New Procter & Gamble logo
The evolution of the Procter & Gamble logo
Procter & Gamble, the world’s largest consumer packaged goods company, earlier this year quietly rolled out its new logo. With a low key new logo launch, P&G was trying to leave behind the history of outlandish rumors that its "Man in the Moon" logo had a satanic meaning.
The new Procter & Gamble logo had a clear and important goal for the company moving forward, to present a unified and trusted brand, as Landor (the creator of new logo) put it: "For the first time, P&G is starting to talk to consumers as one company, not just as individual brands, in an effort to build awareness and trust.”
The most obvious change from the most recent logo to the New Phase mark is the switch from logotype alone to symbol with logotype. As we saw last year with Microsoft’s new logo, and with logos in general, such a switch is quite common today.
P&G’s adoption of this new logotype/symbol combination is squarely in line with current logo design trends.
Read the full Emblemetric report .
Is the new Harvard University Press logo too radical?
First, I'm an admirer of the iconic brand design work that Chermayeff & Geismar have done over the years. That been said, the first image that came to my mind when I saw this logo was a jail cell window, not books. Although the simplicity of the design works well in the digital media environment I was expecting some visual connection with the original Harvard Press logo. Perhaps a modern visual interpretation of the 3 books that have identified Harvard and Harvard Press for so long? The new logo in my opinion although clean, feels stark and a bit cold, more appropriate for a bank than for one of the most prestigious institutions of higher learning in the world. Too radical of a departure, I wish the character and weight of the Harvard brand was somehow still present. Just an opinion.
First, I'm an admirer of the iconic brand design work that Chermayeff & Geismar have done over the years.
August 15, 20011. This week Budweiser just presented its new can design with a simpler look that tones down its traditional (and busy) seal and divides the package into clearly defined red and white fields succeeding in making it more contemporary and impactful. The iconic Budweiser "bowtie" takes center stage with the reported goal of encouraging people to order the beer by its full name, instead of just "bud". Although the large "bowtie" works much better now as an instant brand identifier, there are no visual cues that encourage consumers to order the beer by its full name, on the contrary, now the Budweiser name is not as clearly readable in white over the red "bowtie" as it was before in blue over white. See more images and commentary on the new Budweiser can design in the designboom website and more on the background and evolution of the Budweiser can in its press release page.
August 15, 20011.
This Coca-Cola concept package design is racy and sensuous. A beautiful aerodynamic shape that dares to break from any other soda bottle currently in the market. Could this 3-dimensional layered design be a hint of what the future of packaging can look like? possibly. The only problem with this design is that it has lost sight of its branding roots, the iconic curvaceous shape that has differentiated the Coca-Cola brand for decades. See more images and read the full story in the Dieline Package design website.
This Coca-Cola concept package design is racy and sensuous. A beautiful aerodynamic shape that dares to break from any other soda bottle currently in the market.
Almost 10 years ago, a Wired Magazine report pointed to blue and red as the most dominant colors in corporate america. Now a report on the colors of the top 100 web brands by colourlovers.com shows that blue and red still outshine the rest. But why?
Colors have different associations in different cultures. In China, the red color means prosperity and happiness. In the west means passion and power and of course is a powerful design accent color. Blue is used extensively to represent calmness and responsibility and dark blues are excellent for corporate branding were strength and reliability are important.
Many new brands choose colors that are category appropriate. Blue and red dominate many categories, so new companies tend to stay within the safety of those color ranges. Is it a good idea from the branding point of view? I don't think so. If branding is about differentiation I guess color experimentation (within reason) is a must.
Read more on the meaning of color.
Almost 10 years ago, a Wired Magazine report pointed to blue and red as the most dominant colors in corporate america.
A "simple" creative concept for a very clever low-tech (and humorous) product design. See more FacePots in the designboom story.
I love the simplicity of this elegantly minimalist design concept. Developed by Korean Studiooo Factory it has a very playful Asian sensibility. Based on the concept of looking at mobile devices as pets that stay with you wherever you go. This concept adds a touch of life to an otherwise rather cold device. It somehow humanizes it, makes it fun and makes you feel even closer to your mobile, if that's even possible. The branding and packaging implementation carries very well the brand personality without losing its sense of humor.
You can see more pictures and buy your Mobile Tail here.
For 40 years Starbucks has been a model on how to use branding as a powerful strategic business tool. They have build a strong, distinctive brand and consistently implemented it while keeping it flexible and in constant evolution (not an easy thing to do). From the logo to the store design and everything in between (packaging, signage, displays...) the Starbucks brand is beautifully designed to provide a unique experience that has so well connected with consumers.
While this outstanding branding has helped Starbucks to be positioned as the "world's leading purveyor of the highest quality coffee", it's puzzling to hear its CEO, Howard Schultz stating that the purpose of the Starbucks updated logo design is "more suitable for the future" and allows to "think beyond coffee".
From the design point of view I applaud the simplicity and focus of the updated design, however I wonder how the brand name will look and where will go. It does now seem more of a global brand but lost the appeal of a local coffee brand which in my opinion it's a key asset. Eliminating the black in the logo it also eliminated a touch of boldness and elegance associated with the brand.
In an age of smart cars the humble traffic light has remained unchanged until now. No more guessing when the yellow will turn red. Read the story and see all the traffic lights designs.
In 2010 as brands tried to adapt and stay relevant to consumers' taste, and increasing number of companies have been updating their identities. Some like PWC with new logos that behave well in the multimedia world, others like SECCA although elegant still feel anchored in the print sensibilities of the past and others like Gap have completely missed the mark with a meaningless design with a complete lack of strategic direction. Overall in my opinion this year we didn’t have any significant creative breakthroughs. Read the full Fast Company 2010 rebranding review. Looking forward to the new rebranding year.
In 2010 as brands tried to adapt and stay relevant to consumers' taste, and increasing number of companies have been updating their identities.
