Today, we are introducing a new feature called “ASK IAN”. Send me an email with your question and I post both the query and Ian Brignell’s response.
I’m pretty sure that the above illustration (by Ian Brignell, of course) is a dove but for this Ask Ian feature, I’m going to squint my eyes, just a little, so that I can think of it as a carrier pigeon. Get it?
We love getting fan mail. Here’s one from a graphic design student talking about the Ian Brignell feature spread in this best selling textbook by Terry Rydberg.
Subject: Re: Thanks for being profiled in my textbook
Thanks for the kind, detailed response! I will have to check out the flexible pens at my local art store, sounds intriguing! I have sort of a long history with technical pens as I am an architect. Remember trying to clean out the Koh-I-nor rapidographs because you left the ink in the pen that dried out? Nowadays, I have taken many digital media classes at the local community college in the past few years, in typography the teacher and I laughed about the memory of using press type/letraset., and how if you ran of lower case “e’s” you would try to make one by using a lower case “c” and some other letter to make the cross bar…Also took calligraphy years and years ago so played around with nibbed pens. No end to the fun! Best of luck and
It’s the place we buy our booze: the Liquor Control Board of Ontario, a Soviet-era sounding string-of-words rendered elegance incarnate by the hand of Ian Brignell. Along with the lettering, he drew the background illustration as well.
This LCBO identity launched almost 20 years ago. It still feels fresh, elegant and vital.
It’s the late 1970’s and I’m night skiing. My jeans are soaked through and my ass is cold but no one could be happier as I sit back into the ice encrusted chairlift and relax as it swings me back up the hill. Snowflakes twirl through the spotlights running along the side of the lift, Raindrops-are-falling-on-my-head wafts, I have three things only in the pocket of my jacket and it’s all I’ll ever need: tissues, a two dollar bill and my cherry flavoured ChapStick.
It is a discussion Ian and I have all the time; what is the defining characteristic of an iconic brand besides longevity? I think it is when a brand narrative jumps the corporate barricades and lands smack in the middle of our own lives and becomes a part of our personal story.
When Ian was hired to work on the new logo he was especially thrilled because ChapStick is part of his story, too. Skiing, windy/frigid bus stops…it seems incredible now but back then ChapStick was the only choice we had for lip protection besides lipstick and petroleum jelly.
Here’s the old logo then the new logo by Ian. He calls this kind of close-in redesign an evolution.
The days are shorter, sunsets are more bright white than warm, crisp air nips my nose and the leaves have mostly fallen. Winter is coming, Christmas is nigh and so is the seasonal re-launch of this epic perfume.
Estée Lauder Pleasures was one of the first major American brands that Ian worked on. In many ways, it launched his career into the United States. Pleasures hit the perfume market in 1995 and was the best selling brand by the end of the next year. The lettering, the bottle, the scent – it was, and is, a perfect package.
This is the title of an excellent article written by Anthony Wing Kosner and published in Forbes online.
Here’s the first paragraph:
How do you translate Coca-Cola into Singaporean English? How about, “Hug Me”? That’s the premise of a new marketing campaign that Coke has launched in Singapore. But what makes this newsworthy, at least for me, is that the message is being sealed with a gesture.