graphic design – Page 7

July 11, 2013

Multimedia Graphic Design Done Right: TCM Spotlight

Classic movies and classic graphic design – both sources of inspiration, and no one does it better than TCM. Their commercials, program intros, event branding, website, print publications and products all are branded with the same retro, distinctive TCM style. This unity of great design across platforms and media is a basic goal for any successful marketing, regardless of a company’s size or budget. TCM is well worth a look if you need a little inspiration.

Turner Classic Movies is the cable/satellite channel owned by Turner Broadcasting, a division of Time/Warner. The TCM logotype, which sets the graphic tone for all the consistent branding TCM does so well, was created by the charles s. anderson design co. of Minneapolis, MN. This world class firm holds a client list which reads like a Who’s Who of great branding and marketing success. (They also maintain an incredible royalty free image library of highly curated pop culture artwork, a great resource for any designer, called csaimages.) Their website relates the story of how the original TCM logo design was created with 30 different icons to represent the multiplicity of the movie industry and its ever-changing nature as a medium. When presented to Ted Turner, he wanted to know “which one is the logo?” The answer: all of them! “But which one?”

The multi-faceted approach of that original design sets the standard for the cross-platform, diversified branding of TCM that maintains the same look, feel and tone across it’s print media, television production, expansive website and product creation. The tone is distinctly retro, but with a modern, polished, and high-tech flavor. Having open access to one of the world’s largest, richest film libraries for your inspiration and imagery is a resource of which any graphic designer can only dream! But the folks at TCM consistently use those images in a fresh, larger-than-life way to maintain the thematic look of their brand without exploiting or tarnishing the classic films from which the images are appropriated. That, in itself, is a tough task and speaks to the integrity of the TCM design process. For example:

The first half of the clip above demonstrates this balance well – a humorous look at the man on the street’s reaction to the iconic image of Sue Lyon in Stanley Kubrick’s classic film “Lolita.” The second half of the clip sets a perfect film noir mood, creating an homage to American artist Edward Hopper’s famous painting “Nighthawks.” This is smart marketing that know’s its audience and upholds the value and integrity of its film archive.

Studying how the big players excel is valuable instruction for the rest of us. For those of us who cannot afford the guidance of a charles s. anderson design team and don’t have the budget of a Ted Turner, a few takeaways are:

Develop and know your image. Be sure, at the most basic level, you understand and control the “look” of your brand – what it stands for, how it will represent and how you want the public to perceive your business. This begins, typically, with a basic logotype and then expands throughout all the activities of your enterprise.

Respect yourself. Your passion for your work should show through in your business’ design and marketing efforts. Work with a designer and printer to create marketing material that inspires you, makes you feel proud of what you do, and represents quality.

Work to maintain consistency of your brand in all the ways the public encounters your business. The design and flavor of your print materials should be a consistent match to any representation of your business that your public will see. Consider all the areas this might include: signage, website, direct mail, social media, print/tv/radio/web advertisements, employee uniforms, retail spaces and lobby decor, promotional products as well as the actual goods or services produced and supplied.

Printers understand communication and design. Your printer should be able to provide you with the latest information, inspiration, technical advice, and innovative ideas for communicating your message through print, design and typography, signage, apparel, variable data printing and direct mail, integrated marketing and environmental responsible printing. They should also be able to work with you to solve any difficult prepress issues with your files. If they can’t, you have the wrong printer! The best advice, always, is to ASK YOUR PRINTER!

Call us at 828.684.4512. ImageSmith is a full-service print and marketing provider located in Arden, North Carolina. Contact us at ImageSmith for quotes on all your print and marketing projects, and more useful tips on how to create custom, effective, high impact marketing solutions.

May 20, 2013

Blow-In Some Creative Direct Mail Ideas: What Catches Your Eye?

Blow-ins and Bind-ins: ever thought about why those insert cards in your direct mail work? If they didn’t, they would not be showered with so many. “Blow-in” cards (as bindery machines blow the inserts into the printed pieces during manufacture) are most famously successful for magazines and newspapers to advertise their subscription offers. Their size makes them perfect as business reply mail, coupons for in-store and online sales, or to call out special offer from within the larger print piece. “Bind-in” cards stay attached to the piece, usually with a perforation to allow removal.

Normally inserts prove bothersome by falling out inconveniently and making me stoop to pick them up, or as I browse the rest of the magazine or catalog I am trying to keep them from falling out again. Bind-in cards annoyingly cover up part of the page that I want to see. These “aggravations” are in fact part of the reason insert cards work for marketing – they force us to stop and potentially, in those extra precious seconds, notice the name or information on the card.

I recently received a catalog from Pier 1 imports, and while several blow-in cards came falling out, the one above caught my attention above the others – and prompted me to think about why. It is actually a bind-in card, but three things, in retrospect, stood out enough to make me stop and look at it, flip it over and see what it was about:

The design: specifically the colors. Like the type, they are loud but pleasing. The designer knew the visual had to stand out in front of a busy page full of advertised merchandise, and this design does.
The die cut: that icy pitcher of tart lemonade looks like it could almost be lifted off the page. Maybe I was thirsty at the time, but it made me take notice, and the outlined shape caught my eye over all the other rectangular inserts, which I totally ignored.
The anonymity: If the front of this card had the company logo emblazoned on it, I think my initial reaction would have been to assume I already knew what it was pushing and need not look any further. Because it looked more like a big flavorful offer for lemonade, I flipped it over and saw an offer for $50 off a purchase at Pier 1. Good marketing.

When you are planning your print marketing, take a few minutes to think about the ways direct mail or other advertising has influenced you, caught your eye, or directed your behavior. Pick up your stack of mail today and notice which piece attracts your notice the most – then try to state three reasons that particular item got your attention while others were bypassed. Learning to incorporate those sound and creative ideas into your own promotions can make your marketing dollars do a lot more work for you. Creativity will get you noticed.

Call us at 828.684.4512. ImageSmith is a full-service print and marketing provider located in Arden, North Carolina. Contact us at ImageSmith for quotes on all your print and marketing projects, and more useful tips on how to create custom, effective, high impact marketing solutions.

May 17, 2013

Gradient Banding in Wide Format Printing: Can You Prevent It?

A quick check online convinces me that a lot of folk – designers, artists and printers – are frustrated with gradients that print with banding, or clearly dileneated “steps” of color visible in both digital and offset printing and which can be even more dramatic in wide format output. The bottom line is that those sweet gradient tools in your design software do not come with warning labels to prepare you for the resulting output in print. Gradients will normally (but not always) look good onscreen, but the technology to print them with similar ease falls short. The current best solution is to apply PhotoShop effects to minimize or hide the banding. The drawback is just like a great medication with a not-so-great side effect, this can produce unwanted results: colors can shift and the image may print “grainier” than originally planned.

A radial gradient should ideally look smooth, like a sunburst. The sample below, however, shows how it generally prints like the Looney Tunes logo.

There is no fix for the banding problem when saving your Illustrator files. We’ve often searched for that magic button, with no luck. Below are a few photos from a recent experiment where a stubborn orange-to-yellow gradient in a client’s wide format pop-up display printed with visible, distracting banding regardless of file type, compression or other options used. Saving the file as eps, pdf, opening in PhotoShop, increasing resolution, optimizing with PitStop…. no luck. Each resulted in the same diagonal “steps” in color.

The reason these efforts fail lies in mathematics and the physics of print, and I will admit to having only a shady understanding of these technical causes. For the scope of this post, let’s just point out that there are only so many “shades” or steps between one color and the next that are renderable in print. Your goal is to make a smooth transition from one color to the next, and the CS software makes that very easy in the design phase. However, the factors at play when you try to print your creation are the size or amount of space over which that transition occurs on the printed piece, the colors you have chosen to blend, and the resolution of the printer. Mathematically, at some point the printer has to go from one “step” to the next – and often the result to the human eye are bands or lines at which those changes occur. If you have chosen colors that are close together, you have even fewer “steps” between them with which to work. While PhotoShop, Illustrator and InDesign generally render smooth gradients onscreen, the science behind image rasterization and both offset and digital printing is not so forgiving to the viewer.

The fix for our wide format print in this case was to take the gradient portion of the job into Photoshop (it was originally created in Illustrator, we think!) Step one: we applied a Gausian Blur. The amount? Well that completely depends on the image. I just decide visually, bearing in mind whether or not the image I am working on is viewed at full-size onscreen or will be enlarged when printed out. A small grain visible now will be twice as large if printed at 200%. Next we created a layer with the mode set to Overlay and checked the box “Fill with Overlay-neutral color (50% gray).” To this layer we added Noise. Again – I decide visually how much noise to use (that’s an odd statement if you think about it!). Unfortunately, it is a guessing game, but with experience you will know best how much “graininess” or added texture will be acceptable without being enough to distract or compromise the output image.

The result here was a minor shift in colors and a slight visible texture or graininess that wasn’t there before. But both served to hide the banding problem! Both were acceptable results as the overall appearance of the gradient was smooth and pleasing.

Tips to prevent or minimize banding in gradients are easy to find online, but often your individual design is built in such a way that many of the tips seem unworkable. Like ours, the most common banding-buster tips require you create (or recreate) your gradient in PhotoShop as we did above, and then add noise to the image. However, you might have other elements in your design such as type, vectors or other effects applied in either Illustrator or InDesign which prevent you from moving the entire file into PhotoShop. If the file has been received from another person or client, then you might not have access to the individual pieces of the file and would be stuck trying to put the entire document into PhotoShop as an image in order to play around with possible filters. Apparently there is no “one size fits all” fix for this frustrating problem. Designers should be aware that gradients present difficulties and often require cooperation with your printer ahead of time to avoid unpleasing results.

Call us at 828.684.4512. ImageSmith is a full-service print and marketing provider located in Arden, North Carolina. Contact us at ImageSmith for quotes on all your print and marketing projects, and more useful tips on how to create custom, effective, high impact marketing solutions.

April 30, 2013

“Pencil to Pixel”: Exploring the Physical History of Typography

UPDATE: While the exhibit only ran during the first week of May 2013, you can still enjoy scenes from the show. The amazing installation has been preserved in photographs by Esto, an architectural photography firm. You can access the pristine images of the Pencil to Pixel exhibit in their searchable, purchasable stock-image library, which includes over 100,000 photos in their archive.

UPDATE 2: Check out this blog post from printmag.com with some photographs showing close-ups of several of the exhibition’s artifacts and participants.

Entering the world of print and graphics in the mid-90s, type for me has always been a digital experience. I often forget how typefaces, then and now, begin on someone’s sketchpad. The rich history and craftsmanship behind well-known typefaces of today is on exhibit in New York right now thanks to the British firm Monotype‘s “Pencil to Pixel” exhibition. This show features the tools, artifacts and artworks of typographic innovation. The website explains that the exhibit “…brings together the past, present and future of a unique typographic institution. Spanning over a hundred years, the expertise and craftsmanship of Monotype has shaped the way in which we see and read the everyday world around us.”

It looks like an intriguingly rich show for anyone who enjoys the craftsmanship and design of great typography. My personal favorite: Eric Gill’s 1928 pen and ink drawings for Gill Sans Italic. (photo source: Wallpaper.com)

The exhibit runs May 3 – 9, 2013, after it’s original installment in London during November of 2012.

Printers understand communication and design. Your printer should be able to provide you with the latest information, inspiration, technical advice, and innovative ideas for communicating your message through print, design and typography, signage, apparel, integrated marketing and environmental responsible printing. If they can’t, you have the wrong printer! The best advice, always, is to ASK YOUR PRINTER!

Call us at 828.684.4512. ImageSmith is a full-service print and marketing provider located in Arden, North Carolina. Contact us at ImageSmith for quotes on all your print and marketing projects, and more useful tips on how to create custom, effective, high impact marketing solutions.

April 26, 2013

Boston Magazine Cover Design: Moving Tribute, Powerful Print

Boston Magazine: www.bostonmagazine.com, Cover image by Mitch Feinberg

Sometimes an image captures the heart and emotions of a nation. Even in a world of film, video, 3D imaging and iMax movie experiences, a single still frame frozen in time can speak in a unique, powerful way for people with a power that other media cannot duplicate. Boston Magazine has created such an image that is both a moving tribute to the tragic bombings in Boston and a telling demonstration of the enduring power of design and the printed image.

Boston Magazine produced a cover image in response to the Marathon bombings in that city which seems to be an overnight sensation, currently making the rounds on social media. The heart shaped design composed of shoes from actual Boston Marathon runners visually tells the story of hope and endurance behind the experience of the bombings. All the major networks have reported on the image and its creation as a top news story. The powerful design will be printed not only as a magazine cover, but also as a poster with proceeds going to The One Fund – Boston. If you are interested in obtaining a poster of your own and thereby contributing, Boston Magazine says, “Please send us an email at bmagdigital@gmail.com if you would like more information about the posters once they’re available.”

Yes, many of us will experience the image digitally as it permeates the culture through social media. But the printed magazine cover and the subsequent demand for a poster bring the image into the tactile world as a keepsake. Great design in a cover image can produce a print edition that becomes a lasting keepsake for many. Even in an increasingly digital world, print retains the power to influence and communicate in a unique way.

Below are a couple of other memborable cover images memorializing the events.

Time published a special “tablet-only” edition with the cover image below. You can download it here. (photo: Bill Hoenk)

The New Yorker’s “Shadow Over Boston” issue features the artwork of Eric Drooker:

Donate to The One Fund – Boston here to help those affected by the Boston bombings.

Printers understand communication and design. Your printer should be able to provide you with the latest information, inspiration, technical advice, and innovative ideas for communicating your message through print, design, signage, apparel and integrated marketing. If they can’t, you have the wrong printer! The best advice, always, is to ASK YOUR PRINTER!

Shop our full ImageSmith catalog online here. We can work with you to find the best option to suit your needs. Please note, prices in online catalog do not include decoration, but call us for a quote at 828.684.4512. ImageSmith is a full-service print and marketing provider located in Arden, North Carolina. Contact us at ImageSmith for quotes on all your marketing projects, and more useful tips on how to create custom, effective, high impact marketing solutions.

April 22, 2013

Die cutting: Creative Finishing Ideas Add Power to Print

Even a simple die cut can transform a bland self-mailer into a powerful marketing piece. Creative die cutting highlights the 3D nature of print – its tactile and functional nature. It also grabs attention and makes a marketing piece stand out from a stack of generic mail pieces.

The finished shape of a die cut print piece can serve an aesthetic purpose, such as making an image pop off the page or highlighting either text or a specific object. It can also provide functionality; for example, the slots in some folders which hold business cards or the curved and angled flaps on a folder which fit together as a means of closure for the piece. Another practical function for die cutting is a “pre-punched” card that is still affixed into the sheet of paper by a few, small uncut areas but can easily be popped out by the recipient to use the piece as a coupon, membership card, etc.

die cut rounded corner print pieces — Even the simplicity of a die cut rounded corner makes a print piece unique.

As a general rule, offset and digital printing (other than web-fed presses) is done on precut, rectangular pieces of paper. A special die cut press is used to trim or shape the pieces further. Think of this as similar to a cookie cutter. A die is made of metal and adjusted onto the die press at the right amount of pressure. Printed sheets are then fed into the machine and the die will both cut and/or score each sheet, leaving small attachment areas so that the finished pieces do not separate and fall down into the press. The unused portion is then scraped or weeded out and recycled, leaving the finished shaped piece.

All “shaped” pieces of printed paper have been die cut by this or a similar method: envelopes with a curved flap, folders with slots for holding a buisness card or insert, and anything with rounded edges are all examples of die cut print pieces. You can creatively design your die cut to work in most any shape. Of course, the extra process adds cost to your print project, and a very complex die will cost more than one as simple as a rounded corner or curved shape.

One hint: paper manufacuturers often provide printers with sample books of their materials, showing off their products through creative, eye-catching print. These sample books and other marketing pieces often include examples of die cutting. Ask your printer to share some of these with you, or for samples of their own die cut projects. You can get a lot of inspiration from holding and inspecting the paper yourself, and perhaps it will get you excited about new options for your next print project.

Rely on your printer for advice, inspiration and direction on your integrated marketing options. They should be able to answer all your questions – if they can’t, you have the wrong printer! The best advice, always, is to ASK YOUR PRINTER!

ImageSmith is a full-service print and marketing provider located in Arden, North Carolina. Contact us at ImageSmith for quotes on all your marketing projects, and more useful tips on how to create custom, effective, high impact marketing solutions.

February 26, 2013

Easy Custom Graphic Displays in Pop-Up Banner Stands

These are an easy, lightweight, affordable marketing powerhouse for any small business. Beautiful custom-branded display graphics, mounted onto low-cost, easy to carry pop-up banner stands, provide a powerful visual impact. Display them in your lobby or work area to promote services or products, then carry them along to trade shows or events for professional, powerful graphic displays. You can also switch out new banners and use the stand pop-up stand as your promotions change over time.

Above are a sample of some local banner displays that are custom branded for a customer’s own look and message. The hardware is minimal, and the entire display collapses and retreats (think window blinds) into an easy to carry case for transport and protection. You might also consider a large variety of trade show booth displays, backlit signage and other inventive pop-up graphic ideas for your next marketing effort.

Your printer can make all of this happen — it is an easy process for the busy small business owner when you have the right printer. They should be able to provide you with the latest information, inspiration, technical advice, and innovative ideas for print, signage, apparel and integrated marketing. If they can’t, you have the wrong printer! The best advice, always, is to ASK YOUR PRINTER!

Shop our full ImageSmith catalog online here. We can work with you to find the best option to suit your needs. Please note, prices in online catalog do not include decoration, but call us for a quote at 828.684.4512. ImageSmith is a full-service print and marketing provider located in Arden, North Carolina. Contact us at ImageSmith for quotes on all your marketing projects, and more useful tips on how to create custom, effective, high impact marketing solutions.

February 1, 2013

WARNING: When spot colors are used with transparency…

The above warning is an important one! If you have used a spot or PMS color in your InDesign, Quark or Illustrator layout and then applied some type of transparency effect — drop shadows, blending modes, feathering, etc — then this warning is telling you that your file will NOT print correctly. Ignoring it can derail your print project bound for offset or digital output. You can avoid this complication with a little understanding of color definitions and conversion.

With the release of InDesign 2.0 back in 2001, Adobe integrated transparency effects directly into its layout program. New tools allowed us to apply editable transparency effects to text, graphics, and images, the result being a greatly enhanced set of design tools. PDF 1.4 debuted in Acrobat 5 at this time as the first version of PDF that supported transparency. The only catch was that most printer’s RIPs at the time were not ready to handle the transparency effects. Havoc ensued. Times have changed since then and Postscript level 3 processors and pdf workflows effectively manage the flattening of transparent files at the correct time to produce accurate output. But the conflict between spot or PMS colors and transparency lives on.

If your InDesign or Illustrator color palette is using nothing but CMYK colors, you can use transparency with no problems. If you bring in, for example, your logo or a piece of art with a predefined PMS or spot color into your layout, then you have imported that color into your palette. In turn, if you apply that to color text or graphics and use a transparency effect on them, a high resolution output from offset or digital printing will result in the object printing as a blank or with an unintended color. To further confuse the matter, the job may print fine off a desktop printer or create a pdf file that appears fine on screen. However, if you ignore the warning (seen above) that Adobe gives you when you try to save the file, your print provider will most likely NOT be able to convert the spot color to process and retain the correct transparency effect. You must convert the spot color to process in your native file and re-export to pdf.

Before being “flattened”, transparency is considered “live” and exists as an optical effect onscreen and in video. It must be flattened in order to print. At this stage, the tranparent region is broken up into smaller non-transparent sections that can then be translated by the RIP (raster image processor) into a printable image. It is, however, a complex process and trouble spots arise from the use of spot colors as discussed above, where text or vector objects overlap pixel-based objects, and possibly with the overlapping of RGB and CMYK images. You can read Adobe’s Designers Guide for Transparency and Print at this link for further reference.

So How Do I Fix My Files?

We’ve updated this blogpost with some tips on best practices and how to avoid the cost, delay and disappointment of files that print in an unacceptable way. Read it here!

Rely on your printer for advice and direction with any questions you have when designing files that use transparency. They should be able to provide you with the time and money saving technical advice, and work with you on file preparation and submission. If they can’t, you have the wrong printer. The best advice, always, is to ASK YOUR PRINTER!

Shop our full ImageSmith catalog online here. We can work with you to find the best option to suit your needs. Please note, prices in online catalog do not include decoration, but call us for a quote at 828.684.4512. ImageSmith is a full-service print and marketing provider located in Arden, North Carolina. Contact us at ImageSmith for quotes on all your marketing projects, and more useful tips on how to create custom, effective, high impact marketing solutions.

November 2, 2012

Our Logo Evolution: Graphic Updates from the 1980’s to Today

Instead of writing about the logos and branding success or failure of others, this blog post takes a look at our own branding – ImageSmith’s history from a start in the 1980s to a brand that changes to keep looking forward. Our graphic development has sought to reflect the changes in our industry and the scope of our operation, as well as the progress in technology associated with graphic design and marketing communications. The company name combines three essential components of our business:

the company owners and founders, Mary and David Smith;
the word “image”, representing both the visual and graphic aspects of modern printing/marketing, and the idea of “image” as the overall impression a customer’s brand and marketing creates;
the nature of print being a craft – just like the blacksmith or silversmith – who trains and hones his skills over time to become an expert in his field.

These three elements of ImageSmith branding have remained consistent through our development up to today. The look of our logo, however, has changed significantly.

Our earliest digital ImageSmith logo is seen above, circa the late 1980’s. This version definitely reflects the graphic sensibility of it’s day: the rainbow gradient central to the mark promoted full-color offset printing, something less common, more expensive and more time-consuming to produce that today’s quick, digital output. The fonts used look outdated today but reflect the quickly expanding availability of new, creative typefaces for desktop publishing in that era. Our tagline: “Full Service Printing Specialists.”

The second icarnation of the ImageSmith logo came in 1998. The printing industry was in a metamorphosis as the internet and print technology were bringing quick and unsettling change to the industry. The word image was streamlined to a sans serif font to modernize the appearance of the brand, and the drop shadow went from a hard vector shape to one with transparency – a nod to the technical advancements in prepress design with Adobe PageMaker, PhotoShop and Illustrator. This was one year before InDesign premiered and transparency moved from something that only lived within PhotoShop native layers. We changed our tagline from “Full Service Printing Specialists” to “Printing Your World on Paper” – an emphasis on the foundation of our company in offset printing and on the ability to graphically capture communication and marketing messages on paper. By 2002, the scope of our business had changed to where the emphasis on paper was less important than e-commerce, digital printing and file transmissions, and other technological advances. We changed our tagline to be the url of our newly expanding website.

By 2005, the evolution in print and marketing demanded a more drastic change to our brand. The current ImageSmith logo was designed to reflect these changes and to function in a much more versatile manner, just as our business has expanded to cover more versatile means of communication.

Our name itself changed to “ImageSmith Communications.” The logo evolved into a sleeker, more visually concise mark. Gone were the gradients, drop shadows and complex typefaces that had been significant in an earlier age of prepress technology, but merely givens today. The logo merged into a mirror-like image: the “i” and “m” of “image” with the “m” and “i” of “smith” – a subtle representation of the merging, fluid and integrated state of the technology and communication at which our business excels. We grew to offer much more than just offset printing – web development and e-commerce, design, digital printing, integrated marketing, mailing services, embroidery, signage, branded merchandise. In response, our logo needed to be much more versatile – to function equally well on a small embroidered patch as on a large format sign or website. In addition, our branding added our zebra Marty as a type of unifying “mascot” with the tagline “…earning our stripes, every day.”

Your brand and logo need to remain relevant – to proactively speak your message through changing times. If your look represents your beginnings, but not your evolution and promise, then you should put some creative thought into what changes are needed to your brand. Sometimes a refresh is appropriate, other times a major overhaul is needed. Making such design and marketing decisions is time-consuming for a small business owner. Turn to your printer for sound, experienced advice on where to begin the process. They should be able to provide you guidance and advice every step along the way from brainstorming ideas to final production of a new look. If they can’t, you have the wrong printer! The best advice, always, is to ASK YOUR PRINTER!

ImageSmith is a full-service print and marketing provider located in Arden, North Carolina. Contact us at ImageSmith for quotes on all your marketing projects, and more useful tips on how to create custom, effective, high impact marketing solutions.

October 12, 2012

The New Wendy’s Logo: Contemporary Brand Design

UPDATE: Interesting to note a hidden (intentionally or not) subliminal message in the new logo, first “discovered” by StockLogos.com. The word “MOM” appears to be hiding in Wendy’s collar. When the logo is printed in black and white, or one spot color, it becomes much more apparent. Check out this post over at designtaxi.com that lists famous corporate logos with subliminal messages you may have overlooked.

“We are improving the total customer experience, with bold restaurant designs, fresh product innovation, more engaging advertising and digital media advancements,” said Emil Brolick, President and Chief Executive Officer.

What do you think of Wendy’s new look? While keeping the iconic little redhead in it’s brand, this is the chain’s first logo update since 1983, and presents their “mascot” a little older with a hair makeover that’s redder and less orange. A more casual font, a simplified layout and the removal of the words “Old Fashioned” (and even the word “Hamburgers”) represents a new direction for the growing chain with what they call a “new contemporary brand logo.” Wendy’s website says the new look will “premiere” in March of 2013, but you can check it out on their website. I’d say the change is both overdue, and a great success.

Wendy’s is in the process of expanding it’s menu in order to compete with chains that offer more upscale choices and dining experiences, such as Chipotle Mexican Grill and Panera Bread. To reflect the evolving direction of the company, a logo refresh was definitely called for. I remember the previous logo from all the way back in the early 1980’s, and thought at the time that the “old-fashioned” theme and carnival-sideshow artwork style of the logo was not appealing. The first Wendy’s restaurant in which I remember eating had tabletops that were decorated with old-timey newspaper images from what looked like the late 1800’s – never was quite sure of that connection. In step with this new menu and thorough brand refresh, Wendy’s will also be updating everything from restaurant lobbies to employee uniforms.

Wendy’s new logo visually modernizes the brand in a similar way that KFC modernized their look in the 1990’s from the old Kentucky Fried Chicken days. The logo was simplified, streamlined and made to appear more modern, both in the text and the artwork. The change seen below follows the same logic of the Wendy’s brand refresh above.

These marketing changes illustrate the importance of keeping your brand fresh. A total redesign is generally not necessary, but unless your logo is established as a thoroughly iconic image (by that I mean you are Coke or McDonalds!), most logos and marks need to consistently be evaluated and evolve over time to avoid becoming stale and giving the public an impression you do not want. Time to get started?

ImageSmith is a full-service print and marketing provider located in Arden, North Carolina. Contact us at ImageSmith for quotes on all your marketing projects, and more useful tips on how to create custom, effective, high impact marketing solutions.