London since 2010. Each Internet Week consists of hundreds of events that draw thousands of people, and yet the festival’s logos have long been, well, less than cutting-edge—sufficed to say that at one point there was a pixellated apple involved. Then they got Collins on the case.

A team that included Brian Collins, Dave Frankel, and Ali Ring looked beyond familiar tech tropes—the slash, the dot, the leaning arrow—and onward to the bracket. A three-dimensional pair is at the core of their flexible new identity for Internet Week. Not only can the brackets open to accommodate copy, photography, and illustrations but their angles play nice with the letterforms involved, all of which can be layered at various weights to simulate a blinking cursor. Keep an eye out for banners real and virtual that herald the next installment of the festival, which gets underway on May 19 in New York.

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Chermayeff & Geismar & Haviv Redesigns Saul Bass’s Avery Logo

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It’s been almost four decades since Saul Bass whipped up the jaunty Avery logo, its leaning red triangle of paperclips a beacon on many a binder, label, and even the collection of Hermès knockoff totes rolled out under the “Martha Stewart Home Office with Avery” brand. But change is afoot, and the new parent company of the office and consumer products division of Avery Dennison is looking to place a giant divider between the primarily business-to-business company Avery Dennison and the consumer products brand now known simply as Avery. Enter Chermayeff & Geismar & Haviv, who were challenged to create a new visual identity for Avery. It had to be distinctive and modern while retaining the brand’s recognition in the marketplace and (d’oh!) work within Avery’s existing package design, which was to remain unchanged—all as the ghost of Bass peered over their shoulders and whispered strong opinions about the capital “R”. Their solution? Keep the off-kilter red square, and move it behind a redrawn Avery wordmark.

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Three Olympic Logo Controversies You Probably Didn’t Know About

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The Olympics, at bienniale intervals, has slowly but surely grown more digitized. We’re not talking about the event broadcasts, slo-mo gymnastic feat gifs or controversial political coverage in the host country—no, we mean the logo design. In an Olympic Games first, the symbol designed for the 2014 Winter Games includes a web address, Sochi.ru, which is home to all things Olympics—stats, event schedules, winners, medal counts, photos; you get the idea.

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If anything, though, this year’s logo (which was designed by Interbrand), has been relatively uncontroversial, if not outright bland, compared to some of the other more vibrant Olympic logos through the years.

OlympicLogos-Paris1924.jpgThe Summer 1924 Games in Paris was the first Olympics

Maps of the World has an in-depth look at past logos, but here are some things you probably didn’t know about some of the logos in recent memory. The Olympic Games have been through the wringer when it comes to branding, now more than ever before.

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A Fleeting (and Possibly Contentious) Thought on Squarespace Logo

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Seeing as web trends are even more capricious than the weather patterns we’ve been experiencing here in NYC, the backlash to Squarespace Logo has tapered off by now, but seeing as it launched just two weeks ago, the democratic logo design tool is still worth considering as symptom of how we define design today.

Somehow, I doubt that Squarespace encountered such unanimous antipathy when it debuted as a user-friendly website-building tool, ten years ago; after all, the dog-eat-dog CMS game has come a long way in the past decade, and I’ve only heard good things about their flagship product. But graphic design, including but not limited to branding/identity/visual communication/etc., is another story. Co.Design rounded up the pithy rejoinders—a few more have trickled in on the de rigueur data exhaust Tumblr—and garnered a slew of comments, as did the Wired post, so I’ll concede that someone else has probably already made this point.

Having only dabbled in front-end development and graphic design in my day, I won’t pretend to be an expert in either domain. But as a knowledge worker who spends most of my day tending to an at-times fickle CMS, regularly troubleshooting various glitches as they inevitably arise, I know all too well that an intuitive backend is a bridge between the ‘dirty work’ of coding/scripting and public-facing content.*

Contrary to its name, ‘web design’ is not design in the same way that graphic design is—a subtle distinction, perhaps, but a critical one. Web design is largely dictated by best practices, at least when it comes to creating a functional, navigable container for content. Which is not to say that web design is not creative, but rather that the hard constraints of HTML/CSS/etc. (not to mention browser/OS compatibility) are precisely why CMS’s and templates make sense: Just tweak the font size and column width, add a social media widget, and you’re good to go. “Just another WordPress site,” as the saying goes.

Logos, on the other hand, are meant to express an identity—the very heart and soul of a company—in a painstakingly-kerned font and/or ideographic vector illustration. Graphic design is a creative endeavor; as such, it is more than a matter of simply dragging and dropping elements or picking your favorite color. Think about it: Websites hew to a half-dozen standard layouts, where details such as fonts and colors evoke a general look and feel but rarely, if ever, denote a specific brand—which is why you look to the top left corner or center of the page for a logo.

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Logo Legacy: Book Charts Legacy of London’s Bullseye

There’s nothing like an imminent Olympics to get the world talking about logos (did you know that Sochi’s rather chilling mark is the first to lack drawn elements?). Anne Quito looks across the pond at a classic.

bullseyeThe city of London teems with icons—from Big Ben, to the red double-decker bus, even to polarizing 2012 Olympics logo, or lately, the much parodied “Keep Calm and Carry On” posters. There is no shortage of visual symbols for the city. But perhaps the most ubiquitous among them is their transport logo, or the roundel, as it’s officially called. Introduced in 1908, the original circle-and-bar design has remained mostly unchanged, surviving the tides of brand makeovers for over a century.

logoforlondonA Logo for London (Laurence King, 2013) explores the evolution of the symbol vis-à-vis the socio-political climate of the city it represents, written as a kind of biography for this enduring brand mark. Packed with a treasury of archival images and drawings, this well-researched volume by the design historian David Lawrence casts the roundel as trademark that evolves to become a cultural marker and a civic symbol.
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Identity Crisis: Black+Decker = Bleccher?

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Quote of Note | Robin Derrick

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“The branding for the logo was designed to make the magazine look like it had been on the shelf for 50 years, and the challenge was to make it look both classical and also capture the digital newsness of the brand all at the same time. The capital-height lower case ‘e’ is given an italic emphasis to feminize the design, and is a subliminal wink towards the online functionality.”

Robin Derrick, creative director of Porter, the print magazine from Net-a-porter that debuts next month on newsstands worldwide and via subscription.

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Canada’s Getting Older (and So Is Their Graphic Design Game)

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We’ve covered Canadian design before—the good and the bad… and, with the government’s recent foray into visual identity, the ugly. Our neighbors to the north are looking forward to celebrating their sesquicentennial in 2017—to spare you a Google search, that means they’re celebrating a 150-year anniversary—and the government has already begun designing a logo to commemorate the event. Unfortunately, their attempts are a bit off the mark—just take a look at the designs above. Not a single one of them is remotely worthy of, say, this charming Canadian couple who made web rounds a few weeks back.

After reading an article on a Canadian news site featuring the designs-in-progress, one designer took it upon himself to redeem his homeland and up their design cred. Ibraheem Youssef designed a logo of his own and reached out to a few other well-known Canadian designers to ask them to come up with their own versions. The response was astounding (and much better looking).

He documented all of the submissions online with descriptions giving more information about the designer behind each submission and what it represents.

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Poulin + Morris Creates Identity for NPR Retail Store

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NPR moved into a new Washington, DC HQ earlier this year, and as if the dulcet tones of Robert Siegel and Audie Cornish weren’t enough to woo visitors into the 440,000-square-foot complex—LEED Gold, bien sûr—there’s a two-story digital mosaic and now a place to purchase assorted NPR merch (do they have the heavily discounted Carl Kasell pillow? Wait, wait, don’t tell me). Part retail store, part event space and tour group corral, NPR Commons makes it debut with a visual identity by Poulin + Morris. The New York-based firm anchored the branding program in the iconic NPR logo and brought in dynamic patterns and colors that nod to radio frequencies. And of course, every shopping bag, gift box, label, hangtag, and sign is made of recycled materials.

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