REBRAND

Ex­perts give their ver­dict on the Royal Bal­let of Flan­ders’ rebrand

Computer Arts - - CONTENTS -

MA­RINA WILLER Part­ner, Pen­ta­gram www.pen­ta­gram.com

The new brand iden­tity for Opera Bal­let Vlaan­deren cen­tres on the in­sti­tu­tion’s Flem­ish name. By fo­cus­ing on the ab­bre­vi­a­tion OBV, the goal was to cre­ate a clear, con­cise sym­bol; eas­ily recog­nised across the world.

There was also a de­sire to cre­ate an iden­tity that re­flected the vi­tal­ity that came with the merger of the opera and bal­let com­pa­nies. While built around ty­pog­ra­phy, the new vis­ual sys­tem is de­signed to ex­press move­ment and trans­for­ma­tion, and em­brace the tran­si­tory na­ture of per­for­mance art. It’s both a re­sponse and a trib­ute to the words of bal­let di­rec­tor Larbi Cherkaoui: “Dance is es­sen­tially tran­sience. One move­ment dis­ap­pears in the other. It is a tem­po­rary sketch of re­al­ity. Tran­sience is a pace­set­ter for new hope.”

The key con­cept of the new iden­tity is flex­i­bil­ity. The three let­ters are de­signed to ap­pear in a con­fi­dent way, open­ing space for con­tent as a flex­i­ble sys­tem. OBV is al­ways ac­com­pa­nied by the full name of the com­pany: Opera Bal­let Vlaan­deren.

TOM ROYLANCE Se­nior graphic de­signer www.tom­roy­lance.com

The logo is bold, fresh and con­veys power. The power in dance and of the voice is achieved by, what looks like to me, rip­ples caused by an im­pact. The “o” and “b” lend them­selves well to the dis­rup­tive ef­fect. The “v”… not so much. While not bad, it’s not as strong and could eas­ily live in a metal band or maybe an elec­tri­cian’s logo. The ty­pog­ra­phy is nec­es­sar­ily sim­ple, but per­haps too generic.

The im­agery is se­duc­tive and provoca­tive, not nec­es­sar­ily what you might ex­pect from a tra­di­tional art in­sti­tu­tion, but that’s why we’re here isn’t it? I es­pe­cially like the pho­tos of the prac­tis­ing dancers as they con­vey the pas­sion and hard work that goes into a per­for­mance. Dainty lit­tle flow­ers they are not.

The dra­matic im­agery and ag­gres­sive logo de­mands your at­ten­tion. In ap­pli­ca­tion, the work is open and bal­anced de­spite the al­most chaotic lay­out. It’s clear that OBV was pre­sented with the op­por­tu­nity to break the shack­les of stereo­type, and grabbed the op­por­tu­nity by the horned hel­met.

GRAEME MCGOWAN Cre­ative part­ner, Jamhot www.thi­sis­jamhot.com

I like this new iden­tity, a lot. The ‘never the same’ po­si­tion­ing fits nicely with the ex­pe­ri­ence of watch­ing live per­for­mances like opera and dance. The type’s jar­ring na­ture re­minds me of some con­tem­po­rary dance work I’ve seen, which have been chal­leng­ing to watch but ul­ti­mately sat­is­fy­ing, and you get that feel­ing here.

The ap­pli­ca­tion to spe­cific per­for­mance promo pieces con­veys a nice sense of move­ment and in­di­vid­u­al­ity with­out over­pow­er­ing the in­di­vid­ual cam­paign pho­tog­ra­phy. There’s the re­quired flex­i­bil­ity to fit around dif­fer­ent art di­rec­tion styles, lay­outs and for­mats while also build­ing a strong and con­sis­tent look; some­thing that’s im­por­tant when the venue will be work­ing with both com­mis­sioned im­ages and those sup­plied by out­side pro­duc­tion com­pa­nies.

I can see this work­ing well over time.

It will en­able the or­gan­i­sa­tion to de­velop a recog­nis­able arts brand, with the move­ment lend­ing it­self well to an­i­mated for­mats and dig­i­tal idents. Nice work.

new iden­tity was de­signed to capture the move­ment and trans­for­ma­tion as­so­ci­ated with per­for­mance art.

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