Studio Dumbar rebrands Alzheimer Nederland
Studio Dumbar recently completed a typically vibrant new identity scheme for Alzheimer Nederland. The studio talk us through the thinking behind the work
CR: Why was the decision taken to rebrand Alzheimer Nederland? What were the key elements of the brief?
SD: "The previous identity [above] was rather grim-looking. The basic colour was dark green and the symbol was a tree that was partly without leaves, a few bare twigs. The meaning was unclear. And more important: most people thought of it as a negative symbol."
CR: What research did you do for the project?
SD: "Alzheimer Nederland researched the identity. Besides the negative connotation with the previous symbol, it also showed that only a few people knew it or related it to Alzheimer Nederland. Our own research focused on the visual behavior, communication and use of symbols of Alzheimer-related organizations around the world and comparable NGOs in the Netherlands."
Various Alzheimer charity logos from (from top) the UK, US, France, Australia and Belgium
CR: Can you talk us through the key elements of the identity and why they were felt appropriate, particularly the 'vanishing point' idea? [See video above]
SD: "The vanishing point in the typography is the most crucial element of the whole identity. They are used as a layer on all communication media. The words and phrases are legible, but not at first instance.
People immediately feel the meaning of it, because Alzheimer is an afwul process in which you lose grip of reality around you. Words enable you as a person to communicate with other people, and the world. They are your main tool to connect to everything around you. If this tool slowly vanishes, your whole connection with the outside world vanishes. This exactly the effect of Alzheimer's. In an average of seven years, people loose touch completely and finally die.
The main challenge was to refer to this harsh reality, but at the same time create an identity that has a sense of positivism. After all, the objective of the whole redesign is for Alzheimer Nederland to raise more funds. Only scientific research can bring the prospect of a solution to the disease and the foundation is very ambitious in its target to raise research budgets. For this, it needs to have more impact.
For the colour palette, a number of bright colours have been selected. They add a lively element and moreover, people with Alzheimer are able to register bright colours much better. The editorial typography and layouts are clear and straighforward.
The photography uses the element of time, an essential factor in Alzheimer. It shows people in a sequence of shots instead of only one photo. A secondary advantage of this approach is, that it avoids the discussion if people either look either too happy or too sad; you can use different shots."
CR: What are the typefaces used?
SD: "For all headlines and vanishing point typography we used Raisonne AN by Benjamin Critton, Colofon Font Foundry and MT Plantin by Robert Granjon for all body text."
CR: What kind of reaction has the project has had so far?
SD: "The response from the circle of patients, relatives and volunteers was heartwarmingly positive. This was quite a challenge because people who are involved with the disease and the patients are not primarily interested in design. That made us very happy. It means we reached the 'double happiness' we're always aiming for: the strategic objectives of the client are achieved with a design-concept that is full of power and beauty."
See more of Studio Dumbar's work here
Alzheimer's is such a difficult, sensitive subject that creating an identity for an organisation dealing with the issue and getting the tone right must be very tricky. Not only do you have to communicate to those who either themselves have the condition or who have relatives affected by it, you also have to energise staff and volunteers and attract funds. As the examples from other countries above show, most tend toward images of support while both the French logo and the previous Dutch mark employ the somewhat clunky metaphor of falling leaves to suggest the gradual onset of dementia.
Studio Dumbar's vanishing point is also quite an obvious allusion but it is executed with typical panache and verve, especially in motion. The use of photography in the supporting literature and on the website (below) is particularly strong. The main logotype, with its combination of the 'a' mark and charity name, ensures that there is no doubt what this mark is for (which supposedly was a problem with the old one) and rids the organisation of the dull, institutional feel that afflicts many charities in this area. This feels like an organisation with a positive, energetic approach to tackling one of the most challenging conditions of our times.
CR for the iPad
Read in-depth features and analysis plus exclusive iPad-only content in the Creative Review iPad App. Longer, more in-depth features than we run on the blog, portfolios of great, full-screen images and hi-res video. If the blog is about news, comment and debate, the iPad is about inspiration, viewing and reading. As well as providing exclusive, iPad-only content, the app will also update with new content throughout each month. Try a free sample issue here
CR in Print
In our October print issue we have a major feature on the rise of Riso printing, celebrate the art of signwriting, examine the credentials of 'Goodvertising' and look back at the birth of D&AD. Rebecca Lynch reviews the Book of Books, a survey of 500 years of book design, Jeremy Leslie explains how the daily London 2012 magazine delivered all the news and stories of the Games and Michael Evamy explores website emblemetric.com, offering "data-driven insights into logo design". In addition to the issue this month, subscribers will receive a special 36-page supplement sponsored by Tag celebrating D&AD's 50th with details of all those honoured with Lifetime Achievement awards plus pieces on this year's Black Pencil and President's Award-winners Derek Birdsall and Dan Wieden. And subscribers also receive Monograph which this month features Rian Hughes' photographs of the unique lettering and illustration styles of British fairgrounds
Please note, CR now has a limited presence on the newsstand at WH Smith high street stores (although it can still be found in WH Smith travel branches at train stations and airports). If you cannot find a copy of CR in your town, your WH Smith store or a local independent newsagent can order it for you. You can search for your nearest stockist here. Alternatively, call us on 020 7970 4878 to buy a copy direct from us. Based outside the UK? Simply call +44(0)207 970 4878 to find your nearest stockist. Better yet, subscribe to CR for a year here and save yourself almost 30% on the printed magazine.
I think, in the selection of logos above, you might have missed the excellent new identity for Alzheimers Australia that Interbrand Australia designed and launched last year:
Sensitive application of good idea driven design. Well done!
@Ed. No it isn't. The logo or identity doesn't say anything about alzheimer. Its a (bad)campaign logo to fight it.
oh, yeah.. the G has an arrow. 'Why?'
Dumbars work is outstanding!
@ Ed Wright, I'm not sure how excellent the identity for Alzeimers Australia is. Its a ubiquitous looking exercise in putting the same typographic treatment on as many things as possible. I could actually be for anything, and almost suggests that Alzheimers is a somewhat militant possibly environmental political movement.
Studio Dunbar's Alzeimer Nederland, is subtle but memorable and manages to illustrate the delicate theme of memory loss using a unique typographic system. Others may query how relevant, the "designy" crops and overlays in the editorial work are to a cause like this. The fact is that this is what Dutch deisgn is like, audiences are accepting of subverted and sometimes illogical design. They are made to work for the message. In the UK graphic design is spoon fed.
Hello, well, I just wanted to point out that the 'various Alzheimer charity logos' shown was a bit misleading in implying that other charities were all outdated/boring.
I like the proactive stance of Interbrand's campaign, and its purpose in bringing to the fore the fight against (as oppose to succumbing to) alzheimers.
Studio Dunbar's work is very good-looking, but I agree with Tom in that it is very 'designy'. Are images of confused looking elderly people and a typeface that suggests vanishing memories really a positive message? By making a typeface less legible, is that not a cruel trick on people possibly already struggling to read and comprehend.
"The words and phrases are legible, but not at first instance." Did no-one think that's a pretty bad idea for the end user?
I agree with you Ed.
Personally I can't see any positive message within this identity. The aesthetics are very interesting, but ultimately the idea is focused on the negative aspect of the illness.
I agree with both Ed and Richard, hard to see the positive in the fading type = memory loss.
Dumbar work is about understanding alzheimer. It's a process.
Why does the ident needs a positive message?? Please no! There is nothing positive about it.
It's a disease that needs explanation to understand how it develops. The Ident does that
Not a fist with a heart in it.
I totally agree with you Jay, the whole fist & heart thing would be the wrong approach.
In answer to the first question around the key elements of the brief, Dumbar highlighted the importance of changing the negative connotation of the previous symbol.
In my opinion, although the identity looks so much better, the idea still communicates a negative message.
Charity identities always stir up a good debate.
I recently finished an MA and my final project was a visual study of the identity and branding techniques used by this sector. It is an incredibly competitive area, (there are over 160k in the UK and around 20% of those have revenues streams in the £M's), and the strength of a good identity is no different to to any other industry. I was staggered to hear as part of my research a very well known charity talking quite openly about 'owning an illness'. At the time I thought a rather distasteful remark but by the end of my study I understood the rationale as they are all competing against one another for the charitable pounds and pennies in our wallet.
(For me) Why this identity works is it provides the organisation with a strong and intelligent profile. It is positive and forward thinking. It is realistic and - to a point - practical. (I say that because it works much better as a motion graphic than a static.) Much of a charities role is to educate the general public, obvious I know, but in my research I found so many were just talking to themselves. I wish more organisations would take this sort of intelligent approach. This idea is a strong reflection of the organisations own awareness of its identity, the point of its purpose and its principles.
A rather longwinded way of saying . . . I like it.
We also have to keep in mind that charities operate in very different ways to one another. Some are very service-based (or deal with the 'deployment' side) and some are hardcore fundraisers; and a lot have to do both. Just because something is a charity doesn't mean that it have to play the sympathy vote, or on the other hand be sympathetic to the people using a service—different focusses, and possibly different faces for different types of stakeholder.
I completely agree with Jay, there is nothing positive about this horrific disease so I don't see why the charity should have to adopt a 'positive' stance. Proactive yes, but not positive.
This is brilliant work, some of the best i've seen on recent months.
Look great - but can't see how Dumbar can comment on the previous being a negative symbol when they have portrayed the same negativity.
I always thought organisations like this would rather portray the positives of the company rather than the negatives of the disease.
|The Creatures of Adland (19)|
|Chanel's Supermodel Supermarket (1)|
|Four fonts walk into a bar... (4)|
|Ad of the Week: Save the Children, Most Shocking Second a Day video (2)|
|Ad of the Week: Axe Peace, Call To Arms (11)|
|The Creatures of Adland|
|Penguin reveals its new-look Pelican|
|Dutch National Opera and Ballet: two art forms, one identity|
|Aitor Throup on creating Damon Albarn's Everyday Robots video and artwork|
|A history of Japanese poster art|