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Triumph Triple Rebranding

Campaign Summary

Create a unique, aggressive brand identity for the Triples that sheds the conventions of the Triumph tradition in order to increase market share.

Table of Contents

History.................................................................3 Research.............................................................5 Preliminary Designs..........................................7 Final Logo...........................................................9 Colors & Fonts..................................................11 Images...............................................................13 Assets................................................................15 Conclusion........................................................21 References........................................................23

3 A Proud History: The Triumph Motorcycle company was founded in 1902. They are well

known for the bikes they manufactured and sold in the 1950’s and 1960’s. Movie stars like Marlon Brando, James Dean, and Steve McQueen rode their bikes on and off screen. Rock legends like Elvis and Bob Dylan rode their bikes. The world speed record was held by a Triumph motorcycle in the 1960’s. For several years in this era, Triumph was the fastest and coolest motorcycle on the planet.

Then Japan showed up at the party. Within a decade, bikes by Honda and Yamaha

eclipsed the sales of Triumph. By the 1980’s Triumph’s sales were plummeting, their bikes were poor quality and their reputation soured. They went out of business in the late 1980’s.

Steve McQueen on a Triumph on set of “The Great Escape” - 1967


A British nobleman and entrepreneur, John Bloom, brought Triumph back to life in the early 1990’s. This was at the height of the “crotch rocket” bikes popularity across the globe. These were bikes built for performance, with a race like, lowdown riding position and plastic fairings over the engine components in order to reduce drag. These bikes were made by Japanese titans Honda, Suzuki, Yamaha, and Kawasaki.

As riders purchased these “crotch rocket” bikes, they began to modify them. They changed the uncomfortable low-down riding postion to a more upright setting. When they wrecked the bikes, they did not replace the expensive plastic fairings. These new, modified bikes became known as “naked streetfighters”. This name was derived from the removal of the bikes’ plastic pieces aka: “naked”, and the rough lines and exposed engine parts which led to a muscular, aka: “streetfighter” look.

1992 Honda VFR

The Birth of the First Streetfighter: The Triumph Triple

The designers and engineers at Triumph knew that thy could not beat Japan in the “crotch rocket” motorcycle market. Triumph instead designed and engineered the very first factory produced naked streetfighter: the Speed Triple. In nearly every possible way, the Triple was a stark contrast to all of the motorcycles that Triumph had ever built. Triumph had always manufactured bikes that were refined, and classically styled. The design of the Triple was angular and modern. The first Triple’s design sent shock waves through the industry, many people called it “ugly”.

Love at first ride: Once people took it for a test ride, they fell in love with how the bike performed, the media began to shower it with accolades. Soon there were increasing sales, and eventually there was a model line expansion: a smaller Street Triple in 2005. Since its introduction, the Street Triple has been the best selling bike in the Triumph lineup, selling over 70,000 units. However, these sales numbers still pale in comparison with Honda, Suzuki, Kawasaki and Yamaha. This is partly due to the aggressive marketing campaigns by the Japanese motorcycle manufacturers and the relatively conservative marketing efforts of Triumph.

1994 Triumph Triple the first streetfighter

The Competition:

Honda (1) Kawasaki (2) Yamaha (3) Triumph (8) 2013 Honda CB1000R 998cc $11,760

2013 Kawasaki EZ1000 1034cc $10,999

2013 Yamaha FZ8 779cc $8,899

Company (ranking)



The Triples Two Bikes, One Attitude

2013 Triumph Street Triple 675cc $9,900

2013 Triumph Speed Triple 1050cc $12,799

Theme for Campaign: The Triples from Triumph Motorcycles are loud, fast and mean. They are high tech and aggressive machines that were designed, engineered and built to be powerful, agile and go way faster than legal.

Designer Notes: The intended audience is 18-35 year old males motorcycle riders. They are experienced riders who are

seeking the most powerful and aggressively styled bikes that will stand out in styling, handling and performance. The dilemma for Triumph is that they are trying to speak to many types of consumers with one message. “Advertising is influence, information, persuasion, communication, and dramatization. It is also an art and a science, determining new ways to create a relationship between the consumer and the product (Wheeler, 2009).”

Target Audience: Generation Y males approximate ages 20 to 37, primarily in the United States but in Europe as well.

According to a study of U.S. motorcycle riders by the Motorcycle Industry Council in 2008, Generation Y consumers predominantly purchase, newer, higher-tech motorcycles: “…among Gen Y motorcyclists, modern, high-tech sport bikes lead the way with 30 percent of those riders. Bikes that look like they came from the 1950s are giving way to bikes that are futuristic among young buyers (MIC, 2009) .”

The audience should be interested because the three cylinder Speed and Street bikes offer a truly unique experience over all other two cylinder and four cylinder sport bikes. It gives them more power than a two-cylinder bike and less weight than a four-cylinder bike, with a sound and response like no other bike on Earth.


is the


Preliminary Designs


Early designs were based off of three mood boards. The first mood board was the British Punk Rock (opposite page) which influenced the fonts, colors and textures of the early designs/ The High Tech mood board (top right) and Speed mood board (bottom right) influenced the designs in more subtle ways, ie: the long, blurred lines on the “S� in the logos. The British flag was applied to the numbers in the logo, ut was removed in the final logo as it was too complex and difficult to read.

The British Punk Rock mood board was the most influential preliminary design in this campaign. The energy and look and feel of this mood board influenced nearly every aspect of this campaign. The fonts, colors and imagery were adopted for the the campaign. The final degraded image look of the product was influenced by punk rock posters that had been copied and recopied. The British Flag was highly influential in the campaign design. A new version was created for this campaign that was based on this original design.


The Triple Logos are the embodiment of the campaign. There is a frenetic energy to the font and a subtle nod to the British origin of the bikes. The fonts are degraded and affected so as to resemble punk rock posters that have been hastily made by fans using DIY printing techniques and copy machines. The “S” in each of the logos is exactly the same, and is meant to resemble the tire marks left on pavement after a motorcycle peels out at takeoff. The S is a unique, custom designed image, and can not be found in any font.

Final Logo

The “treet” and “peed” sections of the “Street” and “Speed” are created with the font Ambulance Shotgun. The font has been modified slightly by adding an “x” shape so that the holes in the letters “R” “P” and “D” all resemble the lines in the British Flag. The numbers “1050” and “675” are created with the 321impact font and overlaid with the texture from the “Punk Rock British Flag” as seen on the cover of the book. The colors of the numbers are Union Jack Blue and Union Jack Red (refer to the color section). The overall effect of these fonts, colors and textures is a no-holds-barred image that is aggressive, loud and mean. There is an attempt to make the logos similar to one another so that there is an obvious visual connection between the products.

The logos should never be smaller than 2” wide. The minimum space around the logo is the size of one letter from the logo on all sides. Care should be taken so that the trail of the “S” does not overlay other images or text. The logos should not be angled, tilted or distorted in any way. The words and numbers should not be separated or used individually.

minimum space

The logos should be used in conjunction with images of the corresponding Triples, but never both together with one or the other Motorcycles.

Two Logos, One Attitude improper usage

It’s the “S”

The “S” is the strongest unifying element of the two logos

‘Ello Jack

The Union Jack icon also unifies the logos


Union Jack Blue RGB 21.71.174 CMYK

Colors & Font

Union Jack Red RGB 197.10.9 CMYK

Sex Pistols Yellow RGB 255.255.1 CMYK

Punk Poster Black RGB 2.2.10 CMYK

Dirty White RGB 218.218.216 CMYK

The colors Union Jack Blue and Union Jack Red are inspired by the British flag, commonly referred to as the “Union Jack” by the British. The colors are bright, but also a bit muted. This has an effect of looking dirty, like old graffiti in an alley. These colors are combined with darker and lighter versions to mimic the color loss due to low cost or Do It Yourself (DIY) printing methods common in the British Punk Rock scene. These colors should mainly be used as backgrounds, such as in the British Flag image background and are the colors of the two color versions of the logos. The Sex Pistols yellow is the color of the Sex Pistols album Never Mind the Bollocks, Here’s the Sex Pistols. This color is very bright and loud. It is used to attract attention in spots and headlines. It should be used sparingly. The Punk Poster Black and Dirty White are inspired by the degraded images on punk rock flyers that had been copied and recopied on a copy machine multiple times. These colors lend a DIY look to the campaign. The raw and rough look of the images are in line with rough and raw styling of the Triple motorcycles. The Punk Poster Black should be used for all text and body copy. The Dirty White should be used for all backgrounds for text and body copy, with the exception of headlines which have a Sex Pistols Yellow background. The sum total effect is a bright and loud color palette that is set in stark contrast by dark background blacks and dingy whites. This creates bold visulas that appear raw and unrefined. The intent is to create marketing collateral that is edgy and aggressive, and markedly different than the slick and polished look of traditional Triumph imagery.

American Typewriter is utilized for this campaign because it looks as if it was made with a typewriter,

so it has a DIY look and feel. This font was widely used in British Punk Rock posters. It is highly legible which makes it a good choice for copy. This font in Regular treatment should be used for all body copy. The Bold treatment should be used for all sub-headers.

321impact is utilized in this campaign because it is a distorted and degraded font which is similar to the distorted and degraded images used in British Punk Rock posters and album covers. The rough edges are similar to the look and feel of low cost or DIY printing techniques used for British Punk flyers that have been copied and recopied on copy machines. This font should be used for all headlines.

eX02 Stencil is utilized in this campaign because it is similar to the 321impact font but a bit more affected

and resembles a stencil. This look is similar to the graffiti style used in British Punk posters and imagery. Stencils are commonly used in conjunction with spray paint to promote punk bands. This font is difficult to read and therefore should be used sparingly for page numbers or large headlines only. Whenever it is used, a spray paint affect should be utilized.

Ambulance Shotgun is utilized in this campaign because it is distorted and degraded and because of the

stylized “+” sign incorporated into the design. This was modified with an additional “x” sign in order to mimic the stripes of the British Flag. This modified font is used only in the logos for the Triples. The fonts are chosen because of their DIY look of British Punk Rock posters and the rough and messy look graffiti. The frenetic energy and nonconformity of the distorted fonts is set in contrast with the clean lines of the American Typewriter font. This allows the campaign to be loud, raw and mean, but still remain legible. American Typewriter American Typewriter


ex02 Stencil

ambulance shotgun

Sex Pistols Poster 1977

Images Final Logo


The bold contrast of black and white product images set against bright backgrounds should be employed to achieve a powerful visual impact and a punk rock look and feel.

High res color images of the bikes may also be used, but they should be cropped, with a heavy stroke and set against bright backgrounds for a high contrast, punk rock look.

Clash Tour Poster 1980




Youtube will feature videos by Triumph and by other companies that feature Triumph motorcycles. User videos will also be featured to encourage a dynamic and rich experience.


The print collateral will include brochures, flyers and in-store signage. The look will be bold and loud, in order to attract attention and spark interest in the Triples brand. The images used in the brochures will be bold and colorful.




Twitter will be utilized to alert customers and fans of Triumph Triple events in their area. Twitter will also be used to engage with customers and see what the customer like and dislike about the Triples.


The smartphone app will allow users to view images of the Triples and also allow users to hear the sounds of the Triples engines. The user can also set the sounds to play at the speed they are traveling. This will simulate riding a Triple instead of in their car or other transportation.




Facebook will be utilized to engage with customers and prospects in an in-depth and meaningful way. Photos, videos and stories will be shared both by Triumph and by the users to create a rich experience.


Instagram will feature photos by Triumph and users on their Triples from around the world. The page will encourage users to upload photos of their Triples in exotic locations. This will create an exciting and dynamic environment.



The Triumph Triples re-branding project will establish the brand of the Triples as distinct and separate from the Triumph brand. The Triples will be represented as loud, aggressive and mean. The British Punk Rock imagery will be utilized to cast the Triples in a bold and uncompromising light. The goal is to increase sales of the Triple with Generation Y customers. The new branding of the Triples will tell the world that there is no other bike in the world with more attitude than the Triples.



References Art Therapy, (2010) The psychology of colors, retrieved March 15, 2012 from chology-psychologica-effects-of-colors/#.ULPKLIXrNqc Burns, J. (2012) 2013 triumph street triple r – first ride how does triumph overhaul its best-selling bike? very carefully... Cycle World website retrieved from Color Wheel Pro. (2012), color meaning Retrieved from Conner, B. (2012) 2012 naked bike shootout four nakeds, four engine configurations and four e-ticket rides directly to jail. Cycle World magazine website retrieved from Erikson, N. (1980). Popular culture and revolutionary theory: Understanding punk rock, Theoretical Review, 2(Sep-Oct), Re trieved from


Henning, A. (2012) 2013 triumph speed triple r doin’ time retrieved from time/122_1308_2013_triumph_speed_triple_r/#ixzz2cuTHjmuy Henry, T. (1989) Break all rules! Punk rock and the making of a style. Ann Arbor: UMI Research Press Motorcycle Industry Council, (2009). Motorcycling in America Goes Mainstream. Motorcycle Industry Council, Retrieved from: Noble, S. M. (2009). What drives college-age generation y consumers? Journal of Business Research, 62, 617-628. Retrieved from: students1.pdf Rethink, (2013) Is transmedia storytelling the new digital marketing? Rethink website retrieved from http://www.rethinkev Savage, J. (1991) England’s dreaming: Anarchy, sex pistols, punk rock, and beyond. New York: St. Martin’s Press

Scott, L. M. (1994). Images in Advertising: The Need for a Theory of Visual Rhetoric. Journal Of Consumer Research, 21(2), 252 273 retrieved from 3f85afad4a7%40sessionmgr11&hid=23&bdata=JnNpdGU9ZWhvc3QtbGl2ZQ%3d%3d#db=a9h&AN=9411023493 Triumph Motorcycles, Speed triple specifications, retrieved from ple/2013/18763 Wagner, M., 2008, Why mood boards matter, Web designer depot website retrieved from matter/ Wheeler, Alina. Designing Brand Identity: An Essential Guide for the Whole Branding Team, 3rd Edition, 3rd Edition. Wiley C tom Select, 9/7/09. Images Clash poster, retrieved from Generation Y male, retrieved from Sex Pistols Poster, retrieved from Steve McQueen Image retrieved from Triumph Motorcycles You Tube Channel retrieved from Triumph Motorcycles Facebook page retrieved from Triumph Motorcycle website retrieved from Triumph Motorcycles Twitter page retrieved from Triumph Motorcycles Instagram page retrieved from Triumph Motorcycle images, retrieved from

Triumph Triple project book  
Triumph Triple project book  

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