The Role of the Logo in Brand Expression

Your logo is your signature, not your self-portrait

by Christopher Armstrong - September 2008 Interbrand, Toronto
Redesigned by Joseph Roberts - November 2011 Final Project - ENGL 3250

The Role of Logo in Brand Expression

a logo, like a flag, can carry either great meaning or no meaning depending on the ideas and emotions the viewer associates with it.

Having worked on the creation of logos and visual systems over many years, Im constantly struck by how difficult it is to create logos. It seems like hundreds of viable designs die a sad and premature death due to seemingly unachievable expectations. Okay, I know this sounds like some designer whining about clients not understanding his work, but I believe there is a larger issue with peoples understanding of the role of logos within visual identity systems. Although, in general, clients have come to understand that the brand is much more than the logo or corporate identity, the logo still seems to be regarded as a sacred article; a precious gem in the crown of a greater brand. After having gone through the process of redefining the strategic positioning of the brand, some clients want their logo to fully express all part of their new platform, including the core idea, positioning statement, and attributes. In doing so, they pose a nearly impossible challenge for the logo designer.

While its true the overall expression of the brand must encompass all elements of the brand positioning, it is not necessary for the logo itself to express the entire strategy. Although the logo is a vital element of a brand identity, it is a component of a larger system of expression. While important, it is limited in its ability to express emotion and convey meaning. As such, the visual system as a whole is a far more important consideration than the logo in isolation. REmEmBER signaTuRE, noT sELf-poRTRaiT The logo is often referred to as a corporate signature. This analogy is a good one, and describes some of the functions and limitations of the logo. A persons signature identifies a person, and through a kind of subtle graphology, suggests an individuals personality traits. Is the signature bold and energetic, or restrained and conservative? A signature can hint or indicate this. A logo does the same, identifying and subtly revealing a brands specific qualities. At the same time, a signature

cannot, by any means, paint a complete and accurate portrait of a person. Like the logo, it can only allude; it cannot speak with eloquence. Another, perhaps, more powerful, component of the signature analogy is that a logo, like a signature, functions as a promise. By applying your signature to a contract, check, or letter, you have given your seal of approval and indicated your ownership and obligation to what you have signed for. The logo acts as a promise in a similar way. When a logo is applied to a product, it promises that the product will deliver a specific quality that alludes to the brands identity. For instance, Apples logo promises innovation. Likewise, Volvos logo

painTing picTuREs WiTh WoRds and gRaphics And yet, while the logo would seem to fit into just the visual expression stream, it is interesting to note that it is really an unusual hybrid of both word and picture. This ability to combine both is the logos strength. Its often said that a picture is worth a thousand words, but any avid reader knows that the opposite is also true: words can paint thousands of pictures. If the word part of the logo the name is strong enough, it can remain relatively unadorned as a wordmark. But in many cases, the name requires additional embellishment and graphics to become an ownable logo. Part of the problem is that, with a name, we are limited to an extremely finite number of words, if not a single one. This brevity seriously limits a logos expressive capacity.

promises safety, while the Herms logo promises elegance. But again, the logo can only allude to the promise of these qualities it cannot speak with eloquence. WhERE doEs ThE Logo fiT in ThE WoRLd of BRand ExpREssion? Brand expression is made up of two streams: visual expression and verbal expression. Initially, it would seem that the logo fits primarily into the visual expression stream, along with typography, imagery or photography style, graphic devices, color palette, and layout conventions. On the other hand, the brand name itself, tone of voice, messaging, and the tagline all comprise the verbal expression stream. In addition to brand expression, there are a large number of touch points that create customer experience, as well as many internal components that build employee brand culture and behaviors. Along with the visual and verbal expression, these are all designed to convey the character of the brand.

Apples logo promises innovation. Likewise, Volvos logo promises safety

painting pictures with words and graphics

an addiTionaL pRoBLEm WiTh ThE namE is iTs poRTaBiLiTy Words, unlike pictures, dont always cross cultures; a word has no meaning if you dont understand the language. This is where the picture part of the logo, being far more universal, can help make up for the technical limitations of written language and allow the logo to carry some meaning when the name has no association. Still, although the picture part of the logo may be more universal than the name, the problem of association and portability also exists with graphics. As a graphic symbol, a logo is not unlike the flag of a nation. To the nations citizens, it is a common rallying point and a source of pride its familiar and they relate it to their experience, history, and achievements. But to a viewer who has never seen the flag before, and has no associations that relate to it, it can be meaningless. Regardless of how well it is designed, it may appear nothing more than a few bands of color. The power of a logo needs to be built up over time through repeated, consistent experience. Great logos are not always great due to their graphic form. It is easy to see how many now famous logos might end up in a contemporary designers trash after the first round of review. These logos, although not graphically stunning, have become

great because they have imprinted themselves on the minds of the viewer, and carry associations and expectations. The viewer is no longer seeing the form of the logo, but the ideas it stands for. WhERE ThE REaL poTEnTiaL LiEs This understanding of words and pictures leads to a discussion about where the real strength for the potential of expressing the brand character is rooted. As we can see, it is not in the few lonely words of the wordmark or the simple and graphic device of the symbol. The real potential for expressing the brand character lies in where words and pictures can be used to their full power. These are the realms of tone of voice and image style. Tone of voice and image style are neglected and undervalued in many, if not most brands they remain a largely untapped resource. The power of tone of voice and image style is the ability to tell stories: one verbally, the other visually. These stories can create a much greater impact and resonance than a logo in expressing the character of the brand. The good news here for brand managers is that brands can very often be given new life by changing visuals and tone of voice. This can be

done without having to walk the political minefield of changing an organizations sacred logo. But like everything else, image style and tone of voice have a weakness. And for both, this weakness lies in their universality. Unlike a logo, you cant trademark a tone. There is nothing to stop a competitor from knocking off a successful brands style. Still, if a brand has a truly distinct and honest style of expression, as well as employees who deliver the brand promise, it doesnt take much to tell the real McCoy from the poseurs.

logo affirms the position, it should be used proudly and prominently, even when of questionable beauty. If the logo sends messages counter to the positioning, its appropriate to minimize the logo and use other visual elements such as images, graphics, or typography, to communicate the desired brand character.

Another strength of tone of voice and image style is that they can change and evolve over time with more ease than a change of logo. By retaining a logo and evolving image, you can shift with subtlety and modernize without obviously changing, not unlike a child growing steadily but imperceptibly before your eyes. You dont really notice the change unless you do a direct comparison of before and after. so, do WE nEEd To changE? I recall, when working on annual reports, that some designers would attempt to keep a clients logo off the cover if they felt the logo was bad. They felt that the amateurish logo was better hidden on the back cover so it wouldnt rob the skillfully designed report of its professionalism. Is this the result of a designer who does not understand branding? Is he or she acting like a prima donna, or does playing down a poorly executed logo make strategic sense? That all depends on the brand platform and whether or not the logo is sending messages counter to the brands stated positioning. If the

The power of tone of voice and image style is the ability to tell stories: one verbally, the other visually

so, do we need to change?

no onE LikEs an EmpTy pRomisE The design of the logo should, within its graphic limitations, reflect the brand positioning or platform. This brand positioning should in turn be a reflection of the long-term business strategy of the organization. So, if the business strategy changes, both the brand positioning and visual expression need to be reviewed to ensure they are still aligned with the strategy. At Interbrand, we often say that a new logo is primarily a signal of change, and the amount of change to the logo should be related to the amount of change within the organization. If an organizations strategy or positioning has not changed, switching logos may be confusing because it indicates a shift and creates an expectation of a new experience, where there is none. In many cases, a brand can be given new life and vitality without ever touching the logo. By refining the elements of the visual and verbal expression, an entirely new energy can be created. Moving a bit further, this may include adjusting the treatment of the logo without actually changing its graphic form. A further evolution would be to refine or update the physical form while retaining major elements of the logo. On the other end of the scale, you can trash everything and totally reinvent the logo. When a company carries too much baggage or negative perception, its appropriate to signal a complete overhaul by starting from scratch. Often this approach accompanies a changing of the name.

When taking this revolutionary approach, its vital that the company has changed its business strategy, as well as positioning and expression. At the time of launch, an organization must be prepared to deliver a new experience. If not, they risk the appearance of whitewashing and deception. No one likes an empty promise.

Apple has evolved its logo over time, but has not altered the essential forms of the logo.

The Pepsi logo has evolved over a long period of time and has become an all time recognizable logo across the planet.

seeing the bigger picture

sEEing ThE BiggER picTuRE At times, when presented with a new logo design, clients are disappointed because the work doesnt invoke all of the emotional attachments they associate with their organization. This is a nosituation for the designer, because until the logo becomes associated with these experiences, it remains just a graphic. This is not unlike a person who gets a new haircut, then feels disappointment because it just doesnt feel like them. People lose sight of the fact that the whole point is to grow into whom you want be, not to remain who you are today. Logos are very powerful symbols when people associate them with ideals. Because of this, changing a logo can be divisive and controversial. Knowing that brand expression can change with or without the logo, is as vital as knowing whether to take an evolutionary or revolutionary approach. When considering a rebranding exercise, it is important to assess the entirety of the visual system, not just the logo. When designers and clients together understand the role and limitations of the logo within the overall expression of the brand, it will allow for a considerably less stressful and more productive process. The realization that rebranding doesnt necessarily mean changing an established logo may lead your organization to start a rebranding program that they otherwise wouldnt have considered. This is a win-win situation for both clients and consultants creating better, more meaningful brands. And thats why were here, isnt it?

Q: Which is the tobacco company?

A: Both
Phillip Morris Companies Inc. rebranded to Altria Group Inc. in 2007

Christopher Armstrong Christopher Armstrong is Design Director for Interbrands Corporate Branding practice in Toronto. Christopher has provided strategic design solutions for a diverse group of clients including Celestica, RBC Financial Group, CAE, UPS Logistics, and Rogers Communications.

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