Probably the biggest new logo release of 2019 was for the Paris 2024 Olympics. Always a major event and talking point, the latest Olympics logo proved no different, with opinions coming in thick and fast across social media. CR discovered an interesting back story that lay behind the logo, which is rooted in sustainability.
“I don’t think any brand today can credibly claim to be 100% eco-friendly, but we are making the utmost effort to be sustainable throughout the Games,” Julie Matikhine, Paris 2024 Brand Director told writer Jean Grogan for CR. “The last time Paris hosted the Olympic Games was 1924, so this is a once-in-a-lifetime opportunity for all of us. We really want to mark this moment in history.”
Matikhine and her team chose the small Parisian agency Royalties Eco-Branding to create the identity after holding an open competition for ideas from freelancers, small independent and large agencies alike. As its name suggests, Royalties Eco-Branding is focused on creating a system of design that is environmentally friendly, which effects everything from the fonts to the use of digital dark mode.
标志特色的艺术装饰，以及玛丽安的核心人物，法兰西共和国的官方标志，以及奥林匹克圣火的引用。 “巴黎是光的城市。我们的社会正在经历全球各地巨大变革。玛丽安是社会变革的符号表示。 1900年，女运动员被允许在奥运会上争夺的第一次。 2024年，我们希望有尽可能多的女选手为男性，说：” matikhine。
Of the criticism the logo provoked, Royalties Eco-Branding CEO Sylvain Boyer admitted it was tough going. “I’m not on Instagram or Twitter – luckily,” he says. “I only read the opinion of design forums I respect. We’ve been working intensely on this identity for several months with the Paris 2024 committee. The reaction has been as if it was designed on Monday morning and released to the public in the afternoon. Michael Bierut has approved it. I’m perfectly happy with that.”
A CHANGING WORLD OF ENTERTAINMENT AND MEDIA
This year saw a number of major brands from across the worlds of entertainment and media take on a big rebrand, reflecting the rapid ways in which these industries are changing in the face of new forms of competition and a maturing audience base.
Yahoo launched a grown up new identity，可能在最后一搏的出价仍然适用。据它的设计者，五角星的迈克尔·比特，其用意是为了纪念在品牌更广泛的变化。 “没有什么比试图解决业务问题一个新的标志更徒劳，” bierut说。 “雅虎的团队希望为所有正确的原因一个新的身份：以纪念他们的产品进行彻底的改造和全面的板改善他们的用户体验标准。这些都已经开始推出，并将继续作为品牌重塑自我。”
Facebook also launched a new company brand, a little confusingly with the aim of differentiating Facebook the company from Facebook the app. Its intention was to bring more transparency and clarity, but the jury remains out about whether that can be achieved by a rebrand.
Writing on the role of branding for social media channels for CR，江东的詹姆斯·格林菲尔德指出，广泛沟通，而不仅仅是一个新的标志，是必需的。 “超越了一些他取得了道德，产品决策的，扎克伯格未能曾经真正传达到外面的世界，”他写道。 “大多数的社交媒体品牌不承担传统营销等花不多的钱在品牌建设。但购买媒体空间要告诉你的品牌故事将帮助许多企业建立正面的国际形象，并支持他们在困难的时候。”
The impact of the streaming giants on more traditional film and TV companies continues, and – after rebrands from Channel 4 and BBC2 last year – we saw more channels refresh their look in order to remain relevant.
The results were mixed. Warner Bros’ revamp by Pentagram’s Emily Oberman (part of a wider refresh of the company’s offerings proved popular, while Fox’s updated logo by Trollbäck+Company caused some confusion, particularly in its chunkier version, where it was unclear whether we were looking at a mark for Fox, Vox or even maybe Pox.
Certain other trends endured from recent years into 2019. Some brands continued to find mileage in revisiting their branding heritage, while we saw the trend for nostalgia hit digital design, particularly in a movie site for Captain Marvel, which was built using bygone HTML editor FrontPage.
We also saw an influx of cutesy brand design with brands from language-learning app Duolingo to healthcare apps adopting sweet characters and a playful tone of voice.
根据迈克尔·约翰逊，约翰逊银行的创始人，该公司背后听歌的新面貌，这是部分高科技设计的均匀性的反应。 “后IOS 9，当强尼香港专业教育学院把所有的skeuomorphic设计关按钮和使一切平，世界已经争先恐后地是平的无特色，”他说。 “而且已经对相当多的东西，包括人想的性格和蓬松的影响。”
Some of the most interesting developments in branding in 2019 came from unexpected sectors, as we saw modern branding grace areas that have largely ignored it in the past.
Last year saw a number of brands introducing innovative designs for the ‘death market’. This continued into 2019, most prominently with Exit Here, a new funeral brand created by restauranteur Oliver Peyton and London design studio Transit.
The brand has overhauled everything from the funeral parlour to coffins with a fresh, modern take, and was prompted by Peyton’s frustrating experiences arranging his father’s funeral. “The whole concept is about creating an end-to-end service,” he told CR. “Many funeral directors are just in the business of burying people – it’s quite a narrow job description they have – whereas we’ve tried to bring much more to it.”
姚明希望的人也将被提示从这里开始规划自己的葬礼，退出。 “关于我父亲的死令人痛心的事情之一 - 他死于心脏发作的 - 是我们保持思维，‘？这算什么，我们本来想’，”他说。 “葬礼不只是你，他们对你留下的人，我认为一旦每个人都得到他们的头周围，他们会想策划并使其体面的经验[亲朋好友]因为他们可以“。
Elsewhere we saw even more branding developments in the growing healthcare sector, as well as the wellness app market. And another surprise came from law firm Simmons & Simmons, which looked to tech company branding for its new look, created by SomeOne.
西蒙manchipp，有人的创始人，认为这是在品牌律师事务所广泛变化的开始。 “法律和律师在世界其他地区相对滞后以及当它涉及到品牌，营销之类的东西，”他告诉铬。 “他们一直依靠真正的大动脑筋吸引其他大的大脑，但我认为他们已经醒了，开始明白，品牌不仅仅是一个标识，字体和颜色。它的声誉和形象标志有助于管理我们的声誉。”
Finally, we saw one company that is truly future-facing release its wider look this year. Virgin Galactic believes that we are on the cusp of commercial space travel and 2019 saw the release of how this might look, in branding terms. Talking to CR, creative director Tom Westray explained what had inspired the company’s elegant style, which draws on sci-fi while attempting to remain part of the Virgin brand family (even if there’s no red in sight).
“最终维珍品牌的热情，旺盛的，有趣的，”他说。 “但我们正在做一些非常严肃的事情，此刻 - 维珍集团是做维珍银河，处女轨道，处女超回路列车，我们已经在航空业多年。所以这是严肃的事情，应进行治疗的话，并试图让处女文化的点点扭曲是一个挑战。当你想到的语气，例如，如果你看一下政府机构的航空航天公司文化，对与典型的老派处女文化......他们似乎是在光谱的完全相反的两端。让他们相遇的地方在和谐中间，工作肯定是一个巨大的挑战。”
如果你觉得这一切的东西仍然是几十年以后，斯特雷坚称事实并非如此。 “我们做了很多比较，航空的初期，”他说。 “如果你看一下商业航空从一些东西，是为富人和名人，以满足每个人如何加速，该周期为30年。如果即使这样。如果你现在20多岁的人想的，由50岁进入太空似乎那种世俗的......。我认为人们会通过绝对错开什么商业航天产业看起来就像10年后“。