EditionSIÈRYNE
All issuesIssue 03 / Brand thinking2 min read

Your logo cannot do everyone's job.

A model in a cobalt suit with a grid of blue graphic squares across the face; dark yellow SIÈRYNE masthead and article title.

A useful identity holds together in the places the presentation conveniently leaves out.

A beautiful logo can introduce a business. It cannot explain a confused offer, rescue a badly written email or persuade an unrelated set of photographs to become a campaign. That is rather a lot to ask of six letters and a flourish.

The rest of the identity needs decisions of its own. What should people recognise in the images? How does the business speak when something goes wrong? Which information gets attention first? A logo sitting at the top of every page will not settle those questions.

A cobalt-sleeved hand arranges painted abstract paper fragments on white plaster.
A recognisable fragment is not yet a complete identity.

Start with the business

Before choosing a typeface, write down who the business is for, what it offers and why someone should choose it. Use words a customer would understand. If the answer could sit comfortably on a competitor's website, it needs more work.

Those answers give design something to express. A business selling speed needs a different emphasis from one selling a highly involved service. The difference should be visible in what gets explained, how the pages are organised and the images selected.

“Clean and contemporary” leaves most of that undecided. It describes a very well-populated neighbourhood.

A model in cobalt tailoring stands beside a family of sculptural black, blue and white curved panels.
Related choices can create a world without repeating a mark.

Give it an ordinary Tuesday

Test the identity on an invoice, a phone screen and an email explaining a delay. These are useful places to find the gaps a glossy mock-up can hide.

The formats need different things. An invoice should make the amount and payment details easy to find. A campaign image can take more time setting a mood. Both should feel as though they came from the same business, without having to wear an identical layout.

A model adjusts a white cuff while carrying a rolled abstract print through a studio doorway.
An identity needs to work away from the presentation.

Cover the name

Put several pieces together and hide the logo. Look for recurring choices in the photography, typography and language. If only the colour connects them, there are still decisions to make.

Write those decisions down in a form another person can use. Then ask that person to make something new. If the result belongs to the same brand without copying an existing page, the identity is ready for more than its presentation.

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