Established in 1930 by Herman Fisher, Irving Price, Margaret Evans Price, and Helen Schelle, Fisher-Price is a brand of educational toys for children and infants. Headquartered in East Aurora, NY, the company has produced — among more than 5,000 different toys over the decades — classics like the Corn Popper, the Chatter Phone, and the endless barrage of Little People. If you have kids or were a kid (which you were) you have most likely gleefully played with (or had to endure) a Fisher-Price toy. Owned by Mattel since 1993, Fisher-Price remains a staple in kids toys and at the end of last year introduced a new identity designed by New York, NY-based Pentagram partner Emily Oberman.
The refreshed identity centers on the bright red “awning,” the iconic mark with scalloped edges that holds the company name. The updated logo simplifies the awning to three semicircles (from the previous logo’s four) and uses its clean, simple geometry as the basis for an expanded visual language. (Internally, the retooled awning also symbolizes the three founders of the company—Herman Fisher, Irving Price and Helen Schelle, as well as the intersection of parents plus kids.) The logotype has been redrawn in all lowercase, with letterforms that are slightly more refined than original but still quirky. The hyphen between the names is now a semicircle, echoing the scalloped edge as well as the smiles on the faces of the Little People.
The old logo was pretty good with its funky serif and a holding shape that has become quite iconic (as well as very useful in packaging, aligning neatly to the top of the products). The new logo evolves both elements with the typography getting a lovely and playful lowercase treatment that yields a great “fi” ligature. The one problem with going lowercase is that it’s now missing the uppercase “P” that helped fill some of that vast red space inside the awning, which, in its evolution, now has a lot more vertical space to fill having changed from four half-circles to three. I personally liked the four version better as it created a more balanced shape but I don’t have any major qualms with the three version. The smile replacing the hyphen is a nice touch too.
The primary logo is joined by two monograms, a circular “bubble” and an abbreviated version of the awning called the “flag tag,” both with a redrawn lowercase “FP.” In applications, the red awning can be extended to fit the tagline or other copy (a device the designers refer to as the “red carpet”). By itself, the awning can be used as a simple graphic icon that can be placed anywhere—attached to the typography of the tagline, hidden in promotional photography, or used in packaging and store displays—instantly flagging it as Fisher-Price.
The monogram is a solid and fun addition to the identity, keeping the exaggerated ball terminal of the “f”, which allows it to stack well with the angled “p” and I like how it can work inside either a circle or a squared version of the holding shape. I wonder if the monogram needed the hyphen in there as it’s such a key element of both the name and the brand. Still, I think with time it can become as easily associated with the brand as the full logo.
Primary and secondary logos.Logos with brand photography.Logo pattern.
The Pentagram team researched early advertising and packaging in the company archives and saw the typeface Cheltenham was consistently used for everything, creating a smart, cheerful typographic tone of voice for the brand. The new wordmark influenced a full proprietary typeface called Let’s Be Glyphs, a semi sans serif that nods to Cheltenham and the letterforms of the original Fisher-Price logotype, and a playful alternate, Let’s Be Glyphs Bouncy, with rotated characters and an uneven baseline, both created with type designer Jeremy Mickel. Quotation marks and apostrophes appear as semicircles. Secondary type is set in the clean and modern sans serif Maax.
The custom type family, designed in collaboration with Jeremy Mickel is as excellent as we’ve come to expect from him, efficiently mixing a sense of old and new into this typeface. I’m not a huge fan of the bouncy version but I can see how it will be beneficial to the Fisher-Price team for adding some instant fun-ness to their communications.
The graphic elements can be combined into patterns and used to build “Play-moji,” emoji-like illustrations inspired by the Little People faces on toys. The age-appropriate approach transitions from cute illustrations for babies to more “grown up” use of patterns for older kids. The joyful look and feel is carried throughout the branding, including print and digital advertising and retail merchandising.
The illustrations and patterns have a great base in that they all stem from the shapes of the logo but there is something not quite there about them — I’m not sure if it’s the overabundance of color or that they are not fully cohesive as a set. This has room to expand and evolve so maybe when they are put to use, it will settle a bit.
Notebook.Mugs.T-shirts.Swing. Bonus points for convincing Photoshop job.Account launch video on Instagram.
Not much in terms of application given that most of this will be implemented internally as new products are put into the market but the gist of it is that it’s fun, lively, and… effervescent. This isn’t a brand that needed a reinvention or a lot of graphic “muscle” since the toys themselves are what make up the core of the brand and this new identity efficiently supports that while breathing some fresh air into it as Fisher-Price continues its path into the century mark.
Thanks to Shane Richardson for the tip.
See what else happened on Brand Neweach year since publication began in 2006
PubMatic has released a new Identity Hub as part of its Prebid User ID module. The enterprise identity management solution gives publishers the ability to manage multiple IDs for each ad impression, ensuring advertisers can recognize and bid on their intended audiences.
The newly launched Identity Hub directly integrates with existing partners of PubMatic’s Prebid User ID module, including IAB DigiTrust, The Trade Desk Unified ID, ID5, LiveIntent and five other major ID solutions. The integration also offers built-in analytic capabilities to measure the incremental value of each partner ID platform.
Why we care
As third-party cookies are becoming a thing of the past in the face of privacy regulations like GDPR, and now CCPA, publishers must find new ways to connect advertisers with their targeted audiences.
“By extending open-source code from Prebid, PubMatic’s Identity Hub addresses this challenge by simplifying the use of multiple IDs in an intuitive, easy-to-manage solution,” said PubMatic Director of Product Management Ankur Srivastava.
PubMatic’s Identity Hub aims to increase publisher monetization capabilities by giving advertisers the ability to recognize and bid on their desired audiences when implementing programmatic ad campaigns.
More on the news
PubMatic’s Identity Hub comes pre-integrated with OpenWrap, the ad tech company’s Prebid-first wrapper solution, or can be used as a stand-alone solution for publishers using other header bidding wrappers.
The company boasts an “intuitive UI” for the Identity Hub that removes the need for developers when managing and configuring partner ID solutions within the platform.
Publishers can activate the tool starting on Monday with just a “few clicks,” according to PubMatic.
About The Author
Amy Gesenhues is a senior editor for Third Door Media, covering the latest news and updates for Marketing Land, Search Engine Land and MarTech Today. From 2009 to 2012, she was an award-winning syndicated columnist for a number of daily newspapers from New York to Texas. With more than ten years of marketing management experience, she has contributed to a variety of traditional and online publications, including MarketingProfs, SoftwareCEO, and Sales and Marketing Management Magazine. Read more of Amy’s articles.
(Est. 2019, opening 2020) “The MassArt Art Museum (MAAM) is Boston’s newest museum, a space to experience works by visionary artists at the forefront of contemporary art. As MassArt’s teaching museum, we are committed to educating and empowering the next generation of artists—both on our campus and throughout the world. As a kunsthalle, a non-collecting museum with no permanent collection, our exhibitions will perpetually change to feature contemporary art across a wide array of disciplines—a true reflection of the diversity of majors at MassArt, the first publicly funded freestanding art school in the United States.”
MAAM sought a bold brand that breaks the mold of the stark black-and-white motifs at other contemporary art institutions. During a visual workshop, the MAAM team reached consensus on what they desired in a logotype: “No serif, no sans serif.” No problem, right? We delivered with a logomark that has custom letter forms that are moving forward in space. And we partnered with Nick Sherman to craft a bespoke font that is used as the display face in the system.
Logo.Logo-as-window.Logo with wordmark.Custom typeface, designed by Nick Sherman.Business cards.Website.
Ads.
Banners.Buttons.Swag.
Opinion
The new logo is interesting and serves as another piece of evidence that both designers and clients may be getting tired of the same old approaches to art institution identity design. Coincidentally — because there is no reason to believe there is any foul play — this looks a lot like the recent Museum of the Home identity with the use of the orange color and the hard shadow casting. Again, in no way am I trying to say that MAAM is a derivative of Museum of the Home — they were both released at about the same time. On separate continents. Anyway… I don’t love the new MAAM logo but I think it does a good job of treating the mirror-y MA|AM combination of letters in an unexpected way by splitting them into two lines and extruding them quite generously. For a small-ish art museum it works. I could have done without the logo-as-window treatment which feels way too clichéd now for a museum and it doesn’t really work inside those shapes. The custom typeface is also interesting but it’s somewhat harsh and not exactly inviting. While the applications avoid the typical black, the colors chosen are a little too… happy. It almost starts to look like a high-end kids clothing store more than a museum. The hard shadows to frame photos in application go in all directions and it starts to get a little noisy with the different colors and the logo and the custom type — it’s as if each element in the layout is pulling you in a different direction. Overall, the approach is right — somewhere between playful and experimental — but it doesn’t quite come together in the end.
See what else happened on Brand Neweach year since publication began in 2006
Experian has announced a new solution aimed to help marketers connect online and offline attributes and better understand their target audiences. The solution leverages machine-learning algorithms and probabilistic techniques to connect billions of identity signals and data elements, including Mobile Ad IDs (MAIDs) from a variety of internal and external sources.
Why we should care
Identity plays a crucial role in helping marketers understand who our customers are. The ever-changing technology landscape, however, creates challenges for marketers trying to analyze their customers’ activities. Experian’s solution will allow marketers to bridge gaps in identity resolution and bring together the appropriate data points to reach customers with relevant, timely campaigns.
“The combination of hundreds of digital and offline touchpoints, disjointed technology and data silos make it difficult for brands and agencies to gain a single customer view,” said Kevin Dean, Experian’s president and general manager of marketing services, North America. “Consumers need to be at the heart of every advertising campaign—and proper identity resolution is critical to accomplishing that objective. The ability to connect these data elements, with consideration to data privacy, opens the door for brands and agencies to create and deliver personalized messages that are timely and relevant to their audiences.”
More on the news
The new solution will be available via MarketingConnect, Experian’s identity resolution platform.
The MAID resolution capability was developed in collaboration with Experian Data Labs, Experian’s advanced analytics and development group.
About The Author
Jennifer Videtta Cannon serves as Third Door Media’s Senior Editor, covering topics from email marketing and analytics to CRM and project management. With over a decade of organizational digital marketing experience, she has overseen digital marketing operations for NHL franchises and held roles at tech companies including Salesforce, advising enterprise marketers on maximizing their martech capabilities. Jennifer formerly organized the Inbound Marketing Summit and holds a certificate in Digital Marketing Analytics from MIT Sloan School of Management.
Identity resolution — the process of connecting the growing volume of consumer identifiers to one individual as he or she moves across channels and devices – has become critical to marketing success. US consumers are projected to own up to 13 connected or networked devices by 2021, according to Cisco’s annual Visual Networking Index.
At the same time, consumer expectations for relevant, personalized brand interactions across all of their preferred touchpoints have risen just as quickly. Forrester Research found that nearly three-quarters of consumers react negatively to inconsistencies in brand experiences across devices.
In today’s competitive environment, it is essential that brand marketers understand which online devices and offline behaviors belong to a consumer as well as who that consumer is.Martech Today’s all new “Enterprise Identity Resolution Platforms: A Marketer’s Guide” examines the market for identity resolution tools and what you should expect when implementing this software into your busine
This 42-page report includes profiles of 13 leading identity resolution vendors, pricing charts, capabilities comparisons and recommended steps for evaluating and purchasing. Get your copy here.
About The Author
Digital Marketing Depot is a resource center for digital marketing strategies and tactics. We feature hosted white papers and E-Books, original research, and webcasts on digital marketing topics — from advertising to analytics, SEO and PPC campaign management tools to social media management software, e-commerce to e-mail marketing, and much more about internet marketing. Digital Marketing Depot is a division of Third Door Media, publisher of Search Engine Land and Marketing Land, and producer of the conference series Search Marketing Expo and MarTech. Visit us at http://digitalmarketingdepot.com.
Established in 1923, Warner Bros. is one of the most well-known entertainment companies with the creation, production, distribution, licensing, and marketing of content across feature films, television, home entertainment production, animation, comic books, video games, product and brand licensing, and broadcasting. Its library consists of more than 100,000 hours of programming that include over 8,600 feature films and 5,000 television programs. Among its most prized properties are the DC universe, Harry Potter, Lord of the Rings, Friends, and The Big Bang Theory. Owned by WarnerMedia (which is owned by AT&T), Warner Bros. employs between 5,000 and 10,000 people depending on what’s in production and its picture division had over $5.57 billion in worldwide receipts in 2018. Last week, Warner Bros. introduced a new identity designed by New York, NY-based Pentagram partner Emily Oberman.
The Warner Bros. shield is one of the most iconic logos in the world, visual shorthand for entertainment recognized around the globe. […] Warner Bros. wanted to build on this legacy and make the shield more functional and effective. The previous iteration, introduced in 1993, was highly detailed and hard to use at a small scale and in digital contexts, which are increasingly important.
The update streamlines the logo to its key elements, returning the shield and monogram to prominence and losing the sash. The redesign refines the shield with a form based on the classical proportions of the golden ratio. The designers looked at the construction of the letterforms of the “WB” monogram, preserving their quirkiness but making them more modern. The letters of the monogram align as though made in one continuous gesture, emphasizing unity and connection.
The logo has been optimized to perform across various platforms and scales, from the small spaces of the digital world to giant installations like the iconic water tower on the Warner Bros. studio lot. It also works well with a wide range of content. The logo appears in the signature Warner Bros. blue, which has been brightened to a more contemporary hue, with the wordmark set off in a slightly darker shade to create a complementary contrast.
The team also created a dimensional version of the logo, to be used exclusively for on-screen content and special cases. The dimensional mark has the clean, streamlined look of the new logo, but with a depth that hints at the content experience. The logo can be customized for the opening and closing moments of individual movies and shows. It can also function as a window for imagery and sequences, using the edge of the shield as a frame.
I hadn’t realized how much I do not like the old logo — obviously it’s a classic but I think that that is thanks to its repetition (and association to entertaining entertainment) not its merits as a piece of graphic design. The gradients, the ring, the flimsy serif for the name, and the color combination were all pretty garish. Underneath all of that is the one good thing about this logo, which is the “WB” lettering and the new logo effectively brings that to the fore by stripping it away from all of the effects that have accrued over the years and creating a more interesting proportion for the shield which was awkwardly wide before. Golden ratio malarkey aside, the taller design looks so much better with the lettering and it also better accentuates the letters’ peculiarities. As much as I like the flat version I think in this case the shaded version might be better as an evolution of the logo so many people have grown accustomed to — but, certainly, having the flat version is very beneficial as a starting point for all the movie customizations that are so popular nowadays. The new wordmark is quite lovely and I really like the blue tone on tone approach.
Logo usage variations.Logo style variations.Logo as window.
The simplified shield can take on a number of different styles much more efficiently than the old logo and can do so across any medium, from movies to TV to print. The shield as window (above)… a little trite but undoubtedly efficient.
The distinctive monogram has been expanded into a custom typeface, Warner Bros. Condensed Bold, used for the wordmarks of the various divisions and other display typography. Designed by Pentagram and expanded into a full family of fonts by Jeremy Mickel, the typeface has a look and feel that is uniquely Warner Bros., with condensed letterforms that relate to the elongated “WB” in the shield. Details in the logo’s letterforms are echoed in the font; for instance, the curvature of the “R” references the redrawn “B.” Like the redrawn logo, the typeface carries a sense of the company’s history, but is clean, modern and timeless.
I LOVE the custom type family. It has such a great balance of corporate-ness and fun-ness that is very hard to achieve. It’s like a comic book version of Interstate and, I dunno, I just think it’s working on all fronts.
Business cards.Stationey.Website.Social media accounts.
Not much in terms of application but the few institutional materials shown are quite nice. Nothing super extraordinary or fun but very lively with the use of the bright blue and the single-color new logo.
Warner Bros.’ iconic water tower.
Overall, this is a great evolution that makes the new logo more easily adaptable to the different content while giving the iconic “WB” lettering a shot at lasting another 100 years, even if someone puts a ring around it again — which is bound to happen when some future designer 30 years from now thinks that that nostalgic approach was the bomb.
See what else happened on Brand Neweach year since publication began in 2006
(Est. 2019) Braun announces a long-awaited comeback to an esteemed category: audio. After nearly one hundred years of inspirational design across a range of sectors, Braun Audio (no official link) returns with a reinvention of the timeless LE speakers from 1959. London, UK-based Pure Audio is in charge of the products: “True to our heritage and focus on beautifully crafted products, we are responsible for the development and manufacture of Braun Audio, under license from Procter & Gamble, and are pivotal to ensuring this iconic brand once again takes its rightful place as the industry benchmark in premium audio.”
Precipice Design is proud to announce its work re-imagining of Braun’s 1959 iconic LE speaker range. Celebrating Braun Audio’s rich heritage, Precipice Design developed all consumer and trade touchpoints including brand and product narratives, packaging, photography, iconography, digital assets, video content and point of sale concepts, helping to re-establish Braun in the premium audio sector. Inspired by Dieter Rams’ original designs, the new Braun Audio LE Series of smart speakers encapsulate the perfect combination of minimalist form and next generation acoustic technology tuned to perfection and built to last.
The imagery leans on the rich heritage of Braun while simultaneously placing the revived speaker in a modern setting. Where the original 1950s speaker would prove to be large and cumbersome in today’s home environment Precipice’s imagery shows how the reimagined speakers fit discreetly into the home. The packaging concentrates on the purity of sound and the richness of the brand’s heritage with only the key information about the product shown on the packaging. The uncomplicated packaging is typical of Braun and reflects the aesthetics of the classic speaker through dark tones and a graphic of the speaker itself.
Precipice Design provided text
Images (opinion after)
Bold claims.
Packaging.Brochure.App.
Point of sale display.
Brand video.
Opinion
Yes, I’m a fan of Dieter Rams’ coolness. Yes, the Braun logo is great. Yes, this packaging is very nice and sophisticated and minimalist and all the good things we associate with the Dieter Rams and Braun brand. BUT this is so unexciting and expected. While that is mostly okay because it is all elegant and nice and looking its worth I feel like this could have been a great opportunity to breathe some new, contemporary ideas into the brand. I mean, Helvetica? (Although it’s most likely Neue Haas Grotesk.) This should be packaging for an alarm clock because I’m snoozing. (This is the probably the cattiest sentence I’ve written in years, sorry!, but that’s what Helvetica makes me do.) Overall, yeah, it’s fine, acceptable, and all competently executed but yawn.
See what else happened on Brand Neweach year since publication began in 2006
Way back when the Internet was young and early internet surfers were using 3600 baud modems to launch themselves via copper into the Netscape driven cyberverse, trust and identity were not really as important as they are today. Flash forward to today: Identity and reputation both play a critical role for re-establishing trust across digital communications. Who calls or emails us and their credibility (whether the caller or sender is someone who’s credible enough and worth the time of the recipient to respond) are key elements that help us decide whether to take a call, open an email or respond to an SMS. Precautions, such as two-factor authentication, is based on the fact that we can’t trust just one form of identity. I hate to sound like an alarmist, but the Internet can be a scary place.
There are a number of other technologies and initiatives aimed at ensuring trust. For me, as someone who appreciates the history of digital communications, it’s interesting to see all of these efforts trying to accomplish something that was invented more than 50 years ago: caller ID. Remember caller ID from the good ol’ landline days…where you could view the number that was calling you on your phone and see or hear the caller’s name and location?
Caller ID: Where has it gone?
The short answer is: caller ID still exists, but it’s a lot more complicated than you think.
When I said that it’s more than 50 years old, I wasn’t kidding. Caller ID was invented in 1968 by Ted Paraskevakos – long before cell phones were even an idea. The system that Mr. Paraskevakos invented (and Kazuo Hashimoto perfected in 1976) boiled down to this: when a person dialed another person, their phone sent a signal through the wires to the recipient. Landline numbers were (and today often still are) tied by physical wires connected to the local phone company’s central switch. In those days, a number was always identified with a specific address and location. Caller ID simply matched the number and location with the subscriber’s name and location.
How cell phones complicate caller ID
The advent of cell phones made the caller ID process more complicated. Cell phones now dominate phone calls. Nearly 55% of US homes in 2018 did not have a landline – only a cell phone. That number jumps to 77% when you only count millennials (aged 25-34)! The basic technology of cell phone calls involve the use of any number of various stops between multiple carriers. In the U.S. alone, there are more than 1600 phone carriers, all with their own networks and sources for caller information. A cellular call is not tethered nor dependent upon physical landlines. In the old days of landlines, your neighbor down the street was on the same network that you were on. Nowadays, your neighbor might be on AT&T’s network and you might be using Verizon’s, regardless of the fact that you live around the corner from each other. Just imagine how many places a signal has to travel to connect you to family and friends that may live in the next suburb let alone halfway around the globe. The complexity is mindboggling.
In the early days of cell phones, caller ID was largely dependent on the contact list stored in someone’s cell phone. For the most part, during those days, the only people calling each other were people who knew each other. From a product perspective, wireless carriers in that era didn’t see caller ID as critical as other services – like text and voice mail – because of the prevalence of the contact list. A lot of consumers felt they already had caller ID, and still do today. But, in reality, as has become apparent in an age of robocalls and rampant phone scams, the majority of consumers do not have caller ID, and trust in the overall communications process has plummeted.
There’s a link here with how companies viewed address books for email marketing. A brand who managed to get their recipient to add their from address to their email client’s address book benefited from improved inbox placement. Similarly, caller ID helped establish credibility when a company calls to schedule delivery or returning a customer service call. Again, we live in an era of trust but verify because our communication channels and platforms have been exploited.
Caller ID comes to cell phones
The wireless carriers did eventually get around to offering true caller ID in 2011 for around $3-5/month. The delay was partly because smartphones – which could accommodate the complex caller ID process – didn’t hit the market until 2007.
But the main reason caller ID wasn’t a priority? Because it really wasn’t needed – until the plague of robocalls, spoofing and phone scams started to become ubiquitous. That led to a demand for caller ID with a name attached to a number that showed up on the phone.
And now:
T-Mobile offers services like Scam Likely and Scam ID
AT&T customers can opt-in to services such as Call Protect and Call Protect Plus
Verizon has Call Filter while Sprint offers Premium Caller ID.
iOS 13 will give iPhone users the ability to route all unknown calls to voice mail thus preventing the delivery of robocalls, but legitimate calls in the process, how many of you store the number of your Doctor’s Office, and is it consistent for inbound and outbound?
The problem is, fewer than 5% of consumers have opted into caller ID and name services on their cell phones. Again, caller ID has been available – it just hasn’t been widely utilized by consumers.
And now, even with traditional caller ID enabled on their cell phones – like we used to have on landlines – consumers may still not know who is calling them.
The reason? Spoofing. In its simplest form, spoofing a number or email address means the sender is pretending to be someone they are not when placing a call or sending an email. There are legitimate use cases for spoofing, such as a doctor’s office calling you, or the placing of a call by a ride-sharing app to protect the driver’s and the callee’s personal information. In an age when the phone system is no longer tethered by copper but has gone virtual thanks to SIP calling, bad actors (and some good) can decide who they want to be when calling you. They can even call you from your number! Today’s caller ID system only uses the phone number associated with the incoming call to lookup the name and location of the owner of that phone number in the database. That doesn’t work with spoofing when a call might appear to be from someone you know, but in reality it may be someone with malicious intent spoofing their number to trick you into answering it.
So while caller ID still exists today and is readily available, it doesn’t instill enough trust for you to answer the call. There really hasn’t been a way to prove that the person making the call is indeed who they say they are.
The new (old) era of communications
Spoofing is why the communications industry is now starting to roll out a new technology known as SHAKEN/STIR. SHAKEN/STIR stands for “Secure Handling of Asserted information using toKENs” and “Secure Telephony Identity Revisited.” Simply put, with SHAKEN/STIR, the service provider that originates a call onto the public telephone network will cryptographically sign the caller ID and called number with a private key so the call can transit the networks securely. Upon reaching the terminating carrier, a public certificate is used to decrypt and verify the call.
Under this scheme, when a call finally reaches its destination it might be accompanied by a checkmark or some other indicator to signify it’s been certified as a legitimate call. Even for certified calls, the end user must still decide whether to take or reject a call based on the information they have.
The process is very similar to how websites currently handle trusted communications. Certification authorities (CAs) issue digital certificates verifying the authenticity of websites and their content. As a result, a user knows they are visiting a legitimate website, as opposed to one that has been setup to capture or steal information. This process is somewhat mirrored in the inbox by those little green and red lock icons you see in certain email clients that denote if the message was transmitted using TLS or if it failed certain authentication checks. This concept is finally coming to your mobile handset – and just in the nick of time! By some estimates, there are 9,500 fraudulent robocalls per second!
Times they are-a-changing!
In November 2018, Ajit Pai, the chairman of the Federal Communications Commission (FCC), required carriers to implement the SHAKEN/STIR framework to help establish the validity of placed calls by connecting callers and numbers through cryptographic signing. Remember caller ID? Knowing who called and being able to, with confidence, attest to the validity of that caller is critical to combatting spoofed calls and robocalls. Although SHAKEN/STIR won’t tell you exactly who called, it will provide a visual indicator that the caller owns the number initiating a call and help in tracing fraudulent calls. If a carrier can “automagically” tell that a call isn’t who it claims to be, or from whom it purports to have originated, then they can simply not deliver that call. This is pretty much how email authentication protects us from the rash of phishing attacks.
Earlier in the year, I wrote about the history of email in a 3 part series. Email had/has a similar authenticity problem: how do I know that the email I received actually came from the brand or person that claims to have sent it? As I said then, email was built at a time when trust and identity wasn’t as important. As the Internet matured and more of us came online, bad actors saw email as a highly exploitable channel. Standards bodies, such as the Internet Engineering Task Force (IETF), and their members took it upon themselves to create mechanisms to identify legitimate senders and drop the mail of bad actors pretending to be a legitimate brand. This potent mix of standards is now known as SPF, DKIM and DMARC.
The problem of phishing and spoofing in email is by no means solved. Bad actors continue to evolve their attacks. Simultaneously, the channel is thriving through evolutions such as Google’s AMP for Email and the renaissance that newsletters are having. Everything old is new again!
What’s next?
Wouldn’t it be great if the consumer had more information than just a green check mark indicating the call has been verified? For me personally, I’m not sure that would instill enough confidence to answer a call from a number I hadn’t seen or heard of before. Call me a skeptic. Numerous companies – both carriers and technology vendors — are working on solutions to make the call you see more friendly and informational. Some of the solutions out there not only verify the call, but also create the ability for the caller to transmit the reason for the call. In the hypothetical example below, how likely would you be to pick up the call if your flight was canceled versus how it’s done today with a 1-800 calling you? If I hadn’t put United’s number in my contact list, I’d never answer that phone call. What if the notice on your phone looked like this?
and YouMail. Similarly, our inboxes are changing thanks to the likes of Google and the much anticipated BIMI (Brand Indicators for Message Identification). which rewards companies who sign email authentication for their emails, at enforcement, with brand logos next to their messages in the inbox. Trust and identity are at the center of much debate and controversy around Internet technologies. Recently, I had the pleasure of leading an on stage conversation with some of the authors of DKIM/DMARC and SHAKEN/STIR.
One wonders what the inventors of the original version of caller ID on landlines would think about today’s various technologies and efforts to pursue trusted communications – caller ID services from carriers, apps, SHAKEN/STIR and a number of other initiatives. All of it is needed to regain that sense of trust and faith in the phone call and inbox that we all took for granted during the golden age of landlines and the earliest days of email. The complexity of today’s communications process by default demands complex solutions and industry-wide cooperation. But industry-wide cooperation is not anything new. After all, carriers and system providers cooperated in the old days of landlines, too. There may have been less of them, but still, the cooperation was there. I believe that same sense of cooperation exists today, too, just on a bigger scale. Caller ID, innovation, trusted communications, industry cooperation – the more things change, the more they are the same.
Opinions expressed in this article are those of the guest author and not necessarily Marketing Land. Staff authors are listed here.
About The Author
Twilio SendGrid. Len serves as an evangelist and proponent of best practices and drives thought leadership and data-driven insights on industry trends. Len represents Twilio SendGrid on the board of M3AAWG (Messaging, Malware, Mobile Anti-Abuse Working Group) as vice chair in addition to co-chairing the Program Committee. He’s also part of the MAC (Member Advisory Committee) of the Email Experience Council where he serves as the organization’s vice chair. The EEC is owned by the Direct Marketing Association of America, a nearly 100-year-old organization where he also sits on the Ethics Committee. In addition, Len has worked closely with the Email Sender and Provider Coalition on issues surrounding data privacy and email deliverability.
Established in 2002, Teach First is a non-profit social enterprise in England and Wales working to transform primary and secondary education at schools facing the biggest challenges and serving the most disadvantaged communities through the development of great teachers and leaders. Based on a two-year program, Teach First trains first-time teachers through a five-week intensive program before school starts and continues their development in the school where they evolve from an “unqualified teacher” to gaining Qualified Teacher Status then becoming a Newly Qualified Teacher and, in the end, gaining a Postgraduate Diploma in Education. The charity has now recruited over 14,000 teachers and leaders, 60 of which have become head teachers, supporting over a million students in the last 17 years. This month, Teach First introduced a new identity designed by London, UK-based Johnson Banks.
Samples of the previous identity.
[The] task was to find a bold and differentiating new brand approach which used the new narrative as a springboard, tackled preconceptions and would be digitally led. It needed to reflect their evolution from a charity known just for teacher training, to one offering a range of school leadership programmes, supporting schools and helping teachers to thrive. And finally it had to be adaptable across a bewildering array of target audiences: graduates; teachers; professionals considering ‘switching’ to teaching; headmasters; government departments; philanthropists; corporate sponsors, and so on.
After extensive design stages and multiple rounds of audience testing, a clear winner emerged that is simple and bold, yet enables Teach First to move in a new direction. The idea begins with a simple T/F monogram that echoes ‘building a fair education for all’ and allows them to clearly identify themselves, from the smallest space on a social post to the largest billboard site.
The old logo, clearly, was not very interesting and that same lackluster-ness seeped into the rest of their materials and communications, yielding a fairly bland and unattractive identity. The new logo features a bold monogram that blends a “T” and an “F” into a strong identifier for the organization. An easy visual puzzle where triangles help define the letters, the monogram has a nice geometric basis to it that ties it to primary education. The wordmark, in a bold, spiky serif looks good and serves as a matching complement to the shapes of the monogram. The stacked version gets a little disproportionate with the huge monogram but it does work in cementing it as the clear mark for the organization.
[We] oversaw photoshoots across the UK featuring school children who were encouraged to be themselves – real, sometimes cheeky, always human – rather than fall back on the clichéd classroom shots that have become the industry standard. We also shot a whole tranche of teachers in a similar style.
The design approach continues with a new typographic language, punchy colour palette, bold graphic style and a revised art direction approach. We also introduced a snappier and bolder new tone of voice. Together with a newly developed messaging framework, this encourages Teach First to say less, not more, using straightforward communication in an increasingly jargon-heavy sector.
The identity revolves around some uplifting photography of kids mixed with equally uplifting copywriting that communicates the organization’s goal of changing the outlook of kids’ futures from a state of apathy to a state of optimism. Visually there are a number of things going on, some better than others. I like the crossed out, lame words replaced with positive words and the cut-corner holding shape for words (the ones that say “pauses” or “rise” below) but I’m not as much of a fan of the silhouetted photos with shapes or the combination of the serif with the light sans serif. As a whole, though, it’s a versatile and varied system to adapt to multiple uses.
Brochures.
Report cover.
Key to this relaunch, their ongoing teacher recruitment and the growth of their schools network is a multi-faceted, multi-channel advertising campaign. We have developed this based upon the idea of the choices that their many target audiences face – and that by joining or supporting Teach First, you can ‘alter the outcome’. Here are some examples.
In the campaign, the silhouetted photos start to look a little cheesy — it might just be the unnatural bright yellow and blue backgrounds because when they are on black it does look great. The A/B concept is good and decently executed but I wonder if the ads are relatively “complex” to be read on the fly — I don’t know if this is just me assuming that people don’t have the attention span anymore to take 5 seconds to decode an ad because phones. Again, I like the overall tone of how the A and B options point out the attitude of just letting things be vs. the way things could be.
Various applications.
Patches.
Overall, this has an interesting aesthetic that feels academic and school-related while managing to also feel career-oriented for young professionals. Like, yes, it’s school-ish/college-y but something you could see at a career fair and where it’s clear that one could help make a difference.
See what else happened on Brand Neweach year since publication began in 2006
(Est. 1876) “The Football Association of Wales (FAW; Welsh: Cymdeithas Bêl-droed Cymru) is the governing body of association football and futsal in Wales, and controls the Welsh national football team, its corresponding women’s team, as well as the Welsh national futsal team. It is a member of FIFA, UEFA and the IFAB. Established in 1876, it is the third-oldest national association in the world, and one of the four associations, along with the English Football Association, Scottish Football Association, Irish Football Association and FIFA, that make up the International Football Association Board, responsible for the Laws of the Game.” (Wikipedia)
Our iconic Dragon is inspired by the traditional art of Welsh slate carving, which can be clearly seen in its unique angles and crafted edges. Emphasising the claws and making our Dragon even bolder – the perfect foundation on which to build our new identity – adding substance rather than removing it to create detail. The Dragon’s silhouette has been sculpted into the shield shape that our National Teams wear on their chest. Meaning that the Dragon, even when removed from the badge, still represents the beating heart of Welsh Football at all levels.
A mix of tradition and modern style, our bespoke typeface has been beautifully chiselled to be robust, strong and dynamic. Inspired by the traditional Trajan typography, often seen in Welsh slate carving and the modern condensed typefaces used in sport – the influences combined results in a typeface that respects the traditions of our past, whilst living comfortably in a modern sporting environment.
Logo evolution.Logo.Chiseled version.Motto.Custom typeface.
Visual language.
Introduction video. Now, THAT’S narration. Moving to Wales right now.
Opinion
The old logo was, for the most part, decent. A good, single-color dragon drawing and an okay crest shape with the only questionable element being the ribbon. As far as dragons go, the new one is great. The addition of the darker red for shading adds a lot great dimension and definition without muddying the drawing. All the tweaks to the silhouette of the dragon are solid, making it look more fierce and better defined. The single-color, completely-filled version is really cool, especially at small sizes as it retains the contour of the shield shape, which is even more commendable given that it’s an asymmetric drawing. The chiseled 3D version is bad-ass — maybe it picks up a little too heavily on the Wanderers FC stuff but this has a more depth (visually, not conceptually). The custom typeface… eh, it’s alright but looks like a Nike college kind of font, which is not entirely a bad thing, maybe just unexpected for a Wales national entity. The sampling of the visual language looks bold and exciting and I like how the dragon icon punctuates the applications. Overall, this is pretty tight all around and exudes a great sense of competitiveness. Lastly, props to whoever wrote the copy for the video… it starts out a little cheesy but it course-corrects quickly and it builds up so well that by the end I was like, “Fuck yeah, Wales! Get it!”
Thanks to Joshua Paines for the tip.
See what else happened on Brand Neweach year since publication began in 2006