IBM 'Smarter Planet' Brand + Original IBM Brand by Paul Rand

IBM 'Smarter Planet' Branding

Office SF  collaborated with Ogilvy and Mather for a Paul Rand inspired visual style for IBM's Smarter Planet Project - the results are bold, colourful and stunning taking inspiration from Paul Rand's original IBM graphic heritage (see below).


Digital Signage:

Found via: and

Featuring work from: - and website blogged on:

IBM Original Branding by Paul Rand

1993 Interview with Steve Jobs on Paul Rand

More on the Paul Rand tribute site:

Good reference in this Paul Rand Flickr set - and Flickr group

I ♥ Polaroid Rainbow Stripes Branding

'The Branding of Polaroid' and 'Polapackages' article

Paul Giambarba, the designer who worked on Polaroid's Identity between 1958-1977 "Paul Giambarba initiated Polaroid's corporate image development and product identity in 1958. His innovative black packaging successfully subdued the dominance of Kodak yellow at point-of-purchase and spawned a vogue of black packaging within the industry. Creator of the ubiquitous Polaroid color stripes, one of the most widely imitated design devices of the last several decades, he designed and produced hundreds of Polaroid packages and collateral material including consumer literature and "How to Make Better Polaroid Instant Pictures," a trade book for Doubleday & Co." Also, see his latest work for Polaroid here

Don't forget to look at my other Polaroid post 'Viva La Polaroid' which focuses on some great Polaroid photo collections

Polaroid pic archives in these big Flickr Groups: and

Want more, buy the book 'Polaroid Book' by Barbara Hitchcock/Taschen -

Let there be Colour, lots of it | Pantone Branding

PANTONE PLUS - Identity, packaging, and launch campaign for Pantone Plus, the successor to the Pantone Matching System. Photography and props by Maurice Scheltens & Liesbeth Abbens.

Rare behind-the-scenes look at Pantone and the development of the new PANTONE PLUS SERIES -

PRODUCTS 'Pantone brand creates a rainbow of new products' - also 'Pantone, Merchants of Color' -

Excellent article by Momus called 'She comes in colours' - "In just nine months, Pantone has completely changed its meaning in Japan. Once a fistful of numbered swatch cards that pernickety designers would menace printers with, it's now become a trendy consumer buzzword in Japan, and, some might say, a byword for the newly-acceptable face of colour in a nation which dips in and out of chromophobia." and Wiki here -

FASHION Gap and Pantone – an interesting cobranding attempt, Gap Pantone concept store NYC -

Pantone T-Shirts by Uniqlo -

Pan-Am's Flight Cool: A vintage brand archive #panam

My first flight was on a Pan Am plane in the 1970's - the experience left a permanent mark on me and I still get butterflies when I stare at the classic round, blue logo and all the travel-based promise it encapsulates. I've collated an archive about Pan-Am from mainly the 50's to the 70's. It includes the designers favourite 'Pan Am's World' poster series, the amazing membership cards to Pan Am's First Moon flights Club from Robert Venditti's site (his dad was a member), lots of vintage illustrative adverts and the inclusion of the classic safety card and more...enjoy! (If you like PanAm then you'll like the Swissair post too: )

Pan Am’s World—Chermayeff & Geismar -

Pan Am’s “First Moon Flights” Club -

Celebrating the history of Pan American World Airways 1927-1991  -

Eclectic 'Effenaar' venue branding


Really love the eclectic branding of the Effenaar Venue in Eindhoven by Dutch agency Fabrique (designers now at JongeMeesters). They've created a slice of controlled chaos that's really fresh with a heads up to the 80's. The edgy graphic compositions and bold typographic assortments allow every performance's promotional matter to feel individual but part of something bigger. Really fun, perfect for a young crowd and I bet the designers had a riot doing the designs.

I ♥ Retro Galt Toys Branding


I always vaguely remembered Galt toys as graphically cool from when I was a kid, and on searching today for them I wasn't disappointed. They seem to sum up an aspect of 70's design that is part of my subconscious, like the original Star Wars toy branding which still makes my heart jump when I see it (hmm, maybe that should be another blog article?) - they're muted 70's Galt palette, clear modernist typography, playful layout, type, illustration & photography all feel quirkily European and have a quality of Paul Rand about them (see )

Mmm, Yummy Retro TV Dinners!

 There's a certain visual quality in the early TV dinners (both the food and the branding) that captures an era in love with a new, easy mass get your lips around this gallery & chow down the good, the bad and the oh so ugly...see lots more in the full gallery here

Tasty Chocolate Identity

I wonder if a big brand name chocolate company could keep it this simple? 

This is a really great and simple identity designed by for Spanish chocolate company - more details featured here:

Less is more, and such a good palette - want to eat it all up. Kinda reminds me of the 100% Chocolate Cafe Identity in Japan which is equally scrummy, see at

Design Process: Experimental Jetset / Le Cent Quatre 2

Experimental Jetset explains the design process from initial requirements/workshop/clients likes & dislikes through to all the design elements in all their required scenarios - it's a really interesting look at a very intelligent & detailed design process that shows the amount of thought and iteration that goes into designing a graphic brand.

Also, download the final styleguide at the bottom of the page: "The final and complete graphic manual ('charte graphique'). It was developed in installments; every time a certain design or template was approved, we added it to the manual. Sometimes the city council rejected something, months after the directors had already approved it; in that case, we didn't remove the design from the manual, but just added another chapter, in which we negated the previous chapter. In that sense, it's a manual that really shows the development of the graphic identity; it shows not only the remaining, 'winning' parts, but also the rejected proposals, and the failures."