9th WOLDA Trends 2019 English by Norbert Kuepper

Last update: December 14, 20181

9 WOLDA Trends 2019 th

9 Wolda Basics th

Contact International Editorial-Design & Research Forum Norbert Küpper Gutenbergstr. 4 · 40670 Meerbusch · Germany Email: mail@wolda.org Phone +49 21 59 91 16 15 Website www.wolda.org

Join WOLDA here: Facebook https://www.facebook.com/wolda.org/ Linkedin https://www.linkedin.com/groups/1500127

Table of Contents 03 – 10 9th WOLDA Basics 11 – 15

Category 1 logo trends 2019

16 – 18

Logo with Picture Puzzle

19 – 27

Logo + Typography

28 – 31

Flexible Logo Design

32 – 37

Category 2 Logo Redesign

38 – 43

Category 3 Identity

1.3 Cover Coverstory Âˇ Nationwide Newspaper 9thand WOLDA: 307 Entries from 46 countries 4 44

America Brasil Canada Colombia Dominican Republic Ecuador USA

Europe Austria Belgium Bulgaria Croatia Cyprus Denmark France

Germany Greece Hungary Iceland Italy Lithuania Malta

Netherlands Norway Poland Portugal Romania Serbia Slovenia

Africa Morocco Spain South Africa Sweden Switzerland Ukraine United Kingdom

Asia China Hong Kong India Iran Japan Jordan Korea

Australia Russia Sri Lanka Taiwan Turkey UAE

Category 1: Logos New · 1.1. The Americas 5 5 Categories of the 9 th WOLDA Category 1: Subcategories:

Category 2: Category 3:

Logo New The Americas, Asia + Australia, Europe Logo Redesign Identity

Gold Award We hereby honour

Mytton Williams

with the Wolda Gold Award for exemplary design and concept in the category

Logo New · Europe

515 logos and identities from 39 countries par ticipated in the eighth Logo Design Award 2017. Wolda – Worldwide The jury meeting took place in New York and was hosted by the agency Pentagram. Wolda is a worldwide competition for logos and corporate identity. It was founded in 2006 in Milan, Italy, and is now organized by the International Editorial-Desi gn and Research Forum, Awards are given in three Meerbusch, Germany. categories: Logos New, Logos Redesign and Corporate Identity. Wolda‘s aim is to honour the world‘s best work in the area of logo design and business stationery.

Silver Award We hereby honour

Rory Simms Associate Partner, Pentagram New York

Christian Baun Logodesigner, logodesign.dk Kopenhagen

Rodrigo Faustino Commgroup Branding Sao Paulo

Rebrander · Miroslav

Norbert Küpper Designer, Organizer of Wolda Meerbusch

Courntey Gooch Associate Partner, Pentagram New York

Vujovic

with the Wolda Silver Award for exemplary design and concept in the category

Logo New · Europe

Bronze Award We hereby honour

Gold Award

Silver Award

Bronze Award

Award of Excellence

Rory Simms Associate Partner, Pentagram New York

Christian Baun Logodesigner, logodesign.dk Kopenhagen

Rodrigo Faustino Commgroup Branding Sao Paulo

Norbert Küpper Designer, Organizer of Wolda Meerbusch

Di-visie corporate identity & bran

Courntey Gooch Associate Partner, Pentagram New York

ding

with the Wolda Bronze Award for exemplary design and concept in the category

Logo New · Europe

Main awards: Gold, Silver and Bronze The jury has decided about awards in gold, silver and bronze.

Award of Excellence Rory Simms Associate Partner, Pentagram New York

We hereby Christian honour Baun Logodesigner, logodesign.dk Kopenhagen

Rodrigo Faustino Commgroup Branding Sao Paulo

Sophia Georgopolou Desi

Norbert Küpper Designer, Organizer of Wolda Meerbusch

Courntey Gooch Associate Partner, Pentagram New York

with the Wolda Award of Excellence for exemplary design and concept in the category

Logo New · Europe

Outstanding individual achievement: Award of Excellence In addition to the main prizes, there are also the “Awards of Excellence” for outstanding individual achievements. These awards – like the main prizes – are on the list of winners. Calebe Design CER Diamantina is a Rehabilitation Hospital for people with all kinds of disabilities. The challenge av. Getulio Vargas, 1420 - 8º was to develop an inclusive identity, that could be perceived by all patients - including the blind. andar - Savassi We designed the logo from a non-visual start ing point. The CER Font Family is the first custoMinas mized The certificate shows the logo that has Belo won, Horizonte, the category and Gerais at the version of Braille, adding a typeface experience to the standardbott raised The symbol om dots. the signatures of was each member Brasil of the jury. CEP 30112-021 also designed to have a familiar, distinguishable touch for Braille readers. Award 515 logos and identities from 39 countries par ticipated in the eighth Logo Design Award 2017. Wolda – Worldwide The jury meeting took place in New York and was hosted by the agency Pentagram.

Wolda is a worldwide competition for logos and corporate identity. It was founded in 2006 in Milan, Italy, and is now organized by the International Editorial-Desi gn and Research Forum, Awards are given in three Meerbusch, Germany. categories: Logos New, Logos Redesign and Corporate Identity. Wolda‘s aim is to honour the world‘s best work in the area of logo design and business stationery.

Rory Simms Associate Partner, Pentagram New York

Christian Baun Logodesigner, logodesign.dk Kopenhagen

Rodrigo Faustino Commgroup Branding Sao Paulo

Norbert Küpper Designer, Organizer of Wolda Meerbusch

Courntey Gooch Associate Partner, Pentagram New York

Category 1: Logos New Âˇ 1.1. The Americas 6 General Informations 66 Statistics 9th WOLDA

Category 1.1. The Americas

Category 1.2. Asia

Category 1.3. Europe

Gold Awards

Silver Awards

Bronze Awards

Awards of Excellence 5

Awards of Excellence 9

Awards of Excellence 32

Category 2. Logo Redesign Gold Awards

Silver Awards

Bronze Awards

Awards of Excellence 7

Category 3. Identities

Award

Gold Awards

Silver Awards

CER Diamantina is a Rehabilitation Hospital for people with all kinds of disabilities. The challenge Bronze Awards 3 be perceived by all patients - including the blind. was to develop an inclusive identity, that could We designed the logo from a non-visual start ing point. The CER Font Family is the first custoAwards of Excellence 8 mized version of Braille, adding a typeface experience to the standard raised dots. The symbol was also designed to have a familiar, distinguishable touch for Braille readers.

Calebe Design av. Getulio Vargas, 1420 - 8Âş andar - Savassi Belo Horizonte, Minas Gerais Brasil CEP 30112-021

Category 1: Logos New · 1.1. The Americas 7 General Informations 77 Jury 9th WOLDA The categories for logos have been judged in Tokyo.

Award

The jury of the 9 th WOLDA, Category 1, Logos (from left):  Mr. Norbert Küpper, WOLDA organizer, Germany  Ms. Chikako Oguma, Graphic Designer, Art Director, Tokyo, Japan  Ms. Tomoe Hamaguchiya, Kontrapunkt Japan Representative Director, Tokyo, Japan  Mr. Christian Baun, logodesign.dk, Denmark CER Diamantina is a Rehabilitation Hospital for people with all kinds of disabilities. The challenge Rodrigo Faustino,identity, Commgroup, Brazilbe perceived by all patients - including the blind. wastoMr. develop an inclusive that could Mr. Tetsuya Goto, Graphic Designer, Arting Director andCER Curator, Japan We  designed the logo from a non-visual start point. The Font Osaka, Family is the first customized version of Braille, adding a typeface experience the standard raised symbol was Members of the jury don‘t participate in thetocompetition with theirdots. ownThe work. also designed to have a familiar, distinguishable touch for Braille readers.

Calebe Design av. Getulio Vargas, 1420 - 8º andar - Savassi Belo Horizonte, Minas Gerais Brasil CEP 30112-021

Category 1: Logos New · 1.1. The Americas 8 General Informations 88 Jury 9th WOLDA The categories for Logo New and Identities have been judged in Düsseldorf, Germany.

The jury of the 9 th WOLDA, Categories 2 and 3 (from left):  Rodrigo Faustino, Commgroup, Brazil  Christian Baun, logodesign.dk, Denmark  Claudia Eustergerling, Eustergerling Sarl, Luxembourg

Award

CER Diamantina is a Rehabilitation Hospital for people with all kinds of disabilities. The challenge ofan the jury don‘t participate in thebecompetition with their own work. wasMembers to develop inclusive identity, that could perceived by all patients - including the blind. We designed the logo from a non-visual start ing point. The CER Font Family is the first customized version of Braille, adding a typeface experience to the standard raised dots. The symbol was also designed to have a familiar, distinguishable touch for Braille readers.

Calebe Design av. Getulio Vargas, 1420 - 8º andar - Savassi Belo Horizonte, Minas Gerais Brasil CEP 30112-021

Category 1: Logos New Âˇ 1.1. The Americas 9 General Informations 99

Award

CER Diamantina is a Rehabilitation Hospital for people with all kinds of disabilities. The challenge was to develop an inclusive identity, that could be perceived by all patients - including the blind. We designed the logo from a non-visual start ing point. The CER Font Family is the first customized version of Braille, adding a typeface experience to the standard raised dots. The symbol was also designed to have a familiar, distinguishable touch for Braille readers.

Calebe Design av. Getulio Vargas, 1420 - 8Âş andar - Savassi Belo Horizonte, Minas Gerais Brasil CEP 30112-021

Category 1: Logos New Âˇ 1.1. The Americas 10 General Informations 1010

Award

Calebe Design av. Getulio Vargas, 1420 - 8Âş andar - Savassi Belo Horizonte, Minas Gerais Brasil CEP 30112-021

Logo Trends 2019 For the ninth WOLDA â&#x20AC;&#x201C; Worldwide Logo Design Award â&#x20AC;&#x201C; 305 logos from 46 countries were submitted. All selected logos in the three categories are documented on the website www.wolda.org. In this document you will find an in-depth overview. These are the trends:

1. Logo trends are international. Logo trends are international and global. You cannot see where a logo was created and on which continent or in which region it is used. This opens up a worldwide market for logo designers, because it doesnâ&#x20AC;&#x2DC;t matter where the design office is. You only have to have a suitable logo idea and implement it. 2. Logos are more variable and complemented by icons. In the past, a company had a logo and this was very rarely redesigned. Today, many companies have variable logos, which often consist of small icons and can be used in a variety of ways. 3. Logos are used positively and negatively. In most cases there are two variants of a logo, positive and negative. In corporate design, logos also appear on photos.

4. Round logos are still trendy. The trend of the previous year is increasing slightly: The circle has been in the trend for logos and also in corporate design for several years. It also has the advantage that it attracts attention because our environment is oriented horizontally and vertically. 5. Company names complete logos. Most of the logos of this competition did not stand alone, but were supplemented by a company name. 6. The typography belongs to the logo. This trend also continues from the previous year: Often the logo is centered and the company name is centered underneath. Sans serif fonts in capital letters are used very often. 7. Logo trends change slowly. There are no sudden changes in the design of logos. The development of new ideas is rather continuous and not abrupt.

MobielSchadeMelden.nl  In order to replace the European Accident Statement, in 2017 the MobielSchadeMelden.nl app has been developed for reporting a trafﬁc accident to an insurer. Studio Piraat was asked to design a recognisable identity among other things. The simplicity and user-friendliness of the app are translated into a clear visual identity. The logo is an icon in itself, where the dented letter ‘m’ is literally visualising the situation. The sleek image and design language is implemented within the whole style, to make the use of the app easy to understand for all road users.

Studio Piraat · The Hague · THE NETHERLANDS The logo is for the app MobielSchadeMelden.nl

Studio Piraat Binckhorstlaan 36 2516 BE The Hague THE NETHERLANDS info@studiopiraat.nl

The logo is actually only a red letter with a damaged „m“. Together with the name of the app, which is called „Report Mobile Damage“, it becomes clear that by damaging the letter, the theme is visually represented. There are also symbols for personal injury, bicycle damage and vehicle damage. All in all a perfectly usable logo.

Studio Piraat Binckhorstlaan 36 2516 BE The Hague THE NETHERLANDS info@studiopiraat.nl

Client: FryBox® | Year of creation: 2018 FryBox is a food truck that offers exclusively fine fried potatoes on the streets of Stockholm, Sweden. Its aim is to promote fries as a new street food hype. The client asked for an eye-catching, vibrant logo with positiveness and ‘a touch of joy in the dull landscape of Sweden’. The logo depicts the product itself (a box full of fried potatoes) and –as its name— it gives a clear and comprehensive notion of the product it represents. The success of the work is reflected in the client’s own words: ‘We are over the moon by the result’.

Oxhouse Design Studio · Christos Tsoleridis Thessaloniki · GREECE Logo for a food truck in Stockholm, Sweden.

Client: FryBox® | Year of creation: 2018 Oxhouse Design Studio FryBox is a food truck that offers exclusively fine fried potatoes on the streets of Stockholm, Sweden. Its aim is to Design: Christos Tsoleridis promote fries as a new street food hype. The client asked for an eye-catching, vibrant logo with positiveness and ‘a touch 23 Venizelou st. 54624 Thessalonikiof joy in the dull landscape of Sweden’. The logo depicts the product itself (a box full of fried potatoes) and –as its name— it gives a clear and comprehensive notion of the product it represents. The success of the work is reflected in the client’s GREECE own words: ‘We are over the moon by the result’. welcome@oxhouse.gr

Fast food is often associated with warm colors like red, yellow and orange. The color choice for this logo is therefore perfect. The typography takes up the angular shape of the French fries. The downward converging shape of a bag is also used in the lettering. Very consistent: on all advertising material, packaging, T-shirts and the food truck, the sign is placed in the center on an orange background.

Oxhouse Design Studio Design: Christos Tsoleridis 23 Venizelou st. 54624 Thessaloniki GREECE welcome@oxhouse.gr

Mireldy Imelda Ramović Kneza Ljudevita Posavskog 27 10 000 Zagreb Croatia mireldi@gmail.com

Mireldy · Imelda Ramović · Zagreb · CROATIA Omisalj is a campsite in Croatia Task: Creating a visual identity which aims to encompass the brand values and to position Camp Omisalj as an attractive destination for a luxurious holiday in a nature setting.

More and more icons are being used to navigate Solution: websites. This trend is also visible in this logo for a campAs a basis for the creation of the visual identity, we use a circular form alluding to the letter O as the first letter in the camp's name and bringing to mind 'a full circle' summer vacation, overall tourist offer and entire experience. Various activities and a rich offer at the Camp Omisalj is being site: it consists of many small icons: Clouds, sun, sails, transformed into visual symbols which create a circular form and represent a clear visual reference to what the camp offers. Moreover, the elements creating the circular form are designed to fit the further development of the entire system of symbols that will be applied to the labels a bridge, waves and a beach with parasol. The icons are inside the camp and the camp's promotional material. not cut up arbitrarily. They are all deliberately placed that way. The colours blue, green, orange, yellow convey a holiday atmosphere. The circular form should symbolize the first letter of the camping site. But it could also be a swimming ring. The white background is also important here because it signals purity, cleanliness and a lot of space on the campsite.

Mireldy Imelda Ramović

Kneza Ljudevita Posavskog 27 www.campingomisalj.com/en/ 10 000 Zagreb Croatia On the website you can see the logo in use. mireldi@gmail.com

Anagraphic · Anna Farkas · Budapest · HUNGARY The logo was designed for the bakery Kópic.

KÓPIC BAKERY organic bread ··· with heart and soul by hand ··· made from specially selected ingredients

ANAGRAPHIC Anna Farkas 1012 Budapest, Attila u. 105. Hungary anagraphic@anagraphic.hu

A bread dough is kneaded. There‘s movement and roundness in the game. This very process of making bread was recorded in the logo. If you see it applied, it is often placed white in a photo. The photo often symbolizes the raw materials for bread making or ready loaves of bread are shown. The logo appears factual and the photos provide for the emotional charge. Logo and typography are in the middle of each other. This is a quiet, classic arrangement.

https://kopic.hu On the website you can see the logo in use.

Logos with picture puzzle Wikipedia writes about the term picture puzzle: “According to the dictionary of the Brothers Grimm, a picture puzzle is a ‚picture with a deception hidden in the drawing, a joke’.” Logos with a picture puzzle or an optical illusion are exciting, because they are very well memorized when the viewer discovers the second, hidden picture. Puzzle pictures have a surprise effect and can become an unmistakable feature in a segment that already has many similar logos. As in the previous year, there are also examples of this design method in the 9 th WOLDA.

The National Wildlife Fund was created to unite the efforts of various organizations involved in wildlife care and increasing the number of endangered species. The largest number of activities and funds allocated to the Fund falls on the Northern nature reserves. The logo uses the technique of double reading of the graphic form: you see the polar bear if you concentrate on the light forms and you see a fish tail with several bubbles if you look at the dark forms. The logo was created in 2018.

Anton Smirnov Âˇ Moscow Âˇ RUSSIA Logo for the National Widelife Fund.

Anton Smirnov Novokurkinskoe shosse 45 125466 Moscow RUSSIA antonsmirnovwork@yandex.ru

The National Wildlife

First you see a polar bear in the circle. The second picture shows the tail of a fish or a seal. The simple round shape, the cool turquoise and the minimalistic hint of the animals create a perfect logo. It also works well on a poster, as the example shows.

Anton S Novokur 125466 M RUSSIA antonsm

Sara Rankin Creative Co Âˇ Mobou Âˇ CANADA Logo for a holiday home in Nova Scotia, Canada First you see two hummingbirds, which are mirrored. Then you see the birdhouse. The result is a friendly, almost cheerful impression, perfect for a holiday home. The name in capital letters is placed in the middle under the logo. A good decision, as capitals always have a significant effect and the central axis fits the symmetry of the logo.

https://www.hummingbirdvacationrentals.ca/ On the website you can see how the logo is combined with photos.

Logo + Typography There are logos that can stand alone without further explanation. The goal of the company is then explained without words. Normally, logos are accompanied by typography. Here are some trends:

1. Black on white works. Some of the award-winning logos are only used black on white. This reduction sets the logo apart from the colourful, moving environment and makes it even more visible.

4. Handwriting seems natural, emotional. At WOLDA there are always examples of hand-written logos. For example, you can use them to advertise organic products, for example, which then have a particularly natural and emotional effect.

2. Historical models are taken up. For a poster competition, fonts from the Bronze Age are picked up. This type of retro design creates something new that looks very modern in today‘s environment.

5. Logos can be expanded into fonts. A famous example for this trend is the font „Avant Garde“ by Herb Lubalin. This typeface was designed in the sixties of the 20th century for a magazine logo. A current example is the logo „Champagner Hamburg“. A font of its own was developed from it, which is used for navigation on the website.

3. Font + illustration = logo. The word „Murder“ becomes a logo by using the interior of the letter „U“. It is transformed into a knife and a little red is placed underneath. Surrealist René Magritte worked in a similar way: He combined objects that do not belong together to create a new reality.

Lin shaobin, Linshaobin · Shanghai · CHINA Logo for a space design company. A very nice typographic logo based on a Chinese character, namely the sign “ ” translated into a geometric design language.

Sophia Georgopoulou Design · GREECE „All Senses On“ is an olive oil.

For the project ‘All Senses On’, we went “back to basics” for inspiration. Olive Oil is primal and it is the quintessential Greek product. It has been part of the Greek life and psyche for millennia, and in that sense we wanted to see a visual code that is primal and timeless (not obviously linked to a certain era and certainly not folklore-like old ‘Greekness’). Thus we created a symbol, combining an eye and the beak of a bird bearing an olive branch, basic, raw visual codes that transcend time and are recognizable across cultures worldwide. The open, alert eye is the representative of the senses in the logo but also suggests the great scrutiny and care that is driven into the choice of the products.

For the project ‘All Senses On’, we went “back to basics” for inspiration. Olive Oil is primal and it is the quintessential Greek product. It has been part of the Greek life and psyche for millennia, and in that sense we wanted to see a visual code that is primal and timeless (not obviously linked to a certain era and certainly not folklore-like old ‘Greekness’). Thus we created a symbol, combining an eye and the beak of a bird bearing an olive branch, basic, raw visual codes that transcend Georgopoulou | Design The open, alert eye is the representative of the senses in the logo time and are Sophia recognizable across cultures worldwide. but also suggests Agamemnonos the great scrutiny and care that is driven into the choice of the products. 4 Chalandri

This handwritten logo is expressive, emotional and natural. Above the lettering you can see the combination of an eye with a bird‘s beak carrying an olive branch in its beak.

152 31 Athens, Greece www.sophiag.com hello@sophiag.com

Sophia Georgopoulou | Design Agamemnonos 4 Chalandri 152 31 Athens, Greece www.sophiag.com hello@sophiag.com

Elinor Electra Alexaki · Athens · GREECE Logo for a textile store in Athens. The initial letter of the company – the „X“ – becomes a textile fabric in the logo. The typography fits very well to the geometric and cool logo. The white background underlines a noble and expensive overall impression. The colours black and white unfold their full power with this logo.

zb Dizajn STUDIO · Zoran Borenovic · Belgrade · SERBIA Sudarushka is homemade fruit brandy. The logo is made of Cyrillic letters that have been mirrored and interwoven. The fruit brandy is colorless and the bottle has only this one lettering, which can be viewed from all directions. The design is reminiscent of patterns on traditional carpets that are also produced in this region. An overall minimalist concept that is very memorable.

Murder -The Killer Exhibition is an exhibition hall showing the most infamous murders of the previous decades. The exhibition is set up with effects and the most modern Murder -The Exhibition is an exhibition hall showing technology thatKiller stimulates every sense of the audience themakes most infamous murders of the previous and the story of the killers come to life. decades. The exhibition is set up with effects and the most modern technology stimulates every sense of the audience The logo was that designd in 16. 04. 2018. and makes the story of the killers come to life. The logo was designd in 16. 04. 2018.

Éva Aywee Kőteleky Márity László út 6. 2092, Budakeszi Designer: Éva Aywee Kőteleky HUNGARY Company: freelancer Street and house number: Márity László út 6. ayweeart@gmail.com Postal code and city: 2092 Country: Budakeszi E-mail: ayweeart@gmail.com

Web desing and business card (www.murder.hu) Murder -The Killer Exhibition is an exhibition hall showing the most infamous murders of the previous decades. The exhibition is set up with effects and the most modern technology that stimulates every sense of the audience and makes the story of the killers come to life.

Éva Aywee Kőteleky Márity László út 6. 2092, Budakeszi HUNGARY ayweeart@gmail.com

The logo was designd in 16. 04. 2018.

Éva Aywee Kőteleky · Budakeszi · HUNGARY The logo is for an exhibition about murders. The exhibition deals with the most notorious murders of the last decades. In order to present the theme visually, a knife was inserted into the letters „U“. To underline the murder, there is a small pool of blood underneath. The use of the logo in printed matter and on the website is also convincing.

http://www.murder.hu/ On the website you can see the logo combined with typography and the colors black and red.

Champagner Hamburg (2016) A clean black-and-white look characterizes the corporate design of the dealer who imports champagne from small french winemakers and very special champagne varieties to Hamburg. Besides the main logo there are some further modifications that can vary with each application. So the pure typographic logo is very adaptable and may also appear black on white ground which creates a very precious appearance.

Klein und Neumann · Iserlohn · GERMANY Logo for a champagne importer in Hamburg.

Klein und Neumann KommunikationsDesign www.kleinundneumann.de info@kleinundneumann.de +49 (0) 23 71 – 77 82 80 Schleddenhofer Weg 14 b D 58636 Iserlohn

When it comes to champagne, you can expect a visualization of the sparkling or foaming drink. Here is a completely different solution found: The typography is lively through the targeted alteration of a few letters. The logo is flexible, because the words can be placed side by side or on top of each other, negative and positive. The application examples show the creative possibilities of use.

https://champagner-hamburg.de/ The logo is also used as a font for navigation on the website.

The international Cyprus Poster Triennial (www.cpt.com.cy) is to be a nonprofit institution that aims to promote and disseminate knowledge and creativity in the field of graphic design by focusing on the poster as a major medium of visual communication. The logo is formed by characters inspired by the various forms of the Cypriot Syllabary, an ancient script use in Cyprus during the Bronze Age (c.3000 BC – c.1050 BC). At that period of time Cyprus was considered to be an important commercial hub and a crossroad of civilisations in the eastern Mediterranean.

Savvas Xinaris · Nicosia · CYPRUS Logo for the International Cyprus Poster Trienniale.

On the occasion of a poster competition, no logo was created, but the information “Cyprus Poster Triennale” was set in an unmistakable font. The typography is inspired by characters on archaeological finds from the Bronze Age. The result is very modern due to the reduction.

Savvas Xinaris Athinon 27, App. 22, 2363, Nicosia CYPRUS art.xs@frederick.ac.cy

https://cpt.com.cy/ The website shows the typography animated.

Thackway McCord · New York · UNITED STATES VICI is a real estate company that operates golf clubs Thackway McCord Logo entry: VICI and casinos in the US. Kat McCord VICI is an entertainment REIT with a portfolio of 23 market-leading gaming, hospitality and entertainment destinations in the US. Our task was to create a brand with a strong, classical heritage. The VICI logotype, with its elegant, architectural form, references the real estate at the core of the offering, while the bold black and white color scheme signals the professionalism that drives the organization.

Supplementary materials utilizing the black and white color scheme and foundational, 77 Bowery, Studio 503 cornerstone positioning of the logo 10002, New York

UNITED STATES The four letters can be used positively or negatively. It is kat@thackwaymccord.com striking that the serifs on the “V” were removed, while they were left at the “I”. Alone This measure gives the logo its independence. On printed matter and promotional items, the logo is used very well. The trick: It is surrounded by a lot of free space. It is not surrounded by text or images that could reduce its effect.

Thackway McCord Kat McCord 77 Bowery, Studio 503 10002, New York UNITED STATES kat@thackwaymccord.com

Flexible Logo Design There are logos that are produced in many variations. It is a trend that is gradually gaining ground. There are two directions: : 1. The logo itself is flexible. There are many variants of the logo or many variants can be generated.

2. The logo consists of a variable icon. The logo is accompanied by many other icons that complement each other and together form a corporate identity.

LOGOT YP ____________________________________________________________________________________

SYMBOL _____________________________________________

T YPSNITT ___________________________________________________________________________________________________________________________________________________________

LOGOTYP & GRAFISK PROFIL ABCDEFGHIJKLMNOPQRS T U V W X Y Z Å ÄÖ123 4567890 abcdefghijklmnopqrstuvwxyzåäö

MÖNSTER __________________________________________________________________________________________________________________________________________________________

LOGOT YP ____________________________________________________________________________________

SYMBOL _____________________________________________

PICTOGRAM ___________________________________________________________________________________________________________________________________________________

T YPSNITT ___________________________________________________________________________________________________________________________________________________________

LOGOTYP & GRAFISK PROFIL ABCDEFGHIJKLMNOPQRS T U V W X Y Z Å ÄÖ123 4567890 abcdefghijklmnopqrstuvwxyzåäö

MÖNSTER __________________________________________________________________________________________________________________________________________________________

GÄSTLÄGENHET

GYM

CYKELRUM

TVÄTTSTUGA

GARAGE

UTOMHUSKÖK

INNERGÅRD

LEKPLATS

BARNVAGNAR

CYKELPUMP

ODLINGSLOTTER

PICTOGRAM ___________________________________________________________________________________________________________________________________________________

PALETT _______________________________________________________________________________________________________________________________ __________________________________ CYKELRUM GÄSTLÄGENHET GYM TVÄTTSTUGA

PALETT _________________________________________________________________________________________________________________________________________________________________

GARAGE

CAFÉ

Fabriksparken [The Factory’s Park] is an old factory area in Stockholm, Sweden. Today it consists of a large parking lot and some sleepy office buildings. Within a couple of years it will be developed into an attractive, green residential area with lush trees, pleasant apartments, shops and restaurants. The areas developer wanted a logotype and a visual identity for the area to support the marketing and sales process that will take place before the actual construction starts. An identity that convey the area’s history and urban aspects as well as the green and park like qualities.

INNERGÅRD

LEKPLATS

BARNVAGNAR

CYKELPUMP

ODLINGSLOTTER

CAFÉ

BRANDMA’ Annika Ståhlgren (design director) Hantverkargatan 40 112 21 Stockholm Sweden hello@brandma.se

BRANDMA’ Annika Ståhlgren (design director)

BRANDMA’ · Annika Ståhlgren Stockholm · SWEDEN

UTOMHUSKÖK

Hantverkargatan 40 112 21 Stockholm Sweden hello@brandma.se

Fabriksparken (The Factory’s Park) is an old factory site.

BRANDMA’ Annika Ståhlgren (design director)

Hantverkargatan 40 112 21 Stockholm Sweden hello@brandma.se

The new logo is future-oriented, because within just a few years the office area, which currently appears to be sleepy, will be converted into an attractive, green residential area with beautiful apartments, shops and restaurants. A variable system has been developed which, in addition to the actual logo, features a series of icons designed in the same style: Garage, café, bicycle pump, washroom, gym, etc. Trend: The circular shape, the icons that are variable, the uniform lines, the arrangement of parts of the logo into a wallpaper.

BRANDMA’ Annika Ståhlgren (design director)

Hantverkargatan 40 112 21 Stockholm Sweden hello@brandma.se

ca f eca co f emmu c ommunic nic at ions at ions dynamic dynamic l o gol o go Hungarian Hungarian advertising advertising agency agency Café Communications Café Communications launched launched a newacorporate new corporate identity identity in May, in May, 2014. 2014. Its colourful, Its colourful, striped striped logo was logotransformed was transformed into ainto dynamic a dynamic design. design. A Facebook A Facebook application application was developed was developed to make to make people people able to able design to design their own, their own, unique unique logo. logo. The new Theimage new image was created was created in-house: in-house: Café Design Café Design executed executed the task: the following task: following the latest the latest trends, trends, they designed they designed a dynamic a dynamic identity identity for itsfor agency its agency group.group. de si de g nsi e rg:nAnna e r: Anna Kőfaragó Kőfaragó

BrandBrand Bar Ltd. Bar Ltd.

Brand Bar Ltd. · Budapest · HUNGARY Naphegy Naphegy utca 21. utca 21. 1016 Budapest 1016 Budapest Logo for the agency “cafécommunications”. Hungary Hungary

kapcsolat@brandbar.hu kapcsolat@brandbar.hu

A very colourful and varied logo was developed, which is used in print, online and social media. A very modern, unmistakable logo was created through simplicity, choice of colours and variety.

cafe c ommunications dynamic l o go Hungarian advertising agency Café Communications launched a new corporate identity in May, 2014. Its colourful, striped logo was transformed into a dynamic design. A Facebook application was developed to make people able to design their own, unique logo. The new image was created in-house: Café Design executed the task: following the latest trends, they designed a dynamic identity for its agency group. de signe r: Anna Kőfaragó

DIMS Z ( Dire c t a n d I n t er act i v e M a rk et i n g As s o ciat i on ) We are in connection with the visual image of the association since its ‘childhood’. In 1995, the first logo of DME Brand Bar Ltd. · Budapest HUNGARY (Direct Marketing Union) was designed by our creative director· Attila Simon (then working for Art Force). The previous logo – in use before – had been a work of team including him. It is a pleasure and a privilege that Logo for2017 the DIMSZ (Direct and Interactive Marketing the presidency one again asked us to modernize its visual image. “We wanted the data-driven approach to reflect in Association). the logo, so we transformed in a way that refers to symbols used and known in data science: data points, diagrams of diffusion and clusters – at the same time, keeping in able to be expanded to support the image of diversity of the association’s divisions. The final concept was created by our colleague Orsi Illés, based on the idea of Nóra Mészáros. de signe r : OrsolyaThe Illés logo system consists of a square with dots

of different sizes and colours.

Brand Bar Ltd. Naphegy utca 21. 1016 Budapest Hungary http://dimsz.hu/ kapcsolat@brandbar.hu

On the website you can see that the symbols are not on their own. Rather, they are always accompanied by text that supports navigation.

Logo Redesign Logos are designed for a long period of time, but they are not made for eternity. Often logos from the founding phase of a company are retained for a long time. A revision is then necessary because the companyâ&#x20AC;&#x2DC;s strategy has been rethought and the logo no longer meets new requirements.

1. Overlapping elements are removed. Logos are sometimes not designed according to criteria of legibility and recognizability. If problems are found during an analysis, it is very easy to develop a more readable form. The new logo is then usually concise, reduced and easily recognizable. 2. Superfluous elements are removed. What was considered modern a few years ago seems outdated today. It is often superfluous elements, too many fonts, too many colours, too many lines that make the logo look overloaded. Reduction of elements is the right formula for renewal. 3. The special of a company is highlighted by the new logo. Logos often seem too general. The spirit of the company is no longer transferred. By an analysis one can recognize the current spirit and renew the logo accordingly.

4 The distinctiveness is often reached by small changes. If a logo was only designed typographically, a small change can lead to a striking design. Instead of an O for example ( ) brackets to symbolize a community. 5. a typographic logo sometimes needs an icon as a supplement â&#x20AC;&#x201C; and vice versa. A logo that only consists of typography can work well. It often becomes more emotional and friendly when a visualisation of the theme is added. It also works the other way round: a symbol often does not speak for itself. It needs a company name or an industry label to complement it.

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Chris Trivizas · Athens · GREECE Logo for a jeweler. The round shape of the old logo is interesting because it is unmistakable. The combination of logo and typography is not so good, because the overlapping makes it less readable and recognizable.

The new logo shows two large diamonds which together form the letter “S”. It includes two smaller diamonds which also contain the time factor because they represent an hourglass. The jeweller deals with watches and diamonds. In typography, the central axis provides tranquillity. The placement of the lettering below the logo corresponds to normal reading behaviour: First comes the image, then the text. The stroke width of the font and the logo are harmoniously coordinated.

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MOB

Redesign, 2018 Coworking space Barcelona, Spain

Old· SPAIN Matteo Cellerino · Barcelona MOB (Makers of Barcelona) is the leading creative community in Barcelona.

MOB

The old logo is not very expressive. The letters “O” and “B” each have a gap at the bottom. However, this does not result in a recognizable, inherent logo that would visually represent the idea – the spirit – of a company or organization. Redesign, 2018 Coworking space Barcelona, Spain

New

MOB (Makers of Barcelona) is the leading creative community of Barcelona. MOB offers a different concept of coworking – building communities that create lasting impact, fostering collaboration, innovation and entrepreneurship. Using the previous stencil font as a starting point, the new logo acts as a frame to represent its open community, its spaces and events, and also its underpinning values such as inclusion.

New

Matteo Cellerino Rambla del Prat 1, pral. 2º 08012 Barcelona España matteo@celleri.no VAT ID ESY4159252S

The new logo shows through the two brackets that the space in the middle is enclosed and protected. The idea of a community is visualized very well. The reduced form makes it clear that the theme is design.

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BRANDMA’ · Annika Ståhlgren · Stockholm · SWEDEN Lapland Eco Store is Sweden‘s largest online retailer. In just a few years, Lapland Eco Store has gone from nothing to being the largest e-commerce in Sweden that

BRANDMA’

only sells organicpoor products. success created a needand to replace their home-made logo with a more easy-to- of an icon Annika Ståhlgren director) The new logo consists and a font(design placed next The old logo is very in The expression in grey use and appropriate one. They wanted to make a strong statement and quickly signal their business concept; Hantverkargatan 40 to it. The icon can be a leaf with a stem or a building capital lett ers. The company‘s idea of selling ecologically organic and sustainable products for the home. The logo’s symbol represents the concept with a house-shap112 21 Stockholm with a path leading to it. The line widths are coordinated producededgoods notthat clear. leaf and is a stalk leads into the house. Sweden hello@brandma.se and the asymmetrical placement of characters and supports a modern look. In just a few years, Lapland Eco Store has gone from nothing to being the typography largest e-commerce in Sweden that BRANDMA’

only sells organic products. The success created a need to replace their home-made logo with a more easy-touse and appropriate one. They wanted to make a strong statement and quickly signal their business concept; organic and sustainable products for the home. The logo’s symbol represents the concept with a house-shaped leaf and a stalk that leads into the house.

Annika Ståhlgren (design Hantverkargatan 40 112 21 Stockholm Sweden hello@brandma.se

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Brandglow sp. z o.o. · Opole · POLAND beginning of 2018 we were invited to work on refreshing of visual identity of STRUXI, a real estate developer Sturxi is Atfrom athereal estate developer. Opole, Poland. At the beginning of 2018 we were invited to work on refreshing of visual identity of STRUXI, a real estate developer The letter „S” took the role of the road in the new sign and the dream goal, a new home, is reected by letter „t”. from Opole, Poland.

In a simple,symbolizes non-intrusive, but expresive we’ve included company’s mission in the new sign: The old logo a way building with main a roof. The letter „S” took thearole inhome. the new sign and the dream goal, a new home, is reected by letter „t”. nding way of to the yourroad dream The external be taken thein the viewfi In a simple, non-intrusive,angles but expresivecould way we’ve included company’sfrom main mission new sign:nder nding a way to your dream home. of a camera: Something is taken into focus.

new

Author: Marcin Gajos, 2018 Brandglow sp. z o.o. Author: Marcin Gajos, 2018 ul. Technologiczna 2 (Park Naukowo-Technologiczny)

Brandglow sp. z o.o. 45-839 Opole The new logo only indicates a roof or roof tile at the POLAND ul. Technologiczna 2 (Park Naukowo-Technologiczny) letter “t”. The new logo is much clearer,+48reduced and 660 45-839 671 789 Opole oﬃce@brandglow.pl POLAND more legible. NIP 7543123207 +48 660 671 789 oﬃce@brandglow.pl NIP 7543123207

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See&Co · Mosman NSW · AUSTRALIA Head is an Australian wine brand.

Head is an Australian wine brand that does not take a quick nor easy approach to winemaking. Their award winning wines are born from sloped, high-altitude vineyards planted on multi-facetted

See&Co 15 Best Avenue

The old logo has too many fonts. Vertical font and The new logo is much simpler and unmistakable due Mosman NSW bedrock in the Barossa region. See&Co Head isscript an Australian wine brand that does not take a quick nor easy approach tothe winemaking. are This alsobold very diffi cult to read. to the design of “H”. The choice of the strong font Australia 2088 new logo, with its distinctive and flexible ‘H’ symbol, respects both history and place: Best Avenue Their award winning wines are born from sloped, high-altitude vineyards planted on colours multi-facetted hello@seeandco.com.au with serifs and the blue and red create a 15 noble, the ‘H’ symbol paying homage to the ancient pictogram for ‘fence’; the angled cut through the Mosman NSW bedrock in the Barossa region. character. ‘H’ representing each vineyard’s slopes and complex strata ofvaluable rock and soil. Created 2018 This bold new logo, with its distinctive and flexible ‘H’ symbol, respects both history and place: the ‘H’ symbol paying homage to the ancient pictogram for ‘fence’; the angled cut through the ‘H’ representing each vineyard’s slopes and complex strata of rock and soil. Created 2018

Australia 2088 hello@seeandco.c

Identity The trends that become visible in logo design continue with corporate identities.

1. Logos without text are rare. It is very rare for a logo to do without text. The line width of the logo and the typography are often coordinated. They are either equally strong or extremely different. 2. Logo above, typography centered below. This trend has already been mentioned with logos. Here with the Corporate Identities one can see the practical application of this principle of the arrangement of logo and font. 3. The logo is used in a wide variety of ways. The logo is used in a variety of ways and can also be placed on a photo. It is used positively and negatively. Especially often the logo can be seen white on a coloured background or on a photo.

4. Retrodesign has some fans The trend of the previous year continues: For many years there have been some friends of retro design in both logo and identity design. There are fonts and design elements from the early 20 th or even 19 th century. Approximately three to five percent of the newly created logos every year are likely to follow this trend. 5. Identities are coloured. As in the previous year: Some identities manage with a single unmistakable colour tone. It is then often broken colors, such. an olive green. Anyone who wants to stand out from this trend, therefore, will return to more powerful colors: red and blue contrast very well.

ANO “Wildlife Conservation and Research Society” controls the activities of game reserves and is involved in maintaining the biological balance between different species of animals and plants, which is the key to successful existence of the entire ecosystem of our planet. The image of a wild duck is used, which graphically is part of infinity symbol. The logo symbolizes the prosperous interconnected wildlife. The logo and identity was created in 2016

Anton Smirnov Novokurkinskoe shosse 45 125466 Moscow RUSSIA antonsmirnovwork@yandex.ru

ANO “Wildlife Conservation and Research Society”

antonsmirnovwork@yandex.ru

ANO “Wildlife Conservation and Research Society”

Anton Smirnov · Moscow · RUSSIA Corporate design for the “Wildlife Conservation and Research Society”.

Anton Smirnov Novokurkinskoe shosse 45 125466 Moscow

RUSSIA ANO “Wildlife Conservation and Research Society”

Anton Smirnov Novokurkinskoe shosse 45

125466 Moscow A duck in flight is combined with the sign of infinity. The logo RUSSIA can be used positively and negatively. The name ofantonsmirnovwork@yandex.ru the company is always in centered in capital letters under the logo. Anton Smirnov ANO “Wildlife Conservation and Research Society” Novokurkinskoe shosse 45 The brown tone of the logo is continued in the corporate design 125466 Moscow RUSSIA and contrasted by bright orange tones. antonsmirnovwork@yandex.ru Trend: Earth tones, light-dark contrast, logo use in positive and negative, simple geometric shapes as decor.

Anton Smirnov Novokurkinskoe shosse 45 125466 Moscow RUSSIA antonsmirnovwork@yandex.ru

Lautari is a Therapeutic Community with a rehabilitative pedagogic orientation specialized in the treatment and rehabilitation of people suffering from alcohol and drug abuse. The font used for the logo is simple and created in a contemporary style, more suitable for the various applications. To reinforce the concept of community, the payoff “your future is together” was added. The colour chosen is a connection with the old logo: dark green, accompanied in its various elements by a lighter shade.

The agency’s aim was to communicate in a manner that more closely represented the community. This influenced the decision to create a labyrinth symbolising the path designated in a structure of this kind.

Raineri Design srl Via Nazario Sauro 3/C 25128 Brescia (BS) Italy digital2@raineridesign.com

YEAR: 2017

Raineri Design srl · Brescia · ITALY

Raineri Design srl Via Nazario Sauro 3/C 25128 Brescia (BS) Italy digital2@raineridesign.com

Lautari is a therapy facility for the treatment of alcohol and drug abuse.

Raineri Design srl Via Nazario Sauro 3/C 25128 Brescia (BS) Italy digital2@raineridesign.com

The round logo symbolizes a labyrinth with the heart as destination and starting point. The typography is simple, clear, but unmistakable due to the curves of the letters. The green was taken over from the earlier corporate design. It has a calming effect and fi ts the theme. Altogether a very unusual solution for a therapy facility for the treatment of alcohol and drug abuse. Trend: The logo is round and the text is placed in the middle below. The logo can be used positively and negatively and in some variants.

Raineri Design srl Via Nazario Sauro 3/C 25128 Brescia (BS) Italy digital2@raineridesign.com

GoodSpirit Bar is a Cocktail & Whisky Bar in the heart of Budapest, where you can taste more than 500 spirits, may be called extraordinary in its own right. The central element of the logo is the visual appearance of word „Spirit”, which is the metaphor of the bar that was designed with heart and soul. The circle form symbolizes perfection. - (Designed in 2016.)

Our aim is to make everybody visiting this place feel and experience the love and dedication GoodSpirit feels towards quality drinks, special cocktails and civilised drinking in general.

Kreatív Vonalak Kft. Debrecen · HUNGARY

Kreatív Vonalak Kft. 10. Petőﬁ Square 4025 Debrecen HUNGARY info@kreativvonalak.hu

GoodSpirit Bar is a Cocktail & Whisky Bar in the heart of Budapest.

In terms of color, we chose a dark shade of golden, brownish design typical of whiskey.

Kreatív Vonalak Kft. 10. Petőﬁ Square 4025 Debrecen HUNGARY info@kreativvonalak.hu

Typography: The combination of handwriting for the word “Good” and a sans serif for “Spirit” already creates tension. The lines that emerge behind the circle create a kind of halo that further enhances the value of the logo. Illustrations: They are added in different sizes and enrich the corporate design. Colours: Shades of brown and a whiskey tone create a dignified, friendly atmosphere. Overall: The typography, the illustrations and the colours give the impression that this bar has always been here. Tradition is signaled.

Kreatív Vonalak Kft. 10. Petőﬁ Square 4025 Debrecen HUNGARY info@kreativvonalak.hu

Deze pas geeft recht op exclusieve aanbiedingen in winkels, horecagelegenheden en musea in Grave. Alle voordelen zijn te vinden op www.beleefgrave.nl

STADSPAS GRAVE 2016

Ontdek de mogelijkheden en beleef historisch Grave!

Bezoek historisch Grave!

Grave is a fortified town in the south of The Netherlands. Weijsters & Kooij vormgevers developed a clear visual sender for its tourist communications. The logo refers to the many forms that the fortified town has had through the centuries. To be timeless, a fantasy fortress has been created, containing the first letter of the city name. This logo can be used with and without pay-off and acts as a ‘fingerprint’ on various items. Together with the font and visual language a recognizable style has been created. The basic colours red and blue are based on the ancient city coat of arms.

Weijsters & Kooij vormgevers Ruyterstraat 16 5361 GC Grave The Netherlands studio@weijsterskooij.nl NL 802877187B01

Year of design: 2017

BEZOEK HISTORISCH GRAVE

Nachtenlang hebben ze geen oog dicht kunnen doen, hun lichamen moegestreden. Hun stad wordt vrijwel volledig verwoest en met de huidige mankracht maken ze geen schijn van kans. De belofte om deze vesting koste wat kost te verdedigen is wat de soldaten overeind hield en opnieuw stuift Hendrikse samen met zijn troep de donkere tunnel in. Elke tocht wordt het gewicht van de munitiekarren schrijnender en de stank van belegering indringender. Ze slaan linksaf richting de Hampoort, maar worden abrupt tot stilstand gebracht wanneer een flinke dreun zelfs de muren in beweging brengt. Grave zal nooit meer hetzelfde zijn. De Hampoort (1688) – het poortcomplex wordt herbouwd nadat de hele stad zwaar beschadigd is door een vier maanden durend beleg • Illustratie: Merel van Lamoen / Historisch Grave

Weijsters & Kooij vormgevers Grave · THE NETHERLANDS New identity for the city of Grave.

Weijsters & Kooij vormgevers Ruyterstraat 16 5361 GC Grave The Netherlands studio@weijsterskooij.nl NL 802877187B01

The historical star-shaped city fortification is used as the starting point for the logo. This structure can still be seen in aerial photographs today. It is a good solution to place the letter „G“ in the middle. The logo can be used positively, negatively, in red and blue color environment.

Weijsters & Kooij vormgevers Ruyterstraat 16 5361 GC Grave The Netherlands studio@weijsterskooij.nl NL 802877187B01