#wolff olins london

[happywebdesign]

Wolff Olins

[ailogomakerr]

Global Unity Through Design: How Olympic Logos Connect Cultures

When you ponder the Olympic Games experience, what comes to mind?What springs forth. The exhilaration of rivalry or the tales that motivate from athletes or even those impactful instances of triumph and glory! However more, than the spirit and grandeur exists another significant aspect that unites the Games. It’s the emblem of the Olympics! This subtle potent symbol transcends aesthetics; it serves as a symbol of worldwide harmony knitting together diverse cultures across the globe. To design such a captivating logo requires an understanding of the storied legacy that this symbol holds.

“The Olympics. Embracing. Unity”

The Olympics have never been, about sports; they’re a symbol of unity and togetherness among nations from corners of the globe who put aside their disagreements to compete and bond for a short while in the name of sportsmanship and friendship.The famous Olympic emblem featuring rings symbolizes this idea perfectly by representing each continent and showcasing the worlds nations coming together as one, in peace and cooperation.

The Olympic logo isn’t a symbol; it changes with each host citys touch of culture and local charm.The beauty of design truly stands out in this process as designers strive to craft a logo that captures the essence of the Olympics while celebrating the identity of the host nation.

The Influence of Symbolism, in Logo Creation

Designing a logo, for the Olympic Games is an art form with stakes involved. The logo needs to be easily recognizable yet versatile enough to work across various platforms like billboards and social media as well as merchandise items; it should capture the essence of the Olympics values and resonate, with people worldwide while also having a compelling narrative behind it.

The 2020 Tokyo Olympics provide an example of this notion, with their logo created by the Japanese artist Asao Tokolo showcasing a checkered pattern symbolizing unity amidst diversity.The use of indigo blue pays homage to artistry while the geometric shapes mirror Tokyos reputation, for modernity and innovation.This emblematic design flawlessly combines elements with a touch of style.

Exploring the Impact of Visual Design, on Connecting Cultures

Graphic design serves as a form of communication that bridges gaps, between individuals from cultures and regions transcending boundaries effortlessly. In the realm of the Olympic Games domain this method of communication holds greater significance and impact.The emblem of the Olympics typically marks the encounter, between the Games and its worldwide viewers determining the impression and reception of the event.

Designers face a task when they design a logo that resonates with people, from all backgrounds. To achieve this goal successfully they need to have a grasp of symbolism, color psychology and the subtleties of cultures. For example specific colors and symbols can hold interpretations across societies. Hence designers must be sensitive, to these distinctions when creating a logo that seeks to bring people than drive them apart.

The Evolution of Olympic Logos, throughout the Years

The Olympic emblem has transformed considerably from the Games in 1896 onwards with early logos being basic and practical to align with design trends of that era; however as the Games expanded in scale and importance over time so did the intricacy and innovation of the logos evolve alongside it.

The 1964 Tokyo Olympics was a moment, in the evolution of Olympic logo design as it introduced a minimalist sun emblem symbolizing Japans rising sun and integrated the Olympic rings into its design. A pioneering move that paved the way for future logos to embrace cultural influences.

Olympic logos have evolved to be more dynamic and interactive, in years to mirror the era we are in today.This shift was evident in the 2012 London Olympics logo created by Wolff Olins. A departure from the norm, with its lines and vibrant colors that stirred up reactions while perfectly encapsulating the vibrant atmosphere of the Games.

The Role of Artificial Intelligence, in Shaping the Future of Olympic Logo Design

Looking ahead to the future reveals that AI will have an impact, in shaping the future of Olympic logo design processes by leveraging data analysis tools that can interpret cultural shifts and color choices to assist designers in crafting logos that are not only cutting edge but also culturally significant.

For instance​ an AI tool, for designing logos can rapidly generate a variety of design choices by considering factors like the background of the hosting city or the intended emotional impact, on viewers​​​. This not only accelerates the design process but also encourages more exploration and innovation.

Here at Ailogogenerator.com we value the fusion of creativity and AI advancements. Our tools, for AI logo creation aim to support designers by providing them with the resources to craft logos that have an appeal. Whether you are working on a logo for a neighborhood business or a major global event such, as the Olympics our platform is there to assist in realizing your design aspirations.

The Influence of Olympic Logos, on Worldwide Brand Recognition

The logos of the Olympics go beyond symbolizing the Games — they create an influence, in global branding as well.The impressions left by these logos are witnessed by millions across the globe. Serve as representations of the culture and identity of the hosting nation.In instances the Olympic emblem becomes inseparable, from the city or country it represents resulting in a lasting impact that transcends the conclusion of the event.

In one example l the logo of the 2008 Beijing Olympics, with a stylized character symbolizes Chinas rise as a force for years to come.just like how the 1992 Barcelona Olympics logo, with its fun abstract design is still linked to the citys evolution into a lively cultural center.

In summary Olympic logos go beyond visuals. They serve as symbols of worldwide harmony and cultural interaction. With imaginative concepts these logos unite individuals from diverse backgrounds prompting us to reflect upon the common principles that unite us.

As we venture into territories, in the realms of design and technology advancements on platforms such as Ailogomakerr.com will have an impact on molding the trajectory of logo creation in the future era. Utilizing AI algorithms alongside cutting edge design utilities enables us to craft logos that not just embody the essence of prestigious events like the Olympiad but also strike a chord with an international community audience. Thus whether you are crafting designs for the Olympic Games or, for your personal brand identity be mindful that exceptional design possesses the ability to unify and ignite inspiration among all who encounter it.This blog is from Ailogomakerr.com

[coinnewz]

What Crypto Marketers Can Learn from Twitter's Rebranding to "X"

In a bold and unexpected move, tech billionaire Elon Musk transformed one of the world’s most recognizable social media platforms, Twitter, into “X.” The familiar blue bird was replaced recently, marking an end to an era. The shakeup has left many marketers and advertisers reflecting on the lessons that might be gleaned from this audacious move. Bye Twitter, Welcome X Twitter’s rebranding underscores the undeniable power of brand equity, which floated between $4 billion and $20 billion before the transformation. This monumental value was not a mere market whim. It was a testament to years of brand building, user engagement, and profound cultural integration. For emerging crypto projects looking to mark their territory, Twitter’s trajectory highlights the benefits of fostering and nurturing a consistent brand identity. Still, the recent rebranding flags potential pitfalls, especially the risk of cultural disconnection. Most Popular Social Networks Worldwide. Source: Statista Through its name and iconic logo, Twitter had seamlessly integrated itself into the tapestry of modern discourse. Actions like “tweeting” or “retweeting” became common linguistic currency, symbolic of the platform’s global impact. But all this hard work was “destroyed overnight,” according to Neil Cooper, head of design at Wolff Olins London. “This may or may not be the worst rebrand of the last few years, but it will certainly be a case study for design students for many years to come,” said Cooper. Established cryptocurrencies and DeFi platforms should tread carefully when altering major brand elements. The lesson here? Weigh the value of the existing against the allure of the new. Read more: Web3 Marketing Strategies for Blockchain Projects Any crypto venture aiming to transition from niche to mainstream must prioritize creating branding elements that resonate both culturally and linguistically. Pure Ego or Business Strategy The Twitter to “X” transition raises the question of strategy versus ego. Many have dismissed Musk’s move as an “ego decision” divorced from sound business strategy. “It is a completely irrational from a business and brand point of view. To me, it is going to go down in history as one of the fastest unwinding of a business and brand ever,” said Allen Adamson, co-founder at Metaforce. Then there’s the trust factor. Musk has hinted at pushing “X” into banking and payments. However, launching such initiatives under an entirely new banner might be met with skepticism. Trust is painstakingly built and easily shattered, especially in the financial markets. “I just think that customers outside of Musk’s sort of core fan base would really struggle to use Twitter to exchange their money,” said Joshua White, assistant professor at Vanderbilt University. This should be a stark reminder for crypto ventures. As they scale and evolve, it is crucial that any rebranding remains anchored in strategic objectives rather than personal whims. Established crypto projects contemplating rebranding must weigh the potential loss of trust against the allure of a fresh identity. Giving Power to the Community Integral to Musk’s rebranding approach was his decision to crowdsource design elements from the platform’s vast user base. Interestingly, this initiative reinforces the value of community feedback, allowing users to be part of the decision-making process. In the decentralized ethos of cryptos, the community is not just a passive audience but an active participant. Encouraging such engagement when rebranding can forge stronger bonds and cultivate loyalty. Change default platform color to black — Elon Musk (@elonmusk) July 23, 2023 Finally, there’s the consideration of brand evolution versus brand revolution. Tech giants like Google and Facebook charted a path of brand evolution — changes that, while significant, retained a sense of familiarity for users. On the other hand, Musk’s approach with Twitter was nothing short of revolutionary, casting aside years of branding heritage. Crypto marketers, especially those looking to rebrand their projects, stand at this crossroads and must deliberate on the benefits and drawbacks of each approach. Read more: 6 Best Web3 Marketing Agencies To Support Your Crypto Project While the future trajectory of “X” remains uncharted, its birth from the ashes of Twitter offers many insights for crypto marketers. As digital currencies and blockchain projects gain traction, deciphering and applying these lessons is necessary. And as they say, those who do not learn from history are doomed to repeat it. Disclaimer Following the Trust Project guidelines, this feature article presents opinions and perspectives from industry experts or individuals. BeInCrypto is dedicated to transparent reporting, but the views expressed in this article do not necessarily reflect those of BeInCrypto or its staff. Readers should verify information independently and consult with a professional before making decisions based on this content. Source link Read the full article

[edubound]

Want to pursue a Graphic Designing course in the UK? Everything you need to know!

The use of graphics is crucial while developing a product. The UK Masters in Graphic Design program’s main goal is to increase students’ proficiency in 2D, 3D Animation, Visual Effects, and other fields. If you hold a master’s degree in graphic design, you have a 100% chance of getting a top position in the UK.

The educational institutes in the UK are the best place to begin a career in graphic design. Graphic design students often split their days between instruction and studio time. You will practise drawing, painting, and typography while theoretically learning the history of graphic design, design tenets, and colour theory.

Never a day goes by that you won’t have the chance to exercise your imagination. Additionally, you will acquire beneficial practical experience in the real world that will be beneficial to you after graduation. Most graphic design degrees in the UK also include either an internship or an apprenticeship, allowing students to apply the theories and skills they have learned in class in a real-world, professional situation.

Students enjoy the experience they may use in a post-graduation interview and add to their résumé. Employers value students with study abroad experience in particular since it demonstrates that they are capable of taking on challenges and have honed their critical thinking and problem-solving abilities.

Places to study Graphic Designing in the UK

The UK offers top-notch graphic design degree programs, but a few locations stand out for being particularly well-known among students. If you’re unsure of where to pursue a graphic design degree in the UK, consider studying overseas in one of the following countries:

London: Few other cities on earth can compare to the glitz and shine of London, the metropolis of England. Wherever you go in London, there is a fast pace and excitement mixed with a cosy, neighbourhood feel. But graphic design students

particularly adore the thriving artistic environment. However, don’t forget to have fun! London is home to some of the best entertainment in the world.

Bristol: A 500,000+ person metropolis in the southwest of England, is well-known for its maritime history. Students adore Bristol’s laid-back vibe and wealth of entertainment. Discover places like the Bristol Zoo or Brunel’s S.S. Great Britain, as well as architectural wonders like the Clifton Bridge and the Bristol Cathedral. After that, venture outside to see Bristol’s acclaimed culinary scene and exciting nightlife.

In the London, United Kingdom, area, a graphic designer makes an average pay of £33,734 annually. A graphic designer in the London, United Kingdom, area will typically receive an additional £1,435 in income, with a range of £440 to £4,687.

Best colleges to study Graphic Designing in the UK

● University of Brighton ● Nottingham Trent University ● Arts University Bournemouth ● University of the Arts London ● Loughborough University ● Falmouth University ● University of the West of England Bristol ● Kingston University London ● University of Leeds

Top companies in the UK

● Pentagram ● Wolff Olins ● The Chase ● Pearlfisher ● Charlie Smith Design ● A Practice for Everyday Life ● Spin

● SocioDesign ● Only ● Made by Alphabet

Start your journey with Edubound! Are you interested in studying abroad but unsure of where to begin? We have your back. Get a free strategy session with us. Begin your trip, follow your progress, join the community as it grows, and much more! We will assist you in your journey from the start to end.

We will help you with: ● LOR ● SOP ● Visa guidance ● Scholarship assistance ● Resume ● Choosing the right course and university ● And much more…. Call us now and get one step closer to studying at your dream university! You can also write to us at infor@edubound.in

[fuzzysparrow]

Which letter is used as a logo for the Halifax Bank in the UK?

Halifax is a major bank in the United Kingdom. It was founded in 1853 as the Halifax Permanent Benefit Building and Investment Society at the Old Cock Inn in Halifax, West Yorkshire. Halifax originally functioned as a building society until 1997 when it registered as a bank with the London Stock Exchange.

There have been many logos used for the Halifax bank since its inception. Since 1985, the logos have focused on the letter X, in which the word 'Halifax' sits where the two lines cross. Earlier logos focused on the name of the company without additional decorative elements, until the advertising agency Wolff Olins designed the first version featuring an enlarged X. It has since become one of the UK’s most iconic emblems.

Since 1985, the Halifax logo has appeared in blue, which matches the colours of the storefronts across the country. The X was initially made up of a series of horizontal lines until 2019 when it was replaced by blocks of colour. The new logo is made up of three shades of colour: white, Medium Sapphire, and Dark Byzantine Blue.

[doseofdesign]

More images here

Future London Academy’s identity for Branding Now will inspire you to build standout Brand Design and Strategy

To build a brand that stands out and win awards, in a world where everything has already been created can be challenging. It requires developing a powerful strategy, story and visual identity. The brand development process needs to be well-structured and the design team — well-led. 

This challenging process has been highlighted in this new identity by Future London Academy’s design team for its Branding Now course — the ultimate course on Brand Design and Strategy for Senior Creatives. Curated by Campbell and Robyn Butler, Co-founders of Brisbane-based, Lovework Studio. Together they have over 18 years of experience in Brand Design and Strategy, working at legendary agencies such as Wolff Olins and Design Studio. 

Future London Academy’s design team created a system that is dynamic and adaptive. It is built around a multilayered system, where the layers overlap, reorganise and change positions. Strong icons depicting a Book, Heart and Hexagon stand for Story, Symbol and System. These three design and strategy pillars summarise what is needed to build brands that stand out from the competition. Initially, they were a quick sketch Campbell created during one of the first sessions to explain the idea of the course. The design team loved the icons so they build the design system around them. 

The typography and layouts are influenced by Swiss School Design — bold and simple they reflect the functionality and structure that are behind any powerful brand work. The strong lines created by typography allow keeping the layouts clean but eye-catching. For the merch designs, punchy quotes from the curators were used to remind us that to experiment and sketch ideas away from the computer. Not only is it an essential part of the brand development process, but that great ideas come from being human.

[designmatazz]

Studio Oliver Helfrich – Coming from a graphic design and sculpting background Oliver Helfrich has a broad and multi-disciplinary approach to design and branding. Originally from Germany, he was trained as a stone sculptor, and later moved on to branding in The Netherlands, where he had worked for renowned agencies such as Studio Dumbar and Koeweiden Postma. Until 2017, Oliver was Creative Director at Wolff Olins London, where he was leading branding projects for international clients from all sectors (a.o. Google, Enel, Tesco, Morrisons, Daimler, Qatar Museums, Olafur Eliasson/Little Sun, PwC).Throughout his career Oliver has been teaching Visual Communication at the Willem de Kooning Academy, Rotterdam, as well as giving talks around the world. Alongside his commercial work he produces self-initiated projects, like the award winning Book of Paper, the childrenswear brand Beep or his series of wooden totems. Currently Oliver lives in London and runs his own design studio. Additionally, he is also collaborating closely with the Scandinavian branding agency Bold as their Global Creative Director.

[joshsdesignblog]

Essay planning 

For my final assignment, I want to talk about the evolution of the Summer Olympics Games and how they adapted to the trends/movement of the time. I have chosen 3 different years for their design aspects.

1 - Mexico 1968 

The Mexico Olympics was a revolutionary Olympics in terms of design. American designer Lance Wyman was commissioned to design the logo for the 19th Summer Olympics. 

2 - Munich 1972

The Munich Olympics, in my opinion, is the most appealing Olympics in a design sense in history. German designer Otl Aicher was commissioned to design the 20th Summer Olympics.

3 - London 2012

The London Olympics was designed by the design firm Wolff Olins The logo was pretty controversial, saying it was not good and had nothing to do with London. But, in my opinion, it is an iconic logo.

[olympicgames-en]

An oral history of… the London 2012 Olympics branding

#OlympicGames #London2012 [Creative Review]Wolff Olins CEO Sairah Ashman and chairman Brian Boylan remember the ups and downs of its controversial 2012 Olympics branding ...

[typografika22-oliviaerskine]

Erik Spiekermann

Erik Spiekermann is a legendary German type designer and information architect. Besides he has published numerous books and articles on the subject of typography and other cultural issues for magazines. Born on May 30, 1947, Erik Spiekermann grew up in Stadthagen, Germany. He received his formal art education from Free University of Berlin. He paid his tuitions by running a letterpress printing press in the basement of his residence. During 1970s he moved to London and spent an entire decade freelancing as a graphic designer and teaching. He freelanced for several consultancies including Filmcomposition and Wolff Olins and taught at the London College of Printing. In 1979, Spiekermann returned to Berlin and in partnership with two designers founded MetaDesign. The firm has its offices now in London and San Francisco as well. The studio aspired to combine teutonic-looking information design and complex corporate design systems. Some of the notable projects undertaken by the design studio for clients include Audi, Volkswagen, Skoda, Berlin Transit and Heidelberg Printing and served a number of other leading clients.

From https://www.famousgraphicdesigners.org/erik-spiekermann

[impacteyeball]

Wolffolins is a world renowned brand consulting agency."We can't change the world, but our customers can," says Wolff Olins. Indeed, their solid reputation has given them an all-star list of clients from all walks of life and all kinds of businesses.Including the 2012 Summer Olympics in London, with a rumored price tag of $625,000. From their work display, we can feel that the power of vision is everywhere.For example, the logo they designed for Google, as long as you see the ball of red, yellow, green and blue, will directly wake up all your memory ogoogleB1 in your brain.And when you put all the Google products together, it's like they're part of a family. There's nothing out there. This is the power of brand design.

[twosmokingbarrelsltd]

So another one to share from a few years back now. Virgin media brand guidelines. Wolff Olins called me up to help the team create 5 guideline books from scratch for the virgin rebrand. We artworked the books wrote content based on the tests we carried out for colour size readability etc. Was a detailed job we took up an entire four walls with printouts as we adjusted rejigged and got to the final content for the guides. Am proud to have worked on that one, another iconic logo artworked by me woo. #ANIMATIONSnPRESENTATIONS #RETOUCHINGnVISUALISATION #BRANDING #BRANDGUIDELINES #CREATIVEARTWORK #LARGEFORMATARTWORK #GRAPHICDESIGN #ARTWORKNPRINT #PACKAGINGARTWORK #WorkFromHome #RemoteWorking #WFH #RW #STUDIO #STUDIORESOURCE #GRAPHICS #POWERPOINT #BRANDGUIDELINES #RETOUCHING #CREATIVE #LARGEFORMAT #BRANDASSETS #LOGO #LOGOLIBRARIES #BRANDMARQUE #EXHIBITIONARTWORK #COLOURTESTING #VISUALISATION #TOOLKIT #KITOFPARTS (at London, United Kingdom) https://www.instagram.com/p/CFfZzLtFUZ4/?igshid=ezmri2vh9c73

[pascalbeucler]

"The conscious brand isn’t just responsible, it’s also responsive. Conscious beings are alive, awake, aware and self-aware. They’ll adapt instantly to changing needs and moods among their customers and employees. They’ll be not slick, corporate and mechanistic but emotionally intelligent, organic, rough, unfinished, constantly morphing, and even able to laugh at themselves" Very well said Wolff Olins and very well seen: brilliantly reinventing branding again and - Gosh! - this reminds me the fabulous time I spent in London with the iconic Wally Olins ...thirty years ago this month! #nextgenbranding https://www.instagram.com/p/B_mWzeqgIL2/?igshid=1xhmt2stub4hz

[willemdirksmit]

Reading reflection, week 3

A short summary from Shaughnessy, A. 2010. How to be a graphic designer without losing your soul. London: Laurence King, 28-36

Practice cultural awareness, communication skills and integrity; attitudes of mind, if you will. These are acquired through doing and thinking about doing. Of course you need more than just that, you also need practical skills; those you are able to learn through teaching but bettered through doing.

You need enough time to do work and it’s only an illusion that we don’t have enough time; the real issue is managing our time. Professionalism and time management are linked; miss a deadline, lose a client. Anxiety is essential to passion and commitment, but it makes time management real tricky and makes time feel like it’s running through our fingers, so manage it.

You control the rate at which time passes, not the clock or a client. So chop projects into manageable chunks and have reachable milestones. Control is greater when there are a larger number of smaller achievements.

Also, prioritise and do the unappealing parts first. Also be sure to push through tricky parts and end on a high note; this will ensure enthusiasm upon your return to the project. Add buffers into your schedule to account for unexpected interruptions.

Invest time into research and designing. Look out for clients’ dumps of background information and use data mining to your advantage to concoct something new and different. Do your own research and do it well; design and good research go hand-in-hand. A great way to do this is to get a profound understanding of your clients and start exploring, using your intuition. It’s a creative process and not step-by-step. It’s also really important to make sure you identify where you fit into the creative process and the team. Ask yourself what you contribute to in terms of research and what value others bring to research. Design is a combination of research mixed with imagination.

Remember and reinforce the importance of ideas, intuition and imagination. However, remember to research well and implement solid strategy to maintain the respect of strategy-driven clients. Like with Wolff Olins, it’s important to integrate seamlessly strategic ‘business thinking with intuitive creativity’. Good strategy in design is combining research with market or audience intelligence; ‘combining knowledge of technological developments with current’ behaviour patterns; ‘evaluating expenditure in relation to effectiveness’ and lastly, ‘having a grasp of human psychology and behaviour and familiarity with trends, fashions and customs’

Through good presentations, you can justify, defend and explain the ideas that came about through unconscious creative processes; it’ll always be relevant and crucial to be able to communicate your ideas effectively. Life will be harder if you can’t discuss your work objectively and put yourself in others’ shoes. Ideas have to be questioned and scrutinised and these questions have to be asked and answered. Many ideas get rejected not because they’re bad ideas but because they’re presented badly. Remember to make presentations stem from the heart and not a manual and have conviction; it’ll grow with time and practice.

When writing, remember to write with precision, brevity and without faffing about. Write in short sharp sentences and master the art of omission; befriend your delete key- there’s no sentence that can’t be improved by deletion.

Not everything has to be done visually, embrace writing. Handling text is a priceless attribute and making text changes can often rescue works from being write-offs. It’s crucial to keep writing and keep reading; it keeps you smart and makes you desirable.

When you’re done writing, change the visual layout (font, point size etc) and it’ll illuminate your patterns. Rewrite constantly. Edit as much as you can. Most writing happens in the editing; the first draft is rarely the best. Allow lots of time to pass before declaring a text finished. Lastly, write in plain English and avoid jargon.

[ellieclarke01]

IXD102 Presention - My Slides

My group decided to research all together and put all of the information onto the one document that we could navigate to use information for the presentation that was appropriate. Joel was the one that originally suggested that we all do our own research and combine it over-time. 

We compiled all of our research onto the one word document before opening up google slides and beginning to create all the appropriate slides for each of the different topics. The presentation had a total of twenty-two slides by the end of laying out all of the titles on each page. 

We then all worked in a team to type up the research onto the slides and make our PowerPoint as information filled as possible. 

After filling in all of the information and completing the slideshow, we split up the slides into sections to read, we agreed I would discuss the intro, what postmodernism is, before covering the last two slides which were about influential pieces and the conclusion. 

Joel offered to take the largest chunk of the presentation and chose to present about Wolfgang and his pieces, and then about Neville Brody and about his pieces. Then Cathain took the next section of the presentation and spoke all about Paula Scher and also discussed her pieced to the audience, before finishing his section by reading the slide we had on London Punk aesthetic. Erik then read the shorter more concise slides on singular topics such as the 80′s and 90′s era, New Technology at the time, and the first three slides of the most influential pieces. 

I created flashcards to help me read my slides so that I wouldn’t have to look at the computer:

The intro section and the Postmodernism section I found the most challenging for me to read, as our group was the first group to present and i was the first person to speak, so my nerves held me back, however at the end of the presentation when I returned and had to discuss the final two influential pieces, and give the conclusion, I felt a lot more confident. 

I two influential pieces that I had to read about were on the “OK Computer” Album cover, designed by Stanley Donwood, and the 2012 Olympics and Paralympic Games Logo, created by Wolff Olins. 

I finished off with reading the conclusion and then we returned to our seats.

[courtney-jadeneale-blog]

Top 5 Design Companies in the UK (FINISH)

Who do you think are the top five design companies within the UK and Why?

Wolff Olins

Wolff Olins have worked for brands like Uber, British Heart Foundation, and Team Knowhow. I first came across Wolff Olins on Instagram, I was immediately captivated by there page due to there use of bright colours the clean aesthetics and the variety of work they produce. I feel variety within an design agency is really important as it applies to a wider audience drawing in more clientele. 

https://www.wolffolins.com/

Pentagram

Pentagram is the worlds biggest independently owned design studio. I first came across pentagram when researching for 104, I was drawn to the work they did for brands like London Fashion week and Dazzle, Again Pentagram has a wide variety of collaborations and work in branding. 

https://www.pentagram.com/work/archive

Bulletproof

Bulletproof are a international brand and packaging agency, their saying is ‘we are not an agency, We are a tribe. I personally didn't find much of the work on Bulletproof to be my cup of tea, however I chose it as I really likes the layout of the website and how each page was answering a new question, as I found this to be really professional and insightful from an outsider and potential client prospect. 

https://www.wearebulletproof.com/uk/who-we-are/

ManvsMachine  

“We are a multidimensional creative studio specialised in the fields of design, film and visual arts.“ I love ManvsMachines work with Nike I find all of the branding to be really fresh, innovative, and exciting I really look forward each time to see how they've worked with the brand. I really like ManvsMachine as I like there use of motion graphics within a lot of there branding as this is something I really want to try and incorporate in my portfolio.  

https://mvsm.com/

Sagmeister & Walsh 

Sagmeister & Walsh is my personal favourite, I found out about them during a lecture for my new 103 briefing and immediately feel in love with the work produced and the variety of each project. I particularly liked the work done with Benefit, Milly, Meetup and Aizone Campaign 

https://sagmeisterwalsh.com/work/