A New Icon Is Already Up In The Air

American takes off. Again.

Before & After

There’s much more to the art of branding than symbolism and iconography. But then, without the symbols and icons, there is no brand.

That’s why changing those elements brings such risks. There’s risk in staying stagnant, of course. There’s risk in living in the past. But in updating, in revamping, there’s danger of the noble past being erased.

There might be no more noble brand than American Airlines, and not just because their name co-opts the vision of a society and the ideals of a people. This company, aloft since 1934, helped create our global dominance in aviation. They’re a legacy of Charles Lindbergh and Howard Hughes. They’ve survived the most momentous age not just of flight, not just of travel, but of human experience.

They’ve also been in bankruptcy for more than a year, and have been held up as an example of the decline of airline customer service. If ever a company might benefit from rebranding, that company would be American Airlines.

Yet somehow, we can give only the most hesitant endorsement of American’s recently unveiled image, in the form of a new logo, company colors, and airplane livery. The look is bold, modern, and very striking. The aircraft livery is gorgeous. There’s little to quibble with here.

But there was little to quibble with in American’s old look, which dates from 1968 and was created by the venerable, honorable design house of Massimo Vignelli. For a brand image that’s pushing a half-century in age, Massimo’s design remains powerfully contemporary. It’s also one of the most recognizable trademarks on earth.

For all that, we won’t say that American’s rebranding was a mistake. For a company as stricken as American Airlines, maybe a rebranding was necessary to break with the past, and to start writing a newer, better narrative.

We just hope the American executives realize that a fresh brand won’t write that narrative on its own. The challenges that American Airlines faces are systemic, not symbolic. A fresh brand might bring a reappraisal from consumers, but only a better way of doing business, and a new commitment to service, will bring those consumers on board.  

The C4:

1. American Airlines has just rolled out a new brand; with a thoroughly modern logo, eye-catching aircraft livery, and even new company colors. (Don’t worry, they’re still American, so they’re still red, white, and blue. They’re just a slightly different red, white, and blue.)
2. This is a company that’s been in bankruptcy since November, 2011. They’ve struggled to present a workable plan for re-emergence. They’ve gained a reputation for abysmal customer service. So yes, perhaps this is a company that could benefit from rebranding.
3. But we’ll miss the old brand, created 45 years ago by superstar designer Massimo Vignelli. Few corporate images that old can remain so appealing, so contemporary.
4. Nevertheless, the die is cast. We hope the redesign serves American well. We also hope the company realizes that now that the designers have done their jobs, it’s up to every employee of American, from baggage handlers to executive officers, to create a strong new airline, worthy of its bold new brand.

Weighted Down In The New Year

New Weightwatchers logo puts on some pounds.

One of the biggest decisions people worldwide make around this time is what to do in the New Year. The biggest resolution is always weight loss, but it seems like Weight Watchers — a major player in that particular arena — has put on some pounds with its new identity. The justification for the change sounds nice, but we fail to see “modern, open and energetic.” If anything it’s flat, not to mention squat and chunky.

New logo

Previous logo

We appreciate the attempt to illustrate a transformation by having the new logo gradate, but agree that isn’t necessarily the best way to do it. It’s a weight loss program — not an invisibility tonic. Weight Watchers offers a lifestyle change and an increase in health and vitality. By losing weight, you gain much more. We think that would’ve been more interesting — and valuable — to represent their brand image in their logo than what was used. Based on their primary audience (women) and how they try to make weight loss look fun and easy, the logo might also benefit from a more feminine, carefree look.

Color variations

It’s easy to get carried away with applying meaning when creating new organizational identities. But sometimes that’s the barrier you were trying to overcome all along — particularly when a company name itself has power. Jeff Halmos, a brand strategist in Toronto, may have summed it up best when referring to Microsoft’s recent brand changes:

“So the question, ‘What do you think of the new Microsoft logo’ is a futile one. You’re not supposed to notice, let alone ask. It’s not meant to be discerned. There is no story here. Nothing to talk about. That’s the point: ‘You have the word; it’s been around; everyone knows it; what’s the problem?’ Any implied or imparted meaning is now being defined by the tribe. Microsoft has no control over its brand anymore. The tribe owns it. The less Microsoft does to get in the way, the longer the tribe will feed.”

One of the main reasons we create identities is to make things easier. Clients shouldn’t have to spend time thinking about which iteration of their logo should be used in one application or another. Identity should simplify, not create more situations where people have to make decisions on color configuration, etc.

More colors mean more decisions, and more decisions mean more time spent not getting things done.

I Said, Fill The Void!

The whisper of whitespace amplifies meaning.

Let’s preface this with a declaration: we love design, every aspect of it.

But there’s one certain aspect of design that is perhaps our favorite. We could rave (we have raved!) about its elegant simplicity, its deceptive minimalism. Funny thing is, it's often our clients’ least favorite aspect of design.

It’s the whitespace.

See what we did there? We added paragraph breaks, that is, whitespace, before and after that one short sentence, those three short words. Do you see the way it draws the eye, the way it heightens the drama?

That’s why we love whitespace.

Oh, but we see our clients’ point. They’re paying for ink on the page and pixels on the screen, and most importantly for the effort it takes to put them there. Paying for whitespace? That’s a little too much like paying for the air in a bag of chips.

Hard to argue that point, except like this: in marketing design, what you’re really paying for is the effect. And the effect of whitespace is phenomenal.

Remember, we’re having a conversation with your customer. We’re stopping him in the street, staring him in the eye, and telling him all about you. Maybe he doesn’t want to listen. Maybe he’s hurrying to an appointment. Doesn’t matter. It’s our job to start that conversation, any way we can.

The whitespace is the dramatic pause in our sales pitch. It’s the knowing smile and confident nod that tells him that what comes next is going to blow his mind. Whitespace allows the message to breathe, separates it from surrounding visual noise and places it on the pedestal of absence so that it can be better understood.

We surround your message with whitespace, not because we’re in love with minimalism and dramatic design (true though that may be), but because we know it’s one of our most powerful tools to awe, to captivate, and…

…to communicate.

The C4:

1. Marketing design: it’s equal parts marketing and design. Design serves marketing. Design is gorgeous (maybe we’re biased), but unless it serves marketing it’s self-congratulatory and a waste of everyone’s time.
2. With that in mind, please believe us when we say we will leverage every tool in our considerable design kit to further ours and our clients' marketing aims. We will make gorgeous design, never doubt it, but we’ll do so only with that laser-like focus in mind.
3. One of those tools, one which we often find ourselves defending, is whitespace. We understand the doubt. Whitespace is, by definition, nothing. Who wants to pay for that?
4. Here’s the thing, though: you’re not paying for the nothing. You’re paying for the drama the nothingness creates. Our whitespace draws the eye, heightens the awareness, and lends an exhuberant exclamation to the elements it surrounds. It’s a message that reinforces itself by demanding attention. It creates a mental cadence to let the audience know that the central point is at hand—

          Just

          like

          this.

What Is Design? Part 4

Part 4: Design is about the experience that those solutions generate.

In part one, we talked about the importance of research when it comes to brand development. In part two, we discussed how to use that research to identify meaningful solutions to brand challenges. In part three, we covered the creative process used to get to those solutions.

Now we’re going to talk about the experience those solutions generate.

Let’s take another look at our identity work for Winer+Bevilacqua, Inc. Our understanding of that organization’s needs came from discussions with its staff. That information was compiled and analyzed — leading to the development of their new identity.

After that identity launched, a team of eight W+B staff members was appointed and made responsible for ensuring the protection and ongoing development of the firm’s brand, culture and messaging. The team meets weekly to recommend policies, procedures and methods that enhance value for clients and efficiency for the organization.

This team has enabled Winer+Bevilacqua personnel to collectively own their new identity, which helps them better communicate their unique value to other staff members, current and potential clients and the people with whom they interact outside of work.

From the identity sprouted other new staff experiences, such as the development of formal mission and vision statements, a 60-second commercial for the firm, personal 60-second commercials for the staff, new business development incentives and more. These tools present a consistent message from a singular culture, one that digs down deep into what the firm offers and why it matters for those they serve.

Good design must create meaning and transform that meaning into action. In this example, design generated an entirely new experience for the Winer+Bevilacqua staff while simultaneously engaging them in its use, such as the communal, interactive support of the firm’s brand and selling of its services.

The C4:

1. Experiences — both internal and external — are an important part of an organization’s identity and brand.
2. An organization that owns its identity and actively participates in its ongoing development will be more successful.
3. A good identity should be more than just one experience — it has to generate more on different levels.
4. Good design must create meaning and transform that meaning into action.

What Is Design? Part 3

Part 3: Design is about the creative process to get to those solutions.

Thus far, we’ve talked about the importance of research before developing a new identity, as well as the role that design plays with identifying meaningful solutions for organizations’ problems. This week, we’re going to discuss the creative process that leads us to those solutions.

In our industry, clients often tell us that they don’t understand what they’re doing wrong or why something isn’t working. We often reply, “You don’t understand it because you’re in it.” With no objectivity, the solutions may benefit the organization more than its customers. And that’s why people come to us with their branding and marketing challenges. We have the creative horsepower, experience and objectivity to offer solutions from a unique vantage point — plus, this is what we do! Mixed with an equal serving of strategy, of course.

Following the results of our research initiatives, we facilitate a brainstorming process with client leadership teams and decision makers to uncover ideas that may already exist beneath the surface, but haven’t been discovered yet. That process is called Jump Start. We’ve done it for hundreds of organizations across a multitude of industries, and every time our whiteboards are filled up and conference tables covered over with note cards listing ideas that will help shape their new identities. But it doesn’t stop there.

Each design challenge is different, yet remains open to individual muses and group input. Between the Jump Start session and when we deliver the final product, we go through team brainstorming sessions designed to build up a foundation of even more great ideas. Some extract inspiration from within, some build on the thoughts of others and some dig down into the foundations of ideas already ideated. However a person or group finds solution is one thing, but it’s the journey that will shape the result.

Our creative team then takes the results of these brainstorming sessions and applies their knowledge of the client’s needs as well as their specialized expertise. This allows us to create a tailored solution that’s founded in research and safeguarded by objective minds.

The C4:

1. Solutions generated by those “in” the problem won’t help resolve the problem.
2. However, those “in” the problem have a valuable role to play in its resolution when coupled with an objective viewpoint.
3. Each design challenge is different, yet remains open to individual muses and group input.
4. However a person or group gets toward the solution is fine, but it’s the journey that will shape the result.

What Is Design? Part 2

Part 2: Design is about identifying and proposing meaningful solutions.

In the last post, we discussed the need for research before engaging in brand development. To refresh your memory, this research process can be uncomfortable and typically involves all of an organization’s stakeholders, so skipping over it can lead to some pretty serious issues. But what comes next? What do we do with that research? What was the point of it all?

Well, we will tell you and show you.

Caler&Company recently completed a new identity for Winer+Bevilacqua, Inc., a CPA firm specializing in tax and accounting, information technology services, retirement plan services and business valuation services. Prior to developing this client’s new identity, we sat down with the entire staff and asked them a variety of questions ranging from their background to where they felt the firm was headed. These interviews culminated in a revealing breakdown of staff perceptions and called for something bold, evocative and ultimately more marketable within the crowded CPA marketplace.

We took the results of that research and developed a powerfully strategic positioning statement — Nothing Less. These two words communicate an absolute promise to support clients and their financial needs, and also serves as the creative platform through which other messaging may be crafted. This positioning statement also led to the development of a new visual identity (i.e., the design solution) that comprised everything that the firm’s staff felt they needed to push ahead of their competitors, grow their relationships with current and potential clients and position the firm for future leadership. Check it out:

An intensely colorful logo employed quadrants of a plus sign that were arranged into four sections — representing the four partners, the four quarters of the fiscal year and the firm’s four service categories. The quadrants also formed a greater-than symbol that draws the eye upward on a right incline — similar to a chart showing financial gain.

The new identity uses Barmeno — a clean sans serif typeface that brought the firm into currency and consistency yet retained a sense of formality and credibility. A plus sign replaced the ampersand to emphasize that Winer+Bevilacqua pluses their clients’ organizations — along with the obvious connection to their industry. The positioning statement is also cemented into the logo to keep Winer+Bevilacqua’s promise always at the forefront.

Armed with new communications tools and a powerful identity supported by research, Winer+Bevilacqua is in a better position to challenge the financial industry’s typical — nay, stereotypical — design archetype and connect with customers in a more engaging way. This new identity also served as a call for change — both internally and externally, thereby bringing the staff on the same page with what Winer+Bevilacqua is, what it provides and why it matters.

And for Caler&Company, tackling these brand challenges armed with research results enables both deeper and broad-level understanding of our clients’ needs, which then opens the door for more meaningful and advantageous design solutions in their respective markets.


The C4:

1. A design solution is something that addresses the needs of all stakeholders.
2. Research is the first step toward meaningful design solutions.
3. Design solutions must integrate the results of that research.
4. Solutions must have meaning for all stakeholders (leadership, employees, customers, etc.).

What Is Design? Part 1

Some argue over its application while others awe in its power. Throughout multiple industries, it assumes many distinct concrete and abstract forms, but for Caler&Company, it’s both an artistic pursuit and a professional calling.

Our positioning statement, Marketing by Design, captures this ideal best. We view our work as more than just a collection of colors, symbols and type treatments — it’s the foundation for how an organization markets its products or services and differentiates itself from competitors. We see purpose in it. We build strategy into it. We put vision behind it.

Each week, we’ll be covering one of the seven purposes of design according to Mauro Porcini, Head of Global Strategic Design at 3M, whom we feel said it best.


PART 1: Design is about research, analysis, intuition and synthesis.

In our industry, we use design to create or revitalize organizations’ identities, but doing so often requires a detailed look into their people, processes, products, services, history and philosophy — and that’s just the beginning. To design an effective brand identity, we have to consider everything.

This process requires our clients to “look in the mirror” and see the realities of their culture and operations. It’s uncomfortable, and sometimes it’s even painful, but it’s necessary if they want to grow and reach their goals. The result of that research enables our team to harness mystery and convert it into discovery — thereby giving shape to a new creative platform designed with relevance and meaning.

When the YMCA revitalized its brand in 2010 (effectively becoming “the Y”), it marked the culmination of three years of thorough, enlightening research. That enabled the organization to launch a new identity that people quickly connected with because it was rich with diversity, simplified messaging and clearly stated benefits. Since the revitalized brand’s launch, the local Akron Area YMCA has seen an increase in member retention, donor involvement and overall advocacy for their cause.

Conversely, when the clothing store GAP launched a new logo in late 2010 that was unsupported by market research, its customer base led a social media coup d’état — creating a PR nightmare for GAP’s brand managers and leadership. In addition to the lack of research, GAP’s audience was never informed that a need for a new identity existed — it just appeared. Marketing research and consulting firm Artemis Crane said this about GAP’s blunder:

"Valuable lessons can be learned from the short-lived re-branding initiative, particularly in the area of market research. Whenever a company is looking to make branding changes, thorough market research is a necessity — a new direction cannot be pursued on a limb, it has to be supported by research. Stakeholders need to be consulted and their responses need to be carefully quantified and examined. Their input is a crucial part of the decision making process and cannot be ignored."

All in all, research is like a roadmap to a destination — without it, you’re driving blind.

The C4:

1. To design a revitalized identity, one must first look in the mirror.
2. Looking in that mirror is hard — you need to know why you want to do it.
3. Research is the foundation upon which successful identities are developed.
4. An identity founded in research will always bring better results.