What do you think 2022 will hold for branding design?
After two years of the global pandemic and subsequent restrictions that we have all lived through, I think people are ready for some serious stimulation and branding bravery. Where wordmarks and flat design has played on the “less is more, no logo” approach, we will find ourselves entering a world of visual maximalism. Layering, textures, metallics, bold dynamic type and embellishing will come together with vibrant colour palettes. In a move away from the world of “blanding”, modern brands will know what they stand for and will want to shout about it.
We will see a logo renaissance with a celebration of witty, engaging and personality-full symbols that work well in 3D and that come alive through motion, bringing instant recognition and sense of identity across a multitude of diverse applications. The notion of brand purpose is changing as consumers expect nothing less (and can spot greenwashing a mile off) so traditional “sustainable design codes” will be a thing of the past. In 2022 brands will need to go big or go home, owning their identity bravely and celebrating it through everything design has to offer.
What was your favourite branding project from 2021 and why?
Among so much great work, I really loved the new San Francisco Symphony branding by Collins. It perfectly demonstrates how brands can be designed for our digital world while also adding depth in the world of print too. Using an evolving visual system and variable font technology, the typography has been created to reflect the music itself. I love how the branding cleverly uses a font that feels premium and heritage, while also bringing modernity and dynamism to the brand and reinforcing the timeless relevance of classical music. The SF Symphony is 108 years old and yet the branding masterfully brings a timelessness, appealing to new audiences without alienating long-term fans.