Beyond Logos 001-054as

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BEYOND LOGOS

NEW DEFINITIONSOF CORPORATEIDENTITY


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BEYOND LOGOS

NEW DEFINITIONSOF CORPORATEIDENTITY

CLARE DOWDY

A RotoVision BookPublished and distributedby RotoVision SA, Route Suisse 9,CH-1295 Mies, Switzerland

RotoVision SA, Sales andProduction Office

Sheridan House,112/116A Western RoadHove, East SussexBN3 1DD, UK

Tel: +44 (0)1273 72 72 68Fax: +44 (0)1273 72 72 69Email: [email protected]: www.rotovision.com

All rights reserved. No part of thispublication may be reproduced, storedin a retrieval system or transmitted in

any form or by any means, electronic,mechanical, photocopying, recordingor otherwise, without permission of thecopyright holder.

10 9 8 7 6 5 4 3 2 1

ISBN 2-88046-697-0

Book design by SEA

Originated by Hong Kong Scanner Arts

Printed and bound in China byMidas Printing


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CONTENTS

06 INTRODUCTION16 BLURRING BOUNDARIES56 THE GUARDIANS80 NEW AMBASSADORS108 NEW COMPANY STRUCTURE146 VIEWS160 ACKNOWLEDGEMENTS

04 05

06-13 INTRODUCTION

14-55 CHAPTER 1BLURRING BOUNDARIES451F STOREFORD FLEXIVITYGUINNESS STOREHOUSE

VW AUTOSTADTVIZZAVIWELLBEINGCONCORDEMOTOROLA

AUDIVRDFRBUNDET

56-79 CHAPTER 2THE GUARDIANSMANCHESTER UNITED

ALLIED DOMECQPOST OFFICE

ALPHARMA

80-107 CHAPTER 3NEW AMBASSADORSISHUS AIR FORCE

HONG KONG POST

108-145 CHAPTER 4NEW COMPANYSTRUCTURETHE FOURTH ROOMSAFFRON

VENTURE 3WINK MEDIASTOCKHOLM DESIGN LABCDTCURIOSITYHOSKER MOOREKENT MELIA

146-157 CHAPTER 5VIEWSWALLY OLINSJARVISMARK RITSON

160 ACKNOWLEDGEMENTS


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10 11

And as clients are now tightening their

marketing budgets, major overhauls areseen as an indulgence. Much better,they seem to be thinking, to work withwhat weve got and improve theexpression of our existing marque. Thisis what Interbrand is doing with Orange,what SiegelGale did with Motorola andDow in the US, and what Enterprise IGdid with BT. Some consultancies evenadvise against making massive changesif they think a refreshment of the look andfeel of a brand is all thats needed. This isexactly what Fitch did with Hush Puppies.

This means that brand consultanciesrelationships with some clients havechanged from being on a (usually verycostly) project basis, to a brand guardianrole. It may not sound as sexy, but itssteady work and keeps the consultancynear the top of the food chain since it isthe CEO who is likely to make anydecision regarding his companys brand.

However, all this manifestation workshould not mean bland uniformity.

In fact predictable consistency hasbeen replaced by variety.

Either the logo itself is adaptable, as

in the case of GBHs Teleconnect, andAllevios identity for eLearning in Austria,or the execution is varied. Audiencesare now sophisticated enough to beable to recognise a product or servicewithout being swamped with actual logoapplications. Good branding means thevalues are expressed beyond the logo.Take Wolff Olins Orange and TheEconomist magazine (which was workedon by FutureBrand through MetaDesign),both of which are easily identifiable bytheir literature or advertising without the

logo on view. This is what Landor hastried to achieve with its branding of BMIBritish Midlands.

Fitch is having a similar experience:Weve found that we are taking brandsbeyond where they have traditionallybeen, says John Mathers at Fitch inLondon. For example, the consultancyis advising Premier Automotive Groupmerchandise strategy for Fordand Jaguar.

Brands therefore need to cross anincreasing variety of platforms, reachingspecific or sometimes multiple audiences.They need to be able to carry a newbusiness offer, and to tie up with anunlikely partner. This means thebranding has to be strong and flexible.

BelowGBHs identityfor Teleconnectwas specificallydesigned to beadaptable.

BRANDING IS A RELATIVELYMODERN PHENOMENON,THE INDUSTRY THATSERVES IT IS STILL YOUNG,

AND OWNERSHIP OFTHE WORD BRANDHAS YET TO SETTLE WITHONE PARTICULAR TYPEOF BUSINESS.

think


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CHAPTER 1BLURRING BOUNDARIES

451F STOREFORD FLEXIVITYGUINNESS STOREHOUSE

VW AUTOSTADT

VIZZAVIWELLBEINGCONCORDEMOTOROLA

AUDIVRDFRBUNDET

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451F STOREPRESENTING LUCKIES AS

A LIFESTYLE

FORD FLEXIVITYAN APPEAL TO A YOUNGERAUDIENCE

GUINNESS STOREHOUSEMAKING THE BLACKSTUFF TRENDY

VW AUTOSTADTCARS AS A DESTINATIONIN THEMSELVES

VIZZAVIAUDIO BRANDING FOR THEONLINE AGE

WELLBEINGA SHORT-LIVED JOINTVENTURE INTOBROADCAST

CONCORDE

PRODUCT DESIGNAS EXPERIENCE

MOTOROLAINJECTING A PERSONALITYINTO A BRAND

AUDIBRANDING THROUGH ITSPARTS

VRDFRBUNDETMERCHANDISE THAT IS ON-MESSAGE


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Below/OppositeInterior of BATS451F Store byFitch:London.

CASE STUDY451F STORE

PRESENTINGLUCKIES AS

A LIFESTYLE

Tobacco is increasingly being deniedadvertising air space, at least in the West,which meansmanufacturers are havingto get inventive about how they put theirproducts in front of their audiences. Newplatforms mean taking into considerationbrand stretch, and thats where thedesigners come in.

As a test bed for a new-style tobacconist,Amsterdam is an apt location. But BATs

store 451F is not just about cigarettes.This is more a homage to a lifestyle withreferences to all that is cool and thatincludes smoking.

Fitch in London was tasked with creatingan environment which would set off theBAT brands in a way that appealed tothe target audience of fashion consciousyoungsters. So this is more experiencethan retail, with music decks and coffeearea, and plenty of sofas upstairs.

Customers are encouraged to chillout, lounge around and generally soakup the atmosphere, rather than justpick up a pack of 20 and rush out.This is taking the experience of smokingbeyond smoking itself.

Graphics play an important role insetting the tone of the store. Fitch hastaken its cues from BATs flagship brand,Lucky Strike. Hence the deconstructed

bulls eye that reaches from the groundfloor to the first floor decompressionzone. The shelving, facia and in-storegraphics are also in keeping with Luckies,as plenty of the signature red is used.

If all goes well, there are plans to rollout 451F to other major European cities,and even Asia.


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BelowThe chill-outarea upstairsat 451F.

OppositeThe Lucky Strikelogo as seenfrom the street.


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Ford Motor Company has set up shop

in the Parkway Plaza Mall outside SanDiego. Ford knew it had to extend itsappeal to young customers, and adcampaigns alone were not doing thetrick. Other car companies, like Jaguar,are trying their luck with the youngergeneration with new showrooms andad campaigns combined, but Fordhad other ideas.

The Flexivity retail environment tapsinto young peoples love of customisation.The idea behind it is that for them,their car is like their first apartment.They like to express their personalitythrough unique accessorisation, Fordbelieves. The Flexivity concept takesvehicle customisation to a new level,believing that a car is more than a meansof transport; it can also be a mediumfor personal expression.

Designed by Braga Oris Associates

in New York, the interior layout of the5,500 sq ft of store reflects that ofan automobile assembly line. Insteadof chassis stations, however, Flexivityfeatures computer modules and musiccustomisation kiosks.

The merchandise mix includes clothesand music products. Customisationcan also be achieved with dye-your-ownseat covers and airbrush equipment.The Flexivity identity, which has noobvious connection with that of Fords,was designed by Upshot in Chicago.For both Braga Oris and Upshot, thiswas a case of taking Fords values andreinterpreting them for a new audience.

Flexivity continues to grow eachmonth in terms of revenue, says Susan

Venen-Bock at Ford. We have metandexceeded ourgoal of attractingourtarget audience.

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CASE STUDYFORD FLEXIVITY

AN APPEALTO A YOUNGER

AUDIENCE

OppositeInterior of Fords

Flexivity shopin San Diegoby Braga OrisAssociates.


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RightThe Ford Flexivitystore makesreference toan automaticassembly line.

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Guinness Storehouse is a 30 millionpound experience, aimed at wooingyoung drinkers away from lager andcocktails and back to the black stuff.

The six-storey building, in Dublins StJamess Gate Brewery, houses galleryspace, events venues,a visitor experience,restaurant, archive, training facilities anda public bar called Gravity located on topof the building with a 360-degree view.

This is an extraordinary 170,000 sq ftspace, constructed around negativespace in the shape of a pint glass whichforms the central atrium. This makesthe Gravity bar the head of the pint.

When advertising has failed, andyoure not responsible for the retailenvironments where your brand is sold,creating your own space is one wayto regain some control over perceptionof your brand.

An environment like The Storehouseis more likely to change perceptionthan boost sales. As Guinness marketingdirector Steve Langan put it: Its gotto change attitudes By changingattitudes we change behaviour.

CASE STUDYGUINNESSSTOREHOUSE

MAKING THEBLACK STUFFTRENDY

Opposite/BelowImaginationsstrong graphicstell the Guinnessstory.

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And an environment can also be a goodway of targeting a specific audience in Guinnesss case fun young things ofall nationalities who visit or live in Dublin.The brewers previous museum, the

Hop Store, had a visitor profile that was26, single and European. The aim isto replicate this at the new venue. Weare seen as old Ireland so we needto reinvent ourselves for that audience...We dont want to get left behind,says Langan.

The building was designed by London-based firm Imagination with Dublinarchitects Robinson Keefe & Devane.Its designed around experience andinteraction two things that conventional

marketing finds hard to deliver. Thename of the game is relationships,says Ralph Ardill, marketing directorof Imagination, which also createdCadbury World Fantasy Factory. Andthe best way to build relationships andchange behaviour is througha shared experience.

Brand experience can almost givebrands a second chance. Establishedbrands are looking at new ways toconnect people with the more humansides of their business and what they

stand for, he adds.

To create an experience which tallieswith an FMCG, careful attention must bepaid to existing brand values. Guinnesswas looking for a global home, basedaround the values of power, goodnessand communion. We believe Guinnessis bigger than just being a beer, saysLangan. This is epitomised in the wayImagination brought the values alive,through devices such as an impressiveindoorwaterfall, and the ruby lighting that

illuminates the building exterior at night.

At its opening, back in autumn 2000,Guinness was hoping The Storehousewould get one million visitors a year inthe first three years. According toresearch from Tourism DevelopmentInternational, 570,000 overseas visitorsexperienced the venue in its first year,making it Irelands top tourist attraction.

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OppositeGuinness hopesthe Gravity baron the top floorwill become adestination initself.


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Volkswagen Group opened its 850million Deutschmarks Autostadt insummer 2000. Its a collection ofpavilions, each for a different VW make,featuring restaurants and shops spreadacross 25 hectares at VWs mother plantin Wolfsburg. The objective was to attractand retain new sectors of the population

as customers. We are trying to reachcustomers and visitors through botha rational and emotional approach,says an Autostadt spokeswoman.

Each pavilion has taken a differentapproach to style and content, andattempts to exude the specific valuesof that make. VWs umbrella brandvalues of safety, social competence,quality and environmental responsibilityare also represented.

UK design consultancy Furneaux Stewartcreated the pavilions for Bentley and VW.Nick Swallow of Furneaux Stewart saysof the VW pavilion: We tried to finda metaphor for their philosophy (the spiritof evolution), without using cars.

They came up with a film that runs in

the cubed pavilion. It features two youngsisters, one who is learning ice-skatingand the other the violin. Swallow attemptsto explain the metaphor: Learninga skill is a series of small steps, andrequires patience.

Autostadt is proving popular. The venuewas expecting one million visitors a year,but had reached that target within sixmonths of opening.

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BelowBentleys brandedpavilion byFurneaux Stewart.

CASE STUDYVW AUTOSTADT

CARS AS A DESTINATIONIN THEMSELVES


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Left/OppositeFurneaux Stewartsmetaphorical filmfor the VW pavilion.


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BelowLogoand graphicsby Identica.

Vizzavi is a joint venture by Vodafoneand Vivendi. It was set up in 2001 asa multi-access internet portal in Europe.

Identica created an identity which was

intended to reflect the fast-changingnature of Vizzavis business and provideda cohesive brand language for all itsEuropean markets.

Given its areas of operation, a visualidentity was seen to need support froman audio counterpart. Audio brandingfirm Sonicbrand were brought in totranslate Vizzavis values into sound.By approaching the brand froma musical perspective we were ableto tap into everybodys innate musical

sense and help discover how thebrand truly made them feel, saysDan Jackson at Sonicbrand.

The company set out to create a soniclanguage that would communicate theessence of the brand and work acrossany audio medium.

So from telephone hold systems,exhibitions and corporate videos toTV commercials, an audio language hasbeen developed. Sonicbrand started by

creating a three-second logo, to beheard when the web portal is accessed.A longer piece of music, but still verymuch from the same family as the logo,was then created for the phones.

Ten tracks were composed in total, sixof which each focused on a different

Vizzavi value. For example, Vizzavis socialvalue was represented using a gospelchoir, while corporate heritage with a

contemporary edge is illustrated throughclassical strings, bass sounds andsynthesised pads.

The audio branding has beenparticularly effective for internal audiences that is call-centre staff. Vizzavi hasa host of different sorts of calls to dealwith, and no one version of the soundwas going to suit every instance. SoSonicbrand came up with some musicto suit customers on hold for thePop Idol TV show line, and something

completely different and much moresoothing for the customer complaintson-hold sound. Since this music hasbeen introduced, Vizzavi tele-operatorshave anecdotally reported a dropin the number of irate customers, whichin turn has raised call-centre morale,according to Jackson. Music reallydoes change how people feel, he says.

NEWTECHNOLOGY

AND NEWPARTNERSHIPS

CASE STUDY

VIZZAVI

AUDIO BRANDINGFOR THE ONLINE

AGE


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Boots and Granada Media joinedforces in 2001 to launch an independentinternet and broadband companywhich had ambitions to be Britainsleading e-business for health, beautyand well-being.

This had huge potential, they believed.

Health and beauty are two of the worldslargest growth markets. In the UK alone,and excluding the National Health Service,sales of health and beauty products andservices amount to 11 billion pounds ayear (according to Verdict research). In theend, the channel aired from March 2001to the end of November of the sameyear, and folded with reported lossesof 31 million pounds.

It was up to London graphics consultancy4i to pull the branding off. It was thelead brand design consultancy for thecreation of the networkof TV and internetservices, while London on-screen identityspecialists English & Pockett handled theon-screen idents.

The brand had to work across a numberof platforms, and had to be relevantto both partners. This challenge wasintensified by the two organisationsvery different cultures. It was a clashof cultures between an entertainmentcompany and a high-street retailer,says Mark Norton of 4i. One was

interested in making programmes andthe other was interested in selling goodsonline. But while Boots is meticulousto the point of anal retention about itsbrand, according to Norton, Granadais not a brand in the same way. Giventhat 4i had spent months working onthe branding before Boots even signedup as partners, the discord that arosewas perhaps inevitable.

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BelowThe combinedlogo for theWellbeing TVchannel, designedby 4i.

CASE STUDYWELLBEING

A SHORT-LIVEDJOINT VENTUREINTO BROADCAST


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With increased focus on brandingcome all the trappings of marketingcommunications. So when Londonproduct design company Factory wascommissioned, with Conran & Partners,to design the interiors for the newConcorde, it was given a description ofthe Concorde customer. In terms

of audience profile, Concorde passengersare one of the easiest to define in theairline industry as captains of industry.Normal business class is filled witha bigger mix of people. That affectshow you define a brand and theatmosphere of the plane, says AdamWhite at Factory.

This was a case of product designcreating an experience, while exudingthe appropriate brand values serviceand quality three-dimensionally.

Factory started by looking atenvironments which would be familiarto the typical Concorde customer forexample the interior of the new AstonMartin, or the washroom of PhilippeStarcks London hotel, St Martins Lane.

Then the brand values had to matchup to the on-flight experience. These,according to Paul Wylde, the brandguardian of British Airways Concorde,are British, insightful, innovation, qualityand reassurance. On top of those,

Factory and Conran & Partners hadto take into account the brandscharacteristics: intelligence, humour,confident, professional and contemporaryclassic. I wanted people to know theywere having a BA Concorde experienceeven when they were covering up thelogos, says Wylde.

The result was Connolly leather on thefurnishings, linen-cotton mix napkinsand lots of blue courtesy of Conran& Partners.

Although this was genuinely a beyondlogo brief, Factory played a clevergame with the BA speed marque

designed by the then Newell and Sorrell.Though its always drawn flat, it is infact three-dimensional. We thought wecould do something with that, saysWhite. And so they incorporated it into theseats. It was obvious that the marquewould carry the arm rest beautifully. Whilenot every passenger is going to catch onto this ingenious bit of branding, thosewho see it get closer to the company,believes White. Again, subtle brandinghelps reinforce a sense of ownershipin the consumer.

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CASE STUDYCONCORDE

PRODUCT DESIGNAS EXPERIENCE

Below rightBritish Airwayslogo by thethen Newell andSorrell.

Below leftBritish AirwaysConcordeseating byFactory.

LeftAn early renditionby Factory of theConcorde chairdesigns.


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How do you take a technology-focusedcompany and encourage consumeristtendencies to reinvigorate the brand?Thats the question Tim Parsey posed tohimself when he took on his current job.Parsey is head of consumer experiencedesign for the personal communicationssector at Motorola. In other words, hes

responsible for the look of the companysphones. Motorola feels, rightly, that ithas missed out to the likes of Nokia inFinland, and it needs to take brandingon board. In 2001, Nokia had 35 percentof the world market, and Motorola wasa distant second at 14 percent. Parseystask is to take the values of Motorola,impart them to a re-enthused team ofdesigners around the world, and get theminstilled in every new product.

This brief has the potential, at least,

to go way beyond Motorolas distinctivebatwing logo. Were looking to build acohesive story so that there is recognition(of the Motorola handsets) for the firsttime, he says. No mean feat for anorganisation that for decades has beensteered by the engineering departments.Before, design was a service toengineering. But engineering now hasto be connected to culture, Parsey says.This Motorolaness for Parsey is aboutrich minimalism, creating hardware anddigital interfaces which live up to this

quality. But this doesnt just refer to thestyle of the phones. Numbers are beingcut too. There were 96 phones whenParsey joined in October 1999. In 2002there were just ten.

Design has to be the competitiveweapon, believes Parsey, who spentfive years at Apple in the 1990s. Hesbeen drawing his new troops from thedesign departments of Swatch, Philips,Sony and the Domus Academy in Italy.From his base in Chicago, he managesMotorolas design centres around

the world.

Phones can be customised to carrythe branding of different carriers. Ofcourse this carries the risk of dilutingthe Motorola brand, which is whythe look of the product needs to becohesive and unique. Packaging andweb design have also been adaptedaccordingly, to complement thenewly instilled Motorolaness of thephones. One of the first manifestationsof Parseys appointment is the swivel

handset which launched in 2002.

CASE STUDYMOTOROLA

INJECTING APERSONALITYINTO A BRAND

Opposite/Above/OverleafNew productsexpressingMotorolaness,for which Parseywas responsible.


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BelowJam upholsteredthese chairs withcar seat belts.

OppositeStockholmDesign Labsexperientialenvironment.


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The Swedish Association of HealthProfessionals is the union for 93 percentof the countrys nurses, midwives andbiomedical scientists and has more than110,000 members.

Swedens highest profile designconsultancy Stockholm Design Lab came

up with an open-ended cross as theunions new identity; but that was justthe beginning of the project.

Through trade fairs, meetings andother events, the union gives awaya plethora of merchandising items everyyear. Rather than just applying the newmarque to the existing gifts, the unionasked the consultancy to design acomplete range of products. Theserange from sponge bags and knapsacks

to jewellery. The use of the identity iskept to a minimum, for example as ziptags on the bags. Where you mightexpect there to be a marque, weveexpressed it in a different way, saysThomas Eriksson. And because thegraphic branding is so minimal, a senseof ownership is generated. If yougive this ring to someone it becomestheirs, and is no longer theorganisations, he adds.

CASE STUDYVRDFRBUNDET

MERCHANDISE THATIS ON MESSAGE

Above/OppositeStockholmDesign Lab gotinvolved withevery elementof merchandisefor the Swedishnurses union.

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