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Introduction
This book is one of ve that aims to explore
the many techniques, traditions and sectors
that branding has, is and will continue to
thrive in.
The focus of this book is the Re-Brand.
Rebrand [ri:brnd]
vb
(Business / Marketing) (tr) to change or
update the image of (an organization or
product)
About
Throughout my practice I have always been
interested in company re-brands. Whether
they be an innite improvement or an
absolute disaster the analysis and the way thatthe new brands have been applied across a
companies range fascinates me.
This publication has sourced seven notable
rebrands over the last year and teamed
them with analysis, opinions and company
manifestos to provide an insight into the
modern day re-brand.
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Their A is deliberately le unnished, to communicate
that their work is never complete, that they dont have all
the answers, and that they cant change the way the world
tackles poverty alone. The new brand colours, typefaces and
angles are carried across a comprehensive rebrand.
Johnson Banks Case Study
Source:
http://www.underconsideration.com
Before: After:
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Review
The old logo was it was something and that
something was in a circle accompanied by somesecond-rate typography in both all lowercase
and all uppercase. The new logo, or, well, the
new family of logos is quite the contrary and
crystal clear what it is: its spelled out right
there. Built from bits and pieces of Acumens
new cornerstone manifesto, the logo is one
more in a rising trend of what johnson banks is
calling active identities and theyve been on a
kick with them lately see Cystic Fibrosis Fund
and build on a legacy of identities like We Are
Macmillan and YWCA. Acumens logo features
a sliced slab serif A used XL accompanied by a
waterfall of Avant Garde, starting with the name
in bold and then one of the manifesto excerpts
or some other sentence below, staggered in a
lighter weight. Love the half A, hate the use
of Avant Garde. The idea is quite brilliant and
the whole concept of pushing the manifesto
through the logo is an excellent way of building
awareness but I wish the typography was more
reminiscent of, like, today and the twenty-
rst century rather than the 1960s and 70s. Of
course, the people donating to Acumen and the
business leaders seeking investment dont care
about such historical typographic conundrums,
so the identity is obviously successful in themarketplace although I do question the
readability of light, tightly-tracked uppercase
writing, it starts getting fuzzy at smaller sizes.
Opinion By Armin
Nonetheless, despite my grievances about
designers using musty typography, this
identity cuts starkly (in a positive way)
against the presence of other non-prots
and helps establish what Acumen is with
every single impression.
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Review
The previous logo was a rather gaudy and
unsophisticated interpretation of what MOA is,
with a very poor rendition of the star and stripes
and poor typography more Big Gulp than
Starbucks Macchiato. The new logo is a fantastic
evolution of the same elements now executedwith proper sophistication and accuracy. Its
still not Saks-Fih-Avenue sophisticated but
thats something it can not be or should not be.
The logo is simple and pretty and fun and makes
you want to wrap everything you bought in
colourful ribbons. It turns MOA from a kitschy
destination to high-end one. Weve seen ribbon-
based logos before so, in that respect this
is nothing new, but here they make conceptual
sense and are perfectly applied when used
as patterns and visual device to hold the name
of the mall. The exibility of the whole systemis subtle yet very important to keep fresh what
must be hundreds of communication materials
issued monthly throughout the mall. Overall,
a great system all around, from logo to
prototype mugs.
Opinion By Armin
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The creative process recognized the equity found in
the star of the original logo and transformed it into the
dynamic new star made of vibrant Coloured ribbons.
The ribbons depict the multitude of the always fresh,
exciting and new experiences at Mall of America which
is the magic of the brand.
Press Release
Before: After:
Source: http://www.underconsideration.com
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Review
Well, this blows, doesnt it? I like to think that
I can overcome gratuitous design nostalgia
in favour of design progress, but there is
something extremely appealing about the
1940s Lucky Strike logo and packaging. A
certain impact that few packages achieve
today. But obviously I think thats just the
ideal that lives in my head. If you look at the
Before image in the packs above, there is very
little trace of the stark simplicity that dened
that classic packaging: gradients, bevels,seals, and, of course, the warning labels are
all over that little box like a carcinogen on a
lung. So it makes the transition to the new look
a little less painful. The new logo is a terrible
modernization of Lucky Strikes original logo
as it appeared on its tin packaging. If LuckyStrike was going for a revival look I dont know
why they didnt just stick with it, as it was,
instead of putting stubby slabs on the lettering
that completely cheapen the logo. I mean, look
at the letterforms on that vintage package.
That shit is hot. The new packaging, I guess
it could be worse. The addition of Luckies
on the bottom and the badges/seals on the side
are both nice touches but, overall, the whole
thing just feels cheap.
Before: After:
Opinion By Armin
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It's interesting how they basically took the original logo,
tweaked it a smidge and hit it with a "Bevel & Emboss"
to nish it out. I kind of wish they simply tweaked the existing
one based on what Loewy did and simplied it
even more or something.
AO2
Sources:
http://www.underconsideration.com
http://www.qbn.com/
7
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Review
The previous logo didnt hold any surprises
in its message or execution: a crown over the
word King, punctuated by a 1990s .com. A
decent logo for sure, considering the gaudiness
of online video game title logos. The new logo
smartly drops the .com not only leading to
a cleaner logo but strategically giving other
gaming companies the nger in the most
elegant way by proclaiming they are the king.
No questions asked. The logo takes a minute
to decode. At rst it looks like any number
of Dodgers-inspired script logos but then
the crown comes into focus once you see the
exaggerated (and, in any other logo, completely
awkward) upper arm of the K and its terminal,
centred in between two other exaggerated ball
terminals in the K and g, the latter swooping
down and le to meet the stem of the K to get
all Gestalt on the bottom of the crown. In less
words: its awesome. In application (see below)
the logo is tilted and placed on top of people
and characters, straddling the line between
annoying and clever, but it mostly works. The
logo is accompanied by a confetti of elements
from Kings games and the whole set-up is loose
and fun. What this project lacks in gravitas it
makes up for in candy-colored, no-worries vibes.
Also in less words: perfect for the company and
its audience.
Opinion By Armin
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The new brand, based around the philosophy of Bitesize
Brilliance is designed to position King as the leader in cross-
platform, snackable entertainment experiences. [] We
wanted to create an iconic visual identity for King that could
sit alongside HBO and Pixar as a mark of the highest quality
in entertainment. We designed a quirky new logo writing
King in the shape of a crown - capable of working at 16 pixels
square but at the same time scalable enough to make a big
impact. Games like Candy Crush Saga are what people love
about King, so we created a brand that compliments rather
than dominates.
Venturethree Project Description
Before: After:
Source: http://www.underconsideration.com
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Review
Nice to see you again all the way down here.
It almost goes without saying but this is truly
smart and fantastic work on its own and evenmore so in contrast with the old look and feel.
All of a sudden, the Cystic Fibrosis Trust brand
is a walking, talking educational tool that is as
simple as it gets, explaining in the own terms
and words of people aected by the disease why
they should pay attention. Almost annoyingly
simple the logo takes a few tired clichs
Helvetica, highlighter bars, and handwritten
elements to serve as the foundation for a
striking identity that is both serious and playful;
with the wrong execution these same elements
could have turned out cloying and childish.
We discovered that supporters of the charity feel that the
general awareness and understanding of cystic brosis
among the general public is very low. People arent clear
what cystic brosis is or does, how they can or cant catch it
and what it means on a day-to-day basis.
Johnson Banks Project Description
OpinionByAr
min
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As the research stage progressed, we kept asking, but
what is it, exactly? and received a multitude of dierent
responses. Mid-way through the research stage we had a
breakthrough when we noticed the is at the end of brosis.
So we suggested the charity should activate the is in their
name with a series of statements, eectively forcing it to
always explain what it is, does, and why they are here. Some
are simple: cystic brosis why were here, some upliing
cystic brosis a battle we must win, some hard-hitting -
cystic brosis a life sentence. The Trust now has at least
40 sentences they can use, and we are adding to them
continually. Like many charities they are short of funds and
cant aord big marketing campaigns, so this eectively
makes everything they do part of one big is campaign.
Johnson Banks Project Description
Source:http://w
ww.underconsideration.com
Before: After:
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Wanting its visual expression to better reect [a] senseof interconnectedness and the positive impact thats
possible when ideas and resources are shared CECP
partnered with FutureBrand to create a new logo and visual
system. Replacing a linear wordmark, the logo reinforces
the concept of disparate voices and knowledge building
upon itself and coming together as one. The c letterform
is composed of a single curved line, parallel shapes form
a lowercase e that then cascade into a three-ringed c
which completes in a four-ringed p.
Provided Text (CECP)
Source: http://www.underconsideration.com
Before: After:
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Review
The previous logo, also designed by
Futurebrand, could have used the help of some
logo philanthropy of its own at the time
wildly boring, visually and conceptually. The
new logo xes both misgivings with a smartly
thought out logo that instantly communicates
connection and collaboration through a lovely
monogram that builds, one line at a time, on
the acronym. I really, really wish Futurebrand
had refrained from adding the gradients to the
icon as they are not needed at all; see how good
it looks white on blue on the brochure coverabove. The wordmark feels a little like an
aerthought and the lighter blue color makes
it recede into the background in contrast with
the bolder icon. It also feels redundant with
the icon, as both elements are spelling out the
same thing. Perhaps in a year or two the icon
can stand on its own without the name once
its built some equity among its audience. In
application the logos gets a little crazy, serving
as a window like in the brochure, or a multiple
window like in the business cards and poster.
Im not convinced this logo was meant for such
uses, but it pulls it o somewhat convincingly.
Overall, a vast improvement over the old with a
sophisticated-looking logo to lead the way for allthese CEO folk.
Opinion By Armin
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Review
Not being familiar with ITV, the moment I
saw the original logo I assumed it was a news
channel of some kind with drab programming.
Far too corporate for a network showing The
X Factor or Downtown Abbey. The new logo
supports the networks commitment to being
at the heart of popular culture with a far
friendlier, bubblier, happier logo. Reactions
online have been mostly negative surprise,
surprise but the new logo has a nice,
unexpected bounce to it and even if its not to
everyones liking it is very properly executed.Notice the notch under the cross stroke of the
t: it ensures that when the logo is made
smaller, that area doesnt look like a blob.
The counter spaces between all the letters
are also quite well done, considering how
disparate the three letters are. The main color
conguration shown is a little unfortunate
its just ugly, sorry but obviously with the
promise of a color-changing logo that can be
easily xed and the resulting overlays will
be more pleasant. Overall, the logo feels far
more appropriate than its predecessor and
seems to have potential for expanding into
the rest of network. I presume we will do a
follow-up in January once this logo is appliedacross all channels, so stay tuned.
Source: http://www.underconsideration.com
OpinionByA
rmin
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The new logo forms the basis of all ITVs branding
domestically and internationally, and is a warm, bold design
based on a formalised version of human handwriting,
comprising of ve colours, in its static state.
When the logo appears on coloured background, such as
marketing images for ITV programmes - it will adapt and
change according to the background colour scheme of
the image. This colour picking technique means that the
logo can be dynamic, shiing tone along with the content,
reecting and blending with the mood of dierent shows.
Press Release
Within the ITV broadcast business, the family of UK
channels will all have a new on-air look, with ITV2, ITV3,
ITV4, and CiTV receiving new colour schemes, clearer brand
propositions, and accompanying updated brand identities.
Press Release
Before: After:
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Acumen Rebrand
Studio: Johnson Banks
Mall Of America
Studio: Duffy & Partners
Lucky Strike
Studio: G2 Germany
King
Studio: Venturethree
Cystic Fibrosis
Studio: Johnson Banks
CECP
Studio: Futurebrand
ITV
Studio: ITV Creative (In House)
2-3
4-5
6-7
8-9
10-11
12-13
14-15
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Designed by:
Ben Harwood
Published:
May 2013
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