Name That Brand Game!

An interactive game, no less!

We start this week with the bit that normally comes at the end – Name That Brand. But there’s good reason for this: in response to its popularity within our news round-ups, we’ve made it into a fully-fledged interactive game. Think you know your brands? Prove it right here.

Cogs of Industry

Fosters have given Alan his second series

Fans of Fosters beer and Alan Partridge are rejoicing at news that the Fosters-sponsored internet comedy series Mid Morning Matters is set to return. The first series of the Youtube-based comedy attracted over 3m hits. Cashback.

Apple's packaging design methods revealed

Anyone who has ever opened a new Apple product will know that the packaging is no afterthought, and in fact is an experience in itself – not something many brands pull off. How do they do it? Well the secret’s out – they have a packaging room where “for months, a packaging designer was holed up performing the most mundane of tasks – opening boxes”. Read more on Apple’s shadowy packaging department here.

Bang!... and the dirt is gone

Cillit Bang has a new variant which will be sold exclusively through Facebook. The move is the first of a series of social commerce trials by owners Reckitt Benckiser, and will also see the return of cult hero Barry Scott.

Atul Kochhar has a new tie-in with Morrisons

Morrisons are launching a new veggie-friendly range in collaboration with Atul Kochhar, the first Indian chef to be awarded a Michelin star.

Waving your phone generally in the direction of things you want will soon vaporise your bank balance (possibly)

Mobile technology will decide who wins the High Street battle, according to a report. Contactless cards have been around for a bit now (e.g. London’s Oyster cards), and the next move for the technology seems to be in mobile phones. There’s already an app than allows mobile transactions for Barclays, and Near Field Communication (NFC) – a technology that allows mobile phones to act like the cards do - is likely to be built into future smartphones.

Play Recession Bingo with the following on your card while watching the news: verge, precipice, crisis, meltdown, teetering, breakdown...

Reason to be happy: there was a retail sales jump in January, according to the office of National Statistics.

Commentary Corner

London 2012 logo - time to revisit

It’s finally the year of the Games, so an apt time to revisit that logo. We take a fresh look at the identity, and reflect on how it’s working out now that the Olympics are upon us.

Is the vogue for vintage here to stay?

Another one of ours – a look at the wave of kitsch that’s rolling through packaging. Is the vogue for vintage transient, or here to stay? And, according to Sainsbury’s, it’s not just packaging that’s going back to the future, it’s shopper habits too.

Is this your chunky champion?

JKR have an interesting blog on the current trend for novelty flavours, like KitKat’s ‘chunky champion’ campaign.

The new Dulux identity

Brand identity blog/bible Brand New gives their opinion on the new Dulux identity, which we worked on with Design Bridge.

Pretty Packaging

Mmm.

Here’s another we worked on – the new Häagen-Dazs pack, designed by Lewis Moberly. More here.

A refreshing (redesign for) Tetley's

Here’s some nice clean work by wpaPINFOLD on British ale Tetley’s, which reinstates the huntsman as a brand equity.

Packaging for Pandora Bell by Studio Output

Here’s a nice bit of branding and packaging work by Studio Output for Irish confectionary brand Pandora Bell. More here.

Concept Heineken packaging by KISSMIKLOS

Here’s some interesting concept packaging for Heineken by KISSMIKLOS, created as part of a contest that you can read about here.

A chocolate squeezebox concept

Here’s an interesting eco-packaging concept by students Federico Beyer and Marisol Escorza. The expandable pack allows customers the ability to pack from 100g to 200g of chocolates in one pack, protecting the chocolate and keeping it in the best condition.

Bonnie's Jams - hands off!

These are Bonnie’s Jams by Louise Fili Ltd, and they’re awfully pretty. More here.

And Finally

David Bowie gets the ClipArt treatment

Ever wondered what your favourite album art would have looked like if designers didn’t exist? No? Well here it is anyway: this is ClipArt Covers, chronicling just how nasty album covers become when the twin evils of Comic Sans and ClipArt combine.

Helvetica: cool for cats

Cats’ residency as King of the Internet Memes continues, this month with ‘Cats as fonts‘ - a helpful guide to fonts’ character, as explained by cats in costumes. What did we do before the internet, ay?

I shouldn't have had that third tequila

This is a vortograph, a method of photography credited to Alvin Langdon Coburn that generates the kind of Inception-esque landscapes shown opposite. This one is by photographer Simon Gardiner. There’s more info here.

Supercalligraphicexpialidocious

Typography fans prepare to be floored: witness the amazing calligraphic skills of steady-handed Luca Barcellona in the amazing video here.

Name That Brand

What’s that? You scrolled straight down to this, completely bypassing the amazing news that there’s now a recession-inducingly-addictive interactive name that brand game? Oh well, you know now. Name That Brand will return in its usual format next month.

The last name that brand was Disney. Yes, it was a hard one

Oh yes – and the impossibly hard Name That Brand from last month was Disney, believe it or not.

We’ve made the famous Name That Brand into a brilliant interactive game which you can play right here: www.namethatbrandgame.com

Name That Brand has been a popular part of our news round-ups for a while, so we thought we’d treat everyone to a recession-inducingly addictive interactive version.

Can you beat the high score?

Play it right here.

Clean and pure packaging ideology from Tay

This week we came across this rather revolutionary pack from TAY, which uses its physical aesthetic and feel to channel the essence of the product within. Tay clean and pure manages to marry product with pack thanks to the use of minimalist lines and natural, sustainable substrate (100% eco-friendly bamboo and recyclable PET plastic). Celebrating the art and beauty of nature is key to the brand, which is perhaps why a more hands on approach to the pack has been taken – indeed, over 70% of the bottle is hand crafted, and no two bottles are the same. Designer Sarah Tay commented that “in concepting the packaging for TAY, I wanted to be sure that anyone who picks up and feels one of my bottles instantly knows that they should expect something special inside.”

Absolut London

In June, we crossed our fingers for a more local looking version of Absolut vodka, and just over 6 months later, our wish has been granted. Absolut London is set to be released in a series of edgy designs by Jamie Hewlett (comic book artist and co-creator of the Gorillaz), each depicting an iconic London character (from Dickensian gents to Dandys and Punks). The limited-edition bottles hit the shelves of Selfridges and Harvey Nichols on the first of March.

French Connection Collection

This week, French Connection went all surrealist-chic on us with their new campaign ‘I Am The Collection’. Created by 101, the campaign includes ad material and 20 film snippets (watch them here) based around everyday activities such as ‘sleep’ and aloof adjectives such as ‘colorful’ and ‘poetic’.  A beautiful example of how to market a high street brand, and turn fashion into (affordable) art.

Madonna and the proliferation of product placement

February has been a big month for product placement deals, with music mogul Madge herself (or MDNA as she’s now known) brazenly embracing her deal with Diageo-owned Smirnoff. In her latest music video, Give Me All Your Luvin’, the songstress dances in a vodka-filled bar, proving that it’s now more important than ever for brands to adopt distinctive packaging that can ‘shout’ on shelf (and compete with celebrity status). Check out the video here.

And finally, the latest addition to the TBP team, Becky, talks about the importance of ‘kitsching up appearances’ with her insightful blog post on retro packaging. Make sure you read it here!

The vogue for vintage is back

Here at The Big Picture we’ve noticed that there has been a spate of retro packaging in recent years.  The drinks category in particular seems to be making use of retrospective design to entice consumers into purchasing, with Coca Cola and Pepsi amongst the most recognisable names. This begs the question, why go retro, and why now?

Well, one probable answer is that vintage, far from looking old fashioned, is, and has been cutting edge for a while. Since the turn of the 21st Century, catwalks have been recycling trends to the point where we’ve seen 90’s neon brights and 80′s double denim twice in the last decade alone. Though the packaging market has not had quite such a flash-in-the-pan attitude to retro, it seems many brands are increasingly feeling the need to tap into cultural nostalgia.

Take 7Up for example, who have recently released two limited edition 80′s designs that simultaneously updated and backdated the classic can. That this design was available only during the summer months highlights the fact that turning your packaging retro is, for many companies, just a temporary way to spice things up. Yet the transient nature of these packs paves the way for a more tongue-in-cheek style (regardless of the era mimicked), in a way that has only otherwise been successful in ‘wackaging’. It seems that consumers find kitsch, vintage, and retro both endearing and amusing in a way that gives brands tacit permission to create bigger personalities – and temper the hard-sell with humour.

But could this be taken to mean that retro packaging is therefore purely for aesthetics? In short, no – because it can, and does, signify so much more to customers.

Hope and Greenwood channel the 'kids in a candy store' vibe

Take Hope and Greenwood for example: pastels, bows, badges, and ribbons adorn their packaging, whilst bright colours run riot on both labels and sweets. The result is a brand that really captures the essence of being a kid in a candy store and, more importantly, connects on an emotional level. It’s hardly surprising then, that adults are as likely to be seen queueing up for their penny sweets as children…

In addition, connecting emotionally bolsters trust with consumers. During the recession, people are understandably more drawn to packaging that conjures up memories of better times. Indeed, reminding shoppers of their childhood can offer them such a feel-good rush that it renders ‘retro’ a powerful selling tool.

Hovis: As good as it's always been

Finally, retro packaging allows you to get a feel for the history of a product. And there is something to be said about harking back to a brand’s heritage (in a way epitomised by that Hovis ad), which can further reinforce consumer trust during a recession. After all, who better to trust than the company that has seen everything and survived?

So with more and more retro packaging on our shelves, it’s clear that retro still feels relevant for both the consumers and the brand. And despite the fact that the vintage trend is arguably in danger of feeling distinctly modern, injecting some ‘kitsch’ into the darkest corner of the supermarket can only brighten up the shopping experience. So, on that note, long may the vogue for vintage continue!

Carr's ensure their biscuits stay looking fresh

Cheese may be the last thing on your mind following the excesses of the festive season, but the recent revamp of Carr’s biscuits could change all that. Approaching JKR to help update their pack, the new design employs geometric shapes to modernise the brand with bold colourways to aid navigation of ranges and flavours. Design Director at JKR, Donna Trist, explained “the main ambition was to build conviviality and make the brand more relevant to a modern audience, while staying true to Carr’s long established heritage.”

The green fairy flies again at Pernod Ricard

Pernod-Ricard reignites their belief in the green fairy this week with a relaunch of its absinthe brand following recent legalisation of the spirit in France – although Pernod first produced the spirit in 1805, it had been banned for almost a century. The launch will be accompanied by a global campaign focusing on the more bohemian and artsy side to the tipple, and in the spirit of creativity, the brand will collaborate with various artists in order to produce limited edition bottles.

Celebrating 50 years of D&AD

This week marks the 50th birthday of D&AD; the body that represents and celebrates the best in global design, creative and advertising communities (and has a highly respected annual awards ceremony to boot). To celebrate, they’re highlighting key works of art that have featured in their awards throughout the years. Our personal favourite is this press advert from 1970 which was for the Family Planning Association. ‘The Pregnant Man’, was the brainchild of Jeremy Sinclar at Cramersaatchi (now Saatchi & Saatchi) and is a paradigm for how great adverts can fast become cutting-edge editorial.

Lynx branches out into female territory

Lock up your sons – Lynx has a new product for woman. The Unilever brand (known as Axe outside of the UK) is launching its first ever feminine fragrance, in the form of a limited edition bodyspray – Lynx Attract, hoped to “drive the guys wild with its fruity, floral and woody fragrance”, a notion they play upon in this advert here.

And finally… we’ve grown again! We’d like to introduce you to our two latest recruits, Victoria and Becky – click here to read their profile on our Meet The Team blog!

Hot from the oven: Pipers rebranding courtesy of BrandOpus

This week, the nice chaps at BrandOpus have been busy putting the finishing touches to the new brand identity and pack design for Pipers Crisps Co. The rather nostalgic (albeit generic) landscape shots have been replaced with bold, ownable graphics that dial up the ‘Piper’ icon and channel the brand’s country roots. Distinctive colourways in confident hues enable the packs to ‘shout’ on shelf and cue quality. The new identity will be rolled out in shops soon, and also across the website and other brand touch-points.

Sustainable packaging ideology from Pureology

Haircare extraordinaire L’Oréal recently overhauled the look and feel of their Pureology professional range. Gone are the rather dated olive oil shaped bottles, and in their place are these rather simplistic and sensuous packs. Pearlescent substrate and futuristic colourways might cue premium as opposed to organic, however the bottles are entirely sustainable being made from a 100% vegan formulation and single mould.

Design your own pack...interactively

Packaging design has now gone straight to the consumer it seems, using social media. Indeed, Orbit gum is currently encouraging fans to help influence the upcoming pack design for their Remix chewing gum line. Using the Orbit Spotlight Series Facebook application, you can now mock up a pack design for the brand and potentially win $500 if it’s deemed one of the best.

The Design Museum is expanding!

And finally…the Design Museum is moving! Fit to burst in its current location on the Shad Thames, founder Sir Terence Conran revealed plans for the new site this week, which will be at the former Commonwealth Institute building in Kensington. Due to open in 2014, the £80 million project will inject a new lease of life into the Institute and see the museum adopting three times more space to showcase design.

Guess who's sponsoring the Design Week awards in 2012...?

Oh, and just in case you hadn’t yet heard, we’re happy to announce that for the second year running, we’re sponsoring the Design Week Awards! Click here to read more!

A Russian beer fixture: your beer pack design doesn't operate in isolation - context is key!

One of the challenges of design research lies in achieving context. Context is key in design research, because consumers don’t respond to design in isolation. It’s for that reason that in all our projects, we simulate the context in which consumers are exposed to design. So on a packaging project, that means seeing the new pack in the context of its competitors, or on an identity project, it means seeing it across multiple touchpoints, such as bus shelters, magazine adverts and the web.

What’s more difficult to simulate in research, however, is the effect of time. How often has someone proposed an idea to you that seemed crazy at first, only for it to begin to make more and more sense as time passes? That’s why we say “sleep on it”, or “mull it over” – because the passing of time can make things which initially seemed difficult, complicated or shocking start to unfold and become clearer. As they benefit from having the time to bed into our consciousness, we begin to see past our initial response and see things in a little more depth.

This is especially true of design. Time gives design more exposure; so consumers get more used to seeing the design in all its different contexts, and become more attuned to it. Though this process normally takes weeks, months or even years, sometimes we’ll see the effect over the course of a two hour discussion group, as a design that seemed shocking at first starts to grow on respondents who start to see its finer points.

Designs can take time to ripen

This is often the case for designs which are ahead of their time. They can be shocking when first unveiled, as they’ve been designed with the consumer of five years hence in mind – not the consumer of today. (We’ve talked about the research challenge this presents in a previous post). In this way, such designs are not ‘ready’ when launched, and take time to mature and ripen.

BMW 3 series' new look in 2006 - a design which has improved with time

One example of this phenomenon is the BMW 3 series. When its new look (launched in 2006) was unveiled, the initial response from BMW fans was – by and large – not positive. All those sharp edges, those pinched taillights… it all seemed a radical (and unnecessary) departure from the smooth curves of its much-admired predecessor. But over time, the design has been accepted, embraced and even loved by the brand’s faithful.

Time hasn't been kind to Gap's aborted logo (not yet, anyway)

It works the other way as well, of course. Sometimes a design is shocking when it comes out not because it’s ahead of its time, but because it’s simply bad. Arguably the aborted Gap logo is an example of this. It’s had over a year, and most would agree they did the right thing by doing a U-turn on that one.

Which all brings us to the identity for the London 2012 Olympics. When it was unveiled in 2007, Wolff Olins’ creation was met with a collective gasp. Though it had its proponents, the majority of people on the street either disliked or actively loathed it.

At the time (indeed back on our old website), we canvassed a few opinions. But this was five years before the Games – the event for which the identity was designed. By its nature, it’s a design with a ‘best before’ date.

So, as we arrive into the year of the Games, we thought it was an apt time to revisit the identity. Has time healed the wounds? Has exposure to it across touchpoints clarified its rationale? Has it ripened, or was it just delivered after its ‘best before’ date in the first place?

John Cassidy, The Big Picture

In 2007:

I was pretty surprised when I first saw the logo – shocked even. Usually some sort of symbolism stands out referencing the spirit of the games and/or the location – but I struggled with this one. Having said that, it started to grow on me almost immediately. Why shouldn’t we do something a bit different? I appreciate that there may be a lot of people up in arms about it at the moment but that’s par for the course when introducing something so radical. I guess the true measure of its success will be whether it meets the brief and stands the test of time – rather than necessarily winning any short term, knee-jerk popularity vote.

Now:

Well the logo itself hasn’t grown on me – though because of its exposure, I’ve come to accept it rather than embrace it. What I’m more disappointed about is that it’s been five years, and sadly I’m still waiting to get the feeling that the identity as a whole has really come to life (especially disappointing given I work in central London, am attuned to design because of my job, and have even bought Olympics tickets so get their regular mailings).

I’m still optimistic. I’m hoping they’ve been keeping their powder dry over the last four years, holding back, and that now that 2012 has arrived they’ll really go for it and we’ll see the full glory of it. Here’s hoping!…

Dave Annetts, Creative Director (London Studio), Design Bridge

I was in the minority who liked it from the start but it was always my strong belief that it would grow on people – like an arranged marriage. By September we’ll all love it!

Initially I saw it as distinctive and original and not a Big Ben or similar cliché. It was designed to be used in many different ways and now in 2012 we’ll really start to see this. A good example of an identity being far more than ‘the logo’.

Mike Tivnen, The Big Picture

In 2007:

The problem is that most people seem to be judging it as a logo, rather than what it was designed to be: a brand identity programme capable of global multimedia application.

Sebastian Coe said the organisers didn’t want a corporate logo that everyone would be wearing on their polo shirt down the golf club. They wanted something that new (young, urban) audiences could engage with. I think that’s what they’ve got. I like it. And I think increasingly over the next 5 years most people will come to like it or at least to have positive views of the Olympics formed by it.

Now:

Looking back I’m not sure I would have said much different with the benefit of hindsight, though I have to say that, at one level, I’m disappointed.

We were promised that the logo would be developed in terms of its animated application and I’ve not really seen much of that so far. I’ve seen the way the logo is applied in print, on-screen, in signage on-site, on merchandise etc. and I don’t think it’s proven to be as exciting or as innovative as I’d hoped it would be. In fact in one respect, it’s been very disappointing – I hadn’t appreciated at the time how all-pervasive and irritating the rather bizarre text font would be. Not only is it tiring to read in large blocks, but it lends an air of jokey childishness to what sometimes is quite serious, adult-adult communication.

Having said all this, my impression is that people have come to accept – even warm to – the logo, and that it’s probably engaged successfully with the younger urban market that it was supposed to appeal to. It’s highly distinctive, and when seen in the context of otherwise quite serious communication – for example as an endorsement on corporate sponsors’ advertising – I feel it manages to lend an air of youth, excitement and optimism.

Ben Scales, Davies + McKerr

In 2007:

I certainly agree that this logo shouldn’t be judged in print form alone. As a 2012 spokesperson said, ‘The emblem needs to work across new platforms to reach young people’. The logo certainly does have more merit when employed as an animation rather than a static visual. However, stylistically I’m just not convinced that it will work with young people. To me, it feels like an older person’s attempt to communicate to ‘the kids’. After all, graffiti is still an underground and subversive activity and it is notoriously difficult style for a mainstream corporate organisation to adopt without seeming a little insincere. And unfortunately, what makes it worse it that the 2012 logo looks dated. It’s a 1982, breakdance interpretation of graffiti – which could be incredibly cool and retro in some circumstances but in the context of the Olympics just comes across as old-fashioned and naive. But I’m very far from being young and am more than prepared to be told I’m talking rubbish by a genuine young person!

Now:

How do I judge the 2012 logo now I’ve had 4 years to live with it? Like my view of Boris Johnson, I’ve grown accustomed to it but I still don’t think it has much aesthetic appeal or grace. I do applaud the London Games for trying to do something a little different, and I certainly think that the 2012 logo has impact and presence although for me, the blocky graffiti style looks basic and lacks a sense of authenticity. I also still question the fit between the Olympics and graffiti street culture… whilst their motives may be worthy (perhaps they’re looking to suggest that the Games are in touch with the young people of London?) it was always going to hard for a large, formal organisation to adopt an aesthetic street style such as this and deliver it in a way that feels credible and believable. Maybe the Games should have been more open about the brief for the logo? Rather than say ‘don’t judge it as a static graphic, judge it as an animation’ – which tends to close down dialogue on what it’s all about – perhaps they could have told people what the brief was and what the challenges were. After all, to really assess whether this idea works we need to move beyond pure appeal and judge it on whether it delivers the creative proposition for the intended audience… whoever that might be.

So there you have it. Some designs mature with time, like a fine wine – but the London 2012 Olympics identity doesn’t appear to be one of them. Opinions of the logo don’t seem to have improved very much, and exposure to the identity as a whole has yielded mixed results.

Maybe it’s still too early to judge; the Games are still six months away and perhaps seeing it in the context of the event itself will make the creative vision for the brand clear for all to see. Maybe… (is there an Olympic award for optimism?)

What do you think? How has living with the identity over the last few years affected your view? Add your comment below.

We’re happy to announce that for the second year running, we’re sponsoring the Design Week Awards. The awards celebrate the very best in design, something we like to think that, as a research partner, we help to nurture.

Last year we wrote our views the shortlisted entires to the consumer product design award, as well as a reflection on the night and the overall winner.

Plymouth: the 'single malt of gins'

Plymouth Gin updates its image this month with a rather revolutionary redesign. We worked with owners Chivas Brothers and design agency Design Bridge on the revamp, which reintroduces a rounded bottle and oval label (yes, its resemblance to the classic Plymouth bottle is no accident!). The new bottle channels the brand’s artisanal credentials and rich history with a number of subtle touches – such as copper details which pay homage to the single copper pot that has been used in the production of the gin since Victorian times. These credentials are expressed in such a way that the bottle feels ‘old yet new’. Make sure you put the tonic on ice now, as the bottle is set to hit stores later this January. 

An Olympic limited edition from Wispa

The Wipsa bar has had an ondulating history. It left us in 2003, came back in 2007 following that Facebook campaign, but by 2009 had once more disappeared into a (chocolatey) black hole. Enter one London Olympics and a sponsorship deal with Cadbury, and the result is a limited edition caramel variant that intends to “keep team GB pumped”. Get it before it goes…because it probably will!

Mr Kipling re-ices its branding

Premier Foods is currently overhauling their entire brand and marketing strategy for Mr Kipling in order to make the exceedingly good cakes more “emotionally resonant” for consumers. The overhaul includes a packaging redesign, alongside quadruple the marketing spend in 2012. Judging by the new look for French Fancies, the brand is looking to dial up fresh, tasty and contemporary communications.

Transform your patch with PepsiCo and Britvic

This week, Britvic and PepsiCo assert their ‘frenemy’ status with the launch of a co-campaign called ‘Transform my patch’. Both companies are partnering up with environmental regeneration charity Groundwork in order to turn 165 outdoor spaces into areas suitable for exercise, socialising and general wellbeing. The campaign is the first time both companies have promoted their soft drink portfolios in unison.

Essential (sequential) blog post reading...

And finally, our newest addition to the TBP team, Victoria, has written a fabulous blog post on sequential packaging and addresses whether it’s the answer to the age-old variant differentiation challenge…click here to read!

It’s a challenge clients often come to us with. One answer is sequential packaging. It’s a fancy way of describing numbered products within a range. Often there’s no reason; the number’s purpose is to aid identification and selection. Think of cattle being branded. That product can now be identified as ‘belonging’ to the herd of other products within the line.

Pembroke Craft Brewery is a good example:

Pembroke Craft Brewery

It’s a natty way of promoting awareness among purchasers that there’s a product range beyond their individual product. So if I’m a number 3 buyer, it helps open my eyes to the existence of 1 and 2, and maybe 4, 5 and 6…

123 Organic Tequila

And this method is not limited to numbers. Brands such as Seattle’s Best Coffee…

Seattle's Best Coffee

…and 21 Drops…

21 Drops

…have coupled the numbering method with bright colour. The combination of bold numbers with bold colours is likely to equal bold shelf-presence, as well as strong variant differentiation.

It’s an approach which is logical, supports a strong brand identity and will likely be clear for consumers. But it is a very rational approach which comes at the expense of individual variant personality. As the song goes, ‘if everybody looked the same, we’d get tired of looking at each other’. There is an element to this striking design statement that almost forces each product within a brand’s range to obey the rules; ultimately, risking being just another cow in a herd.

Perhaps the cows deserve a little more freedom of expression, like these ones from Austin, Texas…