brandidentity

Tunelinks is a start-up music website that provides the streaming and downloading of mp3 files. It was up to me to create a brandmark to identify the venture, helping set it apart from the competition.

From the notebook

Discover the design benefits of using simple mind-maps by downloading a free chapter from my book – Logo Design Love: From Pencil to PDF (1MB download size).

In context

Client comments

“I needed a logo that was simple and catchy. I thought the best person for this was David Airey based on his love for logo design and his portfolio. I like the way he approached the start of the design process, which was for me to provide as much input and vision for what I wanted. After that he came back with two good logos. We exchanged ideas and I was very surprised by how fast he responded with updated revisions. In the end, he came out with exactly what I wanted, a simple, great logo. Thank you David.”

Charlie Concepcion, Tunelinks

I’ll be publishing a few recent design projects within the next couple of weeks, and it’s nice to be working with an image-width of 650 pixels (as opposed to the previous 460 pixels used on my old blog design).

You might’ve seen the upcoming portfolio additions already when I asked for your help experimenting with a new portfolio design. If that’s the case, please do bear with me, and by all means feel free to offer whatever feedback comes to mind.

Published on David Airey, graphic designer

Related posts on David Airey dot com

• New portfolio complete (33)
• Experimenting with a new portfolio design (98)
• Henri Ehrhart brand identity design (109)
• VISSUMO brand identity design (51)
• Ingalls brand identity design (56)

The designer talking about his work:

Whilst in a bar, bored, staring at two empty bottles, inspiration struck. I am always looking at contours of objects. Lines are all around us and make the world we live in. I noticed that the contour of the bottles could be adjusted to reveal a pair of glasses. The first thing I did once I got home from the bar was to grab a piece of paper and sketched out my vision. I didn’t want to add too much colour so to not distract from the visual illusion, so the obvious colour choice of green, representing grapes used in the wine making process was an easy choice to make. If I were to design this logo again I would possibly spend more time on the type, but maybe the fact that the typeface is so simple helps the icon gain more recognition.

Gareth Hardy Graphic Designer | Down With Design

Published on Logo Design Love

Related posts on Logo Design Love

• Glasgow 2014 Games logo revealed
• Logorama the movie
• Perez-Fox on the London identity
• UEFA EURO 2012 logo revealed
• The ABC’s of Branding poster

If you still need a fix for all things GC, then you can head over to the Grafik magazine blog where I will be contributing every Friday with a round up of new work from that week. - If you wish to submit any work for consideration you can send it to me here.

Alex Cornell, a current MBA student at San Francisco's Academy of Art, and intern at the place of business of artist/musician Scott Hansen, ISO50, has enviable poise and talent for blogging about design and designing for the blogging audience. In case you missed it, he recently rebranded Playboy as a school assignment, showcasing all of his process. Alex was recently hired to design the logo for Plancast, a start-up that offers "a service for sharing your upcoming plans with friends," and putting his professional money where his student mouth is — or something to that effect — he has posted a very nice round-up of his process that is very much worth a look.

Don't forget to cast your vote about this post online

Perhaps one of the most underrated platforms in the realm of web innovation, connection and the freeing of information is the three-year-old Scribd. While Facebook and Twitter get all the social media recognition and Google Books all the information hoarding props, Scribd is a vibrant repository — 10 million documents published so far — of user-generated content that makes books, magazine articles, white papers, presentations, and more, available in a painless format that is easy for users to share and for readers to access. I became enamored with Scribd when we were working on Graphic Design, Referenced as we were able to find plenty of articles and essays that otherwise would have been a pain in the behind to acquire. The service isn't perfect, of course, as it's prone to illegal uploads but in its short three years, it has grown tremendously — the time for a redesign seems appropriate.

I happened to like the old logo quite a bit, at least the icon with that blank piece of paper sitting in the rainbowish gradient, but if it had a fault is that it looked too much like all of Google's multicolored logos and was probably easily mistaken for another of its properties. The new logo is somewhat of a downgrade in that you could write anything in that Archeresque typeface and call it your own, so it lacks any sense of ownership from Scribd. The wordmark starts out well, with a pretty "S" but it gets awkward from there on, with the clunky slab serifs. It also has a bit of that Web 2.0 patina that we had just begun to see disappear. However, the new wordmark is part of a complete overhaul of the Scribd web site and, in that regard, it works very well, establishing a more formal and serious look, with the brown and blue palette serving as a great way to identify Scribd.

A Visual Code History of Scribd from James Yu on Vimeo. "Each dot is a file being touched."

Thanks to Andre Redelinghuys for the tip.

Don't forget to cast your vote about this post online

One of the destinations I would like to one day visit is Egypt and its surroundings to, at the very least, confirm my suspicions that there is more to Egypt than pyramids and pharaohs. (I know there is more, I'm being sarcastic). A new campaign for the Egyptian Tourist Authority developed by the Cairo office of JWT aims to establish Egypt as a place where there is more than really big tombs. And accompanying this campaign is a new logo.

The print and TV campaign perhaps does too good a job in touting other things to think about when we consider Egypt, and it starts to look more like a Caribbean island combined with a non-stop party place where you can golf and, by the way, you can catch some pyramids in between all of that. But maybe after all that, Egypt just starts to feel like a generic destination.

Regarding the logo, the biggest shame is that it is used so small in the web site, where the detail of the texture gets completely lost and reduces to what looks like a cheap watercolor painting. Seen at a large size the logo is quite elegant and energetic and it's always nice to see someone actually pick up a writing instrument to craft something. Aside from the texture, the lettering is well done, although I feel the "e" is a tad light and small in contrast to the rest of the letters. I'm torn in whether the "t" being represented by the well-known Ankh symbol is a cliché or not but it works in triggering associations to Egyptian hieroglyphics — it's also a little big and stands out too much from the rest of the letters. I also really like the shift in colors from something less sand-ey to something more fluid.

Where things start to fall apart, almost literally, with a splat of the watercolor dotting the "i," is in the tag line with the jarring use of Skia, a Matthew Carter typeface that functions for all things Greek, Roman, and, now, Egyptian. Compared to the old logo, despite it warning us that "Nothing Compares!" this is a great redesign with far more character than the previous.

Thanks to Aleksander Lenart for the tip.

Don't forget to cast your vote about this post online

Almost as important as your website’s home page is the about page. This is your opportunity to build rapport with your guests — a chance to introduce yourself and to explain the aim of your website. Here are ten tips that’ll have your own page in excellent shape.

1. Offer your name. It’s a blatantly obvious addition, yet so many about pages fail to do so.
2. Include a photo. People like to see who they’re dealing with. A smile can work wonders, too. If there’s a team behind the website, include them all (even the cleaner plays an important role).
3. If it’s just you, write in the first-person. If someone asks what I do for a living, I don’t say, “David’s a graphic designer.” Use “I,” not “he/she.” It’ll help make you seem more personable.
4. Think about your visitor’s needs. For instance, here’s a sentence from my about page:

   “I help businesses grow by creating visual identities that last.”

   I focus on how I can help potential clients (through the growth of their businesses), yet at the same time say how I do it (by creating visual identities that last).

5. Keep it current. Check the content every few weeks or every month to ensure it’s up-to-date. Perhaps you’ve moved home/office, or perhaps you offer a new product or service.
6. Show your location. By including a photo of your office, your town or city, you let people get that little bit closer, helping build rapport.
7. Short and sweet beats long and sour. Ask someone to have a look at your page. It shouldn’t take any longer than a minute to read, and the reader should learn something new about you.
8. Keep it professional. Smiley faces won’t help you clinch that $10,000 deal.
9. Experiment with video. Letting your visitors see and hear you can have a hugely beneficial effect when it comes to building trust online. (If you think you’re too ugly, why not try an audio podcast?)
10. Add a call to action. Where should visitors go after they’ve read about you? Your design portfolio? Your contact page? Make it easy — include a link within the text.

Examples to follow

• iA — lacks photos of the team, but makes up for it with excellent copywriting.
• I Love Typography — very personable, with a nice photo, too (slightly cracking a smile).
• Elliot Jay Stocks — short and sweet, with a time-saving FAQ section.
• swissmiss — the hand-written signature at the bottom is a great little touch.
• Subtraction — an example of the biographical approach combined with a gorgeously shot photo.

Other about page articles and examples

• Your About Page Is a Robot, on A List Apart
• Best Practices For Effective Design Of “About Me” Pages, on Smashing Magazine

If you’ve seen some excellent examples of about pages, or if you have additional tips to offer, please do share them by leaving a comment.

Header image courtesy of Thinkstock.

Published on David Airey, graphic designer

Related posts on David Airey dot com

• Website Grader – free tips to improve your blog (31)
• Critical tips for your blog design? (11)
• 5 vital design tips for your website or blog (40)
• Over 50 CSS tips (3)
• New portfolio complete (28)

[Ed.'s Note: This redesign is from early 2009, so I realize I am breaking one of our rules, but I thought this was a very intriguing solution that deserves discussion. — Armin]

Aarhus University (AU), established in 1928, is Denmark's second largest educational institution and ranked in the top 100 universities worldwide. AU is a lively, modern university, which collaborates with the business community, cultural centres and other universities throughout the world. At the end of 2008, AU underwent a visual identity change in response to a consolidation of the Danish higher education system and to strengthen the University's international competitiveness, shifting the visual identifier of the University from the traditional seal to a more modern logo as well as updating the design of all paper and web materials and creating a new typographic element.

The design is anchored in modernism, resulting in a distinctly modern, clean and simple design based on the geometric forms square, triangle and circle and identifying with the period in which the University was built. The new visual identity also takes the fundamental meaning of AU's motto, "solidum petit in profundis", ("seeking in the depths of the solid ground") and combines it with a distinct graphical element. The graphical element, called "The Fifth Element" is comprised of a simple geometric, abstract alphabet that also derives its origin from modernism. The new visual identity was developed in cooperation with design agency 1508 A/S and has won silver at the AU's Design Manual

The Fifth Element.

While I am not denying that the University needed a visual update in order to unify the merged institutions, is this design really appropriate for an educational institution? At the time of the makeover, an unofficial poll was taken of 800 people associated with the University including students, staff and lecturers which resulted in 7 out of 10 people showing dislike (PDF, page 2) toward the new visual identity. These negative reactions focused mainly on the new logo and fifth element which people simply did not understand in relation to the university. Other aspects of the redesign such as the new website and updated informational materials were not criticized but praised. The circulation of jokes (about the logo, you figure it out!) and negative comments aimed at this visual identity have reduced in the past year, however, I will not assume this is a reflection of public opinion, but rather a general acceptance that this design will not change.

Without a doubt the University was in need of an updated visual identity, but was the addition of the "fifth element" necessary? Does the new logo represent an educational institution with history and culture? In case these questions can't be answered there is at least >a great site with all the details on the identity and various other examples of the identity in action.

Don't forget to cast your vote about this post online

– We raise a glass to Myrtle.

Myrtle was our very elderly neighbour who sadly died last Thursday at the ripe old age of 92. She was quite fond of a tipple of Old Peculiar so we raised a glass to Myrtle in her memory.

Like most older people she was fiercely independent and it took quite a while for us to get to know her, but eventually she let us take her out for day trips and she even joined us for dinner last Boxing Day– at which she promptly downed a large glass of said Old Peculiar & said she ‘felt dizzy’ & had to lie down!

Born & bred in Walthamstow, she never moved far and always lived alone, having never married and so she had no children. Myrtle was very vocal about lots of things and she used to come out with some real corkers. Here are some of our favourite Myrtle quotes (spoken in a gruff east end tone):

“I blame the government”

About Gordon Brown: “I’d like to kick him in the balls”

Talking to some other neighbours at her doorstep: “Are you foreign?”

Talking about Germans: “Well, they’re all Austrian when it suits them”

Referring to Michael: “Where’s the Boy?”

About Desmond Tutu: “I dont like him at all, he puts me in mind of a snake”

And our all time favourite (talking about Geraniums ): “They smell of mustard gas you know…”

She was a cantankerous old bird but she was very funny & it was a real pleasure to have known her these last 4 years– she will be sadly missed by us both.

Myrtle Winifred Cordwell 20 June 1917— 11 March 2010

It's been fifty years since Chermayeff & Geismar unleashed their modern Chase logo on the stodgy, unsuspecting world of bank branding. They were unique to suggest an institution like Chase use an austere, geometric and non-literal symbol as their mark. To help celebrate this momentous anniversary Chermayeff is launching their newest creation, the redesign of the Bank of Taipei brand—half a century later—with another four-sided trademark, this time with softer shapes and a softer shade of blue.

In their own words:

On the heels of a new international agreement that will allow Taiwan banks to do business in the massive Chinese market, the Bank of Taipei commissioned Chermayeff & Geismar, the firm responsible for designing Chase Bank's world renowned folded octagon, to create a visual identity that will facilitate its evolution into an Asian banking powerhouse.
The Bank of Taipei came to the firm with many of the same needs Chase had in 1960: the mark had to be iconic and durable so that it will outlast trends in design; leave an imprint on its home city; and weather unforeseeable changes in the banking industry. Having to address business realities that have changed dramatically since Chase came to Chermayeff & Geismar in the '60s, the firm's identity also had to portray the bank as high-tech and high-touch; local and international; Eastern and Western.

The new mark is said to take inspiration from the flower at the center of the Taipei flag. The bloom is meant to elicit a feeling of friendliness while the square serves to imply financial security.

The logo system has a well-considered approach to bilingual lockups.

The mark, like the Chase octagon before it, is elegant. The drawing is a study in proportion and the curves are clean and sure to be reliably reproduced. Chermayeff runs a tight ship. They also make good use of the hard lines when crafting bilingual lockups. The system, however--how it's used across different touch points and to different audiences--seems a little dry.

The system extends the purple tones to retail and credit card surfaces.

When it comes to the time horizon of an identity, Chermayeff & Geismar always take the long view (think enduring marks like Mobil, NBC and PBS) and they're proud of that. They tend to favor purity of form and concept above trend and marketing. Identity design (or as they refer to it, trademark design) is described in a very particular way on their web site:

Trademark design challenges us to use all the magic and intelligence at our command, all our skill, knowledge, vision, and ability, in the creation of a single, clear, direct image that will embody the character and aspirations of the organizations that come to us in search of identity.

You won't find the word brand here. A word that has come into vogue out of a simple necessity: a company's identity is now (and has always been) more than a logo. More than a trademark. For Chermayeff, it's all about the mark. To be sure, this is a strategy suited fairly well to a financial institution in an emerging market. Simplicity can connote strength and establishment.

However, submitting solid, conservative work can sometimes be taking the path of least resistance. All eyes are on China, and for that matter, Taiwan, as the next global powerhouse. A noted leader in pulling other nations out of vicious recession. And yet, when I really look at this identity system, it feels even older than (the semicentennial) Chase and the type (caught somewhere between Optima and Eurostile) does not help.

It's worth noting that the Chase and Bank of Taipei marks each make for excellent web icons.

Formally speaking, the system is pleasing. The purple used throughout is rich and reassuring and I like how the soft cyan sits so naturally on it. But a mark as simple and unadorned as this one could have used more companions to help express the brand in proprietary and memorable ways. If you look at their web site, you'll notice the web designers desperately grasping at ways to keep things interesting. It is at least partly the brand's fault for this disarray of cheesy icons, bursts, glitter and stock imagery that replaces sorely needed brand elements (something as simple as a house display font or the proprietary pattern that Chase has been using recently).

Rotating frames from the Bank of Taipei's home page slideshow.

It really comes down to the invisible line between design and marketing. The difference between a logo and a brand — something I find myself explaining often to clients, acquaintances, friends and family (and occasionally complete strangers on design blogs).

Don't forget to cast your vote about this post online

A project of mine required a comparison of the world’s most well-known sports brand logos. They’re shown together below in case the quick reference might be useful for you.

Adidas — the trefoil logo is still used on the ‘heritage’ product division

Asics

Champion

Diadora

Ellesse

Fila

Head

K-Swiss

Lacoste

Lotto Sport Italia

Mitre

Mizuno

New Balance

Nike — 1971 by Carolyn Davidson, modified in 1978 and 1985 by Nike

Prince

Puma

Rbk — designed in 2001 by Arnell Group

Russell Corporation

Umbro

Wilson

Should you know the name of the designer responsible, or the year of creation, I’d very much appreciate you leaving details in a comment.

Published on Logo Design Love

Related posts on Logo Design Love

• Woolmark logo
• The “I Love New York” logo
• Don’t try to be original. Just try to be good.
• Logorama the movie
• Are iconic logos designed, or bought?

The Grafikcache has indeed come to an end but a few have asked that I leave the Grafikcache up as an archive. - My Flickr account with all the archived images can be found here.

A month ago I told you I was experimenting with a new portfolio design.

Since then, and in between client work, I’ve been doing what I can to beef the case studies up with larger contextual images, sketches, and mind-maps. The aim was to finally link the portfolio buttons here on my blog across to the new portfolio site.

Today it’s ready to go.

You’ll probably be familiar with most of the projects, so I made sure to include detailed scans from my notebook, and new shots of the design work in context (on clothing, cars, surf boards, etc.).

Here’s hoping the notes give a little extra insight into my thought process.

Please do head across, let me know what you think, and thanks very much to everyone who offered feedback last month. You were a great help.

My new design portfolio.

Published on David Airey, graphic designer

Related posts on David Airey dot com

• Experimenting with a new portfolio design (98)
• The 30 month evolution of my online graphic design portfolio (59)
• URL ABC (20)
• Forget about design (45)
• Henri Ehrhart brand identity design (108)

The process of asking for a loan from a bank sucks. Simple as that. Short of a cavity search, they want to know everything about you and then they will hit you with an interest rate higher than your cholesterol level. Add to that the economic slump of the last two years and getting a loan was harder than spotting a yeti. These circumstances might help explain the burgeoning practice of peer-to-peer lending and at the forefront is Lending Club, which has funded $93,634,075 in loans and $6,487,621 in paid interest to investors since its inception in 2007. The premise is simple, Lending Club brings "together investors and creditworthy borrowers eliminating the high-cost and complexity of traditional banks. This allows people to invest in and borrow from each other in a way that is financially sound and rewarding for both parties. Lending Club offers borrowers better rates and investors higher returns." A short three years after launch and ready to shed its start-up label, Lending Club has adopted a new logo created in collaboration with Mule.

The first 2 – 3 years of any start-up contribute to fine-tuning its messaging and value proposition. Lending Club is about transparency, trustworthiness, simplicity, and better rates/returns. Our new identity and web site better reflect these values.
The beauty of this logo is, first, its simplicity and typography make you feel safe, but then you'll find yourself wanting to interpret the logo. Every customer thinks of it differently, and I've heard at least 15 different interpretations, but the one I hear the most is when people see themselves as the missing square."— Rob Garcia, Lending Club's Sr Director of Product Strategy

The old wordmark was pretty sub par, even for start-up standards. Everything from the color choices to the typeface made the company look small and unreliable. The new logo is a vast improvement both in concept and execution. When I first saw the logo I couldn't help but let a genuine smirk escape from my face. It's not a highbrow concept by any extent, but rather a simple idea executed, well, simply. The little red square jumping from the corral of other squares into the "i" can indeed carry many meanings, whether it is the square being lent to the "i" or as mentioned above, the square of the "i" as in "I/me" being the missing component to make something work. The typography is straightforward Helvetica, which is fine but, in unison with the heavy blue, gives it a slight air of 1960s banking corporate identity — a fine relationship to establish Lending Club as a trusted source, but a far cry in making it look contemporary and groundbreaking. Nonetheless, this is an excellent and welcome evolution.

Thanks to Judith for the tip.

Don't forget to cast your vote about this post online

If there is anyone that learned the branding lesson imparted by the Obama ’08 Campaign, it was John McCain. During the Presidential race there was simply nothing the McCain identity could do to help his chances, especially not Optima, not even at its boldest. Not long after the loss, McCain announced in November of 2008 that he would be running for re-election to his Senate seat in 2010 for the state of Arizona. Earlier this year, McCain presented a new identity for this particular campaign, created by Phoenix-based OVO. What a difference one lost Presidential race makes.

"We crafted the entire brand to assist visually in developing a meaningful conversation between Senator McCain and the people of Arizona," stated OVO principal partner, Ryan Durant. "During the presidential campaign, many didn't feel as though the large-scale format emphasized the 'town hall' approach to politics for which McCain is so well known. The information architecture and design of the new Web site and brand identity provide for him a 'virtual town hall' so-to-speak."— Press Release

Apart from a new President, the Obama ’08 Campaign brought with it a new standard for political identity and we have slowly seen this shift happen with better crafted web sites and campaigns, even if some are mere copycats. McCain's Senate race identity is a perfect example of the new standard and manages to offer a unique personality and execution, even while using the default elements of stars, stripes and the RWB (red, white and blue) color palette. The new icon, dubbed the "McCain Flag" is a lovely abstraction of the flag that is both gentle and strong with its swift curves and thick stripes. The typography is also an excellent choice by having a somewhat traditional serif but feeling substantially contemporary by the serifs being strongly slabbed. Even the deeper interpretations of red and blue help make this a sophisticated identity.

While the identity and printed materials manage to build on the new expectations of political campaigns, the web site is also a notch above the usual. Designed and art directed by OVO, with architecture development and additional design by another Arizona agency, Forty, the site is easy to browse, energetic and welcoming. Overall, this is an unexpectedly refreshing identity and hopefully we will continue to see political identity mature and become an interesting challenge for designers.

Don't forget to cast your vote about this post online

Giles Balne, Printer, 1777, was in a great position. He printed lottery tickets, then won the jackpot, then bought the Vauxhall Gardens, then spent the rest of his days printing amazing posters for them. This poster is 780 x 532mm and is one of seven kept at the Bodleian Library in the John Johnson collection in Oxford. Well worth a visit to see the real thing.

According to our Google Analytics, 58% of your are using a Macintosh Operating System, 39% are on Windows, 1.5% are logged as using the iPhone OS, and, finally, as the subject of today's post, 0.65% of you are reading this from a Linux Operating System. (Wow, 0.01% use Playstation 3!). The Linux platform, in contrast to that of Apple's and Microsoft's, is free and open source and has major street cred among hardcore developers and people that simply want a tinkerable alternative to the Mac vs. PC battle. Also, unlike its commercial brethren, various operating systems can operate in a Linux environment, and one of the most popular is Ubuntu — launched in 2004 by Canonical Ltd. and embraced by a growing community of users that contribute to its growth and evolution. Under a new brand vision of "Light" Ubuntu is preparing to change its identity this coming April.

The new style in Ubuntu is inspired by the idea of "Light".

We're drawn to Light because it denotes both warmth and clarity, and intrigued by the idea that "light" is a good value in software. Good software is "light" in the sense that it uses your resources efficiently, runs quickly, and can easily be reshaped as needed. Ubuntu represents a break with the bloatware of proprietary operating systems and an opportunity to delight to those who use computers for work and play. More and more of our communications are powered by light, and in future, our processing power will depend on our ability to work with light, too.

Visually, light is beautiful, light is ethereal, light brings clarity and comfort.— On Brand at the Ubuntu Wiki

As the cornerstone of the old and new identity is the "circle of friends," an icon showing three abstract human figures coming together to form a whole. A lovely concept. A terribly tired visual cliché. And, in this case, one tepidly executed and forgettable that has not evolved in the least for the new identity. What is worse is that now that it is significantly smaller in relationship to the typography, the shapes become indistinguishable. But let's assume that the "circle of friends" has enough equity within its community to survive at that size, then at least some technical assistance should have been provided to make it more readable and scalable — perhaps not to the exhausting degree of Firefox, but in that vein.

In terms of typography, I surprisingly liked the old one, or at least the combination of these particular letters, since the full font is kind of half-cooked. The new type is more techie and gadgety, rarely a good thing, and it doesn't quite work here, as it breaks the harmony of the characters with those pointed corners. And being so big, the typography would have to be so much more interesting than this.

In the Brand page of their Wiki, Ubuntu presents the new look along with some conceptual sketches of what the brand will look like and how the different members of its community can embrace the new identity. In either case, old and new, the whole is a mess of its parts. It's understandable that not everything has to follow a dictatorial style but these are so similar that they just don't gel together. I may be coming across as drastically critical of an open source project, but if the idea is that the power of the community can create something great, like software, then shouldn't the same be expected of their identity?

Thanks to KT for first tip.

Don't forget to cast your vote about this post online

In dozens of years of watching the Oscars I had never cared about the outcome of the Best Animated Short Film, but this year it was different as in the running was a 16-minute film done almost entirely out of, literally, thousands of logos. Created by the French collective H5, and winner of the 2009 Academy Award for Best Animated Short Film, Logorama is not only a clever idea that brings to life some of the most ubiquitous marks of our time, but one that manages to exploit the meaning and conceptions we have of those marks and the brands behind them — whether it's the villain of the movie, Ronald McDonald, spouting "Loser" after the Enron logo drops from the sky, or "White Trash" when the Kmart logo follows it. Logorama is relentless in its inclusion of corporate, consumer and cultural icons and they become ever so vivid through a crude animation style that complements rather well the prickly language and chaotic plot, which is "Spectacular car chases, an intense hostage crisis, wild animals rampaging through the city and even more…". Images and a trailer for the short film have been floating around the web for the last few months and the full video has been spotted on and off. The official, legal video can be seen in some countries through iTunes for $1.99, and until further announcement it's also available at Vimeo (embedded below). [Boy, I haven't even posted this and the video is already gone; below are some screen captures and instead of buying a cup of coffee today, spend it on this movie, it's worth it]. There are plenty of memorable moments, so don't even dare to blink.

Don't forget to cast your vote about this post online

Continuing from our MTV International Rebrand, the onscreen menus, MTV pulse and Popx1000% approach is being implemented across other channels. Part#1 of our series of idents for pop channel MTV Hits - amplifying pop-clichés through ultra-simple graphic characters. Music by wevie.tv