idiologie

Alior Bank identity

The reason angels can fly is because they take themselves lightly.
[G. K. Chesterton]

Carlo Tassara International, an Italian financial group, is setting up a new bank. The Alior Bank is planning to launch with a total of 200 outlets across all voivodships, targeting at 2-4 percent of the market share. The scope of the enterprise makes it one of largest FDI projects in Poland. With the initial capital of of 400 mln euro, it is the biggest financial venture Europe has seen in the last 25 years.

The new brand is presumed to stress innovation, simplicity and the high speed of its services. As Wojciech Sobieraj, the bank’s CEO, states it: “We’re certain, that our logotype thoroughly demonstrates our values: passion, professional approach, innovation and respect. At the same time it relates to tradition, confidence and trust.[continue reading]

Mutual, simultaneous mimicry

PKO BP and PEKAO SA announce rebranding

Two of Poland’s biggest banks announced within a week the forthcoming rebranding. There would be nothing unusual in the fact considering the amount of rebranding processes that happen every day. But the details of the announcements might make it a rare example of — nonexistent in Nature — mutual mimicry.

The story goes like this:
Both banks history goes back to the 1920s, when they were established as a single, state-owned institution (detailed historical outline: pko bp, pekao sa). Until the reform of the Polish banking system in 1989, the banks state-monopolized the financial industry, PKO being mainly a savings and lending bank for retail customers and PeKaO specializing in foreign currency services to the public (which became feasible in 1970s, with foreign exchange regulations liberalisation).

During the post-communist transformations, the bank split into the present duo. Both retained the name, spelled differently but pronounced the same (PKO BP and PeKaO SA respectively), and unfortunately — navy blue & white colour scheme. PKO BP retained its old logo (known as “piggy bank”) designed by Karol Śliwka, whereas PeKaO introduced a new aurochs symbol (apparently designed by Semafor). [continue reading]

Banking & Coffee

ING Direct Café Case

Ray Oldenburg coined the term The Third Place in his 1990 book: The Great Good Place. He described it as “nothing more than informal public gathering places“; the name itself derived from considering our homes to be the ‘first’ places in our lives, and our work places the ‘second.’

“The character of a third place is determined most of all by its regular clientele and is marked by a playful mood, which contrasts with people’s more serious involvement in other spheres. Though a radically different kind of setting for a home, the third place is remarkably similar to a good home in the psychological comfort and support that it extends. (…) They are the heart of a community’s social vitality, the grassroots of democracy, but sadly, they constitute a diminishing aspect of the American social landscape.”

With as much as 30 millions Americans being a part of Kinko’s generation (spending significant time working outside of a traditional office), more and more businesses and organizations try to encourage people to hang out. For some of them it comes naturally; the most obvious: cafés, coffee shops, bookstores, bars, and hair salons are listed in the subtitle of Oldenburg’s book.

The Third Place characteristics: regular clientele, psychological comfort and playful mood make it a marketer dream-come-true, so sooner or later the concept had to expand beyond its natural hosts. [continue reading]

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“Any design student could do a better job”

“I never knew a designer that got hundreds of thousands of dollars to design a logo. Mostly, designers get paid to negotiate the difficult terrain of individual egos, expectations, tastes, and aspirations of various individuals in an organization or corporation, against business needs, and constraints of the marketplace. This is a process that can take a year or more. Getting a large, diverse group of people to agree on a single new methodology for all of their corporate communications means the designer has to be a strategist, psychiatrist, diplomat, showman, and even a Svengali.
The complicated process is worth money. That’s what clients pay for. The process, usually a series of endless presentations and refinements, persuasions and proofs, results, hopefully, in an accepted identity design”
What they don’t teach you about identity design by Paula Scher.

Steven Heller on Olympic Pictograms

Briefly and to the point (& video): Olympic Pictograms Through the Ages.

Quiet logos

“Lindstrom suggests that too much messaging on a product’s packaging can actually prevent a sale. Logos and words can engage the rational mind, causing people to actually think harder about making a purchase. It’s a counter-intuitive notion, but then think about the effectiveness of the quiet logos on a bottle of POM Wonderful pomegranate juice, or a Method product, or the entire Apple product line up.” The Myth of the Rational Buyer: How Too Much Thinking Can Hurt Your Brand

Meetings, the Google way

Not exactly on the main subject of this blog, but hey, branding actually IS about meetings. Meetings, the Google way:
1. Set a firm agenda. 2. Assign a note-taker. 3. Carve out micro-meetings. 4. Hold office hours.
5. Discourage politics, use data. 6. Stick to the clock. [via: supervolatile]

A Product is not a Brand

A Bain & Co. survey notes that 80 percent of CEOs believe that their product is differentiated, but only 8 percent of consumers agree. To truly stand out in the market, a product must embody the characteristics of its brand. (…) The first to market position is a market opportunity, not a brand strategy. A product is not a brand.

The Experience, stupid.

“Design beautiful experiences, not beautiful artifacts. Stop asking “what” and start asking “why”. Start with experience, end with experience. Genius will fail, wisdom will succeed. Become wise. Keep it simple. From design thinking to dynamic thinking. Let iteration direct your process: Work more rapidly, change more frequently. Have fun. Adapt your process to your design goals, not the other way around. Preserve the experience, not your own competency.” The Experience Imperative: A Manifesto for Industrial Designers by Ken Fry.
Plus: “Experience design is not a remedy that turns products into miracles that everybody likes. It will help you speaking more efficiently to your target group. To that end products needs to be simplified. The simpler the product the more character it has, the more likely it is to be rejected or accepted by a group of customers. To that end you need to know your customers and you need to test your designs with your customers.” iA: Can Expierience be designed?

On Designers

“Designers care. This is not always a good thing, and can, in fact, be annoying. Designers obsess so much about their work that it’s a wonder they ever let any finished project out the door. And they’re just as tough on everyone else’s work.” I feel excused now;). For other equally accurate features read: Four Things I’ve Learned About Designers by Warren Berger.

Ebooks &/vs. Typography

“John Updike, who was so enamored of Janson and insisted that all his books be set in that font, would have been appalled to see all of his books set in Caelicia, the same font used in, say, Nora Roberts.” E-readers in authors eyes [NYTimes]

A Great Client

“As a client, your job isn’t to be innovative. Your job is to foster innovation. Big difference.” Seth Godin on how to be a great client. Worth taking into account;)

On design thinking & abductive reasoning

“The prescription is not to embrace abduction to the exclusion of deduction and induction, nor is it to bet the farm on loose abductive inferences.
Rather, it is to strive for balance. Proponents of design thinking in business recognize that abduction is almost entirely marginalized in the modern corporation and take it upon themselves to make their companies hospitable to it. They choose to embrace a form of logic that doesn’t generate proof and operates in the realm of what might be — a realm beyond the reach of data from the past.”

Roger Martin: What is Design Thinking Anyway?.

Links:

  • Brand New Displaying opinions, and focusing solely on corporate and brand identity work.
  • Design Observer Features critical essays and selected writings of design culture.
  • Designmind Business, technology & design magazine with perspectives on industry.
  • Identityworks Corporate identity as a management tool by Tony Spaeth.