Wordmarks: The Bland and the Brilliant

Bad Gap Logo (2010)

For most companies, a logo refresh or redesign is a natural part of evolution. And although companies like Coca-Cola have successfully stuck to their wordmark with Gibraltar-like fortitude, most companies eventually succumb to the necessity of change for reinvigoration, even reinvention.

Like all social beings, companies are susceptible to trends and peer pressure. Some trends are awesome (letterpress, coconut water, the word awesome) while others are nothing short of tragic (stock logos, leggings, Mumford & Sons). One of the more unfortunate trends of the the last few years is the widespread occurrence of the bland text-only logos, or wordmarks.

There is an artistry to a beautifully-executed wordmark—it’s just not being applied very much these days. As with any trend that takes root, the glut of mediocre wordmarks has contributed to the universal blanding of the form. But the cream still rises to the top, and most people can recognize a good looking wordmark. Let’s take a look at the bland and brilliant:

Bland

Blimpie Logo

Blimpie Subs (Current logo)

In 2009 Blimpie abandoned their distinctive type logo for this current design which uses Futura Extra Bold. Futura is a respectable typeface. But being respectable doesn’t make a good logo. It’s the appropriate use of that typeface in terms of treatment and how it reflects a company’s identity among other factors with the design. What makes a wordmark a winner is that it reflects a company’s identity among other factors with the design. This isn’t seen with Blimpie’s redesign. The shape of their previous logo’s typeface¹ makes you think of a sub shop, whereas this wordmark could be for Blimpie or for a pack of generic paper towels and no one would notice the difference.

Brilliant

Gap Logo (1986)

Gap (1986 logo / reinstated current logo)

Yes, with its widely-spaced condensed modern typeface, this iconic wordmark looks a tad 80s. Despite the 80s revival of recent year(s), it mostly represents Gap’s classic style and quality. Using timeless colors (in this case, navy) and modern typefaces always have “classy” connotations rather than trendy ones—just look at the modern typefaces of Vanity Fair, Ralph Lauren and the Pottery Barn; also pretty classy and enduring. It worked in ’86² because the company changed with their then-contemporary target audience (baby boomers with responsibilities) and the logo reflected the clean, contemporary nature of the products. The logo is not about the next cool thing, but reliable style. It still works because it reflects Gap’s consistent commitment to “classic” quality which keeps loyal customers snagged back in the 80s coming back—with their children in tow.

Bland

Gap Logo (2010)

Gap (2010 redesign)

This is the most publicized of wordmark rebrandings, but why did they do it? Their recently ousted creative director, Patrick Robinson, was trying to reinvigorate the brand to make it trendier and appeal to a younger market. The logo redesign (created by Laird and Partners) was based off of the uber-modern, ace-in-the-hole Helvetica (big surprise!) type treatment, already used for their 1969 jeans line that was developed by Robinson.³ ⁴ ⁵ The Helvetica typeface was a radical departure from their 1986 logo—a thinly veiled attempt to attract the newly hip American Apparel shoppers by sacrificing the classic essence their current customers count on. You can still hear echoes of the massive outcry over that logo.

Brilliant

Fedex Logo

Fed Ex

This logo is a hybrid of Univers Bold Condensed and Futura bold, a brave combination in itself, and capitalizes on a strange paradox—bold subtlety. The logotype embodies what the the company is all about—getting packages to where they need to go as quickly and efficiently as possible. Designer Lindon Leader’s⁶ distinctive usage of space and ligatures—see the “hidden” arrow between the capital E and lower-case x?—implies speed of service without screaming it.

Bland

Holiday Inn Logo

Holiday Inn

If it ain’t broke, don’t fix it—and for the love of dog, don’t make it any worse! We wish someone had shouted this at the folks behind the Holiday Inn rebrand. Their old script (ain’t broke) was distinctive, light-hearted and easy to recognize from the road with its bowed “H” and swashy “I”. It symbolized vacation for anyone that has taken that obligatory all-american family road trip to visit a national monument or estranged relative. Some would’ve called its mid-century look dated, but that design era is gaining respect that other eras, like Art Deco, already enjoy.

The old typeface stood out from its competitors, but the blander typeface of this redesign makes the brand fade in with Days Inn (gradients) and Hilton (corporate). The new typeface seems to be afraid of being a script, so it still hovers in sans-serif type territory, canceling out any style distinctions. This typeface makes Robin Williams’ (the designer, not actor) phrase, “Don’t be a wimp!” scream in our minds.

Brilliant

Marlboro Logo

Marlboro

London-based Phillip Morris revived this brand in the 1950s to appeal to American men.⁷ The wordmark utilizes a condensed bold modern typeface with ascenders higher than the capital M to hint at wood-type. This typeface recalls images of the American frontier (with a little help from the Marlboro man), symbolizing the prized…and manly…rugged individualism valued in our culture and inherent in the brand.

Bland

Animal Planet Logo

Animal Planet

It’s just…well…it’s very…could we get a little context here, please? What’s the deal with the sideways “M”? Is it turned to represent an animal’s mouth? A dead animal? Zebra stripes? For the hell of it? Why the hell is it turned that way? After hours of deep analysis, we suspect it’s supposed to be a giraffe’s neck or something. I guess we could look it up, but by this point, who cares? Adding some context up front—like some simple graphic elements or using animal colors—would spare us precious time wasted on futility exercises.

Brilliant

Google Logo

Google

On the sans-serif plains of Silicon Valley, an old-style serif stands out like a lone buffalo. Dating back to the 1999 Google logo redesign by Ruth Kedar⁸—taking a unique perspective on the Catull typeface through her adaptation for the Google logo we know today. This type style contrasts with other tech companies, except for Apple’s use of their customized version of Garamond. Unlike them, Google uses their typeface as its sole logo and has an element of playfulness with the multi-color treatment. The primary colors recall images of toys or games like Simon-signifying Google as fun and easy to use.

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