New Logo for Comedy Central is No Joke

2011 is quickly becoming the year of the rebrand.

As the globalization of some of our culture’s most iconic brands continues, those pursuing rebranding are finding that the process is continuously calling for a simpler appearance, but further-reaching in result: a mark that’s more easily understood, more easily identifiable, and more applicable across a variety of both print and digital mediums. The evolution of vast social media spheres has also begun to lend a hand to the way industry giants communicate with consumers; in effect changing the way they brand themselves based on input gathered from these spheres.

Sometimes it works, sometimes it doesn’t. Last year, we saw nothing short of a nightmare unfold in the Gap’s  rebranding attempt: an unveiling – and then an almost instant renouncement – of the Gap’s new logo. Earlier this year, we were introduced to Starbucks’ thoughtful, almost seamless rebrand of a logo that’s been forty years in the making. Now, we have another beast of a rebrand on our hands: the brazen new face of Comedy Central.

Before you laugh (or cry), consider the age we’re living in. This is the age of social media, tablet computing, and hundreds upon thousands of apps. The Lab‘s latest creation for Comedy Central may very well stand as a precursor to the future of identity design.

The simplicity of this logo and it’s ability to be used across multiple print and digital platforms, is its strongest trait. As Alicia Johnson, co-creative director at The Lab, explains:

“In the old world you could do a logo mark that was dominant for print. You don’t want that anymore. The way a brand moves in a digital space – where everything moves – is as relevant to your experience as a static logo,”

Scalable to almost any size imaginable, whether it be for viewing on a poster, billboard or even the smallest tablet computing screen, Comedy Central’s new identity sends a strong message that they aren’t just all about laughs. After all, the rise in popularity of shows like The Daily Show and The Colbert Report, tells us that millions tune into Comedy Central as much for the humor of South Park as they do for their daily news.

Yes, the new logo certainly does look like a copyright symbol – and that’s the point. Taking such a strong emblem of the corporate world and putting a subversive spin on it positions Comedy Central as funny in a very relateable way while also positioning the channel as the very source of comedy.

“It’s really more about making the content king than trying to be the content… The mark’s job is not to be the loudest, the wackiest,”

Could they have come up with a “prettier” logo?, A more zany design? Sure they could, and it would have been easy to do. Could they have come up with a smarter one? One that worked across multiple platforms? A mark than that millions the world over could identity with? An instant conversation starter? Not so sure about that.

Maybe it is a bit boring, but let’s be real: it may very well be one of the smartest rebrands of the 21st century.

Additional Links & Media

Designing Brand Identity: An Essential Guide for the Whole Branding Team
Logo Design Love: A Guide to Creating Iconic Brand Identities
LogoLounge 6: 2,000 International Identities by Leading Designers

The Bare Minimum: Starbucks’ New Logo

Marking it’s 40th Anniversary, earlier in January Starbucks unveiled a new corporate identity. Now devoid of any and all typography (save the trademark symbol), the focus is now singly on the siren graphic that has been integral to the company’s logo since it’s humble beginnings in 1971. The ring, or closure around the graphic, which has also been a constant of the logo also since 1971, has been done away with. A subtle change in color from the familiar blue-green to a steady green hue is also evident in the new symbol.

Love it or hate it, I believe that this new mark is bound to become a textbook example of what a massive amount of effective, brand-building practices will bring to an organization. It’s also evidence of the time that must go into building such a brand: in Starbucks’ case, a process that has spanned four decades.
Sure it’s simple, but isn’t that the beauty of it? It’s almost immediately recognizable. With seventeen thousand stores in 50 different countries, why wouldn’t Starbucks follow the examples set by other industry giants? Target and McDonald’s, for example, often leave associated typography completely out of their branding while still speaking volumes of their individuality. Steve Barrett, who heads Starbucks’ 100-strong in-house design studio, gives some insight into the change:

“While business in 2010 picked up nicely, we have been through a painful period, bottoming in 2009 – a combination of self-inflicted problems, the economic downturn… we think a rebranding can be a helpful signal to partners and customers alike of a new, emerging Starbucks,” (Steve Barrett, VP Global Creative, Starbucks)

Barrett and the Starbucks design team closely studied the design-driven identities of other very visible, trusted brands such as Apple and Nike, and then made some decisions. This included stripping the logo of the typography that “cluttered” the visual symbol, ultimately leaving only the siren.
“From the start, we wanted to recognize and honor the important equities of the iconic Starbucks logo. After hundreds of explorations, we found the answer in simplicity,” (Mike P., senior creative manager, Starbucks)

The rebrand comes as a strategic move, not only strengthening Starbucks’ positioning as a supplier of ground coffee and beverages, but also preparing the company for future growth in new areas – including serving alcohol. Last year, Starbucks began serving wine and beer in a handful of test locations.

“Our new brand identity will give us the freedom and flexibility to explore innovations and new channels of distribution that will keep us in step with our current customers and build strong connections with new customers,” (Howard S., president, Starbucks)

The January 5 release of the new logo was a soft launch preview with the company building towards in-store events in March, which will be keyed to the company’s 40th anniversary. Watch this video for more insight into the rebranding process.

Additional Links & Media

Designing Brand Identity: An Essential Guide for the Whole Branding Team
Logo Design Love: A Guide to Creating Iconic Brand Identities
LogoLounge 6: 2,000 International Identities by Leading Designers
Onward: How Starbucks Fought for Its Life without Losing Its Soul
The Starbucks Experience: 5 Principles for Turning Ordinary Into Extraordinary

Seattle’s Best?

Out with the Old…

In with the New.

Seattle’s Best Coffee, a Starbucks subsidiary, recently introduced a new logo, coinciding with their announcement a huge distribution push. By fall of this year, you can expect to find Seattle’s Best Coffee in approximately 30,000 fast food outlets, grocery stores and coffee shops nationwide, in addition to the 500 Borders bookstores and 2,500 stores where consumers can already find the brand. Starbucks’ ultimate goal is to sell the Seattle’s Best brand in mobile locations (push carts, trucks, etc.), convenience stores, drive-thru kiosks and vending machines. This push to sell more coffee comes in response to the introduction and success of other specialty coffees by companies like McDonald’s and Dunkin’ Donuts, who offer tasty, competitively priced products. Starbucks is questioning how to use the Seattle’s Best brand to compete more effectively without causing damage to Starbucks image.

“Associating Starbucks with a product sold from vending machines could damage the brand’s upscale image. And it could cannibalize Starbucks customers” (Kevin Helliker, The Wall Street Journal).

The new logo is accompanied by a new motto: “Great Coffee Anywhere” – but does this new logo really speak for the brand? The only message it seems to communicate is that if you’re looking for a cheaper alternative to a cup of Starbucks, then this is it. Considering Starbucks is essentially to branding Seattle’s Best as great coffee (just not as great as Starbucks) that’s available anywhere, should they have treated this rebrand with a little more care? Sure, the preexisting logo may have needed some work, but this new one seems completely devoid of any character whatsoever.

“They have achieved the popular generic look of contemporary consumer products, making no difference whether this company sold coffee or house cleaning products.” (Armin Vit, Brand New)

At the very least, the preexisting logo made some attempt at establishing an air of quality, history and trust in the brand in part by using a vintage label design. The colors were also attractive and appealing. The overall look of the logo contributed to an idea of what you could expect out a cup of their coffee. This new logo seems to be a shift in a completely different direction. Aside from containing some simplified elements of a coffee cup, it contributes nothing to what the brand has already established. The type is unobtrusive, friendly and that’s about all it is.

“The new look is a composite of visual clichés–a simple, reductive “sign,” a neutral void that is open to wide interpretation. I don’t think it is intended to make you feel anything.” (Ken Carbone, Fast Company)

In the end, the generic look of this logo is what might appeal to droves of folks like you and me who are simply out looking for a good cup of coffee: nothing more, nothing less – but is it the right approach to branding coffee that’s supposed to be great?