IR is a tech company with a product called Prognosis. It’s designed to make IT systems simpler, but the thing is, the product and the problems it solves are pretty complicated.
Interbrand started in 1974 when the world still thought of brands as just another word for logo. When brand agencies didn’t exist.
Since then, we have helped change brands into valuable business assets.
In fact, we believe brands can change the world.
And at our branding agencies in Sydney and Melbourne, we believe the only way to do this is to have an idea. Equal parts logic and magic. The product of discovery, truth, bravery and imagination. The undeniable and unbroken thread that connects everything you create, every decision you make, every action you take.
Ideas are our obsession. And it’s this obsession that makes us stand apart. It underpins the work we create for our clients, their businesses and brands.
If you’d like to know anything more, feel free to contact us.
IR is a tech company with a product called Prognosis. It’s designed to make IT systems simpler, but the thing is, the product and the problems it solves are pretty complicated.
In a nutshell, Prognosis is a piece of software that improves the systems that underpin our enterprises, workplaces and everyday lives. It helps call centres maintain good voice quality, payment technology (like PayPass) run smoothly and can even prevent hackers from accessing your details.
It’s a great product, but the benefits were getting lost in a sea of jargon and category clichés.
IR were having trouble explaining the benefits to their customers, so they called us to help them humanise these complex digital problems, communicate what they do, and tell some great stories about Prognosis coming to the rescue.
After conducting research and holding workshops with IR, we began to understand their role, and the role of Prognosis, is to optimise complex systems. This idea of optimisation became our brand idea and influenced everything we did for IR.
The IT sector struggles to find suitable imagery, because there isn’t anything to photograph. We steered clear of photography, because stock shots of people smiling in front of a server don’t really tell you much about a business. Instead, we used metaphor to explain this complex, multifaceted business in an accessible, interesting way.
Seeing as communication was at the heart of IR’s problem, we helped them define their voice and make the way they communicate simpler and easier to understand – without dumbing the product down.
Case studies were a great place for us to start. We listened to stories that explained how Prognosis had saved the day in a number of situations, and re-told them using simple metaphors and little bit of humour.
We illustrated these stories with dots and dashes, which became our illustration style. These dots and dashes are punctuated with colour to help tell these stories of optimisation – blue represents ‘optimal’, while red represents ‘sub-optimal’ to illustrate the complex problems IR solve in a fun, accessible way.
These simple illustration elements helped us create an optimised logo. White dashes are paired with red and blue dots to form the i and the r of the company’s name.
The design elements are influenced by Swiss style. An emphasis on cleanliness, readability, objectivity, strong grid, sans serif typefaces, asymmetric layouts, minimalism.
With their new, optimised identity, IR can explain what they do more easily, so more people can benefit from everything they offer.
Telstra recently launched their flagship store of the future in George Street, Sydney and as part of the store experience they asked us to create an iconic carrier bag.
Our goal was to bring ‘Spectrum’ (Telstra’s visual language of colour and angularity) to life in three dimensions. The idea was to create an innovative form factor that would be instantly recognisable on the high street and create wow-factor for customers in-store, all whilst being 100% recyclable and flat-packable.
Our research revealed that many high street fashion brands and Telstra’s competitors were not producing environmentally friendly bags since they had cord handles or matt-laminated finishes. We knew from the offset that the volume of carrier bags Telstra would require could have a negative environmental impact if we got the design wrong so we gave ourselves the constraint of using only 100% recyclable materials.
We partnered with internationally renowned artist and paper engineer, Benja Harney, to bring Spectrum to life in 3D. We conducted research into the customer experience, typically packaged products, supply chain, in-store storage and employee behaviour. We discovered that two sizes would be needed – one for a mobile phone box and an accessory, and the other for larger items such as the T-Box. Interbrand identified five blue-sky creative directions before selecting one with the client for further development. Working with Benja, over 50 prototypes were developed to find a unique and ownable form that would bring some theatre to the store experience whilst ticking the practical consideration boxes too. Finally one bag presented itself as the clear winner.
The Spectrum Bag takes its shape from two opposing triangles at the base and opening, creating a unique form that is highly sculptural and distinctly Telstra. Following Benja’s prototypes we handed the designs to Paper-Pak to finalise the engineering and create the final die-line. The bag comes in the four Telstra colours and features a single scored fold on each side to create more volume inside and elegantly connect all faces.
The bag is currently being trialled in Sydney’s George Street flagship store but will eventually roll out to all stores across Australia.
The online-car-selling industry is enough to drive anyone to distraction. It’s certainly not a simple place to get the job of buying and selling a car done. Most of the time it feels like you’re getting the wool pulled over your eyes. There’s no price transparency when purchasing, and listing your car can be a real hassle. Who wants to buy a car in Perth if they live in Sydney? And who wants to pay for a lead that will never come through?
CarsGuide believes the process of buying and selling cars online is broken. So they’re fixing it. With things like free listings and location-based search. In other words, they’re the antidote to CarSales. This bold new way of thinking is reflected in the brand strategy and identity we created for them. With the brand idea ‘Joy Mechanics’, we created an identity that simultaneously disrupts the market while making the process of buying and selling cars easier and more enjoyable.
The idea is simple. The brand is split into two characters, each with distinct personality traits, typeface and tone of voice. First up is The Mechanic. He’s simple, straightforward, and to the point. Then there’s The Guide. Friendly, cheeky, and always happy to help. To make it work, we use a simple construct. ‘The Mechanic’ says something simple, informative and to the point. Then we let ‘The Guide’ loose. He’s always tinkering, editing, pointing out useful bits or adding something fun. The logo is clear, simple and flexible, and can be infinitely customised by the Guide.
A recent article in The Australian reported that in the first month of its relaunch, CarsGuide enjoyed 32% growth in private car listings. Traffic was up 15% compared to a 22% retreat for drive.com.au and there was a 5% fall for CarSales.
Great work CarsGuide!
The Basement is one of Sydney’s most iconic music venues. It’s an institution, the kind of place you’d catch Dizzy Gillespie or Herbie Hancock play at the height of their fame. 40 years later, we found ourselves tasked with a rather spicy Sydney branding project that introduces La Lupita, a pop-up Mexican restaurant and one of Sydney’s best-kept secrets, to The Basement.
We had to give La Lupita the chance to be heard over the music and the pantheon of greats that adorn the crammed walls. In true Interbrand style, we wanted to take this to the next level, and agreed that the spirit of La Lupita should be rebellious, fiery and passionate. For that reason, it became more than a pop-up. It became a takeover!
With a pirate mentality, we began claiming areas of The Basement, repurposing materials and smashing styles together. From re-using shipping palettes and abandoned milk crates, to creating menu boards from broken walls, it took two days to bring the space to life; an epic mission of paint fumes, sweat and mescal! Inside, we created bold, vibrant statements by collaborating with some of Sydney’s finest underground artists; Beastman, Numskull and Aisle6ix.
The logo is designed to be quick to replicate and embody the rebellious nature of our takeover. Reminiscent of a skull and crossbones, the flame logo is hand painted and full of imperfections, this reflects our story; the story of a brand that only cares about authentic amazing food, for the people. Para El Pueblo.
We are now in our second year of working with Opera Australia and are pleased to share our latest branding work on the 2015 season brochure, launched at the season preview last week at the Sydney Opera House.
For this season our Sydney agency worked again with the internationally recognised fashion photographer Georges Antoni and Opera Australia performers to capture the energy and emotion of the season through rich and evocative photography.
Its wonderful to see the brand is continuing to evolve and open up opera to new and familiar audiences. And if 2014 is anything to go by, 2015 is going to be an incredible season. Get your tickets here.
“The new brand, introduced last year, was designed to open up opera to to new audiences. Working with top fashion photographer Georges Antoni, we designed images that would evoke emotions and demonstrate the many genres of opera. This year we worked with Georges again to produce the images for the 2015 season, and the results are just stunning. We’re thrilled to continue to work with Opera Australia on their brand and to keep opera singing for a long time to come.” Chris Maclean, Executive Creative Director, Interbrand.
For over a hundred years people in Australia have used paper directories to search for friends, family or local businesses. However with the rise of digital technology and the emergence of Google as a universal synonym for ‘search’, the world has changed.
For Sensis – an organisation whose operations were previously focused on paper directories – the imperative has been to re-imagine its role in a digital landscape. This has involved transformational changes in terms of what it offers to customers and how its business operates. From a complex and dilutive portfolio of brands, products and services to a focused set of strategic assets, Sensis is now positioned to meet every customer’s needs. From paper directories to SEO, website design and apps, Sensis is now at the forefront of digital marketing services for Australian businesses.
Interbrand has been engaged with Sensis throughout this transformational process, with a unique strategic process to redevelop its brand in line with its business ambitions.
We fielded a team of strategists and creatives in Sensis’ offices and worked together to define the organisation’s challenges and opportunities. This led to clear recommendations on a new strategic direction for the brand and portfolio architecture. Typically this kind of work takes months to complete but a collaborative and iterative process allowed for a solution to be formed and directives developed in under a week.
The recommendation was to separate the B2B and B2C functions that existed in all brands across the portfolio. This result was the elevation of the Sensis brand from a passive corporate entity to a purely B2B brand, focused on helping its customers optimise their marketing efforts. Meanwhile the other brands in the portfolio (Yellow Pages, White Pages, True Local, WhereIs) would represent a range of B2C offerings across print and digital. The result is a portfolio that gives focus to all of the Sensis brands and provides scope to introduce new propositions as and when they are developed.
The expression of the new Sensis brand needed to show how it could educate and empower organisations of all sizes to be better marketers. It needed to present itself as a guide for Australian businesses as they navigated from the physical to the digital. It needed to be a brand that could engage and motivate by demystifying technology and simplifying complexity.
The new brand is based around the character of a mouse: a metaphor for the resourceful, determined and industrious businesses Sensis works with. The mouse is the hero and platform for all of our communications. Dutch illustrator Tim Boelaars was commissioned to create a menagerie of characters who interact with the Sensis mouse to help tell the story of Sensis and its customers.
Oliver Maltby, Creative Director of Interbrand Australia, comments: “Each individual story uses a simple metaphor relevant to a business issue, such as growth (Giraffe), knowledge (Owl) and technology (Robot). Using these recognisable characters along with straightforward encouraging language presents digital marketing in a way that’s human and accessible.”
John Allan, CEO of Sensis adds: “The brand identity leverages the equity of Sensis’ consumer brands and positions Sensis as the leader. The instantly recognisable character illustration brings a warmth to our brand while being flexible, helpful and, most importantly, encouraging,”
Interbrand is continuing its partnership with Sensis on a range of projects.
Over the past year, we’ve been working closely with the SKY brand, helping them build a programme that’s all about supporting the next generation of Kiwi athletes.
We’re pleased to announce that nine of the SKY NEXT athletes have made it to the Commonwealth Games. From all of us at Interbrand, we’d like to say well done and good luck!
Previously called, ‘SportConnect’, this initiative had failed to garner any attention or support from New Zealanders. We rebranded it as SKY NEXT, and we used design, language and imagery to propel the initiative forward and give it the honorable mention it deserves in the hearts and minds of Kiwis.
SKY NEXT has succeeded in giving young, talented athletes the support they need to make it – and New Zealand has taken notice and spoken up in support of the cause. Far more than a cheque, NEXT is connecting these rising stars to other athletes ahead of them in their journeys, creating a team to give them confidence, media training, sponsorship, rights negotiation and more.
The effective brand design of NEXT raises the profile of the both program and the athletes themselves. The latter being the heroes of every communication. NEXT is encouraging young Kiwis to follow their passions and live their dreams. With design now helping to give the initiative the ability to move beyond sport, now the possibilities for the NEXT generation of Kiwis are limitless. Read all about the programme here.
“Sporting underpins the culture of NZ so when SKY asked us to get involved with the NEXT initiative, we jumped at it, and we really couldn’t be more excited. We hope the initiative spreads beyond sports, into media and other channels. Ultimately helping the NEXT generation of Kiwis on their journey.” Ben Miles, Creative Director, Interbrand.
TVC created by DDB New Zealand.
If you’ve spent time in Darling Harbour this month you’ll have noticed Cool Yule – a brand new event in Sydney’s calendar.
Cool Yule is a month long festival that celebrates winter in Darling Harbour. It’s wonderful to see the precinct come alive with all the things we love about winter in Sydney and beyond, such as an ice rink, an inflatable luge slide, European market stalls, and SNOW!
This is the third event campaign we’ve created with the new Darling Harbour brand after FIESTA and MONTH OF LOVE. With more coming soon.
You can find more information here. If you’re a Sydney-sider, make sure you head down on the weekend as it finishes this Sunday (July 13).
Thanks to Kerry at Cranky Mermaid for making it snow in Darling Harbour, and our own Chris Maclean for the incredible photos of the brand in action.
A while back we had the privilege of branding what has become one of the most popular (and tasty) food trucks in Sydney. And we realised recently that we’ve never shared the work on these pages! So…(drumroll please) introducing Al Carbon!
Our brief was a tweet. “Wanted: Dynamic and motivated designer to spruce up the Al Carbon truck before we hit the streets of Sydney.”
In a warehouse in Canterbury (doubling as La Lupita, up until recently, a twice weekly pop up restaurant before moving to The Basement) we met Attila Yilmaz to discuss the opportunity to brand his colossal food truck over tacos, raspados and some Mexican beers.
Attila was about to launch Al Carbon as part of the City of Sydney’s licensed food trucks trial. A retired policeman, Al Carbon (which means ‘over charcoal’) was his chance to throw himself into something he loved: food. After some time travelling around Mexico, Attila had discovered authentic ways to cook Mexican food, coupled with hints of inspiration from his father and his Turkish roots.
Inspired by our surroundings, we had an idea. What if we could transport our studio to the warehouse and do something we’d never done before – create a brand in a day? So one Saturday, we assembled a gang of 20 interior and graphic designers, writers, brand strategists, management and client service people, macs, and flipcharts to La Lupita. We broke into teams, meeting each hour to discuss ideas, agree direction and to allow Attila to be involved every step of the way. We developed a customer journey, social media strategy, brand identity and graphics for the truck as well as the brand story of Al Carbon.
Literally, a brand in a day!
We agreed the brand of Al Carbon would be a mythical place. Everything on the truck would be ‘the best of Al Carbon’: The best chef of Al Carbon, the juiciest limes, the sweetest pineapple. Wherever the truck pulled up it would transform the space it occupied so visitors could enter the world of Al Carbon. To communicate the idea, we conceived the brand as a tourist campaign. ‘Visit Al Carbon.’ In transit, the truck was a big tourism ad for itself. When static, it became Al Carbon the place. We used bins to create a perimeter around the truck, so visitors actually have to cross the border (and are asked to abandon all Mexican cliché’s like moustaches and sombrero’s – this was to be an authentic experience after all!) We designed immigracion, where customers order their tacos and drinks. And we focused the queue along the side of the flame grilling barbecue where the theatre of cooking the meat captivated all the senses.
Al Carbon has been a resounding success. Launching at the Feast festival in Sydney, Attila served more than 800 people in one night. Just recently, a smaller version of the truck was a big hit at Splendour in Byron Bay. The Good Food Guide named it in their review of best new places to eat, claiming ‘hands down best taco’s in Sydney’ and Sydney’s most popular bloggers have been raving about the food and the experience that is on offer ever since. Oh, and we won an innovation award for the work within our own Interbrand network
We’re incredibly proud to have played a part in helping to make Al Carbon a success. Seeing (and waiting in!) the queues and the smile on Attila’s face has made it very worthwhile.
To signify the launch of ONE AGDA, the organisation has officially revealed a new identity designed by Interbrand and a new website designed by Reactive and developed by Bravo!.
Last year AGDA members voted overwhelming in favour of a new constitution (96% yes). This means that while AGDA retains its not for profit status, they have made a lot of changes to the way things are run.
AGDA has undergone a complete organisational restructure, moving from a state based set-up to one national organisation. A National Board of Directors has been formed, with financial control and planning centralised. This means AGDA can make better decisions more quickly, while being far more transparent and efficient.
AGDA and Interbrand commissioned a national survey that was sent out to designers and studios of all shapes, sizes and disciplines across every state. They were asked what they thought of the organisation and how it could be improved.
Interbrand Australia worked closely with the AGDA board to create a new strategic brand platform and brand identity framework to help make sense of the changes and add some much needed cohesion around communications.
“AGDA is the ‘connecting force’ that unites our industry. It celebrates the things that make us different and the things that pull us together. The perfect balance between unity and diversity. The logo connects at either end, representing a chain-link of the industry coming together.” Mike Rigby, Executive Creative Director, Interbrand Australia.
“AGDA’s mission is to build a community constantly seeking to elevate and prove what Australian Design can do. What it can do for business, the environment, and the world. Ultimately we believe that design can break down barriers, build stronger communities, drive business and change lives.” Nic Eldridge, AGDA, CEO.
To help further connect and promote Australian design, a new website has been developed by Reactive and Bravo! in Victoria.
“There are now more features and better functionality, because we want to make sure that members get more value out of it, more often. Through the site we can help raise the profile of Australian design, because we now have a better platform to communicate to a broader creative community.” Tim Kotsiakos, Executive Creative Director, Reactive.
And this is just the beginning – as AGDA looks to partner with fellow organisations such as D&AD, AIGA and others across a range of initiatives. As well as engage the Australian design industry to help build the new brand together.
The 2014 AGDA Awards Biennial will be held in Tasmania for the first time, brought to you in partnership with the world class MONA. And a new national AGENDA magazine will be published, free for members.
AGDA is also exploring the possibility of a design accreditation program. Not about critiquing design skills, but rather, helping buyers of design to better understand the process and skill involved, while understanding how to run a successful design business. We’ll be putting forward a selection of models and asking members to decide which ones will be most helpful.
ONE AGDA launched this week with coordinated events held in every state across Australia, attended by well over 800 people.
And to help celebrate a new spirit of collaboration, over 100 original pieces of art were submitted by designers, illustrators and writers in response to the question: what can Australian design do? The posters revolved around the letter A and were displayed side by side at the events.
Interbrand also conceived and animated a brand launch video to help explain the changes; with an original score written by Rumble studios in NSW.
To encourage more people to get involved, AGDA is also waiving the membership joining fee until the end of March. That’s up to $100 off the cost of an annual membership. Log onto AGDA and become a member.
Finally, AGDA would like to thank everyone that has helped to shape the organisation for the better – not just over the last 6 months, but the last 26 years. After all, AGDA would not exist without its founders, partners, sponsors and members. We can’t wait to see what we can achieve together as ONE AGDA.
“We’re not just talking about a new logo, identity, or website, we’re talking about a fundamentally ‘new AGDA’. The new structure means that AGDA can finally do what it’s really here for – to support, connect, educate; and show the world what Australian design can do!” Mike Rigby, Executive Creative Director, Interbrand Australia.
When it came to rebranding ATYP, we knew we had to deliver an identity that could represent its work at both ends of the spectrum, helping it carve a unique reputation amongst the elite of Australian theatre.
You see, ATYP has been bridging the divide between young people and professional theatre practice since 1963. As Australia’s oldest and largest youth theatre company, it is driven to create work that impacts the way young people engage with theatre nationally. Making it both grassroots bastion and professional beacon.
From educational programs to creative workshops, this Sydney institution encourages young people to get involved in theatre, helps them develop storytelling skills, and ultimately supports them in bringing their ideas to the main stage.
So our solution was built around the idea of “Stages of Development” – which speaks to educating and encouraging young people but also to bringing stories of youth to the stage, by visually representing the process in creating theatre.
“Historically ATYP had struggled to reconcile the two sides of their company. The accessible workshop hub and the professional main stage performances. Our brand identity solves this problem by representing the theatre-making process as a three dimensional timeline. Showing each part of a production being connected to creation, development and performance. Encouraging young people get involved at any stage”. Oliver Maltby, Creative Director, Interbrand Australia.
The resulting identity is strikingly bold with subtle intricacies. Young people – as the protagonists – are framed front and centre as unequivocal focal points. Typography is bold and enigmatic, broken up to emphasise the notion of ‘work in-progress’. Layers of information add a sense of depth, suggesting there is more than immediately meets the eye. And, within these layers are prompts to other young people asking them to get involved and explore their own stories.
It’s early days, but the first performance with the new brand has already helped ATYP hit its box office target – becoming the best selling show in three years. There has also been a surge in social media commentary as well as an uplift in traffic to the website.
For ATYP, we’ve helped create a brand identity that can take it to the next level and the next stage of its development.
“The impact of Interbrand’s work with ATYP has been immediate. Our first production for the year has broken the attendance record for a performance in our space at The Wharf. Internal and external feedback to the new company brand has been overwhelmingly positive. Interbrand has repositioned ATYP as one of Australia’s flagship theatre companies. We anticipate the clarity of this message will have significant implications across all areas of activity over the coming twelve months, from attracting interest from audiences and young participants, to enhancing the case for support from Government, corporate partners and private donors. Interbrand has made a fundamental shift to the way our company is perceived internally and externally. We are looking forward to a very bright future.” Fraser Corfield, Artistic Director, ATYP.
With over 25 million visitors a year, Darling Harbour is one of Australia’s most visited destinations. Situated in the heart of Sydney, it’s a big, vibrant, colourful place where the city goes to celebrate.
The precinct is owned and operated by Sydney Harbour Foreshore Authority (SHFA). SHFA own and manage some of NSW’s most significant assets, including Sydney’s heritage and cultural precinct The Rocks.
We were commissioned by SHFA to develop a brand that would unite the precinct and build a platform for the future. An in-depth analysis, research and engagement phase followed, leading them to the development of a new branding platform and activation strategy. Based on this, we created a highly innovative brand identity for Darling Harbour to unite the entire precinct experience under one brand for the first time.
SHFA’s vision is ‘to make extraordinary places the world talks about’. So very simply – our objective was to get people talking about this brand. To do this we created the world’s first inflatable brand identity. A distinctive idea that clearly and simply connects communications, street furniture, way-finding, uniforms, websites and the overall in-precinct experience - without ever feeling corporate or dull.
The inflatable identity also ties together a broad range of events: ‘Fiesta’ a festival of Latin American music, dance, food and culture, ‘Hoopla’ Australia’s annual Circus, Sideshow and Street Theatre Festival, and ‘Santa fest’ a Christmas party unlike any other.
To further bring the experience to life, we developed an augmented reality app in collaboration with Sydney-based augmented reality specialist, Explore Engage. You can follow balloon trails on screen that lead to different areas, play games, pop balloons to reveal special offers – even send a special balloon message to someone on the other side of the world.
This isn’t just about a new brand identity, but a strategic activation plan that will improve the Darling Harbour experience for everyone.
“The new brand identity system for Darling Harbour has given us the tools to talk about the diversity of the offer and the variety of events in a cohesive way, that engages our tenants, Sydney-siders and visitors.” Julian Boram, SHFA Director of Marketing.
We’re proud to post about this exciting two-year journey we’ve been on with SKY TV NZ. Following the success of IGLOO came the incredible opportunity to rebrand all of SKY Television. With more than half of New Zealand homes subscribed to SKY’s 80 plus channels, it was time for us to take our seats and get to work.
Dominance in the marketplace has led to a perception that overshadows the role SKY TV plays in bringing Kiwis the best content. While Kiwis love the products and shows, the feeling didn’t translate to the brand itself. Combined with the challenges faced by the pay-TV industry at a global level, SKY had to take a good look at its business and brand to prepare for the future.
Through ‘The Expedition’, we created a brand identity system that heroes the emotions of TV while helping customers to navigate a remarkable world of content – all supported by a more inviting, more Kiwi tone of voice.
Pause a moment. Hero a character. Expand a story. The brand is all about the journey through content, emotion and unlimited experiences.
The brand identity and visual language extracts the two triangles found in SKY’s old logotype to create a refreshingly simple and iconic navigational device.
In a period of immense technological and social innovation, SKY TV is now more in tune with its audience. And the love for its content is now being experienced across the brand itself.
We’d like to thank SKY’s team in New Zealand for this remarkable opportunity and for being so brave when it came to taking their brand on a bold new adventure.
Following the rebrand of SKY TV NZ, we were tasked with creating a seamless connection between the personality and visual identity of the masterbrand and one of its hero products: SKY Movies. With over 800,000 customers, this was our opportunity to help SKY craft an iconic brand identity, capable of creating a lasting relationship with Kiwis.
Forget the fanciful and mechanical identities common to this category; the SKY Movies rebrand is iconic, creative and charming. From the brand’s inviting tone of voice to its inspiring idents, it seeks to embody its passion for content, dial up its Kiwiness and remain relevant and exciting for all of New Zealand.
In collaboration with digital agency Sixty40, we created 18 indents as part of the launch. Using the angular nature of the new brand, each one shares SKY’s passion for film. The spots are inspired by movie tropes and tributes, with our SKYangles at the heart of the action. From laugh out loud moments to couch-side cliffhangers. the spots cover the full range of genres and emotions you can expect to see on SKY Movies.
That’s enough from us. Time to grab the popcorn and check them out!
A big congrats to Telstra – and a hearty thanks to our friends at Paragon – on winning a 2013 Create Design Award for the Telstra Catalogues.
The Telstra Catalogues were redesigned by Interbrand to help customers better understand and navigate all the products and services Telstra offers. By improving the presentation of this often complex information, we helped customers make more informed decisions in a shorter space of time.
The design for ‘Let’s Connect’ was all about putting the customer first. From clear pricing and succinct features to colorful navigation and simplified tables; every element was designed to make things easy. We organised the product options into 3 easy-to-follow steps, guiding the customer all the way through to purchasing.
Another part of our design brief was to encourage customers to spend more time with the catalogue, which meant balancing the sales pitch with more helpful information around products and services. To that end, we added a feature page for every category giving us the space to go into more detail, much like a magazine article. And last but not least, we redesigned the terms and conditions, colour coding them so they’re much easier to navigate.
Well done all!
Health insurance. We all know it can be expensive. But for the more budget conscious among us, it can be considered downright wasteful. Why pay money for hospital cover that you may never make a claim on? And what about those extras that you can never find time to use?
ahm, a health insurance provider owned by Medibank, aims to change all this.
Previously a small niche player, it’s why we’ve created the new ahm brand identity – repositioning the brand at the lower cost end of the market with a unique customer proposition developed by our team.
Starting with the insight that many consumers do not see the value in the ‘value’ end of the market, we sought to redefine ahm as a brand of choice for those who believe low cost policies are “not worth the paper they’re written on”. A brand for people who believe that value is about getting more for less and minimising waste. At the heart of our strategy was the idea, ‘All the things you need, nothing that you don’t’.
A complete (and yet, frugal) redesign of the ahm brand identity was undertaken by our designers. The result is a new look and feel that ensures ahm clearly stands out from the pack. The brand looks bold and single minded, but also pared back and efficient. Every element has a purpose – there is nothing superfluous, no wasted effort.
So, from a colour palette of black and white that saves on printing costs to a perforation line device that helps to highlight and house important information, the new look and feel is the perfect expression of ahm’s new brand idea. The logo is now framed within a coupon device, with a Medibank endorsement line that provides additional credibility for the brand in its new low cost battleground. The way the brand speaks has also been sharply defined with a tone of voice that is courageous, upbeat and always up-front.
For us at Interbrand, it’s a great example of a big idea brilliantly executed that really stands apart. And with a significant uplift in direct sales enquiries following the brand’s re-launch, it looks like consumers might agree with us.
For the 2014 look and feel, we took inspiration from the efforts of Artistic Director Brett Sheehy to introduce greater diversity into the MTC’s realm. There is more flexibility in the identity as we aim to help each individual production shine.
‘Illuminate’ is the theme for the season and represents an MTC that is really lighting up the stage in Melbourne. Bringing new and untold stories to theatre audiences, and projecting older stories in a whole new light.
Promotional materials for each production are treated with a formatted approach, but one that yields diverse creative outcomes. For every story, suggestions of the key threads and sub-plots that lie within are projected on top of, or behind, a base image. The result is a look and feel that both extends and frees up the identity, and aims to provoke intrigue amongst the audience. Bring on the new season!
Opera Australia is Australia’s national opera company and arts organisation. Each year it hosts over 600 performances in venues across Australia and Asia including Sydney Opera House and The Arts Centre Melbourne. Interbrand Sydney were asked to breathe new life into their brand to attract new audiences.
In the 21st Century opera is still enjoyed by many audiences, and through rethinking and re-imaging the operatic experience, keeps pace with cultural change. Artistic Director, Lyndon Terracini, has given Opera Australia a refreshing new outlook that speaks to the future of opera – that opera should be for everyone. His bold vision includes performing in non-traditional venues as well as introducing more diverse programming to the mainstage, often involving cutting-edge technology.
We devised a logo system that could open up opera. From OA, to OPERA, to OPERA AUSTRALIA, the identity expands to contain the rich and diverse range of activities the organisation represents.
There’s so much more to opera than just the performance on the stage, and this new brand seeks to express that opera isn’t one-dimensional – it’s multi-dimensional. The costumes, the sets, the stories, the music, the emotion, the stars, the venues, etc. We expressed this by introducing vertical bars, based on musical notation, to separate the different dimensions of opera. Bars change thickness, vertical position and pace to represent the music. In motion, they move at different speeds, representing different instruments and voices; overlapping each other to open up and wipe content in and out.
Images were designed to communicate the genre of productions; helping people understand opera’s diversity. Comedies feel funny, tragedies feel sad, and romances feel passionate. We engaged the talents of internationally acclaimed Australian fashion photographer, Georges Antoni to bring a contemporary twist to our classic content.
We took the multiple-dimensional concept one step further with the introduction of an entirely new voice. Since we believe that opera is for everybody, we chose to write articles about the most compelling dimension of each opera. That could be the set design, costume design, location, lead performer, director, technical innovation, the music – in fact anything that was fresh news for established audiences and enticing for new ones.
Georgia Rivers, Sales and Marketing Director at Opera Australia, said, “Interbrand understood what the brand needed very rapidly and thoroughly and the execution of their ideas was superb. The new branding has only been out a few days, but already there is a sense from staff and patrons that they are more proud to be associated with the company, and from others that it’s time to take another look at Opera Australia.”
We’re incredibly proud to reveal the new Opera Australia brand to the world. This has been one of the most challenging projects we’ve faced this year, but with the help of Opera Australia we’ve managed to create a brand for modern Australia. One that will hopefully delight existing audiences and attract new ones. And, with the continued bravery of everyone at Opera Australia, keep this spellbinding art form alive for a very long time.
In operation for over three decades, Griffin Theatre Company is the only professional theatre company dedicated to new Australian writing. As a not-for-profit organisation, the ongoing support of donors plays a crucial role in the work they do both on and off stage.
This video was created to raise awareness and financial support for Griffin, helping them to continue to nurture and champion Australian writing for the national and international stage.
Interbrand developed the video concept, then walked through Griffin”s surrounding suburbs with writer and performer Kate Mulvany to direct and capture the footage. We then pulled the final edit together so it could become a key piece of their 2013 supporter drive.
Life insurance recognises the value of the life you’ve created and the future you imagine. It helps you prepare for some of life’s unexpected challenges.
Interbrand worked with TAL, Australia’s life insurance specialists, to create a short video about why life insurance matters.
We wanted to draw attention to the importance of life insurance without the video feeling like a sales tool. To do this, we created an icon set that was in line with TAL’s branding for the animation, combined with video footage. We then graded the final edit to pull it all together.
Thanks to our voice over artist, Simon Harvey, and Ian Camilleri for the audio mix.