I knew I was taking a risk when I first approached this assignment. The current PBS logo is iconic. Ernie Smith and Heb Lubalin designed the first idea of the head within the logo in 1971. Chermayeff and Geismar designed the concept of putting the three heads within the circle in 1984. I knew wanting to redesign a logo that incorporates ideas from these iconic designers was going to be challenging. I decided to move forward with this project and took that risk anyway. I believe like many other corporations, PBS deserves an updated, modern identity.
My primary goal for the redesign of the new PBS logo was to make sure I did not alter the symbol of the logo too much. It is a great representation of what PBS is about however it looks outdated. I thought the heads needed to be redesigned so they can relate more to what the outline of our head and neck looks like. I also thought that the eye within the head was very big and awkward. Another change I wanted to make to the logo when I initially started the project was to change the logotype to a sans serif type so it would look more consistent with the symbol. Lastly, I thought that PBS needed more color with their branding. They've been around for so many years with programs aimed toward family and I thought it would be safe for them to look more "fun".
After doing hours of research on PBS, the first step I took was deciding what colors I wanted to incorporate into my logo. When I had done my research I found that the colors within their logo from 1971 worked the best. The blue, green, and orange within this logo were great and I thought they really represented PBS. I decided to bring those colors back for this redesign.
Before I got started on working on the heads of the logo, I thought about what PBS really wanted to portray. I read their mission statement, browsed their website, and watched their commercials and advertising to get a better sense of what they were about. The one reoccurring theme that I came across and believe they stress as well was family. I really thought I needed to represent family in this logotype. I did that by changing the first two heads into a female and child. While this new logo represents family, it also represents them individually because they have shows geared toward men, women, and children. This is why I think this concept works any way you look at it. It's representing family the same time it's representing each individual. Once the logo was put together, I thought it looked more modern and fresh than the current PBS logo. I think this update is more effective in representing what PBS means to their viewers.
Address the sentiment on campus (why should I care about student government) with the statement: "Austin & Ash" make it matter (the name of the campaign).
Develop a contemporary and bold campaign that through its own careful consideration proves the statement that "Austin & Ash" make it matter.
Use the textures and images of the campus as the backdrop for the campaign, showing that everything on campus matters. Students customized the campaign icon in Photoshop and made the "Austin & Ash" logo their profile pictures to show their support during Election week.
Design and construct an "Austin & Ash" make it matter campaign website fully inline with the campaign's brand.
While researching Scouting logos, there were some outstanding work, but none of the Troops had anything that really stood out. I came up with two goals for this project.
The first was to create something that no one else would expect from a Boy Scouting logo.
The second was to create an identity behind the once-established logo, that would grab the attention of the main target audience behind the BSA, which are the youth.
I approached the project knowing that I wanted to create a full campaign of work to show how an existing logo or brand can be changed and refreshed while still retaining a target audience, perhaps expanding that audience. From the current identity system that Childress Vineyards is working with, I wanted to make the brand feel more modern while still being represented as traditional and established; making one visual mark out of two opposite characteristics. In my process and research, I discovered how to learn about the competition in a given market, how to make a logo represent as much information as possible, and how to incorporate existing ideals and standards into a new idea.
Currently MasterCard has a variety of different logos used for different situations. The most famously known is its "Brand Mark" which is seen on credit cards, debit cards and commercials. The logo that caught my attention however is its "Corporate Mark" which was redesigned in 2006.
MasterCard's different logos all resemble each other, with the exception of the Corporate Signature. Whether it is a rumor that the company plans on implementing this new logo as the new Brand Mark or not, I still felt that it should at least be similar. The logo I've created is meant to act as the Brand Mark and the Corporate Signature. For this reason I combined both aspects of MasterCard's existing logos, and following its explanation of the new Corporate Mark, I decided to stick with three intercepting circles.
I originally wanted to take this on because it's completely different from anything I've ever done. MasterCard is such a big corporation that I knew I couldn't be too dramatic. I also knew that taking on this project would cause a lot of controversy because not many people know about the newly redesigned Corporate Mark and would criticize me for dramatically changing such a widely known logo.
I learned tremendously from this project. Perhaps changing the MasterCard mark is akin to altering the Nike Swoosh, but MasterCard needs a core identity to unify its different branches. The current Corporate Mark does not converse with the other logos and it should. My redesigned logo incorporates that core concept while remaining on the same level as the other logos. For this reason I would strongly suggest slowly rolling this logo out. First, using it in communications; and then switching it to being the Brand Mark.
The reason I chose to redesign the International Student Identity Card (ISIC) grew from my own experiences with ISIC during my semester studying abroad in Germany. I got the ISIC fully intending on using it to get discounts on food, travel, retail, etc, only to later find that I kept forgetting to use it. There was a lack of communication between ISIC and the cardholder and they could clearly benefit from a strong visual communication revamp.
I wanted to keep the look and feel simple, bold, and youthful. Since ISIC is a global entity, it needed to have international appeal as well. I changed the name to International Student Identification (ISI) to get rid of the risk of awkward redundancy with the word card. I kept the circular aspect of the old logo, and ended up with a typographic lockup that subtly suggests the act of crossing/traveling/intersecting the globe.
The full brand relies on advertisements, a reworked website and environmental aspects to establish a more direct, bold and clear communication model so that both ISI and the cardholder benefit in their relationship. The mark is referenced elsewhere as the brand voice begins to become apparent with speech bubbles and an abbreviated ISI mark to use on the actual card and in environmental pieces.
I approached the assignment with much disgust for the current Verizon logo. I knew that my professor had strong feelings for the logo as well, and she encouraged me to take it on. I willfully accepted the challenge, and knew I had to come up with something that was modern, eye catching, and something that didn't take away from the old version. I knew that I wanted to incorporate the "check" and the "z" in some way, but until it happened, I wasn't sure how to achieve it. I feel as though this design encompassed everything I was looking to, and gets the message out there, that Verizon is a strong, united, rising company that's here to stay.
I chose to brand the city of Cambridge, Massachusetts. I researched its history, demographics, geography, and visited all its neighborhoods. In my research, I discovered the following (which I made my positioning statement): Cambridge is a crossroads of old and new, past and future. It has managed to hold onto its antiquity while still being a center of learning and at the forefront of technology. Cambridge has many facets and personalities in each of its squares and areas, yet it all comes together as one unified city. Cambridge is both historical and hip, antique and youthful, traditional and quirky, all at the same time. For the logo, I wanted to create a mark using a custom grid typeface, as the city itself was laid out in a grid when it was first founded. I combined a modern looking block typeface with an old-fashioned, curly cartouche in order to reflect the unification of Cambridge's opposites.
The color palette was chosen with regards to the multiple facets and personalities for Cambridge and firstly based for the five major squares. Kendall Square = Steel blue-gray for industry and technology. Central Square = Marigold for the vibrant murals and the arts. Harvard Square = Brick red for history and defining brickwork. Porter Square = Dark green for the pastoral landscape and estate (that used to be there). Inman Square = Mustard yellow for independent business..
The logo is intended to be dynamic. It has several levels of complexities and can be used with the full color palette depending on application. The wrought iron curlicues can be used as embellishments or frames.
This is a double-sided template for a printed walking guide to Cambridge's independent businesses in each square, because Cambridge is unique in that it is almost completely walkable and strongly supports its local economy. There are 5 squares in Cambridge, and this template could be used to create separate, double-sided cards, or put them all together into a pamphlet or foldable map.
These matching logos give a unifying look to Cambridge's many organizations, bringing them all together.
Lightolier was founded in 1904 so I approached the assignment by researching the history of the brand. My goal was to refresh the identity while not straying from the tradition and integrity of this company. I chose the typeface Foco for the logo because the clean straight edges represent the architectural quality of the brand while the rounded edges and curved terminals show movement which can be associated with electricity. The "t" has a cross stroke only on one side which gives the appearance of light hitting the letter. It's a legible typeface with a warm, inviting, and friendly touch.
To bring out the company's unique identity by creating a cohesive, simple, sophisticated appearance.
I researched the company's history and surveyed other nations postal branding systems. Avoiding clich�s like the post horn, I focused on symbols of the postal system and the Netherlands. I combined security patterns found on the inside of envelopes with a shield symbol, derived from the Netherlands coat of arms, to create a flexible identity system.
Polaroid, a once beloved company is having hard time transforming itself in a highly competitive industry due to the slowness and reluctance entering the digital world. I took my enthusiasm for Polaroid and wanted to reinvent it to a whole new level from a fresh perspective. In the process of generating concept, I found out that Polaroid has created something extraordinary, not just cameras and films, but created emotional bond among people which let us share and enjoy the happiness of instant gratifications. The brand has brought the spirt of sharing and spontaneity to life and it is considered the first social networking since it was born. It is the very core that exists among society will never fades despite the rapidly changing of technology. Bearing that in mind, I reassessed and repositioned the brand, then bring the concept further by transforming Polaroid into a high-tech cellphone company dealing with social media products and services which I imagine it to become "the future of social networking"
I chose to do The School of Traditional Western Herbalism because they expressed interest in a possible change of name during the initial client meeting due to their web url being portlandherbalschool.com. However after further discussion I decided to brand the school as is. They really wanted to keep the tree aspect of what their original logo however I felt it was necessary to step away from that design choice due to what I knew at the time trees were not a big part of the herbalism practice. I proposed 12 original sketches to the class of which we narrowed it down to three and then two before doing a presentation to first our professors of the design department and then the client.
At the presentation to the professors we had to present a brand book with possible deliverables, and a budget. Out of three classes they picked 7-8 people to present to the client, I was one of the people that presented to the client again presenting the same presentation and brand book. A week later the client came back with a decision of which student designer they liked for their brand, which turned out to be myself.
Once the brand was chosen I worked closely with the client for the rest of the term. She initially wanted to change the design to have a tree again in the mark but after working on multiple options for the mark she decided to go back to the original design that was presented. Due to time running out we did not get any further on the deliverables.
I approached this project as I do all my projects, first researching what the client is, who they are, what they want, talking to the client (if available) and looking at other marks that are in the same field. I then start to sketch generally in the margins of my notebook as I take notes for whatever class I am in or in my sketchbook then moved to doing digital sketches on the computer. Once I decide on what marks I like, I will pin my favorites up for critique and see what my fellow classmates and professors think. And then re-vamp, modify, add change etc based on the feedback.
For this mark I knew they wanted to have a tree in their brand, but after researching other herbalism school near theirs as well as else where I found that many schools used Papyrus or Trajan as typefaces with some kind of whimsical tree figure. To brand The School of Traditional Western Herbalism (STWH) away from the other schools and with the knowledge of how STWH was different then other schools, they are different in that they do most of their classroom learning in the field / in the forest etc to educate their students, with that in mind I decided to focus the mark on where the school is taking place.
I created the mark to resemble more of a marsh / grassy area to represent that their school is out in the field. And kept with the original circular shape of their current logo to keep the feel. It also added a seal type mark that would be more official for a school. I also wanted to go with a more modern / thinner weight sans serif for the type choosing Lintel and then playing with the size of the words and tracking. I kept the color of the mark green with alternative version is a sage, cooper, and dark brown. The mark can be broken up in two separate marks and a third logo where the type is horizontal to the mark.
What I learned from this experience is that working directly with a real client who has multiple partners / instructors to please (design by committee) is not always easy and its a lot of give and take to get the client to a place where both parties are happy. In the end it was a very interesting process creating the identity for the school and one piece that I am proud to have in my portfolio based on how much stress it was to get to the final point for me.
When the project was over the client got the original brand book used for the presentation as well as an identity standards book and a cd with all the various marks. The interactive team class at Portland State University is currently working on re-designing the website with my new mark.
I approached the assignment by finding a product that had potential and visual appeal, without the corresponding effect of the packaging. Mike & Ike candies are very colorful and characteristically shaped, giving me a lot of freedom to work with the appeal of the visual. The existing packaging on the other hand was lacking and drab, and didn't utilize the charm of the candy as well as it could. Also, the existing package tried to convey that the candies were on the same level as real fruit, but that is obviously not the case. I wanted to stress the artificial qualities and reality of Mike & Ike, yet make it sophisticated in the same way.
