Really impactful and gets across pretty much every aspect of key branding from the style guide, designed by Browns, a South-London based design studio. Thanks to @davidloosmore for this one...

Lovely visual identity designed for the fooddesign studio 'Keukenconfessies' by Netherlands based Raw Color

"This visual book looks into design systems for living brand identities that can change in colour, pattern or shape. These identities often follow a system created by the designer but are sometimes created by data which is not controlled by the designer. These open identities generate new versions of themselves by external data feeds. The identity of the weather company, for example, is fuelled by the ever-changing weather conditions in real time."

"The idea behind this year’s CCMA was to play on the cool of the early 60’s. Op Art, James Bond, dry martinis and skinny ties."

The design of these idents is beautiful. It's typography is bold, fun and uses strong repeated op art type patterns, really slick - thanks to @leonzeon for sharing

"Rail Alphabet is a typeface designed by Jock Kinneir and Margaret Calvert for British Railways. First used by them in signing tests at London's Liverpool Street Station, it was then adopted by the Design Research Unit (DRU) as part of their comprehensive 1965 rebranding of the company. Rail Alphabet is similar, but not identical, to a bold weight of Helvetica (and, not quite as similar, Akzidenz Grotesk or Arial). Akzidenz Grotesk had earlier also provided the same designers the broad inspiration for the Transport typeface used for all road signs in the United Kingdom." http://en.wikipedia.org/wiki/Rail_Alphabet

Posters, Brochures, Stamps, Playing Cards, Matchboxes

Logo Styleguide

Also see http://wemadethis.typepad.com/we_made_this/montreal-olympics-1976.html

Read more

'pol·y·mor·phism'
1. Biology The occurrence of different forms, stages, or types in individual organisms or in organisms of the same species, independent of sexual variations. 2. Chemistry Crystallization of a compound in at least two distinct forms. Also called pleomorphism.

There's a growing trend to create polymorphic elements within identity design. These design systems are flexible, intriguing, sometimes generative and show a 'living' element to the branding that adds another level of interest to the identity. I especially love the 'Visit Nordkyn' identity, which is effected by the weather conditions of the area and reflects the current wind direction. 'Casa da Musica' uses the unique shape of the building as the inspiration for it's multi-faced identity, with the position you look at the building reflected in the various logotypes.

'Visit Nordkyn'
By Oslo-based Neue Design Agency http://www.neue.no/index.asp

"The visual identity is based on two main ingredients; our newly developed payoff, “Where nature rules,” and weather statistics from the Norwegian Meteorological Institute. A feed of weather statistics affects the logo to change when the direction of the wind or the temperature changes. On the website, the logo updates every five minutes. We developed a logo generator where Visit Nordkyn can download their logo to the exact weather conditions of that particular moment. Nordkyn is truly a place where nature rules, even over the visual identity."
http://www.underconsideration.com/brandnew/archives/where_the_cold_wind_blows...

'Casa da Musica'
By Stefan Sagmeister http://www.sagmeister.com/index.html

"Built in 2005 by Rem Koolhaas’ OMA in the city of Porto, Portugal the Casa da Música is, without a doubt, a significant architectural statement — further emphasised by its intense angles and towering presence. By using the building as a visual source, Stefan Sagmeister created a dynamic, faceted and endlessly varied identity — all literally speaking. The resulting logo is perhaps, well, not pretty, but as a vessel for the complete identity and adaptable execution it is a mighty impressive piece of design architecture itself. One on which styles, ideas, themes — specific or broad — can be projected upon. Stefan was generous to share this project with us and show what happens behind the scenes in the realization of this identity."
http://www.underconsideration.com/brandnew/archives/the_17_sides_of_a_cultura...

'Deichmanske Library' - student project

"Identity, promotional posters & editorial design for the upcoming new Deichmanske Library in Bjørvika, Oslo. The new library is aiming towards becoming one of the most modern and functional libraries in Europe, this by combining the old library tradition as well as integrating the new digital media as it evolves further. The building is going to be much more than a library, it will also function as a cultural institution, housing concerts, a café/bar, lectures & debates. The identity focuses on the many sides of the institution by building a brand that constantly evolves rather than being static, just as the library itself is supposed to."
http://www.mikaelfloysand.com/index.php?/design/deichmanske/

Assorted...

I hope this is a useful collection of reference for the Mexico 68 graphic identity system - it still looks fresh, the logo epitomises 'Sports' with it's go-faster, motion aesthetic and it's just all round cool!

Lance Wyman http://www.lancewyman.com/ and http://olympic-museum.de/design/lancewyman/wyman.htm

"Graphic design became an important visual ambassador for the 1968 Mexico Olympic Games, It was the first time the games were hosted by a Latin American nation. In planning for the games, Mexico, an emerging third world nation, could not afford to make the extensive architectural statement made in Tokyo four years earlier. Graphic design contributed to the ambiance of the Mexican games and helped to make a meaningful visual impact for fewer pesos."

Linking Huichol imagery to Op Art gave the Mexico Olympics a memorable graphic identity http://www.eyemagazine.com/feature.php?id=123&fid=539

If we define communication as ‘a connection allowing access between persons or places’, then MEXICO 68 communicated supremely. It connected people with people, places with places, and each with the other as logically, elegantly and joyfully as may be possible. Above all, the value of the design was in the concept and construction of a graphic system within which every design element was integrated into a general proposal. The proposal delivered a jolt through the ingenuity of its imagery. 

Reference:
http://olympic-museum.de/pictograms/Picto1968.htm
http://aqua-velvet.com/2009/11/mexico-1968/
http://www.mestudio.info/2007/10/30/sign-of-the-times-2/
http://en.wikipedia.org/wiki/1968_Summer_Olympics
http://www.olympic.org/en/content/Olympic-Games/All-Past-Olympic-Games/Summer...
http://musselsoppansvanner.blogspot.com/2008_08_12_archive.html
http://www.europeanposters.com/
http://velorunner.blogspot.com/2009/08/olympic-cycling-posters.html
http://www.geradesoeben.de/2008/08/olympia-design-mexico-1968.htm
http://www.pedrofriedeberg.com/Press.html

See also my previous Olympic post 'Graphic Heroes: Otl Aicher, Designer 1972 Munich Olympics Identity' http://kathykavan.com/graphic-resource-otl-aicher-designer-1972-mun