‘Om de waarde “vrijheid” in alle communicatie van KPN zichtbaar en voelbaar te maken.‘Om de waarde “vrijheid” in alle communicatie van KPN zichtbaar en voelbaar te maken.
Sinds 1 maart voert KPN een nieuwe campagne met het thema ‘Voel je vrij’, gemaakt door reclamebureau N=5. Om de waarde ‘vrijheid’ in alle communicatie van KPN zichtbaar en voelbaar te maken koos KPN ontwerpbureau Dietwee om de KPN-merkstijl te revitaliseren.
Jeroen Struving, Manager Merkstijl & Merkportfolio bij KPN: ‘Dietwee kwam met een helder en sterk idee dat ons meteen het vertrouwen gaf dat we deze moeilijke klus in korte tijd tot een goed einde konden brengen’.
Martin Bos, account director bij Dietwee: ‘In nauw overleg met N=5 hebben we eerst een stap terug gedaan en heel goed gekeken naar de fundamenten van de bestaande KPN-merkstijl. Grondig geïnventariseerd wat er binnen deze stijl anders kon om het nieuwe thema ‘Voel je vrij’ optimaal te laden.
(Est. 1893) “In 1880, 40-year-old, Glasgow-born entrepreneur and innovator Sir Thomas Lipton envisioned an opportunity to make tea universally accessible with guaranteed quality at acceptable prices. He began by purchasing tea estates in Ceylon, now Sri Lanka, and arranged packaging and shipping at low costs to sell his teas directly from the tea garden to the tea pot. In 1893, he established the Thomas J Lipton Co., a tea packing company with its headquarters and factory in Hoboken, New Jersey. Lipton teas were an immediate success in the United States and the United Kingdom. In recognition of his exceptional contribution, Thomas Lipton was knighted by Queen Victoria in 1898, and became Sir Thomas Lipton at the age of forty-eight. Lipton is now the world’s leading tea brand, sold in more than 150 countries.”
Niels Biersteker's insight:
On the website of Unilever (NL) there is no sign of a new logo.
Forget the fact that Anheuser-Busch’s 60-second spot (which cost north of $4 million) aired close to the end of a lopsided championship game that was over before halftime. The Budweiser ad scored top honors in USA Today’s Ad Meter and Hulu’s Ad Zone for being the most popular among viewers. How did it not get lost amid the tantalizing displays of shiny vehicles, CGI tricks, and David Beckham’s six pack?
The irresistible power of classic storytelling.
“Especially in the Super Bowl, those 30-second ads are almost like mini movies,” he says. Quesenberry found that the ads that told a more complete story using Freytag’s Pyramid — http://en.wikipedia.org/wiki/Dramatic_structure a dramatic structure that can be traced back to Aristotle — were the most popular.
Dutch homeware brand Brabantia is launching new branding and packaging in a bid to reposition itself as an ‘interior design brand’.
The new identity was created by Amsterdam-based Studio Aandacht, working with fellow Dutch consultancy Agency Proud on packaging design.
Mechteld Petersen, value director for brand, marketing and product innovation at Brabantia, says the new look aims to give a ‘more approachable, feminine and warm’ feel.
Niels Biersteker's insight:
Het woord- en beeldmerk is duidelijk aangepast (rondingen). Het woordmerk is in basis waarschijnlijk een aangepaste (ITC) Officina Sans. Het is niet geheel duidelijk of het beeldmerk (huisje) consistent van kleur veranderd per productgroep.
Built in 1986, the Amsterdam Music Theatre (Het Muziektheater Amsterdam) has been home to the Dutch National Opera (De Nederlandse Opera, est. 1946) and the Dutch National Ballet (Het National ballet, est. 1961), both of which, as their names imply, have been the main opera and ballet institutions in the Netherlands. Each of these three entities had been operating with their own names and identities but as of this February they will be sharing a common name — Dutch National Opera & Ballet — and identity system designed by Amsterdam-based Lesley Moore.
The Financial PageTwilight of the Brands by James Surowiecki
It’s a truism that a company’s brand is its “most important asset.” But brands have never been more fragile. The reason is simple: consumers are supremely well informed and far more likely to investigate the real value of products than to rely on logos.
If you’re making a better product, you can still charge more, but, if your product is much like that of your competitors, your price needs to be similar, too. That’s the clearest indication that the economic value of brands—traditionally assessed by the premium a company could charge—is waning. This isn’t true across the board: brands retain value where the brand association is integral to the experience of a product (Coca-Cola, say), or where they confer status, as with luxury goods. But even here the information deluge is transformative; luxury travel, for instance, has been profoundly affected by sites like TripAdvisor.
Over the past 4 months we have worked on a major update of the visual identity of the City of Amsterdam. After the official approval by the Mayor and Aldermen of Amsterdam last week, Dutch newspaper De Telegraaf posted a short blurb on their website about the logo update, also mentioning the cost involved. That post created quite a ripple on Social Media after which the traditional media also picked up on the story.
To make it simple: we’ve created a completely renewed visual identity with new applications, tools, grids and guidelines, but we left the logo virtually unchanged.
Starting in the Spring of 2014, the City will gradually move to this new, compact logo model (image).
Niels Biersteker's insight:
Great insight and explanation, another example of the rather stylish buzzword 'simplification'...
Rotterdam’s Kunsthal in The Netherlands has reopened, following an interior redesign by architect OMA, and new signage and graphics by consultancy Tel Design.
Tel Design’s original logo design remains, though the space will feature new wayfinding and signage. The stencil-effect graphics are used in black, white and red, with a series of icons denoting the different facilities with the Kunsthal.
(Est. 1478) “Oxford Dictionaries are trusted around the globe as the definitive source on language and the first point of reference. This authority is based on meticulous research into the living language and draws on the largest language research programme in the world. Oxford University Press is proud to publish the definitive record of the English language, the Oxford English Dictionary (OED).”
The Academy Awards, also known as ‘The Oscars’, has unveiled refreshed logos.
Created by agency 180LA, the new simplified identities were recreated in the colors white and gold, and feature the iconic statuette within the triangular shape of the letter “A”—as if the statuette has a spotlight shining on it from above.
The “A” represents the Academy, and doubles as the “A” in “OSCARS”.
The new logo was inspired by the Academy’s heritage, and its Academy Museum which will be opening in 2017—and was also created in time for The 86th Academy Awards that would be held on 2 March 2014.
The Academy’s Chief Marketing Officer, Christina Kounelias, said in a statement that the organization hopes the logo accurately reflects its “community of artists, their diverse talents, and the creative process they employ to bring disparate ideas together into a single vision.”
What do you think of The Oscars’ and The Academy’s new logo?
Île-de-France is the name used for France's capital region, that is Paris and its extended surroundings. Last week, on November 27, different government agencies unveiled a new brand, "Paris Region", to market Île-de-France internationally and to established it as a region of tourism and economic growth.
A new English language slogan, "Source of Inspiration", is intended to express the "innovation, creativity and invention" that has sprung from the region since the French revolution. The icon combines eight sticks that form a "capital radiation" image in different colours, representing diversity, with an abstraction of the Eiffel tower, a universal symbol of Paris, the region and France.
Regarded as the birthplace of the Renaissance, Florence is the capital city of the Tuscany region in the Florence province. Art, architecture, and history abound. Its city center has been declared a World Heritage Site by UNESCO. It is considered to be one of top fashion capitals of the world. Etcetera. Last July, Cittá di Firenze (City of Florence) — and Audi (the cars, yes) — organized a contest to design a new logo for Florence, one that would complement the official Florentine lily motif seen in the city’s flag, coat of arms, and existing logo. The brief called for a logo that would work for: “the promotion of Florence, a national and international level; for the communication of innovations and changes in the territory; for the communication of culture and tourism; in the optical business, including activities of merchandising and licensing; as a mark of quality, venues, products and services and the municipal administration of the territory”. From 5,000 submissions, filtered to 29 finalists, the €15,000 prize-winner was Fabio Chiantini.
Niels Biersteker's insight:
Agree with spacing-comment by Armin, but really, what's wrong with Mistral typeface....?
While Chiquita was never in serious danger of becoming a generic term for one of our favorite fruits, it could still pretty commonly come to mind for bananas. It’s a fun name to say. It is a name which has, what trademark people might call, real “curve appeal.”
No one has yet to file an application to use “ChiquitaFyffes” for bananas, and it is not clear to me if they plan to change their mark and marketing into a true global brand, deserting the “Chiquita” trademark they have used in the United States for so long. It appears the cost savings and market leadership over now #2 Dole are incentive enough. But the same forces which lead to a terrible compromise on the corporate name will put pressure, over time, to mark the goods with a single name in all markets. A quick look at what has happened in the Trademark Office will reveal that marketers who were once in love with corporate-sounding names, have since favored naming the companies after the products, not vice versa. A step back to ChiquitaFyffes would be slippery. Retail consumer brands have the emotion, and often fame, and companies have fairly flocked to protecting those proud names above all.
A new analysis by the Design Management Institute, a Boston-based nonprofit focused on design management, puts numbers to what design junkies suspected all along: in the past 10 years, design-driven companies outperformed the Standard & Poor's 500--a stock market index of 500 large publicly traded companies--by 228%. These companies included Apple, Coca-Cola, Ford, Herman Miller, IBM, Intuit, Newell Rubbermaid, Nike, Procter & Gamble, Starbucks, Starwood, Steelcase, Target, Walt Disney, and Whirlpool. All that money these companies put into smoother user experiences, beautiful branding, and innovative advertising apparently paid off.
2013 was net als elk ander jaar, een jaar waarin veel bedrijven met negatieve publiciteit te maken kregen. Negatieve publiciteit kan betrekking hebben op producten waarvan de ingrediëntenwijzer niet klopt. Maar ook kan negatieve publiciteit betrekking hebben op de organisatie als geheel, denk aan het Libor-schandaal van de Rabobank. In bijgaand artikel zetten we de merkrampen uit 2013 op een rijtje.
In 2013 sprongen er een aantal cases uit; denk aan alle berichtgevingen rond de Fyra, het paardenvleesschandaal en de Rabobank die van haar voetstuk viel. En in dit kader kunnen we het ‘merk’ Zwarte Piet natuurlijk niet onbesproken laten. In de bijlage van dit artikel is een chronologisch overzicht opgenomen van alle door EURIB in 2013 in de media geregistreerde incidenten, waarin een merk (product of organisatie) centraal stond. Hieronder beschrijven we de high lights uit dit overzicht.
One of the strongest held beliefs among marketers is that brand plays an important—even crucial—role in consumer decision-making. But recent developments in consumer electronics should make us all stop and think. Consider two examples: Roku, a virtually unknown brand, captured significant market share in the streaming set-top box market. And in the tablet market (the iPad notwithstanding) some reports suggest that “tablet buyers don’t care who makes their devices.” We attribute these phenomena to a fundamental shift in the way consumers make decisions. Let us explain this shift and how it shakes long-held beliefs about three concepts in marketing: brand, loyalty, and positioning.
Brand. In the past, consumers had no way of accurately assessing the real quality of things directly, so they usually evaluated quality based on generic, top-of-mind reference points and quality proxies. One such proxy was the brand name. But brands are less needed when consumers can assess product quality using better sources of information such as reviews from other users, expert opinion, or information from people they know on social media. Reassured by the opinions of others, consumers are less hesitant to try a lesser known brand like Roku. (Roku 3 has 4660 reviews with a 4.5 star average on Amazon.com). The same thing happens in the tablet market where people feel comfortable trying brands such as Acer or Asus instead of well-established brands. And of course, this shift in decision-making is not limited to consumer electronics; it can be seen in the way people shop for cars, hotels, books, restaurants, and many other products and services. The main implication is that it presents newcomers with lower barriers to entry and, as a result, creates more volatility in brand equity (which means that newcomers who are rejoicing as they gain market share should realize that they can fall just as fast).
Loyalty. Another proxy that consumers used to rely on was their past experience with a company. Standing at a computer store in the 1990s, a customer might have looked at a laptop and thought to himself: “In the past, I used a Toshiba laptop that worked fine – so this Toshiba must be good, too.” Since he didn’t have too many alternative sources of information, it made sense to stay loyal to Toshiba (or Sony or Dell). But in a world with good, low-cost information, the customer can easily start from scratch each time. Many marketers still believe in the power of consumer loyalty and the great profitability of even a small increase in the number of consumers declaring themselves “loyal.” But more and more consumers think about their relationships with companies as an open marriage. Loyalty doesn’t benefit the customer as much as it did in the past. Are we saying that this is the end of brand and loyalty? Of course not. Apple, the leader in the tablet and set-top box markets, is a prominent example of that (although its success can also be attributed to offering high-quality products). What we’re saying is that the power of brand and loyalty as the main cues for quality is diminishing.
Positioning. This is another concept that is becoming less relevant as consumers increasingly rely on the opinions of others. Yet many marketers still believe that they can drive product perceptions based on the way they present their products relative to other options. The idea behind positioning is that each marketer has to find an area that is not occupied in the consumer’s mind and capture it. (In automotive, for example, Volvo stood for “safety,” and Toyota captured “reliability.”) But when consumers base their decisions on user and expert reviews, nice positioning statements are less likely to be adopted by the market. It’s simply that reviewers on the Web tend to evaluate multiple features of a product and are not likely to isolate a single attribute just because it was highlighted in a company’s ad campaign. For example, in recent years we’ve seen a couple of attempts to introduce new phones that would be positioned as “the Facebook phones.” But reviewers—and as a result consumers—evaluated all features of these phones (comparing, for example, camera, thickness, and display) and didn’t necessarily put any emphasis on how well the phone works with Facebook. Marketers can save themselves a lot of money by avoiding doomed-to-failure positioning attempts.
When consumers can assess their likely experience without having to rely on things like brand names or prior experience, everything changes. Yet most people think about marketing using the same old concepts. Despite all the talk about the Internet and social media, the presumed critical roles of branding, loyalty, and positioning have not changed. It’s time to seriously reevaluate these and other long-held beliefs about marketing.
Yesterday, Squarespace released a new tool called Squarespace Logo that brought the company's dead easy, drag-and-drop approach to making a logo. We wrote it up, and while we didn't think it was revolutionary, we did think it was a nice tool for small businesses and freelancers who wanted to put a dab more polish on their branding.
To hear many of the Internet's designers tell the tale, though, Squarespace just upended a dysenteric bowel all over the community. Just hours after launching, Squarespace Logo had become such a joke that there's even a parody Tumblr account that mocks the new tool.
Niels Biersteker's insight:
Free logo makers are not exactly new or innovative, and to be honest, still require skilled decision-making. Further more, computer generated graphics could do so much more... (see also; http://processing.org/).
See below some interesting examples i found of other logo generators;
Rebranding is tough work. A logo isn’t just a logo--it’s a way of telling the world what your company stands for (it can also incite serious consumer rage. Remember Gap’s notorious misstep in 2010?). In some cases branding can almost turn into marriage counseling for companies: how do you want to grow, and who (or what audience) do you want to grow with?
Over the course of 2013 we spoke with mega companies like American Airlines and Starbucks, fashion-focused groups like Kate Spade and Refinery29, and even individual designers with their own bold, non-commissioned ideas about branding, all to find out about how they’re repositioning themselves for 2014 and the years to come. Here's some of the best of what we saw.
To kick off our ‘Year in Review’ series, we have selected 10 of the top logo redesigns of 2013. From the subtle changes of Instagram’s logo to Yahoo’s complete design overhaul, it seems like brands tend to favor the ‘minimalistic’ look.