![]() FedEx and SBI are great examples where the form/wordmark is simple but has a singular great idea/story embedded to make it memorable,” he shares. If it’s a food brand, it should have appetite appeal. If it’s a jewellery brand, the logo should have some finesse if it’s construction, the logo could be bold. “You can still show the personality of a brand through a simple design. Ray agrees simplicity should not mean devoid of character. “Depending on how the light is falling, you’ll notice different elements.” “The best way to show multiple messages was through a three-dimensional route,” says Bose. A centre ‘M’ anchoring the logo to denote 75 years of heritage an outer ‘M’ to indicate an expansive future and a revamped road in perspective to indicate opportunity. ![]() With each, he has adopted a different dimensionality to convey either the brand’s heritage, its future outlook or both.įor the ‘Copper Twin Peaks’ logo for Mahindra SUVs, Bose opted for a 3D format to convey a wealth of messages. Since he took over as CDO in mid-2021, Bose has overseen two redesigns - Mahindra & Mahindra (Rise) and Mahindra SUV - and the formation of a new brand identity (Mahindra BE). Mahindra’s Bose says it depends on the brand. So which way should the scales tip? 3D logos with character and gradients ( branding) or uncluttered, functional logos (debranding)? “It’s almost impossible today to find a symbol that’s never been used before in some shape or form and doesn’t have any connotations.” Although they occupy different categories, both feature a similar black-and-white square logo, making the apps easy to confuse on a mobile screen.Īttention on a mobile screen is definitely a challenge, says Snashfold. Take for example, ride sharing app Uber and home services startup Urban Company. However, some brands prefer to stick to spartan logos. “Earlier you couldn’t do a gradient logo easily because you would have to translate it into print and it would be easier to do one colour or a couple of colours (but) that has changed,” adds Malhotra, citing the Instagram logo. ![]() Screen fidelity has also given designers the opportunity to play with gradients. “Today, you see serif being used for headlines because it’s more distinctive, got a bit more personality.” But that is no longer an issue,” he says. “Screens didn’t have the fidelity they have today and sans serif was easier to digitise, so brands and designers favoured it. Serif logotypes don’t work well enough in anti-aliasing (a technique to smoothen jagged edges) and that’s maybe why they aren’t used as much, says Malhotra.īut Snashfold believes this is a problem of the past. Widespread use of the sans serif font for digital because it’s cleaner and more legible, especially in smaller spaces, has also contributed to ‘blanding’. That’s a powerful asset and so it was important to double-down and retain blue within the logo.” ![]() “It was the colour they’re most associated with, like Coca-Cola and red. “Within their competitor set, Capgemini had a level of ownership over blue,” says Brandpie creative director Scott Snashfold. When global brand consultancy Brandpie rebranded Capgemini, they stayed with its original blue. Similarly, neobank Jupiter uses coral, which distinguishes it from other fintech apps.”Ĭolour equity - where a brand is associated with a certain colour - has a role to play. The mint green of Dunzo really makes it stand out. “Some brands do break through the clutter. It’s easier to pick a colour associated with their industry,” says Ray. “Newer brands don’t want to rock the boat. Red indicates passion, energy and is often seen in the food space ( Zomato, KFC, McDonalds) black is linked to fashion. For example, blue indicates trust, gravitas and is usually associated with tech and finance companies. Part of the problem here is a tendency to fall back on what Ray calls ‘colour category codes’. Calvin Klein, Berluti, Balmain and Burberry also unveiled stripped-down, black logos. Just take the rise of fashion’s ‘little black dress’ logos, kicked off by Yves Saint Laurent in 2012. “To keep readability intact on devices, brands will either take out an emblem/symbol that used to be there or change the logotype to sans serif, so logos end up looking very similar across brands,” says Mira Malhotra, founder of boutique design firm Studio Kohl. But this quest to make the logo simpler has led to a different challenge, that of déjà vu.
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