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RELOGO provides graphic designers with an indispensable reference source for contemporary identity design and also serves as a valuable source of inspiration on how to redesign a logo of a brand. Showcasing a vast, international array of current trade marks – ranging from those of small, design-led businesses to global brands – the book offers design consultancies and professional graphic creatives a ready resource to draw upon in the research phase of identity projects and redefining a brand in the marketplace. RELOGO offers the designer an essential guide on how to reinvent the image of a corporation, organization or product, while still keeping intact the essential elements of the logo which first established the company as a brand.

Presenting an outstanding collection of over 500 examples of re-modelled logos from varying industries and sectors, this book is the definitive study of visual branding and corporate identity. As a well as important reference on commercial graphic design and contemporary aesthetics, RELOGO reflects the constant demand in business and marketing strategy to transform the initial logo into something dynamic and fresh, whether to enhance the commercial appeal and visual presence of a product, to improve the overall design elements, or simply to reinforce the original identity of the original logo itself.

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Curve brings you the latest international news from the world of industrial design and product development. It is published four times a year in February, April,
July and October.

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It is a source of great pride that our work continues to be validated by industry peers and more importantly, by our clients who consistently refuse to junk exciting ideas to satisfy cautious critics.

The winning work will be published in the Chinese design journal ‘New Graphic’. Edited & planned by Seecoo Culture Communication, since 2004, ‘New Graphic’ has become representative of influential design in China.

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The Swedish education system consists of day care centres, preschools, school childcare services, compulsory schools, upper secondary schools and adult education programmes. Instruction and teaching methods are regulated by the Government and Parliament at a national level, by municipalities and other authorities locally, and by the schools themselves at institutional level.

When the Education Department was founded, the idea that privately controlled institutions might offer contributions to the education system seemed contrary to the spirit of the era but in recent years this idea has gained wider currency. Today, they face competition from private alternatives in many of the areas they operate in.

Bulldog was hired to emphasize the importance of intelligent choice over efficient central control via this symposium with the department’s staff. You can hear a short audio clip from the event below.

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Would you like us to speak at your event, conduct in-house brand training for your organisation, a workshop for your clients or serve on a panel? Contact Bulldog at info(at)virtualbulldog.com

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We were completely shocked when we heard. In a field that includes some of the industry’s top firms, including Meta Design, Interbrand, FutureBrand, Siegel+Gale and Lippincott, we had to read the notification several times before we realize that we had won ‘Best of Awards’. Both Jonas and I were thrilled with the end product and so pleased the Rebrand 100 judges felt the same way.

Emphasis was on executed strategy that made an emotional connection, and met the stated objectives and needs of the identified customers and prospects. Jurors were unaware of the brand strategists’ name and size when reviewing the projects. Consequently, a small consulting firm had as much opportunity to be selected as did global organizations with exponentially greater budgets.

“There’s been some great work over the past months, and it wasn’t an easy task to shortlist the showcase projects,” said Sajag Patel, Managing Director and Principal Creative, Breathe Branding in United Arab Emirates and 2011 juror. To select winners, a new, international panel of multidisciplinary experts convenes yearly to review the best of the submissions. They consider “before” and “after” representations of brand transformations with written summaries.

Over 32 industries and 34 countries are represented among the 2011 winners. They ranged from the passenger Rail Agency of South Africa (PRASA) to luxury car brand, Audi, the United States Mint, BPost and of course, Calleja.

Some 2011 jurors included Marty Neumeier, Director of Transformation, Liquid Agency and author of Zag and The Designful Company; Fred Gelli, Creative Director and Partner, Tátil Design de Ideias in Brazil; Janelle James, Vice President, Account Director, Leo Burnett Worldwide; Chris Butler, Vice President, Newfangled; and Inese Silina of Nike Golf Global Brand Design.

See the 2011 REBRAND 100 Global Awards, winners showcase here

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This is a video interview with Maltese design magazine RedWhiteMT about Bulldog and our participation in the 2011 REBRAND 100 Global Awards.

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It covers pretty much all the brand-related disciplines we work in, from customer insight studies to identity design, advertising to web sites, packaging to corporate communications, environments, interfaces, games etc.

We are deeply thankful to the people who continue to place their faith in Bulldog and look forward to producing next year’s edition.

Happy 2011 to you all!

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Bulldog use culture as a basis for defining the nature and content of appropriate customer messages. We then apply creativity as a catalyst for the desired thought process, change of opinion or behaviour. For more information, contact us at info(at)virtualbulldog.com

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I won’t comment on the aesthetics of the new symbol, as I feel this is irrelevant. Logo design is not about ‘sexy graphics’, its purpose is to identify and (to a lesser extent) communicate, rather than decorate. Instead I will focus on the process used to commission the work – which in my opinion was flawed.

Using a ‘creative cattle-call’ to commission an identity for an important institution like the Labour Party signals contempt for the creative industry. Nothing quite demonstrates this as well as luring creative types into donating their work for free, paying what you want to pay for one (as opposed to the designer’s going rate) and keeping the rest of the entries. Furthermore, this does not seem like an efficient way of rewarding a sector that contributes millions to Malta’s economy and is bound to have many worried about the Labour Party’s vision for our industry.

Let’s forget about the rights and wrongs of it for a minute. In order for crowd sourcing to function, one must assume that the crowd contains the necessary talent to get the job done. The reality is that in Malta, even amongst people that are invested in the creative process, the pool of talent successfully creating this kind of work is very small. This is to be expected. How many truly great tenors, stand up comedians, actors and ballet dancers can be found on the island? Expecting Malta to have a surplus of brilliant, charismatic creatives is unrealistic to say the least.

Even if we assume an abundance of amazing talent, the process used would still have been flawed. You see, contrary to popular belief, any successful communications project does not begin with creativity. Creativity is a capacity for coming at problems in new ways and perceiving connections that others might miss. In order to facilitate this process, creativity must be fed by intelligence about existing beliefs and how you would like to alter them.

The submissions document for this exercise did not indicate anywhere near enough information to feed this process. It did specify that the new logo needed to retain the torch (from the old logo) as a key element. Surely this isn’t the best way to communicate change (I’m assuming this is why a new logo was required)?

Without clear messaging objectives, I’m curious about how the final selection was judged. According to the submissions document, the chosen identity had to make it through two different committees.

Ouch!

Think about all the truly great ideas that are generated in the world. Do they come from crowds? No, quite the opposite. Generally, crowds fear new ideas and take a long time to adopt/recognise them. Assuming that any of the submitted solutions were excellent, filtering them through 2 different committees and a round of SMS voting guarantees a superficial result based on personal preferences rather than substance and appropriateness.

The purpose of a committee is to make important decisions by sharing responsibilty between members. Since nobody is soley responsible, the burden of consequence of the work becomes diluted and the result is usually the lowest common denominator, rather than the optimum solution.

Creative professionals take on a responsibility to develop this type of work and must be competent enough to be accountable for it. The success of projects like this require the same responsibility on the client side. When only one side of the client/designer relationship is behaving responsibly, the work will have little chance of success.

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If you have an opinion about this, we’d love to hear from you (please use our comments form). We’re all for subjectivity but not at the expense of courtesy, respect and good manners – please keep this in mind.

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Considering the wealth of talent featured in the book, we’re honoured to be included. The featured Bulldog packaging design works are – retail lightbulb brand Foxglo and self-promotional packaging developed to promote our 20th anniversary.

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In an economy where point of purchase is more and more critical – Bulldog designs packaging that solves problems, disseminates information, transmits emotion, grace, style and order. To find out more about how Bulldog can help with your packaging design requirements, feel free to contact us at info(at)virtualbulldog.com

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