Sir Jony Ive and his team at LoveFrom have designed this year's red nose for Comic Relief. Having grown up celebrating this day as a kid in the UK (and adult), buying the new red nose each year was very important. There was no being cheap and wearing one from last year, or painting a ping pong ball red and doing a Blue Peter job on it. This was for an important charity.
The design uses recyclable materials and is built with ease of transport in mind – folding out from a flat crescent shape into a paper sphere when used.
As with everything that LoveFrom create — The attention to detail and functionality of the nose is beautiful. From how it opens, folds and stays on your nose, all the way down to the lovely little package the nose comes in.
Campaign for Brother printers by New Zealand based Wave Agency.
The refreshing, matter of fact approach pairs perfectly with the job of a printer in our fast-moving, pushing for the 'next big thing' society. (Side note, these ads would be a hit here in San Francisco.)
The default art direction and type treatment, like the campaign, just works.
Brand identity and environmental work by Common Curiosity for The Tubeworks — a former tube and pipe manufacturing factory, now working spaces for businesses in Digbeth, Birmingham.
A bygone visual language of tubes provides a perfect metaphor for building connections and a 'T' shaped symbol.
This is elevated even further with wonderfully original three dimensional tube signage.
On first seeing the logo and the tap, I thought "that's lovely", along with the ® symbol placement – another very nice detail. On further reading I found out that the name is derived from the tap 'flipping' between delivering hot, cold, filtered, sparkling and boiling water. Then I loved it even more.
Visit Red Dot Studio's website here.
A 'compilation' of images by photographer Aidan McCarthy leading up to – and during – the referendum, documenting 'Englishness' in Cliffsend, Kent. Studio Sutherl&'s resulting design is a bold but beautifully sympathetic reflection of Aidan's work and process. The unbound nature allowed the images to be compiled in a different order each time, avoiding a prescriptive narrative (something Aidan wasn't keen on) but also resulting in each 'set' being entirely unique. Lovely details include Aidan's field notes as well as the extremely satisfying 'binding' technique of red elastic bands forming the St George's Cross.
This is such a clever idea. As simple as taking the product of the client and making it move, relying on the fact that everybody in the world knows what your product looks like. So happy it wasn't quashed by the usual client response "But nobody will get it, we need to put big type over the top that reads – This is a picture of a Big Mac being moved at speed." ;)