Diet Coke makes cropped logo packaging permanent

Yes, they did make the logo bigger. Last August we reported on limited edition Diet Coke packaging from Turner Duckworth featuring an enlarged, cropped version of the logo. Diet Coke is now to adopt the design permanently

Yes, they did make the logo bigger. Last August we reported on limited edition Diet Coke packaging from Turner Duckworth featuring an enlarged, cropped version of the logo. Diet Coke is now to adopt the design permanently

The new packaging uses a graphic that is basically a crop of the logo wrapped around the can – full versions are also applied just in case shoppers were unable to identify the brand. Put two of the cans together and the word ‘OK’ is (sort of) spelled out (although some commenters on our original story claimed all they could see was ‘dike’).

Ad Age in the US now reports that Diet Coke is making the design permanent due “to popular demand”. But it also reports that the new design wil only be applied to cans, not bottles.

Turner Duckworth has enjoyed a very succesful relationship with Coca-Cola, steering the drinks giant toward a simpler, bolder approach with clean graphics replacing the clutter of previous designs. Its cropped design was tested in Target shops in August and September 2010 where it was found to have performed well.

 

RELATED CONTENT

See our post on Coke branding from another era – the making of the Piccadilly Circus neon Coke sign here
Check out our post on Turner Duckworth’s Summer 09 Coke cans here

 

 

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CR in Print
The August Olympic Special issue of Creative Review contains a series of features that explore the past and present of the Games to mark the opening of London 2012: Adrian Shaughnessy reappraises Wolff Olins’ 2012 logo, Patrick Burgoyne talks to LOCOG’s Greg Nugent about how Wolff Olins’ original brand identity has been transformed into one consistent look for 2012, Eliza Williams investigates the role of sponsorship by global brands of the Games, Mark Sinclair asks Ian McLaren what it was like working with Otl Aicher as a member of his 1972 Munich Olympics design studio, Swiss designer Markus Osterwalder shows off some of his prize Olympic items from his vast archive, and much more. Plus, Rick Poynor’s assessment of this year’s Recontres d’Arles photography festival, and Michael Evamy on the genius of Yusaku Kamekura’s emblem for the 1964 Tokyo Olympics.

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