Lined & Unlined

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December 2005

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The Red Crystal

For some companies, brand recognition is a matter of profit and loss. But for the International Committee of the Red Cross (ICRC or Red Cross for short), brand recognition is a matter of life and death. In order to serve its mission of protecting humanitarian and medical personnel on battlefields around the world, the Red Cross’s symbols must be absolutely recognizable and their meanings must be absolutely clear. Two of these symbols are well known: the Red Cross and the Red Crescent. And, as of 8 December 2005, the organization has elected a third: the Red Crystal.

The adoption of this “third Protocol emblem” (as it is officially known) is the first new symbol recognized by the Red Cross since the adoption of the Red Lion and Sun in 1923, a special symbol for Iran that, while still recognized, has not been used since 1980. In 1957, Sri Lanka tried to establish the Red Swastika, which is a Hindi symbol of good luck, but was rejected. India tried again in 1977 and was also rejected. And, for the last 50 years, Israel has requested the addition of a Red Star of David, known to Israelis as Magen David Adom, but that request has also been rejected.

The reason for these rejections is simple. The Red Cross fears that if emblems become more specific and more numerous, these same emblems will compromise the safety of those the Red Cross has sworn to protect. While we can rely on soldiers in the heat of battle to recognize perhaps two or three symbols of protection, we cannot rely on them to recognize two or three hundred. Moreover, the limited number of marks has a unifying purpose, aligning individuals from different countries under a common goal. To allow symbols for the Red Cross to become veiled symbols for their host countries would be to risk rendering those symbols useless. Rather than conveying neutrality, it’s possible they could invite hostility.

Unlike the cross, crescent, or six-pointed star, which are commonly seen in religious institutions, the place we’re most accustomed to seeing shapes like that of the Red Crystal is on roads and highways, where it is the shape of many of the signs themselves. The symbol’s design, with an empty center, emphasizes its connection to a frame. The symbol is an empty vessel, a neutral shape, a sign of sign-ness. As such, it is hard-wired in our brains as something that means, simply, “take notice,” and that reaction is precisely what the Red Cross wants. As shown on their website, the Red Crystal’s frame can remain empty, as it will for Israel, or it may carry the mark of the Red Cross, Red Crescent, or—in the case of Eritrea—both.

The Red Cross’s name is itself a description of its visual mark, like Target and Apple. The symbol showing a red cross on a white ground (an inversion of the Swiss flag), was devised at the inception of the Red Cross movement by its founder, Henri Dunant, in 1863. White flags were typically used in battle to communicate surrender, so Dunant thought a largely white flag would make troops more respectful of the new, peaceful organization. Once an affluent businessman with interests in North Africa, Dunant’s passion for launching the Red Cross left him broke and homeless on the streets of Geneva. After withdrawing to the secluded Swiss countryside for most of his life, Dunant finally went on to win the first Nobel Peace Prize in 1901.

The Red Crescent was introduced in 1876 during an armed conflict between Russia and Turkey after many Muslim nations refused to recognize it. For decades, Israel had been seeking similar consideration from the ICRC, but it was not until the American Red Cross, lobbying on behalf of Israel, withheld almost $35 million in its subscription fees to the ICRC that the organization began serious talks about the creation of a neutral symbol. While no country or national society will be required to change their emblems, none will be required to use the Red Crystal either, but all nations will be required to respect it. While the resolution to adopt the Red Crystal did not pass unanimously, only Syria was vocal in opposition to it.

In every piece of communication, visual or verbal, there is a sender and a receiver. The degree to which the communication remains intact and intentional from one to the next relies on an absence of “noise,” or interference. In the case of the Red Cross, noise might come from a lack of visibility (the symbol cannot be made out on the door of a muddy jeep), or it might come from a bias inherent to the sender or receiver (the symbol is not recognized because it is also a symbol from a warring religious group).

While it has done literally everything in its power to minimize noise in the first case with a clear and readable logo, the Red Cross has done little over its history to minimize noise in the second case, leaving both of its major symbols vulnerable to cultural bias. The Red Crystal, then, is a major step in the right direction for this groundbreaking organization. Like all doctors, the Logo Doctors are fans of the Red Cross. Now we have one more reason to celebrate. If one type of successful mark must make a call to action, there is no greater call than, to borrow from the words of Hippocrates, “First, do no harm.”

The version of this article that was published on 12 December 2005 by BusinessWeek.com is available here. © 2005 Rob Giampietro and Kevin Smith.

Dec 12, 2005
#BusinessWeek #Essays #Published
The Emperor's New Clothes

Sit down. The Logo Doctors have a story to tell—a story about a time-honored logo that has just been changed. And more broadly, a story about when and how to tinker with a powerful brand icon.

Once upon a time, in the Orwellian year of 1984, one of the largest companies in the world unveiled a new logo that depicted—what else?—the world itself. The designer of this new logo was Saul Bass. The company was AT&T.

Bass’s new globe replaced the company’s previous logo, a bell. Although Bass himself had updated the bell in 1969, the icon had been in use for nearly 100 years before it was replaced in 1984. It was, in many ways, the perfect symbol for the AT&T brand: Not only was it a simple mnemonic for the company’s original founder and the inventor of the telephone, Alexander Graham Bell, but bells symbolize sound and many bells (church bells, doorbells) connect people. And AT&T essentially made sound boxes that connected people.

So why change such an appropriate, well-recognized symbol? Because in 1984, the U.S. Government forced AT&T to break up, spinning off its local phone service in seven regional “Baby Bell” companies. If you’re not the only bell in town, you can’t very well keep using the symbol to mark your territory.

Bass’s solution was to signify something more than sound and connectivity: AT&T’s global reach. If the Baby Bells connected friends and family across town, AT&T linked you to a network spanning the world. Despite the ubiquity of the bell, Bass’s globe was instantly accepted because it effectively symbolized how customers had come to see the company and how the company had come to see itself. The globe signaled to AT&T customers, shareholders, and employees that its new vision was international.

And what a globe it was! Emblazoned in a UN-style blue (an element Bass borrowed from the bell), the globe’s racing latitudinal lines thinned to white in what would be North America’s location, subtly positioning our continent as the information flashpoint for an increasingly wired world. The icon presented the globe as a unified, countryless sphere, coursing with information. This vision of the world has remained a potent one: the symbol is still widely recognized, despite the fact that, since Comcast bought AT&T’s broadband cable division and Cingular bought AT&T’s cellular division last year, the services many consumers had come to expect from AT&T no longer belong to it.

How does AT&T’s new mark stack up? Well, like the old mark, it’s round. Like the old mark, it’s blue. Like the old mark, it has stripes of varying widths. And, like the old mark, it suggests that its round shape is three-dimensional. But this time the three-dimensionality is emphasized with the addition of transparency, shading, and some nifty computer effects. Other than looking like Pixar’s version of an old Disney cartoon, it’s pretty much the same.

As Pentagram’s Michael Bierut—who’s written a moving elegy for Bass’s globe on the site Design Observer—points out, “Bass’s AT&T mark has one advantage over anything that will replace it: it already exists…. Anything new will surrender all that equity, return to square one, and compete for attention with all those other telecom marks out there.”

When a company decides to change a mark that is as beloved and recognizable as AT&T’s globe, it better have a good reason for doing it. Like, the government has declared you’re a monopoly and you must split your company. So: change your mark because the rules of business have changed and the old mark no longer applies. Change your mark because your company has shifted its business strategy. Change your mark because it was bad to begin with and no one recognizes it. And when you change your mark, really change your mark.

The only upside in writing over something as long-lasting as Bass’s globe is in the opportunity to present something entirely new, a bright and confident vision of what’s to come. AT&T’s “new” logo, introduced this 21 November, does no such thing. If Bass’s globe was a confident cannonball into the pool, this logo, by an uncredited designer, is a timid toe in the water. It reduces Bass’s mark to a hollow, cartoony shell of itself. It may not be the same, but it’s definitely not new. As a result, it fails to communicate what, if anything, is actually new at AT&T or even—more basically—why the company changed its logo in the first place. True, AT&T’s sale to SBC required the new entity to review its corporate mark. But in recognizing that AT&T had the stronger brand, SBC should have left the globe alone. The reason for the logo’s change reeks of egotism more than anything else: SBC, once a Baby Bell, has redecorated big Ma Bell’s house its own way, like a bad episode of Trading Spaces.

The “un-newness” of this new mark reminds us of the spring rollout of Mountain Dew’s “new” logo, which looks almost identical to the old one, except that it is sharper and shinier. In response to charges that the new logo was anything but, Scott Johnson of the ad agency Tribal observed, “A lot of people aren’t really going to notice it…, [but] guys can find things that no one really knows are there.”

There’s a great story about things that no one really knows are there, and it’s called “The Emperor’s New Clothes.” A king, told his robes are the finest and most beautiful in all the land, confidently strides out in public naked—his perception clouded by the power of his tailor’s story.

In rationalizing its transparent globe, you can witness AT&T falling prey to a similar kind of storytelling. The company says, “The new globe is three-dimensional, representing the expanding breadth and depth of services that the new AT&T family of companies provides to customers, as well as its global presence.” But wasn’t the old globe three-dimensional? It says, “Transparency was added to the globe to represent clarity and vision.” But wasn’t the old globe transparent?

Diagnosis? The third time’s not a charm, AT&T, and your new blue “beach ball” is full of hot air.

The version of this article that was published on 12 December 2005 by BusinessWeek.com is available here. © 2005 Rob Giampietro and Kevin Smith.

Dec 12, 2005
#BusinessWeek #Essays #Published
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