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2006 TOTAL IDENTITY GROUP


One goal. Multiple strategies. Developing a corporate identity and helping an organisation to become aware of itself in its communications, symbols and behaviour is a skill in itself. It’s a skill that requires a great deal of creativity, along with years of experience and the combined creative effort of such disciplines as communication, design and management. These qualities are what make us the agency we are today, with the many national and international companies that we have helped in creating a complete identity and with other advice. 3

Increasing globalisation has made it necessary for us to view identity in a broader context. On the one hand because companies expand beyond their original national borders and utilise their identity at an international level. On the other hand, because more and more companies are becoming aware of the importance of their corporate identity. The result is that our target group area is growing steadily. Total Identity is increasingly asked to develop identities internationally. Experience has taught us that working with local agencies enables us to shape the identity process more effectively. This is particularly so when it comes to knowledge of the local market and culture and the further refinement of the identity created. A local agency, with the goal to develop the corporate identity of its clients, offers a great deal of added value in this respect. And this is the kind of agency we wish to have as a partner. For this reason, we have developed this brochure, which includes cases from all partners of the Total Identity Group. It shows the diversity and the approach that we apply internationally. Our objective is to find new partners. I very much hope that, in reading this, you will recognise yourself as one. Eli Vlessing Manager international business


Challenge ƒ Helping organisations to bring coherence in their communications, behaviour and symbols is a vast process. That’s why our approach depends on the deployment of such disciplines as consulting, communications, design, interaction and publishing.

Focus ƒ Creation is filtering: making a selection from the total image of an organisation and further refining these choices into concrete ideas and workable solutions. It goes without saying that this occurs in close co-operation with the client.

Solution ƒ A multidisciplinary working method requires effective organisation, an organisation in which internal skills are geared to current and future market demands, and where the client has a single point of contact: the market group.


Target group style

Symbolism

A large-scale house-style project has to be realised internationally from design to implementation. How do you get all the various disciplines together?

As the subsidiary of a strong international organisation, can you take your own course in marketing communication?

How do you put into words and visually depict the coming together of a religious commu­ nity that has been splintered for centuries?

Allow decentralised decisionmaking bodies to decide, consult and give approval via the Internet.

In a culture where collectivity dominates, differentiation according to target group styles is a daring approach.

Redefine the foundations and values and capture them in symbolism.

BESIX got consensus for its new corporate design via i-Base, the Internet database that will later be used for implementation.

HyundaiCard is employing its own (image) communication and from now on will approach individuals through 26 specific brand extensions. In the long run, this strategy will streng­ then the Hyundai parent brand.

The Protestant Church in the Netherlands regards believing in God with enthusiasm as its new mission, with a new logo: a pattern of Christian symbols.

Besix

HyundaiCard

Protestant Church of The Netherlands

page 10–13

page 14–17

page 18–19

5

Project management


i-Base

Corporate typeface

A radical change in the market leaves a company with new tasks and new chances. How do you give shape to this impetus?

The consumer is choosy and wants everything custom-made by an organisation with a personal approach. Is this possible in a market of mergers and upscaling?

Authenticity and originality, differentiation and familiarity. How do you change that in every form of communication?

A public survey shows the new direction and the values for a corporate identity.

Produce an integral concept for design and communication based on the organisation’s history and ambitions.

A professional corporate typeface creates a unique, individual typographic image. Corporate character in every character.

The Flemish power company Iveg opted for a new house style and a new way of communicating.

Three independent insurers were merged into Fortis ASR. This is an organisation that has transformed expert, personal service with a fresh corporate design and focused targetgroup communication. Each has its own perspective.

For Al Futtaim, the corporate design system was built around the exclusively produced type­ face Al Futtaim Bold, featuring a balanced mix of Arabic and western character sets.

Iveg

Fortis ASR

Al-Futtaim Group

page 20–21

page 22–25

page 26–27

6

Housestyle implementation


Consistent communication

Packaging

Every offering has a target group that it has already reached and a potential target group. You want to break through this status quo. Do youchange your communication or your communication media?

Large, decentralised organisa­ tions often have difficulty in presenting the visual trans­ lation of their corporate identity unambiguously. How do you guarantee consistent visual communication?

As a manufacturer in a saturated market, should you follow the big manufacturers and content yourself with a modest market position?

With multi-channel publishing, you create one source where you can be informed or inform yourself.

Find a way by which every decentralised branch can easily make all communication media themselves and yet still monitor the house style centrally.

No nuts, no glory. You differentiate yourself and rediscover your roots.

The Flemish CultureNet reaches potential target groups via the ‘CultuurDatabank’, a gathering point for cultural information. In this way, it removes the thresholds to culture.

i-Base is an Internet system that helps users apply the house style professionally within the limits of the design, without compromising on userfriendliness.

Gulpener Beer profiles itself through its authenticity: real beer from Limburg. It has a matching packaging line and a sophisticated marketing strategy.

CultuurDatabank

De Lijn

Gulpener

page 28–29

page 30–31

page 32–33

7

Multichannel publishing


Corporate marketing

Application system

A company with a solid market position wants to increase its name and brand familiarity even further. Is more impact possible?

If a product outgrows its producer to the extent that the producer cannot claim ownership of that product, how to reconnect the company to the product?

Is it possible to further streng­ then a strong brand in service provision without having a harmful effect on the values and basic principles of the corporate design?

Sports sponsoring, including a corporate redesign.

Since it’s all about image, changing the company name helps in making a fresh start, together with direct marketing communication that clearly expresses the traditional values, and a new, fresh design (program).

Make the service tangible; develop a two and threedimensional visual language.

The winning performance of the Gerolsteiner cycling team has strengthened perception of the mineral water product: mineral water for mobile people.

Changing the name from Kingmen to King’s Knife helped the company to change its inward focus on the product to a stronger market focus, with an expressive design program to match the new market proposition.

The wave is the linking element in KLM’s corporate design. It is the fourth element alongside shape, colour and typography.

Gerolsteiner

King‘s Knife

KLM Royal Dutch Airlines

page 34–35

page 36–37

page 38–41

8

Sponsoring


Clarity

Data management

Promotion is widely accepted in the public sector. Cities are also trying to recruit companies and citizens: very often in a onedimensional way with posters and a slogan. How do you stand out from the rest?

New, attractive, innovative, different. Sounds like any design assignment. How can you guarantee these qualities, yet be true to the company’s identity?

An international niche player wants to have immediate access to internal data to be able to respond quickly on market demands. Is there software for logistics, the company’s strategy and corporate design?

Cities also have a character. Seize the essence of this and depict it in design. And make sure that this image can stand the test of time. In other words, strategic design.

Investigate the options, create a clear overview of all players in the field. Use this information to start the creative process with a headstart and much clearer goal.

Look for business intelligence, for ERP software that manages both al kinds of data, even design data.

Leipzig was Germany’s trump card for the 2012 Olympic Games, supported by a design that still leaves room for marke­ ting even when the city has been eliminated.

Design and identity strategy are defined during interviews and brainstorm sessions, creating clarity about Hanaro’s identity resulting in efficient and powerful creative sessions.

With its new information manage­ ment system, Keepersport Italy can now work the market at will, as well as have the visual impact that sets apart its target groups: the goalkeepers.

Leipzig 2012

Hanaro Telecom

Keepersport Italy

page 42–43

page 44–45

page 46–47

9

Large event organization


10

Besix The BESIX GROUP is an interna­ tional, originally Belgian, group that plays a leading role in infra­ structure projects, such as the construction of airports, sea­ ports, railroadstations and the building of the highest tower in the world in Dubai. Thanks to acquisitions and successful operating prac­tices, BESIX is experiencing steady growth, but new partners continue to operate under their own name. The possible synergy advantages are not being reali­ sed due to a lack of coherence. In order to expand the group’s international position and rein­ force ties with its home market in the Benelux region, a decision was made to focus on in the house style, communications and behaviour. Developing a house style for a large, diversified company that makes a very visible and tangi­ ble product requires an efficient, project-oriented approach. Why? Because there’s a good chance that people will expect quick, distinct and visible results. Make a decision, take the plunge, keep going, move on

to the next step: these phrases exemplify the character of a com­pany like BESIX and its management. For this reason, a fine-tuned project organisation was created, both for BESIX and Total Identity. Activities were then performed in accordance with the timeframe agreed in advance. Consistently, each presentation was recorded in writing, along with comments and decisions about that presentation. This prevented any surprises. Working according to the agreed schedule – which indicated clearly what could be expected at each milestone – nipped any impatience with regard to progress or results in the bud. Total Identity followed the agreed plan, and, thanks in part to the consistent documen­ tation, closely involved the BESIX project group in the progress of the project. The result of the project, the house style, was incorporated into the BESIX i-Base: an Internet data­ base containing all the guidelines, files and examples needed to implement, check and

keep the corporate design up to date.The i-Base also filled another important role: it was not used so much as a house style management tool, but rather as a means of commu­ nication in developing the house style. The documentation of each presentation was enter­ed into the i-Base along with all the decision-making documents. This ensured that all the infor­ma­ tion would be available to all project participants. Furthermore, everyone could review the past documents at any time, including the develop­ ment of the proposals and the comments provided. In this capacity, the i-Base functioned as a web log. Everyone had access to the same source, with the same information, ensuring that no miscommunications would arise due to outdated documents, different versions or missed e-mails.


Presentation and decision documents


Project and Corporate Identity Management tool


Returnadress: P.O.Box 1234, 1101 BK Plaatsnaam

Total Identity A. Van Dommelen Paalbergweg 42 1100 AL AMSTERDAM THE NETHERLANDS

16 maart 2005 Referentie1234/ab/5678 Uw referentie 0001/00 Projectnaam Contact direct: N.A.A.M. Persoon Telefoon (000) 000 00 00 naampersoon@bedrijfsnaam.nl Bijlagen: - boek ‘Corporate Identity’ - brochure ‘Het gedrag van een onderneming’

De zichtbaarheid van uw corporate identity Geachte heer Van Dommelen,

Environmental Design

Het begrip huisstijl is een versimpelde vertaling van het begrip ‘corporate identity’; het is een verzameling van gecoördineerde uitingen van een onderneming of instelling. Een huisstijl maakt iets zichtbaar. In het gunstigste geval geeft deze verzameling een juist beeld van die onderneming of instelling. Een ‘juist’ beeld moet worden opgevat als een beeld dat sfeermatig een afspiegeling is van een activiteitenpatroon en van de doelstellingen. Slechts zelden kan een visueel programma een letterlijke vertaling zijn; dat is alleen mogelijk voor zeer enkelvoudige ondernemingen, bijvoorbeeld voor bedrijven die slechts een standaardprodukt leveren. Een goede huisstijl is niet automatisch een weerspiegeling van de indruk die het publiek heeft van een onderneming. Imago heeft meer te maken met ‘het gedrag’ van een onderneming dan met de visualisering ervan. In principe is het eenvoudiger om een goede huisstijl te ontwikkelen dan een imago te sturen. Naar buiten toe kan men refereren aan iets tastbaars, iets dat zichzelf is.

BESIX is a quality

concept in the world of construction.

Hoogachtend, Statutaire naam

Naam afzender Functie

Marten B. Program Voorbeeld Manager

Straatnaam 12 1101 BK Plaatsnaam Postbus 1234 1101 BK Plaatsnaam Telefoon (000) 000 00 00 Fax (000) 000 00 00 info@besix.be www.besix.be Bank 00.00.00.00 Handelsregister 00000000

Algemene leverings- dan wel verkoopvoorwaarden, die gelden voor de bedrijfstak of branche.

Application samples

BESIX P.O. Box Street 01 01 – 4321 AA City Country – 4321 AE City www.bes ix.com

small information

Telepho ne Fax +00 +00 (0)00 765 Mobile (0)00 765 43 21 43 21 +00 e.xemple (0)00 765 43 @besix.c 21 om

Statutaire naam Vestigingsnaam

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Stills from introduction commercial video

14

HyundaiCard The South Korean company HyundaiCard is part of the international Hyundai Motors Group, but has its own market in which it sells credit cards to car owners. The card is seen as the ‘credit card of Hyundai owners.’ However, HyundaiCard wants to sell the card to a variety of target groups, inclu­ding those which have no con­nection with cars or driving. In this case, a separate identity is vital, as is a brand pro­gramme with a logo that can hold its own against the ‘H’ of the Hyundai symbol. In this market where all compe­ titors have a single target group – all Koreans – HyundaiCard deci­­ ded to focus on individua­lity and personality. The slogan ‘You and I’ was selected for this purpose. A personal message, that sounds

a bit like ‘Hyundai’ when spoken out loud: HyundaiCard, You and I Card. This was then transformed into a new corporate font, the Youandi. HyundaiCard also had to create a specific typographic image, to form the basis for the specific brand extensions: the credit cards for the various target groups. Although a family of four styles seemed sufficient, a rich palette of variations was developed, which led to a typo­ graphic family of 32 fonts. Each brand extension got its own style and an individual look and feel. At the same time, there are also clearly recognis­able, consis­ tently used common ele­ments, which link the various brand extensions.

In this way, HyundaiCard occu­ pies a prominent place within its own family. The strategy of not choosing safe, gradual and minimal growth by holding onto the coat-tails of the strong Hyundai brand, but instead creating a new, individual brand, was a well-considered choice that was made in close consultation with the other members of the group. The expectation is that a strongly branded HyundaiCard will eventually generate new sales markets for Hyundai Motors.


Credit card design 2006


Public statement from client


18

Protestant Church of The Netherlands Religion is very important for many people in The Netherlands. Religious identity is close to many people’s hearts, especially in the Protestant church, which is divided into countless diffe­ rent communities. For this reason, back in 1961, three of the main Dutch Protestant churches decided to unify under the banner of ‘Together towards Tomorrow – from solidarity to modernisation and a new relationship with society.’ In 2004, this process led to the Protestant Church in The Netherlands: one single church with a mission to be represen­ ted by a symbol. However, the question remained of whether you can actually represent religion in graphic form. Christianity is rich in symbols and has many meaningful images: the circle representing divine unity, the dove as a symbol of peace and the Holy Spirit, the cross, etc.

The idea of expressing the church’s mission in the form of a symbol was one everybody could agree on. With this new symbol, the Dutch Protestant Church’s aim was to express the Word of God, dedicate itself to peace and justice, and be a spirited church in which its members are inspired in their beliefs and their lives. The message is one of believing in God with enthusiasm. The elements for the symbol were set down in graphic form after considering countless ideas and arguments. The final design features light and ‘halo’ colour effects. A traditional cross is positioned in the middle of a circle, with several inside circles of colourful rays radia­ ting from the centre. The design also features an eight-armed cross, which unites the traditio­ nal cross and the letter X, which is the first letter of the word ‘Christ’ in Greek. A rising white

dove is pictured at the centre of the design. In this way, the Dutch Protestant Church symbolises the trinity: God, Jesus Christ and the Holy Spirit, and sets out the path the church wishes to follow. The yellow, orange and red tones give the symbol a feeling of warmth. The Protestant Church in The Netherlands was officially launched on 1 May 2004. The new symbol represents the joy of unification and the fervour of this new church. The Roman Catholic Church has even tried to use this symbol, which only serves to reinforce the fact that the identity is, in effect, a modern and recognisable religious icon.


20

Iveg The 2003 liberalisation of the energy market in Flemish Belgium had drastic consequenc­ es for the power company Iveg. To ensure fair competition in the energy market, the produc­tion and sale of energy and the management of the distribution network may not be in the hands of the same company. Iveg there­ fore hived off its sales division and became a distribution net manager for natural gas and electricity. This change had an effect on the company’s communications. In reality, Iveg became a new company, with a need for a new identity. Furthermore, this identity had to be translated into a specific design and message. To shape this new identity, research was conducted into how Iveg wanted to profile itself in the market. This study

revealed that the company wanted to be described by such characteristics as social, serious, modern, businesslike and active. These qualities were expressed in the logo and the house style, with the logo being a graphic representation of the idea of ‘distribution’. The exten­ ded upper right serif of the letter g is combined with the displaced dot from the letter ‘i’ to form a distribution point in a small circle. An important additional objec­ tive in the development of the house style was a reduction in the number of administrative documents to only what was necessary (from 17 envelopes to 4, etc.). In addition, digital templates were developed to enable Iveg users to draw up documents according to house style guidelines.

Together with the house style development and implemen­ tation, efforts were made to determine the best way of improving communication with customers. A decision was taken to convert the website to the house style and to bring it up to date, and to upgrade the company’s low-budget informa­ tive magazine into a quarterly customer magazine. A new magazine formula was develop­ ed with the help of Iveg and Gramma staff. The co-ordination, layout, photography, editing, printing prep work, and check of the printing proofs are Gramma’s responsibility, which allows Iveg to focus all its attention on shaping the company’s new identity.


22

Fortis ASR The three insurance companies of the Fortis Group have combi­ ned forces. Under the name Fortis ASR, the Dutch insurance companies Woudsend, Stad Rotterdam and AMEV are em­bark­ing on a joint venture. Behind the scenes, much work is being done to create a new, powerful agency insurer: one that offers financial services exclusively via brokers. This approach was based on a deci­ sion to increase customer satis­ faction and achieve operational growth, as Fortis ASR’s goal is to become the best full-service insurance company in The Netherlands. The brands Stad Rotterdam, AMEV and Woudsend were replaced by the Fortis ASR brand that will operate under the slogan: Insured by Fortis. The launching of this new brand was accompanied by a new identity

and image in the market. For this new insurance company, Total Identity designed an entirely individual style within the Fortis house style. The new proposition – a power­ful insurance company – had to be clearly represented in the new house style and the accom­ panying communications. The design expresses the charac­ teristics of the brand and the communication objectives: direct, convincing, recognisable and involved. These were depi­c­ ted by such aspects as: – bold, contrasting colours – large, prominent headings – a recognisable pattern – the fourth element: the stripe that features the brand’s symbol – an austere design, which creates clarity and trans­ parency – recognisable photography.

During the project, it emerged that neither the design nor the content of the various commu­ nication media were able to meet the needs of the new identity. Ultimately, a powerful insurance company is going to communicate in its own parti­ cular way. To this end, texts were made clearer and more to the point, and additional attention was paid to the visual structure in the presentation. Furthermore, besides informa­ tion on Fortis ASR products, tips and background information are provided to readers so that they are personally able to take deci­ sive action in the event of a claim.


Corporate Identity management tool and design toolbox


Flexibele verzekeringen voor de zelfstandig ondernemer

Ondernemersperspectief Zelfstandige ondernemer

tot en met €0.000 0.000 t/m €0.000 0.000 t/m €0.000 0.000 t/m €0.000 0.000 t/m €0.000 0.000 t/m €0.000 meer dan €0.000 aantal punten

4 Netto maandinkomen

2,5 5.0 10.0 15.0 20.0 27.0 35.0

Sieraden zijn tot maximaal ? 0.000 voor diefstal verzekerd. Zijn uw sieraden meer waard dan €0.000 dan kunt u de meerwaarde tegen een premieopslag meeverzekeren. ?

7b Audio-, video- en computerapparatuur U bent standaard verzekerd tot een bedrag van ? 0.000 Bezit u meer dan ? 0.000 wat is dan het meerdere boven ? 0.000 Dit bedrag moet u in deze onboedelmeter extra optellen bij uw verzekerd bedrag. € ?

Handtekening

De inboedel is door mij naar waarheid ingevuld. Plaats Datum

3 Type woning

hoek- of tussenwoning 4,5 twee-onder-een-kapwoning 6,5 eengezinswoning geheel vrijstaand, boederij, deel bedrijfspand 9,0 bungalow, villa, grachtenhuis, herenhuis 11,0 overige (w.o. boven-/benedenwoning, flat) 2,0 aantal punten

Totaal geschatte inboedelwaarde € Totaal van de punten 1 t/m 6 x €? 0.000 = Subtotaal geschatte inboedelwaarde €

7 Bijzondere bezittingen

7a Lijfsierraden U bent standaard verzekerd tot een bedrag van ? 0.000. Bezit u meer dan ? 0.000 wat is dan het meerdere boven € ? 0.000 Dit bedrag moet u in deze onboedelmeter extra optellen bij uw verzekerd bedrag. € ?

7c Huurdersbelang U bent standaard verzekerd tot een bedrag van ? 0.000. Bezit u meer dan € ? 0.000 wat is dan het meerdere boven € ? 0.000. Dit bedrag moet u in deze onboedelmeter extra optellen bij uw verzekerd bedrag. € ?

6 Geschat huurdersbelang

0,0 1,5 3,0 4,0 5,5

2 Gezinssamenstelling

8 | Collectieve ziektekosten

Dekkingsoverzicht Aanvullende ziektekostenverzekeringen

– Abortus – Alternatieve geneeswijzen (inclusief geneesmiddelen) – Anticonceptie (o.a. de pil) – Astmakamp kinderen

Aanvullende ziektekostenverzekering

Verzekerd ondernemen.

alleenstaande zonder kinderen jonger dan 35 jaar 2,5 35 t/m 54 jaar 5,0 55 jaar of ouder 7,0 óf echtpaar/samenwonenden zonder kinderen hoofdkostwinner jonger dan 35 jaar 9,5 hoofdkostwinner 35 t/m 54 jaar 17,0 hoofdkostwinner 55 jaar of ouder 19,0 óf alleenstaande / echtpaar / samenwonenden met kinderen jongste kind 0 t/m 5 jaar 12,0 jongste kind 6 t/m 12 jaar 14,5 jongste kind 13 t/m 17 jaar 22.0 andere inwonende meerjarige(n) 30,0 aantal punten

bij huurhuis t/m €000.000 t/m €000.000 t/m €000.000 t/m €000.000 t/m €000.000 t/m €000.000 1 aantal punten

5 Waarde woning op basis van herbouwwaarde

29 jaar of jonger 30 t/m 39 jaar 40 t/m 49 jaar 50 t/m 59 jaar 60 t/m 69 jaar 70 jaar of ouder aantal punten

1 Leeftijd hoofdkostwinner

Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat. Duis aute irure dolor in reprehenderit in voluptate velit esse cillum dolore eu fugiat nulla pariatur.

2,5 12,5 22,5 30,0 17,5 7,5

Excepteur sint occaecat cupidatat non proident, sunt in culpa qui officia deserunt mollit anim id est laborum. Lorem ipsum dolor sit amet, consectetur adipisicing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat.

Inboedelmeter

Verzekerd van Fortis.

0,0 1,5 3,5 5,0 7,0 0,5 0,0

In deze uitkomst is standaard rekening gehouden met maximum bedragen voor: – sieraden € 5.000 – audio-, video- en computerapparatuur € 10.000 – overige bijzondere bezittingen € 12.000 – huurdersbelang € 5.000

7c Antiek, kunst, verzamelingen en instrumenten U bent standaard verzekerd tot een bedrag van ? 0.000. Bezit u meer dan € ? 0.000 wat is dan het meerdere boven ? 0.000. Dit bedrag moet u in deze onboedelmeter extra optellen bij uw verzekerd bedrag. € ?

Lorem ipsum dolor sit amet, consectetur adipisicing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat. Duis aute irure dolor in reprehenderit in voluptate velit esse cillum dolore eu fugiat nulla pariatur.

0, of koopwoning t/m €0.000 t/m €0.000 t/m €0.000 t/m €00.000 aantal punten

Invulhulp

Audio-,video- en computerapparatuur is in Amsterdam, Utrecht, Den Haag, en Rotterdam tot ? 0.000 verzekerd tegen diefstal. Is uw apparatuur meer waard dan ? 0.000, dan kunt u de meerwaarde tegen een premieopslag meeverzekeren (woont u niet in één van deze steden dan is deze apparatuur onbeperkt voor diefstal verzekerd). ?

Inboedelmeter

Naam Adres Postcode Woonplaats Polisnummer (bij wijziging) Geboortedatum

Bepaal de waarde van uw inboedel

De verplichte standaardverzekering vergoedt alleen de meest voorkomende vormen van zorg. Het is daarom verstandig uw werknemers een aanvullende verzekering te bieden. Met een aanvullende ziektekostenverzekering kan uw werknemer de verzekering afstemmen op zijn of haar persoonlijke omstandigheden. Bij het samenstellen van de Collectieve ziektekostenverzekering voor uw werknemers hebt u keuze uit een breed assortiment aanvullende ziektekostenverzekeringen. Dat omvat de Aanvullende ziektekostenverzekering, de Aanvullende ziektekostenverzekering uitgebreid en de Aanvullende ziektekostenverzekering optimaal. Van een basisdekking tegen een scherpe premie tot een zeer uitgebreide dekking met allerlei extra’s. In het overzicht hiernaast staat de dekking van de Fortis ASR Aanvullende ziektekostenverzekeringen beschreven. Uiteraard komt de dekking van de Aanvullende ziektekostenverzekeringen bovenop de dekking van de verplichte standaardverzekering.

– Bewakingsapparatuur wiegendood – Brillen (inclusief montuur) of lenzen, vanaf 1,5 dioptrie (1x per 3 jaar) – Buitenlandvaccinaties

Aanvullende ziektekostenverzekering

Aanvullende ziektekostenverzekering uitgebreid

Aanvullende ziektekostenverzekering optimaal

100% € 250 per jaar

100% € 750 per jaar

100% € 1.500 per jaar

100%

100% 50%

100% 100%

100%

100%

€ 100 Multifocale/varifocus glazen: € 200 100%

€ 150 Multifocale/varifocus glazen: € 300 100%

€ 200 Multifocale/varifocus glazen: € 400 100%

100%

100% 100% 100%

100% 100% 100%

9 behandelingen per indicatie per jaar

18 behandelingen per indicatie per jaar

100%

Geneesmiddelen: – Eigen bijdrage – Boven Geneesmiddelenvergoedingssysteem

100% € 250 per kalenderjaar

100% € 500 per kalenderjaar

Herstellingsoord

75% tot € 1.000

75% tot € 1.500

Cursussen thuiszorg/ patiëntenvereniging

100%

Diëtist

100%

Eigen bijdrage: – Bevalling – Kraamzorg – Ziekenvervoer Fysiotherapie (waaronder manuele, oefen- en oedeemtherapie)

De Fortis ASR Aanvullende ziektekostenverzekeringen – Aanvullende ziektekostenverzekering: Een goede aanvullling, tegen een zeer scherpe premie. Met name geschikt voor alleenstaanden en gezinnen zonder kinderen. – Aanvullende ziektekostenverzekering uitgebreid: Een ruime dekking (óók voor kinderen), tegen een aantrekkelijke premie. – Aanvullende ziektekostenverzekering optimaal: Een zeer complete dekking, bijzonder geschikt voor gezinnen met kinderen en iedereen die het beste wenst.

Productnaam

Productnaam 1

Productnaam 2

Productnaam 3

Productnaam 4

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Omschrijving van het product

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Dekkingsvarianten

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Belangrijkste voordeel

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Nadeel

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Fiscaliteiten

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Risico-indicator

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Meer weten? Verwijzing naar Cockpit

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De wirwar aan mogelijk «inzichtelijk maken en de

beste langetermijn oploss aandragen: dat is de bes manier om ondernemers je te binden

»


Fortis ASR Nieuws en opinie 21 september 2005

Nieuwsflits Inhoudsopgave n Meer rendement van zakelijke klant n Ruimere marge op schade n Fiscaal-juridisch nieuws n Ruimere marge op schade

n Ruimere marge op schade n Fiscaal-juridisch nieuws n Provisie schadepolis aangepast n Ruimere marge op schade

n Commentaar | Reageer

n Voetbalitem

Feyenoord

Fortis ASR-directeur Rene Otten in beeld en geluid

‘Kwamen de Kamerleden maar eens naar Utrecht…’ > Service > Archief > Redactie > Uitschrijven > Cockpit

Lore voluptat illam ent praesto consent il ex enim dolorem ipsusci tin estionse tie duipsum zzriure esed etum quat. > kijk, luister, lees en reageer…

Succesvolle en voetbal-gekke intermediairs kunnen voor zondag a.s. nog kaarten winnen voor Feyenoord-PSV. > Lees verder…

n Fiscaal-juridisch nieuws Onderzoek Fortis ASR

Intermediair wil meer rendement van zakelijke klant Dolorem ipsusci tin estionse tie duipsum zzriure esed etum quat iure feum dolortie feuisciniat ut praesse tatem velenibh eum zzriusc liquis nos nonullandre dolor si. > lees verder…

n Opinie Provisie schadepolis aangepast

Ruimere marge op schade

n Onderzoek

Stem op Intermediair van het Jaar


26

Al-Futtaim Group Since 1930, the Al Futtaim trading organisation has been representing a great many multinationals doing business in the United Arab Emirates. Big names like Toyota, Lexus, Honda, Volvo, Panasonic, Toshiba, Alcatel, Marks & Spencer, IKEA, Toys ‘R Us and Seiko regard the Al-Futtaim Group as a solid, trustworthy representative. However, in its communications, the companies stuck rigidly to their own trade names and logos. This multipli­ city emphasised the regional nature of the Al-Futtaim Group, which never­theless cherished the ambition of growing into a pan-Arabic trading company at the very least. In the middle of the 1980s, Al Futtaim worked with Total Design to translate the corpo­ rate identity into a corporate design, thereby presenting the

group more as one unit while underlining the individuality of the multi­nationals. The corpo­ rate design would have to com­ mu­nicate the group’s ambitions, spearheaded by a new logo. Expansion through the core activities of transport, elec­tro­ nics, trade, financial services and real estate would no longer increase the diversity but extend brand consistency. The corporate identity resur­ faced for discussion in the middle of the 1990s. The house style would have to focus more on showing the company’s representation in – by now – forty countries. On the advice of Total Identity, the restyling centred on one unique element: the Al Futtaim corporate type­ face. This is a completely func­ tio­nal font developed uniquely and exclusively for Al Futtaim and suitable for Arabic and

Western script. It was also unique in the collaboration between designers and pro­ grammers from Amsterdam, Beirut, Dubai and Seattle – something rarely seen in the design industry.


28

CultuurDatabank The laws of the market dictate that every offer will have an audience that has been effectively reached, and a potential audience. This also applies to cultural events: what is the potential audience for a specific cultural offer? And how can you reach this public as effectively as possible and, preferably, retain these people as customers? However, the existing supply and the current customeracquisition tools are often not sufficient to reach a ‘new and different’ audience. This was also the experience of the Belgian government in Flanders, whose goal was to lower the threshold to encourage the potential audience to attend cultural events. A decision was made to set up a platform geared towards the public: the Flemish CultureNet. The intention is that CultureNet contributes to the expansion – in breadth and depth – of the public’s participation in cultu­ral events and to the better positioning of art and culture in society. To this end, the Flemish CultureNet focuses on the area of tension between the supply and the public, and in particular

on cultural communications and public relations. This is achieved in the following ways: – communications directly to the public – support, recommendations and guidance for the cultu­ral sector in its communica­tions and public relations; by means of the ‘Knowledge Network’ that informs, advi­ ses and supports the cultural sector in its PR, marketing and communications. – the development of a central CultuurDatabank for Flan­ders and a special cultural website (Cultuurweb.be). The CultuurDatabank combi­nes the cultural offerings for Flanders and Brussels, and makes information more easily accessible to a broad public via a variety of chan­nels. In addition, the same information can also be used on the websites of local cultu­ral institutions. As an experienced player in the Amsterdam culture market and a well-known party in multichannel publishing, ZaPPWeRK developed the CultuurDatabank and set about ensuring userfriendly access. The require-

ment in this respect was that the databank needed to be accessed through a variety of channels: the Internet, mobile phones and other media. A phased launch served to open the CultuurDatabank to a diverse group of users. In the first phase, this took place under the supervision and at the invitation of the Flemish CultureNet. Since early September 2005, parties interested in cultural events can gain access to the databank and search for and/or enter relevant information. The information stored in the CultuurDatabank is expanding from culture in a broad sense to also include a wide variety of cultural events at a very local level. In time, more cultural offerings will be included in the databank and links will be created to culture-related themes such as leisure.


30

De Lijn With its Central Services in Mechelen and five ‘entities’ in the provinces of Flemish Belgium, the public transport company De Lijn is an extremely decentralised organisation. It is also an organisation that communicates haphazardly, both internally and, increasingly, with a public that is reached via timetables, info sheets and other publications. This autonomy promotes local adaptation to regional conditions but also means that the branches adapt their communication as they think fit. This is reinforced by the lack of updates to the house style manual, leading to colours and logos being ‘watered down’. De Lijn asked Gramma to restore consistency to the house style and its use, without unduly affecting the autonomy of the entities. A thorough analysis of De Lijn publications at all branches showed the extent to which people had deviated from the original house colours of yellow,

white grey and blue. De Lijn was hardly recognisable. So Gramma’s advice was to link all house style elements to the appearance of their buses and trams, where the house still was used fairly consistently. The logo did not need to be changed but just had to be used more consistently. A brand hierarchy was also established for the ordered use of the main De Lijn brand and subbrands like BuzzyPazz, Omnipas, etc. i-Base played a major role in introducing the revised house style (with regard to colour, printing technique, font and the introduction of white office). The i-Base is a database-controlled website that Gramma set up for De Lijn and stores all corporate design elements, application guidelines and examples. Internal users and external designers, printers, etc. can download all illustrations and logos ready for use, as well as templates for letters, faxes, etc. So it’s one knowledge bank that

monitors the use of the house style centrally and saves considerable costs for De Lijn. Both in terms of time gained (not constantly re-inventing the wheel) and in terms of rationalising the documents and printed matter. Before final acceptation of the adjustments to the house style and of the guidelines – in other words, before implementation – everything was thoroughly tested by the market research agency Quality Research. They surveyed users both sporadically and regularly. The results show­ ed that the restyling would make all De Lijn’s publications recognisable again and would ensure clearer communication. This positive sign was the green light for implementation.


31


32

Gulpener In the middle of the 1970s, the beer market was saturated, mostly owing to the dominance of large breweries and a onesided offering: beer was lager and vice versa. Small breweries like Gulpener followed the big producers but missed out on sales by doing so. The middle of the 1980s saw a turnaround. From being a production-focused brewery, Gulpener turned into a market and people-focused company. Sustain­ability made its entrance: from then on, Gulpener focused on people, planet, profit. The brewery signed a pact with nature and now uses only ingredients produced in a socially responsible

way (with full chain management). Employees also have to keep to these standards. Sus­ tainability no longer became a label but an internal way of working. This extraordinary switch to sus­ tainability also led to a change in the market. Gulpener wanted to be a niche player in specialised beers. It no longer wanted to follow trends but to set them. As a niche player, it also wanted to communicate the mission of people, planet and profit. Whereas the beer packaging of mainstream brands was dominated by meaningless coats of arms, they differentiated them-

selves by putting the personal motivation of the brewer centrestage. The packaging centred on the employees and their personal bond with nature. So the mission was used as the front illustration on the label and Gulpener’s unique ambition became a welcome change in the midst of its competitors’ messy heraldry.

We believe that you only enjoy something that has been made with passion. That is why we only use environmental-friendly hops and barley from farmers of our own region, Limburg. Together we make the best tasting beer in a new tradition. Drink to the future.


34

Gerolsteiner In terms of production and turnover, Gerolsteiner is Germany’s largest producer of mineral water. This status is based primarily on the marketing of water as a lifestyle product. Gerolsteiner translates this as: Life makes you thirsty. Instead of emphasising the purity and taste of the water, the company focuses on the way water is used. According to Gerolsteiner, water is the primary beverage of Germany. It is consumed every­where and all the time, by people who are becoming increasingly mobile. The idea is that water should also become more mobile, and more easily and more quickly available: mineral water for the mobile generation. Following on this theme, the company decided to sponsor a cycling team, with the intention of further increasing Gerolsteiner’s name and product recognition. Gerolsteiner uses the following phrase in communications to consumers (translated from the German): Drink sensibly, stay

relaxed and keep moving. These three aspects require the corpo­ rate design to enter the market in these same three ways: the healthy way, the relaxed way and the active way. Major changes to the product’s logo design were not necessary. But the addition of the colour light blue created the exact effect that Gerolsteiner wanted: light, pure and natural. These characteristics fit in well with an active, mobile life. Light blue was also incorporated into the product line and is also used by the entire Gerolsteiner Team, which maintains a colourfully strong presence during cycling races. If the right sponsoring choices are made, both parties reap the fruits of the situation, and the investment made is invaluable. Gerolsteiner experienced these benefits thanks to the successes of the Gerolsteiner Team in 2004: 32 victories in UCI competi­ tions, and third place on the UCI world rankings. This performance served to further increase

the name recognition of Gerolsteiner and the brand recog­nition of Gerolsteiner’s mineral water. The implicit importance of water as a healthy product was also further emphasised: very logical in a country that places a lot of value on health and vitality.


36

King’s Knife Formerly known as Kingmen, this small company from Taiwan has been manufacturing top class cutlery for over 70 years. The driving force behind the company was the high level of expertise and years of experience and knowledge of the main product: the Kingmen knife. The uniqueness of the company proved to have a downside as well: it was very hard to have a larger focus on marketing and sales, than the product itself. In the increasingly competitive marketplace, this would become an insurmountable problem unless action was taken to change the image of Kingmen. Direct communication, with clear expression of the traditional values, new, fresh design and razor sharp, impeccable photography were the ingredients needed for this operation.

First of all however, the name was to be changed. Not drastically, but subtle, moving from a rather neutral, nondescript name to a more impressive, descriptive name: Kingmen became King’s Knife. Next step was a new design programme. A lot of attention was paid to the presentation and packaging of the knifes and to the attractive, professional photography for various marketing purposes. With all these means, it became clear that this attractive product had long been a product for a specialist, local community. A market that is reliable and true, but also growingly saturated without much perspective for new opportunities. As Taiwan is growing more and more conscious of its qualities as a tourist destination, so did King’s Knife. A high quality, real Taiwanese gift item, with

history, culture and craftsmanship combined in a precious and useful present. The change in attitude of the company was the change from a professional, dedicated group of people with a strong inward focus on their own product, to a group of equally enthusiastic people with a strong market focus and a very expressive design programme for their product. The product and its superior quality, has not changed. The way it is shown, presented and brought to market has been transformed beyond recognition. The new name was only the top of the iceberg of changes. King’s Knife has implemented all the changes and redesigned the shop interior accordingly.


KLM Royal Dutch Airlines

38

KLM’S house style, dating from 1964, was designed by F.H.K. Henrion. Throughout the years the design has undergone many minor changes and temporary addendums. With its sweepingly stylized crown and colour blue, the trademark has built up a tremendous recognition factor. A renewed positioning of KLM necessitated an investigation into what that meant for the corporate design. The visual and stylistic implications of key concepts of the new positioning such as young, friendly, unconventional, pragmatic, Dutch, professional and enjoyer were charted and ultimately led to

the KLM Design Guide. The guide gives an overview of existing and new building blocks of the corporate design, in both 2D and 3D. In addition, the guide is meant to be inspirational and to anticipate upcoming developments. KLM’s light blue is a very important identity element that will never vanish. But in certain applications the graphic hardness could be softened by a dynamic new design element, the wave. The colours of the wave were also used to distinguish sub-brands such as Business Class and Economy Class. The wave can be applied

with subtlety and simplicity, but also with exuberance and flamboyance. The Goudy typeface, used for around twenty years especially in advertising, has been replaced by a younger, more friendly, unconventional, pragmatic and Dutch typeface: the Scala, designed by Martin Majoor, which not only functions well in headlines but also as a reading letter. In this way KLM’s corporate identity continually evolves, so as to always remain at the top.


Use the buttons underneath the picture to identify which word best descibes the image of the presented item.

If you can’t choose between the words

on either the left or right side, choose 0.

25/48

Interior airplane Sound

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0

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Wow

Efficient

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Luxury

Your name:

Perfect

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Sympathetic

Businesslike

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Clear

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Grade this item:

25/48

Interior airplane

Care

Freedom

Discovery

Service

Punctuality

Openness

Personal Touch

Product

Consistency

Efficiency

Operational Excellence

Reliable

Flexible

Passionate

Experience

Sound Efficient Perfect Businesslike Clear Trusted

Design evaluation tool with direct response analysis.

Wow Luxury Sympathetic Casual Interesting Adventurous


42

Leipzig 2012 Leipzig was selected to be Germany’s candidate city for the 2012 Olympics and needed a symbol to distinguish its Olympic bid. A corporate design had to be created that could be used for both city marketing and the Games, a design that would carry the ambition of a city in progress. From an international contest with more than 360 international contesters the design of Total Identity came out as the winning proposal. Leipzig in contrast with other contesters is a relatively small city with a compact city centre. A disadvantage at first, proved to be an advantage in the end. The Olympic bid was based on the idea of having everything nearby, like a close family.

Being a focal point was the origin of using a flame as symbol for Leipzig; a flame has one origin, and develops from that point on into energy and radiance. Just like Leipzig has developed after the ‘Wende’ from a remote city to a national centre in the East. The flame as symbol would carry the city colours of Leipzig: yellow and dark blue, with light blue, red and orange as additional colours to complete the range as Olympic ring colours. To give the flame more impact a design system was created in which the flame was placed on a background in dark blue, to develop a wide range of print and design opportunities. Where other cities use the

Olympic symbol as a standalone, the Leipzig symbol was strongly supported by its dark blue frame. The frame highlights the flame, but adds variety in design by enlarging parts of the flame like single colours and shapes and link them to the frame. This could be done in transparent photography or any other form of design. As far as design goes, anything was possible. A grid provided the necessary unity. With its flame the city had a design that matched perfectly, showing variety from within.


44

Hanaro Telecom A very generic symbol (a green circle), a name almost impossible to pronounce by Asian people (HTI, meaning Hanaro Telecom Incorporated), a collection of non-coherent brands, created over the past years. These are just a few of the reasons that made HTI decide to drastically change the visual language of the corporation. There was of course also the need to become better recognizable in the very competitive and quickly saturating Korean telecom market. The second largest hi-speed internet provider in Korea (only surpassed by former government operated KT) has undergone a process of rebirth in the first half of 2004. It was clear from the beginning of the transformation of Hanaro Telecom, that their visual language needed to be in tune with their new, ambitious, goals. Not the biggest, yet very

powerful. Not the biggest, therefor more flexible. Hanaro took great inte­rest in Total Identity’s proposed ‘strategic research phase’, to be executed before any actual graphic creative work was to be done. The identity of Hanaro as well as an extensive research of competing marketplayers was conducted, summarized in a clear, concise report that served as a briefing document for the design phase. The creative process that would produce a number of visual approaches and design-candidates, was now a well-based, focused process. Both Hanaro and Total Identity had a clear vision of what we were working on. Non-conformist colors and an perfectly fitting symbol: the shining, pink-red humming bird combined with the dark blue, custom made type gave Hanaro Telecom the identifier that they were looking for: small, but

powerful, very flexible, capable of great achievements and mastering a technique that no other bird can match. A slow motion movie of a humming bird feeding from a flower, showed the exact movements and action of a computer wire being connec­ted to a network socket. This subtle detail was integrated in the final design: the bird’s beak is connected to Hanaro’s initial ‘H’. After delivery of manuals and files to Hanaro, implementation was executed locally at amazing speed: within two weeks the company’s main office buildings in Ilsan and Seoul were equipped with giant lightboxes of the new symbol, all personnel received restyled uniforms and jackets, signage, stationery but also TV commer­ cials and the famous Korean giant screen billboards carried the identifiers of the new Hanaro Telecom.


46

Keepersport Italy The ERP-markt has changed over the past few years, with the most drastic change being the turn-around from supply driven to demand driven. It’s the custo­ mers who are in control. They demand tailor-made software that can be linked to standard­ ized software, and – with the rise of the Internet – that is web­ enabled. These changes have pro­ found impact on organizations. ERP not only has to provide answers for logistics and the supply chain, but should also look at the company’s stra­tegy (e.g. continuity, market oppor­ tunities, e-business). A company that was confronted with this new business outlook is Keepersport Italy, an inter­ national operating company that spezialises in professional goalkeeper sportswear. In this

niche market, having immediate access to updated and correct information and being able to respond instantly to market demands is crucial. The aim for Keepersport was to find an ERP solution, which could be easily integrated into the existing software environment and adapted to the company’s need. The crucial issue was to find an integrative solution allowing all employees a real-time access to relevant information. The X-base platform of Newport Media Group met with these cru­ cial requirements. Keepersport Italy installed a platform indepen­ ­dent ERP II solution. In order to guarantee a clockwork imple­ men­­tation, the project was divided into three main steps, according to the specific custo­ mer requirements.

In the first phase simulation of the relevant processes was needed. With good simulation it is possible to continually evaluate a control loop’s perfor­ mance, robustness, and relative response time. However, good simulations require good models, and good models require good data. In the second phase the extension towards professional online inventory management was build. The integration of an e-commerce platform was the third in line. The interface design of the screens had to integrate existing corporate design ele­ ments­­by adopting them. The result was the creation of a professional interactive visual environment that reflects the corporate design features of Keepersport Italy.


www.totalidentity.com info@totalidentity.nl The Netherlands Headoffice PO Box 12480 1100 AL Amsterdam ZO Paalbergweg 42 1105 BV Amsterdam ZO Telephone +31 (0)20 750 95 00 Telefax +31 (0) 20 750 95 01 Regional Office The Hague PO Box 221 2501 CE The Hague Mauritskade 5 2514 HC The Hague Telephone +31 (0)70 311 05 30 Telefax +31 7 (0)0 311 05 31 Regional Office Heerlen PO Box 6039 6401 SB Heerlen Marconistraat 13 6372 PN Landgraaf Telephone +31 (0)45 531 90 90 Telefax +31 (0)45 533 03 03 Creative Web Development ZaPPWeRK PO Box 3363 2601 DJ Delft Burgwal 47 2611 GG Delft Telephone +31 (0)15 257 42 82 Telefax +31 (0)15 257 42 72 www.zappwerk.nl info@zappwerk.nl Internet Solutions Provider All Communication Software PO Box 12480 1100 AL Amsterdam ZO Paalbergweg 42 1105 BV Amsterdam ZO Telephone +31 (0)6 51 26 59 29 www.allcommunication.nl info@allcommunication.nl

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