As well as the hand-painted, all caps lettering, the branding draws heavily on EMCAS’ Devon location, with photography of beaches, rolling hills and lighthouses. Here are some spreads from the brand’s new brochure (cover, shown above) created to introduce the brand to potential customers:
“Keeping in mind EMCAS’s mission to right the wrongs of mis-selling and to re-establish a common decency in the relationship between financial service providers and their customers, the firm’s passion to achieve these goals is reflected in a new version of its logo,” says The Partners Paul Twivy.
“Using a hand-written typeface, against the background of a green swoosh of paint, the logo is designed to look like a social crusade,” he continues, “a conscious nod towards the brush strokes of student placards, activism, protest.”
The Partners maintain that the use of bold hand-painted lettering style in the EMCAS rebrand has nothing to do with current trends: “We don’t believe in just superficially or cosmetically re-branding a company,” says Twivy. “A new brand identity has to be built on the sharpest possible brand strategy and be the best outward manifestaion of a company’s skill, culture and purpose.”
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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CR for the iPad
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