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https://www.behance.net/gallery/107611743/Footshop-visual-identity

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Along with a generational change that has moved streetwear into the main language of fashion, Footshop is growing from a domestic destination for sneakerheads to a head-to-toe brand for fashion victims, with an e-shop and brick-and-mortar stores in many parts of Europe. That's why we devised an open system that retains its roots in the street, in graffiti, rap, skate and sneaker cultures, but is elevating Footshop to a more premium sector. It was essential that the new brand worked in the digital sphere and as well as embossed in leather, and that it could be developed into a lively a visual style, used for example for increasingly interesting collaborations with global brands. The basic question was: What would Kanye do? He would do it himself and on the phone. With pen on a napkin. Fork on TV screen. Vetements scarf soaked in cough syrup - no doubt about that. He does not lack confidence. He would underline the spontaneity that the current digital immediacy places above perfection. Street smart audacity, with which you can strike through, tag narcissistically, but also create something new with a healthy dose of certain infantile optimism. Partly of your own - we are all used to customizing and algorithmically served personal playlists by now. However, an infinite number of logo lines ultimately find its foothold in the disciplined stability of the Foot Medium custom font. In the Foot Carbanica version, pre-made lines are easily applied in any document. But you should always be free to take a marker in hand and show us some fancy footwork.

UnderConsideration review

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Along with a generational change that has moved streetwear into the main language of fashion, Footshop is growing from a domestic destination for sneakerheads to a head-to-toe brand for fashion victims, with an e-shop and brick-and-mortar stores in many p...

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https://www.itsnicethat.com/articles/etnohaus-identity-graphic-design-090620

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Etnohaus, a creative centre located in the south zone of Rio de Janeiro where "everyone is welcome", has received a graphic design lick of paint from a collective group of designers. Directed by Leandro Assis, Paula Cruz, Nícolas Martins and Eduardo Massá, each contributor appears to be driven by their sheer love of Etnohaus, and a want to "communicate in a way that is welcoming to anyone who had been occupying the space or invited to enter." The identity project also sets the tone for the first of many collaborative projects, marked with "the same footprint involving music, diversity, and design - a thing that was very common inside the group," Leandro and Paula tell It's Nice That.

In turn, the team's brief was to "create a visual identity that translates this message of art, freedom and no hierarchy within the group," the duo explain. This meant the project began by canvasing a large opinion, particularly as "Everyone has a voice and takes part in the process of the house, concerts and planning," say Leandro and Paula. "So, one of the big challenges of Etnohaus' project was to create a symbol that summarises all these feelings and, moreover, has one single opinion among all these artists."

The result is an identity which draws on the characteristics and personality of Etnohaus as a building, but also places it within a wider context. At its core, it considers how the centre hosts artists from all over Brazil and globally meaning "the colours had to accompany all this diversity". This led the team to decide on a clear palette relating to Brazil, "without getting too cliché" and experimenting with a range of tones to harmonise with one another graphically. The carefully chosen palette was then applied to a logo described by Leandro and Paula, as "a talk wheel". The letters which make up Etnohaus' name are carefully placed to make a circular shape, a visual representation for "all the minds behind the creation and development that took place within the project," ultimately making a whole.

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Etnohaus' identity is a powerful example of the benefits of collective, thoughtful and inclusive design

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Etnohaus, a creative centre located in the south zone of Rio de Janeiro where "everyone is welcome", has received a graphic design lick of paint from a collective group of designers.

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https://www.itsnicethat.com/articles/murathan-biliktu-graphic-design-100222

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Murathan Biliktu’s new font explores the experience of migrant workers in Germany

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The Turkish designer behind the new independent type foundry, Biliktu foundry, leads us through the rich cultural history which informs his type design.

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https://www.itsnicethat.com/news/a-new-angle-studio-pi-sachini-imbuldeniya-creative-industry-081220

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A New Angle: Sachini Imbuldeniya on founding an agency with diversity at its core

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In the first of our new editorial series championing industry changemakers, we hand the mic to Studio Pi founder Sachini Imbuldeniya to discuss her vital work, its challenges and how we can all help.

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https://www.itsnicethat.com/news/marina-willer-manuvo-rebrand-graphic-design-170222

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https://www.itsnicethat.com/news/nubian-skin-tfl-diversity-in-advertising-110220

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Transport for London launched its Diversity in Advertising competition in 2018 to address stereotypes, tokenism and lack of representation seen in campaigns across its ad space. The first competition focused on gender inequality, and its second - whose winner was just announced as underwear brand Nubian Skin - looked for "authentic portrayals of people from our Black, Asian or minority ethnic communities, with realistic depth and resonance". The brand specialises in underwear and hosiery for people of colour, and will receive half a million pounds worth of advertising space across the TfL rail and bus network.

Nubian Skin was founded by Ade Hassan after struggling to find nude colour underwear in "her own nude" skin tone, and was launched in London but has grown to ship globally. The TfL prize-winning campaign asks "What does being Black mean to you?" and employs the tagline "A different kind of nude," featuring photography by Cass Michael and a film by Method Films.

Hassan told The Drum that her company's campaign will be used to challenge advertising's "one-dimensional view of blackness".

TfL's brief asked for authentic portrayals of people from the BAME communities, with "realistic depth and resonance". The work was required to reflect diversity within groups, as well as between them, and was judged by a panel including Engine's Ete Davies, Vogue 's Vanessa Kingori and TfL's director of diversity and inclusion, Staynton Brown.

"London's rich diversity and proud tradition of openness towards people of all faiths, nationalities and backgrounds, is what truly defines us and sets us apart as the greatest city in the world," TfL said in a statement. "We want to see this represented in our advertising."

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POC underwear brand wins 500k of ad space in TfL's Diversity in Advertising prize

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Transport for London launched its Diversity in Advertising competition in 2018 to address stereotypes, tokenism and lack of representation seen in campaigns across its ad space. The first competition focused on gender inequality, and its second - whose winner was just announced as underwear brand Nubian Skin - looked for "authentic portrayals of people from our Black, Asian or minority ethnic communities, with realistic depth and resonance".

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ways of drinking(pure/cocktail）
scenario(with friends/alone/parties)
places of buying(supermarket/online/)
timing(morning/afternoon/evening)
mood(sad/relax/exciting/)

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types of font
sizes
weights
location
distance（2D）
height（3D）

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heights
widths
thickness

colours
materials
ways of opening
smells
images
number

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Another group's response to Chivas D&AD Brief 

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Another group's response to Chivas D&AD Brief 

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https://www.behance.net/gallery/135631361/chivalryisntdead-New-look-for-Chivas-Regal?tracking_source=search_projects%7Cchivas%20regal

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#chivalryisntdead New look for Chivas Regal

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chivalryisntdead New look for Chivas Regal

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we can think about email design later on as part of brand collateral

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we can think about email design later on as part of brand collateral

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https://www.thewhiskypedia.com/whisky-stories/the-rise-of-chivas-regal-how-the-brand-become-a-global-icon

using the same stick things as the background

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writing plan for group portfolio 17th Feb

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writing plan for group portfolio 17th Feb

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- chivas logo with smaller serifs, looks a bit more modern compared to the original logo
- kind of showing that they really love the emblem feel of the label?

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different approach for kyla's idea of using stroke as blank space

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different approach for kyla's idea of using stroke as blank space

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https://www.thesaurus.com/browse/diversity

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https://www.commarts.com/exhibit/saga-grand-gin-identity

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Responses by Louis Gagnon, vice president creation, associate, Paprika

Background: Gin is a spirit that is increasingly popular in Quebec as more and more people are interested in spirits. Many new distilleries were created in the last couple of years in Québec, which coincided with the growing importance of supporting local businesses. As it is the first certified organic gin produced in the province, Distillerie Grand Dérangement 's SAGA Grand Gin not only targets drinkers who enjoy refined products, but also the new drinkers who want to try a new and unique gin.

Reasoning: Our primary goal was to create a unique and creative identity that aligns with the image of the distillery. The Grand Dérangement, which is also the name of the distillery, is a reference to the deportation of the Acadian people of Canada by the British government in 1755. The creative process started with historical research on the matter in order to better understand the main characteristics of the Acadian people and its history. Based on our research, we found four Acadian individuals who truly existed and filled the missing pieces of their stories as accurately as possible with the idea that the boxes would bare their stories, and contain twelve bottles, three for each character. We decided on the name SAGA, as it is a short and memorable name that links all these stories together.

Challenges: One of the biggest challenges was creating a unique identity that stands out from the competition. Creating a modern and contemporary identity for a product whose main inspiration is a historical event was also challenging.

Favorite details: I am most proud of the yellow wax seal. Wax has been used for sealing alcohol for centuries, which is why we chose to use it, and it adds to the historical reference of the brand. The yellow wax covers almost half of the bottle in order to hide the eyes of the person on the label, enhancing the mystery around these individuals and their stories. The wax also contrasts with the mainly black-and-white label. The fact that there are four different labels is also a detail that adds to the distinctiveness of the product. It creates a unique display in store.

Time constraints: The use of wax as the seal for the bottle represented a huge challenge, as it required more steps in the production process. The necessary equipment could only be found overseas. We weren't sure if the equipment to make the wax seal could arrive on time for the launch of the gin, considering that we also needed to test the consistency of the color, the opacity and the precision of the machine. We then had to find alternatives and different solutions in order to have a final product for every possible scenario. In the end, we were able to use wax for the packaging, which resulted in the creation of the SAGA Grand Gin that can be purchased today.

Specific demands: The client asked for the gin to be aligned with the story of the Grand Dérangement and the Acadian people. This gave the project specific guidelines and a theme that had to be followed. This made the project easier in many ways as we knew we had to orient our research towards this subject. This offered us many possibilities, as there were many aspects of the Grand Dérangement that we could explore.
paprika.com
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SAGA Grand Gin identity | Communication Arts

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Responses by Louis Gagnon, vice president creation, associate, Paprika Background: Gin is a spirit that is increasingly popular in Quebec as more and more people are interested in spirits. Many new distilleries were created in the last couple of years in Québec, which coincided with the growing importance of supporting local businesses.

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https://padlet.com/chall08202011/ptsprf8z9r19rsze

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https://en.wikipedia.org/wiki/Flag_of_Scotland#/media/File:Flag_of_Scotland.svg

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The Flag of Scotland ( Scottish Gaelic: bratach na h-Alba; Scots: Banner o Scotland) is also known as St Andrew's Cross or the . As the national flag, the Saltire, rather than the Royal Standard of Scotland, is the correct flag for all individuals and corporate bodies to fly.

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welcome pack for CSM students made with seaweed paper

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welcome pack for CSM students made with seaweed paper

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https://www.instagram.com/p/CVVp_wXs3SU/

studiobergini
COMPOSITIONS 🤹 Central Saint Martins @csm_news recently commissioned us to design a welcome pack 👋 mailed out 💌 to the 2021 cohort in anticipation of their arrival. The envelope, made of @notpla Seaweed Paper 🍙 (world first‼️), contains an 👉 information/inspiration booklet 👉 a card with prompts inspired by Brian Eno’s Oblique Strategies 👉 and a sketchbook for responding to these. 📦 edition of 4,000 📦 👉 Riso printing by @pagemasters.co 👉 duplexed and foiled cards by @benwells1966 👉 envelopes and collating by Packaids / paper from @arjocreatives and @gfsmithpapers / foil from @foilcoltd / typeface by Elias Hanzer @elias_hanzer / hands by @zlissia

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With its unique aesthetic, our new Notpla Paper add character to any design. 🌊

By using seaweed waste, it transforms packaging into a distinctive asset that supports a mission for a healthier planet. 🌍

Notpla Paper has endless applications – From boxes … to wrapping. From cosmetics… to food & beverages! 💄🍿

Let’s improve sustainability in a new and innovative way!

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Scottish Luckenbooth brooches dating from the 18th to 20th centuries
https://en.wikipedia.org/wiki/Luckenbooth_brooch

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"Chivas stands out from other brands with its unusual heart symbol. Michael Peters added it to highlight the Scotch origins of the whiskey, as it is an imitation of the traditional Luckenbooth brooch. Unique jewelry dates back to the late Middle Ages. They were used as a powerful magical artifact that protects against the evil eye and brings good luck in ancient times. And in the 19th century, Luckenbooth became a traditional decoration of the inhabitants of Scotland. They represent devotion and love. On the Chivas emblem, the heart is complemented by a crown associated with the royal order’s receipt."

https://logos-world.net/chivas-logo/

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"Now Chivas’ solid reputation is confirmed not only by its history but also by its unique logo. Identica developed the modern design. It belongs to the British Michael Peters, who created the emblems for Universal, Sony, Johnnie Walker, Nike, Levi’s, Vodafone, Captain Morgan, and other global brands.
It took about four years to redesign Chivas. Peters considered it his goal to make the world happy, so he did not use gloomy tones. He chose a discreet shade of gold to present the whiskey name in a whole new way. To the left of the inscription, the artist placed another element carrying positive energy – a talisman in the shape of a heart."

https://logos-world.net/chivas-logo/

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Whisky only in glass bottles? Check out these distinctive ceramic whiskies!

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Whisky only in glass bottles? Check out these distinctive ceramic whiskies!

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https://www.gcores.com/articles/143422

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威士忌只能用玻璃瓶？来看看这些别具一格的陶瓷威士忌！ | 机核 GCORES

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机核从2010年开始一直致力于分享游戏玩家的生活，以及深入探讨游戏相关的文化。我们开发原创的电台以及视频节目，一直在不断寻找民间高质量的内容创作者。 我们坚信游戏不止是游戏，游戏中包含的科学，文化，历史等各个层面的知识和故事，它们同时也会辐射到二次元甚至电影的领域，这些内容非常值得分享给热爱游戏的您。

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Research 01: Why whiskey is not bottled in plastic?

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Research 01: Why whiskey is not bottled in plastic?

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Alcohol of a certain quality is bottled (glass bottles) or in porcelain containers (dark colours). And definitely not in plastic packaging.

There are several reasons for this:

01/ plastic packaging does not preserve freshness and can also have a plastic smell.
How well alcohol is kept not only has a direct impact on its taste. For collectors, in particular, it also determines the appreciation potential of the wine.
Plastic packaging is transparent or translucent, and the ultraviolet rays of the light are damaging to the alcohol, and are one of the main culprits in accelerating its oxidation process.

02/ Ageing:
The change of alcohol in a bottle is a slow process, and vibrations accelerate the maturation of the alcohol, which of course results in rougher alcohol. It should therefore be kept away from vibrations and not moved too often.

03/ Sealing:
The ideal way to keep open bottles of alcohol that have not yet been drunk is to remove all the air from the bottle before corking it, which will keep it for a long time.

04/ the defects of plastic packaging:
Plastic packaging has a higher permeability to oxygen and carbon monoxide than glass bottles (or porcelain containers), which can lead to chemical reactions between the alcohol and the plastic packaging, and the alcohol can be oxidised and the taste of the wine deteriorated.

The ageing of plastic packaging products also affects the quality of the appearance, is not beautiful and practical, and pollutes the environment.