Corporation RTVE (Radio Televisión Española, Spanish Radio Television) is the organization in charge of Spain's public radio and television; running eight TV channels, six radio stations and an internet portal. Over the weekend RTVE unveiled a new identity for their corporation as well as a cohesive family of brands for their TV, radio and internet properties.
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Euronews, a 15-year-old news channel with an unconventional approach — i.e., their "No Comment" segment features news clips presented without segues or comments, it just rolls — launched a new identity last week. Designed by Paris-based advertising agency FFL, the new logo is a white circle paired with the awful choice of either ITC Bauhaus or its rich version, Chalet 1970 — elements indicative of transparency and simplicity in the delivery of news that Euronews strives for, or, in their words, "The new euronews signature epitomises the fundamental values of the channel: honesty, integrity, neutrality, transparency in the broadcasting of information and,in particular, respect for the viewer who is looking for information over spectacle." This page has a nice collection of brand statements and positioning about the channel and the new logo as well. I have never watched Euronews, so I will have to go by what I've read so far, and it feels like the positioning and the logo are on par with each other and, above all, signal confidence. I really don't like the typeface choice at all because it is trying too hard to be different, and because it does not reflect the goal of simplicity, and the white circle could be a little pretentious, but it fits the quirky attitude of the channel.
Thanks to Ranwa Hakim for the tip.
A new identity, designed by Open, has been launched for WNYC (93.9 FM, AM 820), the regional provisioner of NPR & PRI news broadcasting and arbiter of exquisitie cultural infotainment. The station is recognized for its nationally syndicated programs hosted by namesakes such as Brian Lehrer and signature shows such as Studio 360 with Kurt Andersen. For non-New Yorkers, live and archived shows can be accessed at wnyc.org.
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There is nothing more exciting for global conglomerates than having a "Biggest [blank] Company in the World!" catchphrase, and the latest addition to this lofty echelon of behemoths is Thomson Reuters, the biggest business media company in the world, that resulted from the purchase of Reuters by the Thomson Corporation, a deal worth billions of dollars and stock fluctuations. Yesterday, the new company unveiled its new identity, designed by Interbrand.
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PhotoShelter, a "provider of archiving, e-commerce solutions and sales opportunities to the world's fastest growing community of independent photographers," founded in 2005, recently exited its Beta stage and has entered the busy, online stock photo marketplace with the intent of bringing back more control to the photographers whom they work with.
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If you've never heard of the [deep breath] Microsoft Digital Advertising Solutions Creative Awards it may most likely be because — if you reside in the U.S. like yours truly — it's a European competition, or because it's only two years-old, or, possibly, because its six-word-long name is downright forgettable, if not obnoxious — or maybe, by default, you just stop reading anything after the word "Microsoft". Also, the criteria for entering is somewhat limiting: Advertising that appeared only in a Microsoft-run web site like MSN or XBOX Live. The one uptick to these awards is that the first-prize winners in each category get automatically entered into the Cannes Cyber Lions competition — a big deal if there ever was one. Seeing that a coveted "Lion" award was the ultimate bait, Brand Guardians and johnson banks (who are the firm responsible for the playful identity), focused on fauna-influenced naming and arrived at "Mouse" as a better, catchier and more memorable name for these awards.
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Coming this holiday season, Tru2way will be unveiled. What is Tru2way? It is an interactive experience with your television unlike anything you have had until now. It will be carried on major cable operators including Comcast, Cox, Time Warner Cable, Cablevision, and Bright House Networks.
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Here is a fun one for the beginning of the holiday season. Sent in by a brand tipster — have I told you all already how much I love the tips? If not, well, let me be thankful for that this Thanksgiving — this is an almost impercebtible before/after of the Comcast logo. It is not uncommon to have logos redrawn for performance and legibility issues, but I am not convinced Comcast needed this treatment. Sure, the old "t" was ghastly, but still understandable, and I think I may like the old "s" better, although it looks like a transplant from Helvetica into Avenir, approximately typeguessing, as all the characters (old and new) feel customized.
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There are a few magazines that I read/peruse irregularly, usually at airports or doctors' waiting rooms. For the most part I can remember what these look or feel like, even if I only see them intermittently. Whether it's National Geographic, or Us Weekly, or Fast Company I can picture the layouts and the typography, no matter how high or low it leans. As news broke out of the recent redesign of BusinessWeek, and as I picked it up at the newsstand (in Denver's airport) I was unable (perhaps unwilling) to remember what the old BusinessWeek used to look like — my best bet at this point is "generic" with a dash of "boring" as I simply could not picture anything other than the condensed serif on the cover. So as I flipped through the new BusinessWeek I was happy to find a cohesive visual tone that, even if not particularly groundbreaking in the general design sense (as every single visual styling has been done before, from the thick-underlined-text to the text-in-a-ragged-box mannerisms, which I have done myself I must admit), creates a memorable and impactful, in that businessy-type-A way, viewing experience — starting with the new logo on the cover, all the way through to the last page.
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Despite 29 million monthly visits (with "one out of every five people on the Internet" using it), 57,000-plus topics and more than 1.2 million "pieces of original content" I have never had a friend, designer or otherwise, refer me to About.com — or, if so, I can't remember. I may have followed a sangria recipe once — or, if not, I can't remember either. This is not a knock on their vast content as, clearly, there are those who consume it but maybe it's more a reflection of their lack of brand impact. One reason could be that when you stand for everything, you stand for nothing. And with volume being the biggest attraction, it's no surprise that About.com's identity is non-existent, despite their commitment to the color red. With little fanfare and no press releasing, the web Goliath has introduced a new cleaner logo that brings the site out of its Web 1.0 roots (it was launched in 1996) and sheds the crazy horizontal scaling of a Humanist sans serif font that I can't recognize with a new Geometric sans serif font that I can't recognize either. (I think there is some mixing and matching going on). The old About.com logo had the overstayed welcome quirkiness as the Google logo has now so, to me, it's nice to see the site grow up. Even if I won't remember.
Thanks to Tim Hettler for the tip.
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