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Dunkin’ is a now single as ‘donuts’ has officially been dropped off from its previous name. Nevertheless, the team of Jones Knowles Ritchie put their creative caps on and worked hard towards transforming the brand in such a way that the exclusivity remains pristine.

Dunkin

Brief/ Challenge:

A company that is a synonym for providing the best coffees and donuts all over the world, for over 50 years, knocked at the door of Jones Knowles Ritchie for a re-establishment of its brand. While the font and the pink and orange colors make the branding unique, it was a challenge for the team to revamp the brand in a way that the distinctiveness remains intact.

Dunkin
Dunkin

Solution:

Along with tweaking the overall look of the brand, the company even dropped ‘donuts’ from its name and switched it to just “Dunkin”. Just like coffee is associated with donuts, sweet with savory, cream with sugar, Dunkin’ is associated with its signature Frankfurter font and pink and orange colors. Acknowledging the importance of these prime features, the team of Jones Knowles Ritchie struck upon an idea to update the font itself.

Dunkin
Dunkin

They developed a custom update of Frankfurter called Dunkin Sans by adding a serif inspired by Dunkin’s use of Souvenir in the 1970’s. A combination of this newly customized typography and the old colors resulted into a new presentation of the brand by giving a modern twist to the former logo. While the team wondered as to why Dunkin’ even required that bit of jolt, they were quite successful in creating something that captured the nostalgia of the brand which lies in the hearts of millions of Dunkin’s loyal fans.

Dunkin

“America runs on Dunkin” turned out to be amazingly true when over one billion impressions in the first 24 hours of the release of the amplified brand, helped Dunkin’ become a US trending topic on Twitter. Jones Knowles Ritchie was a major source that assisted Dunkin’ to get on “First Name Terms with America”  which also resulted in immense coverage that included The Late Show with Stephen Colbert on CBS, The New York Times, Esquire, The Guardian, Buzzfeed, Forbes and more.

Dunkin
CURRENT ISSUE
Creative Gaga - Issue 47

 

Slate, an online editorial, partnered with Gretel, a New York based design studio to redesign the way they work and buildmuch more than just a new look.

Rebranding

Brief

Launched in 1996, Slate is a general-interest online magazine offering analysis and commentary about politics, news, business, technology, and culture. It has also published podcasts since the beginning of that medium and now hosts more than fifteen different ones.

 

According to Slate’s Design Director, Jason Santa Maria, it was clear on the first appraisal that Slate had fallen into disrepair over the years, lacked a cohesive visual voice and was in dire need of a re-design/ rebranding. There was an absence of ‘Slateyness’, a term understood only by the internal team at Slate and this needed to be expressed visually, to the viewers, in a way that lived up to the tone and quality of the journalism.

Rebranding

The challenge wasn’t about just rebranding or re-designing the website. Slate wanted to re-design the way they worked, they wanted to build a process for working together that brought everyone to the same table-editorial, design, development, product and sales.

 

For a solution, Slate’s in-house design group collaborated with the New-York based design studio, Gretel and introduced a new identity and an online presence.

Rebranding

Solution

Slate defines itself as an editorial that is reliable and filled with wit and curiosity. Wanting to use these cues in their visual expression, they have adopted a variety of styles infused cohesively.

 

Gretel helped Slate establish a unified conceptual approach to their design work, in addition to all the needed artifacts like logos, colour, type palettes and a design tool-kit.

Rebranding
Rebranding

The Multi-faceted Existence 

Slate exists in various places like their website, on social platform, as a podcast app and also at public spaces hosting live events.

 

The redesign process started from a small but an important part, a corner of their online journal. They rolled-out of a new article design unlike a typical Slate story. It had an airy layout that gave clarity to the text, with new typefaces and colours, and it was published entirely outside of their CMS.

Rebranding
Rebranding

The Re-thought Features 

The rebranding/ re-design was based on the idea of layering and revealing, a visual strategy applied to the identity and website.

Rebranding
Rebranding

Logo 

The new logo was designed as a bold, uppercase wordmark with the distinguishing mark of a cut-off “A”, a nod to the idea of discovery. This gesture of revealing and uncovering expands to the language of the family of Slate products.

Rebranding
Rebranding

Article-Layout 

A technique of layered ‘slates’ was devised bring structure to article layouts and reveal the story for the viewer as they scroll the page. Their visual research led to the creation of layers such as noise, microfiche, zoom-ins and handwritten scribbles.

Rebranding
Rebranding

Illustrations 

To inject the wit and whimsy that’s so true to the voice, a photo-illustration style was created to replace stock photography and instantly bring ‘slateyness’ to an article.

Rebranding

Typography 

New typographic styles were introduced that sought to represent different textures of news and piles of press clippings with fonts that could be both illustrative and functional assets. This was achieved by paring a Serif, Register, for headlines and a Sans-serif, Retina, for body text.

Rebranding
Rebranding
Rebranding

Colour Palette 

The only thing retained from the old Slate was the tone-of-voice and the maroon colour with a sight tweak. An additional palette of bright colours served as an aid to navigating sections.

Rebranding
Rebranding
Rebranding

Conclusion 

The redesigned slate features elements that overlap and pile on top of one another, the editors’ hand scribbles emphasizing a point or creating marginalia and a stylised illustration method.

 

Slate’s story-making process was visualized with a language that feels like sifting through the news, looking for hidden clues and cracking the code that blows open the case, thus providing the viewers with the missing‘slateyness’.

Rebranding
Rebranding
Rebranding

Client: Slate
Agency: Gretel Design Studio
Solution/Expertise: Rebranding

CURRENT ISSUE
Creative Gaga - Issue 47

 

While we know that change is an integral part of life, David Ogilvy strived to make his company, “Ogilvy”, better and prepared for the future, by seeking certain changes. COLLINS, a brand design company, stepped in and created perfect strategies for Ogilvy in the form of rebranding, and also for its fundamental work environment.

Rebranding

Brief/ Challenge: 

The world is rapidly propelling towards change, with an influx of new technologies, machine intelligence, prominent channels, and empowered consumers. Realizing the need for a creative shift in his advertising company, “Ogilvy”, Mr. David Ogilvy asserted that “Change is their lifeblood.”

Rebranding
Rebranding

Since even the advertising industry is growing and transforming swiftly, COLLINS took up the challenge of developing a new, future-facing version of Ogilvy. By putting their artistic ideas into action, COLLINS initiated a transformation and created a fresh way of working and a brand new vision for the future of the company.

Rebranding
Rebranding

While Ogilvy was already in a process of streamlining the company, COLLINS decided to provide its own spin to Ogilvy’s old style and design an innovative rebranding for their future. Coincidently, both the companies shared a relationship prior to working on this project, which strengthened their association.

Rebranding
Rebranding

Solution: 

While Ogilvy has a creative network of offices around the globe, they realized that change is inevitable to meet the prerequisites of the future ahead. To bring a shift in the company, they removed internal divisions and obstructions so as to provide a clear path for adopting new measures.

Rebranding
Rebranding

COLLINS developed an interesting strategy of removing all barriers and making the objectives of the employees to unite as a single workforce for the company. Regardless of the individual’s particular skill set, they would perform in order to increase the overall creativity and productivity of the company.

Rebranding
Rebranding

The uniqueness of a company comes through its visual appeal and the overall vibe it emits. The previous logo of Ogilvy had a connection to its history, which COLLINS revamped and presented as new in the form of rebranding. As their strategy depicts, they modified the new logo from David Ogilvy’s signature, which was his trademark, to Baskerville, which represented the mark of many people.

Rebranding

Adapting this approach in their new set of developments, they chose two custom typefaces – an updated Baskerville and a modern sans serif for their logos and other readable modules. This improved the legibility in both fronts – digital and analog. Along with these considerable changes, a dynamic colour palette created a noteworthy impact of all Ogilvy materials, while an update in the linguistic standard brought about accurate developments in the company’s voice.

Rebranding
Rebranding

David Ogilvy vouched for change and made his company thrive higher with the inputs that COLLINS provided. A perfect blend of the past with the present and also its future aspirations, gave Ogilvy a transformation in all aspects and prepare itself for their further growth as a creative and advertising company.

Rebranding

Client: Ogilvy
Agency: COLLINS


CURRENT ISSUE
Creative Gaga - Issue 47

 

In a want to make the UI and the internal functionality of the brand as easy as the services the brand provides to its users through its app, Uber teamed up with Wolff Olins to create their dream brand system through rebranding process.

Brief

Uber is a tech start-up connecting riders and drivers that turned into a global mobility platform in a short and quick span of only eight years.

 

Having embraced new and future modes of transportation—from bikes, to tuk-tuks, to flying cars, it needed a holistic brand system that was instantly recognizable, works around the world and was efficient to execute, accommodating all of its needs and services within.

Solution 

Wolff Olins partnered with Uber to reimagine how the world moves, creating a system that connects with all modes of transportation, in all places, for all people—including internal Uber teams. The project was an intensely collaborative effort between Wolff Olins, the Uber Brand Experience Team, and MCKL Type Foundry.

For All Places

With Uber operating in 660+ cities and having its highest growth areas in regions outside of the US, such as Latin America and India, the brand had to have a system to be able to work globally.

 

Keeping this in mind, Wolff Olins adapted a universal ‘beyond-simple’ global brand instead of pursuing a complex identity system, localized through colour and pattern. This universal system gave teams the freedom to make it relevant to their audiences with culturally specific content.

For All People

With a new wave of leadership at Uber came a renewed commitment to safety which until now was product-driven. But safety was a much larger context. It was the brand’s need and requirement to speak equally to riders, drivers, and employees, which led to answering the question, “What does safety mean for different people at different times?”

 

This resulted in the introduction of Safety Blue to the colour palette. It’s unique to Uber and meant to be used sparingly to indicate important moments of support, care or connection between the user and the brand.

For All Teams 

The decentralized nature of Uber’s operations meant the company needed a system that could be easily implemented by a wide range of practitioners around the world in a broad spectrum of digital and physical applications. The system isn’t just for marketing designers, but for product teams, customer service, and beyond. Its success depends on how useful teams find it.

 

This required brand system of Uber is made up of nine elements, each one explained below.

Logo 

A wordmark instead of a symbol, the logo is approachable, easy to read, and takes full advantage of the name recognition. Optical kerning, refined weight, and defined clear space, as well as well-delineated placement in relation to other content, all help to make it as instantly recognizable as possible.

Composition

The composition system is elegant in its sheer simplicity of use —  it creates a subtle “U” wherever it appears.

 

By defining the grid based on the logo, the system stays flexible and beyond easy to apply. The U-frame optimized for content is used for hoardings, billboards and other advertising formats.

Typography

The typography is as unique and easy to use as Uber is.

 

Inspired by the world’s best used transportation examples, it was designed to maximize its impact across all applications while keeping it easy to read, own-able, and highly recognizable.

Iconography

The icons are inspired by global transportation iconography and drawn from the same shapes as their typeface, creating a seamless system from text to icon.

 

The arrow is part of the iconography but can be used in copy as a shorthand between destinations, whether geographic or states of mind.

Colour

A tight colour palette, dominated by black and white, draws on the colours used in global navigation.

The high contrast of black and white, the primary colours of Uber’s palette, make the text as legible as possible.

The use of a set of bright secondary colours makes the UI interesting.

 

The Safety blue, unique to Uber is used sparingly to call out moments of support, assurance and other important interactions between a user and the brand.

Motion

The motion system expresses the simple and easy movement that Uber makes possible. In an attempt to create a completely own-able motion system, the broadcast packages and the key motion states within the product are aligned in a manner to have just one set of motion principles and base motion states.

Photography 

The photography inspires Uber’s audience of young and old, partners and customers, local and global. It builds on how it feels to move from motivation at point A to the emotional payoff of arriving at point B.

Illustration

The illustration draws from Uber’s logo and the transportation language inspiration of the typeface. Simple shapes, clean lines, limited colour and heightened reality give the illustrations a branded feel and make it easy to understand at a glance.

Tone of Voice 

Uber’s global tone of voice focuses on the mindset they share with their users: they see the world as it could be and work to make it a reality. Beyond word choice and style choices, Uber’s tone of voice focuses their belief in putting their audience first.

Conclusion

Built from stakeholder input from around the world and tested on the ground with creative teams, Uber’s brand system is simple, flexible, and globally recognizable.

 

The learnings of what the business needed globally during a period of transition were used to drive their work of creating a brand that both served their business and engaged the audience.

CURRENT ISSUE
Creative Gaga - Issue 47

 

A typeface is not just the namesake of a brand. It instead reveals the brand’s story, indicating its nature and rendering it tangible for its users. Tumblr is one such illustration, illustrated by Dinamo.

Typeface

Brief

Doug Richard, Tumblr’s Creative Director, was on the look-out for a change in their typeface that could work for their app as well as account for all of their brand and product design needs to universalize the brand collateral. The need was for a typeface that would be purely functional for UI, with a flexible personality across brand materials.

Typeface

The requirement was for the kind of a typeface that was neutral enough to represent a diverse mix of communities, individuals and interests, would compliment the logo and also differentiate them from competitor products and brands.

Typeface

Solution

Looking at the typefaces matching the requirement list, Tumblr decided on using the typeface Favorit offered by Dinamo and customising it to their specific needs.

 

Favorit has a friendly yet commanding presence that successfully balances foundational sans serif attributes with assertive, contemporary geometry.

Typeface
Typeface

The Favorit-Tumblr 

Dinamo, a swiss type design agency, in collaboration with Tumblr, worked on Favorit, cut new characters, interpolated new weights, introduced new punctuation and scaled its overall appearance to successfully create Favorit-Tumblr, a 4-weight, 16-style typeface that was functional yet expressive and matching the requirement criteria.

 

The Favorit Tumblr family offers screen optimized weights in both the Standard and Lining versions with corresponding italics ensuring flawless legibility.

Typeface
Typeface

The Favorit-Tumblr Lining

The lining weight interacts with the font’s descenders in a playful but methodical fashion, which has been particularly useful across product explorations; allowing to differentiate usernames, hashtags and links from other words.

Typeface
Typeface
Typeface

Favorit-Tumblr’s Lining style contextually merges characters with an integrated underline to create new shapes. By default, it’s ideal for simple text highlighting, while with the “Rock’n’Roll” feature enabled it merges all initial and final word characters with the underline in a more exaggerated way.

 

The Favorit-Tumblr styles feature distinct glyph amendments like: custom cut characters, two sets of circled numbers optimized for in-app use, in-line logos, expressive alternative quotation marks and redesigned ligatures.

Typeface
Typeface
Typeface
Typeface

The Tumblr Logo

For the logo, the “t” and “r” characters were re-cut to stylistically align with defining attributes of the custom typeface. Other letters received more subtle updates; cleaning up overly nuanced attributes and bringing a more architectural feel to the mark.

 

Optimizations such as the elimination of curved intersections, helped to optimize the logo for small screens without losing its essence. A strategical step to remove the logo’s period allowed the logo and typeface to seamlessly integrate across all naming conventions.

Typeface
Typeface
Typeface
Typeface

Conclusion 

Tumblr began quietly implementing first cuts of the font in June of 2017, while its evolution was still in process over the following year, allowing it to mature alongside their visual language.

 

In June of 2018, Tumblr rolled out the new logo, soon to be followed by the full-scale implementation of Favorit-Tumblr across all their web and app products.

Typeface
Typeface

Client: Tumblr
Agency: Dinamo
Creative Director: Doug Richard
Art Directors: Erik Blad, Alessandra Bautista
Designer: Julianne Waber
Typeface Design: Johannes Breyer, Fabian Harb, Robert Janes
Mastering: Chi-Long Trieu


CURRENT ISSUE
Creative Gaga - Issue 47

 

Mailchimp, a successful marketing company, announced a rebranding that stands out while staying true to the essence of the company.

Rebranding
Rebranding
Rebranding

Brief/ Challenge: 

The marketing company, Mailchimp has grown exponentially over the past 17 years of their existence. After all the success they wanted a complete rebranding that caught everyone’s attention and stayed true to their identity.

Rebranding
Rebranding
Rebranding
Rebranding

Solution: 

When young companies grow over years and succeed, they tend to go for a rebranding that reflects their new found maturity and expertise in the field. The general trend is to shed their old skin of unpolished branding, to embrace a more sophisticated, cutting edge appearance.

Rebranding
Rebranding
Rebranding

Collins, a New-York based strategy and design company, did the exact opposite with the rebranding for Mailchimp, and that’s what makes it interesting. Instead of reflecting the 17 years of success and experience the company has seen, the rebranding demonstrates a child-like personality, with rough and sketchy illustrations and a 1920’s typeface. Even Freddie, the logo-cum-mascot was slightly modified but retained. The overall feel of the branding is something of a kindergarten scrapbook, but in doing so the brand comes across as friendly. The rebranding dispels the unapproachable vibe that we generally see with technology companies. Only time can tell if this strategy will work. But it is definitely a bold and unique approach.

Rebranding
Rebranding
Rebranding

Client: Mailchimp
Design Studio: Collins
Solution/Expertise: Branding Strategy, Communication Design