Above: the old Diocese of London logo which represented both the Diocese of London and the Bishop of London
Paperjam started working with the Church of England’s Diocese of London in 2010 on small projects but soon found that it was hard to find decent resolution versions of its logo to use on posters etc. The agency suggested the Diocese consider redrawing and refreshing its branding.
“After we made this suggestion the Diocese realised they needed both a refresh of their branding and they also needed to separate the Bishop of London from the Diocese brand,” say Paperjam. “The Diocese of London and the Bishop of London had been sharing a logo so we suggested that it may be better to create a new brand identity for each.”
Paperjam begin by devising a new identity from scratch for the Bishop of London, conferring with both the College of Arms and the Bluemantle Pursuivant of Arms (an officer of the college) as a starting point. Advice in-hand, the agency worked with Portuguese illustrator Marcelo Oliveira to create a new coat of arms (below) featuring the motto Amor Vincit Omnia (Love Conquers All) at the request of the current Bishop of London, Richard John Carew Chartres.
During the design process, Paperjam consulted the Bluemantle Pursuivant to ensure the crest they were creating (above) adhered to the Bluemantle’s advice, which included the information that red is the colour of London. The agency settled, in the end, for Pantone 186. As a result, the Bishop of London now uses the exact, Pantone referenced red colour as his writing ink and signs all of his correspondence in his new brand colour.
Paperjam’s new identity for the Diocese of London utilises Robert Slimbach’s Adobe typeface Minion Pro, both for the logo and for text used on business cards, letterheads. It is set to launch early next year but here’s a preview:
CR In print
In our December issue we look at why carpets are the latest medium of choice for designers and illustrators. Plus, Does it matter if design projects are presented using fake images created using LiveSurface and the like? Mark Sinclair looks in to the issue of mocking-up. We have an extract from Craig Ward’s upcoming book Popular Lies About Graphic Design and ask why advertising has been so poor at preserving its past. Illustrators’ agents share their tips for getting seen and we interview maverick director Tony Kaye by means of his unique way with email. In Crit, Guardian economics leader writer Aditya Chakrabortty review’s Kalle Lasn’s Meme Wars and Gordon Comstock pities brands’ long-suffering social media managers. In a new column on art direction, Paul Belford deconstructs a Levi’s ad that was so wrong it was very right, plus, in his brand identity column, Michael Evamy looks at the work of Barcelona-based Mario Eskenazi. And Daniel Benneworth-Gray tackles every freelancer’s dilemma – getting work.
Our Monograph this month, for subscribers only, features the EnsaïmadART project in which Astrid Stavro and Pablo Martin invited designers from around the world to create stickers to go on the packaging of special edition packaging for Majorca’s distinctive pastry, the ensaïmada, with all profits going to a charity on the island (full story here)
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