IdN v23n2: Logos, Branding and Identities


Perhaps never before in history has there been such a preoccupation with identity. Everyone wants to stand out from the crowd. And in this frantic scramble to seize what Andy Warhol famously described as everybody’s “fifteen minutes of fame”, we very often become reduced to ciphers by the very popularity of the trends we are following to achieve this, be it the fashions we favour, the tattoos and piercings with which we decorate our bodies, the never-to-be-seen-again selfies we endlessly snap on our iPhones, or the “likes” we strive so hard to accumulate via Facebook and Twitter.

What's in this issue:
• Retail & Business
• Food & Hospitality
• Studios & Creatives
• Culture & Events

SKU: v23n2 Category:


How to Express the Inexpressible.
If you think it is becoming harder to make an impact as a person, imagine how much more difficult it must be for the proliferating number of companies seeking to promote their brand in an ever more competitive, globalised world. For an identity is more than just a brand-name that will be remembered, or a logo that is instantly recognisable. It is the whole intangible feeling that a product or service produces in a would be customer, giving them the confidence to go ahead and purchase it.

This is something that designers aim to create by a variety of technical means – colour schemes, fonts, artistic approach (minimalist or “busy”), size, story-line – but equally restricted by various technical limitations, such as the need to encompass a widely differing set of end-uses. At the heart of the identity, though, is an emotion that – with the client’s agreement – must be conjured up out of all these factors and which is by definition abstract. Hence the enduring attraction of the challenge.

Interestingly, almost all of the 53 graphic designers on parade in this issue, all with solid reputations as identity specialists, were only too keen to respond to our request that they pick an existing brand that they would love to re-brand – and briefly outline how they would go about it. We suspect that they will be as fascinated as our readership at large to see what other brands were chosen and what concrete suggestions were made for improvement.

Albert Junghwan Son | Allan Peters | Anti | ATTO | Backbone Branding | Bienal Comunicación | Blok Design | Bond Creative Agency | Bravo | Bruch — Idee&Form | BÜRO UFHO | CaroselloLab | High Tide | Dawid Cmok | Emanuel Cohen – 26 Lettres | Epiforma | Eskimo | Glasfurd & Walker | Hiromi Maeo | HuskyFox | Infinito | Jason Little | Ken-Tsai Lee | Kisjustk | Kurppa Hosk | La Tortillería | Maciej Świerczek | Marta Gawin | Marta Veludo | Masquespacio | Menta | Miłosz Klimek | Radiant Creatives Design Team | Moodley Brand Identity | Nick Edlin | Ozan Akkoyun | Pop & Pac | Post Projects | Pupila Estudio | Revert Design | Sciencewerk | Simon Walsh | Sofi Azaïs | Stefanie Brückler | Studio8585 | Sydney Goldstein | This Is Pacifica | Tobias Saul | Turnstyle | Underline Studio | Weidemüller | WeLoveNoise – Luke Finch | Wolff Olins

160p + 8p cover
160mm (w) x 230mm (h)
4 varying paper stocks
4C process + matt lamination + hot stamp
ISSN (English Edition): 1029 4805
ISSN (Chinese Edition): 1029 4813

Additional information

Weight 410 g

Chinese, English