How flexible design systems turn brands into dynamic visual identities Zurich University of the Arts ZHdK Department Design Master of Arts in Design Field of Excellence Communication Author: Emanuel Jochum Supervisors: Peter Vetter, Sarah Owens, Cybu Richli, Meike Eckstein, Lisa Greuter, Dominique Fischer ÂŠ ZHdK MA Design Communication, Zurich, June 2013 Ă—
From the fixed logo to the dynamic visual world of experience. It often is no longer sufficient to develop an identity for a company or an institution onetime. The challenge now is to take up the speed and agility in our lives and to showcase clients as producers or service providers just as lively and movable. Flexible design systems make strictly defined visual identities to dynamic and multifaceted ones.
‘Dynamic Branding’ shows how six types of flexible design systems help brands to become vibrant. Inputs from on-topic professionals and a variety of case studies make contemporary approaches to branding visible and concrete. A manifesto points out the essence in form of bold keywords and raises the awareness of problems like accessibility, consistency or sustainability; a complementary digital publication serves as an inspirational multimedia source. The project is the basis for an active discussion about dynamic brands. ×
Introduction 7 Dynamic Branding? 8 Problem and Objectives 9 Motivation and Relevance 9 Methodical Approach 10 Guiding Questions 11
Generating Knowledge 13 Components of a Visual Identity 14 Flexible Design Systems 16 Flexibility Analysis 22 Case Studies 24 Two Branding Models 68 Expert Inputs 70
Transferring Knowledge 83 Essence 84 Manifesto 86 Digital Publication 86 Outlook 87
Generating Knowledge Introduction
What is dynamic branding? Why and how does this thesis focus on lively brands and flexible design systems? Why is the main focus on visual solutions? Who profits from the findings? This chapter introduces the key points of the project. Ă—
1 Dynamic Branding? Facing a vibrant, globalised world
The world we live in is extremely fastmoving and ever-changing. We are all “embracing new forms of connection, communication and commerce” 1: technology and digital networks have a massive effect on our lives. Just think of platforms like Facebook or Twitter, telephoning online with Skype or around-the-clock shopping websites. The development and change we are faced has a strong influence on how we relate to the world. Our lives are increasingly open, fast and interactive: We like to share things and ideas with the help of the internet, we get to know people easier through digital channels, we virtually get in touch with friends and colleagues located in different places with just one click, we have never been connected faster and stronger to the world than we are now. What does this rising flexibility mean for brands? What is a dynamic brand? How turn flexible design systems a brand into a living, evolving brand? Which problems does branding face now? Branding and economy
Branding is the definition and development of an identity for a brand including its character, contents, image and anticipated relationships with, consumers, users and employees in any kind of communication and interaction. Social and technological changes as well as changes in the competitive economic environment steadily influence companies and their brands. The aim is to find the own position as a brand, to occupy it and to establish this position on the market. Branding therefore also supports sustainable growth and profitability.
From strict visual consistency to living organisms
In earlier times, it was common practice to rigorously ensure that everything what a brand sends out looks the same and has an unchangeable ‘stamp’. The goal was to provide strict visual consistency in any type of media. The challenge, or even responsibility, in branding now is to become aware of the fact that brands, companies, corporations, organisations and institutions have to be able to adapt, transform, move and interact to and in this who-knows-what-is-next environment we live in. Brands need to recognise change as part of their business reality and that they must behave as “living organisms” 2, just like a human being. Brands actively need to ‘live’ that change as well as to show that they are ready for it and that they see themselves in an open, collaborative and interactive sphere of personal relationships; in a sphere where everyone shares his or her thoughts, emotions and desires.3 Dynamic brands
In branding, a dynamic brand generally is assigned with being variable, strongly related to the content, steadily developing and evolving, coherent in the message and varied, all of this in different dimensions and contexts. This study mainly focuses on the visual elements of a brand like colours or shapes which make up the visual identity of a brand, basically to provide an easily available and understandable overview of contemporary issues in dynamic branding or in branding generally.
The quality of a visual identity
As a general rule, the quality of a visual identity depends on the correlation between the brand, the company, the organisation or the institution and the content it has or it wants to communicate and how all of this is visualised within a flexible design system, turning an identity into a dynamic visual identity.4 Organisation
Fig. 1: Quality influencers
The elements of a visual identity play a decisive part in the choice for or against a dynamic concept. It is elementary that the integrated flexibility exceeds being formalistic and in fact conveys a specific matter in terms of content. Further, the real context, like the economic environment or the product range, defines the contents of the brand. The visual representation of these contents happens within a wide spectrum of instruments: corporate communication, events, signage, interactive environments or packaging, only to name a few. Dynamic visual identities are effective if they massively relate to the content of the brand and if they are conceptually well-founded. The emotional value of a personal experience or a concrete functional benefit convince consumers more directly than pragmatic arguments for or against certain design solutions and their characteristics. Being present and surprising at the right touchpoints can drive the creation of emotional connections to a brand. The brand then becomes meaningful and valuable for the consumer.5 ×
1 2 3 4 5
Moving Brands, 2010, p. 14 Van Nes, 2012, p. 6 Felsing, 2010, p. 214 f.; Moving Brands, 2010, p. 14 Felsing, 2010, p. 13 f. Felsing, 2010, p. 14
3 Motivation and Relevance
A practice-oriented design research
Creating one single resource
Face-to-face talks for better insights
The study follows this core research question: How do flexible design systems turn brands into dynamic visual identities? To get into detail, the problem deals with visually shaping or reshaping brands to dynamic, vibrant brands. Focus is on various methods used to make the definition of a vivid brand identity visible and able for being experienced by consumers in various ways and forms. Heavyweight objects of study are the different forms of flexibility and types of variation, customisation and changeability of visual identities and how all of these aspects influence the quality of an identity. The practical part, the transfer of knowledge to design products, centres around the question of how can the outcome made easily accessible? and makes the essence available for a broad discussion in both analogue and digital ways.
The theory material about dynamic branding is narrow and not yet consolidated at a single resource. Most of the discussions about dynamic visual identities take place in more or less superficial online reviews of concrete projects. There are two major publications about dynamic visual identities: The two books ‘Dynamic Identities – How to create a living brand’ by Dutch graphic designer Irene Van Nes and ‘Dynamic Identities in Cultural and Public Contexts’ by Switzerland-based design researcher Ulrike Felsing serve as the foundation of this study, but both resources have a very conclusive character, as traditional print publications, and only have few possibilities to keep the thematic development of dynamic branding alive.
A personal motivation lies in the opportunity to get in contact with people with a lot of diverse personal and professional backgrounds, including an executive from the United Kingdom based in Switzerland, a self-employed consultant in Zurich or a German freelance graphic designer working in Vienna. It is extremely insightful to link the analysis of concrete visual identity projects in the case studies with the knowledge of professionals.
Crystallise and exchange knowledge
One of the main objectives is the analysis of successfully or contoversally realised dynamic visual identities to extract concrete possibilities, advantages, limitations or even dangers when working with flexible design systems. Another main objective of the study is the collection and analysis of current thinking about branding and dynamic visual identities within the design and communication sector, expanding the topic from visual identities to contemporary branding. The brains-on and hands-on experience of people involved in branding processes help to gain insights from diverse perspectives. The findings bring the topic of dynamic branding to mind and kick off a more aware and intense discussion. The aim is not to create another set of strict rules for branding but to make an active exchange of practice-oriented knowledge possible for people who contribute their skills to branding tasks within their professional environment.
Enlarge thinking about branding
The consolidation of detailed analyses of recent cases and the summary of individual perspectives from professionals offers a broad and deep overview. This consolidation generates useful impulses for the design sector. An on-topic exchange of design thinking encourages professionals to gather inputs for their own understanding of contemporary branding. There is a lot of traditional thinking especially in topics like consistency, communication and identity definitions in general which are obsolete and which do not fulfil the conditions in a world that increasingly demands “energy, responsiveness and growth” 6 even from brands, both towards the outside and towards the inside.
‘Dynamic Branding’ as a new discipline
Talking about a long-term perspective, the study framework of the Master of Arts in Design programme ( master.design. zhdk.ch ) at Zurich University of the Arts ( www.zhdk.ch ) is an open, inspiring environment to intensively and independently explore the topic of dynamic branding and to try to initiate a new discipline of branding with the pronounced focus on flexible elements within brand development and branding processes. ×
Moving Brands, 2010, p. 17
Dynamic Branding?, Problem and Objectives, Motivation and Relevance × Introduction
2 Problem and Objectives
4 Methodical Approach This study mainly consists of two major research parts: ‘Generating Knowledge’ as the practice-oriented theoretical part, and ‘Transferring Knowledge’ as the distribution-oriented practical part. Both roughly follow an intuitively collected set of explorative questions, ‘Guiding Questions’, and result in the crystallisation of contemporary branding issues. Generating Knowledge
This part consists of two paths to gather input about flexible design systems. In the beginning, the first path describes the six components of a visual identity in a concept defined by Van Nes. Following this concept, two existing classifications of flexible design systems, the ‘Dynamic Systems’ model by Van Nes and the ‘Variation Methods’ model by Felsing, are analysed and reconcepted to a refined classification, called the ‘Flexible Design Systems’ model. As the next step, the explanation of the ‘Flexibility Chart’ serves as the preparation for concrete case studies. This chart helps to determine the degree of flexibility for each of the six components of the according case. The set of exemplary visual identities comprises information about the company or brand, the agencies appointed for the branding or rebranding process, the flexible design system applied including its elements and the flexibility analysis of the components.
As the next step, the second path broadens the perspective from a very sightfocused and design-centred approach to an approach considering any sense and any type of media, introducing branding models by think moto and Moving Brands. The description of these two models serves as an introduction for the follow-up expert inputs by design and communication professionals, crystallising current thinking on flexible design systems and dynamic visual identities. Transferring Knowledge
This part is the synthesis of the findings from the ‘Generating Knowledge’ part. It points out the essence in form of keywords and complementary short descriptions as well as outlines the two-piece practical interpretation of the research material in form of the ‘Manifesto’ and a prototype of the ‘Digital Publication’. The printed manifesto, the first practical part, works up the theoretical contents for the straight-to-the-point distribution of the essence. The digital publication, the second practical part, serves as an inspirational multimedia resource, providing the case studies as an exemplary overview of visual identities. It intentionally is in development mode as a prototype and is scheduled to be released as a full version at a later time in 2013, after graduation. In this digital publication, the ‘Flexible Design Systems’ model is applied to the according examples. Additionally, some conclusive, inspirational questions, ‘Six Questions to Consider’, point out considerable issues which help to trigger some reflection.
Case Studies Expert Inputs Essence Six Questions to Consider Manifesto Digital Publication (prototype) Fig. 2: Study setup for MA programme
The study in the academic context is concepted as a broad snapshot with strong theoretical foundation to create awareness for the topic in general. It is planned to be continued outside the Master’s environment to live up to the steadily developing topic of dynamic branding, including the full version of the digital publication, soon available for download in the Apple iPad App Store, further case studies, new editions of expert inputs and the launch of the inspirational web platform www.dynamicbranding.info (see details about the continuation plans for on p. 87). ×
The research on the wide-spread, complex topic of dynamic branding demands a small of guide for the collection of relevant material. 12 ‘Guiding Questions’ are developed intuitively right at the start. They help to lead the whole research process in various directions but also to hang on to some rough key aspects. It is not necessary to entirely understand these questions right at the start since the contexts are revealed as the study goes along. They are indirectly but substantially answered within the description of the essence in the ‘Transferring Knowledge’ part and in the conclusion at the end of the study.
Where can flexible design systems be applied on dynamic visual identities?
How can target groups be involved in the implementation process of dynamic visual identities?
The first set of questions is about the topics context, content and personality of a brand, focusing on brand positioning, values and basic arguments for or against flexible design systems for visual identities. Which basic criteria influence the implementation and use of dynamic visual identities? How is the content of a brand connected to its formal application? Which character must dynamic visual identities have to be non-formalistic? Development
The following set of questions includes the topics function, process and technology, focusing on the creation process and according objectives and methods. How is the function of dynamic visual identities split up in design, communication and advertising? Which characteristics define the design process of dynamic visual identities?
The implementation topics dimension, communication and participation are summarised within the following set of questions.
Which difference has the use of flexible design systems in conventional logo behaviour respectively in integrated communication?
The use of flexible design systems demands a conclusive argumentation, including specific issues like added value, sustainability (mainly in the sense of economic durability of a visual identity) and recognisability. What is the effective added value of a dynamic visual identity? Where does a flexible design system stop to be playful-aesthetic? Where are the limits of recognisability? Foundation for ‘Essence’
Keep these questions in mind by reading the next chapters. You will come across several keywords throughout the study. They are highlighted with a green underline, see the examples of expression, flexible or scalable, and serve as core aspects and the foundation for the essence in the ‘Transferring Knowledge’ chapter and the manifesto (see p. 83 ff.). ×
How can technology positively affect the design quality?
Methodical Approach, Guiding Questions × Introduction
5 Guiding Questions
What are the components of a visual identity? How can the flexibility degree of a visual identity be determined? Which types of flexible design systems can be classified? What is behind concrete examples of visual identities? What are contemporary approaches to branding? What do professionals think about dynamic visual identities? This chapter forms the core of the input collection and research. Ă—
1 Components of a Visual Identity First of all, the paragraphs below describe the core elements of a visual identity. It is important to break down a visual identity into reasonable parts to analyse them in detail. These elements play a major role in the following chapters, mainly for the analysis of flexible elements in the case studies. Irene Van Nes, author of the book ‘Dynamic Identities – How to create a living brand’ as previously mentioned, defined a concept for six different components which form a dynamic system together with their connections.7 Each element also may have an influence on other sensory aspects than sight, like hearing or touch. It reflects movement or interaction as well and can be easily adapted to other sensory environments, but these only are part of this study in the expert inputs and the essence. Logo
As one of the major elements, the sign or trademark of a brand is the logo which predominantly serves as the ‘hub’ of the visual identity. The long-running logomania, the strict focus on the logo as the ever-present symbol and the always-valid recipe for “consistent reproduction” 8, consequently becomes less important due to more integral and holistic views on branding issues and the increasing recognition of dynamic concepts considering a wide range of identity elements. Especially digital environments like websites, tablet computer applications or motion pictures require more interactive concepts including the idea of “digital first” 9 which means to develop a visual identity based on digital touchpoints, not on traditional print applications like stationery or business cards.
The logo of A1 by Saffron Brand Consultants consists of the distinctive, threedimensional ‘A’ character in combination with a strict, black ‘1’ character and clearly marks A1 as the sender (see the A1 case study on p. 24 f.).
Typography traditionally forms an instrumental part for the communication of the brand, throughout different media and within different contexts. It is used for written content as well as to visually set importancies or different levels of attraction. The factors of readability and scalability within digital environments become increasingly important due to fast technological developments. The use of typography in publications of the Design Academy Eindhoven is bold and very present but still makes a flexible composition possible (see the Design Academy Eindhoven case study on p. 36 f.).
Fig. 3: A1 basic logo
In this thriving world, colour takes up a key function within a visual identity. The decision for specific colours or a colour scheme influences the appearance as a whole, including the colours used in logos and their correlation with imagery. As visible in the case studies, colour is also an obvious way to achieve visual variety and variability or to make different products or services distinguishable from each other. Colours also help to ensure the recognisability of a brand, even without actually seeing other elements of the visual identity. The colour scheme of the visual identity of Mobile Media Lab, abbreviated to MML, by FEED ensures a unique look throughout the visual identity (see the Mobile Media Lab case study on p. 44 f.).
Fig. 5: Design Academy Eindhoven publication
Graphic elements include an endless range of different forms, shapes, lines or pictograms and help to highlight specific contents or types of information, to make complex information understandable and to visually connect or separate text or images. The icon set of CX helps to recognise the required functions in the brand’s cloud storage application (see the CX case study on p. 34 f.).
Fig. 4: MML colours
Fig. 6: CX icon set
Conclusion and further steps
Images help to communicate values or stories of a brand, link the content to actual life environments of consumers and also communicate messages on a very emotional level. Imagery is important to make moods, feelings or a special atmosphere visible and is applied on both still and moving images, perfect for telling stories with the help of different media.
The six components logo, colour, typography, graphic elements, imagery and language form the brand identity system.
The imagery of the visual identity of Visit Nordkyn by Neue Design Studio shows scenes in the tourism region and supports promotional campaigns (see the Visit Nordkyn case study on p. 64 f.).
Fig. 9: Components of a visual identity
This system is simple, comprehensible and a good way to use it as a method to describe the visual behaviour of the according elements.
Fig. 7: Visit Nordkyn promotional image
Language in this context means working with a unique naming of services, products or product series like Apple’s concept of using the ‘i’ sub-brand line with the iPod, iPhone or iPad.10 If several word elements, which also form the visual identity, change too, the elements can as well be classified as flexible language elements. The word combinations in the visual identity of Burgtheater Wien by Raffinerie create a playground for verbal identity elements (see the Burgtheater Wien case study on p. 28 f.).
In the further development, Van Nes describes six categories of dynamic visual identities based on the behaviour of their components. Felsing describes six categories too, focusing on the methods to make visual identities variable but has a more in-depth approach. The six components of a visual identity allow an easy comparison of the two categorisations and therefore serve as the basis for the follow-up reconception, resulting in a new classification of flexible design systems. The components of the system are useful to determine the degree of flexibility of the elements when analysing concrete dynamic visual identity cases with the ‘Flexibility Chart’. The whole identity system changes when one or more components is opened up for variability, the action or behaviour turns the components into dynamic elements within the system and its connections among each other.11 “Each component helps sharpen the identity of the brand it represents. The more components are defined, the more specified the identity becomes”.12 The functionality of the ‘Flexibility Chart’ is described later on. ×
Fig. 8: Burgtheater Wien billboard
7 8 9 10 11 12
Van Nes, 2012, p. 6 f. Moving Brands, 2010, p. 15 Spies, 2012, p. 216 Van Nes, 2012, p. 7 Van Nes, 2012, p. 6 f. Van Nes, 2012, p. 7
Components of a Visual Identity × Generating Knowledge
2 Flexible Design Systems ‘Dynamic Systems’ Model by Irene Van Nes The definition of the six components of a visual identity and the consideration of their flexibility leads Van Nes to the development of six categories of dynamic identities based on how they behave visually.
A quite recent example of a containerbased system is the visual identity of the City of Melbourne by Landor Associates, where the ‘M’ provides room for creative graphic solutions (see the City of Melbourne case study on p. 32 f.).
The supply of a tool box with several main ingredients provides a DNA set, creating distinctive results each time.15 The visual identity of IDTV by Lava is based on the unit of one pixel which serves as the playground for matchings with four predefined graphic elements and enables almost limitless combinations within this pixel system. Just a few graphic elements can already provide an enormous variety of different combinations (see the IDTV case study on p. 42 f.).
Container Wallpaper DNA Formula Customised Generative Fig. 10: ‘Dynamic Systems’ model
Within Van Nes’ explanation, the functionality of the flexible elements receives more attention than the actual strategic foundation of the visual identity. Nevertheless, this approach rather meets the core of this study, especially regarding the analysis of the case studies. Exemplary cases make the functionality visible and easily understandable.
Fig. 11: City of Melbourne logo versions
When using the container principle the other way round, a wallpaper is flexibly changed or replaced by another background behind a fixed element. In most cases, the lettering in the logo is the fixed element.14
Fig. 13: IDTV logo versions
The container is defined by a design system in which the logo of the brand is used as a box or shape which is filled with changing colours, patterns, images, forms, illustrations, scribbles, etc. The system is one of the simplest and most common methods to flexibilise visual identities. It can be very logo-centric but also allows to detach the system for almost any touchpoint and in any media environment.13
Wolff Olins applied this system to the visual identity of AOL, defining the lettering as the fixed, completely static item (the logo not even changes from white to another colour) and placing the original work of artists from all over the world behind the logo and therefore making the message of creating mainly original content visible (see the AOL case study on p. 24 f.).
The opposite of the DNA system is the definition of an identity formula in form of a grid, a set of rules, a certain language, etc. without predefining the elements to be handled with.16 The visual identity of the New Museum by Wolff Olins is colour- and languagecentred and provides a huge playground for creative expression, communicating the vision and ambition of this cultural hub (see the New Museum case study on p. 46 f.).
Fig. 12: AOL logo versions
Fig. 14: New Museum logo version
Opening up one or more elements for interaction leads to customised results, involving employees, consumers or customers as collaborators who get the chance to have an influence on the visual appearance of the brand.17
Van Nes’ system makes it easy to categorise most of the visual identities with dynamic elements but slightly misses to get into detail. Especially cases with more technological and data-driven but still not fully automated concepts are not specifically subdivided.
The visual identity of OCAD University by Bruce Mau Design contains a window as the core element which is filled with pictures, illustrations or scribbles by students, by the staff or by whoever gets in touch with the brand (see the OCAD University case study on p. 52 f.).
Both container and wallpaper systems are often used as simple, sometimes the most obvious, way to turn a static visual identity into a dynamic one, including different options to produce a lot of variations of elements. These approaches are mostly very logo-centred and do not consider the whole visual identity in some cases. Customised solutions try to strengthen the individual involvement or identification of consumers with a particular brand or company with offering a platform to contribute to the visual identity elements.
Fig. 15: OCAD logo version
If real-time data like weather conditions or number of website visitors are implemented in a visual identity, it follows a generative, data-driven and high technology design system.18
The generative approach makes it possible to incorporate business activity, like visualising the number of costumers using certain online services at a specific moment or the noise level in a retail store, as a special factor of the visual identity and therefore to make the visual representation more meaningful.19 ×
The visual identity of Visit Nordkyn by Neue Design Studio incorporates the data of time, wind direction and temperature in the logo to visually pays tribute to the current weather conditions in the tourism region (see the Visit Nordkyn case study on p. 64 f.).
13 14 15 16 17 18 19
Van Nes, 2012, p. 7, 11 Van Nes, 2012, p. 7 f., 39 Van Nes, 2012, p. 8, 51 Van Nes, 2012, p. 8, 89 Van Nes, 2012, p. 8, 127 Van Nes, 2012, p. 8, 137 Linsell, 2012
Fig. 16: Visit Nordkyn logo versions
Flexible Design Systems × Generating Knowledge
‘Variation Methods’ Model by Ulrike Felsing Ulrike Felsing did a study on dynamic visual identities with the focus on cultural and public cases. She defined a set of six methods which explain different ways to develop a dynamic visual identity. Masks, Grids Transformation Modules, Elementary Kits Permutation Transfer, Open Form
The overlaid letters of the CX logo by Moving Brands serve as masks which contain various patterns, grids, colours and forms, enabling the application of an endless range of options (see the CX case study on p. 34 f.). 20-08-2012
Her system can be seen as an inspirational source for methods which create variety and variation, also for non-branding design disciplines.
The life form
Fig. 17: ‘Variation Methods’ model
The logo of Swisscom by Moving Brands basically includes a so-called ‘life form’ which captures the movement around One of the simplest ways to turn a static a static axis (see the Swisscom case study 24 Chapter 03 – Our identity visual identity to a flexible one is to work on p. 58 f.). with a spectrum of colours. A specific shape serves as a constant, the inner area as a space for variable contents, a mask. A grid allows the systematic combination of few or more elements. This method actually matches the two systems container and wallpaper in Van Nes’ classification.20 Swisscom Corporate Identity
Movement, Change of Perspective
Content and Container: Masks, Grids
Fig. 19: Swisscom life form versions
Theme and Variation: Transformation Figure 1
The focus of transformation method is the consistent visualisation of diversity with the help visual signs or sign systems. It is about the variation of a single sign and its expression: form, dimension, colour, degree of abstraction and types of representation like communication media.22
Fig. 18: CX logo versions
Elements and Series: Movement, Change of Perspective
The movement method describes the visualisation of movement in its variations which include animations, pulsating structures, sketched or photographed sequences and snapshots, two-dimensional as well as three-dimensional. Still images are a possibility to visualise the characteristics of movement, also in spatial movement, to a graphic respresentation. This process can result in a set of logo variations.21
A version of this method is used for the visual identity of EDP by Sagmeister & Walsh. The combined shapes serve as the transformational element of the logo (see the EDP case study on p. 38 f.).
Fig. 20: EDP logo versions
Figure 1 The imag shown h of course frames. T the movi form, vis swisscom brandcen
Interaction: Transfer, Open Form
The combinatorics method is about elementary basic forms which are combined within a simple modular system. Major keyword is modularity in different forms. The additive principles serve as an arrangement system of various connections.23
The connection of real-time data to the design system is a forward-looking approach for a brand, not only to inform about activities but also to create identity. The motivation of signs with real processes leads to higher relevance and credibility. Presence attracts more attention then artificially enforced contexts.26
Four fundamental shapes in the visual identity of EDP, “circle, half-circle, square and triangle” 24, enable a wide range of combinations, also as the basis for the illustrative imagery derived from these shapes (see the EDP case study on p. 38 f.).
The visual identity of Odooproject by Hidden Characters incorporates the abstract shape of a building, the stand of the sun at a certain time and the resulting shade. This solution allows the integration of real-time information in the visual identity (see the Odooproject case study on p. 54 f.).
In contrast to Van Nes’ classification, the methods described by Felsing tend to have very scientific and complex character. The focus on visual identities for cultural institutions plays down the more easier and more common ways of using flexible design systems like containers or masks. Simple systems with rather easy concepts, which are still the majority, fall in the category of masks and grids in most of the cases. However, the classifications of Van Nes and Felsing are a well-founded basis for the conception of six refined classes in the ‘Flexible Design Systems’ model which pays tribute to the methodical range of the flexible design systems analysed within the case studies. ×
Fig. 21: EDP illustrations made out of four shapes
Element and Structure: Permutation
Fig. 23: Odooproject logo generator
Adding automated solutions to combination processes, a wider range of different elements and modules can be combined. Computer-aided generators rule the order of the signs although these signs are designed by hand in advance.25 In the visual identity of the Mobile Media Lab by FEED, various predefined shapes are combined to illustrative patterns (see the Mobile Media Lab case study on p. 44 f.).
Fig. 22: MML coloured background
20 21 22 23 24 25 26
Van Nes, 2012, p. 22; Felsing, 2010, p. 13 Felsing, 2010, p. 57 Felsing, 2010, p. 79 Felsing, 2010, p. 129 Van Nes, 2012, p. 58 Felsing, 2010, p. 159 Van Nes, 2012, p. 68; Felsing, 2010, p. 189
Flexible Design Systems × Generating Knowledge
Combinatorics: Modules, Elementary Kits
‘Flexible Design Systems’ Model Van Nes’ categories set the focus on the behaviour of specific visual identities and are close to the definition of flexibe design systems in this study. But in many cases, her approach is very exclusive and does not consider details regarding conceptual and strategic objectives of the according visual identity. Felsing’s classification is very complex and scientific; it makes the topic of flexible design systems unnecessarily hard to understand. The following concept essentially is based on the key points Van Nes and Felsing describe, but is a refinement of both models.
Filling & Container
This system includes elements serving as shapes, letterings or frames which are filled or covered with various colours, patterns, images, illustrations, objects and more. One of the major advantages is the adaptable, scalable, expandable and target-group-specific design system of identifying elements like the logo. Several elements like patterns or grids can be part of the whole visual identity. The ‘A’ character of the A1 logo is covered with different three-dimensional illustrations, showing the company’s diverse product range and targeting the audience (see the A1 case study on p. 24 f.).
Filling & Container
Fig. 26: AOL wall projection in urban space
Combination & Composition
Background & Layer Combination & Composition
When a tool box or a set of ingredients form the foundation of the visual identity, the combination of various elements generates numerous results. Flexible compositions lead to a distinctive, changeable and also evolving identity. This category seems to be a very dynamic method because it considers each component of a visual identity in most of the cases.
Transformation & Adaption Customisation & Collaboration Automation & Transfer Fig. 24: ‘Flexible Design Systems’ model
This system is a proposal and actually support the categorisation of different ways to turn brands into dynamic visual identities. In course of the case studies, the majority of the visual identities comprise more than one flexible design system within their elements and it is difficult to assign one single system to a visual identity. It is necessary to divide the visual behaviour in various levels, be it the change of the logo shape, the use of type or the transformation of graphic elements within a specific media environment.
The design system of the visual identity of AOL is applied to public screenings and urban promotion solutions too and shows that this system makes uncountable variations possible (see the AOL case study on p. 24 f.).
Fig. 25: A1 magazines
Background & Layer
Colours, patterns, images, illustrations and more can also serve as backgrounds or wallpapers which are layered behind a fixed element like the logo or text elements. Static elements in the foreground ensure that the visual identity is visually consistent, the flexible backgrounds open numerous possibilities of creating unique, distinct looks and moods. The adaption to different media, especially to moving pictures or digital environments, provides a wide playground for creative expression.27
The visual identity of IDTV by Lava uses the pixel elements in a lot of combinations (see the IDTV case study on p. 42 f.).
Fig. 27: IDTV logo versions
This system includes visual identities which mainly consist of transforming or adapting elements which are evolving and changing, influenced by parameters like colour, data or media. Though it only concerns the logo in many cases, the system can be applied to typography or graphic elements as well. A lot of visual identities with transforming or adapting elements use combined systems. The example below has both adapting and generative characteristics. The shape in the visual identity of Visit Nordkyn by Neue Design Studio adapts to several real-time influencers and changes its colour and form (see the Visit Nordkyn case study on p. 64 f.).
Fig. 28: Visit Nordkyn logo versions
Customisation & Collaboration
This system allows customers, consumers or employees to contribute to the design of a visual identity in various ways. A lot of brands involve people in processes to create visual variety with the help of customised solutions. It is a way to emotionally connect audiences to a brand and to create a special feeling of community. Though it can be a risk to massively open the visual identity of a brand for being influenced by consumers, the boundaries should be clear and predefined within the identity concept.28
The logo of Design Academy Eindhoven by The Stone Twins serves as a framework for individual expression. It is a way to make collaborative contribution possible (see the Design Academy Eindhoven case study on p. 36 f.).
Fig. 29: Design Academy Eindhoven T-shirt
A lot of the exemplary visual identities in the case studies can be assigned to more than one system of the ‘Flexible Design Systems’ model because it is common to use different systems for different elements of a visual identity. For example, if the logo is a static lettering with an exchangeable pattern as the background, the functionality is classified with the ‘Background & Layer’ design system. If the pictograms change their colour when they are set in a different, target-groupspecific context, their functionality follows the ‘Filling & Container’ design system. Still, both logo and pictograms are part of the visual identity but have a different visual behaviour.
Automation & Transfer
Technological tools make, when applied to design systems, visual identities very interactive, flexing and data-driven, opening an evolutionary way for creative expression in various, mostly digital environments. Software tools, logo generators or other computer programmes allow to create automated results. Predefined or predesigned elements can be combined in automatic processes or even elements or certain parts of them can be generated with the help of algorithms and codes. Nokia used to work a lot with responsive environments as a method to make their products and services to be experienced in various contexts, always with a very interactive approach (see the Nokia case study on p. 50 f.).29
Nevertheless, the ‘Flexible Design Systems’ model is an easy, comprehensible concept for the analysis of the six components of a visual identity, also because it breaks down the elements for a broader and in-depth study. The assignment of an identity component to one single system is difficult, not possible or even not reasonable in some cases. Classifying exemplary visual identities in the case studies does not happen within this study but is part of the complementary digital publication where the six systems of the ‘Flexible Design Systems’ model are explained with the help of concrete cases. This model serves as the framework for the case studies as well as the basis for the analysis of static and flexible components with the help of the ‘Flexibility Chart’ as described in the following chapter. ×
Fig. 30: Nokia brand texture
27 28 29
Linsell, 2012 Widmaier, 2013 Linsell, 2012
Flexible Design Systems × Generating Knowledge
Transformation & Adaption
3 Flexibility Analysis Methodology of case studies
Flexibility chart and functionality
The case studies in the following chapter give an overview of examples of successfully or controversially realised visual identities with focus on the applied flexible design systems and their characteristics. The practice-oriented analysis consists of four sections: some elementary facts about the brand as the client and the commissioned agency; the short summary of the brand’s business and the economic and strategic context when launching the visual identity; the detailed and step-by-step study of the identity components; and the determination of the flexibility degree of each identity component with the help of the ‘Flexibility Chart’.
The flexibility chart is part of the short conclusion at the end of each case study, summarising how much flexibility the according visual identity features and how it is ensured. This also includes the description of static elements that only seem to be dynamic, actually only creating an illusion of dynamics. Following the completion of the case studies, the comparative analysis of the particular charts leads to a deeper understanding of what the correlation of variable and static elements actually means for visual identities. Using a radar chart helps to point out irregularities and outliers within a set of variables (the six components), especially when comparing the charts of different cases. It is conceptually based on the components described previously. Within this chart, each component is ranked on a scale from 0 to 4, the more flexible the more apart from the centre of the chart. The example with the visual identity of Design Academy Eindhoven visualises the method (see the Design Academy Eindhoven case study on p. 36 f.).
The Design Academy Eindhoven logo itself is extremely static since the black frame without the handwriting add-on is the actual basic logo. Therefore, the ‘0’ is assigned to the component ‘Logo’. When handwriting is attached, the colour is undefined and therefore variable, the ‘4’ is assigned to the component ‘Colour’. Typography
Fig. 32: Flexibility chart example
After assigning the according flexibility degrees to each of the six components, the connections between the elements in the chart generate a shape which highlights flexible parts of the visual identity. Typography
Fig. 33: Flexibility chart example
Fig. 31: Design Academy Eindhoven logo version
If an element is static, the bullet is filled; if it is flexible, the bullet is outlined. Van Nes states that variable elements “create the dynamics, keeping a certain constant to maintain recognition” 30, meaning that at least one constant helps consumers to recognise the brand behind the visual identity, the components open a playground for living, evolving identities.31
The analysis of elements and their flexibility with concrete examples is a reasonable way to actually become aware of the characteristics as well as the behaviour of a visual identity and its elements though it might be very designand case-specific. Nevertheless, the systematics of flexible design systems for dynamic visual identities centre around the flexibility degree of their components.
A1, Saffron Brand Consultants 24 AOL, Wolff Olins 26 Burgtheater Wien, Raffinerie 28 Casa da Música, Sagmeister & Walsh 30 City of Melbourne, Landor Associates 32 CX, Moving Brands 34 Design Academy Eindhoven, The Stone Twins 36 EDP, Sagmeister & Walsh 38 EPFL Alumni, Enigmaprod 40 IDTV, Lava 42 Mobile Media Lab, FEED 44 New Museum, Wolff Olins 46 New York City, Wolff Olins 48 Nokia, Moving Brands 50 OCAD University, Bruce Mau Design 52 Odooproject, Hidden Characters 54 PIGMENTPOL, ATMO / FELD 56 Swisscom, Moving Brands 58 THNK, Lava 60 USA TODAY, Wolff Olins 62 Visit Nordkyn, Neue Design Studio 64 Conclusion 66
It is also a reasonable way to compare several cases with focus on different economic sectors or types of brand and design agencies, as well as to study design concepts incorporating contemporary approaches to branding. ×
Van Nes, 2012, p. 7 Van Nes, 2012, p. 7
Flexibility Analysis × Generating Knowledge
4 Case Studies A1, Saffron Brand Consultants Facts A1 Telekom Austria AG Lassallestraße 9, Vienna, A Telecommunication company 32 www.a1.net Saffron Brand Consultants Strobelgasse 2, Vienna, A Brand consultancy 33 www.saffron-consultants.com
The look of the large ‘A’ varies from context to context, from service to service. The new brand is about individualism and surprise, it is about personality and attitude. The brand is able to speak to everyone. For example, when the brand communicates internet connection products, the ‘A’ is packed in 3D visualisations of fibre optic cables, when it is about television products, the ‘A’ is covered with TV cables.36
During the introduction phase of the new visual identity, the logo variations were implemented in several promotional activities, showcasing A1’s claim to offer telecommunication and media products for any occasion.
A1 Telekom Austria, Austria’s largest provider of telecommunication services, launched their new visual identity in early summer 2011. It was developed and created by the Viennese branch of Saffron Brand Consultants. The new corporation was formed within the merger of the market-leading mobile phone company A1 (officially mobilkom austria AG) and the fixed-line provider Telekom Austria. The ‘new A1’ now offer a wide range of products like fixed-line and mobile telephony, internet, television and IT services.34
Fig. 38: A1 subway advertisement
Fig. 35: A1 TV services logo
A1 introduced the new brand with an attention-getting installation of the logo at the Prater in Vienna as part of the giant wheel.
Fig. 36: A1 electricity logo
Fig. 39: A1 Wiener Riesenrad installation
This logo principle provides space for custom logos for events and sponsoring activities.
A set of icons and a custom-made typeface complement the logo in typography and as graphic elements. They are also used to visualise specific services or products in communication and information materials. Corporate colours are black and grass-green.
Concept and analysis
The concept of the visual identity centres around the combination of two different perspectives: a constant two-dimensional ‘1’ paired with a three-dimensional ‘A’ which balances solidity with a capacity to be relevant and versatile in many environments. Saffron Brand Consultants wanted to acknowledge that for a communications brand of this size it should be able to reflect the many different tastes and viewpoints of its customer base in an engaging way.35
Fig. 37: A1 beach volleyball event logo
Fig. 34: A1 basic logo
Fig. 40: A1 icons
The website of A1 is tidy and well-structured. Prices appear in trapeze-shaped forms, coloured in green. According to the product ranges ‘Privat’ or ‘Business’ or service tariffs, the logo variations link the look to the contents.
Case Studies × Generating Knowledge
The visual identity is very logo-centred. But, for example, a stop-motion and a three-dimensional effect is used when promoting the brand and its services in moving pictures.37
It is obvious that the shape of the ‘A’ marks the core of the flexible design system and the letter serves as the container or much more the ‘holder’ of different textures, colours, illustrations and other content-related applications. The logo itself is not flexible in shape or perspective, only its outfit changes. Typography
Fig. 41: A1 introduction film Fig. 44: A1 website
Posters include the same imagery as moving pictures and try to show the agility of the brand, also promoting the one-stop concept of the company.
A1 provide a detailed resource of the brand identity definitions, design elements and how to use them in concrete touchpoints or environments. The brand portal ( www.markea1.net ) serves as a platform for an open brand management. It also describes other sensory aspects like the corporate sound or additional elements in the visual language like the style of illustration.
Fig. 47: A1 flexibility chart
Graphic elements do not vary, only the ‘packaging’ of the ‘A’ brings up flexible visual elements. The icon set supports product and service communication. The typography is simple but stylish, versatile and applicable for various media, the imagery has a unique style. The visual identity of A1 is based on a ‘Filling & Container’ system since the ‘A’ in the logo serves as the basic shape. Other parts of the visual identity are mainly static, seemingly serving as ‘addons’ of the logo.
Fig. 42: A1 poster
The logo variations appear in stores and shops of A1, also providing the coherence to the product and service range.
Fig. 45: A1 brand portal
Fig. 43: A1 shop façade
Fig. 46: A1 brand portal
32 33 34 35 36 37
A1 Telekom Austria AG, 2012 a, b Saffron Brand Consultants, 2013 a, b Saffron Brand Consultants, 2013 c Saffron Brand Consultants, 2013 c Saffron Brand Consultants, 2013 c Saffron Brand Consultants, 2013 c
AOL, Wolff Olins Facts
Concept and analysis
AOL Inc. 770 Broadway, New York, NY 10003, US Entertainment and media corporation 38 www.aol.com
Wolff Olins conceptualised the AOL visual identity as a platform for content. Work by artists from every parts in the world is showcased in the creative space at www.aolartists.com. “The site allows visitors to discover and explore the works of participating illustrators, videographers, filmmakers, painters, photographers and sculptors” 43. It serves as a commissioned database for artwork where everybody can select a special piece which can be placed behind the AOL lettering and create unique expressions.44
Wolff Olins 200 Varick Street, Suite 1001, New York, NY 10014, US Brand consultancy 39 www.wolffolins.com
AOL is a global web services provider and engaged the New York branch of Wolff Olins in 2009 to get help for reshaping “perceptions of the brand around the very different business it is actually in” 40, after divesting from Time Warner, AOL’s former parent company. The mission is “to inform, entertain and connect the world – not with more of the same, but with extraordinary content experiences” 41. The stronger strategic focus highlights that AOL’s content, created by journalists, artists and musicians, is 80 % original. Wolff Olins’ task was to launch a visual identity that is forward-thinking, ready for the 21st century and reflecting creativity and originality.42
The expandable set of different logo versions continue to form the core of the visual identity when applying on stationery, brochures, folders, on product packaging or corporate interiors.
Fig. 49: AOL business cards
“These expressions represent the creative and dynamic nature of our company and our employees, who embody our brand every day in the products and experiences they deliver to our consumers” 45, as AOL describe the visual representation of their strategy. This representations appear in the form of an endless variety of backgrounds used to create distinctive AOL logos. Fig. 50: AOL HQ wall clock
Fig. 48: AOL sample logos
The brand’s name is officially written as ‘AOL’ but stylized as ‘Aol.’ in the logo. The lettering always appears in the white-onartwork version. The only exception is the presentation of sub-brands where a black-on-white version is used.
Fig. 51: AOL interiors
The AOL worldwide web portal also includes the artwork as a background but loses the initial cheerfulness and bold use of typography.
The major flexible parts of the visual identity of AOL are colour and imagery, which both hardly have to follow any restrictions in form or style, as well as language because AOL works with a lot of sub-brands and initiatives like the AOL Artists platform. The lettering as the logo itself is static and serves as the fixed element, positioned in front of the exchangeable background. Typography
Fig. 55: AOL international website
Fig. 52: AOL ‘Beat the Internet’ folder
The typography and graphic elements in the communication materials and web platforms are simple and modern but seem to play an extremely minor part in relation to the logo use. The colours are fresh, extensive and positive, forming a harmonious composition with the original artwork and media content.
The active community with the AOL artists platform and the resulting high level of consumer involvement is boosted in multimedia installations in public space or interactive performances or at events.
Fig. 58: AOL flexibility chart
Fig. 56: AOL interactive performance
The design system is mostly based on an enormous variety of original visual and audiovisual material. According to information provided by Wolff Olins, “40 % of AOL users surveyed in October 2010 described the AOL brand as creative” 46. AOL arranged some video material showing the mission, the core values and what the brand is all about on a separate website: www.whatisaol.com. The visual identity of AOL is based on a ‘Background & Layer’ system since the lettering in the logo, typefaces and the graphic style serve as rather static elements, the artwork as the variable background.
Fig. 53: AOL communication materials
Fig. 57: AOL wall projection in urban space
Fig. 54: AOL Start web platform
38 39 40 41 42 43 44 45 46
AOL, 2013 a, b Wolff Olins, n.d. a, b Wolff Olins, n.d. c Van Nes, 2013, p. 40 Van Nes, 2013, p. 40, 198; Wolff Olins, n.d. c Van Nes, 2013, p. 40 Van Nes, 2013, p. 40 AOL, 2013 c Wolff Olins, n.d.c
Case Studies × Generating Knowledge
In some cases, artwork elements are separated from the AOL lettering to communicate the launch of special programmes or sub-brands. The imagery is made out of the artwork pieces which comprise various types of content like photos, illustrations, scribbles, graphics, paintings or films with equally widespread visual styles and forms.
Burgtheater Wien, Raffinerie Facts
Concept and analysis
Burgtheater GmbH Universitätsring 2, 1010 Wien, A Wordplay theatre 47 www.burgtheater.at
The visual identity is “based on an infinitely variable logo system that expresses a passion for wordplay. Each permutation tells its own story” 51. The play with words respectively with literature in general forms the system within the identity. Certain words are taken out and combined again to a new composition.52
Raffinerie AG für Gestaltung Anwandstrasse 62, 8004 Zürich, CH Design studio 48 www.raffinerie.com
The Burgtheater Wien, colloquially called ‘Die Burg’, is one of the most influential theatres in German-speaking Europe.49 The plays of the theatre traditionally are sold out and therefore, the visual representation of the theatre has been put in second place for several decades. In 2009, the management decided to refurbish the visual identity of the Burgtheater Wien and assigned Zurich-based design studio Raffinerie AG für Gestaltung to create a new corporate design for the theatre.50
Fig. 61: Burgtheater Wien poster
Though the visual identity seems to be static and extremely colourless, a more precise look at the design system shows its flexibility as well as its adaptability for new contexts.
Fig. 62: Burgtheater Wien tramway advertisement
Fig. 59: Burgtheater Wien poster
The logo consists of the white ‘Burg’ lettering and a massive black rectangle. Supportive word combinations are used as additional language elements. The bold logo is the very present key visual of the visual identity.
The playful use of illustrations, colour, shapes, frames and scribbles (also as small additional elements in the poster series) provides a strong contrast to the strictly black and white logo and the word combinations.
Fig. 63: Burgtheater Wien stationery
Fig. 60: Burgtheater Wien billboard
Fig. 64: Burgtheater Wien publication
The design system of the Burgtheater Wien visual identity includes a composition of the static logo, word combinations and an endless variety of additional, content-related visual material which is set in contrast to the bold ‘Burg’ lettering. Fig. 65: Burgtheater Wien publication
Fig. 69: Burgtheater Wien illustration
On the website, the word combinations are prominently positioned at the top of the website and refer to the content on the according site.
Fig. 71: Burgtheater Wien flexibility chart Fig. 66: Burgtheater Wien publication
The folders for the plays of the Burgtheater Wien are visually separated from the logo as the key visual in terms of colour, as well as photography, graphics, simple graphic elements or larger fragments of text. The design system allows a lot of visual interpretations and distinctive looks for the different plays.
Fig. 70: Burgtheater Wien website
The visual identity communicates the contentual core of the Burgtheater Wien. The wordplay theatre therefore plays with words and underlines its programmatical diversity with a range of visual interpretations. The visual identity of Burgtheater Wien is based on a ‘Combination & Composition’ system since logo and word elements serve as constants. The changing words and their cheeky combinations as well as the creative application of type and imagery create flexibility. ×
Fig. 67: Burgtheater Wien folders
Fig. 68: Burgtheater Wien folders
47 48 49 50 51 52
Burgtheater Wien, n.d. a, b Raffinerie, n.d. a, b Raffinerie, n.d. c Kovacic, 2012 Raffinerie, n.d. c Kovacic, 2012; Raffinerie, n.d. c
Case Studies × Generating Knowledge
Casa da Música, Sagmeister & Walsh Facts Casa da Música Avenida da Boavista, 604–610, 4149-071 Porto, P Music centre 53 www.casadamusica.com
The decision for featuring the building of the music centre seems to be an obvious choice but interprets the architectural environment for the visual identity.
Images from actual music productions or events are uploaded to a logo generator which extracts a range of colours and accordingly refills the areas in the logo form.
Sagmeister & Walsh 206 w23rd St, 4th Floor New York, NY 10011, US Design studio 54 www.sagmeisterwalsh.com
Background Fig. 72: Casa da Música building as visual basis
The visual identity of the Portuguese music centre Casa da Música situated in the harbour of Porto was developed by New York-based design studio Sagmeister & Walsh in 2007. The centre offers a wide range of productions for all types of music, is important for the national music education and serves as a research hub for Portuguese music. The building was designed by Dutch architect Rem Kohlhaas.55
Fig. 75: Casa da Música logo generator
The shape and the visual character of the building is captured from six views from different perspectives as the basic forms.
Concept and analysis
In the initial concept, Sagmeister & Walsh tried to “avoid another rendering of a building by developing a system where this recognizable, unique, modern form transforms itself like a chameleon from application to application, changes from media to media where the physical building itself is the ultimate (very highres) rendering in a long line of logos. The goal was to show the many different kinds of music performed in one house. Depending on the music it is filled with the house changes its character and works dice-like by displaying different views and facets of music” 56.
Fig. 76: Casa da Música colour extraction method
Fig. 73: Casa da Música perspectives
These areas serve as containers for various colour schemes and shades of colours.
The logo generator creates a certain colour atmosphere which brings the logo of Casa da Música into a concrete context with the productions of the theatre.
Fig. 77: Casa da Música colour scheme version Fig. 74: Casa da Música logo versions with colour
Typography does not seem to follow a concept but keeps the whole visual identity recognisable with using a custommade typeface both in logo and text in any type of media.
The core of the Casa da Música identity is the logo and its variations, as well as the more or less flexible use of colours and the very experimental image concept. Typography
Imagery Fig. 78: Casa da Música Remix Ensemble logo
Fig. 81: Casa da Música poster.
Fig. 83: Casa da Música flexibility chart
Casa de Música’s website is technologically old-fashioned and unfortunately deficient in some parts. Here definitely is a lot of potential to work with the visual identity wasted.
Fig. 79: Casa da Música Orquestra Nacional do Porto logo
Poster series of events, productions and other activities bring the variable logo and a very unique, distinctive imagery together. Images even take up the shape of the building in a transforming, adapting and evolving way. The use of images and illustrations actually make the visual identity alive and interesting.
Fig. 82: Casa da Música website
Nevertheless, the whole identity concept also seems to be quite formalistic, the logo generator might be a nice gimmick to involve staff in the creation of new versions of the logo and therefore inspire a collaborative development. Unfortunately, there are hardly any examples of how the visual identity is incorporated in spatial environments or in promotional films, although an additional web service for recorded material exists. The visual identity of Casa da Música is mainly based on ‘Filling & Container’, ‘Customisation & Collaboration’ and ‘Automation & Transfer’ systems. The different shapes of the logo and the according fillings allow the creation of custom, unique versions for each production of the theatre. Using a software tool to extract colours generates automated results, transferring a colour scheme to logo and imagery. ×
Fig. 80: Casa da Música poster
53 54 55
Casa da Música, n.d. a Sagmeister & Walsh, 2012 a Sagmeister & Walsh, 2012 b; Van Nes, 2012, p. 147; Casa da Música, n.d. b Sagmeister & Walsh, 2012 b
Case Studies × Generating Knowledge
The playing around with perspectives, textures, gradients, cuts or type assigns distinctive characters to sub-brands like the Remix Ensemble or the Orquestra Nacional do Porto.
City of Melbourne, Landor Associates Facts
Concept and analysis
City of Melbourne Town Hall, 90–120 Swanston Street, Melbourne VIC 3000, AUS City council 57 www.melbourne.vic.gov.au
Core of the visual identity is a bold, formally static ‘M’ which is based on a geometric grid incorporating vertical and diagonal lines.
Landor Associates Level 11, 15 Blue Street, North Sydney NSW 2060, AUS Strategic brand consultancy 58 www.landor.com
The multifaceted visual identity system literally showcases the multifaceted city with its varied activities and services. In the next step, the geometric character of the logo shape is the basis for the representation in other media and environments. The geometric forms play an important role and ensure coherence to the logo itself. The possibilities of different combinations are endless.
Background “Melbourne is a dynamic, progressive city, internationally recognized for its diversity, innovation, sustainability, and livability. The City of Melbourne Council supports the city’s world-class offerings, represents it nationally and internationally, and ensures it remains a preeminent Australian center for culture, arts, dining, entertainment, education, and shopping” 59. In consequence of significant changes during the previous decades, the City of Melbourne engaged the brand consultants at Landor Associates in Sydney to develop a thriving, varied and flexible visual identity for the city, launched in 2009.60
Fig. 84: City of Melbourne basic logo
Numerous combinations of lines, shades and grids are possible within this letter shape.
Fig. 87: City of Melbourne poster
Fig. 85: City of Melbourne logo variations
Fig. 88: City of Melbourne cultural poster
The solution with the iconic ‘M’ is heavily recognisable but still shows a diverse culture and has enormous potential and possibilities for creative expression. Although the logo looks very mathematic and the system behind it seems to be very static, the visual identity is vibrant.
Fig. 89: City of Melbourne publication
Fig. 86: City of Melbourne logo variations
Fig. 90: City of Melbourne publiations
While showing diversity and individuality at various touchpoints, the brand is still applied on rather inconvenient contexts like an infringement notice.
The ‘M’ is the stamp which apparently marks everything with relation to the activities of the City of Melbourne. It is the foundation of anything related to the brand and also is a source of graphic and illustrative elements. Typography
Fig. 91: City of Melbourne type sub-brand system Fig. 95: City of Melbourne infringement notice
The website of the City of Melbourne is filled with a lot of content, normally for a municipial administration. There is also a special site where the concept of the visual identity is explained for anybody interested.
Fig. 92: City of Melbourne banners
The logo variations are massively present at any touchpoint, including large-size wallpapers in the streets of Melbourne as well as promotional activities in the urban space. Fig. 96: City of Melbourne website
Fig. 97: City of Melbourne Flexibility Chart
The character of the City of Melbourne visual identity has a high ability for being the brand everyone in the city can identify with. Analysing the visual identity from an economic perspective, it opens the possibility to create distinctive logo sets for any kind of programme, event or institution. Touristic activities also profit from the unique and yet simple system of the visual identity, enabling different visual approaches of target groups.61 The visual identity of the City of Melbourne is based on ‘Filling & Container’ and ‘Combination & Composition’ systems since the logo serve as a static shape with flexible fillings and the elements, which are extracted from the logo shape, are combined in various ways. ×
Fig. 93: City of Melbourne urban wallpaper
Fig. 94: City of Melbourne promotional flag
57 58 59
City of Melbourne, 2013 Landor Associates, 1996–2013 a Landor Associates, 1996–2013 b; Van Nes, 2012, p. 198 Landor Associates, 1996–2013 a, b Van Nes, 2012, p. 14
Case Studies × Generating Knowledge
Phrases, headlines and keywords for activities also serve as a container for graphic images.
CX, Moving Brands Facts
Concept and analysis
CX Inc. 314 Lytton Ave #100, Palo Alto, CA 94301, US Cloud storage service 62 www.cx.com
The name ‘Cloud Experience’ was redefined to ‘CX’ which “stands for ‘Cloud to the Power of X’, which suggests an offer that encompasses all you expect from the cloud, magnified to the infinite power” 66. This user-centred concept simplifies the way “users share and store content” 67.
Moving Brands 1515 Folsom St, San Francisco, CA 94103, US Creative consultancy 63 www.movingbrands.com
CX, abbreviated for Cloud Experience, is a cloud storage service. The company worked together with Moving Brands in San Francisco on their visual identity in 2012, highlighting CX’s unique business proposition “as a ‘more social’ product, and deliver a strikingly differentiated brand identity to align the new offer. The heart of the story they articulated for Cloud Experience was ‘Content comes to life’ ” 64, to turn the technology-led company towards a more humanised one.65
The core assets of the visual identity are complemented with a bold, custommade typeface and a range of soft, playful icons.
The letters ‘C’ and ‘X’ are layered over each other and filled with colours, the ‘X’ additionally is a container for a range of abstract visualisations, patterns, grids and dots with a very digital look and feel.
Fig. 101: CX typeface and icons
Fig. 98: CX logo variations
Fig. 102: CX icon set
The design system is spread over a wide range of online applications, channels and devices as well as the cloud service, ensuring a coherent and positive user experience.
Fig. 99: CX logo elements and colours
A bold, distinctive language helps to easily and effectively communicate the brand’s message within the digital environment and the services provided by the company.
Fig. 103: CX website
Fig. 100: CX slogan
Fig. 104: CX website screenshot
Fig. 105: CX service interface
CX’s visual identity is centred around a friendly message and easily makes this credible but still has some difficulties in decoding the core idea of a cloud storage service in visual elements. The visual identity remains to be a bit random and replaceable. Typography
Fig. 109: CX business cards
Fig. 111: CX flexibility chart
Nevertheless, the vibrance and accessibility of the brand concept is yet visible, therefore successfully turns the very technical character to a playful and emotional brand.
Fig. 106: CX service interface
The visual identity of CX is based on a ‘Filling & Container’ system since the lettering serves as the static shape with flexible fillings and creates a dynamic logo. The statements which communicate the message of the brand are visualised with the help colourful characters, following the same design system as in the logo lettering.
Fig. 110: CX T-shirt
Fig. 107: CX YouTube channel
The scalable visual identity also finds its place in online campaigning and advertising solutions, continuing the friendly communication of CX’s story and service.
Fig. 108: CX online advertisement
62 63 64 65 66 67
CX, 2013 Moving Brands, 2013 a, b Moving Brands, 2013 c; Van Nes, 2012, p. 198 Moving Brands, 2013 c Van Nes, 2012, p. 22 Moving Brands, 2013 c
Case Studies × Generating Knowledge
As a digital brand at its heart, the design system is applied to offline environments and products like business cards or T-shirts, therefore the concept is as well brought to life outside the digital context.
Design Academy Eindhoven, The Stone Twins Facts
Concept and analysis
Design Academy Eindhoven Emmasingel 14, 3rd Floor, 5611 AZ Eindhoven, NL Design school 68 www.designacademy.nl
Key element of the visual identity is the abstracted letter ‘E’ which stands for the city of Eindhoven. Providing a very open framework for individual expression of the name of the school, the logo receives a lot of different iterations, mainly created by people who are connected to the school: students, teachers and employees. Additionally, slogans and phrases take the place of the school’s name and bring customisation and personalisation to the next level. Design Academy Eindhoven’s Director Anne Mieke Eggenkamp marks that the “era in which we are living in, holds transformations and innovations both within the academy and in the world around us. These call for a strong positioning of our visual identity” 74.
The Stone Twins Van Baerlestraat 57-III, 1071 AR Amsterdam, NL Creative consultancy 69 www.stonetwins.com
The Design Academy Eindhoven is amongst “the world’s foremost design schools” 70. International teams and students work together in one Bachelor’s and one Master’s course in design, having a focus on conceptual and interdisciplinary thinking.71 The DNA of the school therefore is described as “conceptual, authentic, creative, flexible, free, passionate and curious” 72. In 2010, the school launched its new visual identity, developed and created by the Amsterdam-based creative studio The Stone Twins.73
The bold framework of the letter ‘E’ combines both static, the black frame, and dynamic elements, the individual handwritings. These handwritings do not follow a concept of specific colours. The system inspires a personal engagement in the brand and therefore allows to have a ‘hands-on’ identification as an individual.
The design system including the frame is applied on apparel and other products as well.
Fig. 114: Design Academy Eindhoven T-shirt
Fig. 115: Design Academy Eindhoven T-shirt
In publications and posters, the design system is adapted to the according purpose, always incorporating slogans, critical questions and phrases.
Fig. 112: Design Academy Eindhoven logo version Fig. 116: Design Academy Eindhoven publication
The typographic concept is reduced but playful, uses bold typefaces and clear compositions, and includes only few colours or none.
Fig. 113: Design Academy Eindhoven logo version
Fig. 117: Design Academy Eindhoven publication
The visual identity of Design Academy Eindhoven is a hybrid concept that is driven by the expression of individuality, straightforwardness and progress with losing “the academy’s institutional feel” 75 as well as by the static frame that brings it all together within a single element. Fig. 118: Design Academy Eindhoven publication
Fig. 122: Design Academy Eindhoven website
Fig. 125: Design Academy Eindhoven flexibility chart Fig. 119: Design Academy Eindhoven publication
Fig. 123: Design Academy Eindhoven website
Illustrations and simple infographics also are parts of the graphic system and have the function to visualise facts.
The website is fresh but actually does not take advantage of the flexible design system within the logo framework. It yet incorporates the typographic setup and heavy use of type.
Fig. 120: Design Academy Eindhoven publication
As the Design Academy Eindhoven has various activities, the design system is easily applicable in spaces like exhibitions and signage. The graphic concept is flexible but also ensures a consistent appearance.
Fig. 124: Design Academy Eindhoven website
The flexibility in composition and expression lives up to the school’s position as a straightforward, skilled and original place for design education. Additionally, the design systems allows a high level of adaptability within other touchpoints, not only exhibitions or publications. Digital solutions still seem to have a rather low importancy though the system itself keep the system open for new developments. The Design Academy Eindhoven visual identity is based on ‘Filling & Container’ and ‘Customisation & Collaboration systems since the ‘E’ frame serves as a container for individual, expressive handwriting. Typography and graphic elements follow the static character of the frame, focusing on the contribution of people within the logo frame. ×
Fig. 121: Design Academy Eindhoven website
68 69 70 71 72 73 74
Design Academy Eindhoven, 2012 a, b The Stone Twins, 2013 a The Stone Twins, 2013 b; Van Nes, 2012, p. 130 Design Academy Eindhoven, 2012 b Design Academy Eindhoven, 2012 b The Stone Twins, 2013 a; Van Nes, 2012, p. 130 Design Academy Eindhoven, 2012 b; Van Nes, 2012, p. 131
Case Studies × Generating Knowledge
EDP, Sagmeister & Walsh Facts
Concept and analysis
EDP Energías de Portugal Praça Marquês de Pombal, 12 1250-162 Lisboa, P Energy company 75 www.edp.pt
The visual identity including all its elements and connections is based on four fundamental shapes: “circle, half circle, square and triangle” 79 which are flexibly combined as layers, resulting in a set of 85 different EDP logos.80
Sagmeister & Walsh 206 w23rd St, 4th Floor New York, NY 10011, US Design studio 76 www.sagmeisterwalsh.com
Fig. 129: EDP illustrations
EDP, abbreviated for Energías de Portugal, is a leading energy company with focus on renewable energy sources. The company follows the vision of being “a leader in value creation, innovation and sustainability” 77. EDP also sees their responsibility to respect the cultures in the operational markets and to ensure socially and environmentally sustainable activities. The visual identity was created by Sagmeister & Walsh in 2011.78
Fig. 126: EDP logo versions
Fig. 130: EDP image video
Fig. 127: EDP logo versions
Throughout all touchpoints, the visual identity is transparent, customisable and scalable. Changes in products, services, operations and other activities can be easily integrated within the evolutionary design system. The four fundamental shapes as well are the basic elements for the creation of a specific graphic language, including a range of illustrations and icons which are used to communicate messages as well as to visualise more complex stories as moving pictures.
Fig. 131: EDP image video
In addition to the logo, illustrations and icons, the visual identity makes use of a custom-made typeface which is applied to every platform.
Fig. 132: EDP typeface
Fig. 128: EDP illustrations and icons
EDP follows an active strategy to get in touch with its consumers. The company’s commitment to people is firmly established in its operations and also makes this message accessible at events, in promotional activities and sponsoring.
EDP’s dynamic visual identity opens a lot of options for the development of unique design solutions at a variety of touchpoints, easily communicating the values of the brand and the messages it wants to tell. The playful handling of the visual identity makes the innovative approach visible and expressive. Typography
Fig. 133: EDP publication
Fig. 137: EDP balloon
Fig. 140: EDP flexibility chart
Fig. 134: EDP digital applications Fig. 138: EDP sponsoring
Traditional applications of the visual identity like corporate flags include the variety of the logo and the graphic elements as well.
Fig. 135: EDP website
Another way of visualising complex topics around EDP’s activities and general electricity and energy production processes is providing a playful, interactive experience in games.
The link to energy efficiency and energy consumption on a personal basis is thematised with the help of a modern tool box containing graphic elements and illustration-based imagery. Hard facts are made understandable in a range of digital applications and environments, also to capture EDP’s around-the-clock business and required on-demand accessibility. The visual identity of EDP is based on ‘Background & Layer’ and ‘Combination & Composition’ systems since the four basic shapes are layered behind the static EDP lettering and are combined to create a distinctive, consistent visual language. ×
Fig. 139: EDP corporate flags
Fig. 136: EDP tablet computer game
75 76 77 78 79 80
EDP, 2009 a, b Sagmeister & Walsh, 2012 a EDP, 2009 b; Van Nes, 2012, p. 199 EDP, 2009 b; Van Nes, 2012, p. 58 Sagmeister & Walsh, 2012 c Van Nes, 2012, p. 58
Case Studies × Generating Knowledge
The combination of this graphic language and the typeface allows to create a sophisticated, unique way to communicate content, both physically and digitally.
EPFL Alumni, Enigmaprod Facts
Concept and analysis
EPFL Alumni Rolex Learning Center, Case postale 122, 1015 Lausanne 15, CH University alumni association 81 www.epflalumni.ch
The visual identity primarily consists of a code-based logo, a varied colour scheme with red as the main colour and the flexible composition of the lines of the logo and the colours in concrete applications.
An algorithm-based software tool makes it possibile to generate endless versions of the logo with the predefinition of some parameters. The technical approach pays tribute to the polytechnic orientation of the institute and therefore its alumni association.84
Fig. 141: EPFL Alumni logo
Fig. 144: EPFL Alumni logo generator
Enigmaprod 17A Rue Eugène-Marziano, 1227 Acacias, Genève, CH Advertising agency 82 www.enigmaprod.ch
The alumni association of the Swiss Federal Institute of Technology Lausanne, officially École Polytechnique Fédérale de Lausanne (EPFL), consists of a range of former EPFL students and forms a, self-proclaimed, ‘unique’ organisation. This uniqueness had to be made visible in a specific visual identity for the EPFL Alumni Association with a long-term perspective and focus on the members themselves. Geneva-based advertising agency Enigmaprod developed a generative concept for the visual identity.83
The aerial perspective of the EPFL campus serves as the basis for the creation of the symbol in the logo. In further consequence, several dots within a square grid define the starting points of lines which visualise the paths of people moving on the campus.
Fig. 145: EPFL Alumni logo generator
Fig. 142: EPFL Alumni logo concept
Various sets of colours allow flexible arrangements and combinations in order to create individual logos.
Fig. 146: EPFL Alumni logo generator
Each member of the alumni association can generate a unique logo. This highlights the association’s profile for using its professional and creative potential.
Fig. 143: EPFL Alumni colour schemes
Fig. 147: EPFL Alumni logo versions
The EPFL Alumni’s visual identity generally lacks in being applied to other contexts than as the logo itself but resulted in a poster series. It gives a small insight on how the identity is taken further and actually becomes a widespread identity instead of a plain logo with thousands of variations.
The logo generator might be an interesting and interactive tool but it does not use its whole potential. It seems that the task for the design studio was to simply create a logo and not to actually create an integral visual identity. Typography
Imagery Fig. 148: EPFL Alumni website grid Fig. 151: EPFL Alumni poster
Fig. 153: EPFL Alumni flexibility chart
It is an obvious method to make the diverse profiles of EPFL Alumni’s members visible as customised logos. The generative approach here, nevertheless, seems to serve as a promotion for generative solutions itself.
Fig. 149: EPFL Alumni website Fig. 152: EPFL Alumni posters
The visual identity of EPFL Alumni is based on ‘Customisation & Collaboration’ and ‘Automation & Transfer’ systems since the EPFL logo is a sign which is generatively created by alumni association members with the help of a logo generator. ×
Fig. 150: EPFL Alumni website
81 82 83 84
EPFL Alumni, 2006–2012 Enigmaprod, 2013 a Enigmaprod, 2013 b Enigmaprod, 2013 b
Case Studies × Generating Knowledge
The introduction of the new visual identity received strong attention within the association’s activities and is still prominently placed on the website. The website itself is conceptualised in a rather static grid without a lot of dynamic elements.
IDTV, Lava Facts
Concept and analysis
IDTV Kraanspoor 50, 1033 SE Amsterdam, NL Media production company 85 www.idtv.nl
The pixel, as the core of any screen-based media format, forms the key element of the whole identity. Four unique pixels filled with a smaller pixel, a soft-edged ‘x’ and dots are the DNA set that is flexibly combined and composed as a quite complex logo but also for showing IDTV’s current activities and products. The pixel elements as the flexible design system offers options for incorporating new activities as well.88
Lava Silodam 1F, 1013 AL Amsterdam, NL Design agency 86 www.lava.nl
IDTV is an independent, Amsterdambased media production company which develops and produces TV programmes, films, documentaries and live campaigns. TV broadcasters, private corporations, non-profit organisations and governmental insitutions are clients of the company. Design agency Lava created a dynamic visual identity for IDTV in 2007 and showcases the company as an innovative producer of content.87
The pixel system also is applied on printed business materials like stationery, taking over a very present and bold appearance.
Fig. 157: IDTV stationery
All elements vary in scale and transparency. This vivid effect underlines IDTV’s multilayered content.
Fig. 154: IDTV DNA set
All elements can both appear in positive or negative compositions, in low or high contrast. The only colour used is a bright blue-grey. Fig. 158: IDTV element combinations
The use of the pixels as an imagery concept makes a type of distinctive illustration possible, being made for visual storytelling.
Fig. 155: IDTV logo variations
Fig. 159: IDTV illustration
Fig. 156: IDTV logo variations
Pixels as visual identity elements for a media production company fit the concept. Although, it would be interesting to see how IDTV uses the visual language in other environments than simple logo applications or playing with the pixel elements. Typography
Fig. 160: IDTV 3D business card
The recognisable system is easily adaptable and scalable to IDTV’s other activities. This includes special give-aways which take up the formalistic language of the pixel elements and actually inspire to play with these elements. Spatial marketing activities also take use the visual language of IDTV’s identity.
Fig. 163: IDTV flexibility chart
The logo itself appears as rather complex and mathematic but generates a unique, recognisable look with a lot of options to expand the visual identity to other digital or spatial environments. The visual identity of IDTV is based on the ‘Combination & Composition’ system since the four basic elements make a range of variations and combinations possible, not only in the form of the logo. ×
Fig. 161: IDTV give-away and on-street activity
85 86 87 88
IDTV, n.d. Lava, n.d. a Lava, n.d. b; Van Nes, 2012, p. 54, 198 Van Nes, 2012, p. 54
IDTV’s website focuses on showing original video content but does not use elements of the visual identity except for the typeface.
Fig. 162: IDTV website
Case Studies × Generating Knowledge
The layer system is implemented in form of a three-dimensional tilt effect, playing with large and small pixel elements, different compositions and layers as well as the logo itself.
Mobile Media Lab, FEED Facts
Concept and analysis
Mobile Media Lab Concordia University, Department of Communication Studies, 7141 Sherbrooke W., L-CJ 3.329, Montréal, QC, H4B 1R6, CA University research lab 89 www.mobilemedialab.ca
Core elements of the visual identity are the two letters ‘M’ and ‘L’. Complex series of glyphs and shapes are used as elements for the logo as well as graphic elements for other applications.
FEED 5333, Av. Casgrain, Bureau 312, Montréal, QC, H2T 1X3, CA Graphic design studio 90 www.studiofeed.ca
A predefined spectrum of colours is applied to the various symbolic combinations for the logo.
The basic logo is one of the letters, visualised with various graphic forms, complemented with the name of the institutions and horizontal lines.
Fig. 166: MML colours
The Mobile Media Lab, abbreviated to MML, is a co-institution of York University in Toronto and Concordia University in Montréal. An interdisciplinary research team explores wireless communications, mobile technologies and locative media solutions. Montréalbased design studio FEED developed the visual identity for the Mobile Media Lab in 2008.91
Fig. 164: MML logo
Different combinations of graphic forms result in a set of flexibly arranged letter elements which are the basic grid or layer for the further development.
Fig. 167: MML basic logo elements
The result of the combination of type, colour and the letter shapes is a range of different logos for the Mobile Media Lab.
Fig. 165: MML basic black and white logos Fig. 168: MML logo variations
As the connecting element, a tape with logo elements is manually applied on business materials like stationery, business cards or envelopes without actually being printed on these products.
Fig. 169: MML typeface
The visual identity of Mobile Media Lab follows the look of a recent project but it is difficult to find a concrete relation to the lab’s actual tasks. Though its proclaimed open and innovative approach, the concept of the visual identity does not have a declared added value for the lab regarding mobile technologies. How the design is applied to other digital environments than the website is not really apparent. Typography
Fig. 173: MML tape
Fig. 176: MML flexibility chart Fig. 170: MML typeface glyphs
The graphic forms are also implemented in scalable wallpapers and expandable backgrounds, serving as important parts of the application to various media environments.
Fig. 174: MML tape
The Mobile Media Lab website is a space to showcase the variety in the graphic language as a background. This might be a way to show some beautiful graphics but seems to be a website component that actually does not correlate much with the contents.
The relation between expenditure and benefit seems to be very unbalanced. The visual identity is replaceable and even usable for various other research labs or institutions without actually working on mobile technologies. The visual identity of the Mobile Media Lab is based on ‘Background & Layer’ and ‘Combination & Composition’ systems since the geometric forms serve both as different layers and elements to create countless combinations. ×
Fig. 171: MML black and white background
Fig. 175: MML website
Fig. 172: MML coloured background
89 90 91
Mobile Media Lab, n.d. FEED, n.d. a, b Van Nes, 2012, p. 63, 197
Case Studies × Generating Knowledge
The custom-made typeface is part of the visual identity as well and is used in the logo with slight adaptions too.
New Museum, Wolff Olins Facts
Concept and analysis
New Museum of Contemporary Art 235 Bowery, New York, NY 10002, US Art museum 92 www.newmuseum.org
The new brand is made up of a spectrum of colours and language, visually expressed in a striking lettering that literally changes. Paying tribute to the museum’s new mantra ‘open, fearless and alive’, the logo serves as a frame for the diverse activities. It welcomes new art, new artists and new audiences.97
Wolff Olins 200 Varick Street, Suite 1001, New York, NY 10014, US Brand consultancy 93 www.wolffolins.com
The distinctive form of the building is incorporated in interiors and also as a frame for different purposes like the heavily communicated official opening.
The New Museum of Contemporary Art has a special role in the widespread cultural landscape in New York City. It is the “only museum exclusively to showcasing contemporary art. It’s an adventurous, progressive institution with an internationally renowned programme” 94. In 2007, Wolff Olins had the task to “create a brand that would drive the museum’s vision and ambition to become a world player in contemporary art and a firstchoice, 21st century cultural destination” 95. The official institutional name was simplified to ‘New Museum’ for the new visual identity in order to prepare the museum for being recognised as a cultural hub, following the idea of ‘New Art and New Ideas’.96
Fig. 180: New Museum opening billboard
Fig. 177: New Museum logo
The variability in the logo opens an enormous space for visual expression, focusing on language. Fig. 181: New Museum opening poster
Fig. 178: New Museum entry ticket
As an additional shape, the building of the New Museum is part of the visual identity.
Fig. 182: New Museum interiors
The visual identity is conceptualised as custom-made and visitor-driven, therefore has high potential for contribution and collaboration. On a web platform, people can type in their own phrase or keywords to generate an individual version of the New Museum logo.
Fig. 179: New Museum building
Fig. 183: New Museum interface
The colourful play with words and images lives up to New Museum’s position as a centre for contemporary art. Diverse contents like exhibitions, installations or performances receive a unique but yet consistent look. Typography
Imagery Fig. 184: New Museum flyers
Fig. 186: New Museum flexibility chart
The bold use of type generates a striking identity with a lot of options for creative verbal expression and the visual identity does not lose its obvious strength.
Fig. 184: New Museum opening poster
The website is modern, provides a lot of content and proves the fresh, young strategy of the New Museum. Still based on the initial concept, the languagecentred identity flexes on any platform the museum is present.
The visual identity of the New Museum is based on ‘Filling & Container’ and ‘Customisation & Collaboration’ systems since the changing word elements flexibilise the word bracket of the logo, opening a field of involving people to play with these elements. ×
92 93 94 95 96 97
New Museum Of Contemporary Art, 2012–2013 Wolff Olins, n.d. a, b Van Nes, 2012, p. 90; Wolff Olins, n.d. d Wolff Olins, n.d. d Van Nes, 2012, p. 196; Wolff Olins, n.d. d Wolff Olins, n.d. d
Fig. 185: New Museum website
Case Studies × Generating Knowledge
Flyers, folders and publications follow the concept but the content also appear without the visual bracket of ‘New’ and ‘Museum’. The typography is yet very colourful, bold and simple. Bags, cups and other promotional products introduce the use of patterns and combinations of the logo with the word snippets.
New York City, Wolff Olins Facts
Concept and analysis
NYC & Company 810 Seventh Avenue, 3 floor, New York, NY 10019, US Location marketing organisation 98 www.nycgo.com
The bold, geometric ‘NYC’ lettering is a window which can be filled with countless images, being a strong visual voice for the city.
Different dimensions of the letters ‘N’, ‘Y’ and ‘C’ make a lot of combinations possible, though it is not clear where the smaller letters within the letter shape actually are applied.
Wolff Olins 200 Varick Street, Suite 1001, New York, NY 10014, US Brand consultancy 99 www.wolffolins.com
New York City is a vibrant megacity with “five boroughs, approximately 191 neighborhoods, nearly a million buildings and over 8.2 million people. Each individual has his or her own New York” 100. As one of the most visited tourism destinations in this world, New York unites a mix of cultures, ages and lifestyles. This diverse context makes it a challenge to create a visual identity for New York City as a tourism destination. “To create a brand for New York City, the challenge was not to define a purpose but to capture an essence” 101. The visual identity for New York City was created by Wolff Olins in 2007.102
Fig. 190: New York City lettering dimensions Fig. 187: New York City logo versions
The logo captures different individuals, activities, points of interest or events. The idea behind this concept is “Only one, but no one NYC” 103.
Fig. 191: New York City lettering dimensions
Several graphic styles and their combination generate a vivid and evolving appearance, paying tribute to New York City’s restless and dynamic character. Fig. 188: New York City logo versions
Some colour schemes allow an infinite range of combinations together with the imagery, using techniques like layering, multiplying or extracting certain shapes.
Fig. 192: New York City image composition
Fig. 189: New York City colour schemes
Fig. 193: New York City lettering composition
New York City’s visual identity also finds its way on the surface of the famous yellow New York City taxis.
The New York City visual identity is multifaceted like the city itself. Images, graphics, illustrations or paintings in every style are set in a strong lettering. Typography
Fig. 198: New York City taxi livery
Fig. 194: New York City architecture poster
Billboards and LED screens at much frequented locations catch the attention of tourists, also for the promotion of New York City’s web guide ( www.nycgo.com ).
At airports, posters communicate several activities of the city’s touristic destinations and urban areas.
Fig. 200: New York City flexibility chart
Though the lettering itself is static, the various fillings make every version of the logo lively, individual and colourful. The visual identity of New York City is based on ‘Filling & Container’ and ‘Combination & Composition’ systems since the lettering shape is static but filled with variable content as well as recombined when applied to different media. Fig. 199: New York City poster
Fig. 195: New York City billboard
Fig. 196: New York City LED promotion
Fig. 197: New York City web portal
98 99 100 101 102 103
NYC & Company, 2006–2013 Wolff Olins, n.d. a, b Wolff Olins, n.d. e Wolff Olins, n.d. e Van Nes, 2012, p. 21, 198; Wolff Olins, n.d. e Van Nes, 2012, p. 21
Case Studies × Generating Knowledge
The visual identity is massively applied in the urban space of New York City. Posters at bus stops promote recent events and other activities.
Nokia, Moving Brands Facts
Concept and analysis
Nokia Corporation Keilalahdentie 2–4, 02150 Espoo, FIN Mobile devices producer 104 www.nokia.com
Main elements of Nokia’s visual identity are evolving forms and shapes. This is a way of expressing the brand with living textures, translating consumer interaction into visual language. The forms act “as a visual model for social media activity, with colour, movement, intensity, scale and form responding to context, while remaining within an on-brand envelope” 108.
Moving Brands 7–8 Charlotte Road, London EC2A 3DH, GB Creative consultancy 105 www.movingbrands.com
The varying forms are extracted as stills and subsequently applied on packaging.
Fig. 204: Nokia product package
The Nokia Corporation is a producer of mobile phones and other portable devices. Moving Brands was assigned to bring Nokia’s visual identity to the next level. “Between 2004 and 2007, Moving Brands partnered with Nokia as their lead global agency, to transform its identity system into a living brand language that responds to different audiences, behaviours, situations and actions” 106. The aim was to define a system which “interacts with all communication touchpoints” 107
The emotional and storytelling-heavy approach focuses on film as the core medium and shows the dynamic behaviour of the moving textures.
Fig. 201: Nokia brand texture
and inspire people to move through the services, products and environments of Nokia (also see expert input by Geoff Linsell on p. 70 f.).
Fig. 205: Nokia brand film
Fig. 202: Nokia brand texture
Nokia’s logo remains unaffected, linking the textures and shapes to a concrete sender.
Fig. 206: Nokia brand film
Fig. 203: Nokia brand texture
Fig. 207: Nokia mood film
Nokia’s visual identity heavily focuses on the behaviour of the brand and captures emotions and individual situations in the lives of the consumers. The contemporary application of moving pictures, coding and generative solutions is promising for dynamic branding in general. Fig. 211: Nokia ovi billboard
Imagery Fig. 208: Nokia mood film
Fig. 214: Nokia flexibility chart
The sub-brand ovi provides internet services and takes up the flexible design system of the Nokia visual identity. The lettering is filled with textures as well and ensure a seamless application “across platforms, devices and browsers” 110.
Fig. 212: Nokia ovi product show
Fig. 213: Nokia ovi interactive environment
The flexibility of the visual identity derives from the dynamic textures. Distinctive visual elements provide a lot of possibilites in creative expression of the brand, bringing personality and stories into the focus. The visual identity of Nokia is based on ‘Background & Layer’, ‘Transformation & Adaption’ and ‘Automation & Transfer’ systems since the traditional Nokia logo remains static but is combined with moving textures which create a dynamic sphere. ×
Fig. 209: Nokia ovi logo variations
Fig. 210: Nokia ovi on mobile devices
104 105 106 107 108 109 110
Nokia, 2013 Moving Brands, 2013 a, b Moving Brands, 2013 d Moving Brands, 2013 d Moving Brands, 2013 d Linsell, 2012 Moving Brands, 2013 d
Case Studies × Generating Knowledge
According to the particular product categories, the textures have a specific visual style. This design system is the basis for the creation of coherent experiences at the worldwide touchpoints and environments of Nokia, helping the consumer to easily navigate through the product range.109
OCAD University, Bruce Mau Design Facts OCAD University 100 McCaul Street, Toronto ON M5T 1W1, CA Design school 111 www.ocad.ca Bruce Mau Design 469C King Street West, Toronto, ON M5V 3M4, CA Multidisciplinary design company 112 www.brucemaudesign.com
The largest frame serves as a ‘window’ for various photographs, illustrations and scribbles. “This is a dynamic and modular identity where every year, graduating student medal winners will be invited to design a logo within the basic window framework providing a set of logos for that year. As OCAD U grows and matures, a living library of identities will necessarily emerge, recording the ideas and aesthetics that have shaped our culture over time” 115.
The design system takes up the arrangement of windows of OCAD University’s building. One combination was extracted from the façade, forming the basic framework for the logo.
The Ontario College of Arts & Design, abbreviated to OCAD Universty, is Canada’s oldest and largest art and design school. OCAD University “offers its students a unique environment that combines studio-based learning with critical inquiry” 113. Bruce Mau Design was approached to develop a new visual identity for the school which was launched in 2011. The design studio involved students and alumni as well as staff and community members during the development phase. The new visual identity had to be a true representation of an “inclusive, vibrant and vital institution built on creativity, risk and innovation” 114.
Fig. 218: OCAD window combination
Fig. 215: OCAD logo version
The extreme logo-centricity of the visual identity leads to a very intense use of the logo when applied to concrete products. It seems if the whole concept of the identity actually does not exceed the logo. Black on white typography or reversed is the only additonal element. Traditional applications like business cards or stationery tend to be the visual connection point for the logo and the rest of the visual identity.
Concept and analysis
The visual identity of OCAD University is inspired by the architecture of the school’s main building and essentially consists of a simple framework.
Fig. 216: OCAD logo version
The changing backgrounds and illustrations create a dynamic look but actually are positioned within an extremely static framework.
Fig. 219: OCAD business card
Fig. 217: OCAD logo version
Fig. 220: OCAD business card
Fig. 214: OCAD basic logo
The exemplary application of the OCAD University logo on coffee cups is a rather wondrous adaption of the basic design system because the logo framework is scaled both in dimension and stroke width of the frame.
The visual identity of OCAD University has a lot more potential than through its actual use. The flexible design system has the possibility to be adapted and expanded but actually is only flexible in terms of illustrative elements within one single frame of the logo. Typography
Fig. 221: OCAD letterhead Fig. 224: OCAD coffee cups
OCAD University’s website does not include the variety of logos, only the basic logo framework is obviously used as the institution’s ‘masterlogo’.
Fig. 222: OCAD letterhead
On student identity cards, the logo serves as the frame for the picture of the according student or staff member.
Fig. 225: OCAD website
For the official introduction of the new visual identity, OCAD University launched a special website ( www.ocad.ca/ visualidentity ) where the visual identity and its concept are explained in detail.
Fig. 227: OCAD flexibility chart
A lot of potential is wasted, especially digital environments do not receive the attention they deserve and need as the platform for an innovative institution for education. In fact, the visual identity is not very flexible at all. The changing contents of the logo frame are the only changeable elements, turning the rest of the visual identity immovable which definitely does not match OCAD University’s profile. The visual identity of OCAD University is based on ‘Filling & Container’, ‘Background & Layer’ and ‘Customisation & Collaboration’ systems since the logo frame is static, filled or underlaid with dynamic contents which are created by students. ×
Fig. 223: OCAD student identity card
Fig. 226: OCAD visual identity website
111 112 113 114 115
OCAD University, 2013 Bruce Mau Design, 2011 a, b OCAD University, 2013 Bruce Mau Design, 2011 c; OCAD University, n.d. Bruce Mau Design, 2011 c
Case Studies × Generating Knowledge
This very strict approach contrasts the initial idea of a vivid, changing and evolutionary design school, providing up-to-date education programmes.
Odooproject, Hidden Characters Facts
Concept and analysis
Odooproject Budapest University of Technology and Economics Müegyetem rkp. 3–9., 1111 Budapest, H Student project group 116 www.odooproject.com
The central part of designing the visual identity plays the sun and the shade it generates with the shape of a building. Basis is the visualisation of the house the students developed for the competition. The logo is made up of the abstract form of the building, the official project title in modern and bold capital letters, as well as the shade in real-time. Blue serves as the main colour.120
Hidden Characters FLATLAB Baross utca 3., 1082 Budapest, H Graphic design studio 117 www.hiddencharacters.hu
The functionality of the generative logo element is available for testing on a special microsite ( www.odooproject. com/microsite ). Parameters like time or geographic position can be flexibly set by hand, resulting in a custom-made graphic symbol influenced by real-time data.
The Odooproject, a project at Budapest University of Technology and Economics, “brings students together to work on projects to enter the Solar Decathlon Europe 2012 competition, a contest on the usage of solar energy in architectural solutions” 118. The visual identity was created by Hidden Characters and officially was launched in 2012.119
Fig. 230: Odooproject microsite
Fig. 228: Odooproject logo system and variations
The user can choose specific countries as well as the stand of the sun in these countries which brings the generator tool in an international context.
The shade as a result of the stand of the sun and the natural movement of the Earth allows an endless range of different graphic symbols which are used as the dynamic element for the logo of the Odooproject. The variations include statuses of shades by day as well as by night. Black and blue elements make up the visual language and serve as constants.
Fig. 231: Odooproject microsite
The imagery consequently is black and white, forming a modern composition together with bold typography as well as with blue and black forms.
Fig. 229: Odooproject business cards
Fig. 232: Odooproject info folder
Fig. 233: Odooproject press release
The visual identity of Odooproject is fresh and modern, and opens many possibilities to create unique results in both printed and digital applications. The microsite allows users, and also people who are not involved in the actual solar technology project, to get a glimpse of some scientific details regarding sun movement and resulting shades of buildings. The flexibility within the visual identity derives from the generative change of the logo symbol, serving as the basis for the extraction of graphic elements. Typography
Fig. 234: Odooproject posters
Fig. 236: Odooproject flexibility chart
Odooproject’s website has a more strict layout grid in relation to other applications but also uses the same graphic look and feel. The design system of the logo takes up a prominent place at the top of the website. It shows the shade of the current sun angle in Hungary at the time the user browses the website. A fast motion animation visualises the movement of the shade when the sun angle changes during the day. Additionally, reduced and simple illustrations complement the visual language.
The graphic elements create a lot of space for creative expression with some more or less static elements – blue as the only colour, black and white imagery. The visual identity of Odooproject is based on ‘Transformation & Adaption’, and ‘Automation & Transfer’ systems since the logo serves as an automatically changing symbol that transforms the shape when being influenced by certain parameters. ×
116 117 118 119 120
Odooproject, 2012 Hidden Characters, 2012 a Van Nes, 2012, p. 168 Van Nes, 2012, p. 168, 197 Hidden Characters, 2012 b
Fig. 235: Odooproject website
Case Studies × Generating Knowledge
The graphic concept is applied on every type of print media, including press releases, documentation papers or posters about the project.
Pigmentpol, ATMO / FELD Facts
Concept and analysis
PIGMENTPOL Altplauen 19, 01187 Dresden, D Digital printing house 121 www.pigmentpol.de
The visual identity focuses on various layers, perspectives and experiences of the printing house. A hexagon as the basic shape is core of the visual identity, which is the basis for the creation of a range of numerous logos and backgrounds, and provides the formal parameters for the application to different media and in space.125
ATMO Designstudio Borsbergstraße 14, 01309 Dresden, D Design studio 122 www.atmodesign.de FELD Urbanstraße 116, 10967 Berlin, D Digital design studio 123 www.feld.is
The results are hexagon shapes and extracted rectangles with colourful, flexibly layered areas in combination with the intersections.
PIGMENTPOL’s logo basically is a word mark, consisting of capital lettering and is used in black or white versions. Fig. 239: PIGMENTPOL hexagon backgrounds
PIGMENTPOL is a Dresden-based printing house with three branches in Germany and serving many regional and national clients in the creative sector. The design studios ATMO and FELD developed an identity system which was officially launched in early 2012.124 Fig. 237: PIGMENTPOL wordmark Fig. 240: PIGMENTPOL rectangle backgrounds
A custom-made software application provides a toolset with certain parameters to create visual elements within the design system, changing colour and intersections of the hexagon shape. The flexible and dynamic visual identity allows a lot of combinations and is mainly applied, actually featuring the business profile of PIGMENTPOL, on digitally printed products.
When combining the PIGMENTPOL word mark with the various backgrounds, the flexible design system generates a distinctive visual language. All branded materials get a unique look but yet are recognisable.
Fig. 241: PIGMENTPOL envelopes
Fig. 238: PIGMENTPOL software application
Fig. 242: PIGMENTPOL corporate materials
The flexibility of the graphic elements makes the application and adaption of the shapes possible.
The visual identity of PIGMENTPOL is modern, unique and provides a lot of space for creative expression. Typography is straightforward, up to date and present. The consideration of the application on print products lives up to the company’s business. Typography
Fig. 247: PIGMENTPOL beer label
Fig. 243: PIGMENTPOL 3D objects
PIGMENTPOL’s website slightly gets out of the concept. The hexagon shapes are only used in the footer area at the bottom of the webpage. Generally, the site is rather structured in straight blocks.
Fig. 249: PIGMENTPOL flexibility chart
Though the website lacks in consistency of the design system itself, the visual identity as a whole is very adaptable to any kind of products or environment. It is rather remarkable that a company in this small dimensions draws on a customisable method like creating a variety of backgrounds with the help of a software application.
Fig. 244: PIGMENTPOL design guidelines
Fig. 248: PIGMENTPOL website
The visual identity of PIGMENTPOL is based on ‘Filling & Container’, ‘Background & Layer’, ‘Customisation & Collaboration’ and ‘Automation & Transfer’ systems since the lettering is static but the hexagon shape is filled with different variations of colours and geometric forms.
Fig. 245: PIGMENTPOL brand strategy paper
In spatial environments the visual elements are applied following the flexible design system.
Fig. 246: PIGMENTPOL customer area
121 122 123 124 125
PIGMENTPOL, 1990–2012 ATMO, n.d. a FELD, 2013 a FELD, 2013 b; Van Nes, 2012, p. 142 ATMO, n.d. b; FELD, 2013 b
Case Studies × Generating Knowledge
The shape of the hexagon finds its way into three-dimensional objects as well as the corporate design guideline sheet and brand strategy paper. It takes up haptic functions and creates a multi-sensory experience.
Swisscom, Moving Brands Facts Swisscom (Schweiz) AG Alte Tiefenaustrasse 6, 3050 Bern, CH Telecommunication company 126 www.swisscom.ch
In combination with the existing but slightly adapted lettering the life form makes up the Swisscom logo.
Moving Brands Zwickystrasse 3, 8304 Wallisellen, CH Creative consultancy 127 www.movingbrands.com
There is a set of corporate colours but no colour is defined as the main or the sub-colour. The use of type and colour is flexible, both in shape or scale. Product packaging is also based on the extraction of life form cuts, as well as posters and other promotional material. Infographics are simple and clear.131
Swisscom are the market leaders in the telecommunication business in Switzerland and one of the most trusted brands in this country. The whole corporation was reorganised in 2007 and the challenge was to create ‘one Swissom’ out of a rather complex brand. The Swiss branch of Moving Brands won the pitch process and developed a dynamic brand definition, recognising the strong entrenchment in Swiss culture and positioning the company as a trusthworthy partner.128
Fig. 251: Swisscom lettering revision
Swisscom’s principles are “oneness, closeness, openness and simplicity” 129 (see the expert input by Daniel Severin on p. 72 f.).
Fig. 252: Swisscom logo
Fig. 255: Swisscom materials
There is a basic shape of the life form but it also appears in endless variations.
Concept and analysis
Fig. 256: Swisscom packaging
Core element of the visual identity is the ‘life form’, one single mark for all Swisscom offerings. This life form connects a vertical axis as the static element with shapeable curves.130
Fig. 253: Swisscom life form variations
Graphic elements are extracted from this life form for any purpose.
Fig. 257: Swisscom posters
The Swisscom shop design includes the same principles in the use of shapes, colours and type, creating a lively but yet consistent look. Fig. 250: Swisscom life form concept
Fig. 254: Swisscom life form cuts
Fig. 258: Swisscom shop
Special products like racing suits for the Swiss Ski Team show the flexibility of the visual identity.
The living definition of the Swisscom identity keeps the use of forms, logos, colours and type extremely flexible, creative and expressive. It is adaptable and scalable to any existing or possible new touchpoint and media environment. Typography
Fig. 262: Swisscom Games poster
Fig. 259: Swisscom website
Fig. 260: Swisscom mobile phone application
The brand centre ( www.swisscom.ch/ brandcenter ) is a publicly accessible resource including all assets and guidelines of the Swisscom identity, including the brand strategy, mission, graphic elements and imagery. A brand blog informs about recent developments in the company’s brand management.
Fig. 263: Swisscom brand centre
The flexible design system allows to create distinctive solutions for any touchpoint and target group, even internal programmes and events like the Swisscom Games take use of the dynamic definition of design elements.133
Fig. 265: Swisscom flexibility chart
Changing and transforming shapes result in unique applications, including the consideration of all senses and all type of media. Apart from this, the release of the new Swisscom visual identity polarised and still polarises also in the design sector, being labelled as dull as well as highlighted as an excellent example for a dynamic identity.134
The visual identity of Swisscom is based on ‘Combination & Composition’, ‘Transformation & Adaption’ and ‘Automation & Transfer’ systems since the life form serves as the basic element which drives the transformation and evolution of the visual identity. ×
Fig. 264: Swisscom brand centre
Fig. 261: Swisscom Games poster
126 127 128 129 130 131 132 133 134
Swisscom, 2013 a Moving Brands, 2013 a, b Moving Brands, 2013 c Moving Brands, 2013 c Moving Brands, 2013 c Severin, 2012 Moving Brands, 2013 c Severin, 2012 Frei, 2013; Widmaier, 2013; Kovacic, 2012
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Swisscom’s website directly makes the dynamic concept of the life form visible: the life form in the logo reacts on how fast the cursor is moved on the interface. As being conceptualised as a multisensory identity, it “was considered from every angle, to determine how it would look, but just as importantly how it would behave. The life form is designed to respond to sound, motion, and data such as Internet traffic or customer connectivity” 132.
THNK. The Amsterdam School of Creative Leadership, Lava Facts
Concept and analysis
THNK. The Amsterdam School of Creative Leadership Haarlemmerweg 8a, 1014 BE Amsterdam, NL Executive programme school 135 www.thnk.org
The basis for the visual identity is the lower-case character ‘i’, literally extracted from ‘think’. It symbolises the single person, the individual.
Lava Silodam 1F, 1013 AL Amsterdam, NL Design agency 136 www.lava.nl
Fig. 269: THNK symbol set
The ‘ThnkBats’ are also used to enhance typography, prominently applied in combination with a modern typeface in the logo of the school.
Background “THNK, the Amsterdam school of creative leadership, is positioned uniquely between the educational fields of business, design, and science & technology” 137. The aim of the school is “to develop the next generation of creative leaders that will have a significant societal impact in our world. THNK provides an 18-month, part-time, post-graduate program for a carefully selected group of international top talent” 138. The missing ‘i’ in the official name derives from the collaborative, team-focused philosophy the school follows: challenges can not be solved by individuals alone but can be solved in collaboration with a lot of individuals. Lava developed a dynamic visual identity for THNK.139
Fig. 266: THNK ‘i’
The character is duplicated several times, filled with blue or red colour and layered on top of each other, arranged around the same hub. A group of individuals now form a collaborative network, making THNK’s concept visible.
Fig. 270: THNK logo
Infographics and illustration follow the same principle. The ‘ThnkBats’ replace ordinary forms and lines, therefore create a unique look. This system also allows many ways to creatively express the brand and its content. Fig. 267: THNK ‘i’ in layers
The resulting symbols are called ‘Thnk Bats’ and provide an enormous variety of shapes, representing “co-creation, collaboration, networks and nodes” 140. They form the graphic elements for the logo and the visual language of the identity.
Fig. 271: THNK illustration
Fig. 268: THNK symbol
The flexibility in THNK’s design system is ensured with the creative combination of the character ‘i’. Change of colour is used sometimes but mainly the colour spectrum focuses on the two corporate colours red and blue. There are hardly any photographs used to visualise content. Fig. 275: THNK posters
Fig. 272: THNK statements
A slight variation of the coloured visual identity is the bold negative version of the ‘ThnkBats’.
The graphic elements visualise processes and concepts and find their place in promotional materials as well. Imagery
Fig. 278: THNK flexibility chart
Fig. 276: THNK poster
Fig. 273: THNK folder
THNK’s website is simple and functional, but actually does not make us of the flexible design system, except for the colours, the logo and the illustrations.
Seminar papers, course materials or posters pick up on the flexible design system. Different colours visualise the diversity of THNK’s programme. The results are fresh, fitted to the content and show how the ‘i’ as the basic elements creatively can be combined.
The visual identity appears as open, free and modern, using a lot of white space and striking typography. However, the extensive application of ‘ThnkBats’ in the logo itself makes the easy system very complex when used in smaller dimensions. The visual identity of THNK is based on ‘Background & Layering’ and ‘Combination & Composition’ systems since the ‘i’ character serves as the layered element applied to and combined for any context. ×
Fig. 277: THNK website
Fig. 274: THNK folders
135 136 137 138 139 140
THNK, 2013 a, b Lava, n.d. a Lava, n.d. c THNK, 2013 b Lava, n.d. c Lava, n.d. c
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When working with written content, the ‘ThnkBats’ serve as the subsitute to the ‘o’.
USA TODAY, Wolff Olins Facts USA TODAY 7950 Jones Branch Drive, McLean, VA 22108, US News and information media company 141 www.usatoday.com Wolff Olins 200 Varick Street, Suite 1001, New York, NY 10014, US Brand consultancy 142 www.wolffolins.com
The logo appears in a lot of variations, generating a playful flexible design system which is adapted to sub-brands, business areas or topics in the newspaper like ‘News’, ‘Tech’ or ‘Sports’. Specific colours make the sections distinctive. Illustrations, photographs, infographics or three-dimensional visualisations in different styles and with different degrees of abstraction add a special look to the sub-logos.
Fig. 283: USA TODAY sports section
The logo adaptions create a visual link to the contents in the associated issue.
USA TODAY is one of the largest newspaper and media companies worldwide and was founded in 1982. Al Neuharth, the founder of USA TODAY, introduced the vision “with the goal to be a ‘forum for better understanding’ ” 143, focusing on telling news “in a way that made it relevant to the lives of everyday Americans” 144. USA TODAY approached Wolff Olins about redesigning their visual identity. Just in time for USA TODAY’s 30year anniversary, the new visual identity was launched in 2012.145
Fig. 280: USA TODAY logo versions
Fig. 284: USA TODAY life sub-logo
Apart from the logo applications, the visual style is adapted to the simple and clear design concept of the newspaper and includes the same range of different imagery and graphics as the logo versions themselves.
Concept and analysis
The basis of the dynamic visual identity is the ‘masterbrand’ logo, consisting of a dot and the name in bold capital letters.
Fig. 281: USA TODAY logo versions
Sub-logos are incorporated in the printed newspaper and divide it into different sections of topics. The structure of the newspaper itself was revised together with USA TODAY’s editors, designers, producers and marketing responsibles.
Fig. 285: USA TODAY markets page
Custom-made icons incorporate the USA TODAY dot in the visual language.
Fig. 279: USA TODAY basic logo
In comparison with the former logo, this change was an evolutionary step, especially when considering USA TODAY as an American icon. Wolff Olins calls the final solution “the best representation of the pure, straight-to-the-point audaciousness that USA TODAY was built on” 146.
Fig. 282: USA TODAY title page
Fig. 286: USA TODAY icon set
Running several campaigns in magazines promote the new look of USA TODAY and guide readers to extra content on USA TODAY’s extensive web offerings.
The visual identity of USA TODAY is straightforward and easy to scale for different purposes. Colours structure the broad content USA TODAY offers, the use of the dot in the design system brings all elements of the visual identity together. Typography
Fig. 287: USA TODAY statement Fig. 291: USA TODAY advertisement
Promotional campaigns as part of the rebranding launch catched the attention of USA TODAY’s customers, being massively on the spot in television, print, digital and spatial touchpoints.
The USA TODAY dot plays the major role in any application of the visual identity and is also adapted to branded products.
Fig. 292: USA TODAY coffee cup Fig. 288: USA TODAY advertisement
The website slightly weakens the initial look and feel of the design system. Though the colours still visually differentiate the sections, the typographic concept is probably adapted to the website for functional purposes. The weight of the USA TODAY logo obviously is scaled back.
Fig. 294: USA TODAY flexibility chart
The flexibility within the visual identity is mainly ensured by the change of colours as well as the use of images and illustrations. The ‘USA TODAY’ lettering is the static element, complemented with the corresponding contentual sections like ‘Life’ or ‘Travel’, generating flexibility within the brand’s language. Typography does not change much but rather connects the dynamic elements and does not weaken the bold appeal of the visual identity. The visual identity of USA TODAY is based on a ‘Filling & Container’ system since the logo is the core element and is filled or rather covered with different images and illustrations to make the diverse contents distinguishable. ×
Fig. 289: USA TODAY advertisement
Fig. 293: USA TODAY website
Fig. 290: USA TODAY subway entry area
141 142 143 144 145 146
Gannett, 2013 Wolff Olins, n.d. a, b Wolff Olins, n.d. f Wolff Olins, n.d. f Wolff Olins, n.d. f Wolff Olins, n.d. f
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Typography is reduced, clear and modern, and visualised USA TODAY’s straight-to-the-point profile.
Visit Nordkyn, Neue Design Studio Facts
Concept and analysis
Visit Nordkyn 9790 Kjøllefjord, N Tourism region 147 www.visitnordkyn.com
Visit Nordkyn’s visual identity is formed by two core ingredients. The statement ‘Where nature rules’ (‘Der naturen rår’ in Norwegian) serves as the connection in terms of content, as the leading theme and as the official claim for the region. An abstract hexagon (inspired by the shape of a snowflake) is influenced by current weather data from the Norwegian Meteorological Institute in real-time and therefore shows snapshots of the characteristic weather conditions at Nordkyn. When the temperature at Nordkyn changes, the logo changes its colour; when the direction of the wind changes, the hexagon changes according to where the wind comes from.150
Neue Design Studio Øvre Slottsgate 5, 6. etg., 0157 Oslo, N Strategic design agency 148 www.neue.no
The Norwegian peninsula Nordkyn accomodates the two municipialities Gamvik and Lebesby in the Finnmark county and is Europe’s furthermost part to the north. To promote the region for its tourism businesses with pooled forces, the two municipialities developed a marketing strategy with the name ‘Visit Nordkyn’. Oslo-based strategic design agency Neue Design Studio had the task to create the visual identity for the unified tourist destination, launched in 2010.149
Colour additionally makes current the temperature visible. It has a range from – 25 ° C to + 25 ° C within a wide colour spectrum. Additionally, white, grey and black are defined as the basic colours used in the visual identity.
Fig. 297: Visit Nordkyn colour spectrum
When bringing shape and colour together, logos with an infinite count are created with the help of a ‘logo generator’. Every particular moment has its own special logo that way.152
Fig. 295: Visit Nordkyn logo version
Taking a snowflake as the basic form for the visual identity of this Arctic region and its special geographical location, seems to be appropriate and gives tribute to the partly extreme weather conditions up in the north of Norway. The abstract transition of the snowflake makes the whole shape very mathematic but captures the mathematic nature weather statistics have. The resulting hexagon incorporates the idea of visualising Nordkyn’s steady dependence on the weather (which also affects almost every other touristic destination).151
Fig. 298: Visit Nordkyn logo versions
Fig. 299: Visit Nordkyn logo versions
Fig. 296: Visit Nordkyn wind direction system
Fig. 303: Visit Nordkyn promotional image
Fig. 300: Visit Nordkyn website
With the logo generator as a solution provides an endless variety of logos and ensures good recognition but lacks in terms of following an integrated concept. It is hard to find other applications that effectively adopt the design system detached from the logo itself. Probably the initial goal with creating the identity simply was to give the tourism region a distinctive ‘face’ that reflects the variable conditions in nature. However, the design of the visual identity gained critical acclaim within the Norwegian design sector.153 Typography
Fig. 304: Visit Nordkyn door plate
Fig. 307: Visit Nordkyn flexibility chart
The visual identity of Visit Nordkyn is based on ‘Transformation & Adaption’ and ‘Automation & Transfer’ system since the logo serves as a transforming shape.
Fig. 301: Visit Nordkyn website
The focus on the logo itself within this visual identity makes that the actual touchpoints, where the tourist gets in contact with the brand, seem to be heavily neglected or too narrowly considered. In advertorial applications, the logo is simply adapted to the look and feel The look and feel of images. The imagery itself does not follow a specific concept but tries to include various situations and places like landscapes, touristic attractions or sports, both in winter and summer.
Fig. 305: Visit Nordkyn business card
× 147 148 149
Fig. 306: Visit Norkyn T-shirt
Fig. 302: Visit Nordkyn promotional image
150 151 152 153
Visit Nordkyn, n.d. a; Van Nes, 2012, p. 191 Neue Design Studio, n.d. a, b Van Nes, 2012, p. 191, 198; Neue Design Studio, n.d. c Van Nes, 2012, p. 191; Neue Design Studio, n.d. c Visit Nordkyn, n.d. b Van Nes, 2012, p. 191 Neue Design Studio, n.d. c
Case Studies × Generating Knowledge
Visit Nordkyn’s website serves as a good way to see how the system actually works in real-time. At the start, the shape starts in a neutral shap and in grey colour but immediately incorporates the weather data and gets a new shape.
Conclusion and New Perspectives The set of cases covers several methodical approaches to make a visual identity to a dynamic one, including examples with colour-changing typography, transforming shapes, data-influenced logos or experimental imagery. Logo-centrism
Most of the visual identities in the case studies use the logo as the main part to generate a changing look within a design system. Letterings often serve as forms which are flexibly filled with images, illustrations, patterns, scribbles or, in the majority of cases, colour. In numerous examples, the logo is the only component of a visual identity that takes use of a flexible design system. Many brands show their product range using adapting, transforming logos, like A1 or USA TODAY, some brands centre too much on the logo itself and lack in having an integral concept for any touchpoint the brand is present at, like EPFL Alumni or OCAD University. Formalistic solutions often do not live up with the actual brand core or values. In some cases this might be a way to create stunning and surprising results, but actually without any relation to the content of the brand.
Colour shows diversity
Dynamic is not dynamic
It is remarkable that change of colour finds use in a wide range of examples. More or less, visual identities that incorporate change of colour as a way to flexibilise several elements, try to visually differentiate the contents, services or products of the brand. In the visual identity of USA TODAY, colour plays a major role to help to distinguish sectors in the newspaper. Diversity within a brand often leads to a varied visual identity, probably also handling several sub-identities within a ‘lead’ identity like the example of Orquestra Nacional do Porto within the visual identity of Casa da Música or the Ovi brand within the visual identity of Nokia.
A quite high number of dynamic visual identities actually work with the combination of static and flexible elements within one component. For example, the USA TODAY logo is formed by a static bullet which does not change dimensions in relation to the lettering in the logo. Changing colour of the shape and adding images to it creates a dynamic look. The New York City logo is a massive shape with an endless range of different fillings but the shape does not change at all. It serves as the recognisable element too.
Type seems to be a difficult issue
The flexible use of type is rare. Most of the brands stick to defined typefaces for their communication touchpoints. Type is a big topic when being applied to logos or especially letterings, but it seems that type serves as recognisable add-ons to symbols used in logos. Only few cases incorporate the flexible use of words or messages as part of the visual identity, like Burgtheater Wien does. Type still is a way to keep the brand recognisable, even without the logo as the distinctive trademark.
A noticeable fact is that a lot of visual identities lose their initial strength in simplicity and effect when being applied to digital environments, especially websites. The New Museum website still successfully communicates the identity concept through the extensive contents. Casa da Música’s website does not take use of the flexible design system the identity of the theatre has but there rather is a version of the logo applied. This weak application of the visual identity to digital environments does not live up with the digital reality we face in this world. It seems that a lot of visual identities are concepted for a traditional use on print business materials, ‘digital first’ seems to be not the key phrase in branding yet but soon needs to be, definitely. A brand must be accessible at any time and with any type of media. Our fast and changing world demands an active conversation between brand and consumer, and this increasingly happens in digital and mobile environments.
Conclusion and New Perspectives × Generating Knowledge
Broadening the perspective
The sight-driven concepts of visual identities analysed in this study often do not tap their potential for sense- and media-independent identity definitions. Logo-centrism is still a major issue and unfortunately makes several visual identities very weak in the implementation and even not sustainable, also economically, when adapting or expanding identity elements to new environments or contexts. Although sight is important when talking about visual identities, this is just one part of a well-founded brand identity. The case studies in the previous chapter provide the overview of flexible design systems. Now it is the point to broaden the perspective and to follow a wide-scale approach to branding, coming off the focus on sight. The following pages provide an insight into two branding models from two different design agencies. This helps to see branding in a broader context and actually to point out the essential topics of every branding process: talking about the core of a brand. Additionally, eight design and communication professionals share their thoughts on dynamic branding and flexible design systems. ×
4 Two Branding Models ‘Brand BIOS’ by think moto Facts
think moto Schönhauser Allee 149, 10435 Berlin, D Digital design consultancy 154 www.thinkmoto
The brand image describes the brand in its symbolic character, its iconography. Eventually, the positioning of the brand can be experienced and is recognised through the visual identity. Visual representation in the form of the logo and the corporate design as well as architecture or even the sound of a brand are part of this identity. The aim of the brand image is create and ensure uniqueness.158
The brand offering defines the service and product offer of the brand and therefore the concrete benefit for the consumers. In contrast to pure promotional communication, the promise of the brand can and must be proven at the touchpoints und not just proclaimed. It is important to know the brand offering in depth as well as to integrate it from the consumer’s perspective. The aim is to create relevance.160
think moto focus on digital media and develops brand identities, digital products and services. They realise mediarelated and sustainable user experiences. Managing Partner Marco Spies and his team follow the self-initiated Branded Interaction Design (BIxD) process which connects the brand strategy with user experience design methods.155 Part of this process is the Brand BIOS with four integral components which make up the meaning of a brand.156 Brand Behaviour
The brand behaviour describes the behaviour of the brand towards the inside, towards employees, and towards the outside, in interaction with the client. The behaviour is described with the help of behaviour attributes and the brand values are the basis for these attributes. A brand has to be seen as a person with characteristics which make it credible and authentic. The aim of the brand behaviour is to generate the ability to experience the brand.157
Brand Story Brand Meaning
The brand story narrates the origin, the myths and legends of a brand. Narrations are deep-rooted in human culture and help to classify and to remember things. This is why the message and the special competence of a brand is effectively communicated with the help of stories. Part of these stories are founding myths and visions for the future or the story about the background of the brand. The message often is a good input for the central theme. The aim of the brand story is to generate credibility.159
Today, brands need more than just messages that are sent through mass communication solutions to reach the consumers and to remain in their minds for a long term. Brands need a meaning, a unique and experienceable, a relevant and credible core the people feel connected with. The meaning of the brand is sensible in the behaviour, visible in the image, tellable in the story and available in the offering.161
think moto’s Brand BIOS outlines the fundamental issue of brand strategy: giving the brand a meaning at its core. This also matches with Moving Brands’ concept which highlights that the “life of a brand (…) must be designed-in at its very heart” 162. The Brand BIOS helps to know what the brand consists of and to become aware of its values, its mission and its position in the market environment. Like other branding approaches, this model provides the fundamental principles for brand strategy too but breaks it down into reasonable, generalpurpose drivers for giving meaning to the brand and sets the focus on the brand’s distinctiveness.163 ×
Fig. 308: Brand BIOS, think moto’s brand model
154 155 156 157 158 159 160 161 162 163
think moto, 2013 a think moto, 2013 b Spies, 2012, p. 130 f. Spies, 2012, p. 131 Spies, 2012, p. 131 Spies, 2012, p. 131 f. Spies, 2012, p. 132 Spies, 2012, p. 132 Moving Brands, 2010, p. 17 Spies, 2012, p. 130
Facts Moving Brands 7–8 Charlotte Road, London EC2A 3DH, GB Creative consultancy 164 www.movingbrands.com
In 2010, Moving Brands published a brand thinking booklet, including fundamental and inspiring thoughts and ideas about living brand identities. Moving Brands follow the “belief that brands should be as dynamic and relevant as the company, service or product they represent. Businesses grow every moment of every day – so should their brands, identities and communications” 165. For Moving Brands, a lot of brands, of course, realise that their consumers and their world changes but only few brands actually understand the meaning of this change for their own role. Dynamic, vibrant brands therefore have to “provide opportunities for people to add to, adapt, evolve, interpret, translate and influence the brand over time” 166. Brand Narrative
As in think moto’s Brand BIOS, the brand story plays a key role in the whole definition of an identity. This brand narrative captures “what the brand stands for, what it does and how it does it” 167. Telling stories makes brands accessible through the emotional communication of facts and experiences. The brand narrative creates a “shared understanding of what the brand should be, using language, imagery, sound, movement and texture” 168 and draws the elements of the brand together. As a seed for everyone, the brand narrative allows people, also outside the business, to grow own stories about the brand which reconnect to the original idea again.169
After the development of a living identity in several dimensions like images, sounds or movement, the task is to “look at how the elements might behave in a range of places and situations” 170. Moving Brands sees the brand as a tree that grows out of a seed. This seed contains the DNA of the brand rather than the definition of conrete forms or colours. These parameters allow the brand to react to changes without leaving the boundaries of the brand.171 The “DNA will enable the brand to respond to the wider world in all sorts of dynamic on-brand ways” 172.
To summarise, the brand narrative forms the heart of the brand. Certain assets connect with the human senses and therefore inspires interactive, multisensory relationships to the brand.
Moving Brands also sees the brand as a person including its own characteristics, attitudes, emotions and behaviours. This is called the brand being, the definition of “how a brand sounds, feels, smells, tastes and acts, as well as how it looks” 173.
Behaviours Fig. 309: Moving Brands’ brand being concept
Though this study focuses on visual identities, all sensory aspects play a major role in the whole branding process. Brand “Mnemonics – identity assets such as logos, graphics, tone of voice, shapes, forms, colours, sounds, movements and so on – trigger people’s memory of the brand” 174. Moving Brands’ approach brings the whole problem of dynamic identities to the point: “The best living identities have some consistent values, attitudes and traits, but their behaviour and character change often. In the same way, a brand should behave according to where they are, what they’re doing and what people are doing around them” 175.
Fig. 310: Moving Brands’s multi-sensory identity
Moving Brands’ concept gives the brand a narrative, think moto’s concept gives the brand a meaning. The two approaches are similar but it is difficult to see the ideas by Moving Brands as a separate branding model but rather drives a mind change of general thoughts on, especially living, identities forward. However, it brings the problem of dynamic identities to the core: It is about starting something new for strategy, identity definition and expression and generally it is about inspiring a vibrant conversation between brand and consumer.176 Keep the elements of both models in mind when going through the expert inputs which introduce you to contemporary approaches to branding, especially regarding dynamic brand identities. ×
164 165 166 167 168 169 170 171 172 173 174 175 176
Moving Brands, 2013 a, b Moving Brands, 2010, p. 9 Moving Brands, 2010, p. 15 Moving Brands, 2010, p. 24 Moving Brands, 2010, p. 25 Moving Brands, 2010, p. 25 ff. Moving Brands, 2010, p. 30 Moving Brands, 2010, p. 31; Linsell, 2012 Moving Brands, 2010, p. 31 Moving Brands, 2010, p. 36 Moving Brands, 2010, p. 37 Moving Brands, 2010, p. 37 Moving Brands, 2010, p. 42
Two Branding Models × Generating Knowledge
‘Living Identities’ by Moving Brands
5 Expert Inputs Geoff Linsell, Moving Brands 177 Facts
Geoff Linsell Managing Director Moving Brands Zwickystrasse 3, 8304 Wallisellen, CH Creative consultancy 178 www.movingbrands.com
The first expert input provides Geoff Linsell, Managing Director at Moving Brands, an international creative studio with branches in Wallisellen, CH, London, GB and San Francisco, US.179
Fig. 311: Geoff Linsell
Fig. 312: Moving Brands logo
Linsell shares some exciting information about the working methods of Moving Brands, some insights in planning and design processes of some successfully realised projects he made with his team. Moving Brands generally is a company which does not try to hide experiences but rather makes whole processes visible for anyone interested. The recently launched website of the creative consultancy is a stuffed media and design resource, especially regarding dynamic visual identities. Linsell is a strategic mind and openly communicates Moving Brands’ thinking. The input by Linsell serves as an inspiration for the further work process within this study. His openness is overwhelming. Additionally, Linsell provides some thoughts in the revised version of the digital publication which is planned to be available worldwide for download (see p. 86).
Moving Brands got the chance to become the global lead agency for Nokia and filled up the Nokia brand with emotional relevance, “creating the flavours of Nokia”. Linsell mentions the core of Nokia’s claim ‘Connecting People’ and that this is still relevant but has changed during the last two decades. In 1991, telecommunication was one person talking to another person, in 2004/2005 it was many-tomany communication. Referring to the brand definition, Nokia had a simple set of guidelines but this was not a tool for the start to create expression. The challenge was to define a brand which lives and thrives in a digital world, trying to pin down concrete behaviours. “What’s the type of personality and how does it behave?” is the main question of getting the client and the creative team to collaborate and to come up with something which is coherent.
Nokia’s new focus
Linsell sums up that we live in the same world but we are different people and we are familiar with describing personalities. Moving Brands created a multisensory identity including a Nokia film which introduced the sense of a cloud of stuff, colourful in flavours (see the Nokia case study on p. 50 f.).
As a start, Linsell introduces the identity project Moving Brands did for Nokia. The first objective in reshaping the brand identity was to get the people at Nokia to understand the market of the brand better and get a clearer picture of who they are actually selling to and what types of consumers they have. The concept is more marketing-oriented than the engineering approach Nokia used to have before.
Fig. 313: Nokia brand film
Fig. 314: Nokia brand film
For Linsell, “it’s all about end-use”, leading over to the Swisscom identity where he brings up the example of linking movement in the visual identity with an external driver: At 6 pm, many people in Switzerland use the Swisscom telecommunication network and this usage is visualised in a projection of the moving Swisscom logo into the reception of the Swisscom headquarters automatically, saying that “business reality can drive a visual representation of your identity” (see the Swisscom case study on p. 58). Linsell thinks that there is so much potential in starting a logo to represent business activity, making the brand more meaningful and standing for something but “it can be as playful as you want but you need to know how the boundaries are”. Speaking about dynamic visual identities as a space to generate creative representation, it is important to have something to tie up to and to be faithful of what you want the brand to be. While trying to differentiate one organisation, brand or product from another, sometimes creativity gets lost. “One can get carried away in the beauty of creation and the possibilities of creation”. The job of an identity in the commercial world “is to signpost what something stands for and who something is” and “when you are creating a system, you also have to leave enough room in it for creative expression”.
In this fast-moving world, brands are often struggling with the problem of consistency and inconsistency. “It is not only a case of how an identity needs to be built to be expressive” but also of “how much can it flex and change in that world and how broad does the system need to be”. Linsell’s example of the iPad shows that an identity has to face new challenges: Short time ago, the iPad was introduced and opened new difficulties but also new potential opportunities. The solution for tablet computing devices could be inconsistent regarding some definitions which had originally been set. This means that you have to be mindful that the world is changeable. This statement by Linsell brings out the elementary problem: “The rules are still being made up as we go along”. As the last point, Linsell leads over to the general problem of dynamic branding and mentions that this is an off-the-moment topic with a lot of thinking which has not yet been crystallised. Generally, he sees the creation of a ‘brand story’ as the core element of any identity. Each brand has to know itself really well and it is important to have a story at ‘the heart of the brand’. × 177
The summaries and quotations within this expert input refer to the personal interview with Linsell, 2012, and are not referenced separately except for the ‘facts’ and ‘introduction’ sections or where else noted. Moving Brands, 2013 a, b; Linsell, 2012 Moving Brands, 2013 b
In Linsell’s experience, Swiss or Germanic companies tend to like rules and definitions, they like things to be precise and this happens in a lot of sectors. With the following statement, Linsell exposes the essence for a contemporary approach to branding: “You give edges to the identity but you allow people to play within the edges rather than giving them a solution and telling them that they have to do it like this”. A lot of control has been pushed into the mechanism of a visual identity and with guidelines it was, or even still is, common to say that an identity cannot go outside of a specific system, otherwise it stops to be consistent. 71
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Business reality and boundaries of an identity
Daniel Severin, Swisscom 180 Facts
Daniel Severin Brand Manager Swisscom (Schweiz) AG Alte Tiefenaustrasse 6, 3050 Bern, CH Telecommunication provider 181 www.swisscom.ch
To get concrete practical insights from client-side, Daniel Severin, Brand Manager at Swisscom, shares his thoughts Severin’s openness and willingness to share Swisscom identity details is surprising and he provides a lot of insights on handling a dynamic brand identity (see the Swisscom case study on p. 58 f.). His dedication to his work is remarkable. Swisscom milestones and rebranding
To get the basic background about the Swisscomhe expSwisscom brand and company, Corporate design concept lains the most important historical miSwisscom’s lestones: 1997, when the public company corporate design was being turned into a private corporation, was actually the ‘real’ year of birth of Swisscom. In the beginning, Swisscom was divided into the three business lines Fixnet, Mobile und bluewin, but there was a huge shift from the telecommunication and IT brand to a media and entertainment brand in 2007/2008. The whole Swisscom was reorganised, which demanded a new corporate strategy, a new mission statement and also a new corporate identity respectively a new corporate design concept.
The new identity product was a onebrand strategy with a living identity, highlighting Swisscom’s definition of a movable, dynamic service provider with focus on the consumer. The consumer herself or himself can be a 16-year-old mobile phone user at a music open-air as well as a 60-year-old major customer or bank, additionally at a huge range of different touchpoints. This approach demands a lively brand definition, leading to a dynamic corporate identity and a dynamic corporate design concept in further consequence. For Severin, Swisscom are a living creature, influenced by different languages, different cultures, having different touchpoints, speaking to different individuals and being able to change its content. The elements of our corporate design
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A typical feature of the Life Form is the perpetual rotary movement around the fixed vertical axis. The static element creates a counterpoint to the dynamic motion. Or to put it the other way round: their juxtaposition creates tension.
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This tension is also present in our logo: the dynamic, mobile Life Form, combined with the static, solid wordmark which forms the base. As a consequence, the interplay of dynamic and static forces also comes across in the layout. The different design elements can be freely combined and varied in their strength of expression. But they are always embedded in a clear basic structure, defined by the underlying layout grid and corresponding axes.
Life Form animation
The animated Life Form is the distinctive brand mark at the centre of our corporate design. This Life Form symbolizes the living connection between our customers and the company. It is an expression of our constant efforts to strengthen and develop this connectedness.
Fig. 316: Swisscom logo
From a distance, at your side, inside
Grid system (10x10 units)
Fig. 317: Swisscom corporate design overview
Fig. 315: Daniel Severin
As an introduction, Severin talks about his professional background as a typographic designer and that the joined the Swisscom brand team during the rebranding process some years ago. For him, the main part of any branding process for him is the brand strategy and the implementation of this strategy at every touchpoint. Communication itself is just a small part of it.
During the pitch process for the new Swisscom brand identity, candidate agency Moving Brands came up with the idea of a dynamic element, an IP-based visual, which visualises the technological turn from analogue data signals to a permanent data connection: ‘analogue = hard vs. IP = soft’.
Severin points out the importancy of an internal mind change from the salesdriven to a consumer-focused company, from the engineering mentality to a service orientation. As a brand, you give a promise to the consumer but you also have to prove this, which Severin calls “promise and prove”. For him, there are three core questions for a brand: ‘What do you do as a company?’, ‘Which attributes do you connect to your promise to become unique?’ and ‘How do you create a costumer expectation for your brand and how do you prove it?’. The goal always has to be “perception is reality”. You need a broadly supported brand, a consistent brand experience and a suitable brand management. There is no handbook for a dynamic brand management but it is important to know what basic strategic material is needed and what is essential for the brand definition. Visualisation of strategy
The goal is to ensure a positive brand experience at each touchpoint; a brand is strong when each experience is consistent. The definiton of Swisscom as a person is the foundation for the definition of the brand personality. To visualise brand personality, Moving Brands created a mood film including metaphors. This film was the briefing for the designers to create a living Swisscom brand.
Severin explains the elements of the Swisscom corporate design and points out that consistency does not happen in corporate design manuals. His core message is “form follows strategy”. For him, a lot of people still think that the brand is the logo, brand is communication, brand is advertising, but it is time to turn away from old dogmas and let the mind change happen. It is important to know the consequences when creating a dynamic brand and to give a clear definition of how a dynamic brand is applied, but with less guidelines and less design plans. Severin hopes that dynamic brands are not just a trend because dynamic concepts open new possibilities to position a brand creatively. The brand has to follow a concrete strategy. The more conceptual the more exciting, but for Severin, it is not always possible to create a dynamic brand. Such a brand needs to be professionally led and managed, not only applied. × 180
The summaries and quotations within this expert input refer to the personal interview with Severin, 2012, and are not referenced separately except for the ‘facts’ and ‘introduction’ sections or where else noted. Swisscom, 2013 a; Severin, 2012
Talking about formal aspects of a transforming brand, Severin marks that it may turn out as a formalistic play but always comes out from a clear message. It is more or less the visualisation of the strategy and also a promise to the inside: We move. From a corporate design view, the visual identity of Swisscom offers space for creativity and opens possibilities to define a specific “scale of expression”.
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“Promise and prove”
Isolde Fitzel, Nofrontiere Design 182 Facts
A larger market for dynamic brands
Significance and basic themes
Isolde Fitzel Freelance Graphic Designer Nofrontiere Design GmbH Belvederegasse 26, 1040 Wien, A Interdisciplinary design agency 183 www.nofrontiere.com
After a short introduction to the topic, Fitzel shares her opinion on dynamic visual identities. For her, components of an identity can change, adapt to specific conditions or trends and therefore make a target-group-specific approach possible. But there always have to be certain constants, static elements which ensure recognisability respectively are responsible for the communication of values a traditional visual identity communicates too. The tasks become more complex, so there will be or is a larger market for dynamic brands. Bringing up the question of defining dynamic visual identities as trends, Fitzel marks that it maybe is a trend but massively depends on technological possibilities and tools. It is possible that the demand for dynamic solutions grows but there is no effective use if it is not well-founded in the essential problem of an identity. The danger is to just jump onto the ‘trend wagon’ without considering fundamental tasks. It is dangerous if there is no clear reason to create a dynamic brand.
To find out in which kind of consumers can be involved in the creation process of a visual identity, Fitzel proposes to do experiments with target groups but she principally thinks that it is the task of specialists to set the basic framework for an identity. Concrete added value can be the expandability of a flexible design system, the connection of political or social topics with the brand, an easy reaction to recent economic developments and being up to date as a brand. It is still important to ensure an appropriate approach to target groups.
Fig. 318: Isolde Fitzel
Fig. 319: Nofrontiere logo
Isolde Fitzel works as a Freelance Graphic Designer at Nofrontiere Design, an interdisciplinary design agency in Vienna, A, with experience in corporate design, branding, digital media, orientation systems and exhibition design for clients like Adidas, Bank Austria, designforum Wien, MUMOK, Siemens, Wiener Börse and Zipfer.184 Though Fitzel remarks that she is actually not very involved in dynamic branding, she is apparently interested in new developments in branding and has concrete ideas on how to successfully deal with new challenges as a brand.
It is also a danger to pick up on formal aspects to just turn the brand into a dynamic one. The philosophy or positioning of the institution or brand has to give reasons for movement etc., the contentrelated objective should be at the heart. If the concept of a dynamic brand is well-defined, it can be implemented anywhere, at any touchpoint. The visual identity needs to be adaptable for a specific medium, the basic idea should be continued and developed within the resources of the medium. For Fitzel, the aim is to load the brand positively and to create the ability for the brand to be experienced. Potential lies in the open space for interpretation of the basic identity theme. A major way to directly make a brand experienceable is to create interactive installations in the public space.
The different brand identity components create suspense because they have a strong significance. The approach of interaction concepts as the starting point for a branding process seems to be a possibility for Fitzel but the selection of a basic theme or the reduction of this basic theme onto one single layer is still essential. This layer preferably permits a lot of interpretation or is the initial point of a static and dynamic element, ready for an evolutionary development within the design system. Principally, recognisability is ensured with at least one static element. Nevertheless, it can turn out very dangerous if too many dynamic elements water down the core of the content. The concept then quickly loses its straightness and becomes hard to be traced back and recognised as a whole. × 182
The summaries and quotations within this expert input refer to the personal interview with Fitzel, 2013, and are not referenced separately except for the ‘facts’ and ‘introduction’ sections or where else noted. Nofrontiere Design, n.d. Nofrontiere Design, n.d.
Recognisability vs. flexibility
Technological progress and globalisation
Nenad Kovacic Founder and Partner Raffinerie AG für Gestaltung Anwandstrasse 62, 8004 Zürich, CH Design studio 186 www.raffinerie.com
For Kovacic, visual identites traditionally were static and unchangeable, especially regarding recognisability which actually is the contrast to flexibility. The logo was finished after its creation and it was not allowed to change it afterwards. It had to be positioned in a certain way, it did not change the colour and there always were positive and negative versions provided for use. Corporate design guidelines clearly showed what is allowed or prohibited. This is still a valid point but not exclusively anymore. The conditions now are multimedia, multitasking-oriented and more multilayered than in earlier times. The expectations to the consumers generally are much higher. Kovacic mentions the example of Hollywood films which take use of quicker cuts between the frames of motion pictures. Today’s youth or even today’s people are trained to distinguish more colours and more shapes. This still does not mean that every logo has to be changeable.
Kovacic mentions that the awareness of dynamic brands is not here yet. Everything becomes multimedia and nonstatic but it is important to define several rules to ensure the recognisability of a brand. Heading over to current developments, plain newspaper advertisements are not enough in these times anymore and brands or companies have to expand their effort to impress consumers. The participation of the consumer in the implementation of visual identities is worth considering but has to be controlled and put into a set of basic rules or general conditions. On the other side, the designer is trained and a client wants the agency or designer to create a suitable and successful solution.
Fig. 320: Nenad Kovacic
Fig. 321: Raffinerie logo
The input by Nenad Kovacic, Founder and Partner of Raffinerie AG für Gestaltung provides the view of a typographer on dynamic branding. Raffinerie is an awarded design studio with focus on editorial design, corporate publishing and corporate design for clients like Burgtheater Wien, UBS, Freitag, Pro Helvetia or Swiss Air Lines.187
Getting into Raffinerie’s identity solution for Burgtheater Wien, Kovacic explains that theatre is something changeable, surprising and spontaneous. The design system of the visual identity is a playful way to handle literature, taking several words out of the system and recombining them. The Burgtheater Wien logo is always black and white, never negative but always in the same typeface. To be precise, the logo itself is an application, a key visual, concluding dadaistic word combinations. He mentions that the Burgtheater Wien has never used ‘good’ graphic design, has always seemed to be boringly traditional, but usually has a 95 percentage of seats sold. The launch of the new visual identity initially was a shock for a lot of people but now it is acclaimed.
Tasks in digital environments become more important due to technological developments. For Kovacic, a logo still has to work in plain black and white; the simple things nover should be ignored. Several industries working with movement, on screens, with online applications, on television, IT services or geographically from the United States tend to have a larger rate of dynamic brands. Generally, brands from the United States work with more colourful, cheekier and even more trashy looks. Talking about globalisation and economic environments, Kovacic sees the influence of internationally established branding agencies in the nature of things and marks that small studios will never have the ability or capacity to play a major role in large-scale branding processes. For him, a brand has to sell the things you do, you have to effectively bring your solutions on stage. × 185
The summaries and quotations within this expert input refer to the personal interview with Kovacic, 2012, and are not referenced separately except for the ‘facts’ and ‘introduction’ sections or where else noted. Raffinerie, n.d. d Raffinerie, n.d. d
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Nenad Kovacic, Raffinerie 185
Mike Fuisz, moodley brand identity 188 Facts
A tight corset is fatal
Mike Fuisz Creative Director and Partner moodley brand identity gmbh Nikolaiplatz 5, 8020 Graz, A Strategic design agency 189 www.moodley.at
Mike Fuisz, Creative Director and Partner at moodley brand identity, an internationally awarded strategic branding studio based in Graz, A, and Vienna, A, provides a very inspiring input. moodley brand identity has high-level quality standards in both strategy and design, realising projects in fields like corporate identity design, annual reporting, digital branding, premium corporate publishing or branded spaces for clients like Oper Graz, Schauspielhaus Graz, Energie Steiermark, Styria Digital, Hotel Wiesler, Hotel Daniel and Creative Industries Styria.190
Fuisz believes that flexible design systems provide the chance to make the brand visible on the market, to ensure an interesting and young visual appeal for both consumers and employees, and to show a certain readiness for the future. He also points out that the time for strict corporate design manuals is over. Brand manuals must provide enough space for new developments. The aim of a brand identity is to spread out vitality, just like a human being. Fuisz’ example illustrates this issue: A man is perfect every single day but he lacks in being exciting because of being that perfect. The personality of a brand therefore needs be ready to adapt and to playfully be applied in corporate culture and behaviour. Fuisz brings it to the point: A tight corset is fatal.
Strong associations at every touchpoint Fig. 322: Mike Fuisz
Fig. 323: moodley brand identity logo
For Fuisz, dynamic branding is neither an evaluation criterion for nor a philosophical approach but more a question of what the position of the company in the market is in relation to its competitors. He marks that the role of branding has changed massively since the last decades. Identity is not only the expression of personality but also means that you as a brand present yourself how you want to be seen by the consumer. The dynamic branding approach makes sense for brands which have a wide range of products or services and therefore have some difficulties to combine them with each other. The core of a dynamic brand is to have a strong presence and strong associations at numerous touchpoints. The static presentation of large corporations tends to be less likeable than showing vitality, creativity, innovation and diversity. In earlier times, the motto was “Don’t stretch the brand too much”, but there is not a rule for everything. Fuisz highlights that accessibility, fast pace and new challenges are some keywords for current issues in branding.
Bringing the brand on stage
Talking about the various touchpoints of a brand identity, Fuisz points out a few core dimensions where aesthetics become visible: Digital staging, simple user interfaces with usability at the top, spatial staging including rhythm, or the classical print sector, exemplarily talking about coffee cups. Campaigning for him has to dock on the brand values but has slightly different aspects in brand management. Fuisz summarises: ‘Campaigning is spotty, identity lasts’.
Fuisz approves the concept of taking interaction as the basis for brand identity development. Consumers are only interested in touchpoints, not in the system behind them. Identity gives safety, orientation and communicates something special. 70 % of human perception happens through the eye, 90 % or more through the subconscious. The majority of decisions therefore is taken with gut feeling, and the question is ‘how to put the brand on stage and how to create touchpoints’. Identity also is ‘how I understand my product’, ‘what do I feel when I get in touch with it’ and ‘how do I stage my personality’. For Fuisz, a flexible design system for a brand identity can make values like vitality, freshness, flexibility or fun visible more easily. It is also a must to make “The way we do it” understandable.
Talking about the inclusion of the consumer in the application of a brand identity, Fuisz has a sceptical view on the idea of letting everybody influence the design. For him, it is a question of personal and financial resources for a roll-out of such a collaborative system because there is a range of numerous and complex dimensions to be considered. × 188
The summaries and quotations within this expert input refer to the personal interview with Fuisz, 2013, and are not referenced separately except for the ‘facts’ and ‘introduction’ sections or where else noted. moodley brand identity, 2010 a, b moodley brand identity, 2012
Flexible vs. straight brands
Leading over to the role of the designer, Fuisz points out that the important thing is to find out what the possibilities are to stage the brand and then to realise it technically. But there are, of course, good reasons to create straight brands. It is a huge mistake to do something generative or flexible at the wrong place. At the point of sale, the consumer takes decisions within seconds and if you put flexibility into package design, this may have enormous consequences. The same takes effect in orientation systems where visual codes help to find the way. Becoming more playful, more movable or more lively does not exclusively require a flexible or generative approach, the problem or the challenge itself determines the decision for or against a flexible system. Brand managers and decision makers realise this and in the digital context it is easier then in the print era because the technological development plays along.
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“The way we do it”
Daniel Frei, daniel frei. kommunikation 191 Facts
Daniel Frei Founder, Consultant and Coach daniel frei. kommunikation Pflanzschulstrasse 89, 8004 Zürich, CH Communication and PR consultancy 192 www.danielfrei.ch
Daniel Frei gives input on dynamic branding from the view of a communication and PR consultant. Running his own consultancy, daniel frei. kommunikation, he helps creative entrepreneurs to improve their strategy in interpersonal communication, public relations and marketing.193 It was interesting to get insights from a non-design perspective. Frei’s direct and forthright statements brought essential points to the front. Randomness and replaceability
Fig. 324: Daniel Frei
Fig. 325: daniel frei. kommunikation logo
While going through the case studies as the introduction, Frei sums up the first fact: Dynamic identities do not fit to every brand or institution. The appropriate approach of target groups is essential. To take the example of Swisscom, this brand has to approach a wide part of Switzerland’s population but this if often too much (see the Swisscom case study on p. 58 f.). AOL is a dying brand, nobody is interested in keeping the brand alive. The content is the most important essence but nobody needs AOL (see the AOL case study on p. 26 f.). Frei brings up the problem of randomness of brands and thinks that there is no need for more dynamic brands because a brand rises with its emotional charge. The number of producers and service providers is larger than in earlier times and a lot of brands are replaceable. It seems that there are more designers who want to fulfil themselves with creating a dynamic brand. The main question always is: What is the promise? What is the core of the brand? The brand product is a constant promise. It does not matter where or when you buy the brand, it is always 100 % the same.
Frei mentions Coca-Cola as a perfect example for a brand with a constant promise and that the trend exactly leads to the contrary of what a brand actually is about: ‘I adapt to the surrounding, the perception, the point in time’. A lot of dynamic brands lose touch to the contents of the brand. If the core value is stability and giving orientation, it is advisable to stand back from movement. To define the message of the brand is the task of the client, the designer delivers the appropriate solution for the touchpoints. Design is the product of positioning and the designer visually works out the differentiation of the brand. Agency of the future
For Frei, there are two main ambitions to be forwarded: First, the agency of the future needs to have a strong consultancy unit that carries out analyses and tries to solve problems on paper, including suitable solutions across all disciplines and instruments. Second, it needs to have a varied set of highly specialised freelancers for the various implementation points. × 191
The summaries and quotations within this expert input refer to the personal interview with Frei, 2013 a, and are not referenced separately except for the ‘facts’ and ‘introduction’ sections or where else noted. Frei, 2013 b Frei, 2013 b
Facts Felix Widmaier Head of Creation Namics AG Bederstrasse 1, 8020 Zürich, CH Digital agency 195 www.namics.com
Fig. 326: Felix Widmaier
Collaborative development for creative processes
Widmaier sees some difficulties in the creation of a dynamic brand because the main task of a corporate design is to be recognisable and to ensure a differentiation from the competitors. He highlights the Swisscom identity as a very good result for a dynamic branding because it opens a huge playing area without mysterious rules to be strictly followed and also sees an advantage for Swisscom in having a very open brand management (see the Swisscom case study on p. 58 f.). A brand management is not here to narrow but to design good communication. The traditional corporate design manuals will still be around for a bit but for Widmaier, it is necessary turn away from strict manuals. ‘Who knows what devices will be here tomorrow?’ Especially in digital applications, rules and guidelines produce massive and expensive problems because they are not even considered to be implemented in digital media in a lot of cases. The motto should be ‘easy instead of complicated’. The task is to provide a simple tool box including colours, typefaces and shapes, with one easy principle.
Design has to remain professional
Talking about consumer participation, Widmaier cites fashion designer Karl Lagerfeld who said that ‘design is not democratic’. A good, sharp corporate design always demands to involve a small number of creatives – in the sense of the proverb ‘too many cooks spoil the broth’. The main question regarding the aspect of participation is ‘how the brand interacts with its target groups’. ‘Is it a brand that questions, a brand that is open for dialogue?’ In some cases this can be an expression of service and communicates closeness and sympathy. Seamless brand experience
The technological development makes it necessary to see the brand as reachable from anywhere, anytime and with any device. Widmaier thinks that the mix of television and web will receive a greater demand in the future. Important is a seamless brand experience with distinctiveness as a constant. × 194
Fig. 327: Namics logo
Felix Widmaier, Head of Creation at Namics, shares his thoughts about dynamic branding with focus on digital products. Namics is a creative agency and IT services studio working for clients like ABB, AMAG, Viessmann, Raiffeisen, Helvetia and Migros.196
More important than manuals is the question of ‘how can I manage to make a medium unique’. There rather have to be elements, definitions of elements or ‘design principles’. It is mandatory to document processes and to open a collaborative development. Benchmarks need to be provided to the people working with the brand. A major advantage of a dynamic brand can be the permanent improvement and changing. To start with the logo on stationery is the wrong way. To think in touchpoints, where the consumer actually gets in contact with the brand, is more effective and leads to better success.
The summaries and quotations within this expert input refer to the personal interview with Widmaier, 2013, and are not referenced separately except for the ‘facts’ and ‘introduction’ sections or where else noted. Namics, 2012 a, b Namics, 2012 b
Expert Inputs × Generating Knowledge
Felix Widmaier, Namics 194
Marco Spitzar, spitzar | strategische kommunikation 197 Facts
The communication framework
Marco Spitzar Founder and Managing Creative Director spitzar | strategische kommunikation Hintere Achmühlerstr. 1, 6850 Dornbirn, A Communication agency 198 www.spitzar.com
Marco Spitzar, Founder and Managing Creative Director of spitzar | strategische kommunikation, provides an insightful input with a range of new aspects for branding. The agency focuses on integrated communication strategies and works in fields like branding, corporate design, corporate communication, corporate publishing and interactive solutions for clients like Raiffeisenbank Im Rheintal, Hypo Landesbank Vorarlberg, Vorarlberger Landestheater, Lufthansa Seeheim, Leica Geosystems, Brauerei Frastanzer and various touristic clients.199
Leading over to Spitzar’s definition of dynamic identities, he thinks that the main challenge is to find out which special solutions can be realised and how can things be applied differently. We are in a very strict and conservative communication framework with so much elements learnt, with a lot of experience and business, but the majority of possibilities gets lost within this framework. The challenge now is to find out how we can win the public space, the space outside. There are many rules; it is not about the recreation of things which already are available and claimed by authorities. It now is the question of ‘how do I approach individuals, how do I convince them that I am able to find new ways for communication, and which possibilities do we generally have.’
Bringing identity forward Fig. 328: Marco Spitzar
Fig. 329: spitzar logo
For Spitzar, it is not only a case of the implementation of a dynamic identity in print but also in space. ‘How do you express your identity?’ There are differences between the initial idea, the development or the design and the final implementation. The main issue is: ‘How can I bring my identity to reality and how can I constantly bring it forward?’ In relation to the case studies in this study, he sees his and the studio’s approach in a different direction. He works with brand worlds, with a brand box including various products, concepts, media and sensory worlds illustrating the brand. Every medium has its own strength of expression. Spitzar points out the following example in a cultural context: ‘Which appeal has a poster at traditional EPAMEDIA200 poster walls and what appeal has a poster application which is painted on a wall of a house?’ It is crucial to discover different machineries of power and different ways of communication because it massively depends on physical perception.
Design and architecture teaming up
Spitzar goes into detail when talking about the desirable collaboration of design and architecture, opening up an interesting problem: ‘How can design and architecture join forces?’ Architects ensure the visibility, support the communication of the brand core through architecture, but there is too little willingness in the architecture sector. For Spitzar, there are some examples of graphic designers contributing to the tasks of an architecture project or communication agencies even taking over the lead function withn spatial projects. A different understanding of communication
He also brings up his definition of dynamising identities: It means to move away from traditional advertising types and to define down the terminology of ‘dynamic’. With his personal background in sculpting, Spitzar claims that he has a slightly different understanding of communication and is massively interested in interfaces that do not have priority in design. Cultural influences work in a completely different way. The goal has to be to figure out how communication happens in general and how we as individuals communicate with each other.
It also should be considered in which way we can flexibilise something. ‘We do too much of design’. For Spitzar, it is time to break up the current importance of design respectively the strong design focus in the communication sector. Design fuels wrong expectations, pushes wrong developments and creates wrong images. Communication is also about deciding wether something is designed or not. Design often blocks the communication of topics or contents. The next goal is a more efficient distribution of contents and this makes something dynamic. Instead of strictly following static brand philosophies or exclusively focusing on logo design, it is more important to put away the brand thinking amd to bring the contents into focus. ‘The core values are often more essential than the recognisability of a brand’. We need to get to know cultural diversity better in order to be able to appreciate and respect it. Spitzar sees the way of how people in foreign countries handle basic interpersonal communication as a major impulse for an inspiring further development in branding. Multi-sensory identity
Sounds and noises can be as important as visual impulses, one-sided impulses like the focus on sight do not have a benefit; additional impulses are needed to generate new approaches to things or contents. Identity does not only take place in the visual world. Of course, the visual aspect provides an intense impulse and needs to be taken seriously but this aspect is often not the only one and even not the best impulse. Identity happens in the content-related context, in history of a brand, in environments etc. Spitzar brings up two central questions: ‘What is identity? Where does one come from?’ The problem is that we strictly move in this world of advertising and it is time to move out of this presented world of communication.
The expert inputs help a lot to broaden the perspective of branding issues in general. Inspirational talks with professionals with different backgrounds make the topic more understandable. It is interesting to see different definitions of branding and what creating a brand actually means for the company. One key fact can be pointed out: A living brand needs to have the character of a human being. It has a certain unique personality. All other solutions and applications derives from this brand personality, providing something which has a meaning and an added value for the consumer. Strict design manuals do not live up to the changing environments and context a brand is faced in this world. If the definition of the brand is lively, the look and the design of the brand has to be lively as well, always with a reasonable strategic foundation. It is obvious that a dynamic visual identity may help to showcase a brand as a vivid, creative and diverse organism which adapts to new developments and also lets the consumer to join an interactive discussion with the brand. Together with the case studies, the findings of the expert inputs provide the foundation of the description of the essence of this study. Several keywords highlight the main points, serving as impulses and the basis for further discussion. The essence also summarises the most important facts of this study in a few bold words. ×
198 199 200
The summaries and quotations within this expert input refer to the personal interview with Spitzar, 2013, and are not referenced separately except for the ‘facts’ and ‘introduction’ sections or where else noted. Spitzar & Kreibich, 2013 a, b Spitzar & Kreibich, 2013 a EPAMEDIA is an austrian public space advertising specialist
Expert Inputs × Generating Knowledge
Conclusion and Next Steps
Generating Transferring Knowledge Knowledge
What are the crystallised key aspects of flexible design systems for visual identities? Why are they put together as a manifesto? Why is an iPad publication released to support the manifesto? This chapter points out the essence of the study and shows how the outcome is made available for involved professionals. Ă—
1 Essence On the following pages, the key points of the study are arranged to a set of 15 bold keywords, all supported with short descriptions. These keywords represent the essence and serve as impulses for people involved in branding processes. In further consequence, the essence initiates the concept of the manifesto which is one piece of the practical part complementing this study. The reflection of the manifesto and the digital publication as the second piece is summarised later on. The essence is in alphabetical order to prevent inappropriate contentual weighting.
Dynamic Brands are accessible. In times of strong connection in our digital worlds, a brand needs to be available and reachable for their consumers from any place in the world, at any time and with any device. The emotional communication of contents with the help of stories also makes a brand approachable. Communication on equal terms allow a friendly environment for dialogue.
Dynamic brands are consistent. Visual consistency has been the mantra in branding for decades. Today, brand have to be consistent in their values and attitudes, not exclusively in their look. Brands aim for a positive, seamless experience at any point the consumer gets in touch with them and their offer. Consistency does not take place in strict design manuals but rather in the provision of a core theme or simple design principle.
Dynamic brands are adaptable. As new developments come along, an identity needs to be easily adaptable to new contexts, environments and conditions. The identity system gives edges but yet allows to play within these edges, leaving enough space for the adaption to new touchpoints or media. Brands have to behave according to where they are, what they are doing and what consumers are doing around them.
Dynamic brands are expandable. As the world is changeable, a flexible design system needs to be able to change its dimensions in any direction. Expanding the system within the touchpoints or applying the visual identity within new contexts demands a brand that is able to bend and stretch. Experienceable
Dynamic brands are authentic. It makes sense to define a brand as living, movable and transforming if they actually try to be an active part in this changing world and if they position themselves as organisms which interact with consumers. Seeing a brand as a human being help to define behaviours and make a brand emotionally tangible, stories communicate credible messages of the brand. Coherent
Dynamic brands are coherent. A brand needs to have a strong content-related core to thrive in our world. Stories tell the message of a brand in different ways but still ensure the coherent communication of the contents of the brand. It is also about being faithful of what brands want them to be.
Dynamic brands are experienceable. A brand needs to have a strong presence and strong associations at any touchpoint. The brand behaviour generates the ability for a brand to be experienced by the consumer. Interactive approaches let the consumer to experience a brand and therefore positively load the brand. Expressive
Dynamic brands are expressive. Flexible design systems for visual identities leave enough space for creative expression in any type of media and at any touchpoint. Including business reality in the visual representation makes brands more meaningful. The claim is to show how a brand wants to be seen.
Dynamic brands are holistic. The focus on sight as the main sense for brand identities is still very present. Nevertheless, defining a brand personality instead of creating design rule after design rule makes a range of applications in any context or media possible. Seeing the brand as not just the logo but as a living organism in a living world leads to an integral, holistic identity concept. It is necessary to think in touchpoints and relationships to the consumers.
Dynamic brands are sensory. Brands do not have to only focus on sight as the main sense but also need to focus on hearing, taste, smell and touch to create integral, emotional brand experiences. Brand sounds, fragrances or tactile environments provide stronger connections between a brand and the consumer. These identity assets trigger the memory of the brand.
The keywords sketch out the current issues in branding with living brand identity definitons and flexible design systems. If a dynamic approach is used, it has to follow a strategic foundation in any case. A contemporary brand identity appeals to all senses, involves the consumer in a very emotional way with the help of simple, understandable and reasonable but yet striking stories which communicate the brand values, contents and message.
Dynamic brands are strategic. The decision for or against a flexible design system for a visual identity always comes out of a clear message and follows concrete objectives. If the brand should be seen and experienced as dynamic, movable and ready for the future, the choice for a dynamic visual identity is obvious. The initial point needs to be the definition of the brand identity as a living identity in all forms of the brandâ€™s being and behaviour. A brand is the visualisation of the strategy and centres around a concrete promise.
Dynamic brands are inconsistent. Intentional inconcistency derives from the characteristics and behaviour of a brand which can change or transform, according the certain situations and contexts. While the brand is consistent in values and attitudes, the visual expression is creative and the behaviour changing according to the context. Interactive
Dynamic brands are interactive. In this fast-moving, digital world, a brand has to provide spaces for easy interaction between brand and consumer. The aim is to inspire a conversation between brand and consumers rather than shouting at then and not letting them to connect and collaborate. Manageable
Dynamic brands are manageable. Complicated and reglemented design systems do not fulfil the task of providing a flexible tool box for creating a vibrant identity. Few basic rules and an open brand management are important to provide the environment to flexibly apply the representation of the brand personality to various touchpoints. Traditional corporate design manuals keep the boundaries narrow and sometimes obstruct new developments.
Dynamic brands are sustainable. The objective of a brand needs to develop longer relationships with its consumers, generating a higher involvement and commitment to the brand and its values. This also makes the brand authentic relevant for consumers. In constrast to advertising and campaigning, brand identity is a durable, permanent basis for the activities of brand.
3 Digital Publication
To bring the 15 keywords to distribution, the first piece of the practical part is a manifesto in form of a large-scale roll-up poster. It contains the set of keywords as well as the according descriptions.
The second piece of the practical part is a multimedia publication which is available for the iPad. The application consists of the case studies in this study, supported by multimedia material like brand films or identity videos as well as additional image material. ‘Six Questions to Consider’ at the end trigger the further discussion.
A manifesto is an effective way to communicate ideas and concepts. Its concise and compact character allows to share the essence of this study. Following Bill Sermon’s statement “Branding is like a political movement, not a military operation” 1, the manifesto takes up a core function: create awareness for the topic in a clear form.
The multimedia and interactive character of the topic demands a digital environment to distribute the content, also to include updates in both content and design. Core of the publication is the description and visualisation of the six categories of the ‘Flexible Design Systems’ model. Nevertheless, it has to be seen as an attempt to classify the cases to one category, deciding which system used in the visual identity is the key system.
Fig. 330: Manifesto
The design is simple, functional and brings the core issues into the centre of attention. The manifesto is easily reproducible, easy to transport and also easy to distrubute. × 201
Moving Brands, 2010, p. 15
Fig. 331: Digital Publication
The publication is still in a prototype mode at the and steadily developed. An evaluation phase – in cooperation with Namics (see the expert input with Felix Widmaier on p. 79) – after graduation will improve the initial concept and design, also to include the user’s feedback received during the diploma exhibition. The steady work process is documented in the project blog, currently available at www.dynamicbranding.info. Both manifesto and digital publication are not described in detail in this study, due to the fact that the two products will be published in a revised and extended version at a later time in 2013. ×
4 Outlook The vibrant topic of dynamic branding demands a steady discussion. The soonto-be-launched web platform www. dynamicbranding.info will serve as an interactive site for branding, flexibility in visual identities and evolving brands and will be supported by the study-related Facebook platform ( www.facebook. com/DynamicBrandingMA ). MA Case Studies (2nd set) Expert Inputs (2nd set) Digital Publication (full version) Website Lectures Fig. 332: Continuation after MA completion
A new edition of the expert inputs and further case studies extend the current material. Among others, following experts will provide their thoughts: Marco Spies think moto Berlin, D www.thinkmoto.de Cedric Kiefer onformative Berlin, D www.onformative.de
A number of short lectures at design schools and creative agencies allow to actively communicate the contents of the project to a large audience who take an interest in the topic. Among others, the lectures are expected to take place at the following institutions and studios: FH JOANNEUM Information Design programme Graz, A www.fh-joanneum.at spitzar | strategische kommunikation Unit Communication Dornbirn, A www.spitzar.com
The continuation of the project after finishing the academic programme partly derives from a massive delay in the research and work process. The current status in this study is a snaphot comprised in thesis, manifesto and digital publication. But, as the topic lives and evolves, the contents of the project are constantly expanded, continuing the crystallisation contemporary thinking in branding. ×
Nico Wüst Strichpunkt Design Stuttgart, D www.strichpunkt-design.de Irene Van Nes Ireneontwerp Utrecht, NL www.ireneontwerp.nl
In further consequence, an optimised and extended digital publication will be available in the Apple iPad App Store for download. The publication additionally will feature a video input by Geoff Linsell of Moving Brands (see the expert input on p. 70).
The field of dynamic branding has a promising future
Dynamic branding is a discipline with enormous potential. Most of the already realised dynamic visual identities only use low degrees of flexibility respectively rather mix static and variable elements within certain identity assets. The very positive feedback about the topic shows that it has a strong relevance in the business reality of design and communication agencies. The fast technological improvements and developments demand an aware debate on dynamic identities for brands, considering brands as living organisms and within a living environment, both in their markets and in relationships with their consumers. Flexible design systems and a living identity definiton
Six types of flexible design systems allow the classification of design typologies within a dynamic design system. They help to break down the identity components, like typography, colour or graphic elements, into various levels. Nevertheless, the model has to be seen as a proposal, more or less a supportive concept. When analysing concrete cases of dynamic visual identities, the extreme logo-centrism in brand identities becomes obvious. Many identity or design concepts do not consider every single identity element as actual lively or at least very important parts of the identity. The task is to be ready for change, both as a brand and as a design or communication agency. This does not mean to incorporate dynamic solutions in every identity. It means to define brands, it does not matter whether they use flexible design systems or not, as transforming, interactive constructs with different ways to get in touch with the consumer and with different characteristics of relationships to the consumer.
Recognisability is essential
The future is exciting
Whether an identity is static or dynamic, it always has to be recognisable and it has to be able to be assigned to a certain brand or product. This does not mean to ensure that the visual appearance of a brand strictly is consistent within all its elements. It means to be consistent in values and attitudes to generate a positive brand experience for the consumer at any touchpoint.
Although this study only can be a snapshot of a field which is extremely wide and complex in some cases, it is a good basis to take the discussion about contemporary and dynamic branding further, and actually to provide a theoretical foundation.
Space for creative expression
A flexible design system makes a better content-related, target-group-specific or product-led communication and interaction possible. Main advantage of a dynamic identity in comparison to a static identity is the space it provides to creatively express the values, the character or the message of a brand throughout any channel. The integral concept allows to easily adapt design assets to touchpoints and media, also to improve the design quality with the help of new technologies. Innovation
Sharing current thinking about branding will be the necessary for the future. Many approaches and perspectives generate a sphere of knowledge which has to be actively used and improved. The rising awareness of flexible design systems for visual identities is massively supported with this study: It points out the key branding aspects when incorporating flexible elements. The innovative character of dynamic identities has to be taken seriously: Modern business needs to be innovative, evolving and vivid, just as the environment a brand is part of.
Generally, branding needs a mind change. Rules or strict guidelines are not relevant in this world anymore: New devices or media appear, brands are faced with new challenges. The task now is to provide rough boundaries for an identity, but also to allow to play within these boundaries as well as to seamlessly expand and scale them if and when necessary. If a brand identity is defined as living, thriving and evolving, the resulting design system tends to incorporate the same characteristics. The world changes, so should brands too. Ă—
93 Generating Knowledge Appendix
Transcriptions of Expert Inputs The following transcriptions are abrigded versions of the expert inputs in this study, recorded in English or German at the according locations. Apologies for any spelling or typing mistakes; these are careless mistakes. × Geoff Linsell Moving Brands Zwickystrasse 3, 8304 Wallisellen, CH 7 November, 2012, 17:15–19:00
[Intro, Project Infos] Nokia, inject life and lust into company, powerful, strong: whole point, 7 things, understand market better, segmentation exercise: much clearer picture who they were selling to, who is buying the Nokia 5110, Do we have types of costumers? From productled to “we have 5 types of costumers who are really good to sell to”, what kind of phone should we be building to sell to category 1? different way of development team at Nokia think, what does the costumer? what does the costumer want to do tomorrow? what product do you have to give them? much more marketing approach than engineering approach, chance for Moving Brands to become global lead agency, Nokia brand with emotional relevance, aimed at categories of costumers, “Creating the flavours of Nokia”, “Master Brand”, part of personality, use possessions to show personality, phone as status symbol, brand strategy, “Connecting People”, 1991: one person talking to another person, 2004/05: many-to-many communication, Nokia colours: blue, green, white, Nokia typeface, simplest set of guidelines, no tool for start to create expression, brand which live and thrive in a digital world, trying to pin down/document behaviors. How would a person be in the world? Way getting client and creative team to collaborate, coming up with something which is coherent. If you are angry you will behave in a certain way, if you are happy you will behave in a certain way, different ways, live in the same world but different people, familiar with describing personalities, What’s the type of personality and how does it behave? Connect definitions, multi-sensorial identity, sound, movement, tonality of speaking, graceful, fluid, seamless, quiet, tool case, Master Brand, Baby Systems, generative identity, Identity
Generator: software programme, Nokia Film: cloud, sense of a cloud of stuff, “before the cloud was even invented”, moving version, colourful in flavours, spare in the master brand. “It’s all about end-use”, Swisscom: link the movement with an external driver, at 6pm: 80% capacity of the network, too many people trying to use, projection of the Swisscom logo into the reception of the Swisscom tower, way of saying “business reality can drive a visual representation of your identity”, stock exchange, feed in, more meaningful, logo starts to represent business activity, Swisscom: soundresponsive mark, monitoring noise, so much potential. “ever-living, dynamic”, standing for something, having a meaning, know boundaries, “it can be as playful as you want but you need to know how the boundaries are”, a space to make a creative representation, you have something to tie up to, faithful of what you want the brand to be, assets are in service from the beginning, potential to be even more expressive, giving some recognisable things, basic rules, role of identity to play, if your are expressive, if the identity is playful, anchored, differentiate one organisation/brand/ product from another, that’s where sometimes creativity gets lost, “one can get carried away in the beauty of creation and the possibilities of creation”, it steps too far away from the job it has to do in a commercial world which is to signpost what something stands for and who something is”. “When you are creating a system, you also have to leave enough room in it for creative expression”, multi-sensorial identities since 2000, Swiss companies/germanic companies like rules and definition, like things to be precise, lots of sectors, in today’s world which is now incredibly broad, a lot of platforms you can live on, you gotta leave enough room for your creative partners to express themselves in a way which is broad enough and creative enough, a lot of people want to be controlling, “rule for this, rule for that”, “if you’re on television, it has to look like this”, “see-change”, allow a broad expression, “you give edges to the identity but you allow people to play within the edges rather than giving them a solution and telling them that they have to do it like this”, branding world: “logo police”, lots of control has been pushed in the mechanism, “we are brand team, we 94
are in charge, we tell you how to use this brand, and we will define it for you”, guideline and it can’t go outside of that, then it becomes inconsistent, consistency and inconsistency are interesting things to think about, when is something not consistent, how much inconsistency can you allow, clients are struggling with it, it not only a case of how an identity needs to be built to be expressive, how much can it flex and change in that world, how broad does the system need to be, lives in the real world, starts to face challenges that weren’t social at the beginning, “capturing a moment in time”, 18 months later someone invented something called iPad, how knew?, the iPad allows you to be different, what does the brand do in the context of the iPad in order to maximise the potential opportunity given by that device?, create a solution for iPad: it could be inconsistent with what you had originally said two years previous, need to be mindful that the world is changeable, “the rules are still being made up as we go along”, you can’t say 60% of inconsistency is allowed, interesting to get views/feelings, it’s a danger but also a freedom which is necessary, “off-the-moment” topic, quite a lot of thinking but not yet crystalized. Another point: sound, film, employer engagement. Basic elements: brand knowing itself really well, personality, behaviour, ways to capture and help the creative process, “what is the rock around which the brand needs to revolve”, you need a story at the heart of the brand, verbal story, work out why that brand exists and what makes it different, 7.5 out of 10: we make money for our shareholders, business type answers, brand story at the beginning, key components for the journey, 1. brand story, 2. personality, 3. behaviour, hardest part: get brand story defined, page of text, half a page of text, depends on how complex it has to be, reference points, value to come forward, in order to give permission to flexing out, think about where you are flexing from, how do you give a starting point?, Swissair are different from Lufthansa, how do you capture that difference?, take the difference and express it visually, own design language, experience language, uniforms that are part of the experience, but what is it that makes it appropriate and how does Swiss know it’s appropriate to give you a bar of chocolate when you fly?, why should
that cabin attendant wear that outfit?, why should the check-in desk look like that?, why should the experience on the website when you try to book a ticket, why should it be like that?, advertising in the airport, press, on television, on the internet, why does it talk to you? where is it coming from? is there an ideal mechanism? pictures of a glowing thing, this is the essence of Swiss, piece of radioactive material which is the brand, what do you do to this radioactive material in two years when airplanes have to be powered by wheat juice instead of petrol, how will it change? film: storytelling, good way of capturing ideas. Barclay Card: static brand with strange globe mark, job to give that mark life. × Daniel Severin Swisscom Hardturmstrasse 3, 8005 Zürich, CH 13 December 2012, 13:00–15:00
[Intro, Daniel’s CV, Tasks at Swisscom] Polygraph, typografischer Gestalter, bluewin, Corporate-Design-Mensch, Brand Manager, während Rebranding Wechsel zu Swisscom, Brand Team, Großteil ist Markenstrategie, Übersetzung an allen Touchpoints, Kommunikation ist kleiner Teil davon, 5 Jahre neue Marke, Aufbau des Brand Centres, Pitchprozess: Design Support, einziger Designer im Team, interdisziplinäres Team. [Historical Overview, Company Development (in excerpts)] 1997: Geburtsstunde der modernen Swisscom, Privatisierung, Aufstellung nach Business-Lines, Fixnet/Mobile/bluewin, radikale Änderung in 2007/2008, Shift von Telekommunikation/IT zu Media/Entertainment, neue Unternehmensstrategie, neues Leitbild, neues CI/CD, komplette Neuorganisation von Swisscom, CD war sehr printorientiert, Moving Brands: einfaches Konzept, analog/hard (analoge Datensignale) zu IP/soft (ständige Verbindung), Vorschlag für ein dynamisches Element, das sich permanent bewegt, IP-based visual, Programm zur Visualisierung des Datenverkehrs zwischen der Swisscom und den Kunden, kundenorientiert: muss sich visuell bewegen, Durchleuchtung der Swisscom aus CD-/CI-Sicht, Swiss Brands, Farbanalyse, kreative
Positionierung, Key Drives als Basis für die CI: Einheit, Kundenfokus, Tradition, Emotion, Offenheit, Glaubwürdigkeit. Swisscom ist offen, transparent, dynamisch, vorne dran was Technologie anbelangt, der Kunde im Zentrum, nah. Neueste CI-Grundlagen auf einem OnePager, lebendige Identität, permanente Anpassung als Dienstleister, One-BrandStrategie, 16-jähriger Mobile-Kunde auf dem Openair und 60-jähriger Großkunde oder Bank, breite Fläche von Touchpoints, zuerst eine lebendige Markendefinition, daraus resultiert eine dynamische CI, es gibt Firmen, die von der Marke statisch unterwegs sind, aber eine dynamische CI haben, ein dynamisches CD-Konzept, das eine ist aber Corporate Design im klassischen Sinn, das andere eine dynamische Marke, Swisscom ist ein lebendiges Gebilde, das verschiedene Sprachen, verschiedene Kulturen prägen, verschiedene Touchpoints hat, verschiedene Leute anspricht und sich auch inhaltlich ändern kann. Vier Begriffe: Einheit, Nähe, Einfachheit, Offenheit. Kundenorientierung: radikaler Wechsel, Mind Change war wichtig, Kundenfokus anstatt Sales-getriebene Art, Lead-Position in Technologie und Innovation, vom Technologie-Provider zum Time-Player, von der Ingenieurmentalität zur Service-Orientierung, von der statischen Identität zu einer flexiblen, dynamischen Identität, von Lines-Business zu One Brand, von rational zu rational und emotional, Versprechen: vertrauenswürdigster Begleiter in der digitalen Welt, Walk-to-Talk, was versprichst du dem Kunden und was haltest du?, du gibst dem Kunden ein Versprechen, du baust eine Erwartungshaltung auf, die der Kunde hat und du musst aber auch das wiederum einlösen. Marke greift über alles hinein, “Promise and Prove”, drei Bereiche: was machst du als Firma,was für Attribute setzt du deinem Versprechen hinzu, die dich einzigartig machen, und schlussendlich mit dem Versprechen die Erwartungshaltung generieren und einzulösen. Wer bist du? Wer bist du?, das in die Köpfe der Leute bringen, dort entsteht erst die Marke, “Perception is Reality”, breit abgestützte Marke, konsistentes Markenerlebnis, Brand Management: Reliability, Authenticity, Consistency, nicht visuelle Konsistenz, sondern inhaltliche Konsistenz, Mission Statement/Leitbild, Positionierung, was versprechen wir, 95
schlussendlich CI-Definition, unser Brand ist an hunderten Touchpoints definiert und so richten wir auch das Brand Management aus, es gibt kein Lehrbuch für dynamische Markenführung, was braucht es an strategischem Grundmaterial und was braucht es für die Markendefintion, vier Quadranten: Marketing/Kommunikation, Produkt, Verkauf, Service; klassische Kommunikation, One-to-One, Sponsoring, Events, Web, Social Media, Apps; TV-Bereich, Wireline, Wireless, Pricing; B2B-Infrastruktur, POS, Kundenberatung, B2BSales; Bedienungsanleitungen, Selfcare, Bezahlung, Rechnung, Kundencenter, technischer Support, Hotline, physische Präsenz von Service-Leuten, Fremdmedien, PR. Ziel: positives Markenerlebnis an allen Touchpoints, Marke ist stark, wenn alle Erlebnisse konsistent sind, 4,8 Mrd. CHF Markenwert, 99,8 % Awareness in der Schweiz, der Kunde sieht uns. Definition der Marke als Person, Swisscom als Person klug, smart, authentisch, energievoll und inspirierend ist, ambitioniert, verantwortungsbewusst, schaut neugierig in die Welt hinaus, und strahlt unaufdringliches Selbstbewusstsein aus, als Understatement, Diagramm der Markenpersönlichkeit, Kontrapunkte, konzeptive Grundlage, Beispiel Form: Swisscom-Stuhl, Beschaffenheit, mehrschichtig, transparent, Skala ist variabel, Mikro/Makro, Kontrapunkt, Achse und formbar, gerader Rücken und bewegliche Sitzflächen, ehrliches Material, natürlich, facettenreich, Edelstahl, beständig, Holz, mit Filz oder weiches Leder, auf Stil aufbauen. Im Corporate Design ist die Life Form das zentralste Element. Ausgangspunkt waren die vier Grundbegriffe Oneness, Closeness, Simplicity, Opennes, Definition der DNA, dann CD-Konzept, dann Corporate Design. Früher DNA, heute Markenpersönlichkeit, und dann das Designkonzept, Visualisierung als Moodfilm mit Metaphern, mit denen wir die DNA und die Designmap visualisieren. Film war Briefing für Designer, kreative Idee: alle Swisscom-Aktivitäten spielen um eine Achse herum, Visualisierung vom IPbasierten Dialog, One Brand, alle Services bewegen sich um den Backbone, um das Netz herum, Kontrapunkt zwischen Herkunft und Zukunft, zwischen Achse von Dynamik und Statik. Workshops mit Swisscom-Team, zuerst viel bewegter, viel flächiger, dann aber klarere Form,
Life Form kippt nie. Versprechen auch nach innen: Wir bewegen uns. Abbildung so oft wie möglich dynamisch. [Formale Spielerei? Grenzen?] Schlussendlich formale Spielerei, aber auch einer klarer Aussage heraus, eigentlich eine Visualisierung der Strategie, aus CD-Sicht: es bewegt sich immer. Am Anfang noch keine Apps, eigentlich keine Grenzen, CD baut aber auf dem auf, einerseits Typografie, Schriftdefinition, Life Forms, Farbdefinitionen, Piktogramme, Bildwelten, alles nicht sehr komplex, drei Ansichten, aus Distanz: Logo von einer Seite, Crops: Ausschnitte aus der dynamischen Life Form, die wir in die die statische Welt übernehmen, Mittendrin: Verläufe. “Scale of Expression”, von weiter weg zu näher hin, vier Hauptfarben: Rot, Weiß, Blau, Navy, plus Supportfarben, nicht nur eine Hauptfarbe sondern vier, je nach Richtung, in die man gehen will. Bildwelt: “In The Moment At Your Side”, keine Kombination von Bildern mit Life Form, wir geben kein visuelles Merkmal vor sondern inhaltliches, Herausnähme des Produktes, Schrift: Thesis Sans, Light bis Extra Bold, spielt keine Rolle. Je größer, desto feiner, Möglichkeit der Serif, wir setzen die Thesis überall ein, super lesbar, passt gut zum Designkonzept, einerseits sehr solide, aber dynamisch genug, passt sich sehr gut an, blockartige Aufbauten im Layout, Mikrotypografie ist zentral, Linie als Designelement, 10x10-Raster, Konsistenz findet nicht in CD-Manuals statt, “Form Follows strategy”, wenn wir keine Elemente definieren, kann man auch innerhalb der Aussage Gewichten, Brand Centre: “Platform for Creativity”, Corporate Fashion, Openair, SwissskiRennanzüge, Give-away: Chocolatier, durch Erscheinungsbild-Definiton ist es auch möglich, eine Schokolade zu entwickeln, aus Markenführungssicht darf man nicht in ein CD-Silo hineindenken, sondern man muss die Marke ganzheitlich anschauen, Basis-Guidelines sind nur noch wenig vorhanden, alte Marke war eine Kommunikationsmarke, schwierig, sich von alten Dogmen abzuwenden, und einfach zu sagen, Guidelines gibt es keine, es gibt nur das Konzept, viele sehen es immer noch so: Marke ist Logo, Marke ist Kommunikation, Werbung, [Prozess, Entwicklung in eine Richtung?] Mind Change muss stattfinden, auch bei einem selbst, CD-Polizist, Mind Change braucht Zeit, Verständnis der
dynamischen Marke war relativ schnell klar, auch bei Geschäftsleitung muss es verstehen, es gab noch keine Benchmarks für dynamische Marken, Strategie im Hintergrund, man muss die Konsequenzen kennen, dynamisches Corporate Design: es braucht jemand dafür, Designverständnis intern, warum hat man das? Wie wird es geführt? Weniger Guidelines, weniger Gestaltungspläne, dafür klare Definition, wie die dynamische Marken anzuwenden ist. [Probleme bei unterschiedlichen Touchpoints?] Langwierigkeit war bewusst, bis Ende 2013 überall eingesetzt, grundsätzlich neues Markenverständnis, Marke ist nicht Kommunikation, Marke ist Strategie, Identität des Unternehmens, davon ausgehend Brand Management, innerhalb eines Jahres waren alle Touchpoints rebranded, es gelingt, die Dynamik hinüberzubringen, Stills der dynamischen Marke auch als statische Logos, Potential in Apps, Interaktion, auch als dem Designkonzept. [Trend?] Corporate Design der Strategie, grafische Industrie ist teilweise noch festgefahren, hoffe aber, dass es nicht nur ein Trend ist, sondern dass es eine neue Art ist eine Marke kreativ zu positionieren, muss der Strategie folgen, je konzeptbasierter desto spannender, aber nicht immer möglich, dynamische Marke muss geführt und nicht nur angewendet werden, die Zeiten sind vorbei, wo man jede Seite, jede Broschüre, jede Visitenkarte durchgestaltet und durchdefiniert hat, Konsistenz findet wirklich nicht dort statt. “Costumer Journey”. × Nenad Kovacic Raffinerie AG für Gestaltung Anwandstrasse 62, 8004 Zürich, CH 27 December 2012, 15:00–15:45
[Intro, Meinung und Verständnis zum Thema Dynamische Brands] Bei Erscheinungsbilder, bei Logos, Schriftzügen war es traditionsmäßig so, dass sie immer gleich sind, dass sie sich nicht ändern, alleine schon wegen der Wiedererkennung, genau das Gegenteil von Flexibelsein, wenn das Logo kreiert wurde, dann war es fertig, es durfte nicht verändert werden, es musste so viel vom Rand wegstehen, immer in dieser Farbe, positive und negative Möglichkeiten, CD-Guidelines, was man alles nicht durfte mit dem Logo, es musste immer 96
gleich aussehen, das hat sicher noch Gültigkeit, aber nicht nur, multimedial, Multitasking, vielschichtiger als früher, dem Konsumenten kann man mehr zumuten, Hollywood-Film: schnellere Schnitte, heutige Jugend/Leute sind auf das trainiert, mehr Farben, mehr Formen unterscheiden. Es muss nicht jedes Logo wandelbar sein. Burgtheater Wien: Theater ist etwas Wandelbares, muss überraschend sein, spontan, sich wandeln können, Literatur, spielerischer Umgang, Wörter aus dem System nehmen und unterschiedlich anordnen, Logo ist immer schwarz/weiß, nie negativ, immer in dieser Schrift, “Burg” ist immer gehighlighted, gewisse Richtlinien, Spielregeln, damit man das Logo wiedererkennt. Logo ist an sich eine Anwendung, das Key Visual, dadaistische Wortkombinationen. [Resonanz beim Launch der neuen Burgtheater-CI] Nicht direkte Resonanz, Zürich–Wien, vereinzelte Medienmitteilungen, es funktioniert, kommt sehr gut an, sehr einprägsam, eigen, “Burg” ist ein Begriff. [Probleme bei Touchpoints] War kein Problem, Rückendeckung des Direktors, mutig, anders, eigen, aber keine Probleme, wichtig war die Wortwahl und Kombination. [Mitwirkung der Mitarbeiter] Zu nah an der Literatur, Agentur unverkrampfter, Designer sind keine Profis der Wörter oder des Schreibens, Briefschaften, Visitenkarten, Plakat, Leporello, anwendbar auf viele Medien. [Ausgangsbasis Flexibilität?] Wettbewerb, mehrere Linien, Burgtheater: nie gute Grafik, eher verstaubt, immer gefüllt, 95% Auslastung, Tag und Nacht, für viele zuerst ein Schock, Illustration statt Pressefoto, Polizeifahndungssoftware aus dem Internet, 90 Leute [Trend, Entwicklung zu dynamischen Erscheinungsbildern] Nicht so bewusst, Swisscom, alles wird multimedialer, nicht so statisch, wichtig sind gewisse Regeln zur Wiedererkennung, Wiedererkennungsfaktor, stärker in die Richtung, heutige Zeit, Leute sind mehr gewohnt, Werbung/Marketing/Guerilla Marketing, Kunden beeindrucken, haften bleiben, 0815-Inserat in der Zeitung reicht nicht mehr, Schwierigkeiten bei größeren Firmen, viele Entscheider, im Burgtheater einfacher möglich, Direktor
[Mitsprache des Konsumenten] Überlegenster, aber muss kontrolliert sein, Rahmenbedingungen, Regeln, “verarbeitet”, “ins Reine bringen”, Designer hat Ausbildung, kommt auf Kunden, Agenturen, Designer an, wandelbare Logos gibt es noch nicht so viel, eher Anwendung vom Logo. [Interaktion] Digital wird immer wichtiger, Logo muss auch auf schwarz/weiß funktionieren, faxen können, kopieren können, Gratwanderung, Logo muss immer noch funktionieren, einfarbig, Simples nie vergessen. [Strategische Entscheidung für flexible Systeme? Ästhetik, Spielerei?] Man kann alles “totstrategieren”, Swisscom-Logo als Quadrat würde immer noch funktionieren, schwarzer Kreis mit Punkt: im Internet immer noch animierbar, Internetfirmen, Evernote: herzig, farbig, funktioniert ganz anderes, anderes Zielpublikum, comic-haft. [bestimmte Branchen?] Bewegung, Bildschirm, App, Fernseher, IT-Services, eher aus USA. [Kultur, Internationalisierung, Globalisierung?] in USA generell bunter, frecher, kitschiger, Einfluss über digitale Medien aus USA und umgekehrt, große Branding-Agenturen, Großfirmen, Interbrand, Logotradition aus den 60-er Jahren, beste Zeit für Logos, Koryphäen, kleine Agenturen können vieles nicht bieten, gar nicht im Angebot, Belege mit Konzept, Zahlen, Recherche, Finanzmenschen, zahlengesteuerte Menschen. Man muss es verkaufen können, inszenieren, Kapazitätsfrage, Steve Jobs, Branson, “Ich gebe den Ton an”, meistens aber Verwaltungsräte, wie Diktatoren, gut/schlecht. × Mike Fuisz moodley brand identity gmbh Nikolaiplatz 5, 8020, Graz, A 23 January 2013, 10:00–10:45
[Intro, Meinung zum Thema Dynamische Brands. Spielerei? Strategisch sinnvoll?] Nicht Beurteilungkriterium, schöne Sache oder philosophischer/strategischer Ansatz, Frage stellt sich in unserer Zeit nicht, Wie positionierst sich das Unter-
nehmen am Markt im Kontext zu seinen Mitbewerbern?, Welche Rolle spielt Brandung im Jahr 2012 im Vergleich zum Jahr 1990?, es hat sich viel getan, Wie sind wir positioniert und werden wir wahrgenommen?, Identität ist nicht nur Ausdruck einer Unternehmenspersönlichkeit, sondern heißt auch – “Branding” –, sich so darzustellen, wie man gesehen werden will. Man kann nicht General sagen, eine generative Identität macht für alle Sinn. Es macht für die Sinn, die breites Produkt-/Dienstleistungsportfolio haben, das unter einem Dach schwer zu fassen ist. Museen stellen Vielfalt vielfältig dar. IT-Dienstleister, Wolff Olins macht New York: gutes Ergebnis, “Brand the Unbrandable”, New York an einem Zeichen festmachen: fast unmöglich. 1000 Eindrücke, unglaubliche Vielfalt, wiedererkennbares Gestaltmuster darübergelegt, Fortsetzung der Selbstähnlichkeit, generative Identitäten: starke Präsenz, starke Assoziation bei vielen Berührungspunkten, A1: alles unter einem Dach, “Zuhause” bei unterschiedlichen Produkten, USA TODAY: andere Motive, viel Content, zeitgemäße Inszenierung von Content, Infografik, Datenanalyse: großes Thema, State-of-the-Art im Internet: Übersetzung ins Printmedium, Wolff Olims: Olympische Spiele, Vorteil generativer Identitäten: statische Darstellung von Konzernen nicht immer zwingend sympathisch, strahle Lebendigkeit aus, Kreativität, Innovation, Vielfalt, war früher “Don’t stretch the brand too much”, große Angst, Welt funktioniert aber nicht so, es gibt nicht für alles eine Regel, durch Grafikdesign verkörpern: Barrierefreiheit, nicht so groß, heute so, morgen so, große Herausforderungen, A1: neues Produkt?, generativer Ansatz hilft wunderbar, Farbe, Typografie, 3D, Aon: radikales Beispiel vom ästhetischen Ansatz, Wie menschlich kann ich hochtechnologische Dinge darstellen?, Museum: immer schon losgelöst, freies System, High-Performance-Unternehmen: verspielte Art, gewisse Leichtigkeit in den Charakterzügen. [Dynamischer Ansatz schon länger? Aktuelle Entwicklung? Trend?] Immer schon Beispiele, Kampf am Markt differenziert sichtbar zu sein, interessant, spannend zu sein für zukünftige Mitarbeiter, jung, zukunftsfähig zu wirken, wird immer größer, Leben komplexer, Herausforderungen, kaum Planung, generative Identitäten eröffnen Spielraum, Bewegung hat auch Riesenvorteile. Trend ist es 97
vielleicht aus diesem Grund, aber nicht ausschließlich. Thema ist CorporateDesign-Systeme so aufzusetzen, dass sie beweglich bleiben, im Brand-Manual genug Spielraum für Neuentwicklungen, Zeit der millimetergenauen Manuals ist vorbei, war in den 80-er Jahren: ist auch richtig so, 1. operativ im Alltag nicht möglich, bzgl. Performance, 2. Sinn der Identität, gewisse Lebendigkeit auszustrahlen, wird sonst nicht erfüllt, Marken sind wie Persönlichkeiten, Menschen sehen Marken als Persönlichkeiten: Verhalten so auslegen, jeden Tag ein perfekter Mensch: echt perfekt, aber nicht spannend. Persönlichkeit der Marke in der Identität entsprechend weiterentwickeln und in der Unternehmenskultur, Behaviour spielerisch einsetzen. Wir wollen Spaß haben, das Leben draußen ist schon schwer genug, viel Geld wird aufgewendet, Geld muss verdient werden, zu enges Korsett ist zu fatal. [Verschiedene Bereiche, Werbung, Kommunikation? Bedenken beim Einsatz dynamischer Marken?] Ein dynamisches System denkt in der Entwicklung daran. Touchpoints testen, Out of the Box, Was könnte ich damit machen? Zwei, drei Aspekte in der Entwicklung: “Nehmen wir an”, Gibt’s da Fantasie? Hätten andere Designer Fantasie? Machen und entscheiden. Vorteil: 3 Dimensionen, wo die Ästhetik sichtbar wird. Digitale Inszenierung, dynamisches System in einem sehr simplen User Interface? Usability geht vor, dreidimensionaler Raum, räumliche Inszenierung, Farbe, Rhythmus, Formgebung, klassischer Printsektor, Kaffeetasse? Muss auch funktionieren. Mitdenken bei Entscheidung für generatives Erscheinungsbild. Werbung: völlig andere Kategorie, Campaigning: an Markenwert andocken, Bildsprache, Bewegtbild, Sound, Persönlichkeiten, Sprache, andere Aspekte für Markenführung, wo Marke spürbar ist. Kampagne punktuell, Identität dauerhaft. [Ausgang von der Interaktion?] Absolut, aber schwieriger Prozess, globales Unternehmen, gezwungen, ein System zu definieren, 250.000 Mitarbeiter, Riesenherausforderung, Marke ist eine Persönlichkeit und gehört so behandelt, Handlungen, Touchpoint, als Konsument interessieren mich nur die Touchpoints, nicht das System dahinter, schön, interessant, stimmig mit dem Bild vom Unternehmen, Identität hilft mit, gibt Sicherheit, Orientierung, es strahlt etwas
als “König”, demokratischere Entscheidungen, Kompromiss.
besonderes aus, immer die Interaktion, 70% der Wahrnehmung durch das Auge, 90 oder 99% im Unterbewusstsein, sehr viel Bauchgefühl, als Einzelperson, als Gesellschaft: spielt mit. Für ein Unternehmen ganz wesentliches Thema, darüber nachzudenken, wie inszeniere ich mein Unternehmen nach außen und wie schaffe ich Berührungspunkte. Identität ist auch, wie verstehe ich mein Produkt, was fühle ich, wenn ich damit in Berührung komme? Wie inszeniere ich meine Persönlichkeit? [Mehrwert?] Unternehmensvision, Art der Positionierung am Markt, Riesenvorteil, Lebendigkeit, Frische, Flexibilität, Spaß: Aspekte, die mit einer generativen Identität leichter sichtbar gemacht werden können, mit der Zeit gehen, viel mehr Spielraum. Luxusbereich, Apple: extreme Reduktion, so viel Spielraum, um auch generativ zu agieren, Beibehaltung der Handlungsweise, “The way we do it” muss verstanden werden, “More playful brands”: beweglicher in einer schnelllebigen Zeit, auch die Marke gut zu managen. [Generative Identitäten als Spielwiese für Designer?] Welche Möglichkeiten gibt es, die Marke zu inszenieren, gut im Handwerk umsetzen, gute Gründe, straighte Brands zu machen, Fehler der Design zu sagen, ich möchte auch einmal etwas Generatives machen, aber an der falschen Stelle. Packungsdesign: am POS generativ zu werden, ist gefährlich, Sekundenschnelle Entscheidungen, kann brutale Konsequenzen haben, Wayfinding: gefährlich, etwas lernen und mit visuellen Codes meinen Weg finden. Spielerischer, beweglicher, lebendiger zu werden, muss nicht durch einen generativen Ansatz geschehen, Problem, Herausforderung bedingt die Entscheidung für ein generatives System, Brandmanager und Unternehmensführer erkennen das, im Digitalen fällt es leichter als in der reinen Print-Ära, technologische Weiterentwicklung spielt mit, Smartphones im Touchpoint-Bereich. [Einbeziehen des Users, des Konsumenten] Zaghafte Versuche von Unternehmen, wie der Konsument einbezogen werden kann, Beteiligen ist junge Disziplin, “Alle gestalten mit”: skeptisch. Ist die Organisation in der Lage, das ressourcentechnisch, personell, finanziell entsprechen auszurollen? Es muss trotzdem einer managen, gutes Brandmanagement, simples System, gestalten Designer
schon 400 Logos vor. One-Stop-Shop eher einfach, bei größeren Konzernen eher schwierig. Unglaublich viele, komplexe Dimensionen, an die man denken muss.
gen wie Sponsorentafeln, Entscheidung für eines, aber sonst kann man es sehr gut auf Medien spielen, wenn das Basisthema so viel Interpretationsspielraum zulässt, so viel Potential bietet es.
[Einbezug des Kunden, des Konsumenten] This is Poetry on the Road, Marke stärken durch interaktive Installationen im öffentlichen Raum, die Marke ist 1 zu 1 erlebbar. Studie mit Zielgruppen, um zu testen, ob Einfluss bzw. Mitwirkung möglich ist. Prinzipiell sollten aber Spezialisten die Rahmenbedingungen bestimmen.
Isolde Fitzel Nofrontiere Design Belvederegasse 26, 1040 Wien, A 25 January 2013, 10:00–10:45
[Intro, Meinung und Verständnis zum Thema Dynamische Brands] Bestandteile verändern sich, passen sich anderen Gegebenheiten an, Trends, bestimmten Zielgruppen, aber es muss auch Konstanten geben, statische Elemente, die das Wiedererkennen ausmachen bzw. dafür verantwortlich sind, Werte, die ein klassisches Erscheinungsbild, ein klassisches Logo transportiert, auch transportiert werden. Interessant, es wird sich ein größerer Markt findet, Aufgabenstellungen werden viel komplexer. [Case Studies, Blog] USA TODAY: Ansprache spezifischer Zielgruppen, in sich komplex, transparent nach außen transportieren, Burgtheater Wien: Konstellation der Wörter untereinander. [Trend durch Technologie, allgemeine Entwicklung] Trend vielleicht, hängt aber sehr stark mit den technologischen Möglichkeiten zusammen, kann sein, dass eine Trendwelle entsteht, in der jeder ein dynamisches Erscheinungsbild möchte, aber nicht in der Aufgabenstellung nicht begründet ist; aufspringen, obwohl es gar keinen Sinn macht. [Formalismus, optische Spielerei] Große Gefahr, nur damit die Dynamik hineingebracht wird, formale Aspekte aufzugreifen, sollte auch ein inhaltliches Anliegen sein, Philosophie der Institution soll Gründe geben, warum beweglich, Frankfurter Kunstverein, Neuerfindung durch neues Stück, ein Teil von einem großen “Meta-Erscheinungsbild”, da ist es sehr begründet. [Probleme in Kommunikation, Werbung, Touchpoints] Wenn es passt, kann man es überall einsetzen, an Medium anpassen, mit den Mitteln des jeweiligen Mediums umsetzen, nicht reines Applizieren, Grundidee mit dem Medium weiterspielen, Marke positiv aufladen und erlebbar machen, fixe Komponente braucht es zum Beispiel bei klassischen Anwendun98
[Mehrwert] Beliebig erweiterbar, Bezug auf politische, gesellschaftliche nehmen, schnelle Reaktion, gewisse Aktualität, up-to-date, mit dem Trend geht oder auch nicht, sehr wichtig, genaue Zielgruppenansprache, in der Schriften, in der normalen Kommunikation das statische Element hineinzubringen, direkter Konnex zur Marke, das ist das Optimale, mit jedem Wort die Verknüpfung zur Marke schaffen: ideal. [Flexible, statische Elemente, Brand Identity Components] Starke Signifikanz untereinander, dadurch entsteht Spannung. [Interaktion vs. klassischer Ansatz] eine Möglichkeit, es so zu machen, aber anderer Weg bevorzugt, nicht wie beim statischen Erscheinungsbild, sondern Auswahl eines Basisthemas oder Reduktion des Basisthemas auf eine Ebene, die möglichst viel Interpretation zulässt, oder Ausgang von einem statischen und einem dynamischen Element und dann Weiterentwicklung. Swisscom: Basisthema, statisches Element ist die Achse, dynamisches Element ist das Segel. [Wiedererkennung] Prinzipiell ist durch ein statisches Element die Wiedererkennung gewährleistet, Gefahr liegt darin, dass bei zu vielen dynamischen Elementen und zu viel Dynamik der Kern verwässert wird, nicht mehr auf dem Punkt. Lösungen in Print über Bild, im dreidimensionalen Raum über eine Projektion, schematische Darstellung, dann wird es schwierig, das zurückzuverfolgen bzw. das große Ganze zu erkennen. ×
[Intro, Überblick] Brooklyn Museum: einfacher, verspielter im Vergleich zu Swisscom, zeigt Ernsthaftigkeit, einfacher verständlich, IDTV: Positionierung? Superschön, aber Grafiker ist abgespaced. Conclusion/Fazit 1: passt nicht zu allen Brands, Zielgruppenansprache, Botschaft ist stetige Veränderung, Multi Media Lab schreibt nach so einem Brand, aber Swisscom: soll Gesamtgrundheit der Bevölkerung ansprechen, ist zu viel verlangt, zu kompliziert. NYC: nie den Hype um dieses Log begriffen. Namics: schön, aber belanglos, Konzept für Konsument interessant, aber nicht sichtbar, Aol: sterbende Marke, niemand kümmert sich, supergeil, aber Inhalt ist immer noch entscheidend, niemand braucht Aol, Lidl: nicht modern, aber es läuft, “Beliebigkeit von Brands”, Marke entsteht erst durch Aufladung, Nivea, Marlboro, es braucht eigentlich weniger dynamische Brands, IBM, hp,American Airlines, total austauschbar, man kann sagen, es gibt mehr Anbieter als früher, vielleicht zu viele doofe Designer, die sich selbstbefriedigen wollen, Was ist das Versprechen? Was macht die Marke aus?, Markenprodukt, ewiges Versprechen, egal zu welchem Zeitpunkt, an welchem Ort du mich kaufst, es ist immer 100% das Gleiche, Coca-Cola schafft das, Trend ist genau das Gegenteil, ich passe mich ständig an an die Gegend, die Wahrnehmung, am Zeitpunkt, genau die Verletzung von dem, was eine Marke stark macht, Pepsi – The Choice Of, Apple ist nicht relevant, Name statt abgebissenem Apfel war das Problem, es ist aber das Gesetz der Marke erfüllt, Stolperstein, Warum Apfel?, Apple-Evangelium, Marke ist Türöffner, Transportmittel vom ganzen Überbau, Apple-Rezept: Es braucht einen Widersacher, David und Goliath, Windows/Mac, es braucht einen Messias: Steve Jobs, es braucht einen Killer: Mac Shop, ohne Windows wäre Apple nie Apple, ohne Steve Jobs, ohne Ausschluss: wir sind besser als die, Apple-Verkäufer musste angebettelt werden, Abhängigkeit, die verführt, Mythos haben sie selbst zerstört, 20-jährige Eintagsfliege, wir müsse auf Coca-Cola schauen, Siemens, bp: Grenzbereich, strategische Aussage: Wir sind grün, wir schauen in die Zukunft, kommunikationstypologischer Zusammenhang, Post-
Finance: brauchen Gelb, Typo, große Player brauchen das gar nicht, Procter & Gamble: flach, das Höchste der Gefühle: Logo im Werbespot, Markenfamilie wird gezeigt, “Label”, dynamisch eher bei Marken, die innovativ sein wollen, verlieren oft den Bezug zur Marke, Nordkyn: 35–45-jährige Hipster: super, aber was will der Hipster dort?, trifft man die Zielgruppe oder nicht, Designer hat nicht die Hausaufgaben gemacht, was liest meine Zielgruppe für Medien? Welche Kanäle? Wie sieht die Umsetzung im Raum aus? THNK: beständiger Wandel, passt super, wenn Kernwert der Marke Wandel ist, Kernwert Stetigkeit, Orientierung geben, dann Abstand nehmen von Bewegung. Mettler Mettler + Mettler: neues Eigenlogo für jedes Projekt, Neuentwerfen? Variation? Marke und der Kern steht über allem, Aufgabenstellung ist vom Kunde an den Designer, Botschaft ist Aufgabe des Kunden, Designer übersetzt, Gestaltung ist Produkt von Positionierung, Produkt wächst, Konsument wächst, Leistung/Produkt ist zuerst, Eigenständigkeit der Marke, Differenzierung herausfinden, Grafiker arbeitet Differenzierung visuell aus, Szene: Werbeagenturen mit historisch bedingte Kundenbeziehungen, neue Agenturen haben Kundenbeziehung und Erfahrung nicht, aber haben Ideen, einige gehen kaputt, ein paar schaffen es, zwei aktuelle Bestrebungen, was wir brauchen: Agentur der Zukunft, Beratungseinheit, die Analysen macht, versucht, Probleme auf dem Papier zu lösen, mutige Kunden, Lösungen über alle Disziplinen und Instrumente, dann Freelancer, hochspezialisiert, Designagenturen sind tot, große Agenturen verkaufen heiße Luft, Warum würde SF nie mit Raffinerie zusammenarbeiten?, Von wem wird der Brandingmarkt getrieben?, Agenturen oder Nachfrage/Kunden?, upc cablecom: cablecom super Brand, ruiniert durch Kundenservice, cablecom: Wahrnehmung hat sich geändert, Swisscom hat sich in den Läden verändert, ist konfuser geworden, VW: “Das Auto” auf der ganzen Welt, keine Bewegung, IKEA: Namen sind weltweit gleich, Virgin: Muttermarke ist sexy, frech und sogar sexistisch, “Rock’n’Roll”, absolut absurd, sexy Hostessen, gut aussehende Piloten, Champagner, 25–45, Alkohol, Sex, Drogen, “ausschließen”, es schließt zu viel aus, Museumslogo spricht 5 % an: Leute, die es geil finden, aber 95 % bringen Umsatz, Familien mit Kindern, Plastik im Meer-Ausstellung im Museum für Gestaltung: Brand ist abgehoben, gleiche 99
Ausstellung im Technorama: sofort etwas anderes, Markenwert vom Technorama: du kannst spiele und ausprobieren, vom 2-Jährigen bis zum 80-Jährigen, Ist, aber was ist Soll?, Wer sitzt in der Verwaltung? Studierte, Kunstgeschichte, Betriebswirtschaft, Kulturbetrieb – ist das zielgruppengerecht? Problematik zwischen Absender, Produkt, Zielgruppe und was wollen wir und was bieten wir zeigt sich an diesem Thema, vor 10 Jahren hätten wir diese Diskussion gar nicht geführt, niemand hat sich getraut, ein sich veränderndes Logo zu machen, Warum führen wir die Diskussion? Alles spielt sich am Bildschirm ab, Gamet, visuelle Menschen, Gestalter kommen und machen ein Logo, das interagiert mit dir als Konsument, Trend von der Social-Media-Welt, User wird Mitgestalter der Marke: stimmt gar nicht!, Mitgestaltung der Marke: Veränderung? Nachhaltiger Einsatz von Frischwasser: Charakterzug von Coca-Cola ist nicht mehr das omnipotente Megagetränk, sondern Coca-Cola greift ein in den Lauf der Dinge, Legitimation von einer AG: Mehrung von Dividenden, Steigerung des Markenwertes, Verein oder Genossenschaft: andere Motivation, Geschäfte zu machen, jede Privatisierung hat zu Qualitätsminderung und Preissteigerung geführt, Welche Marke bietet mit die Veränderung an, die sie proklamiert? Werbung/PR ist Vorbereitung, im Laden muss das Packaging gefunden werden, Identifikation ist alles, Produktkommunikation und Imagewelt, Verführung, aber keine Leistung: Problem. Red Bull: Missionar: Mateschitz, Gegenspieler: Coca-Cola, Killer: Events, klare Positionierung, einfache Prinzipien. [Mehrwert] keiner, Mehrwert heißt für den Kunden mehr Leistung, Identifikation, Storytelling, dem Kunden sollte es Orientierung geben, wichtig: Vereinfachung, Reduktion, ist genau das Gegenteil, Mehrwert ja für die Akquise der Agentur, Abgrenzung aus der Sicht des Kunden gegenüber Mitbewerbern, aber aus der Sicht vom Konsumten, Produktverwender, Käufer gibt es keinen Mehrwert, Swisscom: 3D-Modell am POS? Nein! Umsetzung nur am Screen, wo ist der Nutzen? Wo sieht Swisscom der Nutzen? Bewegtes Logo für transmediales Storytelling, Markenwert erschließt sich beim Zusammenfügen der Teile der Storytellings, wer traut sich das, seine Kunden so herauszufordern? Endverbraucher profitiert am wenigsten. Veränderung machen, dass man die
Daniel Frei daniel frei. kommunikation Café Casablanca Langstrasse 62, 8004 Zürich, CH 31 January 2013, 16:00–17:30
Veränderung sieht, aber “ich bin noch daheim”, Frage: Was passiert in Zukunft? Was sind die nächsten 50 Jahre? Große Marken haben sich in den letzten 50 Jahre nicht viel bewegt, sondern sind enger geworden. Swisscom wird zu einer anderen Lösung zurückkommen, SRF: keine Differenzierung sondern Verwischung. × Marco Spitzar spitzar | strategische kommunikation Hintere Achmühlerstraße 1, 6850 Dornbirn, A 1 February 2013, 10:00–11:30
[Intro, Overview, Case Studies] Es geht nicht nur um die Implementierung im Printbereich, sondern auch um die Implementierung im Raum, wie drückst du das aus, Unterschiede von der Idee, vom Entwurf und von der Implementierung, das Wichtige ist: Wie kann ich das umsetzen oder weiterführen? spitzar: ganz woanders, Markenwelten, Markenkoffer, jedes Medium hat sofort eine andere Ausdruckskraft, es geht bei Materialien los, hinterlassen unterschiedliche Eindrücke, kulturelle Vielfalt, Was ist mit einem Plakat auf Epamedia-Plakatwänden und was ist mit einer Plakatanwendung, die auf einer Hauswand aufgemalt ist? Viel in fremden Kulturen, gemalte Plakatwand kann ganz anderen Impact geben, hängt von der physischen Spürbarkeit ab, manchmal ist das entscheidend, wenn man andere Machtapparate und Kommunikationswege entdeckt, hat viel mit der Machtkultur zu tun, die in den verschiedenen Ländern ausgeübt wird, Korea, China, Iran, wie Machtapparate publiziert werden, ganz etwas anderes, andere Bearbeitung des öffentlichen Raumes, dynamische Identitäten: Was kann ich anderes machen? Wie wird es anders angewendet? Wir bewegen uns in einem sehr strengen, konservativen Kommunikationsrahmen, so viel gelernt, so viel Erfahrung, so viel Business, einfachste Module sind klar, Möglichkeiten gehen verloren, es geht darum, wie können wir uns Architektur, den öffentlichen Raum, Raum draußen aneignen oder erobern, Problematik und Herausforderung, vieles ist reglementiert, Österreich: z. B. Luftraumverdrängungssteuer für ein Transparent über die Ringstraße, es geht nicht darum, dass ich das erfinde, sondern dass es schon fertige Parameter gibt und die der Staat schon beansprucht, Wie gehe ich auf Menschen zu? Wie überzeuge ich sie,
dass ich noch neue Formen finde? Was für Möglichkeiten haben wir eigentlich noch? Kreativität wird eingeschränkt, Industriezonen: Rücksicht auf die Konkurrenzklausel, starke Lobby durch Großunternehmen, kommen über Investitionen in den Gemeinden, große Diskrepanz, heißt: noch kreativer sein, vielleicht sichtbare Ungerechtigkeit, stärke Auseinandersetzung mit privatem Raum, was ist privat, was ist öffentlich, viele Private stellen Flächen zur Verfügung, Beispiele gehen nicht sehr weit, wichtiger: wie weit können wir uns mit der Architektur zusammentun, interessante Kompromisse, Architekt: Sichtbarkeit fixieren, Markenkern unterstützen, Grafik und Design dürfen beim Anforderungsprofil mitreden, Kommunikationsagenturen können den Lead übernehmen, schafft neue Herausforderungen für Architekten, anderer Blickwinkel, zu wenig Bereitschaft, sich damit auseinanderzusetzen, Lufthansa Seeheim: Kunde denkt weiter, Designer haben die Chance, Gebäude mitzubetrachten, CAMPUS: Immobilienentwickler sind überhaupt nicht daran interessiert, Kostendruck ist sehr hoch, interessiert, dem Gebäude den Markenwert einer strategischen Aussage mitzugeben, Kreativität trifft Wirtschaft, Tiefgaragengestaltung, Umfeld: 0,0, “beste Immobilienentwickler der Region”, Kommunikation/Design: kein Thema, Potential: extrem, unendlich, Umsetzung: extreme Einschränkungen, die wir aufdecken müssen, Identität dynamisieren: wegzugehen von klassischen Werbeformen, Terminologie aufweichen, persönlich: Bildhauerei, anderer Zugang zu Kommunikation, Interesse an Schnittstellen, die im Design nicht im Vordergrund sind, für viele noch zu kompliziert, kulturelle Beeinflussungen findet ganz anders statt, Wie wird überhaupt/miteinander kommuniziert?, stärker zeigen, Kommunikation kann nicht in diesem Einbahnstraßen geführt werden, Wie kann ich etwas dynamisieren? Intensiver Versuch, den Designstellenwert/diese Designlastigkeit aufzubrechen, wir machen viel zu viel Design, Grioncoli-Schüler, anderes Umfeld, Morphologie, Kunstgeschichte, Ethnologie/Feldforschung, andere Systeme liegen vor mir, Design schürt falsche Erwartungen, forciert falsche Entwicklungen, entwirft falsche Bilder, Kommunikation heißt auch zu entscheiden, ob etwas überhaupt gestaltet wird oder nicht, Gestaltung steht oft im Weg, um Themen/Inhalte zu transportieren, Ziel: effizientere Verbreitung von 100
Inhalten, das bedeutet “dynamisieren”, nicht so statisch wie Brandphilosophien, Logogestaltung, wichtig, keine Brands zu verfolgen, um Inhalte zu transportieren, kleiner Bauer: Schweinemast, Marke nicht so wichtig, Kernaussage/ Inhalte wichtig, “Tierhaltung mit Haltung”, Grundwerte sind oft wichtig als Markenerkennbarkeit, zu Tode designt, entfacht andere Kommunikation. Kulturelle Vielfalt besser sehen lernen, besser einschätzen, respektieren können, wichtiger Impuls: andere Länder gehen anderes damit um, Sinne gehen ab, sinnliche Welt, was können wir aufnehmen? womit können wir kommunizieren?, Töne und Geräusche können genauso wichtig sein wie bildliche Impulse, einseitige Impulse nützen nichts, jeder Mensch ist unterschiedlich und braucht andere Impulse, um Zugänge zu kriegen, Atmosphäre bedeutet Sinneserfahrungen besser zu thematisieren, Naturphänomene, was passiert mit uns, wenn wir im Nebel sind? Hamburger Hafen: Nebelhorn, gehisste Fahnen, um Herkunft zu zeigen, schönes Erlebnis, Senegal: Musik beeinflusst Kommunikation, Radio, keine Fernseh-/Plakat/Kommuniationsbusinesskultur, politische Herausforderungen über Songtexte, beeinflusst die Gesellschaft, nehmen Musik und auch die Inhalte wahr, Gerüche: Bazare, Märkte, Austausch findet mehr statt, Warten bei Bahnstation, Ballungszentren, moderne Flashmob ist nichts anderes wie Händler, die sich an Ballungszentren sammeln, urbane Welten reagieren auf diese Systeme, wie gehen die Menschen untereinander um? Teezeremonien, Kaffeehausbesuche, Wie leben wir miteinander? Was gibt es dort für Schnittstellen? das Gleiche: Produkt oder gesellschaftliche Veränderung, alle sind Überzeugungstäter, ähnliche Mechanismen, extrem im Nationalsozialismus, birgt Gefahren in der Aussage, Markenkoffer: viele Erfahrungen, alle Sinne erfahren, Beispiel: Ausrüster für Handballsport, Geräusch der Turnschuhe, Filmcrew: Richtmikrofon, Vögel, Sprachen auf Märkten, Identität schaffen durch mehrere, verschiedene Maßnahmen, die uns körperlich betreffen, Brand und Identität: beeinflussen uns in allen möglichen körperlich wahrnehmbaren Formen, öffnet ein riesiges Feld, wird noch nicht kommerziell erkannt, sehr unpoetisch, einseitig, wir sind ganz am Anfang, Tonwelt, technische Voraussetzungen sind vorhanden, unbedingt Kunst, Kultur, Film, Medienwelt erfassen, Was kann ein Medium sein? Medi-
× Felix Widmaier Namics Bederstrasse 1, 8020 Zürich, CH 11 February 2013, 15:00–16:00
[Intro, Overview] Swisscom: gutes Beispiel für dynamisches Branding, Spielfläche ohne komische Regeln, bei anderen Beispielen: Vielfalt ist Teil der Botschaft, Absender nicht Vielfalt: Varianten vom Logo machen keinen Sinn, Wiedererkennbarkeit/Differenzierung vom Wettbewerb ist die Aufgabe von Corporate Design, Swisscom bisher bester Weg von allen, sehr offenes Brand Management: nicht da, um zu beschränken, sondern um gute Medien, gute Kommunikation zu machen, manchmal Beschneidungen nötig. [Trend? Weg von CD-Manuals?] Leider noch kein Trend aber nötig, wer weiß, was wir morgen für Devices haben?, pixelgenaue Definitionen sind überflüssig, kosten später viel Geld, starre Regeln durch alte Branding-Agenturen, digitale Umsetzung: sechsstellige Summen pro Jahr, um eine Regel umzusetzen, die auch nicht hilft beim Differenzierung, kompliziert statt einfach, Toolset: Farben, Schriften, Formen, 1 Prinzip, jetzt optimal einsetzen, nicht zu sagen, es muss aufs Pixel genau aussehen, erhöht den Aufwand in der Umsetzung signifikant, kostet richtig viel Geld und dient dem Zweck nicht, lieber etwas machen, das einen Effekt hat, Zeit sollte vorbei sein: millimeter-, pixelgenau, viel wichtiger: Wie schaffe ich es, dass dieses Medium einzigartig wird und auf
den Absender einzahlt?, es braucht eher Elemente, Definition von Elementen, “Designprinzipien”, Formensprache, neue Technologie: mit Regeln schwierig, Designphilosophie, Versuch, auf dem Medium umzusetzen, z.B. 3D-Objekt: Wo ist oben? Wenige Sachen sehr klar definieren, schauen, dass die Brandverantwortlichen mit ihren Dienstleistungen arbeiten, Wie kann man ein einzigartiges Projekt daraus machen?, [Tiefe des Projekts] gedruckte Manuals: sofort wieder veraltet, wichtiger: dokumentieren, kollaborative Zusammenarbeit: Was war gut, was nicht? Benchmarks nach draußen stellen für die, die mit dem Brand arbeiten, du wirst besser, Vorteil von dynamischen Erscheinungsbildern: werden laufend besser, Hauptaufgabe: Differenzierung, gleiches Gefühl, von wem es kommt, viele Beispiele: ohne viel Konkurrenz, schwierige Bedingungen wie bei Swisscom: schwieriger, ein gutes Corporate Design auf den Boden zu bringen, bei Swisscom arbeiten mehrere Agenturen, gleiche Basis: nicht einfach. Bildwelt braucht wieder andere Bilder, EDP: schöne Formsprache. [visuelle Spielerei?] Braucht es nicht, aber dynamisches Branding hilft sehr viel, wenn es dem Designer/der Agentur/ demjenigen, der ein Kommunikationsmedium oder eine Maßnahme macht, erlaubt, optimal auf das, was ich kommunizieren will einzugehen. Broschüre, Microsite, App: kann optimal auf das Medium und den Inhalt eingehen und es fällt mir leicht, den Absender klarzumachen, dynamisches Branding gibt die Möglichkeit, optimal auf die Maßnahme/Botschaft/Kommunikationsmittel einzugehen. Wichtig: Wiedererkennbarkeit, Fokus setzen
Ausdruck von Service: Nähe, Wärme, Apple: fragt nicht, wie das neue Device aussehen soll, ist unnahbare Marke, nicht sympathisch. [Globalisierung?] Aspekt: Wo komme ich her? Komme ich aus der Schweiz? CH: Geradlinigkeit, kein Schnickschnack, in anderen Ländern vielleicht anders, Wofür stehe ich? Internationale Marke: muss sagen, Was bin ich?, muss auch transportiert werden, man darf es international spüren, größere Herausforderung: interne Stakeholder [Technologie?] jederzeit von jeden Device ist jede Marke erreichbar, Mischung aus TV und Web, wir kommen überall hin [Mehr zumutbar?] Nicht zumutbar, sondern man muss es ihm anbieten, der User will’s wissen, nahtlose Brand Experience, immer weniger, klarere, einfachere Designregeln, immer Unverwechselbarkeit [Beispiele] Consumerbereich, kompetitiv: noch nicht so viele Beispiele, Swisscom ist Vorreiter, mehr Firmen müssen es erkennen, mehr Devices, mehr Technologie: weniger Regeln, noch einfacher, liegt hauptsächlich an klassischen Brandingagenturen, Briefpapier ist das Unwichtigste, weniger Regeln sind besser, die wenigen Regeln echt klar, da gibt es noch viel zu tun [Namics] 400 Mitarbeitende, lebendig, wuselig: so ist Namics, Laden mit vielen Individuen, Wiedererkennbarkeit leidet darunter, dass es keine konkrete Farbe gibt, nicht optimal, 3 Grundelemente zur Markendefiniton: Farbe/Form/Schrift: versuchen, bei einem Element besonders zu sein. ×
[Branded Interaction?] Logo auf Briefpapier: falscher Weg, Touchpoints wie Shop wichtiger, es muss dorthin gehen, sonst teuer und schmerzhaft, die vielen Kanäle zu bespielen [Einbezug des Users?] für ausgewählte Teile sinnvoll, Karl Lagerfeld: Design ist nicht demokratisch, gutes, spitzes CD: so wenig Leute wie möglich, viele Köche verderben den Brei, Ergebnis wird weichgekocht, schlau, die User zu fragen und darauf einzugehen: kommunikativer Ansatz, wie verhält sich die Marke mit ihren Zielgruppen? Bin ich eine Marke, die viel fragt, im Dialog ist? 101
um = Was können wir herannehmen, um Inhalte zu transportieren? Sensibilitäten heranziehen. Visuell: starker Impuls, ernstnehmen, aber nicht immer nur der richtige und einzige, Identität spielt sich nicht nur in der visuellen Welt ab, 1. in der Inhaltlichkeit, bedeutet: Wege, Historie, Umfeld, as bedeutet Identität? Wo kommt man her? Alles zu sehr in dieser Werbewelt, aufhören, uns in dieser vorgelegten Kommunikationswelt zu bewegen, absolutes Handicap, Ausbildung und Business ist Handicap, Zugang mit einer anderen Grundeinstellung, Film, Kunst, Installation, Performance, Body Art. Fahrradfahrer mit Regenmantel oder brauner Regenmantel zur NS-Zeit: andere Aussage, viele Unternehmen: Marketingleute, die wenig erlebt haben, Brand Sound: Probleme?
103 Generating Knowledge Sources
Web pages and documents
Fitzel, Isolde (2013): Personal interview. Conducted by Emanuel Jochum. Vienna, 25 January, 2013.
A1 Telekom Austria (2012 a): Impressum. www.a1.net/ueber-uns/impressum. Accessed on 12 January, 2013.
Frei, Daniel (2013a): Personal interview. Conducted by Emanuel Jochum. Zurich, 31 January, 2013.
A1 Telekom Austria (2012 b): Geschäftsfelder. www.a1.net/ueber-uns/ unternehmen/geschaeftsfelder. Accessed on 14 April, 2013.
Fuisz, Mike (2013): Personal interview. Conducted by Emanuel Jochum. Graz, 23 January, 2013. Kovacic, Nenad (2012): Personal interview. Conducted by Emanuel Jochum. Zurich, 27 December, 2012. Linsell, Geoff (2012): Personal interview. Conducted by Emanuel Jochum. Wallisellen, 7 November, 2012. Severin, Daniel (2012): Personal interview. Conducted by Emanuel Jochum. Zurich, 13 December, 2012. Spitzar, Marco (2013): Personal interview. Conducted by Emanuel Jochum. Dornbirn, 1 February, 2013. Widmaier, Felix (2013): Personal interview. Conducted by Emanuel Jochum. Zurich, 11 February, 2013. × Books
Felsing, Ulrike (2010): Dynamische Erscheinungsbilder im kulturellen und öffentlichen Kontext. Design im Kontext, Band 1. Lars Müller Publishers: Baden, CH. moodley brand identity (2012): moodley book. Ueberreuter: Vienna, A. Moving Brands (2010): Living Identity. Moving Brands: London, GB. Van Nes, Irene (2012): Dynamic Identities – How to create a living brand. BIS Publishers: Amsterdam, NL. ×
AOL (2013 a): Contact Information. www.corp.aol.com/about-aol/ contact-information. Accessed on 12 February, 2013. AOL (2013 b): Overview. www.corp.aol.com/about-aol/overview. Accessed on 12 February, 2013. AOL (2013 c): The AOL Brand. www.corp.aol.com/our-values/brand. Accessed on 17 April, 2013. ATMO (n.d. a): Contact. www.atmodesign.de/contact. Accessed on 5 February, 2013. ATMO (n.d. b): PIGMENTPOL. www.atmodesign.de/project/pigmentpol. Accessed on 5 February, 2013. Bruce Mau Design (2011 a): Contact. www.brucemaudesign.com/4818/ contact. Accessed on 4 February, 2013. Bruce Mau Design (2011 b): About. www.brucemaudesign.com/4819/about. Accessed on 4 February, 2013. Bruce Mau Design (2011 c): About. www.brucemaudesign.com/4817/88329/ work/ocad-university-visual-identity. Accessed on 4 February, 2013. Burgtheater Wien (n.d. a): Impressum. www.burgtheater.at/Content.Node2/ home/impressum/impressum.php. Accessed on 4 December, 2012. Burgtheater Wien (n.d. b): English_Information. www.burgtheater. at/Content.Node2/home/eninfo/English_ Information.en.php. Accessed on 4 December, 2012.
Casa da Música (n.d. a): Visitor Information. www.casadamusica. com/information/default. aspx?channelID=5440054E-DB3A-4075938D-C0ED3207E24E&id=5440054EDB3A-4075-938D-C0ED3207E24E&le ftChannelID=5440054E-DB3A-4075938D-C0ED3207E24E. Accessed on 12 January, 2013. Casa da Música (n.d. b): The Building. www.casadamusica.com/CDMHouse/ default.aspx?channelID=8CADCB69FD0E-4194-AC50-569CAF033DC6 &id=74FA3DE2-1D4F-4F90-97B6745DBEE35CC5&l=8CADCB69FD0E-4194-AC50-569CAF033DC6. Accessed on 12 January, 2013. City of Melbourne (2013): Corporate Identity. www.melbourne.vic.gov.au/ AboutMelbourne/MelbourneProfile/ Pages/CorporateIdentity.aspx. Accessed on 14 January, 2013. CX (2013): About CX. www.cx.com/about. Accessed on 4 February, 2013. Design Academy Eindhoven (2012 a): Contact. www.designacademy.nl/ About/DAE/Contact.aspx. Accessed on 12 January, 2013. Design Academy Eindhoven (2012 b): About. www.designacademy.nl/About/ DAE/IdentityandMission.aspx. Accessed on 12 January, 2013. EDP (2009 a): Contact. www.edp.pt/en/ Pages/Contactos.aspx. Accessed on 12 January, 2013. EDP (2009 b): Our company. www.edp.pt/ en/aedp/sobreaedp/Pages/aEDP.aspx. Accessed on 12 January, 2013. EPFL Alumni (2006–2012): Direction & secrétariat. www.epflalumni.ch/directionsecretariat. Accessed on 30 March, 2013. Enigmaprod (2013 a): Services. www.enigmaprod.ch/en/nos-services. Accessed on 30 March, 2013. Enigmaprod (2013 b): Generative Identity and website. www.enigmaprod.ch/en/projects/ generative-identity-for-the-epfls-alumni. Accessed on 30 March, 2013. FEED (n.d. a): Profile. www.studiofeed.ca/profil.html. Accessed on 30 March, 2013.
FEED (n.d. b): Profile. www.studiofeed.ca/contact.html. Accessed on 30 March, 2013. FELD (2013 a): About. www.feld.is/about. Accessed on 5 February, 2013. FELD (2013 b): PIGMENTPOL hexagon. www.feld.is/projects/pigmentpol. Accessed on 5 February, 2013. Frei, Daniel (2013b): Kontakt. www.danielfrei.ch/kontakt. Accessed on 18 April, 2013. Gannett (2013): About USA TODAY. www.usatoday.com/about. Accessed on 3 March, 2013. Hidden Characters (2012 a): About us. www.hiddencharacters.hu/about.html. Accessed on 4 February, 2013. Hidden Characters (2012 b): Odooproject. www.hiddencharacters.hu/project_ odoor.html. Accessed on 4 February, 2013. IDTV (n.d.): Menu. www.idtv.nl/ index.php?page=1&Language=en. Accessed on 30 March, 2013. Landor Associates (1996–2013 a): Sydney. www.landor.com/#!/locations/sydney. Accessed on 14 January, 2013. Landor Associates (1996–2013 b): Melbourne. www.landor.com/#!/work/ case-studies/melbourne. Accessed on 14 January, 2013. Lava (n.d. a): Lava is… . www.lava.nl/new/ contentitems/view/3/Lava-is.../english. Accessed on 30 March, 2013. Lava (n.d. b): IDTV. www.lava.nl/new/ projects/view/49/IDTV-Media-/english. Accessed on 30 March, 2013. Lava (n.d. c): THNK identity. www.lava.nl/new/projects/view/274/ THNK-the-Amsterdam-School-ofCreative-Leadership/english. Accessed on 30 March, 2013. Mobile Media Lab (n.d.): MML – Mobile Media Lab. www.mobilemedialab.ca. Accessed on 30 March, 2013. moodley brand identity (2010 a): Home. www.moodley.at/de/ueberuns/personen.html. Accessed on 17 January, 2013.
moodley brand identity (2010 b): Impressum. www.moodley.at/ de/impressum.html. Accessed on 17 January, 2013.
Odooproject (2012): Contact. www.odooproject.com/en/contact. Accessed on 4 February, 2013.
Moving Brands (2013 a): About. www.movingbrands.com/about. Accessed on 3 February, 2013.
PIGMENTPOL (1990–2012 a): Wir über uns. www.pigmentpol.de/pigmentpol/ wir-ueber-uns.html. Accessed on 5 February, 2013.
Moving Brands (2013 b): Contact. www.movingbrands.com/contact. Accessed on 3 February, 2013.
PIGMENTPOL (1990–2012 b): Impressum. www.pigmentpol.de/kontakt/impressum. html. Accessed on 5 February, 2013.
Moving Brands (2013 c): CX. www.movingbrands.com/work/cx. Accessed on 4 February, 2013.
Raffinerie (n.d. a): Contact. www. raffinerie.com/index.php?article_ id=9&cache=2104202977. Accessed on 4 December, 2012.
Moving Brands (2013 d): Nokia. www.movingbrands.com/work/nokia-2. Accessed on 4 February, 2013. Moving Brands (2013 e): Swisscom. www.movingbrands.com/work/ swisscom. Accessed on 4 February, 2013. Neue Design Studio (n.d. a): Kontakt. www.neue.no/index.asp?id=27051. Accessed on 15 January, 2013. Neue Design Studio (n.d.b): About us. www.neue.no/index.asp?id=27281. Accessed on 15 January, 2013. Neue Design Studio (n.d. c): Visit Nordkyn. www.neue.no/index. asp?id=27415. Accessed on 15 January, 2013. New Museum Of Contemporary Art (2012– 2013): Contact Us. www.newmuseum.org/ contact. Accessed on 30 March, 2013. Nofrontiere Design (n.d.): Über uns. www.nofrontiere.com/ueber-uns. Accessed on 27 January, 2013. Nokia (2013): Our company. www.nokia. com/global/about-nokia/about-us/ about-us. Accessed on 3 March, 2013. NYC & Company (2006–2013): About us. www.nycgo.com/about-us. Accessed on 3 March, 2013. OCAD University (2013): About OCAD University. www.ocadu.ca/about_ocad. htm. Accessed on 4 February, 2013. OCAD University (n.d.): OCAD University Visual Identity. www.brucemaudesign. com/4817/88329/work/ocaduniversity-visual-identity. Accessed on 4 February, 2013. 105
Raffinerie (n.d. b): About. www. raffinerie.com/index.php?article_ id=5&cache=403025812. Accessed on 4 December, 2012. Raffinerie (n.d. c): Burgtheater Wien. www.raffinerie.com/index.php?article_ id=2&cache=2099920892. Accessed on 4 December, 2012. Raffinerie (n.d. d): Home. www.raffinerie. com. Accessed on 18 April, 2013. Saffron Brand Consultants (n.d. a): Contact. www.saffron-consultants.com/ contact. Accessed on 12 April, 2013. Saffron Brand Consultants (n.d. b): Contact Vienna. www.saffronconsultants.com/contact/vienna. Accessed on 12 January, 2013. Saffron Brand Consultants (n.d. c): A1. www.saffron-consultants.com/work/a1. Accessed on 12 April, 2013. Sagmeister & Walsh (2012 a): About. www.sagmeisterwalsh.com/about. Accessed on 12 January, 2013. Sagmeister & Walsh (2012 b): Casa da Musica Identity. www.sagmeisterwalsh. com/work/project/casa-da-musicaidentity. Accessed on 12 January, 2013. Sagmeister & Walsh (2012 c): EDP. www. sagmeisterwalsh.com/work/project/edp. Accessed on 12 January, 2013. Spitzar & Kreibich (2013 a): Home. www.spitzar.com/de. Accessed on 18 April, 2013. Spitzar & Kreibich (2013 b): Impressum. www.spitzar.com/de/impressum. Accessed on 18 April, 2013.
Swisscom (2013 a): Impressum. www.swisscom.ch/de/privatkunden/ impressum.html. Accessed on 5 January, 2013.
The Stone Twins (2013 a): Information. www.stonetwins.com/Enlightenment/ Information.aspx. Accessed on 30 April, 2013.
Fig. 2: Study setup for MA programme. Own adaptation.
The Stone Twins (2013 b): Design Academy Eindhoven. www. stonetwins.com/Portfolio/ DesignAcademyEindhoven.aspx. Accessed on 30 April, 2013. think moto (2013 a): Kontakt. www.thinkmoto.de/kontakt. Accessed on 30 March, 2013. think moto (2013b): Agentur. www.thinkmoto.de/agentur. Accessed on 30 March, 2013. THNK (2013 a): Contact. www.thnk.org/ contact. Accessed on 30 March, 2013.
Fig. 1: Quality influencers. Own adaptation. Based on: Felsing, 2010, p. 14.
Fig. 3: A1 basic logo. www. brandnewthinking.de/2011/05/telekomaustria-wird-a1-der-neue-markenauftritt. Accessed on 20 November, 2012. Fig. 4: MML colours. www.studiofeed.ca/ projet/mml_1312487381. Accessed on 12 February, 2013. Fig. 5: Design Academy Eindhoven publication. www.stonetwins.com/ Portfolio/DesignAcademyEindhoven. aspx. Accessed on 27 April, 2013. Fig. 6: CX icon set. www.movingbrands. com/work/cx. Accessed on 18 February, 2013.
THNK (2013 b): About. www.thnk.org/ about-thnk. Accessed on 30 March, 2013.
Fig. 7: Visit Nordkyn promotional image. www.neue.no/index.asp?id=27415. Accessed on 18 February, 2013.
Visit Nordkyn (n.d. a): Contact. www. visitnordkyn.com/index.asp?id=27092. Accessed on 15 January, 2013.
Fig. 8: Burgtheater Wien billboard. www.raffinerie.com/index.php?article_ id=2. Accessed on 18 February, 2013.
Visit Nordkyn (n.d. b): Our identity. www. visitnordkyn.com/index.asp?id=27249. Accessed on 15 January, 2013.
Fig. 9: Components of a visual identity. Own adaption. Based on: Van Nes, 2012, p. 7.
Wolff Olins (n.d. a): Get in Touch. www.wolffolins.com/get-in-touch. Accessed on 17 December, 2012.
Fig. 10: ‘Dynamic Systems’ model. Own adaptation. Based on: Van Nes, 2012, p. 7 f.
Wolff Olins (n.d. b): Our Offer. www.wolffolins.com/our-offer. Accessed on 17 December, 2012.
Fig. 11: City of Melbourne logo versions. www.behance.net/gallery/ City-of-Melbourne/276451. Accessed on 12 February, 2013.
Wolff Olins (n.d. c): AOL. www. wolffolins.com/work/aol. Accessed on 3 October, 2012. Wolff Olins (n.d. d): New Museum. www.wolffolins.com/work/new-museum. Accessed on 3 March, 2013. Wolff Olins (n.d. e): New York City. www.wolffolins.com/work/new-york-city. Accessed on 3 March, 2013. Wolff Olins (n.d. f): USA TODAY. www.wolffolins.com/work/usa-today. Accessed on 3 March, 2013. ×
Fig. 12: AOL logo versions. www.wolffolins.com/work/aol. Accessed on 12 February, 2013. Fig. 13: IDTV logo versions. www.lava.nl/ projects/view/49/IDTV-Media-/dutch. Accessed on 3 March, 2013. Fig. 14: New Museum logo version. www.wolffolins.com/work/new-museum. Accessed on 18 February, 2013. Fig. 15: OCAD logo version. www.brucemaudesign.com/4817/88329/ work/ocad-university-visual-identity. Accessed on 19 February, 2013. 106
Fig. 16: Visit Nordkyn logo versions. www.neue.no/index.asp?id=27415. Accessed on 18 February, 2013. Fig. 17: ‘Variation Methods’ model. Own adaption. Based on: Felsing, 2010. p. 4 f. Fig. 18: CX logo versions. www.movingbrands.com/work/cx. Accessed on 18 February, 2013. Fig. 19: Swisscom life form versions. In: Our Identity. 120820_Our_Identity_6.1_ en.pdf, p. 24. Provided by Severin, 2012. Fig. 20: EDP logo versions. www.sagmeisterwalsh.com/work/ project/edp. Accessed on 27 April, 2013. Fig. 21: EDP illustrations made out of four shapes. www.sagmeisterwalsh. com/work/project/edp. Accessed on 27 April, 2013. Fig. 22: MML coloured background. www.studiofeed.ca/projet/ mml_1312487381. Accessed on 12 February, 2013. Fig. 23: Odooproject logo generator. www.hiddencharacters.hu/project_ odoor.html. Accessed on 21 March, 2013. Fig. 24: ‘Flexible Design Systems’ model. Own adaptation. Based on: Van Nes, 2012, p. 7 f.; Felsing, 2010, p. 4 f. Fig. 25: A1 magazines. www.saffronconsultants.com/work/a1. Accessed on 7 May, 2013. Fig. 26: AOL wall projection in urban space. www.wolffolins.com/work/aol. Accessed on 12 February, 2013. Fig. 27: IDTV logo versions. www.lava.nl/ projects/view/49/IDTV-Media-/dutch. Accessed on 3 March, 2013. Fig. 28: Visit Nordkyn logo versions. www.neue.no/index.asp?id=27415. Accessed on 18 February, 2013. Fig. 29: Design Academy Eindhoven T-shirt. www.stonetwins.com/Portfolio/ DesignAcademyEindhoven.aspx. Accessed on 27 April, 2013. Fig. 30: Nokia brand texture. www.movingbrands.com/work/nokia-2. Accessed on 18 February, 2013.
Fig. 31: Design Academy Eindhoven logo version. www.stonetwins.com/Portfolio/ DesignAcademyEindhoven.aspx. Accessed on 27 April, 2013. Fig. 32, 33: Flexibility chart example. Own adaptation. Fig. 34: A1 basic logo. www.brandnewthinking.de/2011/05/ telekom-austria-wird-a1-derneue-markenauftritt. Accessed on 20 November, 2012. Fig. 35: A1 IT services logo. www.brandnewthinking.de/2011/05/ telekom-austria-wird-a1-derneue-markenauftritt. Accessed on 20 November, 2012. Fig. 36: A1 electricity logo. www.saffron-consultants.com/work/a1. Accessed on 7 May, 2013. Fig. 37–40: A1 […]. www.saffronconsultants.com/our-work/aone. Accessed on 19 January, 2013. Fig. 41: A1 introduction film. Screenshot from: www.youtube.com/ watch?v=12IYSbqvYp0. Accessed on 19 January, 2013. Fig. 42: A1 poster. www.saffronconsultants.com/our-work/aone. Accessed on 19 January, 2013. Fig. 43: A1 shop façade. www.saffronconsultants.com/work/a1. Accessed on 7 May, 2013. Fig. 44: A1 website. Screenshot from: www.a1.net. Accessed on 7 May, 2013. Fig. 45: A1 brand portal. Screenshot from: www.markea1.net. Accessed on 7 May, 2013. Fig. 46: A1 brand portal. Screenshot from: www.markea1.net/corporate_ design/a1_typografie.html. Accessed on 7 May, 2013. Fig. 47: A1 flexibility chart. Own adaptation. Fig. 48–54: AOL […]. www.wolffolins.com/ work/aol. Accessed on 12 February, 2013. Fig. 55: AOL international website. www.aol.com. Accessed on 17 April, 2013.
Fig. 56, 57: AOL […]. www.wolffolins.com/ work/aol. Accessed on 12 February, 2013.
Fig. 125: Design Academy Eindhoven flexibility chart. Own adaptation.
Fig. 58: AOL flexibility chart. Own adaptation.
Fig. 126–129: EDP […]. www.sagmeisterwalsh.com/work/ project/edp. Accessed on 27 April, 2013.
Fig. 59–69: Burgtheater Wien […]. www.raffinerie.com/index.php?article_ id=2. Accessed on 18 February, 2013. Fig. 70: Burgtheater Wien billboard. www.raffinerie.com/index.php?article_ id=2. Accessed on 18 February, 2013. Fig. 71: Burgtheater Wien flexibility chart. Own adaptation. Fig. 72–76: Casa da Música […]. www.behance.net/gallery/Casa-daMusica-Identity/4745703. Accessed on 27 April, 2013. Fig. 77–81: Casa da Música […]. www.sagmeisterwalsh.com/work/ project/casa-da-musica-identity. Accessed on 27 April, 2013. Fig. 82: Casa da Música website. Screenshot from: www.casadamusica. com. Accessed on 27 April, 2013. Fig. 83: Casa da Música flexibility matrix. Own adaptation. Fig. 84–95: City of Melbourne […]. www.behance.net/gallery/City-ofMelbourne/276451. Accessed on 12 February, 2013. Fig. 96: City of Melbourne website. www.melbourne.vic.gov.au. Accessed on 12 February, 2013. Fig. 97: City of Melbourne flexibility chart. Own adaptation. Fig. 98–110: CX logo versions. www.movingbrands.com/work/cx. Accessed on 18 February, 2013. Fig. 111: CX flexibility matrix. Own adaptation. Fig. 112–123: Design Academy Eindhoven […]. www.stonetwins.com/Portfolio/ DesignAcademyEindhoven.aspx. Accessed on 27 April, 2013. Fig. 124: Design Academy Eindhoven website. Screenshot from: www.designacademy.nl. Accessed on 2 February, 2013.
Fig. 130, 131: EDP image video. Screenshot from: www.vimeo. com/26276388. Accessed on 27 April, 2013. Fig. 132–139: EDP […]. www.sagmeisterwalsh.com/work/ project/edp. Accessed on 27 April, 2013. Fig. 140: EDP flexibility chart. Own adaptation. Fig. 141–147: EPFL Alumni […]. www.enigmaprod.ch/en/projects/ generative-identity-for-the-epfls-alumni. Accessed on 18 February, 2013. Fig. 148: EPFL Alumni. Screenshot from: www.epflalumni.ch. Accessed on 18 February, 2013. Fig. 149–152: EPFL Alumni […]. www.enigmaprod.ch/en/projects/ generative-identity-for-the-epfls-alumni. Accessed on 18 February, 2013. Fig. 153: EPFL Alumni flexibility chart. Own adaptation. Fig. 154–161: IDTV […]. www.cooee.nl/ projects/idtv. Accessed on 3 March, 2013. Fig. 162: IDTV website. Screenshot from: www.idtv.nl. Accessed on 3 March, 2013. Fig. 163: IDTV flexibility chart. Own adaptation. Fig. 164–174: MML […]. www.studiofeed. ca/projet/mml_1312487381. Accessed on 12 February, 2013. Fig. 175: MML website. www.mobilemedialab.ca. Accessed on 12 February, 2013. Fig. 176: MML flexibility chart. Own adaptation. Fig. 177–184: New Museum […]. www.wolffolins.com/work/new-museum. Accessed on 18 February, 2013. Fig. 185: New Museum website. Screenshot from: www.newmuseum.org. Accessed on 18 February, 2013.
Fig. 186: New Museum flexibility chart. Own adaptation.
Fig. 227: OCAD flexibility chart. Own adaptation.
Fig. 187–196: New York City […]. www.wolffolins.com/work/new-york-city. Accessed on 18 February, 2013.
Fig. 228–235: Odooproject […]. www.hiddencharacters.hu/project_ odoor.html. Accessed on 21 March, 2013.
Fig. 197: New York City website. Screenshot from: www.wolffolins.com/ work/new-york-city. Accessed on 18 February, 2013.
Fig. 236: Odooproject flexibility chart. Own adaptation.
Fig. 198–199: New York City […]. www.wolffolins.com/work/new-york-city. Accessed on 18 February, 2013 Fig. 200: New York City flexibility chart. Own adaptation. Fig. 201: Nokia brand texture. Screenshot from: www.vimeo.com/15890307. Accessed on 18 February, 2013. Fig. 202: Nokia brand texture. www.movingbrands.com/work/nokia-2. Accessed on 18 February, 2013. Fig. 203: Nokia brand texture. Screenshot from: www.vimeo.com/15890307. Accessed on 18 February, 2013. Fig. 204: Nokia product package. www.movingbrands.com/work/nokia-2. Accessed on 18 February, 2013. Fig. 205, 206: Nokia brand film. Screenshot from: www.vimeo.com/ 15890307. Accessed on 18 February, 2013. Fig. 207, 208: Nokia mood film. Screenshot from: www.vimeo.com/ 17438536. Accessed on 18 February, 2013. Fig. 209–213: Nokia ovi […]. www.movingbrands.com/work/nokia-2. Accessed on 18 February, 2013. Fig. 214: Nokia flexibility chart. Own adaptation. Fig. 215–224: OCAD […]. www.brucemaudesign.com/4817/88329/ work/ocad-university-visual-identity. Accessed on 19 February, 2013. Fig. 225: OCAD website. www.ocadu.ca. Accessed on 19 February, 2013. Fig. 226: OCAD visual identity website. www.ocad.ca/visualidentity. Accessed on 19 February, 2013.
Fig. 237–247: PIGMENTPOL […]. www.flickr.com/photos/feld-studio/ sets/72157629807788193. Accessed on 27 March, 2013. Fig. 248: PIGMENTPOL website. Screenshot from: www.pigmentpol.de. Accessed on 27 March, 2013.
Fig. 295–299: Visit Nordkyn […]. www.neue.no/index.asp?id=27415. Accessed on 18 February, 2013. Fig. 300, 301: Visit Nordkyn website. Screenshot from: www.visitnordkyn.com. Accessed on 4 May, 2013. Fig. 302–306: Visit Nordkyn […]. www.neue.no/index.asp?id=27415. Accessed on 18 February, 2013. Fig. 307: Visit Nordkyn flexibility chart. Own adaptation. Fig. 308: Brand BIOS. Own adaptation. Based on: Spies, 2012, p. 131.
Fig. 249: PIGMENTPOL flexibility chart. Own adaptation.
Fig. 309: Moving Brands’ brand being concept. Own adaptation. Based on: Moving Brands, 2010, p. 36.
Fig. 250, 251: Swisscom […]. www.movingbrands.com/work/ swisscom. Accessed on 26 March, 2013.
Fig. 310: Moving Brands’ multi-sensorial identity. Own adaptation. Based on: Moving Brands, 2010, p. 39.
Fig. 252: Swisscom logo. Provided by Severin, 2012.
Fig. 311: Geoff Linsell. www.flickr.com/ photos/zurich_creativemornings/ 7901386032/in/set-72157631338820304. Accessed on 4 May, 2013.
Fig. 253–262: Swisscom […]. www.movingbrands.com/work/ swisscom. Accessed on 26 March, 2013 Fig. 263, 264: Swisscom brand centre. Screenshot from: www.swisscom. ch/brandcenter. Accessed on 26 March, 2013. Fig. 265: Swisscom flexibility chart. Own adaptation. Fig. 266–276: THNK. www.lava.nl/ new/projects/view/274/THNK-theAmsterdam-School-of-CreativeLeadership/english. Accessed on 20 March, 2013. Fig. 277: THNK. Screenshot from: www.thnk.org. Accessed on 26 March, 2013. Fig. 278: THNK flexibility chart. Own adaptation.
Fig. 312: Moving Brands logo. mscom.ti-edu.ch/upload/mb.png. Accessed on 11 January, 2013. Fig. 313, 314: Nokia brand film. Screenshot from: www.vimeo.com/ 15890307. Accessed on 12 February, 2013. Fig. 315: Daniel Severin, Swisscom. Provided by Severin, 2012. Fig. 316: Swisscom logo. Provided by Severin, 2012. Fig. 317: Swisscom corporate design overview. In: Swisscom corporate identity concept. 121212_CI_ Grundlagen_en.pdf. Provided by Severin, 2012. Fig. 318: Isolde Fitzel. Provided by Fitzel, 2013.
Fig. 279–292: USA TODAY. www.wolffolins.com/work/usa-today. Accessed on 18 February, 2013.
Fig. 319: Nofrontiere logo. Provided by Fitzel, 2013.
Fig. 293: USA TODAY. www.usatoday. com. Accessed on 18 February, 2013.
Fig. 320: Nenad Kovacic. Provided by Kovacic, 2012.
Fig. 294: USA TODAY flexibility chart. Own adaptation.
Fig. 321: Raffinerie logo. Own adaptation.
Fig. 322: Mike Fuisz. Provided by Fuisz, 2013. Fig. 323: moodley brand identity logo. Provided by Fuisz, 2013. Fig. 324: Daniel Frei. Provided by Frei, 2013. Fig. 325: daniel frei. kommunikation logo. Provided by Frei, 2013. Fig. 326: Felix Widmaier. Provided by Widmaier, 2013. Fig. 327: Namics logo. Provided by Widmaier, 2013. Fig. 328: Marco Spitzar. www.spitzarprivate-loves.com/about. Accessed on 22 February, 2013. Fig. 329: spitzar logo. www.spitzar.com. Accessed on 22 February, 2013. Fig. 330: Manifesto. Own adaptation. Fig. 331: Digital publication. Own adaptation. Fig. 332: Continuation after MA completion. Own adaptation. ×
Thanks are due to everyone who helped to bring this research project further, especially to Geoff Linsell for his openness, Peter Vetter for his empathy and support, and Sarah Owens for her incredibly constructive feedback. Keep in mind that this study is the starting point for a professional discussion about dynamic branding. The study did not reach the status I initially wanted to achieve but it still is a solid basis for graduation evaluation. The very positive feedback from experts and students on the project is a strong motivation to follow up on the topic as well as to start to actively share and improve the outcome. I apologise for any language, spelling or typing mistakes. If you find any, let me know via firstname.lastname@example.org. Thank you for reading. Ă—
Master’s thesis declaration
I declare that this Master’s thesis was developed independently and without outside assistance. this Master’s thesis has neither been submitted in the same or in similar form to any other university, nor has been published until now. none other than the declared sources and resources were used in this Master’s thesis and this also refers to any drawings, sketches, images or suchlike figures within this work.
I acknowledge that this Master’s thesis will be included in the archive of the Zurich University of the Arts and that it will be published in part or in its entirety or made available to third parties if and when necessary. The submitted Master’s thesis theory covers a count of 196’000 characters. Zurich, 29 May 2013
Emanuel Jochum ×
We are all embracing new forms of connection, communication and commerce. How we relate to the world is increasingly open, fast and interactive. The challenge in branding now is to take up the speed and agility in our lives and to define brands just as lively and movable. But what is a dynamic brand? How is a visual identity made alive? Ă—
Published on May 29, 2013
Master thesis by Emanuel Jochum (ejochum.com) about how flexible design systems turn brands into dynamic visual identities (May 2013; revise...