Over the holiday weekend, word leaked that video game industry rock star Cliff Bleszinski (lead designer of the Gears of War franchise) is launching a new studio, Boss Key Productions. The brand new identity we created for Boss Key also found its way into the daylight as well.

But now it’s officially live, and we’re excited to show the world – just a prelude to the amazing things Boss Key has in store for gamers.

At Hexanine, we are huge film buffs, so it’s with great pride that we finally showcase our work with Laemmle Theatres. This great group of movie theaters in the LA area are stalwarts of excellent foreign, indy, and art house film. We were recruited by Three Thirty and Innfusion Studios to help expand their brand identity and design the current website. Check out the portfolio entry for more deets.

Great work is the lifeblood of what we do, so it’s always fun to showcase work, even if it has been hiding behind the curtains for a while. Here are a couple such projects: Website design and branding work for Ashley Furniture, and an identity redesign for ILC. More details of these projects follow at their respective portfolio pages, so check ‘em out.

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.

“Products are created in the factory. Brands are created in the mind.”  - Walter Landon, founder, Landor Associates

Every organization worth its salt has a logo or visual identity that helps distinguish, identify, or describe its brand to audiences. And if you’ve visited the Internet at any point lately, you can see that everyone has opinions on logos. But when people say “I don’t like it!” or “That’s terrible,” what do they actually mean? There is a deeper question beneath such reflexive comments, though. Honestly, how do you evaluate a logo? How do you know if your company has the next Nike swoosh on its hands, or something much less awesome?

Being identity designers, we’ve seen thousands of logos, and have designed many of them ourselves. It can be tricky evaluating a logo’s strength, because there is more involved than just judging good looks. Below are some considerations, based on the criteria we use to judge our own work at Hexanine. Taken together, all of these put combine to form a useful benchmark for determining if the “front door” of your organization is doing what it should. How does your logo rate in each of the following categories?

1: Differentiation. How well does it stand apart from other logos? Is it unique and memorable — especially when compared to your competition? Or does it get lost among other organizations who share adjacent mindshare or audiences? In an age of constant brand bombardment, the Zag is a crucial ingredient in standing out. For some industries, differentiation might be the difference between market dominance and permanent second-class status.

2: Aesthetics. This is traditionally considered the chief responsibility of designers — and rightly so. Having a visually-strong mark is now the cost of doing business, and organizations who don’t pay attention to the power of beauty do so at their peril. Is your logo well-crafted? Does it employ great symbology and excellent/appropriate typography? Are the visual details of layout, color harmony, and illustration executed at the highest levels? Does your logo scale well and reproduce effectively on a variety of platforms? Clients who come to us for identity design or redesigns typically have beauty atop their wish lists, but it’s only part of the overall brand picture. Visuals are the glue that hold an identity together, but they also work in service of all the other following areas.

3: Conceptual Strength. Differentiation and beauty are not enough. Strong, sophisticated conceptual thinking is what separates logo makers from true brand identity designers. A logo that doesn’t tap into the brand’s ethos and business goals is like a cheap Hollywood set  – beautiful to look at, but not strong enough to withstand close scrutiny. How well does your logo echo the brand story? Does it communicate an appropriate metaphor? Does it include necessary chunks of the brand’s essence and heritage? Does it function like a page torn from the larger brand’s tale? Is it correctly aimed at the people and audiences who will draw the most meaning from it?

4: Surprise / Unusual / Aha! Factor. This is that difficult-to-quantify aspect of identity design that causes someone to take a second look, or to dwell on your logo for another moment. That Something Special could be almost anything, as long as it makes sense within the context of your brand. It might be a surprising and unusual combination of symbols, a visual pun, or some hidden element that reveals itself over time. None of this is absolutely required, but it’s certainly icing on the cake of the best identities. This isn’t flash and sizzle, but it’s something that helps an identity remain in the mind, tying itself forever to a set of products, services, or a larger brand.

5: Usage. How well is your logo being used? This seems like it’s outside the purview of logo design, but in truth, some of the most important work is done after a logo is designed. Building a context and visual language around the mark is essential to making sure your overall brand identity is successful. Some visually unimpressive logos benefit from exceptional visual positioning and a proper context that allows them to shine all-the-more brightly. What other visual parts of an overall identity are paired with your logo? Do photography, illustration, original patterns, and imagery add up to help the logo be more than the sum of its parts? Context can become the perfect stage to spotlight the best aspects of a less-than-perfect logo, while also minimizing its weaknesses.

To show how this might work in practice, we’ve rated some well-known logos. Very few corporate identities are going to rate perfect in every category, but the ratings below will show you how well-rounded logos can be successful, and how some brands choose to focus on some aspects at the expense of others.

Nike: Usage makes all the difference
Nike does an amazing job with its very simple logo. But the power of the brand is not in the visual execution of the mark, but in the power of its use. The swoosh has been burned into the brains of billions of people via amazing association with athletes, emotions, and sporting events. Wherever the logo appears, it is always used flawlessly, transcending any issues with the construction of the logo itself.

FedEx: The Godfather of hidden images
While the FedEx logo seems austere, its simplicity and strength are memorable in themselves. Its unique and varied usage across parts of the company was quite provocative in 1994, and allowed the brand to grow and define itself visually on the canvases of its moving delivery trucks. And of course, there is the infamous hidden arrow. 

Microsoft: Simply bland
The Microsoft identity is decently-made and generally unremarkable. The mark is very static, and the typography is completely forgettable, which might be an unforgivable sin in the software industry. The brand took a risky move by porting the brand’s most powerful (only?) brand asset — the Windows color palette and iconography — and poured them into a new corporate identity. Simple logos are not always easy to execute, but in this case, simplicity means losing what little personality the original had. This execution is bland, except when used to great success in its motion graphics applications.

Apple: Cleverness that ages well
Apple’s once-bitten piece of fruit has evolved with the company since its initial rainbow-colored rollout. It has been beveled, liquefied, and stamped on the backs of millions of iPhones and iPads. The original brand story of hidden knowledge (Eve, the Garden of Eden, etc.) has been all-but-lost in its modern incarnations, but the company’s backing with gorgeous, functional product design has only increased. The cleverness of using fruit to sell computers and electronics hasn’t aged a bit.

Starbucks: Pouring a tasty cup of omnipresence
This beautiful and transcendent mark is so ubiquitous that it doesn’t need typography. The logo’s application on thousands of street corners and billions of coffee cups doesn’t hurt, but it succeeds not just because of its constant presence in modern living. It endures because of solid coffee and a whimsical mark that stands for a brand experience that has changed modern retail and the way people think about hot beverages forever.

T-Mobile: Not so pretty in pink
Pink (magenta, really) — is the best thing the T-Mobile identity has going for it. The logo is clunky, seems difficult to use, and has far too many moving parts to be considered visually successful. The typography seems inappropriate for the brand, and suggests the fact that T and Mobile are headed towards a visual divorce, slowly drifting apart. But T-Mobile has ended up owning its magenta brand color in such a powerful way, that it barely needs a logo in its communication. Consistent, repetitive, and effective use of the color has allowed the brand to own that bright, cheery magenta in a way not seen since UPS captured Brown. Someone must have been thinking pink.

It’s easy to critique from afar, and every brand his its own idiosyncrasies and issues, but having a solid framework for success in logo and identity design is the first step in making sure it’s not your organization’s logo in the crosshairs.

Alina Wheeler wrote the book on identity design. Literally. She is the author of Designing Brand Identity, which is just about to be released in its fourth edition. It’s an excellent resource and is arguably the textbook on the discipline of overarching identity design. Over the years, we’ve found Alina’s thoughts, insight, and process to be an invaluable roadmap in developing and shaping our own identity design process, leading to greater results for us, and our clients. The book is a great 50,000 foot view, allowing readers the ability to see the design journey from beginning to end, but also allowing them to zoom in on how each part of the process contributes to overall project success.

On the eve of the book launch, we wanted to chat with our friend and colleague about this latest version, and also pick her brain about the state of identity design today.

Tim Lapetino: This might be a silly question, but since this is the fourth edition, what’s different about Designing Brand Identity this time around?
Alina Wheeler: Each new edition is smarter and more robust — a quantum leap, and a year of my life. Brands continue to grow exponentially as the global currency of success. The world changes, new innovations and insights become mainstream, and brilliant new work is done around the world. The fourth edition has 37 new case studies, more than 400 new images, more than 200 new quotes, diagrams, and checklists. All in all, more than fifty percent of the book is new content. The structure is the same as earlier editions: DBI4 organized by subject spreads in three sections (Basics, Process, and Best Practices).

The fundamentals and the disciplined process that I believe in have not changed. The tools have changed. The third edition, for example, did not feature apps, tablets, responsive design, video, or mobile. Making a difference and social networks have become even more critical to success. The mix of 120 firms featured is more geographically diverse, less NYC-centric, more global, with more nonprofits. The case studies are even more diverse in terms of the types of problems solved. Many subjects (like positioning, customer experience, and intellectual property) have been completely rewritten. I’ve reached out to more experts around the world.

TL: Why do you think the book continues to be popular? Is it how you outline the process in this comprehensive way, or is there something else attractive about identity design itself?
AW: It’s easy to use as a resource, and it offers a lot of value. I believe that the book (DBI4) is the most comprehensive and accessible resource in the world for anyone who needs to understand brand fundamentals, the intersection of strategy and design, and the process to build a brand. The book appeals to leaders and managers who understand business but need insights into the benefits of branding and design. Designers who are eager to understand more about branding fundamentals, like positioning and strategy, or naming for example, refer to it regularly, and use the book to educate their clients and their staff. It helps many to write a better contract. It helps organizations understand the complexity of the decisions and commitments that need to be made to be the brand of choice. Companies use it to build a business case internally for revitalizing a brand. And I am happy that It is also used in universities for both design and business majors.

I believe that the five phase process is easy to understand, logical and helps ensure that the right decisions are made for the right reasons. It works for entrepreneurs and it works for very large consumer brands. The process to revitalize a brand is daunting if you have never done it.

TL: Why did you write this book?
AW: I wrote this book because it didn’t exist. I wanted it on my shelf. The world was filled with smart strategy books written by MBAs and eye candy books written by brilliant designers. I wanted to simplify and clarify what is, to many, a daunting process, deconstruct the process, and bridge the gap between strategy and design. I wanted to create a single resource where someone could get answers fast, and learn from other experts and best practices. As tools and technology become more provocative, it’s more important than ever to stay steadfast to brand fundamentals.

I meet a lot of smart people around the world who are confused by radically different methodologies used to ignite and revitalize brands. The book continues to be popular because it’s a single resource that is easy to understand, and easy to use.

My book is filled with smart things that others have said. Many of the processes and checklists are developed by other practitioners — my job is to find them, get their permission, edit it all down to its essence, and then weave it together in a logical framework.

TL: Since the publication of the first edition of DBI (2003), how would you say the discipline has changed?
AW: There is more C-suite consensus that brand is the most valuable asset that any organization has. Design thinking is being embraced by the business schools. As the world migrates to mobile, there is an even greater need for brevity, simplicity, radical differentiation, and coherence across platforms. There is a greater understanding of how important employees and the internal culture are to being the brand of choice. Branding is no longer about massive deployment of messages; it’s about having a conversation. There is more customer data than ever in the history of the world, armies of algorithms working hard, and more managers uncertain as to how to measure success. There are even more specialists standing in line to be the brand authority. The world continues to have people that claim they do branding, but they don’t.

TL: How would you encapsulate the state of identity design today?
AW: Heightened! Good design continues to be a great and powerful differentiator, when it evolves from putting a stake in the ground about who an organization is and what it stands for. It is an exciting time — an explosion of global talent and new tools. The possibilities are infinite. It is also the most challenging time — a crowded marketplace, fierce global competition, rapid-fire change, and an unstable economy.

TL: What makes a great logo? An excellent identity system?
AW: A great logo has meaning. It is the fusion of strategy (intelligence) and visual form. The best ones are radically differentiated, work effectively across media and marketing channels, are easy to protect, and are immediately recognizable at different scales. It always blows my mind that a favicon can be immediately recognizable within nanoseconds even though it is 16×16 pixels wide. An excellent identity system balances coherence (everything holds together regardless of the marketing channel) with flexibility (an ability to anticipate a new product, a new technology, or a new marketing channel).

TL: What principles cut across the decades, resulting in strong work? Or would you say the rules have changed for organizations and their visual branding?
AW: The strongest work thrives when there is leadership that has committed to protect, preserve and grow this valuable asset. The strongest work always evolves from an authentic foundation: we know who we are, we know what we do best, we understand our customers, we value and nurture our internal culture. It is harder than ever to be a player and transcend the clutter. Even when you are a local business, you now sit on a competitive global stage 24/7. More of us will need to design a brand architecture that works in new markets like China. So brand builders need to have tenacity and a good toolbox, to insure that every opportunity is seized to be the brand of choice. Have the rules changed? Customers are using a wide range of devices to be connected. Social media is an increasing part of the marketing budget. Brands are now two-way conversations are opposed to rapid deployment of one-way communications. Icons now may need to include a growing family of apps. So, the fundamentals are the same, but there are new challenges each time you wake up in the morning!

An excellent identity system balances coherence with flexibility.

TL: How did you develop the processes and steps you outline within the book? Do these come from your own design practice, or have you gleaned insights and methods from others over time? Who are those influences?
AW: Ever since I was a young child, I’ve been fascinated by how people and organizations express who they are and what they stand for. English was not my first language, and I have always valued clear, simple communications. Over the last decade, I’ve interviewed hundreds of experts — on the client side, and on the consultancy side. I have heard stories about how remarkable results were achieved, and stories I can never repeat, about major initiatives ending mid-stream. I have talked to CEOs, CMOs, SVPs of Design — in essence, everyone who is involved in a branding initiative. I’ve interviewed both happy and grumpy employees who work for companies that have been rebranded. I met with movers and shakers from some of the best branding consultancies and design firms in the world. My book is filled with smart things that others have said. Many of the processes and checklists are developed by other practitioners — my job is to find them, get their permission, edit it all down to its essence, and then weave it together in a logical framework.

I also was the managing partner of Katz Wheeler, the design firm I co-founded with Joel Katz. Joel introduced me to the rigors of symbol design and information design. Our staff was filled with super bright and talented individuals that inspired me each and every day. I was very involved in AIGA nationally and locally, and started lifelong friendships with some of the leading design thinkers in the nation. I later founded Rev Group, where I developed my process methodology, and started developing some of the tools that I write about.

TL: What would you say is the difference between logo design and identity design?
AW: Logo design focuses on one element: a pictorial or abstract symbol, or a wordmark. Identity design looks at a whole integrated system: organizational goals, key stakeholders, key messages, brand architecture, typography, color, imagery, look and feel, sound, motion, and of course, the competitive landscape. My experience is that most designers are either good at designing symbols, or designing a whole look and feel and standards. Most clients do not understand the rigors of logo design or identity design.

TL: How do you feel about the crop of logo critique sites that have sprouted in the last handful of years?
AW: I really admire the thoughtful analysis by people like Tony Spaeth and Armin Vit. These are professionals who have been involved in complex problem solving, and who understand the fundamentals of good design and positioning, and the implications of designing larger systems that work. I prefer analysis that takes in consideration context and touchpoints, or why a change was needed. I am less enthusiastic about any kind of voting or public commentary about intrinsic design qualities or any type of competitions. There is a wealth of intelligent commentary, but unfortunately so little time.

TL: With projects like the GAP identity and the Big 10 logo redesign, it seems like redesigns are becoming big news outside of designer circles. Is this a good thing for identity design and practitioners, or does it hurt the process? How do you think social media is changing this part of the design landscape?
AW: When Starbucks launched their rebrand, I was astonished by the amount of chatter by loyal customers who either applauded or questioned the strategic move. Starbucks did a great job of posting why the change was made. It was exciting for me to see the redesigned icon in a town square in Cusco, Peru. It made me realize that the mermaid without the type was actually more respective of the local culture. Social networks get out the news faster than any press release in the history of the universe. Fiascoes like the GAP and Tropicana have a really negative influence on the perception of the profession as a whole. Clients new to the process become phobic — risk taking and change become less appealing.

TL: How can the practice of identity design grow, and where do you see the discipline going?
AW: Identity design will continue to grow because the world is a fiercely competitive, complex, and dynamic marketplace. Differentiation is survival. I am excited by more multidisciplinary collaboration to solve increasingly complex problems. Most problems involve issues of identity, and so identity design will be even more vital. I see more engineers working side-by-side with designers. I am hopeful that design thinking will even have a broader global impact. If I think way into the future, I see a lot more personalization, where private labeling will be replaced with personal labeling in holographic shopping malls. I think that there will be more designing an experience, as opposed to designing a thing.

TL: Who do you think is breaking new ground in identity design?
AW: I am drawn to dynamic identity systems: Tate by Wolff Olins (still fresh but designed 10 years ago), IBM’s 100 Icons of Progress by VSA Partners, IBM Smarter Planet icons by Ogilvy Worldwide, MIT Media Labs by TheGreenEyl, and OCAD by Bruce Mau. Each of these builds on brilliant strategy, big ideas, and good design. They all have what I call long legs, i.e. engendering infinite possibilities. It’s not for everyone and you need to determine when it’s right. I am fascinated by successful country brand identity, like Peru. There have been so many failures, that it’s good to see a country brand that is achieving what it set out to do.

TL: What is your advice for aspiring designers who are drawn to the allure of brand identity?
AW: I always ask an aspiring designer “why?” I would encourage them to work hard, look at everything, read a lot, be a sponge, live life to its fullest, and immerse themselves in the culture of their communities. Experiment a lot and determine what aspect of brand identity they can add the most value to. I would encourage them to study marketplace dynamics, psychology and organizational development in addition to design and communication.

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We’d be remiss if we didn’t thank Alina again for her time with this interview, as well as her significant contribution to the field. If you haven’t already, pick up a copy of the newly-updated edition of Designing Brand Identity.

I think he’s right on, but there’s more to the story. Brands aren’t solely formed of audience belief or market opportunities. They are the creation of driven, hard-working, vision-casting individuals who put bits of themselves into their organizations, whether it’s their passions, perspective, or merely sweat equity. To completely cede the soul or mission of a brand to the opinions of others means leaving out an essential slice of the organization’s DNA.

We believe that the sweet spot of powerful, authentic brand identity (and communication) lies at the intersection of an organization’s view of itself (the Authorial element) and the connection the brand makes with those in the world (the Responsive element). When a team or organization can weave a brand story and overall identity that integrates both of these elements, it has achieved the sweet spot, a place of lasting connection and success.

We’ve grown up as designers with the LogoLounge book series. It’s great to see the beautifully-redesigned, newest volume. Also awesome to see that we’re part of it, with work from projects like BevReview and Plastic Highway. Our work was chosen from 34,000 selections, which is an honor.

You will never be able to create or provide something that’s better than the organization you’re working for. It doesn’t matter how brilliant your branding or how excellent the strategy is, the end results will only be as good as the company itself. Paul Rand probably said it better: “[A logo] derives its meaning and usefulness from the quality of that which it symbolizes. If a company is second rate, the logo will eventually be perceived as second rate.” If you can live within those confines, your best bet is to dive in and help make change alongside your client partners. If you believe it’s too hard to live under that ceiling, you’ll need to find better clients.

Some projects fall outside of the realm of client work, and at Hexanine, we do some of this to keep ourselves sharp, to pursue unique interests, and to grow our capabilities. We’re launching a creative imprint called Plastic Highway as a place to showcase creative efforts that exist at the intersection of art and pop culture. Check out our portfolio entry for more on the identity we designed, and watch this space for an upcoming announcement on the first project released under the Plastic Highway banner.