The project, which centres around an updated “WB” shield, aims to lay the groundwork for the company’s future ahead of its centenary in 2023.

Warner Bros. has unveiled a new brand identity, which gives a new look to the famed “WB” shield, last updated in 1993. The design was led by Pentagram partner Emily Oberman and looks to position the entertainment company for the future.

Over its near-century in operation, the WB shield has largely remained the exclusive symbol of the company, only occasionally being replaced and then reinstated. Research showed the incumbent version was not working digitally at different scales.

“The previous iteration [of the shield] was highly detailed and hard to use at a small scale and in digital contexts, which are increasingly important” says Pentagram.

The updated logo sees the removal of the banner introduced in 1993 and has been redrawn in an attempt bring the shield and monogram back to prominence. “[The new shield is] based on the classical proportions of the golden ratio,” says Pentagram, adding that the letterforms have been rethought to “preserve their quirkiness but make them more modern”.

From the distinctive monogram, the team has also created a custom typeface for the company: Warner Bros. Condensed Bold. This was designed inhouse at Pentagram and then expanded into a full family of fonts by Jeremy Mickel, who has previously worked on custom typefaces for various Warner Bros. projects, including the Justice League films and the Fantastic Beasts and Where to Find Them franchise.

Warner Bros. Condensed Bold will be used across company assets and is designed to give “a sense of the company’s history” while being “clean, modern and timeless”. The new “WB” monograph has directly inspired the new bespoke typeface according to the team – such as the curvature of the “B” being used to inform the new “R”.

With the team identifying the necessity for the new branding to be competent digitally, the logo has been optimised for use across platforms and scales. Additionally, a “dimensional” version of the logo has been created, earmarked for use onscreen where it can be customised for opening and closing credits, or as promotional content using the shield as a frame.

The project was undertaken in advance of the entertainment company’s centennial celebration in 2023, when it will reflect on milestones such as creating the first synchronised dialogue in films in 1927.

The identity was officially unveiled to staff in a ceremony on Wednesday, where a tuxedo-clad Bugs Bunny revealed the new logo, which had been printed on the recognisable Warner Bros. studio lot water tower.


Source: Design Week

Headed by brand consultancy Wolff Olins, the updated visual identity features a new bespoke handwritten typeface, a colour palette and graphics.

UK-based charity Breast Cancer Now has revealed its new visual identity, just in time for the start of Breast Cancer Awareness month. The rebrand follows the merger of the charity with Breast Cancer Care back in April and represents the first visual identity from the newly united organisation.

“They basically needed a new story, and a new identity to back up that story,” says Emma Barratt, creative director at Wolff Olins. “We were mindful of the merger, and where we could we tried to include the DNA of the two charities.”

Image courtesy of Breast Cancer Now

Creating a versatile colour palette

The colour palette is a nod to the previous branding of the two charities, and is comprised of pink, yellow, orange and purple. Barratt says the colours were carefully chosen to reflect the scope of the newly formed charity’s mission, which is concerned both with research and care, while avoiding some of the “pink fog” found across similar charities.

“We were really conscious on the colours, because the charity has to have several voices,” says Barratt. “There needs to be this bold, standout, eye-catching voice for the campaigns, hence why we dialled up the pinks and the yellows.

“But that’s not going to work for people who have just been diagnosed with cancer or has secondary cancer and won’t survive the illness. We needed to make sure the tone of voice and the colours therefore could be dialed down.”

Image courtesy of Breast Cancer Now

The “embrace symbol”

Heavily featured in the new look is the charity’s new “embrace” symbol. Demonstrated by the incomplete “o” in the organisation’s logo, Barratt says the meaning of the symbol is open to interpretation.

“The symbol is about representing an individual’s journey, and that fact journeys don’t have starts and ends, they’re not complete,” she says. “But we also wanted individuals to apply their own meaning to it. You might see a breast, you might see a reassuring embrace, you might see a halo.”

For Fiona Hazell, director of communications and influencing at Breast Cancer Now, the symbol takes on a particularly poignant meaning: “[It] reminds us that although we’re making progress, breast cancer remains the most common cancer in the UK and 11,500 women and 80 men still die every year – so there is still so much more that needs to be done,” she says.

The symbol has also been rendered extensively throughout the project and can be found in 3D form throughout communications. Barratt says this reflects individuals’ lives. “When [the symbol] moves and rotates, you can see the different angles, in the same way different individuals have different angles in their lives while living with cancer.”

Image courtesy of Wolff Olins

“It supports people on all fronts”

Wolff Olins has previously worked on numerous charity campaigns, including the British Heart Foundation and Macmillan Cancer Support. The team say extensive research was carried out before and during the project to ensure the identity best represented the people helped by the charity.

“We want people to see this is a charity that has a full range of perspectives that no one else has,” says Barratt. “It has this tenacious energy that will support people on all fronts.”

Image courtesy of Wolff Olins
Image courtesy of Wolff Olins

The online flight comparison site has redesigned its app and unveiled a new visual identity in a bid to “simplify travel as much as possible”.

Skyscanner has rebranded in an attempt to convey that it is not only a flight comparison website, but a travel company, which also offers car hire and hotel options.

When the company was launched in Edinburgh in 2001, it was focused on comparing flight prices. Duncan Riley, the company’s director of product design, says that now the company has a more holistic focus on travel, it was “important to better represent its new mission”.

Skyscanner says that its app has had 90m downloads and that 60% of users interact with the brand on a mobile device, making the app’s user interface a key focus of the rebrand.

Skyscanner worked with London-based design studio Koto during a collaborative stage, exploring trends in the travel industry. From this, Koto developed a brand identity, including a logo, colour palette and brand guidelines as well as guidance on photography. Skyscanner’s in-house design team then updated the brand using this framework.

An app to “simplify trip planning”


An updated user interface was about giving users more options, Riley says.

“We wanted to offer people new ways to plan travel,” he adds. “Some people start with dates, some have a destination in mind, some have both.”

The app caters to both these audiences. Users can pick a set of dates — the school holidays, for example — and Skyscanner offers them destinations based on availability and price options.


Alternatively, users can pick a destination they want to go to, like New York, and the app offers them the best prices as well as ‘eco flight options’ which show flights with fewer carbon emissions.

“We wanted to simplify travel as much as possible for users,” Riley says.

On the ‘Explore’ page of the app, there are sections for ‘Your Perfect Trip’ and ‘Best Deals for Weekend Breaks’ with sub categories like ‘Solo Travel’ and ‘Kid Free’ as well as suggestions for travel dates. Users can also search the best deals for travel by month.

A new illustrative style is also central to the update. Helping to give the app a more “human” feel, Riley says that they are used to “delight and educate users” and “take them on a journey”. One illustration, used for the planning stage, shows a man on a sofa, dreaming of his next trip.


Likewise, the in-app photography aims to “symbolise travel and the feelings that it invokes”, the company says.

New visual identity


The updated user interface is accompanied by a new visual identity, including a logo, which rolls out across all digital platforms. The relatively simple logo attempts to incorporate four elements of the brand: optimism, sustainability, ideas and places to discover.

These are represented by the outward beams to show “the optimism of the sun and Skyscanner’s innovation”, the semi-circle for Earth and the downward arrow which “illustrates a place pinned on a map”, the company says.

Fittingly the new primary colour used is sky blue with a “supporting palette of warm, natural colours” which reflects the “rich hues found in destinations around the world”, according to Skyscanner.

The brand says it is committed to creating more sustainable travel options, as part of its mission “to lead the global transformation towards modern and sustainable travel”.

As well as the option to choose lower emission flight options, it has also joined the Duke of Sussex’s ‘sustainable tourism’ initiative, Travalyst, which aims to “change the impact of travel, for good”.

Riley says that while the company is at the “start of the sustainable journey” it has been embraced by users; low carbon emissions flights have been selected by 10m users over the last year


Source: Design Week

The new identity is built around the notion of “Welsh spirit” and features an updated dragon design inspired by “chiselled rock and slate”.

The Football Association of Wales (FAW) has been given a new visual identity by London-based design consultancy Bulletproof, positioned around the concept “Built on Welsh Spirit.”

Jamie Gandee, associate creative director at Bulletproof, says that an aim of the rebrand was for the FAW to “stand up alongside the likes of Nike, Adidas and other lifestyle brands”.

It seeks to create a “modern, iconic brand” while also incorporating “centuries of pride, resilience and determination,” according to Bulletproof.

The rebrand also had to “support every level of football in the country”; the FAW covers the National Association, the national team as well as leagues and cup competition.

The changing logo

Bulletproof has updated the Welsh Dragon icon, with a design that is “inspired by chiselled rock and slate carving”, in an attempt to reflect “centuries of Welsh craft and industry.”

Gandee says that this dual perspective was key: “Wales’ great industrial past allowed us to create a brand built on graft and craft, while still giving it real depth and a sense of place.”

The logo was also kept “simple” in the hope that it would “look and feel at home in today’s modern global sporting arenas”.

The updated dragon icon

Bulletproof says that the new branding uses a modular system which is built on horizontal rows “to create something that represents growth and support from the ground up”.

The colours are all “grounded in the Welsh landscape”, according to the studio.

The palette was inspired by everything from “the rolling hills of Glamorgan, to the valleys of the Rhondda and the peaks of Snowdonia.”

Gandee says that “Welsh dragon red” was used throughout with in an attempt to “celebrate the hero and the whole of the country”.

A bespoke font, Welsh Spirit, was also created. It features “chiselled, firm foundations” in an effort to celebrate the “traditional art of Welsh slate carving.”

In the font too, an effort has been made to look to the future, as it combines elements of “modern condensed sans serif typefaces used in sport”.

The new identity started rolling out in August.


Source: Design Week

The new identity designed by The Allotment features a “heart” motif referencing the airport’s location in the centre of the capital and uses a blue and green colour palette to broaden its appeal to a wider audience.

London City Airport has unveiled a “vibrant” new visual identity, which aims to appeal to a broader range of passengers and reinforce its position as an airport in the centre of London.

The rebrand comes as the demographics of those flying from City are changing. Traditionally geared towards business travellers, the airport says that between June and September last year, the proportion of those travelling for leisure exceeded those travelling for business for the first time ever, at a ratio of 52% to 48%.

The new look coincides with a £500 million four-year airport development programme, which includes new terminal facilities and aims to create space for more passengers and more flights from the airport.

The Allotment has given the airport a “contemporary” new brand identity, the studio’s managing director, Paul Middlebrook, says.

“The main aim of the rebrand is to reinforce London City Airport’s role as London’s most central airport,” says Middlebrook.

“It is really about the airport being at the heart of London and to reflect how it is now appealing to a mix of passengers, particularly leisure travellers.”

The new logo spells out the word “London”, with only one letter “O”, which has a heart shape in the centre of it. The letters are arranged in a plus sign shape, with “O” in the middle, “L” and “N” on the left and right, and “D” and “N” above and below.

It is coloured with a green and blue gradient, which changes diagonally from the top-left to the bottom-right corner. The words “city airport” appear on the bottom-right side of the main logo, set in all-capitals.

The typeface used in the logo is an adapted version of Gilroy, a sans-serif type, modified by The Allotment. Gilroy has also been used as the core brand typeface as it is “clear” and “familiar”, Middlebrook says.

The logo appears in a range of different formats — in some variations the heart and the words “city airport” appear in blue, and in others they are white.

The “vivid” colour palette aims to reflect elements found in the city, according to the airport, including bright green to reflect London’s parks, and blue to reference the River Thames, which the airport is located near to.

“London City Airport was built on the docks — it is very much connected to the Thames and to London itself,” Middlebrook says.

“East London is a very vibrant community now, it is one of the fastest growing areas in London and there is real buzz about it. We wanted to create an identity that reflects that dynamism,” he adds.

As well as aiming to broaden the appeal to more leisure travellers, Middlebrook hopes business travellers will also “appreciate the modern and dynamic nature” of the new brand identity.

It replaces an identity which said the words “London City Airport” in grey and blue, accompanied by a small blue image of an aeroplane.

As well as creating brand guidelines, The Allotment has also devised a new tone of voice for the airport, which aims to be “warm, caring, open and straightforward”, Middlebrook adds.

The studio worked alongside business consultancy The Storytellers, which defined the airport’s future vision and brand values.

A promotional film has been designed to launch the new branding by design studio Intercity, which includes footage of scenes from around London with the white heart-shaped icon appearing to “beat” in the centre of the video.

The clip also features an animated line drawing of landmarks on London’s skyline, including Big Ben and St Paul’s cathedral.

Design studio Intercity, has also created branded signage for the airport.

The airport’s website has been updated with the new look by consultancy Bright Innovation.

The new branding has been rolled out across digital touchpoints including social media and the website and will gradually be rolled out across airport signage and other physical touchpoints over coming months.

An outdoor advertising campaign created by design studio Cravens has also been launched to introduce the new look around London and on the airport site.

Previous London City Airport branding

The official organisation for Girl Guides in the UK has overhauled its range of activities, including new skills such as coding, human rights and inventing, and has commissioned studio Red Stone to create a visual look for its 187 badges and corresponding handbooks.

Girlguiding has redesigned its badges and handbooks in line with a host of new activities that aim to be “relevant to girls’ lives now”.

The redesign has been completed by branding studio Red Stone, and is the biggest overhaul of badges for the charity organisation in over 100 years.

Girlguiding was founded in 1909 under the name The Girl Guides Association, and is the UK’s largest girls-only youth organisation. It has 100,000 volunteers UK-wide, and the aim is to encourage young girls and women to learn new skills, work as part of a team or as a leader, and complete projects for social or charitable causes. It is the UK-branch of the Girl Guides, which is a movement that operates worldwide.

Since it launched 109 years ago, girls who are part of the organisation have taken part in physical, mental, charitable and skills-based activities, from first aid to camping, sailing and orienteering, as well as some more niche hobbies such as circus skills and stargazing, depending on what their local Girlguiding unit offers.

Members are split into four age group sections: Rainbows, aged five-to-seven; Brownies, aged seven-to-10; Guides aged 10-14; and Rangers, or the Senior Section, aged 14-25.

The redesign sees a refreshed look and feel for 187 badges, plus the corresponding award books and handbooks for the four Girlguiding sections.

New activities have been added under six main themes: Skills for my Future, Have Adventures, Be Well, Know Myself, Express Myself and Take Action. New skills include storytelling, inventing, human rights, craftivism, animation, coding and festival go-ing.

According to Chris Davis, director at Red Stone, some of the important aims of the new suite of activities include introducing girls and young women to STEM (science, technology, engineering and maths) skills, such as through animation and coding, and encouraging wellbeing and creativity, such as through storytelling.

The badge design aims to be “bright, friendly, exciting and something for members to be proud of”, says Davis. A broad colour palette of greens, purples, pinks, blues, yellows and oranges has been incorporated, as well as illustrated icons, all applied through stitching as the badges are made of woven textile.

The new style was developed following a consultation with 50,000 girls and young women from Girlguiding groups across the UK, as well as many who were not part of any group. They shared thoughts on which activities Girlguiding should offer, and offered feedback on the design of the badges, including colours, shapes and names of activities.

Davis says the main challenge was coming up with a visual language that was “appropriate to all age ranges”, while also “retaining consistency and charm”.

Another consideration was creating a style that made the woven badges feel permanent rather than disposable, he adds.

“People retain a very personal and emotional bond with their Girlguiding experiences,” he says. “The physical nature of the woven badges, which are sewn onto blankets, jumpers or sashes, are representative of memories, and they become keepsakes that are kept and treasured.”

The corresponding handbooks and awards books have mostly adopted the same colour palette and illustration style as the badges for Rainbows and Brownies, with a gradually more pared back visual style for the Guides and Rangers. The Rangers’ books feature far more photography, fewer bright colours and more copy.

Through the new activities and badges, Red Stone hoped to create a “fresh and inspiring visual approach that is relevant to girls’ lives now”, says Davis.

The new badges and corresponding guide handbooks and award books are currently rolling out across Girlguiding groups nationwide.

Source: Design Week

A new, independent magazine celebrating classic graphic symbols has launched, based on a popular Instagram account created by a London-based designer.

In 2015, freelance graphic designer Richard Baird started an Instagram account to share his love for some of the best and most thoughtfully conceived logos of the mid-20th century.

Using a colour palette of black-and-white, and only featuring symbols with no accompanying brand names or logotypes, LogoArchive looked to spread the beauty and joy of historic identities by stripping them of all other assets and context.

Three years later, the LogoArchive account has grown in popularity and reached 122,000 followers. Then following a recent trip to Somerset House’s current exhibition on independent print magazines, Baird decided to immortalise the concept in print form.

“Seeing all the different formats at Print! Tearing it Up got me really fired up, and reconfigured the way I thought about independent publishing,” he says. “That it didn’t need to be excessive, but thoughtful and well-crafted.”

LogoArchive is now a quarterly, print magazine, published independently by Baird and printed by WithPrint, which will complement the existing Instagram account. After his visit to the exhibition, the first issue of the magazine was conceived, designed and sent to print in one day.

“This explores how we can reduce the distance between passion, conception and creating a material object,” says Baird. “Less things get in the way when we do it like this. Sure, mistakes can be made, but it is a very personal piece of work, and I wanted to express this philosophy.”

The first issue, which is out now, features just 10 pages plus the cover, translating the online archive into print form, with a curated selection of logos from the 1950s-80s, and a bit of contextual information about them. Logos featured include a charming elephant created for Canadian construction company M.C. Equipment in 1975, and a V-shaped bird icon made for German fashion brand Vogel in 1965.

But there are plans to grow the magazine, says Baird, with an extra four pages for every new edition and increasing the volume and breadth of editorial content. The format may also be rethought, such as by including logos in a chronological order. It is unlikely to be prescriptive, he says, with each issue likely to be different in layout and length.

“I liked the idea of a zine rather than a book because it gives me the chance to reconfigure the concept and content, create an on-going relationship with readers and develop a story,” Baird says. “A single book demands a resolution, is inflexible and is already familiar in logo design archival. Changing the mode of delivery is enough to reinvigorate a subject, which is essentially what the Instagram account did back in 2015.”

The design of the magazine reflects the monochrome design of the Instagram account, with white ink set against black (ebony) Colorplan card, which is 135gsm weight, with black stapling.

“I originally opted for black-and-white on Instagram for three reasons,” says Baird. “To draw the eye in, to emphasise the language of form and shape over colour, and to differentiate the account. You can’t really own logo archival, so all you have is curation and presentation.

“I wanted to honour LogoArchive’s origins in colour through the print version, and also honour its new physical form through quality,” he adds.

While the printed quarterly version of LogoArchive lacks the unlimited space of the online version, Baird says this will give him the opportunity to curate mid-century logos selectively for the various editions, be critical and make it a very personal project, while continuing to provide “inspiration” and spread “joy and immediacy” through his Instagram counterpart.

“I’d like readers of this zine to feel like they are buying into something unusual,” he says. “To show them that this is a total project, and hopefully inspire them to produce small zines of their own to share ideas and niche content, as many people did in the past. Hopefully this will show that it doesn’t need to be substantial or complete – it just needs to speak to people and have potential.”

The first edition of LogoArchive is available to buy online from Counter Print for £5, and is also stocked by Magma Books and MagCulture in the UK, and Standards Manual in the US. Baird, who currently works from Jack Renwick Studio’s space in London, worked with Withprint on the project.

Source: Design Week

The previously Virgin-owned trainline has been temporarily renationalised and taken over by the Government, and given a new name and identity to match by studio BrandCooke.

Virgin Trains East Coast (VTEC) has been rebranded as London and North Eastern Railway (LNER), following the collapse of the private franchise.

VTEC, now LNER, is a trainline which runs from London to Edinburgh to Inverness. It was operated by private companies Virgin and Stagecoach, but the companies could not meet their promised payments in their contract, allegedly caused by lower passenger numbers and revenue than was forecast, according to The Guardian.

Trainline now run by Government

The trainline has now been temporarily renationalised and will be run by the Department for Transport.

The Government department commissioned design studio BrandCooke to rebrand the company as LNER, which is a return to the original name used by the trainline nearly 100 years ago.

BrandCooke created a new identity for the trainline, which distinguishes it from the VTEC brand but keeps some design elements of it such as colour palette so that existing train livery and interiors do not need to be dramatically changed, says Gary Cooke, founder at the design studio.

Sharper “N” character

The new brand includes a red and white colour palette – reminiscent of Virgin Trains – used alongside the name LNER set in a sans-serif typeface, which is a bespoke version of Gotham.

The “N” has been elongated and given sharper points, and is used as a diagonal dividing device for colour, imagery and text.

Cooke says that the studio steered away from designing something with a “nostalgic, retro feel” that “railway aficionados may have loved” but would have been too similar to the First Great Western trainline rebrand to GWR completed in 2015 by Pentagram partner John Rushworth.

“To bring back the ‘apple green’ or ‘garter blue’ colour palette from LNER’s glory years, when interiors of the new VTEC fleet had already been agreed and produced, would have been a costly exercise,” says Cooke. “We had to make sure it transitioned smoothly from VTEC to LNER. Many of the new high-speed trains, which are coming in later this year, have already had their interiors and fabrics produced.”

Links back to Gerry Barney’s British Rail symbol

He adds that the “N” symbol in the new logo has a “directional” quality to it, which “subconsciously” harps back to the British Rail logo, designed by Gerry Barney in 1964.

The diagonal symbol is also used in the top right corner of posters and adverts, to further symbolise the North East.

The rebrand comes a few months before a new fleet of high-speed trains called the Azuma fleet are due to launch on LNER in December 2018, having launched on Great Western Railway (GWR) last year.

The Azuma trains were created and marketed under Virgin Trains, so Cooke has kept the name but integrated the pointed style of the new “N” into the “Z” in Azuma.

“Azuma is Japanese for East and by integrating the letter ‘N’ from LNER to form the letter ‘Z’ in Azuma, the logo spells out North East,” he says.

Illustrators to be brought in later

Stock photography has been used of various destinations. There was no time to commission illustrators and photographers due to the short time-span of the project, but this is something that could be pursued in the future, says Cooke, given the graphic design history of the original LNER, which featured illustrative posters between the 1920s and 1940s.

“We wanted the new brand to look bold and confident,” says Cooke. “We didn’t want the launch of LNER to be like sticking a plaster over the old brand – it had to be a well thought-through identity, and a really professional job.”

The brand guidelines have now been passed on to the in-house design team at LNER based in York, which will develop the brand with hopes to commission illustrators.

The new brand has now rolled out across station signage and advertising, such as at London’s King’s Cross and York stations, on marketing and print materials, digital platforms and merchandise. It is currently rolling out on train livery, but will launch in full on livery when the Azuma trains are launched later in 2018.

Studio Robot Food has given the Co-op range of beers, cider and spirits a new look with a consistent style and colour palette, that aims to change perceptions of supermarket-branded alcohol as being “inferior” and a last resort.

When you think of own-brand alcohol, connotations of student binge drinking, cheapness and the faint taste of paint-stripper come to mind. But how many of these presumptions are down to packaging and branding?

The Co-op is known for its focus on brand design, having previously commissioned studio North to rebrand the supermarket chain in 2016, giving it a more minimal logo and a purely blue-and-white aesthetic.

Now, the brand has commissioned Robot Food to redesign its own-brand alcohol range, which includes beers, ciders and spirits, retaining the blue-and-white palette associated with the brand but adding a silver shade and monochrome.

While all the labels and packaging are black-and-white, with hints of Co-op blue and silver, different forms of alcohol take on different illustrative styles – beer and cider packs aim to be “straight-forward and easy to understand”, says Ben Brears, senior designer at Robot Food, through a simple design featuring a block letter indicating whether it is a “lager” or “bitter”, for instance.

The spirits feature different style, from a Russian constructivist-inspired striped design for vodka, to a blue-and-white illustration of the sea accompanied by a more sombre sans-serif typeface for the navy rum.

“Spirits tend to be a more considered purchase decision but are often viewed from two metres away over a counter, so they needed to have their own identifiable design traits,” says Brears.

The Co-op’s alcohol ranges were previously a mish-mash of different colours, bottle shapes, typefaces and illustrations. While the new identity looks to give each type of alcohol its own unique style, a limited colour palette, as well as consistent bottle and can shape and style aim to give the range a Co-op feel, adds Brears, while retaining the “personalities” of the different sub-brands and an “eclectic” feel.

The unified look aims to change perceptions of own-brand alcohol ranges as being sub-standard and not being a brand within their own right – having a consistent identity helps to establish a range as more legitimate.

“Perceptions of own-label alcohol haven’t been great,” says Brears. “This hasn’t been helped by design that made it feel like a cut-price, inferior alternative to the ‘real’ branded product. We wanted to create something that was distinct and recognisable in its own right.”

The new branding and packaging is currently rolling out across all on-shelf, Co-op alcohol products.

Source: Design Week

Founded in 1907, the Scouts was set up as an organisation to help young people develop life skills and now, it has a UK membership of 450,000 children and 115,000 adult volunteers. Design studio NotOnSunday has given it a new visual identity in a bid to open the Scouts up to minorities, disband the “quite old-school and white” stereotype and show that it offers more than camping.

The Scouts UK division has a new visual identity that looks to make the organisation accessible to people from minority backgrounds and be seen as “cool again” by children and adults alike.

The Scout Association was founded in 1907 by a British army lieutenant as a movement that would help young people develop their physical, mental and spiritual skills. It was originally focused on developing outdoor and survival skills, and has since turned into a worldwide movement.

There are currently roughly 450,000 young people and 115,000 adult volunteers across the UK who are Scouts members.

Since it was founded, the organisation has used a “fleur-de-lis” motif as its logo – a stylised icon of a lily. It has had different iterations, and is used today in varying styles and forms across the world.

NotOnSunday has rebranded the Scouts for its UK groups, with the aim of “unifying” all the disparate identities that exist across branches, says Wayne Trevor Townsend, co-founder at the design studio.

The “iconic” fleur-de-lis symbol has been retained for its history, he says, but has been stripped back and simplified, turned into a flat, line-drawn symbol.

A refreshed, “brighter” colour palette has been introduced, which again retains purple as it is associated with the brand but uses a more violet shade.

Colour pairings have been incorporated for consistency, including purple and teal, red and pink, green and navy, and blue and yellow. Including red, green and blue within different pairings allows countries within the UK to adopt the pairing that best suits their national colours.

Open source Google Font typeface Nunito Sans has been used for the logotype and copy, in a bid to make the typeface “accessible” for all organisations across the UK as it is free to download.

NotOnSunday has also designed a modular grid system for leaflets and flyers, which can be personalised by organisations with imagery and text, but which will allow them to keep a consistent format.

“A lot of leaflets, flyers and posters will be created across the UK by people who aren’t designeres,” says Townsend. “It was important to create something that could be made easily within a template, and that encouraged groups to use a standard format rather than just start using their own typefaces, designs or colours.”

The brand guidelines and all visual assets are available to download from the Scouts brand centre online, so that all UK organisations can adopt the same branding.

The rebrand project took seven months for NotOnSunday to complete, and will be rolled out across all UK Scouts groups over the next two years. Animated gifs were designed by Mainframe, and a strategy film was designed by studio Young. A new brand film was created by film production agency 3angrymen.

While unifying the branding across the UK was key, the other main aim was breaking archaic stereotypes associated with the brand, says Townsend. This included opening the Scouts up to more people and making both adults and children aware of the diverse range of activities that the organisation now offers.

“There was a feeling of the Scouts as quite old-school and quite white,” he says. “This new identity aims to open it up to all different minority groups such as black and Asian communities, and generally be much broader. This applies to youth and adults who want to volunteer. The feedback on the new identity has already been positive. This is about involving everyone, and bringing everybody together.”

He adds: “And if it appeals to more people, this is going to be a positive thing for the UK in getting kids active. It will become cool again to join the Scouts. Before this project, I wasn’t aware of half the things they do, I thought it was still camping – but there’s so much, from coding workshops to dance. The key thing is making adults and children aware of what’s available.”

The new identity will roll out across all UK Scouts groups over the next two years, across all touchpoints including office interiors, signage, merchandise such as t-shirts, in-house materials such as presentations and documents, print marketing materials such as posters and banners, and online platforms including the website and social media. There are currently no plans to roll out the new identity worldwide.

Source: Design Week