ITV Off-Air Campaign

What I found from these images are that for off air campaigns the logo for ITV is on the right.

A different approach to ITV's off air campaigns, an illustrated style, almost in a catch phrase visual.

Effective visuals for the live debate for prime minister on ITV.  The white profiles of the faces really advance from the black background, its a really striking image, it does make you think it is an ITV 'fictional' programme, but the small print shows its for the election.

An image showing the new 'Bill'.

'Agency: BBH

Client: ITV 

ITV has launched its first series of campaigns as created by Bartle Bogle Hegarty (BBH), its advertising agency appointed in October.

Off-air campaigns for the brand-new interlinked dramas ‘Moving Wallpaper/Echo Beach’ include posters and press, as well as online work from ITV’s digital agency Dare.

The push also includes campaigns for the comedy drama series ‘Honest’ and ‘Primeval’.

The marketing activity coincides with the unveiling of a new look ITV1 schedule in 2008, which sees the return of News at Ten, an increased focus on weekday peak time hours and a revitalised weekend line up.

ITV Group Marketing Director, David Pemsel, said, “BBH is delivering a refreshing approach and tone to ITV’s off-air marketing which lead us into the new era of our content-led strategy.

“With a higher level of aspiration, we will continue to engage our mainstream audiences in clever and entertaining ways. Viewers will also see more synergy across ITV’s channels.”

BBH’s remit is to develop off-air creative work across the ITV channel portfolio working alongside ITV Creative, who continue to produce all on-air creative, and Dare, ITV’s digital agency.'

Taken from utalkmarketing.com

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

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.

Duke of York Square

I think this is a successful logo, it's bold and bright and gives the impression of quality and sophistication, which is what you can expect from this area. I have visited a few times, I first stumbled across it when I visited London alone a couple of years ago!

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.'

University of Sussex

I love this piece! The layout works well, the image is great and really emphasises 'explore', the colours are well suited too. I didn't notice the link in between the logo 'us' it flows well. Although my only criticism would be, when I first saw this, I thought it was for an airline or travel company.

Just Creative Design

This is from the Just Creative website by Jacob Cass, I like the use of the JC for both. The idea for the logo works well, and the font and colour choice is appropriate, however, I am not keen on the quality of the line for the image.

Successful Logos...Channel 4

Another logo I think has been really successful is the Channel 4 logo. I have found the identity guidelines which specifies the criteria for the logo in times of reproduction for screen and print.

'Many brands place their logos
in the bottom right position of
the page. However Channel 4
places its logo in a distinctive
centre right position. This is
unique to the channel and is
therefore instantly
recognisable.' Channel 4

Guidelines.

This shows the isolation area for the logo - it should always appear with an area of space around it equivalent to 0.3 of the height of the logo.

e.g. Height = 100mm

Space = 30mm

In the guidelines it also specifies of what not to do with the logo:

The colour palette:

Recommended logo sizes:

A3 Portrait 54 mm

A4 Portrait 40 mm

A4 Landscape 42 mm

Brochure 44 mm

210 Squared 38 mm

A5 Portrait 34 mm

A5 Landscape 34 mm

TV Logo Position Analysis

A look at where and how the channel logos are positioned. After speaking to my tutor, Lorraine, she said to observe this with the rule of thirds in mind.

All of the logos fit into the top left third, but there is no real consistency of position within this. The thirds could easily be divided into sixths but again there's no universal positioning.