Claire Parker, Executive Creative Director of our Amsterdam and New York Studios, is part of the Marketing Tribune “design panel”, and every month she judges a new corporate identity. In February the Netherlands-based panel were asked to review the new identity for Jeugdfonds Sports & Cultuur (Sports & Culture Youth Fund), designed by Studio Dumbar.
Originally published online (mostly in Dutch), we’ve translated the article into English for you to read below…
Claire Parker, Executive Creative Director, Design Bridge: The one thing it does well is capturing the chaos of youth. All over the place! Screaming! The loudness of the colours and typography, combined with the various photo styles creates an experience equivalent to a 6-year-old’s birthday party – without the fun. Sadly it feels rushed and superficial, standing out without standing for anything. The meaning is unclear and feels disjointed, I wish the identity had captured the curiosity, language and attitude of the kids it supports. Overall it is a strange, confusing website that in reality, just doesn’t have the same impact that you see in the case study. A good lesson that if you are going for a difficult to execute aesthetic, it has to work with real copy and content, not just a single line of copy.
Alef de Jong, Founder and Creative Strategist, Wunder: The style is powerful, colourful and mischievous. Typographic rules are ignored and the letters are simply stretched, as an amateur would do. The experiment celebrates style, and even without a prominent logo, it is distinctive, recognisable and flexible. As a child you do not need to be ashamed to use the Youth Fund – because it’s not just for kids. It is tough and mature. The target group is taken seriously and shown as heroes. Compliments for the experiment.
Stefan Pangratz, Design Director, VBAT: Identities for charities and funds are always under a magnifying glass. On the one hand, you want every penny to be directed to the mission and on the other hand, a professional approach to recruiting resources and donations is necessary. For this, the same rules apply as for ‘normal’ commercial companies, namely sufficient attention, making clear what you stand for and being distinctive. The identity is colourful, angular and a bit unpolished. A kind of system that I think is relatively easy to maintain. It stands out well, makes clear what matters, but lacks individuality and perhaps a figurative mark, so that there is no confusion with other typographical identities.
Roel Stavorinus, Design and Communication Strategist: I am enthusiastic about this style. It is distinctive, recognisable and above all very different from what we are used to. The talents and ambitions of children and young people are central to the Youth Fund and that should be reflected in the statements. I found that successful. The portraits form a whole with the bold typography and equally bold colour schemes. I find it interesting that the style uses a lot of movement. An absolute must in this time. I find the use of the style on posters and in advertisements less successful. In the posters that recently hung in cities, it is difficult to read the message properly.
Jop Quirindongo, Owner, Lowres Creative Studio: What I like about this identity is that it is actually a visual identity and campaign in one. You immediately get a sense of what is meant, without much being explained. And although I am not really a fan of this typography use, it fits very well in this case. A striking, powerful and colourful identity.
This article was originally published on Marketing Tribune on 14/02/19.