American Red Cross VID
Company Turner Duckworth: London, San Francisco & New York
Introduction Date January 1, 2012
Project Website
Why is this project worthy of an award?
The American Red Cross sought to capture the hearts and minds of a new generation of donors and volunteers. The new Visual Identity System includes the brand mark, iconography, graphic assets and design system for implementation across five lines of businesses and multiple types of users—from professional staff to field volunteers. Known primarily for its international disaster relief efforts, the ARC needed to communicate the many other essential services it offers to US citizens, including Armed Forces family support and reintegration services, blood services (it provides 40% of the nation’s blood supply), as well as community services such as Preparedness, Health and Safety courses offered through 800 chapter locations around the country.
What else would you like to share about your design? Why is it unique and innovative?
The new VIS drove reconsideration and repositions the ARC as an approachable, inclusive organization driven by compassion and hope. The identity design is iconic and focused—building on a core idea of enthusiastic participation, through the new “button logo”. An updated but simple color palette of red and white, and a more human approach to typography and clean design, set the stage for iconic branding elements such as the blanket’s modern cross pattern and the bloodmobile’s approachable diagram. Community course books and direct mail pieces convey individual stories that focus on everyday heroes, revealing the ARC as an organization that fosters individual participation, giving hope to anyone in need.
Who worked on the project?
Head of Design: David Turner and Bruce Duckworth Creative Directors: Sarah Moffat, David Turner & Bruce Duckworth Designers: Britt Hull and Robert Williams Lead Production: Craig Snelgrove
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D&AD Signage
Company Turner Duckworth: London, San Francisco & New York
Introduction Date June 1, 2016
Project Website
Why is this project worthy of an award?
Turner Duckworth’s creative response for D&AD’s new signage system embodies the organisation’s mission of stimulating and inspiring the creative community. The exterior signage reflects D&AD’s desire to break boundaries and represent restless creativity by engaging and challenging viewers. Inside, a bespoke set of signs were inspired by D&AD’s iconic yellow hexagon symbol.
What else would you like to share about your design? Why is it unique and innovative?
D&AD is the most respected creative industry awarding body in the world and late 2016 saw them move offices to the creative hotspot of Shoreditch, East London. Situated on a busy street filled with colour and creativity, D&AD’s ambition was to install exterior signage for their building that both reflected the charity’s professional stature but also represented the organisation’s desire to break boundaries and represent youthful creativity. Our response was to begin with D&AD’s mission, stimulating and inspiring a community of creative thinkers to look at things from a different perspective and to solve multiple challenges with one solution. By creating a hand painted anamorphic application of D&AD’s logo on the front of the building we created signage that challenges perception and engages the viewer, encouraging them to solve the puzzle by finding the creative solution and experience the satisfaction of doing so. On the inside of the building we took inspiration from D&AD’s iconic assets and colours to create wayfinding and meeting room signage. We use D&AD’s familiar hexagon in yellow to hold icons for toilets, showers and wayfinding with subtleties including pencil nib-shaped marks. For meeting rooms we adopt a naming system of D&AD’s founders, assigning each a colour from the lineup of award grades. And for wall and window graphic vinyl we play with perspective bending around corners or coming together as one from separate points, continuing the theme from the external anamorphic. Materials are all treated with integrity, echoing the prestigious Pencil awards themselves with gloss wood finishes and attention to detail. The result is an office appropriate for a respected champion of creativity that sits at home in this thriving and forward-looking cosmopolitan area.
Who worked on the project?
Head of Design: David Turner and Bruce Duckworth Creative Director: Paula Talford & Jason Ching Design Director: Miles Marshall Designer: Kristian Shepherd, Chris Simpson Head of Production: James Norris Artworker: James Chilvers Senior Account Manager: Jamie Pearce Installation: Bread Collective Sign Manufacturer: John Anthony Signs
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Diet Coke Crop Packaging
Company Turner Duckworth: London, San Francisco & New York
Introduction Date August 1, 2011
Project Website
Why is this project worthy of an award?
Turner Duckworth created a fresh look for fall with the national release of new Diet Coke packaging. As the #2 sparkling beverage brand in the US, consumers were already familiar with Diet Coke. The Coca-Cola Company North America challenged Turner Duckworth to extend that confidence to packaging. The resulting design provided a bold perspective on this iconic brand by focusing on the union of the "D" and "K" as the key recognizable elements of the logo. The unique crop is at the center of a visual identity which appears in point of sale and advertising for Diet Coke.
What else would you like to share about your design? Why is it unique and innovative?
Turner Duckworth created a fresh look for fall with the national release of new Diet Coke packaging. As the #2 sparkling beverage brand in the US, consumers were already familiar with Diet Coke. The Coca-Cola Company North America challenged Turner Duckworth to extend that confidence to packaging. The resulting design provided a bold perspective on this iconic brand by focusing on the union of the "D" and "K" as the key recognizable elements of the logo. The unique crop is at the center of a visual identity which appears in point of sale and advertising for Diet Coke.
Who worked on the project?
Head of Design: David Turner and Bruce Duckworth Turner Duckworth Creative Directors: David Turner, Bruce Duckworth, Sarah Moffat Coca-Cola Design Direction: Pio Schunker, Hazel Van Buren Turner Duckworth Designers: Rebecca Williams, Josh Michels
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Dripp VID
Company Turner Duckworth: London, San Francisco & New York
Introduction Date November 1, 2011
Project Website
Why is this project worthy of an award?
Dripp is a coffee shop with a twist. In addition to serving premium coffee and tea, Dripp also offers a range of artisanal ice cream sandwiches. The design of the store fuses old and new world styles to create a contemporary experience that evokes simpler, more comforting times. Our Visual Identity System for Dripp builds on these dichotomous themes, and adds a playful touch. The logo is reminiscent of simple yet delicious ice cream parlors. The activations (outdoor signage, to-go cups, cookie boxes, carry bags, wax pastry bags, ice cream cups, posters) are rendered in a vintage café poster style executed with modern simplicity. Every touchpoint uses context and positive-negative play to combine visuals to surprise and delight customers.
What else would you like to share about your design? Why is it unique and innovative?
The design fuses old and new world styles to create a contemporary experience that evokes simpler, more comforting times. Our work builds on these dichotomous themes, and adds a playful touch. The logo is reminiscent of old ice cream parlors, the activations (signage, cups, cookie boxes, carry bags, pastry bags, posters) are rendered in a vintage café poster style executed with modern simplicity, each using context and positive-negative play to surprise and delight customers.
Who worked on the project?
Head of Design: David Turner and Bruce Duckworth Creative Directors: Sarah Moffat, David Turner & Bruce Duckworth Design Director: Chris Garvey Designers: Chris Garvey, Rebecca Au Williams Illustrator: Chris Garvey
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Homebase Range
Company Turner Duckworth: London, San Francisco & New York
Introduction Date January 1, 1996
Project Website
Why is this project worthy of an award?
We unified 44,000 products ranged across 5 areas of a store. Homebase asked us to bring clarity and inspiration to all their customers. Our functional and style-led solutions worked for both experienced and the inexperienced DIY-er or home enhancer alike. Finding the product you wanted was no mean feat. Homebase packaging became an essential working tool, giving guidance, direction, and inspiration to all.
What else would you like to share about your design? Why is it unique and innovative?
Own label pack redesign for the entire Homebase portfolio of products (circa 44,000!). This has involved everything from creating the Pack Design Strategy to the creation of brand guidelines for implementation in the UK and Far East. Ranges launched include: Lighting, BBQ’s, Garden Furniture, Paint Preparation (everything from paintbrushes to paint stripper to dust sheets and sealants), The White Room paint range and Cook Shop.
Who worked on the project?
Head of Design: David Turner and Bruce Duckworth
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Levis VIS
Company Turner Duckworth: London, San Francisco & New York
Introduction Date October 1, 2011
Project Website
Why is this project worthy of an award?
Levi’s was moving to a centralized global business model. With that came the need to create a clear and concise visual identity to celebrate Levi’s heritage while positioning the brand for the future. Turner Duckworth refined the iconic “batwing” mark, removed the name but added the cropped ® found on the brand’s famous red tab (a uniquely Levi’s brand mark of authenticity). The new mark positions the company for an ambitious future vision: To be an iconic, global brand known for modern design. Turner Duckworth also updated Levi’s iconic “2 horse” symbol, leather patch, and house-mark and created guidelines for their use.
What else would you like to share about your design? Why is it unique and innovative?
Everything used to create the brand icon can be found on the back of a classic pair of Levi’s. The famous Red Tab provided the cropped ® and the color red. The back pocket stitching and the shape it forms at the top of the pocket created the Batwing shape. It’s simplicity makes it globally relevant regardless of language, culture or gender.
Who worked on the project?
Head of Design: David Turner and Bruce Duckworth Designers: Brian Steel, Britt Hull
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Miller Lite Baseball
Company Turner Duckworth: London, San Francisco & New York
Introduction Date May 1, 2017
Project Website
Why is this project worthy of an award?
We created packaging that looked great in hand, grabbed the attention of baseball fans at shelf, and also allowed for the creation of fully scalable in-store displays. Showcasing not only an unmistakable Miller Lite approach to baseball but subsequently boosting brand presence in stores across America. Home-run!
What else would you like to share about your design? Why is it unique and innovative?
We made Miller Lite integral to the game of baseball, combining our iconic brand asset; the white heritage can, with the traditional icon of baseball; the bat. Using our signature white and blue colour palette we created bespoke Miller Lite baseball bats that tessellate to create the batting rack, making the idea fully scalable, to increase floor space in key supermarkets and create instore theatre to help sponsorship.
Who worked on the project?
Head of Design: David Turner and Bruce Duckworth Creative Director: Mark Waters Designers: Chris Simpson, Miles Marshall Artworker: James Chilvers, James Norris Account Manager: Isabelle Erixon
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Miller Lite Summer
Company Turner Duckworth: London, San Francisco & New York
Introduction Date May 1, 2016
Project Website
Why is this project worthy of an award?
We created thematic in-store displays that truly resonated with the patriotism of the American consumer whilst building on our unique brand credentials of being America’s original light beer. The packaging added to the value of the brand by genuinely asserting an emotional affinity and patriotism between the consumer and Miller Lite. The 24pk experienced a 3.3pt trend improvement from last summer, which in a declining market equated to a hugely successful campaign for the brand.
What else would you like to share about your design? Why is it unique and innovative?
The iconic American flag is a poignant image for all Americans and its simplicity works on many levels, which is reflected in the success of these packs. Our brand colours naturally resemble the American flag, helping to create the iconic stripes. Whilst the white Miller Lite heritage can forms the stars. Resulting in huge scalable off premise displays that showcase the impact of Miller Lite’s American flag. By manipulating our equity colours we have interesting and ownable singular packs that in themselves are proudly American and successful in conveying this message at both cooler and shelf.
Who worked on the project?
Head of Design: David Turner and Bruce Duckworth Creative Director: Mark Waters Design Director: Miles Marshall Designer: Chris Simpson and Adam Cartwright Artworker: Will Rawlings Retoucher: Mick Connors Account Manager: Anna Brolin and Isabelle Erixon
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Miller Lite VIS
Company Turner Duckworth: London, San Francisco & New York
Introduction Date January 1, 2017
Project Website
Why is this project worthy of an award?
Miller Lite is the original light beer. The beer that brought light beer to America, back in 1975. But its popularity had waned, and Bud Light had taken the top spot. And in a textbook case of Stockholm syndrome Miller Lite had started to look like Bud light. In 2004 the Miller Lite team launched a “throwback” can, as a promotion. The look was a huge success with younger drinkers seeking analogue authenticity, and a real light beer. Turner Duckworth worked with the Miller team to turn the promotion into a full visual identity for Miller Lite, that would endure, and play out across the scope of everything the brand does. The redesign saw Miller Lite deliver increased profits of over $30 million.
What else would you like to share about your design? Why is it unique and innovative?
We looked to the history of the brand to inspire our solution. The existing packaging didn’t relate to the original promise of ‘great tasting beer with half the calories.’ Our core idea was to remind consumers that Miller Lite was the original light pilsner, an iconic American product with strong brewing credentials and an innovator in the beer market. We redesigned the original 1970’s Miller Lite packaging in a modern way by introducing new elements that would allow us to build a brand for the 21st century in all media. The redesigned original heritage can formed the basis of a rich and layered visual identity system that spans packaging, tap handles, glassware, special editions, promotional packaging, digital and more. The identity embraces redesigned Germanic typography and beer crest that elevates originality and the high quality ingredients, whilst also building a new set of equities including iconic wallpaper, typography and monogram to add depth. Key equities are modified to create packaging for NASCAR, Baseball and Ice Hockey alliances keeping them looking cohesive with the identity but different enough to gain interest and impact.
Who worked on the project?
Head of Design: David Turner and Bruce Duckworth Creative Director: Mark Waters Designers: Miles Marshall, David Thompson, Jennie Spiller, Jamie Nash, Mike Harris Production: James Norris and Will Rawlings Illustration: Geoffrey Appleton Retouching: Peter Ruane Account Manager: Kate Elkins
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Tuborg VIS
Company Turner Duckworth: London, San Francisco & New York
Introduction Date September 1, 2017
Project Website
Why is this project worthy of an award?
The new visual identity developed by Turner Duckworth helped to position Tuborg as a brand, which is reassuringly authentic and refreshingly new. The design work combined elements of heritage and legacy with a fresh vibrant look. The new design significantly increased the stopping and grabbing power of the pack on shelf and resulted in double digit sales volume uplift.
What else would you like to share about your design? Why is it unique and innovative?
It may have over 130 years of brewing history but Tuborg has always been a forward thinking, youthful and creative brand. Already with an unconventional, tilted bottle label, our challenge was to redesign the brand for the modern, digital, collaborative and multidimensional world. To go beyond primary packaging and to create a visual identity system that can be easily adapted for the brands activity across the world. We have added a youthful injection of electric blue to the primary logo and brand world colour palette to create disruption in a world of green beer brands and to deliver on taste and refreshment. As part of this updated colour palette we have introduced the Tuborg filter, a blue and green photographic treatment for the off-pack world of advertisement, communications and limited editions, creating a distinctive style, familiar to social media obsessed young consumers and totally unique to the brand. Always associated with music, Tuborg has moved from establishing and sponsoring large rock festivals, to modern day music partnerships with international DJs. To reflect the importance of music in Tuborg’s DNA we have developed the graphic of an amplifying pulse, coming from the heart of the product (its main bottle label) and moving through the world, effecting and adding rhythm to everything it comes into contact with. Combined with more familiar beer language in the form of reimagined heritage marks, hop symbols and bottle pack shots, the new identity is reassuringly authentic, yet refreshingly new, cutting through at shelf and providing a rich set of assets for future growth with exciting new music partnerships
Who worked on the project?
Head of Design: David Turner and Bruce Duckworth Creative Director: Clem Halpin Designers: Chris Simpson Head of Production: James Norris Artworker: James Chilvers Senior Account Manager: Jamie Pearce
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Turner Duckworth Moving Card
Company Turner Duckworth: London, San Francisco & New York
Introduction Date February 1, 2017
Project Website
Why is this project worthy of an award?
The original and unique mailer truly captures the spirit and growth of Turner Duckworth. The humorous observation of being ‘packed in like sardines’ in our previous (much smaller) studio formed the basis of the mailer. The wit and surprise of being confronted by a sardine tin creates a memorable moment, whilst also nodding to our origins as a packaging design agency. When the tin is ripped open it reveals a confined typographic ‘Turner Duckworth’, representative of the previous lack of space.
What else would you like to share about your design? Why is it unique and innovative?
The complexity of the paper engineering was deliberate; we wanted the recipient to experience our studio move and feel the sense of relief as the pages concertinaed out, revealing more and more space. When fully extended a descriptive passage captures the benefits of our new studio, with ‘Turner Duckworth’ seamlessly incorporated at the heart of the copy. This mailer was memorable, unique and most importantly represented the growth of Turner Duckworth.
Who worked on the project?
Head of Design: David Turner and Bruce Duckworth Design Director: Miles Marshall Designer: Amy Cobain, Gavin Hurrell Artworker: James Norris, James Chilvers Account Manager: Isabelle Erixon
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Waitrose Range
Company Turner Duckworth: London, San Francisco & New York
Introduction Date January 1, 1996
Project Website
Why is this project worthy of an award?
Waitrose products are simple and honest, made with the best ingredients available. For 22 years, we have designed packaging for Waitrose that celebrates this idea of simple, honest quality. Our designs never over-sell the product or use gimmicks to entice consumers. They invite the viewer to delight in the simple quality of the ingredients, and occasionally they bring a smile with a touch of visual wit. The delightful simplicity of the designs means that they are often more seductive than the brands they compete with.
What else would you like to share about your design? Why is it unique and innovative?
Honey Bee: A simple typographic design, playing with the “E” in HONEY, creates the stripy body of a bee, which also references wooden honey twizzler sticks. High Jams: Waitrose briefed us to redesign their High Fruit Jams range to coincide with a product reformulation. The range now contains the highest level of fruit content within the reduced sugar sector of the market. Our brief was to communicate the deliciously fruity jam to be found in each jar. The result is an uncluttered label which heroes each of the fruits. The images are placed ‘high’ on the label, and with a name like ‘High Fruit’ the message cannot be missed! Regional Pizza: We were asked by Waitrose to redesign their top-tier pizza range, redeveloped for launch in 2010 using regional ingredients and traditional combinations sourced from and inspired by five Italian regions. The design solution uses still-life photography in conjunction with evocative pack copy, to hero the authenticity and provenance of the key ingredients sourced for each pizza. Set against a muted colour palette and pizza slice shaped window, developed specifically, the final design re-enforces the range’s top-tier credentials as well as a slice of true Italy! Cans: Our solution focused on using the actual products to create graphic panels of the products shot against complementary backgrounds that would allow the consumer to not only stock up on their favourites but also find new ingredients too. Typographic style was kept as simple as possible to further aid communication. Breadsticks: Waitrose briefed us to create a new identity for their range of breadsticks. The range had been under-performing, due to lack of visibility within store. Our solution was to focus on the Italian heritage of the range and educate consumers about the difference between Grissini (everyday and kids love them) to Torinesi (pre-dinner party nibble plus additional ingredients). This was achieved by the use of actual size photography of the product against a distinctly rustic graphic background, and of course, actually telling consumers what the product is in large type! Pet Food: From wet and dry food to cat litter and treats, Waitrose’s range of Mid Tier pet food comprises of 73 products and 14 different categories in the range. We were asked to redesign the range to clearly identify protein (food) types as well as clear navigation of product types e.g. dry/wet food, jelly or chunks etc. The design uses brightly colour coded objects and clear typography to differentiate the food types and help navigate the large range. The dogs and cats interact with the objects differently on every pack to provide a playful character across the entire range of products.
Who worked on the project?
Head of Design: David Turner and Bruce Duckworth
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