Single Entrevista

To revitalise a brand, it is first essential to be aware of the perception that the brand has generated in the market and then to formulate a meticulous strategy to define the positioning and the attributes with which the brand wishes to be associated in future.

In terms of visual expression, an analysis should be made of the corporate identity in terms both of the basic identifiers and the system of application as a whole, so that the best strategy for action can be drawn up from a design perspective. Greater or lesser amounts of intervention will be required depending on the distance between current perceptions of the brand and the perception that the brand wishes to attain, the extent of change that must be expressed and the budget available.

Action is then essentially possible in two key areas:

  1. A redesign of the basic identifiers  (logo, symbol, colour, etc.). In some circumstances it may be appropriate simply to “refresh” these elements while in others they should undergo a more thorough redesigning process. This will depend on the brand strategy, the relevance of the current elements and the extent to which these elements can be adapted.
  2. The creation of a visual system establishing its own visual language and personality which, going beyond the logo, lead to recognition of the brand in all of its manifestations, creating greater consistency and synergy in its application. As we will see below, this visual system can be based on resources that are already present in the logo, or on other, new resources.

It is of course also possible to act in both areas simultaneously. In this issue of Allbrand (issue 18), we analyse the topic of brand revitalisation from this perspective. To do this, we look at examples illustrating the different focuses possible and the advantages of each one. To support our analysis we take a closer look at the global branding project that we recently carried out for ONO, as this project encompassed everything from strategic repositioning to the revitalisation of the company’s visual identity, in this case without altering the basic identifiers but creating a new and very powerful visual code and language for the brand.

Focus 1. Redesign of logos

When a revival of the visual identity is needed and there is not a strategic change to manifest, the most appropriate is to propose an evolution of the existing logo. In this way it might become more noticeable the transition between the preceding and the new logo, making possible to enhance in the refreshed one a recognizable footprint of the historical one.

The direction in which this redesign must be worked and the degree of closeness or distance from the existing logo are certainly the two most important facts to be defined by a thorough reflection during this process.

Different levels of intervention in the redesign of logos

In the case of Telecinco we limited our intervention to the formal aspect, soothing strokes to achieve a much more aesthetic and contemporary image, while maintaining all the main elements of the existing logo.

n the “refreshing” of Derbi we retained the same color and typographic style, but creating a symbol in the “D” and improving the logo in terms of modernity.

In the redesign of 22 @ Barcelona District logo we decided to reformulate and synthesize the content, conceptual and iconic elements of the brand in the new design.

In the case of Indo and Inibsa, the degree of redesign is much larger than in the previous examples, both in form and in color, but yet still recognizable and relatable to the preceding logos.

Esade is an example of change in depth by creating a whole new expression of the logo, while of course maintaining its naming. We ignored the preceding symbol and created a “logo word mark”, that holds itself the main benefits of having a symbol.


Focus 2. Creation of visual identification systems and brand expression systems

Visual systems are based on graphic solutions that improve the effectiveness and the identification of brand expressions. Their main characteristic is that they do not depend on the size of the logo or on the frequency with which it is applied.

Through the optional use of a wide portfolio of visual resources, graphic codes, style criteria and formal solutions, the brand’s own, unique universe is shaped. This leads to the design of flexible, notorious graphic systems that generate a new language for the brand. These are also extended to all types of formats, multiplying the effectiveness of a corporate visual identity programme.

Of course the type of solution varies greatly on a case-by-case basis as it will depend on the brand concept that has been defined and on the most appropriate tone for each brand’s target audience. These systems share the genetics of the logo to varying extents, either if they have been defined simultaneously to the creation of the logo or if they have been generated later. In addition, they can be created as a long-lasting solution or as a revitalising expression of a specific attribute of the brand.

One of the advantages of this approach is its ability to “increase the area” of the visual identity without having to increase the size or the frequency with which the logo is displayed in the different formats. It is essentially a “filter” that puts a specific slant on all of the messages in which the brand is expressed visually, making them recognisable and memorable independently of the logo.

Systems with defined identities

n the recent case of ONO and the case of Leroy Merlin (carried out by SUMMA in 2006), the systems were developed subsequent to the design of the logos. Based on a collection of formal, chromatic and practical resources, in both cases a visual style was generated that built up a distinctive corporate personality that was extended to every type of promotional, point-of-sale, communication and corporate material.

In the case of ONO, the system is based on the colour, on rounded shapes (which provide an analogy for the brand’s fibre-optic technology) and the typography.

For Leroy Merlin, the system was inspired by the dialogue between the company and its customers. This resource allows countless variations in the basic elements: the bubbles and the way in which the prices and the key messages are presented.


Systems with defined logos

SUMMA developed a flexible graphic system with extensive expressive capacity for Andbanc. The system was extended to all of the corporate and communication elements, whether architectural, textual, iconographic, informative or publicity.

Based on the brand’s own, characteristic style in photographs, illustrations and page layouts, the identity is actively present with no need to resort to the repetitive presence of the logo.

This project was distinguished with the London Design Week Award 2003 for best corporate identity, having been selected from over one thousand projects from all over Europe.


Systems that go beyond the basic identifiers

SUMMA developed the corporate identity of Andorra Telecom (the company that markets landline and mobile phone services, television and Internet in Andorra) as well as the naming and visual identity of its commercial brand, in 2008. Going beyond the idea of a logo, the brand was provided with a system based on the same geometric forms as those generated by its logo. This new geometry was inspired by the world of circuits, both technological and of communication.


Systems extended to multi-platform formats

The system of identity designed in 2010 for She Leader 2.0, the International Congress of Female Directors promoted by the Government of Catalonia, is expressed in all of the 2.0 communication platforms. To achieve this, a series of graphic links were designed that mutate in form, generating a flexible, consistent visual system that is renewed and enriched each time it is used.


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