Custom Typography in Brand’s Applications
Index Ugly
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Chobani
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Juventus
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Youtube
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ATYPI
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Webography
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https://uglydrinks.com
http://www.chobani.com/
http://www.juventus.com/it
http://www.youtube.com/
https://www.atypi.org
main reference website
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Launched in 2016, in part as a response to over-consumption of sugary and sweetened beverages, Ugly Drinks is a range of unsweetened, naturally flavoured sparkling water available in the UK and soon to be available in the U.S.. Ugly Drinks recently partnered with Green Park Brands (the team behind organic chickpea puff brand, Hippeas) as part of a newly completed funding round that will give the Ugly team the resources to develop and grow the Ugly brand, including a new logo and packaging designed by the London, UK office of Jones Knowles Ritchie (who also designed Hippeas). Ugly is 100% Natural, flavoured sparkling water. Ugly contains no sugar, no sweetener, no calories and nothing artificial. They use a blend of natural ingredients – fruit extracts, essential oils and natural aromas.
“We believe that healthy doesn’t need to be boring.” Stephen McDavid, design director, JKR 5
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“We called ourselves Ugly because we believe in exposing the Ugly Truth. Too many products promise health and happiness but don’t deliver. We don’t want to promise you the world, we’re just a drink! If that’s Ugly, then that’s fine.” The new logo is a fantastic combination of attitude and style with the “U” of the name bringing an ugly attitude as a tongue defiantly stuck out but rendered in a super stylish, fun, market-friendly wordmark (finessed with utmost care by Rob Clarke). The tongue-U is also used on its own as the brand’s icon and it works surprisingly well — probably the best use of a stuck-out tongue since the Rolling Stones — floating against blue backgrounds or stuck to anthropomorphic fruits with an attitude problem. The illustration style is great, with thick, harsh strokes unifying the logo and the authority-figure-challenged pieces of fruit. Between the characters, the quirky font, and the attitude to spare, the identity extends great into any kind of application, from posters to stickers and gives Ugly Drinks the potential to become a well-known brand, possibly one of those cult-faves that transcend from product to lifestyle brand — I would wear that ugly cap in a heartbeat.
We wanted to truly define our purpose and create a brand that people would be happy to be seen with, rather than a healthy badge of honour. Hugh Thomas, co-founder, Ugly Drinks 8
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Established in 2005 and launched in 2007, Chobani is a brand of Greek yogurt available in the U.S. that was started by Hamdi Ulukaya, a Turkish immigrant, when he bought a defunct yogurt factory in upstate New York and grew it to build the number-one-selling brand of yogurt in the country. It is the Greek yogurt of choice at UCllc headquarters. Chobani has grown so much, it became an official sponsor of the US Olympic Team in 2012. Aside from making super delicious yogurt, Chobani is a super awesome and generous company: among other perks, Ulukaya gave all of the employees shares in the company in 2016 to share the riches if and when the company goes public (or it sells). Positioning themselves for further yogurt-market-dominance, Chobani yesterday introduced a new identity and packaging designed in-house, led by Leland Maschmeyer, who joined the company — after co-founding and working for many years at Collins — in 2016 as Chief Creative Officer. Despite an intense affection for this yogurt I always disliked its old logo. The heavily geometric wordmark with the Art Deco-ish aesthetic felt too harsh, fragmented, and cold in contrast to the smooth, creamy texture and flavor of
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the product. The new wordmark manages to capture that feel-good sensation of the product in a rich, smooth, curvy, chunky serif that looks absolutely fantastic. Drawn by Berton Hasebe — who also designed the extended type family in collaboration with Christian Schwartz of Commercial Type — the new wordmark is the best-in-class, end-of-the-road example of the slowly rising trend of serif typography, particularly of the 1970s, Windsor-esque realm. I think it is literally and absolutely perfect not just in execution but in representing the product. The green color is unexpected but it looks stunning on the typography and more so in the packaging.
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The brand’s new photography style, and overall presentation, has an AmÊlie - meets - Norman Rockwell-meets-Works Progress Administration aesthetic that feels earthy, nostalgic, and wholesome but without be-
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ing cloying. The extra saturation of colors gives it a nice contemporary feel. The corporate and marketing materials are lovely too, from the simplicity of the stationery to the richness of the employee handbooks
to the playfulness of the tote. Like the new logo, I also love the new packaging, which is very well design because of its simple and not overdone shapes. It feels like the wholesome boyfriend or girlfriend you
want to bring home to meet your parents. It has a very classy look and the new offwhite background color makes a huge difference in adding warmth to the packaging.
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Established in 1897, Juventus F.C. — or Juventus, or Juve, or I Bianconeri (the blackand-white) — is a professional Italian football club based in Turin and, arguably, one of the most famous and successful teams in soccer history. Juventus is the second oldest (and still active) team in the country — Genoa is the oldest — and has won 61 national and international official titles. Yesterday, the team introduced a new logo and identity designed by the Milan office of Interbrand. Built upon heritage-founded principles of confidence, determination, and uncompromising conviction, Juventus has crafted a revolutionary growth plan—launched during the inaugural “Black and White and More” event and sustained by a new brand strategy and identity. Juventus aims to distil its essence into far-reaching experiences which can appeal to the football fan while being highly relevant to entertainment enthusiasts who are further away from football as a sport. The new logo is iconic and universal. It’s bold enough to make a statement, but flexible enough to appear alongside a wide range of new experiences—in the stadium and beyond. By leaving the team’s defining black-andwhite stripes untouched, Juventus is bringing the illustrious legacy and spirit of one of Italy’s preeminent teams to new audiences and die-hard fans alike. The new identity launched in Milan on January 16, 2017, the first of many premier, immersive Juventus events. The new identi-
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ty will then follow the team to showcase future digital, social, and retail experiences to loyal supporters, soccer enthusiasts, business partners, and entertainment enthusiasts. Juventus’s move is unprecedented—to become recognized for more than their performance on the field, but as a universal symbol for perseverance, ambition, and premium Italian style. The transformation also encompasses a brandnew visual identity. The result of a very bold, uncompromising approach, the new visual identity turns the sport’s traditional style on its head and sets about blazing a new trail. It is an iconic, simple design centered around sharp lines and will surely steal the spotlight no matter where it is used. The design brings to mind a famous line from Gianni Agnelli: “I get excited every time I see a word beginning with J in the papers.”
“It’s bold enough to make a statement” - Interbrand
Logo history.
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The execution of the new “J” is great, hinting at both the traditional black-and-white stripes of the uniforms and Gestalting the shit out of your brain for it to complete the shape of a shield, which helps anchor the logo in a more traditional soccer symbol. The monogram works great small, large, in black, in white, and can withstand weird stuff like the image below. The wordmark condensed and industrial-esque wordmark also hints at the uniform stripes and even in its simplicity it has plenty of personality, mostly thanks to the initial “J”. The custom type family is quite nice and successfully executed across multiple weights. I know I regularly bring up the typographic work of the Nike Graphic Identity Group as examples of not-the-best and I think the Juventus fonts work as a counter example of doing it right. Those numerals are stunning. I could do without the stretched variation for sure.
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Things get a little wonky in some of these early applications with the elongated letterforms. They already established the uniform relationship and this pushes it too far in an unnecessary way. Except for the “JUVE” t-shirt… that’s pretty cool and I can see fans (men and women) wearing that for a night out at a club. Overall, the new logo is highly likable and a great work has been done by the team and Interbrand for pursuing and achieving a rare case of simplicity, boldness, and directness rarely seen in European soccer teams that will help expand the possibilities of how and where Juventus is presented without it being dragged back by what other 100-yearold soccer teams are expected to look like.
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YouTube introduced a significant update across its multi-platform presence, from mobile to desktop to game consoles and more, evolving the user interface and overall experience. Along with the overhaul is a new logo design that for the first time in 12 years drops the TV shape that encapsulated “Tube” for so long. This new evolution was designed in-house. Yotube says: “The bright red cherry on top of this update sundae is a refreshed YouTube Logo and YouTube Icon. Designed for our multi-screen world, the updated Logo combines a cleaned up version of the YouTube wordmark and Icon, creating a more flexible design that works better across a variety of devices, even on the tiniest screens. Why’s it more flexible? When room is limited (say on a smartphone) you can use the brightened up Icon as an abbreviated Logo, which will be seen more easily and read more clearly.” The Verge also commented that they decided to ditch the original typeface [Alternate Gothic Number Two] and design one of their own. They experimented with fonts based on styles from classic television and the VHS era as well as more modern looks. In the end, they went with something that retained the essence of print. “We wanted to keep the history, and the tension of a media typeface that was made in 1903 to be typeset manually with a digital platform that reaches farther than any newspaper of the time could ever conceive of.” For the play button’s updated color, the team tried to find a grounding in the medium. “Looking at reds, we wanted to go for something that would tie to video,” Bettig explained. They settled on #FF0000, “a really pure red that goes to the RGB of video.”
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YouTube has introduced a refined play button and new brand typeface designed by Saffron in collaboration with YouTube’s UX team, Letterjuice, and URW++. The new type family — which I understand will be limited to YouTube TV and not spread entirely to the full YouTube brand (although in time it probably will) — feels as if Interstate had a one nigh-stand with Comic Sans and the baby inherited 99% of Interstate’s genes but has that 1% of weirdness that makes it stand out in a… peculiar way. I wouldn’t buy this type family to use in a project but it certainly works as a brand typeface — especially for a brand like YouTube — to establish a unique visual tone of voice which in this case would be serious yet irreverent.
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For a conference about typography and aimed at a creative audience, ATypI’s event identities have always been surprisingly bland and not very interesting. This year’s identity, though, makes up for at least a decade’s worth of previous identities. The main logo is a custom type job that brings together some beautifully exaggerated letterforms into a tight little unit with perfect spacing and some serious ink traps. The way the “7” flows into the “t” below is delightful, as is the cut of the “1” in relationship to the angle of the “A”. The lettering has an old school vibe somehow but it’s also decidedly contemporary. Like Montréal itself, in a way. The secondary typeface is Guillon, chosen in part because it was designed by Montréal-based Feedtype. It’s a nice, simple, and efficient complement. In application, things get wild, with Julien using about a dozen different typefaces, each with a loud personality. Fonts in Use has a great breakdown of most of the fonts used. In a way, none of the typefaces go together well at all but being used one at a time and then nicely modulated in each application, where they are used big and complement-
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ed with the more neutral Guillon and punctuated by the small logo, is a surprisingly effective approach that yields a really cool typographic tapestry. Most importantly, you get the joyous feeling of TYPE! which is what the conference is about.
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Webography & Images Ugly Drinks
ATYPI
> https://www.underconsideration.com/ brandnew/archives/new_logo_identity_ and_packaging_for_ugly_drinks_by_jones_ knowles_ritchie.php
> https://www.underconsideration.com/ brandnew/archives/new_logo_and_identity_for_atypi_2017_by_julien_hebert.php
https://uglydrinks.com
Chobani
http://www.chobani.com/ > https://www.underconsideration.com/ brandnew/archives/new_logo_identity_and_ packaging_for_chobani_done_in_house.php
Juventus
http://www.juventus.com/it > https://www.underconsideration.com/ brandnew/archives/new_logo_and_identity_for_juventus_by_interbrand.php
Youtube
http://www.youtube.com/ > https://www.underconsideration.com/ brandnew/archives/new_logo_for_youtube_ done_in_house.php >> https://www.underconsideration.com/ brandnew/archives/new_type_family_and_ refined_play_icon_for_youtube_by_saffron. php >>> https://www.theverge.com/2017/8/29/ 16216868/new-youtube-logo-redesign-fontcolor-app-design
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https://www.atypi.org
Andrea Silvano Politecnico di Milano - Scuola del Design Design della Comunicazione Corso di Typographic Design C2 Prof. Giangiorgio Fuga / Leo Colalillo A.A. 2017/18