National Lottery Branding Guidelines

Here is the guidelines for the National Lottery from Northern Ireland:

Again, it's not about the Lottery itself, the purpose is to just see what actually goes into branding. The presentation is smart, it's not just plonked in a word document, it's clear to see time and effort has gone into it - and the branding!

Barbican Branding Guidelines

As the brief asks me to step away from typical art gallery branding, I have looked at the Barbican branding guidelines. Also, it's so I am aware of what should be included...

It's really interesting to read and see what goes into the Barbican... to Joe Bloggs it's a black and white logo, but the set of restrictions and boundaries make it all the more exclusive. Even the specified font, families, grids, colours, layouts and formats! The presentation of the guidelines themselves is a

Collecting More Colour Inspiration

I have collected a few visuals from Google Images that I will use to help create a suitable colour scheme for the branding, using keywords 'relax' and 'tranquility' - I have collated the following visuals.

Colour Scheme Inspiration

Looking for a colour scheme that portrays calming and tranquility... The main focus here has been the sky, sunsets in particular.

With Compliments

Looking for inspiration and seeing the different formats for with compliments slips:

Ruedi Bauer

Southbank Centre

This is a completely different approach to a logo to those I have looked at already. It's very bright, colourful and vivid and the clashing colours really draw your eyes to look. The variety in colour and the different patterns could reflect the variation of events that occur at the Southbank Centre, as it is an arts centre there are exhibitions by known artists, prisoners, music events... It hosts a number of events.

I do think this is much more inviting and friendly looking, the others are maybe too sophisticated. The colourful theme gives a family friendly vibe too.

Guggenheim

Another simple logo, pure text, black and white and minimal. The G's are very similar to the logo used by Gucci with the two G's overlapping but facing opposite directions.

Even by applying the logo to this pack of pencils transforms the product entirely. It's not just any pack of pencils...

The only time the Guggenheim changes it's identity is for the Children's section and it's for education/pronunciation purposes.

Henry Moore Foundation

 

Compared to some of the other logos I have looked at, this still has the simplicity, but as a serif font has been used it gives it a more traditional feel, which may give a hint as to the types of sculptures exhibited.

The Saatchi Gallery

Another simple, almost corporate looking logo. Clear, concise 'does what it says on the tin'. I thought Saatchi and Saatchi may have been behind the branding for this, but there is no information to support this. I was most surprised by this logo, because of it's fantastic, if not expensive location in Chelsea, so I was expecting a scripted, fancier logo than this one. I will be honest, I don't like it.

National Portrait Gallery

Similar to the Serpentine Gallery logo, clear and concise, nothing fancy. There is very little information on the history of the branding of this gallery. I can't find any information to suggest who branded the gallery, or any historical information on previous logos/identity. 

V&A

A classic logo designed by the late Alan Fletcher, described to be the most prolific of his generation. Designed in 1989 it is still in use today, a simple but clever creation, in Bodoni using the serif on the ampersand as the bridge on the A.

Serpentine Gallery

This is for the gallery in London, quite a simple boring logo really. Or you could look at in the way of it being black and white 'what you see is what you get' - which tends to be the case in modern and contemporary art galleries. I have done research on this gallery in the first year so I knew of it's existence but I couldn't remember the logo... I wonder why?

Tate Logos

Created by Wolff Ollins, the Tate logo appears to break the norms of logo design, as the variation of the blur affect differs to each logo. The variations are quite slight so it doesn't appear to effect the ability to recognise to this world wide know name. It is a really modern concept and visual in comparison to some gallery logos - its not a typical gallery logo, and the colours used throughout are fresh and contemporary. Another important element as well is they are memorable, apart from knowing that Tate is a gallery, there is nothing in the logo to suggest it is a gallery or art space, but the recognition built up from the brand helps this. The logo is versatile for whatever it is transferred on to, tote bags, carrier bags, key rings, badges, flyers, posters, banners, pencils, rubbers, you name it!

From Tate:
'There are a number of variations of the Tate logo, or mark. They range from a standard logo to a blurred version, a faded version and a halftone version (dots rather than smooth fading). The marks have no fixed size or position and they are not connected with one particular Tate site. The Tate mark helps to build a brand that is fresh and fluid, but has some consistency – one Tate, with constantly changing expressions.'

Brief 2