Spencer L., a friend of mine with a background in commercial and residential real estate, recently approached Scott Creative about designing an identity for his new business venture, Spencer Investments. After researching other brokerages’ identity design approach, we decided on a simple, elegant identity that aims to establish a sense of trust and experience in the brokerage & investment services Spencer provides.
The logo combines an uppercase ‘S’ and ‘I’ within a larger polygon representing a keystone: an architectural reference to residential and commercial real estate. Additional line work applied to the letterforms gives them some depth, resulting in a chiseled look. The type centered below the image is set in Adobe Caslon Pro, an attractive serif font that ties in well to the services provided by the company.
Undergoing its first packaging redesign in a number of years, Häagen Dazs recently teamed up with the brand strategy and design gurus at Sterling Brands to create new packaging with the purpose of improving the ice-cream brands’ shelf appeal.
Consumer research indicated there was no need to refresh the brand’s current logo or color scheme, so designers created a new interpretation of the brand’s recognizable features, ultimately developing packaging that is arguably more attractive, contemporary and appealing.
“We want to make sure that we maintain our positioning as the super premium ice cream,” (Jason Merideth, associate brand manager, Häagen Dazs).
Significant design changes include replacing the outgoing burgundy background with a light gold one, which not only makes the text on each carton easier to read, but really lightens up the appearance of each carton. The banner graphic was also tweaked, wrapping it horizontally around the carton.
A ‘tasting notes’ section, much like one you might find on a bottle of wine, has been added on the back of each carton and describes the taste experience of each individual flavor. Typographical changes include implementing a sans-serif font in place of the italicized serif font listing the product flavor and making the brand’s all-natural benefit more prominent by placing the “all-natural ice cream” promise directly underneath the flavor name.
Perhaps one of the most noticeable changes is the emphasis on photography, which is not only designed to reflect the quality of the ice cream, but to further increase the appeal of each product.
Apparently, the redesign has been successful. Since it’s launch in February 2010, Perception Research Services studies have found that this new packaging has improved individual flavor ‘shopability’ of the Häagen Dazs brand by over 20 percent.
Ecofont is a green typeface that aims to save both money and resources through its use.
There are a growing variety of options out there for businesses and people seeking to save money on their production costs: papers made with various percentages of post-consumer waste and soy based inks are both leaving a reduced impact on the environment, but not many of us have considered how our typeface choices could have a similar effect.
Ecofont, a typeface by Dutch marketing firm Spranq, was designed to use less ink in production than other typefaces, in effect saving both money and resources. Based on the sans-serif typeface Bitstream Vera, Ecofont incorporates a number of tiny holes – each about a fifth of a 10-point – into the typeface’s existing characters. Upon printing, excess ink bleeds into these tiny spaces producing the same effect as the typeface it originates from, but results in less ink on the page.
If less ink used during production means an increase in savings, how much can a business expect to save through using Ecofont? Executives at Spranq claim that a business with 5,000 workers could trim over $100,000 from annual printing costs by using Ecofont. Spranq also claims Ecofont users can also save up to a quarter of their costs on either ink or toner by using this typeface.
Unfortunately, like many green practices, choosing Ecofont may not come without a sacrifice. When printed at sizes larger than its preferred size (10 points), the empty circles incorporated into each character become increasingly visible and lead to a less-than desirable result on the page. Despite this arguably large design drawback, if the claims about Ecofont hold true, it’s a worthy addition to your font library.
The Font Game challenges players to correctly identify 34 fonts as quickly as they can.
Being a designer myself, my hope is that I could name more fonts than someone who doesn’t share my profession, or at the very least name as many as the digits on each hand. Comes with the job, right? That’s not to say there isn’t a myriad of people out there that simply have a love of type and want to prove their dedication to themselves – or someone else.
Maybe you’re like me and occasionally build on your knowledge of the ever-increasing library of fonts out there; maybe you’re interested in just learning a little more about typography in an unobtrusive way; maybe you’re already a sucker for all things type related; whatever the case may be, now there’s a game for you. The aptly titled Font Game, an application for the iPhone and iPod touch, which can also be played online, challenges players to identify 34 fonts in as little time as possible – your score depends on it.
Go ahead; try it out and add at least a few more fonts to your ‘typographic repertoire’ – you’ll find there’s a lot more out there than Times, Arial and Courier… you want me to keep going?