branding

6 posts

figma

Speaking the Language of Color | Figma Blog (opens in new tab)

Color is presented as a cultural language that influences emotions, perception, branding, and consumer behavior. The Pantone Color Institute studies these associations through psychology and trend forecasting, helping organizations choose colors that communicate specific messages. Effective color decisions require cultural awareness, a clear brand purpose, and consideration of the physical or digital medium where the color will appear. ## How Colors Influence Perception - Color associations often arise from nature: - Yellow suggests sunlight, warmth, and joy. - Green implies renewal and growth. - Brown conveys groundedness. - Blue is associated with dependability and stability. - Orange recalls fruit and tangy sweetness. - Cultural trends also shape color preferences, including: - Film, art, travel, sports, and technology. - Lifestyle changes and broader social conditions. - Economic pressures, which can cause palettes to shift. - Color meanings vary by region: - Black is associated with mourning in much of the West, while white serves that role in parts of the East. - Red can suggest love, anger, or urgency in Western contexts, but luck and prosperity in Eastern cultures. - Brands should research local color sensibilities rather than assume that a trend has universal meaning. ## Building a Brand Story Through Color - Strong brand palettes express what a company stands for and support its broader narrative. - Coca-Cola’s red communicates energy and excitement and has become inseparable from the brand. - Airbnb’s 2014 shift from baby blue to salmon pink was intended to convey warmth, humanity, comfort, and connection—qualities that supported its expansion into local Experiences. - “Brat Green,” associated with Charli XCX’s 2024 album, illustrates how an unconventional color can capture attention and reflect cultural attitudes: - Its yellow undertone adds energy and vitality. - Its organic associations suggest authenticity amid increasing digital saturation. - Its unusual appearance helps it stand out on social media. - Pantone’s own Config palette combines bright, pastel, earthy, aquatic, and nature-inspired colors to connect the physical and digital worlds. ## Designing for Materials and Surfaces - Colors do not appear identically across screens, fabrics, packaging, or other physical materials. - A color that looks appealing digitally may seem overly harsh in person. - Some hues achievable in fabric dyes may not be practical for products made from other materials. - Color decisions should therefore begin early in the design process, with the material, surface finish, and viewing context already considered. ## Tracking Cultural Change - Pantone’s Color of the Year program has run for more than 26 years and is one of the design industry’s most closely watched color forecasts. - The institute’s broader work combines color psychology, global observation, and trend forecasting to identify how cultural shifts influence color preferences. The practical recommendation is to treat color as a strategic design decision: define the intended message, understand the audience’s cultural associations, and test the color in its actual material and environmental context.

figma

Friends of Figma’s Brand Refresh Tells the Story of a Global Community | Figma Blog (opens in new tab)

Friends of Figma has introduced a refreshed brand identity to represent its rapidly growing, globally diverse community. The redesign aims to remain recognizably connected to Figma while giving local chapters freedom to express their own cities, cultures, and members. Its central idea is a flexible, community-owned design system built around shared principles rather than uniform results. ## Friends of Figma’s Global Community - Friends of Figma is Figma’s official user group program for connecting, learning, and sharing inspiration. - The program includes more than 250 chapters across 82 countries. - In the previous year, chapters hosted over 900 events, including: - Workshops and webinars - Craft talks and watch parties - Casual meetups and social events - The program began in 2020 after communities had already been organizing meetups since 2018. - Figma says community is especially important as AI rapidly changes the design industry. ## A Brand That Is Globally Local - The new identity had two primary goals: - Stay connected to the Figma brand so chapters can attract members and sponsors. - Give chapters enough flexibility to reflect their own regions and cultures. - Rather than forcing every chapter to look identical, the system is designed to be shared, owned, and shaped by local organizers. - Figma describes this as a “democratic design system” connected by a common spirit. ## Reworking the Figma Shapes - The redesigned Friends of Figma logo separates the basic shapes of the original Figma mark. - These shapes become building blocks for new compositions. - Their coming together symbolizes individual chapters forming a larger global community. - The identity extends across: - Color guidelines - Chapter badges - Stickers - Event materials - Photography ## Flexible Guidelines for Chapter Creativity - The toolkit provides enough structure to create consistency without limiting local expression. - Chapters share a core color system but can select six additional colors from an approved palette. - Sticker templates offer basic shapes and guidance, while chapters decide what imagery and content to place inside them. - The visual system focuses on real people, local places, and in-person events rather than abstract corporate branding. - New photo guidelines encourage a street-level perspective rooted in what local communities recognize and understand. The refresh positions Friends of Figma as a shared global framework with strong local ownership. Chapters can use the common identity to feel connected to Figma while still creating a brand presence that genuinely reflects their own communities.

toss

Layers of your time : Celebrating the time spent with Toss (opens in new tab)

The article argues that effective internal branding is not about making attractive company merchandise, but about designing meaningful experiences around employees’ time and contributions. Through an eight-month redesign of Toss’s work-anniversary gift, the designer created a layered light that visually represents accumulated years, protected quality despite production delays, and carefully designed the delivery experience. The project concludes that strong internal branding requires a clear reason, end-to-end experience design, and unwavering standards. ## From Merchandise to a Celebration of Time - Toss celebrates employees’ work anniversaries with annual gifts such as medals, wine, and cubes. - Over time, some employees began giving the gifts away, suggesting they had become clutter rather than meaningful keepsakes. - The redesign aimed to: - Sincerely celebrate each employee’s time at the company. - Show appreciation for the six-month gap while the gift was being redesigned. ## Three Criteria for the New Gift The new product had to: - Avoid being immediately stored away in a drawer. - Physically show the accumulation of time. - Remain beautiful whether celebrating one year or ten years. A layered lamp was chosen because employees could add one disk for each anniversary. As the disks accumulated, the layers of light became deeper, making the passage of time visible through the object’s structure. ## Hardware Development and Quality Control - The designer had no previous hardware or lighting-production experience. - The team repeatedly tested: - Disk thickness, including differences as small as 0.5 mm. - The spacing between the lamp body and disks. - Light intensity as more disks were added. - The product was divided into two versions: - White for years 1–10. - Black from year 11 onward, symbolizing the beginning of a new period. - Dozens of defects appeared during final factory inspection. - Rather than compromise quality to meet the schedule, distribution was delayed. - Approximately 5,000 lamps were individually inspected and improved. ## Giving the Product a Warm Voice - The lamp was named **Layered Lighting**. - The phrase **“Layers of your time at toss”** was engraved on the lamp and packaging. - The communication emphasized remembrance and celebration rather than corporate motivation. - Serif typography, carefully matched packaging, and handwritten name cards created a warmer, more personal experience. ## Designing the Moment of Delivery - Instead of asking employees to pick up their gifts, the team placed them directly at employees’ desks. - The redesigned process gave employees the correct number of disks for their accumulated tenure. - The intended experience was: - Discovering the gift on a Monday morning. - Opening the box and reacting with surprise. - Taking photos and sharing the moment with colleagues. - Over one weekend, the team placed gifts at 2,500 desks among approximately 3,900 employees. - The operation took 26 hours. - Employee photos and reactions spread across Slack and Instagram, including one memorable comment: “I now have a reason to stay another year.” ## Principles of Good Internal Branding - **Start with the reason:** Every object or graphic should clearly communicate why it exists. - **Design the experience, not just the object:** The interaction begins before the product is opened and includes how it is received and shared. - **Protect the standard until the end:** Internal projects are easy to compromise because their results may not be immediately visible, making a clear standard essential. Good internal branding helps employees feel that they belong to a good team. That sense of belonging can strengthen engagement and ultimately improve the quality of the work they create.

figma

In Good Company: How Agencies Are Transforming Client Collaboration | Figma Blog (opens in new tab)

The article argues that agencies and freelancers are replacing opaque, hierarchical design processes with flexible, collaborative partnerships. Remote work, boutique studios, and tools such as Figma enable clients to participate throughout the project rather than simply review finished deliverables. The result is a more fluid model that combines specialist craft with generalist, cross-functional collaboration. ## A More Collaborative Agency Model - Remote work has dispersed teams across locations and time zones, making frequent communication and shared tools essential. - Boutique agencies increasingly compete with large firms by offering agility and closer client relationships. - Agencies are tailoring their structures to each project, with teams expanding or contracting according to client needs. - Roles are becoming less rigid; Design Business Company co-founder Judson Collier describes this shift as “generalism” returning to the industry. - Clients are more design-literate and comfortable working directly in tools such as Figma. - Shared files and comments replace formal presentations and printed deliverables, allowing teams to iterate continuously. ## Human’s Flexible Studio Structure - Human, founded by Rachael Yaeger and Michael Ray in 2013, typically operates with six to ten employees. - Its variable team size lets the studio provide: - Freelancer-like agility - Large-agency cohesion and experience - Close collaboration between designers, developers, and clients - Human avoids the separation that can arise when internal and agency teams work in isolated groups. - Clients increasingly embed external agencies directly into their teams, reducing management layers and encouraging informal communication. ## Building Jimini Health’s Brand - Human worked with Jimini Health, an AI mental-health company, on a visual identity and website. - During the project’s sprint phase, the two teams held foundational discussions about the qualities and values the brand should express. - Human used Figma Slides to support high-fidelity presentations and cross-functional collaboration. - The resulting identity included: - A visual system reflecting the spectrum of human emotion - A robust, ADA-compliant color palette - Photography by Molly Matalon - Consistent applications across the app, website, and social media - Frequent feedback through shared Figma files allowed both teams to refine the direction together rather than treating design as a one-way agency handoff. Agencies can work more effectively by combining flexible team structures, broad creative skills, and transparent collaboration tools. Treating clients as active partners—and giving them access to the work throughout the process—creates faster, friendlier, and more adaptable design workflows.

figma

Just Our Type: The Story of Creating Figma Sans | Figma Blog (opens in new tab)

Figma created Figma Sans as part of a broader brand refresh responding to its expanding audience and product ecosystem. Replacing Whyte, the new typeface was designed with Grilli Type to combine a distinctive, opinionated character with flexibility, legibility, and performance across many contexts. The process favored a bespoke solution over existing fonts and used exploratory concepts to define the final direction. ## A Typeface for an Expanding Brand - Figma’s visual identity was evolving across color, illustration, pattern, motion, and typography. - Its previous typeface, Whyte—with its distinctive inktrap variation—had served the brand since 2019. - The broader audience now included designers, developers, product managers, and newcomers, requiring a typeface that could communicate widely. - Figma sought a contemporary grotesque: a sans serif style that could support varied weights, optical sizes, and applications. ## Finding a Fresh Approach - The Brand Studio prioritized: - Flexibility across display and text use - Strong legibility - Effective performance in places such as the Help Center - A visual personality aligned with Figma’s new, more complex brand language - The team evaluated existing typefaces, including Marr Sans and Agipo, but found that none fully met the brief. - They chose to commission a custom typeface so the collaboration itself could help clarify Figma’s typographic needs. - Grilli Type was selected for its design expertise, narrative focus, and willingness to develop a concept rather than follow current trends or historical models. ## Defining an “Opinionated” Typeface - Grilli Type began by creating a mood board to identify the central tension in the brief. - “Opinionated” became a guiding idea: the typeface should feel confident, purposeful, and free of unnecessary decoration. - The design team explored references including: - Karl Gerstner’s work - 1920s German typography - Bell Centennial, designed for phone books by Matthew Carter - Two initial directions were presented: - A more straightforward approach with simplified forms - A more unconventional and expressive direction - Rather than choosing one option outright, Figma used the concepts to discuss the desired design space. - Feedback favored the simpler shapes of the first direction while incorporating some of the distinctive character of the second. Figma Sans emerged from treating typography as a central part of Figma’s evolving brand—not merely as a replacement font. Its recommended role is both expressive and practical: a recognizable voice for brand communication that remains readable and versatile throughout Figma’s products and content.

figma

Paula Scher’s 10 Rules for Play | Figma Blog (opens in new tab)

Paula Scher argues that creative “play” comes from freeing the mind to make unexpected connections between existing ideas, not from inventing something completely original. Her approach combines deliberate mental wandering, exposure to history and other disciplines, supportive collaborations, and a willingness to reject trends. The goal is to create conditions where designers can experiment and initiate new directions. ## Creating Space for Ideas - Meet the client, understand the brief, then do a mindless task such as cleaning to clear mental space. - Look through design-history books broadly, without copying or bookmarking ideas; begin the project later. - Use boring or uncomfortable situations—waiting rooms, traffic, offline flights—as opportunities to sketch and let the mind wander. ## Building Conditions for Play - Nurture long-term relationships that allow creative freedom, such as Scher’s decades-long work with the New York Public Theater. - Maintain a healthy mix of projects, support the team, and encourage people to question assumptions. - Treat better work as a way to raise expectations and generate even better work. - Recognize that genuine opportunities to experiment are rare, and consider pro-bono or low-paid projects as spaces for discovery. ## Escaping Familiar Influences - Change tools and leave the computer behind. - Visit bookstores, museums, galleries, or shops, and explore disciplines unrelated to the current project. - Accept that all creative work is influenced by something else; originality comes partly from how influences are combined and from avoiding passing trends. - Avoid mood boards when they merely encourage producing a slightly altered version of existing marketplace styles. ## Starting New Directions - Initiate your own creative “cluster” by doing something daring. - Design trends often become ordinary when others imitate the first bold example, so innovation requires being willing to go first. Designers can cultivate play by creating distance from routine, seeking varied experiences, and protecting relationships and projects that enable experimentation rather than imitation.