2017 logo redesigns continued to follow the current preference of simplistic icons that work on small digital screens; usually vector shaped, with bold colours and a legible typeface that can be used across all digital and print platforms. Brands are continuing to produce a fresh logo that pay homage to its history, legacy and core philosophy. This is set to continue in 2018 as well.
A brand’s redesign has been usually paired with a refreshed, more holistic digital interface and UX as demand for a easier online experience increases. This can be seen with Audi’s new logo and completely new UX and UI design, YouTube in similar form, and eHarmony. 2017 also saw luxury brands Calvin Klein and Converse move to an even more simplified logo, attributing back to the long-established history and iconography of both brands.
We'll keep this updated with what's new in 2018.
Take a look at some of the biggest logo redesigns of 2017/18, beginning with the Guardian's new masthead design, announced ahead of its new tabloid format launch.
Announced in a teaser video on Twitter posted by the editor in chief of the Guardian and Observer, voiced by actor Maxine Peake, the new masthead consists of the same typeface, but with a rearrangement of the wordmark, and adoption of a capital T for The and G for Guardian. The colour palette has changed from two shades of blue, to a solid black.
The Guardian has had the same masthead since 2005, but explains the change as giving space “for new voices, for responsibility, for whistle blowers, for interpretation, for the unheard...space for big ideas.”
"The new design is the result of months of thought, creativity and vision by a team of talented designers and senior editors, and I hope you love it as much as I do,” says Katharine, published in the Guardian itself. "We are thrilled by the new papers. They are visual and serious; explanatory and keepable; full of life and stories and ideas.
"As editor-in-chief of the Guardian and the Observer, my job is to ensure that our independent journalism continues to be enjoyed by as many readers as possible...moving to the tabloid format strengthens our ability to do both, and reinforces our ongoing commitment to print."
Formula 1 has released a new logo today ahead of a planned major redesign under a new head of marketing – the first in 23 years. Designed by Wieden+Kennedy in London and led by its executive creative director of content and design Richard Turley, the fresh logo (bottom) echoes the shape of a Formula 1 car – flat and low to the ground with a suggestion of speed, according to Wieden+Kennedy. The “modern-retro feel” is used to work across a variety of platforms.
"The new mark aims to embody the core forces of Formula 1 racing: speed, attack, and control; while its sleek, sharp interlocking components celebrate the technical prowess of Formula 1 engineering teams," says Richard.
"Its aesthetic is aspirational and leans into the future, but extends naturally from a rich heritage of motorsport graphics."
The new logo replaces work by studio Carter Wong in 1994 (top). It’s been accompanied by a suite of typefaces (F1 Regular, F1 Turbo and F1 Torque) designed by Marc Rouault, a French designer. The holistic redesign of Formula 1 will include new merchandise, helmets and broadcast elements.
Formula 1 plans to broaden the sport’s appeal and attract new fans. The new logo was launched in a live end-of-season video at the end of the Formula 1 Etihad Abu Dhabi Grand Prix, ahead of the 2018 season.
Brooklyn-based funding platform for creative projects Kickstarter has undergone a change in colour palette and typeface for its wordmark logo – which reminds us a lot like Baq Rounded, a typeface created by Hype for Type (which we used in the sadly missed print edition of Digital Arts from about 2010 to 2013).
Designers from Order teamed up with Kickstarter to design their new identity. Jesse Ragan has drawn the new wordmark which builds on the thickness of the original A and R, to create all letters with equal weight.
The new wordmark has two different versions for normal and small size uses. The large size should not be used small and the small size shouldn’t be used for the large, according to Under Consideration.
The identity also introduces two new typefaces – Cooper Light and Maison Neue – both used in light weights, a relief on the eye after the thickness of the wordmark.
Apple Music discreetly released a new brand identity video on Twitter last night (UK time), paying homage to big music stars through the various different transformations of Apple Music’s iconic musical note symbol.
The 30-second advert – Anthem – for Apple Music features Drake, links back to Lorde’s Melodrama album art (seen here) and other famous singers such as Dr Dre, Sia’s hair, Flume’s cover art and even James Corden’s Carpool Karaoke, as well as music genres in general such as Hip Hop and Electronic. The musical note remains at the centre of the animated short film, with its surroundings changing every few seconds to reveal a new style, alluding to different artists.
Anthem succeeds in identifying as a music streaming service for popular culture and pop music taste; it’s target audience. Following on from the release of the video will be a series of artist content experiences that kick off with Sam Smith, who will debut a personal ‘note’ alongside his upcoming new album and documentary, according to Adweek.
YouTube has finally given its logo a very slight refresh after 12 years. The red "tube" which wrapped around the word has been moved to the front of the wordmark, and turned into a more recognisable icon (and more inline with what the service provides) – a play button.
As well as the new play button icon, which Christopher has described as the brand’s “unofficial shorthand”, the online video platform is getting a new typeface, colour palette and changes to its desktop and mobile app.
The original YouTube wordmark typeface – Alternate Gothic II – was from 1903, but the design was modified so that some of the letters didn’t match up; the 'U' for example. The four corners of the play button weren’t all rounded the same way either.
YouTube’s new font, logo and colour rolled out yesterday across its desktop and mobile app.
Online dating service eharmony has refreshed its logo after 15 years. It's introducing a new typeface, bright colour palette, photography of “success” couples, and the iconic heart has been transformed into a multi-faceted, multi-coloured icon for the eharmony app.
eharmony chief executive Grant Langston said the old logo was "frozen in time" and an "antiquated product". eharmony wanted to create a logo that acted as "signpost" to users as they virtually passed by the brand, letting them know the brand has refreshed its overall UX as well.
Designer of the new logo Shaily Savla says these four characteristics guided the tone: romantic, smart, quality and altruistic.
And as you might have noticed, eharmony got rid of the capital ‘H’ from the wordmark, because it reflected an older time of internet speak.
UKTV’s commissioned programming service, UKTV Originals, launched a new logo featuring hand lettering from Alison Carmichael (who also refreshed Madame Tussauds’ logo). The refresh was designed by in-house agency UKTV Creative. It has been centred around the process involved in the creation of UKTV’s Originals productions, such as script writing, set design, storyboarding and editing.
“Basically, the unsung heroes that are often hidden behind the scenes,” says UKTV head of design Peter Allinson.
Converse redesigned its long-standing logo with elements from the iconic brand’s long history.
The new identity, although expected to take a full year to completely roll out, is an attempt to create a "forward-looking" aesthetic that will resonate with "the daring spirit of youth".
The new logo replaces the previous wordmark, which had a star in the letter 'O', with a new wordmark and placement of the star chevron above it.
The company’s new purpose statement says Converse provides youth with "tools that enable movement(s)", referring to physical activity and cultural change. The star chevron acts as a visual interpretation of this.
Although Audi’s redesign by German agency Strichpunkt focused around a unified UX across all of its digital devices, the automotive brand’s iconic logo rings also took on a more simplistic, flat, solidified form.
Strichpunkt designed, developed – and open sourced – an entirely new interface to be used across all Audi digital platforms: from inside your car to the app on your mobile or smartwatch. The identity includes a refreshed – and flattened – logo, a new typeface, specific colour palette and an icon library.
The new interface is essentially Audi's new brand identity. It was created first, rather than being an afterthought, and went on to influence Audi’s new communication media, corporate branding and motion pictures. "The visual appearance is no longer a static structure: it’s a living interface that interacts with human beings", Audi explains.
Hand lettering artist Alison Carmichael was commissioned by London design practice SomeOne to freshen up the logo of tourist attraction Madame Tussauds. The new logo is part of the more digital-focused rebrand of the wax figure house.
"It needed to still feel like the old Madame Tussauds logo but just a more current version," says Alison. "The whole thing needed a refresh, simplifying the forms, a bit more weight and just streamlining so that it feels more up to date."
Paired with Alison’s refined logo is newly introduced typography for sharp statements rolled out in multiple languages, as well as photographic imagery by Sorted.
Calvin Klein discreetly released its new logo on Instagram in February – describing it as “a return to the spirit of the original”.
Acting as “an acknowledgement of the founder and foundations of the fashion”, the new logo follows a recent trend to return to company roots in a simplistic manifestation.
The new logo, all in capitals, appears to be an easier design to transform across many digital and social platforms, but doesn’t stray too far from the previous logo.
It’s created by British graphic design luminary Peter Saville in collaboration with Calvin Klein’s creative director Raf Simons.