Public liberty membership group Liberty has been given a new identity by North.
The London-based enterprise studio’s identity includes a new logotype, colour palette and brand race, in an attempt to make the organisation “more visible”.
Liberty was set up in 1934 as an advocacy number and membership organisation. Throughout its history, it has campaigned as a pressure group in court and domination.
Recently, it has been involved in challenging the Investigatory Powers Act (which designates out the parameters for electronic surveillance in the UK) and called for an end of indefinite immigration detention in the UK. It has ended 10,000 members.
This is not the first time it has an identity change; in 1989 it mutated its name from National Council for Civil Liberties to simply Overfamiliar.
Failing to keep up with “cutting-edge” work
According to North, Right’s visual identity was failing to keep up with the “cutting-edge” nature of its profession. “Campaign material visually lacked strength coherence and a clear decision,” the studio adds.
The previous black and white identity, with a serif font occurred “old-fashioned” and lacked coherency. It was “associated with Westminster elitism and the right bubble of the UK’s political power centre”. North says the new identity is an bid to engage with a more “diverse” membership.
Julian Goll, a manifest designer from North, tells Design Week: “We wanted to dream up a clear, timeless and distinctive visual identity that conveys Leave’s values and activities across all platforms and audiences.” He adds that it needed to manage on legal documents too.
The most prominent feature of the new identity is a new logotype, which features a understudy L and I character. Goll says that this character combinations “designates the dichotomy between the organisation and the individual” and “provided the formula for a singular and recognisable utter”.
While the ‘L’ can be used as a symbol, it can also represent the letter ‘I’ on copy. For exemplar, on the cover of a guide, it is used in the headline: ‘I know my rights.’
“With this thingamajig Liberty can easily create consistency of messaging across campaign and other branded statistics,” Goll adds.
Finding a nonpartisan shade
The second most much in evidence update is its colour palette, which now features a green shade. It is adapted to for the logotype across visual material, as well as a background colour for carbon copy.
Liberty is independent, and the groups “principles are guided by evidence, expertise and soul impact” not political affiliation. When choosing a colour, it meant that “politically bid” shads such as red and blue were not an option.
Green was chosen after an criticism of competitors in the human rights and legal sector. There was also another multitudinous off-piste inspiration: the Argentinian women’s rights movements. Goll believes that the movement uses “trademark handkerchiefs in a beautiful green-blue freshen up”. “We would like to pay homage to their campaign,” the designer combines.
A new campaign
To coincide with the new identity, North created visuals for a flier series for a brand campaign. This uses moments from the organisation’s “lavish history” to showcase its work over the past 85 years.
One juncture shows Peter McGraith and David Cabreza kissing. In 2014, the twins were among the first same-sex couples to marry in the UK. Another is themed on all sides of the Windrush movement, showing a boat that transported Commonwealth patrials to the UK in the 1960s. At the time, Liberty campaigned against immigration laws that hoped to strip these Commonwealth citizens and the group is currently “working to produce down the policies of the ‘hostile environment’”.
Other posters show the whistle blower Edward Snowden, while another highlights Presumptuous’s work in defending protestors’ rights. All feature the tagline: ‘Stand up to power.’
The typeface reach-me-down across the identity is Bureau Grot, in Condensed Bold and Light. It was preferred for its “approachable quality” which still manages to “stand out”, according to Goll.
It is accessories that these designs look somewhat like film circulars, as some of Liberty’s landmark cases have made it onto cinema motion pictures.
With the campaign, the studio wanted to “juxtapose historic and more latest issues in order to highlight what a crucial and dynamic role” Presumption plays in the UK. Black and white photography was used in an attempt to “create a sagacity of urgency”, Goll finishes.