KMS Team and Strich­punkt have cre­ated a new iden­tity sys­tem for Audi. We get three per­spec­tives on it from across the in­dus­try

Computer Arts - - Contents -

We get three per­spec­tives on the Audi re­brand and its flat­tened logo

“Work­ing in part­ner­ship with Strich­punkt, we re­designed the over­all brand ap­pear­ance for all rel­e­vant touch­points. The vi­sion was to cre­ate a seam­less ex­pe­ri­ence through­out all me­dia and de­vices; start­ing from au­to­mo­bile in­ter­faces, on­line and off­line ap­pli­ca­tions, TV and clas­sic me­dia to print.

The new prin­ci­ples in­clude flat logo, free logo place­ment, equally weighted brand colours, im­agery re­flect­ing peo­ple’s ev­ery­day lives, vivid use of ty­pog­ra­phy, tech­ni­cal icons and an­i­ma­tion. All these el­e­ments al­low the brand to ex­press it­self through cre­ative di­ver­sity rather than rigid con­sis­tency.

The flat­tened Audi logo is not just a con­se­quence of tech­ni­cal re­quire­ments, but a bold state­ment. It’s a sym­bol of a new brand at­ti­tude fos­ter­ing cre­ative di­ver­sity and a shift from mono­logue to di­a­logue.” “The re­fine­ment of the logo is a step in the right di­rec­tion, bring­ing it back to its essence: with four in­ter­sect­ing monochro­matic rings. But the scale of the ap­pli­ca­tion throws ev­ery­thing off bal­ance. In the ini­tial cam­paign, we see big lo­gos and gi­ant, sprawl­ing text over­whelm­ing the pho­tos of the ve­hi­cles.

Worse still, sur­face level copy is fo­cused on aes­thetic traits, mov­ing away from the driv­ing ex­pe­ri­ence. This im­bal­ance con­tin­ues with sup­port el­e­ments that are fur­ther drowned out as the stark con­trast of bold, wide ty­pog­ra­phy over­whelms the thin, light icons. This is made all the more hap­haz­ard by the ran­dom place­ment of all of these el­e­ments.

This may be all in­ten­tional, as KMS says in the case study sec­tion of its web­site, but that doesn’t make it any more ef­fec­tive.” “It’s a real sign of sta­tus when a logo can drop its word­mark and be glob­ally recog­nised by its icon, es­pe­cially when it’s just four cir­cles. Audi is now join­ing the likes of Ap­ple and Nike, com­pa­nies that have proved a strong brand icon doesn’t need messy let­ters for peo­ple to recog­nise it. This is a beau­ti­fully clean and sharp re­brand and is very, well... Ger­man!

All the un­nec­es­sary fluff has been stripped away and flat de­sign has been used across both dig­i­tal and print ap­pli­ca­tions to give a very so­phis­ti­cated yet well-en­gi­neered feel. The ac­com­pa­ny­ing font fam­ily is in­stantly recog­nis­able as Audi and the mak­ers clearly know that too, as they have made the bold choice not to use the logo in some of the ma­te­rial. BMW, it’s your move.”

CHRISTO­PHER COLOURYUM Free­lance graphic de­signer

AN­DREAS ZEISCHEGG De­sign direc­tor, KMS Team


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