Canadian Chronicles is my personal initiative, showcasing brands designed in Canada. These brands captured my attention—from growing up on my family's farm to attending Sheridan college and launching my career as a graphic designer in Toronto. These brands ignited my devotion for brand communication design and continue to influence my work.

 

Note:
Every month (or two) I will be highlighting brands designed by Canadians, for Canadians through the lens of my experiences and others who are willing to share their stories. Select photos are the copyright and trademark works of their respective holders.

Citytv

Citytv
__
Year: 1973
Designer: Unknown
Studio: Unknown
Status: Active (updated brand)
Industry: Media

__
www.citytv.com

 

I know, I know—it’s just a news logo (eye roll). But this news station was different. That’s why I love their brand. Citytv wasn’t your typical news station—it took an innovative approach to delivering the news, and that boldness came through in its identity and how they presented themselves to Torontonians. It practically shouted, “We’re different—look at us, hear us, see us—we’re everywhere.”

Growing up in the ’70s and ’80s, the format of most news broadcasts followed a predictable, controlled style. Music played, the station logo faded in—usually an acronym paired with the channel number—and the anchor appeared behind a desk, starting the program with, “Welcome, you’re watching [Such-and-Such] News. We’re starting off this program with…” Then they’d proceed to read the news from a teleprompter. It wasn’t bad—it was just expected and unremarkable.

Citytv used a similar format in the late ’70s and ’80s, but in the early ’90s, the station began to shift as seen on this footage of Citytv New Openers.¹ The driving force behind this change was Moses Znaimer, “He gradually began to pioneer a distinctive style of broadcasting, inspired in part by Marshall McLuhan, which emphasized a strongly local, hip, and casual format aimed at young audiences.” ² Znaimer himself once said, “The flow, not the show.” ³ Breaking down studio walls and gave the public a view inside—literally and figuratively.

This evolution happened during the mid-’90s, when I was attending Sheridan College—right in their target demographic—and it left a huge impression on me. It wasn’t just their bold, fresh approach to newscasting. Citytv extended that spirit into sister stations and programs like MuchMusic,⁴ Oh La La, Breakfast Television, and Great Movies.

They also created Speakers Corner,⁵ a public video booth outside their Toronto headquarters. Anyone could step in to rant, sing, tell jokes, or shout out a message—and the clips aired weekly. It was a direct, unscripted connection between the public and the station.

Another standout feature was the CityPulse news truck sculpture bursting through the wall of their headquarters at 299 Queen Street West. Artist Nigel Stanley, who designed the sculpture said, “His vision was for the truck to look like it was busting out of the building, off to the latest news story.”

As I look back, it wasn’t just the logo that made Citytv stand out (although the logo certainly helped). It was the brand as a whole—the bold messaging, the inventive programming, the cultural relevance, and the iconic broadcasting vans—that made Citytv unforgettable. ❤

 

Milk (Dairy Farmers of Ontario)

Milk (Dairy Farmers of Ontario)
__
Year: 1972
Designer: Unknown
Studio: Marshall Fenn Communications
Status: Active (updated brand)
Industry: Agriculture

__
www.milk.org

 

As I mentioned in a previous Canadian Chronicles story, I grew up on my parents’ hog and cash crop farm in Southern Ontario—and during the summers, I worked for the Cocchios, a local family dairy farm. Milk was a staple at our family table, served at every meal. Each Saturday, we’d head over to our neighbor’s dairy farm to pick up a couple of containers of fresh milk from their cooling tank. Looking back now, I’m not entirely sure that was legal—but it sure tasted better than anything from the store… so creamy : )

On my first visit with my dad to our neighbor’s dairy farm, I met the milkman and spotted the bold Milk logo proudly displayed on the side of his shiny tanker truck. I remember staring at it as a kid, thinking how cool, but better when we got to mix it with a scoop of Nestlé Quik, it was pure magic.

The logo wasn’t flashy or overdone—and that’s exactly what made it stick. The word Milk, drawn in a loose, handwritten style (or maybe traced in milk with a finger), rested between two cool shades of blue that instantly suggested something cold and refreshing. It was simple, almost modest, but that simplicity carried weight—feeling honest and familiar, like it was saying: this is the good stuff, straight from the farm.

What strikes me now is not just how it looked—it’s how it made me feel. The mark connected you to the people behind it: the farmers, the routines, the trust. It didn’t need to work hard to get your attention. It just belonged—and that’s what made it powerful.

Looking back, I realize how much that logo shaped the way I think about design. Good branding doesn’t need to be loud. It just needs to feel real—and speak with purpose.

When I was in high school, I got a job as a farmhand on a local dairy farm. The family who hired me were Italian Canadians, all living together in a big farmhouse—father, mother, son, aunt, and nonna (grandmother). My days were filled with learning every part of running a farm—milking cows, feeding and caring for cattle, heifers, calves, and chickens, planting and harvesting crops, mowing hay in a sweltering barn, and even getting hands-on with butchering: cutting and curing meat and making Capicola and Salsiccia.

They also introduced me to French press coffee and some seriously amazing Italian home cooking. Nonna was always telling me to eat more, shouting “Mangia! Mangia!” at every meal. They didn’t just hire me—they made me part of the family and I loved it!

I learned more than just how to milk a cow—they taught me about responsibility, hard work, and what it means to show up for others. Lessons I still carry with me today. ❤

  • 1. Milk tanker truck picking up milk from a local dairy farm
    2. Young farmer with Milk and 4H club pin, Howard R Wheeler – 2023
    3. Milk jug and Coffee vs. Milk, Magazine Ad by Vickers & Benson – 1976
    4. Photo of my father, Dick Nÿkamp milking our only family farm Holstein – c. 1970
    5. Milk. Really keeps kids going, poster Ad,  Due North Communications – 2011
    6. Milk Bone, Billboard Ad, BBDO Canada – c. 2000
    7. Curious cattle, Photo by Jakob Cotton – c. 2019
    8. 50th Anniversary Branding via Recharge with Milk Tankard, Ontario Curling Association – 2015
    9. Dairy Done Right (The Letter), TV Ad by NFA – 2019

 

Ontario Hydro

Ontario Hydro
__
Year: 1962
Designer: Allan Robb Fleming
Studio: Hathaway-Templeton
Status: Inactive
Industry: Electric Utilities


Additional Information:
In 1999, Ontario Hydro was broken up, and its transmission and distribution operations were transferred to a new company called Hydro One.

__
www.hydroone.com

 

I was six years old when my parents built a new finishing hog barn and Ontario Hydro was there to hook up the underground lines to the barn. For context, a finishing barn is where we’d raise young piglets until they hit market weight—then load them into the back of my father’s bright orange C10 Chevy pickup for the trip to market. Funny… his pickup was the same shade of orange as the Ontario Hydro logo.

Near the barn’s completion, I remember three white utility trucks slowly making their way down our long laneway to connect power from the main transformer underground to the new building. As each one parked, the doors swung open to reveal a bright orange mark. Several men with thick beards stepped out and put on their orange safety helmets—each one marked with that same mark.

That mark was the Ontario Hydro logo—a timeless symbol that worked in all the right ways. It was eye-catching then, and it still impresses me today. The bold colour gave it energy. The forms held it together. And cleverly, the “O” and “H” (for Ontario Hydro) were combined to create a mark that also resembled the universal symbol for a plug or connector. The 45 degree angle added a sense of movement —almost like a bolt of electricity.  Perfect for a power company.

Accompanying the mark is the lower case wordmark (using the typeface ‘Standard’) set in the same angle as the mark which emphasizes the feeling of connection.

Interestingly, the mark also reminds me of H₂O, the chemical formula for water. It’s fitting for a company built on hydro power. Hydro refers to electricity generated by moving water, like a river or waterfall in motion… thank you, Niagara Falls.

Sadly, Ontario Hydro let go of that logo in 1999 and swapped it out for the more generic Hydro One identity. ❤

▲ My father’s bright orange C10 Chevy pickup

  • 1. Ontario Hydro safety helmet - Umit-Yildirim – 2019
    2. Ontario Hydro logotype and mark. 
    3. Photo of Allan Robb Fleming in a Tulip Chair, John Reeves – 1962
    4. Allan Fleming’s Ontario Hydro logo launch document, Alliance Graphique Internationale – 1965
    5. Annual Report front cover – 1973 / Year Around Comfort Ad Maclean's – 1971 / Meter Reading Billing Post Card – 1971 
    6. La Centrale nucléaire de Pickering booklet (mock-up of original) – 1970
    7. Zap the Safety Bird for children – 1982
    8. Ontario Hydro Maintenance Helicopter (Sikorsky S-58T), Caz Caswell – 1973
    9. Sikorsky S-58T in use for power line work in Ontario – 1975
    10. Rear profile view of a Ontario Hydro electric utility bucket truck (mock-up)
    11. Utility worker in an Ontario Hydro bucket truck (mock-up)

10-03_20_Canadian_Chronicles_A.png
 

CO-OP

CO-OP
__
Year: 1957
Designer: Unknown
Studio: Unknown
Status: Active (brand updated)
Industry: Retail, Agriculture, Housing, Finance, and Community Services

__
www.co-op.crs

 

I grew up in a small hamlet called Nelles Corners—a tiny farming community in southern Ontario. CO-OP was a familiar brand throughout our farm life, its name stamped on many of the supplies my dad kept stocked in his workshop. Before harvesting the golden wheat in our fields, he’d check over the Cockshutt combine and load up the grease gun with CO-OP’s grease, then methodically make his way around our 1970s Cockshutt—lubricating every chain, grease fitting, box, and moving joint.

In the weeks after the August harvest, we’d ready the fields for winter wheat. I can still picture my father loading our International seed planter with CO-OP’s familiar seed bags.

The CO-OP emblem was introduced in 1957—modest in design, with red letters framed by a green shield. I never thought much about it. It was just there—printed on seed sacks, grease tins, and supplies scattered around the shop. But thinking about it now, the emblem symbolizes so much more—hard work, long hours, community, and the quiet chore rituals of farm life. In 1974, the logo was slightly updated—losing the green shield and shifting to an all-red mark. The change didn’t take away from what it represented. It still carries the weight of tradition, the strength of shared ownership, and a sense of belonging that stretches across generations of Canadian farm families.

CO-OP is owned and operated by Federated Co-operatives Limited (FCL), a co-operative organization founded in 1928. What began as a small network of local CO-OP’s grew into a national brand—once a common sight in grocery stores and supermarkets across small towns in Western Canada. Over the decades, FCL expanded into wholesaling, manufact-uring, marketing, and administrative support. Today, more than 160 independent local co-operatives across the country own and operate CO-OP-branded agro centers, food stores, gas bars, convenience stores, and home centers.

▲ This photo evokes a familiar warmth—those quiet, sticky summer evenings spent darting through golden fields as the sun dipped below the horizon. Photo: Kristie, The Little Vikings

10-03_20_Canadian_Chronicles_A.png
 

Parks Canada

Parks Canada
__
Date: 1973
Designer: Ken Marsh, Roderick Huggins
Studio: Guillon Design Inc
Status: Retired
Industry: Environment

__
parkscanada.ca

 

I’ve only visited one Canadian national park—Gros Morne, located on the west coast of Newfoundland. It’s about a 31-hour drive plus fairy ride east of Toronto, but absolutely worth the trip. The park’s main attraction is the Western Brook Pond, a stunning glacier-carved fjord that cuts through the dramatic Long Range Mountains. It’s truly breathtaking. Parks Canada’s emblem used to be one of my favorites—recognizable, bold, and unexpectedly distinctive.

While trekking through the park, we came across a few Park Wardens and staff wearing their standard uniforms, which varied depending on the task and weather conditions. The typical Warden uniform is functional and outdoor-ready—part of a recognizable Parks Canada brand defined by gray shirts, green trousers, ranger hats, caps or toques, and rugged boots built for the terrain. The emblem stood out prominently on their gear—typically displayed on their hats or uniforms.

During my visit while in college, Parks Canada had updated its emblem for “legibility and reproducibility”—and honestly, I wasn’t a fan. The new design felt overly cartoony and commercial—more like a marketing piece than a national symbol. It didn’t align with the minimalist design system I’ve always admired in Canada’s past visual identity. My own branding work leans heavily on the principle of “less is more,” so the shift felt out of step.

One element that remained consistent throughout the emblems evolution was the beaver—another enduring symbol of Canada’s national identity for nearly 50 years. The original emblem, which I absolutely love was designed in 1973 by Roderick Huggins. It was memorable for its simplified beaver form enclosed within a rounded triangle—a shape that reads like a badge, fitting perfectly for park rangers and staff. What made it especially distinctive were its unique colours—gold and brown—which complemented the park signage beautifully and gave a grounded, natural feel that reflected Canada’s cultural heritage, environment, and expansive scenery.

Canada’s national symbol besides the maple leaf is the beaver. It holds deep cultural significance for both Indigenous Peoples and Canadians. As described by Tatjana and Walter Stolting of Spirits of the West Coast Art Gallery, “The beaver helps people understand the dynamics of teamwork and to appreciate each individual’s talents and contributions in order to accomplish anything. He is a builder of the mind, body, and soul and symbolizes creativity, creation, cooperation, persistence and harmony. The Beaver is also a hard worker and will not quit his job until he is done.”

Today, Parks Canada manages 38 national parks, 3 national marine conservation areas, 171 national historic sites, 1 national urban park (in Toronto), and 1 national landmark. If you haven’t had the chance to explore Canada’s national parks, I highly recommend a visit. There’s something truly special about experiencing the land that has shaped the country's identity.

10-03_20_Canadian_Chronicles_A.png
 

Canadian Tire

Canadian Tire
__
Designer: William Punkett (original design)
Studio: Unknown
Origin: 1940, Canada
Status: Active (updated)

__
canadiantire.ca

 

Canadian Tire was my favorite store as a kid. Seeing the red triangle paired with Canada’s maple leaf was a beacon of light from the highway. They had everything—automotive parts, camping equipment, housewares, CCM bikes, tools, fishing rods, toys, sportswear—you name it, they had it! On the weekends, I loved to peruse the Canadian Tire flyer and dream of what I could buy with the Canadian Tire Money I saved (I believe my first purchase was a fishing rod).

It has been said that Canadian Tire’s iconic shape, the triangle, was chosen because its founders (John and Alfred Billes) wanted a recognizable symbol on their petroleum products. In 1934, the maple leaf was added to the triangle. Thirty-three years later the logo underwent another design update—it is what we know and love today as the Classic Canadian Tire logo.

“This would be the everlasting symbol for the company that would be emblazoned into the psyche of every Canadian.” (Andrew King, Ottawa Rewind, The Canadian Tire Triangle, 2016).

Photo Description & Credit:
1. Canadian Tire stacked shipping containers - unknown photographer
2. Canadian Tire store front – unknown photographer
3. Evolution of Canadian Tire logo from 1940 to 2020
4. Canadian Tire sponsored indy car of Jacques Villeneuve, Laguna Seca Raceway, Quebec, 1985 - Daniel du Plessis

10-03_20_Canadian_Chronicles_A.png
 

GO Transit

GO Transit
__
Designer: Frank Fox, Gagnon Valkus
Studio: Gagnon/Valkus Inc. in assoc. with Canadian National Railway
Origin: 1967, Canada
Status: Active

__
gotransit.com

 

I love this mark—most likely because I commuted by train from Oakville to Toronto every day when I was starting my career. I miss that commute. It gave me the opportunity to people-watch, sketch, chat with a friendly passenger nearby, and sometimes drift off to sleep to the rhythmic clickety-clack of the tracks.

Notably, the GO Transit mark has been around for 53 years. While the logo has evolved slightly since the 1960s, it has maintained its original form and integrity. It’s a great example of how thoughtful, well-crafted design can stand the test of time. Its longevity is no accident—it’s a testament to the strength of its design, both in form and in meaning.

It’s memorable and simple, with a few clever visual elements hidden within the design. The letters “G” and “O” not only represent the name GO Transit, but they also form a subtle “T” lying on its side—a nod to the full name. Additionally, the shapes resemble an undercarriage wheelset, reinforcing the connection to rail travel. And finally, “G” and “O” stand for the Government of Ontario, the provincial body that established and oversees the transit system.

Photo Description & Credit:
1. GO Transit cab car #322 - Youngjin Ko
2. Original 1960 and current 2020 Go Transit logo
3. Commuters at Mount Pleasant GO Transit Station - Ontario Growth Secretariat, Ministry of Municipal Affairs
4. Find Your Go Time Illustration - MKN Design ©

10-03_20_Canadian_Chronicles_A.png
 

The Beer Store

The Beer Store
__
Designers: Manfred Gotthans, Chris Yaneff
Studio: Unknown
Origin: 1990, Canada
Status: Retired

__
thebeerstore.com

 

I remember like it was yesterday—I was 19 and attending college in Oakville, Ontario. It was my first time walking up under the orange glow of The Beer Store sign and opening its revered doors. I strolled back to the walk-in fridge, eyed a two-four of Molson Canadian and placed it on the conveyor. This was the most ingenious innovation that the Beer Store offered, a roller conveyor that easily transported your case of beer from the walk-in fridge to the checkout line. I still remember the whooshing sound the rollers made as the case traveled to the front. I made many trips throughout my time living in Ontario—it’s a true Canadian experience.

Though The Beer Store wordmark was updated, I still love the old school wordmark. Mostly because of the connected serif letters with their soft welcoming corners, paired with the bright orange brand color. It left a distinct impression.

Photo Description & Credit:
1. The Beer Store, storefront - Acadia Broadcasting, staff photo
2. The Beer Store logo on a pole sign – unknown photographer

10-03_20_Canadian_Chronicles_A.png
 

Canadian Chronicles

Canadian Chronicles
__
Michael Nÿkamp
2020, United States (former Canadian, now U.S. citizen)
Forever Canadian at heart ❤

__
mkn-design.com

 

Project Overview
I started this personal initiative highlighting brands designed by Canadians, for Canadians.

The impetus behind the Canadian Chronicles mark originates from Canada's iconic symbol, the maple leaf while accommodating Canada’s flag colors—red and white. Additionally, I drew inspiration from renowned Canadian designers Allan Flemming, Burton Kramer, Ernst Roch, and specifically Stuart Ash's works from the late '60s (Canadian Centennial symbol, 1965) and early '70s (Metric Commission mark, 1974). I also adopted the naming convention from the Canadian Federal Identity Program presenting the brand's name in both English and French using the system's standardized font, Helvetica. 

The mark is recognizably Canadian and its form evokes a sense of care, movement, and strength.

Project Background
My career interest started as a young kid growing up on a farm in Southern Ontario, Canada. At the time I did not recognize or understand what branding or communication design was. But I admired the various aspects of branding, like Canadian Tire and Parks Canada to catchy TV advertisements, like “Mikey likes it!” (Life Cereal, 1974), or the jingle, "Skippy Peanut Butter, goes on our daily bread..."(Skippy Peanut Butter 1984). As I matured, my interest in communication design continued to develop, although I faced uncertainty about where to begin. Thankfully, I had an art teacher who helped and encourage me on where to start. As I embarked on my journey into art and design at Sheridan College of Art and Design. I was accepted into the Art Foundations program (1 year). This experience propelled me to pursue further education in the field, leading me to complete a four-year Illustration program and a one-year New Media Design program. Fast forward, I currently leverage my skills as an Illustrator, UX Design, and Graphic Design to complement my role as a visual communication designer for my independent business MKN Design. 

I hope to showcase and discuss Canadian brands through the lens of my personal experiences. I invite you to share your own stories and experiences related to the Canadian brands I feature in this blog.

Photo Credit
Allan Fleming, Allan Fleming Papers, York University Clara Thomas Archives, and Special Collections

10-03_20_Canadian_Chronicles_D.png

A shorten ideation process in developing the Canadian Chronicles mark.

 

Canadian Chronicles combination mark + clear area specifications

 
10-03_20_Canadian_Chronicles_G.png

Primary Brand Application—A

Horizontal / English and French Mark
Clear area combination mark specifications and combination mark + colour usages in: Canada Rouge, Noir and knockouts.

 

Secondary Brand Application—B

English Mark, Horizontal
Clear area combination mark specifications and combination mark + colour usages in: Canada Rouge, Noir and knockouts.

Tertiary Brand Application—C

English Mark, Stacked
Clear area combination mark specifications and combination mark + colour usages in: Canada Rouge, Noir and knockouts.

Secondary Brand Application—D

French Mark, Horizontal
Clear area combination mark specifications and combination mark + colour usages in: Canada Rouge, Noir and knockouts.

Tertiary Brand Application—E

French Mark, Stacked
Clear area combination mark specifications and combination mark + colour usages in: Canada Rouge, Noir and knockouts.

10-03_20_Canadian_Chronicles_L.png

Typography Usage:
Helvetica Neue, Regular

10-03_20_Canadian_Chronicles_N.png

Primary Colour

Rough Red
CMYK: 0 / 99 / 97 /0
RGB: 237 / 33 / 39
HEX: ED2127

10-03_20_Canadian_Chronicles_O.png

Secondary Colour

Dark Rough Red
CMYK: 5 / 100 / 94 /0
RGB: 225 / 31 / 43
HEX: E11F2B

10-03_20_Canadian_Chronicles_P.png

Secondary Colour

Noir
CMYK: 75 / 68 / 67 / 90
RGB: 0 / 0 / 0
HEX: 00000

10-03_20_Canadian_Chronicles_Q.png

Secondary Colour

Blanc
CMYK: 0 / 0 / 0 / 0
RGB: 255 / 255 / 255
HEX: FFFFFF

 
10-03_20_Canadian_Chronicles_A.png