Letraset and Mute Records

Letraset user, 1978

Letraset user, 1978

Some products are inextricably infused with nostalgia. Letraset is one of them. Sheets of film that would be rubbed with the end of a pencil to give way to beautifully formed letters—as long as you had a steady hand and the patience of a saint.

Letraset launched its dry-transfer lettering system in 1961, and graphic designers and architects embraced it with gusto. But so did amateur bedroom publishers, where Letraset became de rigueur for music fanzines and school magazines.

Simon Garfield, author of Just My Type: A Book About Fonts and an early adopter of the technology, writes, “The range included all the standard popular fonts, but there was a sort of anarchic freedom to the wilder designs, something indelibly linked to the 1960s and ’70s, and now much used in retro branding.”

Mute Records first release in 1978 by The Normal, T.V.O.D. / Warm Leatherette

Mute Records first release in 1978 by The Normal, T.V.O.D. / Warm Leatherette. Image courtesy Discogs.

With their DIY philosophy, young punk rockers embraced Letraset for their gig posters and record sleeves. One interesting example is the 1978 Mute Records logo, its “walking man” plucked from a Letraset sheet of architectural symbols. Daniel Miller formed Mute Records as a vehicle to release his own single, “T.V.O.D.”/”Warm Leatherette,” under the moniker The Normal. The label, once home to Depeche Mode and Erasure, continues today—with Mr. Miller as its executive chairman—under the EMI banner.

Letraset history courtesy BBC News
Mute Records history courtesy Ibiza Voice

Arro French Restaurant

Chef behind 24 Diner and Easy Tiger brings French-country restaurant Arro to West Sixth Street

Arro French Restaurant, Austin, logo

The Arro logo takes its inspiration from Bayer’s aspirin tablet (apparently)

Opening July 20, 2013 in Austin, Texas, is a casual French restaurant from the ELM Restaurant Group (24 Diner, Easy Tiger). Chef Drew Curren and his group have had great success with their mash-up bakery/artisan sausage/beer garden Easy Tiger on East Sixth Street downtown, and round-the-clock 24 Diner on Lamar Boulevard next to Waterloo Records.

They enter the world of French bistro food this week with Arro, located in between their two existing restaurants, at 601 West Sixth Street in the old Haddington’s location. The restaurant, which has undergone a transformation to open up the previously compartmentalized space, will open Saturday.

Arro French Restaurant, Austin, Texas

Their Facebook page displays some impressive branding imagery, including hand-brushed calligraphy (seen above) and the elegant script channel letter signage on the building (below).

Arro French Restaurant, Austin, Texas

Courtesy Austin360 and Austin Eater

Arro French Restaurant
601 West Sixth Street, Austin, Texas 78701
(512) 992-2776

Affordable 3D outdoor

PosterProps offer outdoor marketers a cost-effective 3D solutionMetromedia Technologies, Inc (MMT) announced today an exclusive partnership with PosterProps, the developer of a patented lightweight, digitally-printed material that clips over posters to create a spectacular 3D prop. PosterProps can be fashioned into any shape or size, and unlike traditional hard props, require no special equipment or crews to install, reducing both time and expense. The billboard or poster inflates on-site and installs by using existing installation crews without specialist equipment in under 30 minutes.

The best news for outdoor marketers is that this translates into lower costs than traditional outdoor “spectaculars.”

Tony Gearty, CEO of PosterProps said: “We are delighted to have found a partner of MMT’s caliber who share our vision of growing a market using our innovative and affordable props, which means so many more billboard locations can now justify a 3D offering.”

Starbucks changes logo

Starbucks logos through the yearsIn March Starbucks will celebrate its 40th anniversary and rollout a “new” logo  (not actually new—a stripping away of the word ring, leaving the familiar siren unchanged but now in green).

Howard Schultz, Starbucks’ chairman and CEO, writes in an announcement on the company’s website, “we’ve given her a small but meaningful update to ensure that the Starbucks brand continues to embrace our heritage in ways that are true to our core values and that also ensure we remain relevant and poised for future growth.” By removing text from the logo, “international ubiquity”  and an exploration into non-coffee business ventures must have been listed on the team’s creative brief. But overall, reaction from the rank and file has not been positive. A typical comment on the site reads, “This gold card user isn’t impressed!”

Mike Peck, senior creative manager at Starbucks and his creative team admitted modifying the brand identity “was the project of a lifetime.” The logo was broken down into four main parts—color, shape, typeface and the siren. Peck and his team found the answer in simplicity.

In 1971, the company began selling coffee beans and spices in Seattle’s Pike Place Market. By 1992, the company became publicly traded.

Aol. Struggling to remain relevant

AOL "blue monster" logoAOL’s late-2009 corporate logotype redesign was its first move away from former parent company, Time Warner. The new logo is simply “Aol.”—upper and lowercase, and with a period, as if to state that it is the last word in online content—set in a sans serif typeface (perhaps a slightly tweaked Futura Bold?), and “revealed” through different backgrounds (the “blue monster” shown above being an example). Designed by Wolff Olins, the letterform remains fixed while the background will change continuously by the hundreds, ostensibly symbolizing AOL’s commitment to changing content. Other backgrounds include a headbanger rock fan, a fish, a beetle, a leaf, and a woman’s shoe. (Visit AOL’s site and click “Refresh Page” at the top navigation to see it in action.)

Maureen Marquess, chief of staff at AOL in New York, is wrestling with the monumental task of making the AOL service relevant again, as “having an AOL account” is seen as a nostalgic reminder of the early days of the Internet. “We have to give people a reason to care again” about AOL, Ms. Marquess said. The designer in me admits relief for the retirement of AOL’s frozen-in-time triangle logo. But despite the press release mapping the complex thought process behind the redesign, about remaining “flexible” while AOL sorts out exactly what services it wishes to provide, it is difficult for a critic to get past the laziness of the rebranding. I am immediately reminded of the children’s cable television network developed in the 1980s, Nickelodeon, who employed changing orange backgrounds (a blimp, a dog bone, a splat) with the “Nickelodeon” mark knocked out in white. Whether viewed in a promo spot or seen on a child’s toy, the logo was instantly recognizable in all of its guises.

However, an effective brand must start with an instantly-recognizable symbol—the brand identifier—to provide profound meaning. I doubt adding a colorful fish behind the simple typesetting of “Aol.” will help to allay the brand’s woes.

“I put that $#!+ on everything!”

Frank's RedHot sauce“I put that [splat] on everything!” That’s the message in the latest tv and radio spots for Frank’s RedHot sauce—its delivery is as bold as the product. The juxtaposition of the typical, bespectacled old gran spewing a barely-concealed, vulgar turn of phrase is the thrust behind a recent campaign for the spicy condiment making the rounds on YouTube. Which, of course, is what UK company Reckitt Benckiser—the current marketer of Frank’s—is banking on.

Using bold language in media is certainly not a new concept, but just how many people are complaining? The Oxygen cable television network presents a series called “Dance Your Ass Off.” One of Oxygen’s execs, Jason Klarman, admits: “The title is a little bit controversial… in cable, almost anything that is successful is usually a little polarizing.”

So in an era of media saturation, branding experts have to be “bold” with hopes of creating a memorable message. But certainly boldness employed by a cable tv network aimed at young women is less risky than doing so with a mainstream supermarket product, likely to be purchased by a wide spectrum of consumers. However, hot sauce buyers seem to be smiling at the message and continue to place Frank’s among the top leading hot sauces in the world.

The logo is (not) in the bag

Bottega Veneta handbagAre you a patrician, parvenu, poseur, or prole? Old money or new money? A recent study by the USC Marshall School of Business examines levels of wealth, social status, and wealthy consumers’ desire to associate with those in their own caste. After studying preferences of luxury goods, the authors sorted consumers into four categories according to the subjects’ affinity for “loud” goods or “quiet” goods. The categories are:

  • Patricians — wealthy consumers who prefer quiet goods that only other wealthy can recognize. (The $2,000 Bottega Veneta handbag shown above is an example; the logo appears only on the inside.)
  • Parvenus — wealthy consumers who desire status and flaunt loud luxury goods in the face of the less affluent. (Many Gucci products sport screaming logos, as do Louis Vuitton’s.)
  • Poseurs — consumers who can’t afford luxury goods, yet buy counterfeit luxury goods to “emulate those who they recognize to be wealthy” (e.g., that “Rolex” watch offered for sale by the man on the sidewalk.)
  • Proletarians — those “not driven to consume for status’ sake”

These findings will present challenges for marketers of luxury goods. USC’s study reveals that shrieking designer logos may actually reflect a lower price point than their more subtle counterparts. The authors call upon manufacturers to develop subtle cues to distinguish the brand, such as Gucci’s use of bamboo rather than its insignia. Also, ubiquity may in fact tarnish the brand and promote loss in value. And finally, the study recommends marketers resist the “pyramid” approach to luxury and to consider marketing to all consumers.

Miller Beer “Vortex” bottle

Miller Vortex bottleIf you are like me and have seen the Miller Beer “Vortex” bottle billboard, you’ve probably also wondered why anyone might want their beer to pour out into a “vortex.” In recent years MillerCoors introduced its cold-activated bottle, a useful innovation where the mountains on the label turn blue when your beverage is at its optimum temperature. However, I don’t see the same level of creativity with the Vortex, which, according to a MillerCoors sales rep, is a bottle with specially designed interior grooves that “create a vortex as you’re pouring the beer.” This innovation is intended to “create buzz and excitement and give consumers another reason to choose Miller.” For me, it’s just a different-shaped bottle that won’t provide much consumer benefit. MillerCoors’ advertising agency is Saatchi & Saatchi.

“Off-the-shelf” logos

Your Name HereThe recent concept of prêt-à-porter or “shelf” logos involves the online offering of pre-designed corporate logos with exclusive ownership (i.e., the logo design may not be resold). A few companies have cloned the online business model, but the geniuses at South Africa-based LogoAnts.com appear to have perfected it, offering clean, perhaps generic-looking logos for those with a small budget. The customer browses categories such as swoosh, Christian, building, 3D, etc., then adds its organization’s name to its choice. Clearly, target industries are small-time entrepreneurs, startups, builders, and churches. Despite claims made to the contrary by the manufacturer, most of these logos are forgettable. But it’s hard to fault business owners wanting to explore these options, as the prices are astonishingly low (shelf logos start at $99!).

Pundits will argue that one’s logo should be a unique symbol of the brand and the people behind it, and working one-on-one with a graphic designer is the only way to achieve superior results. Indeed, some sites do offer graphic design consultation, and LogoAnts.com offers custom logo design services from $179. Professional graphic design firms specializing in corporate branding should prepare to lose a share of its smaller clients tempted by these budget services. And maybe, it will spur professional designers to produce stronger creativity (and avoid clichés).

Today’s “Shack” is more than radios

print ad for The ShackYou may have seen the phrase, “Our friends call us The Shack℠.” Electronics retailer Radio Shack’s new branding experts—California’s Butler, Shine, Stern and Partners, hired April 2009—added the service mark symbol to their clever phrase as a wink and a nod that you are now in the cool club, in anticipation that “The Shack” will gain traction amongst consumers, employees and investors. Some years ago Radio Shack began updating its image by creating the circle-R logotype, and by dropping the space between “Radio” and “Shack.”

The corporate identity nip and tuck continues as Radio Shack joins an expanding list of shorthand names whose companies either wish to appear friendly, to obscure their original identity or to clear up confusion over the original name. The names Chuck (Charles Schwab—”Talk to Chuck!”), KFC (Kentucky Fried Chicken—so much more than fried chicken!), The Hut (Pizza Hut—so much more than pizza!), and The City (Circuit City—so much more than… erm, circuits?) are similarly victims of hipster hucksterism. Burger giant McDonald’s has acquired many friendly-sounding nicknames around the world, such as The Golden Arches, Mickey-D’s (Mackey-D’s in Britain), and Makku or Makudo in Japan, to name but a few. FedEx (Federal Express) and Coke (Coca-Cola) are other successful examples.

Will a name change improve the flagging electronics brand? It did not help Circuit City, which declared bankruptcy January 2009. Founded more than 80 years ago, Radio Shack was known as the place to buy soldering irons, capacitors and cheap car speakers. Today the company’s focus is on capturing a share of the small electronics market–particularly T-Mobile’s phones.

As of this writing Radio Shack Corporation has no future plans to officially change its corporate name but will market “The Shack” in its advertising. However, branding expert Drew Neisser of Renegade cautions, “Radio Shack is in a desperate battle to remain relevant.” Neisser believes making a half-hearted name change may backfire. “The whole thing could come across as forced at best and confusing at worst,” Neisser said.