It always makes me happy when a well thought-out brand identity is being launched;
I smiled the moment I saw the new Aol. mark. A clever departure from the utilitarian looking image it replaces. The “dynamic branding” model is not new in the field of corporate and product identity design, but this new Aol. is the most spectacular of all, using not only different shapes behind the brand, but also shapes of different subjects and color. Refreshing.
The dynamic branding model has been used in the past. Here are a number of examples:
In 1967, Wolff Olins launched the overall identity for a company in the UK called Hadfields Paint, a relatively small player in the British paint market, dominated at the time by large brands such as ICI.
Wolff Olins developed an unconventional house style in order to compete with the monolythic ICI brand. A stack of actual paint cans with the different fox imagery became the standard point of sales stand among the larger competing brands in the retail environment. As a student at the School of Industrial Design in Eindhoven (now called the Design Academy), I was impressed by a November 1969 article in the London based Design magazine, featuring the new Hadfields identity program because it was such a departure from the identity design firms at the time.
Two years into my first corporate identity design job in the Netherlands, I came across an interesting article in Design magazine: PRIBA, a large Belgian supermarket chain, had launched an intriguing identity program. At the time I was interviewing with a number of London-based design firms and wanted to get in touch with the firm responsible for the new identity. I was able to meet with Geoffrey Gibbons, the design director at Allied International Designers. Gibbons, who later became my boss, had designed this engaging visual system. The PRIBA logotype was conceived in such a way that it depicted literally all product categories of the company, by “trapping” photographs or illustrations of PRIBA’s offerings in the five letterforms, without losing the identity of the name.
A fascinating note: The new “Aol.” identity is exactly the same concept as the PRIBA style, but in reverse.
Braniff International identity of 1965, left and Mexicana paint scheme of 1991-2008, right.
British Airways by Newell & Sorell, 1997-2001, and JetBlue right.
Years later, Newell & Sorell, another London design firm, created the cleverly designed, but controversial “different cultures” paint scheme for the tail fins of British Airways. It was part of a major overhaul of the 29-year-old Henrion/Negus-Negus/Landor Union Jack corporate identity program, in which the stylized Union Jack was replaced with at least 30 different color patterns, applied on the tail of each airplane. This spectacular identity program must have been inspired by the Aztec-style identity which was in use until 2008 by Mexicana Airlines. Another well-known, but now defunct airline used a similar concept, but instead of patterns applied in different colors as backgrounds for its “BI” and “Braniff” word marks. A current example is JetBlue which uses a variety of blue design patterns with the JetBlue logotype reversed out of the patterned background for a consistent and yet playful look.
In the middle of the 1980s, the new and rapidly expanding Nickelodeon cable network introduced a similar scheme which was more stylized, using just one color: bright orange. A variety of looks was created from all kinds of background designs such as splatters, starbursts, dirigible, toys, etc. The brand name “Nickelodeon” was then placed within those shapes, set in a very friendly and bold typeface called Bazooka. In this way a totally unique identity system was created. This approach was subsequently successfully applied to package design for licensed and endorsed Nickelodeon products. It was created by Tom Corey, Scott Nash and Alan Goodman. According to a Corey/McPherson/Nash blog, “The essence of the brand was to encourage imagination, invention, diversity and fun, and the logo was a key element in that mix”.
The current Brooklyn Museum identity was launched in 2004.
Created by design firm 2×4 and explained on its website: the designers say “The logo starts as a modern seal, but the seal continuously morphs. Each new iteration draws from a different trope, both high and low: a stamp, a flower, a violator, a thought bubble, a drop of water, etc.” The introduction of this new identity was part of a capital improvement program which included a large glass entrance pavilion and a new lobby as well as the name change from The Brooklyn Museum of Art to Brooklyn Museum.
Because the look of any new brand identifier (name + imagery) must be versatile, for a multiplicity of applications, the following guidelines should be kept in mind:
- The integrated brand name should always be expressed in a simple, bold and readable typeface.
- The appearance, location and size of the brand name should be consistent.
- Discipline during implementation and ongoing maintenance is essential.
Were these dynamic branding models successful?
- Hadfields Paint
After one year on the market, product sales were 300% over target. - PRIBA
After a number of quite successful years, this supermarket chain was acquired by a large French retail group.
- British Airways
The British Airways brand name on the fuselage was located too far away from the different color patterns, causing confusion with the (British) traveling customer. Because of that disadvantage, primary BA branding on the livery was severely diluted and it was changed to the “Chatham Historic Dockyard” version of the Union Jack in 2001. - Mexicana Airlines
The Aztec identity was replaced with a frivolous paint scheme based on the concept of an eagle; it was the result of the overall privatization process of the airline business in Mexico. - Braniff International
This airline was not able to survive the 1978 deregulation of the US airline industry. Over-expansion in a tough post-regulation market caused it to shut down.
- JetBlue
Since inception in 2000, this low cost carrier is profitable and has just launched an update of its livery, using the same initial design with modest enhancements. - Nickelodeon
In an interview in Variety on July 29 2009, Cyma Zarghami, president of Nick and MTV Networks’ Kids and Family Group, stated, “the decision to streamline the network identities came after they started putting all of the channels’ logos on the same business card — and decided that it looked like a mess”, and “in asking ourselves if everything could live under the splat, we decided that the splat was dated, It just couldn’t be done in a streamlined way.”
It is quite unfortunate that the rationale of dumping the rich appearance of a well-known entertainment brand was driven by stationery design…
- The Brooklyn Museum
Still a successful identity system for this second largest museum in New York City.
Sources:
“Communication by Design” by James Pilditch, McGraw-Hill Maidenhead, UK, 1970
Design Magazine, UK 1973, January
Design Magazine, UK 1969, November
Variety, July 29th, 2009
Michael McPherson, Corey/McPherson/Nash, 2009
By Tony Spaeth
06 DEC 2009, 20:31 GMT
While I don’t share your enthusiasm for the AOL rebranding, Roger, it is certainly helpful to see it with some historical perspective. Thank you for the research.
I’d be interested in what others know (or think, with benefit of hindsight) about how well “dynamic logos” (mutant logos?) have worked, over time. Let’s distinguish between various design techniques:
- Fixed letterforms, background varies (Nickelodeon, AOL)
- Recognizable letterforms, everything else up for grabs (MTV)
- Fixed letterforms (or symbol) are a window to varying images (PRIBA, Telemundo)
- Letterform colors sometimes vary (current IBM ’smart planet’ campaign)
- Symbol or wordmark color (only) varies (GE 2004 rebranding)
- Symbol fixed in print, moves on screen (Swisscom 2008, by Moving Brands)
Which have worked best? For me, MTV has worked brilliantly and still does, others less so, and some (IBM, GE) are better seen as temporary promotional events than as enduring identities.
By Alina Wheeler
07 DEC 2009, 1:14 GMT
Thank you for the stellar historical overview.
Why has no one mentioned that it is highly unusual for there to be a prelaunch of the December 10th launch? Thus said, the most important value of the new identity is the strategy that it embodies and the signals that it sends internally and externally. Here is a company that is in a radical survival and innovation mode—trying to distance itself from 9 years of failed merger, huge financial losses, and trying to transcend the perception that it is a one trick pony offering email and web access. Tim Armstrong is trying to build a company with “the world’s most simple and stimulating content”. Digital devices and social media have fundamentally changed the brand conversation and brand identity landscape. I believe this system is brilliant because it has both static (mnemonic) and dynamic (stimulating) elements. We live in a twitter pecha kucha world now where we have less space and less time to tell our stories. Kudos to AOL leadership and to Wolff Olins. Am really curious about the upcoming launch.
By Dan Dimmock
07 DEC 2009, 14:47 GMT
This is great, Roger. Thank you. Nothing appears to disturb the balance between ‘conservative thinking’ and ‘creative genius’ more than a good (or bad) piece of dynamic branding. The static launch of the London 2012 Olympic identity immediately springs to mind. Talking of Conservative thinking: Former British Prime Minister, Margaret Thatcher expressed her personal disapproval with BA’s tail-fin identity system, at the launch event, by covering a replica model aeroplane with her handkerchief. She was quoted as saying: “We fly the British flag, not these awful things.” Not a great start for any national carrier.
There is an interesting article by Alice Rawsthorn in today’s International Herald Tribune / NY Times. See: “Punctuating Corporate Identity“. The article, inspired by AOL’s (sorry, Aol.’s) dot, discusses how many brands have tried to achieve visual differentiation through the (effective, or not) use of punctuation marks — exploring a number of reasons as to why that is. Of those mentioned, Rawsthorn includes Generation Y’s influence and the mass-adoption of the new language of text message writing and Tweeting et cetera.
If this is true, I wonder whether newly-created dynamic on-screen identities, when combined with improper grammar (originating out of laziness and a short attention span) will prove to be just a trend. Resulting in the creation of a number of unsustainable and short-lived corporate brand identity systems.
DD
By DesignMaven
07 DEC 2009, 22:22 GMT
Roger:
You’re Bananas!!!!
I love you and respect you, that’s why we’ve been friends for so long.
Difference of opinions make the world.
Perhaps AOL and WOLF OLINS are trying to capture some of the magic of Ubee Modems and Wireless Routers.
See Identity at <http://www.ubeeinteractive.com/>
Not a Fan of Photography implemented as Identity unless its been altered poignantly to make the Brand more Impactful via line conversion etc.
Unfortunately, the Gold Fish does nothing to Stimulate AOL Brand Presence in the Marketplace lead by Time Warner, Verizon, and the biggest of them all Comcast purported last week to purchase NBC from GE.
AOL along with my former ISP Earthlink are Bottom Feeders in the Arena of Broadband Entertainment and Communication because the service they offer is limited to the consumer.
Dan Dimmock:
“Former British Prime Minister, Margaret Thatcher expressed her personal disapproval with BA’s tail-fin identity system, at the launch event, by covering a replica model aeroplane with her handkerchief. She was quoted as saying: “We fly the British flag, not these awful things.” Not a great start for any national carrier”.
Your statement is true to a fault.
Renowned Identity Consultant/Designer/Evangelist The Late, MARCELLO MINALE was the 1st in Europe to Publicly Speak Up (Pun Intended) concerning then British Airways Identity by Newell Sorrell.
Margaret Thatcher get credit because of her position as then Prime Minister.
Marcello Minale was FIRST. Margaret Thatcher took her cue of the dislike of then British Airways Design from Marcello Minale.
DM
The Hostile Takeover of Corporate Identity
By Marco Rezende
08 DEC 2009, 1:14 GMT
Is there anything older as fluctuating brand than a person’s signature? It changes everytime it is written. Did someone consider it creative or brilliant? No. It is just a human nature expression. But an effective brand is a symbol - a socially recognizable inscription conveying a signifier and a meaning. As J. Lacan, the french psychoanalyst, found: a signifier determinates meaning and not vice versa. If the signifier fluctuates, the meaning will flutuate too. This uncertainty may be positive for a small scale brand as ESPRIT (French fashion brand) or others mentioned by van den Bergh. But, I am sure that it will not be effective for a large scale logo, like AOL. Will it be memorable? Hardly. Will it be registerable? May be no. Will it be simple? Definitely no. Will it express a differentiating positioning? Impossible, as its positioning will be the same as other content producers. Is AOL expressing an exclusive identity or is that brand an expression as a masquerade, or a ball of masks? My harsh conclusion is the same that I read somewhere: a bad brand became worse.
By Ben Bos
09 DEC 2009, 12:25 GMT
Hi Roger! It is a very interesting subject and I cannot remember having seen anything of the kind being published before. What I appreciate very much is the evaluation that came at the end of your article. That really makes sense.
I’ll put your message on the mailinglist of the Dutch members of AGI; you won’t mind - I think. And I’ll also send you a copy of ‘Baseline # 57′, in which I wrote a critical article about the present level of Dutch graphic design - with extra attention for the Dutch Government, replacing the ‘rainforest’ of different logotypes/identities for the ministries and other State institutes.The new identity program makes it evident that all information comes basically from one and the same source. But what I miss is a really unique expression of the noted ‘Dutch Design values’.
Thank you. Ben Bos AGI/BNO
By alberto
09 DEC 2009, 13:29 GMT
Very interesting article.
On my modest blog http://rulesbased.wordpress.com/ I featured some living or flexible identities although mainly based on the creation process rather than their success, which I ignore.
Melbourne by Landor, Namics by Heads or the Walker Art Center are recent good examples.
By Marco Rezende
16 DEC 2009, 16:20 GMT
After the public launching and reviewing the initial expressions, I changed my mind. AOL’s new identity is an “opera aperta” (Umberto Eco, semioticist): an open system. AOL´s challenge is to keep it alive, always seducing stakeholders.
By Jack Herr
19 DEC 2009, 0:47 GMT
Let’s be honest, the AOL identity (much like the PRIBA system) is all about taking a back seat to the products you offer or the audience you serve. In the information-portal-e-wonderland where they are competing, AOL is letting their users decide what AOl means to them with their simple “themes” identity background images. A very fresh brand expression approach compared to likes of comcast.net, yahoo.com and msn.com.
A better example, that uses flexibility with a purpose , would be Stephan Sagmeister’s identity for the Casa da Musica, the Rem Koolhaus museum in Lisbon.
By miles
20 JAN 2010, 14:23 GMT
if the type is consistent then it’s not a flexible identity, it’s just a traditional logo on a variety of backgrounds. Most of this stuff is merely bandwagon design from designers without ideas of their own.
By Aol. – it means more if there’s a period. « Digital Fireball
10 MAR 2010, 8:35 GMT
[...] http://www.identityworks.com/forum/logo-design/aol-and-dynamic-branding-when-is-it-a-good-idea/ [...]
By Brian Owens
26 MAR 2010, 21:48 GMT
Thanks Roger. Don’t know if you ever saw the identity for Noggin, a cable channel targeted at pre-schoolers (frightening). I loved watching with my kids to see how the logo would change daily to reflect seasonality, a holiday, or simply the whim of the designers. Unfortunately they were bought by Nick Jr, who coincidentally used a similar dynamic branding scheme as its parent, but was not nearly as creative as Noggin. Terrific name as well…
http://www.designworklife.com/?p=1665
By Juan-Carlos Fernandez
10 APR 2010, 1:04 GMT
Nice reading your post, Roger, specially because it was me who developed the Mexicana Airlines identity back in 1991 (original photographic concept by Franz Teuscher). I’m flattered by seeing it included in your analysis.
I believe in dynamic brands, but only when the “dynamic elements” help to reinforce a well-defined concept. Most of the examples you show do that successfully, but I think we’ll be seeing a trend in the near future, and many failures among them.
I celebrate the reinvention of the way corporations should communicate, not seen as “new logos”, but as reinterpreted expression and codification. Great identities are on the way. I’m sure.
By Jevgeni Strganov
08 MAY 2010, 17:05 GMT
Yes. Definetly AOL. is doing the right thing. That helps to involve more people with a lot of different perception. Mybe even conservative people can find an image, that makes them feel happy or smyle.
Brilliant scheme. But actualy they realy need to do something with website design and UI. Website not impressive as itself, but identity works. I think there must be a “libra” between functionality and presentation.
By EL
13 MAY 2010, 9:23 GMT
Thanks for pulling this theme together using researched examples of the dynamic/static theme Roger. In Aol.’s case, I agree with Marco that sometimes the real problem can be the actual name. I look forward to reading more design insights!
By Andrew Pourtov
16 MAY 2010, 14:58 GMT
Thank you for good post, Roger!
I agree with Мiles, that many of projects in Roger’s article are not flexible (dynamic) identity. The logo on a different background is only a logo. It only the small occupying some percent of the area of advertising (ad fullpage, outdoor etc).
Ivan Chermajeff has somehow told: “A logotype by itself can never communicate all the ideas that the client would want to put into it. All the logotype can express is a promise to the market”. Ken Cato says, that “the brand should be distinguished not 5% of a surface of advertising, but 95%”. It can provide patterns, typography, - but not a logo.
Real dynamical identity (Beeline from Wolff Olins and Miles Newlyn) is out of a logo and even can do without it. Thus should be clearly to whom communications belong (problem №1), is provided their sufficient variability (problem №2) and potential of this variability should allow to transfer any communication messages, not losing values of a brand (problem №3).
If to speak about the project for AOL, I think that it has not enough constants and too many variables.
By David Mendes
13 JUN 2010, 19:09 GMT
Hello Roger.
I just wanted to add a couple of good examples of sucessful Dynamic brands.
First one is Airplot by Airside. I’ve featured it on my own website ideasondesign and I believe it is a smart, effective and original approach with a dynamic essence.
On Casa da Musica mentioned by Jack Herr. In fact it is a brilliant brand. But it probably suffers from poor guidelines since its use on promotional material too often becomes chaotic, and that’s the main problem with most of these so called dynamic brands.
On a similar style, the City of Melbourne identity is also a great dynamic identity.