Over the holiday weekend, word leaked that video game industry rock star Cliff Bleszinski (lead designer of the Gears of War franchise) is launching a new studio, Boss Key Productions. The brand new identity we created for Boss Key also found its way into the daylight as well.
But now it’s officially live, and we’re excited to show the world – just a prelude to the amazing things Boss Key has in store for gamers.
At Hexanine, we are huge film buffs, so it’s with great pride that we finally showcase our work with Laemmle Theatres. This great group of movie theaters in the LA area are stalwarts of excellent foreign, indy, and art house film. We were recruited by Three Thirty and Innfusion Studios to help expand their brand identity and design the current website. Check out the portfolio entry for more deets.
Great work is the lifeblood of what we do, so it’s always fun to showcase work, even if it has been hiding behind the curtains for a while. Here are a couple such projects: Website design and branding work for Ashley Furniture, and an identity redesign for ILC. More details of these projects follow at their respective portfolio pages, so check ‘em out.
Occasionally we’re asked to partner with organizations who are looking to revive an old brand, resuscitate a product, or reclaim dormant intellectual property. Sometimes it’s for a brand new venture, or it’s a company rummaging through its archives for untapped assets. These behaviors can make a lot of sense, because typically, someone else has already put money, time, and effort into making that brand a recognizable one. The math seems deceptively easy: on paper it looks simpler to breathe life into an older brand than starting with a blank canvas. Some firms have even built their business models around reviving these castoffs. But it’s not always that easy.
“Products are created in the factory. Brands are created in the mind.” - Walter Landon, founder, Landor Associates
Every organization worth its salt has a logo or visual identity that helps distinguish, identify, or describe its brand to audiences. And if you’ve visited the Internet at any point lately, you can see that everyone has opinions on logos. But when people say “I don’t like it!” or “That’s terrible,” what do they actually mean? There is a deeper question beneath such reflexive comments, though. Honestly, how do you evaluate a logo? How do you know if your company has the next Nike swoosh on its hands, or something much less awesome?
Alina Wheeler wrote the book on identity design. Literally. She is the author of Designing Brand Identity, which is just about to be released in its fourth edition. It’s an excellent resource and is arguably the textbook on the discipline of overarching identity design. Over the years, we’ve found Alina’s thoughts, insight, and process to be an invaluable roadmap in developing and shaping our own identity design process, leading to greater results for us, and our clients. The book is a great 50,000 foot view, allowing readers the ability to see the design journey from beginning to end, but also allowing them to zoom in on how each part of the process contributes to overall project success.
On the eve of the book launch, we wanted to chat with our friend and colleague about this latest version, and also pick her brain about the state of identity design today.
Trying to stake out intellectual and emotional territory for an organization’s brand is a challenging proposition — so many viewpoints, stakeholders, and ideas to juggle and consider. You have the business and marketing goals of the organization, the reality on the ground, and the thoughts and emotions of the brand’s audiences. Marty Neumeier said in “The Brand Gap” that a brand is “what they say it is,” — that what the world thinks about your brand is incredibly powerful and often definitive.
I think he’s right on, but there’s more to the story. Read on…
We’ve grown up as designers with the LogoLounge book series. It’s great to see the beautifully-redesigned, newest volume. Also awesome to see that we’re part of it, with work from projects like BevReview and Plastic Highway. Our work was chosen from 34,000 selections, which is an honor.
Our short musings on design, branding, business and the human condition.
You will never be able to create or provide something that’s better than the organization you’re working for. It doesn’t matter how brilliant your branding or how excellent the strategy is, the end results will only be as good as the company itself. Paul Rand probably said it better: “[A logo] derives its meaning and usefulness from the quality of that which it symbolizes. If a company is second rate, the logo will eventually be perceived as second rate.” If you can live within those confines, your best bet is to dive in and help make change alongside your client partners. If you believe it’s too hard to live under that ceiling, you’ll need to find better clients.
Some projects fall outside of the realm of client work, and at Hexanine, we do some of this to keep ourselves sharp, to pursue unique interests, and to grow our capabilities. We’re launching a creative imprint called Plastic Highway as a place to showcase creative efforts that exist at the intersection of art and pop culture. Check out our portfolio entry for more on the identity we designed, and watch this space for an upcoming announcement on the first project released under the Plastic Highway banner.