Established in 2003, Higgidy is a West Sussex, UK-based company making handmade pies and quiches. From humble beginnings with a range of four pies, Higgidy gained ground in supermarkets starting with Sainsbury’s, the second largest chain in the UK, and now available in more than
“Hot Diggity Damn”
Established in 2003, Higgidy is a West Sussex, UK-based company making handmade pies and quiches. From humble beginnings with a range of four pies, Higgidy gained ground in supermarkets starting with Sainsbury’s, the second largest chain in the UK, and now available in more than 30 flavors across various other chains and retailers. The name is used as an adjective to describe the imperfectness of the pies and quiches, that highlight that they are individually handmade. This month, Higgidy introduced a new logo and packaging designed by London-based B&B Studio.
The old logo tried very hard to convey Higgidiness with the tumbling “g” and tagline on a curve. It’s about what you would expect from a small, handcrafted food logo. Cute, naive, ultimately harmless, but always with potential looming around the corner. The new logo’s interpretation of Higgidiness is a hard break on the product’s name that creates a jarring wordmark but, in the end, is perfectly readable. The use of a heavy Didone is very unexpected and set inside a rough-hewn circle it’s not exactly the best of logos on its own but is surprisingly convincing on the packaging.
Inspired by the brand’s perfectly imperfect pies, we’ve created a new positioning, visual identity and packaging for Higgidy. Featuring eclectic crockery, the packaging brings to life the brand’s philosophy that the best things in life are Higgidy, and introduces a contemporary lifestyle aesthetic into a functional masculine category.
The old packaging was very, very brown in a kind of depressing, not appetizing way. Its only saving grace was the cut-out window that provided a glimpse to the product, which looks super tasty. The line illustrations were pretty shy and didn’t add up to much. The new packaging is crazy vibrant, with a large range of illustrations — some figurative, some abstract, all painterly — adorning large swaths of each box. The illustrations are tied together by a similar color palette but they are really very distinct in style and here is where the bold, wonky-type, giant dot of a logo works its best — clearly uniting all the illustrations and remaining highly visible even against the busiest of backgrounds.
Overall, this manages to maintain the charm of the original logo and the quirkiness of the brand (and its name) in a way that really elevates its presence with a vibrant confidence and visual originality that most mainstream products can’t pull off.
Launched in 1987 in France, Activia is a brand of yogurt with a significant serving of probiotic bacteria, which, apart from sounding horrible, are live cultures that contribute to the health of your gastrointestinal tract and immune system. Owned by Groupe Danone (“The Dannon Company”
“Beam of Probiotic Light”
Launched in 1987 in France, Activia is a brand of yogurt with a significant serving of probiotic bacteria, which, apart from sounding horrible, are live cultures that contribute to the health of your gastrointestinal tract and immune system. Owned by Groupe Danone (“The Dannon Company” in the U.S.) Activia is available in more than 70 countries and is one of the leading probiotic products on the market. Last year, Activia introduced a new logo and packaging designed by Futurebrand.
We revisited the entire ACTIVIA ecosystem including a refreshed brand mark, a revised tone of their proprietary green color and new packaging structure and photographic style. The design visually recounts a story at the heart of the new ACTIVIA positioning: the synthesis of science and nature, mind and core, health and pleasure. One of the key elements we created is the new brand icon: a symbol of synergy and balance, key drivers of the new brand storyline. The icon serves as the keystone to the packaging design, creating the new structure for the entire range. All visual elements unite at the epicenter in the form of an upward radiant beam of light emanating from within, a beacon of assurance reflecting the brand’s expertise and promise.
The best thing I can say about the old logo is that it was yogurt-y. The way the letters were rounded off along with the stubby serifs and the slight gradient, it had a puffiness to it that looked like yogurt. But the actual lettering was far from interesting or engaging and the fairy dust too annoying. The new logo feels more like a health and active lifestyle brand, even a little bit like a vitamin product from GNC. I could have gotten more on board with the wordmark if the “T” weren’t so droopy and if the “C” wasn’t so FF Cocon-esque. All the other letters are nice and even the unconventional “IA” ligature at the end is convincingly done. The logo with all the stuff is not my cup of tea but it’s appropriate for mainstream consumer packaging, needing to stand out with flashier graphics to compete with the other products that have flashier-er graphics of their own.
The old packaging was fine; not great or inspiring but not offensive either. (Except for the fairy dust). The new packaging is very striking, with the “V” shape actively drawing your eye to the cup. The fruits inside the “V” are… intriguing. I like the simplicity of the product photography but there is something weird about fruit and gold, diagonal lines coming together. Like, it’s kinky in the wrong way. The one thing I really don’t like are the flavor bands… both how they are not really integrated and slapped on and the typography within that feels default, breaking from the overall elegance the rest of the graphics are aiming for.
Given the amount of shapes and sizes the new visuals have to adapt to (and still manage to include all the information and disclaimers needed in food packaging) this is a commendable solution with some ambition to look different on the shelf. At times, it gets too busy and hard to discern the information among all the lines.
Overall, in particular with how the TV spots are presented, there is a nice combination of warmth, care, science, and health that feel right for the product.
Launched in 1998, Indiatimes is one of the most popular news and media websites in India, covering politics, sports, music, health, Bollywood, business, entertainment, automobiles, and technology, or, in their words, “smart, intelligent and quirky content from around the world”. Indiatimes is one of many
“Gettin’ Jiggy wit it”
Launched in 1998, Indiatimes is one of the most popular news and media websites in India, covering politics, sports, music, health, Bollywood, business, entertainment, automobiles, and technology, or, in their words, “smart, intelligent and quirky content from around the world”. Indiatimes is one of many brands under the Times Internet umbrella, the largest Indian internet network and the digital venture of Times of India, India’s largest media and entertainment group. Late last year, Indiatimes introduced a new logo and identity designed by New Delhi-based Animal.
The brand came to us with a simple proposition – “Let’s be relevant. Also, let’s be cool.” Our way forward became obvious – to set up a platform without the frills and fluff of conventional media. And the first task was snipping away at the name:
Discarding the unnecessary bit. Indiatimes is now it.
The old logo took its negative kerning seriously with every round character overlapping heavily with the one to its left… they almost pulled it off, had they made the thin overlap lines and actual kerning more equal but from that first “in” pair, it wasn’t right. The new logo is a drastic departure, first by getting rid of the full name and going simply with “it” and then by choosing a somewhat challenging logo that is not the easiest to digest or even use. I actually like it a lot as it’s completely different from any major web publication and has a bold energy that feels like 1980s MTV and Bloomberg News had a baby. I keep wanting to see some relevant shape in the counterspace of the “i” and “t” as its so pronounced and my eye keeps going there. The logo is a tight unit that works perfectly on the site and needs no shortened monogram to exist on social media.
This color palette effectively utilizes the key colors and justifies the supporting hues. Pink, blue, green, and yellow are the hero colors that serve well in being vibrant, popping and purpose-driven.
Great, since it works well for posters, enormous titles, books and shimmy stuff, the highly contrasted butler typeface is pleased to be at your service. Suave, and bold.
The simplicity of the logo allows it to take on the logo-as-window structure — and in this case it also gets a background-as-window complement for some hectic combinations — as well as more interpretative 3D variations that can adapt to the topics they cover. The logo-as-window is far more successful in conveying the youthful vibe of the site than the halfway-there 3D renderings of chocolate, satellites, and speakers.
While these two typefaces get credit in the project page, the only one most users will see is Google Fonts’ Oswald, as it’s the main font used on the website and it makes for a good complement to the logo. In application, both Zona Pro and Butler do get used more.
The applications are all over the place and there isn’t a clear governing approach, other than making things big, making the colors vibrate, and seeing what may or may not work. The business cards have a good thing going with the “Love it”, “Work it”, “Feel it” lock-ups and the airiness but then the front is super clunky. The line patterns (like on the tape) are somewhat arbitrary and then, where they might match the emanating lines of the tote graphic, they don’t. Overall, the logo sets the right tone for the identity but it needs more polishing and reigning in. Still, it’s great to see some risk-taking for a media brand in India.
Established in 2006, Brand New is the best, baddest, awesomest, most best blog in the world. That’s what it would say if we had a Wikipedia page, because those are hard facts. False modesty aside, yes, Brand New is new today! Like, drastically new. I
“Brand New is Brand New!”
Established in 2006, Brand New is the best, baddest, awesomest, most best blog in the world. That’s what it would say if we had a Wikipedia page, because those are hard facts. False modesty aside, yes, Brand New is new today! Like, drastically new. I decided to post this as a Review not because it’s on par with Google or Facebook or Juventus rebranding but it is a big deal, so it gets top billing today. Some things are the same, some are very different. Read on to see what’s what; it’s a long post so you might experience some tl;dr. Oh… and to finish my opening paragraph in usual style… This week Brand New introduced a new logo and website designed by Austin, TX-based UnderConsideration.
I will start by talking all about the website and leave the logo to the end. The previous version of Brand New was introduced in July of 2013, a relatively short 3.5 years ago. It was only the second responsive website I had built and my CSS skills were fine but limited. (They are still limited today but at least I find that I can make layouts do what I want them to do and not layouts making me do what they want.) I liked the design but I do acknowledge the home page had hierarchy issues from the start and the side column with the polls on the individual posts was far from ideal. Still, we’ve been rocking this layout and, at the end of the day, most of you have politely and thankfully put up with any limitations because the content is what matters. Still, things could be improved, so that’s what I set out to do as well as implement some important changes to accommodate more content and the growing demand of potential advertisers. Following is a run-down on the most obvious changes.
Yes, I see it too and that’s the point. Our advertiser banners have been 500 × 150 pixels for years and they are now getting lost easily, which is not good for business. The new ad size is common among web publications and it’s as tastefully done as possible. Compared to the onslaught of ad units, pop-ups, and pushy modal windows other sites use, we are extremely kind to you. A bigger ad will attract more advertisers and more advertisers mean better funding for this blog which takes a big portion of time. We do encourage you to click on the banners now and again to support those companies and organizations that support us.
This is the number one request we get from advertisers. For the longest time we have tried to steer away from it but it’s become really hard to ignore. We will do our best to bring you relevant sponsored posts. Again, please consider engaging those posts, instead of just scoffing at them or ignoring them — which you have every right to do — but remember that these posts will help keep Brand New going. As you can see in the home page, the posts are not invasive and they are clearly marked. In the RSS feed they will also be clearly labeled. Heck, you might even consider buying one now and then to promote a product, service, or even that project I refuse to include in Friday Likes.
New section: Spotted
One of the biggest reasons for the update was this, to be able to include many more logo redesigns than what we’ve done until now. For better or worse — I like to think for better — I have established a strict set of criteria of what kind of projects I write about and that leaves a lot of projects on the cutting room floor. I think I post about 50% of the tips I receive… that’s a lot of wasted sources. Spotted will have no opinion, no application images, not even an introduction. It’s just a radar for as many changes as possible. You will still be able to comment and vote on them. You might say, “Don’t be lazy, Armin, and just write a sentence”, to which I say, “Yes, in an ideal world, that would happen but there simply aren’t enough hours in the day to write about every logo”. My plan is to post 2 or 3 Spotted a day.
New sections: Pinned and Curated
Towards the bottom of every page, there will be two sets of 6 thumbnails — or 4, depending how wide your browser window is. The first are “Pinned”, which are the most big-news posts we’ve had in the last 6 to 12 months as a way to keep those big changes in the spotlight. The second are “Curated”, which will be a bi-weekly selection of common posts from our archives. We are kicking off with the best projects tagged with “blue” but we’ll refresh that section with other parameters like best projects with birds, or the best automotive projects, etc.
I would like to think I did a good job on this. The site looks its best at 1,500 pixels wide, which sounds huge by 1999 standards but it even fits in my 11-inch MacBook Air so I know I’m not being extreme. The site shrinks to 1,000 pixels and drops two columns from the layout to fit nicely into iPads. Then it shrinks to 500 and drops two more columns for a pleasant experience on phones. The navigation now has any browsing options in a drop-down, full-page screen that makes it fairly easy to, well, browse.
We are rocking Hoefler & Co.’sMercury Text ScreenSmart and Operator ScreenSmart, served from their Cloud.typography service. Mercury has always been one of my favorite serifs and I have been wanting to use Operator since it came out; it works amazingly well at small sizes and I was surprised at how readable it is, despite having an off-beat structure.
RSS / Feedly
It’s not perfect, because each RSS reader now interprets content in their own way, but I’ve done what I can to optimize our RSS feed and for Feedly in particular. Still, we encourage you to read posts on the site because not only do they look better here but I worked really hard on it : ).
Someone had mentioned that we needed this, so individual posts will now convert to Twitter cards when you copy our URLs.
I didn’t want to do a big announcement on the redesign because I wanted y’all to experience the home page in its usual layout. Whenever we have news, whether it’s taking a week off or Brand New Conference updates, they will appear on the home page big like the image above and will stay like that for a couple of days, then moving to the left column.
Gone is the sidebar. Individual posts are now one, long, wide-ish center column that shows off the content a lot better. With the polls at the end. I hope you like the polls, btw, that took one full day of styling! And now that the cookie issue has been resolved, you can vote like mad!
One of the recurring pieces of feedback on the site was somehow have the ability to see the “before/after” image once you had scrolled past it. I tried floating it as you scroll but it felt very inelegant and I tried putting it to the side but that was too small. My proposed solution is a floating corner bug that gives you access to the before/after image and a key application:
You can turn it on and off when you want and it’s mostly out of the way of the content — except for the mobile version, where it’s really tight; there is a chance I might take it off the mobile version if many of you find it obtrusive. The toggle button appears after you get into the first paragraph and disappears AFTER the last paragraph hits the top of the browser.
I think that’s it
Those are the major changes, I think, I don’t know, I’ve been working so non-stop on this I can’t tell things apart. Obviously, bugs are to be expected so if you find any, please let me know in the comments or by email.
The old logo — now is a good time to click on the Key Visuals so you can glimpse the old logo — was typeset in Village’s Apex Serif, all in small caps. I constantly received emails asking what font it was so I had a vague sense of achievement about it but truth be told I don’t even remember why I chose that font or why a chunky slab serif was the way to go, but it had been like that since the very beginning. I know I liked the font, so that’s as deep as the concept behind the old logo went.
In a way, I wanted to keep a similar attitude in not obsessing about the right logo — there is really no “right” logo for a blog about logo changes — so I kept my eyes open for options as I was designing the website and focused most of the energy on the site, knowing that I could very well revert to the old logo.
Because I end up on Lineto.com often, usually getting the link to Circular or Brown, I decided to poke through all their fonts, especially the display fonts. Prismaset caught my attention (because I have a thing for concentric letterforms) and the style with five lines was starting to look pretty cool.
I am the first to acknowledge that this is a geometric sans serif — a style I consistently label as unsurprising — but I wanted to see if there was something I could do within that trend that would look good and be somewhat unique for Brand New. I know it’s not unique-unique as there are dozens of concentric stroke logos like this but I knew that at least, technique-wise I could deploy it in a unique-unique way. So…
That’s not a gratuitous underlying grid, there is a point! When I typeset “Brand New” in Prismaset Five I immediately liked it but I hated how fuzzy it got once I used it as a web graphic, even as an SVG because those strokes start to show up as 1.5pt thick and they get fuzzy. So, based on Prismaset Five — I paid for a license, yes — I redrew the characters so that the vertical and horizontal lines would render, always, as 1-pixel-thick lines and look perfectly sharp. So each line is 1 pixel thick with 3 pixels in between. This forced me to change some of the original shapes of Prismaset, primarily the “B” but pretty much all letters are different as the proportions changed. As an SVG file the logo looks even crisper and it’s only the diagonals and circles that have a little bit of unavoidable fuzz. As the site shrinks responsively, the logo stays at the same size, keeping its 1-pixel lines intact. (Except for the mobile version; that had to budge.
I don’t know if it’s a logo that will last another ten years; maybe it will outgrow the trend maybe not, but, for now, I like it and I like how it complements the thin sharp lines of the site and the overall airiness.
For the colors, you might say, “Hey, you lifted those off directly from the Saffron redesign” but I can honestly say I have had this color palette since December, before the Saffron project came out. I’m not saying I did it first but I just want to make sure no one thinks I stole someone else’s color palette. Why pastels? Because Brand New has been so stark and black and red for so many years that I wanted something softer. I needed to color-code each of the editorial categories — Reviewed, Noted, Linked, etc. — and by default I ended up with light colors that could support dark gray type on top.
Finally, I did a monogram for social media and other purposes. There is a version for bigger avatars with the full five lines and there is a small version with only three lines, which you can see at the end of this paragraph, service as the closing monogram of each post. Both monograms have slightly different proportions between them and the main logo, trying to keep each letter to half of a square. In the big version, the letters touch to create a more unified monogram but in the small version there is one line of space between them because otherwise it looks like a smushed fly. So, that’s it! I hope you like the new version!
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