Metro FM

Metro FM is the largest National Urban Commercial station in South Africa with around six million adult listeners tuning in from all across the nation. The station’s core genre, R&B, is the most popular music genre among South Africans between the ages of 16 and 34. Metro’s penetration within this market is 43 percent of the total market. (source)

I know next to nothing about this identity design (their marketing dept. never replied to my e-mail), other than to say that the typeface is the FF DIN family. Metro FM is an SABC radio station (SABC logo featured in Part 1) so it might be safe to assume that their design team are responsible for this one too.

I really like how the M letterform, resembling both an audio spectrum analyzer and cityscape, breathes life into the logo when animated, like the Sasol logo. Take a look at their website or TVCs to see the M in action:

Kalahari.net

Kalahari.net is the largest and most dominant e-Commerce platform in Africa offering a huge range of books, music, DVDs, games, electronics and gifts. First registered in April 1998, Kalahari.net offers top-selling products available on 24-hour delivery, various payment options, door-to-door delivery, wish list facilities, vouchers, free gift-wrapping, etc.

Kalahari.net is a division of Media24, a Naspers brand. The name links the brand to Africa by its association with the Kalahari Desert, a well-known African landmark.

Interestingly, they might have been called Kalahari.com by now, if they'd won a domain name dispute back in 2001. I really enjoyed the below extract (for context, I was employed by Electric Ocean a month before, just as they were entering a state of turmoil, so it comes as no suprise...):

On a date prior to June 9, 1999, the Complainant entered into an agreement with a company named Electric Ocean to acquire the registration of the Domain Name which was at that time held by Electric Ocean. However, before the transfer could be effected the registration of the Domain Name was cancelled on Electric Ocean’s failure to pay the fees. The Domain Name fell back into the public domain.

The logo was designed by Garth Walker of Mister Walker Design (formerly Orange Juice Design, who were later acquired by the design house of Ogilvy South Africa). Garth never responded to my e-mail either, but I had better luck contacting Kalahari.net themselves, and they had this to share:

In essence, it was our aim to capture the spirit of the organisation through the use of a 'symbol'. The 'symbol' itself is the man running with the sun/streamer and with the use of warm colours, the logo represents the spirit of our organisation. i.e. A happy, warm company within an African heritage. The logo is horizontal in format for web legibility with no use of vignettes or thin lines. Type is simple and complimentary to the logo's message.

My favourite part is the hypnotic ribbon. I'm not sure what the typeface is - the closest match I can find is Fiendstar Extended (UPDATE: it's Nimbus Sans Extended). The running man (Khoisan rock paintings figure) also features in the 2010 FIFA World Cup logo.

Kaizer Chiefs

Kaizer Chiefs is a South African football club, founded 7 January 1970 in Soweto, Johannesburg, by soccer legend Kaizer Motaung shortly after his return from the USA where he played as a striker for the Atlanta Chiefs of the NASL. (How about this for a classic moment in time.)

The team is nicknamed Amakhosi which means "lords" or "chiefs" in Zulu. The club is unarguably the biggest football club in the country in terms of success and popularity, estimated to have over 16 million (very, very, very fanatical) supporters - Nelson Mandela being one of them.

Kaizer Chief's brand manager responded to my e-mail request for information on the logo with the following:

Kaizer Chiefs logo was made in 1969 and the only changes that have been made have been tiny graphic details to make it easier for embroidery etc. At one stage we were called IWISA Kaizer Chiefs after a sponsor. The Chiefs insignia has always been there and the colours have always been the same.

After some more digging around I found the Atlanta Chiefs logo (1967 - 1972, altered slightly when the club briefly reformed in 1979), and so the origins of the Kaizer Chiefs identity became clear. The chief mark underwent some small cosmetic changes, the full "Kaizer Chiefs" name was added around the mark, and two footballs were added on either side.

I feel the footballs are unnecessary and redundant though, and I'm not a fan of the arc effect on the type either (although it doesn't bother me so much in the Atlanta Chiefs logo). And I'd always thought that the Kaizer Chief's chief had a visible eye line, but it turns out to be the beginning section of his headdress!

I have as much dispute with IE6 as the next guy - there's no denying that it's holding us back and we'd be better off without it - and I fully support non-disruptive evangelism efforts that encourage IE6 users to upgrade to a modern and more secure browser. It's in their best interest after all.

But the notion that IE6 support should be discontinued, or that its users should be blocked, is dangerously misguided and missing the point. IE6 isn't your problem, and you shouldn't even maintain a list of supported browsers in the first place. If you think I'm talking to you, continue reading.

Via Inclusive Web Design For the Future (by Steven Champeon & Nick Finck):

The goal of Web design is not merely to dazzle, but to deliver information to the widest audience possible. Compromise is possible and desirable, but such compromise should not come at the expense of the user, but rather in terms of the native capabilities of the user's choice of device.

As someone that designs and develops online, one of my primary responsibilities is to deliver an accessible user experience. To my users, and not their choice of access. Their media device, operating system, browser, screen resolution or viewport - there's no denying that these factors should be considered when planning a new project, but they shouldn't ever be treated as constraints that place limitations on the interface or experience. They are merely variables that come together in any number of ways for any number of users. And although you can trend and analyse them today, they will undoubtedly change tomorrow, and next week, and month, and year... you get the picture.

If you think IE6 is today's problem, how will you deal with IE7, Firefox 2, Safari 3 or similar browser generations a year from now when they fail at rendering your standards-compliant CSS3? Cry foul like a stuck record from a bygone era and demand that your users upgrade once again to meet your standards? No, I didn't think so.

Then what's the alternative?

So glad you asked - progressive enhancement of course!

Before you point fingers, I'll be the first to admit that I'm not exactly a PE poster boy candidate. Using this site as a quick example - I built it with best intentions just under a year ago, and despite saying then that I'd adopted a PE strategy, there are so many things that I'd do differently today. But in my defence, that's the very nature of designing for the web: a continuous cycle of learning, adapting and growing.

So PE isn't new to me, but adopting it's methodologies into my workflow has taken longer than I'd like, only because it demands changing a system that I've spent a long time refining, and these changes demand free time that I generally don't have. But with every new project, I take another step closer towards PE utopia. I'd say I'm currently bordering on a solid progressive enhancement strategy, while some thinking around the defunct graceful degradation approach still remains.

See Understanding Progressive Enhancement by Aaron Gustafson for an overview of the subtle differences between the two concepts.

Both graceful degradation and progressive enhancement consider how well a site works in a variety of browsers on a variety of devices. The key is where they place their focus and how this affects workflow.

Although I don't appreciate the sweetness offered by the M&M anology, the article does a good job of introducing the two important follow-ups: Progressive Enhancement with CSS and Progressive Enhancement with JavaScript. Definitive reading!

Ultimately, you will need to take the basic principles and adapt them as best you can into your workflow, all within context of course (if you exclusively develop intranets for IE6 then don't bother). For example, the biggest changes that I've made include:

• Adopting a JavaScript library - together with behavioural separation, jQuery provides me with powerful, unobtrusive and accessible methods for manipulating style and content. I swear by it, but I'm careful to not rely on it.
• Resetting my CSS: see Eric Meyer's Reset Reloaded (and Again) as a starting point, or A Killer Collection of Global CSS Reset Styles if you have the time.
• Sizing my layouts and typography using ems - How to Size Text in CSS (by Richard Rutter) is invaluable.
• Using conditional comments to target IE6 and IE7-specific CSS for style compatibility. Familiarise yourself with IE's hasLayout too - adding one simple rule to your conditional CSS will save you a lot of trouble and time.
• DD_belatedPNG - Medicine for your IE6/PNG headache! - the holy grail of PNG support in IE6
• Being comfortable with the idea that despite the above points, my interface designs are secondary to the content that they deliver. They will never render consistently for all users - but then, they won't know the difference anyway.

And there you have it! No more reason to blame IE6 for your laziness or reluctance to adapt. If you're not convinced, have your say in a comment. I'd also love to hear if and how you're using PE in your own work, or any experiences worth sharing.

More reading:

• Pragmatic progressive enhancement  - why you should bother with it (by Christian Heilmann)
• Creating gracefully degrading javascript and enabling progressive enhancement (via Mark Story)
• Progressive enhancement in action (via Nvision)

Sasol

I fell in love with the Sasol logo the moment I first saw it, which if I remember correctly was in an animated format online. It's almost hypnotic, I can stare at it for ages, and I have to say that it's one of my top favourites of this series.

The international award-winning Sasol rebrand was launched in 2001 (I bet you don't remember their previous logo).

Sasol (originally Afrikaans for Suid-Afrikaanse Steenkool en Olie - South African Coal and Oil) is an innovative and competitive global energy company, engaged in the commercial production and marketing of chemicals and liquid fuels; with a growing interest in oil and gas exploration. Established in 1950 by the South African government, Sasol employs more than 32 000 people worldwide and remains one of South Africa’s largest investors in capital projects, skills development and technological research and development.

Via Sasol's Corporate Identity page:

Sasol's identity owes its inspiration to what is at the core of what Sasol does - chemicals. It suggests the essence of the products, and businesses working in harmony in order to create something new and dynamic. The central sphere denotes stability, while the six rotating 'business units' suggest a force greater than the sum of its parts - strength through synergy.

Well that's the short of it. Clifford Boobyer, Creative Director at Firedog (then creative lead at Trademark Design), was responsible for the Sasol global rebranding project and identity design. I exchanged a few e-mails with Clifford, who was very accommodating to share some insight into his creative processes:

It was a mammoth project, with a very simple easily sold creative burst right up front.

At this stage of my career, I had just moved on from fiddling around with an application that shipped with early Macromedia called Extreme3D onto the more serious 3D Studio Max. I thought I might try build an identity around a 3D application - this was still before the trend of 3D marks we see so readily today, and it felt kind of cool to do something different.

So I got to grips with the Sasol business and soon worked out that all their business related back to organic compounds one way or another. Whether it be oils, gas, or any other compound - they all seemed to be built from the same building blocks: Hydrocarbons. And when you start looking at modelling around hydrocarbons - you can really get to understand where the brand mark started to develop. So I guess it was the geek in me (before Wikipedia, mind you) which became fascinated behind the science of the brand.

Chemistry in Motion

I asked Cliff about the animated logo that applies to digital environments:

Coupled with the new application I was learning, this journey of discovery inspired me to create a very progressive and animated mark. So I recreated the model in 3D Studio Max, based on a very basic layout sketch that I did. I think because what I wanted to do was so singular in it's idea - I didn't spend long sketching.

I dropped in a large Silver carbon atom and created a series of coloured hydrogen atoms that rotated on paths closely around the core. I remember the mark being multiple colours, red, green, blue, yellow etc. - we changed them all to shades of blue later on client consultation. It was then just a case of bringing the hydrogen atoms to life and making them move around the core, without bumping.

Because it was early days in 3D - there was no Flash output. I laboured one of the junior designers of the time with the process of recreating all the frames of the end animation in vector Flash. It turned out nicely at least!

So, I think it was one of those rare occurences of a brand identity that started with an animation. And moved on from there. The client bought the idea and the pitch in one go.

I think it was in the studio for 18 months and the brand guidelines generated in the end topped 750 pages.

More reading: Sasol re-brand at Firedog, and Sasol's Electronic Brand Book (2.3mb SWF)

Wimpy

Up until I started this series, I'd always assumed that Wimpy is a uniquely South African brand. As it turns out, Wimpy was founded in London in 1954 while the brand (originally called Wimpy Bars) was originally created as early as the 1930s. By the early 1970s the business had expanded to over a thousand restaurants in 23 countries.

Wimpy UK, which comprises 194 outlets across England, Scotland and Wales, and operates a further 20 restaurants under a master licence arrangement in Ireland, is the largest independently owned franchised restaurant chain in the United Kingdom. The business owns the Wimpy trademark in 15 European countries.

Wimpy opened in South Africa in Durban in 1967. Today, Wimpy is one of the leading restaurant franchise groups in South Africa with more than 400 restaurants.

Famous Brands, owner of the Wimpy franchise in South Africa, acquired Wimpy UK in February 2007. Having acquired the brand, Famous Brands rebranded Wimpy in the UK to bring it in line with Wimpy South Africa.

The bun logo in use today is apparently one used by Wimpy UK from the 1960s until the 1980s. After a bit of digging on Google and Yahoo's image searches, I came across the following Wimpy logos, although I have no idea when and where they were in use.

My understanding is that the logo currently in use evolved from previous revisions and has since found its way back to the UK. So not strictly a South African logo, but a South African-owned brand and a real icon which I feel deserves some recognition. I love how the logo captures the essence of the brand with such simplicity.

Neotel

The much anticipated Second National Operator (SNO) for fixed line telecommunication services in South Africa, Neotel is licensed as South Africa's first alternative infrastructure-based telecoms provider, capable of delivering a broad range of wireline and wireless data telecoms services on a national and international level. It launched in August 2006.

The Brand Union, a global brand agency with 21 offices worldwide, were tasked with a full brand creation which began in November 2005. I hope they don't mind that I've borrowed some images from their photo journal to illustrate how the logo mark was conceptualised:

You can view a comprehensive case study on their website. What follows is a short extract:

The primary identity is composed of two points connected by the energy of communication. These "points" could represent people, places, ideas, even business opportunities. But overall, the symbol stands for Connectivity. Communication. Possibility.

This uniquely South African symbol draws from a warm, rich palette and resonates with the exuberance of a South African sunrise. The dawn of something new. Ultimately optimistic, the symbol is reflective of a future of hope. The activated orange creates a dynamic plane of colour in which the identity lives and advances. This creates the impression of the symbol living on, and beyond the page, advancing towards the customer. This upward, dynamic movement suggests aspiring to new heights.

Etc, etc, etc. See the logo in action on the Neotel website and in their first television ad:

Continued: Part 3

I've mostly sourced information online, which I've found difficult for some, so if you have anything to contribute please do so in a comment, or contact me directly if my information is incorrect, and I'll amend my post accordingly.

Which are your favourites, and why? Spend a few days thinking about it.

The logos featured are listed in no particular order. Here are the first 3:

SABC

Simple. Attractive. Brilliant Concept.

The SABC (South African Broadcasting Corporation) is the state-owned broadcaster in South Africa and provides 18 radio stations (AM/FM) as well as 4 television broadcasts to the general public.

A snippet from their downloadable Corporate Identity Usage Manual (PDF):

Our identity encapsulates the original colours of South Africa’s rich heritage and national flag. The design depicts a clean SABC font for legibility, the broadcast signal of radio and television, radiating outward is paired with the shape of the African continent.

The SABC type is based on the Frutiger typeface. It bears witness to our self-image - no frills, but by no means ordinary, state-of-the-art but not artificially claiming to be new.

And more from their full CI Manual (which I found here, 2007 version):

The pay-off line "Vuka Sizwe!" ("Nation Arise!") drives the SABC as a Public Service Broadcaster. This verbal expression informs all SABC decisions - it says: Rise South Africa! Let's build a winning nation together.

Designed by Switch Design.

Sharks Rugby

Cape Town's roads are ruled by two brands. What I mean by that is: with the exception of a few surf brands and English footy teams, you're more than likely to spot a car proudly adorned with one of two stickers. One is an apple (sometimes upside down, but always identifiable). The other is black and white, and belongs to The Sharks.

This is all the more impressive when you consider that Cape Town is home to the Stormers, whose supporters are nowhere near as passionate when it comes to showing off their team's "S" wrapped around a lightning bolt (ooohh, so intimidating).

This mascot is what sets the Sharks miles apart from their competition:

The Sharks are a South African rugby union team competing in the Super 14. They are based in Durban and centred around the Natal Sharks union, also based in Durban and drawing players from all of KwaZulu-Natal Province.

In late 1995, after being informally called the Banana Boys for a substantial amount of time, the Natal Rugby Union adopted the Shark as their official mascot and namesake for the team. The Sharks mascot was launched in 1995 but the rebranding went into full swing in 1996.

Via Sharks (rugby club) on NationMaster:

The Sharks branding was the brain child of Terry Kukle, the owner of Tag International. After assessing international marketing trends, Kukle presented this strategy to the council of the Natal Rugby Union. After many meetings a decision was finally made to go ahead with the new branding.

The local press at first were very hesitant to accept the new name and branding and fans were polarised by the radical proposed change that flew in the face of rugby tradition and convention. After much controversy in the media (which very rapidly brought the proposed brand to everyone's attention) and a very successful season supported by great products and promotions the Sharks were embraced by all.

The Sharks' marketing has been widely acknowledged in marketing and rugby circles as best practice and included as a successful case study in many marketing text books.

More reading: The Sharks Brand at sharksrugby.co.za, and The Sharks Brand at Wikipedia.

(The Sharks are one of two sports teams that I'll be featuring, try and guess the other!)

University of Johannesburg

I've featured this one on my blog previously, if you missed that post then here it is again:

Established in December 2005, the University of Johannesburg is the result of a merge between two of Gauteng's premier academic institutions - Rand Afrikaans University (RAU) and Technikon Witwatersrand (TMR) - and some Vista University campuses. With over 40 000 full-time students and 2 700 permanent employees, it's one of the largest residential universities in South Africa.

In a joint venture, Interbrand Sampson and Zanusi Brand Solutions were appointed to develop the brand. Code collaborated to design the logo as well as separate sports brands and just under 100 applications on everything from letterhead to signage and sports wear.

If you're curious you can read Interbrand Sampson's press release which goes into extreme detail regarding the design process and outcome, view more designs at Code's website, or read more on UJ's website.

My favourite part of the logo is the book. Via the press release:

In the centre of the logo, through the creative use of space, the illusion of an open book is created, representative of the book of knowledge. It is up to the beholder of the logo to notice that the space between the birds takes the shape of a book, thereby experiencing that learning and knowledge generation imply an interactive process.

The birds are unmistakably the colourful African Hoopoe, which is depicted more strongly in their Sports Bureau logo, visible in action at www.uj.ac.za/ujsport.

The typeface is Avenir.

Continued: Part 2

He's a 12-year-old leopard sporting the green and gold colours of Bafana Bafana, and who at one time "decided to dye his hair green as he felt it would be the perfect camouflage against the green of the football pitch". See him in action here.

Zakumi - a Mascot with attitude, via FIFA.com:

The name "Zakumi" is a composition of "ZA" standing for South Africa and "kumi", which translates into "10" in various languages across Africa.

Zakumi was born in 1994 and will be sixteen in 2010 - as young as South Africa's democracy.

Again via FIFA.com, Official Mascot unveiled:

The original creator of the design is Andries Odendaal from Cape Town, and the mascot costume itself was produced by Cora Simpson of Cora's Costumes cc in Boksburg. "Zakumi is a proud South African and, as such, an ideal ambassador for the first African World Cup." explained Danny Jordaan.

I know Andries as a fellow interactive designer and developer - he was the huge talent behind Wireframe back in the early days of new media establishment in South Africa and more recently consulted for HIVE. He has received wide spread recognition for his work (check out Whizzball for example) and is considered one of the foremost Flash and Director developers in the world. Congrats dude, another feather in your cap!

Zakumi is by far the best FIFA World Cup mascot when you consider his predecessors, or as arbitraryuser put it so well, "breakfast cereal characters". It's also nice to see the mascot fully dressed again. ;)

Laaddduuuuummmaaa!

Read more at IHT.com: Leopard Zakumi leaps into World Cup spotlight

• No page titles in favour of the browser window's title bar
• Feed Autodiscovery in favour of RSS/Atom feed buttons and links
• Navigation aids in favour of previous/next links
• OpenSearch in favour of a search form

Another classic example of redundant functionality is the "print this page" link that you'll still easily find littering the web. Bonus annoyance points for launching a popup window. The intention behind this madness is to provide the user with a print-friendly version of the page content. But with today's modern web browsers, the best practice is of course to support CSS media types for multiple devices. A print style sheet is very easy to create, test and implement. And if you don't like multiple style sheets, you can include your print rules in your global file to reduce server requests.

Some more quick examples of redundant functionality:

• controls to adjust text sizes
• "make this your home page" links
• "launch external links in a new window" option
• displaying the current date and time

Duplicating browser functionality in-page dumbs down the experience into a cross-browser compliancy mess. The practice of shifting user control from the page to the browser is very tempting for a number of reasons:

1. The consistency of the user experience is improved across the web. This is huge. Users don't need to waste time hunting for a search form, pagination, feed links or print controls if they know where to find these in one standard place within their browser. Both Firefox 2+ and IE7+ support OpenSearch - imagine how much more improved the implementations could be in the context of this post.
2. Users become instinctively more familiar with the powerful possibilities provided by their web browser, and potentially their PC's applications in general.
3. By reducing the amount of JavaScript on the page (which is responsible for reproducing most of the functionality), you're reducing the potential for scripting-related issues to occur.
4. It frees up valuable screen space for more appropriate and useful content.

Although still a work in progress, Mark's approach is drastic and for most practical purposes, unrealistic. I love that it's progressive and places focus on the content (a topic I've been meaning to blog about for quite a while) - it's almost a glimpse into the web of the future. But it suffers with no backward compatibility. He also mentions that some of his decisions aren't user-centered but rather personal-related, as bizarre and self-defeating as that sounds. On his new archives page:

If you like it too, that’s nice, but I don’t care about your opinion nearly as much as you might think.

His commenting system currently only supports OpenID users, so as an Anonymous user, I left the following thought (I can't remember where I first read this, and I can't find it elsewhere either, so no credit unfortunately):

Less is more. Until more is less.

I've integrated this one liner into my creative thought process, which I hope is obvious on this site. There's a fine line between overdesigning, or providing so much to the point that the experience becomes overwhelming, and underdesigning, or simplifying to the point that the most basic design concepts (heirarchy, navigation, accessibility) are compromised. Finding a balance isn't a complicated or challenging task, it just requires insight and carefully considered planning.

Second-guessing every detail is a good place to start if you have an existing site. Question what value it serves to your users, if at all, and if that value justifies its position on the page. I think the biggest mistake we make is to add stuff to our designs that we see elsewhere, without considering it in our own unique context. Just because John has a feed icon the size of a house in his sidebar, doesn't necessarily translate to more subscribers. In my eyes it screams of desperation.

My blog sidebar is a perfect example of where I've applied this thinking: I have plenty of vertical white space to litter and decorate it with all kinds of non-essential content, banners and buttons, but I know that will detract from the overall experience so I choose not to. I only show what I think it relevant to the content on that particular page and useful to the reader.

My footer is also designed to be as simple as possible. Many site footers brag about the W3C web standards-compliancy of their HTML markup or style sheets. Tech-related footers brag about the time it took for the page to render on their server. I used to think this was all useful or fun myself, but that was when it still mattered. If that information is really worth sharing, include it on a separate "about" page.

I'd even be willing to argue the usefulness of the popular "back to top" link, but I suspect it has a newfound place on mobile devices or is required by assistive technologies, in which case it should only be visible in those instances.

The web, however you prefer to tag or version it, is forever evolving and maturing. But the adoption of new ideas will unfortunately always rely on usage patterns evolving with it.

It's unfair to argue that it's the sole responsibility of any user to familiarise themselves with the necessary skills and tools required to become a comfortably proficient web user in the first place. And as the current online trends reveal, some unfortunate and regretful decisions by those of us building the web over the years have already suppressed the perfect user experience. For now, at least.

(Side-note: I have a particular site in mind that partly prompted this post, but I'll leave that for a follow-up.)

Here is today's quote, for example:

Content makes the sale, delivers the service and builds the brand. The architecture is the container of the website, but content—well, it’s the content in the container. We don’t buy from iTunes because of its architecture; we buy because of its music. Great information architecture is invisible so that the content can shine through. - Gerry McGovern

Each quote is also published in a useful quote card format for download and print. Feed URL: http://feeds.feedburner.com/Inspireux

And while I'm here, don't forget to get involved in Firefox Download Day 2008 which is officially happening this coming Tuesday, 17 June.

Pledge to get Firefox 3 during Download Day to set the Guinness World Record for Most Software Downloaded in 24 Hours. It's a fun cause, and you'll be doing yourself a favour at the same time. With more than 15,000 improvements, Firefox 3 is faster, safer and smarter than before.

At the time of writing this, there are 1,154,980 total pledges worldwide, 3,720 of which belong to South Africa.

Ch-ch-check it out!

After catching the final seconds of their new TV campaign this evening, I hopped on over to Reebok.co.za (shockingly poor site) and Reebok.com, which both feature their new logo and associated brand elements.

They've dropped their historic mark - an unfortunate move because I quite like it (whatever it's supposed to represent), but I imagine it will survive in their products - and have adopted a new typeface.

It's really confusing when you get into it. Admittedly, I began this post with the impression that they were undergoing an RbK transformation since 2002. But after some digging around, I now realise that I never understood their marketing efforts. RbK is simply just a niche sub-brand aimed at the urban youth market. It didn't help that their Wikipedia entry contains the RbK logo and that RbK.com now redirects to Reebok.com.

I can't find anything on the history of the brand either. Brands of the World returns 14 search results, and based on my own recollections of their logo over the years, I've compiled the following rough logo evolution (RbK included):

Can't say I love any of them - the typeface always seems to let them down, and their new logo is no different. It's too conservative (read: "boring" and "uninspiring"). And before anyone suggests it... no, that's not the Facebook font.

This rebrand marks the 50th anniversary of their name, which incidentally has its roots in South Africa:

The name comes from Afrikaans/Dutch spelling of rhebok, a type of African antelope/gazelle. The company, founded in Bolton in 1895, was originally called Mercury Sports but was renamed Reebok in 1958. The company's founders, Joe and Jeff Foster, found the name in a dictionary won in a race by Joe Foster as a boy; the dictionary was a South African edition, hence the spelling.

For some related logo fun, check out Logo Mashups and Logo Equations (both via Brand New).

Quite inspiring, I especially love the floodlights and nighttime illumination. But from an aerial perspective I still think it looks like a giant toilet bowl, as I mentioned before (last paragraph). I suspect it will grow on me though since I drive past it almost weekly.

The stadium at Green Point and supporting infrastructure for 2010 is the single biggest capital project Cape Town has ever undertaken.

More reading: Green Point Stadium on Wikipedia