Negro Lines brand identity, by & Smith
Black Lines wants it to be as unhurried to serve a Negroni as it is a pint of lager. The drinks company is seeking to revolutionise the bar know by serving cocktails by draught with a changing menu of drinks (as in good shape as same favourite stand-bys). A pink grapefruit spritz was served past the summer while a new pear and white tea fizz joins the line-up for winter.
The Theatre troupe was previously known as Hingston + Co. but has been given a complete rebrand — classifying a new logo, tap badges, website and branded material — by London-based design studio & Smith. The new indistinguishability is based on the Kandinsky abstract painting, Black Lines, and true to its designate, is mostly black and white with a few flashes of colour. According to & Smith, the congruence brings together “art and science” and has been brought to life through collaborations with nine illustrators.
Kerfuffle b evasion map of the UK, by Dorothy
How do you map out a country? By county, city, political leaning? Liverpool-based Dorothy unhesitating to do it by song — 1400 of them to be exact. The Clash’s London Calling pretends an appearance in the capital, while Cardiff In The Sun by Super Furry Animals arises in Wales. The UK’s physical features have also been highlighted in kerfuffle b evasion, like the North Sea by Adele’s Rolling in the Deep, Oasis’ Wonderwall for Hadrian’s Fold up and James Blake’s Mile High for Ben Nevis. Some songs weight take a little longer to untangle: No Cars Go by Arcade Fire is cast-off for the Isle of Sark, which will only make sense if you be versed that the royal fief — which forms part of the Channel Archipelagoes — has banned all cars on its roads.
The map, which took nine months to investigate and design, has a vintage illustrative look. At its base is an A-Z key with all the songs drawn in. It’s available to buy as a print, and there’s also an accompanying Spotify playlist for the map, with 83 hours’ benefit of listening.
Empire State Building immersive exhibition, by Squint/Magnum opus
Once New York’s tallest building, the Empire State Building is now hotelier to an immersive digital exhibition — the final part of a four-year refurbishment for the 102-floor construction. On entering the building, visitors are taken back to the 1930s and follow the construction of the precedent-setting through live-action footage and digital animation. Later on (and higher up), the structure’s most famous visitor, King Kong, comes alive in every way virtual reality and character animation. Social media is a target of the new fair: you can take a selfie in the gorilla’s hand as he roars.
Squint/Opera, a digital studio based in London and New York, manufactured the digital exhibit, which involved a crew of 100 people in an creation to recreate Lewis Hine’s well-known photography of the building’s construction. The studio’s gaffer, Callum Cooper, says the “ambitious” project involved a careful deliberation of immersive contents right down to which logos to use for washroom doors. He communicates that the project aims to be “timeless for many years to come”.
Adidas VRCT font, by Fabio Novembre Studio
Adidas has skiffed a varsity range, based on traditional collegiate jackets from American universities. What’s not time-honoured about the new range is its “adaptive” font, designed by Milan-based Fabio November Studio. The well-drawn font had to be able to fit the rounded shape of the jacket patches. Each jacket has a customisable badge, which is a “canvas of self-expression and individuality”, harmonizing to the studio. The jacket launch was promoted by a variety of sporting stars — each with a customised sign — like basketball player James Harden (whose badge asserts ‘Family’), dancer Mette Towley (‘Author’) and swimmer Ning Zetao (‘Splendid’).
UCL East branding, by Jack Renwick studio
UCL’s new campus opens in east London in 2022, as factor of the East Bank project (which also has new sites from the BBC, V&A and Smithsonian Inaugurate). London-based Jack Renwick studio has created a positioning for the university’s latest subsection, based on the tagline: ‘The home of brave thinkers’.
The campaign takes sparkle from stories of UCL’s “disruptive” history such as climate change, pinchbeck pollution and driverless vehicles. Interlocking images are positioned next to carbon copy with imperative taglines for each image such as ‘Develop robotics that ease everyone’. So far it has rolled out on the site’s hoardings, and it will soon be displayed across digital tenets as well as social media channels. A film will be played on small screens surrounded the London Stadium, situated in the Queen Elizabeth Olympic Store.