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Lecture 10 Reflections: Logos and Corporate Identity

Singer Nathan Hartono participating in a CSR effort by Nestle's Milo. Image Reference: The Straits Times. (2016). Retrieved from: https://pbs.twimg.com/media/Cuzh0WIVIAANCNF.jpg

 We covered Corporate Identity and Communications this week, which would be a good stepping stone in framing our thought process and solidifying our understanding of our company of choice in Project 1B.

History of Corporate Identity (CI)
  • Emerged around the middle of 20th century
  • Originally understood as symbolism
  • Important names: Walter Margulies and Wolff Olins
Definition of CI
  • What makes a company unique and special
  • Its values and approach to business
  • Reflected internally (the way a company works, management and leadership style) and externally (visual appearance, product quality, communication and marketing strategies)
Corporate Culture
  • One of the most important parts of corporate identity
  • Human part of the organisation i.e. the language, norms, folklores, as well as other social practices
  • Aims of CI include raising motivation and morale
Components of CI Strategy
  • Corporate Behaviour
    • How company interacts with stakeholders, linked to mission and vision
  • Visual Identity
    • Visual representation of organisation’s identity
  • Corporate Communications
    • All communication strategies and tactics
Corporate Design
Includes various elements, such as

Logo (encapsulate in a single memorable form, the attributes of an organisation)
  • Attracts attention and works as a signpost
  • Informative and memorable
  • Of aesthetic value that doesn’t date easily
  • Can easily be adapted to a variety of contexts and frameworks
This section in particular made me think back on Modcloth’s original logo, and its new rebranding including logo redesign, typography, colour, art direction as well as overall brand tonality. Modcloth’s original logo consisted of a dull blue and a quirky mushroom drawing in a lighter tone. While it was good at attracting attention and working as a signpost due to the unique incorporation of a mushroom drawing for the logo of an apparel brand, it did not bode well because of its dated aesthetic and disconnection with the brand’s image. The owner herself, Susan, admitted that the mushroom idea mushroomed, for the lack of a better word, because of her own obsession and fancy for the fungi (Koger, 2007). As quirky and spontaneous as it might be, and appropriate at encapsulating Modcloth’s spontaneous energy, I thought there might be a disconnect between the logo and an uninformed audience. Certainly, as Modcloth looked to repositioning itself as a lifestyle brand, poised for growth, a redesign was in place.
Image Reference: Modcloth Logo. Retrieved from: http://lifelistened.com/wp-content/uploads/2015/06/Modcloth-logo.jpg

This is Modcloth’s new logo, which according to the graphic designer in charge of the project, consisted of a low-contrast, custom sans font dotted with quirk (Le Coz, 2017).
Image Reference: Le Coz, N. (2017). Work: Modcloth. Retrieved from: http://noemielecoz.com/hello/work/modcloth/

As seen from the new logo, the font is made up of well-thought out elements, such as extended curves, angled letterforms and subtle shifts of thicks and thins that wholly contribute to a harmonious new aesthetic. Compared to the older logo, the redesign is evidently more polished, timeless, and classic. It is of an aesthetic value that doesn’t date easily, and can be easily adapted to a variety of contexts and frameworks. By changing the colour of the font to a toned-down yellow and pairing it with a navy background, it appeals to an older and more sophisticated audience. Yet, by changing the background to a brighter colour or more playful print can again change the imagery of the brand, showing how effortless it is to pair play with polish.

Image Reference: Glassdoor. (2017). Retrieved from: https://media.glassdoor.com/sqll/305608/modcloth-squarelogo-1475102211340.png

The logo also came with a secondary mark, combining the MC initials within the iconic brand graphic of a button.
Image Reference: Le Coz, N. (2017). Work: Modcloth. Retrieved from: http://noemielecoz.com/hello/work/modcloth/

 (The perks of having an online journal - you get moving images!)

 Le Coz’s work also came with a redesign in the colour and tone of the brand, by opting for more deep, muted and mature tones with accent pops. Combined with a photographic recalibration of the art direction of Modcloth, the redesign rightfully balanced positive energy and honesty, as well as punch and polish, exemplifying what it means to have a contemporary take on Modcloth’s vintage retro-inspired roots.

Image Reference: Le Coz, N. (2017). Work: Modcloth. Retrieved from: http://noemielecoz.com/hello/work/modcloth/

Colours

Another design element that can be used for quick identification purposes i.e. red is the colour of Coca Cola

Typefaces for stationary and slogans

Express identity through conservative or expressive typefaces

Corporate Image

  • Corporate Identity refers to self-presentation of company, but corporate image involves behaviour of individual members
  • Important not just for sales and profits but also emotional attachment to company

Corporate Reputation

  • Difference between this and Corporate Image is that Corporate Reputation develops over a long time
  • Practise the DEAR Principle
  • Decisions
  • Evaluated
  • Against the
  • Reputation

We also covered the history of brands, as well as brand dimensions and functions.
Brand has 2 dimensions

  • Appeal for the consumers (authenticity, consistency, rational or functional appeal by helping customers make a choice, in semiotic terms, brands have a denotative meaning. Also has a connotative meaning, can help evoke emotions or memories)
  • Useful to have a perceptual map for brands
  • Appeal for the producers (differentiate from competitors, addition of new product to ride on established brand names)

Other interesting facts
  • Cool Britannia
  • Even people can be brands e.g. Schumacher, Beckham (I also thought of Taylor Swift!)

I also went to research on a brand that is a little closer to home in Singapore, which is Milo! Milo is everyone’s favourite drink (ok, maybe just my favourite drink) and I think it’s a really good case study to explore because Milo was so successful, the brand Milo has taken on a life on its own separate from its original brand, Nestle.



As seen from the evolution of the brand logo, the logo for Nestle has stayed consistent mainly throughout the years. The same goes for the choice of a bright green colour as a design element used for identification purposes. I think besides having high visibility, according to the colour branding chart that I have here from my Lecture 1 Reflections, it is a peaceful colour and reminds the viewer of health and growth which is consistent with Milo’s branding as a health drink. This is my guess, but I think the font for Milo is brown because it is the colour of the drink, and the gold rim might hark back to either the tin can packaging or Milo’s commitment to sports and fair play.

Image Reference: Nestle. (2017). Retrieved from: https://www.nestle.com.sg/asset-library/PublishingImages/Media/FeaturedStories/20170906-Soccer-Milo-Cup-homecarousel.jpg

Its corporate image is also consistent with its corporate identity of being a trustworthy drink, with Nestle encouraging its employees to enthusiastically undertake Corporate Social Responsibility. In Singapore, Milo frequently sponsors athletes and students, as well as joyous events. When fellow Singaporean balladeer Nathan Hartono came in runner-up at a prestigious singing competition in China, Nestle celebrated the event by sponsoring one day of free drinks, to show commitment to emblems of national pride. Milo/Nestle employees are also encouraged to take up initiatives to help the disable and needy (Nestle, 2012). I think it’s a really good idea because it personifies the drink as a trustworthy friend/neighbour that you can rely on for help, besides garnering goodwill and helping Milo/Nestle to build up their reputation.

The functionality of the Milo brand extends to both consumers and producers. I find that wherever I go, Milo always seems to be a safe choice or drink for me because the brand offers consistency and reliability in taste. In other words, it has a functional appeal because it helps consumers like me make a choice. At the same time, it has a connotative meaning because it is a fond childhood drink for many Singaporeans (we have Milo vans in primary and secondary schools during special events) and evokes warm and fuzzy feelings of bygone years. In recent times, Nestle has extended the range of Milo offerings beyond the malt-flavoured drink to Milo cereal, cookies and nuggets. The reverse for the parent company Nestle works as well – Milo was able to be so successful precisely because it was launched under a well-established brand like Nestle which helped them garner the necessary trust and reassurance consumers needed in adopting Milo as a product.

Even though I have been acquainted with some of the terms used in this week’s lecture, it was still a very fruitful and eye-opening lecture because I scarcely knew about the nuances and differences between corporate image identity and reputation. I have used it interchangeably with peers resulting in a conflation of terms, but would be a lot more discerning from now. Another important takeaway is that design process is much more sophisticated, comprehensive and expensive that what we think because visual identity needs to work effectively not just across all divisions in the company, across products, but also communications, culture and time. And perception is important because it affects our behaviour, meaning that how effectively you communicate your brand image and proposition to your consumers can have very tangible results when it translates into the right consumer behaviour. Brands matter because they are major assets for companies, and in the information-inundated world that we live in today, it is all the more crucial for brands to be visually outstanding and consistent to attract and retain consumers.

References

Koger, S. (2007). Mushroom Mondays! Modcloth Blog. Retrieved from: https://blog.modcloth.com/misc/mushroom-mondays/

Le Coz, N. (2017). Work: Modcloth. Retrieved from: http://noemielecoz.com/hello/work/modcloth/

Nestle. (2012). Nestle in Society: Creating Shared Value. Retrieved from: https://www.nestle.com.sg/csv/what_is_csv/nestle_in_society
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