Wenlock Mandeville: London’s Olympic mascots

After the design community’s reaction to the London 2012 logo, the mascot was always going to be a difficult job. But UK agency Iris has just unveiled not one, but two characters for the Olympic and Paralympic Games: Wenlock and Mandeville. Both are clearly of the digital age. And we have to say, we think they look rather good…

Iris has seemingly thought hard about the fact that in 2012, the Olympics will be broadcast in unprecedented fashion and that, of course, means taking into account how the mascots can be used over various social media, websites, animations, YouTube and Twitter etc (yes, both Wenlock and Mandeville already have Twitter feeds).

The two characters are named after Much Wenlock in Shropshire, the village that hosted a precursor to the Olympics in the 19th century, and Stoke Mandeville hospital, the birthplace of the Paralympic Games. Each mascot also sports a yellow light atop its head, as a reference to London’s black cabs, and the Olympic Rings get a nod via Wenlock’s bracelets.

You can see more images of them both, here, at the London 2010 mascots page, which also has some early signs of how the pair will be rolled across the London 2012 merchandise.

Unveiled on BBC One’s The One Show earlier this evening, Wenlock and Mandeville appeared as two shiny models in the studio. Both, it’s claimed, were born from drops of steel from London’s Olympic stadium.

The press generated so far has, however, largely used photographs of the more predictable mascot iterations of ‘two people in giant suits’ and these don’t look half as impressive as the shinier, 21st century versions.

The duo also appear in a supporting animation written by Michael Morpurgo which can be viewed here (still shown, below).

In a segment on the new mascots – a design story on primetime BBC One! – the One Show also featured some designs from previous Games. Though I don’t think Otl Aicher got a direct mention, at least his daschund, Waldi, got some well deserved airtime.

The question is, will Wenlock and Mandeville still appeal in another two years’ time? CR believes that a certain James Jarvis was also in the running for the job at one stage, and we can only imagine what he would have been able to bring to the occasion. (James has also commented on the experience, below).

For now though, I think Iris’ monocular characters have just the right balance of digital zeitgeist and cheeky playfulness about them.

Update: Iris has released some more information about the design of Wenlock and Mandeville on their website.

“Our brief was to create mascots that would excite and inspire young people and encourage them to get involved in sport. We wanted everyone, especially young people, to be able to take part, so we asked ourselves, ‘Why have one mascot when you can have millions?'” says Grant Hunter of Iris.

“To capture people’s imagination you have to create something iconic – something unique – something as individual as you and me. We have created a flexible design that allows you to make the mascot your own, while celebrating what is great about Britain – our heritage, our culture and our creativity. They are inclusive, because they invite everyone to take part and get involved. They aren’t ‘the’ mascots – they are your mascots.

“The result is a world first – a multi dimensional, adaptable design for the digital age, which will allow you to customise the mascots online later in the year. And who knows what else, after all we’re just at the start of the journey and the possibilities are endless.”

And here are some notes on the design of each character:

 

Barbara Kruger’s tube map

The latest cover for the London Underground’s pocket tube map has been created by US artist, Barbara Kruger. Good to see CR’s offices residing somewhere between Power and Perfection…

Kruger’s effort, Untitled (Tube Map), follows that of 12 other artists, including Cornelia Parker, Richard Long, Liam Gillick and David Shrigley, who have created the cover design for the pocket-sized version of the iconic tube system map.

The words that Kruger chose to replace the more familiar station names with apparently relate to her experience of that particular part of the city. Westminster is Reason, for example, while Regent’s Park is Memory.

While previous artists have subverted the map design more radically (see Parker’s ink blot, or Shrigley’s messy ball of lines), Kruger’s take has more in common with Simon Patterson’s artwork, The Great Bear, detail here, where he replaced the station names with well-known cultural figures.

The new pocket maps will be available from tube stations from May 21. The maps, incidentally, have one of the largest print runs for any organisation in Europe: 15m are printed each year.

More on the LU’s Art of the Underground projects, here.

World Cup calendar poster

Designer David Watson of design studio Trebleseven sent in his colourful, typographic World Cup poster (detail shown above) so, seeing as we’re showing lots of football related bits, we thought we’d share it here…

“I’ve created the poster to support Soccer Aid,” Watson tells us. The idea is simple: sales of the A1 double sided poster raises money for Soccer Aid – a British charity event which raises money for UNICEF.

The front side of the poster (below) lists all the groups, A-H so you can clearly see which countries are in which group. A calendar runs down the right hand side listing chronologically all the matches to be played in the tournament:

The reverse of the poster (below) functions as a bold World Cup calendar – showing clearly what games are being played on each day:

The A1 double sided poster, produced in collaboration with G&B printers and PhoeniXmotion paper, is currently on press but will be available to buy soon for the princely sum of £10 (£7 for the print, £3 for post/packaging).

For more info and to buy one, contact David Watson on david@trebleseven.com

The unbeautiful logo

I recently watched a video clip of the Oasis guitarist, Noel Gallagher, talking about “his favourite world cup moments”, writes Michael Johnson. Somewhat surprisingly, his first thoughts about the 1978 tournament were about the logo…

Having admitted that he could barely remember 1974’s tournament, he then proceeded to analyse, in forensic detail, the Argentinian finals four years later. Now you might have expected chatter about great goals, flowing hair, the tightness of Mario Kempes’ shorts, military juntas, ticker tape celebrations, sinking the Belgrano, and all that. And they all came up (well, maybe not all of them). But before any of that, his first comment about this world cup? He really loved the logo.

I looked it up. There it is, above. It does have a sort of clear, simple charm. You can see how it would leave an impression on a football mad 11 year old Mancunian (although the colour match to the strip of his beloved Manchester City is a bit of a give away). But seeing the compelling, clunky logic of a design from 30 years ago compels you to Google-image a few more.

So what do we get? Well, we’re about to see a lot more of this one – straight out of brushstroke central, to be parked straight back there once its lease has expired. But at least you could say it’s marginally better than this shocker from the last tournament.

If you look back, it’s amazing how few you remember. Mexico has had two goes at it and neither fare so well. For the older of the pair, they obviously had some Letraset left over from Lance Wyman’s Olympics scheme of two years earlier.

The 1966 date might be ingrained on English memories (the one and only victory) but few will remember this badge.

Parked over in a pile marked ‘completely generic and instantly forgettable’ are ones like these – Germany ’74 and France ’98. That’s WM for ‘weltmeisterschaft’, in case you were wondering.

I always quite liked Woody Pirtle’s mark for USA ‘94 (clever mix of balls, stars and stripes)…

…but always suspected someone else put this type on when Woody went out to lunch, or when he wasn’t looking.

Perhaps grudging respect should go to Spain’s offering from 1982. Movement? Flag? Ball? It could have been worse.

Oddly, and again perhaps because of relative English success/tragedy (semi-finals, Gazza, tears, penalities, more tears, etc) the Italia ’90 mark and its mascot feel as though someone cared, a least a little.

I can only presume that the 2002 design for Korea and Japan is meant to be some sort of vague reference to the re-designed Jules Rimet trophy, since this motif crops up again in the last German and now South African marks as well…

…hence exacerbating the recent whole less-is-a-bore, I’ll-go-for-more aesthetic that pervades the designs for most modern sports tournaments and Olympiads.

But now for the good news. The weird wiggly person plus ball thing? It’s been dropped for the next tournament. 1-0. And the tournament is in Brazil. 2-0. You know, five-time winners and everyone’s second favourite team. Game over.

The bad news? The logo looks like this.

Sigh.

How is it that ‘the beautiful game’ never gets a beautiful logo?

This article originally appeared on Michael Johnson’s Thought for the Week blog. Reposted with permission.

 

Mill Co the show

The Russian Club in Hackney is currently playing host to the debut London show of Mill Co and its eclectic bunch of designers, photographers, artists and illustrators. All around the theme of community

Mill Co is another take on the collective idea. It’s run by Claire Martin and Liz Birkbeck, two friends originally from Rochdale, also home to the Co-operative movement. The latter, they say, inspired Mill Co’s collaborative approach, which they describe as “a virtual mill and online community of freelance and independent creative collaborators”. Clients can draw on this pool of talent on projects which Mill Co will manage.

The show features work from various Mill Co peeople including Suzie Webb (top) and Ant Baena (below)

 

Si Scott

 

Patternity (with an image inspired by Dalston windows’ mix of security bars and net curtains

 

Lisa Stannard

 

Kevin Cummins

 

Jo Peel (painting live at the private view)

 

and Richard Kelly

 

For more on the work of these artists and the rest of the members of the Mill Co community go here

The show is at the Russian Club, 340-344 Kingsland Road, London E8 4DA until May 19

 

Claridge’s rebrand

London design studio Construct has given the branding of London’s famous Claridge’s hotel a thorough overhaul, starting with the hotel’s crest which has been redrawn and the logotype which has also been redrawn using a refined weight of typeface SangBleu…

Because it is a working hotel with a huge number of items traditionally branded (from teapots and egg cups through to slippers and dressing gowns), Construct’s task of not just branding, but implementing a consistent and cohesive sense of identity throughout the hotel and the objects within it was by no means straightforward. In fact, the rollout of the new branding is ongoing throughout this year as there are so many different ideas to implement across a huge range of items.

As well as introducing a sophisticated colour palette of jade, gold, white and black, bold architecturally inspired chevron patterns appear on the inside of bags, envelopes and on various objects, publications and goodies guests at the hotel are lilkely to encounter. Here are a selection of images of some of the items (some are mock ups yet to be produced) that display Claridge’s new look:

 

 

 

The branding goes way beyond letterheads and crests emblazoned on the front of menus. On the large inventory of branded innovations is an eye-catching take on a traditional rocking horse – it’s a rocking zebra (the black stripes are playfully on-brand); a rather wonderful chevroned Kimono instead of a dressing gown (a design graphic shown above); a jogging map for guests to plan their morning run in Hyde Park; a quarterly guest newspaper; and a rather nice sterling silver chevron bookmark (below). Even the TV interface has received the rebrand and guests will also come across various seasonal luxury gifts such as an appropriately packaged Easter Egg or a Christmas Pudding. As well as handling the business of creating and conveying a strong brand, Construct have seemingly managed to do something else: inject fun (and not at the expense of luxury) to the proceedings…

 

Behold, the Claridge’s easter egg!

When parents check in to the hotel, their kids (if of appropriate age and disposition, of course) are given this rather fetching canvas bag which is full of various goodies, including toys, card games and stickers

“We put aside design dogma that prescribes the corporate and repetitive approach of a consistent logo on every item possible in the belief that if you see it often enough it will be remembered,” says Construct’s creative director Georgia Fendley of the approach to the rebrand. “We felt that this was overkill and in fact did not allow the personality of the hotel to shine through. Better, we felt, to celebrate Claridge’s unique qualities by expressing them through a hundred exquisite experiences. Claridge’s needed branding with a degree of flexibility and imagination that enables staff to deliver a level of service that cannot be prescribed but is intuitive and personal.”

constructlondon.com/

claridges.co.uk/

Waterstone’s rebrands

Waterstone’s booksellers unveiled a new identity this week. Out go the serifs and caps, in come sans and lowercase, plus a range of logo iterations in-store…

According to a Design Week story posted on mad.co.uk, here, HMV (Waterstone’s parent company) has apparently driven the rebrand and worked with its preferred branding agency, venturethree.

Reaction has seemingly been mixed (The Register, for example, described the logo as resembling “pendulous dugs”, which at least goes a little way to allude to the tagline of “Feel every word”). It does look rather like an upturned HMV (sorry, hmv) “m” though.

We nipped round the corner for a proper look at the Oxford Street shop. While the old signage is still up (often the way), inside the shop the new identity is used more colourfully on posters and 3-for-2 signs (see nice X-ray version, above).

While these inventive takes on the logo are certainly more dynamic, it still feels that the identity itself lacks the confidence, even austerity, of the old one. It may still be a large corporate behemoth of a chain, but at least it looked like it remembered what bookshops used to be about.

Indeed, while the aesthetic may be driven by how it sits online, we can’t help thinking that the new identity is going to look out of place on Waterstone’s grander buildings, like the New Street shop in Birmingham, or the Piccadillly flagship in London.

Of course, there’s already a reminder of what great sans-serifs can look like on the latter: the Simpson shop sign from 1936 is still there. And it still looks good.

Update from the bookseller.com: the redesign was “worked on as part of the retailer’s standard marketing spend. It is understood that no additional costs were levied. Venturethree worked with focus groups to research the brand.”

Update #2: we’ve been in touch with venturethree for some more information on the brief behind the redesign, but they’re awaiting client approval on a few things. As soon as they have this, we’ll be able to post up some more on the thinking behind the project.

Update #3: VentureThree has posted some more logo iterations up on their website, here.

Photo of Simpson sign, Waterstone’s Piccadilly store, by Yersinia on Flickr. 

Pixars Ralph Eggleston Designs Telluride Film Fest Poster

0513eggpost.jpg

While all the talk about film festivals are usually the films themselves, for this very brief moment in time, there’s been buzz about the festival poster instead. The Telluride Film Festival has just released a copy of their annual promotional print, which usually always get some minor attention as the event tries to nab interesting designers or artists each year to do the job — last year was William Wegman (.doc) and the year before that was Laurie Anderson (pdf). For the 2010 fest, they’ve landed Pixar‘s Ralph Eggleston, the art director and production designer who has been involved in the studio’s popular films since Toy Story (as well as directing their Oscar-winning short, For the Birds. Eggleston told the LA Times that he based the muted-color, retro look on It Happened One Night, and Entertainment Weekly reports that a second poster by the designer will be released closer to the festival’s kick off in September.

New Career Opportunities Daily: The best jobs in media.

Pantone Plus Series launches

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Pantone, the company that sets the world’s standards on colour, has relaunched its Pantone Matching System as The Plus Series. As part of the launch of The Plus Series, the company has released this mini documentary giving an insight into the way it works…

 

Base Design in New York has designed the new identity, packaging and promotional series for The Plus Series (images from the website showing elements of this are below), and also encouraged the name change. According to Base’s press info, the name was chosen in order “to emphasise the added benefits of the upgraded product line – 566 new colours, a revised chromatic colour flow, and a set of digital tools”.

Base also produced the film, which features contributions from John Maeda and Doug Jaeger amongst others, in conjunction with director Greg Mitnick and Cool Hunting producer Ami Kealoha. While a touch corporate, the film takes viewers behind the scenes at the company, and shows the making of some of those lovely colours.

Kuala Lumpur Design Week

Crouching Digital Origami Tigers by LAVA, installed in KL city centre for Design Week

I’ve just got back from Kuala Lumpur Design Week, a new-ish event aiming to give Malaysian designers a shot in the arm and exposure to an international array of speakers

Not to be cynical but almost every city seems to be aiming to be a ‘creative hub’ or ‘world leader in design’ these days. You can see the attraction for politicians – the ‘creative industries’ sound exciting and modern and forward thinking for administrators eager to drag their countries into a bright, shiny future that is not based on cheap labour or digging things out of the ground.

Kuala Lumpur is another city aiming toward the creative sector and hoping that its second Design Week will kickstart its indigenous creative community. The event brought together speakers from Europe and Japan plus a range of exhibitions from local and foreign artists and designers as well as Malaysian colleges.

I was a speaker at the conference which featured some wonderful presentations from the Japanese contingent including, very much from the ‘bonkers’ school of Japanese design, Fantasista Utamaro who presented dressed like this (also his wedding outfit)

and whose work includes this video

And from the ‘breathtakingly beautiful’ school of Japanese design, we had Hideki Inaba

While across town Haroshi was showing his beautiful works created from skateboard decks

Among other notable speakers were the Iranian designer (now working in The Netherlands) Reza Abedini (below) who we profiled in a previous issue of CR.

Niko Stumpo (see next to Abedini above) who many will know from his pioneering Abnormal Behaviour Child website from the late 90s/early noughties. After a period at Wieden + Kennedy Amsterdam, Stumpo now runs a studio in the city, Hanazuki, that also has a shop, selling design goodies including his own work – like the rather charming Couch Buddies, designed to give lonely TV watchers something to cuddle

And from Ireland, via Berlin, it was great to see David O’Reilly once again, the short filmmaker who featured in our Creative Futures young talent event back in 2008. Among other things, O’Reilly showed his hilarious Octocat series

And short film Please Say Something

And from the UK, Rian Hughes (whose Iron Man cover is shown below)

and, by way of LA, 3D typography sepcialist Andrew Byrom, whose work has appeared in CR several times recently

The three-day conference was somewhat sparsely attended – perhaps it was the lack of a ‘star name’ (Sagmeister came last year) or perhaps, as I heard several times, that local designers found the ticket price too high. This latter point is a constant refrain at events around the world. Unfortunately, such festivals are hugely expensive to put on – something that is not always appreciated. Without bringing in overseas stars, audiences won’t come, but flights and hotels cost money. It’s a real dilemma (which Rick Poynor explored for us here) – the people most likely to attend are young designers and students, but they are the least able to pay. Most design conferences break even at best, even those with major government support.

Personally, I really enjoyed KL’s mix of speakers – no huge stars but lots of innovative work and fresh points of view. Hopefully next year more local designers will be able to attend to make this event the success that its fantastic organisers (thank you all for your hospitality) deserve.

More on Kuala Lumpur Design Week here