Continuing to build on this style by creating more complex folds & perspective combinations using my favorite forward of all time; Ronaldo Luís Nazário de Lima - the original Ronaldo.
Developing a new style. Still playing around with line weights & finding the right balance between fills & strokes.
It's no secret brand identities have to be extremely flexible and universal in the digital age. The methods in which brands achieve universality differ but three particular universal logo trends have emerged that are worth highlighting: 1. Container 2. Grid 3. Amorphous.
The modular logo serves the dual purpose of representing the brand and being an open container. The contemporary consumer is dynamic and his brand interests are always shifting. He is like a nomad wandering around waiting for his interest to be captured in a never-ending sea of brands. From a brand's perspective this is daunting but it also opens up new possibilities to engage the consumer.
Brands have to constantly adapt to the constantly changing and evolving consumption patterns and in an effort to keep the consumer's interest, the modular logo mirrors these consumption patterns. As a brand it's also no longer wise to just remain fixed in its message and representation. Brands need to show consumers they are also flexible, willing to adapt to the times just as the consumer has to. Moreover, since consumption patterns are so heavily determined by digital trends, it's important for brands to offset the barrier of the digital screen by being as authentic as possible. Brand affinity has to be earned.
This type of modular logo can best be described as an open interactive fill-in-the-blank signifier. It's usually designed to have some kind of image-holder that can be used to contain various visual additions. Its appeal is simultaneously its interactivity and ability to change the range with which it can be perceived ensuring a longer-than-usual shelf-life.
L.A.’s Creative Culture and Businesses Logo by 72andSunny
72andSunny's LA Original logo is the modular logo as an open canvas for LA's sprawling creative energy functioning simultaneously as multi-purpose campaign signage and local-economy/tourism booster.
OCAD University by Bruce Mau (BMD)
Inspired by OCAD U’s iconic and transformational Alsop-designed Sharp Centre for Design, BMD created a base of black and white pixel “windows” — modular frames to hold actual student art and design work. Through these ‘windows’ the core of OCAD U is presented — conceptually strong, relevant, diverse, and compelling. “As we push the boundaries of art and design practice, education and research, so too does our new identity, giving the world a window into what we do here,” said Dr. Diamond.
The identity is dynamic and modular in design. Every year, graduating student medal winners will be invited to design a logo within the basic window framework, providing the university with a set of logos for that year. As OCAD U grows and matures, a living library of identities will emerge, recording the ideas and aesthetics that have shaped our culture over time.
— Press Release
MLS by Major League Soccer + Gigunda, Athletics and Berliner Benson
Brand-to-User engagement is especially necessary in the sports world where fans live and die by their support. Apart from creating a bold & ambitious logo that is meant to convey soccer without the traditional cleat & ball, the MLS rebrand is wonderfully aware of the universality of contemporary sports consumption by designating half the space in the logo for user participation. This playfulness + ambiguity perfectly captures the approach to user engagements that make sports so unique.
Moreover, it's flexible enough to be able to take on corresponding club colors and finally achieving a unified look and feel for the entire league and paving the way for American soccer's professionalism for decades to come.
A grid based logo system is able to retain its brand identity through a flexible network of interrelated system of glyphs. More importantly, through various permutations of the grid, it's able to feel the same without having to look the same.
MIT Media Lab by Pentagram
The primary logo mark shows an "M" and an "L" built on a square grid which is flexible enough to support modification for different brand initiatives. Using the same grid, the logo is able to modify itself and house all kinds of letter combinations which are also used by MIT Media Lab's various research labs. The main typeface is built on the same grid and as you can see below, every character (in this case the letter "a") can be modified for endless letter combinations.
The Monier Building by Bleed & Bureau Bruneau
The Monier Building is a brand new construction in Oslo, located in an old historic industrial site. Bleed & Bureau Bruneau developed an identity based on the architecture of the building itself, reproducing the window structures and the perspective of the building as a grid template for the brand to be modifiable.
Perhaps the most controversial of the three types; the amorphous logo is unique because its responsiveness depends entirely on changing either the general shape of the primary logomark or a major component of it. It is also the most literal representation of the fluid and always changing nature of the world right now.
Zocdoc by Wolff Olins
Zocdoc’s promise is to, “give power the patient.” To help Zocdoc deliver on that promise we would have to design from the patient’s perspective. This would be fundamentally different than a healthcare world beset by complexity, bureaucracy and analog legacy systems. At a very simple level, we needed to design a system that had empathy for the patient and that would respond to their needs and emotions. - Wolff Olins Project Page
The brilliance of this rebrand lies not only in capturing "Z' as a primary signifier and tapping into our collective obsession with emojis but in recognizing that the amorphous, ever shifting yellow background blob matches the overall mood/tone of each permutation keeping each one interesting, unique & playful.
Oi by Wolff Olins
Oi is Brazil's largest telecommunications company and for its latest rebrand it employed a design strategy to create a logo that reacts to the sound of the customer's voice. The logo's look depends entirely on the pitch and volume of the customer's voice. What remains is the two-letter logomark in the center ensuring that you're never confused as to the brand while re-enforcing brand affinity through a completely customized interactive experience.
Whereas you could argue this creates a challenge for designers who have to work within the broad brand guidelines and even the possibility that this could annoy customers who want a fixed identity, there's no question about the concept of modular design being pushed to its absolute limit here and may just be a sign of things to come.
Whitney Museum by Experimental Jetset
The lines between a "W" and a zigzag are blurred enough that in its various application this otherwise overly simple design really comes alive and shows that even signifiers like one character can, with thoughtful execution become universal and interactive.
Playing around with animation techniques.
I was commissioned by gumgum to create two spot illustrations & one portrait on the subject of artificial intelligence.
Standard Warby Parker Glasses with improved augmented reality technology may be the future.
A couple more portraits commissioned by Arsenal for the 2017 Emirates Cup
Official Press Release:
The U.S. Postal Service will soon release first-of-a-kind stamps with the look — and feel — of actual balls used in eight popular sports. Available nationwide June 14, the Have a Ball! Forever stamps depict balls used in baseball, basketball, football, golf, kickball, soccer, tennis and volleyball.
A special coating applied to selected areas of the stamps during the printing process gives them a texture that mimics the feel of a baseball’s stitching; golf ball’s dimples; tennis ball’s seams; soccer ball or volleyball’s textured panels; and,the different raised patterns of a football, basketball and kickball. News about the stamps is being shared on social media under the hashtag #Haveaballstamps.
Various stages of three balls during the exploration process. We developed various styles including minimal flat to 3-dimensional approaches for the balls.
5 types of visual content that sports publishers can create for social use. A case study using the Bundesliga's end-of-season graphics.
Over the weekend the fine folks at Bayern worked with Upper 90 and adidas to host a Bayern vs Borussia Dortmund watch party at the new (and incredible) flagship location Upper 90 store. The turnout was incredible. Visiting New York was former Bayern legend, World Cup & Champions League winner (and all around class act) Bixente Lizarazu. I had the pleasure to design a t-shirt for the event.
There are countless ways Paulo Dybala's personal brand is a seamless fit for Juventus.
match graphic for FC Bayern's match against Werder Bremen spotlighting Claudio Pizarro who played for both clubs and is considered a German football legend.
In honor of one of my favorite all time players.
Match Graphic for FC Bayern's match against SC Freiburg.
This is a transcript of the article I wrote on the Juventus rebrand for Goal.com. You can view the original article here.
The Italian champions are aiming to do for the letter "J" what McDonald's did for the letter "M" in a bold redesign which has firmly split fan opinion
We know the story. A football club rebrands and uproar ensues. Modern designs are criticised for being too elementary - almost effortless - to being out of touch with the club’s history and fans.
We are witnessing this phenomenon again with the Juventus rebrand; not only because it’s one of the most-revered historical clubs on the planet but also because of the boldness of the redesign.
In this continuously-changing global landscape, football clubs have to fight in order to distinguish themselves. For the first time in history however clubs have to really think about what this means on a mass scale. Inevitably this requires treading the line between appealing to a local fan base and the expanding external global market. Traditionalists are apprehensive about new TV deals and new demographics emerging far away from their local cities but globalisation is also a means for a football club to stay afloat and keep its history alive. As German philosopher Georg Hegel was aware of - I paraphrase: "Every cut is an opening and opportunity to heal for a new start."
The most effective branding always blends essential signifiers. When we think of Juventus on a general level, the signifiers that immediately come to mind are their black-and-white stripes and the word image “Juventus”. We often think of language and images as separate but they are inextricably tied up into our general cognitive mapping.
“The creation of the alphabet was a way of gobbling up images of the mythic world by their organisation into rows of lines of one dimensional text - writing invented as means of analysing and breaking mythical images apart into pieces,” philosopher Vilem Flusser wrote.
The first letter of a name – the initial - holds enough signifying power that it becomes something along the lines of a symbolic signifier for the thing the name represents. A single symbol can signify many different things at the same time. By singling out the letter “J”, Juventus created a floating signifier that acts as a container for the club’s history and all the visual motifs that come to mind when we are prompted to think about Juventus.
One can argue the previous badge had too many elements competing against each other and were superfluous in communicating a cohesive brand message. From a design point of view it’s logical to condense them. As designers we have to take into account the contemporary media landscape that is inundated with marketing rhetoric and images that simply overload the senses.
By just logging onto the internet we come face to face with an apparatus that traps millions of symbols - from adverts to websites and logos - and stores them in one place on a daily basis. By condensing the Juve brand into an essential single logomark, Juventus are future-proofing against signifier overload.
A major part of the Juventus brand roll out is in the flexibility of the logomark and its typeface. The accompanying typeface mirrors the design logic of the “J”. It will undoubtedly feature as the primary typeface on future kits as well as in any marketing campaigns such as #2beJUVENTUS.
A brand has to work on every medium from print to digital - from clothing (large) to mobile devices (small). A logo has to be legible on every single platform. The need for a brand’s message to be self-evident becomes more necessary as brands also end up inhabiting more spaces. It’s no surprise that the Juventus press release this week repeatedly emphasised the words “black and white” and “more”. The “more” here refers to the space that is now open to a global brand like Juventus, whose visual message is no longer confined to football alone.
The possibilities for lateral merchandising are endless - especially as football has begun to spill over into non-sports endeavours such as fashion and street wear. We will be seeing a lot of Juve’s new badge on non-football specific products.
The Juventus rebrand is a bold step forward and presents us a glimpse into what a truly global football club can look like. By recording its history into a primary signifier it has carved out a space for itself in the marketing world where “black and white stripes” and the letter “J” are specific to the Juventus brand.
Juventus have firmly planted a flag on yet-to-be colonised terrain. They have transformed the 10th letter of the alphabet into a visual icon that they will hope to associate with their brand just as Google is associated with the “g” or the McDonald's “M”.
History will reveal not only how successful this risky endeavour was but just how far behind other competing clubs were.