Deliveroo's new logo
Over the past few months, I have become increasingly irritated by regular design press stories about so-called ‘rebrands’. On reading the articles, it is clear that most of these ‘rebrands’ are little more than a logo change, be it a complete reworking, like Deliveroo, or just a ‘spot the difference’ tweak, like Google. I am always amazed that design journalists never seem to challenge what they are fed from the various design agencies.
And Google's spot the difference logo.
Establishing a brand is not just about the logo or the styling of the print material and the website: it is a far deeper, lengthier and more complex affair. It is about an organisation’s behaviour and how that is reflected in the service, products, words and imagery. Think of it as a person: their look, sound, personality, truthfulness, trustworthiness and behaviour. In other words, it is the sum of all the parts. The visual and verbal expressions of this, the logo and copy, are just small elements of the whole. And the logo is no more than a visual trigger.
Let’s set out what a ‘brand’ is supposed to do. For centuries, a simple arrangement of letters/shapes assembled on a rod made of cast iron was plunged into a glowing fire and used to burn into the flesh of cattle. It was a simple and permanent way to identify the owner. That’s where the term ‘branding’ originated.
Where it all started.
Later, these branding marks metamorphosed into a variety of names using new printing methods, such as colophon, symbol, emblem, insignia, monogram, trademark, motif and hallmark. All are used to signify organisations, services and products.
The original 1896 logo (left) for what was later to become IBM. The interlocking initials are identical to cattle branding iron arrangements.
In the 1900's bill posting became one of the most immediate ways to advertise.
Later came the 'impervious to all weathers', the vitreous enamelled sign.
The selling of producst became more sophisticated when packaging was introduced.
During the Industrial Revolution, these ‘visual prompts’ were employed extensively to advertise products and were often no more than letterpress printed posters pasted on to walls or sturdy weatherproof, outdoor, vitreous enamelled signs – many from the Victorian period still survive to this day. Later, as retail developed, the packaging of products started to appear for the convenience of customers, like, Kellogg’s corn flakes, Quaker porridge oats, Pears soap, etc. But the idea of a more coordinated company look came much later.
London Underground, one of the most memorable logos, first introduced in 1907 (above) and has been subtlety and systematically developed over many years.
The most coordinated move came in the 1920s, under the watchful eye of Chief Executive Frank Pick, developed over a period of time established a far more sophisticated system, introducing a comprehensive design programme that embraced every aspect of its enterprise, from architecture, signage, a unique typeface and textiles to uniforms, rolling stock, advertising and posters.
Textiles designed by Enid Marx RDI in 1938.
Southgate underground station designed by Charles Holden in 1933.
Above and below the typeface designed by Edward Johnstone in 1916.
Harry Beck's 1933 geographical underground map, reinterpreted to give visual clarity.
Not forgetting the brilliant underground map created by Harry Beck. London Transport was an early example of a truly coordinated design concept, and as it rolled out the ‘essence’ of what London Transport was about, formulating this in the minds of passengers, it signalled the comfort, speed, safety and efficiency of a modern transport system. One that the public could depend on.
This little penguin, developed over the years, found favour with the reading public for many decades. The original design was by Edward Young in 1935.
In 1935 Sir Allen Lane cofounded Penguin Books and enabled the public to buy high-quality paperback fiction and non-fiction for sixpence. It was quickly established as the publisher you could trust for quality in literature. It remained that way until Lane died in 1970. The day after his death Penguin was floated on the stock market, and in the following years much of Lane's vision was lost in the corporate boardroom. Under new management large swaths of the distinguished list was axed and books that Lane would not have touched with a bargepole were included in Penguin's list. It was a sad loss of the trust that Lane had built with the public over many decades.
The cover styling was an important part of Penguin's success along with the sixpenny cover price.
One of IBM's buildings, with its sartorially coordinated staff in 1968
In the 1950/60s, America started to developed what became known as ‘corporate identity’ with the same rigour as London Transport. More design companies started to embrace corporate identity in their mixes.
Paul Rand's detailed corporate identity for IBM developed from the.
IBM's CEO, Thomas J. Watson, Jr. had an epiphany. “Good design is good business,” he declared. It became the company’s mantra and mandate and signaled a profound design-conscious evolution in the company’s operations.
IBM, featuring the work of designer Paul Rand, is a classic example. Others, like Saul Bass, Lou Dorfsman and Ivan Chermayeff, were all involved in rolling out comprehensive corporate identities. Many of these were simply coordinated public-facing style exercises.
Above the logo for the Bell Telephone Company by Saul Bass. And below his Warner logo.
The classic logo for CBS designed by Bill Golden in 1951.
It was later developed into and outstanding comprehensive corporate identity by Lou Dorfsman during the 1960's
Another competing broadcaster, NBC also produced a coordinated look crated by John J. Graham in 1959.
Ivan Chermayeff's work for Chase Manhatten Bank, Mobil Oil and Public Broadcasting Services.
Two examples of Josef Muller-Brockmann's identity work for arts organisations from the late 1950's to the late 1960's. It typifies the structured grid system with its strict typographical rules and minimal deviation in style.
The Swiss, with their logical systematic grid system, favoured by the likes of Josef Muller-Brockmann, became the modernised style to follow but did tend to create enormous similarity, rather than differentiate organisations.
The long lived logo for British Rail, introduce in 1964 designed by Design Research Unit, Britain's first cross disciplinary consultancy founded in 1943 by Misha Black, Milner Gray, and Herbert Read
The identity for London Electricity Board, designed by FHK Henrion 1970. And below his logo for Tate & Lyle 1965.
Here in the UK, the Design Research Unit and FHK Henrion were two of the most important consultancies involved in creating corporate identities for major British companies.
A far more penetrating look at companies was to come from the world of advertising. They would engender an emotional connection with the public. Branding brands: Part 2 next week.
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