Established in 1988 — although it can trace its roots back to Sydney Mechanics’ School of Arts, which was established in 1833 — the University of Technology Sydney (UTS) is a public university in Sydney, Australia, offering over 130 undergraduate and 210 postgraduate courses across
“Going Around in Circles”
Established in 1988 — although it can trace its roots back to Sydney Mechanics’ School of Arts, which was established in 1833 — the University of Technology Sydney (UTS) is a public university in Sydney, Australia, offering over 130 undergraduate and 210 postgraduate courses across traditional and emerging disciplines such as architecture, built environment, business, communication, design, education, engineering, information technology, international studies, law, midwifery, nursing, pharmacy and science. UTS is part of the Australian Technology Network — a group of five universities “committed to working with industry and government to deliver practical and professional courses” — and has an enrollment of over 40,000 students, making it one of the largest universities in Australia. Launched internally last month and to be rolled out over the next 18 months, UTS has introduced a new identity designed by local firm Houston Group.
Fusing creativity with technology, and born from the idea of visually representing the often intangible world of technology and data, Houston Group has built a responsive and adaptive brand identity, which provides total flexibility across the many functions of UTS.
The logo was evolved first along with a more flexible colour palette – Houston refined and modernised the UTS emblem so that it better reflects UTS’s position as a contemporary, young, vibrant university.
Houston Group provided press release
While the logo hasn’t been significantly altered, the changes are very positive, freeing the icon from the container rectangle it was sequestered in and switching to a sans serif whose weight matches that of the icon’s lines. If you are wondering, as I was, what the icon means: It’s an anchor drawn from the coat of arms of the City of Sydney coupled with one of the spirals of the double helix in the representation of the DNA molecule. The new lock-up is solid and simple and the wordmark stands competently on its own.
Houston developed data visualisation software in conjunction with Mentally Friendly and UTS. This software allows UTS to input unique sets of data about its faculties, students and research, to create intelligent and connected graphics, which will feature prominently in the university’s branded collateral and marketing campaigns. These “infinite” graphics give UTS a living, ever-evolving brand.
Houston Group provided press release
Of all the visualizer/data-manipulation thingies we’ve seen recently — particularly from the neighboring Sydney School of Entrepreneurship — this isn’t the most impressive or yielding of exciting results that could easily be achieved in a day’s worth of Adobe Illustrator work… a week, if you wanted to capture a bunch of different patterns. I would call it more of a layout randomizer than a visualizer as I get no better sense of the school from whatever these graphics are visualizing. The stylistic sets are also very disparate: you have thin white lines on black, pixels, overlapping circle columns, basic triangles and squares… it’s hard to tell what the relationship between any of these is.
Like most visualizers, though, the results are visually engaging and there are some interesting things happening in some of the program covers as well as how the logo lock-up is used inside a square as an accent to the materials. Overall, it feels “tech”, paying off of on the university’s name and it also has a contemporary aesthetic that should be attractive to each incoming generation but, beyond the surface, it falls a little flat and doesn’t offer a more interesting take on visualizer tools than what we’ve seen before.
Article originally appeared on Brand New: Link.
Established in 2001, Altice is a multinational company providing services across three key activities: telecom, media and content, and advertising. Based in the Netherlands, Altice has, since the beginning, gone on an acquisition rampage across the world, buying existing companies like SFR Group in France,
“The Path of Most Resistance”
Established in 2001, Altice is a multinational company providing services across three key activities: telecom, media and content, and advertising. Based in the Netherlands, Altice has, since the beginning, gone on an acquisition rampage across the world, buying existing companies like SFR Group in France, PT Portugal that owns the MEO brand, and Cablevision in the U.S. that owns the Optimum brand. They also have presence in Belgium, Switzerland, Israel, Kenya, and the Dominican Republic. Combined, this gave Altice a €23.5 billion turnover in 2016 from more than 50 million customers worldwide. Altice is the biggest telecom you had never heard of (or, at least, I hadn’t) but that’s about to change as, yesterday, the company announced the Altice name would take not just over all corporate names but even most of the consumer brands through a global, unified brand by Publicis Groupe and the U.S. offices of Turner Duckworth.
Welcome to the new Altice. We are driven by a philosophy to always challenge ourselves. We question everything so that we can find the best way forward for our customers. In a world in which continuous innovation is the only way forward, we have invented our brand identity to redefine the vision we have for our customers -consumers, enterprises, and advertisers- and our people.
This is our signature and rallying cry for all of our stake holders. It boldly proclaims our vision for the world: that when we come together, there’s nothing we can’t achieve.
“Together”, of course, because combination is in our DNA; “Together”, as a global and multi local identity; America and Europe; technologies and talent; telecom, content and advertising; services and products. We unite our varied entities under a single name so that we can unite people: ours is a vision of a seamless and inclusive future.
But we’re also expressing an ambition. Our potential has “no limits”, because we are fearless innovators –bringing together the dreamers with the doers, to push the boundaries of human ingenuity. Altice exists to redefine our interpretation of what is possible.
I usually start my reviews talking about the logo but in this case there is a lot of foreplay required before we get to it. In the ten years I’ve been doing reviews this is the most verbose introduction of a brand I have encountered. Start at the introductory page for the identity, then download the identity presentation PDF, then I’ll see you back in 30 minutes and there will be a pop quiz. Usually, it’s the opposite where there is barely any information about the redesign so I shouldn’t be complaining, except… except that after reading everything there was to read I had to surgically roll my eyes back to the front. It’s great to have a confident, solid, brand strategy and point of view but this goes into overkill mode from the first paragraph and doesn’t let go, like, ever. A single paragraph that basically said, “Our logo is like a path”, would have sufficed, instead of the world-savior pomposity of a lot of the descriptions, i.e. “the Altice path can unlock the limitless potential of our customers, our people and our world”. So, let’s see if this logo can, after all, change the world.
Our logo is a path. A path to everything you dream of. It is an open sign, free of any shield, border, and background. It is distinctive and elegant, timeless as well as bold and fearless because the path we take converts aspirations into reality, and reinvents the future. It has dynamism and momentum because it is an invitation to connect, to join, and draw our own path. It is inclusive and seamless, it has iconic potential and global resonance because the Altice path can unlock the limitless potential of our customers, our people and our world.
The old logo was cray cray — I know that’s an outdated, terrible expression but it’s uniquely apropos in this case — even for Dutch corporate logo standards where things get funky but most companies can pull it off. This one was weird plus one, with its strange “A” and groovy marbles. Let’s just be glad their world takeover is not with that logo. The new logo hinges on a large, semi-abstract “a” that, without all the mumbo jumbo behind it, is an interesting mark. It’s simple, bold, and has a modest dynamism to it. It’s a little awkward too in how the tail of the “a” is extra long but that may be part of what makes it work. The one execution decision that makes me itch is the stem that goes upwards aligns exactly with the apex of the top curve, instead of letting that curve shoot just a tad over, like any circular letter in type does. The wordmark is nice too with all the little curves kicking up at the bottom; it’s a hard set of letterforms to kern… the bottom of the wordmark is nice and even but the crossbar of the “t” throws things off as does the space between the “i” and the “c”. Still, in general appearance, I subtly like it.
Not much in application, other than the launch campaign above which is… surprising? Meaning, the logo is so simple that to, all of a sudden, go into these super detailed illustrations was unexpected. There is something visually attractive about it… it reminds of some of the work of Tolleson (but not as finessed). I like the idea of letting the “a” be anything but there is also something cheesy about each of these illustrations. Overall, yes, this is very well suited as a major telecom brand with potential for global recognition and performance but they just need to bring down the world-changing bravado a notch.
Article originally appeared on Brand New: Link.
Hackett was founded in 1979 shortly after Jeremy Hackett and Ashley Llyod-Jennings, both from London, had met and decided to offer and sell…
Article originally appeared on Branding on Medium: Link.
Who Otto Bell
Current gig Vp, group creative director, Courageous at CNN
Previous gig Creative director, OgilvyEntertainment
Adweek: CNN's in-house branded content studio Courageous just celebrated its one-year anniversary. What have you learned?
Otto Bell: Content is king and distribution is god? I'll leave those trite clichés aside. I've learned that it's great to have distribution, and to know that the work you produce will be seen as both a blessing and a responsibility. It's wonderful to know that what you're working on will have a large reach. But especially when you're producing for CNN, you do have this responsibility to make sure the work you do is additive. Those three little letters of "CNN" kind of give you that instant and immediate attention of the audience. … It's kind of like a game of milliseconds now. So CNN will win you that audience attention, but the flip side is you've got to pay that trust back with really strong work.
What are some of the brands you've worked with and the projects you've done?
It's everything from paint to personal finance, from movie studios to technology. We touch pretty much a lot of the industries. We started off with some of the entertainment brands: Warner Bros., HBO, some of the people who are in the business of storytelling. Subaru, HPE, eBay, Intel. We just signed one of the biggest-ever beer deals for CNN Digital. And then we've got video game manufacturers.
How would you describe the Turner breed of branded content? How is the DNA of CNN embedded inside of Courageous?
I would say we know what we don't know. Our focus has been mostly in the nonfiction, docu-style space. Conan has some of the best comedy writers in the world, so Turner doesn't need the Courageous team to be writing sketches. We haven't done that much in the scripted realm, and I think that's a very particular place to play. Each of the entertainment products tends to require specialists. Where I think we've been successful has been in this nonfiction side of things, but within that I will say the team is very good at putting on a lot of different sets of clothes.
What's your process for developing a branded project?
When a job comes in—actually even when an RFP comes in—we'll assign one of our directors, our producers, a former journalist that's an Emmy- or Murrow-award winning journalist, we'll put them at the heart of a story to quarterback the story from the get-go, and they'll remain with that story through its development, through its sale, through its preproduction. Then they'll be the one to obviously go out and shoot it and direct it, and then they'll come back and help edit it and will also be there when it goes live, seeing how it performs, measuring it, A/B testing it and then bringing all that learning and experience back to the beginning again.
How do you measure success?
What it is that the brand is looking to achieve is really how we measure ourselves. But then also, for us, we care very much from a qualitative perspective. We care about the editorial merit of the work that we're doing. Is this piece of work additive to the conversation at large? Does it provide some kind of utility? Does it lead to understanding? Does it lead to a previously underexplored territory? Is it funny? Are we proud of it? Is it something that we want to send to our friends and parents? Breaking new ground is important as well. If the work that we were doing a year ago is all that we're doing a year from now, to me that is not what success looks like.
This story first appeared in the July 25, 2016 issue of Adweek magazine.
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Article originally appeared on Adweek Advertising & Branding: Link.