cdc Brandcreation

11/12/2025

Online Flipbook created with Publuu Flipbook Maker.

11/12/2025

Just published in the new issue of Kommunikationsmanager.

„Über Marke, Sensorik und alles, was dazwischen liegt“
On branding, sensory experience, and everything in between: Crossmodal orchestrations as a core potential for brand experiences.

Der Artikel von Michael Nouri und Prof. Alexander Luckow von der Wilhelm Büchner Hochschule (Kommunikationsdesign) beleuchtet crossmodale Inszenierungen als Potenzial für Markenerlebnisse, indem er Synästhesie und multisensorische Verknüpfungen zwischen Farben, Gerüchen, Klängen und Texturen erklärt . Diese sinnlichen Kopplungen, wie der Maluma-Takete-Effekt oder Beispiele von Aperol und Nivea, sind biologisch und kulturell verankert und fördern emotionale Bindung sowie Wiedererkennung von Marken um bis zu 40 Prozent . Historisch wandelte sich die Wahrnehmung von romantischer Synästhesie zur industriellen Fragmentierung, ehe neurowissenschaftliche Erkenntnisse wie Damsios somatische Marker eine Renaissance einleiteten . Praktische Anwendungen zeigen Marken wie Apple, Hermès oder Singapore Airlines, die visuelle, haptische und olfaktorische Elemente kohärent abstimmen, während Warnungen vor KI-bedingter Standardisierung partizipative Erlebnisse fordern . Der Text, ein Auszug aus ihrer kommenden Publikation „Wie kommt die Marke in den Kopf?“, plädiert für überraschende, mitgestaltbare Sinneswelten statt banaler Perfektion.

07/11/2025

The 1987 Japan Railways (JR) Group logo, created post-privatization of the Japanese National Railways (JNR), was designed by Yoji Yamamoto, Yusuke Kaji and Kazumasa Nagai. The Nippon Design Center (NDC) and Dentsu collaborated on the project. The logo features a stylized "JR," representing the initials of Japan Railways. The design is sleek, modern, and has become a recognizable symbol associated with Japan's extensive railway network. The use of bold, simple shapes in the logo reflects a sense of unity and efficiency. In 1987, the national railways were privatized, and the JR logo mark was produced.

13/10/2025

04/10/2025

02/10/2025

Georges Huel (1930–2019) was a renowned Canadian graphic designer, born in Montreal, whose career spanned advertising, branding, and cultural projects. He founded his own studio in the 1960s and became a pivotal figure in Quebec's modernist design scene, emphasizing simplicity, symmetry, and functionality. Huel's most iconic work is the emblem for the 1976 Montreal Olympics (Games of the XXI Olympiad), co-designed with Pierre-Yves Pelletier.

Commissioned in 1972 by Mayor Jean Drapeau—Huel's longtime friend—without an open competition, the logo bypassed global submissions to favor a local talent. Unveiled in 1975, it ingeniously integrates an "M" for Montréal with the five Olympic rings: the rings form the M's curves, evoking a victor's podium, a stadium track, and medal ribbons. Rendered in solid red Univers typeface, it symbolized unity and Quebecois pride amid the Games' historic first for Canada (July 17–August 1, 1976).

Huel aimed for "clean and neat" efficiency, building on predecessors like Mexico '68 and Munich '72. The design's grid-based standards manual ensured precise reproduction across medals, posters, and venues. Though the Olympics faced financial scandals, the logo endures as a Canadian design triumph, influencing global branding and even the beaver mascot Amik (also under Huel's oversight). Huel later reflected on its "obvious" genius, regretting it wasn't used earlier.

02/10/2025

Chris Yaneff, a Canadian graphic designer, crafted the iconic Commodore logo in 1965, originally for the company’s typewriters and calculators. This stylized "C" with a swallow-tailed flag, affectionately nicknamed "chicken lips," featured red and blue colors symbolizing innovation and nostalgia. Its geometrically simple design, with a slight ellipticity, scaled effortlessly across products. The logo gained legendary status with the Commodore 64, launched in 1982, which sold over 17 million units. Early "silver label" C64 models showcased a silver version, while later iterations adopted the classic red-and-blue scheme, becoming a hallmark of 1980s computing culture. Despite Commodore’s bankruptcy in 1994, the logo’s legacy endures, preserved by trademark holders and recreated by retro enthusiasts. Yaneff’s other works remain largely undocumented, making this design his enduring contribution to tech history.

Photo Credit: Commodore International Historical Society

23/08/2025

John Massey (1931–2019), a Chicago-based graphic designer, significantly influenced modernist design, blending Bauhaus and Swiss International Style principles. After studying at the Chicago Academy of Fine Arts and earning a BFA from the University of Illinois in 1954, Massey worked at the Container Corporation of America (1957–1983), founding its Center for Advanced Research in Design. He taught at UIC (1984–2000) and received an AIGA Medal in 1994. In 1968, Massey updated Herman Miller’s iconic “M” logo, originally designed by Irving Harper in 1946, pairing the bold, French-curved “M” with an all-lowercase Helvetica wordmark, replacing the earlier serif typography. This modernist refinement aligned with Swiss Style aesthetics and lasted nearly four decades. Massey’s work, including posters for Herman Miller’s Eames Soft Pad Group, reinforced the company’s visual identity. His philosophy, “Be classical or extraordinary,” shaped his impactful designs, influencing later Herman Miller rebrands in 1998 and 2024, which echoed his modernist approach.

15/08/2025

https://www.linkedin.com/posts/matt-lamont-13424419_british-rail-corporate-identity-manual-https-ugcPost-7359854251210076161-NCxA?utm_source=share&utm_medium=member_desktop&rcm=ACoAAAAaVdoBB_O7x2kXoGB45PGOuzzIboLcfq4

British Rail Corporate Identity Manual https://lnkd.in/erV2XPMi