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design made clear “The foundations for success are built on the simplicity of presenting the brand idea, positioning and proposition to communicate the objectives and achieve the brand’s business goals.

Critical to this is the design of the brand identity and nomenclature�

Clive Gay

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Keep it simple one idea at a time.

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Past experience

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Where is the future

Where we are now

Clive Gay founded Trademark Design in 1985, establishing offices in London and Johannesburg with satellite offices in Miami and Auckland.

Trademark Design's experience includes Corporate and Brand Design Development from concept, positioning, strategic business planning and implementation of multi-national Brand Identities for leading corporations such as: GlaxoSmithKline, Sasol, Barloworld, De Beers, Sappi, Sony Ericsson, Mercedes-Benz and more.

Projects include work in the USA, Canada, Mexico, UK, Europe, Middle East, Hong Kong, Japan and throughout Africa.

Trademark Design has won 117 International Gold Awards. Works are published in 35 books and has exhibited in the Guggenheim Museum in New York.

In 1987 Clive represented South African Design in Nagoya Japan and in 1995 at the International World Logo Design Biennial in Ostend, Belgium.

Trademark Design created the first Responsive Design and patented the automated software system to produce 100% brand compliant and resized artwork to roll out advertising and branding world wide. This unique process is branded "D'nA".

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Trademark Design and its principals have led some of the most significant developments in corporate and brand identity for more than 25 years. Our innovations, and the competitive advantages they bring, are today enjoyed by some of the world's leading companies. Our proven approach identifies and evaluates the components essential to brand building and assembles them in a logical framework.

Our method demands good design, clarity of vision, determination and commitment to reality.

We are dedicated to good design through business foresight, innovation and commercial realism. Working as partners with our clients, we deliver successful design solutions that perform with resilience and style. We seek the unique character in our clients' brands and position them to achieve and maintain their greatest advantage. What we do is complex, yet our philosophy remains simple: maximising stakeholders values by good design.

Trademark Design recognises the world is in a constant state of change. Today's brands must survive in an ever more competitive market arena. Only good design strategies, built from a base of logic, intellectual rigour, passion, commercial reality, expert communication and market experience, will have the power to endure. We share our clients' ambitions for their brands, and deliver winning solutions that meet the challenge of good design for the future.

Good design is for the greater good.

Innovation is the creative process of new, better or more effective ideas and methods to add value to the consumer. It is developed in parallel with advancing technology that offers new opportunities to transform, renew or change the status quo.

Function provides advantages that fulfil its purpose and needs to be attractive.

Good design is useful and disregards anything that would detract.

Aesthetic design is as important as its usefulness. We come into contact with designs that affect our decisions. Only good design, well implemented can be attractive and beautiful.

Communication is the relationship between companies and communities. It is understood and talks a visual language.

Good design is self-explanatory.

Business design is the good corporate model. It builds all the world's best companies and provides equity to the benefit of all stakeholders.

Truth good design does not project a false perception of the corporation, product or service. It does not attempt to manipulate the consumer with promises that it cannot honour.

Longevity is ever fashionable and never appears antiquated, unless it has been designed as a fashion item.

Thoroughness good design pays attention to detail and accuracy which is essential throughout the development phase. Nothing must be left to chance.

Sustainability in society and interaction of preserving the environment, conserves resources and minimises visual pollution.

Minimalism is the simplification of an object, when it is no longer possible to improve it by subtraction. It is the result of the omission of the non-essentials, retaining only the simplest pure forms.

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Brand Research and Analysis

Visual Identity

Brand Management Tools

Trademark Design conducts research and audits the current and past status of your brand to establish a clear understanding and insight of your project, competitors and the market. This will measure history, strengths and weaknesses and brand equity, and will identify potential opportunities. Analysis will measure the results with appropriate tools for each project, in order to provide a target to position and optimise your brand for now and into the future.

Creation of the brand and/or corporate visual identity embodies the essence of your entire brand or corporation in one simple design. It is a mnemonic device that is recognised with a blink of the eye, expressing your entire corporation’s aspirations and visions. It has a point of difference that will set you apart from competitors. The visual language of the identity is determined by memorable, meaningful, powerful, design that embodies the brand’s character and positioning, enhanced with symbology, colour, graphic and typographic nuances. The design must consider all reproduction mediums of application and ensure that crisp quality is achieved at every touch point.

The world’s most advanced brand technology.

Compliance is everything. Brand strength is exponentially multiplied when the visual language is applied in compliance to the brand design standards locally, nationally and globally. Brands are as strong as the control of the applications.

The larger your organisation, the more diverse the locations, the more difficult it becomes to ensure every application is compliant to the brand design standards.

Consider who rolls out your brand, are you sure that every time an item is created it is 100% compliant? If not, we have the solution.

Design and Application - D’nA’s advanced technology is the most productive, patented, automated application tool available worldwide on the web. A simple example, a single Genius Template resizes, re-proportions and re-formats a branded campaign to fit every size in every publication and poster/billboard in the world and cuts origination and material costs by a monstrous 90% of conventional fees and is 100% brand compliant, for any medium or application.

Brand Strategy crystallises the results of research and analysis, to position your brand with decisive advantages and create a positioning platform from which to focus your unique point of difference. This includes the value offer and its positioning potential.

Brand Architecture is designed to uplift best business methods and support stakeholders to optimise your brand’s results. Our skill is to design structures that best serve the brand to achieve the goals and visions of the corporation in current and future conditions, building in flexible tolerances to accommodate the ever changing markets.

Packaging Design Packaging design interacts with all the senses. It is three dimensional, can be seen, heard, felt and smelt and has the power to attract consumers to make an intuitive purchase decision within seconds.

Natural and manufactured products have a level of appeal to consumer whose choice is vast. Packaging is an extension or focus of a brand.

Products are available in numerous different sizes, languages and containers and are identified by familiar mnemonic devices and are characterised by colour. Form and size have an important role in most categories of packaging. Packaging design must compete with similar products for price and shelf space.

Fast moving consumer goods have favoured colours, while small packages attempt to stack and spread on shelf to achieve a "gestalt" effect.

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Responsive Design Clive and Darren Gay, the father and son team of designers developed the first and patented Responsive Design system to assist brands to easily, quickly and at low cost generate different size, proportion and format adaptations.

It was Clive Gay who was the first to employ an early CAD system to assist him to create accurate design and reproduction artwork. This came about in 1980 before Apple Macintosh, Adobe and Quark were producing design and artwork hard/software.

The hardware was an early Hewlett-Packard processor, keyboard, tablet and A0 plotter. He conceptualised the first Responsive Design system by having the vision to foresee that a series of algorithms could re-size, re-proportion and re-format any digital image and/or artwork. They worked secretly developing until the first patent was granted.

D’nA is: The-Virtual-Agency.com This website demonstrates and explains in simple terms the functions and features of D’nA.

Realise Home

Optimise Optimise

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The TheVirtual Virtual Agency Agency

Digital Digital

Magazine Magazine

Press Press

Posters Posters

Vehicles Vehicles

Print Print

Signs Signs

Unify brands Unify brands Simplify management Simplify management Amplify production production Amplify faster for less faster less

One D’nA Genius Template™ re-sizes a single design to any media application worldwide, with absolute flexibility. Create, manage, send, track, publish and store Ads online. D’nA delivers 100% brand compliance and simplifies communication, to Realise brand value. Cut production cost by up to 80% and increase speed to market by up to 90%. D’nA reaches every facet of marketing, advertising, design and branding media. All the features you’ll ever need in the office and on mobile …anywhere. D’nA, the world’s most advanced brand technology.

The Virtual Agency Optimising your reach to every media

The Virtual Agency Optimising your reach to every media

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Darren Gay

Software Architect Mobile +44 (0) 7958 439738(UK) Simply D’nA Limited 31 Ransome’s Dock 35-37 Parkgate Road Battersea London SW11 4NP United Kingdom Tel: +44 (0)20 7924 2888 Fax: +44 (0)20 7924 2888

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"But I must explain to you how all this mistaken idea of denouncing pleasure and praising pain was born and I will give

"But I must explain to you how all this mistaken idea of denouncing pleasure and praising pain was born and I will give you a complete account of the system, and expound the actual teachings of the great explorer of the truth, the masterbuilder of human happiness.

But in certain circumstanc es and owing to the claims of duty or the obligations of business it will frequently occur that pleasures have to be repudiated and annoyances accepted.

The wise man therefore always holds in these matters to

"But I must explain to you how all this mistaken idea of denouncing pleasure and praising pain was born and I will give you a complete account of the system, and expound the actual teachings of the great explorer of the truth, the masterbuilder of human happiness.

No one

The Virtual Agency Optimising your reach to every media

The Virtual Agency Optimising your reach to every media

The Virtual Agency Optimising your reach to every media

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The Virtual Agency Optimising your reach to every media

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Responsive Design The future of digital multi-screen Web sites, ads and entire campaigns are dynamically optimised to use every pixel on all screen’s real estate.

D’nA’s Genius Lab makes all web content absolutely flexible.

No need to develop multiple sites to accommodate every screen size and browser.

D’nA automatically changes layouts, font sizes, links and menus, images become icons, and click/drag becomes tap/swipe.

The Virtual Agency: Optimising

The Virtual Agency: Optimising your reach to market The Virtual Agency: The Virtual Agency:

The Virtual Agency: Optimising your reach to market

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The Virtual Agency: Optimising your reach to market

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The big idea The diagram below is the original synopsis of what is know today as Responsive Design.

Darren was always the “propeller head” in the family and has devoted decades to refining the system. Even today other companies cannot achieve the level of versatility of “D’nA”, the branded product, developed by the company.

The first schematic of Responsive Design.

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Impact How has Responsive Design influenced technology?

Every time (potentially there are 100s of millions) someone views a website or blog that automatically adjusts, resizes, re-proportions or re-formats to optimise and fit any smartphone, tablet and PC, Responsive Design has been used. Some blogs boast 40 million sites and some of these sites are viewed 1,000s of times, literally billions of visits.

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Trademarks We create powerful trademarks, initiating intelligent business solutions through strategic decisions from research and analysis. Through a structured synthesis of skilled design disciplines, we deliver style and a unique visual language for now and into the future.

Our innovations optimise your brand to maximise stakeholder value.

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Trademarks are like tools, the better your tools, the better you will get the job done. This is not to say that using good tools will camouflage a poor or mediocre Product or Corporation, on the contrary Channel is only as good as what is in the bottle. The Channel trademark identifies what is the excellence of the product. A trademark assists a product, service or Corporation earn and distribute its reputation.

For a trademark to work it must consist of at least three properties; Appropriate yet practical, Unique yet approachable and Memorable yet different.

The creation of our trademarks below all have these properties. They increase awareness, approachability and the value of the brands they represent.

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1. Sasol 2. Barloworld 3. Sony Ericsson 4. GlaxoSmithKline 5. Nedbank Wealth 6. Alpha Astar. 7. Alpha A1 8. Alpha 17. Longbeach Rocks 18. Roos Architects 19. Aqua-fresh 20. Zero sugar softdrink 21. “A” Logistics 22. Fifa 23. Count Pushkin 24. Kommetjie 32. Metaxa 33. BOB 34. Idea (Ind. designers) 35. Security Life 36. A1A 37. Colours Reproduction 38. BMW Polo 47. Sigma Motor Corp 48. Sappi papers 49. Triax systems 50. InCity 51. African Shipping 52. Artificial intelligence 53. Cure (UCT) 54.Ram 63. Netcare 64. Lighthouse Dev 65. UCT 66. The Agency 67. 6th Sense 6. 3 Monkeys 69. Samsonite 70. dsgn 79. BankFin 80. Plascon 81. BMW Polo 82. Ethos 83. H2o Fashion 84. Massumi Japanese fashion 85 Air Mauritius 86. Priceless

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“The names that gain the most in value focus ruthlessly on every detail of their brands, honing simple, cohesive identities that are consistent in every product, in every market around the world, and at every contact point with consumers.”

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9. Sheen Young 10. The Cold Chain 11. Liberty Life 12. ART 13. D’nA 14. De Beers Venetia Mine 15. Medical Research Institute 16. Art Steinhobel 25. Barclays asset management 26. Halley’s Comet 27. Vamp 28. HomeFinders 29. Telkom 30. Ouzo Mini 31. Virtue 39. Enzio 40. London Olympics 2012 41. Screen Tex 42. Lucozade 43. Calibre 44. TSL/QSP 45. BMW 3 series Australia 46. Sishion mine 55. African Development Bank 56. Gallo 57. Tinello 58. Indian Atlantic Steel 59. Malvern Choir 60. A Time for Giving 61. Village Homes 62. Bodymist 71. Spoor & Fisher 72. ARC 73. D’nA Marketing 74. Bleu de Bain Beach 75. Inception 76. Video Sound Studios 77. 2004 Olympic Bid 78. De Beers 87. Chef’s Pride 88. Primedia 89. Development Bank 90. Charter Life 91. (Label) 92. G Architects 93. Cottura del Club 94. De Beers

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The Sheen Young Group The Sheen Young Group is an investment holding company based in Hong Kong.

Their clients are individuals, companies and governments in emerging highgrowth markets in Africa, the Middle East and Asia, enabling them to access the huge and equally high-growth Chinese market and the resource-rich parts of the Middle East. Supply chain is their métier, depth of insight the strength that enables Sheen Young to manage the transaction process to ensure efficiency of supply along the entire chain.

The group includes: Sheen Young Capital, provides capital and infrastructure development.

Sheen Young Mineral Resources trades in metallurgical coals, steam coal and iron ore.

Sheen Young Precious Metals trades in precious metals and gemstones.

Sheen Young Tastes of the World is Hong Kong’s largest supplier of wild abalone and fresh seafoods.

SHE EN YOU NG GRO UP

Vehicle livery. Bright white vehicles have bespoke adhesive decals applied for each division in the group.

John MacLean-Arnott

Executive Director Mobile +971 (0) 55 394 5083 (UAE)

17th Floor Beautiful Group Tower 77 Connaught Road Hong Kong Tel: +852 (0) 2850 6298 Fax: +852 (0) 2850 8708 Email: jma@a1a.com.hk Skype: www.sheenyoung.com

SHEEN YOUNG GROUP

Business cards incorporate all the contact details on the front face and a reversal of the Sheen Young “flag” is printed on the reverse side.

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Design development Trademark Design developed the concept of linking the brand identity to the Chinese culture while introducing a Western element in the logo. The name “Sheen Young” which is of English origin, yet has an oriental phonetic ring about it.

Trademark Design proposed the strategy of linking the name to the traditional Ying Yang symbol. This in turn incorporates a typographic character “S” of the Roman alphabet and coloured red to represent the flag of Hong Kong. Therefore: Ying Yang + “S” + Red = The Sheen Young implementation: Responsive design across digital websites for PCs, Tablets and Smart phones, Items include signage, stationery, presentation materials, promotional clothing and vehicle livery.

SH EE N YO UN G GR O UP

Promotional T-shirts display the Sheen Young logo on the front side printed as the positive version of the red “S” mark.

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Design development Design flows through in a stylised monogram to provide a personal touch to every product created by Art Steinhobel.

The applications shown here are a mere morsel of the branding projects the company is engaged in.

Every new product development that comes on stream is treated with the same attention to detail and branding controls. This involves being mindful of the best reproduction available for different materials and technologies.

Steinhobel Design Steinhobel Design is an industrial design and product development consultancy which serves diverse industries namely electronic, packaging, appliances / white goods, mining, medical, furniture, pharmaceutical, automotive, sports equipment, information technology products and many others. These clients span Asia, Europe and the Americas.

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Incorporating different materials and technologies allows for effective crosspollination of technology transfer in the design solutions. This also allows for a high level of lateral thinking in the process of creating innovative product development with the appropriate material or combination of materials and technologies.

The studio has in-depth experience of plastic injection moulding design, pressure die-cast aluminium design, extrusion design and bottle / container design.The company uses the highest level of technological equipment available to execute the design process, it is a combination of Siemens NX | Catia CAD SEATS/interfacing with CAM computer modelling and other systems.

We chose black and white as the simplest pure form to allow translation onto any material, be it moulded in the die casting mould, embossing and printing. Careful consideration has been given to the negative areas of the logo to ensure precise reproduction.

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Categor y

L ASHER Surface finish can be specified subject to production quantity and account for economics. 3D modelling provides a visual representation of the final product months before production and a element analysis for the production tool and material. proposed.

Steinhobel Design is an industrial design and product development consultancy.

Responsive design provides the appropriate reach for Art across the globe.

Search

Clean, crisp, bright white Business card.

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innovative product development with http:// plmsource.industrysoftware.automation.siemens.com/wpcontent/uploads/2013/12/steinhobel.jpg the appropriate material or combination of materials and technologies.

innovative development

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Surface finish can be specified subject to production quantity and account for economics.

Ajustable hinge and lock detailing.

Steinhobel Design is an industrial design and product development consultancy. Which serves diverse industries namely electronic, packaging, appliances / white goods, mining, medical, furniture, pharmaceutical, automotive, sports equipment, information technology products and many others. These clients span Asia, Europe and the Americas.Solving design problems in this broad variety of industries, incorporating different materials and technologies allows for effective cross-pollination of technology transfer in the design solutions. This also allows for a high level of lateral thinking in the process of creating

Steinhobel Design is an industrial design and product development consultancy. Which serves diverse industries namely electronic, packaging, appliances / white goods, mining, medical, furniture, pharmaceutical, automotive, sports equipment, information technology products and many others. These clients span Asia, Europe and the Americas.Solving design problems in this broad variety of industries,

Brochures and catalogues resonate the simplicity of the “Keep it simple,one idea at time.� principle.

The design details of Art’s products are presented in a simplistic format to allow maximum attention to the sensitive design and detailing forms and functionality.

Non-slip finger grip detailing to national safety provisions.

Multiple colour options.

High density poly propylene.

3D modelling provides a visual representation of the final product months before production and a element analysis for the production tool in the proposed production material.

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Sasol

Design development

Sasol has embraced the identity, with comments such as 'stunning', 'brilliant', 'world-class' and 'inspiring' coming from members of the company. Pieter Cox, Chief Executive Officer and Deputy Chairman, and Chief Executive Sasol Group Worldwide commented:

Trademark Design created the new Sasol identity and compliance application system. The strategy is to create a mnemonic device to denote the company's technological excellence, has powerful memory recall and was enhanced by dynamic animation. The refined word mark retains its past styling with improved legibility, and replaces the uppercase the "A" with a lowercase "a".

"The uniqueness and visual appeal of the new identity will ensure that Sasol stands proud in the company of other global leaders.�

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Clive Gay conceptualised the Company's group structure, symbolised as hydrocarbon molecules orbiting the core electron, and each reflecting as part of the whole.

Intellectual capital was retained in the blue tones traditionally associated with Sasol.

The new identity expresses the promise of "reaching new frontiers", as an incentive to future progress and an accolade of past achievements.

The branding system incorporated an array of applications from Corporate and administration stationery across vehicle livery, signs, advertising signatures, promotional items, clothing, exhibitions and many other items.

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Accolades Trademark Design's outstanding work in creating the new identity for the giant petrochemical group Sasol has won the Global Creativity award in New York.

Creativity's inaugural international edition, launched in response to demands for a worldwide perspective on the best of corporate identity design, showcases Trademark's re-branding of the international company.

Clive Gay, Trademark CEO and Brand Architect, the creator of Sasol's new trademark and design system says he is delighted with the award: "The new Sasol identity has proved hugely successful for the prestigious industry leader, immediately gaining recognition both with over 30,000 employees and the global petrochemical market.

The brand is essentially blue and white and is markably different to any major global petrochemical company.

The images above are a small, select sample of the applications .

Sasol Bliss Light abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 0123456789 Sasol Bliss Regular abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 0123456789 Sasol Bliss Bold abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ 0123456789

Detailed brand design guidelines are documented as intuitive controls that allow the brand’s character to be maintained to a code of compliance. The documents above illustrate the level of detail which includes printed colour proofs.

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Barloworld Leading Brands

Design development

Tony Philips, CEO of Barloworld, addressing the Brand Executive Seminar at the Gordon Institute of Business Science, describes Trademark Design's strategy, branding and positioning of the $2.5 billion industrial group.

"To what extent has it succeeded?
 From the beginning of this process to today... the share price has trebled.�

The Barloworld identity has been developed to convey what the organisation does and where it is. The World icon positions it in every market, while the promise "Leading brands" both describes being ahead of the competition and its expertise in business. Barloworld Leading brands is at once a revolutionary and evolutionary identity. It retains equity from the previous identity, in the Barlow name, the blue colour and the new world iconic graphic device. It expands the name ten fold and is at once familiar and unique worldwide.

The application system has been designed to describe accurately where each business operates within Barloworld.

It provides a flexible yet compliant framework into which new acquisitions can easily be incorporated.

"Our goal is to leverage the value of our intellectual capital by building one global company" - Tony Phillips, Chief Executive Officer.

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Every existing business unit and future acquisition will carry the Barloworld brand and positioning statement with a description that relates to a particular product or service.

The iconic world trademark, logotype and positing statement is applied at every touch point with staff and consumers.

Examples of the application across the group illustrates the flexibility.

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GlaxoSmithKline: Future Group

Design development

John M Clarke, President Worldwide, GlaxoSmithKline Consumer Healthcare has worked with Trademark Design for more than 25 years. "The relationship has been an enduring one, in countries including South Africa, the UK, the US and Canada. The design work and its Global application have always been of world-class standard and bought excellent results in the market place."

The Future group was created to bring GSK Healthcare world closer together.

The new Healthcare Future group was formed to apply the known success factors of the existing GSK Healthcare group in order to maximise the potential opportunities for brands around the world. The GSK Future group model has had a significant impact on accelerating growth on other global GSK brands,

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through marrying R&D and Commercial expertise to increase the rate and quality of product innovation and develop strong global brands rooted in marketing excellence. Trademark Design was invited to create the identity for the Future group from the knowledge gained, having consulted with firstly Beecham's, then the merged SmithKlineBeecham and now GlaxoSmithKline.

Create the future…

Future group has set the example of simple branding as illustrated on their set of stationery.

With Complements

GlaxoSmithKline Consumer Healthcare 980 Great West Road Brentford Middlesex TW89GS United Kingdom Tel +44 (0)20 8047 22750 Fax +44 (0)20 8047 22751 www.gsk.com

Create the future…

Jonathan Girling Sensodyne

GlaxoSmithKline Consumer Healthcare St George’s Avenue Weybridge Surry KT13 ODE United Kingdom Tel +44 (0)1932 826903 Fax +44 (0)1932 822087 Mob +44 (0)7879 694377 Jonathan.R.Girling@gsk.com www.gsk.com

GlaxoSmithKline Consumer Healthcare 980 Great West Road Brentford Middlesex TW89GS United Kingdom Tel +44 (0)20 8047 22750 Fax +44 (0)20 8047 22751 www.gsk.com

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Create the future…

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Thinking out of the box…

Create the future…

Trademark Design clarified the group’s positioning with the statement: Create the future.. and the iconic pictogram above of “Thinking out of the box”.

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Alpha Cement The company's origins date back to 1934 as Anglo Alpha Cement. Over the years leading up to 1996 the company built an infrastructure of cement manufacture, products and services in Southern Africa, with 2,000 staff and almost 1,000 contractors, cement production of 4 million tons from 6 production facilities and 9 distribution depots.

Throughout history, cementing materials have played a vital role. The Egyptians used calcined gypsum as a cement. The Greeks and Romans used lime made by heating limestone and added sand to make mortar, with coarser stones for concrete. The Romans found that a cement could be made which set under water and this was used for the construction of harbours.

Design development Trademark Design's strategy was to create flexible brand architecture to communicate the company's vision of values and flexible nomenclature and applications systems for: A1pha = word mark, A1 = brand mark, A. = trade mark.

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While delivering brand compliance, simplicity and the economy of a single colour, the launch was described by the national press to be "The most successful and impactful ever in Southern Africa".

This included hundreds of Readymix trucks, Portable silos, Concrete pumps, Delivery vehicles and Aircraft all of which were cloaked until launch, then unveiled simultaneously on launch day in 1996.

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The Alpha A is the company’s trademark. By adding 2 white triangular cut-outs the trademark is formed into an “A-Star” thus communicating Alpha Star or appropriately Alpha First Star. By modifying the “L” into a numeral “1” the communication becomes “A1” thus the symbolism is: Alpha = First Star - A1

This is a typical example of the vehicle livery. Bright white

Examples of the diverse and numerous applications of the Alpha A-Star and Alpha wordmark.

Alpha Cement Rowan Dent Deputy Chief Executive officer 74 Sandton Drive 5161 Sandton Johannesburg Gauteng South Africa Tel (0)11 237 5595 Cell (0)82 776 4923 www.alpha.co.za

This is a typical example of a business card design.

The Alpha - First Star - 1 concept allowed us to create 3 trademarks out of 1 which provides solutions for Corporate and Product branding in a manner appropriate to the required application i.e. The large A-Star on a readymix cement truck is instantly identified. The Alpha word mark is applied to the cab doors with the regulation contact details.

Another application is the use of the trademark as a landmark, the A-Star is applied to a 150 metre cement silo at a manufacturing plant.

Registering the colour blue and applying it to every application proved to be an impressive element for the brand. The previous identity of Anglo Alpha Cement had little or no recall. From the launch day, suddenly the roads were ablaze with blue vehicles and staffed by drivers and technicians in blue overalls.

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Sony Ericsson

Design development

Andreas Holfve, Sony Ericsson Mobile Communications, London.

"Trademark Design provides a successful brand management system for our markets throughout the world allowing the corporation to push and pull information for campaign development.

I would highly recommend Trademark Design for any brand and campaign development."

Mobile communications equipment giant Sony Ericsson appointed Trademark Design to refine the reproduction qualities of the original Japanese design.

Trademark made subtle refinements that radically improved the reproduction quality to include a dynamic animation simulating a heart beat.

The following phase included a sequence of digital animations for screen savers and point of sale aids. The concept and design introduced a friendly use of the green "heart" playing digital games and was enhanced by the then, current trend of electronic music. The project rolled out the new refined collateral design and animation material being applied on a global scale.

This example illustrated the branding of Sony Ericsson as an illuminated neon sign in the Ginza, Tokyo.

The launch of the brand coincided with the annual Cebit Expo in Germany. The Sony Ericsson exhibit displayed Trademark Design’s sound animations.

Reproduction standards are documented and are available on a private version of The-Virtual-Agency web site 24/7/365.

Promotional applications includes London Taxis, shown here in Piccadilly Circus with a large trademark and logotype on the side of the vehicle.

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The 3D branding applications included the Corporation’s Marketing and Administration premises in all major metropolitan centres.

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Illustrated here clockwise from top right: Interior design schematic comprising a pallet of polished glass, white walls with polished floors.

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Base lighted signage. Glass top desk in a meeting room. White cladding on office building exterior and internal lighting sign.

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De Beers

Kimber fonts

A cartel of companies established in 1888 by British businessman Cecil Rhodes is now the world's leading diamond company, with unrivalled expertise in the exploration, mining and marketing of diamonds via their chain of diamond stores, diamond trading and industrial diamond manufacturing sectors. The company is embellished with countless stories of pioneers, discovery, entrepreneurs, romance and tradition. De Beers is active in every category of industrial diamond mining: open-pit, underground, large-scale alluvial, coastal and deep sea.

Typographic style of a Corporation contributes to the brand identity and the overall look and feel. Trademark Design drafted and designed a range of fonts exclusively for the use of De Beers. The range comprised of six fonts from light to bold, each with a corresponding italic version.

This spread illustrates a sample of the De Beers brand identity applications.

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The name “Kimber” was chosen for the font from the fact that diamonds are found in “Kimberlite pipes”in the earth’s crust. In-turn the Kimberlite pipe’s name originates from the town of Kimberley in South Africa. Early prospectors sought to find large, grey ant hills that indicated the location of a Kimberlite pipe. Thus the Kimber font is always reproduced in a grey colour. i.e. the name “Kimber light”.

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Design development Trademark Design created the collateral material to establish global compliance.

3D signage and digital applications, company literature and promotional collateral material employ the engraved logotype developed from the original bespoke letterforms of the company's historic signature. 2D signs and print reproduction for stationery and forms apply a line conversion of the logotype.

The visual elements of the De Beers brand comprise three distinct elements: the word mark, brand colour in midnight blue. A wide variety of applications include passenger, service and ore carrying motor vehicles, ships, signs, work wear, protective wear, stationery, advertising signatures, and retail stores.

Trademark Design resurrected the traditional De Beers Consolidated Mines emblem that dates back to the inception of the company and is often used to communicate and project the company’s longevity. Trademark Design has also created many De Beers mine logos.

The Debmar Atlantic, moored some 35 kilometres off the Namibian coastline.

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A comparison of the traditional and the contemporary stylised trademark of the Mercedes-Benz tri-star.

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Mercedes-Benz

Design Development

Daimler-Benz AG acquired 50.1% of UCDD in 1984, the company registered as Mercedes-Benz of South Africa.

The company acquired the Honda passenger car franchise and took the opportunity to assemble and provide show room facilities for both vehicle brands in South Africa.

A high level of importance was placed on avoiding any "brand transfer" from Mercedes-Benz to Honda and vice-versa.

Clive Gay designed the first Mercedes-Benz construction grid for the tri-star mark and dealer brand identity system.

The project and roll-out was completed in 24 months including all 40 dealerships, plant and administration buildings, literature and advertising signature.

A year later, the identity manual was exhibited in the Guggenheim Museum in New York as an example contemporary commercial design.

The first contemporary design for dealers primary identification sign.

Examples of the first set of controls for brand design guidelines for Mercedes-Benz.

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Reflections of the present on the past.

The design relationship grew under DaimlerBenz Aerospace. Trademark Design worked with Hugh Murray the then publisher of Leadership Magazine.

We were commissioned to design and produce “The World of Daimler-Benz Aerospace�. The book featured growth and innovations of the Corporation.

The design of the 100th anniversary of the automobile featuring Carl Benz and Gottlieb Daimler and the first automobile.

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Design Development

Accolades

The Cold Chain

Trademark Design was commission by Paddy Broad the then CEO of ICS, to assist the company to achieve its business goals. Trademark’s strategy was to develop a memorable identity to build the brand.

Firstly we recommended a change of name supported by a graphic device that is appropriate to the industry. We submitted the concept of The Cold Chain, which is an international term for the logistics of frozen foods “from point of capture to point of sale”.

Penguins were created as the ideal vehicle as in the wild, they can withstand extremely low temperatures.

6 penguins were created to allow them to interact within the application they were applied i.e. looking forward, backward, up, down, sideward and bending over. The user could select any 3 to make up a group or even chose 3 of the same penguins.

The Cold Chain's identity and application system won best design for Graphis Corporate Identity and featured as the centre piece with other identities such as Apple, BMW, NBC, Japanese Rail and others. Also won the Gold Clio statue in New York as best consumer brand identity and won every design accolade it was nominated for.

The Cold Chain was originally known as ICS Distributors and was 100% owned

by ICS Foods. In 1984 the company’s identity changed to The Cold Chain. In 1991 Foodcorp, who owned Enterprise Foods, acquired 50% of The Cold Chain and transferred the sales and distribution activities of Enterprise Foods to The Cold Chain. In this capacity, The Cold Chain retained its original blue chip customer base, namely Tiger Brands Perishables, Astral Foods and County Fair Foods amongst several other major chilled and frozen food manufacturers.

Imperial Logistics acquired 100% of The Cold Chain in 2000.

The Cold Chain

1. A typical group of penguins 2. A primary pillion sign in location 3. Vehicle livery 25.

4. Branded stationery set 5. Application manual spread 6. The front cover and spreads of the Graphis award publication

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7. Several examples of the many application configurations of penguins

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The Cold Chain penguins have captured the emotion of many clients and consumers around the country.

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Design development The identity "grew" from the symbolic pine tree and the visually different lowercase logotype created by Clive Gay. The origin of the pine tree stems from the Corporation’s timber forests in Southern Africa. It is a symbol of growth emulating an upward direction arrow. Research proved the graphic form was unique in the paper industry. Later the symbol was removed to avoid any association with other lumber companies.

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sappi The acronym of the South African Paper and Pulp Industry, sappi was registered as company in 1936, followed in 1937 by the construction of the first mill in South Africa named Enstra. Sappi is now a global company focused on providing chemical cellulose, paper-pulp and paper based solutions to its direct and indirect customer base across more than 100 countries and has 14,900 employees.

Sappi produces coated fine paper and chemical cellulose. The company conducts its business through three business units: Sappi Fine Paper, Sappi Forest Products and Sappi Trading.

Sappi Fine Paper is managed through three regional business units: Sappi Fine Paper North America, Sappi Fine Paper Europe and Sappi Fine Paper South Africa. Sappi Fine Paper has manufacturing and marketing facilities in North America, Europe, Southern Africa and Asia. It also manufactures uncoated graphic and business paper, coated and uncoated specialty paper. Sappi Forest Products, based in Southern Africa, produces commodity paper products, pulp, chemical cellulose and forest and timber products for Southern Africa and export markets.

Founded in 1936 in South Africa and headquartered in Johannesburg, the company sells its products to merchants, converters, printers, publishers and other direct customers.

Illustrated above is the original schematic concept drawing by Clive Gay with a comparison to the final reproduction artwork. The images on this spread show the application to different divisional signs.

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Cure The Institute of Infectious Disease and Molecular Medicine. Whilst being an accurate description of the organisation it is not used as a brand name by the scores of people who come in contact with it, by the staff or the many Professors who are employed by the organisation.

Trademark Design was asked to assist in a pitch to explore the options available to overcome the problematic name.

We defined the organisation’s goal as that of: “The Quest to Cure” and proposed the name “Cure” be adopted with the prefix “The Quest 2” then use the old

BRAND PRESS RELEASE

name as the organisation’s positioning statement. In addition to the identifying elements proposed, a “cut-out” of the African Continent assisted in communicating where the majority the organisation’s focus is.

The symbol device is an abstract representation of microbes, one of which is similar in the form of a positive person walking away from the infections. The proposed applications included: Signs, Flags, Stationery, Vehicle livery, Brochures, Invitations and a Responsive Design website.

1 2 3 4 5 6 7 8 ABOUT RESEARCH MEMBERS NEWS & EVENTS

is “ C cel TH dis URE ebra E IN co . W tin STI ve e g TU ry lau ou TE in r mo nche ach FOR lec d a ieve INF ula ne m EC r m w ent TIO ed nam s o US v ici ne e an er th DISE s t d e AS o i lo pa E rra go st AN dia to de D te sy cad MO inf mb e LE ec ol in CU tio ise ou LA us ou r p R dis r d ers ME ea ev iste DI se ot n CIN . O io t Q E ur n t UE ne o s ST w cie TO br nt an ific dw ill

InWOLFSON con ecti PAVILION prop HnEALTH osed on with t CAMPUS he d b04 et-­‐ w 06 November een o iscussion 2014 s c u

once rselve r trans ning pos s actio s ns be ible twee n

Various collateral items designed to uplift the organisation’s visual standard and be recognised as the leading research centre.

THE INSTITUTE OF INFEC TIOUS DISEASE AND MOLECULAR MEDICINE

Professor Valerie Mizrahi Director Office 01 Wernher & Beit Building North Anzio Road University of Cape Town Private Bag X3, Observatory 7925 South Africa v.mizrahi@cure.uct.ac.za www.cure.uct.ac.za Tel +27 (0) 21 404 6098 Fax +27 (0) 21 406 6099

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THE INSTITUTE OF INFEC TIOUS DISEASE AND MOLECULAR MEDICINE

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Cottura del Club (Cooking Club) Executive Chef Pietro Corgatelli wished to develop an organisation to start Italian cooking lessons for keen culinary enthusiasts. His experience being a native Italian has lead to his extensive knowledge of traditional Italian cooking from this region. During his professional career in the international hospitality industry Pietro’s experience grew to include some of the most complicated preparations through simple rural styles.

Pietro’s brief was to explore what graphic options would communicate his knowledge and friendly manner that could be applied to stationery, promotional material, recipe books and menus. Trademark proposed using the Italian translation of the “Cooking Club” and the positioning statement of “Traditional Italian cooking made easy”

Cottura del

1. This is the design that was chosen and recommended by Trademark Design as it delivers all the essential elements required to communicate the characteristics of a truly Italian Cooking Club.

CLUB Traditional Italian cooking made easy

Pietro Corgatelli Executive Chef

Cottura delClub

Traditional Italian cooking made easy

07 Stinkwood Drive Goede Hoop Estate Noordhoek Cape Town 7979 Western Cape Tel +27 (0) 21 555 1006 Email Cottura@gmail.com

2. The exploratory design concepts led to the design development of an authentic rendition of traditional Italian paintings of country fare. This example features that of wild bird as the chef’s second choice.

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Design development Working closely to Pietro’s brief, Trademark Design embarked on a series of schematic concepts that would both communicate and distingue the client’s operation from all others.

We identified 3 areas that would provide an appropriate solution: 1. Symbolism of something associated with Italian culinary arts with immediate communication values. The Italian olive has a strong connection with the region and Italy, as well as being the Italian National colours: Green, Red and White.

2. Italian culinary (from Latin culinarius, from culina ‘kitchen’) art illustrates the tradition and is found in so many early paintings of food preparation. This concept allowed for a variety of paintings to be reproduced on the various applications.

3. Ingredients of Italian cooking offers the opportunity to feature botanical art rendering and a variety of vegetables, fruits and spices may also be reproduced across any of the chosen items.

Pietro Corgatelli Executive Chef

Cottura del Club 07 Stinkwood Drive Goede Hoop Estate Noordhoek Cape Town 7979 Western Cape Tel +27 (0) 21 555 1006 Email Cottura@gmail.com

Cottura delClub

Traditional Italian cooking made easy

3. The third option adopted vegetable and fruit subjects rendered in a botanical art style as the visual expression of tradition Italian cooking.

Cottura

Cottura

Traditional Italian cooking made easy

Traditional Italian cooking made easy

delClub

delClub

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English Essentials is a brand of linen bedding created for the Edgars group of companies.

Ethos is a private equity company providing investment services to personal wealth clients.

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PRICELESS Priceless is a chain of exclusive jewellers offering good value for less. The design strategy is aimed at capturing this concept yet cautiously not under valuing the quality of the merchandise.

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Nedbank Wealth

Nedbank Assurance

Nedbank sought to find another path yet remain an integral part of the whole.

The design promotes precious metal as the ultimate wealth.

Continuing the metal concept Nedbank wished to explore platinum to symbolise Life Assurance, a potential to be added to their product arsenal.

BankFin

Barclays Asset Management

BankFin was created as the financing arm of ABSA. later incorporated into the holding group during a due diligence procedure years after inception.

Client sought a distinguished value identity, Trademark Design presented this abstract graphic of an early Doric column that was applied to all branded applications.

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Security Life Association Trademark Design created interlocking chains as a simple design that could be printed in a single colour.

After concluding our research it became apparent the ultimate solution was to create the identity in black and white.

This maintained the same identity whether the forms were lithographically printed or simply photocopied.

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BOB

Charter Life Assurance

Barclays Omni Bank Pioneered much of the ATM branding In Southern Africa.

Trademark Design created the brand identity and application graphics.

A pioneer in offering alternate life assurance products. The seal of quality and the dove of peace and tranquility.

African Development Bank

Finance Security

The bank’s purpose is to accelerate sustainable socio-economic development by funding physical, social and economic infrastructure. “Your partner in progress to prosper.

The design proposal is a symbol of a light house, a beacon of safety and fraud protection provided by the organisation.

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Liberty Life The original trademark was that of New Yorks Liberty statue. The proposed strategy was to create a device that was more approachable and would create greater confidence. The Corporation offers clients a wider choice of products no matter their stage of life.

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Indian Atlantic

A1A Trading

The brand name and identity was created for the location in Southern Africa as their operations lay between the 2 Oceans.

Indian Atlantic is the largest iron ore and steel producer in the Southern hemisphere.

A proposal for a Hong Kong trading company dealing with capital investment, mineral resources, precious metals and food supply.

HomeFinders Real Estate

Sishen Mine

Trademark Design focused on the concept "it's all about bricks and mortar". The sign idea was building the trademark with real bricks and mortar.

One of the largest Ore mining and pressing facilities from a single pit, with a lump-tofine-ore trio of 60:40, compared with 30:70 globally. This stylised Oryx logo is also the mascot of the mine

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De Beers Venetia mine Venetia is an open pit mine and South Africa's largest producer of diamonds, contributing 40% of the country's annual production. The logo design, a stylised and simplified interpretation of the Lion of Venice, is an ancient bronze winged lion sculpture in the Piazza di San Marco (St Mark's Square) Venice, Italy, which came to symbolise the city. Venetia is the largest diamond mine in South Africa.

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CreateAds

UCT

createads.com

The University of Cape Town’s visual identity is falling behind the other leading education facilities. Trademark Design explored the opportunities to refresh the brand system with this logo as the centre piece for the project.

This pictogram provides simple understanding for users to: Create, Edit, Resize and Publish their own ads.

D’nA

ART

Trademark Design created this, our world first-propitiatory patented software to automate band design creation and rollout applications via the web.

Automated Reprographic Technologies, the holding company identity for the group of products created by D’nA.

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T SL QSP TSL/QSP TSL, the largest community of teachers in the world collaborated with Trademark Design to add value to their in-house system of creating staff recruitment advertising. The proposal positions TSL as Quality, Speed and Price, thus TSL/QSP.

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Medical Research Institute

The Agency

Symbolically integrating an eye device into a medical cross gives a minimal interpretation that can be applied to just about any aspect of the institute.

A full service agency that believes the idea is all important and the most direct communication from the brain is the pencil to paper.

BASF BASF

Spoor & Fisher

The global chemical giant briefed Trademark Design to explore the opportunities in developing a global brand identity. This proposal was seen to be the most appropriate.

a firm of intellectual property lawyers deal with Patents, Trade Marks, Word Marks and Copy Rights. Trademark Design proposed that the identity be composed of montage of the various intellectual symbols.

Semiotically the symbol for endless possibilities.

In Western ideography is a general symbol for the eternal, the endless, that which is without beginning or end, all possibilities. The empty circle belongs to the oldest ideograms and have 43. been dated to the period immediately after the emergence of the simplest conventionalized representations of humans and animals found on the walls of prehistoric caves and rock faces.

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Vamp Value Added Medical Products based in the UK, required a solution to identify their products as modular. Trademark Design created a symbolic mark of 3 medical crosses and the modular parts that make up the whole.

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Triax Structural Systems

An acronym developed by Trademark Design from our proposed name for the Industrial Designers Entrepreneurial Association.

Triax is a triangulated interlocking building system design by Tristan Melland. Trademark Design created the Triax logo from a combination of 3 "T" forms that allude to the combination of multiple units of the same moulding.

dsgn

idea

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dsgn

Roos Architects

dsgn is the purest form from which to convey the word “design� simply leaving out the vowels. The nomenclature and design was adopted by an interior design firm.

Trademark Design developed an schematic symbol for Roos’s use when between projects. A simple escutcheon of the master's proportion of man is relative to the Architect's beliefs in minimal form.

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O Zer Zer0 In 2001 Trademark Design initiated a speculative strategy to engage with a global soft drink brand to launch a Zero calorie drink. The concept was born from experience, research and awareness of how health conscious consumers had become.

Yet there was no brand claiming and naming their band or variant - Zero.

Design had progressed to initial schematics on a health platform and was presented to 2 global corporations.

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Bleu de Bain Beach

Samsonite Hide

is the site for a new luxury hotel development on the North West coast of Mauritius. The design proposal simulates the beautiful turquoise blue waters of the bay and ocean in the capital character “B”.

An exclusive range of animal hide luggage required a simple yet recognisable logo to dye stamp on the product range and apply to promotion material.

BMW polo

Sandton Convention Centre

BMW International polo. Trademark Design created a clear communication in this logo of horse and rider on a grassy playing field.

Africa’s most technologically advanced multi-purposed exhibition and convention centre. 22,000 m2 plus 5,000 rooms and 11,000 parking bays to hold “Waves “ of convention delegates.

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Air Mauritius Air Mauritius, is the flag carrier of the country. Red celebrates independence.

Blue is symbolic of the Indian Ocean.

Yellow expresses hope for a bright future.

Green represents agriculture and vegetation. Trademark Design's strategy was to make the journey to this paradise isle part of the experience of a bright, light, fun holiday mode, without losing the sense of security.

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GMSK Engineers

African Shipping

Trademark Design Proposed GMSK position themselves on: The Pythagorean Theorem of: “The whole is greater than the sum of the parts”.

A specialised logistics operator around the African coast. The designs is an interpretation of a ship’s flag with arrow heads indicating direction and communicating trade.

The Malvern Choir

Fifa

The Great Malvern Priory nestles in the centre of England.The Malvern Choir includes 80 singers both juniors and adults.

This project request was to create a logo for Fifa using design elements other than a football. This abstract proposal includes a “f” that alludes to a player running and/or dribbling within a ball.

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“A” Logistics A road transport logistics company commissioned Trademark Design to develop a brand identity system relevant to their field of expertise and to set them apart from competitors. A 3-way road junction/intersection and the capital “A” symbolises both.

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(‘lei bl)

ARC

The label becomes the trademark of this company that trades in objects d’art collected from the adventures and mystic travels of the proprietors.

The brand identity of a chain of auto electrical products within the motolek groups of retail store.

A Time for Giving

BMW 3 series

The graphic identity for Edgars fashion retail store Christmas promotion that was applied to the chains packaging, bags and wrapping.

The client requested the introduction of a new range of BMW 3 series into the Australian market need to have a local signature. The simple Kangaroo symbol proved successful.

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RAM Rubber Amalgamated Manufactures are suppliers of most automotive rubber equipment and parts. The design of a Ram’s head in profile has circular characteristics as that of automotive rotating parts.

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PRIMEDIA

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Primedia

Fleet Science

Trademark Design’s proposal for Primedia as the star of media companies in South Africa received a 5 star reception.

The design for a vehicle tracking firm dealing with Big Data collection of large independent fleets.

Virtue

Goose

Trademark's contribution to this Charity foundations the nomenclature of “Virtue� and the simple design solution of children providing support for themselves.

The name and logo for an innovative method to facilitate a ring-pull on carafe styled bottle closures.

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3 Monkeys In place of the expected hear no, see no, speak no evil symbol of 3 monkeys, Trademark Design created a set of simple line drawings of monkeys in natural monkey poses, which by nature are extraordinary. Every application featured a set of 3 monkeys.

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Richelieu Richelieu is a brandy in the age-old French tradition, bred from the heart of selected grapes to a rich full-bodied bouquet. Its mellow maturity flows from years in casks of Cognac Oak. Its purity comes from the fine art of French copper pot distillation.

Trademark Design was commissioned on a re-design project to enhance the brand equity of classic French styling.

The addition of a foiled outer sleeve and direct foil application to the glass has resulted in a rich, warm and welcoming appearance in the fine old French tradition and communicates a brandy of the highest quality.

Katz eyes White wine from cabernet grapes with peach with tropical fruit and notes of expended yeast.

Designed for an executive dinner in celebrating the individual having exceptional insight to recognise stock market opportunities.

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Metaxa 7 Stars

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In 1888 in Piraeus, Spyros established Metaxa brandy. Trademark Design created the graphic label of Metaxa 7 stars. In 1963 Yiannis Tseklenis designed the "Amphora" bottle, In 1992 Clive Gay designed the label and closure graphics.

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Archer’s Peach County Schnapps The most successful schnapps brand within the Diagio portfolio is Archers. A premium, international, contemporary fruit schnapps launched in 1986 and leading the markets of Great Britain, Australia, South Africa, Ireland and Greece. Trademark Design created the surface graphics and the 'eyebrow' logotype device and combined the visual appeal of peaches packaged in an elegant white frosted bottle. This made up the brand presentation of the package. The brand merchandising material featured the same styling device.

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Ouzo 12 Ouzo12 dates back to 1880 in Constantinople. Then there was no bottling procedure, and it was sold bulk directly from the barrel. Barrel No. 12 was the buyers' favourite, since its content was singled out for its quality, flavour and aroma. 1925, the Kalogianni family moved to Salonica. The success story was repeated, and barrel No. 12 kept making new friends. The family moved once again in 1950, this time to Piraeus. Then Ouzo was bottled for the first time in Greece. And naturally, the Ouzo that was chosen was the best available. The content of barrel No. 12 was bottled.

Ouzo12 is a traditional Greek spirit that keeps company to those who love socialising. Trademark Design retained all the heritage of the traditional label, simplified the graphics and added an obverse label to carry the family history and crest.

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Black Russian Liqueur The International vodka market is growing exponentially in comparison to other liquors. Opportunity exists to introduce a duo of liqueurs to the Count Pushkin brand. Count Pushkin is an established brand of Vodka produced

by Distell. All the distillation, manufacturing, bottling and distribution networks are in place.

Trademark design embarked on a redesign project to enhance the brand equity to a contemporary style while hinting on tradition and history with the incorporation of the Count Pushkin Russian eagle. The styling of the brand logotype is based on the Russian industrial style. The proposed design/s are printed directly onto the bottle in either black or white to the black or white glass bottles.

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BLACK RUSSIAN VODKA LIQUEUR

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White Russian Liqueur The International vodka market is growing exponentially in comparison to other liquors. Opportunity exists to introduce a duo of liqueurs to the Count Pushkin brand. Count Pushkin is an established brand of Vodka produced by Distell. All the distillation, manufacturing, bottling and distribution networks are in place.

Trademark design embarked on a redesign project to enhance the brand equity to a contemporary style while hinting on tradition and history with the incorporation of the Count Pushkin Russian eagle. The styling of the brand logotype is based on the Russian industrial style. The proposed design/s are printed directly onto the bottle in either black or white to the black or white glass bottles with a bubble in the base.

WHITE RUSSIAN VODKA LIQUEUR

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Ribena Ribena has the juicy taste of British grown blackcurrants that families have been enjoying since 1936. The brand is available as fruit-based un-carbonated and carbonated soft drinks and fruit drink concentrate produced by GlaxoSmithKline. The brand's major global markets are UK, Australia, New Zealand and Canada. The combination of the brand's surface graphics, gold foil and custom minimal glass bottle design of Ribena Premium are presented to the market as an elegant, superior quality and vitamin rich soft drink. This design was developed to fulfil the Premium health sector where consumers demand best quality.

1. Schematic concept development commenced with rough interpretations of the opportunities to create a premium brand within the marketing and production limitations.

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2. Simplicity proved to be the key and point of difference for the brand.

A mechanical conversion of the concept into a shape that will fit the filling line (tunnel).

This diagram compares the existing with new.

3. Surface graphics are interpreted to convey the brand equity to the new shape while adding a special, premium quality and style.

4. The aesthetic and mechanical simplicity is interpreted into 2D CAD structural engineering to ensure feasibility of manufacture. The diagram illustrates 500ml and 750ml containers.

5. Surface graphics are interpreted to convey the brand equity to the new shape while adding a special, premium quality and style.

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7. prototypes are manufactured and tests are conducted on the actual filling line that the product will be produced on. This builds confidence with client and ensure incident freed production and ultimately speed to market.

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Lucozade 340ml clear P.E.T. packaging The design concept of the package branding is inspired by the presentation of the product in a new appetising and dynamically attractive way. The surface graphics are spiralled onto the cylindrical surface to create a maypole effect reminiscent of the early Lucozade packaging, to retain the heritage of the brand.

The labels, when applied to transparent containers deliver high visual-impact and cooler/shelf standout.

The innovative clear packaging complies with the standard aluminium filling line specifications thus no additional cost is incurred.

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Lucozade 340ml and 1 litre clear glass packaging The combination of the subtle yet bolder logotype and the brighter and higher contrasting colours adds to the already revolutionary maypole concept. The brand is planned to be available in 340ml transparent cans, 340ml bottles and 1litre bottles. All the products and variants in the range carry the United Kingdom’s Royal Warrant.

The maypole design adopts to every cylindrical SKU through-out the countered where Lucozade Energy is marketed worldwide.

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Pears

Design developments

Following the successes and the experience Trademark Design had in the female fragrance deodorant market we were invited to create a a range of products for Pears. The client was very comfortable to give us carte blanche on the project.

The Pears reputation by and large can be associated with the light transparent soap. We chose to keep the concept within the same idem. Light and transparent shades of soft, feminine pinks and lilacs, while keeping the typographic branding to a minimalist style that does not interfere with the purity of the Pears brand yet adding the fragrance name: Pears Promise / Floral.

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Pears: Light and transparent shades of soft, feminine pinks and lilacs, while keeping the typographic branding to a minimalist style that does not interfere with the purity of the Pears brand.

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GlaxoSmithKline AquaVelva The brand had a definite “Hand me down” positioning that was used as the theme for advertising.

GlaxoSmithKline in the United States commissioned Trademark Design to develop contemporary branding for AquaVelva aftershave lotion. Research results indicated that the brand's target consumer was the tough, macho man.

In line with this positioning, Trademark Design developed the "pistol grip" glass package form that fits a man's hand in the concave recesses. The twist-off closure simulates the cooling fins of a motor cycle cylinder.

AquaVelva: Trademark Design developed the "pistol grip" glass package form that fits a man's hand in the concave recesses.

Paul Guillaume Of obvious French origin Paul Guillaume briefed Trademark design to create a range of his perfume for women, in “off the shelf” glass containers.

The challenge was how to create an appealing brand identity with a standard bottle within a limited budget?

From the onset, Trademark Design selected the most simple glass container available from the client’s vendor, knowing that we could apply virtually any design device to it. With this in mind the opportunity to create an elegant carton to encapsulate the simple bottle, allow us to change the proportion of the bottle/s to a tall, more sophisticated elevation.

The creative inspiration came from the fact that we are packaging a fragrance that was derived from a floral note.

We chose to design the cartons to open like the petals of a flower and the heart of romance.

Paul Guillaume: We chose to design the cartons to open like the petals of a flower and the heart of romance.

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Festive Flyers

Festive is a brand of Astral, one of the largest integrated poultry producers in Southern Africa. The Festive brand sought to be identified by American style recipes, as market trends at the time were turing towards the U.S. as leading poultry meals. Trademark Design assisted Festive to achieve this goal by creating a new chicken logo on a background of white stars on a dark blue. The brand name of “Flyers” was proposed for their chicken wing products. Curved red and blue stripes with an alternating casual script style together with a background of white stars on dark blue.

Festive Flyers has a definite “Stars and Stripes” U.S. design.

Chef’s Pride Festive’s product development kitchens created a range of gourmet chicken portions. The project commenced with several candidates for the product nomenclature. “Chef’s Pride” was unanimously chosen.

Design development commenced with the product logo and packaging design.

The concept of a hand sketched Italian character chef with a large moustache and chef’s hat, combined with the packaging concept of hand written recipes on the container’s front panel together with appetising photography of the different dishes, simplified the communication on shelf.

Chef’s Pride packaging concept is hand written recipes on the front panels.

This broad stroked, hand sketched Italian character chef with a large moustache and chef’s hat became the logo for Chef’s Pride range of products.

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Ivi Loutraki

The IVI bottle is a grip and creates a very liquid visual impression of the mineral water.

Ivi Panagopoulos was a small beverages company in Maroussi, Athens, named after the ancient Greek goddess Ivi whose duty was to refresh the Gods in Olympus by offering the famous nectar.

Ivi Loutraki is the natural mineral water that refreshes your body and quenches your thirst. Originated from the Gerania Mountains, it is rich in precious fibres and a high amount of magnesium.

Symbolic of the goddess, Trademark Design created an liquid symbol to be applied to every communication piece of the brand. A unique container designed to nestle around the form of a hand give the package 2 distinct features. It acts as a grip and creates a very liquid visual impression of the mineral water.

12h00 Clinic SmithKlineBeecham developed an advanced day/night Cold and Flu formulation. Trademark Design proposed a strategy of creating a brand to echo the advanced product. A single dose provided relief for 12 hours, this led to an obvious choice as it included the product benefit in the brand name. To keep the design within the packaging budget, Trademark Design searched glass manufacturers' data bases for off-thepeg containers. The design called for an advanced look and feel that was achieved by shrink wrapping the container with a chrome foil and surface graphics. The outer carton followed the visual styling of foiled carton board with the daylight formulation orange code.

12h00 Clinic advanced styling of shrink wrapping the container with a chrome foil.

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SmithKlineBeecham

Design development

SmithKlineBeecham appointed Trademark Design in several countries around the world. The work shown on this spread is (from clockwise) Canada, The United States and South Africa.

We gained much local knowledge in each market which in turn led to Trademark Design being appointed in most countries where SmithKlineBeecham had a presence.

Sylvikrin shampoo required a design refresh and needed to be promoted on shelf. The solution was to develop a “talking pac”. This was achieved by creating the largest front facing package in the category. This design provided the opportunity to increase both the brand presence and shelf impact, as well as the brand advertising and information on the package.

Sylvikrin shampoo range of “Taking pacs” that provides a large area of “media space on shelf.

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All of these products are typical extrapolations of brand /product developments and rollouts from large Corporations.This started our minds ticking over on how to fast-track high quality design and reproduction artwork. See the first article on Responsive Design earlier in this publication.

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Sixth Sense fashion colours Clive Gay convinced client to design a range of fashion fragrances for young women, he named it “6th Sense�.

3 Different ranges were launched, all succeeded.

We soon discovered that the market was following the youth fragrance and colours we created.

The summer range was inspired by the brightness of nautical signal flags.

Throughout these developments we applied our discovery of the appeal of matt printing, The more feminine romantic range followed with fragrance names such as: Reaction, Affection, Perception, Suggestion and Impression and Sensation.

The summer range was inspired by the brightness of nautical signal flags.

The Romantic range inspired by subtly suggestive fragrant names.

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Arrow

“Gestalt” design development

The Motolek (auto electrical) group’s retail strategy was to acquire the facility to manufacture their own range/s of automotive replacement parts at a price considerably less than the auto manufactures of original equipment (OEM).

The company identified the opportunity to import/manufacture and assemble a comprehensive range of auto-electrical replacement parts to market in Africa, and through their parent brand’s hundreds of Midas stores, as well as through their own retail outlets.

Motolek gave Trademark Design an open-ended brief to create maximum brand awareness for as little cost as possible, in record time.

After researching the market, a key factor became apparent: No OEM had a retail presence, as their clients purchased by part number over the counter from aisles of warehousing.

To capitalise on our clients strong retail presence and control of the gondolas and aisles, we set out to develop a powerful brand name and package design.

The Arrow brand identity is highly visible in store and describes the content in a simplistic yet intelligent way, allowing customers to quickly identify contents.

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We sought to create a name that is relative to the packaging. This meant we would break convention and create powerful graphics first, then develop a name to suit the design.

To achieve maximum impact in store, a simple diagonal line was scribed across all 6 facets of the carton, no matter what the proportions or sizes the cartons were. Apply the highest contrasting colours in the spectrum, being Yellow and Black. The contents are displayed in an engineering style diagram in a positive/negative form across the cartons diagonal line.

The result is a highly successful brand with a sunning “Gestalt” on shelf displaying simple and intuitive product content recognition.

Wolfgang Benz, CEO of the Motolek Group commented: “Trademark Design has achieved an amazing result given the fast tracking and completion on budget”.

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In store displays and shelf packing can be configured in many different aspects as can be seen from the images shown.

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South African Breweries Now SABMiller, origins date back to the foundation of South African Breweries in 1895 to serve a growing market of miners and prospectors in and around Johannesburg, South Africa. Two years later, it became the first industrial company to list on the Johannesburg Stock Exchange and the year after (1898) it listed on the London Stock Exchange. From the early 1990s onwards, the company increasingly expanded internationally, making several acquisitions in both emerging and developed markets. In 1999, it formed a new UK-based holding company, SAB plc, and moved its primary listing to London. In May 2002, SAB plc acquired Miller Brewing, forming SABMiller plc.

Global design evolution South African Breweries commissioned the rollout of brand compliant packaging for globalisation of all their products for export. 5 major brand designs were interpreted: Castle Lager, Castle Milk Stout, Black Label, Amstel and Hansa, translated and modified across 7 SKUs for 40 countries. This resulted in a project comprising 1400 individual SKUs. The design interpretations of every brand across the volume of SKUs were vast, each requiring specific tweaks to ensure the brand character was not lost. One of the most interesting aspects was the great variance of letter forms across languages i.e.

Roman, Cyrillic Cantonese...

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Arctic Breeze Alcopop (or cooler in Canadian English Trademark Design developed many or spirit cooler in South Africa) is a derivatives of Alcopop including this colloquial term describing certain Arctic Breeze, a particularly flavoured alcoholic beverages, including: sophisticated style to encourage raising malt beverages to which various fruit the bar. The chrome can and simple juices or other flavourings have been graphics delivered an adult appearance added. Beverages containing wine to in comparison to the teenage style which ingredients such as fruit juice or across the rest of the market. other flavourings have been added (wine coolers) and beverages containing distilled alcohol and added ingredients such as fruit juices or other flavourings. 340ml chrome can adds a touch of sophistication to a flooded Alcopop market.

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South African Reserve Bank

Design development

Early 1988, the Governor of the SA Reserve Bank, Hendrik de Kock commissioned a group of South African designers who became known as "Blue Sky", to design new bank notes for the country. The group comprised C Gay, K le Grange, E de Jong, and C Webb. The brief was to remove any reference to SA's colonial past. Blue Sky researched bank notes from around the world to establish superior security features and to create new security features. The initial design proposals were dismissed as being "to modern". The second designs were approved immediately and development of the final security reproduction artwork began. The group were honoured to have been chosen for this prestigious project and were commissioned to oversee the final production with the South African Bank Note Printing Company.

The early conceptual development led the design team to create a unique “Blue Sky” style. The style was based on the brightness of the South African sky, the strength of the rugged landscape and the clarity of the oceans. The visual content of the notes was associated with South African icons such a the “Big Five” animals that prevail: the Lion, the Elephant, the Buffalo, the Rhino and the Leopard.

The phase one proposal could be compared to the strong sense of design found in the Netherlands bank notes (Guilders).

It is thought that the cabinet were concerned that the designs could be seen as a radical step at a time when the Government was negotiating the future of the country.

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Phase two began with a total re-think in terms of styling. The government and the South African Reserve Bank wanted conservative yet definitely South Africa content. This was achieved by introducing visuals depicting the industrial and agricultural aspects of the country. Content included Infrastructure (highways), Farming (sheep and maize), Tourism (game parks and sunshine), Mining (headgear and open pit) and Technology ( Sasol and Nuclear research). The security measures incorporated into the bank notes were state of the art at the time of gong to production, so much so that not three months after the launch a counterfeiter was arrested, demonstrating the effectiveness of the security design.

“The Blue Sky team were commended on their design and development as well as saving the country considerable foreign exchange”.

The front face of the South African Bank notes feature engravings of the Big Five wild game as well as many security features.

The reverse of the notes illustrate the country’s Infrastructure (highways), Farming (sheep and maize), Tourism (game parks and sunshine), Mining (headgear and open pit) and Technology ( Sasol and Nuclear research) and additional security features.

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Namibia Bank Notes

Namibia Bank Coins

Design development

Clive Gay and Koos le Grange past members of the Blue Sky group, partnered to form the design and management team to develop the Namibian Bank note designs. Kaptein Hendrik Witbooi’s (1830-1905) portrait and the parliament building in Windhoek were pre-requirements to be the prominent features on the front of the notes. The reverse sides featured: 10 Dollars - Springbok, 20 Dollars - Red Hartebeest, 50 Dollars - Kudu, 100 Dollars - Oryx, 200 Dollars - Roan Antelope. Security features included BON see-through logo. Green-to-gold OVI diamond with latent image. A watermark of Capt. Hendrik Witbooi plus micro electrotype.

During the planning phase of the introduction of a new national currency replacing the South African Rand, the newly founded Bank of Namibia minted a proof series of coins denominated in Dollars and Cents as well as in Marks, for the consideration of the Namibian Ministry of Finance. The decision then fell in favour of the name 'Dollar' for the new currency. Clive Gay and Koos le Grange, partnered to form the design and management team to develop the Namibian Coin designs. The range of coin designs included the following themes to echo the Bank Notes concept of animals: 1 cent - Gecko, 5 cents - Baobab, 10 cents - Tilapia, 1 Dollar - Pelican, 5 Dollars - Lion. The cent coins were minted in brass and the dollar coins of nickel plated steel.

The striking of the coins featured an engraved background to the images and typography which are of a highly polished finish.

Since the independence of Namibia (Namaqualand) the Nama King Hendrik Witbooi, is regarded as a national hero was the obvious choice as the central feature of the obverse of all N$50, N$100 and N$200 Namibian Dollar banknotes.

The front face however features the Springbok, Red Hartebeest, Kudu, Oryx and Roan Antelope. Thus the choice of symbols for the coin designs; The Gecko, Baobab, Tilapia, Pelican and Lion.

The front face of the banknotes feature: 10 Dollars - Springbok, 20 Dollars - Red Hartebeest, 50 Dollars - Kudu, 100 Dollars - Oryx, 200 Dollars - Roan Antelope. The obverse side of all the banknotes features an engraving of Kaptein Hendrik Witbooi, a national hero.

The coin designs feature symbols of Gecko, Baobab, Tilapia, Pelican and Lion as a polished relief detail.

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Trademark Design ephemeron

Limited edition

Trademark Design embark on creating our promotional ephemeron. The theme for the promotion was to create and produce a memorable deign using 100% recycled paper. A calendar was most appropriate and we chose to use the symbols or footprints of animals, mammals, fish, invertebrates and human kind.

To be truly ephemeron and collectable a limited edition of 100 were to be produced. To relay our green thinking, each month was printed a different hue of green from a bright spring green, through linden to a deep forest green.

Each month’s numerals were reversed out of the white recycled paper to cut down on excessive machine work.

The design of the symbols was to be simplistic as to allow them to be hand cut-out with a scalpel over a line drawn template on a light-box. This allowed each designer to cut one month thus 1,200 hand cut pages were produced.

The resulting effect was impressive and described by many as “looking through a forest of nature” The project went on to win several awards.

This image shows the many leaves of the forrest calendar.

Each leaf comprised of a simple hand cut-out graphic symbolising animals, mammals, fish, invertebrates and human kind.

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Was it a labour of love? “Absolutely”

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12 Green leaves of the year The result of the project was a green wall hanging having each month been cut-out and signed by the particular leaf designer.

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Cape Town Olympic bid pictograms

Design development

The Olympic Games is the biggest international sporting and cultural event in the world. Cape Town's bid had reached the final shortlist of bidding cities. This is a remarkable achievement, given South Africa's recent transformation; its social and economic characteristics; the fact that the bid, unlike the other four cities on the shortlist, was largely sponsored by the private sector; and the stringent requirements set by the International Olympic Committee. Trademark Design contributed a series of over 50 pictograms and event signs designed for the City of Cape Town's Olympic bid.

Trademark Design’s consideration was to install an Afrocentric quality to the signs and event pictograms. As reference for the design concept, African rock paintings were studied and found to have muscular thighs and shoulders that gave the pictograms an unmistakable style emanating only out of Africa.

Animate schematics 1. Animate schematics were developed for each pictogram to confirm the appropriate poster for each athletic category of the games.

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2. The group of pictograms shown above are one of many design opportunities to illustrate the energetic atmosphere that can be generated using the Afrocentric style in motion.

3. The line of pictograms shown below illustrates each figure’s most obvious pose for the particular athletic discipline.

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London Olympic Bid 2012 London is recognised the design centre of the world. as such is poised to be the most dramatic host for the 2012 Olympic games. London owns one of the most recognised symbols: the London Underground! The world’s first and longest dating back to 1863, now runs

511 trains over 253 miles serving 275 stations. The graphic design and simplification of the Underground map in 1933 by Harry Beck is followed by the other subway systems throughout the world. Diverse culture, passion to compete and the ability to participate as a spectator has been the centre of the Games. The concept of “Connecting” Nations, Sports, People, Culture, Passion, Spirit, Excellence, Courage, Heroes, Friendship and most of all, Humanity. No other single icon communicates all the zones of Greater London and reaches the extremities of the city more than the classic Underground map. The proposed design accurately represents the map by a pictogram of the “Tube”.

The proposed symbol provides a visual link to both the Olympic rings and the Underground network.

The event pictograms are colour coded to the particular “Tube Line colours” that will transport the crowds to the events.

Way finding signs are “Tubes” designed to communicate the appropriate events and are colour coded to the actual Underground Line/s colours. The “Tube” graphics are laser cut out to allow internal lighting to flow through. The top ends of the tubes are cut at an angle to allow the light to act as a beacon, identifying the Station and event location.

Billboards, Posters and Promotion items communicate the “Connecting” concept at every opportunity.

LONDON 2012

Gymnastics Hall

Football Fields

Aquatic Pavilion

Memorabilia items.

Billboards and Posters communicating the “connecting” of humanity.

Connecting

LONDON 2012

Connecting

LONDON 2012

LONDON 2012

Event pictograms of every activity.

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LONDON 2012

LONDON2012 2012 LONDON

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LONDON 2012

LONDON 2012

Gymnastics hall

Aquatics pavilion

Football fields

Taekwondo mats

Way finding “Tube” signs located at stations and event venues.

Archery range

Judo mats

Boxing rings

Key event location pylon signs.

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Longbeach Rocks

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The design developed from the concept of building a live/work habitat on the beach. The quality of the environment in which one lives and works improves both life style and the quality and integrity of work. On this premise, we set the design criteria around the local architecture of the the site’s precinct (thatch and white) while keeping it to an order of simple styling. The interior is defiantly minimal.

We placed sustainability as a priority.

This included importing low energy double glazed glass from Illinois,

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1. Location, location, location. A clear bay on the Southern Atlantic, Cape Town South Africa.

2. Entrance from the road and directly onto the beach.

3. Trademark Design office occupies the first floor and has stunning views over the bay 3.

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90% reconstituted concrete bricks, 650mm double cavity walls, 500mm polystyrene underfloor insulation, aluminium bubble and polyethylene ceiling insulation under a fire blanket and thatch. Vacuum tubes substitute electricity consumption of water heating for 8 months of the year. Electronic roller blinds control the minimal interior temperature change. A log burning fire generates 5kw of energy when needed (2 months of the year).

The location is unique, 270 degree views of the Cape mountains and the turquoise Atlantic ocean (a surfer’s paradise) on the whale migration route and epicentre of African crayfish.

The building being North West facing provides sunshine from dawn to dusk, allowing the swimming pool to reach 30 degrees in mid summer.

The building comprises 126m2 studio 2 master bedrooms on suite. open plan living, dining, kitchen, double garage, utility room, a self contained Cabana, entrance court yard and lap pool.

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7. Master bedroom, terrace and ocean.

8. Bedroom has access to the beach.

9. Open plan kitchen viewed from the first floor atrium.

10. Private court yard and entrance.

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4. Minimal beach architecture.

5. The entrance court yard has direct access to the self contained Cabana.

6. Six meter glazing slides into concealed wall pockets unobstructed flow from the court yard through the kitchen and living areas onto the beach.

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Montevetro Montevetro is a residential apartment building designed by Baron Richard Rodgers of Riverside, with sweeping views over River Thames, London.

Having lived and worked in Riverside 1, for 12 years, (the Baron Norman Foster building) we moved to Montevetro just a kilometre upriver.

We designed the interior space and decor of the apartment as the property was purchased as a shell (sans floors, lighting and finishes).

Light Maple was chosen for the overall floor finish and white porcelain tiles for the bathrooms. Walls and ceiling were painted white with LED down lights strategically placed. The kitchen breakfast bar is maple with cupboards and drawers in brushed stainless steel.

Furnishing are white such as the BB Italia living room sofa and armchair and the Auping bed. The dining table is Baron Foster’s Nomus design as featured in the Museum of modern Art New York. Dining chairs are the classic Charles Eames styled low back, other chairs round the apartment include Philip Stark’s Dr Sonderbar.

The living room features a painting by the acclaimed british artist David Whittaker and “le Galawa” (dugout canoe) from the Gande Comore islands. Electronic roller sun filter binds shade the rooms from West afternoon sun.

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2. Simple living room suite.

3. Main bedroom’s simple furnishing/lighting.

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1. View through the living area and a faint image of the view across the river Thames.

4. The “Eclipse� lamp with dimmer control designed by Clive Gay.

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“Design is the result of an extraordinary process of human interaction and collaboration.

It is our aim to facilitate this process by developing relationships with our clients, by offering a personalised and collaborative design service that is committed to developing design excellence�.

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Intelligent brands by design

Please contact us for more information Clive Gay CEO and Brand Architect Trademark Design Limited 14 The Point Longbeach Kommetjie 7975 Cape Town South Africa 34°7'58"S 18°20'10”E Tel +27 (0)21 783 2447 Mobile +27 (0)82 82 11117 clive.gay@trademark-design.com www.trademark-design.com

Darren Gay Technology Director

Trademark Design Limited 21 Fairmount Road, London SW2 2BJ United Kingdom Tel +44 (0)20 8674 0990 Mobile +44 (0)7958 439738 darren.gay@trademark-design.com www.trademark-design.com

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Simplicity is the epitome of good design, when it is not possible to improve it by subtraction.

This is the quality that a design has when every component, every detail and every junction has been reduced to its basic element.

It is the result of the omission of the non-essentials, retaining only the simplest pure form.

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