Are flexible identities the future of identity design?
Oliver Cox S11700440
BA (Hons) Visual Communication Birmingham Institute of Art & Design
Module: Tutor: Date: Word Count:
D.I.P - Illustrated Essay Colette Jeffrey & Kerry Thomas January 2014 3944
Are flexible identities the future of identity design?
Table of Contents 1.0 INTRODUCTION
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2.0 THE EVOLUTION OF IDENTITY DESIGN
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3.0 CONTEMPORARY CONTEXT OF IDENTITY DESIGN
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Identities as living organisms
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Global Cultural Context: A case for flexibility?
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4.0 STATIC V. FLEXIBLE
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Recognisability and consistency
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Container Identities
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What do designers think?
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5.0 CONCLUSION
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6.0 APPENDICES
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7.0 BIBLIOGRAPHY
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1.0 Introduction Identity design has evolved in parallel with constantly changing cultural, social and technological contexts (Nes, 2013). In their simplest form, identities give recognisability to a product or organisation (Roper and Parker, 2006) leading to differentiation (Cain, 2009) and in many cases legal protection through trademarks (Millman, 2011). An identity is widely regarded as the visual manifestation of an organisation expressed through a set of elements including the name, logo, products, services, buildings, uniforms and all other tangible elements which represent that organisation (Argenti, 2006). Identities are largely controlled through a set of design guidelines which govern elements of the identity that are used consistently and those which can be modified and varied allowing identities to evolve and adapt over time (Kapferer, 2008).
There is a growing trend towards visual identities that employ varied and adaptable elements as a direct response to a range of external factors. In contemporary contexts the notion of a static identity has been increasingly challenged by the need to produce flexible identities that are appropriate to the wide cultural, social and business environment (Nes, 2013). It is suggested that the internet, smartphones and social networking sites
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Are flexible identities the future of identity design?
such as Facebook and Twitter have significantly influenced the required specification and level of adaptability of these identities (Kapferer, 2008) whereas others argue that static identities are still valid and functional within the evolving contemporary commercial environment as they do not compromise recognisability (Olins, 2008). The question is: to what extent is flexibility the future of identity design?
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2.0 The Evolution of Identity Design Since the Middle Ages farmers have used branding irons on their livestock to symbolise legal ownership (Millman, 2011) but it is known that mark making to create visual identity originated even earlier from the ancient civilisations of Etruria, Greece and Rome. This saw the mass manufacturing of clay pots where potters used their thumbprint or a symbol pressed into wet clay to identify and differentiate their work from that of others (Clifton et al., 2009).
The development of trademarks provided legal protection for a business’s visual identity, a large intangible asset. These had existed since the medieval period but Bass Ale was the first trademarked brand in the UK following the passing of the Trade Mark Registration Act in 1875. This prevented any other company from using a similar icon or visual image offering protection for intellectual property (Millman, 2011).
The Industrial Revolution that took place in Great Britain during the 18th and 19th century is considered to have led to the introduction of brand identities in the commercial world (Davis, 2009). Advancement in communication, technology and manufacturing processes gave opportunities to market products for mass consumption (Millman, 2011). Improvements to infrastructure made distribution and transport easier and newspapers provided an opportunity to advertise products and strengthen brand loyalty (Roper and Parker, 2006, pp. 55–71). By introducing strong visual identity to advertisements and packaging,
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Are flexible identities the future of identity design?
brands were developed and recognised (Franklin et al., 2010). Visual brand identity informed the purchaser of the origin of the product and by whom it was manufactured. This was new thinking, as previously consumers would visit their local general store to purchase from an unidentified source. Now the same product was being differentiated by where it had been sourced or manufactured giving the consumer a choice between products from competing businesses (Bastos and Levy, 2012, pp. 347– 368). This gave organisations the opportunity to develop a competitive advantage through their products, their heritage and their values (Franklin et al., 2010).
The period following the Second World War brought significant advances to visual brand identity (Farquhar, 1995). It is considered that growth of economies and the expanding middle-classes led to rising levels of consumerism (Davis, 2009). Bastos and Levy (2012, p. 354) argue that this led to a ‘consumer revolution’ where production and purchase of goods rose in an increasingly crowded market place creating significant demand for differentiation of products through identification and persuasion through personification. In addition, bonds were formed with customers through visual identity leading to loyalty and consequently increased sales (Melewar and Karaosmanoğlu, 2008).
Further developments of the internet, improved communication and transport networks in the latter part of the twentieth century contributed
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to a collapse in communism and the emergence of the global economy (Clifton et al., 2009). This produced more demand for visual brand identities as it provided differentiation and identity of unique selling points in ever crowded markets (Bastos and Levy, 2012, pp. 347–368). The rise of advertising agencies such as Saatchi & Saatchi in the 1980s confirmed the importance of visual identity in the increasingly competitive global market. The expansion of media channels in the 1990s integrated brand identity into business practices helping to differentiate them from new international brands, including those from Japan and Korea (Davis, 2009); the reduced attention spans of consumers due to increased media channels created a need for stronger identity design (Brasel, 2012, pp. 283–291).
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Are flexible identities the future of identity design?
3.0 Contemporary Context of Identity Design Identities as living organisms Identities with elements that adapt to their context date back to Swiss modernist graphic design. The first example of a flexible identity is considered to be Karl Gerstner’s for the record shop Boîte à Musique, in 1959 (see fig. 1) (Hewitt, 2008).
Figure 1: Karl Gerstner’s 1959 flexible identity design for Boîte à Musique (2008)
Figure 2: Example of the recognised
Gerstner describes the characteristics of adaptability and flexibility as its style and signature, consequently the identity is recognised for its style and tone rather than uniformity or repeating visual elements (see fig. 2). More specifically, in addition to identity changing according to function, Gerstner introduced playfulness which created visual tension. This tension between playfulness and functionality became the recognisable element, introducing personality to the identity. Gerstner was a pioneer in this respect, inviting audiences to establish an emotional connection with the personality of the brand (Hewitt, 2008).
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style and tone of the identity (2008)
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21st century identity designers are increasingly challenged by the need to create visual identities that function across a range of marketing contexts known as ‘touchpoints’. Roper and Parker (2006) considered identity design to be of significant value to an organisation by providing identification, differentiation, personification and value. Interbrand considers these four purposes to be highly relevant but to provide these attributes in the contemporary commercial environment, brands must be treated as living business assets (Interbrand.com, 2012).
In contrast to traditional, hand-drawn methods of artwork creation and time-expensive amendment and development processes, advances in design technology have led to new possibilities for identity designers including the practical ability for the development of more complex flexible identity systems (Monk, 2014. See appendix D). These new possibilities have been embraced by designers:
“Technological developments now allow us to alter things way,
way more easily, so our industry has reacted to - and embraced - that extra freedom” (Parry, 2013. See appendix C).
Wheeler (2013) suggests that designers are increasingly partnering with software engineers to challenge traditional design approaches and embrace newly available technology:
“Engineers are beginning to partner with creative teams to
programme the future” (Wheeler, 2013, p. 62).
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Are flexible identities the future of identity design?
MIT Media Labs’ flexible identity system created by TheGreenEyl and E. Roon Kang in 2011, shows how industry can embrace this new technology. The identity is described as:
“a visual metaphor for a department committed to continual
exploration of the future” (Johnson, 2012) (see fig. 3). The MIT Media Lab is an ‘interdisciplinary research and design centre’, home to innovators and inventors of technology incorporating science, technology and design (Cookson, 2013, p. 12). Their identity reflects their forward thinking nature through use of advanced technology such as computer coding and generative art techniques. These complex computer algorithms allow for a completely fluid and infinite response to strands of computer code, allowing the development and iteration of an evolving identity (Johnson, 2012). Nes (2013) describes this type of identity development as ‘generative’; one that opens up an element to
Figure 3: The core visual identity for MIT Media Labs (2013)
external data, allowing it to reflect, adapt and respond to the world it is functioning within (see fig. 4). However, it is suggested that the success of this technique is affected by the amount of data available and is perhaps more suited to data driven companies (Monk, 2014).
Willy Sengewald created a custom web interface employing algorithms to produce unique logo marks used to differentiate a personal stationary set and custom animation for each stakeholder of the organization (see fig. 5). There are considered to be 40,000 possible iterations of the logo (see fig. 6) calculated through each individual employee’s contribution to the
Figure 4: Nes’ theory of allowing external data to generate flexible outputs of identity design (2013)
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Lab; this is signified visually through the three main shapes in the logo (Wheeler, 2013). These three coloured strands communicate the creative, diverse and mutual inspiration qualities of the Lab itself (Thegreeneyl. com, 2011).
Sam Stone, Creative Director of Identica, as cited by Gosling (2013), describes the new identity as transforming a dull organisation to: Figure 5: Example of personalised stationary (2013)
“an inspiring, future-focused, hub of possibilities and, unlike some
previous examples of digital branding, the identity doesn’t compromise on beauty and aesthetic” (Gosling, 2013).
It is suggested that the key graphic elements of this identity allowed the balance between digital and design to be harmonized. The combination of variable colours and shapes and consistent use of the black squares and pattern allowed the logo to be varied but also recognisable (Thegreeneyl.com, 2011).
Figure 6: Examples of 40,000 possible iterations of identity design which can be generated from the algorithm (2011)
This high-tech harmonisation of digital and creative design concepts has since been adapted by other organisations such as Leeds College of Music whose ‘sound wave’ identity (see fig. 7) visually communicates sound waves through the flexible identity system, capturing the essence of the music being studied and created (Banks, 2013).
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Figure 7: Leeds College of Music identity design (2013)
Identity, differentiation, personification and value are fundamental components of identity systems, however due to increasingly regular changes to the contexts of identities, flexibility is now a fundamental consideration (Davis, 2009). Flexible identities employ varied and adaptable rather than static elements which allow more efficient management and ongoing development in the contemporary context (Interbrand.com, 2012). Technological advances are providing new ‘channels and challenges’ for identity designers and the increasing number of touchpoints makes flexibility a desirable requirement in order for them to “work and connect with the appropriate users” (Cooper, 2014. See appendix E).
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Global Cultural Context: A case for flexibility? Many communication experts understand the importance of integrating cross-cultural issues when developing identity systems that ‘mutate across societies’ including the differences in cultural reading across Eastern and Western cultures (IPREX, 2010, p. 253).
Brand consultant and designer, Alina Wheeler, highlights that identities are Figure 8: Deloitte’s Green Dot campaign operating across cultures (2013)
now required to be more flexible in order to reach wider global audiences and function across varied cultural contexts due to the rise of the internet.
“While globalization has blurred the distinctions amongst cultures,
the best brands pay attention to cultural differences.” (Wheeler, 2012, p. 14)
Here, Wheeler is directly referring to the importance of understanding the cultural reading of semiotics and visual language across a diverse range of cultures. This is particularly important for conglomerates that operate globally. Wheeler illustrates this through Deloitte’s Green Dot campaign (see fig. 8). She explains that in China the colour black is associated with death and therefore white was used instead for the Chinese advertisements (Wheeler, 2012).
Valdillez (2012) states that conflicts in colour interpretations across Western and Eastern cultures must be considered when developing identities. Advertising, as a fundamental part of the identity system, often
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Are flexible identities the future of identity design?
has to be adjusted according to its cultural context, thus leading to the requirement for flexibility in identity design. Qunying (2007) highlights the importance of cross-culture communication in the contemporary context, expressing the variety of social differences across the globe. Costa (2011) explains that it is important for brands to delve deeper than reflecting cultural diversity and instead advocates closer engagement by mirroring the ever evolving attitudes, heritage and values of audiences through their identity, taking note of local cultures within market segments. Identity design can then adapt to offer appropriate visual messages that reflect the actual experience of the consumer, the language they use and the lives they lead.
This approach is seen in Pentagram’s 2010 identity for New York University Abu Dhabi (see fig. 10) which is described by Pentagram partner, Michael Bierut, as taking note of the local and traditional cultures of Abu Dhabi. He explains the incorporation of New York University’s torch symbol (see fig. 9) as part of an abstract geometric pattern reminiscent of Middle Eastern decorative arts (see figs. 11 & 12). It follows a bold colour scheme as seen in Abu Dhabi’s own brand guidelines, making it directly relevant to the Figure 10: Integration of torch into the main identity system (2010)
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Figure 9: New York University’s torch symbol (2010)
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Figure 11: Abstract geometric pattern reminiscent of
Figure 12: Mirroring the heritage of both
Middle Eastern decorative arts integrating NYU’s torch
the university and Abu Dhabi through
symbol (2010)
traditional pattern and symbol (2010)
local audience (New.pentagram.com, 2010).
It is considered that the setting of static identity guidelines for identities functioning globally is ineffective as identities need to function more interactively and fluidly (Davis, 2009). Nevertheless, as seen here, a static identity still provides the opportunity for attention to local cultures, suggesting little requirement for flexible identities for this reason.
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4.0 Static V. Flexible LANGUAGE
The need to create identities that are reflexive across a range of different
TYPO
contexts and platforms has raised a number of issues concerning possible loss of recognisability. Figure 13 illustrates Nes’s analysis of an identity
IDENTITY
LOGO
COLOUR
system which she considers to be made up of six elements. In a static GRAPHIC ELEMENTS
identity, all elements are defined and constrained by brand guidelines.
IMAGERY
Figure 13: Nes’ understanding of the
In a flexible system, a level of flexibility is introduced into some of these
components of an identity (2013)
elements leading to a system that is more experiential and emotive (Nes, 2013).
Katie Parry, from Supercool Design in Birmingham, stated that clients are relying on prime identifiers to a lesser extent and are now looking for more
FLEXIBLE
sophisticated and complex design outcomes (Parry, 2013). In contrast to this, Wally Olins, generally recognised as the world’s most experienced
2008, p. 30). The design process described in Olins’ handbook suggests that designers should begin by developing a prime identifier (static) to be surrounded by these other elements which introduce flexibility. This is a more constrained approach than that advocated by Irene Van Nes.
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LE
IB
of expression, form a visible recognition pattern around the logo” (Olins,
VIS
elements - colours, typefaces, straplines or slogans, tone of voice and style
RE
TE
and the core of the identity system (see fig. 14). He states that “the other
RN
STATIC PRIME IDENTIFIER
practitioner in identity design, believes that the logo is the prime identifier
AT CO G N I T I O N P
Figure 14: Olins’ theory of a static prime identifier being supported by a flexible visible recognition pattern
By Oliver Cox
Recognisability and consistency Jon Hewitt, designer for Moving Brands believes that consistency and repetition is often rejected in favour of adaptable, iterative solutions to identity briefs (Hewitt, 2008). Nevertheless, recognisability is considered to be a fundamental purpose and expectation of identities (Roper and Parker, 2006). A stable and consistent identity should be designed so that recognisable references can be included therefore a fixed and static identity is traditionally recommended. However, identity is considered to be formed from social interactions, suggesting a flexible approach is more appropriate. As a compromise between stability and change, ‘adaptive instability’ is therefore suggested, where some elements are consistent whilst others are flexible (Da Silveira et al., 2011, pp. 28-36). For example, the identity design for the newly formed Chartered Society of Designers (see fig. 15) has introduced flexibility through typeface variances, surrounded by an otherwise static identity (Montgomery, 2013). This Figure 15: Chartered Society of
reflects Olins’ more constrained approach.
Designers (2013)
Irene Van Nes also identifies that recognisability must be retained:
“Fixed components help the user recognise the brand; it is the
variability that gives it room to live and evolve” (Nes, 2013, p. 7). She explains that it is advisable to retain at least one of the six elements as fixed or constrained, and allow up to five other elements to flex. Nes believes that the function of identities has shifted away solely from a recognition device and towards the integration of an experience and emotional connection. She describes a more organic and adaptable
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Are flexible identities the future of identity design?
Figure 16: Container grid system used
approach to solving identity briefs as a response to a changing need
throughout the 2012 London Olympics
and expectation of brands and their identities. However, Olins’ ideology
(2012)
suggests that all identities are principally static logos, but some have integrated flexible elements. Not all identities need to be emotive and experiential, but all must be recognisable in order to be effective. The London 2012 Olympic logo designed by Wolff Olins is a good example of combining both static and flexible elements (see fig. 18). Matt Buckhurst, Creative Director at Futurebrand London, describes the identity as a flexible grid system (see fig. 16) whereby it can be adapted to suit many different touchpoints and contexts (see fig. 17) whilst at the same time remaining recognisable and consistent, as it is constrained by the grid itself. He describes the vast range of contexts that the system is required to work within, from medal ribbons to chauffeurs’ cars, explaining the necessity for a flexible approach (Butler, 2012)
LANGUAGE
TYPO STATIC FLEXIBLE
LOGO
GRAPHIC ELEMENTS
LONDON 2012
COLOUR
IMAGERY Figure 18: Anatomy of London 2012 identity flexible and static elements (2013)
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Figure 17: Examples of identity system in use across multiple touchpoints (2012)
By Oliver Cox
Container Identities Logo as a container device is a common technique seen in many flexible identities. It introduces a consistent element, the outline of the container itself, whilst producing a platform by which content can be placed inside the container, introducing flexibility. Creative Review considers the National History Museum and New York City (NYC) identities to have popularised flexible approaches. The Belgian supermarket chain Priba’s identity, created in 1973 by Allied International Designers, was one of the first container identities (see fig. 19) (Johnson, 2013): images of products Figure 20: Natural History Museum identity design (2007)
available for purchase in-store were placed inside the container forming the visual identity itself (Burgoyne, 2010). Additionally, the Natural History Museum (see fig. 20) provides designers with the opportunity to place images inside the ’N’, introducing flexibility for more direct communication to specific audiences within different contexts (Johnsonbanks.co.uk, 2007).
Figure 19: 1973 Priba identity (2013)
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Are flexible identities the future of identity design?
The NYC identity (see fig. 22) designed by Wolff Olins, represents New
Figure 22: NYC identity design by Wolff Olins (2007)
York’s tourism and marketing body and involves “outline marks waiting to be filled by imagery” (Burgoyne, 2010). Again, the outline of the identity is consistent and the imagery placed inside is flexible. This was a revolutionary approach to identity design: it saw “images of the city integrated into the grid-based mark, and soon this new device was appropriated by corporate design departments world over” (Johnson, 2012).
Landor Associates followed the theme of a container identity with their 2009 design for Melbourne City’s (see fig. 21). They describe the ‘M’ as a “surface for endless visual expression” using the outline for the M as a consistent element of the identity, changing the content within that shape to suit the audience, context and essence of the communication (Landor. com, 2010).
Figure 22: NYC container identity (2010)
Figure 21: Melbourne City identity design (2013)
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These flexible approaches to identity design are considered by Irene Van Nes as a container identity where the designer approaches…
“the logo as a box that can constantly change its content. Playing
with just one variable, such as colour or imagery, can already create great variety while remaining recognizable” (Nes, 2013, p. 11). It is suggested that this method of design puts the content, place or product at the forefront of the identity, which is why it is becoming popular amongst city identity systems. In the case of NYC, the designers claim that the challenge was to build a singular brand identity that represents the diversity of New York (Wolffolins.com, 2011). Nes believes that a flexible container is the most effective way of representing NYC’s diversity with 138 different languages and a melting pot of cultures. She questions whether a static identity would effectively portray this broad variety. Instead, images can be placed inside the container to represent the diverse quality of the city more vividly and interactively (Nes, 2013). Many believe that this flexible approach was most suited to NYC as it allowed successful inclusion of “the flavour, smell and texture of New York” (Brand New, 2007).
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Are flexible identities the future of identity design?
What do designers think? My primary research suggests that flexible approaches are not always practical for certain types of identity briefs. Instead, a traditional, static outcome is favoured. Creative Director of Studio Bonito, Chris De Souza states that their clients often favour static identities due to lack of budget and scope. He believes that large organisations with a business to consumer focus and a pre-established brand are the only cases where flexible approaches are appropriate. He also suggests that flexible identities are suited to re-brand briefs but largely unsuitable for identity creation (De Souza, 2013. See appendix B). Additionally, Simon Manchipp, co-founder of SomeOne, supports this opinion by stating that consumerfacing identities are now required to take a more flexible approach in order to stay ahead of competition (Gosling 2013). Consequently, this suggests that business to business organisations can function with static identities.
Nathan Monk, Technical Director at SMILE, also suggests that the decision for the level of flexibility within an identity design is dependent upon the brief and client, and that this decision is incidental to the core idea behind the identity (Monk, 2014. See appendix D). Katie Parry from Supercool Design shares the high-valuation of design and core ideas stating that Supercool’s ethos is to approach briefs ‘creatively rather than mechanically’ suggesting that they do not make a decision between static and flexible as part of their processes. However, they often pitch concepts which have flexible elements to suit wide contexts, despite flexibility
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not necessarily being specifically stated in the brief. Katie suggests that possible flexibility is now a fundamental part of identities, and maybe it always has been, but she suggests that terming identities as flexible is perhaps a trend rather than a revolution, which she compares to the ongoing debate between skeuomorphic (mimicking real world objects) and flat design (Parry, 2013. See appendix C).
In contrast, Adaptable take a flexible-as-standard approach to identity design, understanding the importance of a brand experience in a multi-channel environment. They have identified that the number of applications for identities is increasing, and they ensure that their identities will work across these touchpoints by embedding flexibility (Cooper, 2014. See appendix E).
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5.0 Conclusion In conclusion, static identity is clearly still relevant in a contemporary context despite changes to the environment in which they operate. It is suggested that flexible identity is simply a current trend, one which designers will tire of: however, it appears that for the most part, all identities have both static and flexible elements, suggesting the contrary. The static elements allow for consistency and recognisability and the flexible elements allow the brand to function across the increasing number of touchpoints. This suggests that there is a spectrum of identities including both static and flexible elements and all identities are situated at points on this spectrum regardless of their age, nature or the type of organisation they represent. An identity’s positioning within this spectrum is a decision taken during the design process. It appears that designers have different ideas about the necessity for flexibility in identity design, but all state that briefs and budgets strongly influence the static-flexible decision.
There is little evidence to suggest that cross-cultural issues caused by globalisation of markets have created a requirement for truly flexible identities. Instead, my examples suggest a static approach with flexible elements that have been introduced and adapted to suit the local culture of the targeted audiences brings a sense of empathy and engagement with communities. It is, however, believed that the nature of clients and the brief directly influences the identity’s position on the static-flexible spectrum. Additionally, research has suggested that consumer-facing
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brands have a more distinct requirement for flexible identity, as a visual language can be created thus adding personality and allowing greater empathy with audiences.
Traditional markers of excellence in identity design such as creativity and originality of ideas, supported by the founding principles of identification, differentiation and personification will remain fundamental whereas method of execution will always be secondary to this. It is considered that the ability to generate flexible identities will continue to develop as technology moves forward, but this will work in combination with the traditional, static, fundamental principles of identity design. The future of identity design lies in the successful combination of static and flexible elements working together to allow adaptability across ever increasing contexts, whilst retaining recognisability and clear identification.
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7.0 Bibliography
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Argenti, P. A. (2006) Corporate Communication. [S.l.]: McGraw Hill. Banks, T. (2013) Leeds College of Music’s soundwave identity can be personalised | News | Design Week. Available at: http://www. designweek.co.uk/news/leeds-college-of-musics-soundwaveidentity-can-be-personalised/3036814.article#.UdwHb85r24E. facebook [Accessed: 9 Jan 2014]. Bastos, W. and Levy, S. J., (2012) A history of the concept of branding: practice and theory. Journal of Historical Research in Marketing, 4 (3), pp. 347--368. Brand New (2007) I ♼ Wolff Olins. Available at: http://www. underconsideration.co /brandnew/archives/i_wolff_olins.php#. UsaTNnmIiKx [Accessed: 3 Jan 2014]. Brasel, S. A. (2012) How focused identities can help brands navigate a changing media landscape. Business Horizons, 55 (3), pp. 283--291. Burgoyne, P. (2010) Creative Review - The more logos change, the more they stay the same. Available at: http://www.creativereview.co.uk/backissues/creative-review/2010/may-2010/crit-logos [Accessed: 13 Dec 2013]. Butler, A. (2012) London Olympics 2012: the look of the games - Designboom | Architecture & Design magazine. Available at: http://www. designboom.com/design/london-olympics-2012-the-look-of-thegames/ [Accessed: 3 Jan 2014]. Cain, S. (2009) Key concepts in public relations. Basingstoke: Palgrave Macmillan.
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Clifton, R. Simmons, J. and Ahmad, S., (2009) Brands and Branding. 2nd ed. London: Profile Books. Cookson, C. (2013) Inside the MIT Media Lab: Cover Story. Financial Times, 4th May 2013, p. 12. Costa, M., (2011) Have marketers mastered the art of cultural diversity in branding?. Marketing Week (Online), p. 1. Available at: http://ezproxy. bcu.ac.uk:2073/docview/863665957?accountid=10749 [accessed: 3 Jan 2014] Da Silveira, C., Lages, C. and Sim~Oes, C., (2011) Reconceptualizing brand identity in a dynamic environment. Journal of Business Research, 66 (1), pp. 28-36. Davis, M. (2009) The Fundamentals of Branding. Lausanne: AVA Academia. Farquhar, P. H., (1995) Strategic Challenges For Branding. Marketing Management, 3 (2), pp. 8-15. Franklin, B., Hogan, M., Langley, Q., Mosdell, N. and Pill, E. (2010) Key Concepts in Public Relations. Los Angeles [u.a.]: Sage. Gosling, E. (2013) What’s your favourite example of a flexible identity?. Available at: http://www.designweek.co.uk/voxpop/whats-yourfavourite-example-of-a-flexible-identity/3036563.article [Accessed: 11 Dec 2013]. Hewitt, J (2008) underconstruction.com. Available at: http://www. underconstruction.com/speakup/archives/004431.html [Accessed: 11 Dec 2013]. Interbrand.com (2012) Interbrand | Global Digital Point of View. Available
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at: http://www.interbrand.com/en/Interbrand-offices/LocalFeature/ branding_in_the_post-digital_world.aspx [Accessed: 19 Dec 2013]. IPREX; Cultural Variation and Global Branding Conference Set for Dusseldorf, Germany., (2010) Telecommunications Weekly, p. 253. Johnson, M. (2012) Problem Solved. London: Phaidon. Johnson, M. (2013) Creative Review - Flexible identity systems: all played out?. Available at: http://www.creativereview.co.uk/cr-blog/2013/ july/flexible-identity [Accessed: 13 Dec 2013]. Johnsonbanks.co.uk (2007) All change | johnson banks | thought for the week. Available at: http://johnsonbanks.co.uk/thoughtfortheweek/ all-change/ [Accessed: 3 Jan 2014]. Kapferer, J. (2008) The new strategic brand management. London: Kogan Page. Landor.com (2010) Melbourne: Designing a flexible and future-focused image. Available at: http://landor.com/pdfs/cases/Case6493-A4. pdf?utm_campaign=PDFDownloads&utm_medium=web&utm_ source=web [Accessed: 3 Jan 2014]. Melewar, T. C. and Karaosmanoglu, E. (2008) Contemporary Thoughts on Corporate Branding and Corporate Identity Management. Basingstoke: Palgrave Macmillan. Millman, D. (2011) Brand Thinking and Other Noble Pursuits. New York: Allworth Press. Montgomery, A. (2013) Chartered Society of Designers launches new identity | News | Design Week. Available at: http://www.designweek.
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co.uk/news/chartered-society-of-designers-launches-newidentity/3037665.article [Accessed: 3 Jan 2014]. Nes, I. V. and Hughes, P. (2013) Dynamic Identities. Amsterdam: BIS Publishers. New.pentagram.com (2010) New Work: New York University Abu Dhabi | New at Pentagram. Available at: http://new.pentagram.com/2010/09/ new-work-new-york-university-a-1/ [Accessed: 9 Jan 2014]. Olins, W. (2008) Wally Olins. London: Thames & Hudson. Qunying, X., (2007) Cultural Difference between the East and the West. Canadian Social Science, 3 (5), pp. 114-117. Roper, S. and Parker, C., (2006) Evolution of branding theory and its relevance to the independent retail sector. The Marketing Review, 6 (1), pp. 55--71. Thegreeneyl.com (2011) MIT Media Lab Identity | TheGreenEyl. Available at: http://thegreeneyl.com/mit-media-lab-identity-1 [Accessed: 9 Jan 2014]. Valdillez, K. (2012) Color and Brand Design for Multicultural Packaging. Available at: http://digitalcommons.calpoly.edu/cgi/viewcontent. cgi?article=1069&context=grcsp [Accessed: 7 Jan 2014]. Wheeler, A. (2013) Designing Brand Identity. Hoboken, N.J.: John Wiley & Sons. Wolffolins.com (2011) New York City - Wolff Olins. Available at: http://www. wolffolins.com/work/new-york-city [Accessed: 18 Jan 2014].
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Emails - Primary Research Cooper, D. (2014) Re: Website Enquiry. [dan@weareadaptable.com] [Sent 16/01/14] De Souza, C. (2013) Re: Youth For Christ. [chris.desouza@studiobonito. co.uk] [Sent 28/11/13] Monk, N. (2014) Re: Happy New Year! [nathan@wearesmile.com] [Sent 06/01/14] Parry, K. (2013) Re: Guthrie & Ghani. [katie@supercooldesign.co.uk] [Sent 03/12/13]
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Are flexible identities the future of identity design?
Images Figure 1: Karl Gerstner’s 1959 flexible identity design for Boîte a Musique., (2008) Available at: http://www.underconsideration.com/speakup/ archives/004431.html [Accessed: 16 Jan 2014]. Figure 2: Example of the recognised style and tone of the identity., (2008) Available at: http://www.underconsideration.com/speakup/ archives/004431.html [Accessed: 16 Jan 2014]. Figure 3: The core visual identity for MIT Media Labs., (2013) Available at: http://www.creativereview.co.uk/cr-blog/2013/july/flexible-identity [Accessed: 16 Jan 2014]. Figure 4: Self created diagram based on Nes, I. V. and Hughes, P., (2013) Dynamic identities. Amsterdam: BIS Publishers. p. 9. Figure 5: Nes, I. V. and Hughes, P., (2013) Dynamic identities. Amsterdam: BIS Publishers. p. 152. Figure 6: Examples of 40,000 possible iterations of identity design which can be generated from the algorithm., (2011) Available at: http:// thegreeneyl.com/mit-media-lab-identity-1 [Accessed: 16 Jan 2014]. Figure 7: Leeds College of Music identity design., (2013) Available at: http://www.designweek.co.uk/news/leeds-college-of-musicssoundwave-identity-can-be-personalised/3036814.article#. UdwHb85r24E.facebook [Accessed: 16 Jan 2014]. Figure 8: Wheeler, A., (2013) Designing brand identity. Hoboken, N.J.: John Wiley & Sons. p. 14. Figure 9: New York University’s torch symbol., (2010) Available at: http:// new.pentagram.com/2010/09/new-work-new-york-university-a-1/
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By Oliver Cox
[Accessed: 16 Jan 2014]. Figure 10: Integration of torch into the main identity system., (2010) Available at: http://new.pentagram.com/2010/09/new-work-newyork-university-a-1/ [Accessed: 16 Jan 2014]. Figure 11: Abstract geometric pattern reminiscent of Middle Eastern decorative arts integrating NYU’s torch symbol., (2010) Available at: http://new.pentagram.com/2010/09/new-work-new-yorkuniversity-a-1/ [Accessed: 16 Jan 2014]. Figure 12: Mirroring the heritage of both the university and Abu Dhabi through traditional pattern and symbol., (2010) Available at: http:// new.pentagram.com/2010/09/new-work-new-york-university-a-1/ [Accessed: 16 Jan 2014]. Figure 13: Self created diagram based on Nes, I. V. and Hughes, P., (2013) Dynamic identities. Amsterdam: BIS Publishers. p. 7. Figure 14: Self created diagram based on Olins, W., (2008) Wally Olins. London: Thames & Hudson. p. 30. Figure 15: Chartered Society of Designers., (2013) Available at: http://www. designweek.co.uk/news/chartered-society-of-designers-launchesnew-identity/3037665.article [Accessed: 16 Jan 2014]. Figure 16: Container grid system used throughout the 2012 London Olympics., (2012) Available at: http://www.designboom.com/ design/london-olympics-2012-the-look-of-the-games/ [Accessed: 16 Jan 2014]. Figure 17: Examples of identity system in use across multiple touch
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Are flexible identities the future of identity design?
points., (2012) Available at: http://www.designboom.com/design/ london-olympics-2012-the-look-of-the-games/ [Accessed: 16 Jan 2014]. Figure 18: Self created diagram based on Nes, I. V. and Hughes, P., (2013) Dynamic identities. Amsterdam: BIS Publishers. p. 7. Figure 19: 1973 Priba Identity., (2013) Available at: http://www. creativereview.co.uk/cr-blog/2013/july/flexible-identity [Accessed: 16 Jan 2014]. Figure 20: Natural History Museum identity design., (2007) Available at: http://johnsonbanks.co.uk/thoughtfortheweek/all-change/ [Accessed: 16 Jan 2014]. Figure 21: Nes, I. V. and Hughes, P., (2013) Dynamic identities. Amsterdam: BIS Publishers. pp. 14-15. Figure 22: NYC identity design., (2007) Available at: http://www. underconsideration.com/brandnew/archives/i_wolff_olins.php#. UmaWX_pDs2w [Accessed: 16 Jan 2014]. Figure 23: NYC container identity., (2010) Available at: http://www. creativereview.co.uk/back-issues/creative-review/2010/may-2010/ crit-logos [Accessed: 16 Jan 2014].
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By Oliver Cox
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Are flexible identities the future of identity design? Oliver Cox Birmingham Institute of Art & Design