Nov 24, 2009
More Than Words
As we have discovered (although not entirely unexpectedly) when discussing the possibilities of an alternative brand for Tasmania, a lot chatter has focused on the symbolism of some fairly obvious furry inhabitants of the Island we all love so dearly. So far there has been no discourse around an equally; or as some might argue, the most important element of the logotype, the typography.
A brief introduction into the wonderful world of type. Typography is a term used to describe both the design as well as the setting (or formatting) of typefaces or in common terms; fonts. While the average observer is familiar with the system fonts that come standard on most home PCs, they may or may not realise that there are literally tens of thousands of typefaces in circulation available for purchase and use.
It is the subtleties and characteristics of each letter form within the 256 or so individual characters within a typeface that sets it apart from the next in the list. Typefaces are also subject to categorisation, of which there are many. For example serif, sans serif, slab serif, script, black letter, display etc etc. It is these subtleties that combine to give a typeface personality or tone, for example a serif typeface is more likely to be seen as more classic than a sans serif, a script warmer than a sans serif.
The current Tasmanian Government brand typography is a mixture of a sans serif that suggests slightly modern yet bland, and an inappropriately informal script/display that seems more suited to child care centres or garage sales than it does state governments. These values are completely at odds with what we would consider to be the most important impression the Tasmanian government should create. Surely we must seek to be able to use terms like vibrancy, vitality, honesty, energy and integrity in response to a new brand.
Many modern examples of successful branding projects use typefaces with little modification to the primary character set. Equally, many include a completely custom designed typeface for use exclusively for the particular brand. In these instances typographers or designers are briefed to create a custom typeface who’s subtleties intrinsically reflect the values of the brand. Recently we have had the pleasure of using typefaces by 2 antipodean leaders in type design, Letterbox Melbourne and Kris Sowersby from New Zealand. Both spend the majority of their days expertly creating custom type for clients globally and could talk till the cows come home on the importance of the role of typography in graphic design.
If the primary challenge in creating place branding is to distill the essence of the specific place into the simplest graphic expression, then is this possible through typography alone? Do we really need simplistic graphic representations or symbols to communicate this essence? Maybe? Maybe not.
Perhaps in an international climate where the renewal cycle of branding systems seems to be ever shortening, a solution that is dependent on typography alone may be the solution for creating a more enduring and longer lasting identity?
This example by Saffron Brand Consultants for for the branding of Visit London is a solid example of this approach, the power of the system is in the consideration of a flexible hierarchy that breathes life into the identity and allows for it to be applied in different configurations depending on audience and intention. London doesn’t need Big Ben, Black Cabs, Queens Guards or any other icon or stereotype, just refined, yet personable typography that yells heritage, culture and class.
Many would argue, one of the most unique aspects of Tasmania is the simplicity of life, and the unexpected. Are such emotions even able to be depicted through symbolism? For the sake of discussion (or perhaps argument), if we were to represent the Tasmanian State Government brand in type alone, should it be a classic and formal serif typeface? Should it be a humanist sans serif? Should it be friendly and approachable or should it be more arms length and dependable? Should it be solid and bold? Or should it be more modern and flexible?
Please note, the examples above are not intended as design suggestions, These are just some of the many ranges of tone that are possible through type alone.
Andy – Great piece.
In answer to the questions posed:
Place branding should all be about creating value for the city/state/region. This can be done by ensuring that all of messages that ‘place’ has are aligned with the one thing it makes it unique from every other place.
Too many times a place will try to have many voices for many people, but finding the one true thing that makes that place unique over and above the surface offerings is at the heart of place-branding – or branding for that matter.
It is easy to create the truth, but difficult to search and extract it from any organisation of place for that matter – and the truth/authenticity behind any brand should be brought to the fore.
Many examples exist on this and ask you to imagine France without fashion, Japan without its service culture and aesthetic mix of clean-Swiss and Tokyo-chaotic. All perceptions built over time, organically and from within.
As we all know, places also have a very clear strategic vision – a purpose of where they are going, who they want to attract (tourism, investment, entrepreneurs, conferences, events, funding etc.) and how they want to define themselves against the competition. This strategic vision, should also be considered when crafting a place-brand.
To answer your questions:
_ Yes a place brandmark can be distilled down and represented with typography alone. (I think Liechtenstein’s brandmark is type rendered from diamonds.)
But I feel typography needs to be at the heart of the place if it were to be the centrepiece of it’s branding. Why else would you adopt this creative strategy?
Does the place have a history of typographic excellence?
Is it going to be meaningful to its audience?
_ As long as the graphic expressions drive home a place’s strategic vision and are true to the soul of the place, working across the many facets that are relevant to attracting investment, tourism, events and funding; then yes.
In this case, I think the purpose/objectives and soul of the place should come before the craft.
Keep up the great work. I’ll be following!
J.
thanks for a fantastic perspective on things jim. a great read!
It seems challenging to reduce it to type because of the historical context…the serifs instantly seemed appealing because they capture the feeling of old world adventure but can you really use a European typeface with the colonial connotations? On the other hand, a modern face would seem to wipe the slate clean and ignore the history (as the current mark kind of does).
If you want something to stand out, don’t make it hard to read. I came across a brochure the other day with each section done in a different typeface. The idea behind it was to make if fancy and each section stand out. The final result was that none of it stood out, and it all melted into a jumbles mess. Make it simple, make it recognisable, but above all make it easily readable.
Yes, that cap ‘T’, lower-case ‘a’ sure can be tricky…
VISIT
LONDON
MIND THE GAP
I am a graphic designer, but unfortunately I cannot help you with any design ideas for your solutions.
However, I will give you my perspective on Tasmania, as I was able to visit there.
The reality is that Tasmania is quite a beautiful place, with weather close to New England because of its opposite location on the globe. And if anyone has seen Lord of the Rings, they know what New Zealand looks like, which is also pretty relative to Tasmania as well. (just not as intense)
I would try to capture that beauty somehow, whether it is in your type, or in the mark. If you do choose to focus on the font, which it seems, I wouldn’t encourage such an elegant font, like France, but I wouldnt choose something so simple, like London. Tasmania has more character than everyone gives it, and its people, deserve.
I think it’s about time for a change,maybe something like, (Tasmania-Walk on the wildside)