Re-Brand Publication.pdf

7/30/2019 Re-Brand Publication.pdf

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Introduction

This book is one of ve that aims to explore

the many techniques, traditions and sectors

that branding has, is and will continue to

thrive in.

The focus of this book is the Re-Brand.

Rebrand [ri:brnd]

vb

(Business / Marketing) (tr) to change or

update the image of (an organization or

product)

About

Throughout my practice I have always been

interested in company re-brands. Whether

they be an innite improvement or an

absolute disaster the analysis and the way thatthe new brands have been applied across a

companies range fascinates me.

This publication has sourced seven notable

rebrands over the last year and teamed

them with analysis, opinions and company

manifestos to provide an insight into the

modern day re-brand.


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Their A is deliberately le unnished, to communicate

that their work is never complete, that they dont have all

the answers, and that they cant change the way the world

tackles poverty alone. The new brand colours, typefaces and

angles are carried across a comprehensive rebrand.

Johnson Banks Case Study

Source:

http://www.underconsideration.com

Before: After:


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Review

The old logo was it was something and that

something was in a circle accompanied by somesecond-rate typography in both all lowercase

and all uppercase. The new logo, or, well, the

new family of logos is quite the contrary and

crystal clear what it is: its spelled out right

there. Built from bits and pieces of Acumens

new cornerstone manifesto, the logo is one

more in a rising trend of what johnson banks is

calling active identities and theyve been on a

kick with them lately see Cystic Fibrosis Fund

and build on a legacy of identities like We Are

Macmillan and YWCA. Acumens logo features

a sliced slab serif A used XL accompanied by a

waterfall of Avant Garde, starting with the name

in bold and then one of the manifesto excerpts

or some other sentence below, staggered in a

lighter weight. Love the half A, hate the use

of Avant Garde. The idea is quite brilliant and

the whole concept of pushing the manifesto

through the logo is an excellent way of building

awareness but I wish the typography was more

reminiscent of, like, today and the twenty-

rst century rather than the 1960s and 70s. Of

course, the people donating to Acumen and the

business leaders seeking investment dont care

about such historical typographic conundrums,

so the identity is obviously successful in themarketplace although I do question the

readability of light, tightly-tracked uppercase

writing, it starts getting fuzzy at smaller sizes.

Opinion By Armin

Nonetheless, despite my grievances about

designers using musty typography, this

identity cuts starkly (in a positive way)

against the presence of other non-prots

and helps establish what Acumen is with

every single impression.


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Review

The previous logo was a rather gaudy and

unsophisticated interpretation of what MOA is,

with a very poor rendition of the star and stripes

and poor typography more Big Gulp than

Starbucks Macchiato. The new logo is a fantastic

evolution of the same elements now executedwith proper sophistication and accuracy. Its

still not Saks-Fih-Avenue sophisticated but

thats something it can not be or should not be.

The logo is simple and pretty and fun and makes

you want to wrap everything you bought in

colourful ribbons. It turns MOA from a kitschy

destination to high-end one. Weve seen ribbon-

based logos before so, in that respect this

is nothing new, but here they make conceptual

sense and are perfectly applied when used

as patterns and visual device to hold the name

of the mall. The exibility of the whole systemis subtle yet very important to keep fresh what

must be hundreds of communication materials

issued monthly throughout the mall. Overall,

a great system all around, from logo to

prototype mugs.

Opinion By Armin


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The creative process recognized the equity found in

the star of the original logo and transformed it into the

dynamic new star made of vibrant Coloured ribbons.

The ribbons depict the multitude of the always fresh,

exciting and new experiences at Mall of America which

is the magic of the brand.

Press Release

Before: After:

Source: http://www.underconsideration.com


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Review

Well, this blows, doesnt it? I like to think that

I can overcome gratuitous design nostalgia

in favour of design progress, but there is

something extremely appealing about the

1940s Lucky Strike logo and packaging. A

certain impact that few packages achieve

today. But obviously I think thats just the

ideal that lives in my head. If you look at the

Before image in the packs above, there is very

little trace of the stark simplicity that dened

that classic packaging: gradients, bevels,seals, and, of course, the warning labels are

all over that little box like a carcinogen on a

lung. So it makes the transition to the new look

a little less painful. The new logo is a terrible

modernization of Lucky Strikes original logo

as it appeared on its tin packaging. If LuckyStrike was going for a revival look I dont know

why they didnt just stick with it, as it was,

instead of putting stubby slabs on the lettering

that completely cheapen the logo. I mean, look

at the letterforms on that vintage package.

That shit is hot. The new packaging, I guess

it could be worse. The addition of Luckies

on the bottom and the badges/seals on the side

are both nice touches but, overall, the whole

thing just feels cheap.

Before: After:

Opinion By Armin


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It's interesting how they basically took the original logo,

tweaked it a smidge and hit it with a "Bevel & Emboss"

to nish it out. I kind of wish they simply tweaked the existing

one based on what Loewy did and simplied it

even more or something.

AO2

Sources:

http://www.underconsideration.com

http://www.qbn.com/

7


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Review

The previous logo didnt hold any surprises

in its message or execution: a crown over the

word King, punctuated by a 1990s .com. A

decent logo for sure, considering the gaudiness

of online video game title logos. The new logo

smartly drops the .com not only leading to

a cleaner logo but strategically giving other

gaming companies the nger in the most

elegant way by proclaiming they are the king.

No questions asked. The logo takes a minute

to decode. At rst it looks like any number

of Dodgers-inspired script logos but then

the crown comes into focus once you see the

exaggerated (and, in any other logo, completely

awkward) upper arm of the K and its terminal,

centred in between two other exaggerated ball

terminals in the K and g, the latter swooping

down and le to meet the stem of the K to get

all Gestalt on the bottom of the crown. In less

words: its awesome. In application (see below)

the logo is tilted and placed on top of people

and characters, straddling the line between

annoying and clever, but it mostly works. The

logo is accompanied by a confetti of elements

from Kings games and the whole set-up is loose

and fun. What this project lacks in gravitas it

makes up for in candy-colored, no-worries vibes.

Also in less words: perfect for the company and

its audience.

Opinion By Armin


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The new brand, based around the philosophy of Bitesize

Brilliance is designed to position King as the leader in cross-

platform, snackable entertainment experiences. [] We

wanted to create an iconic visual identity for King that could

sit alongside HBO and Pixar as a mark of the highest quality

in entertainment. We designed a quirky new logo writing

King in the shape of a crown - capable of working at 16 pixels

square but at the same time scalable enough to make a big

impact. Games like Candy Crush Saga are what people love

about King, so we created a brand that compliments rather

than dominates.

Venturethree Project Description

Before: After:



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Review

Nice to see you again all the way down here.

It almost goes without saying but this is truly

smart and fantastic work on its own and evenmore so in contrast with the old look and feel.

All of a sudden, the Cystic Fibrosis Trust brand

is a walking, talking educational tool that is as

simple as it gets, explaining in the own terms

and words of people aected by the disease why

they should pay attention. Almost annoyingly

simple the logo takes a few tired clichs

Helvetica, highlighter bars, and handwritten

elements to serve as the foundation for a

striking identity that is both serious and playful;

with the wrong execution these same elements

could have turned out cloying and childish.

We discovered that supporters of the charity feel that the

general awareness and understanding of cystic brosis

among the general public is very low. People arent clear

what cystic brosis is or does, how they can or cant catch it

and what it means on a day-to-day basis.

Johnson Banks Project Description

OpinionByAr

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As the research stage progressed, we kept asking, but

what is it, exactly? and received a multitude of dierent

responses. Mid-way through the research stage we had a

breakthrough when we noticed the is at the end of brosis.

So we suggested the charity should activate the is in their

name with a series of statements, eectively forcing it to

always explain what it is, does, and why they are here. Some

are simple: cystic brosis why were here, some upliing

cystic brosis a battle we must win, some hard-hitting -

cystic brosis a life sentence. The Trust now has at least

40 sentences they can use, and we are adding to them

continually. Like many charities they are short of funds and

cant aord big marketing campaigns, so this eectively

makes everything they do part of one big is campaign.

Johnson Banks Project Description

Source:http://w

ww.underconsideration.com

Before: After:


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Wanting its visual expression to better reect [a] senseof interconnectedness and the positive impact thats

possible when ideas and resources are shared CECP

partnered with FutureBrand to create a new logo and visual

system. Replacing a linear wordmark, the logo reinforces

the concept of disparate voices and knowledge building

upon itself and coming together as one. The c letterform

is composed of a single curved line, parallel shapes form

a lowercase e that then cascade into a three-ringed c

which completes in a four-ringed p.

Provided Text (CECP)


Before: After:


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Review

The previous logo, also designed by

Futurebrand, could have used the help of some

logo philanthropy of its own at the time

wildly boring, visually and conceptually. The

new logo xes both misgivings with a smartly

thought out logo that instantly communicates

connection and collaboration through a lovely

monogram that builds, one line at a time, on

the acronym. I really, really wish Futurebrand

had refrained from adding the gradients to the

icon as they are not needed at all; see how good

it looks white on blue on the brochure coverabove. The wordmark feels a little like an

aerthought and the lighter blue color makes

it recede into the background in contrast with

the bolder icon. It also feels redundant with

the icon, as both elements are spelling out the

same thing. Perhaps in a year or two the icon

can stand on its own without the name once

its built some equity among its audience. In

application the logos gets a little crazy, serving

as a window like in the brochure, or a multiple

window like in the business cards and poster.

Im not convinced this logo was meant for such

uses, but it pulls it o somewhat convincingly.

Overall, a vast improvement over the old with a

sophisticated-looking logo to lead the way for allthese CEO folk.

Opinion By Armin


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Review

Not being familiar with ITV, the moment I

saw the original logo I assumed it was a news

channel of some kind with drab programming.

Far too corporate for a network showing The

X Factor or Downtown Abbey. The new logo

supports the networks commitment to being

at the heart of popular culture with a far

friendlier, bubblier, happier logo. Reactions

online have been mostly negative surprise,

surprise but the new logo has a nice,

unexpected bounce to it and even if its not to

everyones liking it is very properly executed.Notice the notch under the cross stroke of the

t: it ensures that when the logo is made

smaller, that area doesnt look like a blob.

The counter spaces between all the letters

are also quite well done, considering how

disparate the three letters are. The main color

conguration shown is a little unfortunate

its just ugly, sorry but obviously with the

promise of a color-changing logo that can be

easily xed and the resulting overlays will

be more pleasant. Overall, the logo feels far

more appropriate than its predecessor and

seems to have potential for expanding into

the rest of network. I presume we will do a

follow-up in January once this logo is appliedacross all channels, so stay tuned.


OpinionByA

rmin


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The new logo forms the basis of all ITVs branding

domestically and internationally, and is a warm, bold design

based on a formalised version of human handwriting,

comprising of ve colours, in its static state.

When the logo appears on coloured background, such as

marketing images for ITV programmes - it will adapt and

change according to the background colour scheme of

the image. This colour picking technique means that the

logo can be dynamic, shiing tone along with the content,

reecting and blending with the mood of dierent shows.

Press Release

Within the ITV broadcast business, the family of UK

channels will all have a new on-air look, with ITV2, ITV3,

ITV4, and CiTV receiving new colour schemes, clearer brand

propositions, and accompanying updated brand identities.

Press Release

Before: After:


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Acumen Rebrand

Studio: Johnson Banks

Mall Of America

Studio: Duffy & Partners

Lucky Strike

Studio: G2 Germany

King

Studio: Venturethree

Cystic Fibrosis

Studio: Johnson Banks

CECP

Studio: Futurebrand

ITV

Studio: ITV Creative (In House)

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Designed by:

Ben Harwood

Published:

May 2013


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