It’s wonderful when your passion for a particular niche blossoms into something tangible. In my case, the art of classic video game brand Atari has influenced me since childhood. It engrossed me so much that I’ve spent quite a few hours researching, interviewing, and collecting examples of the illustration, graphic design, and industrial design of this pioneering company. I’ve had the privilege to talk to many artists, designers, and even co-founder Nolan Bushnell about the creative legacy of Atari. That work is beginning to take shape as a book, and as word has gotten out about it, I’ve gotten quite a few questions. So I took the opportunity to talk with Michael Gapper at Edge Magazine and answer some of them. If you also have fond memories of Missile Command and Pitfall Harry, you might enjoy checking out the full interview.

Occasionally we’re asked to partner with organizations who are looking to revive an old brand, resuscitate a product, or reclaim dormant intellectual property. Sometimes it’s for a brand new venture, or it’s a company rummaging through its archives for untapped assets. These behaviors can make a lot of sense, because typically, someone else has already put money, time, and effort into making that brand a recognizable one. The math seems deceptively easy: on paper it looks simpler to breathe life into an older brand than starting with a blank canvas. Some firms have even built their business models around reviving these castoffs. But it’s not always that easy.

The discard pile can be treasure or trash, and picking from this mixed bag comes with a set of concerns that shiny, newly-minted organizations don’t have to contend with. There are potential pitfalls a-plenty, but with a combination of well-deployed legacy and fresh direction, reviving an old brand can become a worthwhile endeavor.

Here are 10 thoughts for anyone who aims to reclaim an aging brand and reconfigure it for today’s world. These nuggets might be the difference between dumpster diving and panning for gold.

1: What drives you to drive the brand? There are many motives for reviving a dormant brand, and most of them revolve around the possibility of good ROI. This is business after all, but like Billy Joel said, you gotta have soul. If your organization merely sees that brand as intellectual property to be exploited, or are looking to squeeze the last drops of blood out of it, you might think twice. Better to bring it back to life because there is something within worth saving — passion or ideas worth mining. Is there an untapped promise or potential in that comatose brand? How does it relate to what you want to do? If you can successfully coax out that unique spark and marshal it on your behalf, the profit will eventually follow.

2: Assess your assets. Where are the valuables stored, and what exactly is your team getting when inheriting this brand? What bits of value does this brand still have? A recognizable logo? Memorable colors? Taglines or famous catchphrases? Or maybe it’s a loose association or connection to a cultural ethos? In this stage of the process, it’s important to dig deep and do the necessary research to understand what’s still valuable. Are the strengths transferable? Sometimes it’s the subtleties and nuances — echos of a brand’s mark in the world — that can hold the most lasting value.

3: Standing for something. Whether it’s today or tomorrow, you need to ascertain the foundation — what does the brand stand for? At its apex, what intangibles and meaning did it contain? Can it represent those same things today, or does it need to embrace a new spectrum of symbolism to survive (and thrive) in the current marketplace?

4: What do all the people know? Where public-facing brands are concerned, it’s all about the audience. You might see something redeeming in that sleepy brand of coffee or stereo manufacturer’s name, but what do people out in the world think about your new treasure? How do they relate to the brand today? Good research will be able to help uncover the current feelings and associations the brand has among the people who matter.

5: Find your fan base. Do niches and segments of brand lovers still exist? One of the biggest benefits of claiming an old brand is finding the dedicated pockets of true-believers who still carry a torch for your reawakened brand. In it’s absence, they wrote, created, argued, and reminisced about the products, services, or benefits your brand once offered. Can you tap into those fans? Will those sparks turn into a towering inferno as you help mobilize these self-made evangelists?

These die-hards can be your best friends or your worst enemies, depending on how you play your hand. While they might be devoted to the name or cause, they will be a major headache to your team if you can’t live up to the legacy of the original name (at least as they might see it). Sometimes re-engaging with a brand’s devotees can be more arduous than building a brand new audience. Zealots come in all flavors — choruses of angels or a busloads of devils.

6: Has time healed all wounds? Sometimes history is kind, and the rough edges or missteps of organizations get lost to time. But in other situations, one single act can turn a company name into a hated buzzword. Have the years been kind to your brand? What timely facets and associations have evaporated? History can be a helpful benchmark for what is still valuable — because sometimes cream rises to the top. What has stood the test of time? Those might be the brand assets worth preserving.

7: Evolution or death! Like sharks, stagnant brands die, regardless of how old they are. Remember that all brands need to grow and evolve, and if your brand isn’t moving forward, adapting, and morphing to fit the needs of the culture and marketplace, it’s heading backwards. And that’s how the brand got swept into the dustbin in the first place.

8: Show me the skeletons. While it might be cheaper to build on an existing foundation, you have to do your due diligence as well. Brands are no different. Sometimes you’re also inheriting the dirty laundry and rotten floorboards in forgotten corners of the house. Will those landmines hamstring your new efforts? It’s probably best to consider if you’re equipped to deal with the imagined worst-case scenario.

9: Grey isn’t always gold. Not all old things are worth reviving. LPs might be cool, but is anyone itching to fire up their old 8-track player? There’s a difference between momentary fashion and a brand hook that can evolve back into a sustainable business model. Sometimes that layer of dust is just irrelevancy, and the savvy marketers should be able to spot the difference through the cobwebs.

10: Have a plan. Crafting and building brands is not like investing. Stock values move on just one axis — they can go up or down. But brands are more mercurial, and require more than just capital to refresh them. These rebuilt brands need passion, vision, and strategic planning for the future in order to grow well. Forgo the passion, and brand resurrection just becomes the mechanical act of squeezing more blood from the same stone. Think brand love will win breed success alone? Unfortunately, passion isn’t a business plan.

Without a strategy for growth, development, and communication, your brand will never evolve into what it could be. Still, when it comes to reviving a brand, true love and care for the brand will shine more brightly than a holding company’s financial stake. And brand audiences can sense true passion, because it shows itself in all touchpoints for a particular service or product.

When brands are reborn, often the intangibles are the only things left. Emotions, associations, and half-remembered connections are the clay that can be molded and shaped for new purposes — those of your new endeavor. The teams who can harness those spirits and weave them into provocative brand stories are the ones who will win the day.

Some examples. The good, great, and meh:

Shinola, watches, leather goods, and bicycles all made in Detroit. Previously makers of shoe-polish.

“It would be a company steeped in the values of an older era, and the founding team wanted a name to match. ‘We didn’t want to try to invent a name that had heritage and pretend there was history behind it,’ COO Heath Carr says, so they looked for inactive brands that were on the market. They eventually came across Shinola, along with the ‘ever-so-famous saying that comes with the name,’ Carr says.”

Shinola is experiencing strong sales, great buzz, and success because they’ve zealously stuck to their brand’s plan and ethos. Their leadership team also seem to have a deep understanding of how much to accentuate or downplay certain aspects of the brand’s name and heritage for the best results. Full story by Fast Company.

Polaroid, digital and imaging products. Previously innovators and originators of instant film.

“It’s one of the famous brands, like Rolex, Nike, Coca-Cola,” Polaroid CEO Scott Hardy said. “Polaroid went through its troubles, but its asset was its brand, and now we are going through a tremendous resurgence of that brand,” he said.

While Polaroid has jettisoned much of the innovative tag that surrounded the original company, the current caretakers are being judicious about their licensing model. Their choices seem well-selected to avoid hitting any sour notes that would contradict what the brand has come to stand for. Also, they get high marks for clever transference of the brand’s personality into their physical locations. More details at TwinCities.com.

Atari, pioneers of home video games and coin-operated arcade games with a meteoric rise in the 1980s. Today, current rights owners are struggling to escape bankruptcy and reform.

“To many of us, the name Atari represents the birth of the video game industry, both in the arcades and at home—which, coincidentally, were also two separate Atari businesses. Either way, the name is synonymous with video games.”

Sadly, the Atari brand is a mere shadow of what it once was under its original banner. The most recent incarnation’s leadership realized too late that merely recycling its popular properties wouldn’t be enough to sustain it as an organization. But their pre-bankruptcy move into smartphone games and apps was a promising step. The jury is still out. More at PCMag.

Indian Motorcyles, one-time competitors to Harley-Davidson, original company closed in the 1950s.

“It’s a phenomenal American story with an entrepreneurial spirit,” said Steve Menneto, Vice President of Motorcycles at Polaris. “We wanted to bring that forward and blend it into what we’re doing with the brand. We want to show riders what we learned from Indian’s history.”

An interesting brand that has a small-but-passionate audience, Indian is still young. But its focus on engineering takes a page from what the original company was known for, and fundamental focus on innovation rarely goes out of style. Whether this will be enough to make a sizable dent in the market versus Harley-Davidson remains to be seen. More at Fox Business.

“The game-playing wasn’t 100 percent of the experience. Part of what made the world complete was the artwork that conjured up this other place. I wasn’t sitting in my living room anymore; I was on this desolate planet or in space. And it was mostly because of that art.” – Tim Lapetino, quoted at The Verge

I have written before about my love for Atari, and how it morphed into a career and passion for design. It’s funny how some influential moments keep echoing throughout one’s life. I had the great privilege to be interviewed by The Verge’s Andrew Webster about the art of Atari, alongside some of the great artistic talents behind Atari’s amazing package illustrations. I am in great company, as some of the others interviewed for this story are now friends of mine, including amazing Atari artists Cliff Spohn, Steve Hendricks, John Enright, and Susan Jaekel. Definitely worth a read for another look behind the packaging of those great retro games.

Super inspiring thoughts from Nolan Bushnell, founder of Atari and father of the video game industry:

Lawyer Up and Lose

Scorching the landscape with C&Ds rarely wins you friends and probably hurts your brand image in the long run. Now that social media is maturing, we might even be able to measure how bad legal eagle actions affect the buzz around your organization. Maybe there’s a legal need to protect brand assets and preserve future profitability, but that needs to be weighed against the financial damage that turning brand fans into enemies can cause.

After nearly two years in hiatus, the iam8bit art show is back, with a high-profile gallery opening next Thursday, August 11th! This show will be one for the ages, and definitely worth checking out. Started by our friends at iam8bit in 2005, the art show has featured hundreds of artists’ interpretations of their favorite 1980s video game heroes, heroines, villains, and damsels in distress — and this show should be the best yet.

Peep the awesome poster art above, created by our buddy Dave Crosland.

Also, the new iam8bit book, which we designed and co-published, will be officially released at the show.

Take a look for more info on the opening, and the evening’s festivities, which will include all-night ambiance by DJ R-Rated. Both Jason and Tim will be in attendance, so come down and join us for the festivities!

Video games are no longer a niche market. They’re big business, having long-since eclipsed Hollywood blockbusters in revenue. Culturally, we’ve grown used to video game franchises with their own storylines, plots, and characters — a complex web of merchandising, marketing, and gameplay.

It’s easy to forget that these paths were forged by a cast of simple, clever little characters of ’80s videogames. Their screen time may have been short, but Pac-Man, Q*Bert, Mario, and many other characters were bursting with personality, fun, and an ethos that we wanted to capture in the book, SUPER iam8bit: More Art Inspired By Classic Video Games of the ’80s. With our client-partners and co-publishers, iam8bit, we designed the entire volume, helped curate the mass of excellent artwork, and launched our creative imprint, Plastic Highway.

For more details about this project, power up to our iam8bit portfolio page.

And if that’s not enough ’80s video game goodness for you, be sure to check out iam8bit’s 5th art show in Los Angeles, where the book will be officially released and available for sale.

Syd Mead
The concept designer and futurist behind visuals in films like Blade Runner and the original Tron, Mead’s forward-looking designs have brought the future to the present.

Michael Bierut
Not only has Bierut created some iconic work as a partner at Pentagram, but his approachable and thoughtful writing on design has left us contemplating how design fits into a larger world.

Shag (Josh Agle)
Shag’s paintings are beautifully designed, retro-styled environs filled with absurdist scenes of martinis, swingers, and creatures. They are at once both mythical and cynical.

Armin Vit
One half of the UnderConsideration duo, Armin has launched such excellent design-centric websites as the influential Speak Up, as well as BrandNew and FPO. In Cretaceous Period of blogs, Speak Up was a source of inspiration and conversation to us, an online design mentor of sorts.

Cliff Spohn
His amazing packaging illustrations for Atari in the ’80s are fantastic, expressive and each of them exude an exquisite design sense.

David Carson
While Carson might have a prickly reputation, his work surely upset the status quo in the ’90s by pushing the boundaries of convention and readability. Design trends have shifted, but the visual landscape has never been the same.

Aesthetic Apparatus
Badass poster designs. What else do you need to say?

Walter Landor
Founder of Landor, with a hand in many impressive logos of the era, including the identities for FedEx, Levis, Coca-Cola, Del Monte, World Wildlife Fund, Cotton and others. (Hat tip to Shawn Hazen for that correction.)

Roy Lichtenstein
Pop artist extrordinare, Lichtenstein’s work pulled from the “fluff” of comic books and advertising, to create wry, ironic works that were a commentary on commercialism, mass production and what was considered “high” art.

Charles and Ray Eames
This dynamo couple helped define modern design with their furniture and architecture. They continue to inspire designers everywhere.

Alphonse Mucha
His Art Nouveau-styled work included a range of advertisements at the turn of the century, including those for Job cigarettes, theatre posters and bicycles. It seems common now, but his work elevated advertisements into the realm of artwork.

Olly Moss
With a blend of cleverness and street style, his deceptively simple designs often contain multiple layers of meaning and snarky humor.

Dave Sim
Creator of the long-running comic Cerebus, and one of the pioneers of independent comic publishing. His exquisite compositions used negative space to guide the viewer’s eye across the page, and his drawn-out characterizations still stand out long after the series’ finale.

Darwyn Cooke
His reductionist, Silver Age style of illustration is dynamic, human and powerful, a fresh breath of air in the crowded field of comic book art. His two-volume DC Comics work, “The New Frontier” is a landmark of modern comics.

One of the great things about design is its ability to act as a window in time, for us to get a taste of what that era was like. If we’re old enough, those combinations of words and images conjure up powerful memories, associations and emotions. Great design does that.

And even if we weren’t around the first time, these designs give us some sense of what that world was like — the fashions, the typefaces of choice, trendy color palettes, the lingo and candor of the day. So, for your pleasure, I’d like to present more packaging examples of an era that has gone by, a decade of hi-fi cassettes, arcades, and the first generation of video games.

[Note: All these game box images were shot at Hexanine, and come from the nerdy collection of Tim.]

My Dad brought home our first video game system in 1983, when I was but five years old. The Atari 2600 had already become a gigantic, category-defining success, spawning a whole new industry of home video games. In the six years since its release, Atari had used its marketing muscle in TV commercials, ads in comic books and magazines, and I wanted one. From the moment my Dad pulled out the box from Video King, I was hooked.

Like any self-respecting child of the ’80s, I loved Pac-Man, Berzerk, Joust, Enduro, and many others. Countless hours were logged in front of my 2600, racking up high scores in Space Invaders, Kaboom! and a slew of other blocky graphic games.

But it wasn’t just the games that enthralled me. A major part of the overall experience wasn’t just playing the game, but putting myself into that imaginary world. And since the graphics were so simple (some might say crude), a huge window into the world of those games was the box artwork.

I would stare at the beautiful illustrations on games like Defender, Missile Command, and Breakout for hours, letting that art be the bridge between the imaginary world I’d conjured and my pixelated adventures on our Zenith TV. From that early age, I got a great sense of the significant power in artwork, and packaging as a crucial part of the brand experience.

In this Atari world, the artwork of such greats as Steve Hendricks, Cliff Spohn, and George Opperman played a pivotal role in pulling wide-eyed kids into a engrossing story, then connecting those dots with the dots (almost literally) on the screen. I wasn’t just a little man running through a maze, shooting a smiley face anymore — I was a ’70s jumpsuit-wearing spaceman, marooned in the catacombs of a hostile planet, facing off against the Evil Otto.

Those images and characters stayed with me throughout the years, leaving an indelible impression on my visual memory. Somewhere in the subconscious regions of my brain, I think the graphic designer in me was born on that day in 1983, hooked on the visuals of that particular moment in time.

Those designs still resonate with me today, and stir up great associations and memories, reinforcing the power that great brands have on us. This is the kind of connection that all great organizations seek to have with their audiences, and the sort of fanaticism that powerful brand experiences engender. As brand identity designers, we seek to cultivate and refine the stories of our clients, mining the best parts of their brands, and getting those stories out into the world.

If a brand is doing things well, they will have already built a strong relationship with their audience, and positive experiences serve as another voice that adds meaning, legitimacy, and power to the organization’s story. These relationships between audience and brand can even outlast the companies and products themselves (much like Atari, which has died and been rebooted several times in 30+ years). These relationships with brands are forged powerfully, and my relationship with Atari has helped mold me into the kind of designer I am today.

[Note: All these game box images were shot at Hexanine, and come from the nerdy collection of Tim.]