What’s in a brand? Belgium’s regions put their best foot forward Date: 26/07/2013 11:05:00 All three of Belgium’s regions – Brussels, Flanders and Wallonia – have gone through a significant rebranding in the past year. As the new logos and marketing campaigns start to roll-out, the regions hope to strengthen their position both internationally, and within the borders of their own country. Brussels unveiled a new logo and marketing campaign in July 2012, while Wallonia and Flanders have followed suit in the past months. Globalization has pushed countries to engage in so-called ‘nation branding’ to help attract foreign investments. Brussels was the first to go, launching its new marketing campaign in July 2012. The lion of Flanders was kept for Flanders’s new campaign, but was completely redesigned. The English slogan ‘State of the art’ is meant to emphasize the craftsmanship and know-how of Flanders and will be used uniquely in international contexts. AmCham Belgium looks forward to continuing our strong collaboration with all levels of government.
Google Visual Assets Guidelines - Part 1 on Behance Google’s brand is shaped in many ways; one of which is through maintaining the visual coherence of our visual assets. In January 2012, expanding on the new iconography style started by Creative Lab, we began creating this solid, yet flexible, set of guidelines that have been helping Google’s designers and vendors to produce high quality work that helps strengthen Google’s identity. What you see here is a visual summary of the guidelines, divided into two Behance projects: Google design style: Executive Creative Director: Chris Wiggins Graphic Designers: Jesse Kaczmarek, Nicholas Jitkoff, Jonathan Lee, Andy Gugel, Alex Griendling, Christopher Bettig, Jefferson Cheng, Roger Oddone, Yan Yan, Zachary Gibson Guideline design: Art Director / Team Manager: Christopher BettigSenior Graphic Designer / Project lead: Roger OddoneDesigners: Alex Griendling, Christopher Bettig, Jefferson Cheng, Roger Oddone, Yan Yan, Zachary GibsonContributors: Web Studio, Brand Team, Creative Lab
Create a Fantasy City Using Architectural Photographs Because matte painting often involves combining several photos to achieve an end-result, matte paintings can be great practice for anyone who wants to learn how to create photo manipulations. In this tutorial, we will show you how to create a fantasy city that is built on a rock structure, similar to Minas Tirith from "The Lord of the Rings." In the process, you will learn several techniques to help you incorporate architectural photos into your artwork. Let's get started! Before you begin, watch this amazing speed art video that shows the entire process of creating this artwork. The following assets were used during the production of this tutorial. First, open one of the resource images. Select the Magic Wand Tool. Click on the sky until you've selected all of it. Be sure to check the tool settings to improve your selection. Now let us go into Refine Edge to get a better selection. Depending on the image you might want to play around with the Edge Dedection settings.
Reynald Drouhin | Recherches | Esquisses | Documents » Landscape Monolith 2013, série de 11 photographies modifiées, 36 x 24 cm.(Projet réalisé d’après des photographies de paysages cherchées sur Internet. D’après Steffany Jamalle, Voir aussi : La guía de estilo de Google Navegando por Behance me encontré un muy buen proyecto del diseñador brasileño Roger Oddone en el cuál nos muestra parte de la guía de estilo de Google. Es bastante interesante ver este proyecto (dividido en dos partes) para tener un excelente ejemplo de que elementos y detalles se tienen que cuidar cuando quieres uniformizar el estilo gráfico de una marca tan grande como Google y sus cientos de productos y servicios. Google Visual Assets Guidelines – Part 1 Google Visual Assets Guidelines – Part 2 Comments comments
Adobe MAX: Photoshop Power Shortcuts Spotify Unveils A Bold New Brand Identity For a brand that fronts such a vast and eclectic array of music—a database of some 30 million songs, including the top tunes in Malta, Bulgaria, and Paraguay, among others—Spotify’s brand identity has always been surprisingly sedate: black, white, and an uninspiring green for colors; an off-the-shelf font; and a little stylized sound wave as a logo. That made for a fairly dismal array of tools for communicating with the brand’s 60 million avid fans. On Friday, at South by Southwest, all that will change. For the duration of the festival, Spotify House will be arrayed in a bold and explosively colorful new brand identity, which was the result of a year's worth of work, and many trips to the company’s Stockholm headquarters, by the New York design firm, Collins. "SXSW will be first big reveal of the program," says Leland Maschmeyer, Collins’s founding partner and executive creative director. "We’ll be pulling the sheet off the car."
Colectivo de la A a la X Tunea tu Huerto es una instalación dentro del proyecto de "regalos urbanos" que propuso lagaleriamagadalena en el marco del Festival de Arquitectura y Urbanismo EME3. El sábado 30 de junio, en la calle Brosolí con Banys Vells se colocaron 100 paquetitos de semillas para que las personas los llevaran a casa y plantaran su propio huerto. Pero de ellas creceran plantas muy especiales pues todas eran semillas "tuneadas" por la gente que colaboró con sus ideas al respondernos "si tuvieras una semilla... ¿de que sería? De amor, de comprensión, de salud, de orgasmos múltiples, de teletransportación, de valor, de intuición, de funcionarios felices.... tantas cosas que quisieramos que hubiera más en este mundo! Al menos por este día, los curiosos que se acercaron pudieron ver que todos, a pesar de nuestras diferencias, compartimos los mismos deseos. Idea original: Colectivo de la A a la X Propuestas de semillas por: amigos, conocidos y gente linda que aportó su creatividad.
What Font Is Your City? Embed Infographic: How do you pick one thing to represent an entire city? It’s difficult. But like we said above, we studied our chosen cities and made a case for each font choice. Before we get into the details, we’ll explain our process. How We Did It This project was a team effort. Here’s what we came up with: New York, NY New York is known for many things, but chief among them is its leading position in both the fashion and business world. Chicago, IL When we saw Thirsty Rough, we immediately knew this was the font for Chicago. Phoenix, AZ Phoenix is hot and bright, so it comes as no surprise that it’s nickname is “The Valley of the Sun.” Columbus, OH Home of one of the most storied football programs in the country, Columbus is a tried and true football city. Boise, ID Boise is known for its trees, giving it a direct connection to nature that most cities lack. Memphis, TN The home of the blues, Memphis is in touch with its own nature. Charleston, SC Kansas City, MO San Francisco, CA
Hyperakt | A framework for student opportunity In his 2013 State of the Union Address, President Obama spoke urgently about the need for education reform to keep the United States relevant in a global economy. Many schools fall short of providing their students with the education they need to compete in today’s marketplace. Not only does this prevent students from pursuing new career opportunities in growing sectors, it will impede the US from retaining its edge. Fortunately, new models of education are being pioneered to address these shortcomings. The P-Tech program is expanding to more schools and it needed a strong visual language that would engage students, while appealing to school administrators and industry partners. Brian Edward Miller Brian Edward Miller propose des illustrations d’un rendu impressionnant. Réunissant ses œuvres sous le « Orlin Culture Shop », l’artiste américain démontre sa maîtrise parfaite du dessin et de la mise en couleurs. Des créations splendides à découvrir en images dans la suite de l’article.
FÖDA, Austin. Design and Brand Development.: Pattern Language The exploration of Mesoamerican motifs to create a new pattern language. The defining element of the CH∆VEZ brand identity system is its pattern. Creative Director Jett Butler and Designer Tom Ahn placed considerable time and value on developing a glyph palette, each representational of a contextual element of the project. The glyphs symbolize the following: C — rings or droplets in water of the adjacent pool H — the Congress bridge A — flame from the kitchen V — the hulls of canoes and rowing sculls on the river E — the bats flying from beneath the Congress bridge Z — stairs leading from the banks to the riverside Developed in 6 weights, the glyphs create patterns that evoke movement and structure similar to that found in Mesoamerican textiles and pottery. In many applications the pattern is deconstructed to terminate like a serape; fringed at the ends with a crisp line on the perpendicular.
5 | To Create The Future Of Brand Identity, Ideo Looks Inward On March 25, the designers at each of Ideo’s 11 international offices put their other projects aside and spent the day thinking about Ideo. The aim was to brainstorm a new identity system--the second time it’s been overhauled since the firm was founded in 1991--and the ideas, which can be viewed on a Tumblr dedicated to the project, took many forms. There were experimental business cards and animated GIFs, handmade crafts and polished mini-movies. One designer envisioned a "biannual cosmic event," in which an "optical obelisk" would project a massive Ideo logo on a nearby building on the days of the vernal and autumnal equinox. All of the proposals have something to do with Ideo--they reflect its outlook, its ethos, its employees, or its services--but at the same time, they’re all reaching towards something greater, too. Traditionally, identity systems have had the straightforward but crucial role of communicating presence. This future, or one like it, isn’t hard to fathom.
Meet The Accidental Designer Of The GitHub And Twitter Logos Simon Oxley was drinking beer and watching TV on his couch (like any good freelancer) when he noticed that a hot new startup called Twitter was using his art as a logo. At first, he thought he was drunk. “I checked the label on the beer I was drinking and called my wife to come see,” he says. “It was a total, surreal surprise.” Oxley, who is British-born and Tokyo-based, was (and is) a freelance contributor to iStockphoto, one of the web’s most popular resources for stock photos and illustrations. His biggest sales, though, have been from startups like Twitter, who paid “a relatively small amount of money” for a library of images including the bird and the robot, which still appears when you visit a broken link. Shortly after his name emerged as the designer of Twitter’s original mark, Oxley was approached by GitHub, the open source code community. That kind of adaptability is a direct symptom of the iStockphoto model, which lets buyers do what they want with purchased images.