"You can't please everyone": Experts analyze brand logos

Contents:

• Suzuki
• CDM
• Austin

In recent months, a number of large companies have updated their logos. We asked experts from the HSE School of Art and Design for their comments on these cases.

Curator of the Communication Design program at the HSE School of Art and Design. He is a graphic designer and art director at ODB.

Curator of the Branding program at the HSE School of Design. He is a graphic designer, an expert in branding and visual identity, and a developer of exhibition projects and multi-page publications.

Curator of the Bachelor's degree program in Communication Design at the School of Design HSE University in Saint Petersburg. Leading brand designer at the Endy agency.

Suzuki

Andy Martin: Typically, company press releases present brand changes as significant strategic steps that mark the beginning of a new era. However, in practice, the situation is much less complex than it sounds in official statements.

The updated version is cleaner and has a larger surface area, which is essential for digital technologies. Significantly, it has brought back the plastic elements and the unique S shape, which were lost in the 3D format due to glare.

Ivan Vetrov: This is nothing extraordinary, but simply an update of the logo taking into account the digital environment and modern trends. Bulky metal forms have been replaced with more discreet relief elements. Bright chrome has been replaced with a material with a more refined character. In recent years, many automakers, including Mazda, BMW, Mercedes, Nissan, Haval, Chery, and Lamborghini, have adopted a similar approach to restyling.

The automotive industry isn't known for its high standards in graphic design. Trends that emerged in the 2010s are only now beginning to make an impact.

Elena Pantyukhina notes that Suzuki has kept the outline of its logo unchanged, demonstrating the company's reliability and the continued faith of its customers. Although the edges have been replaced with planes, the brand has no plans to completely switch to a flat design: the logo still retains a three-dimensional appearance.

The company's recent slogan reads "next to you," but literally translated into Russian, it sounds like "on your side." The logo displays multiple sides, emphasizing the multifaceted nature of the idea. The combination of image and text creates a powerful visual effect, a true work of art in the field of design.

There is another aspect that is of interest to both drivers and technical experts: the organization is replacing the outdated chrome plating method with a modern coating using bright silver paint, which should have a positive impact on the environment. These are significant technological changes in the company's internal processes—not only their values, but also their symbolism. Sounds symbolic, doesn't it?

Curator of the Bachelor's program in Communication Design at the HSE School of Design in St. Petersburg. Endy holds the position of Senior Brand Designer at the agency.

CDM

Andy Martin: Overall, we're looking at a superbly executed piece. The use of a retro style seems a logical choice. The illustrations successfully convey the atmosphere typical of 1950s print.

There are several aspects that raise eyebrows. The navigation style exhibits an emotional detachment that is more reminiscent of the minimalism of Shun Kawakami than the atmosphere of childhood. In addition, the vertical version of the abbreviated monogram logo looks rather "lonely" without the arch and descriptor, which leads to a loss of connection with the overall concept.

Ivan Vetrov noted that the "Suprematika" project turned out to be Impressive. This is an example of how stylization can be appropriate and justified. The Central Children's Store is not only a retail outlet, but also an entire universe for children, and for adults, it is a reminder of their childhood, associated with the Soviet era.

This design clearly expresses nostalgia for the Soviet Union. The font and illustrations are reminiscent of those found in old Soviet books. Particularly impressive is the graphic technique of overlapping printing plates, creating a trapping effect. This, combined with textural noise, creates a warm and cozy atmosphere.

Particular attention should be paid to the pictograms: they look elegant thanks to their elongated vertical forms, but at the same time, they have playful details, which gives them a slight comical touch.

Elena Pantyukhina: At first glance, the new logo and graphic design are impressive - a real wow effect is created. However, if you start to analyze the details, it becomes obvious that the concept is not so coherent.

Let's take a closer look at the logo: it has acquired a more fairytale and folkloric look. It feels like when you were a child, your grandmother was telling you a fairy tale, and it began to come to life before your eyes! The use of a rich serif in the logo design made it possible to create a sign that harmoniously fits into the historical part of Moscow. The serif gives it versatility and creates a sense of security.

Let's take a closer look at the typography: an serif font was chosen for the headings, which perfectly suits the logo and stands out especially due to the sharp shapes of the letters U, I, and T. This font looks good in the navigation, but for the second level of text, it lacks the combination with a grotesque.

This illustration uses paper textures and the effect of overlapping forms, typical of the printing process. This creates the impression of misregistration, which in a printing house indicates shortcomings in the product. The graphic design is appealing, relying on simple graphic elements, evoking associations with Russian Suprematism. However, the shapes and images are more reminiscent of Korean poster design.

The iconography used in the navigation references the headlines in the identity. However, there is no connection to the graphic elements or logo. It seems that each component of the style exists independently, paying no attention to the surrounding elements.

Austin

Andy Martin: Although the TKO agency collaborated with Pentagram, during a preliminary interview, didn't receive a warm reception on social media for the new logo. In fact, it seems the city has shed its bland, conservative symbolism and embraced a modern, stylish communication tool.

I love how the water and landscape are harmoniously combined in the symbol, which features a recognizable wave. I'm sure the endless wave pattern of this logo will look quite striking.

For me, Austin is primarily associated with music and the Austin City Limits festival. It is noteworthy that its logo has a visual similarity with the elements used in the sign.

Ivan Vetrov emphasizes that Place branding is a complex and risky endeavor, and in this regard, America is no different from Russia. Discontent will always be present. For example, Austin's new logo sparked a real online controversy, exacerbated by misinformation about its cost.

Locals have expressed dissatisfaction that the new logo fails to capture any of the city's unique characteristics: there are no bat symbols, no quirks, no lonely stars, no musical motifs, no gastronomic accents, no bright colors, and no cheerful atmosphere. However, it's worth noting that this is not a tourist logo like Austin's, but a municipal symbol designed to evoke respect, trust, and reliability, as well as unite all city services under a single symbol.

The logo successfully achieves this goal. Its design harmoniously intertwines the first letter of the name with elements symbolizing the river dividing the city in two, as well as the hills that distinguish Austin from the rest of Texas. The flexible nature of the symbol emphasizes themes of unity and accessibility. While this isn't anything groundbreaking in design, it's nonetheless a high-quality and reliable logo.

Elena Pantyukhina: If you're unfamiliar with Austin before, you might notice the river, road, and hills when looking at the graphic symbol. The first letter of the name is also striking, which is typical of a traditional approach. It conjures up images of a medieval city with a rich past, despite the modern design of the logo itself. A modern style, in turn, can indicate that the city welcomes guests and tourists.

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