Branding is an important part of any businesses. It helps make them more recognisable to the public and can have a major impact on their reputation and how they are seen in people eyes. Rebranding is not uncommon, with most long standing companies having rebranded at some point. Pepsi, for example, have rebranded more than once a decade. Below are some examples of both well-known successful and unsuccessful rebrands.

Successful Rebrands

Harley Davidson

The famous motorbike makers were struggling in the 1980’s and needed a turnaround to prevent themselves from going under. The solution, it was decided, was simple: create a better product. Even though Harley Davidson always had a brand they were no longer making a profit and focussing on quality bikes became their priority. This had the impact of giving them a reputation for quality, meaning they could sell more bikes at a high price. This change gave them the quality to match the brand and made the business profitable again.

Starbucks

Today Starbucks is one of the most recognisable global brands. As with many businesses, one of the most recognisable things about them is their green logo. It wasn’t always this colour, though; it was previously just black and white. In 1992 they altered their logo, with the most obvious change being the transformation from a black outer strip to a green one. Even though the text and font, as well as the main logo image, were also changed, this change from black to green had a major impact on their image. The outer strip has recently been removed from the logo entirely, removing all mention of ‘Starbucks’, showing that the brand is so well-know that this is no longer required.

Burberry

For a time in the late 1990’s and early 2000’s Burberry’s public image was in tatters. The wearing of Burberry products was associated with gang culture and violence. The company made much effort to disassociate themselves from this by adapting their styles to make them appear more stylish. This has been a success and shows that it is possible to alter a negative image through branding.

McDonalds

McDonalds has been much blamed for the increasing number of people, especially young people, who are considered obese. Even though this image has been hard to shift, they have made a start by incorporating more healthy foods, such as salads, into their menu and marketing themselves as a healthy eating option. They have even gone into the increasingly popular coffee market. Although they haven’t lost their reputation for cheap, unhealthy food, it has softened, and profits have increased.

Unsuccessful Rebrands

Tropicana

A branding change for Tropicana orange juice is a great example of an unnecessary change that had a negative impact. So wrong, in fact, that they later reversed the change. Tropicana replaced an orange with a straw in it with an image of a glass full of orange juice on their cartons. It was not a success and they quickly switched back. This shows that altering a successful brand can be a mistake and needs to be carefully thought through.

Capital One

Capital One made a mistake in a logo change. They increased the size of the text and added a red swoosh. While to some this change might appear more interesting and exciting it didn’t work, perhaps because it didn’t really fit the industry they are in. Being a financial company, trustworthiness is more important than appearing exciting. The previous, more corporate logo was more suitable. This shows that companies should think about what their product is, and who they are targeting, before making branding decisions.

SciFi Channel

The SciFi Channel made an embarrassing mistake when they decided to change their name from the ‘SciFi’ channel to the ‘SyFy’ channel. The new spelling is a slang term for Syphilis. The lesson here is to make sure you do your research before choosing on a name.

There are a number of reasons for altering branding. It may be that a company is struggling and needs an improved reputation. Making a brand more up-to-date can be another reason as sticking with an old logo, for example, can make a brand seem dated and out of touch. Companies shouldn’t rush into a rebrand, though, and shouldn’t rebrand for the sake of it without thinking it through. The public may recognise a company due to its branding, and they need to be careful not to ruin this affection.

This article is a guest post written by Andrew Marshall. Andrew works for Moore-Wilson, a London based web and graphic design agency.

This post entitled: Famous Successful and Unsuccessful Rebrands is written by Stuart and originally featured on Logoholic.org - Logo Design Blog | Graphic Design Inspiration

Thousands of logos are created every year – and this makes it very difficult for new logos to stand out in the crowd. Because of the huge number of logos being developed, it could mean that the logos you’re creating are too forgettable. So what can you do to make your logos more successful? Should you go for a complex design, or a simple design?

Complex Design

Sometimes it can be necessary to make a logo more complex than you’d like, due to issues of copyright and uniqueness. But overly complex logo designs can be quite forgettable, particularly if they are a combination of the name and the logo. Logos are designed to be seen at a single glance, and if they are particularly complex, they might not make any impression on the consumer – meaning that no association is built between the logo and the company, making it fairly useless.

Complex logos can work really well for some companies, such as Starbucks, but this is probably due to the iconic colours used within the logo. A complex design that includes images, a logotype and numerous colours will be less successful than a simple design that includes a simple logo mark and logotype. A great litmus test of whether a logo is too complex is to show family and friends the logo that you’ve drawn, then ask them to recreate it. If they can only reproduce a small part of the logo, or if they cannot reproduce any part of the logo at all, it is likely too complex. If the logo has not made an impact on your friends and family, it won’t make an impact on a wider audience.

 Simple Design

In general, the simpler the design, the more successful the logo. However, it shouldn’t be so simple that it makes absolutely no impact on the target audience. Instead, you should aim to create a simple logo that is in keeping with the tone of the company, or that accurately represents the brand – that’s what a successful logo is all about. You could create an unexpected, humorous or clever logo – but it can still be really, really simple. A logo does not always have to be immediately associated with the logotype, either – take the Nike tick as an example. When the tick was first used, it was used alongside the Nike logotype, but now, because that image is so well known, it can be used without the logotype.

You might also want to consider using a logotype only as the logo – Coca-Cola and Amazon.com, for example, both use their logotype as their main logo, and this helps massively with name association. Both Coca-Cola and Amazon.com have added interest to their logotype – Coca-Cola with the arrangement and font of the text, and Amazon with the “smile”. If you’re thinking about creating a logotype only, consider adding interest to it to make it more memorable.

Tips

• Make it memorable and simple, but not boring
• If you’re going to use a complex design, make sure that it can be recreated
• Make sure that it can be used on a small business card or on a large billboard – it should be easily replicable and instantly recognisable
• Make sure that the logo can be recreated in black and white, so that it can be used across a variety of media

Finally, remember that sometimes the obvious choice isn’t the best. It can be easy to get caught up in designing a complex logo without taking stock of how memorable or recognisable that logo is. Always consider memorability, whether you’re designing a complex logo or a simple one.

This post entitled: Complexity vs. Simplicity in Logo Design is written by Stuart and originally featured on Logoholic.org - Logo Design Blog | Graphic Design Inspiration

Trying to compete in business today takes a hands-on approach and an ability to adapt your business to the changing environment. This not only includes your marketing, your customer support, your online presence and your reach, but it also includes your logo. Is your business logo design good enough to stand out with all of today’s competition?

There are many different articles out there telling you about the key elements to include in your logo design. Anyone wishing to create a winning logo only needs to focus and use the correct information. But what’s the psychology of colours in logo design? What are people thinking when they view the colors of your logo?

How People See Colours in a Logo

Pink:

Innocent, delicate, and decidedly female, pink is a colour that evokes a feminine emotion. In almost any context, a pink logo makes people think of Barbie or of breast cancer awareness. Pink is a great way to target a female audience.

Red:

Red brings in a lot more excitement and boldness than pink. This is a commanding, intense colour used to grab the attention of your audience. A lot of food logos end up going with elements of red, as it’s said to make people hungry.

Yellow:

Yellow is a colour that can stand out well, depending on the shade, but it also conveys a message of caution in a broad context. So if you’re designing your image on Logosack or with another logo-based service, be careful of how you use yellow.

White:

More often than not, white is the empty space in a logo. It’s a colour that sends a message of peace. However, it can be used effectively with the colours around it. A lot of logos use elements of white, so this is a colour you may want to include.

Orange:

Most shades of orange can be viewed as a toned-down version of red. This is a colour that stands out and catches people’s attention, but it isn’t incredibly bold or commanding. It’s a more neutral red to use, and a much bolder yellow.

Green:

While green was long known to bring up things like inexperience and jealously, the connotation has changed by and large. Green is now used most often to represent the environmentally-friendly crowd.

Purple:

Purple is a majestic, very kingly colour, also conveying the message of justice, fantasy and high-end products. Although it’s a colour directly made up of red and blue, the feeling it gives off is a 180 from either.

Black:

While black might be billed as the absence of colour, we all know that it’s an actual colour. It’s incredibly powerful when used correctly, but dreary and empty when used incorrectly. For a bold, sophisticated statement, black is often used.

Blue:

Blue is most commonly associated with security and success. This is due to the authority blue exudes. If you want to come across as an expert in the field, having elements of blue may be a wise choice.

Brown:

Along with green, brown is a very earthy colour. However, it’s more of a nature-like, utilitarian colour than an eco-friendly colour. It’s very simplistic, but when used the right way can stand out amongst other colours.

Grey:

When a person sees a lot of grey in a logo, they usually get the feeling of a neutral brand. Blending black and white, grey is literally neutral, and that connotation has stuck with it.

Whether you decide to design your logo organically or to buy a logotype to help get you started, it’s important that you understand what the colours are conveying to the public. A great logo speaks accurately of the brand it’s representing. Choose your colours wisely.

This article was written by Martin Nilsson, the business developer of Logosack – a logo design company in Sweden specializing in business logos for small businesses.

This post entitled: The Psychology of Colours in Logo Design is written by Stuart and originally featured on Logoholic.org - Logo Design Blog | Graphic Design Inspiration

Schober Design’s new communication campaign for Kusch+Co’s Sóley chair is a continuation of the gradual renovation of the contract seating company’s brand. The Sóley chair, named after an Icelandic flower, is a re-release of a Valdimar Harðarson 1981 design. The updated version was released at the 2012 Orgatec exhibition held in Cologne, Germany and took centre stage at Kusch+Co’s stand. The identity project for the range included a logo, an advert, a brochure, package design and a flyer.

The challenge for the creative team at Schober Design, under the management of Creative Director Damian Schober, was to find a fresh way to interpret the design of the chair whilst still creating an homage to the original. Starting with the logo the team used a mix of old and modern typefaces, Baskerville and ITC Avant Garde, as a tribute to the mix of old and new found in the product.

An additional benefit of using ITC Avant Garde, is its perfectly round letter “o” which reflects the circular nature of the chair. The team also felt that words such as “classic” or “vintage” had been overused in the advertising world and would not help to differentiate the product from the myriad of re-releases in the market place. Therefore, they drew their inspiration from the one aspect of life that everybody can relate to and reminisce about: past loves. They needed a tag line for the advert that underlined the fact that this was a retro design for today’s market. Bearing these elements in mind, they took their inspiration from a Hollywood film and struck upon “a chair to remember”. They felt this tagline avoided clichéd text and played upon rekindling love and devotion for the original product.

The simplicity of the chair’s aesthetic meant that it was particularly adept at being used for illustrative purposes and once the tagline had been settled, using the chairs illustrated in a heart shape became the perfect accompaniment for the print advertisement.

The Sóley project follows on from the success of the communication campaign that Schober Design created for Kusch+Co’s Trilogy range of chairs. The Trilogy campaign was recently awarded a red dot award:communication design 2012.

When contemplating the solution for this brief, there were three main influences that the designers took into account. The wood and production methods used in the manufacture of this range which was so inherent to the personality of the chairs. The Scandinavian roots of the product designers and lastly the fact that the range was made up of three distinctive yet complimentary chairs. These were the elements that the creative team felt were core to the branding strategy in this case. Starting with the logo, the team played with the negative space and used a cut out letter “o” similar to the equivalent letter found in Scandinavian languages, this alluded to the origins of the chair whilst also helping to give the logo a woodcut appearance which was used to full effect on the cover of the accompanying brochure. In addition, the letter “g” was replaced by the number “3” in the logo to subtly provide extra emphasis on the triality of the range.

As mentioned, the cover of the brochure was designed to look like a piece of wood. In keeping with this, the team used uncoated paper on the inside pages. This was done so that the reader would benefit from a texture and smell similar to wood rather than finished paper, giving the audience a more holistic experience. In addition, blocks of wood were carved with the product identification numbers at the Kusch+Co factory and then photographed. These photographs were used as the product introduction pages, done in this way rather than using Photoshop added a greater gravitas and texture to the brochure than a manipulated photo. The natural choice for the location of the photo shoot for the brochure of course was in Scandinavia, an old watermill in Sweden located in the forest – a fitting backdrop. The creative team purposely chose a studio with decor, metal and glass, that was in direct contrast to the aesthetic of the products. This allowed the chairs to stand out and not be lost amongst a wooden background, a far more interesting juxtaposition. The location of the studio was not only appropriate but coupled with the glass walls, gives an extended vista – an eloquent and natural production line – source material to finished product in a gentle and eco sensitive manner.

Schober Design has worked closely over the last few years with Kusch+Co not only in designing individual identities for their range of products but also collaborating with them to give the company a more innovative and modern face. This opportunity has given the design studio the chance to work on varying projects and in different mediums as well as honing their brand strategy skills. Projects have included designing the wayfinding and distinctive signage for the factory in Hallenberg, Germany. Designing their exhibition graphics for the various shows that they attend each year as well as packaging design for their products. Schober Design has also produced and directed a recent image film for the company entitled “Past, Present, Future” which showcased the firm and its products, it can be seen on their YouTube channel at - http://www.youtube.com/watch?v=V_A1YS0YC14

Schober Design is a London based design agency, founded in 2008. Their expertise lie in creating brands and developing communication solutions in the form of corporate identities, corporate literature, print advertising, book design, exhibition design as well as image films and animation.

This post entitled: Sóley Chair Branding is written by Stuart and originally featured on Logoholic.org - Logo Design Blog | Graphic Design Inspiration

Thomas Manss & Company‘s new symbol for the German Fachhochschule Brandenburg University replaces the abstracted depiction of the college building with a mark that is less literal without betraying its roots.

Both, the old symbol and its successor, are inspired by the architecture of the former army barracks the university calls home to 3000 students in Brandenburg an der Havel. “The gate depicted in the symbol might be the formal main entrance of the college but very few members or visitors actually use it. Nevertheless, the identification of staff and students of Fachhochschule Brandenburg with this architectural feature is high,” explains College President Dr. Hans Georg Helmstädter.

The Fachhochschule Brandenburg City Emblem

The Fachhochschule Brandenburg’s Former Logo

However, while the old mark could be associated with the Bachelor and Master degrees in engineering, business administration and economics as well as information technology and media, it was felt that it also presented a staid image of an institution that prides itself on its progressive programme of global cooperation in research as well as teaching. Students enjoy partnerships and exchange programmes with 50 international universities in Europe and overseas.

“The challenge was to evolve the existing identity, building on the existing goodwill invested in the architectural symbol, yet, conveying the state-of-the-art nature of the educational programme,” according to Thomas Manss & Company Partner Andreas Lerchner.

Initial focus groups research revealed that, in addition to the academic programme, the idyllic surroundings with their myriad of waterways and leisure facilities were a big draw.

The Fachhochschule Brandenburg University Main Building

The newly designed mark takes into account these findings and adds the water theme with a simple design intervention that leaves the symbol still proudly displaying its architectural origins.

College President Dr. Hans Georg Helmstädter comments:

For the uninitiated punter the new mark represents an instantly recognisable, abstract, calm and modern shape. For people familiar with the campus, it evokes the main building and the four squares are also reminiscent of the gates depicted in the shield of the city – illustrating the college’s unequivocal commitment to Brandenburg an der Havel.

The new Fachhochschule Brandenburg symbol has been implemented across a wide range of applications including stationery, posters, brochures, presentations and the college website. Andreas Lerchner explains: “The visual identity had to be implemented easily and efficiently by college staff as well as numerous external suppliers.”

All designs and templates have been documented in an easy to use design manual and were presented to staff and students alike during a dedicated launch event.

Fachhochschule Brandenburg

With the founding of Brandenburg University of Applied Sciences in April 1992, Brandenburg upon Havel became a university town for the first time in its history of over a 1,000 years. Brandenburg University offers attractive, cutting-edge degree courses in three disciplines: engineering, business administration and economics as well as information technology and media.

Nearly 3,000 students are enrolled at Brandenburg University, studying in modern teaching facilities and laboratories in a leafy campus setting. All courses lead to the internationally recognized degrees, Bachelor and Masters. Students particularly appreciate the project-orientated courses on offer. Course content is defined in co-operation with partners in industry, commerce and public administration from around the region, giving students the chance to get to know their future field of work hands on right from the start. The university promotes with particular emphasis international exchange in teaching, research and study. Brandenburg University has more than 50 partnerships with universities across Europe as well as overseas.

Thomas Manss & Company

Founded in 1993, Thomas Manss & Company is a multidisciplinary design consultancy with offices in the United Kingdom, Germany, Italy and Brazil.

As designers, we set out to make a difference to the companies and organisations that we work with and it is our belief that this is best achieved through close collaboration with our clients.

Working for cultural institutions such as the National Portrait Gallery, the William Morris Gallery and the British Museum, as well as for publishers such as Phaidon, Thames and Hudson and Ivory Press, we have developed various projects for the arts and design sector, from campaigns to books and identities to signage systems. We also have a strong portfolio of clients from architecture, technology and luxury industries including the architects Foster + Partners, the manufacturer of high-end speakers Bowers & Wilkins, the Italian group of papers Fedrigoni and the luxurious hotel group Ritz-Carlton.

This article was written by, and all images are copyright of Thomas Manss & Company as a Guest Post for Logoholic. We are always open to submissions or guest posts to logoholic.org – if you are interested in becoming a contributor, please email: submit@logoholic.org

This post entitled: Fachhochschule Brandenburg is written by Stuart and originally featured on Logoholic.org - Logo Design Blog | Graphic Design Inspiration