"Someone Will Always Be Dissatisfied": Experts Evaluate Famous Brand Logos

Contents:

• Suzuki
• CDM
• Austin

In recent months, many well-known companies have updated their logos. We turned to experts from the HSE School of Design to analyze these cases and their impact on branding. Experts shared their opinions on the significance of changes in visual identity and how innovations can influence consumer perception of a brand.

Curator of the Communication Design program at the HSE School of Design. Leading graphic designer and art director of ODB, specializing in the development of visual concepts and communication strategies.

Curator of the Branding specialization at the HSE School of Design. I am a graphic designer with experience in branding and identity. My expertise includes developing exhibition projects and multi-page publications. In my work, I strive to create unique visual identities that help companies stand out in the market and communicate effectively with their target audience.

Curator of the Bachelor's degree in Communication Design at the HSE School of Design in Saint Petersburg. Senior Brand Designer at Endy, an agency specializing in developing effective visual communications and branding strategies.

Suzuki

Andy Martin claims that corporate press releases often present brand changes as significant strategic steps ushering in a new era. However, in practice, the process of brand change turns out to be much simpler than described in official communications. It is important to understand that such changes can be caused by various factors, including adaptation to market conditions and consumer preferences.

The new version has a cleaner and more significant design, which is especially important for digital platforms. Importantly, the plasticity and originality of the S shape, which was lost in the 3D visualization due to glare, has returned. This aspect makes the product more attractive and unique for users.

Ivan Vetrov: This is a typical adaptation of the logo to the digital environment, in line with modern trends. We replaced bulky metal forms with a more rigorous relief. Shiny chrome gave way to a more noble metal. In recent years, many automotive brands, such as Mazda, BMW, Mercedes, Nissan, Haval, Chery, and Lamborghini, have also undergone similar restyling. The automotive industry is not a leader in graphic design. Trends that began to emerge in the 2010s are only now beginning to be adopted. It's important to note that modern automotive graphic design is becoming increasingly relevant, given growing competition and consumer demands for aesthetics and functionality. Innovative design approaches can not only enhance the appearance of vehicles but also increase their market appeal.

Elena Pantyukhina: Suzuki has retained the outline of its logo, emphasizing the company's stability and the confidence of its customers. Although the edges have been replaced with a plane, the brand has no plans to completely switch to a flat design: the logo retains a three-dimensional appearance. This approach demonstrates Suzuki's commitment to tradition while simultaneously incorporating modern design trends.

The company's new slogan, "Next to You," which literally translates as "On Your Side," reflects the multifaceted nature of our approach. The graphic element and text complement each other harmoniously, creating a powerful visual image. This is an example of high design excellence, where each element serves to reinforce the overall message and build brand trust.

The company is implementing significant changes to improve its environmental performance. Instead of traditional chrome plating, a modern bright silver paint coating is used. This not only updates the appearance of the vehicles but also meets new environmental safety standards. Changes in production processes reflect changes in the company's values, symbolizing its commitment to sustainability and innovation.

Curator of the Bachelor's program in Communication Design at the HSE School of Art and Design in St. Petersburg. Senior Brand Designer at Endy, an agency specializing in creating unique visual identities and effective communication strategies. My experience in the design field allows me to impart to my students the relevant knowledge and skills necessary for a successful career in communication design.

CDM

Andy Martin notes the high quality of the work. The immersion in a retro style seems an obvious and successful decision. The illustrations perfectly convey the atmosphere of 1950s print, creating a deep visual impact.

Some aspects raise doubts. The navigation style seems emotionally detached and more reminiscent of the minimalism of Shun Kawakami than it conveys the warmth of childhood. The vertical version of the logo's monogram in an abbreviated form looks isolated without the arch and descriptor, which disrupts the connection with the overall concept.

Ivan Vetrov notes that the "Suprematika" project has become An outstanding example of stylization that fits the concept. The Central Children's Store is not just a store, but a unique space for children, filled with atmosphere and opportunities for play and learning. For adults, this place evokes nostalgic memories of Soviet childhood, which makes the project especially significant. Stylization in this context helps create a harmonious connection between the past and the present, introducing elements into a modern design that will be familiar and understandable to different generations. The design clearly expresses nostalgia for the Soviet era. The fonts and illustrations are reminiscent of examples from Soviet books. The graphic effect of overlapping printed plates, which creates a trapping effect, is particularly well executed. Combined with visual noise, this gives the design a warm and cozy character that evokes pleasant memories of the past. The icons deserve special attention due to their elegant, elongated vertical proportions that draw the eye. At the same time, their details add an element of playfulness and humor, making them unique and memorable. These visual elements not only decorate the design, but also serve a functional role, facilitating the perception of information.

Elena Pantyukhina notes that the first impression of the new logo and graphics is wow-effect. However, upon closer examination, the concept begins to appear less coherent.

The logo has undergone significant changes, becoming more fairytale-like and magical. It recalls those moments when, as children, my grandmother read me fairy tales, and they came to life in my imagination. The use of a rich serif in the logo design made the sign fit harmoniously into the historical center of Moscow. The serif gives the logo a multifaceted feel and a sense of security, which creates a positive first impression for visitors. This design approach emphasizes the uniqueness and cultural heritage of the place, making it attractive to tourists and locals alike.

Let's examine the typography in more detail. The logo is designed using serif for the headings, which adds expressiveness to letters with sharp shapes, such as the U, I, and T. This font looks good in navigation, but a grotesque should be added to the second level of text to improve readability and visual harmony. The combination of serif and grotesque creates a balanced design, enhancing user experience.

This illustration utilizes paper textures and overlapping forms, typical of the printing process. This visual representation reflects misregistration in the printing house, indicating a possible production defect. The graphic style is executed in a pleasing manner, based on primitive forms, alluding to Russian Suprematism. However, the forms and themes are more reminiscent of Korean poster design, lending the work a unique and fresh feel.

The iconography in the navigation reflects the shapes of the headings in the identity, but is not connected to the graphics and logo. As a result, each style element appears to exist independently, without regard for the surrounding elements. This can negatively impact the overall harmony of the design and the perception of the brand. To improve interaction and unity of visual style, it is necessary to establish a closer connection between iconography, graphics, and the logo, which will create a holistic and attractive image.

Austin

Andy Martin: Despite a preliminary interview conducted by the TKO agency in collaboration with Pentagram, the new logo was poorly received on social media. However, it can be argued that the city has gotten rid of an outdated, conservative emblem and acquired a modern and attractive communication tool. The new logo is able to effectively convey the city's values ​​​​and draw attention to its uniqueness.

Water and landscape are harmoniously intertwined, creating a unique image that can be expressed through a wave-shaped symbol. This endless wave pattern will become a bright and memorable element, emphasizing the connection between nature and the dynamics of water.

Austin is associated with music and the famous Austin City Limits festival. The festival logo has visual similarities with the sign, which emphasizes the uniqueness and creativity of this event. Austin City Limits attracts many musicians and music lovers, creating an unforgettable atmosphere.

Ivan Vetrov emphasizes that territorial branding is a complex and risky process, and America is no different from Russia in this regard. There will always be someone who expresses dissatisfaction. The recent controversy surrounding Austin's new logo is a prime example: an online debate erupted over a reported cost for the rebranding, which turned out to be incorrect. This case demonstrates the importance of taking public opinion into account and accurately communicating costs when creating a new brand.

Citizens are dissatisfied with the logo because it does not reflect the city's distinctive features, such as bats, unique features, single stars, music culture, gastronomic delights, bright colors, and a fun atmosphere. However, it should be noted that this is not a city tourism logo—Austin has a separate logo for attracting tourists. This logo is intended for the municipality and is intended to symbolize respect, trust, and reliability, as well as to unite all city services under a single emblem.

The logo effectively fulfills its purpose. The sign harmoniously combines the first letter of the name with symbols of the river dividing the city into two parts, as well as the hills that distinguish Austin from other Texas cities. The logo's plasticity emphasizes ideas of unity and openness. While not a groundbreaking design decision, the logo is a reliable and high-quality visual element. Elena Pantyukhina notes that if you're unfamiliar with Austin before this event, you might see a river, a road, and hills when looking at the graphic symbol. This symbol also includes the first letter of the city's name, which is consistent with a classic approach. It immediately conjures up images of a medieval city with a rich history, despite the modern design of the symbol itself. The modern style symbolizes the city's openness to guests and tourists, emphasizing its attractiveness and dynamic development.

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Analyzing logos in previous articles allowed us to identify the key elements that make a brand recognizable. We examined how color palettes, fonts, and symbols influence a company's perception. Each of these decisions is important and should align with the overall brand concept. It's important to remember that a logo serves not only as a means of identification but also as a means of communicating the values ​​and mission of a business. A true logo should be simple, memorable, and versatile, easily adapting to various media and formats. Such studies help to understand which aspects of design really work and how they can be applied to create an effective visual image.

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