1. Response of Reyn Jongenelen
    Creative director dBOD
    (translated in English)

    I understand that ‘our’ Schiphol logo does not come favoureably out of the analysis.

    In all honesty, I find that this conclusion came too easy. If you consider the Schiphol logo purely on its visual qualities I can follow you (but I do not agree). But to my taste you walk too rapidly over the symbolic value and the history of this picture mark.

    As you can see, the new logo has a strong affinity with the old. All components are still there but arranged and coloured differently. We consider this as an evolutionary step. In our vision it is very important with visual identities to make use of the visual heritage of a brand. Just creating “something new” will make the current consumer even more confused. The consumer searches today, in the actual picture storm, especially for secure beacons to hang on to.

    That can be brand identities. Recognition and grip. Certainty. Sometimes designers are a danger because they want to create always something new. They consider it more as personal creative expression in stead of a good well-considered story for the brand itself and its consumer.

  2. I have indeed no sufficient information concerning the symbolic value and the history of the brand Schiphol. And I can follow you somehow if you state that it is not good to change a logo each time again. But then my question is why did you change the colours?

    My analysis concerns here only the colours such as they occur, the combination blue-on-white which you have used, compared to the results of our research and in relation to the term ‘airport’. Aspects which you quote such as the visual heritage, play of course a role, but colour and shape in itself are very important. For example for new users who do not know nothing of the history of the brand imaging.
    Inez Michiels

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