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Branding for Bosh Photography

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BOSH BRANDING

-RESTRICTIONS-AudiencePotential Employers -ConceptSocial Coding -Deliverable Low Cost Outcomes -OtherWorking with given content

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source: http://www.futurebrand.com/

source: http://www.futurebrand.com/

source: http://www.behance.net/gallery/Stained-Glass-Transparent-Glass-Broken-Glass/8508685

source: http://www.behance.net/gallery/Stained-Glass-Transparent-Glass-Broken-Glass/8508685

source: http://www.behance.net/gallery/TJ-Evolette-A-Designed-by-26plus/6852719

source: http://www.behance.net/gallery/TJ-Evolette-A-Designed-by-26plus/6852719

source: http://www.behance.net/gallery/TJ-Evolette-A-Designed-by-26plus/6852719

source: http://www.behance.net/gallery/TJ-Evolette-A-Designed-by-26plus/6852719

source: =http://www.behance.net/gallery/Flower-and-Sword/8772987 source: http://www.behance.net/gallery/Flower-and-Sword/8772987

source: http://www.behance.net/gallery/Flower-and-Sword/8772987

source: http://www.behance.net/gallery/Flower-and-Sword/8772987

Say what you will about Londons Olympic logo--and many people have said, and are still saying, many, many things--it is nothing if not memorable. International branding consultancy Wolff Olins was no stranger to Olympic identities, having created the mark for the 2004 games in Athens. In 2006, the firm won the London logo and branding bid with their power-to-the-people style pitch, which focused on social and cultural aspects of the games and beyond in an attempt to broaden the events reach and appeal. When the famously staccato symbol was unveiled almost six years ago, however, the response was resoundingly critical. Why was the world, design and otherwise, so worked up? Chairman Brian Boylan and Ije Nwokorie, managing director at Wolff Olins London, talked with Co.Design about embracing the inherent dissonance of the host city, and the strategy behind their effort.

hurdler over the top.IN: It is, probably more than ever before, an international, multicultural, creative, modern, energetic, and therefore dissonant city. We wanted to show something you could bump into on the street--using that language--as opposed to something that felt official.

How did you develop the design?

BB: The mark itself came from an energy grid we drew of lines that moved around, contained within a rectangle, which we stopped at one particular moment. This was used in a very random way to create a pattern, so this idea of freeform is right at the heart of the brand. The typeface very much links back to that. We never recommended anything with horizontals or verticals--it was always slightly to one side, to make people look at this thing and think twice. We used the term prescribed anarchy--it wasnt [that] we just wanted to draw something spiky.

Co.Design: In terms of branding, this idea of embracing a more social approach was actually quite prescient for 2006.

Brian Boylan: When the modern Olympics were created in 1896, they were based around ideas that were bigger idea than sport--up to 1948 they had medals for cultural activities, even poetry. These Olympics were going to be much more engaging, existing everywhere and for everyone. On that foundation we worked with LOCOG (the organizing body) to encourage unprecedented levels of participation. We would position them off the podium, onto the street. That was the basis of the brand. Ije Nwokorie: It was 2006; Facebook had been around for a year, YouTube was expanding, user-generated content was on the rise. You could already see this explosion of people taking matters into their own hands, and the energy that people could throw at these things. The notion of energy was really at the heart of the mark itself. How did Londons identity play into your concept for the mark BB: London didnt need to be put on the map with an iconic representation. We werent going to show the Tower of London, London Bridge, or the Houses of Parliament with some sort of watercolor

Dissonance and anarchy seem like a tough sell in terms of branding the Olympics, which are designed to foster a sense of worldwide togetherness.

IN: I dont think dissonance means discord. It means an ability to be slightly off-center and still be cool--and actually means youre cool because youre slightly off center. Its what makes London such a fascinating place. BB: London is not homogeneous. Take the Shard, for example. Some people are asking, What the hell is that? Why the hell did they let it go up? Others like what is says about London, as its probably one of the most progressive buildings in the world. Then a lot of it has to do with a feeling. Like many others, Im not originally from the city. You can be part of it and observe it at the same time.

PARCELFORCE
Design Bridge.

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-RESTRICTIONS-BriefReinterpret a famous brand -ToneApproachable Consumer focused Bold Humorous

source: http://saffron-consultants.com/work/digiturk/

Digiturk is not only Turkeys No.1 pay-TV brand, it keeps Turks across the world connected to the best in entertainment. It offers over 200 channels to subscribers and produces the content for many of these itself. Increasingly, however, it was finding itself in competition with high quality freeto-air TV in Turkey and across the EU. It had traditionally relied on football and movie rights to justify its price premium as these rights became increasingly expensive and sought after by other broadcasters, Digiturk needed a compelling answer to the question Why pay for TV when I can get it for free?

A PREMIUM CHALLENGE.

Our advice to Digiturk was to focus on what theyre best at: a guaranteed good time. A promise thats easy to make, but its hard to find a group of people that is as enthusiastic about keeping it as Digiturks team.

source: http://saffron-consultants.com/work/digiturk/

Together with them, the brand we developed centred around what we call Digiland. Ask yourself: how long does it take your regular TV to make you smile, frown, laugh or cry? How often does it happen at all? Digiturk is all about creating those reactions. About entertaining you in the way you choose. Making you think, making your jaw drop, whisking you away to this incredible place

source: http://saffron-consultants.com/work/digiturk/

known as Digiland. A place where there are no bored kids and where rainy Sundays provide a perfect excuse to stay in. Crucially, this idea embraced the multiple screens that Digiturk will increasingly find itself providing entertainment on Digiland can come alive on any device.

DESCOVERING DIGITURK.
Our visual solution brought the idea to life using rings alive with the emotions of the viewer, forming a flexible identity that is as varied as Digiturks programming. The visual language was applied across a range of applications, from communications through to TV and iOS/tablet devices.

Nation building.

Digiturk launched its new identity in March 2011 to incredibly positive reactions from the press and subscribers. It has reaffirmed its position as the premier source for entertainment; whether on your mobile phone, your computer or your TV.

Overview.
Melbourne is a dynamic, progressive city, internationally recognized for its diversity, innovation, sustainability, and livability. The City of Melbourne Council supports the citys world-class offerings, represents it nationally and internationally, and ensures it remains a preeminent Australian center for culture, arts, dining, entertainment, education, and shopping. Since implementing its previous identity 15 years ago, Melbourne has experienced significant change. As a result, the Council had accumulated a range of isolated logos for various services, which had become increasingly difficult and costly to manage. The fragmentation of Melbournes identity meant equity was driven away from the core brand, and the Council realized that it needed a long-term solution.

source: http://landor.com/#!/work/case-studies/melbourne/

Chall
The City of Melbourne Council asked Landor to develop a cohesive brand strategy and new identity system. The challenge was to reflect Melbournes cool sophistication on the world stage, capture the passion of its people, and provide the city with a unified, flexible, and future-focused image. The new identity needed to overcome political complexities, improve the cost-effectiveness of managing the brand, and unite the disparate range of entities (including the Council, the city of Melbournes destination brand, and an ever-growing portfolio of different initiatives, programs, services, events, and activities).

source: http://landor.com/#!/work/case-studies/melbourne/

lenge.

source: http://landor.com/#!/work/case-studies/melbourne/

solution.
We built the branding program based on the results of a thorough audit of Melbournes various identities and its long-term sustainability and strategic plans. The audit assessed public opinion and interviewed stakeholders who included local government officials, business owners, and community representatives. At the heart of the new design, the bold M presents a full expression of the identity systemimmediately recognizable and as multifaceted as the city itself: creative, cultural, sustainable. A celebration of diversity and personal interpretation that is both future-proof and iconic.

source: http://saffron-consultants.com/work/ Halbank has a long and proud heritage as a Turkish state bank set up by Ataturk to help grow the Turkish economy, its focus had traditionally been on SMEs and on acting as something of a bridge between the private and public sectors. Turkey has changed considerably in the last few years, and Halkbank has changed with it now as professionally run and responsive as any of the private banks, the new card portfolio is intended to further cement their commitment to consumer banking. What has not changed over time is Halkbanks treatment of customers. A focus on helping clients grow remained, despite a shift in focus from SMEs to retail customers. This made them fundamentally very different to many of the other players in a market where customers were often seen as profit generating units, Halkbank had experience in and genuinely valued long-term customer relationships.

Signature thinking, signature style.

Proudly different.
Together with Halkbanks team, Saffron created a portfolio of credit cards under the brand name Paraf. Meaning signature in Turkish, the brand and the card portfolio is a highly personalised tool to help Halkbanks customers grow and live life on their own terms. Because everyones relationship with money is as personal as their signature, an authentic brand is emerging. The bright and optimistic visual identity brings the signature theme to life. A pattern mosaic that evokes old Turkey whilst being grounded firmly in contemporary life stands at the heart of Parafs visual world. The new brand has been translated into ad campaigns, customer service principles and, of course, the cards themselves.

source: http://saffron-consultants.com/work/

Cutting through the noise.

The brand launched in November 2012. In a very crowded market, Paraf looks, feels and behaves differently and customers have begun to take notice. With another visible departure from its old image, Halkbank successfully transforms its brand.

source: http://www.fastcodesign.com/1672636/minimalist-posters-that-reduce-your-favorite-movies-to-basic-shapes#5

-RESTRICTIONSSam Edwards -Design Context-