After some initial feedback it became clear that despite the new typeface, the impact of the logo had not been sufficiently increased and the brand still felt a little weak and flat as a consequence. As suggested in the interim group critique I went back to the initial experimentation. Some of the first typefaces I had used gave a more retro feel (see Superdrug Rebranding Part 1), which links back to the company's sixties roots. Most of the feedback given in the critique was positive towards the retro impression and so I finalised the typeface as Quartzo (below). It's thickness provides the appropriate impact which is counterbalanced by the softer curves of the bowls, making it direct but user friendly, and legible in both larger and smaller formats. The original typeface contained a decorative letter ‘R’ which I removed as it had the potential to become ‘clichéd’ over time and make the logo look dated.
I decided to keep Superdrug's original pink colour (Pantone 212 c) as it has become the brand's most recognisable feature, and it also caters to their target audience of women and girls aged 16-40. The flat pink edition and the black and white editions (above) would be used where it is necessary to have a flat colour logo, such as carrier bags and receipts. However, on a store front or within the store itself a flat colour logo would have the potential to look plain and less noticeable. To rectify this, I included a subtle gradient, which adds an extra layer of detail and gives the eye that bit more to see (below).
I decided to keep Superdrug's original pink colour (Pantone 212 c) as it has become the brand's most recognisable feature, and it also caters to their target audience of women and girls aged 16-40. The flat pink edition and the black and white editions (above) would be used where it is necessary to have a flat colour logo, such as carrier bags and receipts. However, on a store front or within the store itself a flat colour logo would have the potential to look plain and less noticeable. To rectify this, I included a subtle gradient, which adds an extra layer of detail and gives the eye that bit more to see (below).
Returning to my original research it is stated by Superdrug that they have begun a process of diversification over the past few years and now offer pharmacies with consultation rooms in over 220 stores. A further 19 contain nurse clinics and the launch of their Online Doctor in 2013 has allows the company to further extend their reach within the pharmaceuticals field. The new rebranded logo is flexible enough to work in many different variations if Superdrug were to expand their branding into these different sectors. Examples of which could be:
The new logo is able to work with a variety of colours. For example, a mens range could be advertised with a deep navy blue and a kids range could be advertised with a sunflower yellow. The logo maintains its structure and legibility in both light and dark colours, while still allowing each colour to individually add a unique tone. Colours can be used to connect similar sectors within the main company, for example 'Superdrug Clinic' and 'Superdrug Online Doctor' both offer medical advice and therefore both fall under the same category, but can be distinguished using different shades of the same green. 'Superdrug Pharmacy' may appear similar to the Superdrug company as a whole, but specifically deals with over-the-counter and ordered prescriptions, and so can be branded using a dark red rather than the original dark pink.
The logo also works harmoniously with other typefaces that exist within the Superdrug branding catalogue (below). This would allow for a seamless transfer between the existing and new logos, maintaining the brand's strength and identity as well as their and customer base.
As the second largest health and beauty retailer in the UK, I felt that Superdrug needed a refreshed logo that would sit on a par with their reputation; a high impact logotype that reflects their strength, stability and durability as a company. My aim was to increase the visibility of the brand while still maintaining their wide customer reach, and also provide a sustainable logo that can adapt to meet all needs of the company's future diversification.
Feedback for the rebrand was largely positive, with much appreciation for the simpler, bolder typeface and the increased legibility that came with it, specifically on smaller scales. The reinforcement of the name comes through the solidity of the typeface, but the thick capitalisation could have the potential to alienate the top end of the brand's target reach (40 and over). Some felt that the typeface wasn't necessarily appropriate for a pharmaceutical store, however the typeface successfully creates the high impact but friendly nature that was needed, and is both subtle and flexible enough to allow all areas of branding to be represented should needs be. Opinion was split between using the new gradient and the original solid colour, with the feeling that a gradient may become outdated over time. However, this version would only be used in-store on illuminated signs, so is not an integral part of the design and can be changed and adapted as necessary. It was also unanimously agreed that the decision to remove the original star motif had a positive impact on the brand and was appropriate for the target audience. All logos were produced using the Adobe Illustrator and Photoshop programmes, allowing them to be edited and adapted depending on the brand's need, and easily transferable between different formats.